secure him an economical home and plenty of work in Utica, he promised
to remove thither in a month; and then becoming more cheerful, he
exhibited, one by one, the trophies of Art in his possession.

"Among them were a Moreland and a Gainsborough, some fine engravings
after Reynolds, prints, cartoons, and crayon heads by famous artists,
and two or three Hogarth proof-impressions; but the treasure which
riveted my gaze was a masterly head of such vigorous outline and
effective tints, that I immediately recognized the strong, free, bold
handling of Gilbert Stuart. 'That was given me,' said the gratified
painter, 'by the son of an Edinburgh physician, who, when a young
practitioner, had the good-fortune to call one day upon Stuart when he
was suffering from the effects of a fall. He had been thrown from a
vehicle and had broken his arm, which was so unskilfully set that
it became inflamed and swollen, and the clumsy surgeon talked of
amputation. Imagine the feeling of such an artist at the idea of losing
his right arm! The doctor's visit was not professional, but, seeing the
despondent mood of the invalid artist, he could not refrain the offer
of service. It was accepted, and proved successful, and the patient's
gratitude was unbounded. As the doctor refused pecuniary compensation,
Stuart insisted upon painting a likeness of his benefactor; and as
he worked under no common impulse, the result, as you see, was a
masterpiece.'

"A few weeks after this pleasant interview, I had established my
_protégé_ at Utica, and obtained him several commissions. But his
medical attendant pronounced his disease incurable; he lingered a
few months, conversing to the last, during the intervals of pain and
feebleness, with a resignation and intelligence quite endearing. When he
died, I advised his widow to preserve as long as possible the valuable