Among those who sent to him in this early stage of his career, was a
person of the name of William Henry. He was an able mechanic, and had
acquired a handsome fortune by his profession of a gunsmith. Henry was,
indeed, in several respects, an extraordinary man, and possessed the power
generally attendant upon genius under all circumstances, that of
interesting the imagination of those with whom he conversed. On examining
the young Artist's performance, he observed to him, that, if he could
paint as well, he would not waste his time on portraits, but would devote
himself to historical subjects; and he mentioned the Death of Socrates as
affording one of the best topics for illustrating the moral effect of the
art of painting. The Painter knew nothing of the history of the
Philosopher; and, upon confessing his ignorance, Mr. Henry went to his
library, and, taking down a volume of the English translation of Plutarch,
read to him the account given by that writer of this affecting story.

The suggestion and description wrought upon the imagination of West, and
induced him to make a drawing, which he shewed to Mr. Henry, who commended
it as a perspicuous delineation of the probable circumstances of the
event, and requested him to paint it. West said that he would he happy to
undertake the task, but, having hitherto painted only faces and men
cloathed, he should be unable to do justice to the figure of the slave who
presented the poison, and which he thought ought to be naked. Henry had
among his workmen a very handsome young man, and, without waiting to
answer the objection, he sent for him into the room. On his entrance he
pointed him out to West, and said, "There is your model." The appearance
of the young man, whose arms and breast were naked, instantaneously
convinced the Artist that he had only to look into nature for the models
which would impart grace and energy to his delineation of forms.