He was beginning to consider life’s problems and he dared to try to solve them by ways of his own. He was never really idle, for two absorbing interests claimed attention,—the study of machinery and the study of art.
For it was not very long before that lead-pencil, pounded with such care at Nicholas Miller’s store, began to reveal Robert’s talent for drawing. He sketched parts of machinery in the various shops of the village and made himself so useful to the mechanics that they welcomed his visits. Then, as Robert realized the beauties in nature, his black pencil seemed to disappoint him. He could find no paints or crayons at the shops, and it was not until a playfellow brought a box of paints to school that Robert realized the possibility of such an aid to making pictures. He pleaded with his friend for a share that he might try his hand at mixing colors, so it was agreed that each boy should paint a picture on a mussel shell. The result proved Robert so excellent an artist that his generous schoolmate, whose talents lay in another direction, presented Robert with the entire outfit. His delight knew no bounds, and thereafter he never was at a loss for occupation.
Like many another famous man, it should be noted that Fulton did not enjoy the advantages of a liberal education in his youth. Beginning work at an early age, by the need of earning his living, he necessarily left his desk and books before he had mastered the higher branches of knowledge demanded by his later work. Still, he was determined to acquire knowledge. Busy by day, he studied by night, and in time added higher mathematics, languages, chemistry and perspective drawing to his mental stores. In fact, Fulton was a student throughout his entire life.
To-day his spelling seems to us distinctly original and often amusing; but let us remember that he lived in “the good old days” when that particular art was largely a matter of inspiration, instead of being governed, as it is to-day, by stern and unbreakable rules.
The War of the Revolution was in progress during the days of Fulton’s boyhood, and the town of Lancaster was the scene of many important acts.
There had been many English settlers in Lancaster, so it is not surprising that the town abounded in “Royalists,”—sympathizers with the British Crown.
The time and place were rife with excitement. Village boys shared the news, one with another, and followed every skirmish with active interest.
In 1775, Major John André, with other British officers on their way to Quebec, was captured by General Montgomery and taken for safety to Lancaster. So crowded were the barracks that André, on his word as a gentleman, was allowed the following parole:
“I, John André, being a prisoner in the United Colonies of America, do, upon the honor of a gentleman, promise that I will not go into or near any seaport town, nor further than six miles from Lancaster, without leave of the Continental Congress of the Committee of Safety of Pennsylvania, and that I will carry on no political correspondence whatever on the subject of the dispute between Great Britain and the Colonies, so long as I remain a prisoner.”
A man named Caleb Cope received John André into his home and André tutored his son, John Cope, thirteen years old, and gave him lessons in art; for André had a decided talent for the brush and loved to depict, from recollection, the scenes of his English home. One of these pictures, a landscape with a church and lodge among a bower of trees, André gave to Mr. Cope who treasured it in later years. He described André as “a gifted and deceived, but noble-hearted and generous, man.” It is thought that John Cope was the boy who presented the painting outfit to Robert Fulton, so it is probable that, indirectly, Robert may have profited from Major André’s instruction.