It is with drinking Birket’s ale.”
The painting has been supplanted by its title in plain letters, “The Mortal Man,” but the old people say they still remember the sign, and that it is now preserved in Carlisle.
THE RECOGNITION.
Ibbetson’s abilities attracted the notice of M. de Loutherbourg, who introduced him to Mons. Desenfans, of pictorial memory. An invitation to breakfast placed Ibbetson and Loutherbourg in Mons. Desenfans’ parlour, the walls of which were covered with chefs d’œuvre of art; and the judgment of the young painter was tried on the merits of the several masters. When coming to one which seemed to attract Ibbetson’s particular regard, Mons. Desenfans observed: “That, Mr. Ibbetson, is a very beautiful example of David Teniers.” There was a pause, Mons. Desenfans requested Ibbetson’s opinion; whose answer, after another pause, was: “That picture, sir?—that picture I painted!” Here was confusion worse confounded. The collector had been taken in: his judgment had been committed. The murder, however, was out; marks and circumstances proved the fact beyond doubt. The good-natured Loutherbourg endeavoured to “take up his mangled matter at the best:”—“He had frequently been deceived.” Nay, he went further, and told how, in his younger days, he had himself manufactured a few old masters. Whether or not this apology mended the business, we know not; but certain it is that poor Ibbetson was never again asked to breakfast with Mons. Desenfans.
INMAN (HENRY).
HENRY INMAN was born at Utica, New York, 20th October, 1801. His parents were English. His father removed to the city of New York, in 1812, at which early date Inman’s taste for drawing was manifested, and cultivated to a certain extent at the day-school he attended. The arrival of Wertmuller’s picture of Danæ, about the year 1814, first suggested the art to him as a profession. It was exhibited at Mr. Jarvis’s rooms, in Murray Street, and Inman gives the following account of his second visit to it:—
“On a second visit, when I went alone, I saw Mr. Jarvis himself, who came up from his painting room into the apartment in which the Danæ, with other works of art, were placed. On observing his entrance, with maulstick in his hand, and palette on his arm, I removed my hat and bowed, presuming that he was the master of the establishment. At that time I regarded an artist with peculiar reverence. Without noticing my salutation, he walked rapidly towards me, and, with his singular look of scrutiny, peered into my face. Suddenly he exclaimed, ‘By heavens, the very head for a painter!’ He then put some questions to me; invited me below stairs, and permitted me to examine his portfolios. He shortly after called upon my father, and proposed to take me as a pupil. I was at this time preparing for my entrance to the West Point Institution, as a cadet, for which I had already obtained a warrant. My father left the matter to myself, and I gladly accepted Mr. Jarvis’s proposal. I accordingly entered upon a seven years’ apprenticeship. Notwithstanding his phrenological observations upon my cranium, a circumstance connected with my first effort in oil colours would seem to contradict his favourable inference. Another of his students and myself were set down before a small tinted landscape, with instructions to copy it. Palettes and brushes were put into our hands, and to work we went. After much anxious looking and laborious daubing, Mr. Jarvis came up to see what progress we had made. After regarding our work for some moments in silence, he astounded us with these words: ‘Get up! get up! These are the most infernal attempts I ever saw. Here, Philip! [turning to a mulatto boy, who was grinding paints in another part of the room], take the brushes, and finish what these gentlemen have begun so bravely!’ All this took place in the presence of several strangers, who had come to look at the gallery. You can imagine what a shock our self-love received. Such mortifications are the most enduring of all remembrances. Notwithstanding this rebuff, I managed to make other and more successful efforts.”
At the expiration of his apprenticeship, he married Miss O’Brien, and began business for himself as a portrait and miniature painter. It is stated that in this latter branch he was very successful, although he afterwards entirely abandoned it. On his removal to Philadelphia he painted a portrait of Mr. Rawle for the members of the bar of that city. At this gentleman’s house he saw a copy of Stuart’s celebrated portrait of Washington, of which he mentions the following anecdote:—
“Mr. R. informed me, while we were looking at the head of Washington, that on one occasion, when that great man dined at his house, he sat immediately beneath the picture, and that position gave Mr. R. ample opportunity to satisfy himself of the correctness of the resemblance. I was much pleased with this testimony in favour of its truth, as of late years an attempt has been made to impeach the justice of Stuart’s representation of Washington.”