No child of to-day can imagine the difficulties a boy must have had in those days in America, to get an art education, and having learned his art, how impossible it was to live by it. Men were busy making a new country and pictures do not take part in such pioneer work; they come later. Still, there were bound to be born artistic geniuses then, just as there were men for the plough and men for politics and for war. He who happened to be the artist was the Quaker boy, West.
He took his first inspiration from the Cherokees, for it was the Indian in all the splendour of his strength and straightness that formed West's ideal of beautiful physique.
When he first saw the Apollo Belvedere, he exclaimed: "A young Mohawk warrior!" to the disgust of every one who heard him, but he meant to compliment the noblest of forms. Europeans did not know how magnificent a figure the "young Mohawk warrior" could be; but West knew.
After his Indian impetus toward art he went to Philadelphia, and settled himself in a studio, where he painted portraits. His sitters went to him out of curiosity as much as anything else, but at last a Philadelphia gentleman, who knew what art meant, recognised Benjamin West's talent, and made some arrangement by which the young man went to Italy.
Life began to look beautiful and promising to the Pennsylvanian. He was in Italy for three years, and in that home of art the young man who had made the smile of his sister's sleeping baby immortal was given highest honours. He was elected a member of all the great art societies in Italy, and studied with the best artists of the time. He began to earn his living, we may be sure, and then he went to England, where, in spite of the prejudice there must have been against the colonists, he became at once a favourite of George III., a friend of Reynolds and of all the English artists of repute--unless perhaps of Gainsborough, who made friends with none.
West was appointed "historical painter" to his Majesty, George III., and he was chosen to be one of four who should draw plans for a Royal Academy. He was one of the first members of that great organisation, and when Sir Joshua Reynolds, the first president, died, West became president, remaining in office for twenty-eight years.
About that time came the Peace of Amiens, and West was able to go to Paris, where he could see the greatest art treasures of Europe, which had been brought to France from every quarter as a consequence of the war. At that time, before Paris began to return these, and when she had just pillaged every great capital of Europe, artists need take but a single trip to see all the art worth seeing in the whole world.
After a long service in the Academy, West quarreled with some of the Academicians and sent in his resignation; but his fellow artists had too much sense and good feeling to accept it, and begged him to reconsider his action. He did so, and returned to his place as president. When West was sixty-five years old he made a picture, "Christ Healing the Sick," which he meant to give to the Quakers in Philadelphia, who were trying to get funds with which to build a hospital. This picture was to be sold for the fund; but it was no sooner finished and exhibited in London before being sent to America, than it was bought for 3,000 guineas for Great Britain. West did not contribute this money to the hospital fund, but he made a replica for the Quakers, and sent that instead of the original.
West was eighty-two years old when he died and he was buried in St. Paul's Cathedral after a distinguished and honoured life. Since Europe gave him his education and also supported him most of his life, we must consider him more English than American, his birth on American soil being a mere accident.
PLATE--THE DEATH OF WOLFE