"I know not in what terms to speak of Mr. Allston. I can truly say I do not know the slightest imperfection in him. He is amiable, affectionate, learned, possessed of the greatest powers of mind and genius, modest, unassuming, and, above all, a religious man…. I could write a quire of paper in his praise, but all I could say of him would give you but a very imperfect idea of him….
"You must recollect, when you tell friends that I am studying in England, that I am a pupil of Allston and not Mr. West. They will not long ask who Mr. Allston is; he will very soon astonish the world. He claims me as his pupil, and told me a day or two since, in a jocose manner, that he should have a battle with Mr. West unless he gave up all pretension to me."
We gain further information concerning Morse's first triumphs, his painting and his statuette from the following reminiscences of a friend, Mr. Dunlap:—
"It was about the year 1812 that Allston commenced his celebrated picture of the 'Dead Man restored to Life by touching the Bones of Elisha,' which is now in the Pennsylvania Academy of Arts. In the study of this picture he made a model in clay of the head of the dead man to assist him in painting the expression. This was the practice of the most eminent old masters. Morse had begun a large picture to come out before the British public at the Royal Academy Exhibition. The subject was the 'Dying Hercules,' and, in order to paint it with the more effect, he followed the example of Allston and determined to model the figure in clay. It was his first attempt at modelling.
"His original intention was simply to complete such parts of the figure as were useful in the single view necessary for the purpose of painting; but, having done this, he was encouraged, by the approbation of Allston and other artists, to finish the entire figure.
"After completing it, he had it cast in plaster of Paris and carried it to show to West, who seemed more than pleased with it. After surveying it all round critically, with many exclamations of surprise, he sent his servant to call his son Raphael. As soon as Raphael made his appearance West pointed to the figure and said: 'Look there, sir; I have always told you any painter can make a sculptor.'
"From this model Morse painted his picture of the 'Dying Hercules,' of colossal size, and sent it, in May, 1813, to the Royal Academy Exhibition at Somerset House."
The picture was well received. A critic of one of the journals of that day in speaking of the Royal Academy thus notices Morse:—
"Of the academicians two or three have distinguished themselves in a preëminent degree; besides, few have added much to their fame, perhaps they have hardly sustained it. But the great feature in this exhibition is that it presents several works of very high merit by artists with whose performances, and even with whose names, we were hitherto unacquainted. At the head of this class are Messrs. Monroe and Morse. The prize of history may be contended for by Mr. Northcote and Mr. Stothard. We should award it to the former. After these gentlemen Messrs. Hilton, Turner, Lane, Monroe, and Morse follow in the same class." (London "Globe," May 14, 1813.)
[Illustration: THE DYING HERCULES
Painted by Morse in 1813]