THE SEASON.
The memory of man supplies no recollection of so wet a season as from September 1824 to March 1825; it produced the rot in sheep to an alarming extent. In consequence of the animals being killed in this disease, the mutton is unwholesome for human food, and produces mortality even in dogs. The newspapers relate that such mutton given to a kennel of dogs rendered them fat, till on a sudden their good looks declined, they became lean, and gradually died, without any other cause being assignable for the mortality, than the impure flesh of the sheep. In such a season, therefore, families should shrink from the use of mutton as from a pestilence. There is no security, but in entire abstinence. Almost every hare shot during the same period had a tainted liver. Under such circumstances lamb should be sparingly used, and, if possible, refrained from altogether, in order to secure mutton at a reasonable price hereafter.
Chronology.
1792. John, earl of Bute, died. He was prime minister soon after the accession of George III.; and of all who guided the helm of state, the most unpopular.
On the 10th of March, 1820, died Benjamin West, esq., president of the Royal Academy, in the eighty-second year of his age. It was his delight to gently lead genius in a young artist; and Mr. William Behnes, the sculptor, was honoured by the venerable president with the means of transmitting his parting looks to an admiring world, upon whom he was soon to look no more. Mr. West’s sittings to Mr. Behnes were about two months before his death. Expressing himself to his young friend in terms of high satisfaction at the model, he encouraged him to persevere in that branch of art which Mr. Behnes has since distinguished, by admirable power of design and use of the chisel. To speak of Mr. Behnes’s model as a mere likeness, is meagre praise of an effort which clearly marks observation, and comprehension, of Mr. West’s great mental powers. The bust, as it stands in marble, in sir John Leicester’s gallery, is a perfect resemblance of Mr. West’s features, and an eloquent memorial of his vigorous and unimpaired intellect in the last days of earthly existence. If ever the noblest traits of humanity were depicted by the hand of art, they are on this bust. Superiority of mind is so decidedly marked, and blended, with primitive simplicity, and a beaming look of humanity and benevolence, that it seems the head of an apostle.
Mr. West was an American; he was born at Springfield, in Pennsylvania, on the 10th of October, 1738; his ancestors and parents were “Friends:” the family had emigrated from England with the illustrious founder and legislator of Pennsylvania, William Penn: of whose treaty with the Indians for a tract of their territory, it is observed, that it was the only christian contract unsanctioned by an oath, and the only one never violated.[17] The first of the family who embraced Quaker principles was colonel James West, the friend and companion in arms of the great John Hampden.
Mr. West’s genius developed itself very early. When a child he saw an infant smile in its sleep, and forcibly struck with its beauty, seized pens, ink, and paper, which happened to lie by him, and endeavoured to delineate a portrait; at this period he had never seen an engraving or a picture. He was afterwards sent to school in the neighbourhood, and during hours of leisure was permitted to draw with a pen and ink. It did not occur to any of the family to provide him with better materials, till a party of Indians being amused with little Benjamin’s sketches of birds and flowers, taught him to prepare the red and yellow colours with which they painted their ornaments, and his mother adding blue, by giving him a piece of indigo, he became possessed of the three primary colours. As he could not procure camels’ hair pencils, and did not even know of their existence, he supplied the deficiency by cutting fur from the end of the cat’s tail. From the frequent necessity for repeating this depredation, his father observed the altered appearance of his favourite, and lamented it as the effect of disease; the young artist, with due contrition, informed his father of the true cause, and the old gentleman was highly pleased by his son’s ingenuousness. Mr. Pennington, a merchant of Philadelphia, struck with the genius of the child, sent him a box of paints and pencils, with some canvass, and six engravings by Grevling. Little West rose with the dawn of the next day, carried the box into the garret, prepared a pallet, began to imitate the figures in the engravings, omitted to go to school, and joined the family at dinner, without mentioning how he had been occupied. In the afternoon he again retired to his garret; and for several successive days thus devoted himself to painting. The schoolmaster, however, sent to know the reason of his absence. Mrs. West recollecting that she had seen Benjamin going up stairs every morning, and suspecting that it was the box which occasioned this neglect of the school, affected not to notice the message, but went immediately to the garret, and found him employed on the picture. If she had anger, it was changed to a different feeling by the sight of his performance; she kissed him with transports of affection, and assured him that she would intercede to prevent his being punished. It seemed ever the highest pleasure of Mr. West emphatically to declare, that it was this kiss that made him a painter.
After numerous indications of uncontrollable passion for his favourite and only pursuit, a consultation of “Friends” was held, on the propriety of allowing young West to indulge a taste, which the strict discipline of the society inhibits:—
Genius has such resistless power
That e’en the Quaker, stern and plain,
Felt for the blooming painter boy.