ARRIVAL IN THE GREAT METROPOLIS.

25

my heaven of bliss. So it was some fifty years ago when the 'Highflyer' or 'Wellington' stopped at my father's door, and I quitted my indulgent home for ever. Silent and simple I travelled, with visions alternately sad and brilliant flitting before me. Everything was

strange to my wondering eyes. As the coach entered the suburbs of the great City, in a heavy shower of rain, I was warned not to take my impressions of London from that day, which was dreary and gloomy enough, for with the dense smoke and wet it seemed as if we were entering into an inhabited cloud.

Alas! how was I situated!—I had no introductions, no friends, not even an acquaintance, in the whirlpool of life that I was entering.

I had come against the wishes of at least one parent, contrary to the advice of friends, who would come to my father to tell him of the risks and ruin of young men indulging in visionary pursuits, and urging him, as he loved his son, to induce him to return home, and to make him turn his talents to business.

CHAPTER II.

ARRIVAL IN LONDON -EARLY DIFFICULTIES -HAYDON AND FUSELI-LETTERS TO HIS BROTHERS-OPPORTUNITIES OF STUDY -THE ELGIN MARBLES-MR. DAY-HOPES AND DISAPPOINTMENTS -REFUSED ADMISSION TO THE ACADEMY-HAYDON'S ADVICE THE ROYAL ACADEMY-BRIBING THE PORTER — HAYDON'S GENEROSITY INTRODUCTION TO LITERARY CELEBRITIES -CARICATURE OF HAYDON AND HIS PUPILS.

IN London, Bewick found himself involved in all the difficulties to which the young and unknown artist is exposed on his first arrival in the metropolis. He appears, however, to have made the acquaintance, at an early period of his residence, of various persons who were able to guide him in the cultivation of his art, and to contribute in a great measure to his ultimate success. He thus gained the advantage of seeing, in the beginning of his career, some of the noblest works, both of ancient and modern painters, and had opportunities of listening to and profiting by the observations of competent

critics. Nor, while studying the works of others, does he appear to have neglected the practice of his art, as he employed his time both in retouching old paintings, and in producing new ones, some of which he was able to dispose of to the patrons of young and promising artists.

Among persons of more or less distinction with whom he became acquainted, perhaps none excited higher admiration, or exercised a more profound influence upon his mind, so far as regards his views of art, than Mr. B. R. Haydon, whom he calls the 'first painter we have.' Haydon gave him a letter of introduction to Fuseli, with the view of obtaining for him the privilege of drawing in the Academy, but at first he was unsuccessful. Haydon, indeed, appears to have acted towards Bewick with remarkable kindness, urging him to press forward to the higher walks of art, and amid the disappointments which might beset him to exercise industry, patience, and perseverance. In his intercourse with this renowned artist, he enjoyed the privilege of becoming acquainted with some of the most distinguished men of the day, poets, sculptors, and painters, not only

28 BEWICK'S LETTERS TO HIS BROTHER.

of England, but also of foreign countries. From their conversation he derived the utmost benefit, his views of art, of literature, and of life being at once greatly enlarged, and at the same time rendered more precise. His position, too, as a pupil of Haydon's, in some degree exposed him to the animosity from which that artist was seldom free. In a caricature of Haydon and his pupils, which was published, Bewick was made the most conspicuous figure after Haydon himself. But of this period of his life the following letters, addressed from London to his brother, will give the reader an interesting outline.

DEAR BROTHER,-You will think, no doubt, that I am rather inert or forgetful, not to have written you ere this, but my desire was to have something satisfactory to tell you. I have no doubt you will want to know how I am situated here. Well, I am not doing anything, but am occupying my time in seeing the exhibitions, &c. &c., which will prove very useful, as I shall hereby improve my ideas. What a pity it is that I have not some little independence at the

present moment, as I have got leave to study from the celebrated marble statues which Lord Elgin brought from Greece, likewise from a plaster cast of Phidias, now exhibiting in the Mews Gallery. Such an opportunity would be likely to found me on the Grecian purity of design. I had the other morning a long conversation with Mr. Day (the proprietor of the King's Mews Gallery). I showed him my picture of Niobe, and he passed high encomiums on it. He is an artist, and has been in Italy, from whence he brought the celebrated cast from a statue of Phidias, twenty feet high, together with several valuable paintings by the old masters, Raphael, Carracci, Rubens, &c.; all of which he is now exhibiting. I am to go with him to Lord Elgin's (Burlington House) tomorrow morning, to see his moulders at work. He brought them with him from Rome, having there borrowed them from Canova, the celebrated sculptor, who was over here six or seven months ago. Mr. Day is very polite, and asked me from what part of the country I came, and who were the principal noblemen in the neighbourhood. I told him that the Earl of Dar