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PROFESSOR MORSE AND THE TELEGRAPH 581 afterwards, that he would certainly have won the prize (a gold medal and $250 in gold) had he remained. West was always specially kind to those who came from the land of his birth. Morse was such a favorite with him, that while others were excluded from his painting-room at certain times, he was always admitted. West was then painting his great picture of "Christ Rejected." One day, after carefully examining Morse's hands, and observing their beauty and perfection, he said, "Let me tie you with this cord and take that place while I paint in the hands of the Saviour." It was done, and when he released the young artist, West said to him, "You may now say, if you please, that you had a hand in this picture." Fuseli, Northcote, Turner, Sir Thomas Lawrence, Flaxman, and other eminent artists; and Coleridge, Wordsworth, Rogers, Crabbe, and other distinguished literary men, became fond of young Morse, for with an uncommonly quick intellect he united all the graces of pleasant manners and great warmth and kindliness of heart, which charmed the colder Englishmen. And when in August, 1815, he packed his fine picture, "The Judgment of Jupiter," and others, and sailed for his native land, he bore with him the cordial good wishes of some of the best men in England. When Morse reached Boston, he found that his fame had gone before him, and the best society of that city welcomed him. Cards of invitation to dinner and evening parties were almost daily sent to him. He was only in the twenty-fourth year of his age, and was already famous and bore the seal of highest commendation from the President of the Royal Academy. With such prestige he set up his easel with high hopes and the fairest promises for the future which were doomed to speedy decay and disappointment. The taste of his countrymen had not risen to the appreciation of historical picture. His fine original compositions, and his excellent copies of those of others (among them one from Tintoretto's marvelous picture of "The Miracle of the Slain"), which hung upon the walls of his studio in Boston, excited the admiration of cultivated people; but not an order was given for a picture, nor even an inquiry concerning the prices of those on view. Disappointed, but not disheartened, Mr. Morse left Boston, almost penniless, and in Concord, N. H., commenced the business of a portrait painter, in which he found constant employment at $15 a subject, cabinet size. There he became acquainted with a Southern gentleman, who assured him that he might find continual employment in the South at four-fold higher prices for his labor. He appealed to his uncle, Dr. Finley of Charleston for advice, who cordially invited him to come as his visitor and make a trial. He went, leaving behind in Concord a young maiden to whom he was affianced, promising to return and marry her when better fortune should reward his labors. That better fortune soon appeared. Orders for portraits came in so thickly (one hundred and fifty, at $60 each) that he painted four a week during the winter and spring. In the early summer time of 1818, he returned to New England with $3,000 in his pocket, and on the 6th of October following his friends read this notice in the New Hampshire Patriot, published at Concord: - "Married, in this town, by Rev. Dr. McFarland, Mr. Samuel F. B. Morse (the celebrated painter) to Miss Lucretia Walker, daughter of Charles Walker, Esq." Four successive winters Mr. Morse painted in Charleston, and then settled his little family with his parents, in a quiet home in New Haven, and again proceeded to try his fortune as an historical painter, by the production of an exhibition picture of the House of Representatives at the National Capital. It was an excellent work of art, but as a business speculation it was disastrous, sinking several hundred dollars of the artist's money and wasting nearly eighteen months of precious time. No American had taste enough to buy it, and it was finally sold to a gentleman from England. Morse now sought employment in the rapidly-growing commercial city of New York. Through the influence of Mr. Isaac Lawrence he obtained the commission, from the corporate authorities of that city, to paint a full-length portrait of Lafayette, then in this country. He had just completed his study from life, in Washington city, in February, 1825, when as black shadow was suddenly cast across his hitherto sunny life-path. A letter told him of the death of his wife. There is a popular saying that "misfortunes seldom come single." The popular belief in the saying was justified in Mr. Morse's case, for in the space of a little more than a year death deprived him of his wife and his father and mother. Thenceforward his children and art absorbed his earthly affections, and he sought in a closer intimacy with artists the best consolations of social life. By that intimacy he was soon called upon to be the valiant and efficient champion of his professional brethren in a