“My pleasant communion with the unknown was at last interrupted by the entrance of my tardy man-of-business, but the instant our affair was transacted I inquired about the sketch.  It proved to be the work of a young Englishman then residing in the neighborhood.  I obtained his address and sought his dwelling.  He was scraping an old palette as we entered, and advanced with it in one hand, while he saluted me with the air of a gentleman and the simplicity of an honest man.  He wore a linen blouse, his collar was open, his hair long and dark, his complexion pale, his eye thoughtful, and a settled expression of sweetness and candor about the mouth made me feel, at a glance, that I had rightly interpreted the sketch.  I mentioned it as an apology for my intrusion, and added, that a natural fondness for Art, and rare opportunities for gratifying the taste, induced me to improve occasions like this with alacrity.  He seemed delighted to welcome such a visitor, as his life, for several weeks, had been quite isolated.  The retirement and agreeable scenery of this inland town harmonized with his feelings; he was unambitious, happy in his domestic relations, and had managed, from time to time, to execute a portrait or dispose of a sketch, and thus subsist in comfort; so that an accidental and temporary visit to this secluded region had unconsciously lengthened into a whole summer’s residence,—­ partly to be ascribed to the kindness and easy terms of his good old host, a thrifty farmer, whose wife, having no children of her own, doted upon the painter’s boy, and grieved at the mention of their departure.  I doubt if my new friend would have had the enterprise to migrate at all, but for my urgency; but I soon discovered, that, with the improvidence of his tribe, he had laid nothing by, and that he stood in need of medical advice, and, after a long conversation, upon my engaging to secure him an economical home and plenty of work in Utica, he promised to remove thither in a month; and then becoming more cheerful, he exhibited, one by one, the trophies of Art in his possession.

“Among them were a Moreland and a Gainsborough, some fine engravings after Reynolds, prints, cartoons, and crayon heads by famous artists, and two or three Hogarth proof-impressions; but the treasure which riveted my gaze was a masterly head of such vigorous outline and effective tints, that I immediately recognized the strong, free, bold handling of Gilbert Stuart.  ‘That was given me,’ said the gratified painter, ’by the son of an Edinburgh physician, who, when a young practitioner, had the good-fortune to call one day upon Stuart when he was suffering from the effects of a fall.  He had been thrown from a vehicle and had broken his arm, which was so unskilfully set that it became inflamed and swollen, and the clumsy surgeon talked of amputation.  Imagine the feeling of such an artist at the idea of losing his right arm!  The doctor’s visit was not professional, but, seeing the despondent mood of the invalid artist, he could not refrain the offer of service.  It was accepted, and proved successful, and the patient’s gratitude was unbounded.  As the doctor refused pecuniary compensation, Stuart insisted upon painting a likeness of his benefactor; and as he worked under no common impulse, the result, as you see, was a masterpiece.’