Page:Anecdotes of painters, engravers, sculptors and architects, and curiosities of art (IA anecdotesofpaint01spoo).pdf/144

 *fairs, and on opening it, he found a life of Moreland. When Jarvis came into the room, Sully sat with the book in his hand. 'Do you know why I like that book?' said Jarvis. 'I suppose because it is the life of a painter,' was the reply. 'Not merely that,' rejoined the other, 'but because I think he was like myself.'" What a commentary! Moreland was a man of genius, and might have shone as a bright star in the history of art, had he not degraded himself by dissipation, almost to a level with the pigs he delighted to paint. The glory of both Stuart and Jarvis is obscured by the same fatal passion. "O that men should put an enemy in their mouths, to steal away their brains! that we should, with joy, revel, pleasure, and applause, transform ourselves into beasts."

"Jarvis," says Dunlap, "was fond of notoriety from almost any source, and probably thought it aided him in his profession. His dress was generally unique. His long coat, trimmed with furs like a Russian prince, or a potentate from the north pole, and his two enormous dogs which accompanied him through the streets, and often carried home his market basket, must be remembered by many."

ROBERT FULTON.

It is not generally known that this celebrated engineer was in his early life a practical painter.—From the age of 17 to 21, he painted portraits and landscapes in Philadelphia. In his 22d year, he