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 his acquaintances. Leslie, the artist, then a struggling genius like himself, was his fellow-lodger. His heart was evidently in the profession of his choice. 'My passion for my art,' he wrote to his mother, in 1812, 'is so firmly rooted that I am confident no human power could destroy it. The more I study the greater I think is its claim to the appellation of divine. I am now going to begin a picture of the death of Hercules, the figure to be as large as life.'

After he had perfected this work to his own eyes, he showed it, with not a little pride, to Mr. West, who after scanning it awhile said, 'Very good, very good. Go on and finish it.' Morse ventured to say that it was finished. 'No! no! no!' answered West; 'see there, and there, and there. There is much to be done yet. Go on and finish it.' Each time the pupil showed it the master said, 'Go on and finish it.' This was a lesson in thoroughness of work and attention to detail which was not lost on the student. The picture was exhibited at the Royal Academy, in Somerset House, during the summer of 1813, and West declared that if Morse were to live to his own age he would never make a better composition. The remark is equivocal, but was doubtless intended as a compliment to the precocity of the young painter.

In order to be correct in the anatomy he had first modelled the figure of his Hercules in clay, and this cast, by the advice of West, was entered in competition for a prize in sculpture given by the Society of Arts. It proved successful, and on May 13 the sculptor was presented with the prize and a gold medal by the Duke of Norfolk before a distinguished gathering in the Adelphi.

Flushed with his triumph, Morse determined to compete for the prize of fifty guineas and a gold