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 were but small, to remove the family to Paris, in order that her son might obtain the best opportunities for instruction. There young Scheffer was placed with Guérin the painter. But his mother's means were too limited to permit him to devote himself exclusively to study. She had sold the few jewels she possessed, and refused herself every indulgence, in order to forward the instruction of her other children. Under such circumstances, it was natural that Ary should wish to help her; and by the time he was eighteen years of age he began to paint small pictures of simple subjects, which met with a ready sale at moderate prices. He also practised portrait painting, at the same time gathering experience and earning honest money. He gradually improved in drawing, colouring, and composition. The 'Baptism' marked a new epoch in his career, and from that point he went on advancing, until his fame culminated in his pictures illustrative of 'Faust,' his 'Francesca da Rimini,' Christ the Consoler,' the 'Holy Women,' 'St. Monica and St. Augustin,' and many other noble works.

"The amount of labour, thought, and attention," says Mrs. Grote, "which Scheffer brought to the production of the 'Francesca,' must have been enormous. In truth, his technical education having been so imperfect, he was forced to climb the steep of art by drawing upon his own resources, and thus, whilst his hand was at work, his mind was engaged in meditation. He had to try various processes of handling, and experiments in colouring; to paint and repaint, with tedious and unremitting assiduity. But Nature had endowed him with that which proved in some sort an equivalent