eccentric; a bon vivant, and excelled at telling a story. It is melancholy to record that, after many vicissitudes, he ended his days in poverty.

Thomas Sully was also a native of England, who came to this country in childhood, and lived to such a great age that it is difficult to realize that he was the contemporary of Trumbull and Stuart. Sully had great refinement of feeling, and reminds us sometimes of Sir Thomas Lawrence. This is shown in a certain favorite ideal head of a maiden which he reproduced in various compositions. One often recognizes it in his works. His portraits are also pleasing; but in the treatment of a masculine likeness the feebleness of his style and its lack of originality or strength are too often apparent. John Naegle, of Philadelphia, was a pupil of Sully, but first began his art career as apprentice to a coach-painter. Like many of our artists of that time, he tried his hand at a portrait of Washington; but he will be longest and best remembered by his vivid and characteristic painting of Patrick Lyon, the blacksmith, at his forge. This picture now hangs in the elegant gallery of the Philadelphia Academy of Fine Arts, where several of the masterpieces of our early painters may be seen hanging in company with it, among them West's "Christ Rejected," Vanderlyn's "Ariadne," and Allston's "Dead Man Restored to Life."

FANNY KEMBLE.—[THOMAS SULLY.]

Born the year of the Declaration of Independence, John Vanderlyn, like most of the leading artists of this period of whom we are writing, lived to old age. His days were filled with hardships and vicissitudes: and, unless he has since become aware of the fame he left behind, he was one of many to whom life has been a very questionable boon.

ARIADNE.—[JOHN VANDERLYN.]

Vanderlyn was a farmer's boy on the Hudson River. It was one of those curious incidents by which Destiny sometimes makes us think there may be, after all, something more than blind action in her ways, that Aaron Burr, passing by his father's house, saw some rude sketches of the rustic lad with that keen eye of his. Burr discerned in them signs of promise, and invited him to come to New York. When Vanderlyn arrived Burr treated him kindly. Eventually the painter made a portrait of Theodosia, the beautiful and ill-fated daughter of his benefactor; and when Burr was under a cloud and found himself destitute in Europe, it was Vanderlyn who received and gave him shelter.