STUART’S POWERS OF PERCEPTION.

Stuart read men’s characters at a glance, and always engaged his sitters on some interesting topic of conversation, and while their features were thus lit up, he transferred them to his canvass, with the magic of his pencil. Hence his portraits are full of animation, truth, and nature. This trait is well illustrated by the following anecdote. Lord Mulgrave employed him to paint his brother, General Phipps, who was going out to India. When the portrait was finished, and the general had sailed, the Earl called for the picture, and on examining it, he seemed disturbed, and said, “This picture looks strange, sir; how is it? I think I see insanity in that face!” “I painted your brother as I saw him,” replied the painter. The first account Lord Mulgrave had of his brother was, that insanity, unknown and unapprehended by any of his friends, had driven him to commit suicide. Washington Allston, in his eulogium on Stuart, says, “The narratives and anecdotes with which his knowledge of men and the world had stored his memory, and which he often gave with great beauty and dramatic effect, were not unfrequently employed by Mr. Stuart in a way, and with an address peculiar to himself. From this store it was his custom to draw largely, while occupied with his sitters, apparently for their amusement; but his object was rather, by thus banishing all restraint, to call forth, if possible, some involuntary traits of natural character. It was this which enabled him to animate his canvass, not with the appearance of mere general life, but with that peculiar, distinctive life which separates the humblest individual from his kind. He seemed to dive into the thoughts of men—for they were made to rise and speak on the surface.”