As Garrick said of him, young Lawrence's walk in life was at this time 'poised between the pencil and the stage.' To which did he incline? Would he be a player or a painter? It was hard to say. He had been taken to town on a visit to Mr. Hugh Boyd (who at one time was supposed to be one of the authors of 'Junius'), introduced to the great painters of the day, and most kindly received by them. Sir Joshua Reynolds had pronounced him 'the most promising genius he had ever met with.' Mr. Hoare had been so charmed with the boy's drawings, that he proposed to send him to Italy with his own son. On the other hand, he had been a frequent visitor in the green-room of the Bath Theatre. Placed upon the table there, the centre of a group of amused actors, he would recite 'Hamlet's Advice to the Players,' and other passages. On one of these occasions, Henderson the tragedian was present, and expressed warm approval of the child's efforts. Then, in return for the civilities and compliments he received, young Lawrence would beg that he might take the portraits of his friends among the company. We are told of his attempt to draw the face of Edwin, the comedian, who the while grimaced and distorted his features, constantly shifting the expression of his countenance, greatly to the bewilderment of the boy artist. Finally he stood silent and motionless, watching his model with a kind of despair, until it became necessary to explain the joke that had been practised. It should be said, however, that stories are current in relation to similar jokes played by humourists upon other artists.