juncture his father abruptly entered the room, crying out, 'You play Jaffier, Tom? Hang me if you're fit to appear as a supernumerary!'--or some such speech--and then young Lawrence found that his mortification had not been without witnesses. [20] The father of Mr. Bayle Bernard the dramatist. It was very trying to his vanity. He had to listen to remonstrances and appeals of all kinds. Palmer, the manager, assured him that he did not possess the advantages requisite for success on the stage. Bernard spoke with bitter truthfulness of the trials and sorrows of an actor's life. Other friends drew attention to the brilliant prospect open to the successful painter. Young Lawrence gave way at last. The theatre may thus have lost an agreeable player, but, thanks to the manoeuvre of old Lawrence, Bernard, and Palmer, a famous portrait-painter was secured to the world of art. IV. In 1785 he received a medal from the Society of Arts for his crayon drawing of 'Raphael's Transfiguration.' In 1787, being then seventeen, he exhibited seven pictures at the Royal Academy. He painted his own portrait, and wrote concerning it to his mother, 'To any but my own family I certainly should not say this; but, excepting Sir Joshua for the painting of the head, I would risk my reputation with any painter in London.' The picture was broadly painted, three-quarter size, with a Rembrandtish effect, as Sir Joshua detected when the canvas was shown to him. 'You have been looking at the old masters; take my advice and study nature.' He dismissed the young artist with marked kindness, however. In 1789, Martin Archer Shee described him as 'a genteel, handsome young man, effeminate in his manner;' adding, 'he is wonderfully laborious, and has the most uncommon patience and perseverance.' About this time he painted the Princess Amelia, and Miss Farren, the actress, afterwards Countess of Derby, 'in a white satin cloak and muff;' and full-length portraits of the King and Queen, to be taken out by Lord Macaulay as presents to the Emperor of China. In 1791 he was, at the express desire, it was said, of the King and Queen, after one defeat, admitted an associate of the Royal Academy by a suspension of the law prohibiting the admission of an associate under the age of twenty-four. He was opposed by many of the academicians, and bitterly attacked by Peter Pindar. Dr. Wolcot was especially angry at the alleged interference of royalty in the election. In his satiric poem _The Rights of Kings_, he expostulates ironically with certain academicians who ventured to oppose the nominee of the Court:-- 'How, sirs, on majesty's proud corns to tread! Messieurs ACADEMICIANS, when you're dead, Where can your impudences hope to go?