There is a story that the beautiful Georgiana Duchess of Devonshire interested herself in the studies of the young man, and that owing to her influence and interposition he was admitted into the studio of Sir Thomas Lawrence in Greek Street. Another account has it that Mr. Harlow and his mother visited the various painters with the view of selecting one with whom the student would be content to remain until his period of pupilage was at an end, and that he himself finally selected Sir Thomas Lawrence. A premium of one hundred guineas was paid. For this sum the student was to have free access to his master's house 'at nine o'clock in the morning, with leave to copy his pictures till four o'clock in the afternoon, but was to receive no instruction of any kind.' It was supposed, apparently, that the example of Sir Thomas was instruction enough. But it is possible that Lawrence, while, with his innumerable engagements, he was unable to bestow much time upon a pupil, was also, like Sir Joshua, unable to communicate art instruction. He knew very little of rules, he was little imbued with academic prescriptions, he painted rather from an instinctive love of beauty and from a purely natural quickness in observing expression. Harlow might have said of Lawrence as Northcote said of Reynolds: 'I learnt nothing from him while I was with him.' Though it seems hard to say that a student could be long in the studio of either master and benefit in no way. The friends of the late Mr. Harlow were greatly distressed that his son should follow the unprofitable business of the Fine Arts. They hastened to rescue him from ruin, as they believed. They offered him a writership in India. He declined their assistance. 'I care not for riches,' he said; 'give me fame and glory!' They could not comprehend an ambition so absurd; they thought the young man out of his senses, and left him accordingly. They were even angry with their friend's son that he would not permit them to tear him from the profession of his choice.