Harlow was excitable, impulsive, enthusiastic. He was well acquainted with his own ability; indeed he was inclined to set almost too high a value upon it. He could bear no restraint. If Lawrence had attempted to impart instruction to him, he would probably have resisted it with all his might; he was ill at ease under even the semblance of pupilage; he declined to recognise his own inferiority; he was angry with the position he occupied in the studio of Sir Thomas. It would seem to have been difficult to quarrel with one who was always so courtier-like in manner, so gentle and _suave_ and forbearing as was Lawrence. But it is possible these very characteristics were matters of offence to Harlow. He could not give credit for ability to a man who was so calm and elegant and placid amidst all the entrancements of his profession. He thought a great painter should gesticulate more, should sacrifice the gentlemanly to the eccentric as _he_ did, should be feverish and frothy and unconventional and absurd as _he_ was. And then he possessed a quick mimetic talent. He had soon acquired great part of Lawrence's manner. People are always prone to think themselves equal to those they can imitate, and he was far ahead of all the other young gentlemen who entered the studio; indeed it may be said that no one has ever approached more closely to the peculiar style and character of Lawrence's art than his pupil Harlow. The master admitted this himself--if not in words, at least in conduct. He employed Harlow upon his portraits, to paint replicas, and even to prepare in dead colours the originals. Of course the painting of backgrounds and accessories was the customary occupation of the pupils.