Of a sedate and steady disposition, but somewhat dull and 'backward' at his books, George Romney, in his eleventh year, was taken from school, and, until he arrived at twenty-one, was employed in his father's workshop. The lad had manifested skill as a carver in wood; had constructed a violin for himself, and read with deep interest Da Vinci's _Treatise on Painting_, making copies of the engravings. His natural talent soon further developed itself. His father had a business acquaintance with one Mr. Alderman Redman, of Kendal, upholsterer. The Alderman's sister, a Mrs. Gardner, chanced to see some of young Romney's drawings, was struck with their cleverness, and encouraged him to persevere, and to make his first essay in portraiture by taking her likeness. The boy produced a drawing that was much extolled; further evidences of his enthusiasm for art were forthcoming; and eventually John Romney was induced to take his son to Kendal, and apprentice him to an itinerant painter named Christopher Steele, a showy gentleman, who had been in Paris, aped French manners, wore fantastic clothes, and was popularly known as _Count_ Steele--a sort of art-Dulcamara, in fact. Articles of apprenticeship were duly signed, sealed, and delivered between John Romney, cabinet-maker, and George his son, of the one part, and Christopher Steele, painter, of the other part. George Romney was bound for the term of four years, to serve his master faithfully and diligently, to obey his reasonable commands, and keep his secrets; John Romney was to provide his son with 'suitable and necessary clothes, both linen and woollen;' and Christopher Steele, in consideration of twenty-one pounds, covenanted to instruct his apprentice in the art or science of a painter, and to find him meat, drink, washing, and lodging during the said term. Steele was no great artist, though he had studied under Carlo Vanloo, of Paris. He troubled himself little enough as to his pupil's progress, employing him for the most part in grinding colours and in the drudgery of the studio. But George Romney made the best of his opportunities. And he was not unhappy. He had fallen in love with Mary Abbott, one of two sisters living with their widowed mother, in humble circumstances, at Kendal. But soon Steele was bent on quitting Kendal, had made up his mind to move to York, and directed his pupil to prepare to accompany him forthwith. The lovers, of course, were in despair at the thought of their approaching separation. In the end they secured their mutual fidelity by a hasty and private marriage. Reproved for his precipitancy and imprudence, Romney replied that his marriage would surely act as a spur to his application: 'My thoughts being now still and not obstructed by youthful follies, I can practise with more diligence and success than ever.' While at York he zealously devoted himself to his art. His wife, left at Kendal, assisted him with such