prints as illustrated the volumes in his father’s library; particularly those in an old Book of Emblems, which was inherited, along with her Dutch blood, from a grandmother, who had come from Holland. The clerical pedagogue did not smile on these juvenile attempts, nor did he look with a propitious eye on the direction his son’s talents were taking. However absent scholars may be in regard to other matters, especially those which chiefly concern themselves, they are usually observant enough when the welfare and interests of their children are at stake. Even Adam Warner awoke from day-dreams about the Eureka when he saw the lordly chamberlain whispering soft tales in the ear of his beauteous daughter; and Parson Reynolds, though so much occupied with sage reflections that he could only find time to indicate to his wife by monosyllables whether he would have tea or coffee on an afternoon, opened his eyes to the fact, that Joshua’s industry in drawing and coloring, with the rude materials within his reach, contrasted disagreeably with his remissness in attending to the lessons of the school over which he presided. Thus he denounced the boyish essays as the offspring of pure idleness, and the author of them was destined for the medical profession. Though, perhaps, this was decided on with little consideration for his own wishes, Reynolds stated in after life, that if such had been his fortune, he would have exerted himself as strenuously to become an eminent physician as he strove with success to be a great painter. However, the paternal views were suddenly and fortunately changed. Having, about his eighth year, met with the “Jesuit’s Perspective,” young Reynolds read and digested its contents with so much earnestness, that he was enabled to execute a drawing of the school-house on the principles asserted in the treatise. This, when exhibited in the family circle, quite astonished the anxious father, who, with gratified pride, pronounced the execution wonderful; and he began to regard the juvenile artist’s predilections with comparative complacency. Upon this, Reynolds devoted himself more arduously to his chosen studies, took likenesses of the inmates of the house, improved perceptibly in execution, and quite neglected his school exercises. He was confirmed in his love of art by reading Richardson’s “Treatise on Painting,” which so captivated and inspired his mind and imagination, that Raphael seemed to him the most marvelous name in ancient or modern annals. Thus charmed and stimulated, he continued to make numerous sketches and portraits, which were recognized by his friends as evidencing progressive improvement. Nothing was now wanting but a field in which to practice and bring to perfection the talents with which he had been bountifully endowed, to confer pleasure on his fellow men, and to refine their tastes.