In an earlier part of this volume we gave numerous instances of genius being at its best in early youth, when, as Burke says, "the senses are unworn and tender, and the whole frame is awake in every part." Of this early development we know of no more striking instance in art than that of Sir Thomas Lawrence, who at the age of ten years surpassed most of the London portrait-painters both in his certain likenesses and in the general effect of his portraits. He was a remarkable genius, and for a considerable period was the talk of all London.[181] Added to his ability as an artist, young Lawrence was remarkably handsome. Prince Hoare saw something so angelic in his face that he desired to paint him in the character of Christ. In about seven minutes Lawrence scarcely ever failed of producing in crayon an excellent likeness of any person present, and in a manner expressive of both grace and freedom. He succeeded Sir Joshua Reynolds, in due time, as first painter to the king, was knighted in 1815, and five years later became President of the Royal Academy. To realize under what shadows many an artist has lived, worked, and died, yet who is known to us of the highest genius, we have only to recall some familiar names. Correggio was of very humble birth: and though one of the most original of all the brilliant masters of the sixteenth century, he enjoyed little contemporary fame. His works to-day are held at as high a valuation as those of Raphael, Titian, or Murillo.[182] His modesty was characteristic; his pretension, nothing. His pictures speak for him, and exhibit the softness, tenderness, and harmony of his nature. Nearly all his work was done at his native city of Correggio and at Parma; nor is he believed ever to have visited Rome. It was he who, after gazing on one of Raphael's finest productions, exclaimed, "I also am a painter!"