His natural inclination was toward the painting of large canvases dealing with historical and mythical subjects, which were much in fashion at that period, and he now set to work on the subject, “The Judgment of Jupiter in the case of Apollo, Marpessa, and Idas.” This was to be submitted for the prize of fifty guineas and medal offered by the Royal Academy. It seems to have been a fine piece of work, and met with West’s hearty praise, but before it could be submitted the artist was obliged to return home at an urgent summons from his father. Boston had already heard of Morse’s success in London when he reached home in October, 1815. His “Judgment of Jupiter” was exhibited, and became the talk of the town, but when he opened a studio and began to paint no one offered to buy any of his pictures. He needed money badly, and he saw none coming his way. After a year’s struggle he closed his studio, and traveled through the country sections of New England, looking for work as a portrait painter. This he found, and he wrote to his parents from Concord, New Hampshire, “I have painted five portraits at $15 each, and have two more engaged and many talked of. I think I shall get along well. I believe I could make an independent fortune in a few years if I devoted myself exclusively to portraits, so great is the desire for good portraits in the different country towns.” In Concord he met Miss Lucretia P. Walker, whom he married a few years later. Meantime he went to visit his uncle in Charleston, South Carolina, and found his portraits so popular that he received one hundred and fifty orders in a few weeks. He was also commissioned to paint a portrait of James Monroe, then President, for the Charleston Common Council, and the picture was considered a striking masterpiece. He soon after married, and settled his household goods in New York, with $3,000 made by his portraits, as his capital. He knew what he wanted to do, to paint great historical pictures. But the public did not appreciate his efforts in that line. He painted a large exhibition picture for the National House of Representatives, but it was not purchased by the government. On the other hand the Corporation of New York commissioned him to paint the portrait of Lafayette, who was then visiting America. At the same time he became enthusiastic over the founding of a new society of artists, and was chosen the first president of the National Academy of Design.