It is apparent, indeed, that drawing not only engaged much of Charlotte's leisure, but that it formed a part of home-education. Her sisters as well as herself underwent great labour in acquiring the art in these early years, and Branwell also was not behind them in industrious pursuit of the same object. Charlotte even thought of art as a profession for herself; and so strong was this intention, that she could scarcely be convinced that it was not her true vocation. In short, her appreciative spirit always dwelt with indescribable pleasure on works of real art, and she derived, from their contemplation, one of the chief enjoyments of her life. 'To paint them, in short,' says Jane Eyre, speaking of the pictures she is showing to Mr. Rochester, 'was to enjoy one of the keenest pleasures I have ever known.'[19] The love the Brontës thus cherished for art became, as time passed on, a passion, and its cultivation a pressing and sensible duty. They were not aware that their industry in, and devotion to it, as they understood it, were a misdirection of their genius. How far this love of it, and this eagerness to acquire a knowledge of the mysteries of composition and analysis, and to be possessed of art-practice and art-learning, may have been excited and encouraged by the success that had been achieved by others with whom they were familiar, in the same direction, may be surmised. [19] 'Jane Eyre,' chap. xiii. In the year of Mr. Brontë's appointment to Hartshead, there was born, at Halifax, an artist, Joseph Bentley Leyland, who was destined to become the personal friend and inspirer of Mr. Brontë's son, Branwell. Leyland, in his early boyhood, showed, by the ease and faithfulness with which he modelled in clay, or sketched with pencil, the objects that attracted his attention, the direction of his genius. The sculptor, as he grew in years, treated, with artistic power, classical subjects which had not hitherto been embodied in sculpture. At the age of twenty-one he modelled a statue of Spartacus, the Thracian, a general who, after defeating several Roman armies in succession, was overthrown with his forces by Crassus the prætor, and slain. The dead leader was represented at that moment after death before the muscles have acquired extreme rigidity. The statue, which was of colossal size, was modelled from living subjects, and was, in all respects, a production far beyond the sculptor's years. It was the most striking work of art at the Manchester Exhibition in the year 1832, and was favourably noticed in the 'Manchester Courier,' on November the 3rd of that year. Such notices were productive of increased exertion, which soon became manifest in the creation of other more lofty and successful works. Among these was a colossal bust of Satan, some six feet in height, which was pronounced to be 'truly that of Milton's "Arch-angel ruined."' Mr. George Hogarth, the father-in-law of Charles Dickens--a