Lyncoya must have been a problem to General Jackson who, in common with other pioneers, hated the Indians as a race, although he apparently had nothing but affection and pity for the forlorn individual he had brought to live under his own roof. That he trusted him implicity is shown by a brief note in Jackson’s handwriting now in the possession of a Nashville connection: “Mr. John Summerville will please send me by Lyncoya, who will hand him this, fifty dollars in small notes. Please enclose it under cover to me and oblige your friend Andrew Jackson.” Mr. Summerville lived in Nashville, and if Jackson had not had the greatest confidence in him he would never have sent a thirteen-year-old boy on that long, lonesome horseback ride to Nashville and back to get that money. * * * * An almost lifelong resident of the Hermitage, described by General Jackson as “my friend and companion” was Ralph E. W. Earl, the artist who married Mrs. Jackson’s niece. He was born in 1788, the son of Ralph Earl, an artist of distinction; and, following his father’s example, took up the profession of artist himself. He came to Nashville in 1816, and through painting Jackson’s portrait established an acquaintance with the General which ripened into lifelong friendship. One of his friends in a contemporaneous letter described him as “the very soul of goodness and honor”; and that seems to have been the general opinion of him. While in Natchez exhibiting a portrait of Jackson which he had painted, Earl met Miss Jane Caffery, a daughter of Mrs. Jackson’s sister Mary, whom he married after a short courtship. Upon their return to Nashville they were invited to live at the Hermitage, and when Mrs. Earl died a few months afterwards, Jackson insisted that Earl continue his residence there. From then until his death he was the intimate friend of General Jackson, going to Washington with him when he was elected President, and accompanying him as a companion on most of his travels. During the latter part of his life Earl spent most of his time painting portraits of Jackson, and came to be known in a jesting way as the “court painter.” It was intimated around political circles in Washington that Earl’s influence on the President was such that his friendship was a good thing to have; and it was hinted that Earl received many commissions to paint Jackson’s picture from practical men who were less interested in having a hand-painted portrait of the President than they were in currying favor with him. Be that as it may, Earl enjoyed painting the picture of his old friend and benefactor and Jackson enjoyed Earl’s companionship; so everybody was happy. Earl is described by his contemporaries as a man of quiet and gentle ways, and he must have been an excellent foil for the fiery old General.