Mr. Seward, whose conversation much of the time, while sitting, was like that of a man soliloquizing aloud, told me on one occasion two or three good stories. Referring to the numerous portraits painted of him at different times, he said, that of all artists whom he had known, Henry Inman was most rapid in execution. For the full-length portrait, painted while he was Governor, for the city of New York, Inman required but two or three sittings of an hour each, with an additional quarter of an hour for the standing figure. This drew out something from me in relation to Elliott’s whole length of him, painted at the same period. “My experience with Elliott,” he rejoined, “who was then in the beginning of his career, was a very different affair. He seemed to think me like Governor Crittenden’s hen.” Laughing at the recollection, he lighted a cigar, and continued: “One day the Governor was engaged with his Council, when his little boy, of five or six years, came into the chamber, and said, ‘Father, the black hen is _setting_.’ ‘Go away, my son,’ returned the Governor; ‘I am very busy.’ The child disappeared, but soon returned, and putting his head in at the door, repeated the information. ‘Well, well,’ replied the Governor, ‘you must not bother me now; let her _set_.’ The door was shut, but soon afterward again cautiously opened, in the midst of a profound discussion, and the words rang out, ‘But father, she is setting on one egg!’ The Governor turned around, and looking into the dilated eyes of the excited little fellow, replied dryly, ‘Well, my son, I think we will let her _set_. Her time is not _very_ precious!’”