In England, Benjamin West, who had gone there about his twenty-fifth year, was painting biblical and mythological subjects, inspired by his stay in Italy; for Italy was yet the field for art inspiration. He received extended patronage from King George, and succeeded Reynolds as president of the Royal Academy. “Christ Healing the Sick,” in the Philadelphia Hospital, and the “Death on the Pale Horse,” in the Pennsylvania Academy, are two of his best known works in America. The latter is an immense canvas, melodramatic in character, and carrying no direct message to modern observers. West seems to have wished to impress by size and industry. In regard to color he always remained a Quaker. THE GENEROSITY OF WEST Perhaps West’s best contribution to the art development of America was the splendid generosity of his welcome to his young compatriots when they came to London to study. His was the hand that gave them greeting, his the studio and the home that were at their service, and his the mind that directed their work. To him came Matthew Pratt of Philadelphia, though his senior, and stayed four years, returning then to his native place and carrying on his profession there. The Peales, father and son, were indebted to him for their training. Dunlap and Trumbull and Stuart all studied under his tutelage. Allston sat at his feet as a devout disciple, becoming a veritable legatee of his mode of thought and of his manner. This manner was evolved from a contemplation of grand subjects, allegorical, religious, mythical, and historical. Neither he nor West was an observer of the life of their day; though West did a radical thing, a great service to natural art, when he painted the Death of Wolfe with all the figures therein clad in the regimentals they then wore, and not in classic garb, as historic happenings had hitherto been painted. His work had little beauty of color, little atmosphere, and no spontaneity. It has not held its appreciation as have other more natural paintings of that time. To Boston, in 1725, had come John Smybert, from London, a protégé of Bishop Berkeley. He there painted many portraits until his death in 1751; though his work had little merit. He was the forerunner of Copley, the first able native artist. THE DISTINCTION OF COPLEY [Illustration: MRS. DANIEL DENISON ROGERS By Copley.] [Illustration: MRS. FORD By Copley, in Hartford Athenæum.]