was sent to learn of Perugino when twelve years old, and at seventeen was painting on his own account. Tiziano showed as a child a decided preference for art over classics, and painted at the age of twelve a Madonna and Child in the tabernacle of a house, and about two years later studied under Gentile Bellini. Tintoretto used as a child to draw on the walls of his father's house, and received the name by which he is most widely known at this early date. Hardly less striking in his precocity is Michael Angelo, who as a lad kept running off to the studios, and at fourteen was received by Ghirlandajo as a regular pupil.
Turning from Italy we meet with no less interesting illustrations of artistic precocity. Murillo displayed talent as a child, covering the walls of his house with his drawings. It is said that he painted pictures as a boy and sold them at the fair. Holbein, who was taught at an early age by his father, painted finished pictures by the age of thirteen. Ruysdael is said to have painted notable pictures at twelve. At the same age Cornelius painted original compositions in the cathedral at Neuss, which show great talent. Vernet helped when a boy to paint his father's pictures. Ary Scheffer, the son of a painter, painted from early childhood, and exhibited in the Amsterdam Salon at twelve.
Among sculptors, Canova is said to have carved a lion at twelve. Thorwaldsen entered on a regular course of study at eleven.
Corning to our own country, we find instances of precocity which equal, if indeed they do not surpass, those furnished by other countries.
Perhaps the most remarkable instance is George Morland. He is said to have taken to pencil and crayon almost as soon as he left the cradle. Sketches of his made at the age of four, five, and six, were exhibited to the Society of Artists, and won praise for the child-artist. Sir Thomas Lawrence was another childish marvel. As a small boy he could draw portraits, and at nine not only copied historical paintings in a masterly style, but succeeded in compositions of his own. At ten his childish fame was such that he was sent by his father to Oxford to paint bishops, earls, and other notabilities—an experiment which brought great gain to his impecunious parent. At seventeen the period of his riper and more lasting fame commenced. With these instances must be reckoned Landseer, who, taught by his father, could draw well at five, and excellently at eight. When only thirteen he drew a majestic St. Bernard dog which was etched by his brother, and in the same year pictures of his appeared in the Royal Academy under the name of Master E. Landseer. Gainsborough was a confirmed painter at twelve. Turner, though hampered by poverty, made such progress that he exhibited at fifteen. Wilkie says he could draw before he could read, and he exhibited at fourteen. Flaxman amused himself when a sickly child by drawing in crayons, and exhibited busts at fifteen.
