cumstances should occur that make it expedient to you to resort to sculpture as a means of supporting your family, you need no teacher: ou have that within you that will guide you better than any master.'

"I finished the bust, and from 1836 to 1837 I modelled several busts and medallions. 1 then went to New Orleans, and there remained the greater part of the time till 1840, during which period I modelled a number of busts, amongst them some public men,— Rev. Theodore Clapp, James H. Caldwell, and Pierre Soulé, now Senator for Louisiana. I also cut a number of likenesses in cameo.

"In 1840 I came to Boston, where I have continued modelling busts, and cut a large number of cameos. The most distinguished of my sitters, and whose busts I have produced in marble, were Daniel Webster, John Quincy Adams, and Dr. Samuel Woodward. I have executed two marble busts of Mr. Webster, and have orders for two more.

"It is to be expected that we who are pioneering sculpture in this new country should experience some of the ups and downs of life. The most distressing calamities that have befallen me were the death of my oldest son, on his way to China, and the destruction of my studio, by fire, with all its contents, in

March last, 1852. The gatherings of fifteen years were swept away in an hour, and but for the kindness of friends, I should not have been in a position to proceed with the orders I have on hand."

This autobiography is dated January 22d, 1853.

THE following communication from PETER STEPHENSON was written at particular request:

"I was born in a village of Yorkshire, England, A. D. 1823, August 19th. In 1827 my father brought me to America, and we settled in Wayne County, N. Y. Here I first discovered my love for the arts.

When I was about

five years old, we happened to have a well surrounded with large flat stones, which answered well for slates, and here I used to spend the long summer days in drawing whatever pleased my fancy; sometimes pictures of my own invention, and at others resemblances of what I saw. As I grew older, I learned the use of the magic jack-knife. I commenced modelling little ships, and soon acquired a great reputation among the boys of the village for shipbuilding, and received constant orders for miniature ships.

"In 1834 my father removed to Michigan. At that time we saw few people besides Indians; in my constant intercourse with them, I had the best opportunity for studying their characters, countenances, and peculiarities. My father died the year after we arrived, in 1835, and in 1836 I went to Buffalo, to live with my brother, and be a watchmaker, in his store. In 1839 I began cutting cameos, and found they met with a ready sale.

Soon

after, I chiselled a bust from Vermont marble. It was the first bust I ever saw.

"In 1843 I relinquished watchmaking, and started for the Athens of America.' 6

I knew

but one person in the city, had but little money, and poor health. But I set to work with all my might, and by the 1st of March, 1845, I had earned money enough to take me to Rome, where I married.

“I immediately began drawing from nature and the antiques. I was at once overpowered with the conviction of how much I had to learn. I found I must begin at A, B, C in art. It was hard work, but I felt the importance of it, and that I could do nothing without it. I remained in Rome till my money was nearly gone, and then returned to Boston, after an absence of nineteen months.

"In 1849 I modelled my statue of the

Wounded Indian, and cut it in Vermont marble in 1850. It was the first statue ever cut in that marble. It was exhibited at the World's Fair in 1851. I have since then done some large monumental work, busts, &c.

"It is now about twelve years since I first considered myself an artist; and for the benefit of those who come after me, and think themselves much neglected because they do not receive orders for ideal works, I will state that I last week received the first order for an ideal work, and that, too, at a price that would discourage a stonecutter.

"I do not, however, complain; the way to make up for hard luck is to work the more industriously. I never have received a lesson from any one, nor a cent of money that the sweat of my brow did not earn.

"I have cut between six and seven hundred cameo likenesses, about two thousand fancy designs, and several busts and statues."

This was written in January, 1853.

Mr. Stephenson has opened a room in Amory Hall, where he exhibits statuary and bronze figures. He has a design of his own in plaster, which we hope may be ordered in marble, "Una and the Lion." The perfect security and repose of the sleeping girl, who 13

VOL. II.