who, though young, was blest with the disposition and means of doing good, he began to model his "Shipwrecked Mother and Child." In a small attic room in Tremont Row, he toiled unceasingly upon it. Dana, the poet, cheered him by his society, and raised a subscription for his support, a loan of one hundred and forty dollars. The young lady, too, already mentioned, occasionally looked in upon his arduous labor, nor left him without renewed pecuniary aid.

At length the group was modelled in clay. To preserve it in a proper state, it was necessary to keep it damp by sprinkling it with water every evening, and by covering it every night with India-rubber cloth.

A new source of anxiety now presented itself to the artist's mind. In order to cast the group in plaster, it was necessary to remove it to a room below. The difficulty of doing this, without injury to the work, was great. It was very heavy, the stairs difficult of descent, and the apprehensions of the poor sculptor, lest a misstep should ruin the work of years, amounted to nervous derangement. The task, however, was happily accomplished; it stood secure in its new saloon, and in a short time was exhibited in plaster. The Boston press was warm in its commendation; the profits of the

exhibition were small, but his reputation was greatly increased by it. He was summoned to Philadelphia, where he remained for seven months, and, among other works, executed a fine bust of Boker, the dramatist.

When he returned, encouraged by promises of assistance, he determined to accomplish the darling wish of his heart, by putting his group into marble. All the wealth he possessed was not sufficient to purchase a block of marble; yet, sanguine in the admiration his work received, and relying upon promised aid, he ordered a block of marble from the Vermont quarry, and erected a small building at Woburn for its reception. This exhausted his little capital. At this crisis, he was informed that misfortune must prevent the promised aid. His situation now seemed desperate. The marble was to be paid for on its arrival, and he was wholly destitute of means. With what distress must he have looked on his wife and two children, who were to be supported during the progress of the work! His brother, who had been his constant friend, and who is known as a painter, came forward to his relief. He undertook the task of obtaining assistance, and drew up a paper stating clearly and briefly the case, as it stood, and requesting a loan from the leading men of Boston. In one week

he had the pleasure of placing in his brother's hands a thousand dollars. We now quote from the "Home Journal":

"The marble arrived, and the work was begun forthwith. The following was the daily routine. The artist began his work at half past seven in the morning, and worked steadily till three, when he dined, and afterwards enjoyed recreation till six; he was then joined by his brother, who used to paint all the morning in his studio at Boston, and return to Woburn after dinner. From six they both worked at the marble till late in the evening. Sometimes, wholly absorbed in their delightful occupation, they would continue at work far into the night, -sometimes almost till daylight appeared. On an average, there was sixteen hours' work done on the group every day, for twelve months. During that period the sculptor enjoyed but one period of recreation, when he spent a week with Mr. Dana, on a little excursion into the country."

In January, 1851, the "Shipwrecked Mother and Child" were transferred to marble.

The work is now purchased by the Boston Athenæum. It has received high approbation from the pen of Mr. Greenough, whose letter on the subject has been generally circulated, calling attention to the works of a brother art

ist, with an authority not to be disregarded. It has the commendations of our first poets; and we trust the artist's ten years of study are to be remunerated by substantial benefits from a generous public. He is now finishing the bust of a lady residing at Cambridge, which he considers among the best he has ever executed.

The idea of the "Shipwrecked Mother" was first suggested by a circumstance related by a gentleman who was on board the President, when that vessel was lost.

Some time after Mr. Brackett had modelled his group, our papers recorded an instance of a heart-rending sight, which happened on Cohasset Beach, of a mother and child cast ashore by the waves, after a shipwreck. The description strikingly resembled the group of the artist.

The present residence of the sculptor is in Winchester, about seven miles and a half from Boston, and it is likely to be a permanent one. His cottage is built after his own original design. We earnestly hope he may have many years of tranquil enjoyment, and meet with the liberal patronage which his talents de

serve.

'CHAPTER XXXII.

HENRY KIRKE BROWN.-THOMAS BALL.-
CLARKE MILLS.- PALMER.

HENRY KIRKE BROWN was born in the small and obscure township of Leyden, in the northern part of Franklin County, Massachusetts. His father was a respectable New England farmer, whose great object in the education of his son was to train him to good principles. To this were added a few winters of study at the district school, and two or three quarters of instruction at an academy.

His summers were devoted to the labors of the farm, which gave him useful and invigorating employment. We can hardly imagine a system of more happy influences, or better calculated to dispense healthy and salutary impulses, than these alternate occupations of study and exercise in the open air, where the powers of mind and body were happily developed. Of the home training much more might be said, for there a watchful and tender mother was ever at hand to counsel and direct, and