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SAMUEL FINLEY BREESE MORSE is the eldest son of the late Jedediah Morse, one of the most distinguished Presbyterian clergymen of New England. He was born at Charlestown, Massachusetts, on the 27th of April, 1791, was carefully educated in the common schools of his native town, and at an early age entered Yale College, where he graduated in 1810. He exhibited an early fondness for art as well as studies of a scientific character, and while a student at Yale displayed an especial aptness for chemistry and natural philosophy. Upon leaving college he decided to adopt the profession of an artist, and was sent abroad to study under the tuition of West and Copley and Allston.  SAMUEL F.B. MORSE. "When Allston was painting his 'Dead Man Restored to Life,' in London," says Mr. Tuckerman, in his Book of the Artists, "he first modeled his figure in clay, and explained to Morse, who was then his pupil, the advantages resulting from a plan so frequently adopted by the old masters. His young countryman was at this time meditating his first composition—a dying Hercules—and proceeded at once to act upon this suggestion. Having prepared a model that exhibited the upper part of the body—which alone would be visible in the picture—he submitted it to Allston, who recognized so much truth in the anatomy and expression that he urgently advised its completion. After six weeks of careful labor, the statue was finished and sent to West for inspection. That venerable artist, upon entering the room, put on his spectacles, and as he walked around the model, carefully examining its details and general effect, a look of genuine satisfaction beamed from his face. He rang for an attendant and bade him call his son. 'Look here, Raphael,' he exclaimed, as the latter appeared; 'did I not always tell you that every painter could be a sculptor?' We may imagine the delight of the student at such commendation. The same day one of his fellow pupils called his attention to a notice issued by the Adelphi Society of Arts, offering a prize for the best single figure, to be modeled and sent to the rooms of the association within a certain period. The time fixed would expire in three days. Morse profited by the occasion, and placed his 'Dying Hercules' with the thirteen other specimens already entered. He was consequently invited to the meeting of the society on the evening when the decision was to be announced, and received from the hands of the Duke of Norfolk, the presiding officer, and in the presence of the foreign ambassadors, the gold medal. Perhaps no American ever started in the career of an artist under more flattering auspices; and we can not wonder that a beginning so successful encouraged the young painter to devote himself assiduously to study, with a view of returning to his own country fully prepared to illustrate the historical department of the art." Morse spent four years in Europe in close study, and was then obliged to return to America by lack of means to carry on his education in the Old World. He had not indeed reached the high degree of proficiency which he had hoped to obtain before returning home, but he was possessed of natural talents and acquired skill, which fairly entitled him to recognition as one of our leading artists. This recognition never came to him, however, and his artist life in this country was a series of sorrowful disappointments. He found no opportunity of devoting himself to the higher branches of his art, and was obliged to confine himself entirely to portrait painting as a means of livelihood. His artist career is thus referred to by Mr. Tuckerman: "Morse went abroad under the care of Allston, and was the pupil of West and Copley. Hence he is naturally regarded by a later generation as the connecting bond that unites the present and the past in the brief annals of our artist history. But his claim to such recognition does not lie altogether in the fact that he was a pioneer; it has been worthily evidenced by his constant devotion to the great cause itself. Younger artists speak of him with affection and respect, because he has ever been zealous in the promotion of a taste for, and a study of, the fine arts. Having entered the field at too early a period to realize the promise of his youth, and driven by circumstances from the high aims he cherished, misanthropy was never suffered to grow out of personal disappointment. He gazed reverently upon the goal it was not permitted him to reach, and ardently encouraged the spirit which he felt was only to be developed when wealth and leisure had given his countrymen opportunities to cultivate those tastes upon the prevalence of which the advancement of his favorite pursuit depends. When, after the failure of one of his elaborate projects, he resolved to establish himself in New York, he was grieved to find that many petty dissensions kept the artists from each other. He made it his business to heal these wounds and reconcile the animosities that thus retarded the progress of their common object. He sought out and won the confidence of his isolated brothers, and one evening invited them all to his room ostensibly to eat strawberries and cream, but really to beguile them into something like agreeable intercourse. He had experienced the good effect of a drawing club at Charleston, where many of the members were amateurs; and on the occasion referred to covered his table with prints, and scattered inviting casts around the apartment. A very pleasant evening was the result, a mutual understanding was established, and weekly meetings unanimously agreed upon. This auspicious gathering was the germ of the National Academy of Design, of which Morse became the first president, and before which he delivered the first course of lectures on the fine arts ever given in this country." In 1829 Mr. Morse went abroad for the purpose of completing his art studies. He remained in Europe for more than three years, residing in the principal cities of the Continent. During his absence he was elected "Professor of the Literature of the Fine" in the University of the City of New York. He set out on his return home to accept this professorship in the autumn of 1832, sailing from Havre on board the packet-ship "Sully." As has been stated, he had manifested a decided fondness for Chemistry and Natural Philosophy while at Yale College, where he was a pupil of Professor Silliman in the former science, and of Professor Day in the latter, and after his departure from college he had devoted all his leisure time to the pursuit of these studies. So great was his fondness for them that some of his friends declared their belief that he ought to abandon art and devote himself to science. In 1826-27 he had delivered, at the Athenæum in New York, the course of fine-art lectures to which reference has been made, and on alternate nights of the same season Professor J. Freeman Dana had lectured upon electro-magnetism, illustrating his remarks with the first electro-magnet (on Sturgeon's principle) ever seen in this country. Morse and Dana had been intimate friends, and had often held long conversations upon the subject of magnetism, and the magnet referred to had at length been given to the former by Professor Torrey. The interest which he had thus conceived in this instrument had never diminished, and his investigations and studies had never ceased, so that at the time of his departure from France in the "Sully," in 1832, he was one of the best informed men upon the subject to be found in any country.
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