story of its achievement became traditional in the school.

During all this time my father remained in the employment of Crighton
the carriage builder. He improved in his painting day by day. But at
length an important change took place in his career. Allan Ramsay,
son of the author of The Gentle Shepherd, and then court painter to
George III., called upon his old friend Crighton one day, to look over
his works. There he found young Nasmyth painting a coat of arms on the
panel of a carriage. He was so much surprised with the lad's artistic
workmanship--for he was then only sixteen--that he formed a strong
desire to take him into his service. After much persuasion, backed by
the offer of a considerable sum of money, the coachbuilder was at
length induced to transfer my father's indentures to Allan Ramsay.

It was, of course, a great delight to my father to be removed to London
under such favourable auspices. Ramsay had a large connection as a
portrait painter. His object in employing my father was that he should
assist him in the execution of the subordinate parts, or dress
portions, of portraits of courtiers, or of diplomatic personages.
No more favourable opportunity for advancement could have presented
itself. But all this was entirely due to my father's perseverance and
advancing skill as an artist--the results of his steady application
and labour.

Ramsay possessed a very fine collection of drawings by the old masters,
all of which were free for my father to study. Ramsay was exceedingly
kind to his young pupil. He was present at all the discussions in the
studio, even when the sitters were present. Fellow-artists visited
Ramsay from time to time. Among them was his intimate friend Philip
Reinagle--an agreeable companion, and an excellent artist. Reinagle