Born April 27, 1791, at Charleston, Mass. His father, the Rev. Jedediah
Morse, author of the well-known book entitled “American Geography”
and compiler of the “Universal Gazette.” His mother was Elizabeth Ann
Breese.
At seven years of age young Morse entered the preparatory school at
Andover, Mass., and at 14 the Freshman Class at Yale, graduating in
1810.
The faculty which first developed in him was the artistic. He provided
himself with brush and paint and commenced taking on ivory the
portraits of his more opulent companions. He found in painting an
inspiration, and selected it as his chosen profession.
He placed himself under the tutelage of Washington Allston, one of
America’s famous artists, who encouraged him in the choice he had made.
He accompanied Allston to Europe in 1811, bearing introductions to some
of England’s most distinguished men.
Benjamin West was then in the zenith of his fame. It was a proud day
for Morse when he met West and was welcomed to his studio. A mutual
attachment sprang up between them, and West became thereafter his
friend and counsellor.
Meanwhile West’s friendship and the introductory letters he had brought
with him introduced him to men of influence and reputation.
Some of their names are historic. It was something for a young man to
meet such men as William Wilberforce and Henry Thornton, Zacharias
MacCauley, father of the great historian, Lord Glenelg and many others,
all of whom gave a warm and cordial welcome.
Mr. Morse’s instincts were refined and his companionships choice. He
had for his room-mate in London the gifted Leslie, then, like himself,
struggling for fame in a sublime art. For companions he had such men
as Benjamin West, Copley, Allston, Coleridge, Rogers, Charles Lamb and
others famous in art and literature.
He wrote thus to his mother in 1812:
“My passion for my art is firmly rooted, that I am confident; no human
power could destroy it. The more I study the greater I think is its
claim to the appellation of divine. I am going to begin a picture of
the death of Hercules. The figure is to be large as life.”
The picture when finished was shown to West who warmly praised it, and
in May, 1813, it was accepted for exhibition in the rooms of the Royal
Academy, at Somerset House, then regarded as a very marked token of
favor.
A new and unexpected triumph grew out of this painting. In executing
it he pursued the plan of conscientious artists who first model in
clay the figure to be painted in order to ensure strict anatomical
proportions and accuracy.
This cast, to which he attached no special value, was seen by West,
and was induced through his kind criticism to send this model to the
Society of Arts in competition for a prize in sculpture.
This venture proved successful, and was publicly presented with the
annual prize and a gold medal by the Duke of Norfolk.
In the British Art Reports the “Dying Hercules” is placed among the
nine best paintings in a gallery of nearly one thousand, and among them
the works of Turner, Northcote, Lawrence and Wilkie.
When young Morse went to Europe he was dependent to some extent upon
his father for his resources. He was to be away three years. It was now
1815, one year longer than his limit, but he was ambitious and felt he
had the power within him. He determined to compete for the chief prize
offered by the Royal Academy for a subject he had chosen, “The Judgment
of Jupiter in the case of Apollo, Marpessa and Idas.” The prize was a
gold medal and fifty guineas.
The picture was completed, and hoping he would be allowed to compete in
his absence, he offered it for that purpose to West, who, struck with
its merits, advised him to stay, but this he could not do, and the
rules cut him off. The premium had to be delivered to the successful
artist in person.
A petition to make his case an exception was declined, and “Jupiter”
went with its author to America.
He arrived in Boston, Oct. 18, and, without delay, rented a studio. He
had his “Jupiter” on exhibition, and his own fame had preceded him.
Many crowded the studio to see both the artist and the painting.
Society opened its doors, but this was all. No one offered to buy his
picture or give him an order in the line of high art he had marked out
for himself.
After various experiences Mr. Morse settled in New York, founding the
National Academy of the Arts of Design, of which in 1827 he became
President, and to which office he was annually elected until 1845. He
delivered the first course of lectures on the fine arts ever delivered
in America, and they were notable for suggestiveness and learning.
As an historical painter Morse stood next to Allston. Had the country
demanded art of a very high order it is probable that Morse would have
engaged his attention as an historical painter, but the nation was too
young, knew little of art and cared less. Morse was honored, but his
art kept him poor. He longed, however, too, for the opportunity to try
his power on some national work.
He conceived the idea of painting the interior of Representatives
Chamber in the Capital at Washington, and devoted eighteen months to
this. The picture measured eight feet by nine, and contained a great
variety of figures. Its exhibition, however, caused him serious loss.
The painting is in the possession of the President of the Arts of
Design in New York.
He painted a picture of General Lafayette, who was at the time in the
United States, and with whom he by this means formed a warm friendship.
In 1829 he again visited Europe, spending three years among artists and
collectors of art in England, Italy and France.
In Paris he painted the interior of the Louvre, copying in miniature
the chief pictures hanging on its walls. In the fall of 1832 he
returned to America and resumed the Presidency of the Academy of
Design, to which he was regularly elected annually during his absence.
When an artist was employed to fill with a picture one of the vacant
panels in the rotunda of the Capitol, American artists, without
exception, considered Morse best entitled to the honor, but great
disappointment was felt when another was selected.
It was on his return from Europe on board the packet-ship “Sully” the
idea of the electric telegraph engaged his attention, but it occupied
many years of his time to bring it to practical shape. He would have
accomplished this much earlier had he not been hampered from lack of
means.
When his invention was matured and its usefulness perceived and
applied, he was fortunate enough at last to reap the reward of many
years of struggle and anxiety he had undergone.
On June 5, 1856, with the telegraph established in America, he again
left for Europe. In London he met with great joy his artist friends:
West, Landsear, Leslie and many others distinguished in science and
art, all of whom warmly congratulated him on the brilliant career which
had been opened up to him. In their estimation he had honored in this
new realm the old art which he loved and elevated.
Morse’s development from an artist into an inventor was to them no
marvel. He was still giving utterance to natural forces as when a
few years before he combined his colors on canvass and produced his
“Hercules.”
After enjoying for a time this pleasant reunion with his old friends in
London, he also met and consulted with the English electricians, Glass,
Bright, Whitehouse and others in respect to the proposed Atlantic cable
in which experiments were then being made as to its possibility.
He then left for the continent. On his arrival at Copenhagen, whither
he first directed his course, he was introduced to Frederick VII. King
of Denmark, who, with his Court, received him with every mark of
honor. There he visited the study chamber of Oersted, whose discovery
of the reflection of a needle by a galvanic current was the dawning
fact which eventually made his invention possible.
Continuing his journey to Russia, he found on arriving at the quay at
Peterhoff the Imperial carriages with their usual retinue of footmen
wearing the Royal livery in waiting. By these he and his party were
driven to the Imperial Palace, where, with every demonstration of
respect, he was received by the Emperor Alexander II., by whom he was
most kindly congratulated as one of the world’s benefactors.
He next proceeded to Berlin. Here he was received with great cordiality
by Humboldt, who welcomed him to his house and treated him during his
stay with every mark of respect.
At his departure the great author of Cosmos presented him with an
Imperial photograph of himself, on the margin of which he wrote:
“To Mr. S. F. B. Morse, whose philosophic and useful labors have
rendered his name illustrious in two worlds. The homage of the
high and affectionate esteem of