his own purse, while he promoted the prosperity of his friend and benefactor.
At length, in the year 1782, when twenty-seven years of age, he quitted his father's roof and rented a small house and studio in Wardour Street, Soho; and what was more, he married—Ann Denman was the name of his wife—and a cheerful, bright-souled, noble woman she was. He believed that in marrying her he should be able to work with an intenserspirit; for, like him, she had a taste for poetry and art; and besides was an enthusiastic admirer of her husband's genius. Yet when Sir Joshua Reynolds—himself a bachelor—met Flaxman shortly after his marriage, he said to him, "So, Flaxman, I am told you are married; if so, sir, I tell you you are ruined for an artist." Flaxman went straight home, sat down beside his wife, took her hand in his, and said, "Ann, I am ruined for an artist." "How so, John? How has it happened? and who has done it?" "It happened," he replied, "in the church, and Ann Denman has done it." He then told her of Sir Joshua's remark—whose opinion was well known, and had often been expressed, that if students would excel they must bring the whole powers of their mind to bear upon their art, from the moment they rose until they went to bed; and also, that no man could be a great artist unless he studied the grand works of Raffaelle, Michael Angelo, and others, at Rome and Florence. "And I," said Flaxman, drawing up his little figure to its full height, "I would be a great artist." "And a great artist you shall be," said his wife, "and visit Rome too, if that be really necessary to make you great." "But how?" asked Flaxman. "Work and economize," rejoined the brave wife; "I will
