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Book, page 41 / 116 had borne his part bravely in the great struggle for the abolition of the slave trade; and to befriend a struggling lad of genius like John Gibson was the very thing that was nearest and dearest to his benevolent heart. Mr. Francis showed Roscoe the boy's drawings and models; and Roscoe's appreciative eye saw in them at once the visible promise of great things to be. He had come to order a chimney-piece for his library at Allerton, where his important historical works were all composed; and he determined that the clever boy should have a chief hand in its production. A few days later he returned again with a valuable old Italian print. "I want you to make a bas-relief in baked clay," he said to Gibson, "from this print for the centres of my mantelpiece." Gibson was overjoyed. The print was taken from a fresco of Raphael's in the Vatican at Rome, and Gibson's work was to reproduce it in clay in low relief, as a sculpture picture. He did so entirely to his new patron's satisfaction, and this his first serious work is now duly preserved in the Liverpool Institution which Mr. Roscoe had been mainly instrumental in founding. Roscoe had a splendid collection of prints and drawings at Allerton; and he invited the clever Welsh lad over there frequently, and allowed him to study them all to his heart's content. To a lad like John Gibson, such an opportunity of becoming acquainted with the works of Raphael and Michael Angelo was a great and pure delight. Before he was nineteen, he began to think of a big picture which he hoped to paint some day; and he carried it out as well as he was able in his own self-taught fashion. For as yet, it must be remembered, Gibson had had no regular artistic instruction: there was none such, indeed, to be had at all in Liverpool in his day; and there was no real art going on in the town in any way. Mr. Francis, his master, was no artist; nor was there anybody at the works who could teach him: for as soon as Mr. Francis found out the full measure of Gibson's abilities, he dismissed his German artist Luge, and put the clever boy entirely in his place. At this time, Gibson was only receiving six shillings a week as wages; but Mr. Francis got good prices for many of his works, and was not ashamed even to put his own name upon the promising lad's artistic performances. Mr. Roscoe did not merely encourage the young sculptor; he set him also on the right road for ultimate success. He urged Gibson to
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