164 INTRODUCTION. 
association was to combine influence and patronage in favor of the fine arts. 
Addresses were delivered at the annual exhibitions of the academy. Of these, 
the discourse of De Witt Clinton in 1816, and that pronounced by Gulian C. 
Verplanck in 1824, are very valuable contributions to our literature. Many of 
our artists conceived the opinion that the objects of the society would be better 
promoted by an association, conducted by professional individuals, than by the 
academy, the operations of which were mainly conducted by patrons. Hence 
arose, in 1825, the National Academy of Design, the members and officers of 
which are artists. This association, under the presidency of Samuel F. B. Morse, 
has procured valuable collections in both the antique and life schools; and its 
usefulness has been signally manifested in the gratuitous instruction it has im¬ 
parted to more than four hundred students. In the mean time, the Academy of 
Fine Arts has ceased to exist. Its place, however, is well supplied by the Apollo 
Association, consisting of both artists and patrons: an institution which cheers 
and encourages genius, without incurring jealousy or censure. 
Painting, engraving and sculpture were scarcely known here before the revo¬ 
lution. William Dunlap, a painter of considerable merit, has shown in his curi¬ 
ous and interesting history, that West and Coply, in their early years, executed 
some portraits in the city of New-York; but the state cannot lay claim to any 
honor from the birth, education or fame of these distinguished men. Peter R. 
Maverick, an engraver, in 1783, found insufficient occupation, although he seems 
to have enjoyed a monopoly in the business of his profession. In about 1794, 
Cornelius Tiebout engraved some portraits on copper. Andrew Anderson, of 
New-York, introduced wood engraving in 1794. 
We need scarcely remark, that although we are very far from having esta¬ 
blished an American school, and although we confess our inferiority not only to 
the ancient masters but to modern European artists, yet the genius of our citi¬ 
zens has applied itself to the study of the arts with all the assiduity and zeal 
which mark the national character, and their success in that department may 
be expected to increase as rapidly as national taste and patronage will permit. 
