One day Edwin was taken by his mother to the Edinburgh Agricultural Show and it was here that he fell head over heels in love with a small Brittany cow; it was not much larger than a Newfoundland dog. This animal determined his future destiny and his ambition from then on was to be an animal painter. The stumbling block was his father, who was strongly adverse to the boy's idea of being an artist, as he knew from his own experience that embarking on such a career was very risky. He was unsure at this time if his son had the makings of an artist and considered that a career in law would be more rewarding.

At the age of sixteen, Edwin finished his education and was the next day to have been articled as a solicitor. Another unfortunate incident intervened and changed the course of his life and proved yet another blessing in disguise.

Edwin set out alone to go for a bracing country walk but had not gone very far when he heard a carriage pounding along at a rapid pace behind him. It drew abreast and came to a halt and the driver enquired if the young man would like a lift. Edwin accepted and placed his hand on the horse's hindquarters (there being no dashboard) to steady himself as he clambered up. The horse took fright, kicked out and promptly bolted. However, it was not to be Edwin's last encounter with horses in his life.

During the fracas Edwin was bowled to the ground and one of the vehicle's wheels passed right over his head and stunned him. The injury to the head was severe and a layer of skull was compressed by about an inch. This was not all; the wheels also flattened the point of his thumb on the left hand and injured one of his kneecaps.

Obviously Edwin could not take up the new position destined for him the following day and thoughts of becoming articled to a solicitor went out of the window.

It was the start of a new career. Many years later, when Sir Edwin Landseer died on 1st October 1873, Edwin received an invitation to London to be present at his mentor's obsequies at St. Paul's Cathedral. On the appointed day, he and his father, James, joined the funeral cortége. It was some melancholy satisfaction to him to be paying a last tribute of respect to this great Victorian genius — who had unknowingly helped to set him on an artistic path when he was in the sickroom all those years ago.

After three months of convalescing from the unfortunate episode with the carriage, Edwin completely regained his health and strength.

All opposition to his taking up art professionally was now removed. James allowed him to follow in his footsteps and Edwin entered as a student of the Royal Scottish Academy. This he attended in the morning and evening, and in the afternoon he painted under the direction of his father and studied anatomy at the veterinary college. It was a busy time.

Two years later, in 1865, when still only seventeen years of age, Edwin tentatively sent three of his canvases to the Exhibition of the Royal Society of Arts at Edinburgh. He waited with trepidation. His great delight can be imagined when all three were accepted and well hung. One was the study of a horse's head, another that of a fox terrier named Nettle, and the third the painting of a yeoman's charger.

Wombwell's Menagerie visited Edinburgh over the period of Christmas/New Year 1865/66 and gave Edwin another opportunity of furthering his painting. At daybreak that winter he was a frequent early visitor to the stables at the exhibition.  

It was a very significant time for the Menagerie as George Wombwell's partner, Ann (they had never married, for George was already wed), handed over the menagerie to a nephew named Fairgrieve.  (George Wombwell having died in 1850). 

Having gained admission (and permission), Edwin spent his time making studies of the animals until the hour arrived for the public to be admitted to the menagerie at 10 o'clock each day. Such was his enthusiasm for art and the keenness of youth in the early days.