THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES The Great Masters in Painting and Sculpture Edited byG. C.Williamson WILKIE THE GREAT MASTERS IN PAINTING AND SCULPTURE. The following Volumes have been issued, price $s. net each. BERNARDINO LUINI. By GEORGE C. WILLIAMSON, Litt.D. VELASQUEZ. By R. A. M. STEVENSON. ANDREA DEL SARTO. By H. GUINNESS. LUCA SIGNORELLI. By MAUD CRUTTWELL. RAPHAEL. By H. STRACHEY. CARLO CRIVELLI. By G. McNEiL RUSHFORTH, M.A. CORREGGIO. By SELWYN BRINTON, M.A. DONATELLO. By HOPE REA. PERUGINO. By GEORGE C. WILLIAMSON, Litt.D. SODOMA. By the CONTESSA LORENZO PRIULI-BON. LUCA DELLA ROBBIA. By the MARCHESA BURLAMACCHI. GIORGIONE. By HERBERT COOK, M.A. MEMLINC. By W. H. JAMES WEALE. PIERO DELLA FRANCESCA. By W. G. WATERS, M.A. PINTORICCHIO. By EVELYN MARCH PHILLIPPS. FRANCIA. By GEORGE C. WILLIAMSON, Litt.D. BRUNELLESCHI. By LEADER SCOTT. REMBRANDT. By MALCOLM BELL. MANTEGNA. By MAUD CRUTTWELL. GIOTTO. By F. MASON PERKINS. WILKIE. By LORD RONALD SUTHERLAND GOWER, M.A., F.S.A. In Preparation. GERARD DOU. By W. MARTIN, Ph.D. EL GRECO. By MANUEL B. Cossio, Litt.D., Ph.D. DURER. By HANS W. SINGER, M.A., Ph.D. TINTORETTO. By J. B. STOUGHTON HOLBORN, M.A. PAOLO VERONESE. By ROGER E. FRY. GAUDENZIO FERRARI. By ETHEL HALSEY. FILIPPINO LIPPI. By EDWARD C. STRUTT. LEONARDO DA VINCI. By EDWARD McCuRDY, M.A. WATTEAU AND HIS SCHOOL. By EDGECUMBE STALEY, B.A. OtJiers to follow. LONDON : GEORGE BELL AND SONS. / -J i: ;/.''<- //// 'loia Gallery, Royal Academy, London THE RAT HUNTERS (1811) EARLY WORKS 33 another time he would say : ' Stop where you are ; come here, Wilkie. Asphaltum, thinly glazed over on a cool preparation, I think would do.' Alas ! it was this very use and abuse of asphaltum that has been the cause of the ruin of so many of Wilkie's works." CHAPTER IV CHIEF PICTURES SOON after his return to London, Wilkie took the necessary steps for being elected Associate of the Royal Academy, and on the 7th of November, 1 809, he received a communication from the secretary of that institution to say that he had the right to the letters A.R.A. after his name. During all that autumn and winter Wilkie worked hard. He had left his old lodgings and taken others at Knightsbridge. His next work was that known as The Village Festival, painted for Sir George Beaumont, and now in the National Gallery. Whilst it was in progress he was also engaged upon a smaller picture which he called The Wardrobe Ransacked, but this was one of his decided failures. The subject was far too trivial for a painting, and although not by any means coarse, for Wilkie never in his life painted anything that could be so considered, the general treatment was certainly not worthy of his talent. And so strongly was this felt by the hanging committee that they advised him not to send it to the exhibition. Wilkie consequently with- drew the picture, not, however, without reluctance ; but he bore no ill-will, either then or afterwards, towards his CHIEF PICTURES 35 critics : indeed, his sensible acceptance of criticism was one of the causes of his wide appreciation amongst the established artists of that period of his career. Towards the end of 1810 we find him out of health owing to overwork, or more probably to worry. Dr. Baillie, the dramatic writer, and his daughters one of whom was the well-known Joanna lent him their house at Hampstead, and so weak had he become during the summer that he told Dr. Baillie that he could neither think nor paint for a quarter of an hour without giddi- ness, and that the least excitement made him almost faint. His kind friend Sir George Beaumont insisted on his paying them another long visit this time at Dunmow and it was on this occasion that Wilkie painted Tlie Gamekeeper, which was afterwards exhibited at the Academy. Lord Mulgrave, another kind friend, had asked him to stay with him at his house at Tun- bridge Wells ; but Hampstead and Dunmow had made a new man of him, and in December he returned to London, making his abode at 4, Manor Terrace, King's Road, Chelsea, where he found the air purer than nearer to the Strand, and where he was able to take long country walks : he was able, too, to begin work again, but with moderation. In the February of the following year (1811) Wilkie received a letter from Henry Howard, the secretary of the Royal Academy, announcing his election to that body as an Academician. His diploma picture had for its subject Boys catching Rats. As a rule diploma pictures are not amongst those works of their respecti ve 36 SIR DAVID WILKIE painters that one would care to possess, and Wilkie's is no exception to this extraordinary rule. The dogs, however, which form an important part of the picture, are admirably drawn, full of life, and almost equal to some of Landseer's. Wilkie was always happy in his presentment of the " friend of man," and few of his subject-groups are without one or more dogs ; in many instances they add much to the interest of the subject, such as the suspicious hound in The Letter of Introduction. One of his best pictures, Blind Mans Buff, was com- menced between 1811 and 1812. It was one of his most popular works and has been often engraved. We illus- trate in our pages both the unfinished study and the finished picture, as well as an important and character- istic black and white sketch which the artist made for it. Early in March, 1812, Wilkie hired a gallery in Pall Mall, and, having obtained the loan of some of his pictures from their owners, opened what is now termed a " one-man show." In those days this was an unusual departure for a newly-elected R.A. to take, and it was a somewhat rash venture, since it roused the ill-feeling of some of Wilkie's brother Academicians. " It is," he writes himself of this exhibition, " giving great offence to some of my brothers of the Royal Academy, whom I am doing all I can to pacify, although I cannot entirely remove their dissatisfaction." Besides his paintings Wilkie exhibited some sketches of pictures, amongst them those of The Village Festival and Blind Man's CHIEF PICTURES 37 Buff this he had in hand for the Prince Regent. As a speculation, however, the exhibition was a failure, not because the public withheld their patronage, but because a distraint for rent was put in against the previous tenant of the exhibition premises. TJie Village Festival was seized, and Wilkie was obliged to pay for its recovery. It was this unpleasant incident, and the seizing of one of his pictures by the servants of the law, that led the artist to execute that admirable work Distraining for Rent two years later, and which was exhibited in the Academy of 1815. A heavy blow fell upon Wilkie in the December of 1812, when his father, who had long been ailing, died at Cults, where his son had last seen him in the autumn of the previous year. His death was a great loss, not only to his immediate relations, but to the people of Cults, by whom he was much beloved. He had preached in the church, which he had rebuilt, for the last time in October of that year, and he met death cheerfully and with calm resignation. When those around him spoke hopefully of recovery he would say, looking from the window of the manse, " I shall never see the leaves grow green on those trees again." Writing to his sister when the news of their bereavement had reached him, Wilkie says : " It is our duty to consider an affliction of this sort as in- tended by the great Disposer of all things for our good : and, while it teaches us the uncertainty of human affairs, this con- sideration should fortify our minds to meet with becoming firmness the changes it will naturally give rise to." 38 SIR DAVID WILKIE In the church at Cults Wilkie placed a medallion portrait to his father's memory, to which reference has already been made. Below it are the following lines : " He was venerated among his people for his sympathy with their temporal vicissitudes and his zeal in minister- ing to their spiritual wants." Such inscriptions are often mendacious ; but we believe that in the case of Wilkie's father there was actual truth in this praise of the old minister, whose frugal, unselfish and helpful life had been a blessing to many. A more devoted, affectionate son than Wilkie it would have been difficult to find ; when his mother became a widow he at once offered her a home under his own roof. It took a good deal of persuasion on his part to induce her to leave her old home and her father, the miller at Pitlessie, who with his old wife was still living, and many letters had to be written to his sister before their mother consented to the removal. However, when he had taken a new house at 24, Lower Phillimore Place, Kensington, the change was effected. Laden with as much of the old furniture as could be taken from the manse at Cults, including such favourites as an ancient Gothic chair and an old copper saucepan both of which had probably served often in Wilkie's early pictures our artist's mother and sister arrived in London in the month of August. Never had Wilkie rejoiced over any of his artistic triumphs as he did now with his mother and sister to care for and live with. They arrived whilst he was putting the finishing touches to a picture, the subject of which was a bagpiper, a com- [7'. Brocklebank, Esq. THE LETTER OF INTRODUCTION (1814) CHIEF PICTURES 39 mission from Sir Francis Freeling ; there was surely something appropriate in Wilkie painting such a subject at such a time. There is a charming peep of Wilkie's home life after his mother had come to live with him recorded by Collins, the Royal Academician and the father of Wilkie Collins the novelist, whose Christian name was given him in token of the friendship between the two painters. " The theme on which he (Wilkie) most delighted to talk with his friends was painting. One day at his house we had been some time conversing on this fruitful subject the mysteries of the art before the uninitiated, when his excellent mother thought she ought to apologize to a certain captain present, which she did in these terms : ' You must e'en excuse these puir bodies ; they canna help it.' " The Bagpiper was followed by that delightful work The Letter of Introduction ', with which we think that Wilkie attained the high-water mark of his life. It is in every sense a masterpiece ; it is redolent of the finest humour, and the technique is as admirable as the humour ; it has already been said that Wilkie introduced his own portrait in the bearer of the letter. The subject of the work was more in consonance with the sympathies of its author than those more ambitious scenes of life which he sometimes attempted. It is more human, more real, than the whole of his historical compositions to- gether, and is worthy of a place in the Valhalla of British painting ; and, had London an equivalent to the Salon Carre of the Louvre in Paris, this creation of 40 SIR DAVID WILKIE Wilkie's would deserve a place upon its walls. It ranks in excellence with Hogarth or the greatest of the Dutch and Flemish genre painters. Tlie Letter of Introduction was bought by Mr. Dobree for two hundred and fifty guineas, Wilkie at that time being twenty-seven years old. In half-a-dozen years he had proved himself one of the great masters of English painting. And, although his popularity has of late much declined, he will always have a high place among the best and most original of artistic geniuses. The following extracts from the " Whitefoord Papers, being the Correspondence and other Manuscripts of Colonel Charles Whitefoord and Caleb Whitefoord from 1739 to 1810," relate to this picture. Sir George Sandilands writes to Caleb Whitefoord as follows : "Nut Hill, 1 5th May, 1805. "Mv DEAR SIR, " Give me leave to introduce to your notice and protec- tion Mr. David Wilkie, a young artist who proposes to spend some time in London in the prosecution of those studies, and the improvement of those talents, that have already brought him into some notice in this his native land, and which I cannot help believing will, with proper culture, raise him to eminence. " Mr. Wilkie is the son of a most respectable clergyman in this country, well known in the literary world for his Mathe- matical knowledge. I need not solicit your good offices in behalf of this young and unprotected adventurer, because I well know the pleasure you have ever felt in befriending merit. ' 1- uV^*lWr - "4Y V V. J "S H 5 H W U C D ^ ~ ^ O D H W r- Q CHIEF PICTURES 41 " With best respects and good wishes to Mrs. Whitefoord, Believe me ever, my dear Sir, " Yours faithfully, "GEO. SANDILANDS." To this letter is appended the following note from Cunningham's " Life of Wilkie " : " Someone desirous to do a good turn to David when he first came to town gave him a note to Caleb (Whitefoord), who, struck with his very youthful look, inquired how old he was. ' Really, now,' said the artist, with the hesitation he be- stowed on most questions. ' Ha ! ' exclaimed Caleb ; ' intro- duce a man to me who knows not how old he is ! ' and regarded him with that dubious look which is the chief charm of the picture (Wilkie's Letter of Introduction). This was in his mind when he formed the resolution to paint the subject ; and Caleb and his well-arranged bookcase, his little folding desk, bundles of papers regularly labelled, sword suspended from a nail in the wall to mark his gentle descent, for he was a White- foord of that ilk, and a china jar to mark the man of vertu on the floor, sat, as I may say, for his portrait. We have only to add a lad with a country air, who has presented the letter, and the old man to whom it is addressed turning half round in his chair while breaking the seal, and eyeing the other with a look of doubt and suspicion, in which a dog is seen to join with all the intelligence of its master." By permission of Mr. Brocklebank, the owner, we illustrate, with it, the original drawing for the finished work and also the cartoon in " Punch " which so cleverly adopted the picture as its motif. The changes made by the artist in the finished picture are interesting in com- parison with the first rough idea for the work, and the 42 SIR DAVID WILKIE cartoon is a particularly happy use of a work that created at the time something like a sensation. Wilkie was ever at his best when illustrating scenes and subjects connected with his beloved Scotland, and his finest sentiment and feeling were shown in the pastoral subjects he painted from Allan Ramsay's " Gentle Shepherd " and Burns's poems. Perhaps two of his most poetical compositions are those showing the love-lorn Patie, and the two Scottish lassies Peggy and Jenny, in the former work. His picture called Duncan Gray, or the Refusal, now in the Victoria and Albert Museum, was inspired by Burns's poem. It was first bought by Dr. Baillie, but later it passed into the Sheep- shanks collection. Duncan Gray, "the rejected," is a portrait of Mulready, R.A., whilst the mother of Meg, who rejected Duncan's suit, is a portrait of Wilkie's mother. Dr. Baillie, who had paid three hundred and thirty guineas for this picture, exchanged it for the one called The Pedlars, in our judgment a far inferior work ; but both it and Duncan Gray rank high among the artist's efforts. It was in 1814 that Wilkie, accompanied by Haydon as on his Devonshire trip, paid his first visit to the Con- tinent. Embarking on 25th May at Brighton, they crossed to Normandy, whence they journeyed to Paris and found a lodging in the Rue St. Benoit. The French capital was then filled with English people, who had hastened across the Channel after Napoleon's first abdi- cation, and amongst them numbers of artists, who had come, not only to see Paris, but also the art treasures [ Victoria and A Ibert Museum DUNCAN GRAY (1814) CHIEF PICTURES 43 which the Emperor had seized from the galleries of Italy and Germany, and which were in process of being returned whence they were looted. Haydon wrote an amusing but somewhat ill-natured account of his visit with Wilkie to France : " Notwithstanding," he says, " Paris was filled with all the nations of the earth, the greatest oddity in it was David Wilkie. His horrible French ; his strange tottering gait, feeble, pale look ; his carrying about his prints to make bargains with printsellers ; his resolution never to leave restaurants till he got his change right to a centime ; his long disputes about sous and demi-sous with the dame du comptoir; whilst Madame tried to cheat him, and as she pressed her pretty, ringed fingers on his arm without making the least impression, her ' Mais, Monsieur,' and his Scotch 'Mais, Madame,' were worthy of Moliere. But there is a simplicity," adds Haydon, "in his manners, a soundness and originality in his thinking, which makes him an instructive companion. His remarks on the French school were admirable. He said it was the conse- quence, not the cause, of encouragement. There was hardly a day but we had a dispute, and yet we were always better pleased with each other's society than with the society of others." Wilkie saw Versailles as well as the galleries in the capital ; at the Louvre he particularly studied the Dutch pictures, and the final opinion at which he arrived with regard to the French school of painting was that it lacked depth both in light and shadow. After a visit of about six weeks he returned to England, and, writing of his first experience of the Continent, he says : " What- ever delight or satisfaction I have derived from my 44 SIR DAVID WILKIE journey to Paris, it has not made me think the less of my own country." As we know, Wilkie was only happy when with his mother and sister, and the happiest days of a happy life, all things considered, were when he was painting, with his mother sitting by his side. He soon set to work after his return upon his next picture Distraining for Rent a picture which may be called a drama on canvas, so full is it of humour, pathos, and even misery. When completed he sent it to the British Institution, where it was so highly appreciated that the directors bought it for six hundred guineas, a large sum at that time, " giving in this way," Cunningham remarks, " the attestation of their name to the surpassing excel- lence of the picture." Leslie, in his " Handbook for Young Painters," writes that " it is one of the noblest and truest of Wilkie's paintings. Its honest pathos is not acquired by any ' sensational ' incident, nor jarred by any vulgar realization." Next came from his brush the clever candle-light painting called The Rabbit on the Wall a work that recalls the exquisite artificial light effects of the great Dutch masters ; this painting was in the Royal Academy Exhibition of 1815. In the early autumn of 1816 Wilkie again visited the Continent, his companion being Raimbach the engraver. Holland was their goal, and Wilkie was much pleased to find the country and towns of the Low Countries just as they appeared in the pictures of his favourite painters. " Indeed," he wrote to Sir George Beaumont, " nothing seemed new to me in the whole country, for I had been familiar with it all on canvas ; and what one could not A nnan photd\ [ National Portrait Gallery, Edinburgh CAST FROM WILKIE'S FACE, TAKEN DURING HIS LIFE, BY HAYDON (1815) CHIEF PICTURES 45 help wondering at was that these old masters should have been able to draw the materials of so beautiful a variety of art from so monotonous a country." Duriug his return through France an adventure befell Wilkie similar to that experienced by Hogarth more than half a century before. The young painter was tempted to sketch the old gate at Calais, known, since Hogarth was arrested there for exactly the same offence, as " Hogarth's Gate," until a year or so ago, when it was pulled down. History repeated itself, and Wilkie was taken before Monsieur le Maire by the suspicious gendarmes, but after a mild reproof was allowed to go free. One regrets that Wilkie did not portray Calais Gate, like his predecessor : it would have made an in- teresting pendant to Hogarth's famous painting in the National Gallery. Whilst at Brussels Wilkie visited the battlefield of Waterloo, his interest being probably increased by the fact that he had been commissioned by the Duke of Wellington to paint a picture in connection with his great victory. Shortly before he had started on his journey the Duke had paid a visit to the painter a visit which must have been the greatest event in the lives of the Wilkie household. In a letter to Haydon Wilkie writes that the Duke said little but " Very good " and " Capital," although he seemed pleased. Wilkie was disappointed by this silence, having been accustomed to fuller and readier praise from his visitors. But at length the Duchess of Argyll, who had come with the Duke and Duchess of Wellington, began to talk to the artist of a 46 SIR DAVID WILKIE picture which the victor of Waterloo wished him to paint, whereupon, to quote the letter, the Duke "turned to us, and, swinging back upon the chair, turned up his lively eye to me, and said that the subject should be a parcel of old soldiers, assembled together on their seats at the door of a public-house, chewing tobacco and talking over their old stories. He thought they might be in any uniform, and that it should be at some public-house in the King's Road, Chelsea. I said this would make a most beautiful picture, and that it only wanted some story, or a principal incident, to con- nect the figures together. He said perhaps playing skittles would do, or any other game, when I proposed that one might be reading a newspaper aloud to the rest, and that in making a sketch of it many other incidents would occur. In this he perfectly agreed, and said I might send the sketch to him when he was abroad." The elaborate painting with its sixty figures, and known as Chelsea Pensioners Reading the Gazette of the Battle of Waterloo, was the outcome of the visit of the Duke of Wellington to Wilkie's studio the year after the great battle. It occupied the painter for six years, being exhibited only in 1822, when it created so much en- thusiasm that it had to be protected by a railing from the pressure of the crowd. The artists of the time shared with the general public in the appreciation of the work, and Leslie says of one of the many figures : " There is not in art a finer touch of expression than that of the anxious face of the woman overlooking the old pensioner who reads to his companions the first news of the Battle of Waterloo. The contrast of this single face to all the others that surround the reader is indeed a master-stroke.' CHIEF PICTURES 47 There is a characteristic story of the Duke of Well- ington and this picture : When it had been sent to Apsley House, Wilkie was asked to call there. He found the Duke in his study, a gloomy little room with a single window, on the ground floor, facing Piccadilly. Here the Duke began to count out in bank notes the sum agreed upon for the painting one thousand guineas. " Wouldn't it save your Grace trouble to give me a draft on your bankers for the amount ? " Wilkie suggested. "Yes," replied the Duke, "but I don't want my bankers to know that I have been such a d d fool as to give one thousand guineas for a picture." CHAPTER V SCOTTISH HONOURS WILK1E next finished a painting commissioned by Lord Stafford entitled The Breakfast, of which he writes in the month of April, 1817 : "I think it will make an impression, but I almost grudge the long time it has taken me." This admirable painting is now at Trentham, and is one of the finest works of the British school that my grandfather, then Marquis of Stafford and afterwards first Duke of Sutherland, obtained, although he was a great buyer of modern as well as of old pictures. Nothing could be happier in treatment than the small body of actors in this scene of domestic everyday life, into which Wilkie again intro- duced the portrait of his mother. Lord Stafford paid Wilkie four hundred guineas for The Breakfast. It is but little known, as it was only engraved on a small scale, and has not, to my knowledge, ever been ex- hibited. Happily, unlike so many of Wilkie's later works, it has not suffered from asphaltum or other varnish, and appears as fresh as when first painted. It is an admirable specimen of the artist's power in ex- tracting charm from a commonplace subject simply a man and a woman and a younger man sitting at a breakfast table, with a maid pouring out tea. SCOTTISH HONOURS 49 Whilst occupied with this picture and the Chelsea Pensioners, Wilkie was also at work on a large canvas for the Prince Regent, The Scottish Wedding, or, as it is often called, The Penny Wedding. Wilkie was again in Scotland in the summer of 1817. This time he had no home to go to, but from his con- stant letters to his mother and his sister it seems that he paid several visits, one of the most interesting being to the celebrated philosopher Dugald Stewart, who was then living at Kinneill House, which belonged to the Duke of Hamilton, and had the glamour of possessing a ghost, that of Lady Lilburne. From Glasgow, which, strange to say, reminded the artist of Antwerp and Ghent, Wilkie visited Hamilton Palace to see its paint- ings. Then he went to Inverary, but, oddly enough, makes no mention of the Gainsboroughs there. Early in August he had an invitation to Abbotsford. "I cannot, nowadays," Sir Walter Scott wrote to him, "pre- tend to point out any good Highland originals, to be rendered immortal on your canvas, for the old Forty-Five men, of whom I knew many in the days of yore, are now gathered to their fathers; but I am sure you will be gratified by the scenery which time cannot make any impression upon." Wilkie paid this visit in October. Sir Adam Ferguson (then Captain Ferguson) was also a guest, and it was for him that Wilkie painted his famous Abbotsford group. " I have been making a little group while here," he writes to his sister on October soth, " of Mr. Scott, Mrs. Scott, and all 5 o SIR DAVID WILKIE the family, with Captain Ferguson, and some other characters. ... I have got a good way on with the picture ; the Misses Scott are dressed as country girls, with pails, as if they had come from milking ; Mr. Scott as telling a story ; and in one corner I have put in a great dog of the Highland breed, a present to Mr. Scott from the Laird of Glengarry. In the background the top of the Cowdenknowes, the Tweed and Melrose (as seen from a hill close by), are to be introduced." There is a much more detailed as well as humorous account of this little group of the great Sir Walter Scott with his family and friends gathered about him, written by himself. "The idea," Sir Walter writes, "which our inimitable Wilkie adopted was to represent our family group in the garb of south- country peasants supposed to be concocting a merry-making. The place is the terrace near Kayside, commanding an ex- tensive view towards the Eildon Hills. The sitting figure, in the dress of a miller, represents Sir W. Scott, author of a few score of volumes, and proprietor of Abbotsford in the county of Roxburgh. In the front, and representing a country wag somewhat addicted to preaching, stands Sir Adam Ferguson, Knight, Keeper of the Regalia of Scotland. In the background is a very handsome old man, upwards of eighty-four years old at the time, painted in his own character as a shepherd. He also belonged to the numerous clan of Scott. Of the three female figures the eldest is the late regretted mother of the family represented ; the young person most forward in the group is Miss Sophia Charlotte Scott, now Mrs. John Gibson Lockhart ; and the other is her sister Miss Anne Scott. Both are repre- sented as ewe-milkers, with their 'leglins' or milk-pails. On the left hand of the shepherd, the young man holding the fowling-piece is the eldest son of Sir Walter, now captain in the King's Hussars. The boy is the youngest of the family, [Earl of ' Northbrook's Collection ORIGINAL SKETCH FOR THE END FIGURE IN THE VILLAGE WEDDING SCOTTISH HONOURS 51 Charles Scott, now of Brazenose College, Oxford. The two dogs were distinguished favourites of the family. The large one was a staghound of the old Highland breed, named Maida, and one of the handsomest dogs that could be found. It was a present to me from the Chief of Glengarry, and was highly prized both on account of her beauty, her fidelity, and the great rarity of her breed. The other is a little Highland terrier called Oarisk (Goblin), of a particular kind bred in Kintail. It was a present from the Honourable Mrs. Stuart Mackenzie, and is a valuable specimen of a race which is now also scarce." One regrets that Wilkie portrayed Scott and his family travestied as peasants, and not in their everyday dress. The picture was exhibited in 1818, but was not engraved until 1837, when R. Grover made an admir- able plate from it, and W. Greatbach another for the " Wilkie Gallery." Purchased by the nation in 1895, it is now amongst the most valued works in the National Gallery of Scotland, where it hangs in tolerable con- dition, brilliant in colour, and without the cracks that blemish so many of Wilkie's later paintings. The colouring of the faces, however, appears to have faded, and unfortunately this is especially noticeable in the face of the great novelist. Wilkie had a most pleasant visit at Abbotsford, and his letters to his sister gave interesting pictures of Sir Walter and his family. " I have never been in any place," he writes, " where there is so much real good humour and merriment. There is nothing but amusement from morning till night; and if Mr. Scott is really writing ' Rob Roy,' it must be while we are sleeping. He is either out planting trees, superintending the masons or 52 SIR DAVID WILKIE erecting fences, the whole of the day. He goes frequently out hunting, and this morning there was a whole cavalcade of us out with Mr. and Miss Scott, hunting hard." At that time it was not known whether Scott was the author of the Waverley Novels or not, and Wilkie tells his sister that the family are " equally in the dark " as to the authorship. One day Wilkie was taken by the poet Laidlaw, who was also manager of the Abbotsford estate, to visit Hogg, the Ettrick Shepherd, at Yarrow. When they arrived at Hogg's cottage, he asked Laidlaw whether Wilkie was " no the great Mr. Wilkie," and, receiving an affirmative answer, he seized the painter's hand, saying, " I cannot tell you how proud I am to see you in my house, and how glad I am to see you are so young a man." When this was repeated to Scott he said that it was the finest compliment that had ever been paid to man. Immediately upon his return to Kensington Wilkie renewed his labours upon The Penny Wedding, for which he had studied and sketched whilst in Scotland, and which was now to be completed. The singular custom, which until the early years of the nineteenth century obtained at country weddings in Scotland, called " Penny Weddings," had been sung by the poet King James, and, nearer to our own time, by Allan Ramsay. It originated in the guests at these weddings having to pay a penny or to bring some small gift of food or drink towards defraying the wants of the donor of the festival. Wilkie's well-known painting, now in o SCOTTISH HONOURS 53 the royal collection, and familiar far and wide by its many admirable engravings, represents the interior of a barn converted into a ballroom. The festival is at its merriest ; the famous fiddler, Neil Gow, is playing his best, assisted by another musician ; the wedding guests are dancing gaily to their strains ; the bride is being led out by the bridegroom, other visitors looking on ; whilst in the background a table is spread with supper. Wilkie put his whole strength into this picture, and the subject was one peculiarly suited to his pencil. The Penny Wedding was in the Academy of 1 8 1 9, and for it the artist received four hundred guineas. It was fol- lowed by Reading the Will, which, although powerful in painting, is in our judgment inferior to its immediate predecessor : it is somewhat theatrical in treatment, and was certainly not so congenial a subject to the talent of the painter as the merry-making of the Scottish marriage. George IV. was anxious to add Reading the Will to his other works by Wilkie, but it had already been bespoken for the King of Bavaria. King George wished to have the original, suggesting that a duplicate should go to the Bavarian monarch ; but, despite much negotiation, the picture went to Munich as originally arranged, Wilkie receiving a hundred guineas more than he had asked for it. The painting at once found a place amongst the king's favourite pictures, being hung in his bedroom. After his death, however, it was sold, and is now in the Picture Gallery at Munich, having realized 1,200 in place of the four hundred guineas Wilkie received. 54 SIR DAVID WILKIE Among less important works which Wilkie painted at this period were The Death of Sir Philip Sidney, The Whisky Still, and The China Menders ; yet in spite of so much work he found time to go to Paris in 1821, and to Scotland in the following autumn, when George IV. paid his first and last visit to the northern kingdom. Wilkie, who had the artists Geddes and Collins for travelling companions, went on this occasion to Edin- burgh by land. He had two objects in taking this journey, one being to paint the King's entry into Edin- burgh, and the other to make studies and to collect material for an historical painting which for some time had held his fancy a picture of John Knox preaching. He had already thought out the work, and took a pre- liminary sketch to show Sir Walter Scott, and to ask his advice thereon. " Auld Reekie " was in a state of frenzied excitement over the arrival of King George, and Sir Walter was the most loyal of the loyal in spite of his Jacobite tendencies. We hear of him at a great dinner at which Wilkie and his friends were present, singing a song he had written himself in honour of the King's visit, called " Carle, now the King 's come," at the end of which all the guests rose, and joining hands danced round the dinner table. "It was enough," writes Collins " to have brought back to earth the apparition of John Knox himself." Wilkie was made much of whilst in Edinburgh. He was present when the King knighted Sir Henry Raeburn, Scotland's greatest portrait-painter, and was presented to the monarch, who was dressed in full Highland HaMfttSngl phote\ [7 'ate Gallery, Lonn THE NEWSMONGERS (1821) SCOTTISH HONOURS 55 costume, and whom, later on, Wilkie had to paint life- size in this glory of kilt and sporran. The young artist was complimented and flattered by the Lord High Com- missioner, and wore what must have looked strange, even in that time of extravagant dress, " a sky-blue coat." Wilkie selected as the subject of the picture he was commissioned to paint by George IV. of his entry into Edinburgh the moment when the King received the keys of Holyrood from the Duke of Hamilton, and although it took eight years to complete, being exhibited at the Academy only a few weeks before the death of the monarch it represented, it is one of the artist's greatest failures. But his sympathies did not lie in this direction, and he seems to have disliked the work from the first ; the most interesting portrait in the picture, amongst a crowd of courtiers and royal flunkeys, is that of Sir Walter Scott. Whilst Wilkie was labouring over this royal picture, Sir Walter again invited him to stay at Abbotsford (in 1824), and on this occasion he painted a separate portrait of his host which belonged to Sir William Knighton : although this was considered to be a good likeness, it cannot rank among the great portraits of the poet. It was engraved by E. Smith in 1831. On Sir Henry Raeburn's death in 1823 Wilkie re- ceived his first honour, being appointed his successor as Limner to the King in Scotland, a barren distinction, but one peculiarly acceptable to a Scottish artist. He ex- hibited his Parish Beadle in that year's Academy : it is an unpleasing subject, and was intended to be so, and may have given Dickens his well-known dislike for 5 6 SIR DAVID WILKIE Bumbledom, its petty tyrannies and barbarity. The picture, which is so well known from engravings that it is almost unnecessary to describe it, represents a brutal- looking beadle leading a family of Savoyards to the lock-up, a poor performing monkey being one of the victims of the arbitrary Jack-in-office. In the Academy catalogue The Parish Beadle had a quotation from Burns's "Justice of the Peace" for its motto: "And as an officer giveth sufficient notice of what he is, when he saith to the party, ' I arrest you in the King's name,' and in such case the party at their peril ought to obey him." Before this picture was finished the greatest sorrow that could befall Wilkie came upon him. His mother, whom he loved better than all else on earth, died somewhat suddenly, and, although he hurried back from Scotland immediately upon hearing of her dan- gerous illness, he unfortunately arrived a day too late. This great loss seemed to be the signal for other sorrows, which came upon him "in battalions." His brother James had broken down in health in Canada, and dying shortly afterwards left a widow and children : and his elder brother John died in India, leaving a son named David, who lived to become a distinguished soldier in the Indian army. 1 1 The widow of Lieut.-Colonel David Wilkie still lives (1900). Her husband was born in 1809. He served in the Bengal Native Infantry, and was a distinguished Oriental scholar. During the Mutiny, while commanding the fort at Nurpur, he kept the Sepoys from revolting by his firmness and zeal. In 1858 he was gazetted a Lieut.-Colonel, and became Resident of Indore. As a child he figures in one of his uncle's pictures, that of The Cut Finger, sitting SCOTTISH HONOURS 57 It is not to be wondered at that, with all this accumu- lation of sorrow and bereavement, Wilkie's health again broke down, and that he was ordered a thorough rest, being advised by his doctor not only to give up his work, but to take complete change of air and sur- roundings. for the little boy who is the hero of that painting. His sister, after- wards Mrs. Wynfield, is the little girl on the boy's left. Mrs. Wilkie still possesses many of Sir David Wilkie's sketches and a few paintings. A niece of Sir David is still alive, Mrs. Riddell, the widow of General Riddell, C.B., and at her home at Melrose she still treasures many of her uncle's works. Another nephew of the artist is the Rev. David Wilkie, of East Wilton Vicarage, Yorkshire, who also possesses some of his uncle's paintings, and amongst them portraits by Wilkie of his parents and himself, one of the Duke of Wellington, and another of the Queen. There is still living at Pitlessie a cousin of Sir David, a Miss Hardie, whose mother and Wilkie's mother were sisters. When at Pitlessie, in the autumn of 1900, Miss Hardie showed the writer a beautiful little miniature, painted by Wilkie and given to her, of her mother. Miss Hardie's recollections of her cousin were so fresh that she talked of him as if he had just left the room. She said that Sir David was most kind, amiable, simple, and unspoiled by all his success an opinion in which all his friends have been unanimous. CHAPTER VI SWITZERLAND, ITALY AND SPAIN W ILK IE first tried a visit to Cheltenham in the spring of that year (1825), but the place seemed to benefit him but little. His sorrows were too recent for anything but a radical change to bring him out of the depression into which he had sunk : he is said to have compared the state of his feelings at this time with a long succession of crows flying at first singly or in pairs, but then coming in companies and darkening the sky till all was obscure. It was now found expedient that he should make a Continental tour, and, accompanied by the Ameri- can painter Newton, and a cousin, David Lister, a young medico who had studied at the University of Edinburgh, he set out. They passed some time in Paris, where Lawrence was then engaged in painting the por- traits of Kings, Princes and Premiers for his royal master. Sir Thomas, who seems to have had a genuine liking for Wilkie, endeavoured to persuade him to re- main in Paris ; but the Scotch artist was then too restless and miserable to remain long in one place, and in September he and his companions went to Italy, traversing Switzerland on the way. Wilkie was delighted with Geneva and its glorious ndJock fifwto] ( A Imvick Castle THE HIGHLAND SHEPHERD ITALY AND SPAIN 59 surroundings of lake and mountain. They entered Italy by the Simplon at the beginning of October, and Wilkie wrote enthusiastically of that wreck of a fresco, Leonardo's Last Supper at Milan ; thence they made their way southwards by Genoa and Pisa to Florence, where they were joined by the Royal Academicians, Phillips and Hilton: in November they reached Rome. Neither sorrow nor sickness could damp Wilkie's delight when he found himself standing within the walls of the Eternal City, although he was at first somewhat disgusted with the accommodation then available for travellers in most Italian cities. " If," he writes, " you are satisfied with the same inns and the same accommodation, you can live as cheaply at home as here. Rooms with coarse brick floors, shattered windows, such as you would not tolerate even in a workhouse, gain nothing by arabesque and fresco ceilings : and if this were on the con- fines of Norway or Poland, allowance might be made for it ; but in boasted Italy, the ancient mistress of arts, it shows only the degeneracy of her present people." Few of Wilkie's criticisms on art are of much novelty or value. Indeed he had no sympathy with the early Italian school, which was, he writes to Haydon, " scarcely better than the Chinese or Hindoo." But he admired the " mighty men," as he calls Raphael and Michelangelo, and of these he writes to Collins that the purest guidance worthy of the true artist "is to be found in the works of these masters, who revived and improved the art, and those who ultimately brought it to perfection. These seem alone, whatever their talent was, to 60 SIR DAVID WILKIE have addressed themselves to the common sense of mankind. They have indeed this high quality, that the subject is upper- most, and they have more excellences addressed to the un- learned observers, than any work I know of. When in the freshness of their first existence, they must have been most attractive to the common people, which, I doubt, is more than could have been said for Titian or Rubens." Later he again writes to Collins : " After seeing all the fine pictures in France, Italy and Ger- many, one must come to the conclusion that colour, if not the first, is at least an essential quality in painting. No master has as yet maintained his ground beyond his own time without it. But in oil painting it is richness and depth alone that can do justice to the material." That Wilkie was deeply influenced by the paintings he studied in Rome is evident from what he has written above. " Italy," said Haydon, alluding to Wilkie's change of style and manner of painting, " Italy was Wilkie's ruin." He certainly never again painted any- thing equal to his work between 1810 and 1825 after his return from the Peninsula, but turned to historical sub- jects, in which he endeavoured to combine the colouring of Rembrandt and Velasquez, and in which he con- spicuously failed. Whilst he was in Rome Wilkie heard the news of the failure of his printsellers, Hurst and Robinson, a failure which entailed heavy loss to himself. Writing to his brother on the news of this fresh disaster, he says : "In all these difficulties I feel no want of resource in my own mind. With anything like returning health I can con- ITALY AND SPAIN 61 test the whole of them inch by inch." One is reminded in reading these words of the fortitude and splendid energy with which Wilkie's great fellow-countryman, Walter Scott, met his far larger and more serious losses through no fault of his own. From Rome Wilkie went to Naples, visiting all that was worth seeing in that neighbourhood, climbing up Vesuvius, and writing a note to Chantrey the sculptor dated from its summit Returning to Rome in March of the year 1826, he heard of Constable's bankruptcy "and almost ruin of Scott." "Of all the sufferers," writes Wilkie, " Sir Walter Scott excites the greatest sympathy " ; and he refers to a letter he had received from Sir Walter, in which the latter expressed his sur- prise that he could hear of his loss with so much philo- sophy, " that having his dog, his gun, and his book left, few of his comforts would be diminished, and he was only now annoyed by the sympathy of his friends." After passing a month at Venice, whence he wrote that he considered Titian's Peter Martyr as that master's greatest work, " for grandeur, poetical feeling, and deep- toned colour," and " without doubt a master-work of art," Wilkie travelled to Munich by way of Innsbruck. At the Bavarian capital he was delighted to see his own picture, Reading the Will. The King of Bavaria who had bought it was dead ; but, as we have already said, it was secured by the nation after his demise. Wilkie thought that it held its own with the works of the great Dutch masters which hung beside it. Count Richberg, the Royal Chamberlain, added to the pleasant impression of 62 SIR DAVID WILKIE his visit by telling him how pleased his master, the late king, would have been to have seen him. The galleries of Dresden disappointed our artist, and from there, in order to benefit his health by the medi- cinal waters, he visited both Toplitz and Carlsbad, meet- ing Sir James Clark at the former place, who advised him to spend another winter in the South. Oddly enough, notwithstanding his own reputation, he found that, wherever he went in Germany, his friendship with Sir Walter Scott served as an " Open Sesame," and, writing to his sister, he says that the Waverley Novels were as familiar to German as to English readers. The following December saw him once more in Rome, he having passed through Vienna on the road, where he dined with Prince Metternich, whom he thought like " a mixture of the late Lord Castlereagh and the Duke of Wellington," and who told him that his pictures were well known to him by their engravings. The great event of his second visit to Rome was the dinner given in his honour by Scottish artists and amateurs, with the Duke of Hamilton in the chair. " It was," writes Wilkie, " the most splendid entertainment I was ever present at." Thorwaldsen and the Italian sculptors, Carnuccino of Rome and Benvenuto of Florence, were amongst those assembled to fete him. But following close on this mark of appreciation of his compatriots came the news of the death of Sir George Beaumont. This was an especially heavy loss to Wilkie, whose k 1J [John Murray, Esq. WASHINGTON IRVING (DONE AT SEVILLE, 1828) ITALY AND SPAIN 63 unvaryingly helpful friend Sir George had been ever since his arrival in London, and whose paternal affection for the young painter we have alluded to. In the month of April, however, Wilkie began to give more cheerful news of himself, saying that he had again taken up his painting. " This is an immense thing for me ; and however feeble and slow, I am again enabled to say, ' Anch' io sono pittore.' " His health, both bodily and mental, was mending, and he now carried out his long-thought-of desire to see Spain. His doctors had ordered him to remain out of England for three years ; two of these he had passed in Italy and Germany, and he now determined to spend the remainder of his holiday in the Peninsula. The June of that year saw him buying Vandykes at Genoa for Sir Robert Peel ; but these pictures, once the glory of Drayton, are now scattered far and wide. In the autumn he was at Mont- pelier, where he made the acquaintance of the last husband (she had three) of the Countess of Albany, the wife of the Young Pretender. " This Monsieur Fabre," Wilkie writes in a letter to his sister, "has made a collection of pictures ; and, having no children, has left them, like my good friend Sir George Beaumont, to his country to his native town of Montpelier." A propos of this allusion of Wilkie's, all those who appreciate art in England should remember with grati- tude that, through the gift to the nation of his small but exquisite collection of pictures, the National Gallery is deeply indebted to Sir George Beaumont. Spain and its great artists at the time Wilkie visited 64 SIR DAVID WILKIE the Iberian Peninsula, were known to but few English- men, of whom Beckford was the most interesting and the most appreciative. Velasquez and Murillo were names only to most of our countrymen, and it was not until the Duke of Wellington brought back some examples of those two great geniuses from his wars that any of their works had been seen in any London collection. These Wilkie had seen at Apsley House ; their beauty and mastery had made him long to see more of their productions in their own country. Wilkie arrived at St. Jean de Luz on October ist, 1827, and crossing the Bidassoa he reached Madrid three days later. At his hotel he met Washington Irving, an old acquaintance, and Lord Mahon the his- torian ; but he devoted his time chiefly to the galleries of Madrid, the Escurial, and to Toledo. Writing to Sir Thomas Lawrence, Wilkie draws some interesting comparisons between the styles of Murillo and Velasquez, which show how closely he must have studied them. " These two great painters," he says, " are remarkable for having lived at the same time, in the same school, painted from the same people, and of the same age, and yet to have formed two styles so different and opposite, that the most unlearned can scarcely mistake them Murillo being all softness, while Velasquez is all sparkle and vivacity." Wilkie goes on to say that on seeing some of Velasquez's paintings he is reminded of Sir Joshua Reynolds, Romney and Raeburn. That his close study of the old masters in Italy and Spain affected his work and not to its benefit, according to our point of ITALY AND SPAIN 65 view he himself confesses. " I have now," he says, " from the study of the old Masters, adopted a bolder and, I think, a more effective style ; and one result is rapidity." Haydon, as we have already quoted, declared that Italy was Wilkie's ruin ; and in the main he was right, for after this long sojourn in an atmosphere of old masters his succeeding pictures lacked not only the spontaneity, freshness and humanity of invention which had characterized his early work, but his colouring became more sombre, if richer, which was not always an advantage to the subjects he depicted. Besides this ab- solute change of style, he increased his use of mediums and varnish to give Rembrandtesque depth and tone to his work, with the result that few of his later pictures have stood the test of time. Whilst he was in Spain Wilkie seems to have re- covered all his old zest and industry in his work, for in March, 1828, he writes to a friend telling him that he has been painting three scenes from Spanish life, all con- nected with the "so-called War of Independence," by which he meant the great duel in the Peninsula between the French and English in 1812. These particular paintings were afterwards bought by George IV. On the eve of his departure at the end of this month Wilkie writes to his sister from Madrid that his labours had been considerably appreciated, or rather, as he him- self puts it, " my labours, such as they are, have not, I assure you, been viewed here with indifference," and he gives a long list of the Spanish grandees who had visited his studio in their capital. Before finally quitting Spain F 66 SIR DAVID WILKIE he visited Seville in order to study its Murillos in the Capucin Monastery and in the hospital of the Caridade, and then, steeped in the atmosphere of the pictures of the past, with his ideas of painting revolutionized by his three years' study, and with, it must be admitted, his former inimitable touch of life and humour sadly im- paired, if not altogether gone, Wilkie returned to his home in Kensington. The faithful Haydon at once noted the change. He met Wilkie at Lord Grosvenor's shortly after his return, and describes him as being " thinner and more nervous than ever. His keen and bushy brow looked irritable, eager, nervous, and full of genius." Haydon sounds the note of change that must have struck Wilkie keenly after his three years' absence from his friends. " How interesting it was to meet him at Lord Grosvenor's, where we had assembled these twenty years under every variety of fortune," he says. " Poor Sir George is gone, who used to form one of the group Wilkie, Sequier, Jackson and I are left." It is a month later that Haydon writes in his invalu- able diary of the change these three years of travel had wrought in his friend's views of his work. Writing of Wilkie showing him some of his Spanish pictures, he says : " Now it is all Spanish and Italian art. He thinks nothing of his earlier oil beautiful efforts his Rent Day, his Fiddler, his Politicians 'they are not carried far enough,' " as if anything in point of expression and story was ever carried farther. George IV. was always a generous patron of Wilkie, Hanfstiingl photo\ {Buckingham Palace THE GUERILLA'S FAREWELL TO HIS CONFESSOR (1828) ITALY AND SPAIN 67 and on seeing some of his principal Spanish pictures, TJie Council of War, The Guerilla's Departure, The Defence of Saragossa and The Guerilla's Return, bought them immediately and ordered others. But the royal appre- ciation of this new phase of the painter's work was not shared by the critics or the general public. The Academy Exhibition of 1829 showed them a Wilkie who was un- known to them. He exhibited eight pictures, three of these being Spanish subjects, four Italian, and the eighth his portrait of Lord Kellie, now in the Town Hall at Cupar. Even his arch-admirer, Haydon, found that Lord Kellie's portrait "looked dark in the flesh," and records that the Spanish and Italian pictures did not make the impression Wilkie had anticipated, adding " Indeed, they are so altered in style the public cannot make them out." This sentence explains the decrease of that wide popularity which Wilkie had hitherto enjoyed with every class, a decrease which began with this exhibition of 1829 and continued until his death. Hitherto his pictures had appealed to the ignorant in art as well as to the learned to the one by their naturalness of sub- ject, their humour, pathos and delicate perception of the salient beauties and interests of everyday life, to the other by their richness in colouring, their fidelity of detail, and their mastery of the brush. But now this was altered. Those to whom his pictures had been the attraction of each year's Academy, to whom their en- gravings had become treasured possessions, could not understand his fancifully-dressed historical personages 68 SIR DAVID WILKIE with their strange similitude of expression and the sombre brown that pervaded their colouring. Sorrow and ill-health may have had something to do with this change in Wilkie's inspiration, but the public missed the rustic gaiety of The Penny Wedding, the hidden jest in The Letter of Introduction, the touch of human nature in the Chelsea Pensioners, and looked with increasing cold- ness upon its former favourite's plunges into history with a wardrobe for his models of his own designing. Meanwhile Wilkie had been asked by Sir Walter Scott to help in illustrating the new edition of the Waverley Novels. " Wilkie behaved," the novelist writes later, "in the kindest way considering his very bad health, in agreeing to work for me at all, and I will treat him with due delicacy, and not wound his feelings by rejecting what he has given in such kindness." This refers to the editor, Heath, having objected to the por- trait of Sir Walter painted by Wilkie when George IV. visited Edinburgh, and consequently not wishing it to appear in the new edition of the novels. Wilkie had written to Sir Walter on receiving the invitation to do some work for him as follows : "The Terrace, Kensington, Jan., 1829. "DEAR SIR WALTER, " I pass over all these disastrous events that have arrived to us both since our last, as you justly call it, melancholy parting, to assure you how delighted I shall be if I can in the most inconsiderable degree assist in the illustration of the great work, which we all hope may lighten or remove that load of trouble with which your noble spirit is at this time beset ; con- o Q ITALY AND SPAIN 69 sidering it as only repaying a debt of obligation which you yourself have laid upon me, when, with an unseen hand in the 'Antiquary,' you took me up and claimed me, the humble painter of domestic sorrow, as your countryman." Among other designs executed by Wilkie for this edition of Scott's novels, that of Peveril in Newgate is perhaps the best. Reference has been made more than once in this memoir to Wilkie's pernicious use of a varnish made up of megilp and asphaltum, and upon this obstinacy Haydon prophesied very truly in this same year (1829). " Wilkie," he writes, " was full of wax, and Lord knows what what a reckless thing is the human mind ! His first pictures will stand for ever, and so will mine, and now he has almost tempted me to quack as well as himself, with his wax and megilp." Megilp and asphaltum were indeed dangerous enough, but to mix wax with the varnish could have only one result the absolute ruin of the oil surface beneath ; consequently, few of Wilkie's pictures painted after 1825 are anything but wrecks, covered with seams and cracks, and in many cases looking as if they had been partially roasted at a fire. One can clearly see that Wilkie's constant cry for " depth of tone " after his return from his three years' travel was caused by his admiration for these qualities in the pictures by the greater masters in Italy and Spain. But the rich and mellow tones of Velasquez, Murillo and Titian are due as much to the passage of the centuries as to any medium employed by the artists ; and Wilkie, in thus attempting to produce the same effect, was actually 7 o SIR DAVID WILKIE violating the canons of his art by using adventitious aids to convey a density of colouring which his brush and palette alone should rightly have supplied. It was a touch of charlatanism of quackery, as Haydon in- sinuates so unworthy of his undoubted genius, that it can only be explained by the surmise that his engrossing admiration for his great Italian and Spanish prede- cessors had outrun his earlier aspirations and beliefs, which had formed the topic of so many delightful con- versations between Sir George Beaumont, Haydon and himself. The Wilkie who had talked of the density or opaqueness of the shadow cast by a candle held by his friend or himself on the staircase at Coleorton would never have relied upon the theatrical help of megilp, asphaltum and wax, to produce that density or opaque- ness upon his canvas. Unknown to Wilkie, carried away by the " rapidity " of this fatal method of giving " depth and tone " by a varnish, the death of Sir George was a double loss : that unerring connoisseur would have pointed out the fallacy of his friend's new craze, and it is probable that Wilkie would have listened to him with a greater patience than he did to Haydon, his brother- brush. Happily for us and for his fame, it is only the lesser of Wilkie's works that he condemned to early decay by his blind infatuation for the instant effect that time alone can give. Hanfstanzl plwio\ {Buckingham Palace THE GUERILLA'S RETURN (1830) CHAPTER VII LATEST WORKS THIS year of 1829 was a busy one with Wilkie, and after a considerable amount of work in London he went to Scotland to finish his picture of The Entry of George IV. into Edinburgh. Sir Thomas Lawrence died early in the January of 1830, and whilst the election of his successor to the Presidency of the Academy was pending the King ap- pointed Wilkie his Painter in Ordinary. Wilkie was one of the candidates for the vacant post, but the royal honour seems to have caused so much ill-feeling against him amongst his fellow-Academicians, that when his name came up for election he received only two votes, an Irishman named Martin Shee being made President. Shee was only a mediocre painter, but he made an ex- cellent P.R.A., more tact and savoirfaire being required for that office than high artistic qualities. Haydon voiced the feelings of a large majority of artists and laymen when he wrote that Shee's appoint- ment established a precedent, viz., " that high talent is not necessary to the highest rank in art," which is " one of the most fatal blows ever inflicted on the dignity of the Academy since it has been established, and will lower 72 SIR DAVID WILKIE it in English and Continental estimation." Shee he de- scribes as an Irishman of" great plausibility ; a speechify- ing, colloquial, well-informed, pleasant fellow, conscious of no great power in art and very envious of those who have." Such a man was sure to be popular, and Hay don declared that he was the most popular President the Academy ever had. But, on the other hand, there was Wilkie, in whom his friend saw " the greatest genius in his walk that ever lived," who was the only living artist who had a picture in the National Gallery, the only English painter at that time with anything like a European re- putation, " honoured by his Sovereign, respected by the nobility, modest, decent, upright, diligent and highly gifted, from whose existence an epoch in British art must be dated to whose work our present high rank is owing in the opinion of Europe David Wilkie had two votes." But, our admiration for Wilkie's genius notwithstand- ing, we cannot think that he was suited to fill the post of the President of the Royal Academy. His manner lacked the necessary urbanity ; and, although he had mixed much with the great world, he had never shaken off the jerky nervousness which his fellow-students had commented upon when he first joined the Academy. The two Aca- demicians who voted for him were Collins and Leslie. He himseh appears to have taken little interest in the election at least, it is not mentioned in any of his letters: but his was not the nature to fret over what could not be altered, and especially over a subject in which he alone, of all the forty Academicians, could not have an un- biassed opinion. W - O w jV o ^ o CJ w S3 LATEST WORKS 73 In the Exhibition of 1830 Wilkie was represented by three pictures, The Entry of George IV. into Edinburgh, a full-length life-size portrait of that monarch in a kilt, and The Guerilla's Return to his Family. The Entry into Edinburgh was begun in 1822, and is by no means a success. Of the portrait of George IV., which he him- self described as a Rembrandt scheme of colour, but of which the less said the better, he painted a replica which now belongs to the Duke of Buccleuch : the original is at Apsley House. TJie Guerilla's Return was, as we have seen, bought by King George, and is now at Buckingham Palace. The death of George IV. in 1830 made no difference to Wilkie's position as Court painter, for the new King also appointed him his Painter in Ordinary, as likewise did the late Queen after the death of her uncle, William IV. Of William IV. and Queen Adelaide Wilkie painted life-size portraits, which were probably repeated, for, besides the originals at Windsor, the writer knows of a pair at Kilkenny Castle. Considering how difficult it must have been to invest his royal sitters with their proper dignity, Wilkie was most successful in these two portraits ; that of William IV. in his coronation robes is certainly one of the best of his later style. His next large picture was historical in subject, John Knox Preach- ing at St. Andrew's before the Lords of the Congregation, to give the laboured work its full title. He had made elaborate sketches for this painting, and amongst other details had discovered the original pulpit from which 74 SIR DAVID WILKIE Knox thundered, and which is now to be seen in the Museum of Antiquities in Edinburgh ; but his portraits of people of the time which crowd the canvas are more or less imaginary. Carlyle says of the work that it is not only unhistorical in treatment, but " of an ignorance altogether abject." This wrathful declaration of the author of " Cromwell," with his passionate admiration for the rugged and uncompromising Puritanism of which Knox was the leading example, is easily understood. Such a subject called for anything but the smoothness and theatrical animation with which Wilkie interpreted it. Edward Irving is said to have been Wilkie's model for Knox, the painter, it appears, having once heard him preach, and being greatly impressed by his striking per- sonality. Sir Walter Scott only saw the sketch of the Knox picture, of which he expressed great admiration. " I recollect," writes the painter Collins, " Wilkie taking a cumbrous sketch in oil for the picture of John Knox all the way to Edinburgh for Sir Walter Scott's opinion. I was present when he showed it to him. Sir Walter was much struck with it as a work of vast and rare power." However, neither Carlyle nor Scott was a par- ticularly good judge of painting, and therefore the scoffs of the one and the praise of the other are of little moment so far as the work of the artist is concerned. Many years ago the writer of this memoir remembers Carlyle saying to him, regarding Wilkie's historical paintings, "Ah, puir fellow, they made him paint historical subjects which did not suit him." In this Carlyle was right. Historical subjects never suited Swa/t Co. phato\ [ Tale Gallery, London THE FIRST EARRING (1835) LATEST WORKS 75 Wilkie's line of thought or his talent, but there is nothing to show that there was ever any inducement, save his own will and misplaced belief in his powers of composition, to cause him to identify himself with this branch of painting. Knox Preaching was originally painted for Lord Liver- pool, and exhibited in 1832, meeting both praise and blame. At Lord Liverpool's death it was bought by Sir Robert Peel, who gave 1,300 for it. Sir Walter Scott's death in 1832 was a severe blow and sorrow to Wilkie, who for many years had looked up to him and revered him with a feeling like that felt by Ben Jonson for Shakespeare " this side of idolatry " and who when in trouble always turned to his great countryman. The whole civilized world was the poorer when Scott lay dead at Abbotsford, and to his own per- sonal friends the loss was irreparable. In the following year Wilkie was a guest of the Duke of Wellington at Strathfieldsaye, where he painted the portrait of the Duke with his famous charger " Copen- hagen," which is now in the hall of the Merchant Taylors' Company. The next autumn Wilkie journeyed once more to Scotland to paint a picture, commissioned by the widow of the famous General Sir David Baird, of the discovery of the body of Tippoo Sultan after the taking of Seringapatam, in which Sir David was the principal figure. This was literally one of the largest of Wilkie's paintings, but not one of his best. It contains a score of life-size figures, and shows the moment when the body of Tippoo is found where he fell, beneath a heap of 76 SIR DAVJD WILKIE slain. Above the corpse of the Indian potentate stands an heroic figure that of Baird surrounded by Highlanders. The scene is lighted by torches and lanterns. Here again Wilkie had Rembrandt in his mind, and doubtless thought to transfer some of the magic of the great Dutchman's palette to his own canvas. But although the picture has merit, it falls far behind his earlier works both in composition and colouring. It is theatrical, and more suited for the decoration of a diorama than for the walls of a private dwelling. Yet Wilkie received for this work a larger sum than any of his previous pictures had brought him, with the exception of the portrait of George IV. at Holyrood. The price of that portrait was sixteen hundred guineas ; that of the Baird picture, fifteen hundred. It was shown in the Academy of 1839, and is now at Newbyth, the home ot Sir David Baird, great-nephew of the subject of the painting. Between the years 1829 and 1840 Wilkie worked with all his old vigour, but none of his pictures of this period can compare individually with those of his earlier period. He now gave free vent to his passion for historical subjects, and to this time belong his Columbus, his Napoleon and Pius VII., his Escape of Queen Mary from Lochleven Castle, The Maid of Saragossa, The Em- press Josephine and the Sorceress of San Domingo, his Wellington on the Eve of Waterloo, and, for it has every right to be called an historical work, his well-known picture of the Queen's first Council at Kensington Palace, which stands as the best work of his later LATEST WORKS 77 manner. Through the engraving by Cousen this is one of Wilkie's most widely known creations, and among the most interesting of the paintings illustrating that beloved monarch's beneficent reign. Wilkie, who, as we have already seen, had been reinstated Painter in Ordinary to the Sovereign after the death of William IV., received several sittings from the youthful Queen for this picture. He thus writes of Her Majesty in his diary : " She is eminently beautiful, her features nicely formed, her skin smooth, her hair worn close to the face in a most simple way, glossy and clear-looking. Her manner, though trained to act the Sovereign, is yet simple and natural." He also painted two other portraits of the Queen, both life-size : one full length, which was given to Lady Nor- manby by Her Majesty ; the other, a half-length, is now in the Art Gallery at Glasgow. In both pictures the Queen wears a diamond crown and her coronation robes. It was the writer's good fortune to obtain the original sketch taken by Wilkie in water-colours for this full- length portrait]of Her Majesty, reproduced in this work : it had belonged to the well-known antiquary and col- lector David Laing, and is now in the National Portrait Gallery. Wilkie, who had visited Ireland in 1835 for the first and only time, was much struck by the picturesque- ness of the Irish peasantry and made many studies from them, which resulted in a picture he called The Peep o' Day Boy, now in the National Gallery at Dub- lin, and another, A Smuggling Still at Work. In 1838 he painted a full-length portrait of Daniel O'Connell. 78 SIR DAVID WILKIE Whilst in Ireland Wilkie visited Miss Edgeworth at Edgeworthstown, and on his return to England expressed surprise that Ireland was so little known to English artists, full as that island is of character and individuality. It was in 1836 that the crowning honour of his life came to him, William IV. knighting him at St. James's : in the following year he removed his Lares and Penates to Vicarage Place, Kensington, where he passed the last years of his life in London. That winter he commenced work upon a canvas which he never completed ; but to judge from the finely painted heads, which are elaborately finished, whilst the rest of the canvas is a blank, save for a pencil outline of the figures, this picture, which represented John Knox dis- pensing the Sacrament in Calder House, would have ranked beside that of the Queen's first Council as the best of his second style. This unfinished painting was left as we now see it when the artist left England on what was to prove his last journey, and was bought after his death by the Scottish National Gallery, and it is one of its most interesting specimens of Wilkie's art. The heads in this work are strikingly noble in feeling. In the autumn of 1840 Sir David, accompanied by his friend William Woodburn, left England and, passing through Holland, stopped at Vienna, and thence went to Constantinople by the Danube. Whilst staying at the Ottoman capital Wilkie made some admirable sketches, and painted a portrait for the Queen of the young Sultan, afterwards doing one of Queen Victoria for that monarch. [National Portrait Gallery, London ORIGINAL SKETCH BY THE ARTIST FOR HIS PORTRAIT OF QUEEN VICTORIA LATEST WORKS 79 War was then raging in Syria, and this forced Wilkie to remain longer than he had intended at Constantinople ; but finally he was able to leave for Smyrna on I2th January, 1841, carrying with him a be-diamonded snuff- box presented by the Sultan. Wilkie's object in taking this long journey was to visit the Holy Land, and, writing to his nephew from Alexandria four months later, he describes the reasons that led him to Palestine. " Waghorn's Hotel, Alexandria, "i8th May, 1841. "Mv DEAR NEPHEW, " You will, no doubt, be surprised to hear from me from this place, but I have been making an extended tour to Jerusalem, and am now returning to England. In August last I left London with Mr. Woodburn we made the transit across Europe by the Rhine and the Danube to Constantinople. Here, however, we learnt there was but one slight affair to im- pede us, that war had broke out in Syria across the route we were going, and that the Holy Land must be transferred from the Pasha to the Sultan before we could stir a step on our journey. Waiting for this detained us in Constantinople for three months, but affairs becoming settled we again started, and you may believe the eagerness with which we first saw the snowy tops of Lebanon, and with what satisfaction, after enter- ing from Joppa, we ascended the mountains of Judea and came in sight of Jerusalem. " My object in this voyage was to see what has formed the scenes of so many pictures the scenes of so many subjects painted from Scripture, but which have never been seen by the painters who have delineated them, and you may conceive the impressions which must have arisen from walking the streets and lanes of the Holy City, in travelling by Bethlehem, 8o SIR DAVID WILKIE visiting the Dead Sea, the Jordan and the plain of Jericho, tracing at every step and turn some event described by the inspired writers. " In this peregrination one is necessarily struck by the fact that, though the great works produced by the art of painting have been in illustration of Scripture and profess to be repre- sentations of the people, the costumes, and scenes of Syria, yet it has been done almost entirely from imagination, and it now remains a question, when steamboat navigation affords so many facilities for people to visit these countries, whether a new style of Scripture subjects may not be required to correspond with our knowledge of these countries, with that view, there- fore, that our school of Protestant England may not be behind in such knowledge, if wanted, I have made this journey. If the travelling has been interrupted by many delays which war and the derangements of war have occasioned, I have this to console me, that while kept waiting in Constantinople I had the honour of painting two portraits of the Sultan, now gone to England, and while delayed here in Alexandria, waiting for the steamer, I have had the honour of being requested by His Highness Mehemet Ali to paint his portrait, which I now take to England to finish for His Highness. " Mr. Woodburn and I hope to sail in two or three days by the 'Oriental' for England. I heard from Sophia on my journey, who stated that you had been noticed by Lord Auck- land, Gov. Genl. I wish I could write to His Lordship. I wrote to Mr. Abel Smith a few days ago to describe what was most interesting in Jerusalem. " Most faithfully and truly yours, "DAVID WILKIE." ' Whether his visit to the Holy Land has been of any 1 The writer is indebted to Mrs. Wilkie, widow of Lieut-Colonel Wilkie, for this interesting letter to her husband from his uncle. A nnan photo} [National Gallery of Scotland THE ARTISTS SISTER, MRS. HUNTER LATEST WORKS 81 advantage to those artists who, since Wilkie's pilgrimage to Palestine, have followed in his footsteps is much to be doubted : and it would seem that religious art is not to be revived even by the most painstaking and photo- graphic depiction of its shrines and holy places. Wilkie himself seems to have been most impressed by the un- usually truthful rendering of the Jewish race by Rem- brandt : but, had he reflected on the matter, it would probably have occurred to him that Rembrandt had no need to leave Amsterdam to find picturesque old Jews and Jewesses in Palestine, for then, as now, the Jews were probably almost as numerous in the city on the Amstel as in the Holy Land itself. Wilkie took for his guide-book nothing save the Bible that book may be said to be the guide through life of most of his countrymen. The travellers reached Jerusalem on the 2/th of February " the most interesting city in the world," Wilkie calls it Unlike many travellers, he does not seem to have been disappointed with the Holy Land, although he had such high beliefs in its influence on the mind and imagination ; indeed, he more than once expressed his gratitude at being able to see the sacred places connected with Scripture. Woodburn used to say afterwards that Wilkie was like a child at Jerusalem, " believing everything told him." After nearly two months in the Holy Land they started for Egypt, but after encountering a terrific gale at Jaffa were detained at Alexandria for three weeks. During this time of waiting, Wilkie used his brushes for the last time, painting the portrait of the famous Mehemet Ali 82 SIR DAVID WILKIE mentioned in the letter to his nephew. But before the work was completed the Orient steamer in which they were to return to England arrived, and Wilkie did not live to finish it, as he intended, at home. His last letter to his sister was written on the 2/th of May, and shows him as being in cheerful spirits ; but when the vessel reached Malta he became ill, it was supposed through eating fruit. He recovered, however, on leaving the island, and on the 3ist of May appeared on deck in his usual health. But upon going to his cabin the following morning, Sir James Carnac found the painter lying upon the floor in a state of unconsciousness. Woodburn hurried below, only to find his friend dead. He records that as he took Wilkie's right hand, the thought came to him involuntarily of all the work that hand, now lifeless clay, had accomplished. Owing to the quarantine regulations the body could not be landed for burial at Gibraltar, near which place the vessel was steaming, and at half-past eight on the evening of the ist of June, 1841, all that was mortal of the great painter was committed to the deep. Among Turner's paintings in the National Gallery is one which represents this funeral of Wilkie, and it is one of the most beautiful among many that are beauti- ful a work of deep pathos, as was the title given it by the artist, " Peace'' It is Wilkie's finest monument. A statue was voted to Wilkie at a meeting held in August, 1841, Sir Robert Peel being in the chair, and among many well-known friends of the painter who were present was the writer's father, who, referring to [National Portrait Gallery, London PORTRAIT OF WILKIE IN LATER LIFE, BY HIMSELF INFLUENCE 83 Wilkie's burial at sea, said : " We may well say of him, as has been said of another illustrious man, ' The world is the tomb of distinguished merit.' He raised his own monument in his own works. No artist has been more popular. From the highest in the land to the humblest mechanic, all have derived pleasure from the exercise of his genius." The statue voted by this meet- ing was executed by Joseph, and stands in the National Gallery with the painter's palette let into the pedestal. That Wilkie has had an influence for good upon the art of his country few, we think, will deny. The en- gravings of his pictures by Barie, Raimbach and Cousen, among others, made him famous throughout the civilized world, and reflected honour on the British school of painting. In his native country Wilkie shares with his great contemporaries, Burns and Scott, the love of his countrymen : each was a master in his art, and rejoiced in illustrating by his genius all that was most typical and worth recording in their life and character. We cannot conclude this sketch of Wilkie's life better than by giving our readers the following tribute to his memory from the " Recollections " of his lifelong friend and brother Academician, C. R. Leslie : " The recollections of all my intercourse with Wilkie and I knew him for about twenty years are altogether delightful. I had no reason ever to alter my opinion first formed of him, that he was a truly great artist, and a truly good man. The little peculiarities of his character, as they all arose from the best intentions, rather endeared him to his friends than other- wise. He was a modest man, and had no wish to attract 84 SIR DAVID WILKIE attention by eccentricity, and indeed all his oddity, and he was in many things very odd, arose from an extreme desire to be exactly like other people. Naturally shy and reserved, he forced himself to talk. I can easily conceive, from what I knew of him, that he had a great repugnance to making speeches at dinners or public meetings, yet, knowing from the station he had acquired he must do such things, he made public speaking a study. He carried the same desire of being correct into lesser things, not from vanity, but from a respect to society, for he considered that genius did not give a man the right to be negligent in his manners, even in trifles. When quadrilles were introduced, Wilkie, who, like most other people of his rank, had danced reels and country dances, set himself in the most serious manner to study them. His mind was not a quick one, and I am told he drew ground-plans and elevations of the new dances to aid his memory to retain the lessons of his master. He was always ceremonious, but, as I have said, from modesty, and not from pride or affectation, for no man had less of either." Wilkie's life was one of constant, earnest, honest work. His character was simple and unassuming, most kind, without a trace of what is not uncommon in the artistic temperament, envy, or any degree of jealous rivalry. The faults he had were more akin to virtues than to vices those of extreme thrift and carefulness, almost amounting to penuriousness yet he knew by hard experience, acquired in his youth of straitened circumstances, how hard it is to gain money, but how easy to spend it. As an artist he had great and original talent ; as a friend he was true and loyal ; and as a son and a brother he was most self-sacrificing and devoted. In all respects David Wilkie was " an honest man " of whom all Scotchmen may be justly proud. A iman flho.'o] ETCHING OF THE COTTAGE DOOR (1820) ETCHINGS NO account of Wilkie's life-work would be in any way complete without some reference to his etchings, which are very rare. In 1825 Wilkie had some copies printed of seven etchings he had made, for presentation to the King and to his principal patrons. The writer was sufficiently fortunate to secure a folio of these etchings which had been .presented "To the Right Honourable Robert Peel, with the humble respects of his obliged servant, D. Wilkie. Kensington, Feby. 3rd, 1825," in the artist's writing. Only three of these seven etchings are dated, viz.: The Cottage Door, 1819-20 (reproduced in this work); Reading the Will, 1819; Mothet and Child, 1820. In 1873 David Laing, the well-known antiquarian and col- lector, had a hundred copies printed of a folio containing all Wilkie's etchings, supplemented by others by Geddes the painter, whose portrait of Wilkie is the best that was ever done of him. In the Preface to this work Laing writes that, at the sale by Messrs. Christie and Manson of Sir David Wilkie's effects in 1842, the catalogue contained this entry: "Eight etched plates, and a few impressions." This lot was bought by a London dealer, and resold in 1863, when the plates were purchased by Laing. The one numbered 6 was, however, missing; but, on the other hand, the one numbered 8 was Wilkie's unpublished etching of Benvenuto Cellini and the Pope. Of these etchings by Wilkie and Geddes one hundred copies were printed. In all there are fourteen etchings in Laing's 86 SIR DAVID WILKIE work, inclusive of the six printed by Wilkie in 1825. Both Sir Walter Armstrong and the late Philip G. Hamerton the greatest authority on etching and etchers wrote highly of Wilkie's skill in this branch of art; and Sir Walter, in an article in "The English Illustrated Magazine" 1 entitled "Forgotten Etchers," calls these etchings by Wilkie and Geddes a pheno- menon in art history : " To throw Wilkie's Pope or his Lost Receipt into the shade, we must," he says, " turn to Rembrandt. The Lost Receipt strikes one as far more like Rembrandt in treatment than any English etching." Hamerton thought both the etchings of the Pope with Cellini and The Lost Receipt "equal to the best work of the old masters" ("Etching and Etchers "), and further says that their characteristics are good composition and happy selection of line. Small as was Wilkie's output in etching, this authority classes him among the great masters of that most difficult craft. We have selected the three most characteristic of these etchings notably that of the Pope and Cellini, which Hamerton thought "one of the finest etchings ever produced in England." Wilkie also painted a picture of this, which was exhibited at the Royal Academy in 1840, and called in the catalogue : " Benvenuto Cellini presenting, for the approval of Pope Paul III., a silver censer of his own workmanship." It was bought by Mr. Rice, at the sale of whose collection it fetched seven hundred and five guineas. The two others are The Lost Receipt, so Rembrandt-like in treatment and execution, and The Cottage Door, in which Wilkie's fondness for the style of Ostade is strongly marked. 1 December, 1883. Annan photo} ETCHING OF THE POPE AND BENVENUTO CELLINI (1824) A NOTE ON WILKIE'S METHODS THERE are some interesting remarks written by John Burner., the engraver of many of Wilkie's paintings, in one of his " Essays on the Fine Arts," from which we learn that many of Wilkie's early pictures were painted on canvas, but that he preferred to work on panels which had been ren- dered absorbent by being rubbed over with drying oil and turpentine. He always made a small oil sketch of the intended picture, or in pen and ink : and sometimes he would try the general effect when enlarged, by sketching the outline of the figures on the back of the panel in white chalk. He then pro- ceeded to paint the heads and hands from life, and until these were completed left the rest of the picture in outline. In his early pictures he used only drying oil and mastic varnish. Later on he used megilp and wax, mixing the latter with the oil paints and mastic varnish. As we have seen, this method was fatal to the existence of many of the works belonging to his second period and manner, as was also the case with some of Sir Joshua Reynolds's which were glazed with wax and megilp. Burnet says that Wilkie used to colour the little clay figures he made for models, placing them in a box much of the shape of the interior he intended to paint, grouping them as he wished the figures to appear in his picture, a small opening in the side of the box giving the effect of light as from a window. Burnet thinks that Wilkie's pictures may be classed in three manners. To the first belong The Blind Fiddler and The Chelsea Pensioners', to the second, The Rabbit on the Wall and The Highland Whisky Still; and to the third, Columbus Knox Preaching. 88 SIR DAVID WILKIE M. de la Sizeranne, in his "English Contemporary Art," refers to a statement made on the authority of Holman Hunt, that Wilkie painted on an unprepared white canvas, and finished his picture bit by bit like a fresco, without a prepara- tion of neutral tints. The learned critic is disposed to doubt, however, whether this is in every way an accurate statement. CHRONOLOGICAL LIST OF WILKIE'S WORKS The name given immediately after the title is that of the person for whom the picture was painted. That at the end is the present owner. C. = Canvas. P. = Panel. 1803 Ceres in Search of Proserpine. Sold for ^3 los. at the Wilkie Sale. Diana and Calisto, with Nymphs. Sold for ^48 6s. at the Wilkie Sale. Scene from " The Gentle Shepherd." Bought at the Wilkie Sale for ^29 8s. by T. Wilkie. i ft. 7 in. x 2 ft. i in. Rev. D. Wilkie. Douglas and the Hermit. Sold at the Wilkie Sale for 10. 1805 Pitlessie Fair. Charles Kinnear. C. 2 ft. i in. x 3 ft. 8 in. Mrs. Kinnear. The Village Recruit. C. 2 ft. i in. X 2 ft. 6 in. Lord Northbrook. 1806 The Village Politicians. Earl of Mansfield. C. 2 ft. 6 in. x 3 ft. 4 in. Earl of Mansfield. Sunday Morning. Earl of Mulgrave. C. i ft. 6 in. x i ft. 1 in. The Blind Fiddler. Sir George Beaumont. C. i ft. 10 in. x 2 ft. 7 in. National Gallery. 90 SIR DAVID WILKIE William Stodart, Esq. William Stodart. C. William Stodart, Esq. John Stodart. C. 3 ft. x 2 ft. 5 in. Dr. Carnaby. Dr. Carnaby. C. 3 ft. x 2 ft. 3 in. Matthew Stodart, Esq. M. Stodart. C. Mrs. Matthew Stodart. M. Stodart. C. 2 ft. 5 in. x 2 ft. i in. Mr. Clough. Mr. Clough. C. 1807 Alfred in the Neatherd's Cottage. Alexander Davison. C. 5 ft. i in. X 3 ft. 7 in. W. J. Armitage. Rev. David Wilkie and Mrs. Wilkie, the Parents of Sir David Wilkie. Miss Wilkie. P. i ft. x 8 in. Rev. D. Wilkie. The Clubbists. Leigh Hunt. Cardboard. 9 in. x 7 in. The New Coat. William Stodart. C. i ft. 2 in. x i ft. The Rent Day. Earl of Mulgrave. P. i ft. n in. x 2 ft. it in. E. Chapman, Esq. Lady Mary Fitzgerald. Earl of Mulgrave. 1808 The Card Players. H.R.H. Duke of Gloucester. P. i ft. 10 in. x 2 ft. 3 in. J. Walter, Esq. 1809 The Sick Lady. Marquis of Lansdowne. P. i ft. 8 in. x i ft. 10 in. Marquis of Lansdowne. Marchioness of Lansdowne with her Page. Marquis of Lans- downe. Marquis of Lansdowne. The Jew's Harp. Francis Annesley. P. 10 in. x 8 in. Marquis of Lansdowne. The Cut Finger. Samuel Whitbread. P. i ft. 2 in. x i ft. 4 in. 1810 Family of Thomas Neave, Esq. (eight Figures). Thomas Neave. P. i ft. 8 in. x 2 ft. 2 in. CHRONOLOGICAL LIST OF WORKS 91 The Wardrobe Ransacked. Lord de Dunstanville. P. i ft. 6 in. x i ft. 2 in. Lieut-Col. Tremayne. A Gamekeeper. Sir George Beaumont. 1811 The Rat Hunters (Diploma Picture). Royal Academy. P. i ft. 3 in. x i ft. Royal Academy. The Village Festival. John J. Angerstein. C. 3 ft. 2 in. x 4 ft. 4 in. National Gallery. 1813 Blind Man's Buff. H.R.H. The Prince Regent. P. 2 ft. 2 in. x 3 ft. The Crown. The Bagpiper. Francis Freeling. P. 1 1 in. x 8 in. National Gallery. 1814 The Letter of Introduction. Samuel Dobree. P. 2 ft. i in. x i ft. 9 in. T. Brocklebank, Esq. Duncan Gray. Lord Charles Townshend. P. 2 ft. x i ft. 8 in. South Kensington Museum. The Pedlar. Dr. Matthew Baillie. P. 2 ft. x i ft. 8 in. 1815 Distraining for Rent. Directors of the British Institution. P. 2 ft. 10 in. x 4 ft. 2 in. Hon. Miss H. Phipps. Earl of Mulgrave. 1816 The Rabbit on the Wall. John Turner. P. 2 ft. i in. x i ft. 9 in. Lord Armstrong. 1817 Sheepwashing Sir Thomas Baring. C. 3 ft. x 4 ft. 6 in. Rev. B. Gibbons. 92 SIR DAVID WILKIE The Broken China Jar. Peter Coxe. P. 7 in. x 6 in. South Kensington Museum. Study of Bathsheba. John Townshend. P. i ft. 9 in. x i ft. 4 in. John Naylor, Esq. The Breakfast. Marquis of Stafford. P. 2 ft. 7 in. x 2 ft. 4 in. Duke of Sutherland. 1818 The Errand Boy. Sir John Swinburne. Sir Walter Scott and his Family. Sir Adam Ferguson. P. 1 ft. x i ft. 4 in. National Gallery of Scotland. Abraham Raimbach. Abraham Raimbach. P. 1819 The Death of Sir Philip Sidney. Samuel Dobree. P. i ft. 2 in. x 10 in. The China Menders. George Phillips. P. 2 ft. 2 in. x 2 ft. 6 in. Lady Camperdown. The Whisky Still of Lochgilphead. Sir Willoughby Gordon. P. 2 ft. 2 in. x 3 ft. 2 in. Duncan Gray (small duplicate with variations). George Thom- son. The Penny Wedding. George IV. The Crown. Reading the Will, i ft. 3 in. x 1 1 in. John Naylor, Esq. 1820 The Veteran Highlander. Payne Knight. P. i ft. 2. in. x i ft. A. R. B. Knight, Esq. Reading the Will. The King of Bavaria. P. 2 ft. 6 in. x 3 ft. 10 in. Munich Gallery. Bacchanals gathering Grapes. Sold in the Wilkie Sale for us. P. 2 ft. 2 in. x i ft. 9 in. 1821 The Newsmongers. Hon. General Phipps. P. i ft. 4 in. x i ft. i in. Tate Gallery. CHRONOLOGICAL LIST OF WORKS 93 The Athol Highlander. Samuel Rogers. Earl of Northbrook. Guess my Name. M. M. Zachary. P. i ft. 9 in. x i ft. 5 in. Guess my Name. Erwin Count Schoenburn. P. 1822 Chelsea Pensioners Reading the Gazette of the Battle of Waterloo. Duke of Wellington. P. 3 ft. 4 in. x 5 ft- 2 in. Duke of Wellington. 1823 The Parish Beadle. N. M. Ridley Colborne. P. 2 ft. x 3 ft. National Gallery. His Royal Highness the Duke of York. Sir Willoughby Gor- don. P. 2 ft. i in. x i ft. 8 in. Scene from " The Gentle Shepherd." Sir Robert Listen. P. i ft. x i ft. 4. National Gallery of Scotland. 1824 Cottage Toilette (Scene from " The Gentle Shepherd "). Duke of Bedford. P. i ft. x i ft. 3 in. Hertford House. The Smugglers. Sir Robert Peel. P. i ft. 6 in. x i ft. 3 in. Sold at Christie's, May loth, 1880, to John Read, Esq. The Sportsman. Hon. General Phipps. P. i ft. x 10 in. Hertford House. 1825 The Highland Family. Earl of Essex. P. 2 ft. i in. x 3 ft. Sold at Christie's, July 22nd, 1893. 1827 The Confessional, painted in Rome. James Morrison. C. i ft. 9 in. x i ft. 2 in. Marquis of Lansdowne. The Pifferari playing Hymns to the Madonna, painted in Rome. George IV. C. i ft. 6 in. x i ft. 2 in. The Crown. 94 SIR DAVID WILKIE A Roman Princess Washing the Pilgrims' Feet, painted in Genoa. George IV. C. i ft. 8 in. x i ft. 4 in. The Crown. 1828 A Spanish Senorita. Sir William Knighton. C. The Spanish Posada, or Guerilla Council of War. George IV. C. 2 ft. 5 in. x 3 ft. The Crown. The Guerilla taking leave of his Confessor. George IV. C. 3 ft. i in. x 2 ft. 8 in. The Crown. The Maid of Saragossa. George IV. C. 3 ft. i in. x 4 ft. 8 in. The Crown. 1829 Head of Piping Boy. Life size. Sir William Knighton. Cardinals, Priests, and Roman Citizens Washing the Pilgrims' Feet, painted in Rome. Sir Willoughby Gordon. C. i ft. 9 in. x 2 ft. 6 in. Baptism in the Church of Scotland. Sir F. Chantrey, R.A. P. Earl of Kellie, Lord Lieutenant of the County of Fife, painted for the County Hall, Cupar. C. 8 ft. 9 in. x 5 ft. 6 in. Cupar Town Hall. 1830 George IV. received by the Nobles and People of Scotland, upon his Entrance to the Palace of Holyrood House, on the 1 5th of August, 1822. George IV. P. 4 ft. 2 in. x 6 ft. The Crown. The Guerilla's Return to his Family. George IV. C. The Crown. George IV., in the dress of the Royal Tartan in which he held his Court in the Palace of Holyrood, on the i;th of August, 1822. George IV. C. The Crown. . CHRONOLOGICAL LIST OF WORKS 95 George IV. in the Highland Dress. George IV. C. The Crown. Scene from " Old Mortality." George IV. P. The Crown. Sir Alex. Keith, Bart. Sir Alex. Keith. P. A member of the Keith family. 1831 Lady Lyndhurst. Duke of Wellington. Duke of Wellington. Viscount Melville, as Chancellor of the University of St. Andrews. University of St. Andrews. C. 7 ft. 10 in. x 5 ft. 7 in. Peveril of the Peak A Sketch. Sir William Knighton. P. George IV., in Highland Costume. Duke of Wellington. C. 9 ft. 2 in. x 5 ft. 10 in. Duke of Wellington. 1832 The Preaching of Knox before the Lords of the Congregation, loth of June, 1559. Sir Robert Peel. P. Tate Gallery. William IV., in the Robes of the Garter. William IV., for Windsor Castle. C. Windsor Castle. Spanish Monks, a scene witnessed in a Capuchin Convent at Toledo. Marquis of Lansdowne. C. 3 ft. 4 in. x 4 ft. 2 in. Marquis of Lansdowne. William IV., in the Robes of the Garter. Presented to the Scottish Hospital. C. William IV., in the Uniform of the Grenadier Guards. William IV. C. The Crown. Duke of Sussex, Earl of Inverness, in the Costume of a Highland Chieftain. Duke of Sussex. C. 8 ft. 10 in. x 5 ft. 10 in. The Crown. 96 SIR DAVID WILKIE 1834 Duke of Wellington, in the Uniform of Constable of the Tower. Merchant Taylors' Company. C. The same Company. Not at Home. Sir M. W. Ridley. P. 2 ft. 6 in. x 2 ft. Viscount Ridley. Queen Adelaide, in her Coronation Robes. C. Windsor Castle. The Spanish Mother and Child. Sir William Knighton. C. 3 ft. 3 in. x 4 ft. 2 in. Sir John Leslie, Professor of Natural Philosophy in the Uni- versity of Edinburgh. Robert Ferguson. P. King William IV. and Queen Adelaide, for the British Embassy in Paris. Lord Chamberlain. C. Marquis of Ormonde. The First Earring ; small size. Baroness Basset. P. Rev. Edward Irving. Sir William Knighton. C. The First Earring. Duke of Bedford. P. 2 ft. 5 in. x 2 ft. Tate Gallery. The Nursery. Richard Colls. P. 1 1 in. x 9 in. The Infant Sancho Panza. Henry M'Connel. P. i ft. 1 1 in. x i ft. 7 in. John Naylor, Esq. Duke of Wellington ; whole-length. Marquis of Salisbury. C. Marquis of Salisbury. Sir James M'Gregor, Director-General of the Army Medical Board ; half-length. Army Medical Officers, Chatham. C. Christopher Columbus in the Convent at La Rabida. Robert Holford. C. 4 ft. 9 in. x 6 ft. i in. Captain Holford. 1836 Domestic Life ; a small Picture. Juan Peyronnet, Toulouse. P. William Esdaile, Esq. ; half-length. William Esdaile. C. C. E. Esdaile, Esq. CHRONOLOGICAL LIST OF WORKS 97 The Peep o' Day Boy. Robert Vernon. P. 4 ft. x 5 ft. g in. The Duke of Wellington Writing a Despatch; a Cabinet Picture. Sir Willoughby Gordon. P. Lord Montagu; whole-length. Duke of Buccleuch. C. Duke of Buccleuch. Napoleon and Pope Pius VII. at Fontainebleau. John Mar- shall. C. 1837 Mary Queen of Scots escaping from Lochleven Castle. Edward Tunno. P. 3 ft. 10 in. x 5 ft. 4 in. The Cotter's Saturday Night. Francis G. Moon. P. 2 ft. 9 in. x 3 ft. 7 in. Thomas Wilkie ; half-length. Miss Wilkie. 2 ft. 6 in. x 2 ft. Rev. D. Wilkie. Earl of Tankerville ; half-length. Earl of Tankerville. Lord Tankerville. 1838 The Empress Josephine and the Fortune-teller. John Abel Smith. C. 6 ft. 10 in. x 5 ft. 2 in. King William IV. ; whole-length. University of Oxford. C. Oxford. Queen Adelaide ; whole-length. University of Oxford. C. Oxford. Daniel O'Connell, Esq.; full-length. Rev. H. Cholmondeley. C. The Bride at her Toilette. M. Arthabur, Vienna. P. 3 ft. 2 in. x 4 ft. i in. Mrs. Moberley. Rev. Dr. Moberley. Thomas Daniell, R. A. Miss Fuller. " C. Tate Gallery. Sir David Baird discovering the Body of Tippoo Sahib. Lady Baird. C. n ft. 6 in. x 8 ft. 1 1 in. Sir D. Baird. Queen Victoria presiding at the Council upon Her Majesty's Accession, 2oth June, 1837. Her Majesty Queen Victoria. C. 4 ft. 8 in. x 7 ft. 8i in. The Crown. H 98 SIR DAVID WILKIE 1839 Portrait of Matthias Prince Lucas, Esq., President of St. Bartholomew's Hospital ; whole-length. Governors of St. Bartholomew's Hospital. C. 7 ft. 9 in x 4 ft. 9 in. St. Bartholomew's Hospital. King William IV. ; half-length. Marquis of Conyngham. C. Marquis of Conyngham. The Irish Whisky Still; small. M. Brederlo, Riga. P. M. Brederlo. Grace before Meat. Glendy Burke, New Orleans. P. 3 ft. 2 in. X 4 ft. i in. John Naylor, Esq. Joseph Wilson, Esq., and Grandson. Joseph Wilson. P. Master Robert James Donne. John Donne. John Knox dispensing the Sacrament; an advanced Sketch. Sold at the Wilkie Sale for ^84. John Knox dispensing the Sacrament; the Picture after Heads painted in. Sold at the Wilkie Sale for National Gallery of Scotland. 1840 The Irish Whisky Still. M. Nieuwenhuys. P. 5 ft. i in. x 3 ft. ii in. Mrs. Naylor. Study of The Gentle Shepherd. James Hall. P. Duke of Northumberland. The Indian Hookabadar. Jacob Bell. P. Queen Victoria in her Robes; whole-length. Lord Chamber- lain's Office. C. The Crown. Queen Victoria in her Robes; whole-length. Sir Charles Forbes, Bart. Glasgow Gallery. Lord Arbuthnott, for the County Hall of Stonehaven, and now in St. Laurence's Hall, Laurencekirk. County of Kincardine. C. CHRONOLOGICAL LIST OF WORKS 99 Mrs. Hamilton N. Ferguson, painted by commission of the Tenantry on Mr. Ferguson's Estates in East Lothian. Mrs. Ferguson. James Hall, Esq.; half-length, unfinished. James Hall. Benvenuto Cellini and the Pope. Henry Rice. 4 ft. x 3 ft. 3 in. John Naylor, Esq. Head of William IV. Sir William Woods. Sir W. W. Knighton, Bart. Sir W. W. Knighton. Sir Peter Laurie, Alderman. Sir Peter Laurie. C. Mrs. Grant. Sir David Wilkie ; unfinished. Sir Robert Peel. 1841 Sultan Abdul Medjid. Her Majesty Queen Victoria. The Crown. Queen Victoria. Sultan Abdul Medjid. Constantinople. Mehemet Ali, Pacha of Egypt. The Tartar relating the News of the Capture of Acre. 1 Sold at the Wilkie Sale for ,183 15^. Lord Northbrook. The Letter Writer. Bought at the Wilkie Sale by Lord Charles Townshend for ^446 5^. Lord Northbrook. The School, a composition of thirty-six figures. Sold at the Wilkie Sale for ^756 to John Graham, Esq., and resold at his death. In addition to the portraits that Wilkie painted of himself there are the following portraits of him in existence : (1) Posthumous portrait by S. Joseph, R.A. 1845. Bust. (2) Portrait by T. Phillips. (3) Enamel by W. Essex, after No. 2. (4) Portrait by Sir W. Beechey. Sold at D. Wilkie's sale. (See Redford.) 1 Sold at Mr. Price's sale in 1895. SIR DAVID WILKIE (5) T. Phillips, R.A. 1829. (6) C. Smith, R.A. 1829. (7) J. Hollins, R.A. 1828. (8) Pencil Portrait, now in Geneva Museum (Musee Rath). CATALOGUE OF THE WORKS OF WILKIE ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED CATALOGUE OF WORKS BRITISH ISLES. LONDON. THE CROWN. THE PENNY WEDDING. Canvas, 2 ft. x 3 ft. i in. Painted for the Prince Regent in 1819. Exhibited, Royal Academy, 1819; International Exhibition, 1862. BLIND MAN'S BUFF. 2 ft. 2 in. x 3 ft. Painted for the Prince Regent in 1813. THE MAID OF SARAGOSSA. 3 ft. i in. x 4 ft. 8 in. Painted in Madrid, and bought by George IV. GUERILLA COUNCIL OF WAR. 2 ft. 5 in. x 3 ft. Painted in Madrid in 1828, and bought by George IV. THE GUERILLA'S TAKING LEAVE OF HIS CONFESSOR. 3 ft. i in. x 2 ft. 8 in. Painted in Madrid in 1828, and bought by George IV. THE GUERILLA'S RETURN TO HIS FAMILY. Painted in Spain, and bought by George IV. WILLIAM IV. IN THE ROBES OF THE GARTER. Canvas. Painted in 1832. QUEEN ADELAIDE IN HER CORONATION ROBES. Painted in 1834. 104 SIR DAVID WILKIE GEORGE IV. RECEIVED AT HOLYROOD HOUSE, AUGUST 15, 1822. GEORGE IV. IN THE DRESS OF ROYAL TARTAN IN WHICH HE HELD HIS COUNCIL IN HOLYROOD, AUGUST 17, 1822. Painted in 1830, and now at Holyrood. GEORGE IV. IN HIGHLAND DRESS. Half length. QUEEN VICTORIA PRESIDING AT THE COUNCIL UPON HER MAJESTY'S ACCESSION, 20 JUNE, 1837. Canvas, 4 ft. 8 in. x 7 ft. 8 in. THE PIFFERARI PLAYING HYMNS TO THE MADONNA. Canvas, i ft. 6 in. x i ft. 2 in. Painted in Rome for George IV. in 1827. A ROMAN PRINCESS WASHING THE PILGRIMS' FEET. Canvas, i ft. 8 in. x i ft. 4 in. Painted in Genoa for George IV. in 1827. WILLIAM IV. IN THE UNIFORM OF THE GRENADIER GUARDS. Painted in 1833. QUEEN VICTORIA IN HER CORONATION ROBES. Painted in 1840. THE DUKE OF SUSSEX. Canvas, 5 ft. 5 in. x 8 ft. 3 in. PORTRAIT OF THE SULTAN ABDUL MEDJID. NATIONAL PORTRAIT GALLERY. SIR DAVID WILKIE. 5 in. x 4 in. [No. 53.] Purchased from the artist's niece, July, 1858. ORIGINAL SKETCH FOR PORTRAIT OF QUEEN VICTORIA IN HER ROBES. Presented by Lord Ronald Sutherland Gower. CATALOGUE OF WORKS 105 NATIONAL GALLERY OF BRITISH ART (TATE GALLERY). A SKETCH OF RUSTIC FIGURES. Executed in pen and ink, 3! in. X 4^ in. [No. 1187.] Apparently a study for (or from) a group in the picture of The Village Festival. Underneath is a scrap of paper on which is written : " Sent by D. Wilkie, 15 Aug. 1811." Bequeathed by Mrs. Elizabeth Vaughan in 1885. A WOODY LANDSCAPE. Panel, 9 in. x 9 in. [No. 330.] Painted in 1822. Vernon Collection. Engraved by J. Cousen. THE NEWSMONGERS. Panel, i ft. 4 in. x i ft. i in. [No. 331.] Originally painted for General Phipps. Exhibited at the Royal Academy in 1821. Vernon Collection. Engraved by W. Taylor and by J. Cousen, PORTRAIT OF THOMAS DANIELL, R.A. Canvas, 2 ft. 6 in x 2ft. [No. 231.] Bequeathed to the National Gallery by Miss Mary Ann Fuller, 1853. SKETCH OF BLIND MAN'S BUFF. On panel, i ft. x i ft. 6 in. [No. 921.] The original design of the large picture in the collection of Her Majesty in Buckingham Palace. Inscribed, "D. Wilkie, 1811." This sketch was painted in 1811, and was exhibited at the Royal Academy in 1812. The large picture of the same composition was painted for the Prince Regent, and was exhibited at the Academy in 1813. It is engraved by A. Raimbach. The sketch became the property of the Earl of Mulgrave, from whose collection in 1832 it io6 SIR DAVID WILKIE passed into the possession of Mr. C. L. Bredel ; it was bequeathed to the National Gallery by his sister, Miss Harriet Bredel, in 1875. THE BAGPIPER. Panel, 10 in. x 8 in. [No. 329.] Originally painted for Francis Freeling, Esq., 1813. Ex- hibited at the British Institution in that year. Vernon Collection. Engraved by E. Smith and R. C. Bell. THE BLIND FIDDLER. Panel, i ft. n in. x 2 ft. 7 in. [No. 99.] Painted in 1806 for Sir Geo. Beaumont, Bart., and by him presented in 1826 to the nation. Engraved by J, Burnet and by T. Nicholson for Jones's "National Gallery." THE FIRST EARRING. Panel, 2 ft. 5 in. x i ft. n in. [No. 328.] Exhibited at the Royal Academy in 1835. Vernon Collection. Engraved by W. Chevalier and by W. Greatbach. THE PARISH BEADLE. Panel, i ft. n in. x 2 ft. n in. [No. 241.] This picture was painted in 1822, and exhibited in the following year; it was Wilkie's first work of this class after the painting of his great work, the Chelsea Pensioners^ and is the first picture in which he adopted that bolder mode of execution which characterized his later works, as compared with those by which he acquired his great name. Bequeathed to the National Gallery in 1854 by Lord Colborne, for whom it was originally painted. THE PREACHING OF KNOX BEFORE THE LORDS OF THE CONGREGATION, 10 JUNE, 1559. Panel, 4ft. x 5 ft. 4 in. [No. 894-] CATALOGUE OF WORKS 107 Commenced for the Earl of Liverpool, and completed for the late Sir Robert Peel. Exhibited at the Royal Academy in 1832. Purchased with the Peel Collection in 1871. Engraved by C. T. Doo, R.A. " In Dr. M'Crie's life of this extraordinary person is de- scribed the event this picture is intended to represent, which took place during the regency of Mary of Guise, in the parish church of St. Andrew's, in Fifeshire, where John Knox, having just arrived from Geneva, after an exile of thirteen years, in defiance of a threat of assassination, and while an army in the field was watching the proceedings of his party, appeared in the pulpit and discoursed to a numerous assembly, including many of the clergy, when ' such was the influence of his doctrine that the provost, bailies, and inhabitants harmoniously agreed to set up the reformed worship in the town. The church was stripped of all images and pictures, and the monasteries were pulled down.' "Close to the pulpit on the right of Knox are Richard Ballenden, his amanuensis, with Christopher Goodman, his colleague ; and, in black, the Maltese Knight, Sir James Sandilands, in whose house at Calder the first Protestant sacrament was received. Beyond the latter, in the scholar's cap and gown, is that accomplished student of St. Andrews, the Admirable Crichton. Under the pulpit is Thomas Wood, the precentor, with his hour-glass ; the schoolboy below is John Napier, Baron of Merchiston, inventor of the logarithms ; and further to the right is a child which has been brought to be baptized when the discourse is over. " On the other side of the picture, in red, is the Lord James Stuart, afterwards Regent Murray ; beyond is the Earl of Glencairne ; and in front, resting on his sword, is the Earl of Morton, behind whom is the Earl of Argyll, whose Countess, the half sister of Queen Mary, and the lady in attendance upon her, make up the chief light of the picture. Above this group is John Hamilton, Archbishop of St. Andrew's, supported by the Bishop Beatoun, of Glasgow, with Quinten Kennedy, the Abbot of Cross Raguel, who maintained against Knox a public disputation. io8 SIR DAVID WILKIE " In the gallery is Sir Patrick Learmouth, Provost of St. Andrew's and Laird of Dairsie, and with him two of the bailies. The boy on their left is Andrew Melville, successor of Knox ; and beyond him, with other Professors of the University of St. Andrews, is the learned Buchanan ; at the back of the gallery is a crucifix, attracting the regard of Catholic penitents ; and in the obscurity above is an es- cutcheon to the memory of Cardinal Beaton." Royal Academy Catalogue, 1832. Signed and dated, " David Wilkie fee 1 1832." THE VILLAGE FESTIVAL. Canvas, 3 ft. i in. x 4 ft. 2 in. [No. 122.] Painted in 1811 for Mr. Angerstein, with whose pictures it was purchased by Parliament for the nation in 1824. Engraved by C. W, Marr ; by G. Mosse ; by E. Smith; by W. Finden for the Associated Engravers ; by W. Great- bach; and by P. Lightfoot for Jones' s "National Gallery" ROYAL ACADEMY, THE. THE RAT HUNTERS. Panel, i ft. 3 in. x i ft. Painted in 1811. Diploma picture. ST. BARTHOLOMEW'S HOSPITAL. PORTRAIT OF MATTHIAS PRINCE LUCAS, ESQ., ALDERMAN AND PRESIDENT OF THE HOSPITAL. Canvas, 7 ft. 9 in. x 4 ft. 9 in. Painted in 1839. Exhibited, Burlington House, 1877. VICTORIA AND ALBERT MUSEUM. Oil-colour. THE BROKEN JAR. [No. 225.] Sheepshanks Gift. THE REFUSAL (see Nos. 120 to 124 below). [No. 226.] Sheepshanks Gift. CATALOGUE OF WORKS 109 SKETCH OF A BOOKCASE FOR THE LETTER OF INTRODUC- TION. [No. 227.] Sheepshanks Gift. THE ERRAND BOY. [No. 228.] Sheepshanks Gift. A HEAD AND Two HANDS. Sketches. [No. 229.] Sheep- shanks Gift. THE DAUGHTERS OF SIR WALTER SCOTT. [No. 230.] Sheepshanks Gift. SKETCH OF A HEAD FOR THE RABBIT ON THE WALL. [No. 231.] Sheepshanks Gift. A LANDSCAPE. [No. 232.] Sheepshanks Gift. Water-colour^ etc. THE PEEP o' DAY BOY. Study for the picture. [No. 93.] Sheepshanks Gift. SKETCHES AND STUDIES FOR THE REFUSAL (see 226 above). [Nos. 120 to 124.] Sheepshanks Gift. REAPERS. Slight chalk sketch. [No. 195.] Bought. SKETCHES. [No. 420.] Sheepshanks Gift. SIR ROBERT PEEL READING TO THE QUEEN. [Nos. 1847 and 1869.] Townshend Bequest. SKETCH FOR READING THE WILL. [Nos. 631 and 1870.] Parsons Bequest. FINDING THE BODY OF TIPPOO SAHIB. Sketch. [Nos. 50 and 1873.] Given by Mr. C. T. Maud. SKETCH OF AN EASTERN PHYSICIAN. Crayon. [Nos. 53 and 1873.] Given by Mr. C. T. Maud. STUDY OF THE BABY IN THE PEEP o' DAY BOY. [Nos. 54 and 1873.] Given b y Mr - c - T - Maud. no SIR DAVID WILKIE Studies and Sketches in the Dyce Collection. TWO STUDIES OF A FEMALE HEAD. Chalk. [No. 925.] TWO STUDIES OF A FEMALE HEAD AND SMALL STUDY OF A BONNETED WOMAN. Chalk. [No. 926.] FOUR SKETCHES FOR GEORGE IV. IN THE HOLYROOD PICTURE. Chalk, and Indian ink. [Nos. 927 to 930.] FIVE SKETCHES FOR THE SCHOOL. Pen and ink, and sepia. [Nos. 931 to 935.] SKETCH OF FIGURES AT THE HORSE GUARDS. Pen, and wash. [No. 936.] SKETCH OF FIGURES A WOMAN HANDS A GLASS TO A BANDIT. Pen and sepia. [No. 937.] SKETCH OF A GROUP OF FIGURES, IN THE NEWS FROM WATERLOO. Pen and sepia. [No. 938.] A BALD-HEADED OLD MAN. Black chalk, Indian ink, and white. [No. 939.] SKETCH OF A SEATED MAN, HOLDING A DRINKING CUP. Pen and sepia. [No. 940.] INTERIOR, WITH HEAD OF A MAN ; A SHELF ABOVE. Pen and sepia. [No. 941.] SKETCH OF A GROOM STANDING BY A HORSE. Distemper. [No. 942.] STUDY FOR A FIGURE IN THE FIRST EARRING. Chalk. [No. 943.] STUDY OF A RUSTIC FEMALE. Pen and ink. [No. 944.] WALLACE GALLERY, HERTFORD HOUSE. SCOTCH LASSIES DRESSING, OR A COTTAGE TOILETTE. ii in. x i ft. 2 in. [No. 352.] (Scene from "The Gentle Shepherd.") A SPORTSMAN REFRESHING. 10 in. x n in. [No. 357.] CATALOGUE OF WORKS in EDINBURGH. NATIONAL GALLERY OF SCOTLAND. THE ABBOTSFORD FAMILY. Panel, i ft. 3 in. x 1 1 in. [No. 145.] Painted at Abbotsford in 1817, for Sir Adam Ferguson. Exhibited, Royal Academy, 1818. Purchased from Mr. R. N. Ferguson, 1895. Engraved by Robt. Graves, A.K.A., in 1837, and W. Great- bach. See page 50. THE GENTLE SHEPHERD. (Act I., Sc. i.) Panel, i ft. 4 in. x i ft. [No. 149.] Painted about 1823. Purchased from the executors of Mr. Charles Park, London, 1898. Engraved by Jas. Stewart ', 1827, and P. Lightfoot, N.B. Two versions of this picture exist; the other was lent to the Edinburgh Gallery for some time when in Mr. Gibson Craig's possession. THE ARTIST'S SISTER, MRS. HUNTER. Panel, u in. x 9 in. [No. 1 66.] Bequeathed by Dr. Hunter, Largs, 1871. JOHN KNOX DISPENSING THE SACRAMENT AT CALDER HOUSE. Panel, 5 ft. 4 in. x 4 ft. [No. 175.] Purchased at the sale of Wilkie's effects by the Royal Scottish Academy, 1842. The head of the Reformer and the group to the right are almost completed, as are two isolated heads on that side, and three to the left ; but otherwise the figures are only sketched in pencil. Wilkie was engaged upon this picture when he set out on the journey to the East from which he never returned. ii2 SIR DAVID WILKIE SKETCH FOR BLIND MAN'S BUFF. Paper, 8 in. x 5 in. Signed. [No. 264.] Presented by Sir Hugh Hume Campbell, of Marchmont, Bart., 1873. SKETCH OF A CONFESSIONAL. Pencil and water-colour. Paper, 8 in. x 7 in. [No. 318.] Bequeathed by Lady Murray, 1861. LADY AND HER DAUGHTER IN FOREIGN COSTUME. Water- colour. Paper, i ft. 3 in. x n in. [No. 358.] Scott Bequest. SKETCH OF KILMARTIN SACRAMENT. Black chalk touched with red. Paper, i ft. 2 in. x 10 in. [No. 370.] Inscribed, " Kilmartin Sacrament August 24." Bequeathed by Lady Murray, 1861. SCOTTISH NATIONAL PORTRAIT GALLERY. SIR DAVID WILKIE. Canvas, 2 ft. 5 in. x 2 ft. Presented by J. Rankin. Formerly in the possession of Sir Wm. Knighton. SIR DAVID WILKIE. Presented by the Archbishop of York, Dr. Maclagan. SIR D. WILKIE AND HIS MOTHER. Pencil, 8 in. x 6 in., and oval, 5 in. x 4 in. [No. 41*.] The mother's portrait is dated "1803 ;ET 58", and the artist's portrait " 1803." Lent to the gallery by the Duke of Buccleuch. CAST FROM WILKIE'S FACE. Hayden in his journal on July 24th, 1815, writes: "Made a cast of Wilkie's face with Wyburn, our Paris friend. Never had such fun as Wilkie lay on the ground looking like a Knight Templar on a monument," CATALOGUE OF WORKS 113 The gallery also contains a portrait of Wilkie [No. 51] by Sir Wm. Beechey, R.A. GLASGOW. CORPORATION GALLERY. PORTRAIT OF HER MAJESTY QUEEN VICTORIA. Canvas, 2 ft. 1 1 in. x 2 ft. 3 in. [No. 948.] Painted in the year of Her Majesty's Coronation. M'Lellan Collection. See PORTRAIT GALLERY, LONDON, for sketch. TURKISH MOTHER AND CHILD. Sketch. Panel, i ft. x 9 in. [No. 947.] M'Lellan Collection. PORTRAIT OF A LADY. Panel, n in. x 9 in. [No. 949.] Euing Collection. Study for principal figure in picture, The Rich Relation, a drawing of which is reproduced in Armstrong's article on Wilkie ("Portfolio," May, 1887). DUNDEE. CORPORATION PICTURE GALLERY. SKETCH FOR THE VILLAGE POLITICIANS. Oil. Panel, i ft. x 9 in. SKETCH FOR GUESS MY NAME. Oil. Panel, 9 in. x 7 in. SKETCH FOR RABBIT ON THE WALL. Oil. Panel, 10 in x 8 in. SKETCH FOR NELSON SEALING DESPATCHES OFF COPEN- HAGEN. Oil. Panel, 9 in. x 7 in. i 1 1 4 SIR DAVID WILKIE VARIOUS OWNERS. ARMITAGE, W. J., ESQ. (Address unknown.) ALFRED IN THE NEATHERD'S COTTAGE. Canvas, 5 ft. i in. x 3 ft. 7 in. Painted in 1807. Exhibited, Burlington House, 1878. ARMSTRONG, LORD (THE LATE), CRAIGSIDE, ROTHBURY. THE RABBIT ON THE WALL. Panel, 2 ft. i in. x i ft. 9 in. Painted in 1816. Exhibited, Burlington House, 1877, 1890. BAIRD, SIR D., NEWBYTH, PRESTONKIRK. SIR DAVID BAIRD DISCOVERING THE BODY OF TIPPOO SAHIB. Canvas, u ft. 6 in. x 8 ft. n in. Painted for Lady Baird in 1838. BREDEL, MISS. (Address unknown.} SKETCH FOR BLIND MAN'S BUFF. Panel, i ft. x i ft. 6 in. Exhibited, Burlington House, 1872. BREDERLO, M., RIGA. SMALL REPLICA OF THE IRISH WHISKY STILL. Painted in 1839. BROCKLEBANK, THOMAS, ESQ., THE ROSCOTE, HES- WALL, CHESHIRE. THE LETTER OF INTRODUCTION. Painted in 1813. CATALOGUE OF WORKS 115 Bought by Mr. Ralph Brocklebank, father of present owner, from the collection of Samuel Mendel. Exhibited, Royal Academy, 1814 ; Burlington House, 1878 ; Guildhall, 1894. " His next work, and, though small, one of his happiest, was painted for Samuel Dobree, Esq., a London merchant, and one who united a love of art with the rarer desire to encourage it. This picture is The Letter of Introdtiction, which originated in the reception which the artist himself experienced, it is said, from one of the small wits about town, Caleb Whitefoord by name, discoverer of the ' Cross readings ' in newspapers, and who set up as a judge in art as well as in literature. Some one desirous to do a good turn to David, when he came first to town, gave him a note to Caleb, who, struck with his very youthful look, inquired how old he was. ' Really now,' said the artist, with the hesitation he bestowed on most questions. ' Ha !' ex- claimed Caleb, ' introduce a man to me who knows not how old he is !' and regarded him with that dubious look which is the chief charm of the picture. This was in his mind when he formed the resolution to paint the subject ; and Caleb and his well-arranged bookcase, little folding desk, bundles of papers regularly labelled, sword suspended from a nail to mark his gentle descent, for he was a Whitefoord of that ilk ; and a china jar, to mark the man of vertu, on the floor, sat, as I may say, for his portrait. We have only to add a lad with a country air who has presented the letter, and the old man to whom it is addressed turning half round in his chair while breaking the seal, and eyeing the other with a look of doubt and suspicion, in which a dog is seen to join with all the intelligence of his master. When The Letter of Introduction was finished, the artist bethought him of a wish which Mr. Dobree had expressed to possess one of his pictures, and wrote accordingly. "Mr. Dobree at once called upon Wilkie, and bought The Letter of Introduction at the price of 250 guineas. " 1813, Octr. 21, 'Completed almost entirely this day my picture of The Letter of Introduction^ 24 Lower Phillimore Place, Kensington, and Deer. 1821. To S. Dobree, Esq.' n6 SIR DAVID WILKIE "It gives me pleasure to find you are pleased with the en- graving of The Rabbit on the Wall, which I was happy to send you as a specimen of Mr. Burnet's style of engraving. He is now about to begin, with your kind permission, his plate of The Letter of Introduction, which, as I think it peculiarly adapted to show well in engraving, I have no doubt will make even a better print than he has already done. I shall myself be proprietor of both plates." Extracts from "The Life of Sir David Wilkie," by Allan Cunningham. The original sketch for the finished picture. THE PAGE OF PUNCH'S PENCILLINGS, No. VIII., containing the caricature. See page 41. BRODON, WM., ESQ., ROTHMAR, CAMPBELTOWN, ARGYLL. THE SMUGGLERS. Signed. Small replica of original. THE FISHER BOYS. Signed. Small replica of original. BUCCLEUCH, THE DUKE OF, MONTAGU HOUSE, LONDON. PORTRAIT OF LORD MONTAGU. Painted in 1836. PORTRAIT OF THE ARTIST. Millboard, 1 1 in. x 9 in. CAMPBELL, LADY, GARSCUBE, GLASGOW. SKETCH OF Two EASTERN MEN. Pen outline and water- colour, i ft. 6 in. x i ft. 2 in. Signed. CAMPERDOWN, THE EARL OF, CAMPERDOWN, DUNDEE. THE CHINA MENDERS. Panel, i ft. 6 in. x i ft. 2 in. Painted in 1819. CATALOGUE OF WORKS 117 CASTLE, SIDNEY N., ESQ. (Address unknown.} SKETCH OF A COAST SCENE WITH FISHING BOATS AND FIGURES. Panel, 9 in. x i ft. 6 in. Exhibited, Burlington House, 1876. CHAPMAN, EDWARD, ESQ., LIVERPOOL. THE RENT DAY. Panel, 2 ft. x 2 ft. 10 in. Painted in 1807. When exhibited at the Great Exhibition at Dublin, in 1853, this picture so attracted the attention of the Queen that she was engrossed with it for half an hour, attended by the Hon. Colonel Phipps, who pointed out to Her Majesty various portraits in the picture, his own among them, as a child playing with a key. To the left of the picture is the steward, seated at the table. His name was Peter Merry ; he was a well-known man in the neighbour- hood of Mulgrave, where the picture was painted. Then comes his clerk, with his pen in his mouth, and next to him is a young man, by name Philip Wompra. He is pleading the cause of his aged father, who stands at the end of the table, opposite the steward. The man in the background counting his ringers was William Taylerson, and the next two figures standing and talking together were Robert Walker and Paul Coverdale. In the group in the foreground, Jenny Dale, who is introduced as a widow, was a young woman who was nurse to Lord Mulgrave's children, two of whom are represented ; the elder, who is sitting by the side of its supposed mother, became afterwards the first Marquess of Normanby. The butler drawing the cork was an Italian servant named Corsellis, in the Earl of Mul- grave's employ, and the two farmers seated are William Lawson, of Hutton Mulgrave (with the stick in his mouth), and John Lang, who is coughing. The three eating at the table are John Stangoe (holding his knife and fork up), and John and Edward Dale. Formerly in the collection of the Earl of Mulgrave, who purchased it from Wilkie. Exhibited at the Royal Academy, 1809. Engraved by A. Raimbach, ii8 SIR DAVID WILKIE CONYNGHAM, THE MARQUIS OF. PORTRAIT OF WILLIAM IV. Half length. Painted in 1839. CRAIG, J. T. GIBSON, ESQ. (Address unknown.) THE GENTLE SHEPHERD. See similar picture in the National Gallery of Scotland. CUPAR, THE TOWN HALL. PORTRAIT OF THE EARL OF KELLIE, LORD LIEUTENANT FOR THE COUNTY OF FIFE. CURRIE, SIR DONALD, 4, HYDE PARK PLACE, LONDON. SKETCH FOR THE RABBIT ON THE WALL. DUNCAN, MRS. ANSTRUTHER, NAUGHTON HOUSE, FIFE. PORTRAIT OF JAMES MORISON OF NAUGHTON. WATER-COLOUR DRAWING OF A THISTLE. ESDAILE, CHARLES E. J., ESQ. (Address unknown.) PORTRAIT OF W. ESDAILE, ESQ. Died 1837. Canvas, 4 ft. 2 in. x 3 ft. 3 in. Painted in 1836. Exhibited, Burlington House, 1888. GIBBONS, REV. B. (Address unknown.) SHEEPVVASHING. Landscape. Canvas, 3 ft. x 4 ft. 6 in. Painted in 1817. Exhibited, Burlington House, 1870. CATALOGUE OF WORKS 119 GRANT, MRS., n, WILTON CRESCENT, S.W. PORTRAIT OF SIR P. LAURIE. 1840. HARDIE, MISS, PITLESSIE. MINIATURE OF MRS. HARDIE, SIR DAVID'S AUNT. HATCHARD, S., ESQ., GLENDARE, CAMDEN PARK, TUN- BRIDGE WELLS. REPLICA OF THE VILLAGE POLITICIANS; 1806. Oil. Signed. HILL, GRAY, ESQ., MERE HALL, BIRKENHEAD. SCENE OF WILKIE'S BIRTHPLACE, KIRKTON, CULTS. From the Fuller- Mai tland Sale, 1879. HOLFORD, CAPTAIN R. S., DORCHESTER HOUSE, LONDON. CHRISTOPHER COLUMBUS IN THE CONVENT OF LA RABIDA. Canvas, 4 ft. 9 in. x 6 ft. i in. Painted in 1835. Exhibited, Burlington House, 1870 and 1893. HOLT, MRS. GEORGE, MOSSLEY HILL, LIVERPOOL. THE JEW'S HARP. Oil. Panel, i ft. x 10 in. KAY, ARTHUR, ESQ. (Address unknown.} A HUNTING PARTY. Pen outline and water-colour, i ft. 2 in. x 10 in. Signed, and dated 1824. 120 SIR DAVID WILKIE KINNEAR, BOYD, ESQ., 39, EBURY STREET, W., AND KINLOCH HOUSE, FIFE. PEASANTS. 2 ft. 6 in. x 3 ft. 4 in. Very early; painted in about 1805. PEASANTS. 2 ft. 6 in. x 3 ft. 4 in. The same. KINNEAR, MRS. C, 12, GROSVENOR CRESCENT, EDIN- BURGH. PITLESSIE FAIR. Canvas, 2 ft. i in. x 3 ft. 8 in. Painted for Mr. Kinnear in 1805. KNIGHT, A. R. BOUGHTON, ESQ. (Address unknown.} THE VETERAN HIGHLANDER. Panel, i ft. 2 in. x i ft. Painted for Payne Knight, Esq., in 1820. Exhibited, Burlington House, 1882. LANSDOWNE, THE MARQUIS OF, BOWOOD, WILTS. GRANDMAMMA'S CAP. 10 in. x 7 in. THE SICK LADY. Panel, i ft. 8 in. x i ft. 10 in. Painted in 1809. THE JEW'S HARP. Panel, 6 in. x 5 in. Painted in 1809. THE WARDROBE RANSACKED. Panel, 10 in. x 8 in. Exhibited, Burlington House, 1884. THE CONFESSOR CONFESSING, A SCENE WITNESSED IN TOLEDO. Panel, 4 ft. i in. x 3 ft. 3 in. Painted in 1833. Exhibited, Burlington House, 1888. CATALOGUE OF WORKS 121 LADY LANSDOWNE WITH HER PAGE. Painted in 1809. THE CONFESSIONAL. Painted in 1827. LAURENCEKIRK, ST. LAURENCE'S HALL. PORTRAIT OF LORD ARBUTHNOTT. Painted in 1840. LEESON, R., ESQ., MOSLEY STREET, NEWCASTLE-ON-TYNE. WATER-COLOUR OF THE FIRST EARRING. MANSFIELD, THE EARL OF, CAEN WOOD, HAMPSTEAD. THE VILLAGE POLITICIANS. 2 ft. 6 in. x 3 ft. 4 in. 1806. MELVILLE, MISS LESLIE, MELVILLE HOUSE, FIFE. UNFINISHED PICTURE OF PRINCESS VICTORIA AT AGE OF 13, WITH THE DUCHESS OF KENT AND OTHER PERSONS. 5 ft. x 4 ft. SOME EARLY SKETCHES BY THE ARTIST, AND SOME OF HIS LETTERS. MERCHANT TAYLORS' COMPANY, THE, MERCHANT TAYLORS' HALL, E.G. PORTRAIT OF THE DUKE OF WELLINGTON IN THE UNIFORM OF CONSTABLE OF THE TOWER, WITH HIS CHARGER. MILLNS, R. G., ESQ. (Address unknown.) THE SOLDIER'S GRAVE. Panel, 7 in. x 6 in., semicircular top. Painted in 1813. Exhibited, Burlington House, 1882. 122 SIR DAVID WILKIE MORRISON, MRS., CARLTON HOUSE TERRACE. MINIATURE OF A GENTLEMAN. MINIATURE OF THE ARTIST'S BROTHER. Exhibited, Burlington House, 1879. NAYLOR, JOHN, ESQ., LEIGHTON HALL, WELSHPOOL. THE WHISKY STILL. 5 ft. i in. x 3 ft. n in. Signed, " David Wilkie." Purchased at the sale of the King of Holland's Collection at the Hague. Exhibited at Royal Academy in 1840. GRACE BEFORE MEAT. 4 ft. i in. x 3 ft. 2 in. Signed, " David Wilkie." Purchased from G. Burke, Esq., of New Orleans, for whom it was painted. Exhibited at Royal Academy in 1839. CELLINI EXHIBITING A SPECIMEN OF HIS WORK TO THE POPE. 4 ft. x 3 ft. 2 in. Signed, " David Wilkie." SANCHO PANZA IN THE DAYS OF His YOUTH, sometimes called GIRL AT WELL, i ft. 1 1 in. x i ft. 7 in. Signed, " David Wilkie." (Upright picture.) Purchased from H. McConnell, Esq., of Manchester. Exhibited at Royal Academy in 1835. READING THE WILL, i ft. 3 in. x n in. Signed, "D. Wilkie, 1819." Exhibited at the British Institution in 1821. BATHSHEBA. i ft. 8 in. x i ft. 3 in. Exhibited at the British Institution in 1818. Painted for John Townshend, Esq. SKETCH OF JOHN KNOX DISPENSING THE SACRAMENT TO MARY QUEEN OF SCOTS, i ft. n in. x i ft. 6 in. CATALOGUE OF WORKS 123 NORMANBY, THE MARQUIS OF, WINDSOR. PORTRAIT OF HER MAJESTY QUEEN VICTORIA. 8 ft. g in. x 5 ft. 8 in. NORMANTON, THE EARL OF, SOMERLEY, RINGWOOD. SKETCH FOR READING THE WILL. Canvas, 10 in. x 7 in. Exhibited, Burlington House, 1885. NORTHBROOK, THE EARL OF, STRATTON, WIN- CHESTER. THE BOUNTY MONEY, OR THE VILLAGE RECRUIT. Canvas, 2 ft. x 2 ft. 5 in. Painted in 1804. THE LETTER WRITER CONSTANTINOPLE. Bought in 1840 from Lord Chas. Townshend, who obtained it at Wilkie's sale for ^"447. ARAB RELATING THE TAKING OF ACRE. Panel, 2 ft. 2 in. x i ft. 9 in. SKETCH FOR THE CHELSEA PENSIONERS, i ft. x i ft. 6 in. DEATH OF THE RED DEER, OR THE ATHOL HIGHLANDER. Painted in 1821. Bought from the Rogers Sale in 1856 for ^394. Engraved by Lightfoot. THE SICK LADY. Panel, 5 in. x 6 in. From the Baring Collection. SKETCH FOR THE RABBIT ON THE WALL. Panel, 8 in. x 7 in. SKETCH FOR A WOMAN IN THE PENNY WEDDING. 124 SIR DAVID WILKIE NORTHUMBERLAND, THE DUKE OF, ALNWICK CASTLE. THE GENTLE SHEPHERD. OGILVY, MRS. HAMILTON. (Address unknown.} PORTRAIT OF MRS. HAMILTON NISBET FERGUSON. Canvas, 4 ft. i in. x 5 ft. 8 in. ORMONDE, THE MARQUIS OF, KILKENNY CASTLE, IRELAND. PORTRAITS OF WILLIAM IV. AND QUEEN ADELAIDE. Replicas of those at Windsor Castle. Painted for the British Embassy in Paris in 1834. OXFORD UNIVERSITY. PORTRAIT OF WILLIAM IV. AND QUEEN ADELAIDE. Whole- length. Painted in 1838 READ, MRS. JOHN. (Address unknown.} THE SMUGGLERS. 1824. RIDDELL, MRS. (NIECE OF SIR DAVID), THE ANCHORAGE MELROSE. SLIGHT SKETCH IN CRAYONS OF MRS. RIDDELL AS A CHILD IN CONFIRMATION CAP. 1833. THE FIRST ORIGINAL OIL SKETCHES FOR THE LETTER OF INTRODUCTION AND THE BREAKFAST. CRAYON STUDY OF A BOY FOR THE PICTURE, GRACE BEFORE MEAT. PORTRAITS IN OIL OF THE OWNER'S GRANDFATHER AND GRANDMOTHER. Painted for Capt. John Wilkie. CATALOGUE OF WORKS 125 RIDLEY, VISCOUNT, CARLTON HOUSE TERRACE. NOT AT HOME. Painted in 1834, ROBERTSON, MRS. L. (Address unknown.} KING ALFRED IN THE COTTAGE. Oil. Canvas, i ft. 6 in. x i ft. 2 in. Initialled, and dated 1806. ROBINSON, SIR J. CHARLES, HARLEV STREET, W. MANY ORIGINAL SKETCHES FOR PICTURES. SALISBURY, THE MARQUIS OF, HATFIELD. THE DUKE OF WELLINGTON. Canvas, 7 ft. 10 in. x 4 ft. 10 in. Painted in 1835. SANDERSON, ARTHUR, ESQ., LEARMOUTH TERRACE, EDINBURGH. THE BRIDE'S TOILET. 3 ft. 4 in. x 4 ft. 2 in. SHEPHERD, E., ESQ., THE MOUNT, PONTEFRACT. ALFRED IN THE NEATHERD'S COTTAGE. 2 ft. x i ft. 6 in. From the larger picture. SPENCE, MRS. L., 50, ROTHBURY TERRACE, HEATON, NEWCASTLE-ON-TYNE. WATER-COLOUR DRAWING FOR THE CLUBBISTS. 5 in. x 4 in. 126 SIR DAVID WILKIE SUTHERLAND, THE DUKE OF, TRENTHAM, STAFFORD- SHIRE. THE BREAKFAST. Panel, 2 ft. 7 in. x 2- ft. 4 in. Painted in 1817. TANKERVILLE, THE EARL OF. PORTRAIT OF THE EARL OF TANKERVILLE. Painted in 1837. THOMSON, G., ESQ., THURLEIGH, BEDFORD. A REPLICA OF THE COTTER'S SATURDAY NIGHT. i ft. x 10 in. Signed. DUNCAN GRAY (small variation). Painted in 1819. TREMAYNE, LIEUT.-COL. (Address unknown.} THE WARDROBE RANSACKED. Panel, i ft. 6 in. x i ft. 2 in. Painted for Lord de Dunstanville in 1810. Exhibited, Burlington House, 1882. WALTER, J., ESQ., BEARWOOD, WOKINGHAM. THE CARD PLAYERS. Panel, i ft. 10 in. x 2 ft. 3 in. Painted in 1808. Exhibited, Burlington House, 1882. WELLINGTON, THE DUKE OF, APSLEY HOUSE, LONDON. CHELSEA PENSIONERS READING THE GAZETTE OF THE BATTLE OF WATERLOO. Panel, 3 ft. 4 in. x 5 ft. 2 in. Painted for the Duke in 1822. CATALOGUE OF WORKS 127 PORTRAIT OF LADY LYNDHURST. Painted in 1831. GEORGE IV. IN HIGHLAND COSTUME. Canvas, 9 ft. 2 in. x 5 ft. 10 in. GEORGE IV. 1830. Presentation portrait, but the Duke paid the cost of the picture, ^420. WILKIE, MRS., THE FIRS, WOKING. SKETCH FOR THE MOTHER AND CHILD IN THE FIRST EARRING. HEAD OF MARY QUEEN OF SCOTS. UNFINISHED VIEW OF CONSTANTINOPLE. All in water-colour. PORTRAIT OF COL. WILKIE AND HIS SISTER (MRS. WYNFIELD) AS CHILDREN. In oil. WILKIE, REV. DAVID (NEPHEW OF SIR DAVID), EAST WITTON VICARAGE, MIDDLEHAM, R.S.O. WILKIE'S FATHER AND MOTHER. Panel, i ft. x 8 in. PORTRAIT OF SIR D. WILKIE. 2 ft. 5 in. x 2 ft. PORTRAIT OF MR. WILKIE, SON OF SIR DAVID. 2 ft. 5 in. x 2ft. THE DUKE OF WELLINGTON STANDING BY HIS HORSE. 2 ft. 10 in. x 2 ft. 3 in. QUEEN VICTORIA ON HORSEBACK. 2 ft. 10 in. x 2 ft. 3 in. SCENE FROM " THE GENTLE SHEPHERD." i ft. 6 in. x i ft. N.B. Mr. Wilkiealso possesses Wilkie's Cross of the Legion of Honour, given him by Louis Philippe, and Wilkie's Bible, with an autograph inscription in it. 128 SIR DAVID WILKIE GERMANY. MUNICH. THE KING OF BAVARIA, MUNICH. READING THE WILL. Panel, 2 ft. 6 in. x 3 ft. 10 in. Painted for the King in 1820. TURKEY. CONSTANTINOPLE. THE SULTAN'S PALACE. PORTRAIT OF QUEEN VICTORIA. Painted in 1841. PICTURES WHICH CANNOT AT PRESENT BE TRACED (For details, see List of Works on page 89) 1 803. Ceres in search of Proserpine. Diana and Calisto. Douglas and the Hermit. 1806. Sunday Morning. Portrait of William Stodart, Esq. 2 copies. Portrait of Dr. Carnaby. Portrait of M. Stodart, Esq. Portrait of Mrs. M. Stodart. Portrait of Mr. Clough. 1807. The Clubbists. The New Coat. Portrait of Lady Mary Fitzgerald. 1809. The Cut Finger. 1 8 10. Family of Thomas Neave, Esq. A Gamekeeper. 1814. The Pedlar. 1815. Distraining for Rent. Portrait of Hon. Miss H. Phipps. 1818. The Errand Boy. Portrait of Abraham Raimbach. 1819. The Death of Sir Philip Sidney. The Whisky Still of Lochgilphead. 1820. Bacchanals gathering Grapes. 1821. Guess my Name. 2 copies. K 130 SIR DAVID WILKIE 1823. Portrait of the Duke of York. 1825. The Highland Family. 1828. Portrait of a Spanish Senorita. 1829. Cardinals, Priests, and Roman Citizens washing the Pilgrims' Feet in Rome. Head of a Piping Boy (life-size). Baptism in the Church of Scotland. 1831. Portrait of Viscount Melville. Peveril of the Peak. 1834. The Spanish Mother and Child. Portrait of Sir John Leslie. 1835. Portrait of Rev. E. Irving. The First Earring (small replica). The Nursery. Portrait of Sir James M'Gregor. 1836. Domestic Life. The Peep o' Day Boy. The Duke of Wellington writing a Despatch. Napoleon and Pius VII. at Fontainebleau. 1837. Mary Queen of Scots escaping from Lochleven Castle. The Cotter's Saturday Night. 1838. The Empress Josephine and the Fortune-teller. Portrait of Daniel O'Connell. Portrait of Mrs. Moberley. 1839. Portrait of Joseph Wilson, Esq., and Grandson. Portrait of Master Robert James Donne. 1840. The Indian Hookabadar. Portrait of James Hall, Esq. William IV. (head only). Portrait of Sir Wm. Knighton. Portrait of the Artist (unfinished). 1841. Portrait of Mehemet Ali Pacha of Egypt. The School. INDEX Abbotsford Family, The, 49-51, m. Adelaide, Queen, portrait of, 73, 103, 124. Alfred in the Neatherd* s Cottage, 26, 114, 125. Allan, David, i, 7. Allan, Sir William, 7, 8. Angerstein, Mr., 19, 27. Argyll, Duchess of, 45. Asphaltum, Wilkie's use of, 13, 33, 69, 70. Bagpiper, 7 he, 39, 106. Baillie, Dr., 35, 42. Baird, Sir David, 76, 114. Baird, Sir David, discovering the Body of Tippoo Sultan, 75, 76, 114. Barie, engravings of Wilkie's pic- tures by, 83. Battle of Waterloo, 15. Bavaria, King of, 53, 61. Beaumont, Sir George, 14, 17, 18, 20, 21, 22, 23, 24, 25, 26, 32, 34, 35, 44, 62, 63, 70. Blind Fiddler, The, 21, 23-25, 28, 29, 66, 87, 106. Blind Man's Bu ff, 36, 103; sketches for, 36, 105, 112, 114. Bounty Money, The, or the Village Recruit, 15, 123. Bourgeois, Sir Francis, 27. Boys catching Rats, 36, 108. Breakfast, The, 48, 126. Brocklebank, T., 41, 114. Buccleuch, Duke of, 73, 116. Burnet, John, 7, 8, 87. Card Players, The, 29, 126. Carlyle, Thomas, on \Vilkie's his- torical paintings, 74. Cellini, Benvenuto, and Pope Paul HI., 86, 122. Chantrey, Sir F., 3, 61. Chelsea Pensioners, 46, 47, 68, 87, 123, 126. China Menders, The, 54, 116. Collins, William, 39, 54, 59, 60, 72, 74- Columbus, 76, 87, 119. Cottage Door, The, etching, 85, 86. Council of War, The, 67, 103. Cousen, T., engravings of Wilkie's pictures by, 77, 83, 105. Cults, Wilkie's birthplace, 2 ; me- dallions of Wilkie's parents at, 3, 38. Cunningham, Allan, 5, 14, 15, 30, 41. Cut Finger, The, 30, 56 /;. Davison, Alexander, 26. 132 INDEX Distraining for Rent, 37, 44. Dobree, Samuel, 40, 115. Duncan Gray, or the Refttsal, 42, 108, 109, 126. Edgeworth, Miss, 78. Edinburgh, the Drawing Academy, 6,7- Elford, Sir Richard, 32. Etchings by Wilkie, 85. Fabre, M., 63. Ferguson, Sir Adam, 49, 50. Freeling, Sir Francis, 39. Fuseli, Henry, 16. Gamekeeper, The, 35. Geddes, Andrew, 54, 85 ; portrait of Wilkie by, 85. George IV., King, 53, 54, 67, 71, 73 ; portraits of, 73, 104, 127. George IV., Entry of into Edin- burgh, 54, 55, 71, 73, 104. Gloucester, Duke of, 28, 29. Gordon, Sir John Watson, 7, 8. Graham, John, 7, n. Guerilla's Departure, The, 67, 103. Guerilla's Return, The, 67, 73, 103. Hamilton, Duke of, 49, 62. Hardie, Miss, cousin of Wilkie, 57 > "9- Haydon, B. R., 16, 18, 19, 32, 42, 43. 59. 60, 66, 67, 69, 70, 71, 72. Hogg, James, 52. Irving, Edward, 74. Irving, Washington, 64. Jackson, John, i, 16, 66. Joseph, statue of Wilkie by, 83. Josephine, The Empress, and the Sorceress of San Domingo, 76. Kellie, Lord, portrait of, 67, 118. Kinnear, Boyd, 12, 120. Kinnear, Charles, 10, 14. Knighton, Sir William, 55. Knox Dispensing the Sacrament ', 78, III, 122. Knox Preaching, 29, 54, 73, 87, 106, 107. Laing, David, 77, 85. Lansdowne, Lady, portrait of, 30, 121. Lansdowne, Lord, 30, 120. Lawrence, Sir Thomas, 19, 31, 58, 64, 71. Leslie, C. R., 44, 72, 83. Letter of Introduction, The, 17, 36, 39-41, 68, 1 14, 115 ; sketch for, 41 ; cartoon in " Punch " after, 41,42. Leven, Lord, 6, 7, 27. Lister, David, 58. Liverpool, Lord, 75. Lost Receipt, The, etching, 86. Mahon, Lord, 64. Mansfield, Lord, 17, 18, 121. Mary Queen of Scots escaping from Lochleven Castle, 29, 76. Mehemet Ali, portrait of, 80, 8l. Melville, Lord, 14, 27. Metternich, Prince, 62. Motlier and Child, etching, 85. Mulgrave, Lord, 26, 27, 28, 35. Mulready, 42. Napoleon and Pius VII. , 76. Northbrook, Lord, 15, 123. O'Connell, Daniel, portrait of, 77, INDEX '33 Parish Beadle, The, 55, 56, 106. Peasants, 10, 120. Pedlars, The, 42. Peel, Sir Robert, 63, 75, 82, 85. Peep o' Day Boy, The, 77, 109. Penny Wedding, The, 49, 52, 53, 68, 103, 123. Pitlessie Fair, 12-15, 1 2O - /b/^, 7%, a;za? Benvenuto Cellini, etching, 85, 86. Rabbit on the Wall, The, 44, 87, j 109, 114, 118, 123. Raeburn, Sir Henry, 8, 19, 54, 55. Raimbach, engravings of Wilkie's pictures by, 44, 83, 105, 117. Rat Hunters, The, 36, 108. Reading the Will, 53, 61, 109, 123, 128 ; etching, 85. Refusal, The, 42, 108, 109, 126. Rent Day, The, 27, 28, 29, 66, 117. Riddell, Mrs., niece of Wilkie, 57 ., 123. Ruskin, J., 25, 29. Sandilands, Sir George, 40, 41. Saragassa, The Defence of, 67. Saragassa, The Maid of , 76, 103, Scott, Sir Walter, compared with Wilkie, 25 ; meeting with Wilkie, ' 31 ; visits of Wilkie to, 49, 55 5 The Abbotsford Family, 49-51 ; loyalty of, 54 ; portrait of, 55, j 68 ; his financial troubles, 6l ; I his reputation on the Continent, i 62 ; illustrations by Wilkie for the Waverley Novels, 68, 69 ; his , opinion of John Knox Preaching, 74 ; his death, 75. Scottish Wedding, The, 49. Shee, Martin, 71, 72. Sick Lady visited by her Physician, 29. Sidney, Sir Philip, Death of, 54. Sizeranne, M. de la, 88. Smuggling Still at Work, A, 77. Stafford, Lord, 19, 26, 48. Stewart, Dugald, 49. Stodart, Mr. and Mrs., 17. Strachan, Bishop, 5. Sultan, portrait of the, 78, 104. Turner, J. M. W. , 20 ; his Funeral of Wilkie, 82. Victoria, Queen, Wilkie and, 73, 77 ; portraits of, 77, 78, 104, 113, 121, 123, 127, 128. Victoria, Queen, Presiding at her jirst Council, 76, 104. Village Festival, The, 34, 108 ; sketch for, 36, 37, 105. Village Politicians, The, 17, 18, 24, 66, 113, 119, 121. Village Recruit, The, 15, 123. Wardrobe Ransacked, The, 34, 120, 126. Wellington, Duke of, 35, 45, 46, 47. 64, 75 ; portraits of, 75, 121, 125, 127. Wellington on the Eve of Waterloo, 76. West, Benjamin, 20, 28. Whisky Still, The, 54, 87, 114, 122. Whitefoord, Caleb, 40, 41, 115. Wilkie, Sir David, birth and parentage, 2 ; his ancestors, 4 ; schooldays, 5, 6 ; sent to the Edinburgh Drawing Academy, 6 ; use of clay models, 10, 28, 87 ; his appearance, n, 19; Pit- lessie Fair, 12 ; visit to London, INDEX 15 ; The Village Politicians, 17, 18 ; its success, 18 ; his opinion of his fellow-students, 19, and of contemporary art, 20 ; The Blind Fiddler, 21, 23 ; influence of Teniers on, 23, 24 ; visit to Cults, 27 ; The Rent Day, 28 ; his diary, 31 ; meeting with Sir Walter Scott, 31 ; elected A.R. A., 34 ; ill-health, 35 ; residence in Chelsea, 35; elected R.A., 36; opens a "one-man show," 36; death of his father, 37 ; residence in Kensington, 38 ; his mother and sister come to live with him, 38, 39 ; The Letter of Introduc- tion, 39 ; visits to the Continent, 42, 44 ; commission from the Duke of Wellington, 45 ; Chelsea Pensioners, 46 ; visit to Abbots- ford, 49 ; Tlie Abbotsford Family, 49 ; visit to Hogg, 52 ; The Penny Wedding, 52 ; Reading the Will, 53; visit to Scotland, 1821, 54; appointed Limner to the King in Scotland, 55 ; death of his mother, 56 ; death of his brothers, 56 ; his remaining descendants, 56 . ; tour on the Continent, 58 ; criti- cisms on Italian art, 59 ; dinner at Rome in his honour, 62 ; visit to Spain, 63 ; study of Spanish art, 64 ; effect of Italy and Spain on his art, 66, 67 ; decrease of his popularity, 67 ; illustrations for the Waverley Novels, 68, 69 ; pernicious use of varnish, 69, 70 ; appointed Painter in Ordinary to the King, 71 ; royal portraits, 73> 77 J visit to Ireland, 77 ; knighted by William IV., 78; removal to Vicarage Place, Ken- sington, 78 ; visit to Constantin- ople, 78; visit to Palestine, 79; death and burial, 82 ; influence of, 83 ; Leslie's account of, 83 ; his etchings, 85 ; his methods, 8 7 . Wilkie, Rev. David, father of the artist, 2, 4, 6, 27, 37, 38. Wilkie, Rev. David, nephew of the artist, 57 ;/., 127. Wilkie, Lieut. -Col. David, 56 n. Wilkie, Mrs. David, niece of the artist, 56 and it., 8o., 127. "Wilkie Gallery, The," 51. William IV., portraits of, 73, 103, 104, 118, 124. Woodburn, William, 78, 79, 81. CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. THE GREAT MASTERS IN PAINTING AND SCULPTURE SOME OPINIONS OF THE PRESS. "Dr. Williamson is to be congratulated upon the singular excellence of these handbooks. Their special characteristic is their independent in- vestigation. It was, perhaps, the unique method of R. A. M. Stevenson's 'Velasquez' that set the fashion, but certainly each volume of the series is fresh and individual, and contains the impressions of writers who have stood face to face with the pictures under discussion." Pall Mall Gazette. 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