Page:A biographical dictionary of eminent Scotsmen, vol 9.djvu/253

Rh hero-navigator, recovering from his astonishment, and preparing to confront the prohibition of this unknown power with defiance, or even with actual battle, if such should be needed and the strange figures upon the crowded deck, each of which tells its own tale, compose, of themselves, an epic such as mere narrative would find it difficult to equal. But who in Edinburgh cared about De Gama, or had read the "Lusiad," even in a translation? The exhibition, therefore, so far as pecuniary profit went, was a failure; and it was not until historic knowledge, combined with critical taste, had pointed out the striking merits of this production, that public attention atoned for its neglect. It was afterwards secured for the Trinity House of Leitb, where it now remains.

To the exhibition of 1843 Scott sent his paintings of "Richard III. receiving the Children of Edward IV. from their Mother;" "The Four Great Masters, being Michael Angelo, Raffaele, Titian, and Coreggio," which were in separate pictures, but forming one series; and the "Belated Peasant," from Milton. These are reckoned to be among the best of his productions. At this period, also, in consequence of the competition for the painting of the new houses of parliament, Scott, whose emulation had been roused by the subject, sent two cartoons as a competitor, the subjects being "Drake witnessing the Destruction of the Ships of the Spanish Armada" and "Wallace defending Scotland." These he painted exclusively in his own style, and with a reference to his own principles of art; but as they had a different ordeal to pass through, they were tried and rejected. When the competition in fresco for the same purpose succeeded, Scott, who was one of the few Scottish artists that understood this style of painting, sent two specimens, executed upon the principles which had occasioned the condemnation of his first attempts, and these also shared in the fate of their predecessors. Returning to a species of competition in which he now had better chances of success, he sent to the exhibition of 1844, "Wallace the Defender of Scotland;" "Sir Roger Kirkpatrick Stabbing the Red Cornyn, in the Cloisters of the Greyfriars, Dumfries;" the "Baron in Peace;" and "May," from the Merchant's Tale, in Chaucer's "Canterbury Pilgrims."

The contributions of David Scott to the exhibition of 1845 were two pictures, the one having for its subject, "Christian listening to the Instructions of Piety, Charity, and Discretion;" and of the other, "The Dead rising at the Crucifixion." In 1846 were exhibited his "Peter the Hermit preaching the Crusades," "Dante and Beatrice," "Fragment from the Fall of the Giants," "Rhea bewailing the Overthrow of her Titan Sons," and "The Ascension." In 1847 he had only two paintings in the exhibition; these were "The Triumph of Love," and a small fresco which he had formerly exhibited in London. In 1848 he sent to it "Time Surprising Love," "Children Following Fortune," "Queen Mary of Scotland at the place of Execution," "Hope passing over the Sky of Adversity," and "The Baptism of Christ." To the exhibition of 1849 he sent "Delusive Pleasures," "A Sketch of the Fire of London," and "The Domestic Arcadia."

In this catalogue of his annual productions, great though it is, and implying an amount of diligence, perseverance, and intellectual enterprise, such as the artistic studio can seldom equal, we have not taken into account the numerous portraits and sketches with which every interval of leisure seems to have been fully occupied. Alone and unaided, and confronted by a whole world of hostile criticism, Scott had fought the battle step by step, and been obliged to struggle for every inch of ground that brought him nearer to the mark of his ambition.