Page:A biographical dictionary of eminent Scotsmen, vol 9.djvu/353

Rh in the hall at Pall Mall. The indignation which this event excited in the mind of Wilkie was thus turned to the best account; and in sketching the principal characters of the group, he availed himself of what had occurred in the event itself, when the legal functionaries went to work with "'Tis so nominated in the bond," while himself and his friends indignantly protested, but in vain. The work, when finished, was sent to the Exhibition of the British Institution; and such was the pathetic tale which it told, that many thought it would bring both discredit and danger upon the task of levying a distraint ever afterward. After it had remained for some time in the exhibition, and attracted universal admiration, as well as not a few candidates for its purchase, it was finally sold for 600 guineas to the directors of the British Institution. A more cheerful theme followed in "The Rabbit on the Wall," where a peasant, returned from his day's labour, is diverting his children by this curious phantasmagoria on the wall of his cottage. His state of health again requiring intermission, Wilkie, in 1816, made a tour of the Netherlands, to examine its galleries, and study the rich colouring of the Dutch school of painting. He saw nothing, however, in its style to induce him to forego his own. At his return he painted "The Breakfast," for the Stafford Gallery. In 1817, he made a journey to Scotland, where he visited both Highlands and Lowlands, and was everywhere received with the most flattering distinction, while he had also the pleasure of associating with his illustrious cotemporaries—Dr. Chalmers, Sir Walter Scott, and the Ettrick Shepherd. The latter, on being assured that the stranger now introduced to him was no other than "the great Mr. Wilkie," seized him by the hand, and rapturously exclaimed "I cannot tell how proud I am to see you in my house, and how glad I am to see you are so young a man." When Scott heard of this, he declared "it was the finest compliment ever paid to man." While a guest of Sir Walter, Wilkie painted " The Abbotsford Family Picture/' in which the poet, with his family and friends, are grouped together in the garb of south-country peasants in the act of planning a merry-making.

On returning to London, Wilkie, whose whole heart was revived by the sweet influences of his native heather, addressed himself to a Scottish subject, and produced his "Duncan Gray," founded upon the well-known song of Burns. He had tried his hand upon this theme three years before, and produced "The Refusal," of which the present painting was a fresh edition, with many alterations and improvements. In the following year (1818) his little picture called "The Errand Boy" appeared in the Royal Academy exhibition. Then succeeded " The Penny Wedding," a national work, intended to commemorate an old Scottish fashion only lately obliterated, and still freshly remembered. In this painting, which was executed to order for the Prince Regent, the artist admirably brought out the fun, frolic, and intense enjoyment which such a festival invariably engrafts upon the staid character and saturnine physiognomy of his countrymen. His next production was the "Death of Sir Philip Sidney," intended for a work about to be published by his friend Mr. Dobree. At this time, also, he was engaged to produce a painting upon which all his strength was to be employed, and from which much was expected, for he was to commemorate in it the crowning victory of Waterloo, and execute it for the Duke of Wellington himself, the hero of the fight. In this case, it might have been expected that the artist would have repaired forthwith to the scene of action, for the purpose of sketching its peaceful scenery, and animating