Page:A biographical dictionary of eminent Scotsmen, vol 9.djvu/359

Rh Chart of his Voyage for the Discovery of the New World to the Spanish Authorities." Here the great navigator, after being received in the convent at the gate of which he had craved a morsel of bread and a cup of water for his child, who was wearied with the journey, is explaining at table to the prior his conviction that a new world yet remained to be discovered, and showing a chart of the voyage by which such a discovery might be effected. 2, "The First Ear-ring." Here a young girl, fluttering between love of finery and dread of pain, contemplates the glittering ornaments with which she is about to be adorned and the operator by whom her ears are to be pierced for the purpose. 3, "Portrait of Field-Marshal the Duke of Wellington in the Dress he wore on Active Service." 4, "Sancho Panza in the days of his youth." 6, "Portrait of Sir James M'Grigor, Bart,, Director-General of the Army Medical Department." 6, " Portrait of the Rev. Edward Irving."

After having done so much in the illustration of Scottish and Spanish character, the attention of Wilkie was now directed to Ireland, where the picturesque scenery and semi-barbarous condition of the people, already become so popular through the writings of Miss Edgeworth, had as yet failed to attract the notice of our artists. He accordingly repaired to Dublin in August, 1835, and in his rambles through the country drew ten sketches in pencil, which were designed for future paintings; but of these none was executed except "The Peep-o'-Day Boy." This, with "The Interview between Napoleon and the Pope in 1813," and four other paintings, was sent to the exhibition in 1836. On the 15th of June, the same year, Wilkie received the honour of knighthood—a title which, high though it be, could scarcely aggrandize him who was already so eminent in Art. Such as it was, however, the artist received it with gratitude, and wore it with becoming gentleness. He was at this period so intent upon his professional labours, that on the removal of the Royal Academy from Somerset House to Trafalgar Square, in 1836, Wilkie had seven paintings in the first exhibition at the new buildings. These were, 1, "Portrait of William IV," 2, "Mary Queen of Scots Escaping from Lochleven;" this event was detailed according to the description of Sir Walter Scott in the tale of the Abbot, rather than the strict record of history. 3, "The Empress Josephine and the Fortune-Teller." This was the well-known incident of the black prophetess, or obi-woman of St. Domingo, foretelling to Josephine that she should become a crowned empress, while she was still an undistinguished girl. 4, "Portrait of the Earl of Tankerville." 5, "The Cotter's Saturday Night." 6, " Portrait of Sir William Knighton." 7, "Portrait of a Gentleman reading."

A still more important subject upon which Wilkie had been employed for some time past, was that of Sir David Baird discovering the body of Tippoo Saib under the gateway of Seringapatam, which he was commissioned to paint by Lady Baird. This task he had prosecuted at intervals since 1834, and his diligence in procuring the necessary materials for such a picture fully evinced the zeal with which he prosecuted it, and the importance he attached to it. For this purpose he sketched the trophies and arms connected with the event contained in Fern Tower, the habitation of Lady Baird; procured European arms from the cutlers' and gunsmiths' shops; and obtained the loan of a complete magazine of Oriental dresses, ornaments, and jewellery, from such of his friends as were connected with the East Indies. He was even so fortunate as to get a pelisse and pair of breeches that had been worn by Tippoo himself.