THE J. PAUL GETTY MUSEUM LIBRARY 
 
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MASTERS IN ART 
 
 jFasteinjirt 
 
 ^•^triE&fflffllustratell-illpnojgraplis 
 
 The remaining artists to 
 
 be considered during the current. 
 
 1906, Volume are Bouguereau, Goya, and Francia. 1 he numbers 
 
 of 4 Masters in Art ’ which have already appeared in 1906 are : 
 
 Part 73, JANUARY 
 
 STUART 
 
 Part 74, FEBRUARY 
 
 DAVID 
 
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 SODOMA 
 
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 INGRES 
 
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 WILKIE 
 
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 The Temple 
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 T his facsimile reproduc- 
 tion of the water-color by Hubert 
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 the artist has approved as being a perfect re- 
 production of the original painting. We can- 
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.U,r,KHY, LONDON 
 
X 
 
 A LLEliY OF BU1TISH AiH’, LONDON 
 

 CHELSEA PENSIONERS READING THE WATERLOO GAZETTE 
 OWNED J { Y T1IE DUKE OE WELLINGTON, AESLEY HOUSE, LONDON 
 
HH 
 
 PORTE AIT OF WILKIE TIT HIMSELF 
 SCOTTISH NATIOMAL PORTRAIT GAL1EET, EDINBURGH 
 From the time when he was too poor to afford models until long after he had at- 
 tained celebrity, Wilkie, for the practice it gave him, frequently painted his own 
 likeness. One of the most interesting of these portraits is here reproduced, showing 
 him at the outset of his career, not long after his first great success. In person, Wilkie 
 was tall and somewhat ungainly; his complexion was pale, his eyes blue, his thick 
 hair a tawny yellow, his nose rather short, and his mouth humorous. 
 
 [ 316 ] 
 
MASTERS IN ART 
 
 &tr Datoili tttUfcir 
 
 BORN 1785: DIED 1841 
 ENGLISH SCHOOL 
 
 S IR DAVID WILKIE, son of David Wilkie and his third wife, Isabella 
 Lister, was born on November 1 8 , 1785, at Cults, a small village on the 
 banks of Eden Water in the county of Fife, Scotland, where his father was 
 settled as minister of the Presbyterian church. The parish of Cults was poor 
 and the minister’s salary, at no time exceeding £100 a year, barely sufficed for 
 the support of his family of five children — four sons and a daughter. It was 
 therefore amidst the humblest surroundings that David’s early years were 
 passed. Almost from babyhood he showed a fondness for drawing. In later 
 life he used to say that he “could draw before he could read, and paint before 
 he could spell,” and numerous stories are told of the way in which “wee 
 sunny-haired Davie ” covered the bare walls of his nursery in the manse with 
 rude sketches made with a burnt stick or a bit of chalk. 
 
 When six years old he was sent to the village school at Pitlessie, about a 
 mile from home. From all accounts he spent his time there in drawing por- 
 traits of the other boys, which, as his reputation with his comrades increased, 
 he would barter for marbles, pencils, or pieces of chalk. 
 
 At twelve he was removed from Pitlessie school to one at Kettle, two miles 
 farther up the river Eden. The master there, a Dr. Strachan, used to declare 
 that David, though always quiet and demure, was “the most singular scholar 
 he ever attempted to teach, with an eye and an ear for all the idle mischief that 
 was at hand.” Slates, benches, and walls were covered with his sketches. 
 When his head was supposed to be down over his task, he was drawing upon 
 the margin of his book likenesses of his fellow-pupils. 
 
 Even in the “kirk” his irrepressible pencil did not rest, and while his father 
 preached from the pulpit the boy’s eyes, wandering over the cold, bare little 
 building with its heavy pews and clumsy gallery, would be struck by some 
 worthy member of the congregation, and in a moment he was intently sketch- 
 ing his unconscious model on the fly-leaf of Bible or psalm-book. Once, yield- 
 ing to temptation, he even took the minister himself for his subject, drawing his 
 portrait with a piece of soft charcoal on the bald head of the venerable miller 
 of Pitlessie, David’s maternal grandfather, as the latter was sunk in slumber. 
 After eighteen months’ schooling at Kettle the boy was sent for a short time 
 
 [ 317 ] 
 
24 
 
 MASTERS IN ART 
 
 to the Academy at Cupar, where he remained until he was fourteen. There he 
 was taught drawing and dancing by a “wandering professor,” and there, too, 
 he learned to play the fiddle. 
 
 In November, 1799, the minister of Cults having given a reluctant consent 
 to his son’s devoting himself in earnest to the study of art, David, accompanied 
 by his father, went to Edinburgh with a letter of introduction from the Earl of 
 Leven to Mr. George Thomson, secretary of the Trustees’ Academy of Design. 
 He presented himself as a candidate for admission to that institution, but the 
 sketches that he submitted were not deemed good enough to enable him to 
 enter, and it was only through the intervention of Lord Leven that the doors 
 of the Academy were opened to him. 
 
 Ensconced in an attic room in the old part of Edinburgh, Wilkie now be- 
 came a constant attendant at the school, where he pursued his studies under 
 John Graham, master of the classes in drawing and painting. Burnet, one of 
 his fellow-pupils, tells us that he had “very little knowledge of drawing, but 
 much enthusiasm of a queer and silent kind,” and “though behind others in 
 skill, he surpassed all his companions in comprehending the character of what- 
 ever he was set to draw.” “ He was always first on the stairs leading up to the 
 Academy,” writes Burnet, “anxious not to lose a moment of the hours of 
 drawing. . . . After Academy hours those who were apprentices returned to 
 their several professions; but Wilkie invariably went back to his lodging, there 
 to follow out what was begun in the Academy by copying from his own hands 
 and face in a mirror.” 
 
 Often he was to be seen in the market-place, or streets of Edinburgh, sketch- 
 ing some picturesque group; and when too poor to pay his models with money 
 he would play a tune on his fiddle, which was invariably held by them to be 
 ample compensation. 
 
 Such industry as Wilkie’s had its reward. His progress was rapid, and be- 
 fore long he won a ten-guinea prize in a competition among the students, by a 
 picture of ‘ Diana and Calisto.’ This was followed by a study of ‘Village Pol- 
 iticians’ and a sketch from ‘The Gentle Shepherd,’ in both of which his pre- 
 dilection for genre subjects was manifested. 
 
 Early in 1804 we find him once more at Cults, trying his hand at portraiture, 
 and before a year was over he had turned one of the rooms of the manse into a 
 studio, and with a chest of drawers for an easel, had set to work upon his first 
 important composition. For a subject he chose a country fair; for his models, 
 the people of Cults and members of his own family. 
 
 When completed, ‘ Pitlessie Fair,’ as this picture was ultimately called, 
 caused a sensation. People from all the villages round about flocked to Cults 
 to see the famous work and the youthful painter, then barely nineteen. Mr. 
 Ki nnear of Kinloch became its purchaser for £25, which in the estimation of 
 the artist and of all Cults seemed a most munificent sum. 
 
 Encouraged by this success, Wilkie visited St. Andrews, Dundee, and Aber- 
 deen, in the hope of finding employment in portraiture, a branch of art in 
 which he never excelled, but which at that time was more remunerative than 
 any other. Orders, however, were not numerous, and finally, in May, 1805, 
 
 [ 318 ] 
 
WILKIE 
 
 25 
 
 with some £60 in his pockets, he sailed in a packet from Leith for London, 
 carrying with him, besides various sketches, a small picture called ‘Bounty 
 Money, or The Village Recruit ’ which he hoped to dispose of in the metropolis. 
 
 Arrived in London, Wilkie took lodgings at No. 8 Norton St., Portland 
 Road, and as soon as the Royal Academy schools opened, he entered as a 
 probationer. “There is a raw, tall, pale, queer looking Scotchman come,” 
 wrote Jackson, one of the students there, “an odd fellow, but there is some- 
 thing in him.” Wilkie soon became acquainted with his companions, among 
 whom Jackson, Mulready, Haydon, and William Collins were his special 
 friends. Meantime he was advanced from a probationer to a regular student, 
 and outside of study hours began a picture of ‘ The Village Politicians,’ which, 
 through the kindness of a friend, was brought to the notice of the Earl of 
 Mansheld, who somewhat vaguely agreed to purchase it for fifteen guineas. 
 When it was nearly finished Lord Mulgrave and Sir George Beaumont, hear- 
 ing it highly praised by one of Wilkie’s friends, called at his studio to see the 
 painting, with which they were so much pleased that each commissioned him 
 to paint a picture, and, as a further mark of appreciation of his talent, Sir 
 George bestowed upon him Hogarth’s mahlstick, which he owned and had 
 been keeping until some painter should be born who, to his thinking, should 
 be worthy to possess it. 
 
 In spite of all the praise accorded ‘The Village Politicians,’ it was with 
 difficulty that Wilkie could be persuaded to send it to the Academy exhibition, 
 where, however, when hung on the walls it attracted so much attention that it 
 soon was acknowledged to be the picture of the year. No one was more sur- 
 prised at its success than Wilkie himself. Haydon tells an amusing story of 
 how he and Jackson, reading in the paper the day after the opening of the 
 exhibition a commendatory notice of the artist, rushed to Wilkie’s room. 
 “Wilkie, my boy, your name’s in the paper! ’’cried Haydon. “ Is it rea-al-ly ? ’ ” 
 said Wilkie, in his slow drawl. “I read the puff,” Haydon goes on, “we huz- 
 zaed, and taking hands, all three danced round the table until we were tired.” 
 The next day the three friends went to the Academy together. There was no 
 getting near the popular picture. Wilkie, very pale, kept saying: “ Dear, dear, 
 it’s jest wonderful!” 
 
 Would-be purchasers for the painting were numerous, but Wilkie felt that 
 Lord Mansfield had the first claim, though even his modesty demurred at 
 letting his picture go for so small a sum as fifteen guineas. Eventually Lord 
 Mansfield, after some unseemly protest, paid him double that amount. 
 
 For Sir George Beaumont, well known as a lover of art and liberal patron 
 of artists and who became one of Wilkie’s best friends, the young painter now 
 executed his since famous work, ‘The Blind Fiddler.’ Orders now poured 
 in upon him. “I believe I do not exaggerate when I say that 1 have at least 
 forty pictures bespoke,” he wrote to his brother John in India. 
 
 In May, 1807, the artist visited his home in Cults. Great was the rejoicing 
 in the manse and in the neighborhood, where all took pride in his success, and 
 from far and wide friends came to congratulate David and his parents. During 
 this visit Wilkie fell i!l, and it was October before he returned to London. I le 
 
 [3 19 ] 
 
26 
 
 MASTERS I N ART 
 
 then set to work to fill his numerous commissions. Among the best known of 
 his pictures of this period are ‘The Card Players,’ painted for the Duke of 
 Gloucester, and ‘The Rent Day’ for Lord Mulgrave. While at work upon 
 this last subject, to facilitate his study of the effect of light and shade, Wilkie, 
 whose faculty for mechanical work was second only to his talent for painting, 
 modeled little figures in clay, which he arranged in the desired positions in a 
 miniature room made of a box, with a window cut in one end to admit the light. 
 
 Two years after this, in 1809, when twenty-four, Wilkie was elected an 
 Associate of the Royal Academy. His circle of acquaintances was steadily in- 
 creasing. His letters and diary tell of visits, both professional and social, to 
 numerous country-seats: now he is painting a portrait of the Marchioness of 
 Lansdowne at Southampton Castle, now he is at Coleorton visiting Sir George 
 Beaumont, or, again, making a tour in Devonshire with Haydon, whose 
 friendship plays an important role in Wilkie’s life. Drawn to one another it 
 may be by the very differences in their natures, the two men were deeply at- 
 tached. Wilkie’s cautious, practical disposition was frequently a curb upon 
 Haydon’s recklessness, and although the latter in his autobiography often 
 ridicules his friend’s tall, ungainly figure, broad Scotch accent, and slow de- 
 liberation, he nevertheless highly valued Wilkie’s sound judgment, simplicity, 
 and honesty. 
 
 Many stories are told of the young Scotchman’s peculiarities, of his awk- 
 ward manner, and drawling, hesitating way of speaking. His good humor 
 was imperturbable, his nature absolutely free from jealousy, and his industry 
 unceasing. “Lads, let ’s jest be doing,” was a customary way with him of 
 closing a fruitless argument. Haydon tells of his inveterate habit of saying, 
 “ Rea-al-ly.” When one of his friends, Callcott, told him that every one com- 
 plained of this, Wilkie pondered for a moment and then said, “Do they 
 rea-al-ly?” “You must leave it off.” “ I will, rea-al-ly.” “ For heaven’s sake,” 
 said Callcott, “don’t keep repeating it, it annoys me.” Wilkie smiled, and 
 then in the most unconscious mannner said slowly, “Rea-al-ly!” 
 
 Writing of him in after years, Leslie said: “The little peculiarities of his 
 character, as they all arose from the best intentions, rather endeared him to 
 his friends than otherwise. He was a modest man, and had no wish to attract 
 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. Nat- 
 urally shy and reserved, he forced himself to talk. . . . He was always cere- 
 monious, but, as I have said, from modesty, and not from pride or affectation, 
 for no man had less of either.” 
 
 In 1810 Wilkie had an unfortunate experience in being asked to withdraw 
 from the Academy exhibition, prior to its opening, the picture he had sent in, 
 called ‘The Wardrobe Ransacked,’ the alleged reason for the request being 
 that the work was not equal to his previous productions and would suffer by 
 comparison with a picture by Blake, another painter of genre. Although feel- 
 ing that the ignominy of removing his picture would probably be greater than 
 any injury to his reputation which might accrue from exhibiting it, Wilkie 
 withdrew the panel. Conflicting accounts of this transaction render it difficult 
 
 [ 320 ] 
 
WILKIE 
 
 27 
 
 to judge rightly of the facts, but there seems reason to suspect that jealousy of 
 Wilkie’s success among a certain taction of the Academy was at the bottom of 
 the trouble. 
 
 During the following autumn Wilkie was at work upon a large canvas called 
 ‘The Village Festival.’ Towards the close ot the year his health, never very 
 robust, gave way and he was obliged for a time to suspend work. In the fol- 
 lowing February, 1 8 1 1, he was elected to full membership in the Royal Acad- 
 emy. His picture of ‘Blindman’s Buff’ was begun at about this time; ‘The 
 Village Festival’ was completed, and in the spring of 1812 both pictures were 
 exhibited, with a number of others of his works, in a gallery in Pall Mall hired 
 by Wilkie for the purpose. Although it extended his reputation, this undertak- 
 ing not only gave offense to some of his brother Academicians, but was a de- 
 cided financial failure. The public, it is true, patronized the exhibition well, 
 but an attachment for rent was entered against the previous tenant of the 
 room, ‘The Village Festival r was seized, and Wilkie was obliged to pay £32 
 for its release. This incident led to the execution of his picture ‘Distraining 
 for Rent.’ 
 
 In December of this same year, 1812, Wilkie’s father died, and in the follow- 
 ing summer his mother and sister joined him in London, where all made their 
 home together in Lower Phdlimore Place, Kensington. “A more devoted, 
 affectionate son than Wilkie it would have been difficult to find,” writes Lord 
 Ronald Gower. “ Never had he rejoiced over any of his artistic triumphs as he 
 did now with his mother and sister to care for and live with.” 
 
 ‘The Bagpiper,’ ‘The Letter of Introduction,’ and ‘The Refusal’ are the 
 principal pictures of this period, which was also marked by a six weeks’ visit 
 to Paris in company with Haydon. There Wilkie carefully studied the pic- 
 tures in the Louvre, where the works of the Dutch school aroused his greatest 
 admiration. Two years later he again went to Europe, this time accompanied 
 by Raimbach, the engraver of many of his works, and visited the principal 
 cities of the Netherlands. 
 
 To Scotland he devoted his holiday wanderings in 1817, and there became 
 acquainted with the philosopher Dugald Stewart, James Hogg the poet, and 
 w^th Sir Walter, then Mr., Scott, with whom he spent some delightful days at 
 Abbotsford. “I have never been in any place,” he wrote from there to his 
 sister, “where there is so much real good humor and merriment. I here is 
 nothing but amusement from morning till night, and if Mr. Scott is really 
 writing ‘ Rob Roy’ it must be while we are sleeping.” 
 
 Immediately upon his return to London he resumed work upon a picture 
 called ‘The Penny Wedding,’ for which he had made many sketches while in 
 Scotland. This was followed by ‘ Reading the V ill,’ purchased by the King 
 of Bavaria and now in the New Pinakothek, Munich. Several smaller sub- 
 jects were also painted, and meantime the indefatigable artist was engaged 
 upon an important work for the Duke of Wellington, representing ‘Chelsea 
 Pensioners reading the Gazette of the Battle of Waterloo’ — a picture which 
 when exhibited made nearly as much stir, we are told, as Waterloo itself. 
 
 Another expedition to Scotland was undertaken in 1822 for the purpose of 
 
 [ 321 ] 
 
2 S 
 
 MASTERS IN ART 
 
 collecting material for a picture of John Knox preaching, and for a subject 
 commemorative of the visit of George IV. to Edinburgh, for which ‘The Re- 
 ception of George iv. at Holyrood ’ was finally selected. In the following year, 
 on the death of Sir Henry Raeburn, Wilkie had the honor of being appointed 
 his successor as Limner to the King in Scotland. 
 
 Again in the north in 1824, making studies for his ‘John Knox’ and being 
 royally entertained in Edinburgh, Wilkie was called home by his mother’s ill- 
 ness, but reached London too late to see her again in life. This sorrow was a 
 crushing one to him and was followed by a succession of tragedies. His 
 brother James, who had returned from Canada broken in health, died, leaving 
 a widow and family of children; news was received from India of the death of 
 his elder brother John, who also left a widow and several children; and in addi- 
 tion to these blows, the gentleman to whom his sister was engaged dropped 
 dead on the day before her intended marriage. 
 
 This series of misfortunes meant increased financial cares for Wilkie, whose 
 health broke under the strain. A nervous cerebral trouble unfitted him for 
 work, and lus doctors ordered a complete change of air and scene. Accord- 
 ingly, accompanied by his cousin David Lister, and by the American painter 
 Gilbert Stuart Newton (nephew of the portrait-painter, Gilbert Stuart), 
 Wilkie left England for an extended stay in Europe. Paris failed to divert the 
 invalid, rendered restless and despondent by grief, and they turned towards 
 Italy, visiting Milan, Geneva, Pisa, Florence, Rome, Naples, and Pompeii. 
 Gradually Wilkie’s interest in his surroundings was awakened, and the letters 
 he wrote to friends at home are full of his impressions of all that he was seeing. 
 
 In Rome the news reached him of the failure of his print-sellers, involving 
 him in heavy loss. Writing to his brother 1 homas at the time of this new 
 trouble, he said : “ In all these difficulties I feel no want of resource in my own 
 mind. With anything like returning health I can contest the whole of them 
 inch by inch.” But health refused to return. Wandering north to Bologna, 
 Parma, Padua, Venice, and on to Munich, he was advised to spend another 
 winter in a mild climate, and after visiting Prague and Vienna, where he was 
 entertained by Prince Metternich and the French ambassador, he returned to 
 Rome and was made welcome there by a banquet given in his honor by 
 Scottish artists and amateurs. Soon after this the sad news reached him of the 
 death of Sir George Beaumont, who for more than twenty years had been his 
 stanch and helpful friend. 
 
 In the summer of 1827 Wilkie’s health was sufficiently reestablished to 
 allow him to paint, and in Switzerland he once more took up his brush. Thence 
 he journeyed into Spain, and passed seven months at Madrid, where he met 
 and enjoyed the friendship of Washington Irving. The artist was completely 
 captivated by the works of the Spanish masters, above all by those of Murillo 
 and Velasquez, and when, in May, 1828, he left Spain, those painters had be- 
 come his models. 
 
 In June, after an absence of three years, Wilkie was again in London, full 
 of enthusiasm for the works of the Italian and Spanish masters, depreciating 
 all his own early successes, and eager to try his hand at what was to him the 
 
 [ 322 ] 
 
WILKIE 
 
 29 
 
 new method, which had the advantage of being less arduous than his former 
 manner of painting. In the exhibition of the following year were eight of his 
 pictures, all in the changed style, — ‘The Maid of Saragossa,’ ‘The Guerilla 
 Council of War,’ ‘ The Pifferari,’ and others. The general public looked with 
 small favor on these works of their favorite painter, nor was he spared by the 
 critics; but he was firm in his new departure, and four of the pictures were 
 bought by the king, George iv., who professed admiration for Wilkie’s change 
 of style. 
 
 ‘The Reception of George iv. at Holyrood’ was now nearing completion 
 and necessitated another trip to Scotland, and work on ‘The Preaching of 
 }ohn Knox’ was resumed. In 1830, on the death of Sir Thomas Lawrence, 
 Wilkie was appointed Painter in Ordinary to George iv., an office which he 
 retained under both William iv. and Victoria. He also became a candidate 
 for the now vacant office of president of the Royal Academy, but was defeated 
 by Sir Martin Archer Shee. 
 
 With his habitual industry Wilkie had returned to his painting, and during 
 the next ten years produced a great number of works, including ‘The Peep 
 o’Day Boy’s Cabin,’ ‘ The Whisky Still ’ (painted after a visit to Ireland), ‘ Sir 
 David Baird discovering the Body of Tippoo Sahib,’ ‘Queen Victoria’s First 
 Council,’ and several portraits. But although he worked with his old vigor, 
 none of his pictures of this period can compare favorably with his earlier pro- 
 ductions. 
 
 In addition to his painting Wilkie had from time to time tried his hand at 
 etching. Examples of his work in this branch of art are very rare, but show 
 that he possessed remarkable skill. Among the finest are ‘The Pope and 
 Benvenuto Cellini’ and ‘The Lost Receipt,’ both of which Philip Gilbert 
 Hamerton, one of the highest authorities on etchings, considers “equal to the 
 best work of the old masters.” 
 
 In June, 1836, Wilkie was knighted by King William iv.; in the following 
 year he removed to Vicarage Place, Kensington, where he built a “beau-ideal 
 of a studio,” and where the last years of his life in London were passed. 
 
 Four years after this, in company with his friend Mr. William Woodburn, 
 Sir David Wilkie left England for the East. Passing through Holland, Ger- 
 many, and Austria, he reached Constantinople, where he painted a portrait of 
 the sultan, Abdul Medjid, and from there went to Jerusalem — “the most in- 
 teresting city in the world,” he wrote home. His letters and journal written 
 during this expedition are full of appreciation of the country through which he 
 was passing, and show that he recognized in Palestine a prolific field for in- 
 spiration for a painter. 
 
 In April, 1841, the travelers turned towards home. They reached Alexandria 
 near the end of the month, but were detained there some four weeks, waiting 
 for their steamer. Wilkie began a portrait of the famous Viceroy of Egypt, 
 Mehemet Ali, but before its completion the Oriental , in which they were to 
 return to England, had arrived, and on May 26 they set sail. When they 
 reached Malta Wilkie became ill, it was thought from eating too freely of 
 fruit, but he recovered and was on deck on the evening of May 31. The next 
 
30 
 
 MASTERS IN ART 
 
 morning lie was found lying unconscious on the floor of his stateroom, and be- 
 fore noon, just after the Oriental had passed Gibraltar, he quietly breathed 
 his last. I he steamer at once put back, and a request was sent ashore for per- 
 mission to land the body. Owing to quarantine regulations, however, this re- 
 quest was refused, so the ship’s carpenter made a rude coffin, and at half past 
 eight in the evening of the day on which he had died, June I, 1841, the en- 
 gines of the Oriental were stopped, the funeral service was read, and the body 
 of Sir David Wilkie was lowered into the sea. 1 
 
 The sorrow felt in England and Scotland when the news of Wilkie’s death 
 reached there was universal. “His life,” writes Lord Ronald Gower, “was 
 one of constant, earnest, honest work. ... 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.” 
 
 Cije art of WiMt 
 
 EDWARD PINNINGTON ‘SIR DAVID WILKIE’ 
 
 T O a true appreciation of Wilkie as an artist, the first essential is that art 
 and its objects should be looked at as nearly as may be from his point of 
 view, and be seen through his eyes if that were possible. He can afterwards 
 be tried by any abstract standard the critic chooses. Only by his motive can 
 his accomplishment be measured; the question of worthiness or worthlessness, 
 nobility or ignobility, opulence or poverty, rightness or wrongness, follows the 
 unveiling of the idea and the analysis of its expression. 
 
 It must, furthermore, be remembered that art is an evolution, and that crit- 
 icism follows and cannot lead art. Turner was not Claude, Corot was not 
 Hobbema, Whistler is not Titian, and Orchardson is not Wilkie. The older 
 order is always changing, and the channels are many through which the mes- 
 sage of art reaches- humanity. 
 
 It is, moreover, possible to form a relative as well as an absolute estimate of 
 art, and to adjudge him a representative painter who best illustrates the par- 
 ticular phase of art distinctive of his own time. For it may, in the first place, 
 be said broadly that there is no form of past art that may not be found in 
 present practice. It were, accordingly, folly to break down the intermediate 
 steps between the imitative dexterity of realism, the conventional and arbitrary 
 phrasing of idealism, and the intellectuality of personal impressionism. . . . 
 
 Wilkie was a realist and something more. What he says in his ‘ Remarks ’ is 
 reflected in his practice: “If true artwere but an exact representation of nature, 
 it would be practised with absolute certainty and assurance of success; but the 
 duty of art is of a higher kind. . . . Art is only art when it adds mind to form.” 
 
 1 Turner’s great picture in the National Gallery (see Masters in Art, Part 35, Vol. 3), entitled 
 ‘ Peace: Burial at Sea,’ impressively commemorates the event. 
 
 [ 324 ] 
 
WILKIE 
 
 3 1 
 
 This must be remembered when it is said that his first aim was truth to reality- 
 When he painted the blue jacket and the striped petticoat, the Jew’s harp 
 and the plucked fowl, the fiddle and the pulpit, from the things themselves, 
 he did not do so for their own sakes. He introduced them neither as points of 
 form nor as notes of color. He regarded them solely as essentials to the com- 
 pleteness of his conception. He went to Palestine in search of facts, but the 
 facts were wanted to illustrate the Scriptures and to confirm their accuracy. 
 
 Radiating from this center, his other opinions are easily traced. He held 
 matter above manner, expression and sentiment above dexterity of brush- 
 work. Color he placed in the forefront of pictorial quality, but the intellectual 
 side of art was ever to him more than the technical. So much may be gathered 
 from the record of his foreign tours. . . . 
 
 In his own time Wilkie was both derided and held in high esteem. We have 
 read of his style being dubbed the pan-and-spoon and pauper style, and even 
 Edward Fitzgerald said, “There was always something vulgar about Wilkie.” 
 Mackay’s protest needs no emphasis, that if he drew his subjects from com- 
 mon life, in his style there is nothing vulgar. Writing in 1887, Professor Hodg- 
 son, R. A., says, “There is no trace left of Dutch influence, of Metsu, Ostade, 
 or Ter Borch; the type of art set by Wilkie, Webster, and Mulready has gone 
 the way of the great auk and the dodo.” It has gone, we are told, “to give 
 way to a more restless feeling, to greater earnestness in pursuit of truth.” The 
 old question recurs, What is truth ? Surely Wilkie sought it, or what he mis- 
 took for it, with earnestness. It is on record that Sir George Beaumont used 
 to tell of watching Wilkie while painting, when so intense was his labor that 
 he scarcely seemed to breathe. He was intent upon the pursuit of truth. . . . 
 
 C. R. Leslie, R. A., comments upon the beauty of one picture, the grandeur 
 of another, upon the excellence of Wilkie’s composition, the truth of his effects, 
 the taste of his execution, and compresses his final judgment into a single 
 word — “the country, by the death of Wilkie, lost a great artist.” 
 
 Further opinion, chiefly lay, has a biographical interest, but holds little of 
 either light or leading. Ruskin says, “Wilkie becomes popular, like Scott, be- 
 cause he touches passions which all feel, and expresses truths that all can rec- 
 ognize.” Scott values Wilkie, “the far more than Teniers of Scotland,” be- 
 cause he had something to say to the mind of a man like himself. I his ac- 
 cords with Mollett — “Wilkie is the plain man’s friend;” and with Allan Cun- 
 ningham — “He spoke to all degrees of knowledge and to all varieties of 
 taste.” Bulwer esteems him “the Goldsmith of painters, in the amiable and 
 pathetic humor, in the combination of smiles and tears, of the familiar and the 
 beautiful.” To Mrs. Charles Heaton he is, after Hogarth, “the greatest 
 painter of familiar life of the English school” — his pictures need no explana- 
 tion. Wedmore, on the other hand, finds little more in Wilkie than a desire to 
 amuse; there is no message, no dignity, in his early art; and he winds up a 
 marvel of criticism by saying that, through burner's great picture, Wilkie’s 
 death is more remembered than his life. 
 
 William Bewick, artist, was surprised that in painting Scott, \\ ilkie should 
 have followed the Goldsmith of Reynolds: “I expected that such a man as 
 
32 
 
 MASTERS IN ART 
 
 Wilkie would have struck out something of his own — an original impression 
 of the individual character.” Dr. Waagen pronounces Wilkie “the greatest 
 subject-painter, not only in England, hut of our time,” and his pictures “the 
 most spirited, animated, and faithful representations of the peculiarities and 
 modes of life of the English.” Tirebuck concludes his sketch of the painter 
 with these memorable words: “Some painters have taught us to admire na- 
 ture; some have increased our affection for animals; Wilkie has deepened our 
 love of mankind.” ... Sir Walter Armstrong decides that, if Wilkie had 
 held by his Dutch masters, “he would have stood on a far higher pedestal 
 than he does now.” With their works as a standard, and the Scots peasantry 
 for subjects, “he would have been a pictorial Burns.”. . . 
 
 From ‘The Village Politicians’ onward to 1 8 1 1 , Wilkie was under the in- 
 fluence of Teniers. As the type of the Teniers period Burnet takes ‘The Blind 
 Fiddler.’ Ostade followed, and held Wdkie in thrall down to about 1822. 
 This period includes ‘Blindman’s Buff,’ ‘Duncan Gray,’ ‘Distraining for 
 Rent,’ and ‘The Chelsea Pensioners.’ Rembrandt came in with ‘The Parish 
 Beadle,’ and, according to Dr. Waagen, ‘Columbus’ was painted under the 
 joint influence of Murillo and Velasquez. From all this it would appear that 
 Wilkie never expressed himself. He painted chiefly in Dutch and Spanish. 
 
 There never, alas! was a Wilkie period. Upon this point the sanest dictum 
 appears to be that of Brydall: “Wilkie repeatedly changed his style. . . . 
 without imitating any one. He experimented on his own powers with the in- 
 tention of developing new methods, and was cautious in allowing himself to 
 believe that he had at any time attained the greatest excellence of which he 
 was capable.”. . . 
 
 Taking them all in all, Wilkie’s soundest critics will in all likelihood be 
 found in the Redgraves and 1 heophile Silvestre. The former remind us that, 
 after Spain, he not only ignored all executive finish, but considered it as tending 
 to bad art. They allow that, in his later works, there is great beauty in the 
 rich tone and the mellifluent melting of the color into it. But “in choosing 
 historical rather than merely dramatic subjects, Wilkie shut himself out from 
 his strongest quality — character.” They also think the change led him out of 
 his depths and beyond his powers. In his portraits they find the heads want- 
 ing in drawing and in high character. His weakness consists in the inability 
 to seize the mental characteristics of a sitter, and to give the best expression. 
 His middle methods, too, had a bad influence, tending to bring discredit upon 
 English pictures, as entirely wanting in permanency. They, and the pigments 
 he used, were accordingly soon discarded. “His early art certainly made a 
 great impression on the English school; showing how Dutch art might be 
 nationalized, and story and sentiment added to scenes of common life treated 
 with truth and individuality.” Silvestre places Wilkie beside Hogarth, but he 
 makes the contrast between them instructive and suggestive. . . . 
 
 Wilkie recorded and transcribed, naturalized and described, but he also 
 translated nature and human life. He did not forget, firstly, to infuse living 
 thought and emotion into the dead matter of nature, and, secondly, that the 
 matter thus enlivened must be clad in the manner approved of art. 
 
 [ 326 ] 
 
WILKIE 
 
 33 
 
 He presents no deep problem, provided we take him as he offers himself to 
 be taken. Although criticism now demands subjectivity in the highest art, 
 the art that, like Wilkie’s, is largely objective, but so far subjective as to reveal 
 the individuality of the artist, will never pass away. Art may be said alterna- 
 tively to be moving from not only the form, but the more obvious and direct 
 impression of nature, to the statement of the personal impression of the 
 painter. 
 
 In the latter case everything depends upon the imaginative power and 
 esthetic constitution of the artist. Subject cannot carry him above his own 
 perception of the beautiful. It is possible to make a picture out of a combina- 
 tion of color that shall be intellectually and emotionally vacuous, and yet full 
 of stereoscopic charm. It is also possible to lend color, even at a sacrifice of 
 part of its beauty, to the phrasing of an appeal to either the emotions or the 
 intellect, or both. The art that makes the triple appeal must needs be greater 
 than that which is concentrated upon a single aim. The picture that pleases 
 and satisfies the eye, and at the same time touches the heart and quickens the 
 understanding, must needs be greater than one that fascinates the eye but 
 goes no further. 
 
 And such was the aim and measurable accomplishment of Wilkie. He did 
 not paint pictures which are mere canvas and paint set in a gilt frame. He 
 carried technique to as high a point of excellence as he could attain, and in the 
 language of form and color addressed himself to the heart and mind of man. 
 So long as human nature is constituted as it is, so long as the heart has passions 
 and humanity remains the one great subject of all-absorbing interest to man, 
 so long will there be a place in art for such works as those of Sir David Wilkie. 
 
 J. E. HODGSON AND F. A. EATON ‘THE ROYAL ACADEMY AND ITS MEMBERS’ 
 
 T HE pictures which Wilkie painted between 1806 and 1825, and which all 
 belong to what may be termed his first style, are no doubt those on which 
 his fame will chiefly rest. His extraordinary ability in the composition of 
 groups of figures and accessories, and in rendering truth of character and ex- 
 pression, is seen at its best in these earlier works; no painter has, perhaps, ever 
 exceeded him in the deftness with which he could express the twinkle of an 
 eye or the quiver of a lip. . . . 
 
 After Wilkie’s visit to Spain in 1827, he adopted a change of style, for which 
 no doubt the fascinating works of Velasquez were answerable. Such pictures 
 as ‘The Maid of Saragossa’ and ‘The Preaching of John Knox’ still show his 
 powers of composition standing him in good stead, and wherever he gets a 
 chance he displays his old dexterity in the expression and character of the 
 heads; though he is not nearly so much at home with lords or ladies or Spanish 
 monks as he is with Highland pipers or Fifeshire peasants. At this period of 
 his life he had become the abject slave of asphaltum, which seductive but 
 treacherous pigment, though it might for a time produce something approach- 
 ing the deep shadow tones of Rembrandt, would by no means help him to the 
 somber and sedate grays of the mighty Spaniard. You cannot teach an old 
 dog new tricks. Excited to a new departure in breadth of treatment by seeing 
 
 [327 ] 
 
. 34 - 
 
 MAS T E R S IN ART 
 
 the works of Velasquez, it is marvelous how Wilkie totally failed in catching 
 the aspect and spirit of the Spanish master. 
 
 In one respect, indeed, he may claim resemblance to him, and that is in the 
 intenseness of his nationality. Just as Velasquez was the very essence of a 
 Spaniard, so Wilkie was the most Scottish of Scotsmen; he might almost he 
 considered the Burns of art, for his picture of ‘The Penny Wedding’ breathes 
 with the very soul of Burns, and he is never so successful in the expression of 
 life and character as when the scenes and the people he represents are those 
 of his native land. 
 
 T. SILVESTRE ‘L’ART, LES ARTISTES, ET L’ INDUSTRIE EN ANGLETERRE’ 
 
 T HE personages on David Wilkie’s canvases are portrayed as accurately 
 as if seen through an object-glass. A figure by Hogarth is the portrait of 
 a passion; a figure by Wilkie is the portrait of an individual. Hogarth paints 
 what strikes his eye in order to deduce a moral from it; Wilkie paints what he 
 sees in order to amuse and please. Hogarth’s work is a moral history; Wilkie’s 
 is a familiar chronicle. One speaks to the mind; the other addresses the eye. 
 In the English types which he paints Hogarth makes us acquainted with men 
 of all times and all countries; in those same types Wilkie shows the character- 
 istics of his nation. Hogarth is a psychologist as well as a painter; Wilkie is a 
 painter, an excellent painter, but nothing more. He carries a truthful ren- 
 dering of expression even farther than Hogarth, but his figures, instead of ex- 
 pressing an idea, express a passing sensation. A man coughs, laughs, or drinks. 
 Wilkie represents him coughing, laughing, or drinking in a perfectly natural 
 way — but that is all. He is superior to Hogarth in execution; and yet Hogarth 
 is more pleasing in his breadth of treatment, and even in his carelessness. 
 Compare Wilkie’s ‘Blind Fiddler’ with Hogarth’s ‘Election Feast’ and you 
 will see the difference. 
 
 Wilkie belongs to the amiable family of Teniers; but he excels the Flemish 
 artist by the patient finish of his work and the depth of his color. He gives 
 much thought to his pictures and arranges his most populous scenes in an 
 orderly way, dividing them up according to episodes; Teniers’ compositions 
 are for the most part scattered with a kind of disorder. Wilkie’s pictures are 
 reports — literal descriptions of what is going on in the house or on the street. 
 
 If you listen to an inquisitive man, a man who is curious about the affairs of 
 others, who is minute to excess, whom nothing escapes and who feels that he 
 must describe to you everything he has seen, everything he has observed in any 
 house, or farm, or inn of the United Kingdom, he will give you every detail 
 concerning the father, mother, children, grandparents, servants, the dog, cat, 
 ox, sheep, horse, and ass; he will describe the pots and pans, the chairs, 
 tables, and cupboards, and you will have before you the painter W ilkie; but if 
 he omit a single board, stick, glass, or door-nail, then that man is not Whlkie. 
 
 There is only one way to express an opinion of this genius, so painstaking 
 and so conscientious in depicting every little detail of nature, and that is to try 
 to paint with words one of the subjects that he has related with his brush. 
 Wilkie introduces many contrasts into his works, perpetually balancing the 
 
 [ 328 ] 
 
WILKIE 
 
 35 
 
 different expressions of his faces, the attitudes, gestures, forms, ages, sexes, 
 and temperaments. He possesses in the highest degree the power of giving 
 life by gesture. You can almost hear the laughter in his ‘Blindman’s Buff;’ 
 never were children more alive than are those in his picture ‘The Rat Hunt- 
 ers.’ His genius is like the sparkling genius of Ostade. 
 
 Wilkie excels in works of small dimensions; in large canvases he is seen to 
 less advantage. His sketches are admirable; when, however, he carries them 
 farther they are often spoiled by over-elaboration. He is and will always re- 
 main a great painter; he is full of life and he imparts it to his works. — from 
 THE FRENCH 
 
 %\ )t Works Of mikit 
 
 DESCRIPTIONS OF THE PLATES 
 
 ‘THE LETTER OF INTRODUCTION’ PLATE I 
 
 O NE of Wilkie’s most successful works is ‘The Letter of Introduction,’ 
 painted in 1813. Lord Ronald Gower says : “ It is in every sense a master- 
 piece; it is redolent of the finest humor, and the technique is as admirable as 
 the humor. ... It is more human, more real, than the whole of his historical 
 compositions together, and is worthy of a place in the Valhalla of British 
 painting.” 
 
 The incident portrayed is taken from an experience in the artist’s early life. 
 When Wilkie first went to London as a youth of nineteen he carried with him 
 several letters of introduction, among which was one to Mr. Caleb Whitefoord, 
 an antiquary and publicist of note. Upon presenting his letter, Mr. White- 
 foord, struck by the youthful look of the bashful young Scotchman, inquired 
 his age: “ Really now,” said Wilkie, with characteristic hesitation. “Ha,” ex- 
 claimed Whitefoord, “introduce a man to me who knows not how old he is!” 
 and he regarded his visitor suspiciously. “This was in the artist’s mind,” says 
 Cunningham, “when he formed the resolution to paint the subject; and Caleb 
 and his well-arranged bookcase, his little folding desk, bundles of papers reg- 
 ularly labeled, sword suspended from a nail in the wall to mark his gentle de- 
 scent, for he was a Whitefoord of that ilk, and a china jar on the floor to mark 
 the man of vertu, sat, as I may say, for his portrait.” 
 
 “The very top of Wilkie’s art,” writes Mr. D. S. MacCoil, “is ‘I he Letter 
 of Introduction.’ He has got away from the slatiness of ‘ I he Blind fiddler, 
 and reached a summit of silvery fair color. For exactness of expression and 
 dainty beauty of painting in the still-life it is like a Metsu.” 
 
 1 his painting measures two feet one inch high by one foot nine inches wide, 
 and is here reproduced by permission of the owner, I homas Brocklebank, 
 Lsq., of Heswall, England, who also owns Wilkie’s original pen and ink 
 drawing for the picture. 
 
 [3291 
 
36 
 
 MASTERS IN ART 
 
 ‘THE PENNY WEDDING’ PLATE II 
 
 T HE PENNY WEDDING,’ or, as it was originally called, ‘The Scotch 
 Wedding,’ is one of Wilkie’s most popular works. It was painted in 
 1819 for the prince regent, afterwards George iv., as a companion picture for 
 ‘Blindman’s Buff,’ and is now in Buckingham Palace, London. 
 
 “The singular custom,” writes Lord Ronald Gower, “which in 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 wed- 
 dings 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 the royal collection, represents the interior of a barn con- 
 verted into a ball-room. 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 sup- 
 per. Wilkie put his whole strength into this picture, and the subject was one 
 peculiarly suited to his pencil.” 
 
 ‘BLINDMAN’S BUFF’ PLATE III 
 
 T HE celebrated picture of ‘ Blindman’s Buff’ was exhibited at the Royal 
 Academy in 1813. While still on the painter’s easel it had been greatly 
 admired by the prince regent, afterwards George iv., who purchased it for 
 five hundred guineas. 
 
 “It is among the finest of Wilkie’s pictures,” writes Mr. William Bayne, 
 “rich in color, admirable in composition, and full of life and movement. ‘You 
 can almost hear the laughter,’ is an appreciation of Silvestre, the French critic. 
 The delineation of the light-hearted, boisterous game of British homes of the 
 olden time is managed with an accuracy and a spirit that are alike perfect.” 
 The picture belongs to the King of England, and hangs in Buckingham 
 Palace, London. It measures two feet two inches high by three feet wide. 
 
 ‘THE RABBIT ON THE WALL’ PLATE IV 
 
 T HE RABBIT ON THE WALL,’ or, as it is sometimes called in Scot- 
 land ‘The Hare amang the Kale,’ is suggestive of the artificial light 
 effects of the Dutch masters. In many respects it shows Wilkie at his best. 
 The scene is the interior of a cottage, and the interest of the six personages 
 introduced — a father, mother, and four children — is centered upon the 
 shadow cast upon the wall, which, owing to the ingenious position of the 
 father’s hands, is in the form of a rabbit. The delight of the baby in its 
 mother’s lap, the enjoyment of the other children, one of whom holds a lighted 
 candle in such a way that the rabbit may be clearly defined, the look of comic 
 gravity in the father’s face and of quiet amusement in the mother’s, are ad- 
 mirably portrayed. 
 
 The picture measures a little over two feet high by one foot nine inches 
 wide. It is now at Craigside, Rothbury, England, the home of the late Lord 
 Armstrong. 
 
 [ 330 ] 
 
WILKIE 
 
 37 
 
 'THE REFUSAL’ PLATE V 
 
 ‘ f I ^HE REFUSAL,’ or ‘Duncan Gray,’ as it was first called, was inspired 
 X by Burns’s well-known song: — 
 
 Duncan Gray cam’ here to woo, 
 
 Ha! ha! the wooing o’t; 
 
 On blythe Yule night when we were fu’, 
 
 Ha! ha! the wooing o’t. 
 
 Maggie coost her head fu’ heigh. 
 
 Look’d asklent, and unco skeigh, 
 
 Gart poor Duncan stand abeigh; 
 
 Ha! ha! the wooing o’t. 
 
 For the figure of the rejected lover it is said that the artist Mulready posed; 
 for that of Maggie, Wilkie’s sister; while for the older woman he took his 
 mother as his model. The coloring is in a low, warm key. The dark dress of 
 the old man and the black coat of the younger one merge into the shadowy 
 background of the room. In contrast to his black coat Duncan’s waistcoat is 
 red and his breeches are yellowish. Maggie is dressed in a delicately tinted 
 lilac gown and creamy white sacque, while over her chair is a scarf of bright 
 colors. The old woman, looking so appealingly at her wayward daughter, is 
 in dark red. All the accessories are painted with a care and a beauty of finish 
 worthy of a Dutch “little master.’’ 
 
 The panel measures about two feet high by one foot nine inches wide. It 
 is now in the South Kensington Museum, London. 
 
 ‘THE VILLAGE FESTIVAL’ PLATE VI 
 
 I N 1809 Wilkie began his picture of ‘The Village Festival,’ called originally 
 ‘The Ale-house Door.’ For over a year he bestowed indefatigable care 
 upon it, frequently repainting various figures and altering details. 
 
 “It is a picture of merry England,” writes Mr. Edward Pinmngton, “m 
 which there is much quaffing of ale, brightened on one side with humor and 
 laughter, dashed with rustic love-making and ‘daffin’, and shaded on the other 
 with sottishness and excess. . . . 
 
 “The painter’s chief concern was no doubt to be true to fact, in both the 
 broad significance of his work and its details. He went, for example, to Pad- 
 dington looking for a public house suitable to his purpose. He bought a 
 smock-frock in which to clothe his principal figure, and painted petticoats and 
 gowns from the articles themselves. When one of his male models was ill, 
 Wilkie sent for his blue jacket and began painting from it. ‘I went,’ he says 
 in his journal, ‘to the shop of a Jew, and bought a pair of velveteen small- 
 clothes to paint from; I also bought a jacket and apron for the same pur- 
 pose.’ All the figures, including the dog running before the principal group, 
 were painted from nature.” 
 
 “This picture, if any of Wilkie’s may claim to do so,” writes Mr. V illiam 
 Bayne, “crowns the artist as a worthy inheritor of the art of I eniers, and of 
 itself distinguishes him as the greatest British master of his style of art. 
 
38 
 
 MASTERS IN ART 
 
 The canvas, which measures about three feet high by four feet two inches 
 wide, is now in the National Gallery, London. 
 
 ‘THE BLIND FIDDLER' PLATE Vll 
 
 P AINTED for Sir George Beaumont in 1806, when Wilkie was twenty-one, 
 this picture is an admirable example of his early manner. Lord Ronald 
 Gower says: “It was in giving effect, and portraying such a scene as this, that 
 he gained the popularity that, with all the changes of fashion and feeling of 
 nearly a century, makes his name still a household word, and places him 
 amongst the well-remembered of his countrymen. Neither Brouwer nor Jan 
 Steen ever put more action or life into their groups, and in ‘The Blind Fid- 
 dler’ we find that the details — the ‘still-life’ — ’are painted with the skill of 
 an Ostade or a Teniers. . . . But it is in the play of feature and in the vivid 
 expression of action that the genius of the painter is revealed. In the face of 
 the blind fiddler there is a world of pathos as he sits playing his best, with an 
 anxious, hard-faced woman beside him, his wife presumably and the mother 
 of the children, one of whom she holds upon her lap. The contrast between 
 the toil-worn family and the prosperous tenants of the farm where the scene 
 is laid is admirably shown. . . . 
 
 “While painting this picture Wilkie had before him near his easel a picture 
 by Teniers, probably lent him by Sir George Beaumont, and the tone of color 
 of his ‘Fiddler’ smacks strongly of the Flemish painter. But although the ac- 
 tual workmanship may recall the Dutch and Flemish masters of his admira- 
 tion, the expression of the faces — the humor and merriment of some, the 
 pathos of others — is Wilkie’s alone.’’ 
 
 ‘The Blind Fiddler’ was presented to the English nation bv Sir George 
 Beaumont, and is now in the National Gallery, London. 
 
 ‘THE MAID OF SARAGOSSA' PLATE VIII 
 
 T HIS picture, painted while the artist was in Aiadrid, is one of the best 
 examples of Wilkie’s later work, in which, having abandoned his former 
 careful and more minute style, he adopted a freer method, in emulation of the 
 Italian and Spanish masters. His works of this period never attained the 
 popularity of his early efforts, to which they are distinctly inferior. 
 
 The incident here depicted occurred during the siege of Saragossa by the 
 French in 1808-09. Agustina, the “ Maid of Saragossa,” noted for her bravery 
 in the defence of the city, is seen on the battery in front of the Convent of 
 Santa Engracia, where, her lover being slam, she at once took his place at the 
 gun and declared she would avenge his death. Jn the figure of the man 
 dressed as a volunteer and putting his shoulder to the wheel Wilkie has por- 
 trayed Jose de Palafox, general of the Spanish garrison during the siege. In 
 front is Father Consolacion, an Augustinian friar who served with ability as 
 an engineer, and in the picture is seen with a crucifix in his hand directing at 
 what object the cannon should be pointed. 
 
 ‘The Maid of Saragossa’ was one of eight pictures by Wilkie in the Royal 
 Academy exhibition of 1829, and was bought by King George iv. for eight 
 
 [ 332 ] 
 
WILKIE 
 
 39 
 
 hundred guineas. It measures about three feet high by four feet eight inches 
 wide, and is now in Buckingham Palace, London. 
 
 ‘THE PREACHING OF JOHN KNOX’ PLATEIX 
 
 I N ‘The Preaching of John Knox before the Lords of the Congregation’ — 
 to give the picture its full title — Wilkie has depicted an incident which 
 took place in the stormy days of the Scottish Reformation, when John Knox, 
 the great Calvinistic preacher, having just returned from Geneva to Scotland, 
 appeared in the pulpit of the cathedral church of St. Andrews, Fifeshire, on 
 June io ,1559, and, in defiance of a threat of assassination, preached the doc- 
 trines of his faith to a numerous assembly with such eloquence that it was har- 
 moniously agreed by the provost, bailies, and inhabitants to sec up the reformed 
 worship in the town. 
 
 Beside the pulpit, on the preacher’s right, are grouped some of Knox’s 
 closest friends. In the foreground, to the left of the picture, are a number of 
 supporters of the reformed faith, among them the Earl of Morton leaning on 
 his sword, Lord James Murray, afterwards Regent Murray, dressed in red, 
 seated near, and the Earls of Argyll and Glencairne. Facing the pulpit, the 
 Countess of Argyll and her lady in attendance sit listening intently to the 
 preacher’s words, and behind them are ecclesiastics whose opposition to the 
 doctrines of Knox is shown in their looks. Professors of the University of St. 
 Andrews, students, provosts, and bailies are assembled in the gallery above. 
 
 This is considered by many the greatest of Wilkie’s historical paintings. 
 The subject is one that interested him deeply, and he bestowed untiring pains 
 upon its execution, gathering material and making numerous sketches for it in 
 Scotland, and keeping it under his hands for a period of nearly ten years. The 
 picture, which was exhibited in 1832, is now in the National Gallery of British 
 Art (Tate Gallery), London. It measures about four feet high by five feet four 
 inches wide. 
 
 ‘CHELSEA PENSIONERS READING THE WATERLOO GAZETTE’ PLATE X 
 
 I N 1819 Wilkie received from the Duke of Wellington a commission for a 
 picture which should have for its subject reference to the Napoleonic war 
 and should deal with a gathering of soldiers. After submitting two preliminary 
 sketches to the duke for approval, the plan of ‘The Chelsea Pensioners’ was 
 agreed upon and Wilkie began a work which occupied much of his time and 
 thought for the next three years. 
 
 The scene of his famous picture is laid in old Chelsea, where, in front of a 
 public house, are assembled “soldiers from the four corners of the earth, 
 wearing the hues of all climates, and bearing the scars of many a field — men 
 of Wolfe and of Wellington, whom day of pension has summoned to Chelsea 
 to receive the alms which their country awards for having helped to save it. 
 As the crowd increases the fun and jollity grow fast and furious. Suddenly 
 into the midst of the feasting and merrymaking a soldier of the lancers rides 
 at full speed bearing a gazette of the Battle of Waterloo. Instantly the revelry 
 ceases; eager listeners fill windows and doors; the dancers’ feet are stilled, and 
 
 [ 333 ] 
 
40 
 
 MASTERS IN ART 
 
 in the silence that falls a veteran reads aloud the news of the English victory 
 at Waterloo. 
 
 In the Royal Academy exhibition of 1822 the picture was given the best posi- 
 tion, and so dense was the crowd that pressed about it that it became necessary 
 to protect it with a railing. Cunningham says: “The Battle of Waterloo itself 
 made scarcely a greater stir in the land than did this picture when it appeared 
 in the Academy exhibition. ... A crowd in the shape of a half-moon stood 
 before it from morning to night. . . . Soldiers hurried from drill to see it; 
 the pensioners came on crutches, and brought with them their wives and chil- 
 dren to have a look; and as many of the heads were portraits, these were 
 eagerly pointed out, and the fortunate heroes named, sometimes with a shout. 
 To Wilkie, who was not conscious of making any unusual exertion, the public 
 rapture was both startling and pleasing.” 
 
 The picture measures three feet four inches high by five feet two inches wide. 
 It is in the Duke of Wellington’s Collection, Apsley House, London. 
 
 A LIST OF THE PRINCIPAL PAINTINGS BY WILKIE 
 WITH THEIR PRESENT LOCATIONS 
 
 E NGLAND. Alnwick Castle, Owned bythe Duke of Northumberland: The 
 Gentle Shepherd — Bedford, Thurleigh, Owned by G. Thomson, Esq. : Cotter’s 
 Saturday Night; Duncan Gray — Birkenhead, Mere Hall, Owned by Gray Hill, Esq. : 
 Wilkie’s Birthplace — Bo wood, Own ed bythe Marquis of Lansdowne : The Sick Lady; 
 The Jew’s Harp; The Wardrobe Ransacked; The Confessor Confessing; Lady Lansdowne 
 with her Page; The Confessional — Chillingham, Owned by the Earl of Tanker- 
 ville : Portrait of the Earl of Tankerville — Hampstead, Caen Wood, Owned by the 
 Earl of Mansfield: The Village Politicians — Hatfield, Owned by the Marquis of 
 Salisbury: Portrait of the Duke of Wellington- — -Heswall, The Roscote, Owned by 
 Thomas Brocklebank, Eso. : The Letter of Introduction (Plate 1) — Liverpool, Owned 
 by Edward Chapman, Esq.: The Rent Day — Liverpool, Mossley Hill, Owned by 
 Mrs. George Holt: The Jew’s Harp — London, National Gallery: The Blind 
 Fiddler (Plate vii); The Village Festival (Plate vi); The Bagpiper — London, National 
 Gallery of British Art: Portrait of Thomas Daniell; The Parish Beadle; The First 
 Ear-ring; Landscape; Newsmongers; Preaching of John Knox (Plate ix); Sketch of ‘ Blind- 
 man’s Buff’ — London, National Portrait Gallery: Portrait of Wilkie; Sketch for 
 Portrait of Queen Victoria — London, Royal Academy: The Rat Hunters — London, 
 South Kensington Museum: The Broken Jar; The Refusal (Plate v); Daughters of 
 Sir Walter Scott; Landscape; A number of studies and sketches — London, Wallace 
 Collection : Scotch Lassies dressing; The Sportsman — London, Apsley House, Owned 
 by the Duke of Wellington: Chelsea Pensioners reading the Gazette of the Battle of 
 Waterloo (Plate x); Portrait of Lady Lyndhurst; Two Portraits of George iv. — London, 
 Buckingham Palace: The Penny Wedding (Plate 11); Blindman’s Buff (Plate 111); The 
 Maid of Saragossa (Plate viii); Guerilla Council of War; Guerilla taking Leave of his Con- 
 fessor; Guerilla’s Return; Two Portraits of William iv. ; Portrait of Queen Adelaide; Re- 
 ception of George iv. at Holyrood; Two Portraits of George iv. ; Pifferari playing Hymns; 
 Roman Princess washing Pilgrims’ Feet; Portrait of Queen Victoria; The Duke of Sussex; 
 The Sultan Abdul Medjid —London, St. Bartholomew’s Hospital: Portrait of M at- 
 thias Prince Lucas, Esq. — London, Dorchester House, Owned by Captain R. S. 
 Holford: Columbus in the Convent of La Rabida- — Tondon, Owned by Sir Donald 
 Currie: Sketch for ‘The Rabbit on the Wall’ — London, Owned by Mrs. Grant: 
 Portrait of Sir P. Laurie — London, Merchant Taylors’ Hall: Portrait of the Duke 
 of Wellington — London, Montagu House, Owned by the Duke of Buccleuch : Por- 
 
 [ 334 ] 
 
WILKIE 
 
 41 
 
 trait ofLord Montagu; Portrait of Wilkie — London, Owned by Viscount Ridley: ‘ Not 
 at Home’ — Middleham, East Witton Vicarage, Owned by Rev. David Wilkie: 
 Wilkie’s Father and Mother; Portrait of Wilkie; Portrait ofMr. Wilkie; The Duke ofWel- 
 lington and his Horse; Queen Victoria on Horseback; Scenefrom ‘ The Gentle Shepherd ’ — 
 Nottingham, Corporation Art Museum : Sketch for ‘The Soldier’s Grave’ — Oxford 
 University: Portrait of William iv. and Queen Adelaide — Pontefract, The Mount, 
 Owned by E. Shepherd, Esq.: Alfred in the Neatherd’s Cottage (small version) — Ring- 
 wood, Somerley, Owned by the Earl of Normanton; Sketchfor ‘Reading the Will’ — 
 Rothbury, Craigside, Owned by the late Lord Armstrong : The Rabbit on the Wall 
 (Plate iv) — Trentham, Owned by the Duke of Sutherland: The Breakfast — Tun- 
 bridge Wells, Owned by S. Hatchard, Esq^: Replica of ‘The Village Politicians’ — 
 Winchester, Stratton, Owned bythe Earl of Northbrook: The Bounty Money or 
 The Village Recruit; The Letter Writer; An Arab; Sketch for ‘The Chelsea Pensioners;’ 
 Death of the Red Deer; The Sick Lady; Two sketches — Windsor, Owned by the Mar- 
 quis of Normanby: Portrait of Queen Victoria — Woking, The Firs, Owned by Mrs. 
 Wilkie: Sketch for Mother and Child in ‘The First Ear-ring’; Colonel Wilkie and his 
 Sister as Children; Head of Mary Queen of Scots — Wokingham, Bearwood, Owned 
 by J. Walter, Esq.: The Card-players — GERMANY. Munich, New Pinakothek: 
 Reading the Will — IRELAND. Dublin, National Gallery of Ireland: Pope 
 Pius vii. and Napoleon at Fontainebleau; The Peep o’Day Boy’s Cabin — Kilkenny 
 Castle, Owned by the Marquis of Ormonde: Portraits of William iv. and Queen 
 Adelaide — SCOTLAND. Cambeltown, Owned by William Brodon, Esq.: The 
 Smugglers; The Fisher Boys — Cupar, Town Hall: Portrait of the Earl of Kellie — 
 Dundee, Owned by the Earl of Camperdown : The China Menders — Dundee, Cor- 
 poration Picture Gallery : Sketch for ‘ The Village Politicians’ ; Sketch for ‘ Guess my 
 Name’; Sketch for ‘The Rabbit on the Wall’; Sketch for ‘Nelson sealing Despatches’ — 
 Edinburgh, National Gallery of Scotland: The Abbotsford Family; The Gentle 
 Shepherd; Portrait of Mrs. Hunter; John Knox dispensing the Sacrament at Calder House 
 (unfinished); Sketch for ‘Blindman’s Buff’ — Edinburgh, Scottish National Portrait 
 Gallery: Portrait of Wilkie (see page 316); Portrait of Wilkie; Wilkie and his Mother 
 — Edinburgh, Owned by Mrs. C. Kinnear: Pitlessie Fair — E dinburgh, Owned by 
 Arthur Sanderson, Esq : The Bride’s Toilet — F ife, Kinloch House, Owned by 
 Boyd Kinnear, Esq.: Peasants (bis) — Fife, Melville House, Owned by Miss Leslie 
 Melville: Princess Victoria with the Duchess of Kent — Fife, Naughton House, Owned 
 by Mrs. Anstruther Duncan: Portrait of James Morrison of Naughton- — G lasgow, 
 Corporation Galleries of Art: Turkish Mother and Child; Portrait of Queen Vic- 
 toria; Portrait of a Lady — Melrose, Owned by Mrs. Riddell: Portraits of Mrs. Rid- 
 dell’s Grandparents; Sketches for ‘The Letter of Introduction’ and ‘The Breakfast’ — 
 Prestonkirk, Newbyth, Owned by Sir D. Baird: Sir David Baird discovering the Body 
 of Tippoo Sahib — TURKEY. Constantinople, Sultan’s Palace: Portrait of Queen 
 Victoria — UNITED STATES. Chicago, Owned by R. Hall McCormick, Esq.: 
 Market Day at St. Andrews — N ew York, Lenox Library: Landscape with Water and 
 Ducks; Highland Still; Landscape with Group of Ladies; Landscape with Gipsies; Land- 
 scape with Goats; The Crown of Scotland; Sketch of part of ‘ Blindman’s Buff’ — WALES. 
 Welshpool, Leighton Hall, Owned by John Naylor, Eso.: The Whisky Still; 
 Grace before Meat; The Pope and Benvenuto Cellini; Sancho Panza; Reading the Will; 
 Bathsheba; Sketch of ‘ Knox dispensing the Sacrament.’ 
 
 [ 335 ] 
 
42 
 
 MASTERS IN ART 
 
 3^tlftte Btbltograpijp 
 
 A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES 
 DEALING WITH WILKIE 
 
 A RMSTRONG, Sir W. Wilkie (in Bryan's Dictionary of Painters and Engravers). 
 
 .London, 1903-5 — Bayne, W. Sir David Wilkie. London, 1903 — Burnet, J. 
 Practical Essays _on the Fine Arts. London, 1848 — Caw, J. L. Scottish Portraits. Edin- 
 burgh, 1903 — Chasles, P. David Wilkie (in Blanc’s Histoire des peintres). Paris, 1867 
 — Chesneau, E. The English School of Painting: Trans, by L. N. Etherington. London, 
 1885 — Collins, W. W. Memoirs of the Life of William Collins, Esq., R. A. London, 
 1848 — Cunningham, A. Life of Sir David Wilkie. London, 1843 — Dobson, A. 
 Wilkie (in Dictionary of National Biography). London, 1 885-1901 — Gower, Lord R. S. 
 Sir David Wilkie. London, 1902 — Gray, J. M. Wilkie (in Encyclopaedia Britannica). 
 Edinburgh, 1883 — Hamerton, P. G. Etching and Etchers. London, 1868 — Haz- 
 litt, W. Lectures on the English Comic Writers. London, 1819 — Heaton, Mrs. C. 
 Great Works of Sir David Wilkie. London, 1868 — Henley, W. E. A Century of Ar- 
 tists. Glasgow, 1889 — Hodgson, J. E., and Eaton, F. A. The Royal Academy and 
 its Members. London, 1905 — Jerdan, W. Men I Have Known. London, 1866 — 
 Laing, D. Etchings by Sir David Wilkie, etc. Edinburgh, 1875 — Leslie, C. R. 
 Handbook for Young Painters. London, 1855 — MacColl, D. S. Nineteenth Century 
 Art. Glasgow, 1902 — Mollett, J.W. Sir David Wilkie. London, 1881 — Muther, R. 
 The History of Modern Painting. London, 1896 — Paston, G. B. R. Haydon and his 
 Friends. NewYork, 1905 — Pinnington, E. Sir David Wilkie. London, 1881 — Raim- 
 bach, M. T. S. (editor). Memoir of Sir David Wilkie (in Memoirs and Recollections). 
 Privately printed, 1843 — Redgrave, R. and S. A Century of Painters of the English 
 School. London, 1866 — Silvestre, T. L’ Art, les artistes, et l'industrie en Angleterre. 
 London, 1859 — Simpson, A. L. The Story of Sir David Wilkie. London, 1879 — Tay- 
 lor, T. (editor and compiler). Life of Benjamin Robert Haydon. London, 1853 — Tem- 
 ple, A. G. Art of Painting in the Queen’s Reign. London, 1897 — Tirebuck, W. 
 Great Minds in Art. London, 18S8 — Van Dyke, J. C. Old English Masters. Engraved 
 by T. Cole. NewYork, 1902 — Waagen, G. F. Works of Art and Artists in England. 
 London, 1838 — Wedmore, F. Masters of Genre-painting. London, 1880 — Sir David 
 Wilkie’s Sketches in Turkey, Syria, and Egypt drawn on stone by Joseph Nash. Lon- 
 don, 1843 — The Wilkie Gallery. London [18 — ]. 
 
 IGOSY, 1894: A. Quarry; Sir David Wilkie, R. A. — L'Artiste, 1883: Feuillet 
 
 de Conches; Sir David Wilkie — Art Journal, 1896: G. D. Leslie and F. A. 
 Eaton; The Royal Academy in the Present Century — Athen^um, 1841: Anonymous; 
 Sir David Wilkie — Blackwood’s Edinburgh Magazine, 1842: Anonymous; Exhibi- 
 tions of Wilkie’s Pictures. 1895: Anonymous; The Scottish School of Painting — Eng- 
 lish Illustrated Magazine, 1883: Sir W. Armstrong; Some Forgotten Etchers — 
 Fraser’s Magazine, 1842: Anonymous; Wilkie and his Works — Gazette des Beaux- 
 Arts, 1868: J. Desrosiers; David Wilkie. 1869: J. Desrosiers; David Wilkie (Quelques 
 extraits de sa correspondance) — Leisure Hour, 1881: Anonymous; David Wilkie, R. A. 
 — McClure's Magazine, 1896: W. H. Low; A Century of Painters — Museum of 
 Foreign Literature, 1841: Anonymous; Sir David Wilkie — New Monthly Mag- 
 azine, 1843: Anonymous; Review of Cunningham’s Life of Wilkie — Penny Magazine, 
 1841: Anonymous; S*ir David Wilkie — Portfolio, 1887: W. Armstrong; Scottish 
 Painters — Quarterly Review, 1843: J. G. Lockhart; Review of Cunningham’s Life 
 of Wilkie — Sharpe’s London Journal, 1848: W. T.; The Wilkie Gallery. 
 
 MAGAZINE ARTICLES 
 
 [ 336 ] 
 
MASTERS IN ART 
 
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