upon the public that must determine the success of such a work.

One of the first questions asked me here was what had become of the late King's portrait? This was followed by a gracious command that I would write to Lord Melville to request arrangements to be made for its reception in Holyrood House. Upon hearing since from Lord Melville that his Lordship has settled this with the proper authorities, I have been again commanded by his Majesty to send off the picture as soon as I get to town to see it packed. This I have great pleasure in informing you of, as executor to his late Majesty.

D. W.

TO SIR WILLIAM KNIGHTON, BART.

Dear Sir William,

Kensington, 20th Dec. 1831.

The portrait of his late Majesty was packed and sent off by sea on Tuesday last, and is probably now in Edinburgh.

I have had, since I saw you, a letter from Lord Melville, stating that as the King of France's residence in the state apartments of Holyrood House would prevent the picture being seen by the public, if placed there in its intended situation, his Lordship proposed that it should first be exhibited at the Royal Institution of Edinburgh, which he was pleased to say would be a gratification to the public. I have written to Sir Herbert Taylor upon the subject, and

E 2

his Majesty, I have been informed in reply, entirely approves of the suggestion.

You are so obliging as to remind me of the proposal you made me, that I should visit you this Christmas at Blendworth; but you have well considered the pressure of work to be got through before the Exhibition. This is such, that it requires I should entreat Lady Knighton and yourself to excuse me at this time; the more so as you have given me the hope of seeing you soon, with Mr. Knighton, in town.

In the event of this, I trust to seeing you repeatedly, when you can honour me with a visit, and also that I shall have the pleasure of watching Mr. Knighton in his renewed pursuits, which, like the law or any other study, should be persisted in with all the discipline of a profession. A language is to be acquired which the discourse and practice of others is necessary both to acquire and to use; at the same time he is one of those who will not be satisfied with the language alone, unless combined with the learning and the power it unfolds to the active mind. Will you please to state to him that six of the medals given by the President a week ago at the Royal Academy were given to Mr. Sass's pupils.

D. W.

For some time Wilkie had superintended the progress which Mr. Knighton, the son of Sir William, made in drawing, a tasteful study to which he was much attached, and in which the great artist directed him with the hope that he would do honour to his instructer by the elegance of his productions.

The hope of Wilkie young Knighton was not permitted to prove. The death of his father opened other prospects, and when he became a baronet he ceased to be a painter; but his esteem for his preceptor was in nowise lessened. He continued to interest himself in his fame and fortunes; and, like all the other friendships which Wilkie's genius and worth inspired, his survives—and threatens not to die.

CHAPTER III.

66

WILKIE COMPLETES HIS PICTURE OF JOHN KNOX PREACHING." ROYAL ACADEMY EXHIBITION OF 1832.-LETTERS TO ANDREW WILSON, MISS WILKIE, AND SIR WILLIAM ALLAN. DEATH OF SIR WALTER SCOTT.- WILKIE AT STRATHFIELDSAYE AND BRIGHTON. LETTER TO JAMES HALL.-LETTERS TO SIR ROBERT PEEL AND SIR WILLIAM KNIGHTON.-ROYAL ACADEMY EXHIBITION OF 1834.

TO SIR WILLIAM KNIGHTON, BART.

Kensington, 28th Feb. 1832.

IN regard to my own doings here, about which the kind interest you take never fails to assist me, the portrait of the King is all painted in. Seguier did not propose any alteration, but wishes me with glazings to work it up to as much force in colour as possible. The Knox I expect to have in a frame in a few days. I have commenced glazing upon it, and have still six weeks to work up both pictures in.

D. W.

To the Royal Academy Exhibition of 1832, Wilkie sent a full length portrait of William IV., and one of the noblest pictures of the British school-John Knox preaching the Reformation in St. Andrew's. He was stimulated to exert his genius on the great work of Knox, first, because the scene of the picture was laid near his birth-place; secondly, because George

the Fourth disliked Knox and his work, both of which Wilkie loved, and thought the subject a good one; and, thirdly, because Sir Robert Peel had put his confidence in the painter's taste, and commissioned a picture which he had set his heart upon painting. The Knox gives a vivid image of the stormy times which ushered in the Reformation: the old and the staid adhered to the faith of their fathers, the young and the stirring sided with those who desired change, and the great argument of salvation seemed about to be settled by the sword, when John Knox unexpectedly precipitated himself upon the scene, and established the Reformation by his vehement eloquence, with some violence indeed, but little blood. The genius of Wilkie has taken up the story of the Reformation at this point of time, and made a picture which forms a chapter of true history. He has delineated the interior of the Cathedral: the long aisles, the dim recesses, the symbols, and the images, are traced with equal effect and accuracy. Nor has he neglected to intimate that the ancient faith, though tottering, is not yet fallen. A crucifix, said to have been of great sanctity, is seen far in the distance, with devotees approaching it: angels and cherubs are wrought into the foliage of the pulpit canopy, while over all is seen the escutcheon of Beatoun, whose tragic death was accepted by many as a sign of the great changes which followed. In the Cathedral, a multitude of people are assembled some to oppose, and some to support the new doctrine; while Knox thunders forth one of those terrible sermons, which struck the church of Rome to its very root.