In what may be called the fore-ground of the picture, are several groups of the chief men of Scotland; and though differing in character, and opposite of purpose, the eloquence of the Preacher has charmed them into composure, much in contrast with his own vehemence. Close to the pulpit are some of Knox's chosen friends: Bellenden his amanuensis, Goodman his colleague, together with the Grand Master of the Knights of Malta, Sir James Sandilands, in whose house at Calder the first Protestant sacrament was administered. An eminent St. Andrew's student, the Admirable Crichton, stands nigh, in his cap and gown while immediately below the Preacher is Wood, the Precentor, with his hour-glass, to intimate the march of time, and the duration of the sermon. Lord Napier of Merchiston too is there, the future inventor of the Logarithms: nor should a young mother, who is desirous of having the babe in her bosom baptized, be overlooked; in this way the artist intimates the fact, that the Reformers loved to christen children on momentous occasions, and also the confidence which Knox inspired.

Immediately before the pulpit is a group of four; namely, the Lord James Stuart, afterwards Earl of Murray, and a chief leader of the Congregation; the Earl of Morton, the last of the old heroic race of the Douglas; the Earl of Argyll, a young but an earnest Reformer; and Cunningham, Earl of Glencairn, a poet, a warrior, and a fanatic. Morton leans on his sword, probably that which belonged to the great Earl of Angus; Murray is in deep meditation, and Glencairn seems kindled up with the enthusiasm which dictated

his address to "Our Lady of Loretto." A group of a different character appears in a side chapel, close to the reforming Lords. It is composed of three of the Romish hierarchy, viz. Bishop Beatoun of Glasgow, the eloquent Hamilton the Archbishop, and Kennedy Abbot of Crossraguel, who maintained in other days the cause of his church against Knox in public disputation. They seem deeply touched with the invective of the reformer. Kennedy is whispering to Hamilton, while a Jackman, a retainer of the cathedral, stands ready with his harquebuss, waiting the signal of the Archbishop to fire upon the Preacher. This, as may be imagined, would have been no safe exploit: besides other means and appliances-the Admirable Crichton has his eye upon the Jackman, and his hand on his sword, though his mind seems with Knox. The artist has softened a little the sternness of the scene by placing the lovely and accomplished Countess of Argyll, natural sister to Queen Mary, between the fierce groups she favoured the Reformation, yet afterwards sympathized so much with her unhappy sister, as to be present at the baptism of Prince James, for which she had actually to endure a public rebuke!

These are the fore-ground groups. In the gallery of the church, some anxious auditors are collected: the chief of these are Sir Patrick Learmouth of Darsie, provost of the place; Andrew Melville, well known in church history; and George Buchanan, the most accomplished scholar of the age. With these are mingled the professors of the University of St. Andrew's, citizens, and scholars; together with peasants,

monks, and soldiers. It is a moment of intense anxiety: the sunshine, which finds its way through the deep and sculptured windows of the Cathedral, shows the calm but anxious countenances of the opposing parties, and the spectator feels that they are waiting but for the conclusion of the harangue to burst into action. The deep lucid colouring, energy of character, beauty of grouping, harmony of light and shade, and the kept-down passions visible in the looks of all, are in the artist's happiest manner.

The result of Knox's stern sermon may be related in a few words: the churches were ordered to be stript of all their images and pictures; the monasteries were thrown down, and the reformed worship. was established by what was termed "a harmonious call."

The other picture of this year's Exhibition, a Portrait of William the Fourth, was the first fruit of Wilkie's appointment to the office of Painter in ordinary to the new King, and was praised for its vigour of colour, and fine light and shade; but The Knox extinguished every other light, and was regarded as the triumph of the new style over both cavil and competition. Sir Robert Peel rejoiced equally in the success of his friend, and in the possession of this magnificent picture.

TO THE RIGHT HON. SIR ROBERT PEEL, BART, M.P.

Dear Sir Robert,

Kensington, 27th July, 1832.

I have just had the honour to receive your very obliging letter, and will have the picture of John

Knox delivered at your house to-morrow morning, before twelve o'clock. I shall attend to see it safe in a possession by which I feel it so much honoured.

My pictures came to me yesterday from the Royal Academy. The frames always require to be looked at before they can be sent home.

I am, &c.,

D. W.

In September and October he shared in the elegant hospitalities of Drayton Manor; and, as he loved to date letters from remarkable places, the two which follow in succession are from Sir Robert's residence, now celebrated by the painter's art and the poet's song.

TO MISS WILKIE.

1

Drayton Manor (no month), 1832.

We reached the mansion of Sir Robert last night, about nine o'clock, by moon-light; finding, without difficulty, a chaise at Stonebridge, to bring us the twelve miles after the coach set us down. We found all well, both the Baronet and his Lady, with a young family of most handsome children growing up. The only other visiters are Mr. and Mrs. Chantrey, on their return from a rambling visit to the north.

To-day we have been shown the splendid new house, to replace that of the old manor; and Sir Robert accompanied Collins and myself to

"Tamworth town and hall,"

where we were extremely interested by the apartments and furniture of the old castle, once the possession of Lord Marmion.

The Chantreys leave to-morrow.

In our return,

D. W.

we mean to stop at Blenheim and Oxford.

Dear Allan,

TO WILLIAM ALLAN, ESQ.

Drayton Manor, 13th Oct. 1832.

Your letter has interested me and various others greatly. All that relates to our great countryman departed claims from us not merely sympathy and regret, but suggests to us this idea, that no such opportunity of paying honour to genius can ever occur again. I find various friends of Sir Walter desirous to mark their sense of his worth and greatness, not in the usual way of monuments, but in an endeavour to realise what was of all things the nearest to his heart-his wish of securing Abbotsford to his family. Before leaving town, I heard something of the kind was in progress. Both theatres have advertised an apotheosis to his memory.

I am here with Collins, who sends his best regards to you. We went two days ago to see

"Tamworth tower and town,"

which pleased me much, probably from its ancient connexion with the Lord Marmion.

The Phillipses speak most favourably of your drawings made at Abbotsford, and also of your picture in