he studied the composition with great care, wrought the whole into a clear consistent story, and, adding five other pictures to it, sent the whole six to the Exhibition. They were exhibited in the following order:-1. Christopher Columbus submitting the Chart of his Voyage for the Discovery of the New World to the Spanish Authorities: 2. The First Earring: 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: 5. Portrait of Sir James M'Grigor, Bart., Director-General of the Army Medical Department: 6. Portrait of the late Rev. Edward Irving. Of these the Columbus, the First Ear-ring, and the Sir James M'Grigor, were the best; indeed, the artist never excelled them in truth and originality, either in character or colour. The idea of the Columbus was found in the Life of that calmest and ablest of all discoverers, by Washington Irving. "A stranger travelling on foot," says the accomplished biographer, "accompanied by a boy, stopped one day at the gate of a convent of Franciscan friars, and asked for bread and water to his child. Friar Juan Perez de Marchena, happening to pass, was struck with the appearance of the stranger, and observing, from his air and accent, that he was a foreigner, entered into conversation with him:-that stranger was Columbus." The conference which followed, remarkable for opening a brighter prospect in the fortunes of Columbus, forms the subject of the picture; he is represented seated at the convent table, with the Prior on his right, to whom he is submitting a chart of his contemplated voyage.

Beside him is his son Diego, with a small Italian greyhound, while on the other side of the table is the physician, Garcia Fernandez, who, from scientific knowledge, approved of the enterprise; behind him is Martin Alonzo Pinzon, one of the most intelligent sea-captains of his time, and who accompanied Columbus in his voyage. This picture was regarded as a dramatic composition of the historic order; while The First Ear-ring belonged to the domestic drama : the calm and persuasive eye of the mother: the look, hovering between vanity and fear, of the little girl, when the private operator approaches to fix-but not without pain-the sparkling appendages to her ears, together with the rich and natural colouring, cannot be soon forgotten by any spectator; while the vigorous drawing, the contemplative look, and brilliant colouring of the likeness of Sir James M'Grigor, place it in the front rank of British portraits.

He is still intent on Lady Baird's important com

mission:

TO LADY BAIRD.

Kensington, 14th April, 1835.

I have lately painted in the large picture of Napoleon and the Pope, and have had the occasional advice and review of friends who knew them. The likenesses are, I am assured, successful. In this way I could draw in the figure of Sir David Baird upon the canvas, and with your Ladyship's eye to direct me, I think a near approach may be made to a likeness. Indeed Raeburn's portrait, with the hat on

the head, and the eyes looking down, would be almost exactly what is wanted. The figure may be supplied greatly from the small drawing made in Dublin.

For the native Indians I can procure models in London. I have just come from the India House, where I saw four military characters-considered, both in face and dress, perfect for what I want. Of these,

as they are to sit to me, I shall make a variety of studies.

As all who see the picture are pleased with it, I am the more confirmed in my belief in the greatness of the occasion it furnishes for a work of art.

D. W.

TO SIR WILLIAM KNIGHTON, BART.

Kensington, 5th Aug. 1835.

The portrait of the Rev. Edward Irving I sent, on its reaching home, directly to Stratford Place, where you will doubtless see it on your coming to town. I am now proceeding, besides other things, with the two copies of the Embassy Portraits, though my negotiations about them at the Treasury make no progress at all. I saw Mr. Rice with the papers the Marquis of Conyngham sent me, one an order from the King, through the Secretary of State for Foreign Affairs, for pictures for the four Embassies; the other, an order from the Treasury, suspending the other three from being begun. Mr. Spring Rice sent me to Mr. Spearman of the Treasury, who said he remembered all the circumstances, but that he could not give a renewal of the order without a high authority,

and must see the Chancellor of the Exchequer before giving me an answer. Since this, four weeks have passed. I have called four times at the Treasury, and written twice to the Chancellor of the Exchequer; have seen no one, and have got no answer. Thus the matter I suppose must rest for a time.

The Woodburns have opened their third exhibition of Claude and Poussin. I hope Mr. Knighton proceeds in making drawings from objects before him — always for the sake of drawing and for form-elegant form-rather than for effect. Claude, I think, drew for form rather than for effect or colour.

D. W.

Edward Irving was long the intimate friend of Wilkie, and the favourite of all who loved original vigour of mind and grave persuasive eloquence: he had humour too of the rarest kind, and such wit and social glee as made him welcome to all Scottish firesides. The first time I became acquainted with him was at Wilkie's: Sir Peter Laurie, and William Collins, the painter, were there - Scottish humour and Scottish stories abounded.

TO LADY BAIRD.

Kensington, 7th Aug. 1835.

I write to report the sort of progress I am making in the great work on which I am so proud to be occupied. The figures I have drawn in with chalk upon the canvas, and confess a sort of exultation in the effect produced by the size of the picture. In

the course of the spring I made various studies from native Indian soldiers now here; but when they came to discover for what subject they were wanted, a sort of superstition seized them at once, and now they will no longer sit: I must therefore wait for others. With the principal figure, Sir David Baird, I have tried some deviations from the original sketch; as the moving principle of all that surrounds him, I have been giving more animation and command to his figure. In the likeness, Macdonald's bust will help me most essentially. The eyes, at such a moment, can only be turned down to the fallen monarch.

D. W.:

It was suggested to Wilkie that Irish history, domestic as well as national, though rife of subjects suitable to the painter's art, had failed to attract the pencils of the recording brethren of the easel, and lay like a virgin soil untouched by the plough. At that time Maclise had scarcely begun to embody the creations with which he has since illustrated Ireland, and as Scott had forborne to dip his romantic pen in Irish story, the public would like to see Irish character touched by a hand at once tasteful and delicate. With a picture or two of a national kind in his head, the painter departed for Ireland, and reached Dublin about the middle of August, where he made sketches from scenes and characters such as he reckoned would unite well into a picture. These were in pencil, and had the following names:-1. The Dreamer; 2. The Holy Water; 3. A Family Group; 4. The Nun's Darling; 5. The Jaunting Car; 6. A Street Scene;