which they passed through Leyden, Haarlem, and Amsterdam, visiting every
collection of paintings in their way, and studying the scenery and inhabitants
in the true spirit of artists. They then arrived at Cologne, chiefly to inspect
"The Crucifixion of St. Peter" by Rubens, which was placed over the altar
of the church of St. Peter. Mayence, Nuremburg, and Munich were next
visited, where Dutch and German paintings were in abundance; and in the
latter city, Wilkie's heart was warmed by the sight of his own production,
"The Reading of the Will," which had once been nearly a bone of contention
between the royalties of Britain and Bavaria. At Vienna, among several rich
productions of art, he also saw his "Toilette of a Bride," and was pleased to
find that the colours had acquired a richer tone. A rapid transit through
Hungary brought the travellers into the Turkish dominions, and finally landed
them in Constantinople, that city so enchanting in the distance, but almost as
delusive, when reached, as the Fata Morgana itself. While he was exploring
through the streets of Constantinople, Wilkie saw, in the outer court of a
mosque, a venerable looking scribe who had just written a letter for two
Turkish women, one of them very beautiful, to whom he was in the act of
reading the finished scroll. The whole group was so picturesque, that the
painter comprised it at a glance, and afterwards transferred it to the canvas,
and although unfinished, the picture was of such a superior character, that it
was finally bought at the sale of his paintings for 425 guineas. Another sketch
which he executed was that of "A Tartar Narrating in a Turkish Cafe the Victory of the Taking St. Jean d'Acre." Besides these, he made no less than
fifty-seven sketches of individuals or groups in Constantinople, and its infidel
suburb, Pera, during his residence in the Turkish capital a period of little
more than three months. This, indeed, was the busiest period of his life, for
he was now in a country where nature was the only picture gallery, while
every object was worth copying. But the most important of his labours was
a splendid portrait which he executed of the young Sultan, who sat with a
docility unwonted in an Eastern sovereign, and was so well pleased with the
result, that he rewarded the painter with a rich gold snuff box set with diamonds.
By the way of Smyrna, Rhodes, Beyrout, and Jaffa, Wilkie next proceeded to the Holy Land, occupying himself during the whole way in increasing that rich collection which was afterwards known under the title of his Oriental Sketches; and having in constant use, besides his sketch-book, a pocket Bible, which was the guide of his journey, as well as his director in the still more important pilgrimage of which, though unconsciously, he was already near the commencement. Every step in the land of revelation and miracle seemed to solemnize his thoughts, and on reaching Jerusalem, he found among its hal- lowed ruins materials enough both for delineation and devout solemn meditation. After a sojourn of six weeks at Jerusalem, Wilkie proceeded to Egypt, and arrived at Alexandria on the 26th of April, 1841. He had not been long here, when no less a personage than Mehemet Ali, the old and terrible, expressed a desire to sit to the distinguished British artist for his portrait. Wilkie, indeed, was told, that in this most energetic of modern potentates he would also find the most restless of sitters; but the case proved otherwise, for the pasha was as compliant as a child, and was rewarded with a portrait that satisfied his utmost wishes.
Having finished his long protracted and diversified journey, Wilkie now
