207 
of Edinburgh, Session 1876 - 77 . 
connection with this some of the noblest efforts of his pencil were 
produced; his Covenanter pictures — The Preaching, Baptism, and 
Communion, as well as “ The Battle of Drumclog ” — attesting how 
deep was his sympathy with those who in evil days had to seek 
their spiritual sustenance and contend for their spiritual liberty at 
the peril of their lives ; while his “ Beading of the Bible in Old St 
Paul’s,” his “ Bunyan in Prison,” and his “ Bunyan selling laces 
on Bedford Bridge,” show that it was not to the religious history 
of his own country, or the struggles and sufferings of his own 
countrymen, that his sympathies were restricted. In the ecclesi- 
astical movements of his own time, also, he took a deep interest; 
and his “ Quitting of the Manse ” remains to show how he could 
appreciate a noble sacrifice for conscience’ sake on the part of those 
with whom he himself had no ecclesiastical connection. In the 
wider field of general historical painting Harvey did not attempt 
the delineation of great and stirring events, but contented himself 
with depicting scenes and actions of individual life or personal 
enterprise. As among his most powerful efforts in this wider field 
of his art may be mentioned his “Dawn revealing the New World 
to Columbus,” his “ Shakespeare before Sir Thomas Lucy,” his 
“ Bobbers melting Plate,” his “ Castaway,” and his “ Dr Guthrie 
Preaching in the Highlands.” He was fond also of painting groups 
of children, whose ways he had carefully observed, into whose 
affections and sympathies he lovingly entered, and from whose 
mimic sports he could draw lessons which by his pencil he sought to 
impress on older folks. It is only necessary to name his “ Children 
blowing Bubbles in Greyfriars’ Churchyard,” and his “ Wise and 
Foolish Builders,” to illustrate his success in this department of 
his art. In his later years he betook himself to the painting of 
landscapes; and here, in the judgment of those most qualified to 
judge, he was at his best. As a delineator of Scottish pastoral 
scenery, whether in the Lowlands or in the Highlands, he in many 
respects stands without a rival. In portrait-painting he was less 
successful ; still some noble portraits, that, for instance, of the late 
Professor Wilson, came from his easel ; and in several of his his- 
torical pictures characteristic likenesses of eminent men living 
at the time are introduced. 
I cannot pretend to offer a critical estimate of Harvey’s merits 
