The Tootmanyoso, on the completion of his work, is seen offering up
thanks to Heaven.
The principal figure stands out from the picture in a marvellous way. A
glory of light shines on the monarch's brow, and his eyes are illumined
with heavenly fire and inspiration. In the background are the people,
surrounded by plenty, and guarded by myriads of angels. Our painters
have the art of giving to their delineations of angels an incorporeal
vapoury appearance, like that of forms sometimes seen in sleep. The
Tootmanyoso is in the act of accompanying his hymn of praise with the
grand music of the harp. This instrument with us is of gigantic
proportions, and, touched by a skilful player, produces lovely effects.
It is not supported by the executant, but revolves easily on a ball and
socket, to which, having been placed at the exact inclination required,
it is fixed by a small bolt before he intones his hymns.[1]
[Footnote 1: See p. 243.]
It was delightful for me to go down occasionally to the great room, and
to meditate on these pictures, and the subjects that had inspired the
painters. The light and tone of the place, and the general impression
made upon me, seemed to savour more of heaven than of earth.