Benvenuto Cellini & Pope Paul III by David Wilkie (1785-1841) depicts Cellini holding an incense holder, otherwise called a censer or thurible, up to Pope Paul III, who holds spectacles up as if inspecting it while he sits in a chair. The bottom half of the work remains a rough sketch, while the top half is painted with brown watercolour to provide shading and detail to their clothing and faces, as well as draw the eye to the thurible which is highlighted with white. There is a rough outline above the Pope's head that resembles the outline of another figure, althought this is loose in detail, but the dark brown colour leaving this area blank is suggestive that Wilkie may have intended to depict another figure. 

This work along with others marks Wilkie's shift to portraiture, as this may have been a study for a painting focused on religious ceremony and depicting character of the figures, which characterised much of Wilkie's work. His portraits often employed a sharp contrast between light and dark, present here in the focus of the brown tones to capture these contrasts. A similar work, depicted with engraving is Benvenuto Cellini Offering his Censer for the Approval of Pope Paul III, 1824 housed in the National Galleries of Scotland collection. 

Sir David Wilkie RA, 1785-1841

In the first three decades of the nineteenth century Sir David Wilkie stood alongside Constable and Turner as one of the three greatest British painters of the period; indeed, in his own lifetime his reputation - nationally and internationally - was as high as or higher than that of the other two. Wilkie was a pre-eminent genre painter with an exceptional gift for observation of character, his early work being in the manner of the Dutch painters Ostade and Teniers. It is no exaggeration to say that all Victorian genre painting in England and Scotland derives from Wilkie. Subsequently he turned to historical genre and, later, to portraiture. His work attracted the wildest popularity, particularly through the medium of engravings. 

Born in Cults, in Fife, the third son of the parish minister, Wilkie enrolled for art classes at the Trustees' Academy in Edinburgh when he was fourteen. In 1805 he moved to London, studying at the Royal Academy Schools. The following year he exhibited The Village Politicians at The Royal Academy and became an overnight success. Thereafter his rise to fame was meteoric. When his masterpiece Chelsea Pensioners (celebrating Wellington's victory at Waterloo) was exhibited at the academy in 1822 at the astonishing price of 1200 guineas [£1260], there was such a clamour to view the painting that a crush barrier had to be erected to protect it, a previously unheard of measure.