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THE SEVENTH PICTURE
Sir Thomas Roe, Envoy from King James the First of England to the Moghul Emperor, succeeds by his mingled courtesy and firmness at the Court of Ajmir in laying the foundation of British influence in India. 1614.

Painter—W. ROTHEN5TEIN                                              Donor—THE DUKE OF BEDFORD  

After the westward voyages come the eastward adventures of British commerce. There is one striking difference between them— the Elizabethans went out to trade and settle among savage tribes, the Jacobeans to procure an entrance to an Empire and a civilization as old and proud as our own. To undertake such a mission a man must be equipped with remarkable qualities—the self-reliance to maintain his position for years among haughty Eastern princes and fiercely jealous European rivals; with manners at once firm enough and conciliatory enough to treat with men of wholly different race and mental habits.

James the First had not far to look for the right envoy. Sir Thomas Roe was a City man by birth—a grandson on one side of a Lord Mayor of London, on the other of Sir John Gresham. As a young man he had been a servant of Queen Elizabeth; later, he had been sent by Henry, Prince of Wales, to explore the Amazon. After his third voyage he was commanded by King James to go on behalf of the East India Company as ambassador to the Court of Jehângir, the Moghul Emperor of Hindustan, to arrange a commercial treaty and obtain concessions for factories” for the English merchants. He set sail with four ships in March 1614, and returned completely successful four years afterwards. “He had obtained the redress of previous wrongs, and an imperial engagement for future immunities which laid the foundations of the future greatness of Bombay and indeed of British India in general” (Lane Poole). He was after­wards successful in other diplomatic missions and peace conferences in Europe. But of all his successes the greatest was his Indian mission, where he showed the patience and self-restraint, under extreme provocation, which alone could have fitly represented and served his country.

This picture is in marked contrast with the others, and is yet an indispensable part of the series. For centuries India and all things Indian have held a large place in British life. The story of British India is the most picturesque passage in our national epic. For such a subject we are fortunate in possessing a painter who has first-hand knowledge of India and the Indian character. In his picture we see not only the Oriental sky, the delicate romantic beauty of the Eastern architecture, but also the atmosphere of Eastern custom and culture, the high-bred intellectual faces of a great and ancient race. The fair-haired Englishman is in every sense far from home; but he is untroubled. He has made his ceremonial bows, neither stiffly nor abjectly; he comes forward, and he is received, with genuine courtesy. There are present both friends and enemies: to both his demeanour conveys the assurance of his dignity and his humanity.

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