been given; but the Editor regrets to say, that this is not in his power. He has reason to believe that

several exist which he has never seen.

The following catalogue, however, includes some not previously spoken of.

I. A very good miniature of Sir Walter, done at Bath, when he was in the fifth or sixth year of his age, was given by him to his daughter Sophia, and is now in my possession-the artist's name unknown. The child appears with long flowing hair, the colour a light chesnuta deep open collar, and scarlet dress. It is nearly a profile; the outline wonderfully like what it was to the last; the expression of the eyes and mouth very striking-grave and pensive.*

II. The miniature sent by Scott to Miss Carpenter, shortly before their marriage in 1797 (see Vol. I. p. 383), is in the possession of the present Sir Walter. It is not a good work of art, and I know not who executed it. The hair is slightly powdered.

III. The first oil painting, done for Lady Scott in 1805, by Saxon, was, in consequence of repeated applications for the purpose of being engraved, transferred by her to Messrs Longman & Co., and is now in their house in Paternoster Row. This is a very

Engraved for the First Volume of this Edition.-[1839.]

fine picture, representing, I have no doubt, most faithfully, the author of the Lay of the Last Minstrel. Length, three quarters-dress, black-hair, nutbrown-the favourite bull-terrier Camp leaning his head on the knee of his master. The companion portrait of Lady Scott is at Abbotsford.*

IV. The first picture by Raeburn was done in 1808 for Constable, and passed, at the sale of his effects, into the hands of the Duke of Buccleuch. Scott is represented at full length, sitting by a ruined wall, with Camp at his feet- Hermitage Castle and the mountains of Liddesdale in the background. This noble portrait has been repeatedly engraved it forms the frontispiece to the fourth of these volumes. Dress black - Hessian boots.

V. The second full length by Raeburn (done a year later) is nearly a repetition of the former; but the painter had some new sittings for it. Two greyhounds (Douglas and Percy) appear in addition to Camp, and the background gives the valley of the Yarrow, marking the period of Ashestiel and Marmion. This piece is at Abbotsford.

VI. A head in oils by Thomas Phillips, R.A., done in 1818 for Mr Murray, and now in Albemarle Street. The costume was, I think, unfortunately selected—a tartan plaid and open collar. This gives

*

Engraved for Vol. V. of this Edition.-[1839.]

a theatrical air to what would otherwise have been a very graceful representation of Scott in the 47th year of his age. Mr Phillips (for whom Scott had a warm regard, and who often visited him at Abbotsford) has caught a true expression not hit upon by of his brethren any a smile of gentle enthusiasm. The head has a vivid resemblance to Sir Walter's eldest daughter, and also to his grandson John Hugh Lockhart. A copy of this picture was added by the late Earl Whitworth to the collection at Knowle.

VII. A head sketched in oil by Geddes-being one of his studies for a picture of the finding of the Scottish Regalia in 1818 is in the possession of Sir James Stewart of Allanbank, Baronet. It is nearly a profile-boldly drawn.

VIII. The unrivalled portrait (three quarters) by Sir Thomas Lawrence, painted for King George IV. in 1820, and now in the Corridor at Windsor Castle. See Vol. VI. p. 201. The engraving, by Robinson, is masterly.

IX. A head by Sir Henry Raeburn—the last work of his hand-was done in 1822 for Lord Montagu, and is at Ditton Park: a massive strong likeness, heavy at first sight, but which grows into favour upon better acquaintance-the eyes very deep and fine. This picture has been well engraved in mezzotinto.

X. A small three-quarters, in oil, done at Chiefs

wood, in August 1824, by the late Gilbert Stewart Newton, R. A., and presented by him to Mrs Lockhart. This pleasing picture gives Sir Walter in his usual country dress- -a green jacket and black neckcloth, with a leathern belt for carrying the forester's axe round the shoulders. It is the best domestic portrait ever done. A duplicate, in Mr Murray's possession, was engraved for Finden's "Illustrations. of Byron."

XI. A half length, painted by C. R. Leslie, R.A in 1824, for Mr. Ticknor of Boston, New England, is now in that gentleman's possession. I never saw this picture in its finished state, but the beginning promised well, and I am assured it is worthy of the artist's high reputation. It has not been engravedin this country I mean-but a reduced copy of it furnished an indifferent print for one of the Annuals.

XII. A small head was painted in 1826 by Mr Knight, a young artist, patronised by Terry. See Vol. VIII. p. 190. This juvenile production, illdrawn and feeble in expression, was engraved for Mr Lodge's great work!

XIII. A half-length by Mr Colvin Smith of Edinburgh, done in January 1828, for the artist's uncle, Lord Gillies. I never admired this picture; but it pleased many, perhaps better judges. Mr Smith executed no less than fifteen copies for friends of Sir Walter; among others, the Lord Bishop of Llandaff,

the Lord Chief-Commissioner Adam, and John Hope, Esq., Dean of the Faculty of Advocates.

XIV. A half-length done by Mr John Graham in 1829, for the Royal Society of Edinburgh, in whose chambers it now is: Not destitute of merit; but much inferior to that of Miss Anne Scott, by the same hand, in the drawing-room at Abbotsford.

XV. An excellent half-length portrait, by John Watson Gordon of Edinburgh, done in March 1830, for Mr Cadell. See this volume, p. 59. Scott is represented sitting, with both hands resting on his staff the stag-hound Bran on his left. graving in vol. 33 of the Waverley novels does no justice to this picture.

The en

XVI. The cabinet picture, with armour and staghounds, done by Francis Grant, for Lady Ruthven, in 1831. See this volume, p. 49. This interesting piece has never been engraved.

XVII. I am sorry to say that I cannot express much approbation of the representation of Sir Walter, introduced by Sir David Wilkie in his picture of "The Abbotsford Family;" nor indeed are any of the likenesses in that beautiful piece (1817) at all satisfactory to me, except only that of Sir Adam Fergusson, which is perfect. This is at Huntly Burn.

XVIII. XIX. XX. Nor can I speak more favourably either of the head of Scott, in Wilkie's "Arrival of George IV. at Holyrood" (1822), or of that in