o'clock, in the costume of a Lowland hill-farmer, with his broad blue bonnet, a shepherd's plaid thrown across his shoulders, accompanied by his colly dog, which remained all day outside the house, waiting till his master's labours were completed, which generally occurred between one and two o'clock.

"Sir Walter then mounted his pony, as he called him to me 'a laigh sweered beast,' and accompanied by his two deer-hounds, with William Laidlaw and his colly, the group proceeded to the hill-farm. When they arrived, whilst Scott and Laidlaw were discussing farming matters, the colly, followed by Scott's deer-hounds, would hunt about till he started. a hare, when the deer-hounds gave chase. Sir Walter used to be highly interested in these chases, though he confessed to me they very rarely succeeded in catching the hare.

"This is my recollection of Scott's daily proceedings, followed by an evening of abundant anecdotes and charming conversation.

"Whilst I was painting the picture, Scott was occupied chiefly in dictating Count Robert of Paris, which he occasionally laid aside for a work he was at that time writing on Demonology. The large folio represented in the left hand of the picture was a volume of. reference on that subject, which he brought down from the upper shelves of his Library, which I introduced into the picture at the time.

"I was surprised at the extreme fluency with which Sir Walter dictated; he never appeared to hesitate for a moment, unless Laidlaw failed to give him the last word. Laidlaw was much interested in the progress of the picture, and frequently looked over my shoulder to see how it was getting on, and consequently was not always ready to give Scott the last word. This entirely put him out, and seemed to break the thread of his inspiration. On such occasions he would absolutely groan aloud, and exclaim, 'Oh Mr. Laidlaw! Mr. Laidlaw!' He would then require him to read over the last two pages before he was able to resume the story, which he did with much animation, suiting his voice to the nature of the subject. If it was of a melancholy character he would speak in slow and solemn tones. If of a gay and lively nature he would draw himself up and assume a look of animation, and change his voice and manner.

"After I had been four days painting in his study, I was in the afternoon walking with him, when I said, 'I have now been four days in your study, and must have heard many fine passages, but I have been so much engrossed with my picture that I am ashamed to own that I cannot carry away a single sentence,' upon which he stopt his walk, and turning to me, resting on his staff, and with that charming smile that was so peculiar to him, said, 'Well, my good friend, then it appears there was no love lost between us, for I was quite unconscious of your presence.'

"I remember on one occasion, when our sitting was somewhat prolonged, the dog Bran, the one represented standing up in the picture, began to show some symptoms of impatience, and went with his nose poking up Sir Walter's hand, which in the picture is seen holding the pen. Scott, addressing me, said, 'You see, Mr. Grant, Bran begins to think it is time we went to the Hill.' I said, 'May I ask you to wait a few minutes longer to enable me to finish the hand?' Upon which he turned to the dog, and in slow and measured words said, 'Bran-my man-do you see that gentleman (pointing to me); he is painting my picture, and he wants us to bide a wee bit, till he has finished my hand (pointing to his hand); so just lie down for a while and THEN we'll gang to the Hill.'

"The dog had been looking during this address into his face, and seemed perfectly to understand, and retired quietly, and again curled himself up on the rug. Scott then turned to me and said, 'Depend upon it, if people would speak slowly and with emphasis to their dogs, they understand a great deal more than we give them credit for.'

"In Lockhart's Life of Scott, I think in the sixth volume, Sir Walter in his diary makes a lengthened allusion to our visit, and especially mentions the picture.

"I have only to add that in Lady Ruthven's picture Sir Walter is represented in the chair he always sat in, and in the dress he daily wore. When I left Abbotsford it had been my intention to complete the background of the picture more carefully at home. But Lady Ruthven, I think with judgment and taste, said, 'You should never touch this picture again.' It was therefore entirely painted as it now exists in the study of Sir Walter Scott.—I am ever yours very truly,

"FRANCIS GRANT."

SIR FRANCIS Grant, D.C.L., a younger son of Francis Grant of Kilgraston, in Perthshire, was born in 1804. He was educated for the Bar; but taking a strong dislike to the study of the Law, and having a not less strong passion for Art, he resolved to change his profession to that of a Painter. He became a Member of the Scottish Academy in 1830. At first, having been a keen sportsman, he distinguished himself by subjects of field sports and groups of figures in hunting-costume, which were much admired. He afterwards established his reputation as a portrait-painter under the most favourable circumstances, from his social position. Sir Walter Scott, in his diary, March 26, 1831, while referring to his change of life and pursuits, speaks of him in high terms. Mr. Grant was elected an Associate of the Royal Academy of London in 1842, and a Royal Academician in 1851. His successful career as a painter secured his elevation to the high distinction of PRESIDENT OF THE ACADEMY, February 1, 1866.

1 Sandby's History of the Royal Academy, Lond. 1862, vol. ii. p. 294-296.

L

XIX.

PORTRAIT BY LANDSEER. 1833. (No. 72.)

THIS posthumous Portrait of Sir Walter Scott and his Dogs was painted in 1833.

Mr. Edwin Landseer, R.A.," says Mr. Lockhart, "has recently painted a full-length portrait, with the scenery of the Rhymer's Glen; and his familiarity with Scott renders this almost as valuable as if he had sat for it. This beautiful picture is in the gallery of Mr. Wells."

It will be seen by an extract from Leslie's Autobiography at p. 93, that the Rhymer's Glen was a favourite haunt of its proprietor.

SIR EDWIN HENRY LANDSEER, R.A.-This very eminent painter was the younger son of John Landseer, the Engraver (1759-1852), one of the early Associates of the Royal Academy.

His son Edwin was born in London in 1802, and received his first lessons in drawing from his father, showing from his early youth a taste for the study of animals. He became a student of the Royal Academy in 1826, and was elected an Associate in 1816, and an Academician in 1831. He was an Honorary Member of the Royal Scottish Academy; and obtained from Her Majesty the honour of knighthood in 1850.

NO. XIX.]