transformed into the Soul of Song and enthroned in the "distant Aiden," pure, spotless, undefiled-bathed in floods of celestial glory. We have travelled thus far beyond the legitimate limits of our subject proper, for the express purpose of anticipating the inevitable blare of trumpets which heralds each new achievement of the Burnsiana Microscope. Other places lay more out of the beaten path-Dunlop House, for instance, wherein dwelt his truest friend and wisest counsellor-but we have already so far encroached upon our allotted space that we are here forced to take leave of our scarce accomplished task.

THE PORTRAITS OF BURNS,

*

BY

D. W. STEVENSON, R.S.A.

We

HE last word, historically speaking, has probably long ago been said concerning the portraits of Burns. might almost say portrait, as, notwithstanding all that has been said, and it is not a little, about portraits known and unknown; and the production from time to time, of so called portraits; which their discoverers, or makers, fondly hope may prove a source of profit, as a long lost treasure brought to light; Nasmyth's alone, having secured during the lifetime of the Poet, still retains its hold in public estimation, as the best realization of our National Bard.

First in importance, as in date, stands the well known and popular portrait by Alexander Nasmyth, showing the head and bust only, on a canvas fifteen inches by twelve, now, happily, placed in the National Gallery, Edinburgh: having been bequeathed to the Nation by Colonel William Nicol Burns, son of the Poet.

The idea of having this portrait painted, with the view to being engraved for the Edinburgh Edition of Burns' Poems, then under the press, is said to have been suggested by the publisher, Creech, to Nasmyth. But James Nasmyth, the Engineer, son of the Artist, in his own Life, edited by Smiles, informs us, and he doubtless had substantial grounds for this, and other details, concerning the intercourse between his father and the Poet-that they were first introduced by Patrick Miller, subsequently Burns' Landlord and the idea of the portrait originated with his father.

"The Poet," he adds, "had a strange aversion to sit for his portrait, though often urgently requested to do so. But when at my father's studio, Burns at last consented, the portrait was rapidly painted. It was done in a few hours, and my father made a present of it to Mrs. Burns." The hours may have been few, but several sittings were given for the painting.

In any case, how grateful we ought to be to the artist, who for love of his subject produced the only portrait which truly brings us face to face with the Poet; as, without it, we would have been left with such an ideal as Taylor conveys, or which may be drawn from wordy descriptions; welcome always as auxiliaries, but worthless compared to the fewest lines of a skilled pencil.

Burns arrived in Edinburgh on the 28th Nov., 1786, and his acquaintanceship with Nasmyth, who was only a few months his senior, rapidly ripened into esteem and friendship: the Poet, it is said, cherished the society of the painter, and frequented his painting room.

They had also many walks together in the suburbs of the city. We can readily fancy how strongly the picturesque views in and around "thine own romantic town," new to the Bard, and perennially interesting to the painter, must have alike stimulated two minds so sensitive to the beauties of nature.

On all such occasions would the artistic instinct of the painter be quickened, and a keen and constant eye instinctively note, the ever varying moods and changing expressions of the Poet, and he would carry to the congenial task of painting his friend's portrait, an eye and mind pregnant with the best and most characteristic expression of his sitter; and a hand trained to, and accustomed to the exercise of this department of art although soon afterwards more successfully devoted to the painting of Landscapes.

Before proceeding further in the consideration of the subject I may be permitted to say that, having on two occasions modelled heads of Burns, I had opportunities of studying closely the features of the Poet from every available source, including the profiles in the Watson collection, during the lifetime of the owner; the task of comparison and analysis is not a new one.

Having noted the special qualifications Nasmyth brought to his canvas, when he delineated Burns, how can we, in the absence of the subject, criticise the result?

We may, in the first place, see how it bears artistic scrutiny; and, in the next, compare it with the few other portraits worthy of regard.

Looked at as a whole, this surely is the picture of one who might well have been the lion of the season, during his first and brilliant visit to the capital in 1786-7. The manly forehead; the stamp of individual character in every feature, the mobile mouth, the eloquent eye, and the general look of engaging frankness are all here. We are told that in conversation, and when animated, the eye of Burns flashed in a manner rarely if ever seen, except in men of the highest genius: this is well suggested by Nasmyth, but the eyebrows I have always felt defective in form; the curve is common in its sweep, and is carried too far.

This has not escaped the observation of several of the earlier engravers: Walker being the first to introduce more variety into the detail of this feature.

The next point I would notice is the line of the upper lip, particularly the left side, it has too much of the Cupid's bow line: this slight exaggeration may have been given to suggest a pleasing expression, but if this was the motive, I should have preferred the expression sought for by Gibson the sculptor while modelling the bust of a distinguished English lady in Rome; a friend of the lady having remarked that he would like to see "the pleasing smile her ladyship has while receiving company." "No sir, I do not wish to represent her Ladyship smiling, but, as if she could smile."

The feeling which prompted Gibson in making his reply, appears to have actuated Skirving in his enlarged rendering of Nasmyth's portrait, as here may be observed more detail and firmer drawing in the line of the eyebrow, while the eye beams rather than flashes, but looks as if it could blaze. The lips, too, with more of gravity, look as if they could smile, while a gentle shadow of sadness hangs over the face, it is at the same time illuminated with geniality and fine humour.

I can find no trace of Burns having given sittings to Skirving ; if he did, the fact would be extremely interesting and valuable; if he did not, where did the artist get the fine expression his drawing undoubtedly possesses? At the time these portraits were done, Burns was in his twenty-eighth year, and although accustomed to speak of himself as coming from the plough, he must have looked the picture of manly vigour and health, with the look, we are told, of a well to do farmer. His sensitivelyindependent character, the high value he set upon himself, the mounting hope animating him at this, the best period of his life, would have few traces of rusticity, and must have thrown an air around him, which, if not pleasant to every observer, must have strongly affected the artistic sensibilities of Nasmyth and of Skirving, if the latter ever met the Poet; and in the absence of positive information I can only believe that he did, from the internal evidence of his drawing.

Other drawings by Skirving which I have seen, give me a high opinion of his delicacy of perception, and skill in the use of his crayon, indeed, in drawing alone, I would consider him superior to Nasmyth.

The small picture also by Nasmyth, showing the whole figure, at present in the National Gallery, Edinburgh, was not