“What,” said I, drawing my right hand, with the forefinger and thumb pressed together, nimbly from my right haunch to my left shoulder, “you have condescended to resume the paternal arts to which you were first bred—long stitches, ha, Dick?” 

 He repelled this unlucky conjecture with a frown and a pshaw, indicative of indignant contempt, and leading me into another room, showed me, resting against the wall, the majestic head of Sir William Wallace, grim as when severed from the trunk by the orders of the Edward. 

 The painting was executed on boards of a substantial thickness, and the top decorated with irons, for suspending the honoured effigy upon a signpost. 

 “There,” he said, “my friend, stands the honour of Scotland, and my shame; yet not so—rather the shame of those who, instead of encouraging art in its proper sphere, reduce it to these unbecoming and unworthy extremities.” 

 I endeavoured to smooth the ruffled feelings of my misused and indignant friend. I reminded him that he ought not, like the stag in the fable, to despise the quality which had extricated him from difficulties, in which his talents, as a portrait or landscape painter, had been found unavailing. Above all, I praised the execution, as well as conception, of his painting, and reminded him that, far from feeling dishonoured by so superb a specimen of his talents being exposed to the general view of the public, he ought rather to congratulate himself upon the augmentation of his celebrity to which its public exhibition must necessarily give rise. 

 “You are right, my friend—you are right,” replied poor Dick, his eye kindling with enthusiasm; “why should I shun the name of an—an—(he hesitated for a phrase)—an out-of-doors artist? Hogarth has introduced himself in that character in one of his best engravings; Domenichino, or somebody else, in ancient times, Morland in our own, have exercised their talents in this manner. And wherefore limit to the rich and higher classes alone the delight which the exhibition of works of art is calculated to inspire into all classes? Statues are placed in the open air, why should Painting be more niggardly in displaying her masterpieces than her sister Sculpture? And yet, my friend, we must part suddenly; the carpenter is coming in an hour to put up the—the emblem; and truly, with all my philosophy, and your consolatory encouragement to boot, I would rather wish to leave Gandercleugh before that operation commences.” 

 We partook of our genial host’s 

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