TO 
 
 DAVID LAING, Esq., LL.D., 
 Edit 07' of 
 
 The Worls of the Scottish Reformer, 
 this trifle is inscrihed by ids friend, 
 
 THE A UTHOR. 
 
From the Transactions of the Antiquarian Society, 
 lOth May 1875. 
 
 (3f ) 
 
 Fifty Copies, printed on large paper, containing Additional 
 Portraits and Notes. 
 
5 
 
 OME months ago I had presented to me a photograph from an 
 engraved portrait of John Knox called the Sonierville picture, 
 which first appeared in the 6th volume of " Knight's Gallery 
 -f^y of Portraits," in 1836. The editor ventures no remarks upon 
 this picture, and I have no douht, had it not been in the 
 possession of a nobleman, which unfortunately is too often looked upon 
 as a sort of guarantee for authenticity, no one would ever have thought 
 of engraving it as our great Scottish Eefornier. Below the impression 
 from which this had been taken, there^had been written — 
 
 Lodge's portrait of John Knox is another illustration of the same sort, 
 in which a mathematician, compasses in hand, although in this case, a good 
 and an old picture, is engraA^ed as the Eeformer, the only authority being 
 the fact, that it is at Holyrood Palace where it is so-called. Thinking the 
 above writing a mere expression of opinion on the part of Mr Carlyle as 
 to what his ideal of Knox was, and sent to some friend, I thought no more 
 of it, having, in common with every person who had paid attention to 
 such matters, always looked upon this picture as one of the many spurious 
 portraits of historical characters so common, I am sorry to say, in the 
 houses of our Scottish families, who seem to think it essential to possess 
 representations of Sir William Wallace, or Eobert Bruce, Queen Mary, 
 George Buchanan, John Knox, or others — all of which become genuine 
 after a little of the smoke and dust of time have accumulated upon them, 
 and are then pointed to as so many links in the various phases of familj^ 
 history. But it is not only with portraits that this misleading takes place 
 
 B 
 
6 
 
 Mr Carlyles ideal of Knox. 
 
 from their being in royal and noble residences, for was there not shown 
 at Holyrood a pair of jack boots and armour to match, of the time of 
 William III., as having belonged to Darnley; and somewhere else there, 
 an old chair as having belonged to John Knox, which, it turned out, 
 had been brought from Craignethan Castle, and accidentally taken to 
 Holyrood, not many years before, with no such history? while a com- 
 mon Cromwell head-piece and two-handed sword of about the same 
 period, are shown at a nobleman's house as having belonged to Eobert 
 Bruce. But it would be endless enlarging on this subject; it is only to 
 be hoped, that as some attention is paid to such matters now-a-days, this 
 sort of thing will cease. A Queen Mary, a John Knox, or perhaps some 
 family portrait or relic being wanted, they were sure to cast up shortly, 
 just as we have had within the last few years in Edinburgh, relics of 
 various kinds of Queen Mary and others, in silver, ivory, and other 
 materials, appearing periodically, with a sort of mystery attached to them ; 
 tliere being a demand, the supply came. Sometimes it is amusing to be 
 told in all seriousness, while standing before a most unmistakable manu- 
 facture, that of the genuineness of this portrait there can be no doubt, 
 having been in the family for so many generations. One such came undei' 
 my notice lately, a bad copy of the Hondius portrait, the very unfaithful- 
 ness of it being used as an argument in favour of its being an original, as 
 in some respects being different from Beza and Hondius. In this case he 
 was represented with a long white beard, but it was quite a modern per- 
 formance ; yet the possession of this was mentioned as a sort of proof of 
 lineal descent from John Knox, it having been in the family from an 
 early period. The age of the picture and the direct descent, however, 
 were equally imaginary, seeing that both of his sons died childless. 
 
 But let us return to the Carljde ideal of John Knox, as we must now 
 call it. That Mr Carlyleon first seeing it should express an opinion that 
 this was the one portrait of John Knox he could believe in, or, in other 
 words, that the one given by Beza did not satisfy his mind, but this 
 somehow did, as his ideal of the great Reformer, no one could find fault 
 Avith. But when he wishes, as he does in " Eraser's Magazine," and 
 since that, in his work, " The Early Kings of Norway : also an Essay 
 on the Portraits of John Knox," to substantiate this myth as an 
 historical reality in place of the portrait by Vaensoun,* which was 
 
 * Plate 1. 
 
1. 
 
 THE BEZA POETEAIT OF JOHN KNOX. 
 
King James VI. and the Laird of Dundas. 7 
 
 sent by King James VI. along with his own portrait, and both of which 
 were cut on wood for Beza's Icones, published at Geneva in 1580, 
 it is too much. Moreover, the payment for these "twa pictures" 
 is duly entered in the treasurer's accounts, June 1581, and the notion 
 that this date being a year after the publication must have been for other 
 two portraits is too far-fetched, and only suggested to help him in his 
 difficulty. There is no ground for such an idea, and there can be no 
 reasonable doubt that the portraits in Beza are those sent by James and 
 duly paid for in 1581, tliat teing the date of payment, not the time when 
 they were done ; and it is satisfactory for us to know that payment was 
 made so soon, as our Scottish Solomon was at no time the readiest of pay- 
 masters. Perhaps it was not from want of will altogether on his part, 
 but from the lowness of his exchequer, which with His Majesty must some- 
 times have been at a very low ebb. Indeed, plate was so scarce at Holyrood 
 Palace, that when sending an invitation to his " Eight traist friend," Sir 
 Walter Dundas of Dundas, to be present on the occasion of the baptism 
 of his eldest son. Prince Henry, on the 30th August 1594, His Majesty 
 requests, among other things, that he wiU bring " his silver spoons," and 
 at the same time borrows from him a pair of silken hose that he might 
 appear decently apparelled before the foreign ambassadors. Unfor- 
 tunately this very curious letter disappeared about 1735, but another has 
 been preserved, also written in the king's own hand, inviting the same 
 laird to be present at the baptism of Prince Charles in December 1600. 
 As the letter is an admirable illustration of the homely and quaint style 
 of correspondence between King James and a subject, it is given in full. 
 
 Letter of James VI. to Sir Walter Dundas. 
 " Eight traist freind we greet you heartilie well. The baptisme of our 
 dearest sone being appointed at Halyruid House upon the xxiij. day of 
 December instant Quereat sum Princes of Prance Strangeres with the 
 speciales of our nobilitie being invyted to be present necessar it is that 
 great provision of guid cheer and sic uther things necess'* for Decorations 
 yrof be provydit Qlks cannot be had without the help of sum of oure 
 loving subjects q'of accompting you one of the speciales we have thought 
 guid to request you effectuously to ppyne us with vennysone wyld meit 
 Brissel foulis ; caponis with sic uther provisions as is maist seasonable at 
 that tyme and careed to be sent into Halyruid House upon the xx day of 
 
 c 
 
8 
 
 Mr Laings belief in the Beza Portrait. 
 
 the said month of December instant and herewithall to invyte you to be 
 present at the solempnitie to take part of your awin gude cheer as you 
 tender our honour and the honour of the country swa we commit you to 
 God from Linlithgow this vj of Decemb' 1600. 
 
 JAMES E." 
 
 The Earl of Gowrie and his brother knowing well King James' constant 
 want of money, used this as the most likely, perhaps the only lure, to 
 entice him from the pleasures of the chase, a pastime of which he was 
 passionately fond. Knowing that it would require something very tempt- 
 ing to induce him to forego the sport he was then enjoying at Falkland, 
 Alexander Ruthven whispered to him, as he was mounting his horse, a 
 story of the seizure near St Johnston of a mysteriously muffled-up stranger 
 having in his possession a large pot of gold pieces. This was too much 
 for the king, who, however, swithered what to do, but the story haunted 
 him, and during the chase visions of Spanish gold flitted before him, — 
 
 " Come let me clutch thee, 
 I have thee not, and yet I see thee still." 
 
 Immediately on the chase ending, he rode off with Ruthven, and at so 
 furious a pace, that he was some miles on his way to St Johnston before 
 his courtiers overtook him; — the rest of the story is well known as the 
 Gowrie Conspiracy. That King James, however, could spend lavishly 
 when the opportunity came, was shown by his behaviour when he became 
 king of Great Britain, his thoughtless extravagance keepmg him in constant 
 monetary difficulties, and driving him to strange means for raising money. 
 
 Mr David Laing says, in his introduction to the Works of Knox, " 1 
 was very desirous of obtaining a portrait of the Reformer to accompany 
 this volume. Hitherto, all my inquiries have failed to discover any un- 
 doubted original painting." But he has no doubt whatever that the 
 portrait given by Beza is from the picture by Vaensour, sent to him by 
 King James VI. Mr Carlyle is sorely put to it when he attacks the clerk 
 for ignorance in spelling the artist's name Vaensoun, as no such name, he 
 says, is known in painters' dictionaries, hinting that it should have been 
 Vansomer, for no other reason than that an artist of this name was in 
 England nearly forty years after Knox's death, and who, by the way, 
 never was in Scotland. This is of a piece with his other arguments in 
 
The Goulart Errors. 
 
 9 
 
 this discussion; because he and liis artistic explorers had never heard of 
 Vaensoun, or Fanson, as it is also spelt in the treasurer's accounts, of 
 course it must be some imaginary artist who never was in Scotland. But 
 the clerk was right, and Mr Carlyle is wrong,, for Faenzone or Fanzone is 
 to be found in painters' dictionaries, and that a painter of the same name 
 was in Scotland at that time is quite certain, and painted the "twa 
 pictures" of King James and John Knox, which were sent to and used 
 by Eeza in his book in 1580, the one of John Knox being afterwards used 
 by Verheiden in his " Praestantium Aliquot Theologorum," &c., published 
 at the Hague in 1602. Another of the arguments used against the Beza 
 portrait is that in a French translation of the work by Goulart, another 
 portrait was introduced by mistake as Knox, and which, if I am not mis- 
 informed, Mr Carlyle was willing to have accepted as Knox, but gave it 
 up on being told by our best living authority that it was William Tyn- 
 dale. Mr Carlyle is rapturous on " G oulart's accurately conscientious 
 labour which everywhere else reproduces Beza as in a clear mirror." One 
 need not wonder at this, although I have heard doubts of it, as Goulart 
 would no doubt submit his translation to Beza while going through the 
 press ; the arranging of the plates and bookbinding, being as a matter of 
 course left to the printer. In this perfect book a more absurd mistake 
 than the above occurs, which could not have happened had Goulart 
 arranged the portraits, one likeness being made to do duty for two different 
 individuals, which it is attempted to justify by their "having a certain 
 vague similarity," so vague, indeed, tliat the man who made the mistake 
 must have been very blind or very stupid, the more so that the portrait 
 left out is that of Beza's early friend and teacher, Melchior Wolmar, to 
 whom he dedicated his " Juvenilia," a volume of poems which was the 
 cause of a good deal of scandal in his younger days. So many mistakes 
 show this translation to have been one of the most carelessly edited books 
 ever pubhshed, as far as the illustrations are concerned, and yet it is 
 the only evidence quoted. But the misleading nature of it did not end 
 here, for in a new edition in 1673, the same stupid carelessness as to the 
 portraits is continued — for be it remembered it is a book of portraits rather 
 than biographies — the portrait of Tyndale still figures as Knox, whose 
 real portrait is inserted as Beza, to whom it has no resemblance, and this 
 in Beza's native city Geneva, where every one must have been familiai 
 with his likeness, which with that of Knox had appeared in Verheiden's 
 
10 
 
 The Beza and Hondhts Portraits. 
 
 beautiful and authentic series of portraits, engraved by Hondius in 1602. 
 It is satisfactory to find that Mr Carlyle has a word of admiration for the 
 portrait of Knox, as engraved on copper by Hondius* in the Verheiden 
 volume, in which it is one of the grandest aiid most powerful heads — in 
 fact, I would almost say as much for it in the Beza volume, although to 
 me it always seemed inferior to the other, which, I have no doubt, was 
 engraved by Hondius from the same original, being most likely borrowed 
 from Beza, who was still alive, and who alone could give it. This was 
 the more probable, as Verheiden must have corresponded about Beza's own 
 biography and the portrait to illustrate it. If not from the same painting or 
 drawing, then another must have been procured from Scotland ; in either 
 case it is strongly against the idea of another likeness, as twenty-two years 
 after Beza's Icones had appeared, its genuineness had not been disputed. 
 The superiority of the one print over the other, as a work of art, is a good 
 illustration of two renderings from the same original — the one by a man 
 of talent such as Hondius, the other by an unknown wood-engraver. Mr 
 Carlyle has a rapturous and eloquent passage as to his ideal of the great 
 Scottish Reformer. " Knox, you can well perceive, in all his writings, 
 and in all his way of Life, was emphatically of Scottish build ; eminently 
 a national specimen; in fact, what we might denominate the most Scottish 
 of Scots, and to this day typical of all the qualities which belong 
 nationally to the very choicest Scotsmen we have known or have had 
 clear record of: utmost sharpness of discernment and discrimination, 
 courage enough, and, what is still better, no particular consciousness of 
 courage, but a readiness in aU simplicity to do and dare whatsoever is 
 commanded by the inward voice of native manhood; on the whole, a 
 beautiful and simple but complete incompatibility with whatever "is false 
 in word or conduct; inexorable contempt and detestation of what in 
 modern speech is called humbug. J^othing hypocritical, foolish, or un- 
 true can find harbour in this man; a pure, and mainly silent, tenderness 
 of affection is in him ; touches of genial humour are not wanting under 
 his severe austerity ; an occasional growl of sarcastic indignation against 
 malfeasance, falsity, and stupidity; indeed, secretly an extensive fund of 
 that disposition, kept mainly silent, though inwardly in daily exercise ; a 
 most clear-cut, hardy, distinct and effective man; fearing God, and with- 
 out any other fear." This is surely an admirable word-painting of such 
 
 * Plate 2. 
 
2 
 
 THE VERHEIDIN PORTRAIT 
 
Mr Carlyl^s style of argument. 
 
 a man as Hondius has transmitted to us, but could never in any sense 
 apply to the whimsical-looking and weak individual Mr Carlyle would 
 have us helieve in, even although Mr Tait's suggestion were put in force. 
 " Perhaps," says he, writing to Mr Carlyle, " the best way of settling the 
 business, if such a way were practicable, would be the issuing of a decree 
 that the Somerville one is, and must ever henceforth be held to be, the 
 right one, and that aU the others be destroyed." 
 
 In the Life of Knox, London, 1650, the Hondius portrait is used, and 
 in that extraordinary volume, "Theatrum Virorum Eruditione Clarorum," 
 by D. P. Freherus, published at Ifurenburg in 1687, I find that he has 
 used the Beza portrait of Knox, showing again, that up to that time 
 no doubt existed as to the authenticity of this likeness. No amount 
 of mere abuse and attempts at turning it into ridicule will ever take the 
 place of the fact that James VI. sent over two drawings of paintings to 
 Beza which were used in his volume of portraits, and a mere personal 
 opinion, however boldly asserted, can never replace a genuine portrait by 
 a merely fanciful head. Of the style of argument used to enforce this 
 opinion (if argument it can be called), it may be worth while to give a 
 few illustrations. Speaking of the Beza portrait, it is thus set forth — 
 " Surely quite a surprising individual to have kindled all Scotland, within 
 a few years, almost within a few months, into perhaps the noblest flame 
 of sacred human zeal and brave determination to believe only what it 
 found completely believable, and to defy the whole world and the devil 
 at its back, in unsubduable defence of the same. Here is a gentleman 
 seemingly of a quite eupeptic, not to say stolid and thoughtless frame of 
 mind, mach at his ease in Zion, and content to take things as they come, 
 if only they will let him sleep in a whole skin, and digest his victuals." 
 Again, " No features of a Scottish man traceable there, nor indeed, you 
 would say, of any man at all; an entirely insipid, expressionless indivi- 
 duality, more like the wooden figure-head of a ship than a living and 
 working man ; highly unacceptable to every physiognomic reader and 
 knower of Johannes Cnoxus, Giffordiensis Scotus." At another place he 
 speaks of it as " the boHed figure-head which Beza denominated Knox." 
 Speaking of the Yerheiden portrait, it is said — " This of Hondius is nothing 
 other than an improved reproduction of the Old Beza figure-head; the 
 face is turned to the other side, but the features are preserved, so far as 
 adding some air at least of animal life would permit; the costume, care- 
 
12 
 
 Knox and Beza personally acquainted. 
 
 fully including the little patch of ruffles under the jaw, is reproduced; and, 
 in brief, the conclusion is that Hondius or Yerheiden had no doubt but 
 the Beza portrait, though very dead and boiled-looking, had been essen- 
 tially alike, and needed only a little kindling up from its boiled condition 
 to be satisfactory to the reader." " The river of beard flowing from it is 
 grander than that in the figure-head, and the book there, with its right- 
 hand reminding you of a tied-up bundle of carrots supporting a kind of 
 loose little volume, are both charitably withdrawn." As to the " bundle 
 of carrots," had Mr Carlyle looked over Beza's book carefully, he would 
 have seen a few more hands of the same kind, clearly showing them as the 
 work of the wood-engraver, and not by the painters of the originals, and 
 consequently we have nothing to do with these shortcomings in judging 
 of the portraits. 
 
 To throw discredit on Beza's portrait, he more than insinuates that he 
 never had seen Knox, and therefore could have no idea of his personal 
 appearance. This, like the authenticity of the portrait, has never before 
 been called in question, and the two greatest authorities on this subject, 
 the late Dr M'Crie and Mr David Laing, have no doubt whatever that 
 they must have been personally acquainted. The former, in his Life of 
 Knox says, " Knox was known and esteemed by the principal persons 
 among the reformed in France, Switzerland, and Germany. We have had 
 occasion repeatedly to mention his friendship with the reformer of Geneva. 
 Beza, the successor of Calvin, was personally acquainted with him; in the 
 correspondence which was kept up between them by letters, he expressed 
 the warmest regard and highest esteem for him." Pinkerton, again, 
 speaking of this portrait, says, " Beza being the friend of the Eeformer 
 could hardly be misled." 
 
 It is difficult to understand how it possibly could have been otherwise, 
 at such a time, when meetings of the leaders in the Eeformation must 
 have been of very frequent occurrence at Geneva, where Knox had been 
 officiating some years as a preacher, and during which time Beza was a 
 well-known professor of Greek and preacher at Lausanne, which is but a 
 few miles from Geneva, the head-quarters of the Calvinistic Reformation, 
 in which Beza, like Knox, was one of the moving spirits, and of such 
 mark that he succeeded Calvin not only in his chui-ch, but as the leader 
 of the party — a position to which he never could have risen had he not 
 been well known in Geneva, both personally and by reputation. 
 
Letter from Beza to Knox. 
 
 13 
 
 It may be interesting to give two letters from Beza to Knox, as trans- 
 lated by Mr Laing in his Collected "Works of John Knox, as showing 
 their correspondence to have been that of personal friendship, and not mere 
 business. It seems passing strange that Mr Carlyle does not even allude 
 to these, although giving one of a similar nature to Buchanan from Beza. 
 
 Theodore Beza to John Kiiox, restorer of the Gospel among the Scots, 
 his venerable brother and fellow-minister. 
 
 " Grace and peace, my Brother, I wish to you and all your holy 
 churches from the G-od and Father of our Lord Jesus Christ, to whom 
 also I continually give thanks, both for his great goodness towards you, 
 and for your singular constancy and fortitude in maintaining his worship. 
 But when that honourable and truly Christian declaration of your Assem- 
 bly, by which you adopted the Confession of our Churches had been laid 
 before me, some months thereafter I intimated, both to yourself in private 
 and to other brethren by letter, how agreeable and how pleasant to us all, 
 and especially to the brethren of Zurich was this your union with us in the 
 Lord in all things, which too we trust will be everlasting, and stand firm 
 against the very gates of hell. But, though since that time you have received 
 no letter from me, I would not, my Brother, that you should ascribe it 
 to either contempt or neglect, or even to a press of business, but partly 
 to the want of bearers, of whom, indeed, I had not quite suitable, and partly 
 to the perpetual commotions of these times, from which, although by the 
 special kindness of God the best and greatest this state has as yet been 
 safe, yet, since they are both, as you know, very near us, and chiefly affect 
 those with whom we have necessarily almost all things in common, it is 
 impossible that they should not trouble us also to a grievous extent. But 
 I do not think it necessary to write to you at greater length concerning 
 OUT affairs, as you can learn them from this countryman of yours, evidently 
 a very good man, much better than from myself. Let me therefore add 
 but this, that through the grace of God we are still in good health, and 
 with perfect unanimity continue in the same position in which you for- 
 merly left us. Nay, this small school of ours has now increased so much, 
 that I believe few are better attended. Colladonius and I teach divinity 
 week about ; and a third has been added in the person of om Galasius, 
 whom those troubles in France have driven, with almost innumerable 
 
14 
 
 Correspondence continned. 
 
 others, into this haven. But two things hinder ns from enjoying this 
 solid comfort — one, that our church here increases indeed wonderfully, 
 but it does so out of the ruins of others ; the other, that the plague, which 
 afflicted us last year with considerable severity, has a month since begun 
 more or less to revive. Therefore, I earnestly entreat of you and the other 
 brethren, that with us you will beseech of God, our most merciful Father, 
 this also, that forgetting our manifold sins he may chasten us indeed, but 
 not rebuke us in his wrath, but rather, which is almost the sole refuge 
 that remains to so many miserable beings, that he may by his own special 
 goodness preserve us from all evil. As to French affairs, at the moment 
 when I write to you, all are reported to us as prosperous, as you will learn 
 from the bearer of this. For although our friends have received a great 
 blow through the loss of that most illustrious hero the Prince of Cond^, 
 yet since that time, the Lord has often so refreshed them, that his death 
 seems to have been, and is likely to be in future, a greater cause of sorrow 
 to our enemies than to them. It is certain, indeed, that besides him very 
 few were slain, but among those there were two justly lamented by the 
 army, Castellier a Frenchman, and Stuard your countryman, a man so far 
 as I can judge, of excellent qualities, both of mind and of body. May the 
 Lord recompense his enemies for this most unworthy slaughter, since both 
 these, as well as the Prince of Conde, were, contrary to the laws of war, 
 most cruelly put to death after they had surrendered. But such is the 
 lot of good men, especially in this ungrateful age. And I have no doubt 
 (for what we hear from your quarter is rather by rumours than from sure 
 information) that every other year may furnish similar examples among 
 yourselves. But alas, my Brother, what a state of matters is this ! For 
 although it is by no means new that they who so very pertinaciously reject 
 the doctrine of peace should be vexed by the spirit of discord, yet it is a 
 sad and sorrowful thing that those who, for so many years, have so success- 
 fully opposed both Satan and the world by patient endurance only should 
 be forced to defend themselves with the sword. However, provided the 
 Lord leads his own, they shall certainly find that he is the sole arbiter 
 both of war and of peace. But I wish we may not experience how diffi- 
 cult, nay, how almost impossible it is, so to handle those iron weapons as 
 to keep them from hurting one's self. God alone, for whom, to use the 
 words of Paul, we war, can cure this evil as well as others. To him I 
 
Another Letter to Knox from Besa. 
 
 15 
 
 render great thanks that he has so often been with you in ways so 
 wonderful, and I trust you will join me in praying for the same favours 
 to our France. But more than enough of so doleful a subject. God 
 grant that I. may soon have more and better news. 
 
 " There were published last week certain prelections of mine on poly- 
 gamy, divorces, and separations, which I wish you to read and examine 
 with care where j^ou are. For that purpose, I would willingly have sent 
 you some copies of them, had I not been afraid of burdening this friend 
 of ours, who, however, has promised, under favour of God, to convey at 
 least one copy to you. Moreover the calumnies of certain very trouble- 
 some persons compelled me to publish a sort of trifle, of which I send you 
 two copies, — one for yourself, in order that when you also are disposed to 
 trifle, you may seriously remember your Beza ; the other for Mr Buchanan, 
 who, I hope is with you and well, and to whom I send my regards as 
 those of an old friend. Our whole Assembly salute you and all your 
 colleagues much in the Lord, the common author and defender of this our 
 union. I especially pray you, my Brother, that you will continually 
 remember in your prayers me, a most miserable sinner and useless insig- 
 nificant man, on whom God has laid such a burden, that I may one day 
 stand in some manner without blame before his judgment seat; and Him 
 in return I ask to support, by his holy and powerful Spirit, yourself 
 and that illustrious deliverer of yours, so often wonderfully preserved to 
 you, whom I salute with all humility. ISTor do I ask this of you alone, 
 my Brother, but also earnestly entreat it of your whole Assembly of most 
 excellent and learned men, whom all may the Lord Jesus most effectually 
 preserve, defend, and guard, to the glory of his name, and the sure and 
 solid edification of all the churches, to which you are indeed a singular 
 example. Farewell. 
 
 "Geneva, M of June 1569." 
 
 Tlieodore Beza to John Knox, his very clear Brother and Fellow Minister. 
 
 " Although, my Knox, we are in body separated by so great a distance 
 both of land and sea, yet I have not the least doubt that there has always 
 existed, and that there wUl exist to the last between us that complete 
 union of mind which is confirmed by the bond of one and the same spirit 
 and faith. And truly I believe that this Church of Geneva especially is 
 
i6 
 
 Bern and Knox Correspondence. 
 
 often in your thoughts, as we, in our turn, have you in continual remem- 
 brance before God, which most holy reciprocity of spirit almost solely 
 sustains me, and you also where you are, as I think, amidst so great a 
 confusion of human affairs; for, albeit they whose citizenship is in heaven, 
 ought to have their whole dependence on heaven as those who, being in 
 the body, are absent from the Lord, yet in mind sit together in heavenly 
 places, still there is no reason why, however weak and ineffectual are those 
 things which have the appearance of some strength and firmness, we 
 should not contemplate heaven as it were situated on earth, the goodness, 
 namely, of God (as seen) in his own people. From the surest proofs, I 
 infer that the Scottish churches are such, that the numerous and severe 
 and continuous attacks of Satan, the like of which I believe no nation has 
 hitherto borne within so few years, have not succeeded in corrupting 
 among them the purity of doctrine, or in changing the rule of strict disci- 
 pline neglected by so many nations. Blessed be the Lord our God, who 
 has gifted thee, my brother, as placed at the helm, and others as rowers 
 and under-rowers, with such constancy and courage. It is a great gift of 
 God, that you carried together into Scotland both pure religion and good 
 order, the bond by which doctrine is secured. I beseech and implore you, 
 that ye so keep these two together, that you may always remember, that 
 when one is lost the other cannot long endure. This, certainly, both the 
 very nature of things (for who would expect that laws could be rightly 
 observed except by appointing guardians and executors of them^) And 
 also exj)erience itself, the teacher even of fools, teaches us by the example 
 of those nations, to whom chiefly through this error, which the people will 
 not allow to be corrected, it is certain, that at this day the gospel is pro- 
 claimed in judgment rather than in mercy (I except a very few of the 
 elect of God). But of this also, my Knox, which is now almost patent to 
 our very eyes, I would remind yourself and the other brethren, that as 
 Bishops brought forth the Papacy, so will false Bishops (the relicts of 
 Popery) bring in Epicurism into the world. Let those who devise 
 the safety of the Church avoid pestilence, and when, in process of 
 time, you shall have subdued that plague itr Scotland, do not, I pray you, 
 ever admit it again, however it may flatter by the pretence of preserving 
 unity, which deceived many of the best of those of former times. As to 
 our own affairs, while you in your country are occupied with tragedies 
 
3 
 
 FROM BDISSARD 
 
Bois sard's Portrait of Knox. 
 
 17 
 
 such as tlie whole of Greece never acted in its theatres, we meantime have 
 for six whole years been struggling with the plague, nor have we yet 
 finished the conflict, which truly has destroyed no fewer than twelve 
 thousand persons in this, as you know, rather small town. Although, 
 however, both evUs are sent by God to chastise us for our sins, yet we 
 know what a difference that most wise and most experienced prophet 
 David, when bidden to choose his punishment, judged to exist between 
 our chastisement and yours. Your struggle, therefore, was even harder 
 than ours. But blessed be the Lord, who has so tried us in this furnace, 
 that he has consumed neither; and may he grant, that by such chastise- 
 ment we may at length be made wiser. Our city, indeed, is not as you saw 
 it. The benches of our school, formerly not quite fuU, are now quite empty. 
 One or another also of ourselves, has severely tried us ; but we are still 
 through the grace of God, alive, and, since that vital heat, namely, that same 
 doctrine, good order and harmony between all ranks, which you observed 
 when here, continues unabated, we doubt not that all the members having 
 at length recovered their vigour, the whole body will be restored to health. 
 Help us, then, by your prayers to God, as we also in our turn bear you 
 upon our heart, and have been accustomed day and night perseveringly to 
 pray for the state of the kingdom of Scotland, and the welfare of all good 
 men. We will, however, be glad if, as often as possible you advertise us 
 of your affairs. We shall do the same to you much more dUigently than 
 ever before, seeing that peace in France seems to have opened to us a way 
 for that purpose, though separated by so great a distance. Farewell, excel- 
 lent man and brother much to be esteemed. Let all our very dear and 
 much-to-be-loved brethren and fellow-ministers, and aU who love our 
 Christ in sincerity, be saluted along with you both in my name, and in 
 the name of all our colleagues. 
 
 " Geneva, Vlth of April 1572." 
 
 Boissard's work (1597-1669), the 4th edition of which, "Bibliotheca 
 Chalcographica," printed at Frankfort, 1650, has a portrait of Knox,* a 
 front face with the long beard, though hardly of the length in the Beza 
 portrait ; this has been done from an indifferent picture, but evidently the 
 same person as given by Beza and Verheiden, having just the little differ 
 
 * Plates. 
 
i8 
 
 History of the Somerville Portrait. 
 
 ences which two artists would give to the same head. In illustration of this, 
 many must remember the portraits of Sir Walter Scott in the Centenary 
 Exhibition three years ago, and of the variety of expression and treatment 
 among these, by above twenty different artists, each of whom had worked 
 out his own ideal of the character of the Great Unknown, so different, 
 and yet how like. In 1732, another portrait of Knox for the first time 
 appears in the " History of the Eeformation," published at Edinburgh. 
 He is in a close-fitting cap and long white beard, and is engraved by E. 
 Coojjer, the master of Sir Eobert Strange ; but no artist's name is given. 
 And here we enter upon the period of manufacture. 
 
 Amongst such I am afraid we must include the portrait of Knox hang- 
 ing in the Museum of the University of Glasgow, one of a series of made- 
 up portraits there, among which are those of Patrick Hamilton,Wishart, and 
 others. It is a profile, evidently suggested by the Beza or Hondius portraits, 
 and was engraved in 1799 for Pinkerton's Gallery of Scottish Portraits. 
 
 I wiU now say a few words about this SomerviUe portrait of Knox. 
 When do we first hear of it % It is supposed — for all about this picture is 
 mere conjecture — that it was bought about 1760; but whether it was 
 acquired by Lord Somerville as a portrait of the Eeformer, or was merely his 
 ideal (or, perhaps, his or some future housekeeper's), and consequently 
 so called, nobody can now tell ; that is all we know of its history, and some 
 people may think all that is worth knowing of it, so far as being a portrait 
 of John Knox is concerned. One thing is clear, that nobody seems to have 
 heard of this portrait until it was brought into notice by being engraved 
 for Knight's " Gallery of Portraits" in 1836. Certainly it was not known 
 as a portrait of Knox in 1797, or at aU events not believed in by the 
 Somervdle family at that time, if then in their possession. Sir William 
 Musgrave, an English collector of engraved portraits, whose manuscript 
 collections and letters are now in the British Museum, appears to have 
 applied to and obtained from most of the princij^al families in England and 
 Scotland, lists of portraits in their possession. Among others he applied 
 to Lord Somerville, who sent him a list of historical and family portraits 
 belonging to the family, in his house or houses near Edinburgh. In this 
 catalogue we find the names of such pictures, both ancient and modern, but 
 among them there is no mention of one of J ohn Knox, although the list 
 seems very complete. Had there been a portrait, even called that of John 
 
The Manufacture of Historical Portraits. 
 
 19 
 
 Knox, at Drum or any otter house belonging to Lord Somerville, it was not 
 likely to have remained unnoticed at such a period, when Pinkerton had 
 been for years collecting materials for his two volumes of Scottish historical 
 portraits, and Smith, the Earl of Buchan, and others industriously hunt- 
 ing in the same field. However, let us suppose that it was added to the 
 Somerville collection in 1760, the period was in one sense an unfortunate 
 one, when Walpole's example had initiated the fashion of collecting 
 articles of vertu, in fact, anything queer or out of the way, without what 
 we now call archEeological or historical reference. Lord Somerville, like 
 his contemporary, the Earl of Buchan, seems to have been a collector, and, 
 among other things, managed to get hold of the old City Cross of Edin- 
 burgh, which he had erected in front of his new house at Drum, in which 
 one of the greatest curiosities must have been his Lordship's portrait of 
 the Scottish Eeformer. It was a time also rife in the manufacture of 
 historical portraits, and we can imagine the old Lord wandering from 
 his own apartments in Holyrood to the great gallery of the Palace, with 
 its 120 portraits of kings, beginning 330 years before Christ, and ending 
 with his own royal master, George 11. , who died in 1760 — fit place for 
 inspiration as to the value of authentic portraiture — and as he paced it in 
 the quietness of a summer evening, on even to the gloaming, when the 
 stern old kings, who had been glowering down upon him, and some of 
 whom his forefathers had entertained righb royally at Cowthally, gradually 
 faded into dreamy shadows, like the phantom kings of Macbeth; and then 
 returning to his own quarters, pondering as he went on the necessity of a 
 picture gallery at his house of Drum, then in course of erection. There was 
 a John Knox at Holyrood, and why not at Drum ; and so it came, and no 
 doubt many others, as the necessary furnishing for the house of a lord of 
 ancient lineage. The manufacture of portraits must have been a lively 
 and no doubt a profitable one, and if we did not know something of this, 
 we would be surprised where all the portraits of J ohn Knox, Queen Mary, 
 and others come from, which every now and then are cropping up at sales 
 in Edinburgh and elsewhere. Among the most prolific and best known 
 of these producers of old portraits was John Medina, who was a grandson 
 of Sir John Medina, a well-known portrait painter in his day. He for a 
 long series of years carried on an extensive practice of this sort, and died 
 at Edinburgh in 1796. His speciality, however, seems to have been Queen 
 
20 
 
 Alterations upon Portraits. 
 
 Mary, his model for which he found among the royal portraits in the 
 gallery at Holyrood. This school of manufacture was continued into this 
 century; and I was informed by the late Mr David Eoberts, E.A., that 
 when a boy he was frequently sent messages by his master to an artist 
 called Eobertson, who lived by doing portraits of Queen Mary, Prince 
 Charles, and such like, the first of which he varied by a red or black 
 dress ; sometimes a veil was thrown over the head, or a crucifix put into 
 the hand, and if required a crown was introduced somewhere or other, a 
 favourite inscription on the back being, " From the original in the King 
 of France's closet," unless it was to be an original! into which it was 
 easily converted by a little judicious smoking and varnishing. Perhaps 
 no portrait has been more misrepresented than that of Queen Mary. 
 Every pretty face, aye sometimes anything but pretty, with a head-dress 
 of the period, seems at one time to have been dubbed Queen Mary, and 
 even lately one was startled by seeing an engraving from a picture, in a 
 quarter where more care and judgment should have been exercised — in 
 this case without even the conventional headdress, or any portion of 
 costume of the period, but with some likeness to portraits of Maria 
 Clementina, the wife of the Chevalier St George, and mother of 
 Prince Charles Edward and the Cardinal York. But dealing tricks 
 took another form, — that of altering the name of a portrait, and 
 passing it off as genuine. Such is the case with a portrait of the 
 second Marquis of Huntly, who was beheaded in 1 649. This was originally 
 the portrait of a Flemish gentleman. Another of a different kind may 
 be mentioned, in the portrait of Prince Charles Edward Stuart, which 
 was painted by Davidde and engraved by Edelinck. When the copper- 
 plate of this had got worn down and . useless, it would appear to have 
 fallen into the hands of some dealer, who, to make a new print of 
 it, had employed an engraver to put on the head a Highland bonnet 
 with a cockade, which is exactly copied from Strange's beautiful 
 print. This plate, from its wretched condition, should be destroyed, for it 
 would still appear to be in the possession of some person who is printing 
 from it, to the serious detriment of Edelinck's good name as an engraver, 
 seeing that I lately picked up a copy, quite a new impression, which is 
 only worth preserving for comparison with a good print in its original 
 state. I was lately told a curious story by a copperplate printer, about 
 
irmi 
 
 ;(D)fflE]miLJLl F©M^MM1 ©IF -JIOIIII MKOXc f 
 
 Itotil a"pictuTe T)elorLgmg to James DnnranDui H. S. A. 
 
Portrait Transformation. 
 
 21 
 
 the fate of a valuable engraved plate. The late Mr Charles Kirkpatrick 
 Sharpe had a copperplate of Prince Charles, engraved by Strange, from 
 which, for some purpose, he wished a few impressions. After a long 
 search it was found in his housekeeper's room, in beautifully bright con- 
 dition. Mr Sharpe, as was his wont, took it himself in a small portfoho 
 to my informant, who, although surprised at the brilliant look of the plate, 
 did as he was ordered, but to Mr Sharpe's horror it came up an indistinct 
 hlurr. It turned out that the housekeeper, finding it lying about, had 
 taken it into her own room as an ornament, and had been in the habit of 
 polishing it bright with the other garnishments of her mantelpiece. What 
 a pity that some orderly domestic had not applied her polishing paste to 
 the now bonneted Prince Charlie above mentioned, and thus have pre- 
 vented it now being printed ! But the most amusing story of this kind 
 is of a portrait of George IV. in mezzotinto, after Eaeburn, to whom, it 
 may be mentioned, the king never gave sittings. The publisher of his 
 had brought out many portraits after Eaeburn, and thinking that a 
 portrait of his Majesty would be a good speculation on the occasion of his 
 visit to Scotland in 1822, looked over his stock of copperplates, and selected 
 that of the courtly Professor Hope, who is represented sitting in a rather 
 dignified sort of way. This he sent to an engraver and had the head 
 polished out, that of the king engraved in its place, on the breast a star, 
 but the plate was altered in no other respect, the result being a right royal 
 looking portrait of the first gentleman in Europe. 
 
 While writing, I have before me a copy of the Somerville portrait,* and 
 from the conscientious way in which it is painted, I have no doubt an 
 excellent one, done from the original a number of years ago, very likely 
 before it was lined, at which time it seems to have been tampered with, 
 at least so says Mr Eobert Tait, who hunted up information about this 
 portrait from the art point of view. He seems also to have formed a low 
 estimate of it as a picture, which is now so -much cracked, that in a 
 photograph from it, sent me, the features are almost invisible; so I have 
 preferred getting a plate done from this copy, by one of the new photo- 
 graphic processes, which, no doubt, wiU give a truer representation of the 
 original, than HoU's engraving for Knight's Gallery of Portraits, which Mr 
 Tait says, " conveys a higher impression than the picture itself does, the 
 
 * Plate 4, 
 
22 
 
 Mr Tait's opinion. 
 
 features being finer in form, and more firmly defined." There can be no 
 doubt that the collar to which he calls special attention is a most suspicious 
 article of dress, proving that the picture cannot, even if genuine, be at the 
 earliest, older than Cromwell's time, if that. Mr Tait says this does not 
 invalidate the portrait, as white collars or bands of various shapes and sizes 
 were in use in Knox's time, and are to be found in the portraits, and fre- 
 quently referred to in the literature of Elizabeth's reign. As to the falling 
 bands of that period to which he alludes, we know of these quite well, but 
 they bear no resemblance to this, not being collars at all. I should not 
 like to assert that collars such as this were not then worn, but somehow I 
 have entirely failed in finding even one specimen, after having looked over 
 hundreds of portraits of the period. It is desirable that Mr Tait should 
 enlighten us on this subject, on which he writes so confidently, but they 
 must be genuine portraits, about which there can be no cavil, and with 
 collars like this in size and shape ; till then I must remain a sceptic. 
 
 To make sure of the correctness of this copy, now in my own possession, 
 I wrote to Mr Scharf, Keeper of the National Portrait Gallery, London, 
 to ask if he could procure for me a tracing from the original Somerville 
 portrait, which I understood was still somewhere in London. Fortunately 
 he had such a tracing, and very kindly sent me a copy of it. On applying 
 this, I find the copy a just and faithful one; the only difference being 
 in the collar, which may be a shade deeper. 
 
 In a letter which I received from Mr Tait after a notice of this 
 paper appeared, he says — "I have read over your paper with much 
 interest, and agree with most of it, but had you known more fuUy 
 my opinions about collars or falling bands and other things you would 
 have been less critical of them than you are. In December last I wrote 
 at the request of Mr Carlyle a short monograph on the portraits of Knox, 
 as favourable to the Sotnerville one as I could make it, but which yet cut 
 the ground from under it almost everywhere; and I was a good deal 
 annoyed to find that he picked out only some little bits that suited his 
 purpose." Had I known Mr Tait's opinion as expressed in his letter, my 
 remarks would certainly have been different, but no one reading Mr 
 Carlyle's outburst could have come to any other conclusion than that he 
 concurred in the opinion, that the Somerville picture was a genuine 
 portrait of John Knox. At the same time he says, "that the Lord 
 
Mr Taifs Atithorities. 
 
 23 
 
 Somerville who put it up in his house as a portrait of Knox, had, or con- 
 sidered he had, satisfactory reason for calling it such." I suppose just 
 such reason as others had for believing in the authenticity of pseudo 
 portraits of Wallace, Bruce, and the like. I am glad to think that Mr 
 Tait repudiates the notion of this being a portrait of the Scottish Eeformer, 
 and quite sympathise with him in the treatment he received in the use 
 made of his notes, " which conveyed a very imperfect and even misleading 
 impression of what he had written." 
 
 Mr Tait thus refers to his authorities for the dress of the Somerville 
 portrait : — " Some persons have said that the dress, especially the collar or 
 falling band, belongs to a later age than that of Knox, and is sufficient to 
 invalidate the portrait ; but this is not the case, for white collars or bands, 
 of various shapes and sizes, were in use in Knox's time. In 1543 it was 
 recorded of George Wishart, who was put to death at St Andrews in 
 1546, and of whom Knox had been a disciple, that he wore 'white fall- 
 ing bands ' (see letter from Emery Tylney in Fox's ' Book of Martyrs ') ; 
 they are found in the portraits and frequently alluded to in the literature 
 of Elizabeth's reign; and the collar on the portrait of Simon Forman, 
 who was born in 1552, and died in 1611, is more like that in the Somer- 
 ville picture than any other that has been found of later date. Yet it is 
 probably true that collars or bands near the size of that in the Somerville 
 picture were more commonly worn, not so much by clergy as by 
 lawyers and other laymen, about the time of the Eestoration (a hundred 
 years after Knox's time) than at any earlier or later date." As to this por- 
 trait of Simon Forman, which is adduced as authority for large collars of 
 the time of Elizabeth, I can scarcely think Mr Tait earnest in bringing it 
 forward, seeing it is quite as spurious-looking, if not more so, than the 
 Somerville picture. However, let us suppose the possibility of its being 
 genuine, and where does it land us % That this style of collar was worn 
 by astrologers, which might be confirmed by another not unlike it, worn 
 by Lily's Master " John Evans, the ill-favoured astrologer of Wales," and 
 of the same period, both of which are figured in the " Antiquarian Eeper- 
 tory" (1775-84). This would certainly throw a new light on the Somer- 
 ville portrait, and account for the way he holds the book. But this 
 Simon Forman having been an astrologer and not an ecclesiastic, any dress 
 such a person might really have worn would be altogether useless in such 
 
24 
 
 Henry Foiilis on John Knox. 
 
 a discussion. As to " the white falling bands " worn by Wishart at his 
 execution at St Andrews, and mentioned in Tylney's letter, these were 
 simply the 'bendes,' ribbons, or tassels for tying the collar, so often seen in 
 portraits of the Holbein period, and oddly enough represented on the con- 
 temporary portrait of this martyr, in the possession of the Wishart family. 
 In the allusion to John Knox's marriage (afterwards), mention is made of 
 such "bendes of talfetie feschnit with golden rings and precious stones." 
 In that wonderful repertory of historic portraits of illustrious men of all 
 nations by Freherus, the first 772 pages of this folio volume are devoted to 
 theologians from the fourteenth century till about 1670, and illustrated by 
 495 engraved portraits from the best authorities. There is not one collar 
 of the formidable size of the so-called Knox portrait among them. The 
 nearest in shape, but only half the size, is of the date 1670 ; among the 
 hundreds about Knox's time not one. The second part of the volume is 
 devoted to laymen, from emperors downwards, divided into sections, and 
 comprising above 800 portraits. In one of these a few are found of nearly 
 the same size, but of more defined shape. These range from 1650 to 
 1^70, and are worn by lawyers. 
 
 "We find a rather curious piece of evidence as to Knox's personal 
 appearance, in an unexpected quarter, in a book by Henry Foulis, pub- 
 lished at Oxford, " The History of the Wicked Plots and Conspiracies 
 of Our Pretended Saints, with the Hypocracies and Vilifying Humours 
 of Some Presbyterians, &c. (1662-1674.)" "John Knox" he calls "the 
 Father of the Scotch Presbytery, and a great assistant to these in Eng- 
 land. This man had so got the knack of villifying that his tongue could 
 be no slander." Under the year 1572 he says — "In this year did John 
 Knox dye at Edinburgh (November 27), one that (as I am apt to believe, 
 all things considered,) gained more esteem amongst the people by the 
 reverence of his long beard, reaching down to his middle, than any real 
 wisdom or discretion that could be appropriated to him." But it was not 
 only in England that his success was attributed to sinister causes, as Mcol 
 Burne tells us, that on the occasion of bringing home his second wife, a 
 daughter of Lord Ochiltree, he appeared " rydand with ane gret court on 
 ane trim gelding, nocht lyk ane prophet, or ane auld decrepit priest, as he 
 was, bot lyk as he had been ane of the blude royal, with his bendes of 
 taffetie feschnit with golden ringis and precious stanes ; and as is planelie 
 
6 
 
 jFROM BOISSARD) 
 
Boissard's Portrait of George Buchanan. 
 
 25 
 
 reportit in tlie country, by sorcerie and witchcraft, did sua allure that 
 puir gentlewoman that sche could not leve without him." But whether 
 the glamour was from " the river of beard " is not said. 
 
 "We now come to the George Buchanan notion of Mr Boehm the 
 sculptor, who with Mr Tait was employed to gain information and give 
 his opinion as to the merits of this Somerville picture. His theory that 
 this picture is an enlarged copy from a portrait by Porbus, because there 
 happens to be a picture by that artist said to be Goorge Buchanan, is a 
 mere vague and uncertain speculation, for which there is not a shadow of 
 authority. The first inquiry should have been as to the authenticity of 
 that picture as a portrait of Buchanan. It was engraved by E. Scriven 
 in 1836 for Mr Charles Knight from a picture belonging to the Royal 
 Society ; but being in that collection is no proof that it is a portrait of 
 George Buchanan. Fortunately an indisputable test is in existence by 
 which to try portraits of George Buchanan, his skull being preserved in 
 the Museum of the University of Edinburgh, a valued treasure. There 
 is also a portrait which has been there probably from the foundation of 
 the University by James VI. This picture is unfortunately in bad state 
 of preservation, but the likeness is intact. Again there is a most charac- 
 teristic engraved portrait* in the " Icones Virorum lUustrium," &c., 4 
 vols. 1597-99, by his contemporary, J. J. Boissard. This portrait is also 
 used by Ereherus in 1687. Some forty years ago Sir William 
 Hamilton compared various portraits of Buchanan by measurement 
 with the skull, and these two only stood the test. The head in 
 both is thoroughly Scottish in character, with a long and well-formed 
 nose, well-defined cheek bones, and a long upper lip as in the skull. At 
 the same time there is no denying a certain vague resemblance between 
 the Eoyal Society portrait and that of Boissard; for although the head is 
 rounder and the nose shorter, yet the mouth, which is very peculiar, has 
 much the same character. Mr Boehm tells us that he saw many Porbus 
 portraits with white collars. Was there one the same as this in form and 
 size 1 If so, where are they, and who are they ? Eor argument's sake, they 
 must be the same. 
 
 Of the Porbus portrait of Buchanan there are a number of versions ; 
 one of these, very much resembling the Eoyal Society's, picture was en- 
 
 * Plate 6. 
 
26 
 
 Buchanan Portraits. 
 
 graved by E. White for Buchanan's "History of Scotland" in 1690, and 
 was then the property of Dr Povey ; although the dress is a little different, 
 and the face revised, it looks as if done from the same picture.* An 
 edition of Buchanan's poems was printed by Elzevir at Leyden 1628, 
 having a small front view of the head in an oval frame, supported by 
 cupids ; and another edition of the poems appeared at Amsterdam in 
 1676, also by Elzevir. The same portrait is again used, supported on a 
 pedestal, angels in the clouds crowning him with laurels, and a pegasus 
 galloping over a distant mountain. By the side of the pedestal are some 
 nude figures, and below some satyrs with musical instruments. Both of 
 these are on a very smaU scale, but agree more with the Boissard head in 
 proportion, as does another in Euddiman's edition of "Buchanan's Works," 
 Edinburgh, 1715. The frontispiece is an elaborate composition, designed 
 and engraved by Vander Gucht, the bust being raised on a pedestal, while 
 a cupid flying past is placing a wreath, which is announced by Fame who 
 is blowing her trumpet. In the middle of the group is Time, scythe in 
 hand ; at one side an Eastern turbaned female figure playing on a harp 
 and singing, with a cupid leaning over an open book lying on her knee, 
 his hand raised as if keeping time; at the opposite side is a classical figure 
 representing History, a book on her knee, and her right raised holding a 
 pen. Then, in 1741, Houbraken engraved a front face from a picture in 
 the possession of Dr Mead; it is very like the last three, and Like them 
 having some hair on his head, but the height of the forehead is rather 
 exaggerated. 
 
 The primary object of writing this paper having been to prove that the 
 Beza and Hondius portraits of John Knox were authentic hkenesses, I 
 did not take up the point as to the probability of Knox having sat for 
 his portrait to. Porbus, because Buchanan may have done so, considering 
 the idea of such a portrait as the Somerville one being a copy from a portrait 
 of Knox by Porbus or any other person as too absurd. It was my intention, 
 however, to have extended my notes in this direction before printing the 
 paper, hut Mr Tait has gone into this matter so thoroughly, and his 
 remarks on the probability of Porbus having painted a portrait of 
 George Buchanan, and the impossibility of his having painted John 
 Knox, being so much to the point, I will quote the whole passage as it 
 appeared in the Scotsman. I take the liberty of doing this, and hope Mr 
 
 * Plate 7. 
 
(after porbus) 
 
Mr Boehm on the Somerville Portrait. 
 
 27 
 
 Tait will excuse me for so doing, considering the scant justice he received 
 at the hands of his friend, after all his research. Tn the first place, his 
 remarks are a complete answer to Mr Carlyle, who says — " Among scruti- 
 nisers here, it was early recollected that there hung in the Eoyal Society's 
 room an excellent portrait of Buchanan, undisputedly painted hy Francis 
 Porbus; that Knox and Buchanan were children of the same year (1505), 
 and that both the portrait of Buchanan and that of Knox indicated for 
 the sitter an age of about sixty or more. So that our preliminary doubt, 
 Was there in Scotland, about 1565, an artist capable of such a portrait as 
 this of Knox % was completely abolished; and the natural inquiry arose, 
 Can any traces of affinity between these two be discovered % In the second 
 place, it is a complete refutation of Mr Boehm, who, Mr Carlyle says, 
 " found in this Buchanan perceptible traces of kinship with the Knox 
 [Somerville] portrait." His words are — " The Somerville picture at first 
 reminded me more of Porbus than of any painter of that time, although 
 I did not then know whether Porbus had ever been in England, as, 
 judging by the fact that he, painted Knox's contemporary, George 
 Buchanan, we may now fairly suppose was the case." And in the same 
 letter, speaking of the qualities of Porbus' work, " which are, it seems to 
 me, clearly discerned in this copy, done by a free and svnft hand, careful 
 only to reproduce the likeness and general effect, and had less of the 
 delicate and refined touch of the gxeat master." I am glad that Mr 
 Boehm is pleased, for it is always satisfactory to come to a decided con- 
 clusion, more so perhaps when a sketch of imagination is requisite to do 
 so. But it will be more to our purpose to hear what Mr Tait says on the 
 subject. 
 
 " As the idea that the Somerville picture might have been copied from 
 an original picture by Porbus, I believe I was the first in connection with 
 this inquiry to remember and to go and see the Porbus portrait of 
 Buchanan in the rooms of the Royal Society here, but said all along I 
 had a complete conviction it was a delusion to think to estaolish any re- 
 semblance between the style or treatment of Porbus' pictures and that of 
 the Somerville Knox. The idea received little or no countenance from 
 the distinguished artists who examined the^'picture; indeed, only one, and 
 he a sculptor (the Mr Boehm mentioned in Fraser), gave it any support 
 whatever ; and he appears to have gone in rather a headlong manner in 
 support of it, much to Mr Carlyle's gratification at the time. Yet on due 
 
28 
 
 Mr Tait demolishes Mr Boehm's theory. 
 
 investigation it becomes quite clear that it would be perfectly fatal to the 
 Somerville picture, as a likeness of Kuox, to succeed in proving, as Mr 
 Carlyle was so anxious to do, that it was probably a copy from a picture by 
 Porbus; for if anything in historical biography is certain, it is certain that 
 Francis Porbus, 'the elder,' who was born in 1540, and died when just 
 forty years old, never was in any part of our island; and also certain that 
 Knox, after he was fifty-five years of age, never was out of our island; it 
 was therefore impossible that Knox, afterhe was sixty, could have been 
 painted by Porbus ; and the Somerville picture certainly indicates — as is 
 stated in Fraser — 'for the sitter an age of about sixty or more.' It was 
 never hinted by any one, before the first day of April in the present year, 
 when Mr Carlyle's article appeared in Fraser, that this Porbus (or, indeed, 
 any of the others of the name) had ever been in our country. D'Argen- 
 ville, Descamps, PUkington, Bryan, Stanley, Sirot (1855), all give some 
 account of him, but not one of them affords the slightest opening for even 
 imagining such a thing. On tlie contrary, D'Argenville distinctly says — 
 ' II ne sortit jamais de son pays.' The year 1565 is mentioned in Fraser 
 as the time about which the portrait of George Buchanan above aUuded 
 to must have been painted, and the time about which Porbus must have 
 been in Scotland to do it ; but it happens rather curiously, that in that 
 very year Porbus was thinking seriously of a visit to Italy, ' to study the 
 works of the greab men,' some of whom were still alive, and others of 
 them only recently dead — ' apres avoir ^t6 recu membre de I'Academie 
 d'Anvers en 1564' (when just twenty-four years of age), ' il se disposait 
 a se rendre en Italic;" but, instead of going there, he decided to stay at 
 home and to marry, which he did not long after, his second wife; and 
 therefore, ' not to speak it profanely,' could not have come to Scotland 
 to paint the portrait of Buchanan — ' II se maria pour la seconde fois en 
 1566, lors qu'U se preparait an voyage d'ltalie' (D'Argeville, ii. 248). 
 
 " Burns says, '■ Facts are chiels that winna ding,' and therefore, unless 
 it is to be supposed that in these latter days, ' nous avons changed tout 
 cela,' it follows that the fine Porbus portrait of Buchanan, which belongs 
 to the Eoyal Society of London, must have been painted during one of 
 Buchanan's visits to the Continent, where, at different times and at 
 various places, many of the best years of his life were spent. Dr Irving, 
 in his 'Life of Buchanan' (Edinburgh, 1807), gives some account, at 
 
The Earl of Buchai'Cs Portrait of George Buchanan. 
 
 29 
 
 page 208, of a visit Buchanan was said to have made to the Continent in 
 '1565 or 1566,' and Euddiman in liis 'Anticrisis' (1745), says — *I 
 have heard it related an hundred times that Buchanan, when Principal 
 of St Leonard's College at St Andrews, did make such a voyage to 
 France;' and he would then have attained to just the sixty years of age 
 which this portrait of him is supposed to indicate." 
 
 Mr Carlyle is not the first person who has taken it into his head that 
 he infallibly knew what a historic character should have been like, in 
 spite of all contemporary authority. David, eleventh Earl of Buchan, 
 considered himself a great authority in all matters of art or antiquity, and 
 had got together an extraordinary collection of historical portraits, good, 
 bad, and indifferent — his great discovery being a genuine portrait of 
 George Buchanan, hitherto unknown, and by Titian. The contemporary 
 portraits of Boissard and in the University of Edinburgh were not his 
 ideal, but now he had secured and saved it. This he roanaged to get en- 
 graved by Woolnoth for Tulloch's London Philosophical Magazine in 
 1809, and calling with an impression to astonish a friend, who at the 
 time was sitting in his library, asked him if he had ever seen that, the 
 response being that he certainly never had seen that print before; but 
 going to his book-shelves took down a volume, and opening it, asked his 
 Xordship if he had ever seen that before. His expression may be better 
 imagined than described, for here was a large and most characteristic en- 
 graving of the same portrait, which was that of Peter Jeannin, Finance 
 Minister to Henry IV. in "Les Hommes lUustres," &c., par C. Perrault, 
 2 vols. Paris 1696-1700. jSTow let us look at the Carlyle "ideal" as to 
 authenticity. Not one argument has been adduced which could make the 
 least impression upon any unprejudiced person, for all that has been or 
 can be said for it is, that it is supposed to have been bought (perhaps 
 commissioned) by Lord Somerville somewhere about 1760. But even this 
 may be doubted, considering the fact that it is not even alluded to in the 
 catalogue of his historical and other portraits sent to Sir William Mus- 
 grave in 1797, by the Lord Somerville of that time. There its his- 
 tory begins and there it ends. To every one who has studied such matters, 
 this portrait must always have had a most suspicious appearance — that 
 unmeanning mass of white wLich Mr Tait is pleased to suggest as " a 
 falling band"), an article of dress quite unknown till more than a century 
 
30 
 
 Difference of opinion. 
 
 after the Reformation — in fact, not till the time of the Commonwealth, or 
 after it, and then very unusual, and when of this size apparently worn by 
 lawyers or counsellors. Then the uncertain look of the dress, void of 
 form and shape, a row of buttons, sleeves anything, just such as one finds 
 in everything of the sort by ignorant manufacturers of portraits, in this 
 case even more careless than usual, for it may be a jerkin or a tippet, 
 such as was worn by certain Eoman Catholic officials, with a row of false 
 buttons in front ; the collar might almost be called a smaller tippet of 
 linen, and what looks like sleeves being simple folds of cloth. As to the 
 way he holds the book, the less said the better; while the attempt to 
 make out such an indistinct blur as the Geneva or any other Bible is 
 ridiculous. How different all this, in such details, from genuine pictures 
 by the old masters, I need tell Mr Carlyle's art scrutinisers Messrs 
 Boehm and Merritt — no mistaking between a jerkin and a tippet in their 
 works, especially at the time of Knox. This said Somerville Knox seems 
 somehow to have required a deal of cooking up before it could be inter- 
 preted or understood as a portrait of the great Reformer ; and a copy, we 
 are told, was made from it by Mr Samuel Lawrence, in which he must 
 have succeeded in taking away such character as the original possessed, 
 and thus produced a portrait more satisfactory to Mr Carlyle, in being 
 "of a much more refined appearance." Verily, a new and surprising 
 method of jDroducing genuine historical portraiture. 
 
 In the high estimate formed of this portrait by Mr Carlyle, I am sorry 
 I cannot agree. The upper part of the head is no doubt well formed, but 
 with such a weak jaw and uncertain chin, the person whose portrait it is 
 would have proved quite powerless and incajDable in the position which 
 Knox occupied as a leader of men, forming their opinions and directing 
 their actions. Common observation has led us to judge of a man's charac- 
 ter by the shape of the lower part of the face, and we all practically 
 understand what is meant by a jaw which is called weak. The correct- 
 ness, however, of beliefs of this kind, which grows out of long observa- 
 tion, is often rendered probable by other considerations, and so it is here. 
 For as the face is built upon the skuU, it is quite consistent with our 
 general views of the value of a large one as a mark of intellectual power, 
 that a small jaw and chin should also be related to mental characteristics. 
 Since the jaw is socketed to the base of the skull, it is clear that the size 
 
What Mr BoeJivi foinid in the British Museum. 3 1 
 
 of it in this position must regulate the size and form of the jaw; conse- 
 quently the jaw, being related to the base of the skuU, must therefore also 
 be related to those mental qualities, whatever these may be, which are 
 controlled by the portion of the brain lying in that position. As to the 
 mouth in the portrait, it is essentially gross and sensual. In short, the 
 portrait does not represent a man who would have carried a two-handed 
 sword to protect his friend Wishart, and still less a man over whom the 
 Earl of Morton could have pronounced his now famous eulogium, "There 
 lies the man who never feared the face of man." About 1780, spurious 
 portraits got into fashion, and continued so; and, if belonging to Scottish 
 families, always preferred to undoubted works — hence the Miss Knox, 
 Torphichen, Holyrood, and Somerville authentic pictures. 
 
 Before concluding, I must say a word about the way in which Mr 
 Boehm pursued his researches after authentic engravings of John Knox. 
 In the first place, it is much to be regretted that he was so ignorant of 
 the subject; and secondly, that having undertaken the task, he did not do 
 it in a more satisfactory manner, and take a little more trouble to gain in- 
 formation, which he could easily have a(;(xuired had he asked in the 
 library instead of confining himself to the print-room of the British 
 Museum, where the collection of Knox portraits must be a miserable one. 
 If the whole collection was shown to Mr Boehm, it proves that it consists 
 of two engravings from bad copies of the Beza portrait, and two entirely 
 false. He says he saw four portraits, the first being the Carlyle and con- 
 sequently Boehm ideal, " that really characteristic portrait in the posses- 
 sion of Lord Somerville. Two more, which are very like each other in 
 quality, and quantity of beard and garments, are, one in the possession of a 
 Miss Knox, Edinburgh (painted by De Vos), the other at Calder House 
 (Lord Torphichen's).* The fourth, which is very bad, wherein he is repre- 
 sented laughing like a Hofnarr, is from a painting in Hamilton Palace; but 
 cannot have been the John Knox, as he has a turned-up nose, and looks 
 funny." Of course it is not the John Knox, and nobody says so. Then 
 why introduce it except to indulge in a weak joke, and to give Mr Carlyle 
 the opportunity for another, that it was " to all appearance the professional 
 Merry Andrew of that family." Surely Mr Boehm noticed, before allud- 
 ing to it, a mark of interrogation engraved thus, "John Knox?" showing 
 
 *Plate 5. 
 
32 The Torpliichcii and Dc Vos Portraits. 
 
 that it was not believed to be tlie Eeforuier ; and had he cared, he could 
 have seen Smith's " Iconographia Scotica" at the Museum, in which it 
 appears along with its biography, and in the same volume would have 
 found Beza's porti'ait given as the John Knox. Of what earthly use can 
 such a flippant and empty report be on a matter where historical accuracy 
 is concerned? The so-called De Vos picture and the Torphichen one are 
 of a class of portraits common all over Scotland, being bad copies of the 
 Beza or Hondius prints, and so unlike that they were long considered 
 originals. 
 
 .•OHN KNOX'S HOUSE. 
 
LIST OE ILLUSTEATIONS. 
 
 ALSO INCLUDING 
 
 A NOTICE OF THE VAEIOUS ENGEAVED POETEAITS OE 
 JOHN ENOX AND GEOEGE BUCHANAN. 
 
 KNOX. 
 
 PLATE 1. " loannes Cnoxus," a woodcut with border, by John Adam. 
 
 This is a facsimile of the portrait engraved on wood from the picture 
 by Vaensoun, sent by King James VI., and used in the " Icones, id 
 est Verae Imagines Virorum. Doctrina Simul et Pietate lUustrium, 
 &c." Theodoro Beza, Auctore. Geneva, 1580. 
 Of this portrait there have been various facsimile reproductions — 
 Ist. " Iconographia Scotica, " by John Smith. London, 1798. 
 
 A copper-plate without the border. 
 2d. The Works of John Knox, edited by David Laing. 6 vols. 
 Edinburgh, 1846-64. 
 
 A woodcut, border in outline. (1st volume. ) 
 3c?. Review of the "Works of John Knox, by the Kev. James Young. 
 Edinburgh, 1864. 
 Oval, with autograph. No border. 
 4th. The Influence of the Eeformation on the Scottish Character. 
 Edinburgh, 1865. 
 A woodcut with full border. I am indebted to Mr David 
 Douglas for the use of this beautiful facsimile as my 
 illustration. 
 
 5. Theatrum Yirorum Eruditione Clarorum, D. Pauli Freheri. Nori- 
 bergae, 1688. An engraved head (after Beza), on a reduced scale. 
 PLATE 2. "loannes Knoxus, Scotus." 
 
 A reproduction in facsimile from the portrait engraved by H. Hondius 
 for " Preestantium aliquot Theologorum qui Eom: Antichristum 
 prsecipue oppugnarunt, EfSgies" — Jac, Verheiden. Hagee Comitis, 
 1602. 
 
 1. The Works of John Knox, edited by David Laing. 6 vols. 1846-64. 
 
 A facsimile, slightly reduced in size (in 6th volume). 
 
 2. The Marrow of Ecclesiastical History, by the Rev. Sam. Clark. 
 
 London, 1654. A copy from the Hondius portrait. 
 
34 
 
 L ist of Illustrations. 
 
 Copies of the Hondius Portrait, continued — 
 
 3. The Scottish Nation, by W. Anderson. Edinburgh and London. 
 
 A well engraved copy of the Hondius print, by W. Holl. 
 
 4. Portraits of the Leading Eeformers, by George Hume. Edinburgh, 
 
 1850. The portraits in this volume were lithograj)hed by L. Gheimar. 
 Knox is from the Hondius likeness. 
 
 PLATE 3. " lohaunes Cnoxus,TheologusScotus. Obiit Anno mdlxxii. 24 December." 
 
 The print, of which this is a reproduction, first appeared in the con- 
 tinuation of Boissard's Portraits, " Bibliotheca Chalcographica," 
 Part vii., 1650. This work went through vaiious editions, with addi- 
 tional Biographies and Portraits ; the first part was published in 1597, 
 the last. Part ix., at Heidelberg, 1669. 
 
 PLATE 4. The Somerville Portrait, from a picture (see page 25). 
 
 This is erroneously called John Knox, and is Mr Carlyle's ideal of our 
 great Reformer. It was first figured in the 6th volume of 
 
 1. Knight's Gallery of Portraits. 7 vols. London, 1833-37. For which 
 
 it was engraved by Holl. 
 
 2. It was afterwards engraved among a series of Portraits of The Scottish 
 
 Eeformers. These are in ovals, with highly ornamented surround- 
 ings — under each portrait, a picture — John Knox is represented 
 admonishing Queen Mary. The artist has given the Reformer a long 
 beard, as in the Beza portrait. 
 
 3. The same portrait is used in "Old England's "Worthies." London,1853. 
 PLATE 5. (No 1.) The Torphichen Portrait, from the print engraved by Beugo for 
 
 1. The Life of John Knox, by Thomas M'Crie, D.D. Edinburgh, 1812. 
 
 This picture is a poor copy of the Beza portrait. Although the 
 hands and book are omitted in this print, I have preferred using 
 it, being apparently the first engraving from the Torphichen 
 picture. It has also been engraved for book illustration by 
 Lizars, Cochrane, Cook, and others. 
 
 2. John Knox, engraved by William Penny, 1828. This is a large print 
 
 from the Torphichen jjicture. 
 
 3. A lithographed head from the same portrait was done by John Ballan- 
 
 tyne, R.S.A., among his set of Portraits of Illustrious Scotsmen. 
 PLATE 5. (No. 2.) John Knox, from a picture in the possession of Joseph Williamson. 
 
 2. This portrait was also engraved in an oval by John Kay for The History 
 
 of the Reformation of Religion in Scotland by John Knox. 4to. 
 Edinburgh, 1790. 
 
 3. Kay's Series of Original Portraits. 2 vols. 4to. Edinburgh, 1838. 
 
 In this work another copy of the same portrait is used, having a 
 hand and book introduced. 
 
 4. Biographia Evangelica, by the Rev. Erasmus Middleton. 4 vols. 
 
 London, 1780. In this is the so-called De Vos picture which was in 
 the possession of Miss Knox, but, with the last mentioned, is only 
 a bad copy of the Hondius portrait. These portraits have been 
 frequently engraved. 
 
List of Illustrations. 
 
 35 
 
 SPUEIOUS PORTRAITS OF KNOX. 
 
 In addition to the Somerville picture there are other spurious or made-up portraits 
 of the Scottish Reformer, the earliest of these seems to have heen in 
 
 1. The Historie of the Reformation in Religion within the Realm of Scot- 
 
 land by John Knox. Edinburgh, 1732. The portrait for this work 
 was engraved by R. Cooper, but no painter's name; he wears a close 
 fitting cap. It is in an oval frame, on the upper margin " Joannes 
 Cnoxus, Scotus ; " below is the same inscription as in the Hondius 
 portrait. 
 
 2. There is a poor copy of this, looking the reverse way, with no engraver's 
 
 name. It has also been engraved on a smaller scale by A. Bell. 
 A portrait in profile from a picture in Glasgow College, evidently made 
 up from the Beza or Hondius portrait, is engraved in 
 The Scottish Gallery, by John Pinkerton. London, 1799. 
 
 1. In the same work is a portrait of Knox, " From an Original at Holy- 
 
 rood House," engraved by Roberts. Only the head from the picture 
 is given. This is a good old picture, but represents a mathematician 
 with a pair of compasses in his hand, a square on the table. 
 
 2. " John Knox. From the original in the Collection at Holyrood Palace, 
 
 Edinburgh." Engraved in stipple by R. Cooper for Portraits, &c. 
 Portraits of Illustrious Personages of Great Britain, by Edmund Lodge, 
 F.S.A. 3 vols, folio. London, 1821-28. After the publication of 
 the octavo edition, in which were modern portraits, a fourth volume of 
 these, printed on folio paper, was added to the above. 1834. 
 
 3. In the octavo edition of this work. 12 vols. London, 1829-35. 
 
 The same portrait is engraved by H. T. Ryall. In another edition 
 in 10 vols. 1849-50. The same plate as in the last edition. 
 
 4. Bohn's Illustrated Library. The above work in 8 vols. The same 
 
 portrait on a smaller scale. 
 
 5. The Holyrood Portrait has also been engi-aved by G. Stodart, with an 
 
 ornamental border, and below a representation of Knox preaching. 
 There is a picture at Hamilton Palace of a John Knox, but not the 
 Reformer. It is engraved in Smith's Iconographia Scotica. London, 
 1798. 
 
 PLATE 6. "Georgius Buchananas, Acta, sueb 76." From the print engraved by 
 Theod. De Bry for " Icones Virorum Ulustrium Doctrina et Eruditione, 
 &c." J. J. Boissard. 3d part. 1598. 
 
 1. A copy of the above. Defrocher, excu. 
 
 2. Another copy, looking the reverse way. Esme de Boulonois, fecit. 
 
 3. Theatrum Virorum Eriditione Clarorum. D. P. Freherus. Eori- 
 
 bergae. 1688. The Boissard portrait, on a small scale, looking the 
 opposite way. 
 
36 
 
 List of Illustrations. 
 
 Copies of the Boissard Portrait, continued— 
 
 4 & 5. Commentarius in Vitam Georgii Buclianani. Edinburgh, 1702. 
 A poor print, with the hands and book introduced, engraved by Ja. 
 Clark. Copied from an earlier engraving (1698 ?), which is made 
 up from the Boissard portrait. Neither the likeness nor the pro- 
 portions of the head have been preserved. 
 
 6. Buchanan! Opera, published at lieyden in 1725 (Burman's). 
 
 Boissard's portrait, on a pedestal; likeness not good. 
 
 7. University of Edinburgh. This portrait corresponds in proportion with 
 
 the Boissard likeness. It was engraved by Woolnotli for Memoirs of 
 the Life and Writings of Geoi-ge Buchanan, by David Irving, LL.D. 
 Second edition. Edinburgh, 1817. 
 
 This picture has been frequently engraved, among others by Scott 
 and Lizars. The head is well known from appearing on the cover 
 of Blackwood's Magazine. 
 PLATE 7. " Georgii Buchanani, Scoti Poetre, Historici Eximii vera EflBgies." 
 
 1. This is taken (on a slightly reduced scale) from a print by E. White 
 
 from the Porbus portrait, then in the possession of D. Thomas Provy, 
 and engraved for The History of Scotland, written in Latin, by George 
 Buchanan. Folio. London, 1690. The same print was used for 
 one or two later editions of the same work, 8vo, the plate folded. It 
 has also been engraved on a small scale by A. Bell, and also by R. 
 Cooper. 
 
 2. Georgii Buchanani, Scoti Poemata. 12mo. Lugduni Batav. Elzevir, 
 
 1628. Front face in oval. 
 
 3. Georgii Buchanani, Scoti Poemata. 12mo. Amsterdam!. Elzevir, 1676. 
 
 Front face. 
 
 4. Buchanani Opera. Edinburgh, 1715 (Euddiman's). Bust on a 
 
 pedestal. Front face. 
 
 5. Houbraken's Heads of Illustrious Persons of Great Britain. London, 
 
 1743-52. From a picture by Porbus in the possession of Dr Mead. 
 This print has been very frequently copied. 
 
 6. W. Penny. A large engraving, having the hands introduced, holding a 
 
 book. The head is from the Houbraken print. 
 
 7. Knight's Gallery of Portraits. 7 vols. London, 1833-37. 
 
 From a picture by Porbus belonging to the Eoyal Society. Engraved 
 by E. Scriven. (1st volume.) It has also been engraved by J. 
 B. Bird. 
 
 8. Old England's Worthies. London, 1853. 
 
 " George Buchanan. From the original picture by Titian in the possession 
 of the Earl of Buchan. " Engraved by T. Woolnoth at Edinburgh, anno 
 1809. This is not Buchanan, but Peter Jeannin, Finance Minister to 
 Henry IV. 
 
 At Hamilton Palace there is an absurd head, which has been engraved by 
 Pinkerton as Buchanan. 
 
GETTY RESEARCH INSTITUTE 
 
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