it resulted in a commission to do the whole edifice in the same style. On receiving this commission, he commenced the model with characteristic enthusiasm, and his own modest apartments soon becoming top small for the work,
the architect's ample drawing-room was, for the time being, converted into a workshop, and in it this remarkable specimen of zeal, ingenuity, and neat-handedness, was brought to a satisfactory conclusion, after occupying Kemp
and an assistant for two whole years. After the miniature palace was finished,
it was transferred to the vestibule of the ducal residence at Dalkeith, of which it forms an attractive ornament.
Amongst the engagements into which the occupation of draughtsman brought him, was that of furnishing drawings for a work illustrative of the Ecclesiastical Antiquities of Scotland, similar to Britton's "Cathedral Antiquities," projected by Mr. James Johnston, engraver, Edinburgh. For this his intimate knowledge of architectural detail eminently qualified him; and he accordingly, during the years 1832, 1833, executed a number of drawings of singular correctness and beauty, besides a large series of preparative sketches, embracing Elgin, Pluscardine, Kinloss, Melrose, Roslin, and other of our ecclesiastical remains. During the progress of these drawings, Mr. Kemp and the pub- lishers of the present work became acquainted. After Mr. Johnston's pre-mature death, the drawings made for him came into their possession, and Mr. Kemp subsequently completed, at their expense, the measurements and drawings of the Glasgow Cathedral, during the years 1834-35. While he was making these drawings, the project of repairing and completing this beautiful specimen of early pointed architecture was put forth by Mr. M'Lellan, in Glasgow. This led Kemp to prepare a design for the restoration and completion of the building. Fully to exhibit the character of this design, and to demonstrate his ability to construct it if employed to do so, he, in the years 1837, 1838, and 1839, at much sacrifice and labour, prepared a model of the entire cathedral, in which so perfectly 'did the new portions harmonize with the old, that it would have puzzled any architect, not conversant with the building as it really stood, to tell what part was old, and what were Mr. Kemp's additions. Unhappily, the design would have cost more money to execute than there was at that time any expectation of obtaining, from government or otherwise; and it remains only an evidence of Mr. Kemp's persevering patience, skill in handicraft, and architectural genius.
Thus matured in taste, talent, and skill, by an apprenticeship that was unique in the history of modern architecture, it was now full time that the knowledge of Mr. Kemp's abilities should be extended beyond the circle of his admiring friends, into the world at large. Nothing less, indeed, than a great national-work was adequate to such a genius; but what chance was there that an aproned, hard-handed mechanic would be intrusted with such a commission, especially when so many learned Vitruvios were in the field? Happily enough, however, the chance did come. The more than national, the universal desire to erect a monument to Sir Walter Scott in the fair metropolis of that country for which he had done so much, and the proposals that were issued for plans of the work, excited an unwonted stir of artistic emulation; it was an opportunity by which the fortunate candidate might link himself to the undying fame of the great poet and novelist. Fifty-four plans sent to the head-quarters of the committee of subscribers in Edinburgh were the fruits of this competition, of which plans there were twenty-two Gothic structures, eleven statues combined
