the constraint and embarrassment of the sitter, and present the face, clear, open, and intelligent as at the most disengaged moments. This is best seen in portraits where the sitter is represented in some appropriate action: Neil Gow with his fiddle, Doctor Spens shooting an arrow, or Lord Bannatyne hearing a cause. Above all, from this point of view, the portrait of Lieutenant-Colonel Lyon is notable. A strange enough young man, pink, fat about the lower part of the face, with a lean forehead, a narrow nose and a fine nostril, sits with a drawing-board upon his knees. He has just paused to render himself account of some difficulty, to disentangle some complication of line or compare neighbouring values. And there, without any perceptible wrinkling, you have rendered for you exactly the fixed look in the eyes, and the unconscious compression of the mouth, that befit and signify an effort of the kind. The whole pose, the whole expression, is absolutely
