first works which the “young” artist of eighty-three executed with his newly invented “sculpture machine” was a bust of Smith in ivory. In another part of the college space had been found for Robert Foulis’s printing-office. Encouraged by Hutcheson, Foulis had begun his business in Glasgow just before Smith left for Oxford. His “immaculate” Horace, the famous duodecimo, appeared in 1744, the proof-sheets having been hung up in the college and a reward offered for the detection of any inaccuracy. Adam Smith was a subscriber for two sets of Hutcheson’s _System of Moral Philosophy_, two beautifully printed quarto volumes issued by the Foulis press in 1755. The type used by the press came from Alexander Wilson’s typefoundry at Camlachie. But in 1760 the college built an observatory, and with the aid of the Crown founded a new chair of Astronomy. Thereupon Wilson, being appointed to the chair, asked to be allowed to transfer his foundry to the college, and the authorities, on the motion of Adam Smith, resolved to build a foundry in the grounds. Thus during Smith’s residence there were set up within the precincts of the University Watt’s workshop, Foulis’s printing-press, Wilson’s observatory and foundry, and last but not least, Cullen’s laboratory, where Black his assistant discovered the existence of latent heat. The professors even started a series of lectures on natural science to a class of working men. In 1761 Smith and others sought to establish a school for dancing, fencing, and riding. But this project failed; and in the following year Smith is found as an active opponent of a proposal started in the town for the erection of a permanent theatre. He presides at a meeting which resolves that the University should join forces with the magistracy against this innovation. Shortly after his departure the opposition dropped and the theatre was built. But it was burned down by a mob of zealots, and in the _Wealth of Nations_ Smith not only lashes those “fanatical promoters of popular frenzies,” who have always made the theatre an object of their peculiar abhorrence, but demands that the State should give “entire liberty to all those who for their own interest would attempt, without scandal or indecency, to amuse and divert the people by painting, poetry, music, dancing, by all sorts of dramatic representations and exhibitions.” Such public diversions would easily dissipate “that melancholy and gloomy humour which is almost always the nurse of popular superstition and enthusiasm,” and would, with the aid of science and philosophy, correct whatever was unsocial or disagreeably rigorous in the morals of the country. By then he had learned to admire the French theatre as well as the French dramatists. A true liberal, he was always open to new ideas, and this last stump of Scottish prejudice was rooted out by his continental tour.