The sterling worth and fine moral quality of Miller are brought out in his relations with his friends. Of passion in the common sense he was singularly void, and there is no evidence that, until he passed his thirtieth year, female beauty once touched his heart. But his affection for his friends was ardent to the degree of passion, and constant as it was ardent. Both autobiographers and biographers are apt to paint up the youthful friendships of their heroes, and we are glad that Mr. Bayne has been able to verify, and more than verify, by infallible documentary evidence, all that, in his 'Schools and Schoolmasters,' Miller tells us of his relations to his two friends, William Ross and John Swanson. Ross was perhaps the most finely gifted of the three, but the circumstances of his birth were hopelessly depressing. His parents were sunk in the lowest depths of poverty; but this was not the worst; his constitution was so feeble that sustained and resolute effort was for him a physical impossibility. Amid the debility of his bodily energies there burned, with strange, sad, piercing radiance, the flame of genius. With exquisite accuracy of discernment he took the measure of Miller, pointing out to him where his strength lay and where his weakness. He knew his own powers, also, but saw that Miller had stamina while he had none; and, with tragic pathos, accused himself of indolence and vacillation, when his only fault was that he was dying. Delicately organised in all respects, he displayed a musical faculty more usual among peasant boys in Italy than in Scotland, made himself a fife and clarionet of elder-shoots, and became one of the best flute-players in the district. From the little damp room in which Ross slept during his apprenticeship to a house-painter, Miller used to hear the sweet sounds on which his soul rose for the time above all its sorrows. He had a fine appreciation, too, of the beauty of landscape. 'I have seen him,' says Miller, 'awed into deep solemnity, in our walks, by the rising moon, as it peered down upon us over the hill, red and broad and cloud-encircled, through the interstices of some clump of dark firs; and have observed him become suddenly silent, as, emerging from the moonlight woods, we looked into a rugged dell, and saw, far beneath, the slim rippling streamlet gleaming in the light, like a narrow strip of the _aurora borealis_ shot athwart a dark sky, when the steep, rough sides of the ravine, on either hand, were enveloped in gloom.' Ross had educated his faculty of æsthetic perception and of art-criticism by study of Hogarth's Analysis of Beauty, Fresnoy's Art of Painting, Gessner's Letters, and Sir Joshua Reynolds's Lectures. Miller describes him as looking constantly on nature with the eye of the artist, signalising and selecting the characteristic beauties of the landscape. This habit of imaginative composition would, we believe, have been fixed on by