On the larger scale of the papers themselves the same appreciativeness is discernible. Take first the papers which are most in the nature of criticisms. Such are those entitled _Henry Vaughan_, _Arthur H. Hallam_, _Thackeray’s Death_, _Notes on Art_, _John Leech_, _Halle’s Recital_, and _Sir Henry Raeburn_. Whether in the literary papers of this group, or in the art papers, you can see how readily and strongly Dr. John Brown could admire, and what a propagandist he was of his admirations. If Henry Vaughan the Silurist, the quaint and thoughtful English poet of the seventeenth century, is now a better known figure in English literary history than he was a generation ago, it is owing, I believe, in some measure, to Dr. John Brown’s resuscitation of him. So, when Tennyson’s _In Memoriam_ appeared in 1850, and all the world was moved by that extraordinary poem, who but Dr. John Brown could not rest till he had ascertained all that was possible about young Arthur Hallam, by obtaining a copy of his “Remains in Verse and Prose,” privately printed in 1834, with a memoir by the author’s father, Hallam the historian, and till he had been permitted to give to the public, in liberal extracts from the memoir, and by quotation from the pieces themselves, such an authentic account of Tennyson’s dead friend as all were desiring? The paper called _Thackeray’s Death_, though the only paper on Thackeray now to be found among Dr. John Brown’s collected writings, is by no means, I believe, the only paper he wrote on Thackeray. If there was a Thackeray-worshipper within the British Islands, it was Dr. John Brown of Edinburgh. Thackeray was his greatest man by far, after Scott, or hardly after Scott, among our British novelists,—his idol, almost his demigod; he had signified this, if I mistake not, in an article on Thackeray while Thackeray’s fame was still only in the making; and the particular paper now left us is but a re-expression of this high regard for Thackeray as an author, blended with reminiscences of his own meetings with Thackeray in Edinburgh, and testimonies of his warm affection for the man. Another of his chief admirations was Ruskin. I can remember how, when the first volume of the _Modern Painters_ appeared, the rumour of it ran at once through Edinburgh, causing a most unusual stir of interest in the new book, and in the extraordinary “Oxford Graduate” who was its author; and I am pretty sure now that it was Dr. John Brown that had first imported the book among us, and had enlightened Dr. Chalmers and others as to its merits. There is no article on Ruskin among the collected papers; but there are frequent references to him, and his influence can be discerned in all the Art-criticisms. These Art-criticisms of Dr. John Brown, however, are hardly criticisms in the ordinary sense. No canons of Art are expounded or applied in them. All that the critic does is to stand, as it were, before the particular picture he is criticising,—a Wilkie, a Raeburn, a