The appeal was most successful; and in July 1721 the collected edition did appear, in a handsome quarto volume, of about 400 pages, with the title POEMS BY ALLAN RAMSAY, “printed by Mr. Thomas Ruddiman for the Author.” The “Alphabetical List of Subscribers” prefixed to the volume contains nearly 500 names, most of them Scotch, but with a sprinkling of English. Among the Scottish names are those of nearly all the Scottish nobility of the day, in the persons of seven dukes, five marquises, twenty-one earls, one viscount, and twenty-three lords, while the columns are crowded with the names of the best-known baronets, knights, lairds, judges, lawyers, merchants, and civic functionaries in and round about Edinburgh and in other parts of Scotland. Among the few names from England one reads with special interest, besides that of the literary Scoto-Londoner “John Arbuthnot, M.D.,” these three,—“Mr. Alexander Pope,” “Sir Richard Steele” (for two copies), and “Mr. Richard Savage.” The volume was dedicated to the Ladies of Scotland in a few gallant and flowery sentences; and there was a preface, addressed specially to the critics, full of shrewd sense, and showing Ramsay’s command of an easy and light style of English prose. Another distinction of the volume was a portrait of the author, excellently engraved after a painting by an Edinburgh artist-friend. It represents a youngish man, with a bright, knowing, clever face, a smallish and sensitive nose, and fine and lively eyes. One observes that there is no wig, or semblance of a wig, in the portrait, but only the natural hair, closely cropped to the shape of the head, and surmounted by a neat Scotch bonnet, cocked a little to one side. As it is impossible to suppose that a man who lived by making wigs did not wear one himself, the inference must be that, in a portrait which was to represent him in his poetical capacity, the wig was rejected by artistic instinct. In later portraits of Ramsay it is the same, save that the small Scotch bonnet is superseded in these by a kind of cloth turban of several folds. In proof that this deviation in the portraits from the usual habit of real life was suggested by artistic instinct, one may note that there is the same deviation in the portraits of most of the other real British poets of the wig-wearing age. Pope, Prior, Gay, and Thomson all appear in their portraits with something like Allan Ramsay’s turban or night-cap for their head-dress; and it descended to the poet Cowper.