In his leisure hours Jenkin wrote papers on a wide variety of subjects. To the question, 'Is one man's gain another man's loss?' he answered 'Not in every case.' He attacked Darwin's theory of development, and showed its inadequacy, especially in demanding more time than the physicist could grant for the age of the habitable world. Darwin himself confessed that some of his arguments were convincing; and Munro, the scholar, complimented him for his paper on Lucretius and the Atomic Theory.' In 1878 he constructed a phonograph from the newspaper reports of this new invention, and lectured on it at a bazaar in Edinburgh, then employed it to study the nature of vowel and consonantal sounds. An interesting paper on Rhythm in English Verse,' was also published by him in the SATURDAY REVIEW for 1883. He was clever with his pencil, and could seize a likeness with astonishing rapidity. He has been known while on a cable expedition to stop a peasant woman in a shop for a few minutes and sketch her on the spot. His artistic side also shows itself in a paper on 'Artist and Critic,' in which he defines the difference between the mechanical and fine arts. 'In mechanical arts,' he says, 'the craftsman uses his skill to produce something useful, but (except in the rare case when he is at liberty to choose what he shall produce) his sole merit lies in skill. In the fine arts the student uses skill to produce something beautiful. He is free to choose what that something shall be, and the layman claims that he may and must judge the artist chiefly by the value in beauty of the thing done. Artistic skill contributes to beauty, or it would not be skill; but beauty is the result of many elements, and the nobler the art the lower is the rank which skill takes among them.' A clear and matter-of-fact thinker, Jenkin was an equally clear and graphic writer. He read the best literature, preferring, among other things, the story of David, the ODYSSEY, the ARCADIA, the saga of Burnt Njal, and the GRAND CYRUS. Aeschylus, Sophocles, Shakespeare, Ariosto, Boccaccio, Scott, Dumas, Dickens, Thackeray, and George Eliot, were some of his favourite authors. He once began a review of George Eliot's biography, but left it unfinished. Latterly he had ceased to admire her work as much as before. He was a rapid, fluent talker, with excited utterance at times. Some of his sayings were shrewd and sharp; but he was sometimes aggressive. 'People admire what is pretty in an ugly thing,' he used to say 'not the ugly thing.' A lady once said to him she would never be happy again. 'What does that signify?' cried Jenkin; 'we are not here to be happy, but to be good.' On a friend remarking that Salvini's acting in OTHELLO made him want to pray, Jenkin answered, 'That is prayer.'