It is most remarkable, however, that no extant portrait justifies the praises so lavishly bestowed on Mary. As to this, the courtesy of the late Mr. Wylie Guild, of Glasgow, afforded us an opportunity of forming an opinion based on the evidence of his remarkable collection of portraits of the Queen of Scots--a collection which comprised, besides reproductions of most of the paintings claiming to be authentic, a series of over four hundred engravings, many of them by Clouet, and dating from the period of Mary's stay in France. We were compelled to agree with the possessor of that unique iconography that none of them showed the dazzling charms which poets and chroniclers have celebrated. And the portraits which various exhibitions have since then enabled us to examine, have only confirmed that earlier judgment. To reconcile this very striking contradiction seems difficult. Possibly the truth may be that the fascination of Mary's face consisted less in the regularity of outline or the striking beauty of any one feature than in the expression by which it was animated.[2] Her complexion, though likened by Ronsard to alabaster and ivory,[3] does not seem to have possessed the clearness and brilliancy which the comparison implies; for Sir James Melville, though anxious to vindicate his Queen's claim to be considered "very lovely" and "the fairest lady in her country", acknowledged that she was less "white" than Elizabeth.[4] The brightness of her eyes, which Ronsard likened to stars, and Chastelard to beacons,[5] has not been questioned; but their colour is a point about which there is less unanimity, opinions varying between hazel and dark grey. As regards her hair the discrepancy of contemporary authorities is even greater. Brantôme and Ronsard describe a wealth of golden hair, and this is to a certain extent confirmed by Sir James Melville, who, when called upon by Elizabeth to pronounce whether his Queen's hair was fairer than her own, answered that "the fairnes of them baith was not their worst faltes".[6] To this, however, must be opposed the testimony of Nicholas White, who, writing to Cecil in 1563, described the Queen as black-haired. The explanation of this may possibly lie in Mary's compliance with the fashion, introduced about this time, of wearing wigs. Indeed, Knollys informed White that she wore "hair of sundry colours",[7] and, in a letter to Cecil, praised the skill with which Mary Seton--"the finest busker of hair to be seen in any country"--"did set such a curled hair upon the Queen, that was said to be a perewyke, that showed very delicately".[8] According to one account, the Queen of Scots wore black, according to another, auburn ringlets on the morning of her execution. Both, however, agree in this, that when the false covering fell she "appeared as grey as if she had been sixty and ten years old".