In this description of Mary's personal appearance, we have placed a good deal of reliance on the research and accuracy of Chalmers. It will be observed, that our account differs, in many essential particulars, from that of Robertson, who says--"Mary's hair was black, though, according to the fashion of that age, she frequently wore borrowed locks, and of different colours. Her eyes were a dark gray; her complexion was exquisitely fine; and her hands and arms remarkably delicate, both as to shape and colour. Her stature was of an height that rose to the majestic." Where Robertson discovered that Mary's hair was black, or her eyes gray, he does not mention. That her eyes were _not_ black, we have the direct testimony of Beal, Clerk to the Privy Council of England, who was ordered by Cecil to be present at the death of the Scottish Queen, and who describes her as having "chestnut-coloured eyes." As to her hair, and her other features, though Melville, in his Memoirs, certainly seems to imply that the former was auburn, yet, as he does not expressly say so, we suspect correct conclusions can be arrived at only by a reference to the best authenticated portraits which have been preserved of Mary. This, however, is far from being a criterion by which opinions should be rashly formed. There are few persons in the whole range of history, likenesses of whom have been more eagerly sought after; and, in proportion to the anxiety manifested to secure originals, has been the temptation to mislead and deceive. Almost all the paintings said to be originals of Mary Queen of Scots, are the impositions of picture-dealers. When the demand for these paintings became general, it was not at all unusual to despatch emissaries over the Continent to pick up every picture, the costume and general appearance of which in the least resembled the Scottish Queen. During Mary's life, and for some time after her death, the fame of her beauty, and the interest attached to her fortunes, induced numerous ladies of rank, who flattered themselves that they were like her, to have portraits painted in the style then well understood by the phrase _à la Mary Stuart_. There was, in particular, a celebrated Continental beauty of those days--a Countess of Mansfeldt--(we speak on the authority of a living artist of celebrity), who resembled Mary in many particulars, and all whose portraits (nor were they few in number) when they afterwards came into the hands of the picture-dealers, were affirmed to be Maries. Thus, in the lapse of years, the truth became so involved in uncertainty, that even Robertson, allowing himself to be too hastily misled, has lent his name to the dissemination of error.