There is, further, that interesting and characteristic chalk drawing, by the poet’s artist son, preserved at Woodhouselee, and inscribed “His first attempt of that kind from the life ... 1729,” done when the youth—who in the words of his father in a letter to the above-mentioned Smibert, had “been pursuing his science since he was a dozen years auld”—was just sixteen, seven years before he started for Italy, to study art in Rome; and there is a print in which the same portrait is treated as a bust on a pedestal, drawn by the younger Ramsay and engraved by Cooper. There is also the well-known portrait, done by the same filial hand, that was engraved by David Allan in the 1788 quarto edition of “The Gentle Shepherd,” a bust likeness, with the strong-featured, firmly modelled face turned in profile to the right, appearing from behind a parapet on which lie the various symbols of the pastoral muse, a mask, a staff, a crook, and a rustic pipe. In interest, however, and in all life-like qualities, the picture at Penicuik is fully equal to the best of those we have named as portraying the shrewd and cheerful countenance of the homely poet. The portrait which hangs to the left, over the other fireplace of the Penicuik Dining-room is also by Aikman, and its subject is the painter himself. Here again an additional interest is given to the picture, in this case a most pathetic interest, by its inscription. On its back is a note, also in the hand of the second Baronet of Penicuik, the painter’s cousin:—“Mr. Aikman, painted by himself when dying, and left as a legacy to me, J. C., anno 1733.”