Passing from supposition, which, however interesting and plausible, throws no very definite light upon the formation of Raeburn's style, to his early work itself, one finds it chiefly remarkable for frank rendering of character. Obviously he believed in his own eyes, and sought simple and direct ways for the expression of his vision. Certain of what he saw, and desiring to set it down as he saw it, lack of training in the traditional methods of painting by process probably led him to attempt direct realisation in paint. Here is at once the simplest and the most reasonable explanation of how he became an exponent of direct painting, of how, isolated though it was, his art came to be perhaps the most emphatic statement of this particular method of handling between Velasquez and Hals and comparatively recent times. Of course at this early stage his technical accomplishment was not at all equal to his frankness of vision. His drawing, although expressing character, was uncertain and not fully constructive; his sense of design was rather stiff and occasionally somewhat archaic in character; his handling and modelling, if broad and courageous, were insufficiently supported by knowledge; his colour was apt to be dull and monotonous, or, when breaking from that, patchy and crude in its more definite notes which do not fuse sufficiently with their surroundings. Gradually these deficiencies were mastered, but in some degree they persist in most of the comparatively few portraits which can be said with certainty to have been painted before he went to Italy. He had been in no hurry to go. Ever since marriage with one of his sitters in 1778, when he was only twenty-two, his future had been secure. The lady, _nee_ Ann Edgar of Bridgelands, Peebleshire, brought him a considerable fortune. The widow of James Leslie--who traced his descent to Sir George Leslie, first Baron of Balquhain (1351), and who, after his purchase of Deanhaugh in 1777,[1] was spoken of as "Count of Deanhaugh"--she was twelve years the artist's senior, and had three children; but the marriage turned out most happily for all concerned. Raeburn went to live at his wife's property, which lay not far from his brother's house and factory at Stockbridge, and, although sitters increased with his growing reputation until he is said to have been quite independent of his wife's income, he does not appear to have had a separate studio. Probably his Edinburgh clients went to Deanhaugh, and at times he seems to have painted portraits at the country houses of the gentry. But in 1785 desire to see and learn more than was possible at home took him to Italy. While in London he made the acquaintance of Reynolds, in whose studio he may have worked for a few weeks, and Sir Joshua's advice confirming his original intention, Raeburn and his wife went to Rome, where they resided about two years. When parting Reynolds took him aside and whispered: "Young man, I know nothing about your circumstances.