a splendid piece of virtuosity, which unites brilliant colour and admirable tone to great dash and bravura of brush-work. During this period, and indeed throughout his career, Raeburn usually placed his sitters in a strong direct light, which, being thrown upon the head and upper part of the figure (from a high side-light) illumined the face broadly, and, while emphasising the features with definite though narrow shadows, made it dominate the ensemble. Very often this concentration of effect was associated with a forced and arbitrary use of chiaroscuro. In many of his pictures one finds the lower portion of the figure, including the hands, low in tone through the artist having arranged a screen or blind to throw a shadow over the parts he wished subordinated. This device appears in full-lengths as well as in busts and threequarter-lengths, and while, no doubt, helping to the desired end, is now and then a disturbing influence from the fact that it is difficult to account for the result from purely normal causes. With Rembrandt, the greatest master of concentrated pictorial effect, the transitions from the fully illumined passages to the surrounding transparent darks are so gradual and so subtle that one scarcely notices that the effect has been arranged--the concentration is an integral part of the imaginative apprehension of the subject. It is otherwise with Raeburn, in his earlier work at least. Later he attained much the same results by less arbitrary and apparent means, by swathing the hands and arms--the high tone of which he evidently found disconcerting and conflicting with the heads--in drapery, by placing them where they tell as little as possible, and by modifications in handling. His management of accessories was also determined by desire for concentration. Although, as is obvious from his increasing use of it, preferring a simple background from which the figure has atmospheric detachment, he frequently used the scenic setting which Reynolds and Gainsborough had made the vogue. His idea, however, was that a landscape background should be exceedingly unassertive--"nothing more than the shadow of a landscape; effect is all that is wanted"--and, always executing them himself, his are invariably subordinate to the figure. But the essential quality of his vision went best with plain backgrounds. That he did not wholly abandon the decorative convention which he heired, and often employed to excellent purpose, was due in large measure to caution. "He came," says W. E. Henley, "at the break between new and old--when the old was not yet discredited, and the new was still inoffensive; and with that exquisite good sense which marks the artist, he identified himself with that which was known, and not with that which, though big with many kinds of possibilities, was as yet in perfect touch with nothing actively alive." Yet, had he had the full courage of his convictions, his work