would have been an even more outstanding landmark in the history of painting than it is. Still to ask from Raeburn what one does not get from Velasquez, many of whose portraits have a conventional setting, is to be more exacting than critical, and, as has been indicated, simplicity of design and aerial relief became increasingly evident in Raeburn's work, and that in spite of the protests of some of his admirers. While Raeburn had been working towards a fuller and more subtle statement of likeness, modelling, and arrangement, it is possible that removal to his new studio accelerated development in that direction. The painting-room had been designed by himself for his own special purposes, and no doubt suggested new possibilities. In any case, the portraits painted after 1795 reveal a definite increase in the qualities mentioned. But before considering the characteristics of his later style, it might be well to tell what is known of his habits of work and technical procedure. Cunningham's summary of these applies partly to the George Street and partly to the York Place period, but for practical purposes they may be regarded as one, for, while Raeburn's art may be divided into periods, each was but a stage in a gradual and consistent evolution. "The motions of the artist were as regular as those of a clock. He rose at seven during summer, took breakfast about eight with his wife and children, walked into George Street, and was ready for a sitter by nine; and of sitters he generally had, for many years, not fewer than three or four a day. To these he gave an hour and a half each. He seldom kept a sitter more than two hours, unless the person happened--and that was often the case--to be gifted with more than common talents. He then felt himself happy, and never failed to detain the party till the arrival of a new sitter intimated that he must be gone. For a head size he generally required four or five sittings: and he preferred painting the head and hands to any other part of the body; assigning as a reason that they required less consideration. A fold of drapery, or the natural ease which the casting of a mantle over the shoulder demanded, occasioned him more perplexing study than a head full of thought and imagination. Such was the intuition with which he penetrated at once to the mind, that the first sitting rarely came to a close without his having seized strongly on the character and disposition of the individual. He never drew in his heads, or indeed any part of the body, with chalk--a system pursued successfully by Lawrence--but began with the brush at once. The forehead, chin, nose, and mouth, were his first touches. He always painted standing, and never used a stick for resting his hand on; for such was his accuracy of eye, and steadiness of nerve, that he could introduce the most delicate touches, or the almost mechanical regularity of line, without aid, or other contrivance than fair off-hand dexterity.