about these forgeries, and the spectre knight, with the ballad of “Anthony Featherstonhaugh,” hold their own in “Marmion,” to assure the world that this antiquary was gullible when the sleight was practised by a friend. “Non est tanti,” he would have said, had he learned the truth; for he was ever conscious of the humorous side of the study of the mouldering past. “I do not know anything which relieves the mind so much from the sullens as a trifling discourse about antiquarian oldwomanries. It is like knitting a stocking,--diverting the mind without occupying it.” (“Journal,” March 9, 1828). Begun about Jan. 1, 1816, “The Antiquary” was published before May 16, 1816, when Scott writes to say that he has sent Mr. Morritt the novel “some time since.” “It is not so interesting as its predecessors; the period does not admit of so much romantic situation. But it has been more fortunate than any of them in the sale, for six thousand went off in the first six days, and it is now at press again.” The Preface of the first edition ends with the melancholy statement that the author “takes his respectful leave, as one who is not likely again to solicit favour.” Apparently Scott had already determined not to announce his next novels (“The Black Dwarf” and “Old Mortality”) as “by the Author of Waverley.” Mr. Constable, in the biography of his father, says (iii. 84): “Even before the publication of ‘The Antiquary,’ John Ballantyne had been impowered by the Author to negotiate with Mr. Murray and Mr. Blackwood for the first series of the ‘Tales of my Landlord.’” The note of withdrawal from the stage, in the first edition of “The Antiquary,” was probably only a part of another experiment on public sagacity. As Lockhart says, Mr. Murray and Mr. Blackwood thought that the consequent absence of the Author of “Waverley’s” name from the “Tales of my Landlord” would “check very much the first success of the book;” but they risked this, “to disturb Constable’s tenure.”