The first full-length that Edouart took was of the Bishop of Bangor, Dr. Magendie. “I succeeded so well,” he says in his introduction, “that I took all his lordship’s family; and so pleased were they that I made forty duplicates. This _début_, being so far above my expectation, encouraged me to continue, and from that time, being much engaged by the first visitors of Cheltenham, I took a resolution to keep a copy of every one to form a collection.” “This talent,” he continues, “showed itself so strongly, and I was so anxious, that I worked from morning till night, and even in my dreams my brain was so much overheated by that anxiety, that in those dreams I was cutting likenesses of great personages, kings, queens, etc.” His method of holding the scissors was unusual. The reason for this peculiarity is thus described: “One day, when crossing a stile, a lady tore her dress by a nail which was put on the step mischievously. To prevent the recurrence, I took a stone to take the nail away: in the act of doing so my index finger was lacerated in such a manner that I could not use my scissors. I suffered a great deal for several days, and my mind being so much excited about it, I dreamt that I cut likenesses without using the index finger. I was so much struck by this that, as soon as I awoke, I took my scissors and have ever since used them in that manner.” In an old daguerrotype he is seen cutting a portrait in this manner. In his treatise Edouart gives no detailed account of his journeys, though he notes that he has always kept a diary. From newspaper advertisements we learn that he was in Cheltenham in June, 1829, where he is described in the _Cheltenham Journal_ as assisting in Lavater’s system with regard to Physiognomy. At this stage the old idea that silhouette portraits must have a scientific use still clung to the craft. In 1830 Edouart is in Edinburgh. In the _Scotsman_ of February 13th the collection of ingenious works executed by Monsieur Edouart is mentioned. “This may be seen gratuitously at 72, Princes Street. Mr. Edouart makes silhouette likenesses, not only of the profile, but also of the whole person, by cutting them by the hand, out of black paper.” The account ends thus: “In his rooms the curious will find amusement and the philosophic employment.” The cannie Scotsman would attract the “unco’ guid” with learning and occupation as well as the frivolous with amusement. On May 8th of the same year the _Edinburgh Evening Courant_ takes notice of Edouart’s success in his likenesses of Sir Walter Scott (this portrait of Scott was recently purchased by the Director of the National Portrait Gallery, on account of its fine technique and the human and life-like attitude of the great novelist), the Dean of Faculty, and other distinguished characters of the city, and slyly regrets that Edouart departs so soon.