company, averring that they were a parcel of sneaks, a set of lick-spittles, and using epithets still more vulgar, Clive slipped off his fine silk-sleeved coat in an instant, invited Mr. M’Collop into the back-yard, instructed him in a science which the lad himself had acquired at Grey Friars, and administered two black eyes to Sandy, which prevented the young artist from seeing for some days after the head of the ‘Laocoon’ which he was copying. The Scotchman’s superior weight and age might have given the combat a different conclusion, had it endured long after Clive’s brilliant opening attack with his right and left; but Professor Gandish came out of his painting-room at the sound of battle, and could scarcely credit his own eyes when he saw those of poor M’Collop so darkened. To do the Scotchman justice, he bore Clive no rancour. They became friends there, and afterwards at Rome, whither they subsequently went to pursue their studies. The fame of Mr. M’Collop as an artist has long since been established. His pictures of ‘Lord Lovat in Prison,’ and ‘Hogarth painting him,’ of the ‘Blowing up of the Kirk of Field’ (painted for M’Collop of M’Collop), of the ‘Torture of the Covenanters,’ the ‘Murder of the Regent,’ the ‘Murder of Rizzio,’ and other historical pieces, all of course from Scotch history, have established his reputation in South as well as in North Britain. No one would suppose from the gloomy character of his works that Sandy M’Collop is one of the most jovial souls alive. Within six months after their little difference, Clive and he were the greatest of friends, and it was by the former’s suggestion that Mr. James Binnie gave Sandy his first commission, who selected the cheerful subject of ‘The Young Duke of Rothsay starving in Prison.’