Three oil portraits, showing the Baron in later life, hang in the Dining-room. In the first, by Sir John Medina, he appears still as a young man, seen to the waist, clad in a bright blue coat and a crimson cloak—a combination of primary colours in which the painter frequently indulged. His right hand is laid on a book, which rests on an unseen table in front to the right. He wears a long yellowish wig, with powdered curls, and the blue eyes and the alert mouth are full of activity and energy. Probably this portrait was executed at the time of his marriage, in 1700, for there is a companion picture of his first wife, Margaret Stewart, daughter of the third Earl of Galloway, and grand-daughter of James, Earl of Queensberry, painted by Aikman. As was to be expected in so early a work of the artist’s—he must have been under twenty when he painted it, for the lady died in 1701—this latter is full of faults, stiff in pose, with little suggestion of the figure under the draperies of white and blue: still it conveys the idea of a charming and attractive personality, fitting as that of the lady for whom the Baron—as shown in the “History of his Life,”—mourned so truly. There is a second bust-portrait of the Baron by Sir John Medina, a low-toned picture, executed with care if with considerable hardness. Here the costume is a lilac gown, with a long curled wig, and a white cravat; the body seen turned to the right, and the face in three-quarters to the left. The finest, however, of the portraits of the second Baronet, is the three-quarters length by his cousin, William Aikman. Here he appears robed in his black gown as Baron of the Exchequer, worn over a yellow-brown coat. Long white hanging bands appear at the breast, and lace ruffles at the wrists; and the grave face, with its strongly marked features, is surmounted by a long curled wig. His left hand hangs down in front fingering among the folds of his gown, and the right rests upon a red-covered table. The whole is relieved against a plain brown background, with a low-toned space of crimson curtain to the left. It is an excellent example by the painter, well arranged, dignified, firmly handled, and manifestly faithful to the personality portrayed. A bust-portrait similar in costume and wig to this one, but with some difference in the features, was engraved, in line, by D. Lizars, “from a portrait in the possession of John Clerk of Eldin, Esq.” Of Sir James, the third Baronet, the architect of the present house of Penicuik, we, unfortunately find no adequate portrait. The only effigy of him that is here preserved is a small silhouette in white paper, relieved against a black background, marked as cut two years after his death by Barbara Clerk, his fifth sister, and as being considered very like by those who knew him. It shows a small face, looking a little downwards, with a high forehead, beneath the wig, impending over the delicate features. (_See_ Note at page 69.)