Among the other portraits in the Dining-room may be mentioned a fine three-quarters length of the Earl of Denbigh, by Lely; a vigorous bust-portrait of the Duke of Norfolk, by Kneller,—the eighth Duke, as is proved by the robe and collar of the Garter which appear in the picture; and a copy from the well-known Janssen portrait of Drummond of Hawthornden, in the possession of the Earl of Home: while the portraits of Prince Charles Edward and of his wife the Princess Stolberg, known as the Countess of Albany, though sufficiently indifferent works of art, possess a certain interest as having been presented to Rosemary Clerk by Miss Law of Princes Street, Edinburgh, after she had heard the tale of the White Cockade, as recorded by Lady Clerk herself, in the postscript to her letter to the Editor of “Blackwood’s Magazine,” which we have already quoted. X. In the Corridor hangs an important and striking portrait of Lord Godolphin, probably from the hand of William Aikman, a work doubtless acquired by the Baron as representing an eminent English statesman with whom he had been brought into contact about the time of the Union. The figure is seen to below the waist, turned in three-quarters to the right; and the face is more individual and characteristic, if less dignified and well conditioned, than that which appears in Houbraken’s line-engraving, or in Smith’s mezzotint after Kneller. The nose is small and clear-cut, the mouth has a thin upper lip drawn inwards a little, the eyebrows are straight, slight, and of a dark brown colour, and there are strong lines on the cheeks curving downwards from the nostrils. A long grey curling wig is worn, and a claret-coloured coat, with a plain cravat falling in front; and a ruddy cloak is wrapped round the waist, and passed over the left arm. His right hand rests against his side, and his left is laid gracefully over a parapet. In the same Corridor, hung over a door in an exceedingly bad light, is a bust-portrait titled on the back, in an old hand, “Calderwood the Historian by Jamesone.” The costume is a small black cap and a black doublet with a round ruff. The face, seen in three-quarters to the right, against a dark background, is full of intelligence; the features small, the eyes grey, the moustache and beard of a moderate length, yellowish-brown in colour. The flesh-tints are ruddy, inclining, indeed, to an unduly hot tone, but the picture has evidently been much repainted. It is undoubtedly a production of the period indicated in the inscription, and resembles works that have been attributed to Jamesone; but we are not acquainted with any duly authenticated portrait of the historian of the Kirk of Scotland with which it might be compared.