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148 practising regularly as a rival of his old friend Martin, that he became acquainted, under extraordinary circumstances, with the lady who became his wife. "One day," says his most animated biographer, "a young lady presented herself at his studio, and desired to sit for her portrait. He instantly remembered having seen her in some of his excursions, when, with his sketchbook in his hand, he was noting down some fine snatches of scenery; and, as the appearance of any thing living and lovely gives an additional charm to a landscape, the painter, like Gainsborough, in similar circumstances, had readily admitted her into his drawing. This circumstance, he said, had had its influence. On further acquaintance, he found that, besides personal charms, she had sensibility and wit. His respect for her did not affect his skill of hand, but rather inspired it, and he succeeded in making a fine portrait. The lady, Ann Edgar, the daughter of Peter Edgar, esquire, of Bridgelands, was much pleased with the skill, and likewise with the manners of the artist; and about a month or so after the adventure of the studio, she gave him her hand in marriage; bestowing at once an affectionate wife, and a handsome fortune."

Having now the means of improving in his art, he set out for London, and was introduced to Sir Joshua Reynolds, who treated him with distinguished liberality and kindness, even to the extent of offering him money to prosecute his studies in Rome, which he was not aware that Raeburn did not need. Furnished with introductions by this eminent person, he set out for the capital of the arts, accompanied by his wife. At Rome, he was considerably indebted for advice to Mr Gavin Hamilton, and likewise to Mr Byers, who gave him the excellent counsel never to copy any object from memory, but, from the principal figure to the minutest accessory, to have it placed before him. To the observance of this rule, Raeburn imputed in a great measure, the improvement which was observed in his subsequent pictures.

His powers now fully matured, he returned in 1787 to his native city, and set up his easel in a fashionable house in George Street. The works of Martin—though certainly better than the biographers of Raeburn delight to represent them—were so much eclipsed by the junior artist, that the whole tide of employment left the one painter for the other. In vain did the veteran prophesy that this fever of approbation could not last, and that "the lad in George Street" painted better before he went to Rome. The nation persisted in being of another opinion, and Martin was at last obliged to retire from the field in despair. Raeburn at once assumed that pre-eminent rank in his profession, which, notwithstanding the multitude of rivals who afterwards rose around him, he bore to the day of his death.

The subsequent history of this artist, is chiefly that of his pictures. For thirty-six years he was constantly employed in his professional duties, and painted the most of the eminent persons who lived in Scotland during that time. Unfortunately no record has been preserved of his various works; but they are to be found in almost every distinguished mansion in the country.