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 tion was more interesting on the score of unity or diversity. Where the portraits were all of the same period, almost all of the same race, and all from the same brush, there could not fail to be many points of similarity. And yet the similarity of the handling seems to throw into more vigorous relief those personal distinctions which Raeburn was so quick to seize. He was a born painter of portraits. He looked people shrewdly between the eyes, surprised their manners in their face, and had possessed himself of what was essential in their character before they had been many minutes in his studio. What he was so swift to perceive, he conveyed to the canvas almost in the moment of conception. He had never any difficulty, he said, about either hands or faces. About draperies or light or composition, he might see room for hesitation or afterthought. But a face or a hand was something plain and legible. There were no two ways about it, any more than about