friendly intercourse with the artists of his day. He was often able to
give substantial help and assistance to young students; and he was most
liberal in giving them valuable practical instruction, and in assisting
them over the manipulative difficulties which lay in their way. He was
especially assiduous when he saw them inspired by the true spirit of
art, and full of application and industry,--without which nothing can
be accomplished. Amongst these young men were David Wilkie, Francis
Grant, David Roberts, Clarkson Stanfield, William Allan, Andrew Geddes,
"Grecian" Williams, Lizars the engraver, and the Rev. John Thomson of
Duddingston.

Henry Raeburn was one of his most intimate friends and companions.
He considered Raeburn's broad and masterly style of portrait painting
as an era in Scottish art. Raeburn, with innate tact, discerned the
character of his sitters, and he imparted so much of their
individuality into his portraits as to make them admirable likenesses
in the highest sense. In connection with Raeburn, I may mention that
when he was knighted by George IV. in 1822, my father, who was then at
the head of his profession in Scotland, was appointed chairman at the
dinner held to do honour to the great Scottish portrait painter.

Raeburn often joined my father in his afternoon walks round Edinburgh
--a relaxation so very desirable after hours of close attention to
artistic work. They took delight in the wonderful variety of
picturesque scenery by which the city is surrounded. The walks about
Arthur's Seat were the most enjoyable of all. When a boy I had often
the pleasure of accompanying them, and of listening to their
conversation. I thus picked up many an idea that served me well in
after life. Indeed, I may say, after a long experience, that there is
no class of men whose company I more delight in than that of artists.