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speaks with authority; and I will admit that he is a very skilful combination of the hero and the braggart—qualities which are sometimes combined, as they were to some degree in Nelson and Wolfe. Somehow, perhaps because I am not a Gael, I can never feel that he is fully alive. He suggests to me the artist's study, not the man who appeals to us because his creator has really thrown himself unreservedly into the part. When I compare him, for example, with Dugald Dalgetty (I must venture a comparison for once) he seems to illustrate the difference between skilful construction and genial intuition. He may suggest one other point. Scott was for Stevenson the 'King of the Romanticists.' Romance, as understood by Scott, meant among other things the attempt to revive a picture of old social conditions. He was interested, in his own phraseology, in the contrast between ancient and modern manners, and his favourite periods are those in which the feudal ideals came into conflict with the more modern commercial state. This interest often interferes with his art as a storyteller. The hero of Waverley, for example, is a mere walking letter of introduction to Fergus MacIvor, the type of a chief of a clan modified