bers, Esq.; to Daniel Wilson, Esq., Acting Secretary of the Society of Antiquaries of Scotland; W. F. Watson, Esq., all of Edinburgh; to Robert Carruthers, Esq., of Inverness; to David Chalmers, Esq., of Aberdeen; to John Buddo, Esq., Writer, and John Buist, Esq., Banker, St. Andrews; to Professors Gregory and Innes, and Blair Wilson, Esq., of Edinburgh University; to Dr. Taylor of Archibald Place; Alexander S. Logan, Esq., Advocate; John Shand, Esq., W.S.; and Charles Kirkwood, Esq., Accountant, all of Edinburgh.

The volume will show too, how much the Editor is indebted to the late lamented Professor Tennant of St. Andrews; to the late Alexander Peterkin, Esq., S.S.C.; to the late respected Simon Sawers, Esq., of Dunbar; to the late W. S. Briggs, Esq., Her Majesty's Accountant to the Navy; and to the late James M'Cosh, Esq., of Dundee.

The Editor must offer his thanks to the Press of Edinburgh, Glasgow, Aberdeen, Dublin, London, New York, and Boston, for the ready insertion which they gave to his various inquiries.

To America's favourite poets, W. C. Bryant, Esq., and Professor W. H. Longfellow, he would waft his special gratitude for the manner in which they promoted his researches in respect more especially of the brother of the poet.

With reference to Dr. Irving, the Editor must duly acknowledge his uniform courtesy and interest. He has not spoken, as otherwise he should have done, of his Life [or Lives] of Fergusson, because it has long since slumbered innocuously in adust shelves: a circumstance that must in one respect be somewhat consola

tory to the writer, seeing that having been brought out in his earlier life, they contain details precipitate and

errant.

Finally, in the preparation of the Notes and the completed Glossary, the Editor is anxious to express his obligations to his friends, Mr. Robert Burns, secundus, of Dumfries; and Mr. Peter Mitchell of Bentend, near Falkirk.

The Volume now presented to the public (with other similar Doric researches), has occupied the leisure hours of several years, during more weighty and serious studies, -and it is now sent forth in the modest hope that it may be found to possess the quality of being in some degree a conclusive edition, not unworthy of the memory of the poet, and of the long established popularity of the poems.

EDINBURGH, 1851.

A. B. G.

N. B.-The reader may ask why the Work is issued anonymously? The Editor replies in the words of good Dr. Cotton.

"Authors, you know, of greatest fame,
Thro' modesty suppress their name;
And would you wish me to reveal
What these superior wits conceal?
Forego the search, my curious friend,
And husband time to better end;

All my ambition is, I own,
To profit and to please unknown,

Like streams supplied from springs below
Which scatter blessings as they flow."

1. In the Codicil to his poetical will, Fergusson thus refers to a portrait of himself:

"To Walter Ruddiman, whose pen

Still screen'd me from the dunce's den,

I leave of phiz a picture, saving

To him the freedom of engraving
Therefrom a copy, to embellish,

And give his work a smarter relish," &c.

This picture,' which is supposed to have been by Runciman, was duly delivered over to Mr. Ruddiman; and I am indebted to Mr Laing, keeper of the Signet Library, for the following particulars:

Mr. Ruddiman had intrusted the portrait to Mr. James Cummyng; and while the second edition of the poems was in the press, 1782, he addressed this card to Mr. Cummyng.- "Tho. Ruddiman's compliments to Mr. Cummyng, begs he would look among his papers for a quarto book of drawings which T. R. left with Mr C. some months ago. It contains a sketch of the likeness of R. Fergusson, whose works T. R. has nearly ready for publication, and wishes to have his head engraved with all speed. If Mr. C. will leave the book with his son, T. R. will send for it this afternoon.

In a postscript to another letter to Mr. Cummyng, Mr. Ruddiman says, "The want of Fergusson's head is an infinite loss to me at present.-14th May, 1782."

The volume was issued without a portrait, so that Mr. Cummyng must have mislaid the drawing.

II. The portrait which is given in the present edition is carefully and faithfully re-engraved from a private copper-plate, which belonged to Mr. Walter Ruddiman, jun., and with which I was favoured by my venerable friend, the late Miss Ruddiman. An impression from this copper-plate of Mr Ruddiman was framed and hung above the parlour mantel-piece; and it was regarded by the family as a correct portrait of the poet. The editor is of opinion that the 'drawing' referred to in Mr. Ruddiman's note to Mr. Cummyng must have been subsequently recovered, and the copper-plate engraved therefrom. It is the alone authenticated portrait, and there cannot be a doubt that it faithfully-literally represents the poet.

III. The first portrait of Fergusson that was published was that in the edition of the first part of the poems published by Morison and Son of Perth, 1788. I have endeavoured to trace the original from which this engraving was taken, but without success, although assisted by the present Mr. Morison of Perth. The attitude and adjuncts correspond with the copper-plate of Mr Ruddiman, and I am inclined to think that Mr. Ruddiman must have forwarded an impression from his plate to the Messrs. Morison, from which they engraved theirs, with improvements. It is hardly necessary to state that fidelity should have been preferable. It is this portrait, as given by Morison and Son, that has been usually prefixed to

the poems. I may state that Miss Ruddiman, Professor Vilant of St. Andrews, Mr. Howden, jeweller, and Mr. Spence of Edinburgh, all recognised a likeness in the portrait of Morison and Son, and its re-engravings. Still there was a something unsatisfactory, which is easily accounted for by the improving alterations made.

IV. In Mr. Sommers' life of Fergusson there is the following somewhat romantic account of a portrait of him taken by Runciman.-Life, pp. 22.

"Mr. Alexander Runciman, an eminent painter, well known at that time [1772-3, ?], was painting in his own house in the Pleasance, a picture on a half-length cloth, of the prodigal son, in which his fancy and pencil had introduced every necessary object and circumstance suggested by the sacred passage. At his own desire, I called to see it. I was much pleased with the composition, colouring, and admirable effect of the piece, at least what was done of it; but expressed my surprise at observing a large space in the centre, exhibiting nothing but chalk outlines of a human figure. He informed me that he had reserved that space for the prodigal, but could not find a young man whose personal form and expressive features were such as he could approve of, and commit to the canvass. Robert Fergusson's face and figure instantly occurred to me; not from an idea that Fergusson's real character was that of the prodigal, by no means, but on account of his sprightly humour, personal appearance, and striking features. I asked Mr. Runciman if he knew the poet? He answered in the negative, but that he had often read and admired his poems. That evening at five, I appointed to meet with him and the poet, in a tavern, Parliament Close. We did so, and I introduced