which hint their
authorship. They are simple and straight-forward likenesses rather
than works of art and bear no obvious relationship to the elegant
bibelots or deeply-searched portraits in little of the contemporary
English school of miniaturists. But obviously they were some
preparation for the development which followed, when, soon afterwards
and almost at once, he passed from water-colour miniature to life-size
portraiture in oil paint.

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PLATE IV.--MRS CAMPBELL OF BALLIEMORE.

(National Gallery of Scotland.)

This is one of the finest of the many fine portraits by Raeburn in the
Edinburgh Gallery. Its place in the artist's work is discussed on page
63.

[Illustration: Plate IV.]

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The rapid expansion of Edinburgh provided new opportunities and helped
to Raeburn's early success. When he was eight years old the building
of the North Bridge, which was to connect the old city with the
projected new town on the other side of the valley, was begun, and by
the time he attained his majority many of the well-to-do had migrated.
The new district meant bigger houses and larger rooms, and, with the
increase in wealth which followed the commercial and agricultural
development of the country of which the city was the capital, led to
alterations in the habits and expansion of the ideals of its
inhabitants. It was probably the opening for an artist offered by
these altered circumstances which had brought Martin to Edinburgh, and
certainly Raeburn was fortunate in that his emergence coincided with
them. An attractive and clever lad devoting himself to art in a
community increasing in wealth and expanding in ideas, and with a
sympathetic master coming in contact with the upper classes, Raeburn
could not fail to make acquaintances able and willing to help him.
Amongst these was John Clerk, younger of Eldin, later a famous
advocate, through whom the young artist got into touch with the
Penicuik family which for several generations had been notable for its
interest in the arts. And this would lead to other introductions.

[1] Sir David Wilkie, Sir William Allan, and others were pupils of
Graham.

III.

The influences which affected Raeburn and the models upon which he
formed either his style or his method are difficult to trace. Allan
Ramsay, having painted many por