Lanarkshire with Sir Thomas Inglis of Manor, for one half of the

barony of Branxholm, near Hawick. After this period Branxholm castle continued to be for several generations the principal seat of the Buccleuch family. Sir Walter Scott, a brave and powerful baron, was warden of the West Marches, and in 1526 fought the battle of Melrose against the Douglases, for the purpose of rescuing the young king, James V., out of their hands. The death of Ker of Cessford in this battle caused a long and bloody feud between the Kers and Scotts, and Sir Walter himself was killed in a nocturnal encounter with the chief of the hostile clan in the streets of Edinburgh in 1552. At this period the clan Scott figured along with the Elliots and Armstrongs in all the disturbances and wars on the borders, and their inroads into Cumberland and Northumberland were peculiarly destructive. The family obtained an increase of rank under Sir Walter Scott, the thirteenth head of the house. He lived in the reign of James VI., and was remarkable both for his indomitable courage, and his sagacity. He was warden of the West Marches, and exerted himself with great vigour to suppress the system of rapine which had been so long carried on upon the borders. It was he who fell upon the ingenious device of employing a large number of the most desperate freebooters in the continental wars; and for his services in freeing the country of these troublesome subjects he was created in 1608 Lord Scott of Buccleuch. His daring exploit in rescuing the famous freebooter Kinmont Willie from Carlisle castle, where he had been illegally confined, is commemorated in a well-known border ballad. Queen Elizabeth was so dreadfully enraged at this insult, as she reckoned it, that she demanded, with the most violent threats, that Buccleuch should be delivered up to her. The matter was at last amicably arranged, and Buccleuch resided for a short time on parole in England.—Walter, the son of this redoubtable baron, was elevated to an earldom in 1619.—His son Francis, second earl, acquired, partly by purchase, partly by royal grants, the extensive domain of Liddesdale, which once belonged to the Douglases, and afterwards to the earl of Bothwell; also large possessions in Eskdale, and the valuable barony of Dalkeith, the property of the Morton family. Francis left only two daughters, the eldest of whom dying without issue, the family titles and estates went to her sister Anne, who in 1663 was married to James, duke of Monmouth, illegitimate son of Charles II. by Lucy Walters, and who was thereupon created Duke of Buccleuch. The marriage, which was made by the friends of the young couple, was extremely unhappy. Three years after Monmouth's death, the duchess took for her second husband Charles, third Lord Cornwallis. She lived in a style of princely splendour and state, and survived until 1732, when she had attained her eighty-first year.—She was succeeded by her grandson Francis, second duke of Buccleuch, who in 1743 became a British peer, on the restoration to him of two of Monmouth's titles, earl of Doncaster and Baron Tynedale. He married a daughter of the second duke of Queensberry, and by this fortunate connection united the titles and large estates of the Queensberry family to the hereditary possessions of the house of Buccleuch.—The grandson of this nobleman, Henry, third duke of Buccleuch, was the most estimable of his family. The famous Adam Smith was his tutor, and under the instructions of the founder of economical science, the duke directed his talents to the attainment of very different objects from those which occupied the attention of men of rank and fortune in his day. He adopted the most spirited and wise measures for the improvement of his extensive landed property, the amelioration of the soil, the planting of trees, the cutting of roads, the improving of the breed of sheep, and the elevation of the condition of the tenantry and cottagers on his estates. "His mind," says Sir Walter Scott, who knew him well, "was moulded upon the kindliest and most single-hearted model, and arrested the affections of all who had any connections with him." His grace married the daughter of the last duke of Montague, and one of his sons became heir to that nobleman, with the title of Lord Montague.—His son Charles, fourth duke, was the intimate friend of the great minstrel of his clan, who, in a letter to Crabbe, describes him as "a kind and benevolent landlord, a warm and zealous friend, and the husband of a lady of extraordinary beauty and accomplishments, who had as much of the angel as is permitted to walk this earth." Lockhart says the death of this nobleman, in the prime of life, was one of the greatest afflictions that ever Scott encountered.—J. T. SCOTT, David, R.S.A., was born in Edinburgh in October, 1806; his father, Robert Scott, was an engraver in good practice. After having studied some time at the Trustees' academy under Andrew Wilson, David worked at engraving in his father's shop in the Parliament Stairs, though greatly against his inclination; in 1827, however, he desisted from the occupation as utterly intolerable, and took to painting. Already he seems to have been infected with an insatiable ambition for fame. He with other young artists in Edinburgh, in 1827, established a Life Academy, wherein they drew from the living model. In 1828 he exhibited his first picture—"The Hopes of Early Genius dispelled by Death"—a somewhat ominous theme for him. In this year, also, he paid his first visit to London. In 1832 he made his excellent and impressive series of designs in outline illustrating Coleridge's Ancient Mariner, which was published in 1837. He had already published his "Monograms of Man" in the previous year, but the publication was a loss to him. He sent a picture of "Lot" to the British Institution in 1832, but it was rejected; and in the summer of that year he started for a tour on the continent, visiting Paris, Milan, Venice, Parma, Bologna, Florence, Rome, and Naples, reaching Rome in December. He spent the greater part of 1833 in Rome, and there painted in the autumn a large ambitious extravagant composition, entitled "Discord, or household gods destroyed." The discord is evident and painful, but what other bearing on the practical the picture may have is unintelligible. The leading feature of the composition reminds us both of the Laocoon and Flaxman's design of Prometheus Bound; and it is on the whole a piece with the wildest compositions of Fuseli, without a single natural attitude to redeem the general conception. We learn from his "Diary" published by his brother, where it is engraved, that he at first proposed to call it "The Agony of Discord in a house divided against itself." It was exhibited at the Royal Scottish Academy in 1840. David Scott returned home in April, 1834, devoted to high art; yet starting on his career in a state of deep depression, partly from the failure of his great picture to produce the hoped-for sensation, and partly from natural idiosyncrasy, and an impatient insatiable craving for reputation. But he did not expect his reputation without working for it; his industry seems to have been prodigious, and was often successful; it was his only refuge from himself, and the effect of his morbid hankering after fame. His subjects, however, were not popular, his abstract treatment of them was still less so, and his pictures remained accordingly unsold. He exhibited a long series of ethic, poetic, and mystic works, occasionally varied with a historical subject, in the rooms of the Royal Scottish Academy, at Edinburgh, of which he was a member. In the exhibition of the London Royal Academy he appeared only twice—in 1840, with "Queen Elizabeth in the Globe Theatre," a really excellent display of character; and in 1845, with "Pan Awakened," a small poetical subject. Scott was by no means restricted in his field of illustration, though he seldom, if ever, condescended below the grand style. Among works of considerable power in composition, form, and colour, may be enumerated—"Paracelsus, or the Alchymist," an extraordinary picture of mediaeval charlatanry, which was shown in the International Exhibition of 1862; the "Triumph of Love," a bright sunny picture full of appropriate life; "Achilles addressing the Manes of Patroclus;" "Peter the Hermit;" "Jane Shore;" "Richard III.;" and the greatest of all his efforts, "Vasco de Gama encountering the Spirit of the Cape," a truly magnificent work, purchased by his friends after his death, and placed in the Trinity house at Leith, where, however, it has come to the extraordinary indignity of serving as a back-ground to some municipal portraits which have been hung upon its face. With all his professional faults and moral peculiarities, David Scott was a painter of great power and ability, and by his constant perseverance in the line he had proposed for himself, in spite of almost constant disappointment, proved himself a true artist if a mistaken man. Incessant hope deferred preyed upon his constitution and carried him to a premature grave, on the 6th of March, 1849, in his forty-third year. In 1850 an able memoir of him, with extracts from his journals, papers, &c., and seven illustrations, was published by his brother, William B. Scott, which may be recommended as a warning beacon to all inordinately ambitious young artists who are craving for the rewards of fame, and yet are too timid or too impatient to face the just toil and study which can alone secure them. David Scott was also a poet; and he published