In the midst of his business details and directions, Scott’s peculiar humour and felicity of illustration are perpetually breaking out. Of a neighbouring county magnate he says: ‘I have heard of a Christian being a Jew, but our friend is the essence of a whole synagogue.’ His relation of the simplest occurrence is vivid and characteristic. A high wind in Edinburgh, in January 1818, he thus notices: ‘I had more than an anxious thought about you all during the gale of wind. The Gothic pinnacles were blown from the top of Bishop Sandford’s Episcopal chapel at the end of Princes Street, and broke through the roof and flooring, doing great damage. This was sticking the horns of the mitre into the belly of the church. The devil never so well deserved the title of Prince of the power of the air, since he has blown down this handsome church, and left the ugly mass of new building standing on the North Bridge.’ One incidental remark illustrates the deception men often practise on themselves: ‘I have not,’ he says, ‘a head for accounts, and detest debt. When I find expense too great, I strike sail, and diminish future outlay, which is the only principle for careless accountants to act upon.’ Happy would it have been for him if his practice had corresponded with his theory!
The year 1820 was, in the family calendar of the poet, one of peculiar interest and importance. It was the year in which his eldest daughter was married; the year in which he received the honour of the baronetcy; and the year in which he sat to Chantrey for his bust—that admirable work of art which has made his features familiar in every quarter of the globe. He sat also this year to Sir Thomas Lawrence. ‘The king,’ he writes, ‘has commanded me to sit to Sir Thomas Lawrence for a portrait, for his most sacred apartment. I want to have in Maida’ [his favourite deer-hound], ‘that there may be one handsome fellow of the party.’ Late in life, Sir Walter sat to Lawrence Macdonald the sculptor, and Laidlaw says of the artist and his work:
‘We were much pleased with some days of Macdonald the sculptor, who modelled Sir Walter while he was dictating to me. Macdonald’s model was in a higher style of art than Chantrey’s, and from that cause, had not so much character. Macdonald confessed this was not so much his object. It was a faithful likeness, nevertheless, but not so familiar. For the same reason, he would not take the exact figure of the head, which is irregular. Chantrey likewise declined to shew this, which the phrenologists will probably regret.’
Mr Lawrence Macdonald still lives to delight his friends, and pursue his art in Rome, where he has long resided. He has no recollection of the ‘irregularity,’ referred to. Laidlaw knew nothing of art, and by ‘high style,’ he probably meant an idealised likeness—a look to ‘elevate and surprise.’ The extreme length of the upper lip was a personal characteristic of Sir Walter, which he was glad to see artists reduce, and which none of the portraits fully represents. It is by no means uncommon among the stalwart men of the Border, but is unquestionably a defect as respects personal appearance. The Stratford bust of Shakspeare, it will be recollected, has the same long upper lip, as well as the memorable high forehead, that distinguished Scott. Of Chantrey, Laidlaw writes:
‘I met at breakfast Chantrey the sculptor, a real blunt, spirited, fine Yorkshireman, with great good-humour, and an energy of character about him that would have made his fortune—and a great one—had he gone to London as a tailor. He killed a fine salmon in the Tweed, and led another a long time, but let it go among the great stones and cut his line. Colonel Ferguson said he believed he would rather have given his best statue than lost the fish.’
Chantrey was an enthusiastic angler.
The baronetcy was a step of rank which Sir Walter said was the king’s own free motion, and none of his seeking. To a lady whom he highly esteemed—the late Hon. Mrs Stewart Mackenzie of Seaforth—he wrote:
‘The circumstance of my children being heirs to their uncle’s fortune, relieved me in a great degree of the chief objection to accepting with gratitude what was so graciously offered, namely, that which arose from a more limited income than becomes even the lowest step of hereditary rank.... Mr Lockhart, to whom Sophia is now married, is the husband of her choice. He is a man of excellent talents, master of his pen and of his pencil, handsome in person, and well-mannered, though wanting that ease which the usage du monde alone can give. I like him very much; for having no son who promises to take a literary turn, it is of importance to me, both in point of comfort and otherwise, to have some such intimate friend and relation, whose pursuits and habits are similar to my own—so that, upon the whole, I trust I have gained a son instead of losing a daughter.’[10]
Early next year (1821), Scott was in London, and on February 16, took place the unfortunate duel, in which John Scott, editor of the London Magazine, fell. The antagonist of John Scott was Mr Christie, a barrister, the friend of Lockhart. ‘I have had much to plague me here,’ writes Sir Walter, ‘besides the death of John Scott, who departed last night; so much for being slow to take the field!’ And in another letter he recurs to the subject: ‘The death of my unlucky namesake, John Scott, you will have heard of. The poor man fought a most unnecessary duel to regain his lost character, and so lost his life into the bargain.’ The loss of life was chiefly owing to the blundering of John Scott’s second in the duel, who permitted a second fire to take place after Mr Christie had discharged his pistol down the field.
The visit of King George IV. to Scotland in 1822, was an event sure to call forth the enthusiastic loyalty of Sir Walter. His Majesty’s personal attentions, besides the distinction of the baronetcy, elicited his warmest gratitude, and, in addition, all his fervid nationality and veneration for the throne were kindled on this occasion. To see the king in the ancient palace of Holyrood, was itself an incident like the realisation of a dream. The whole city was in a state of frantic excitement: ‘Edinburgh is irrecoverably mad,’ said Scott. To Laidlaw, the chivalrous poet writes: