I have said that I think "Ivanhoe" the best of Scott's novels. I suppose most people would subscribe to that. But how about the second best? It speaks well for their general average that there is hardly one among them which might not find some admirers who would vote it to a place of honour. To the Scottish-born man those novels which deal with Scottish life and character have a quality of raciness which gives them a place apart. There is a rich humour of the soil in such books as "Old Mortality," "The Antiquary," and "Rob Roy," which puts them in a different class from the others. His old Scottish women are, next to his soldiers, the best series of types that he has drawn. At the same time it must be admitted that merit which is associated with dialect has such limitations that it can never take the same place as work which makes an equal appeal to all the world. On the whole, perhaps, "Quentin Durward," on account of its wider interests, its strong character-drawing, and the European importance of the events and people described, would have my vote for the second place. It is the father of all those sword-and-cape novels which have formed so numerous an addition to the light literature of the last century. The pictures of Charles the Bold and of the unspeakable Louis are extraordinarily vivid. I can see those two deadly enemies watching the hounds chasing the herald, and clinging to each other in the convulsion of their cruel mirth, more clearly than most things which my eyes have actually rested upon.
The portrait of Louis with his astuteness, his cruelty, his superstition and his cowardice is followed closely from Comines, and is the more effective when set up against his bluff and war-like rival. It is not often that historical characters work out in their actual physique exactly as one would picture them to be, but in the High Church of Innsbruck I have seen effigies of Louis and Charles which might have walked from the very pages of Scott-Louis, thin, ascetic, varminty; and Charles with the head of a prize-fighter. It is hard on us when a portrait upsets all our preconceived ideas, when, for example, we see in the National Portrait Gallery a man with a noble, olive-tinted, poetic face, and with a start read beneath it that it is the wicked Judge Jeffreys. Occasionally, however, as at Innsbruck, we are absolutely satisfied. I have before me on the mantelpiece yonder a portrait of a painting which represents Queen Mary's Bothwell. Take it down and look at it. Mark the big head, fit to conceive large schemes; the strong animal face, made to captivate a sensitive, feminine woman; the brutally forceful features – the mouth with a suggestion of wild boars' tusks behind it, the beard which could bristle with fury: the whole man and his life-history are revealed in that picture. I wonder if Scott had ever seen the original which hangs at the Hepburn family seat?