and giving some account of the personages whose portraits presented themselves in progression. General Browne was but little interested in the details which these accounts conveyed to him. They were, indeed, of the kind which are usually found in an old family gallery. Here was a Cavalier who had ruined the estate in the royal cause; there a fine lady who had reinstated it by contracting a match with a wealthy Roundhead. There hung a gallant who had been in danger for corresponding with the exiled Court at Saint Germain's; here one who had taken arms for William at the Revolution; and there a third that had thrown his weight alternately into the scale of Whig and Tory.

While lord Woodville was cramming these words into his guest's ear, "against the stomach of his sense," they gained the middle of the gallery, when he beheld General Browne suddenly start, and assume an attitude of the utmost surprise, not unmixed with fear, as his eyes were suddenly caught and riveted by a portrait of an old lady in a sacque, the fashionable dress of the end of the seventeenth century.

"There she is!" he exclaimed—"there she is, in form and features, though Inferior in demoniac expression to the accursed hag who visited me last night!"

"If that be the case," said the young nobleman, "there can remain no longer any doubt of the horrible reality of your apparition. That is the picture of a wretched ancestress of mine, of whose crimes a black and fearful catalogue is recorded in a family history in my charter-chest. The recital of them would be too horrible; it is enough to say, that in yon fatal apartment incest and unnatural murder were committed. I will restore it to the solitude to which the better judgment of those who preceded me had consigned it; and never shall any one, so long as I can prevent it, be exposed to a repetition of the supernatural horrors which could shake such courage as yours."

Thus the friends, who had met with such glee, parted in a very different mood—Lord Woodville to command the Tapestried Chamber to be unmantled, and the door built up; and General Browne to seek in some less beautiful country, and with some less dignified friend, forgetfulness of the painful night which he had passed in Woodville Castle.

END OF THE TAPESTRIED CHAMBER.

DEATH OF THE LAIRD'S JOCK

by Sir Walter Scott.

[The manner in which this trifle was introduced at the time to Mr. F. M. Reynolds, editor of The Keepsake of 1828, leaves no occasion for a preface.]

AUGUST 1831. TO THE EDITOR OF THE KEEPSAKE.

You have asked me, sir, to point out a subject for the pencil, and I feel the difficulty of complying with your request, although I am not certainly unaccustomed to literary composition, or a total stranger to the stores of history and tradition, which afford the best copies for the painter's art. But although SICUT PICTURA POESIS is an ancient and undisputed axiom—although poetry and painting both address themselves to the same object of exciting the human imagination, by presenting to it pleasing or sublime images of ideal scenes—yet the one conveying itself through the ears to the understanding, and the other applying itself only to the eyes, the subjects which are best suited to the bard or tale-teller are often totally unfit for painting, where the artist must present in a single glance all that his art has power to tell us. The artist can neither recapitulate the past nor intimate the future. The single NOW is all which he can present; and hence, unquestionably, many subjects which delight us in poetry or in narrative, whether real or fictitious, cannot with advantage be transferred to the canvas.

Being in some degree aware of these difficulties, though doubtless unacquainted both with their extent and the means by which they may be modified or surmounted, I have, nevertheless, ventured to draw up the following traditional narrative as a story in which, when the general details are known, the interest is so much concentrated in one strong moment of agonizing passion, that it can be understood and sympathized with at a single glance. I therefore presume that it may be acceptable as a hint to some one among the numerous artists who have of late years distinguished themselves as rearing up and supporting the British school.

Enough has been said and sung about

to render the habits of the tribes who inhabited it before the union of England and Scotland familiar to most of your readers. The rougher and sterner features of their character were softened by their attachment to the fine arts, from which has arisen the saying that on the frontiers every dale had its battle, and every river its song. A rude species of chivalry was in constant use, and single combats were practised as the amusement of the few intervals of truce which suspended the exercise of war. The inveteracy of this custom may be inferred from the following incident:—

Bernard Gilpin, the apostle of the north, the first who undertook to preach the Protestant doctrines to the Border dalesmen, was surprised, on entering one of their churches, to see a gauntlet or mail-glove hanging above the altar. Upon inquiring; the meaning of a symbol so indecorous being displayed in that sacred place, he was informed by the clerk that the glove was that of a famous swordsman, who hung it there as an emblem of a general challenge and gage of battle to any who should dare to take the fatal token down. "Reach it to me," said the reverend churchman. The clerk and the sexton equally declined the perilous office, and the good Bernard Gilpin was obliged to remove the glove with his own hands, desiring those who were present to inform the champion that he, and no other, had possessed himself of the gage of defiance. But the champion was as much ashamed to face Bernard Gilpin as the officials of the church had been to displace his pledge of combat.

The date of the following story is about the latter years of Queen Elizabeth's reign; and the events took place in Liddesdale, a hilly and pastoral district of Roxburghshire, which, on a part of its boundary, is divided from England only by a small river.

During the good old times of RUGGING AND RIVING—that is, tugging and tearing—under which term the disorderly doings of the warlike age are affectionately remembered, this valley was principally cultivated by the sept or clan of the Armstrongs. The chief of this warlike race was the Laird of Mangerton. At the period of which I speak, the estate of Mangerton, with the power and dignity of chief, was possessed by John Armstrong, a man of great size, strength, and courage. While his father was alive, he was distinguished from others of his clan who bore the same name, by the epithet of the LAIRD'S JOCK—that is to say, the Laird's son Jock, or Jack. This name he distinguished by so many bold and desperate achievements, that he retained it even after his father's death, and is mentioned under it both in authentic records and in tradition. Some of his feats are recorded in the minstrelsy of the Scottish Border, and others are mentioned in contemporary chronicles.

At the species of singular combat which we have described the Laird's Jock was unrivalled, and no champion of Cumberland, Westmoreland, or Northumberland could endure the sway of the huge two-handed sword which he wielded, and which few others could even lift. This "awful sword," as the common people term it, was as dear to him as Durindana or Fushberta to their respective masters, and was nearly as formidable to his enemies as those renowned falchions proved to the foes of Christendom. The weapon had been bequeathed to him by a celebrated English outlaw named Hobbie Noble, who, having committed some deed for which he was in danger from justice, fled to Liddesdale, and became a follower, or rather