I　took　away　in　my　portmanteau　a　large　portion　of　the　MS。；　　together　with　a　very　full　outline　of　the　rest　of　the　story；　so　that　　Mr　Stevenson　was；　despite　Mr　Gosse's　cavillings；　SUBSTANTIALLY　　right　when　he　wrote　in　MY　FIRST　BOOK　in　the　IDLER；　etc。；　that　〃when　　he　（Dr　Japp）　left　us　he　carried　away　the　manuscript　in　his　　portmanteau。〃　　There　was　nothing　of　the　nature　of　an　abandonment　of　　the　story　at　any　point；　nor　any　difficulty　whatever　arose　in　this　　respect　in　regard　to　it。
  CHAPTER　XXXII　…　STEVENSON　PORTRAITS
  OF　the　portraits　of　Stevenson　a　word　or　two　may　be　said。　　There　is　　a　very　good　early　photograph　of　him；　taken　not　very　long　before　the　　date　of　my　visit　to　him　at　Braemar　in　1881；　and　is　an　admirable　　likeness　…　characteristic　not　only　in　expression；　but　in　pose　and　　attitude；　for　it　fixes　him　in　a　favourite　position　of　his；　and　is；　　at　the　same　time；　very　easy　and　natural。　　The　velvet　jacket；　as　I　　have　remarked；　was　then　his　habitual　wear；　and　the　thin　fingers　　holding　the　constant　cigarette　an　inseparable　associate　and　　accompaniment。
  He　acknowledged　himself　that　he　was　a　difficult　subject　to　paint　…　　not　at　all　a　good　sitter　…　impatient　and　apt　to　rebel　at　posing　and　　time　spent　in　arrangement　of　details　…　a　fact　he　has　himself；　as　we　　shall　see；　set　on　record　in　his　funny　verses　to　Count　Nerli；　who　　painted　as　successful　a　portrait　as　any。　　The　little　miniature；　　full…length；　by　Mr　J。　S。　Sarjent；　A。R。A。；　which　was　painted　at　　Bournemouth　in　1885；　is　confessedly　a　mere　sketch　and　much　of　a　　caricature：　　it　is　in　America。　　Sir　W。　B。　Richmond　has　an　　unfinished　portrait；　painted　in　1885　or　1886　…　it　has　never　passed　　out　of　the　hands　of　the　artist；　…　a　photogravure　from　it　is　our　　frontispiece。
  There　is　a　medallion　done　by　St　Gauden's；　representing　Stevenson　in　　bed　propped　up　by　pillows。　　It　is　thought　to　be　a　pretty　good　　likeness；　and　it　is　now　in　Mr　Sidney　Colvin's　possession。　　Others；　　drawings；　etc。；　are　not　of　much　account。
  And　now　we　come　to　the　Nerli　portrait；　of　which　so　much　has　been　　written。　　Stevenson　himself　regarded　it　as　the　best　portrait　of　him　　ever　painted；　and　certainly　it　also　is　characteristic　and　　effective；　and　though　not　what　may　be　called　a　pleasant　likeness；　　is　probably　a　good　representation　of　him　in　the　later　years　of　his　　life。　　Count　Nerli　actually　undertook　a　voyage　to　Samoa　in　1892；　　mainly　with　the　idea　of　painting　this　portrait。　　He　and　Stevenson　　became　great　friends；　as　Stevenson　naively　tells　in　the　verses　we　　have　already　referred　to；　but　even　this　did　not　quite　overcome　　Stevenson's　restlessness。　　He　avenged　himself　by　composing　these　　verses　as　he　sat：
  Did　ever　mortal　man　hear　tell　o'　sic　a　ticklin'　ferlie　As　the　comin'　on　to　Apia　here　o'　the　painter　Mr　Nerli？　He　cam'；　and；　O；　for　o'　human　freen's　o'　a'　he　was　the　pearlie　…　The　pearl　o'　a'　the　painter　folk　was　surely　Mr　Nerli。　He　took　a　thraw　to　paint　mysel'；　he　painted　late　and　early；　O　wow！　the　many　a　yawn　I've　yawned　i'　the　beard　o'　Mr　Nerli。　Whiles　I　wad　sleep　and　whiles　wad　wake；　an'　whiles　was　mair　than　　surly；　I　wondered　sair　as　I　sat　there　fornent　the　eyes　o'　Nerli。　O　will　he　paint　me　the　way　I　want；　as　bonnie　as　a　girlie？　O　will　he　paint　me　an　ugly　tyke？　…　and　be　d…d　to　Mr　Nerli。　But　still　an'　on　whichever　it　be；　he　is　a　canty　kerlie；　The　Lord　protect　the　back　an'　neck　o'　honest　Mr　Nerli。
  Mr　Hammerton　gives　this　account　of　the　Nerli　portrait：
  〃The　history　of　the　Nerli　portrait　is　peculiar。　　After　being　　exhibited　for　some　time　in　New　Zealand　it　was　bought；　in　the　course　　of　this　year；　by　a　lady　who　was　travelling　there；　for　a　hundred　　guineas。　　She　then　offered　it　for　that　sum　to　the　Scottish　National　　Portrait　Gallery；　but　the　Trustees　of　the　Board　of　Manufactures　…　　that　oddly　named　body　to　which　is　entrusted　the　fostering　care　of　　Art　in　Scotland；　and；　in　consequence；　the　superintendence　of　the　　National　Portrait　Gallery　…　did　not　see　their　way　to　accept　the　　offer。　　Some　surprise　has　been　expressed　at　the　action　of　the　　Trustees　in　thus　declining　to　avail　themselves　of　the　opportunity　　of　obtaining　the　portrait　of　one　of　the　most　distinguished　Scotsmen　　of　recent　times。　　It　can　hardly　have　been　for　want　of　money；　for　　though　the　funds　at　their　disposal　for　the　purchase　of　ordinary　　works　of　art　are　but　limited；　no　longer　ago　than　last　year　they　　were　the　recipients　of　a　very　handsome　legacy　from　the　late　Mr　J。　　M。　Gray；　the　accomplished　and　much　lamented　Curator　of　the　Scottish　　National　Portrait　Gallery　…　a　legacy　left　them　for　the　express　　purpose　of　acquiring　portraits　of　distinguished　Scotsmen；　and　the　　income　of　which　was　amply　sufficient　to　have　enabled　them　to　　purchase　this　portrait。　　One　is　therefore　almost　shut　up　to　the　　conclusion　that　the　Trustees　were　influenced　in　their　decision　by　　one　of　the　two　following　reasons：
  〃1。　That　they　did　not　consider　Stevenson　worthy　of　a　place　in　the　　gallery。　　This　is　a　position　so　incomprehensible　and　so　utterly　　opposed　to　public　sentiment　that　one　can　hardly　credit　it　having　　been　the　cause　of　this　refusal。　　Whatever　may　be　the　place　which　　Stevenson　may　ultimately　take　as　an　author；　and　however　opinions　　may　differ　as　to　the　merits　of　his　work；　no　one　can　deny　that　he　　was　one　of　the　most　popular　writers　of　his　day；　and　that　as　a　mere　　master　of　style；　if　for　nothing　else；　his　works　will　be　read　so　　long　as　there　are　students　of　English　Literature。　　Surely　the　　portrait　of　one　for　whom　such　a　claim　may　legitimately　be　made　　cannot　be　considered　altogether　unworthy　of　a　place　in　the　National　　Collection；　as　one　of　Scotland's　most　distinguished　sons。
  〃2。　The　only　other　reason　which　can　be　suggested　as　having　weighed　　with　the　Trustees　in　their　decision　is　one　which　in　some　cases　　might　be　held　to　be　worthy　of　consideration。　　It　is　conceivable　　that　in　the　case　of　some　men　the　Trustees　might　be　of　opinion　that　　there　was　plenty　of　time　to　consider　the　matter；　and　that　in　the　　meantime　there　was　always　the　chance　of　some　generous　donor　　presenting　them　with　a　portrait。　　But；　as　has　been　shown　above；　the　　portraits　of　Stevenson　are　practically　confined　to　two：　　one　of　　these　is　in　America；　and　there　is　not　the　least　chance　of　its　ever　　coming　here；　and　the　other　they　have　refused。　　And；　as　it　is　　understood　that　the　Trustees　have　a　rule　that　they　do　not　accept　　any　portrait　which　has　not　been　painted　from　the　life；　they　　preclude　themselves　from　acquiring　a　copy　of　any　existing　picture　　or　even　a　portrait　done　from　memory。
  〃It　is　rumoured　that　the　Nerli　portrait　may　ultimately　find　a　　resting…place　in　the　National　Collection　of　Portraits　in　London。　　　If　this　should　prove　to　be　the　case；　what　a　commentary　on　the　old　　saying：　　'A　prophet　is　not　without　honour　save　in　his　own　　country。'〃
  CHAPTER　XXXIII　…　LAPSES　AND　ERRORS　IN　CRITICISM
  NOTHING　could　perhaps　be　more　wearisome　than　to　travel　o'er　the　　wide　sandy　area　of　Stevenson　criticism　and　commentary；　and　expose　　the　many　and　sad　and　grotesque　errors　that　meet　one　there。　　Mr　　Baildon's　slip　is　innocent；　compared　with　many　when　he　says　（p。　　106）　TREASURE　ISLAND　appeared　in　YOUNG　FOLKS　as　THE　SEA…COOK。　　It　　did　nothing　of　the　kind；　it　is　on　plain　record　in　print；　even　in　　the　pages　of　the　EDINBURGH　EDITION；　that　Mr　James　Henderson　would　　not　have　the　title　THE　SEA…COOK；　as　he　did　not　like　it；　and　　insisted　on　its　being　TREASURE　ISLAND。　　To　him；　therefore；　the　　vastly　better　title　is　due。　　Mr　Henley　was　in　doubt　if　Mr　Henderson　　was　still　alive　when　he　wrote　the　brilliant　and　elevated　article　on　　〃Some　Novels〃　in　the　NORTH　AMERICAN；　and　as　a　certain　dark　bird　　killed　Cock　Robin；　so　he　killed　off　Dr　Japp；　and　not　to　be　outdone；　　got　in　an　ideal　〃Colonel〃　JACK；　so　Mr　Baildon　there　follows　Henley；　　unaware　that　Mr　Henderson　did　not　like　THE　SEA…COOK；　and　was　still　　alive；　and　that　a　certain　Jack　in　the　fatal　NORTH　AMERICAN　has　　Japp's　credit。
  Mr　Baildon's　words　are：
  〃This　was　the　famous　book　of　adventure；　TREASURE　ISLAND；　appearing　　first　as　THE　SEA…COOK　in　a　boy's　paper；　where　it　made　no　great　　stir。　　But；　on　its　publication　in　volume　form；　with　the　vastly　　better　title；　the　book　at　once　'boomed；'　as　the　phrase　goes；　to　an　　extent　then；　in　1882；　almost　unprecedented。　　The　secret　of　its　　immense　success　may　almost　be　expressed　in　a　phrase　by　saying　that　　it　is　a　book　like　GULLIVER'S　TRAVELS；　THE　PILGRIM'S　PROGRESS；　and　　ROBINSON　CRUSOE　itself　for　all　ages　…　boys；　men；　and　women。〃
  Which　just　shows　how　far　lapse　as　to　a　fact　may　lead　to　critical　　misreadings　also。
  Mr　Hammerton　sometimes　lets　good　folks　say　in　his　pages；　without　　correction；　what　is　certainly　not　correct。　　Thus　at　one　place　we　　are　told　that　Stevenson　was　only　known　as　Louis　in　print；　whereas　　that　was　the　only　name　by　which　he　was　known　in　his　own　family。　　　Then　Mr　Gosse；　at　p。　34；　is　allowed　to　write：
  〃Professor　Blackie　was　among　them　on　the　steamer　from　the　Hebrides；　　a　famous　figure　that　calls　for　no　description；　and　a　voluble　shaggy　　man；　clad　in　homespun；　with　spectacles　forward　upon　his　nose；　who　　it　was　whispered　to　us；　was　Mr　Sam　Bough；　the　Scottish　Academician；　　A　WATER…COLOUR　PAINTER　OF　SOME　REPUTE；　who　was　to　die　in　1878。〃
  Mr　Sam　Bough　WAS　〃a　water…colour　painter　of　some　rep