insufficient severity. He did not attack Northumberland or Mary Stuart
with adequate violence; he did not disapprove enough of our prayer book;
he did not hand a heretic over to the magistrates.

While acting as a priest and notary, between 1540, at latest, and 1543,
Knox was engaged as private tutor to a boy named Brounefield, son of
Brounefield of Greenlaw, and to other lads, spoken of as his "bairns." In
this profession of tutor he continued till 1547.

Knox's personal aspect did not give signs of the uncommon strength which
his unceasing labours demanded, but, like many men of energy, he had a
perpetual youth of character and vigour. After his death, Peter Young
described him as he appeared in his later years. He was somewhat below
the "just" standard of height; his limbs were well and elegantly shaped;
his shoulders broad, his fingers rather long, his head small, his hair
black, his face somewhat swarthy, and not unpleasant to behold. There
was a certain geniality in a countenance serious and stern, with a
natural dignity and air of command; his eyebrows, when he was in anger,
were expressive. His forehead was rather narrow, depressed above the
eyebrows; his cheeks were full and ruddy, so that the eyes seemed to
retreat into their hollows: they were dark grey, keen, and lively. The
face was long, the nose also; the mouth was large, the upper lip being
the thicker. The beard was long, rather thick and black, with a few grey
hairs in his later years. {12} The nearest approach to an authentic
portrait of Knox is a woodcut, engraved after a sketch from memory by
Peter Young, and after another sketch of the same kind by an artist in
Edinburgh. Compared with the peevish face of Calvin, also in Beza's
Icones, Knox looks a broad-minded and genial character.

Despite the uncommon length to which Knox carried the contemporary