writes Lord Elcho, who hated him. The gift of beauty (in his case
peculiarly fatal, as will be seen) had not been denied to him. His
brow was high and broad, his nose shapely, his eyes of a rich dark
brown, his hair of a chestnut hue, golden at the tips. Though his
eyes are described as blue, both in 1744 by Sir Horace Mann, and in
later life (1770) by an English lady in Rome, though Lord Stanhope
and Mr. Stevenson agree in this error, brown was really their colour.
{15a} Charles inherited the dark eyes of his father, 'the Black
Bird,' and of Mary Stuart. This is manifest from all the original
portraits and miniatures, including that given by the Prince to his
secretary, Murray of Broughton, now in my collection. In boyhood
Charles's face had a merry, mutinous, rather reckless expression, as
portraits prove. Hundreds of faces like his may be seen at the
public schools; indeed, Charles had many 'doubles,' who sometimes
traded on the resemblance, sometimes, wittingly or unwittingly,
misled the spies that constantly pursued him. {15b} His adherents
fondly declared that his natural air of distinction, his princely
bearing, were too marked to be concealed in any travesty. Yet no man
has, in disguises of his person, been more successful. We may grant
'the grand air' to Charles, but we must admit that he could
successfully dissemble it.

About 1743, when a number of miniatures of the Prince were done in
Italy for presentation to adherents, Charles's boyish mirth, as seen
in these works of art, has become somewhat petulant, if not arrogant,
but he is still 'a lad with the bloom of a lass.' A shade of
aspiring melancholy marks a portrait done in France, just before the
expedition to Scotland. Le Toque's fine portrait of the Prince in
armour (1748) shows a manly and martial but rather sinister
countenance. A plaster bust, done from a life mask, if not from Le