Starting from Bull Inn, we will not linger long in the streets, tho we might be tempted to do so by the luxurious book-shops, but will make straight for the gateway of Trinity College. This gateway is itself a venerable and imposing structure, altho a mass of houses clustered about it destroys its unity with the rest of the college buildings. Between its two heavy battlemented towers are a statue of Edward III. and his coat-of-arms; and over the gate Sir Isaac Newton had his observatory.
This gateway introduces into a noble court, called the Great Court, with a carved stone fountain or canopied well in the center, and buildings of irregular sizes and different ages inclosing it. The chapel which forms the northern side of this court dates back to 1564. In the ante-chapel, or vestibule, stands the statue of Sir Isaac Newton, by Roubiliac. It is spirited, but, like all the works of this artist, unnaturally attenuated. The head is compact rather than large, and the forehead square rather than high. The face has an expression of abstract contemplation, and is looking up, as if the mind were just fastening upon the beautiful law of light which is suggested by the hand holding a prism. By the door of the screen entering into the chapel proper, are the sitting statues of Sir Francis Bacon and Dr. Isaac Barrow, two more giants of this college. The former represents the philosopher in a sitting posture, wearing his high-crowned hat, and leaning thoughtfully upon his hand.
The hall of Trinity College, which separates the Great Court from the Inner or Neville Court, (courts in Cambridge, quads in Oxford), is the glory of the college. Its interior is upward of one hundred feet in length, oak-wainscoted, with deep beam-work ceiling, now black with age, and an enormous fireplace, which in winter still blazes with its old hospitable glow. At the upper end where the professors and fellows sit, hang the portraits of Bacon and Newton. I had the honor of dining in this most glorious of banqueting-halls, at the invitation of a fellow of the college. Before meals, the ancient Latin, grace, somewhat abbreviated, is pronounced.
We pass through the hall into Neville Court, three sides of which are cloistered, and in the eastern end of which stands the fine library building, built through the exertions of Dr. Barrow, who was determined that nothing in Oxford should surpass his own darling college.
The library room is nearly two hundred feet long, with tesselated marble floor, and with the busts of the great men of Trinity ranged around the walls. The wood-carvings of Grinling Gibbons that adorn this room, of flowers, fruit, wheat, grasshoppers, birds, are of singular beauty, and make the hard oak fairly blossom and live. This library contains the most complete collection of the various editions of Shakespeare's Works which exists. Thorwaldsen's statue of Byron, who was a student of this college, stands at the south end of the room. It represents him in the bloom of youth, attired as a pilgrim, with pencil in hand and a broken Grecian column at his feet….
The next neighbor to Trinity on the north, and the next in point of size and importance in the University, is St. John's College. It has four courts, one opening into the other. It also is jealously surrounded by high walls, and its entrance is by a ponderous old tower, having a statue of St. John the Evangelist over the gateway. Through a covered bridge, not unlike "the Bridge of Sighs," one passes over the stream to a group of modern majestic castellated buildings of yellow stone belonging to this college. The grounds, walks, and thick groves connected with this building form an elegant academic shade, and tempt to a life of exclusive study and scholarly accumulation, of growing fat in learning, without perhaps growing muscular in the effort to use it….
King's College, founded by Henry VII., from whom it takes its name, comes next in order. Its wealthy founder, who, like his son, loved architectural pomp, had great designs in regard to this institution, which were cut off by his death, but the massive unfinished gateway of the old building stands as a regal specimen of what the whole plan would have been had it been carried out. Henry VIII., however, perfected some of his father's designs on a scale of true magnificence. King's College Chapel, the glory of Cambridge and England, is in the perpendicular style of English Gothic. It is three hundred and sixteen feet long, eighty-four feet broad, its sides ninety feet, and its tower one hundred and forty-six feet high. Its lofty interior stone roof in the fan-tracery form of groined ceiling has the appearance of being composed of immense white scallop-shells, with heavy corbels of rich flowers and bunches of grapes suspended at their points of junction. The ornamental emblem of the Tudor rose and portcullis is carved in every conceivable spot and nook. Twenty-four stately and richly painted windows, divided into the strong vertical lines of the Perpendicular style, and crossed at right angles by lighter transoms and more delicate circular moldings, with the great east and west windows flashing in the most vivid and superb colors, make it a gorgeous vision of light and glory….
On the same street, and nearly opposite St. Peter's, is Pembroke College, a most interesting and venerable pile, with a quaint gable front. Its buildings are small, and it is said, for some greatly needed city improvement, will probably be soon torn down; on hearing which, I thought, would that some genius like Aladdin's, or some angel who bore through the air the chapel of the "Lady of Loretto," might bear these old buildings bodily to our land and set them down on the Yale grounds, so that we might exchange their picturesque antiquity for the present college buildings, which, tho endeared to us by many associations, are like a row of respectable brick factories.
Edmund Spenser and William Pitt belonged to Pembroke; and Gray, the poet, driven from St. Peter's by the pranks and persecutions of his fellow students, spent the remainder of his university life here. Some of the cruel, practical jokes inflicted upon the timid and delicate nature sound like the modern days of "hazing freshmen." Among his other fancies and fears, Gray was known to be especially afraid of fire, and kept always coiled up in his room a rope-ladder, in case of emergency. By a preconcerted signal, on a dark winter night, a tremendous cry of fire was raised in the court below, which caused the young poet to leap out of bed and to hastily descend his rope-ladder into a mighty tub of ice-cold water, set for that purpose….
Sidney Sussex and Imanuel Colleges were called by Archbishop Laud "the nurseries of Puritanism." The college-book of Sidney Sussex contains this record: "Oliver Cromwell of Huntingdon was admitted as an associate on the 26th day of April, 1616. Tutor Richard Howlet." He had just completed his seventeenth year. Cromwell's father dying the next year, and leaving but a small estate, the young "Protector" was obliged to leave college for more practical pursuits. "But some Latin," Bishop Burnett said, "stuck to him." An oriel window looking upon Bridge Street, is pointed out as marking his room; and in the master's lodge is a likeness of Cromwell in his later years, said to be the best extant. The gray hair is parted in the middle of the forehead, and hangs down long upon the shoulders, like that of Milton. The forehead is high and swelling, with a deep line sunk between the eyes. The eyes are gray. The complexion is florid and mottled, and all the features rugged and large. Heavy, corrugated furrows of decision and resolute will are plowed about the mouth, and the lips are shut like a vice. Otherwise, the face has a calm and benevolent look, not unlike that of Benjamin Franklin.
In Sidney Sussex, Cromwell's College, and in two or three other colleges of Cambridge University, we find the head-sources of English Puritanism, which, in its best form, was no wild and unenlightened enthusiasm, but the product of thoughtful and educated minds. We shall come soon upon the name of Milton. John Robinson, our national father, and the Moses of our national exodus, as well as Elder Brewster, John Cotton and many others of the principal Puritan leaders and divines, were educated at Cambridge. Sir Henry Vane, the younger, whom Macintosh regarded as not inferior to Bacon in depth of intellect, and to whom Milton addrest the sonnet, who was chosen Governor of Massachusetts, and who infused much of his own thoughtful and profound spirit into Puritan institutions at home and in America, was a student of Magdalen College, Oxford.
A little further on to the south of Sidney Sussex, upon St. Andrew's Street, is Christ's College. The front and gate are old; the other buildings are after a design by Inigo Jones. In the garden stands the famous mulberry-tree said to have been planted by Milton. It is still vigorous, tho carefully propt up and mounded around, and its aged trunk is sheathed with lead. The martyr Latimer, John Howe, the prince of theological writers, and Archdeacon Paley, belonged to this college; but its most brilliant name is that of John Milton. He entered in 1624; took the degree of Bachelor of Arts in 1628, and that of Master of Arts in 1632. This is the entry in the college record: "John Milton of London, son of John Milton, was entered as a student in the elements of letters under Master Hill of the Pauline School, February 12, 1624…." Milton has indignantly defended himself against the slander of his political enemies, that he left college in disgrace, and calls it "a commodious lie." …
It is noticeable that Cambridge has produced all the great poets; Oxford, with her yearnings and strivings, none. Milton were glory enough; but Spenser, Gray, Byron, Coleridge, Wordsworth, Tennyson (a Lincolnshire man), may be thrown in. It might be said of Cambridge, as Dr. Johnson said of Pembroke College, "We are a nest of singing birds here." Milton, from the extreme elegance of his person and his mind, rather than from any effeminateness of character, was called while in the University, "the lady of Christ's College." The young poet could not have been inspired by outward Nature in his own room; for the miniature dormer-windows are too high to look out of at all. It is a small attic chamber, with very steep narrow stairs leading up to it. The name of "Milton" (so it is said to be, tho hard to make out) is cut in the old oaken door.
CHESTER [Footnote: From "English Note-Books." By special arrangement with, and by permission of the publishers, Houghton, Mifflin Co. Copyright, 1870-1898.]
I went with Mr. Ticknor to Chester by railway. It is quite an indescribable old town, and I feel as if I had had a glimpse of old England. The wall encloses a large space within the town, but there are numerous houses and streets not included within its precincts. Some of the principal streets pass under the ancient gateways; and at the side there are flights of steps, giving access to the summit. Around the top of the whole wall, a circuit of about two miles, there runs a walk, well paved with flagstones, and broad enough for three persons to walk abreast….
The most utterly indescribable feature of Chester is the Rows, which every traveler has attempted to describe. At the height of several feet above some of the oldest streets, a walk runs through the front of the houses, which project over it. Back of the walk there are shops; on the outer side is a space of two or three yards, where the shopmen place their tables, and stands, and show-cases; overhead, just high enough for persons to stand erect, a ceiling. At frequent intervals little narrow passages go winding in among the houses, which all along are closely conjoined, and seem to have no access or exit, except through the shops, or into these narrow passages, where you can touch each side with your elbows, and the top with your hand. We penetrated into one or two of them, and they smelt anciently and disagreeably.
At one of the doors stood a pale-looking, but cheerful and good-natured woman, who told us that she had come to that house when first married, 21 years before, and had lived there ever since; and that she felt as if she had been buried through the best years of her life. She allowed us to peep into her kitchen and parlor—small, dingy, dismal, but yet not wholly destitute of a home look. She said she had seen two or three coffins in a day, during cholera times, carried out of that narrow passage into which her door opened. These avenues put me in mind of those which run through ant-hills, or those which a mole makes underground. This fashion of Rows does not appear to be going out; and, for aught I can see, it may last hundreds of years longer. When a house becomes so old as to be untenantable, it is rebuilt, and the new one is fashioned like the old, so far as regards the walk running through its front. Many of the shops are very good, and even elegant, and these Rows are the favorite places of business in Chester. Indeed, they have many advantages, the passengers being sheltered from the rain, and there being within the shops that dimmer light by which tradesmen like to exhibit their wares.
A large proportion of the edifices in the Rows must be comparatively modern; but there are some very ancient ones, with oaken frames visible on the exterior. The Row, passing through these houses, is railed with oak, so old that it has turned black, and grown to be as hard as stone, which it might be mistaken for, if one did not see where names and initials have been cut into it with knives at some bygone period. Overhead, cross-beams project through the ceiling so low as almost to hit the head. On the front of one of these buildings was the inscription, "God's Providence is mine Inheritance," said to have been put there by the occupant of the house two hundred years ago, when the plague spared this one house only in the whole city. Not improbably the inscription has operated as a safeguard to prevent the demolition of the house hitherto; but a shopman of an adjacent dwelling told us that it was soon to be taken down. Here and there, about some of the streets through which the Rows do not run, we saw houses of very aged aspect, with steep, peaked gables. The front gable-end was supported on stone pillars, and the sidewalk passed beneath. Most of these old houses seemed to be taverns,—the Black Bear, the Green Dragon, and such names. We thought of dining at one of them, but, on inspection, they looked rather too dingy and close, and of questionable neatness. So we went to the Royal Hotel, where we probably fared just as badly at much more expense, and where there was a particularly gruff and crabbed old waiter, who, I suppose, thought himself free to display his surliness because we arrived at the hotel on foot. For my part, I love to see John Bull show himself. I must go again and again and again to Chester, for I suppose there is not a more curious place in the world.
EDDYSTONE LIGHTHOUSE [Footnote: From "Lightships and Lighthouses."Courtesy of J. B. Lippincott Co., the publishers.]
It is doubtful whether the name of any lighthouse is so familiar throughout the English-speaking world as the "Eddystone." Certainly no other "pillar of fire by night, of cloud by day," can offer so romantic a story of dogged engineering perseverance, of heartrending disappointments, disaster, blasted hopes, and brilliant success.
Standing out in the English Channel, about sixty miles east of the Lizard, is a straggling ridge of rocks which stretches for hundreds of yards across the marine thoroughfare, and also obstructs the western approach to Plymouth Harbor. But at a point some nine and a half miles south of Rame Head on the mainland the reef rises somewhat abruptly to the surface, so that at low-water two or three ugly granite knots are bared, which tell only too poignantly the complete destruction they could wreak upon a vessel which had the temerity or the ill luck to scrape over them at high-tide. Even in the calmest weather the sea curls and eddies viciously around these stones; hence the name "Eddystone," is derived….
As British overseas traffic expanded, the idea of indicating the spot for the benefit of vessels was discust. The first practical suggestion was put forward about the year 1664, but thirty-two years elapsed before any attempt was made to reduce theory to practise. Then an eccentric English country gentleman, Henry Winstanley, who dabbled in mechanical engineering upon unorthodox lines, came forward and offered to build a lighthouse upon the terrible rocks. Those who knew this ambitious amateur were dubious of his success, and wondered what manifestation his eccentricity would assume on this occasion. Nor was their scepticism entirely misplaced. Winstanley raised the most fantastic lighthouse which has ever been known, and which would have been more at home in a Chinese cemetery than in the English Channel. It was wrought in wood and most lavishly embellished with carvings and gilding.
Four years were occupied in its construction, and the tower was anchored to the rock by means of long, heavy irons. The light, merely a flicker, flashed out from this tower in 1699, and for the first time the proximity of the Eddystones was indicated all around the horizon by night. Winstanley's critics were rather free in expressing their opinion that the tower would come down with the first sou'wester, but the eccentric builder was so intensely proud of his invention as to venture the statement that it would resist the fiercest gale that ever blew, and, when such did occur, he hoped that he might be in the tower at the time.
Fate gratified his wish, for while he was on the rock in the year 1703 one of the most terrible tempests that ever have assailed the coasts of Britain gript the structure, tore it up by the roots, and hurled it into the Channel, where it was battered to pieces, its designer and five keepers going down with the wreck. When the inhabitants of Plymouth, having vainly scanned the horizon for a sign of the tower on the following morning, put off to the rock to investigate, they found only the bent and twisted iron rods by which the tower had been held in position projecting mournfully into the air from the rock-face.
Shortly after the demolition of the tower, the reef, as if enraged at having been denied a number of victims owing to the existence of the warning light, trapt the "Winchelsea" as she was swinging up Channel, and smashed her to atoms, with enormous loss of life.
Altho the first attempt to conquer the Eddystone had terminated so disastrously, it was not long before another effort was made to mark the reef. The builder this time was a Cornish laborer's son, John Rudyerd, who had established himself in business on Ludgate Hill as a silk mercer. In his youth he had studied civil engineering, but his friends had small opinion of his abilities in this craft. However, he attacked the problem boldly, and, altho his tower was a plain, business-looking structure, it would have been impossible to conceive a design capable of meeting the peculiar requirements of the situation more efficiently. It "was a cone, wrought in timber, built upon a stone and wood foundation anchored to the rock, and of great weight and strength. The top of the cone was cut off to permit the lantern to be set in position. The result was that externally the tower resembled the trunk of an oak tree, and appeared to be just about as strong. It offered the minimum of resistance to the waves, which, tumbling upon the ledge, rose and curled around the tapering form without starting a timber.
For forty years Rudyerd's structure defied the elements, and probably would have been standing to this day had it not possest one weak point.
It was built of wood instead of stone. Consequently, when a fire broke out in the lantern on December 4, 1755, the flames, fanned by the breeze, rapidly made their way downward.
No time was lost in erecting another tower on the rock, for now it was more imperative than ever that the reef should be lighted adequately. The third engineer was John Smeaton, who first landed on the rock to make the surveys on April 5, 1756. He was able to stay there for only two and a quarter hours before the rising tide drove him off, but in that brief period he had completed the work necessary to the preparation of his design. Wood had succumbed to the attacks of tempest and of fire in turn.
Smeaton would use material which would defy both—Portland stone. He also introduced a slight change in the design for such structures, and one which has been universally copied, producing the graceful form of lighthouse with which everyone is so familiar. Instead of causing the sides to slope upward in the straight lines of a cone, such as Rudyerd adopted, Smeaton preferred a slightly concave curve, so that the tower was given a waist about half its height. He also selected the oak tree as his guide, but one having an extensive spread of branches, wherein will be found a shape in the trunk, so far as the broad lines are concerned, which coincides with the form of Smeaton's lighthouse. He chose a foundation where the rock shelved gradually to its highest point, and dropt vertically into the water upon the opposite side. The face of the rock was roughly trimmed to permit the foundation stones of the tower to be laid. The base of the building was perfectly solid to the entrance level, and each stone was dovetailed securely into its neighbor.
From the entrance, which was about 15 feet above high water, a central well, some five feet in diameter, containing a staircase, led to the storeroom, nearly 30 feet above high water. Above this was a second storeroom, a living-room as the third floor, and the bedroom beneath the lantern. The light was placed about 72 feet above high water, and comprised a candelabra having two rings, one smaller than and placed within the other, but raised about a foot above its level, the two being held firmly in position by means of chains suspended from the roof and secured to the floor. The rings were adapted to receive twenty-four lights, each candle weighing about two and three-quarter ounces. Even candle manufacture was in its infancy in those days, and periodically the keepers had to enter the lantern to snuff the wicks. In order to keep the watchers of the lights on the alert, Smeaton installed a clock of the grandfather pattern in the tower, and fitted it with a gong, which struck every half hour to apprise the men of these duties. This clock is now one of the most interesting relics in the museum at Trinity House…. [Footnote: Trinity House, an association founded in London in 1512-1514, is "empowered by charter to examine, license and regulate pilots, to erect beacons and lighthouses, and to place buoys in channels and rivers."]
The lighthouse had been standing for 120 years when ominous reports were received by the Trinity Brethren concerning the stability of the tower. The keepers stated that during severe storms the building shook alarmingly. A minute inspection of the structure was made, and it was found that, altho the work of Smeaton's masons was above reproach, time and weather had left their mark. The tower itself was becoming decrepit. The binding cement had decayed, and the air imprisoned and comprest within the interstices by the waves was disintegrating the structure slowly but surely.
Under these circumstances it was decided to build a new tower on another convenient ledge, forming part of the main reef, about 120 feet distant. Sir James Douglass, the engineer-in-chief to Trinity House, completed the designs and personally superintended their execution. The Smeaton lines were taken as a basis, with one important exception. Instead of a curve commencing at the foundation, the latter comprized a perfect cylindrical monolith of masonry 22 feet in height by 44 feet in diameter. From this basis the tower springs to a height which brings the local plane 130 feet above the highest spring tides. The top of the base is 30 inches above high water, and, the tower's diameter being less than that of its plinth, the set-off forms an excellent landing-stage when the weather permits.
The site selected for the Douglass tower being lower than that chosen by Smeaton, the initial work was more exacting, as the duration of the working period was reduced. The rock, being gneiss, was extremely tough, and the preliminary quarrying operations for the foundation stones which had to be sunk into the rock were tedious and difficult, especially as the working area was limited. Each stone was dovetailed, not only to its neighbor on either side, but below and above as well. The foundation stones were dovetailed into the reef and were secured still further by the aid of tow bolts, each one and a half inches in diameter, which were passed through the stone and sunk deeply into the rock below….
The tower has eight floors, exclusive of the entrance; there are two oil rooms, one above the other, holding 4,300 gallons of oil, above which is a coal and store room, followed by a second storeroom. Outside the tower at this level is a crane, by which supplies are hoisted, and which also facilitates the landing and embarkation of the keepers, who are swung through the air in a stirrup attached to the crane rope. Then, in turn, come the living-room, the "low light" room, bedroom, service room, and finally the lantern. For the erection of the tower, 2,171 blocks of granite, which were previously fitted temporarily in their respective positions on shore and none of which weighed less than two tons, were used. When the work was commenced, the engineer estimated that the task would occupy five years, but on May 18, 1882, the lamp was lighted by the Duke of Edinburgh, the Master of Trinity House at the time, the enterprise having occupied only four years. Some idea may thus be obtained of the energy with which the labor was prest forward, once the most trying sections were overcome….
When the new tower was completed and brought into service, the Smeaton building was demolished. This task was carried out with extreme care, inasmuch as the citizens of Plymouth had requested that the historic Eddystone structure might be erected on Plymouth Hoe, on the spot occupied by the existing Trinity House landmark. The authorities agreed to this proposal, and the ownership of the Smeaton tower was forthwith transferred to the people of Plymouth. But demolition was carried out only to the level of Smeaton's lower storeroom. The staircase, well, and entrance were filled up with masonry, the top was beveled off, and in the center of the stump an iron pole was planted. While the Plymouth Hoe relic is but one-half of the tower, its reerection was completed faithfully, and, moreover, carries the original candelabra which the famous engineer devised.
Not only is the Douglass tower a beautiful example of lighthouse engineering, but it was relatively cheap. The engineer, when he prepared the designs, estimated that an outlay of £78,000, or $390,000, would be incurred. As a matter of fact, the building cost only £59,255, or $296,275, and a saving of £18,000, or $90,000, in a work of this magnitude is no mean achievement. All things considered, the Eddystone is one of the cheapest sea-rock lights which has ever been consummated.
THE CAPITAL OF THE BRITISH, SAXON AND NORMAN KINGS [Footnote: From"Visits to Remarkable Places."]
What an interesting old city is Winchester! and how few people are aware of it! The ancient capital of the kingdom—the capital of the British, and the Saxon, and the Norman kings—the favorite resort of our kings and queens, even till the revolution of 1688; the capital which, for ages, maintained a proud, and long a triumphant, rivalry with London itself; the capital which once boasted upward of ninety churches and chapels, whose meanest houses now stand upon the foundations of noble palaces and magnificent monasteries; and in whose ruins or in whose yet superb minster lie enshrined the bones of mighty kings, and fair and pious queens; of lordly abbots and prelates, who in their day swayed not merely the destinies of this one city, but of the kingdom. There she sits—a sad, discrowned queen, and how few are acquainted with her in the solitude of her desertion! Yet where is the place, saving London itself, which can compete with her in solemn and deep interest? Where is the city, except that, in Great Britain, which can show so many objects of antique beauty, or call up so many national recollections?
Here lie the bones of Alfred—here he was probably born, for this was at that time the court and the residence of his parents. Here, at all events, he spent his infancy and the greater portion of his youth. Here he imbibed the wisdom and the magnanimity of mind with which he afterward laid the foundations of our monarchy, our laws, liberties and literature, and in a word, of our national greatness.
Hence Alfred went forth to fight those battles which freed his country from the savage Dane; and, having done more for his realm and race than ever monarch did before or since, here he lay down, in the strength of his years, and consigned his tomb as a place of grateful veneration to a people whose future greatness even his sagacious spirit could not be prophetic enough to foresee.
Were it only for the memory and tomb of this great king, Winchester ought to be visited by every Englishman with the most profound veneration and affection; but here also lie the ashes of nearly all Alfred's family and kin: his father Ethelwolf, who saw the virtues and talents, and prognosticated the greatness of his son; his noble-minded mother, who breathed into his infant heart the most sublime sentiments; his royal brothers, and his sons and daughters. Here also repose Canute, who gave that immortal reproof on the Southampton shore to his sycophantic courtiers, and his celebrated queen Emma, so famous at once for her beauty and her trials. Here is still seen the tomb of Rufus, who was brought hither in a charcoal-burner's cart from the New Forest, where the chance arrow of Tyrrel, avenged, in his last hunt, the cruelties of himself and his father on that ground….
Historians claim a high antiquity for Winchester as the Caer Gwent of the Celtic and Belgic Britons, the Venta Belgarum of the Romans, and the Wintanceaster of the Saxons. The history of Winchester is nearly coeval with the Christian era. Julius Caesar does not seem to have been here, in his invasion of Britain, but some of his troops must have passed through it; a plate from one of his standards, bearing his name and profile, having been found deep buried in a sand bed in this neighborhood; and here, within the first half century of Christendom, figured the brave descendants of Cassivelaunus, those noble sons of Cunobelin or Cymbeline, Guiderius and Arviragus, whom Shakespeare has so beautifully presented to us in his "Cymbeline." …
Here it was that, while Caractacus himself reigned, the fate of the brave Queen Boadicea was sealed. Stung to the quick with the insults she had received from the Romans, this noble queen of the Iceni, the Bonduca of some writers, and the Boo Tika of her own coins, had sworn to root out the Roman power from this country. Had she succeeded, Caractacus himself had probably fallen, nor had there ever been a king Lucius here. She came, breathing utter extermination to every thing Roman or of Roman alliance, at the head of 230,000 barbarians, the most numerous army then ever collected by any British prince. Already had she visited and laid in ashes Camulodunum, London, and Verulam, killing every Roman and every Roman ally to the amount of 70,000 souls. But in this neighborhood she was met by the Roman general Paulinus, and her army routed, with the slaughter of 80,000 of her followers. In her despair at this catastrophe, she destroyed herself, and instead of entering the city in triumph was brought in, a breathless corpse, for burial.
Henry III. was born here, and always bore the name of Henry of Winchester; Henry IV. here married Joan of Brittany; Henry VI. came often hither, his first visit being to study the discipline of Wykeham's College as a model for his new one at Eton, to supply students to King's College, Cambridge, as Wykeham's does to his foundation of New College, Oxford; and happy had it been for this unfortunate monarch had he been a simple monk in one of the monasteries of a city which he so loved, enjoying peace, learning and piety, having bitterly to learn:
"That all the rest is held at such a rateAs brings a thousand-fold more care to keepThan in possession any jot of pleasure."
Henry VIII. made a visit with the Emperor Charles V., and stayed a week examining its various antiquities and religious institutions; but he afterward visited them in a more sweeping manner by the suppression of its monasteries, chantries, etc., so that, says Milner, "these being dissolved, and the edifices themselves soon after pulled down, or falling to decay, it must have worn the appearance of a city sacked by a hostile army." Through his reign and that of Edward VI., the destruction of the religious houses, and the stripping of the churches, went on to a degree which must have rendered Winchester an object of ghastly change and desolation.
"Then," says Milner, "were the precious and curious monuments of piety and antiquity, the presents of Egbert and Ethelwolph, Canute, and Emma, unrelentingly rifled and east into the melting-pot for the mere value of the metal which composed them. Then were the golden tabernacles and images of the Apostles snatched from the cathedral and other altars," and not a few of the less valuable sort of these sacred implements were to be seen when he wrote (1798), and probably are now, in many private houses of this city and neighborhood.
The later history of this fine old city is chiefly that of melancholy and havoc. A royal marriage should be a gay thing; but the marriage of Bloody Mary here to Philip of Spain awakes no great delight in an English heart. Here, through her reign and that of Elizabeth, the chief events were persecutions for religion. James I. made Winchester the scene of the disgraceful trials of Sir Walter Raleigh, Lords Cobham and Grey, and their assumed accomplices—trials in which that most vain and pedantic of tyrants attempted, on the ground of pretended conspiracies, to wreak his personal spite on some of the best spirits of England.
EDINBURGH [Footnote: From "Picturesque Notes on Edinburgh."]
Venice, it has been said, differs from all other cities in the sentiment which she inspires. The rest may have admirers; she only, a famous fair one, counts lovers in her train. And, indeed, even by her kindest friends, Edinburgh is not considered in a similar sense. These like her for many reasons, not any one of which is satisfactory in itself. They like her whimsically, if you will, and somewhat as a virtuoso dotes upon his cabinet. Her attraction is romantic in the narrowest meaning of the term. Beautiful as she is, she is not so much beautiful as interesting. She is preeminently Gothic, and all the more so since she has set herself off with some Greek airs, and erected classic temples on her crags. In a word, and above all, she is a curiosity.
The palace of Holyrood has been left aside—in the growth of Edinburgh, and stands gray and silent in a workman's quarter and among breweries and gas-works. It is a house of many memories. Great people of yore, kings and queens, buffoons and grave ambassadors, played their stately farce for centuries in Holyrood. Wars have been plotted, dancing has lasted deep into the night, murder has been done in its chambers. There Prince Charlie held his fantom levées, and in a very gallant manner represented a fallen dynasty for some hours. Now, all these things of clay are mingled with the dust, the king's crown itself is shown for sixpence to the vulgar; but the stone palace has outlived these changes. For fifty weeks together, it is no more than a show for tourists and a museum of old furniture; but on the fifty-first, behold the palace reawakened and mimicking its past.
The Lord Commissioner, a kind of stage sovereign, sits among stage courtiers; a coach and six and clattering escort come and go before the gate; at night, the windows are lighted up, and its near neighbors, the workmen, may dance in their own houses to the palace music. And in this the palace is typical. There is a spark among the embers; from time to time the old volcano smokes. Edinburgh has but partly abdicated, and still wears, in parody, her metropolitan trappings. Half a capital and half a country town, the whole city leads a double existence; it has long trances of the one and flashes of the other; like the king of the Black Isles, it is half alive and half a monumental marble. There are armed men and cannon in the citadel overhead; you may see the troops marshaled on the high parade; and at night after the early winter even-fall, and in the morning before the laggard winter dawn, the wind carries abroad over Edinburgh the sound of drums and bugles. Grave judges sit bewigged in what was once the scene of imperial deliberations. Close by, in the High Street perhaps, the trumpets may sound about the stroke of noon; and you see a troop of citizens in tawdry masquerade; tabard above, heather-mixture trouser below, and the men themselves trudging in the mud among unsympathetic bystanders. The grooms of a well-appointed circus tread the streets with a better presence. And yet these are the Heralds and Pursuivants of Scotland, who are about to proclaim a new law of the United Kingdom before two score boys, and thieves, and hackney coachmen.
Meanwhile, every hour the bell of the University rings out over the hum of the streets, and every hour a double tide of students, coming and going, fills the deep archways. And, lastly, one night in the springtime—or, say, one morning rather, at the peep of day—late folk may hear the voices of many men singing a psalm in unison from a church on one side of the Old High Street; and a little after, or perhaps a little before, the sound of many men singing a psalm in unison from another church on the opposite side of the way. There will be something in the words about the dew of Hermon, and how goodly it is to see brethren dwelling together in unity. And the late folk will tell themselves that all this singing denotes the conclusion of two yearly ecclesiastical parliaments—the parliaments of churches, which are brothers in many admirable virtues, but not specially like brothers in this particular of a tolerant and peaceful life.
Again, meditative people will find a charm in a certain consonancy between the aspect of the city and its odd and stirring history. Few places, if any, offer a more barbaric display of contrasts to the eye. In the very midst stands one of the most satisfactory crags in nature—a Bass Rock upon dry land, rooted in a garden shaken by passing trains, carrying a crown of battlements and turrets, and describing its warlike shadow over the liveliest and brightest thoroughfare of the New Town. From their smoky beehives, ten stories high, the unwashed look down upon the open squares and gardens of the wealthy; and gay people sunning themselves along Prince's Street, with its mile of commercial palaces all beflagged upon some great occasion, see, across a gardened valley set with statues, where the washings of the Old Town flutter in the breeze at its high windows.
And then, upon all sides, what a clashing of architecture! In this one valley, where the life of the town goes most busily forward, there may be seen, shown one above and behind another by the accidents of the ground, buildings in almost every style upon the globe. Egyptian and Greek temples, Venetian palaces and Gothic spires, are huddled one over another in a most admired disorder; while, above all, the brute mass of the Castle and the summit of Arthur's Seat look down upon these imitations with a becoming dignity, as the works of Nature may look down upon the monuments of Art. But Nature is a more indiscriminate patroness than we imagine, and in no way frightened of a strong effect. The birds roost as willingly among the Corinthian capitals as in the crannies of the crag; the same atmosphere and daylight clothe the eternal rock and yesterday's imitation portico; and as the soft northern sunshine throws out everything into a glorified distinctness—or easterly mists, coming up with the blue evening, fuse all these incongruous features into one, and the lamps begin to glitter along the street, and faint lights to burn in the high windows across the valley—the feeling grows upon you that this is a piece of nature in the most intimate sense; that this profusion of eccentricities, this dream in masonry and living rock, is not a drop-scene in a theater, but a city in the world of everyday reality, connected by railway and telegraph wire with all the capitals of Europe, and inhabited by citizens of the familiar type, who keep ledgers, and attend church, and have sold their immortal portion to a daily paper….
The east of new Edinburgh is guarded by a craggy hill, of no great elevation, which the town embraces. The old London road runs on one side of it; while the New Approach, leaving it on the other hand, completes the circuit…. Of all places for a view, this Calton Hill is perhaps the best; since you can see the Castle, which you lose from the Castle, and Arthur's Seat, which you can not see from Arthur's Seat. It is the place to stroll on one of those days of sunshine and east wind which are so common in our more than temperate summer. The breeze comes off the sea, with a little of the freshness, and that touch of chill, peculiar to the quarter, which is delightful to certain very ruddy organizations, and greatly the reverse to the majority of mankind. It brings with it a faint, floating haze, a cunning decolorizer, altho not thick enough to obscure outlines near at hand. But the haze lies more thickly to windward at the far end of Musselburgh Bay; and over the Links of Aberlady and Berwick Law and the hump of the Bass Bock it assumes the aspect of a bank of thin sea fog.
Immediately underneath, upon the south, you command the yards of the High School, and the towers and courts of the new Jail—a large place, castellated to the extent of folly, standing by itself on the edge of a steep cliff, and often joyfully hailed by tourists as the Castle. In the one, you may perhaps see female prisoners taking exercise like a string of nuns; in the other, schoolboys running at play, and their shadows keeping step with them. From the bottom of the valley, a gigantic chimney rises almost to the level of the eye, a taller and a shapelier edifice than Nelson's Monument. Look a little farther, and there is Holyrood Palace, with its Gothic frontal and ruined abbey, and the red sentry pacing smartly to and fro before the door like a mechanical figure in a panorama. By way of an outpost, you can single out the little peak-roofed lodge, over which Rizzio's murderers made their escape, and where Queen Mary herself, according to gossip, bathed in white wine to retain her loveliness.
Behind and overhead lie the Queen's Park, from Musehat's Cairn to Dumbiedykes, St. Margaret's Loch, and the long wall of Salisbury's Crags; and thence, by knoll and rocky bulwark and precipitous slope, the eye rises to the top of Arthur's Seat, a hill for magnitude, a mountain in virtue of its bold design. This upon your left. Upon the right, the roofs and spires of the Old Town climb one above another to where the citadel prints its broad bulk and jagged crown of bastions on the western sky…. Perhaps it is now one in the afternoon; and at the same instant of time, a ball rises to the summit of Nelson's flagstaff close at hand, and, far away, a puff of smoke, followed by a report, bursts from the half-moon battery at the Castle. This is the time-gun by which people set their watches, as far as the sea coast or in hill farms upon the Pent-lands. To complete the view, the eye enfilades Prince's Street, black with traffic, and has a broad look over the valley between the Old Town and the New; here, full of railway trains and stept over by the high North Bridge upon its many columns, and there, green with trees and gardens.
On the north, the Calton Hill is neither so abrupt in itself, nor has it so exceptional an outlook; and yet even here it commands a striking prospect. A gully separates it from the New Town. This is Greenside, where witches were burned and tournaments held in former days. Down that almost precipitous bank Bothwell launched his horse, and so first, as they say, attracted the bright eyes of Mary. It is now tesselated with sheets and blankets out to dry, and the sound of people beating carpets is rarely absent. Beyond all this, the suburbs run out to Leith; Leith camps on the seaside with her forests of masts; Leith roads are full of ships at anchor; the sun picks out the white pharos upon Inchkeith Island; the Firth extends on either hand from the Ferry to the May; the towns of Fifeshire sit, each in its bank of blowing smoke, along the opposite coast; and the hills enclose the view, except to the farthest east, where the haze of the horizon rests upon the open sea. There lies the road to Norway; a dear road for Sir Patrick Spens and his Scots Lords; and yonder smoke on the hither side of Largo Law is Aberdour, from whence they sailed to seek a queen for Scotland.
These are the main features of the scene roughly sketched. How they are all tilted by the inclination of the ground, how each stands out in delicate relief against the rest, what manifold detail, and play of sun and shadow, animate and accentuate the picture, is a matter for a person on the spot, and, turning swiftly on his heels, to grasp and bind together in one comprehensive look. It is the character of such a prospect, to be full of change and of things moving. The multiplicity embarrasses the eye; and the mind, among so much, suffers itself to grow absorbed with single points. You remark a tree in a hedgerow, or follow a cart along a country road. You turn to the city, and see children, dwarfed by distance into pigmies, at play about suburban doorsteps; you have a glimpse upon a thoroughfare where people are densely moving; you note ridge after ridge of chimney-stacks running downhill one behind another, and church spires rising bravely from the sea of roofs. At one of the innumerable windows you watch a figure moving; on one of the multitude of roofs you watch clambering chimney-sweeps. The wind takes a run and scatters the smoke; bells are heard, far and near, faint and loud, to tell the hour; or perhaps a sea bird goes dipping evenly over the housetops, like a gull across the waves. And here you are in the meantime, on this pastoral hillside, among nibbling sheep and looked upon by monumental buildings.
HOLYROOD [Footnote: From "Edinburgh Sketches and Memories."]
Mary, Queen of Scots, on her return to Scotland after her thirteen years of residence and education in France, had to form her first real acquaintance with her native shores and the capital of her realm. She had left Calais for the homeward voyage on Thursday, the 14th of August, with a retinue of about one hundred and twenty persons, French and Scottish, embarked in two French state galleys, attended by several transports. They were a goodly company, with rich and splendid baggage. The Queen's two most important uncles, indeed—the great Francis de Lorraine, Duke of Guise, and his brother, Charles de Lorraine, the Cardinal—were not on board. They, with the Duchess of Guise, and other senior lords and ladies of the French court, had bidden Mary farewell at Calais, after having accompanied her thither from Paris, and after the Cardinal had in vain tried to persuade her not to take her costly collection of pearls and other jewels with her, but to leave them in his keeping till it should be seen how she might fare among her Scottish subjects.
But on board the Queen's own galley were three others of Guise or Lorraine uncles—the Duc d'Aumale, the Grand Prior, and the Marquis d'Elbeuf—with M. Danville, son of the Constable of France, and a number of French gentlemen of lower rank, among whom one notes especially young Pierre de Bourdeilles, better known afterward in literary history as Sieur de Brantôme, and a sprightly and poetic youth from Dauphiné, named Chastelard, one of the attendants of M. Danville. With these were mixed the Scottish contingent of the Queen's train, her four famous "Marys" included—Mary Fleming, Mary Livingstone, Mary Seton, and Mary Beaton. They had been her playfellows and little maids of honor long ago, in her Scottish childhood; they had accompanied her when she went abroad, and had lived with her ever since in France; and they were now returning with her, Scoto-French women like herself, and all of about her own age, to share her new fortunes….
Then, as now, the buildings that went by the general name of Holyrood were distinguishable into two portions. There was the Abbey, now represented only by the beautiful and spacious fragment of ruin called the Royal Chapel, but then, despite the spoliations to which it had been subjected by recent English invasions, still tolerably preserved in its integrity as the famous edifice, in early Norman style, which had been founded in the twelfth century by David I., and had been enlarged in the fifteenth by additions in the later and more florid Gothic. Close by this was Holyrood House, or the Palace proper, built in the earlier part of the sixteenth century, and chiefly by James IV., to form a distinct royal dwelling, and so supersede that occasional accommodation in the Abbey itself which had sufficed for Scottish sovereigns before Edinburgh was their habitual or capital residence.
One block of this original Holyrood House still remains in the two-turreted projection of the present Holyrood which adjoins the ruined relic of the Abbey, and which contains the rooms now specially shown as "Queen Mary's Apartments." But the present Holyrood, as a whole, is a construction of the reign of Charles II., and gives little idea of the Palace in which Mary took up her abode in 1561. The two-turreted projection on the left was not balanced then, as now, by a similar two-turreted projection on the right, with a façade of less height between, but was flanked on the right by a continued chateau-like frontage, of about the same height as the turreted projections, and at a uniform depth of recess from it, but independently garnished with towers and pinnacles. The main entrance into the Palace from the great outer courtyard was through this chateau-like flank, just about the spot where there is the entrance through the present middle façade; and this entrance led, like the present, into an inner court or quadrangle, built round on all the four sides.
That quadrangle of chateau, touching the Abbey to the back from its northeastern corner, and with the two-turreted projection to its front from its northwestern corner, constituted, indeed, the main bulk of the Palace. There were, however, extensive appurtenances of other buildings at the back or at the side farthest from the Abbey, forming minor inner courts, while part of that side of the great outer courtyard which faced the entrance was occupied by offices belonging to the Palace, and separating the courtyard from the adjacent purlieus of the town. For the grounds of both Palace and Abbey were encompassed by a wall, having gates at various points of its circuit, the principal and most strongly guarded of which was the Gothic porch admitting from the foot of the Canongate into the front courtyard. The grounds so enclosed were ample enough to contain gardens and spaces of plantation, besides the buildings and their courts. Altogether, what with the buildings themselves, what with the courts and gardens, and what with the natural grandeur of the site—a level of deep and wooded park, between the Calton heights and crags, on the one hand, and the towering shoulders of Arthur's Seat and precipitous escarpment of Salisbury Crags on the other—Holyrood in 1561 must have seemed, even to an eye the most satiated with palatial splendors abroad, a sufficiently impressive dwelling-place to be the metropolitan home of Scottish royalty.
LINLITHGOW [Footnote: From "Provincial Antiquities of Scotland."]
The convenience afforded for the sport of falconry, which was so great a favorite during the feudal ages, was probably one cause of an attachment of the ancient Scottish monarchs to Linlithgow and its fine lake. The sport of hunting was also followed with success in the neighborhood, from which circumstance it probably arises that the ancient arms of the city represent a black greyhound bitch tied to a tree….
A Celt, according to Chalmers, might plausibly derive the name of Linlithgow from Lin-liah-cu, the Lake of the Greyhound. Chalmers himself seems to prefer the Gothic derivation of Lin-lyth-gow, or the Lake of the Great Vale. The Castle of Linlithgow is only mentioned as being a peel (a pile, that is, an embattled tower surrounded by an outwork). In 1300 it was rebuilt or repaired by Edward I., and used as one of the citadels by which he hoped to maintain his usurped dominion in Scotland. It is described by Barbour as "meihle and stark and stuffed weel." Piers Luband, a Gascoigne knight, was appointed the keeper, and appears to have remained there until the autumn of 1313, when the Scots recovered the Castle….
Bruce, faithful to his usual policy, caused the peel of Linlithgow to be dismantled, and worthily rewarded William Binnock, who had behaved with such gallantry on the occasion. From this bold yeoman the Binnies of West Lothian are proud to trace their descent; and most, if not all of them, bear in their arms something connected with the wagon, which was the instrument of his stratagem.
When times of comparative peace returned, Linlithgow again became the occasional residence of the sovereign. In 1411 the town was burned by accident, and in 1414 was again subjected to the same calamity, together with the Church and Palace of the king, as is expressly mentioned by Bower. The present Church, which is a fine specimen of Gothic architecture, having a steeple surmounted by an imperial crown, was probably erected soon after the calamity.
The Palace arose from its ashes with greater splendor than before; for the family of Stuart, unhappy in some respects, were all of them fortunate in their taste for the fine arts, and particularly for that of architecture. The Lordship of Linlithgow was settled as a dowry upon Mary of Gueldres in 1449, and again upon Margaret of Denmark in 1468.
James IV., a splendid gallant, seems to have founded the most magnificent part of Linlithgow Palace; together with the noble entrance betwixt two flanking towers bearing, on rich entablatures, the royal arms of Scotland, with the collars of the Orders of the Thistle, Garter, and Saint Michael. James IV. also erected in the Church a throne for himself, and twelve stalls for Knights Companions of the Thistle…. His death and the rout of his army clouded for many a day the glory of Scotland, and marred the mirth of her palaces.
James V. was much attached to Linlithgow, and added to the Palace both the Chapel and Parliament Hall, the last of which is peculiarly striking. So that when he brought his bride, Mary of Guise, there, amid the festivities which accompanied their wedding, she might have had more reason than mere complaisance for highly commending the edifice, and saying that she never saw a more princely palace. It was long her residence, and that of her royal husband, at Linlithgow. Mary was born there in an apartment still shown; and the ill-fated father, dying within a few days of that event, left the ominous diadem which he wore to the still more unfortunate infant….
In the subsequent reign of Queen Mary, Linlithgow was the scene of several remarkable events; the most interesting of which was the assassination of the Regent Murray by Hamilton of Bothwell-haugh. James VI. loved the royal residence of Linlithgow, and completed the original plan of the Palace, closing the great square by a stately range of apartments of great architectural beauty. He also made a magnificent fountain in the Palace yard, now ruinous, as are all the buildings around. Another grotesque Gothic fountain adorns the street of the town….
When the scepter passed from Scotland, oblivion sat down in the halls of Linlithgow; but her absolute desolation was reserved for the memorable era of 1745-6. About the middle of January in that year, General Hawley marched at the head of a strong army to raise the siege of Stirling, then prest by the Highland insurgents under the adventurous Charles Edward. The English general had exprest considerable contempt of his enemy, who, he affirmed, would not stand a charge of cavalry. On the night of the 17th he returned to Linlithgow, with all the marks of defeat, having burned his tents, and left his artillery and baggage. His disordered troops were quartered in the Palace, and began to make such great fires on the hearth, as to endanger the safety of the edifice. A lady of the Livingstone family who had apartments there remonstrated with General Hawley, who treated her fears with contempt. "I can run away from fire as fast as you can, General," answered the high-spirited dame, and with this sarcasm took horse for Edinburgh. Very soon after her departure her apprehensions were realized; the Palace of Linlithgow caught fire and was burned to the ground. The ruins alone remain to show its former splendor.
The situation of Linlithgow Palace is eminently beautiful. It stands on a promontory of some elevation, which advances almost into the midst of the lake. The form is that of a square court, composed of buildings of four stories high, with towers at the angles. The fronts within the square, and the windows, are highly ornamented, and the size of the rooms, as well as the width and character of the staircase, are upon a magnificent scale. One banquet room is 94 feet long, 30 feet wide, and 33 feet high, with a gallery for music. The king's wardrobe, or dressing-room, looking to the west, projects over the walls so as to have a delicious prospect on three sides, and is one of the most enviable boudoirs we have ever seen.
There were two main entrances to Linlithgow Palace. That from the south ascends rather steeply from the town, and passes through a striking Gothic archway, flanked by two round towers. The portal has been richly adorned by sculpture, in which can be traced the arms of Scotland with the collars of the Thistle, the Garter, and Saint Michael. This was the work of James V., and is of a most beautiful character.
The other entrance is from the eastward. The gateway is at some height from the foundation of the wall, and there are opposite to it the remains of a perron, or ramp of mason work, which those who desired to enter must have ascended by steps. A drawbridge, which could be raised at pleasure, united, when it was lowered, the ramp with the threshold of the gateway, and when raised left a gap between them, which answered the purpose of a moat. On the inside of the eastern gateway is a figure, much mutilated, said to have been that of Pope Julius II., the same Pontiff who sent to James IV. the beautiful sword which makes part of the Regalia.
"To what base offices we may return!" In the course of the last war, those beautiful remains, so full of ancient remembrances, very narrowly escaped being defaced and dishonored, by an attempt to convert them into barracks for French prisoners of war. The late President Blair, as zealous a patriot as he was an excellent lawyer, had the merit of averting this insult upon one of the most striking objects of antiquity which Scotland yet affords. I am happy to add that of late years the Court of Exchequer have, in this and similar cases, shown much zeal to preserve our national antiquities, and stop the dilapidations which were fast consuming them.
In coming to Linlithgow by the Edinburgh road, the first view of the town, with its beautiful steeple, surmounted with a royal crown, and the ruinous towers of the Palace arising out of a canopy of trees, forms a most impressive object.
STIRLING [Footnote: From "English Note-Books." By special arrangement with, and by permission of, the publishers, Houghton, Mifflin Co. Copyright, 1870 and 1898.]
In the morning we were stirring betimes, and found Stirling to be a pretty large town, of rather ancient aspect, with many gray stone houses, the gables of which are notched on either side, like a flight of stairs. The town stands on the slope of a hill, at the summit of which, crowning a long ascent, up which the paved street reaches all the way to its gate, is Stirling Castle. Of course we went thither, and found free entrance, altho the castle is garrisoned by five or six hundred men, among whom are bare-legged Highlanders (I must say that this costume is very fine and becoming, tho their thighs did look blue and frost-bitten) and also some soldiers of other Scotch regiments, with tartan trousers. Almost immediately on passing the gate, we found an old artillery-man, who undertook to show us round the castle. Only a small portion of it seems to be of great antiquity. The principal edifice within the castle wall is a palace, that was either built or renewed by James VI.; and it is ornamented with strange old statues, one of which is his own.
The old Scottish Parliament House is also here. The most ancient part of the castle is the tower, where one of the Earls of Douglas was stabbed by a king, and afterward thrown out of the window. In reading this story, one imagines a lofty turret, and the dead man tumbling headlong from a great height; but, in reality, the window is not more than fifteen or twenty feet from the garden into which he fell. This part of the castle was burned last autumn; but is now under repair, and the wall of the tower is still stanch and strong. We went up into the chamber where the murder took place, and looked through the historic window.
Then we mounted the castle wall, where it broods over a precipice of many hundred feet perpendicular, looking down upon a level plain below, and forth upon a landscape, every foot of which is richly studded with historic events. There is a small peep-hole in the wall, which Queen Mary is said to have been in the habit of looking through. It is a most splendid view; in the distance, the blue Highlands, with a variety of mountain outlines that I could have studied unweariably; and in another direction, beginning almost at the foot of the Castle Hill, were the Links of Forth, where, over a plain of miles in extent the river meandered, and circled about, and returned upon itself again and again and again, as if knotted into a silver chain, which it was difficult to imagine to be all one stream. The history of Scotland might be read from this castle wall, as on a book of mighty page; for here, within the compass of a few miles, we see the field where Wallace won the battle of Stirling, and likewise the battle-field of Bannockburn, and that of Falkirk, and Sheriffmuir, and I know not how many besides.
Around the Castle Hill there is a walk, with seats for old and infirm persons, at points sheltered from the wind. We followed it downward, and I think we passed over the site where the games used to be held, and where, this morning, some of the soldiers of the garrison were going through their exercises. I ought to have mentioned, that, passing through the inner gateway of the castle, we saw the round tower, and glanced into the dungeon, where the Roderic Dhu of Scott's poem was left to die. It is one of the two round towers, between which the portcullis rose and fell.
ABBOTSFORD [Footnote: From "Homes and Haunts of the Most Eminent BritishPoets."]
Abbotsford, after twenty years' interval, and having then been seen under the doubly exaggerated influence of youth and the recent influence of Scott's poetry, in some degree disappointed me. I had imagined the house itself larger, its towers more lofty, its whole exterior more imposing. The plantations are a good deal grown, and almost bury the house from the distant view, but they still preserve all their formality of outline, as seen from the Galashiels road. Every field has a thick, black belt of fir-trees, which run about, forming on the long hillside the most fantastic figures. The house is, however, a very interesting house. At first, you come to the front next to the road, which you do by a steep descent down the plantation. You are struck, having a great castle in your imagination, with the smallness of the place. It is neither large nor lofty. Your ideal Gothic castle shrinks into a miniature. The house is quite hidden till you are at it, and then you find yourself at a small, castellated gateway, with its crosses cut into the stone pillars on each side, and the little window over it, as for the warden to look out at you.
Then comes the view of this side of the house with its portico, its bay windows with painted glass, its tall, battlemented gables, and turrets with their lantern terminations; the armorial escutcheon over the door, and the corbels, and then another escutcheon aloft on the wall of stars and crescents. All these have a good effect; and not less so the light screen of freestone finely worked and carved with its elliptic arches and iron lattice-work, through which the garden is seen with its espalier trees, high brick walls, and greenhouse, with a doorway at the end leading into a second garden of the same sort. The house has a dark look, being built of the native whinstone, or grau-wacke, as the Germans call it, relieved by the quoins and projections of the windows and turrets in freestone. All look classic, and not too large for the poet and antiquarian builder. The dog Maida lies in stone on the right hand of the door in the court, with the well known inscription. The house can neither be said to be Gothic nor castellated. It is a combination of the poet's, drawn from many sources, but all united by good taste, and forming an unique style, more approaching the Elizabethan than any other.
Round the court, of which the open-work screen just mentioned is the farther boundary, runs a covered walk, that is, along the two sides not occupied by the house and the screen; and in the wall beneath the arcade thus formed, are numerous niches, containing a medley of old figures brought from various places. There are Indian gods, old figures out of churches, and heads of Roman emperors. In the corner of the court, on the opposite side of the portico to the dog Maida, is a fountain, with some similar relics reared on the stonework around it.
The other front gives you a much greater idea of the size. It has a more continuous range of façade. Here, at one end, is Scott's square tower, ascended by outside steps, and a round or octagon tower at the other; you can not tell, certainly, which shape it is, as it is covered with ivy. On this the flagstaff stands. At the end next to the square tower, i. e., at the right-hand end as you face it, you pass into the outer court, which allows you to go around the end of the house from one front to the other, by the old gateway, which once belonged to the Tolbooth of Edinburgh. Along the whole of this front runs a gallery, in which the piper used to stalk to and fro while they were at dinner. This man still comes about the place, tho he has been long discharged. He is a great vagabond.
Such is the exterior of Abbotsford. The interior is far more interesting. The porch, copied from that of the old palace of Linlithgow, is finely groined, and there are stags' horns nailed up in it. When the door opens, you find yourself in the entrance-hall, which is, in fact, a complete museum of antiquities and other matters. It is, as described in Lockhart's Life of Scott, wainscoted with old wainscot from the kirk of Dumfermline, and the pulpit of John Knox is cut in two, and placed as chiffoniers between the windows. The whole walls are covered with suits of armor and arms, horns of moose deer, the head of a musk bull, etc. At your left hand, and close to the door, are two cuirasses, some standards, eagles, etc., collected at Waterloo.
At the opposite end of the room are two full suits of armor, one Italian, and one English of the time of Henry V., the latter holding in its hands a stupendous two-handed sword, I suppose six feet long, and said to have been found on Bosworth field. Opposite to the door is the fireplace of freestone, imitated from an arch in the cloister at Melrose, with a peculiarly graceful spandrel. In it stands the iron grate of Archbishop Sharpe, who was murdered by the Covenanters; and before it stands a most massive Roman camp-kettle. On the roof, at the center of the pointed arches, runs a row of escutcheons of Scott's family, two or three at one end being empty, the poet not being able to trace the maternal lineage so high as the paternal. These were painted accordingly in clouds, with the motto, "Night veils the deep." Around the door at one end are emblazoned the shields of his most intimate friends, as Erskine, Moritt, Rose, etc., and all around the cornice ran the emblazoned shields of the old chieftains of the border….
Then there is the library, a noble room, with a fine cedar ceiling, with beautiful compartments, and most lovely carved pendants, where you see bunches of grapes, human figures, leaves, etc. It is copied from Rosslyn or Melrose. There are three busts in this room; the first, one of Sir Walter, by Chantrey; one of Wordsworth; and in the great bay window, on a table, a cast of that of Shakespeare, from Stratford. There is a full-length painting of the poet's son, the present Sir Walter, in his hussar uniform, with, his horse. The work-table in the space of the bay window, and the fine carved ceiling in this part of the room, as well as the brass hanging lamp brought from Hereulaneum, are particularly worthy of notice. There is a pair of most splendidly carved box-wood chairs, brought from Italy, and once belonging to some cardinal. The other chairs are of ebony, presented by George IV. There is a tall silver urn, standing on a prophyry table, filled with bones from the Piraeus, and inscribed as the gift of Lord Byron. The books in this room, many of which are secured from hurt by wire-work doors are said to amount to twenty thousand. Many, of course, are very valuable, having been collected with great care by Scott, for the purpose of enabling him to write his different works….
The armory is a most remarkable room; it is the collection of the author of Waverly; and to enumerate all the articles which are here assembled, would require a volume. Take a few particulars. The old wooden lock of the Tolbooth of Selkirk; Queen Mary's offering-box, a small iron ark or coffer, with a circular lid, found in Holyrood-house. Then Hofer's rifle—a short, stout gun, given him by Sir Humphry Davy, or rather by Hofer's widow to Sir Humphry for Sir Walter. The housekeeper said, that Sir Humphry had done some service for the widow of Hofer, and in her gratitude she offered him this precious relic, which he accepted for Sir Walter, and delighted the poor woman with the certainty that it would be preserved to posterity in such a place as Abbotsford. There is an old white hat, worn by the burgesses of Stowe when installed. Rob Roy's purse and his gun; a very long one, with the initials R. M. C., Robert Macgregor Campbell, around the touch-hole. A rich sword in a silver sheath, presented to Sir Walter by the people of Edinburgh, for the pains he took when George IV. was there….
Lastly, and on our way back to the entrance-hall, we enter the writing-room of Sir Walter, which is surrounded by book-shelves, and a gallery, by which Scott not only could get at his books, but by which he could get to and from his bedroom; and so be at work when his visitors thought him in bed. He had only to lock his door, and he was safe. Here are his easy leathern chair and desk, at which he used to work, and, in a little closet, is the last suit that he ever wore—a bottle-green coat, plaid waistcoat, of small pattern, gray plaid trousers, and white hat. Near these hang his walking-stick, and his boots and walking-shoes. Here are, also, his tools, with which he used to prune his trees in the plantations, and his yeoman-cavalry accouterments. On the chimney-piece stands a German light-machine, where he used to get a light, and light his own fire. There is a chair made of the wood of the house at Robroyston, in which William Wallace was betrayed; having a brass plate in the back, stating that it is from this house, where "Wallace was done to death by Traitors." The writing-room is connected with the library, and this little closet had a door issuing into the garden; so that Scott had all his books at immediate command, and could not only work early and late, without anybody's knowledge, but, at will, slip away to wood and field, if he pleased, unobserved.
DRYBURGH ABBEY [Footnote: From "The Ruined Abbeys of the Border."]
Dryburgh lies amid the scenes in which Scott not only took such peculiar delight, but which furnished him themes both for his poems and romances, and which were rich in those old songs and narratives of border feats and raids which he has preserved in his Border Minstrelsy. Melrose, the Eildon Hills, the haunt of Thomas of Ercildoune, Jedburgh, Yetholm, the Cowdenknowes, the Yarrow, and Ettrick, all lie on different sides within a circle of twenty miles, and most of them much nearer. Smailholme Tower, the scene of some of Scott's youthful days, and of his ballad of "The Eve of St. John," is also one of these. Grose tells us that "The ruins of Dryburgh Monastery are beautifully situated on a peninsula formed by the Tweed, ten-miles above Kelso, and three below Melrose, on the southwestern confine of the county of Berwick." …
The new Abbey of Dryburgh had the credit of being founded in 1150 by David I., who was fond of the reputation, of being a founder of abbeys, Holyrood Abbey, Melrose Abbey, Kelso Abbey, Jedburgh Abbey, and others, having David I. stated as their founder. However it might be in other cases, and in some of them he was merely the restorer, the real founders of Dryburgh were Hugh de Morville, Lord of Lauderdale, and Constable of Scotland, and his wife, Beatrice de Beauchamp….