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.

lantern terminations; the armorial over the door, and the corbels, and er escutcheon aloft on the wall of erescents. All these have a good efnot less so the light screen of free7 worked and carved with its elliptic iron lattice-work, through which the een with its espalier trees, high brick greenhouse, with a doorway at the g into a second garden of the same house has a dark look, being built of whinstone, or grau-wacke, as the Gerit, relieved by the quoins and projeche windows and turrets in freestone. assic, and not too large for the poet arian builder. The dog Maida lies n the right hand of the door in the 1 the well known inscription. The neither be said to be Gothic nor casIt is a combination of the poet's, m many sources, but all united by and forming an unique style, more g the Elizabethan than any other. the court, of which the open-work st mentioned is the farther boundary, vered walk, that is, along the two sides ied by the house and the screen; and ll beneath the arcade thus formed, are niches, containing a medley of old rought from various places. There are ods, old figures out of churches, and Roman emperors. In the corner of the the opposite side of the portico to the la, is a fountain, with some similar relics n the stone-work around it.

think we passed me nged to be held, de the soldiers of the eir exercises. I ing through the

saw the rom

on, where the

was to die a

ABBOTSFORD*

BY WILLIAM HOWITT

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 firtrees, 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

*From "Homes and Haunts of the Most Eminent British Poets."

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 stone-work around it.