St. Giles Church, in High Street, is a notable building, and was, in popish times, the cathedral of the city, named after St. Giles, Edinburgh's patron saint. I will not tire the reader with a visit to its interior; but it was here that took place that incident, which every school-boy recollects, of Jenny Geddes throwing her stool at the head of the officiating clergyman, upon his attempt to read the liturgy as prescribed by Archbishop Laud, and which it was proposed to introduce into Scotland.

The "Solemn League and Covenant" was sworn to and signed in this church, in 1643. Just within the railings surrounding the old church stands the shaft of the old cross of Edinburgh; and the site of the Tollbooth, which figures in Scott's novels, is marked, near by, by the figure of a heart in the pavement--"The Heart of Mid-Lothian." Numerous other points of historic interest might be enumerated, did s.p.a.ce permit. We must, as we pa.s.s rapidly on, not forget to take a view of the quaint old rookery-looking mansion of John Knox, the Reformer, with a steep flight of steps, leading up to a door high above the sidewalk, and the inscription upon it, which I could not read, but which I was informed was

=Lufe G.o.d above all, and Your Neighbour as Yourself=,

and the ma.s.sive-looking old Canon Gate Tollbooth, erected in the reign of James VI. On we go through the Canon Gate, till we emerge in the open s.p.a.ce in front of that ancient dwelling-place of Scottish royalty, Holyrood Palace.

Holyrood Palace is interesting from the numerous important events in Scottish history that have transpired within its walls. It is a great quadrangular building, with a court-yard ninety-four feet square. Its front is flanked with double castellated towers, the tops peaked, and looking something like the lid of an old-fashioned coffee-pot, or an inverted tin tunnel, with the pipe cut off. The embellishments in front of the entrance to the palace and the beautiful fountain were completed under the direction, and at the expense, of the late Prince Albert. The palace is said to have been founded by James IV., quite early in the year 1500, and it was his chief residence up to the time of his death, at Flodden, in 1513. Some of the events that give it its historic celebrity are those that transpired during the life of Mary, Queen of Scots, who made it her ordinary residence after her return to her native country, in 1561. It was here that Mary was married to Darnley, and we were shown the piece of stone flagging upon which they knelt during the ceremony, and which we profaned with our own knees, with true tourist fervor; here that Rizzio, or, as they spell it in Scotland, Riccio, was murdered in her very presence; here that she married Bothwell, endured those fiery discussions with the Scotch Reformers, and wept at the rude and coa.r.s.e upbraidings of John Knox; here that James VI. brought his queen, Anne of Denmark, in 1590, and had her crowned in the chapel; here, also, was Charles I. crowned, and here, after the battle of Dunbar, in 1650, did Cromwell quarter a part of his forces.

In modern times, George IV. visited the palace in 1822, granting, after his departure, over twenty thousand pounds for repairs and improvements; and in 1850, Queen Victoria, Prince Albert, and the royal children made a visit there, and since that time she stops annually on her way to and from her Highland residence at the Castle of Balmoral, for a brief period here at old Holyrood.

To those familiar at all, from reading history or the romances and poems, with those events in which this old pile occupies a prominent position, it of course possesses a great interest.

In the broad, open s.p.a.ce before the palace, the elaborate fountain, with its floriated pinnacles, figures, &c., will attract attention, although it ill accords with the old buildings. The most interesting apartments in the palace are those of Mary, Queen of Scots.

Pa.s.sing in at the entrance gate, and buying tickets at a little office very much like a theatrical ticket office, we visited the more ancient part of the palace, and entered first Lord Darnley's rooms. These were hung with fine specimens of ancient tapestry, upon which Cupids are represented plucking fruit, and throwing it down to others; oak trees and leaves, Cupids plucking grapes, &c. Another scene was a lake and castle, with fruit trees and Cupids; also figures of nude youngsters, turning somersaults and performing different antics. Another room contains two pieces of tapestry, telling the story of the flaming cross that appeared to Constantine the Great, the motto, _In hoc signo vinces_, embroidered on the corner of the hangings; Darnley's elegant armor, &c. Other fine pieces of tapestry are in Darnley's bed-room and dressing-room. Portraits of Scottish kings also adorn the walls.

We were then shown Queen Mary's private staircase, that by which Darnley admitted the conspirators up from a little turret room to a.s.sa.s.sinate Rizzio. Mary's audience chamber is a room about twenty feet square, the ceiling divided into panelled compartments, adorned with initials and armorial bearings, and the walls hung with tapestry, upon which were wrought various scenes, now sadly faded by the withering breath of time.

These tapestry hangings the curious traveller soon becomes accustomed to, and the more, I think, one sees of them, the more he admires them--the scenes of ancient mythology or allegorical design so beautifully wrought as to rival even oil paintings in beauty of color and design, and exciting a wonder at the skill and labor that were expended in producing with many colored threads these wondrous loom mosaics. In the audience chamber stands the bed of Charles I., and upon this couch Prince Charles, the unfortunate descendant of the former occupant, slept in September, 1745, and the Duke of c.u.mberland, his conqueror, rested upon the same couch. c.u.mberland, yes, we recollect him; he figured in Lochiel's Warning, Campbell's beautiful poem--

"Proud c.u.mberland prances, insulting the slain."

Some rich old chairs of the same period, and other furniture, are also in this room, which was the scene of Mary's altercation with Knox.

Looking upon the antique bed, one can see how, despite care, the hand of time leaves its indelible impress upon all that is of man's creation.

You can scarcely imagine how time affects an old state bed. No matter what be the care or exclusion from sunlight, the breath of time leaves its mark; the canopy and hangings gradually fade and deaden, the very life seems to be extracted, and they look like an old piece of husk or dried toast, light, porous, and moulding; the wood-work, however, grows dark, and apparently as solid as iron; the quaint carving stands out in jetty polish, rich and luxuriant--a study and a wonder of curious and fantastic art and sculpture in wood.

Queen Mary's room is hung with a beautiful piece of tapestry, representing the fall of Phaeton; half hidden by this tapestry is the door opening upon the secret stair by which Rizzio's murderers entered; upon the wall hang portraits of Mary at the age of eighteen, portraits of Queen Elizabeth and King Henry VIII., presented her by Elizabeth; here also was furniture used by the queen, and the baby linen basket sent her by Elizabeth.

From here we enter that oft-described apartment so celebrated in Scottish history--the queen's supper room, where Rizzio was murdered.

Its small size generally excites astonishment. Here, into this little room, which half a dozen persons would fill, rushed the armed conspirators, overturning the table and dragging their shrieking victim from the very feet of the queen, as he clung to her dress for protection, stabbing him as they went beneath her very eyes, forcing him out into the audience chamber, and left him with over fifty ghastly wounds, from which his life ebbed in a crimson torrent, leaving its ineffaceable stain, the indelible mark upon the oaken floor, not more indelible than the blackened stain which rests upon the names of the perpetrators of this brutal murder.

Adown the little staircase which the conspirators pa.s.sed, we go through a low door into the court-yard. Over the top of this little door, a few years ago, in a crevice of the masonry, an antique dagger-blade was discovered by some workmen; and as the murderers escaped through this door, it was surmised that this was one of the very daggers used in the a.s.sa.s.sination.

But we leave the place behind, and enter the romantic ruins of the old abbey. How interesting are these picturesque ruined remains of the former glory and power of the church of Rome in England! Their magnificent proportions, beauty of architecture, and exquisite decoration bespeak the wealth of the church and the wondrous taste of those who reared these piles, which, in their very ruin, command our admiration. The abbey is immediately adjoining the palace,--its front a beautiful style of early English architecture, and the n.o.ble, high-arched door, with cl.u.s.ter pillars, elaborately sculptured with fret-work figures of angels, flowers, vines, &c.,--one of those specimens of stone carving that excite wonder at the amount of patient work, labor, and skill that must have been required in their production.

The abbey was founded in 1128, and the fragment which remains formed the nave of the ancient building. Here are the graves of David II., James II., Darnley, and that of the ill-starred Rizzio, and other eminent personages, some of whom, judging from the ornaments upon the marble slabs of their graves, were good Freemasons and Knights Templars,--the perfect ashler, setting maul, and square upon the former, and the rude-cut figures of reclining knights, with crossed feet and upraised hands, upon others, indicating the fact.

But the gairish sun shines boldly down into the very centre of what was once the dim-lighted, solemn old abbey, with its cool, quiet cloisters, that scarce echoed to the monk's sandalled footstep, and the gracefully-pointed arches, supported by cl.u.s.ters of stone pillars, throw their quaint shadows on the greensward, now, where was once the chapel's stone pavement; the great arched window through which the light once fell in shattered rainbows to the floor, stands now, slender and weird-like, with its tracery against the heaven, like a skeleton of the past; and the half-obliterated or undecipherable vain-glorious inscriptions upon the slabs, here and there, are all that remain of this monument of man's power and pride--a monument beautiful in its very ruins, and romantic from the halo of a.s.sociations of the dim past that surround it.

The new city, to which I have referred, is a creation of the last hundred years, the plans of it being published in 1768. The two great streets are George Street and Princes Street, the former filled with fine stores, and adorned with statues of William Pitt, George IV., and many public buildings and beautiful squares.

Here, in Edinburgh, we began to hear the "burr" of the Scotch tongue.

Many of the salesmen in the stores where tourists go to buy Scotch linen or Scotch pebble jewelry, the Scotch plaids which were temptingly displayed, or the warm under-clothing which New Englanders appreciate, seemed to have their tongues roughened, as it were, to a sort of pleasant whir-r in speaking the English language.

Up from one end of Princes Street rises Calton Hill, with its unfinished national monument, designed to represent the cla.s.sical Parthenon at Athens; and in one respect it does, being a sort of ruin, or, I may say, a fragment of ruin, consisting of a dozen splendid Doric columns,--for the monument which was to commemorate the Scotchmen who fell at Waterloo was never finished. Here also is a round monument to Nelson, and a dome, supported by pillars, a monument to Professor Dugald Stewart; while a monument to Burns is seen upon the Regent's Road, close at hand. The view of the long vista of Princes Street from Calton Hill, in which the eye can take in at one sweep the Scott monument, the splendid cla.s.sical-looking structures of the Royal Inst.i.tution and National Gallery, the great castle on its rocky perch, and then turning about on the other side and viewing the square, solid old palace of Holyrood, with the fragment of ruined abbey attached, and rising high above them the eminence known as Arthur's Seat, and the winding cliffs of Salisbury Crags, forms a panoramic scene of rare beauty and interest.

Speaking of interest, I cannot leave Edinburgh without referring to the interesting collection of curious relics at the Antiquarian Museum.

Think of standing in John Knox's pulpit, and thumping, with your curious, wonder-seeking hand, the same desk that had held his Bible, or been smitten by his indignant palm, as he denounced the church of Rome, nearly three hundred years ago; of looking upon the very stool that Jenny Geddes launched at the head of the Dean of St. Giles, when he undertook to introduce the liturgy into Scotland, in 1565; and seeing one of the very banners of the Covenanters that had been borne amid the smoke and fire of their battles; nay, there, in a gla.s.s case, we saw the old Scotch Covenant itself, with the signatures of Montrose, Lothian, and their a.s.sociates. Here also were Gustavus Adolphus's spurs, Robert Burns's pistols, the very gla.s.s that Prince Charlie drank from before the disastrous battle of Culloden; the original draft of inquiry into the ma.s.sacre of Glencoe, dated 1656, original autographic letters from Charles VI., Prince Charles Edward Stuart, Cromwell, and Mary, Queen of Scots. This was reading Scottish history from the original doc.u.ments.

Here was the flag of Scotland that flouted the breeze at the battle of Dunbar, in 1650, the pikes of Charles II.'s pikemen, and the old Scottish six-ell spears; nails from the coffin and a portion of the very shroud of Robert Bruce, the blue ribbon of Prince Charlie, worn as Knight of the Garter, in 1745, and the very ring given to him by Flora Macdonald at parting. Among the horrors of the collection is "the Maiden," a rude guillotine of two upright posts, between which a loaded axe blade was hoisted by a cord, and let fall upon the devoted neck beneath. By this very instrument fell the Regent Morton, in 1581, Sir John Gordon, in 1644, the Earl of Argyle, in 1685, and many others--a b.l.o.o.d.y catalogue.

The collection of ancient implements, coins, seals, medallions, weapons, &c., was interesting as well as valuable and extensive, comprising many that have been exhumed from ancient ruins, and antique relics, more or less connected with the history of the country. The Free National Gallery contains a n.o.ble collection of elegant pictures by eminent artists of old and modern times, and a fine statue of Burns.

The ride up Salisbury Crags to the eminence known as Arthur's Seat, which rises behind Holyrood eight hundred feet high, is one of the great attractions to the tourist; the drive to it by the fine carriage road, known as "Queen's Drive," is delightful, and the view of the city and surrounding country from the elevated road very picturesque. There is a romantic little path here, on Salisbury Crags, running by the ruins of St. Anthony's Chapel, that Walter Scott used to walk when working out the plot of some of his novels, and the now broad road was then but a winding path up the crags; the chapel, it will be remembered, figures in the Heart of Mid-Lothian.

The elegant monument, nearly in front of the Royal Hotel, in the Princes Street Gardens, erected in memory of Walter Scott, and known as the Scott Monument, is familiar to most American readers, from engravings.

It is a splendid Gothic tower, and said to be "a recollection of the architectural beauties of Melrose Abbey."

I cannot help reflecting here, in the native land of Scott, what the present generation owes to him for preserving the history, traditions, and romance of their country to undying fame; for investing them with new interest to the whole civilized world; for strengthening Scottish national traits, inculcating new pride to preserve the relics of their bravery and n.o.ble deeds among all cla.s.ses, high and low.

Thousands and thousands of the Scotch people are to-day indebted to the labors of this indefatigable, industrious, and wonderful man for their daily bread. I have been through enormous publishing houses here, or, I might more appropriately style them, vast book factories, where editions of his works, in every conceivable style, are issued. Year after year the never-tiring press throws off the same sheets, and yet the public are unsatisfied, and call for more; new readers step yearly into the ranks vacated by those who went before them; and the rattle of the press readily beats to quarters, each season, a fresh army of recruits.

The poems, couplets, pictures, carved relics, guide-books, museums, ruins, &c., which his magic pen has made profitable property, are something marvellous. Fashions of brooches, jewelry, plaids, dress, and ornaments to-day owe their popularity to his pen, and what would be forgotten ruins, nameless huts, or uninviting wastes, it has made the Meccas of travellers from all nations.

As an ill.u.s.tration of the latter fact, I met a man upon the battlements of Edinburgh Castle, from Cape Town, Africa, whose parents were Scotch, but who for years had been an exile, who in far distant countries had read Scott's Waverley novels and Scott's poems till the one wish of his heart was to see old Scotland and those scenes with which the Wizard of the North had inflamed his imagination, and who now, at fifty years of age, looked upon his native land the first time since, when a boy of eight years, he

"ran about the braes, And pu'd the gowans fine."

He was now realizing the enjoyment he had so many years longed for,--looking upon the scenes he had heard his father tell and his mother sing of, enjoying the reward of many years of patient toil, made lighter by the antic.i.p.ation of visiting the home of his fathers; and I was gratified to find that, unlike the experiences of many who are so long in exile, the realization of his hopes was "all his fancy painted"

it, and he enjoyed all with a keen relish and enthusiastic fervor.

It is a pleasant seven mile ride from Edinburgh out to Rosslyn Castle, and the way to go is to take Hawthornden, as most tourists do, _en route_. This place--a delightful, romantic old ivy-covered mansion--is perched upon a high precipice, eighty or one hundred feet above the River Esk ("where ford there was none"), in a most delightfully romantic position, commanding a view of the little stream in its devious windings in the deep, irregular gully below; the gardens and walks, for a mile about and above the river, are charmingly rural and tastefully arranged.

One can well imagine that Drummond, the Scottish poet and historian, the friend of Shakespeare, Ben Jonson, and Drayton, drew inspiration from this charming retreat. Jonson is said to have walked all the way from London to make a visit here.

Under the mansion we visited a series of curious caves, hollowed from the solid rock, and connected with each other by dark and narrow pa.s.sages, very much like those subterranean pa.s.sages told of in old-fashioned novels, as existing beneath old castles. One of these rocky chambers had a little window cut through its side, half concealed by ivy, but commanding a view of the whole glen. Here, the guide told us, Robert Bruce hid for a long time from his enemies; and I was prepared to hear that this was the scene of the celebrated spider anecdote of the story-books. We got no such information, but were shown a long, two-handed sword, however, said to have belonged to the Scottish king, which I took pleasure in giving a brandish above my head, to the infinite disgust of the guide, who informed me, after I had laid down this formidable weapon, that visitors were not allowed to handle it.

It may be as well to state that the authenticity of this sword, and also the correctness of the story that Bruce ever hid there, are questioned.

One of the chambers has regular shelves, like book-shelves, cut in the rock, and this is styled Bruce's Library. Pa.s.sing out into the grounds of the house, we descended, by a pretty rustic pathway, to the valley, and along by the side of the Esk River, which babbled over its rocky bed at our feet. If this Esk is the same one that Young Lochinvar swam, he did not accomplish anything to boast of; for during a walk of over two miles at its side, I saw no part over twenty feet wide, and no very dangerous depth or current.

Our romantic walk brought us to the ruins of Rosslyn Castle, but little of which remains, except a triple tier of vaults and some ma.s.ses of masonry, its position being on a sort of peninsular rock, overhanging the picturesque glen of the Esk we had just traversed; and the ma.s.sive stone bridge which spans the ravine forms the only connection between the opposite bank and the castle.

Rosslyn Chapel, or Roslin,--for they spell it both ways here,--was founded by William, the third earl of Orkney, in 1446, who had conferred on him by James II. the office of Grand Master of the Scottish Freemasons, which continued hereditary in the family of his descendants till 1736, when it was resigned into the hands of the Scottish Lodges.

The chapel is one of the most elaborately decorated specimens of architecture in the kingdom, and, besides its celebrity in history, and the interest that Scott has invested it with, is a building of peculiar interest to members of the fraternity of Freemasons. It is impossible to designate the architecture by any familiar term; it is distinguished, however, by its pointed Gothic arches and a profusion of ornament, the interior being a wonder of decoration in stone carving, particularly the pillars, which are pointed out to the visitor as its chief wonders, and some of which bear the mark master mason's "mark."

The interior of the chapel is divided into a centre and two side aisles, and the two rows of cl.u.s.tered pillars which support the roof are only eight feet in height. The capitals of these pillars are decorated with the most beautifully chiselled foliage, running vines, and ornaments, and on the friezes masonic brethren are represented feeding the hungry, clothing the naked, visiting the sick, &c.; there are also a number of allegorical figures, representing the seven deadly sins.

But the marvel of the whole is the Apprentices' Pillar, which, according to the familiar legend, was left unfinished by the master mason, while he went to Rome to study designs to enable him to perfect it in a suitable manner. During his absence, an "entered apprentice," fired with ambition, completed it after designs of his own, which so enraged the master on his return, that, in a fit of rage, he killed him with a blow on the head with a setting-maul. The pillar is a cl.u.s.tered column, surrounded by an exquisitely-wrought wreath of flowers, running from base to capital, the very poetry of carving. Above this pillar is the following inscription:--

=Forte est vinum, fortior est rex, fortiores sunt mulieres; super omnia vincit veritas.=

Which is, "Wine is strong, the king is stronger, women are strongest; above all things, truth conquers."

We stood upon the ponderous slab that was the door to the vault beneath, in which slumber the barons of Roslin, all of whom, till the time of James VI., were buried uncoffined, but in complete armor--helm, corselet, and gauntlets. Scott's familiar lines came to mind,--

"Where Roslin's chiefs uncoffined lie, Each baron, for a sable shroud, Sheathed in his iron panoply."

It seems, however, that some of the descendants of the "barons" had a more modern covering than their "iron panoply;" for, about two years ago, upon the death of an old earl, it was decided to bury him in this vault; and it was accordingly opened, when two huge coffins were found at the very entrance, completely blocking it up, and which would have broken in pieces in the attempt to move them. The present earl, therefore, ordered the workmen to close the old vault, and his father's remains were interred in a new one in the chancel, built about eighty years ago, where the inscription above his remains tells us that "James Alexander, third Earl, died 16th June, 1866."