The Mirror of Literature, Amusement, and Instruction. Volume 12, No. 339, November 8, 1828

Beyond the smaller, or rather I should say, the narrower armoury, lies the dining parlour proper, however; and though there is nothing Udolphoish here, yet I can well believe that when lighted up and the curtains drawn at night, the place may give no bad notion of the private snuggery of some lofty lord abbot of the time of the Canterbury Tales. The room is a very handsome one, with a low and very richly carved roof of dark oak again; a huge projecting bow window, and the dais elevated more majorum; the ornaments of the roof, niches for lamps, &c. &c. in short, all the minor details, are, I believe, fac similes after Melrose. The walls are hung in crimson, but almost entirely covered with pictures, of which the most remarkable are—the parliamentary general, Lord Essex, a full length on horseback; the Duke of Monmouth, by Lely; a capital Hogarth, by himself; Prior and Gay, both by Jervas; and the head of Mary Queen of Scots, in a charger, painted by Amias Canrod, the day after the decapitation at Fotheringay, and sent some years ago as a present to Sir Walter from a Prussian nobleman, in whose family it had been for more than two centuries. It is a most deathlike performance, and the countenance answers well enough to the coins of the unfortunate beauty, though not at all to any of the portraits I have happened to see. I believe there is no doubt as to the authenticity of this most curious picture. Among various family pictures, I noticed particularly Sir Walter's great grandfather, the old cavalier mentioned in one of the epistles in Marmion, who let his beard grow after the execution of Charles I., and who here appears, accordingly, with a most venerable appendage of silver whiteness, reaching even unto his girdle.

A narrower passage leads to a charming breakfast room, which looks to the Tweed on one side, and towards Yarrow and Ettricke, famed in song, on the other: a cheerful room, fitted up with novels, romances, and poetry, I could perceive, at one end; and the other walls covered thick and thicker with a most valuable and beautiful collection of watercolour drawings, chiefly by Turner and Thomson of Duddingstone, the designs, in short, for the magnificent work entitled "Provincial Antiquities of Scotland." There is one very grand oil painting over the chimney-piece, Fastcastle, by Thomson, alias the Wolf's Crag of the Bride of Lammermoor, one of the most majestic and melancholy sea-pieces I ever saw; and some large black and white drawings of the Vision of Don Roderick, by Sir James Steuart of Allanbank (whose illustrations of Marmion and Mazeppa you have seen or heard of), are at one end of the parlour. The room is crammed with queer cabinets and boxes, and in a niche there is a bust of old Henry Mackenzie, by Joseph of Edinburgh. Returning towards the armoury, you have, on one side of a most religious looking corridor, a small greenhouse, with a fountain playing before it—the very fountain that in days of yore graced the cross of Edinburgh, and used to flow with claret at the coronation of the Stuarts—a pretty design, and a standing monument of the barbarity of modern innovation. From the small armoury you pass, as I said before, into the drawing-room, a large, lofty, and splendid salon, with antique ebony furniture and crimson silk hangings, cabinets, china, and mirrors quantum suff, and some portraits; among the rest glorious John Dryden, by Sir Peter Lely, with his gray hairs floating about in a most picturesque style, eyes full of wildness, presenting the old Bard, I take it, in one of those "tremulous moods," in which we have it on record he appeared when interrupted in the midst of his Alexander's Feast. From this you pass into the largest of all the apartments, the library, which, I must say, is really a noble room. It is an oblong of some fifty feet by thirty, with a projection in the centre, opposite the fireplace, terminating in a grand bow window, fitted up with books also, and, in fact, constituting a sort of chapel to the church. The roof is of carved oak again—a very rich pattern—I believe chiefly a la Roslin, and the bookcases, which are also of richly carved oak, reach high up the walls all round. The collection amounts, in this room, to some fifteen or twenty thousand volumes, arranged according to their subjects: British history and antiquities, filling the whole of the chief wall; English poetry and drama, classics and miscellanies, one end: foreign literature, chiefly French and German, the other. The cases on the side opposite the fire are wired and locked, as containing articles very precious and very portable. One consists entirely of books and MSS. relating to the insurrections of 1715 and 1745; and another (within the recess of the bow window), of treatises de re magica, both of these being (I am told, and can well believe), in their several ways, collections of the rarest curiosity. My cicerone pointed out, in one corner, a magnificent set of Mountfaucon, ten volumes folio, bound in the richest manner in scarlet, and stamped with the royal arms, the gift of his present majesty. There are few living authors of whose works presentation copies are not to be found here. My friend showed me inscriptions of that sort in, I believe, every European dialect extant. The books are all in prime condition, and bindings that would satisfy Mr. Dibdin. The only picture is Sir Walter's eldest son, in hussar uniform, and holding his horse, by Allan of Edinburgh, a noble portrait, over the fireplace; and the only bust is that of Shakspeare, from the Avon monument, in a small niche in the centre of the east side. On a rich stand of porphyry, in one corner, reposes a tall silver urn, filled with bones from the Piraeus, and bearing the inscription, "Given by George Gordon, Lord Byron, to Sir Walter Scott, Bart." It contained the letter which accompanied the gift till lately: it has disappeared; no one guesses who took it, but whoever he was, as my guide observed, he must have been a thief for thieving's sake truly, as he durst no more exhibit his autograph than tip himself a bare bodkin. Sad, infamous tourist, indeed! Although I saw abundance of comfortable-looking desks and arm chairs, yet this room seemed rather too large and fine for work, and I found accordingly, after passing a double pair of doors, that there was a sanctum within and beyond this library. And here you may believe, was not to me the least interesting, though by no means the most splendid, part of the suite.

The lion's own den proper, then, is a room of about five-and-twenty feet square by twenty feet high, containing of what is properly called furniture nothing but a small writing-table in the centre, a plain arm-chair covered with black leather—a very comfortable one though, for I tried it—and a single chair besides, plain symptoms that this is no place for company. On either side of the fireplace there are shelves filled with duodecimos and books of reference, chiefly, of course, folios; but except these there are no books save the contents of a light gallery which runs round three sides of the room, and is reached by a hanging stair of carved oak in one corner. You have been both at the Elisée Bourbon and Malmaison, and remember the library at one or other of those places, I forget which; this gallery is much in the same style. There are only two portraits, an original of the beautiful and melancholy head of Claverhouse, and a small full length of Rob Roy. Various little antique cabinets stand round about, each having a bust on it: Stothard's Canterbury Pilgrims are on the mantelpiece; and in one corner I saw a collection of really useful weapons, those of the forest-craft, to wit—axes and bills and so forth of every calibre. There is only one window pierced in a very thick wall, so that the place is rather sombre; the light tracery work of the gallery overhead harmonizes with the books well. It is a very comfortable-looking room, and very unlike any other I ever was in. I should not forget some Highland claymores, clustered round a target over the Canterbury people, nor a writing-box of carved wood, lined with crimson velvet, and furnished with silver plate of right venerable aspect, which looked as if it might have been the implement of old Chaucer himself, but which from the arms on the lid must have belonged to some Indian prince of the days of Leo the Magnificent at the furthest.

The view to the Tweed from all the principal apartments is beautiful. You look out from among bowers, over a lawn of sweet turf, upon the clearest of all streams, fringed with the wildest of birch woods, and backed with the green hills of Ettricke Forest. The rest you must imagine. Altogether, the place destined to receive so many pilgrimages contains within itself beauties not unworthy of its associations. Few poets ever inhabited such a place; none, ere now, ever created one. It is the realization of dreams: some Frenchman called it, I hear, "a romance in stone and lime."