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 itthe very fountain that in days of yore graced the cross of Edinburgh, and used to flow with claret at the coronation of the Stuartsa 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