range of columns, 'the Modern Ruin' as it has been called, an imposing object from far and near, and giving Edinburgh, even from the sea, that false air of a Modern Athens which has earned for her so many slighting speeches. It was meant to be a National Monument; and its present state is a very suitable monument to certain national characteristics. The old Observatory—a quaint brown building on the edge of the steep—and the new Observatory—a classical edifice with a dome—occupy the central portion of the summit. All these are scattered on a green turf, browsed over by some sheep.
The scene suggests reflections on fame and on man's injustice to the dead. You see Dugald Stewart rather more handsomely commemorated than Burns. Immediately below, in the Canongate churchyard, lies Robert Fergusson, Burns's master in his art, who died insane while yet a stripling; and if Dugald Stewart has been somewhat too boisterously acclaimed, the Edinburgh poet, on the other hand, is most unrighteously
