Memorials of Edinburgh in the Olden Time

All Books Kay's Originals Vol. 1 Kay's Originals Vol. 2 Memorials of Edinburgh in the Olden Time Edinburgh Past and Present Old and New Edinburgh Vol. I Old and New Edinburgh Vol. II Old and New Edinburgh Vol. III Old and New Edinburgh Vol. IV Old and New Edinburgh Vol. V Old and New Edinburgh Vol. VI

Go to: « Kay's Originals Vol. 1 « Kay's Originals Vol. 2 Memorials of Edinburgh in the Olden Time Cover Title Pages Contents List of Illustrations Preface Part 1: Historical Associations Part 1 Ch 1: Earliest Traditions Part 1 Ch 2: From The Accession of The Stuarts to the Death of James III Part 1 Ch 3: From the Accession of James IV to the Battle of Flodden Part 1 Ch 4: From the Battle of Flodden to the Death of James V Part 1 Ch 5: From the Death of James V to the Abdication of Queen Mary Part 1 Ch 6: From the Accession of James VI to the Restoration of Charles II Part 1 Ch 7: Historical Incidents after the Restoration Part 2: Local Antiquities and Traditions Part 2 Ch 1: The Castle Part 2 Ch 2: King's Stables, Castle Barns, and Castle Hill Part 2 Ch 3: The Lawnmarket Part 2 Ch 4: The Tolbooth, Luckenbooths, and Parliament Close Part 2 Ch 5: The High Street Part 2 Ch 6: The High Street and Nether Bow Part 2 Ch 7: The Canongate and Abbey Sanctuary Part 2 Ch 8: St Leonard's, St Mary's Wynd, and The Cowgate Part 2 Ch 9: The West Bow and Suburbs Part 2 Ch 10: Leith, and The New Town Part 2 Ch 11: Ecclesiastical Antiquities Appendix » Edinburgh Past and Present » Old and New Edinburgh Vol. I » Old and New Edinburgh Vol. II » Old and New Edinburgh Vol. III » Old and New Edinburgh Vol. IV » Old and New Edinburgh Vol. V » Old and New Edinburgh Vol. VI

KING‘S STABLES, CASTLE BARNS, AND CASTLE HILL. I57 devices, and divide the ceiling into irregular square and round compartments, with raised and gilded stars at their intersections. The fifth painting-of which we have endeavoured to convey some idea to the reader-possesses peculiar interest, as a specimen of early Scottish art. It embodies, though under different forms, the leading features of the immortal allegory constructed by John Bunyan for the instruction of a later age. The Christian appears fleeing from the City of Destruction, environed still by the perils of the way, yet guided, through all the malignant opposition of the powers of darkness, by the unerring hand of an over-ruling Providence. These paintings were concealed, a8 in similar examples previously described, by a modern flat ceiling, the greater portion of which still remains, rendering it difficult to obtain a near view of them. Mr Charles Kirkpatrick Sharpe has, in his interesting collection, another curious relic of the decorations of this apartment, consisting of a group of musicians, which may possibly have been one of the ‘‘ paintit broddis ” mentioned among “ the Quene Regentis Paintrie.” One of the band is playing on a lute, another on a horn, &c., and all with their music-books before them. This painting was rescued by its present possessor, just as the recess or cupboard, of which it formed the back, was about to be converted into a coal-cellar. Fragments of a larger, but much ruder, copy of the same design were discovered on the demolition of the fine old mansion of Sir William Nisbet of the Dean, in 1845, which bore above its main, entrance the date 1614. Most of the other portions of the interior have been renewed at a later period, and exhibit the panelling and decorations in common use during the last century. This building appears, from the various titles, to have been the residence of a succession of wealthy burgesses, as usual with the ‘‘ fore tenements of land,”-the closes being then, and down to a comparatively recent date, almost exclusively occupied by noblemen and dignitaries of rank and wealth. Painted Oak Beam from Mary of Guise’s Chapel.

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