202 MEMORIALS OF EDINBURGH.
Nary, the Scottish Parliaments and the College of Justice assembled there, until their sitting
were transferred to the fine hallwhich still remains in Parliament Square, though so strangely
disguised externally by its modern facing. On the desertion of the New Tolbooth by the
Scottish Estates and Courts of Law, it was exclusivly devoted to the deliberations of
the civic counsellors, until the erection of the Royal Exchange provided enlarged
accommodation for the Council. The Laigh Hall, where Assemblies both of the Kirk
and Estates had often been held, was a large and handsome room. Its ceiling was beautifullywrought
in various panels, with rich pendants from their centres, and finished with
emblazonry and gilding. On its demolition some interesting and valuable relics of early
decorations were brought to light. The walls had been originally panelled with oak, and
when at a later period this came to be regarded as old-fashioned and inelegant, the antique
panelling was concealed, without removal, behind a modern coating of lath and plaster.
There is reason to believe that the compartments of the walls when first completed had
been filled with a series of portraits, but unfortunately, little attention was paid to the old
building at the period of its destruction, and we are only aware of one of the paintings that
has been preserved. There is much probability in favour of this being an original portrait
of the Queen Regent, Mary of Guise. It is well painted on an oak panel, and in fine
condition, and was at -first believed to represent Queen Anne, the consort of James VI.,
having been almost completely obscured by smoke and dirt at the time of its discovery. It
was then thought that it must have been accompanied by a portrait of .James ; and it is
e xceedingly probable that others of equal value to the one thus accidentally preserved may
have been thrown aside and destroyed with the discarded panelling. This curious portrait
is now in the possession of Alexander Mackay, Esq. of Blackcastle. It represents the
Queen in a high-bordered lace cap and ruff, such as both she and her daughter are usually
painted with. The details of the lacework are elaborately rendered, and the expression of
countenance is dignified and very pleasing. On the painting being cleaned, an ingenious
monogram was brought to light, burned into the back of the panel, composing the word
MARIA, and leaving, we think, little doubt of the genuineness of the portrait, which was
thus found by accident, and has passed through no picture-dealer’s hands.
To this ancient building belong many of the later historical associations that have been
referred by some of our local historians to its predecessor. It was from one of its windows
that the affrighted monarch James VI. attempted in vain to appease the enraged citizens
in 1596, when, “had they not been restrained by that worthy citizen, John Watt, the
deacon-convener,-who at this dangerous juncture assembled the crafts,-they would
undoubtedly have forced the door, and probably have destroyed the King and all that
were with him.” The whole tumult appears to have resulted in mutual distrust, which
was taken advantage of by some designing meddlers to set the Court and citizens at
variance. The Kirk and King were at the time nearly at open strife, and Mr Robert
Bruce was preaching to a select audience in St Giles’s Church, preparatory to framing
“ certain articles for redresse of the wrongs done to the Kirk,” while the King was Bitting
in the neighbouring Tolbooth, “ in the seate of Justice, among the Lords of the Sessioun,”
seemingly thinking of nothing less than the granting of any such requests. While the
Commissioners went to the Tolbooth to make their wishes known to the King, “Mr
Maitland, p. 48.
