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 Blackie has twenty such aids to pedestrianism.

The dining-room has some excellent reproductions of Van Dyck and Rubens. More old china is neatly set out on an oaken sideboard; the ferns are fresh and green at the window; and above a pair of vases on the mantelpiece—filled with peacocks' feathers, which tells that superstition is not part and parcel of the household—is a grand picture of Professor Blackie standing in a Highland glen with his plaid about his shoulders. It was painted by James Archer, R.S.A.

Leaving the dining-room, one passes on the stairs which lead to the trio of studies, reproductions of the old masters, pictures of Lady Martin, Sir Walter Scott, an old-time print of Burns in an Edinburgh drawing-room, and a portrait of Carlyle.

"Are the songs of Burns as popular as ever?" I asked.

"No, Scotch songs are not so popular," was the reply. "Burns is popular with the masses. I find it very difficult to get ladies in the upper circles to sing Scotch songs. The upper classes are corrupted in this direction. Corruption begins at the top—I say that as a philosopher. We are becoming less and less Scotch, and more and more Anglicised. Why, it is hard to get a servant girl to speak real Scotch. Scotch songs! Compare your English and German songs with the songs of the Highlands. The Scotch beat them hollow for variety and character. Every Scotch song is a picture and a drama, a dramatic scene with natural scenery."

We had reached the studies; there are really three of them, and, together with other books about the place, they contain some seven thousand volumes, comprising the best modern Greek library in Britain. Each of these three corners is interesting. One of them is used by Dr. Stodart Walker, a nephew of Professor Blackie; for Professor Blackie has no children, and Dr. Walker lives and learns with him. In this room are capital photos of Professor Grainger Stewart (the Queen's physician in Scotland), Professor Rutherford, and Dr. R. J. A. Berry, Mr. Morley, Mr. Ruskin, and others. The study which is more particularly used by the Professor is separated from the drawing-room by folding doors, from which hang great curtains. There is little in it save books, but one notes a bust of Mrs. Dobell, a great beauty, the wife of the poet; a bust as a young man and a statuette of a later period of Professor Blackie; and one of Goethe on the mantelboard, with portraits of Mr. Cunliffe Brooks, Mr. H. C. Reid, J.P., and Mrs. Blackie surrounding it, and a very successful painting of the Professor by Mr. J. H. Lorimer, R.S.A. Then a cosy chair was pointed out to me by the fire, and I sat down and listened.

"I was born at Glasgow in July, 1809," said Professor Blackie, walking about the room, "and at the age of three went to Aberdeen. My father was a Border man, a Kelso lad, and was the first agent for the Commercial Bank of Scotland in Aberdeen, where it started in 1811. I went to school at Aberdeen—Aberdonians have produced the best Latin scholars in Scotland. I have to admit to being twice flogged by my father. One chastising was for telling a lie. My aunt insisted on pouring down my throat some