The statue is too much hid within the monument, and wants that majesty of repose in the attitude and drapery which a sitting figure should have, and which might well accompany the massive head of Scott.

Still the monument is an ornament and an honor to the city.

This is now the fourth that has been erected within two years to commemorate the triumphs of genius.

Monuments that have risen from the same idea, and in such quick succession, to Schiller, to Goethe, to Beethoven, and to Scott, signalize the character of the new era still more happily than does the railroad coming up almost to the foot of Edinburgh Castle.
The statue of Burns has been removed from the monument erected in his honor, to one of the public libraries, as being there more accessible to the public.

It is, however, entirely unworthy its subject, giving the idea of a smaller and younger person, while we think of Burns as of a man in the prime of manhood, one who not only promised, but _was_, and with a sunny glow and breadth, of character of which this stone effigy presents no sign.
A Scottish gentleman told me the following story, which would afford the finest subject for a painter capable of representing the glowing eye and natural kingliness of Burns, in contrast to the poor, mean puppets he reproved.
Burns, still only in the dawn of his celebrity, was invited to dine with one of the neighboring so-called gentry (unhappily quite void of true gentle blood).