“Auld Reekie,” as it is fondly called, still raises its smokiest chimneys and most weathered walls along the “hoary ridge of ancient town” that culminates in the Castle Rock, looking across a long central line of gardens to the farther swell of land on which stands the New Town of Scott’s day. But New Town now seems a misnomer, since the cramped site of the old city, itself much sweetened and aerated by innovations, is surrounded by newer towns expanding in other directions. Southwards, of late years, Edinburgh has grown more rapidly up to the foot of the hills that here edge the suburbs of Newington, Grange, and Morningside. Westwards she spreads out towards Corstorphine Hill and Craiglockhart. On the east her progress is barred by the mass of Arthur’s Seat, but round the base of this creep rows of tall houses that will soon connect her with Portobello, that minor Margate of the capital, now comprised within her municipal boundaries. Northwards, she goes on “flinging her white arms to the sea,” which she almost touches at Granton and Trinity; and a long unlovely street leads to the Piræus of this modern Athens, Leith, still stiffly standing aloof in civic independence. Including Leith, which refuses to be included, the Scottish metropolis began the century with a population not far short of 400,000. On high in the midst of these modern settings, the charms of Old Edinburgh are thrown into becoming relief, as the medley smartness of Princes Street is enhanced by its facing the grim backs of the High Street “lands.” Ruskin and other critics have said hard things of the New Town’s architects; but their strictures do not go without question. What, at all events, must strike strangers is an imposing solidity of the modern buildings, whether tall “stairs”--_Anglicé_ flats--or roomy private houses, nearly all built of a grey stone that seems in keeping with the atmosphere; and this not only in the central streets and squares, but in outer suburbs, innocent of brick and stucco. If a too classical regularity has been aimed at, this is tempered by the unevenness of the ground, breaking up the “draughty parallelograms,” giving vistas into the open country, and at night such long panoramas of glittering lights displayed on slopes and crests. The place, says R. L. Stevenson, who has so well caught the picturesque points of his native city, “is full of theatre tricks in the way of scenery.... You turn a corner, and there is the sun going down into the Highland hills. You look down an alley, and see ships tacking for the Baltic.” And if the city fathers have been ill advised in the past, its municipality may claim the credit of being first in the kingdom to take powers for disinfecting it against the plague of mendacious and hideous advertisements that are too much allowed to pock our highways and byways. [Illustration: EDINBURGH FROM “REST AND BE THANKFUL”]