"Gae tak' awa' the china plates, Gae tak' them far frae me; And bring to me a wooden dish, It's that I'm best used wi'. And tak' awa' thae siller spoons The like I ne'er did see, And bring to me the horn cutties, They're good eneugh for me." _Earl Richard's Wedding_. The next day was one of the most cheerful and one of the most fatiguing that I ever spent. Salemina and I moved every article of furniture in our wee theekit hoosie from the place where it originally stood to another and a better place: arguing, of course, over the precise spot it should occupy, which was generally upstairs if the thing were already down, or downstairs if it were already up. We hid all the more hideous ornaments of the draper's wife, and folded away her most objectionable tidies and table-covers, replacing them with our own pretty draperies. There were only two pictures in the sitting-room, and as an artist I would not have parted with them for worlds. The first was The Life of a Fireman, which could only remind one of the explosion of a mammoth tomato, and the other was The Spirit of Poetry Calling Burns from the Plough. Burns wore white knee-breeches, military boots, a splendid waistcoat with lace ruffles, and carried a cocked hat. To have been so dressed he must have known the Spirit was intending to come. The plough-horse was a magnificent Arabian, whose tail swept the freshly furrowed earth, while the Spirit of Poetry was issuing from a practicable wigwam on the left, and was a lady of such ample dimensions that no poet would have dared say "no" when she called him.