Viewed from the Moray Firth in a clear morning of summer, the entrance of the bay presents one of the most pleasing scenes I have ever seen. The foreground is occupied by a gigantic wall of brown precipices, beetling for many miles over the edge of the Firth, and crested by dark thickets of furze and pine. A multitude of shapeless crags lie scattered along the base, and we hear the noise of the waves breaking against them, and see the reflected gleam of the foam flashing at intervals into the darker recesses of the rock. The waters of the bay find entrance, as described by the historian, through a natural postern scooped out of the middle of this immense wall. The huge projection of cliff on either hand, with their alternate masses of light and shadow, remind us of the out-jets and buttresses of an ancient fortress; and the two Sutors, towering over the opening, of turrets built to command a gateway. The scenery within is of a softer and more gentle character. We see hanging woods, sloping promontories, a little quiet town, and an undulating line of blue mountains, swelling as they retire into a bolder outline and a loftier altitude, until they terminate, some twenty miles away, in the snow-streaked, cloud-capped Ben Wevis. When I last gazed on this scene, and contrasted the wild sublimity of the foreground with the calm beauty of the interior, I was led to compare it, I scarcely knew how, to the exquisite masterpiece of his art which the Saxon sculptor Nahl placed over the grave of a lady who had died in the full bloom of youth and loveliness. It represents the ruins of a tomb shattered as if by the last trumpet; but the chisel has not been employed on it in merely imitating the uncouth ravages of accident and decay; for through the yawning rifts and fissures there is a beautiful female, as if starting into life, and rising in all the ecstasy of unmingled happiness to enjoy the beatitudes of heaven. [Sidenote: THE OLD COAST LINE.]