Such being his tastes, he was naturally more interested in literary characters than in the notable men of the legal profession. In the course of frequenting Sibbald's circulating library in Parliament Square, where he must have spent a good deal of time in rummaging the dusty shelves for rare old songs and romances, he had occasionally 'a distant view' of some of the literary celebrities of the time. Among them was the unfortunate Andrew Macdonald, author of _Vimonda_, and also from this library vantage-ground he saw, at a distance, 'the boast of Scotland, Robert Burns.'[2] The Parliament House itself was less interesting to Scott than his beloved library, but he must by this time have been very familiar with it, and often have seen the 'Lords' of the old generation, whose pictures have been so quaintly sketched by Lord Cockburn. Edinburgh, like any other collection of three hundred thousand people, has amongst its numbers persons possessed of some æsthetic conscience, persons who lament the past orgies of Vandalism, and who do not admire the present triumphs of commercial architecture. But such men are naturally not as a rule to be found in Town or Parish Councils, and seldom indeed in public posts of any kind. Thus the population has always seemed wholly given over to the worship of the æsthetic Baal, and as a consequence the name of Lord Cockburn shines in almost solitary splendour as that of a dignitary who protested against the incredible doings of ignorance and avarice dressed in the authority of municipal rank. Cockburn bitterly regretted the destruction of the old Parliament House, which, he says, was, both outside and in, a curious and interesting place. 'The old building exhibited some respectable turrets, some ornamented windows and doors, and a handsome balustrade. But the charm that ought to have saved it was its colour and its age, which, however, were the very things that caused its destruction. About one hundred and seventy years had breathed over it a grave grey hue. The whole aspect was venerable and appropriate; becoming the air and character of a sanctuary of Justice. But a mason pronounced it to be all _Dead Wall_.[3] The officials to whom, at a period when there was no public taste in Edinburgh,[4] this was addressed, believed him; and the two fronts were removed in order to make way for the bright free-stone and contemptible decorations that now disgrace us.... I cannot doubt that King Charles tried to spur his horse against the Vandals when he saw the profanation begin. But there was such an utter absence of public spirit in Edinburgh then, that the building might have been painted scarlet without anybody objecting.'