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AN OLD SCOTTISH VIOLIN TUTOR. BY HENRY GEORGE FARMER, M:A., PH.D., F.S.A.Scor. Once upon a time the harp was considered to be the most important instrument of music in Scotland. That was in the days of Auld Lang Syne.1 About the close of the fifteenth century the lute began to oust the harp from its position of eminence, and quite a number of lute books, in manuscript, have come down to us from the seventeenth century.2 The viol, too, was favoured, and some of its music has also been spared.3 Towards the close of the seventeenth century the violin attained such popularity in Scotland as to quite eclipse the lute and other stringed instruments. The instrument was by no means new to Scotland, as we read that among the minstrels of Perth who played before Edward I., in 1303-4, were " fiddlers, psalterists, and others."4 From the mid-eighteenth to the mid-nineteenth century the music publishers of Scotland issued a considerable quantity of music for the violin, mostly of the dance type, and for many years it was my pleasure to collect specimens of this music, which I catalogued, not according to composers or arrangers, but under printers and publishers. This collection is now in the Library of the University of Glasgow. At present, however, we are concerned with the performers rather than with the printers of this type of music. Names of famous Scottish fiddlers in the eighteenth century are
See Proceedings of the Society of Antiquaries of Scotland, vol. xiv. p. 123, and vol. xv. p. 10. Hawaiian MS, (c. 1612-28) and Guthrie MS. (c. 1675-80) in the Library of the University of Edinburgh, and the Skene MS. (c. 1615-35) and transcripts of the Straloch MS. (c. 1627-9) in the National Library of Scotland. 3 Transcripts of the Leyden MS. (c. 1639) and the Blaikie MS. (c. 1683-92) in the National Library and Wighton Library, Dundee, respectively. * Catalogue of Documents relating to Scotland, vol. i. p. 474.



plentiful, and among them William McGibbon (d. 1756), Daniel Dow

and Neil Gow (d. 1807).

(d. 1783), "King" McGlashan (d. 1797), "Red Bob" Mackintosh (d. 1807), Yet although we have quite a wealth of

Of the 'Best and Most Favourite Tunes



Also an Introduction and Directions for Playing the Violin.

Collected and Transcribed by



information about what was played by these virtuosi we know very little about how it was played. It is for this reason that I have considered it worth while calling your attention to an old manuscript Scottish violin tutor of the mid-eighteenth century in my possession. Above is the title page of the manuscript.



I acquired this manuscript in 1923 from Harold Reeves, the London bookseller, but I was unable to ascertain anything concerning previous ownership. Indeed, I have not been able to learn anything about James Gillespie, the compiler of the work. The title page shows us that he was a Freemason, and this might enable some record to be turned up

in Perth, although there is no mention of him in D. C. Smith's History of the Ancient Masonic Lodge of Scone and Perth, No. 3. (Perth, 1898.)
So far as I am aware, this is the oldest violin tutor of Scottish ' provenance that has been preserved, and there is only one older manuscript of violin music recordedthe Gumming MS. (1723-24), formerly in the possession of the late Frank Kidson.1 The manuscript is well written, and the music is copied in an excellent hand, quite equal to that of a copperplate engraver. The work is divided into an Introduction and Four Parts. The Introduction contains the " Directions for Playing the Violin." Part I. is devoted to "Airs and Marches" (30); Part II. to " Scots Tunes " (61); Part III. to " Minuets " (57); and Part IV. to " Hornpipes, Jiggs, and Reels" (107). The Introduction, or "Directions for Playing the Violin," is not original. It is based on a work entitled The Art of Playing the Violin, which appeared among a series of tutors issued in London in 1731 under the general title of The Music-Master, whose author was a certain Peter Prelleur, a Frenchman by birth. It was reissued in various forms, one under the title of The Complete Tutor for the Violin (1750), whilst another was printed by Thomson & Son about 1765. From internal evidence it appears that Gillespie of Perth did not borrow from the original edition of 1731 nor from that of 1750. It must have been from a later issue, perhaps that of Thomson & Son about 1765. Indeed, Gillespie's spelling leads one to surmise that he may not have borrowed directly from a printed source, but at second hand, through a manuscript copy. On the other-hand, his vagaries in spelling may have been due to the vernacular. At any rate, Gillespie's manuscript shows more correct grammar and punctuation. As for the matter that is borrowed, Gillespie is by no means slavish. If he thinks that he can improve by omission or commission he does so. For instance, Prelleur, the author of the original, realises that one of the difficulties of beginners in violin-playing is to put their fingers in the proper places on the strings. His method of overcoming this difficulty was to mark the places on the fingerboard with ink or bits of paper. Gillespie has no use for it: In other cases, Gillespie corrects errors in the original, although they are palpable.
1 There are, however, several Scottish printed works of violin music of an earlier date, such as those of Oswald (c. 1740), McGibbon (1742), Bremner (1759), Stewart (1761-62), and Peacock (1762).



Twelve lessons or exercises are given for the beginner to try his "prentice hand." These, if mastered, were evidently considered a sufficient training in those days. Here is the list:
i. ii. iii. iv. Lesson. Lesson. Lesson. Lesson. Key C. A Minuet. Key A [Minor]. Britange. Key A [Minor]. Good Night &c. Key G. Miss Carnegies Minuet,

v. Lesson. Key D. Lord Hoive's Minuet.

Lesson. Lesson. Lesson. Lesson. Key Key Key Key

vi. Lesson. Key D. Lady Ann Erskine's Minuet.

vii. Lesson. Key D. Feltons Minuet.

viii. ix. x. xi. D. Mr Dundass's Minuet. A. Minuet by McGibbon. A. Tweed Side. F. Corrente by Correllie.

xii. Lesson. Key B [Flat]. Minuet by Giminani.

Of these twelve items, five are Scots tunes, and three are by celebrated composersCorelli (1653-1713), Geminiani (1680-1761), and Felton (1713-69).
Strange to say, all of the lessons are minuets, no example of duple or quadruple being given so as to prepare beginners for a reel or strathspey. Part I. comprises "Airs and Marches." They have little interest, since they are what we generally find in English collections of the period, although Gillespie borrowed some of them from Bremner's Collection of

Airs and Marches (London, c. 1765), the melodies of which he did not scruple to alter. The fact that he spells the names of Corelli, Geminiani, and others incorrectly may lead us to suppose that he did not copy their
compositions from printed sources. They had probably become part of the repertory of Scottish fiddlers by this time.
PART I. Airs and March's.1

1. Lord Lenox's March. 2. Duet by Mr Handel. 3. Gavot by Correllie.

4. Count Sax's March.

16. Gavot by Mr Handle. 17. Dorchester March. 18. Hearts of Oak. A Song. 19. Charles the 12th King of Swedene's

5. King George's March. 6. A March. 7. Belisle March.

8. Britons Strike Home.

20. Gilderoy. 21. Britania.

22. An Air.

9. Prince Eugene's March.

10. Count Brown's March.

28. Thro the Wood Ladie. A Song.

24. Air by Mr Handel.

11. 12. 13. 14. 15.


A March in Solomon. The Duke of Holstine's March. Skelcher's March. Granoe's March. The Edinburgh Train Band's March.

25. The Grenadiers March. 26. Gavott by Chs. McLean. 27. Lord Loudans March. 28. Old Buffs March. 29. A March in Binaldo. 30. Air by Handel.

The spelling is given exactly as it appears in the MS. The Index, however, sometimes gives another spelling.



Part II." Scots Tunes," has greater interest. The same may be said of Part III."Minuets," and Part IV."Hornpipes, Jiggs, and Reels."
Although much of the material contained in these sections is to be found in the printed collections of Oswald,1 McGibbon,2 Bremner,3 Neil Stewart,4 and Peacock,5 yet there is additional interest for the following reasons : (1) Tunes are registered that do not occur elsewhere. (2) Tunes are included here before they appear in print. (3) Tunes are recorded in different versions from those in print.

31. 32. 33. 34. 35. 36. 37. 38. 39. 40.


PART II. Soots Tunes. 60. Kathrine Ogie.

61. Eatrick Banks.

Up in the Morning Early.

The Coalliers Daughter. The Yellow Haird Ladie. I'll Never Leve the. Pinkie House. New Highland Ladie.
The Bottom of the Punch Bowl. For Lake of Gold she's left me. Woes my Heart that we Should Sunder.

62. Saw ye my Love Peggie. 63. I Wish my Love were in a Mire. New Sett. 64. Moggie Lawther. 65. To Danton Me. 66. John Hays Boney Lassie. 67. The Lasse of Patie's Mill. 68. Over the Watter to Charlie.
69. Johne Cope are you Wakeing Yet.

41. Rossline Castle. 42. Lo Down in the Broom. 43. The Isle of Sky. A Scots Measure. 44. The Lass of Livingstone. A Scots Measure. 45. McLanclilen's Scots Measure. 46. Balginie's Bowling Green. 47. My Apron Dearie. 48. Bonney Jean. 49. The Charmes of Lovely Peggie. 50. Peggie Grives Me. 51. Miss Harnelton's Delight. 52. The Dutch Skiper. 53. Logan Watter. 54. The Lilies of France. 55. Widow art thou Wakeing. 56. Jack and his Trowsers On. 57. She Rose and let me in. , 58. Saw ye na Eppie Me Enab th' day. 59. Throw the Wood Ladie.

70. The Ducks dang Over My Dadie.

71. Joy to Great Ceaser.

72. 73. 74. 75.

The Merry Wives of Carlile. The Noble Reace of Jenken. My Own kind Dearie. Where shall Our Goodman Lay.

76. Duncan Gray.

77. Cock up your Bevar. 78. Lumps of Pudens. 79. Whisle Ore the Leve Od. 80. The Flowres of the Forrest. 81. Grigs Pipes. 82. Black Jock. 83. Jackie Latten.
84. Roring Willie.

85. Saiidie Rea &c. 86. Comely Garden. A Reel.

87. John Come Kiss me Now.

88. 89. 90. 91.

O'er the Moor to Maggie. Carrick Fergues. New Set. Sours Plumbs of Gallowshilds. A Reel.

1 Oswald (James), A Curious Collection of Scots Tunes for a Violin, Bass Viol, or German Flute (Edin., c. 1740); A Collection of Curious Scots Tunes (Lond., c. 1742); The Caledonian Pocket Companion (12 bks., Lond., c. 1742-60); A Collection of 43 Scots Tunes (Lond., n.d.), etc. 2 McGibbon (William), A Collection of Scots Tunes for a Violin, Hautboy, or German Flute, (3 bks., Edin., 1742, 1746, 1755). 3 Bremner (Robert), Thirty Scots Songs (21 bks., Edin. [1757], c. 1759); A Collection of Scots Reels and Country Dances (Edin. [1759]); A Curious Collection of Scots Tunes (Edin. [1759]). 4 Stewart (Neil), A Collection of the Newest and Best Reels and Country Dances (Edin. [1761-62]). * Peacock (Francis), Fifty Favourite Scotch Airs for a, Violin (Aberdeen [1762]).


PART III. Minuets.


92. The State Houlders Minuet. 93. The Duke of York's Minuet. 94. Lady Ann Dundass's Minuet.
95. Lady Belly Brskine's Minuet. 96. Miss Fletchers Minuet. 97. Lady Rothes or Lord Mark Kers Minuet.

120. Miss Woffingtone's Minuet. 121. Prince Charles's Minuet. 122. Italian Minuet.
123. 124. 125. 126.
Princess Amelia's Minuet.

Miss Monro's Minuet.

Miss Pringle's Minuet.

98. 99. 100. 101.

Miss Lenoys Minuet. Miss Bowls Minuet. Lady Mary Powiss's Minuet. Sir Charles Sedlys Minuet.

102. Virjina Minuet. 103. Miss Carmichals Minuet. 104. Countess of Coventrie's Minuet.

Miss Porterfeeld's Minuet. 127. Prince Ch : New Minuet. 128. Lady Betty Cochrane's Minuet. 129. Countess of Weem's Minuet. 130. Jigge Minuet. 131. Lady Peggie Stewart's Minuet. 134. Lady Dundass's Minuet. 135. Miss Mary Porterfieeld's Minuet. 136. She's Swetest when She's Naked or Miss Faw's Minuet. 137. A Minuet. 138. Oswalds Bass Minuet.
139. Mary Scott.
132. Lady Faney Erskine's Minuet. 133. Lord Crawford's Minuet.

105. 106. 107. 108. 109. 110.

Miss Caw's Minuet. Signo Pissqualie's Minuet. Miss Montgomrie's Minuet. Miss Stewart's Minuet. MissMaleyBdmonstonsMinuet. Lady Banff's Minuet.

111. Mr Pitt's Minuet.

112. French Minuet.

113. Mrs Bouth's Minuet.

140. A New Minuet.

141. Lulleys Minuet.

114. Lady Boyd's Minuet. 115. The Neapoliton Minuet. 116. Marshal Sax Minuet.
117. A Minuet.

142. Bellizie Minuet. 143. Cukoo Minuet. 144. Weidmans Minuet.

145. A New Minuet. 146. Scarabaiida by Correllie.
147. Germain Minuet.

118. Major Erskine's Minuet.

119. Miss Mally Montgomrie's


148. Italian Minuet.

PART IV. Hornpipes, Jiggs, and Reels.

149. The Flowers of the Forest. A Reel. 150. Make the Bed. A Reel. 151. Love's Reel. 152. Burford Races. A Reel. 153. New Hay. 154. Inch of Perth. A Reel. 155. Up the Moor Amongest the Heather. A Reel. 156. The Lads of Air. A Reel. 157. Green grow's the Rashes. A Reel. 158. Sweet Mally. A Reel.
159. Lady Sinclers Reel.

162. 163. 164. 165.

166. 167. 168. 169. 170. 171. 172. 173. 174. 175. 176.

Lady Hariot Hope's Reel. The Soldier Ladie. A Reel. A Reel. The Duke of Athol's Blew

160. The R,oyal Exchange Reel. 161. Lady Fanie Montgomries Reel.

The Duke of Perths Reel. Miss Blairs Reel. A Reel. Sir Alexr Me donald's Rant. Lasses of Dunce. A Reel. Suky Bids Me. : Shan Trowes. For Lake of Gold Jige. Linkem Dodie. A Reel. The Pretty She. A Strathspey. Strathspey Reel.



PART IV.. Hornpipes, Jiggs, and Reelscontinued. Wanton Towdie. A Reel. 217. you would marrey me I .wish Prince Charlie's Delight. now. A Reel. Green Slives. 218. Rant. A Strathspey Russans Jacks Alive. Reel.
219. Breas of Angus. A R[ee]l. 220. Lady Jean Hoom's Reel. 221. The Boney wi thing. A Reel.

177. 178. 179. 180.

181. Geld him Lasses. A Hornpipe. 182. I'll lay no more with my Mother. 183. Carouse and be Merry.

184. 185. 186. 187. 188. 189.

O If I had such a Lassie as'this. Daniel Couper. Rigadown. King Charles Jige. Unfortunate Jock. I'll Kick the World Before Me.

190. Boll of Bear.

191. Dustie Miller. A Hornpipe. 192. If the Kirk would lett me be. 193. The Birks of Abergeldie. A Reel.
194. Cammron's got his Wife Again.

222. got A Wife of [myj Own. I've A Reel. The Free 223. and Accepted Mason. 224. Rant. A Strathspey. Lochyell's 225. of Elgin. A Reel. The Lass 226. The Marques of Granby's Delight. 227. Hornpipe. 228. A Strathspey Reel. 229. Wife's a Wanton wi thing. My 230. My Minnie ['a] Ay Glowran O'er

A Reel. 195. The Highland Hill's. 196. Keep the Country bonny Lassie.
A Reel. ,

2 Carrick Fergues. An Irish Reel. 3 . 1 232. a Vilage. A Reel. Love in 233. Bernards Well. A Reel.
234. Hallow Fair. A Reel.

197. Peas Straw. A Reel. 198. The Ranting Highlandman. A Reel. 199. Hopeton House. A Reel. 200. Wellcome Home my Dearie. 201. Invercald Reel. A Strathspey. 202. Highland watchs farewell to Ireland. 203. Lick the Ladle Sandie. A Reel. 204. Struan Robertsons Rant. 205. Reel of Tulloch. 206. Will you go to Sheriff Moor. 207. Peggie's Wedding. 208. Kiss the Lass ye like best. A Reel. 209. Ye'll ay be Wellcome backagain. 210. New Christmass. 211. GarickReel. 212. Merry Dancers. 213. Merrly Dance the Quaker. 214. Bring hir ben and Bore hir beller. 215. Sing Tantarah Raragh Rouges all. 216. A Trumpet Jigge.

235. Lord Kellys Reel. 236. Kinairds Reel. Lord 237. dang the Weaver. A Jamiie Reel. 238. you be fain to follow I'll Make me. A Reel. O'er the Moor among the 239. Hedder. A New Set. A Reel. 240. Cameronians Rant. 241. Campbells are Coming Oho. 242. Short Apron. 243. Drummonds Reel. Blair 244. The Parson and his Boots. 245. Tulloch Gorm. Reel. 246. Mary Gray. A Reel. 247. Reidheads Reel. Mr Had the 248. Lass till I winn at hir. 249. Miss Robertsons Reel. 250.Dawsons Hornpipe. Nancy 251. Miss Frassers Reel. 252. Reel. Irish Kincathrins Reel. 253. 254. Frassers Reel. New Set. Miss Captain 255. Brouns Reel. 256. Peas Straw. A New Set.



Those who know the famous picture of Neil Grow (d. 1807) will recall
that he holds his violin with his chin on the right side of the tail-piece.

We know from M. 1'Abbe's Principes du violon pour apprendre le doigt de cet instrument (c. 1760) that the modern way of holding the instrument with the chin on the left side was already in vogue elsewhere. At the same time it has to be admitted that even in England the old method obtained as late as 1825, since Paine advocates it in his Treatise on the Violin. Another feature of the old school of violin playing was that, instead
of the instrument being held horizontally, the head was lowered so as to

enable the elbow to rest on the hip. The old method was not conducive to rapid cross fingering, whilst double fingering, i.e. placing one finger on two strings, was by no means easy. Those who are acquainted with Scottish dance music will know that many of the reels and strathspeys are extremely difficult to play, especially the former, if the proper tempi are adhered to. Since the ordinary eighteenth-century Scottish fiddler was neither a Paganini nor a Kreisler, one naturally wonders how he managed to play these reels and strathspeys when in addition to the technical difficulties of the music there was also a cumbrous method to contend with. This tutor reveals one of the tricks of the old fiddlers which enabled them to overcome certain difficulties in fingering and bowing. This was accomplished by the adoption of a " scordatura," as it was called, which was a variation from the ordinary tuning of the violin. Several examples of this are given in this tutor. A reel called Grigs Pipes (second half) is conventionally noted as follows:

To simplify the playing the four strings were tuned to A-E-a-c$, instead of the usual G-D-a-e. The result was that the performer actually



fingered the strings as follows, which considerably simplified both cross and double fingering :

Similarly, a jig called Black Jock had a tuning A-E-a-e, instead of the conventional tuning. This was also used for another reel called My Own Kind Dearie. Here are two passages from Black Jock which will further illustrate how the fingering and bowing were simplified. The conventional way of noting the jig was thus:



With the tuning A-E-a-e, the fingering was accomplished by this scheme: tr

In the following passage the conventional performance necessitated that the first finger had to take extraordinary positions:
LLTT ""?

Under the special tuning it was simplicity itself, since the two lower notes had become open strings:

What is more, the resonant tone obtained by the use of open strings served very often to give the necessary emphasis to the accented beats of the bar, and even acted as a sort of pedal, whilst sometimes it

enabled the performer to obtain the drone effect of the bagpipe. Historians of Scottish music cannot afford to neglect this old manuscript Violin Tutor, not only because of the features just outlined, but also on account of the different versions of many of the national melodies.



MONDAY, llth May 1931.

CHARLES E. WHITELAW, I.A., Vice-President, in the Chair.

A Ballot having been taken, the following were elected Fellows:
GILBERT H. ASKEW, Fairfleld, Biding Mill-on-Tyne, Northumberland. HUGH MILLER BIGGS, L.D.S., B.F.P.S., 1 Clifton Place, Glasgow, C. 3.
HUGH MORISON CONACHER, Assistant Secretary, Department of Agriculture for Scotland, 6 Tweed Green, Peebles.

ARTHUR BURNESS DALGETTY, M.D., Lossiehall, Liff, Angus. JOSEPH HENRY MURRAY, Glengyle Lodge, Bruntsfleld,.Edinburgh.
WILLIAM WISEMAN of "Braehead," Clifton Road, Aberdeen, 12 Hillside
Street, Edinburgh.

It was intimated that Colonel The Hon. Arthur C. Murray, C.M.G., D.S.O., the owner of the Spurs and Hunting Horn (figs. 1 and 2) which are associated with the name of "Wat Scott of Harden," and which were purchased at the Polwarth Sale in 1912, had executed a Deed of Trust by which he had arranged that these relics should remain in Scotland for all time coming. The following note, giving a short account of Wat of Harden and the relics associated with his name, had been received from Colonel Murray: To THE CURATORS, National Museum of Antiquities of Scotland, Edinburgh.

ELIBANK, SELKIRKSHIRE, August 1st, 1930.

GENTLEMENIt is a matter of historical knowledge that in the days of Mary Queen of Scots and James VI., whilst the " dyke of hatred" between Scottish and English Borderers still existed, and reiving, plunder and reprisal still constituted their chief occupation, there lived at Harden in Roxburghshire, Walter Scott, commonly called "Auld Wat o' Harden." For many years "Auld Wat "played an important part in Border affairs, and no other Border reiver excelled him in the art of harassing and plundering the English. In 1592, under the
leadership of Bothwell, he took part in the famous, though abortive, "Raid of Falkland," as a result of which an order was issued by the King with the advice of the Lords of Council giving "express bidding and

charge to Walter Scott of Gouldielandis, and Mr (subsequently Sir)

Gideon Murray of Elibank, conjunctlie and severallie, to dimoleis and



caus be demoleist and cassin douii to the ground, the placeis, houssis,

and fortalice's of Harden and Dryhoip pertening to Walter Scott of Harden, quha wes arte and parte of the lait tresonabil fact perpetrat aganis His Majesteis awin persoue at Falkland." The demolition of
Hardenif indeed the

order was rigorously

carried outdoes not

seem to have damped the martial ardour of "Auld Wat," for a

few years later he joined the " Bold Buccleuch," " Prince

of Reivers," a kinsman of his own, in the raid on Carlisle Castle, when " Kinmoiit Willie" was rescued in daring fashion from

Judging by the many stories told of

"Auld Wat's " forays

across the Border and

by the number of head

of live-stock which he

Fig. 1. The Harden Spurs.

transferred from English to Scottish pastures, it is clear that he was one of the most audacious and successful of Scottish Border reivers. There is on record an account of a moonlight outing into Cumberland in 1596

from which he rode back with "300 kye and oxen, 20 horses and mares, spoil of two houses, gold money and insight, worth 100 stg."
"Auld Wat" married, on 21st March 1567, Mary Scott of Dryhope,

known for her beauty and gentleness as the " Flower of Yarrow."
Mary is said to have managed her somewhat turbulent husband with

great skill, as an instance of which it is recorded that instead of upbraiding him if he allowed the larder to become depleted she would
set before him at dinner a pair of gilt

Spanish spurs! The hint would be taken, and that same night "Auld Wat" and his men would ride forth,
and the next morning a "bow o' kye"
Fig. 2. The Harden Horn.

from the English side or maybe from a neighbour!would

gladden the heart of "Yarrow's Rose" ! In 1611 William Scott, eldest son and heir of "Auld Wat," married
Agnes, daughter of my ancestor, Sir Gideon Murray of Elibank, TreasurerDepute of Scotland (1612-21). Round this marriage a combination of fact



and fiction has woven a romantic tale handed down to vis through the ages as the story of Muckle-mou'd Meg.
Whatever the origin and truth of the story there can be little doubt

that the marriage took place with the consent of the parents on both sides, but possibly it was arranged by them without asking the young people.
It may be that young William of Harden, who was aware of the plainness of the young lady, did not want to marry her, and got up a raid in order to embroil the parents and get out of the matchh'ence

the legend of Muckle-mou'd Meg. The marriage contract, which is still in existence among the Blibank papers, is an interesting and curious looking document. So far as can be ascertained William and Muckle-mou'd Meg proved a
very attached couple, and at a later date the lady saved her husband's

life when the "Committee of Estates" were after him, by putting him in a chest and sitting on it whilst the troopers of the Covenant were searching the house.

William, in succeeding on the death of his father to the Harden property, acquired, amongst others of his father's possessions, "Auld Wat's " famous Bugle-Horn, used by the celebrated reiver on his reiving expeditions (and referred to by Sir Walter Scott in "The Reiver's Wedding"), and likewise the gilt Spurs so suggestively served up for dinner by his Mother, the " Flower of Yarrow." The Horn and the Spurs were preserved by his descendants, but passed from the Scott family at the sale in 1912 of the treasures at Mertoun House belonging to the late Lord Polwarth, and they are now in my possession. I think it will be generally agreed that if these very interesting
Border relics are not in the keeping of the Scott family, it is not

inappropriate that they should be in the possession of the Murrays of Elibank. But who can say whether at some future date the Murrays of Elibank for some reason or another will not cease to possess them ? And into whose hands will they in that event fall ? These are the questions that I put to myself some little time ago, but being of a hypothetical nature they were clearly not questions to which answers could be given ! But they prompted a line of thought upon which I have since taken action. You will remember that in the early part of this year I asked you whether you would be prepared in certain circumstances to become parties to a Trust to hold the Horn and Spurs in perpetual possession. You were good enough to reply in the affirmative. I have accordingly had drawn up a Deed of Trust of which the Trustees are the Curators of the Museum and the present Baron (my brother) and succeeding Barons Elibank. The Deed recites that the Horn and Spurs shall remain in the keeping of the Elibank family so long as there is a Baron Elibank and so long as he retains a residence in Scotland. Failing.these conditions the relics are to be taken possession of by the Museum for exhibition to the public. These provisions fulfil the object I have had in view in creating the Trust, namely, to ensure that the Horn and Spurs shall remain in perpetuity in Scotland and in, what I consider to be, appropriate hands. It is with much pleasure, therefore, that I ask you to accept possession of the Trust Deed which you will find enclosed with this letter.I am, Yours very truly,




Photographs of the relics were exhibited, and, on the motion of the Chairman, a cordial vote of thanks was accorded to Colonel Murray for his patriotic action, and the hope was expressed that other owners of Scottish historical relics, by following Colonel Murray's lead, might ensure that such relics should never be lost to Scotland.

_? Inches.
Pig. 3. Stone Mould from Loophill, Evertown, Dumfriesshire.

There was exhibited by Mr David R. Milne Hume a stone mould for casting flat circular objects and bars, found at Evertown, Loophill, Canonbie, Dumfriesshire. The mould (fig. 3) was of flat segmental shape, and measured 9J inches in breadth, %\ inches in height, and 2J inches in thickness. On one face were two matrices, the first being of circular shape and measuring 2| inches in dia| meter and \ inch in depth, and the second for casting a bar or ingot, and measuring 3y^ inches in length, f inch in breadth, and Running into the circular matrix was a short T\ inch in depth. channel, but it was doubtful whether this might not have been a later addition. The mould bore a striking resemblance to one found at Stannock, Whithorn, which had matrices for two flat circular objects and two bars on one face (see Proceedings, vol. Ixiv. p. 300, fig. 6). Another



with matrices for a circular object and a bar was found in the Buston crannog, Ayrshire (see Munro, Ancient Scottish Lake Dwellings, p. 211, fig. 194). The following Donations to the Museum were intimated and thanks voted to the Donors: (1) By Mrs M'LEAN, Maryborough, Dingwall. The archaeological collections formed by her late husband, Dr William M'Lean.
Collection of Objects of Stone, Bone, and Deer-horn from the Caird's

Cave at Rosemarkie, Ross-shire, excavated by Dr M'Lean, assisted by Colonel Hall, Fortrose. Amongst the objects found is a unique Pin of Bone measuring 1 inch in length; |
the head had been decorated with five small settings of amber, but only three now remain (fig. 4). Collection of Flint Implements from the neighbourhood of Dingwall and from the Black Isle, Ross-shire. The most of them were found within four miles of Fortrose.


C.M.G., Dunollie, Oban.
Part of a Flooring Board of red-wood, measuring 3| inches

p| 4' v.ne in breadth and inch thick, showing the method of joining the Amber boards with dowels of pitch pine inserted on both edges, at oun s T ' '' intervals 6| inches to 7 inches apart. From Dunollie House.

(3) By JAMES CURLE, LL.D., F.S.A.Scot.

Fire-plate of Tinned Iron painted in black and gold, of the Caledonian Insurance Company. From Priorwood, Melrose.


Fragment of a Stone Mould for casting long, pointed, wire-like objects, with six matrices cut side by side on one face and eight on the other. The gates for each group are set at opposite ends. The two complementary parts of the mould are awanting. The fragment measures 2^ inches broad and f inch thick. Found at Linlithgow. Part of an Iron Staple and fragment of a Bead of dark blue Glass, which is encircled by four corrugations. From Dunadd, Argyll. The following Donations to the Library were intimated and thanks voted to the Donors:


Ancient Monuments Consolidation and Amendment Act, 1913. List



of Monuments prepared by the Commissioner of Works in Pursuance of Section 12 of the Act. To 31st December 1930. London, 1931.


Acts of the Privy Council of England, 1619-1621. London, 1930. The Pipe Rolls of 2-3-4 Henry II. Eeproduced in Facsimile from the Edition of 1844. London, 1930.

(3) By Professor HAROLD WILLIAM THOMPSON, Ph.D., D.Litt., F.S.A.Scot., the Author. A Scottish Man of Feeling: Some Account of Henry Mackenzie, Esq., of Edinburgh, and of the Golden Age of Burns and Scott. London and New York, 1931. (4) By JOHN WARRACK, F.S.A.Scot., the Author.
The Scot Abroad and the Kirk of Greyfriars, Edinburgh. Edinburgh,


(5) By A. D. LACAILLE, F.S.A.Scot.

La Vie Musicale de 1'Eglise. Par Amedee Gastone. n.p., n.d.

(6) By THE SECRETARY, The Manx Museum, Douglas, I.O.M. Journal of the Manx Museum. June and September 1925 and December 1930. (7) By W. DOUGLAS SIMPSON, D.Litt., F.S.A.Scot., the Author.
Dunnottar Castle: Historical and Descriptive. Third Edition. Aberdeen, 1631.

The following Purchase for the Museum was announced:

Copper Axe, measuring 4 inches by 2^ inches by ^ inch, found 2| feet below the surface at Glenelg, Inverness-shire.

The following Purchases of Books for the Library were intimated :

Le Gard Prehistorique. Capitaine M. Louis. Nimes, 1931. English Ivories. By Miss M. H. Longhurst (of the Victoria and Albert Museum). London, 1926. Primitive Beliefs in the North-East of Scotland. By J. M. M'Pherson B.D. London, 1929.
The following Communications were read: