at succession, victory, and defeat. He stimulated the warriors in battle by chanting the glorious deeds of their ancestors; exhorted them to emulate those distinguished examples, and, if possible, shed a still greater lustre on the warlike reputation of the clan. These addresses were delivered with great vehemence of manner, and never failed to raise the feelings of the listeners to the highest pitch of enthusiasm. When the voice of the bard was lost in the din of battle then the piper raised the inspiring sound of the pibroch. When the conflict was over the bard and the piper were again called into service—the former to honor the memory of those who had fallen, to celebrate the actions of the survivors, and excite them to further deeds of valor. The piper played the mournful Coronach for the slain, and by his notes reminded the survivors how honorable was the conduct of the dead.

The bards were the senachies or historians of the clans, and were recognized as a very important factor in society. They represented the literature of their times. In the absence of books they constituted the library and learning of the tribe. They were the living chronicles of past events, and the depositories of popular poetry. Tales and old poems were known to special reciters. When collected around their evening fires, a favorite pastime was a recital of traditional tales and poetry. The most acceptable guest was the one who could rehearse the longest poem or most interesting tale. Living in the land of Ossian, it was natural to ask a stranger, "Can you speak of the days of Fingal?" If the answer was in the affirmative, then the neighbors were summoned, and poems and old tales would be the order until the hour of midnight. The reciter threw into the recitation all the powers of his soul and gave vent to the sentiment. Both sexes always participated in these meetings.

The poetry was not always of the same cast. It varied as greatly as were the moods of the composer. The sublimity of Ossian had its opposite in the biting sarcasm and trenchant ridicule of some of the minor poets.

Martin, who travelled in the Western Isles, about 1695, remarks: "They are a very sagacious people, quick of apprehension, and even the vulgar exceed all those of their rank and education I ever yet saw in any other country. They have a great genius for music and mechanics. I have observed several of their children that before they could speak were capable to distinguish and make choice of one tune before another upon a violin; for they appeared always uneasy until the tune which they fancied best was played, and then they expressed their satisfaction by the motions of their head and hands. There are several of them who invent tunes already taking in the South of Scotland and elsewhere. Some musicians have endeavored to pass for first inventors of them by changing their name, but this has been impracticable; for whatever language gives the modern name, the tune still continues to speak its true original. * * *. Some of both sexes have a quick vein of poetry, and in their language—which is very emphatic—they compose rhyme and verse, both which powerfully affect the fancy. And in my judgment (which is not singular in this matter) with as great force as that of any ancient or modern poet I ever read. They have generally very retentive memories; they see things at a great distance. The unhappiness of their education, and their want of converse with foreign nations, deprives them of the opportunity to cultivate and beautify their genius, which seems to have been formed by nature for great attainments."[1]

The piper was an important factor in Highland society. From the earliest period the Highlanders were fond of music and dancing, and the notes of the bag-pipe moved them as no other instrument could. The piper performed his duty in peace as well as in war. At harvest homes, Hallowe'en christenings, weddings, and evenings spent in dancing, he was the hero for the occasion. The people took delight in the high-toned warlike notes to which they danced, and were charmed with the solemn and melancholy airs which filled up the pauses. Withal the piper was a humorous fellow and was full of stories.

The harp was a very ancient musical instrument, and was called clarsach. It had thirty strings, with the peculiarity that the front arm was not perpendicular to the sounding board, but turned considerably towards the left, to afford a greater opening for the voice of the performer, and this construction showed that the accompaniment of the voice was a chief province of the harper. Some harps had but four strings. Great pains were taken to decorate the instrument. One of the last harpers was Roderick Morrison, usually called Rory Dall. He served the chief of Mac Leod. He flourished about 1650.

Referring again to Gaelic music it may be stated that its air can easily be detected. It is quaint and pathetic, moving one with intervals singular in their irregularity. When compared with the common airs among the English, the two are found to be quite distinct. The airs to which "Scots wha hae," "Auld Langsyne," "Roy's Wife," "O a' the Airts," and "Ye Banks and Braes" are written, are such that nothing similar can be found in England. They are Scottish. Airs of precisely the same character are, however, found among all Keltic races.

No portraiture of a Highlander would be complete without a description of his garb. His costume was as picturesque as his native hills. It was well adapted to his mode of life. By its lightness and freedom he was enabled to use his limbs and handle his arms with ease and dexterity. He moved with great swiftness. Every clan had a plaid of its own, differing in the combination of its colors from all others. Thus a Cameron, a Mac Donald, a Mac Kenzie, etc., was known by his plaid; and in like manner the Athole, Glenorchy, and other colors of different districts were easily discernible. Besides those of tribal designations, industrious housewives had patterns, distinguished by the set, superior quality, and fineness of the cloth, or brightness and variety of the colors. The removal of tenants rarely occurred, and consequently, it was easy to preserve and perpetuate any particular set, or pattern, even among the lower orders. The plaid was made of fine wool, with much ingenuity in sorting the colors. In order to give exact patterns the women had before them a piece of wood with every thread of the stripe upon it. Until quite recently it was believed that the plaid, philibeg and bonnet formed the ancient garb. The philibeg or kilt, as distinct from the plaid, in all probability, is comparatively modern. The truis, consisting of breeches and stockings, is one piece and made to fit closely to the limbs, was an old costume. The belted plaid was a piece of tartan two yards in breadth, and four in length. It surrounded the waist in great folds, being firmly bound round the loins with a leathern belt, and in such manner that the lower side fell down to the middle of the knee joint. The upper part was fastened to the left shoulder with a large brooch or pin, leaving the right arm uncovered and at full liberty. In wet weather the plaid was thrown loose, covering both shoulders and body. When the use of both arms was required, it was fastened across the breast by a large bodkin or circular brooch. The sporan, a large purse of goat or badger's skin, usually ornamented, was hung before. The bonnet completed the garb. The garters were broad and of rich colors, forming a close texture which was not liable to wrinkle. The kilted-plaid was generally double, and when let down enveloped the whole person, thus forming a shelter from the storm. Shoes and stockings are of comparatively recent times. In lieu of the shoe untanned leather was tied with thongs around the feet. Burt, writing about the year 1727, when some innovations had been made, says: "The