We have a micro exhibition, of illustrated books from Renaissance Italy, running in CRC from 13th April to 15th June.  This is in collaboration with Linda Borean of the Università degli Studi di Udine and Laura Moretti of the University of St. Andrews, and their project: Venetian Renaissance prints, drawings and illustrated books in Scottish collections. https://arts.st-andrews.ac.uk/venice-in-scotland/

There are very many wonderful illustrated books from Venice in our collections; far more than we have space to exhibit.  Over the next few weeks we will be posting about the ones we have included, and some that we couldn’t fit in.  On 16th April Laura will be giving a talk in CRC.  We plan to get out everything we have blogged about for that.

Laura will be posting further information on the blog of her current project Thinking 3D. https://www.thinking3d.ac.uk/

Our first post is by Elizabeth Quarmby Lawrence, Rare Books Librarian

Girolamo Marafioti (1567-1626) De arte reminiscentiae,  (Venice : Jo Baptistam Bertonum, 1602.)  (Edinburgh University Library: EE.13.36/1)

“The art of memory” survives in the modern world mostly in the form of self-help books and motivational training courses, but it actually has a long and distinguished history, back to classical antiquity.

Classical lawyers and politicians, needing to be able to make lengthy, formally-structured speeches from memory, used the techniques of artifical memory.  In their imagination they would turn each of the points of their speech into a strong visual image, and then arrange the images in order within a structure they could easily remember.  Typically this would be a building, either real and familiar, or created in the imagination for the purpose.

These techniques remained in common use well into the seventeenth century.  In a culture where public affairs were still largely conducted orally, the ability to speak fluently, persuasively and at length, in public, was vital to a professional career.  As well as being useful to lawyers and politicians, artificial memory techniques were useful to students, whose academic exercises and examinations were largely based around oral disputations.  The techniques were popular with the Friars, whose lives were dedicated to preaching and teaching religious knowledge, and who had to be able to explain complex doctrine accurately.

The technique of artificial memory was passed down from Classical antiquity through three texts – Cicero’s De Oratore, an anonymous handbook Ad C. Herennium, and Quintilian’s Institutio Oratoria.  In the Middle Ages it was refined, improved and expanded on.   This continued into the Renaissance, where artificial memory was often elaborated to the point that it became an intellectual game, rather than a practical technique.  The Renaissance had a fascination for imagery, symbolism, emblems and hidden meanings, and keen interest in imposing a structure on knowledge.  The symbolism of artificial memory very easily plays to all of these, and elaborate symbolism and word games can easily be incorporated into it.  In some Renaissance examples of artificial memory it is difficult to tell which is the material to be memorised and which is the structure supposed to hold it.

This little handbook was written within this late tradition.  Instead of using locations in a building as the places to lodge the memories, it uses both sides of both hands to create 92 places, each marked with a symbol – which had itself to be memorised before it could be used as a tool to remember anything else.

Many of the illustrated books which have been included in the project Venetian Renaissance prints, drawings and illustrated books in Scottish collections are high-quality, luxury productions.  This little book was produced with quite different ambitions.  It was intended for a relatively popular market – it was reprinted several times, including in an Italian translation – and the illustrations are entirely practical and very necessary to explain the text.

It is not clear how this copy reached Edinburgh, but in the late eighteenth and early nineteenth centuries it passed through the hands of two bibliophiles, or bibliomaniacs.  First came Charles-Louis Van Bavière, (1767-1815), Secretary of the Academy and Faculty of Law, Brussels.   His professional life seems not to have preoccupied him much: he was a dedicated bibliophile with a reputation for having an eye for a bargain, and for finding unlikely treasures in improbable-looking sales.  After his death, his huge library was sold at auction over 22 days, in Brussels in 1817. 

This sort of sale undoubtedly appealed to the book’s next owner, the antiquarian and legendary bibliomaniac Richard Heber (1773 – 1833), whose vast library, collected all over Europe, and housed in half a dozen separate locations, was sold after his death in a series of sixteen sales, in England, France and Belgium, realizing the then enormous sum of more than £60,000.  Books from both these scattered collections are in wide circulation today, readily identifiable from their owner’s bookplates and ink stamp.

This is the second post about music and dance in Scotland. Here, we look at some examples of Scottish songs, as well as eminent musicians, especially musical families, and people with a love of music.

Scottish songs

In the Statistical Accounts you can discover lyrics and references to particular Scottish songs. Actual people, events and settings are within their narrative, making them distinctly Scottish. Scenes of Scottish songs include the farm of Cowden Knows, about a mile outside of Banff, “justly celebrated for its rural beauty” and supposedly “the scene of the plaintive Scots ballad” The New way of the Broom of Cowden Knows (OSA, Vol. XX, 1798, p. 328), as well as the Yarrow Water in Yarrow, County of Selkirk, which is the location of many songs, including The Sang of the Outlaw Murray, The Dowie Dens of Yarrow (also known as The Braes of Yarrow) and Yarrow Vale. (NSA, Vol. III, 1845, p. 37)

People are also the subject of songs. One example is The Lass of Patie’s Mill who resided in the parish of Keithhall, County of Aberdeen. “Her father was proprietor of Patie’s mill, in Keithhall; of Tullikearie, in Fintray; and Standing Stones, in the parish of Dyce. From her beauty, or fortune, or from both causes, she had many admirers; and she was an only child. One Sangster, laird of Boddom, in New Machar parish, wished to carry her off, but was discovered by his dog, and very roughly handled by her father, who was called black John Anderson. In revenge, he wrote an ill-natured song, of which her great grandson remembers these words:

Ye’ll tell the gowk that gets her,
He gets but my auld sheen.

She was twice married; first, to a namesake of her own, who came from the south country, and is said to have composed the Song, to her praise, that is so generally admired, and partakes much of the music, which, at that time, abounded between the Tay and the Tweed.” (OSA, Vol. II, 1792, p. 542)

You can hear a recording of the song The Lass o Patie’s Mill on Tobar an Dualchais.

Another example is the song Fair Helen. “She was a daughter of the family of Kirkconnell, and fell a victim to the jealousy of a lover. Being courted by two young gentlemen at the same time, the one of whom thinking himself slighted, vowed to sacrifice the other to his resentment, when he again discovered him in her company. An opportunity soon presented itself, when the faithful pair, walking along the romantic banks of the Kirtle, were discovered from the opposite banks by the assassin. Helen perceiving him lurking among the bushes, and dreading the fatal resolution, rushed to her lover’s bosom, to rescue him from the danger; and thus receiving the wound intended for another, sunk and expired in her favorite’s arms. He immediately revenged her death, and flew the murderer. The inconsolable Adam Fleeming, now sinking under the pressure of grief, went abroad and served the banners of Spain, against the infidels. The impression, however, was too strong to be obliterated. The image of woe attended him thither; and the pleasing remembrance of the tender scenes that were past, with the melancholy reflection, that they could never return, harassed his soul, and deprived his mind of repose. He soon returned, and stretching himself on her grave, expired, and was buried by her side.” He was said to have written the song whilst he was in Spain. The lyrics can be found in the parish report of Kirkpatrick-Fleming, County of Dumfries (OSA, Vol. XIII, 1794, p. 274) There is also a recording of the song Fair Helen of Kirkconnel on Tobar an Dualchias.

Events such as battles, have also been immortalized in song. In the report given by the Chapel of Garioch, County of Aberdeen, there is a description of the Battle of Harlaw. “From the ferocity with which this battle was contested, and the dismal spectacle of civil war exhibited to the country, it appears to have made a deep impression on the national mind. It fixed itself on the music and the poetry of Scotland. A march called the Battle of Harlaw continued to be a popular air, down to the time of Drummond of Hawthornden; and a spirited ballad on the same event is still repeated in our own age, describing the meeting of the armies and the death of the chiefs in no ignoble strain.” (NSA, Vol. XII, 1845, p. 568) In Wamphray, County of Dumfries, “songs are still sung descriptive of the barbarous deeds and bloody feuds of some former age, of which this parish was the scene.” (OSA, Vol. XII, 1794, p. 606) One man named Mackay from Thurso, was an Adjutant to the Thurso Volunteers and “and as a specimen of his poetical abilities, the copy of a song, which he composed on that corps” can be found in the report of Thurso, County of Caithness. (OSA, Vol. XX, 1798, p. 532)

Other songs that you can find out about in the Statistical Accounts of Scotland include The Souters o’ Selkirk (OSA, Vol. II, 1792, p. 436), Logie o’ Buchan (NSA, Vol. XII, 1845, p. 812) and Gin I Were Where the Gadie Rins (NSA, Vol. XII, 1845, p. 1020).

Eminent musicians

Inhabitants of certain parishes became very accomplished musicians. In Towie, County of Aberdeen, “vocal and instrumental music, particularly the violin, form the most prominent amusements of the people in the winter evenings, and it is believed that few parishes in Scotland can boast of so many good Strathspey players, who are also temperate in their habits, and industriously employed in their other vocations.” (NSA, Vol. XII, 1845, p.418) A strathspey is a type of dance tune which has 4 beats to a bar. Examples include Auld Lang Syne and Coming through the Rye. It also refers to the dance performed to it. (In the last post we looked at some particular Scottish songs.) Whereas, in the County of Caithness, “the violin, and Highland bag-pipe, are the only musical instruments, played on by professional men in Thurso. The Highland reels are played particularly well, on both these instruments, in Caithness; but the proper flow bag-pipe tunes and marches, are not given in that perfection here, with seems almost peculiar to the West Highland pipers.” (OSA, Vol. XX, 1798, p. 531)

Specific eminent musical families are also mentioned in the Statistical Accounts of Scotland, including the MacCrimmons, who were the hereditary pipers of the MacLeods. “Certain it is that, what rarely happens, high musical talent as well as high moral principle and personal bravery, descended from father to son during many generations in the family of the MacCrimmons. They became so celebrated that pupils were sent to them from all quarters of the Highlands, and one of the best certificates that a piper could possess was his having studied under the MacCrimmons.” As reported by the parish of Duirinish, County of Inverness, “finding the number of pupils daily increasing, they at length opened a regular, school or college for pipe music on the farm of Boreraig, opposite to Dunvegan Castle, but separated from it by Loch Follart… Macleod endowed this school by granting the farm of Boreraig to it, and it is no longer ago than seventy years since the endowment was withdrawn.” Find out for what reason at NSA, Vol. XIV, 1845, p. 339.

Kilmuir was also famous for its pipers, the most notable of which were the MacArthurs. “When the proprietors resided in the parish, a free grant of the lands of Peingowen, a hamlet in the place, was given to the MacArthurs, in the same manner as Boreraig was given by the MacLeods of Dunvegan, to the MacCrimmons. Peingowen, like Boreraig, was a sort of musical college, to which pupils were sent by various chieftains, to acquire a correct knowledge of piobaireachd. A little green hill in close vicinity to Piengowen, called Cnoc-phail, was the general rendezvous of the MacArthurs and their pupils. To the top of this eminence, they almost daily resorted, and practised their tunes. The MacArthurs vied with the MacCrimmons of Dunvegan, the MacGregors of Fortingall, the Mackays of Gairloch, the Rankins of Coll, and the MachIntyres of Rannoch, who were all renowned performers in their day.” (NSA, Vol. XIV, 1845, p. 285)

It is not all just bagpipes and violins. Stevenston, county of Ayrshire, was well-known for the manufacture of trumps, also known as the Jew’s harp at Piperheugh. “The pipers and harpers, like their woodland village, have passed away; but they seem to have bequeathed the mantle of song, to their posterity, for the inhabitants of Stevenston are still distinguished for their musical propensities, as an instrumental band, and glee club, and, what is better, the excellent singing of the congregation in church, amply testify.” (NSA, Vol. V, 1845, p. 453)

In the parish report of Kilmonivaig, County of Inverness, you can read about the fascinating Iain Lom who was considered “a poetical genius of a very high order. His songs translated into English would exhibit a striking picture of the period in which be lived.” He wrote songs about many events which he and his contemporaries experienced, such as the Battle of Inverlochy in 1645, the Treaty of Union in 1707 and the Battle of Killiecrankie, “which he describes in a song, composed on the occasion, in such a manner as an eye-witness alone could describe it.” He was believed to have held the office of Gaelic Poet Laureate to King Charles II, an office which, is believed, died with himself. It is very interesting to learn how influential his songs were to the Scots. “[His] songs more powerfully influenced the minds of his countrymen than all the legislation which was at that time employed for that purpose. Children were taught to lisp them. They were sung in the family circle on long winter evenings, and at weddings, lykewakes, raffles, fairs, and in every company. They attributed to the Stewarts and their adherents the most exalted virtues; and the opponents of that family they represented as incarnate fields.” (NSA, Vol. XIV, 1845, p. 509)

Other prominent Scots who were music enthusiasts are:

• Allan Ramsey and John Gay; (OSA, Vol. XVII, 1796, p. 628)
• William Tytler, Esq. of Woodhouselee; (OSA, Vol. XV, 1795, p. 444)
• John Maxwell, Esq; of Broomholm, who wrote an Essay upon Tune. (OSA, Vol. XIII, 1794, p. 591 and OSA, Vol. XXI, 1799, p. 240)
• General Reid. (NSA, Vol. I, 1845, p. 676)

It is through the devotion and dedication of Scotland’s people that their music has become so distinctive and longstanding. Scotland’s songs chart the history of its people and events and so are central to the country’s identity. It is wonderful to be able to discover traditional songs and their origins, and, in so doing, helping to ensure that Scotland’s music and its meaning is not lost.

In our next post on Scotland’s dance and music we will explore musical education, music in a religious context (including weddings and funerals) and changes in attitudes to music.

Venue: The Royal Society of Edinburgh

Dates: 2-3 July 2018

Registration: is now closed

Repository Fringe has now finished for 2018. The presentations have been deposited in – and are available to download – from the University of Edinburgh’s repository – the Edinburgh Research Archive

Repository Fringe will be taking a break in 2019  but we are excited to announce instead that Edinburgh will be host to the FORCE2019 annual meeting which will be held October 15-17. FORCE2019 will be held October 16 and 17, 2019 at the BT Murrayfield Rugby Stadium, with pre-conference workshops at the Hilton Grosvenor Hotel on October 15.

If someone was to say to you “music and dance in Scotland” you would automatically think of bagpipes and ceilidh dances. But, looking at the Statistical Accounts of Scotland, you would discover a wider world of music and dance. It is very much central to Scottish traditions, from social gatherings through to religious settings, and even in work. It plays an important role in the lives of people, no matter what class or age. The country and its people are embodied and given life through song. There are also some surprising revelations, with many parishes reporting an actual loss in the taste for music!

In the first of three posts on music and dance in Scotland, we look at music in social settings, musical traditions and music while working.

Music in social settings

Music, along with sport, provided light relief after a long hard day or week of work, especially in the winter. In Dryfesdale, County of Dumfries, “the principal diversion or amusement is curling on the ice in the winter, when sometimes scores of people assemble on the waters, and in the most keen, yet friendly manner, engage against one another, and usually conclude the game and day with a good dinner, drink, and songs.” (OSA, Vol. IX, 1793, p. 432)

The principle amusements in Durness, County of Sutherland, were playing ball and shinty on the sands of Balnakiel. “The whole population turns out on old Christmas and new-year’s day, and even old men of seventy are to be seen mingling in the crowd, remaining till night puts an end to the contest. Indeed, the inhabitant, of this parish have always been noted for the enthusiasm with which they engaged in these sports. To keep up the tone of action, they retire in the evening, and mingle in the dance to the music of the bagpipe, regardless of the bruises and scars of the contest.” (NSA, Vol. XV, 1845, p. 96)

Most farmhouses and all cottages in Dornock, County of Dumfries, were constructed using mud or clay. “The manner of erecting them is singular… Some [people] fall to the working the clay or mud, by mixing it with straw; others carry the materials; and 4 or 6 of the most experienced hands, build and take care of the walls. The walls of the house are finished in a few hours; after which, they retire to a good dinner and plenty of drink which is provided for them, where they have music and a dance, with which, and other marks of festivity, they conclude the evening. This is called a daubing; and in this manner they make a frolic of what would otherwise be a very dirty and disagreeable job.” (OSA, Vol. II, 1792, p. 22)

Music also played an important part in festivals. One example is that of the annual St Columba’s Day fair at Largs, County of Ayrshire, which was held on the second Tuesday of June. “The whole week is a kind of jubilee to the inhabitants, and a scene of diversion to others. Such a vast multitude cannot be accommodated with beds; and the Highlanders, in particular, do not seem to think such accommodation necessary. They spend the whole night in rustic sports, carousing and dancing on the green to the sound of the bagpipe. Every one who chooses is allowed to join in this, which forms their principal amusement. The candidates for the dance are generally so numerous, that it is kept up without intermission during the whole time of the fair.” (OSA, Vol. XVII, 1796, p. 519)

Some parishes set up assembly rooms wherever they could, such as Tiree and Coll, County of Argyle. “They frequently entertain themselves by composing and singing songs, by repeating Fingalian and other tales, by dancing assemblies at different farms by turns. In this qualification they are remarkably neat.” (OSA, Vol. X, 1794 p. 414) Others had a specific assembly room where people would dance, such as Edinburgh. “In 1763, there was one dancing assembly room; the profits of which went to the support of the Charity-Workhouse. Minutes were danced by each set, previous to the country dances. Strict regularity with respect to dress and decorum, and great dignity of manners were observed.”  (OSA, Vol. VI, 1793, p. 618)

In fact, there were many dances organized for charitable purposes. In Strathdon, County of Aberdeen, subscription dances were “set on foot for the relief of some case of poverty or incidental distress in the neighbourhood; and thus, at the individual cost of a few pence, a considerable sum is realized for a needy neighbour. Another charitable practice prevails. When an extraordinary case of helpless distress occurs, the young men in the locality assemble together, and, often accompanied with music, go from house to house, where they receive a donation in kind or money. In this way a considerable supply is speedily raised in behalf of the object of their charitable exertions.” (NSA, Vol. XII, 1845, p. 549) A similar practice was carried out in Kirkmichael, County of Dumfries, where “a friend is sent to as many of their neighbours as they think needful, to invite them to what they call a drinking… The guests convene at the time appointed, and, after collecting a
shilling a piece, and sometimes more, they divert themselves for about a couple of hours, with music and dancing”. This sometimes resulted in 5, 6, or 7 pounds being raised for the needy person or family. (OSA, Vol. I, 1791, p. 59)

In Liberton, County of Edinburgh, there were carter’s plays. “The carters have friendly societies for the purpose of supporting each other in old age or during ill-health, and with the view partly of securing a day’s recreation, and partly of recruiting their numbers and funds, they have an annual procession. Every man decorates his cart-horse with flowers and ribbons, and a regular procession is made, accompanied by a band of music, through this and some of the neighbouring parishes. To crown all, there is an uncouth uproarious race with cart-horses on the public road, which draws forth a crowd of Edinburgh idlers, and all ends in a dinner, for which a fixed sum is paid.” (NSA, Vol. I, 1845, p. 12)

Musical traditions

It is easy to see how such musical pastimes became traditions. There are some wondrous customs involving music and dance described in the parish reports. One such tradition was the holding of an annual festival in Perth, County of Perth, during which the Saint Obert’s Play was performed. On the 10th December, people “attired themselves in disguise dresses, and passed through the city piping and dancing, and striking drums, and carrying in their hands burning torches. One of the actors was clad in a particular kind of coat, which they designated the Devil’s Coat, and another rode upon a horse, having on its feet men’s shoes. There is no account extant of its minute particulars, but, from the manner in which the kirk session and the corporation officials dealt with the performers, it appears to have been idolatrous, profane, and immoral in its tendency.” So much so that action was taken by the Kirk Session against such pastimes, especially the Saint Obert’s play. (NSA, Vol. X, 1845, p. 80)

In the Peebles parish report there is a very interesting description of the Beltane Festival, which is held every year on the 1st May. It mentions a poem by King James I “entitled Peebles to
the Play, in which he represents a great annual festival of music, diversions, and feasting, that had long been in use to be held at Peebles, attended by multitudes from the Forth and the Forest, in their best apparel.” (OSA, Vol. XII, 1794, p. 14) This poem can be found in The Miscellany of Popular Scottish Poems.

However, some traditions had fallen by the wayside even by the time the Statistical Accounts of Scotland were written. Formerly, in Lady, County of Orkney, “it was customary for companies of men, on new year’s morning, to go to the houses of the rich, and awake the family, by singing the New Year’s song, in full chorus. When the song was concluded, the family entertained the musicians with ale and bread, and gave them a smoked goose or a piece of beef.” (NSA, Vol. XV, 1845, p. 142)

Other festivals that formerly took place was the Trades Race fair that was held every June in Beith, County of Ayrshire, “in which the trades assembled and went in procession through the town with music and flags. On the day after the Trades Race, the merchants of the town used to meet and walk in procession, and afterwards dine together” (NSA, Vol. V, 1845, p. 592) and the Maiden Feast which was held at the end of harvest time in Longforgan, County of Perth, the maiden referring to the last handful of corn reaped in the field. “One of the finest girls in the field was dressed up in ribbands, and brought home in triumph, with the music of fiddles or bagpipes. A good dinner was given to the whole band, and the evening spent in joviality and dancing, while the fortunate lass who took the maiden was the Queen of the feast.” This custom was later replaced with each shearer being given 6d. and a loaf of bread, although “some farmers, when all their corns are brought in, give their servants a dinner, and a jovial evening, by way of Harvest-home.” (OSA, Vol. XIX, 1797, p. 550)

In the Statistical Accounts of Scotland there are also some very unusual anecdotes involving music, including:

• the story of an unfortunate piper in a cave somewhere in Kilmalie, County of Inverness, whose music could be heard 10 miles away. The tune that he played was “”Oh! that I had three hands I two for the bagpipe, and one for the sword” signifying that he had been attacked by subterranean foes.” (OSA, Vol. VIII, 1793, p. 421)
• a young man in Lundie and Fowlis, County of Forfar, who, one day, played a tune on the shepherd’s pipe. “Hearing his music distinctly repeated three times over, he got up in great terror, averring that the Devil was certainly in the place; that he had never before engaged with Satan, and he was determined he never would again; whereupon he broke his pipe in pieces, and could never afterwards be prevailed upon to play any more.” (OSA, Vol. VII, 1793, p. 282)

In the parish of Leuchars, County of Fife, it was reported that the fiddle was played to ease the suffering of people affected with St Vitus’ Dance (another name for Sydenham’s chorea). “It was not
regular music that gave relief, but the striking of certain strings, which the person under agitation, desired should be struck again. The effect was astonishing; the person affected, became quiet, sat down, and in a little, asked to be put to bed, but still called for the person to play, till the feelings that produced the agitation were abated.” (OSA, Vol. XVIII, 1796, p. 606)

Music as you work

Music was not only found in social settings. There are some mentions of people, especially fishermen, using the power of song and music to get them through their work. In Prestonpans, County of Haddington, it was reported that, at a particular time of year, fishing for oysters forms the principal occupation of a number of seafaring men. “Long before dawn, in the bleakest season of the year, their dredging song may be heard afar off, and, except when the wind is very turbulent, their music, which is not disagreeable, appears to be an accompaniment of labours that are by no means unsuccessful.” (NSA, Vol. II, 1845, p. 312)

In the parish of Latheron, County of Caithness, fishermen “engage in worship after shooting their nets. On these occasions a portion of a psalm is sung, followed with prayer, and the effect is represented as truly solemn and heart-stirring, as the melodious strains of the Gaelic music, carried along the surface of the waters, (several being similarly engaged), spread throughout the whole fleet.” (NSA, Vol. XV, 1845, p. 102) (We will look specifically at music and religion in our next post.)

Music may also improve the end product! Rutherglen, County of Lanark, “has long been famous for sour cakes. As the baking is wholly performed by the hand a great deal of noise is the consequence. The beats, however, are not irregular, nor destitute of an agreeable harmony, especially when they are accompanied with vocal music, which is frequently the case.” (NSA, Vol. VI, 1845, p. 384) It would be very interesting to see and hear the process, as well as taste the results.

The power of music

Looking at the references to music and dance in the Statistical Accounts you can see how much it pervaded every aspect of life from work to play. Music and dance may have changed in many ways since these parish reports, but the one constant is that they have the power to bring joy, to heal and to allow people to express themselves.

In the next post on Scotland’s dance and music we will look at examples of Scottish ballads found in the Statistical Accounts of Scotland and eminent musicians, especially musical families.