FROM THE LIBRARY OF 
 
 REV. LOUIS FITZGERALD BENSON, D. D. 
 
 BEQUEATHED BY HIM TO 
 
 THE LIBRARY OF 
 
 PRINCETON THEOLOGICAL SEMINARY 
 
 37^5 
 
The Scottish Mbtkical Psaltem of 1566. — 
 Mr A. Hughes Hughes writes as follows to the 
 ithenceum, : — The British Mnseum has recently 
 .oquired the contra-tenor part of this work, which 
 completes the set of four parts, and makes it now 
 possible to form an adequate idea of the original har- 
 monies set for the Scottish Psalter by David Peables, 
 Oanon of St Andrews, nearly three-quarters of a cen- 
 tury before the appearance of the harmonised Psalter 
 
 i of 1635. The other three parts were collected by the 
 late David Laing, from whose valuable library they 
 
 I passed, after his death, to that of the Edinburgh 
 University, which already possessed duplicates of 
 
 !. the treble and bass parts. All the volumes known to 
 exist are in the hand of Thomas Wode, formerly of 
 Dunbar, who was appointed in 1576 to the vicarage of 
 St Andrews, the original set of p-irts having been 
 written, as far as can be ascertained, in 156(5-9, and 
 the duplicate parts in 1575-8. A sapplementary 
 volume in Wode's hand, styled by him "FyftBuke 
 addit to the four Psalme Bukkis for Songis of four or 
 fyue Pairtis," was unearthed some years ago by Laing 
 in the library of Trinity CoDege, Dublin ; and part of 
 the contents of this supplement appear to have 
 been incorporated in the contra-tenor part-book, 
 being added at the end of the canticles. The diffi- 
 culty of assigning a date to the different volumes 
 arises in a great measure from a habit which Wode 
 had of addmg notes at a later period, as, for instance, 
 in the case of the present volume, where he writes 
 that a certain Psalm was harmonised by David 
 Peables (ob. 1579) at the instance of " my lord of 
 marohe," i.e., Robert Stewart, Prior of St Andrews, 
 who exchanged the earldom of Lennox for that of 
 March in 1582. The MS. in question may, however, 
 be said with tolerable certainty to have formed part of 
 the later set. Several leaves, including the first six, 
 are unfortunately wanting ; and portions of others — 
 one of which at least probably bore a date — have been 
 torn off, apparently for the sake of the very roughly- 
 executed illu.TQinations, which consist chiefly of flowers 
 and leaves in green and yellow, with a few representa- 
 tions of musical instruments. In the latter part of 
 Wode's MS. the treble and tenor clefs are occasionally 
 used. I'he pieces apparently p>eculiar to the contra- 
 tenor volume are " Quam multi Domine," by David 
 Peables, of which there are two copies, the second 
 bearing the date 1576 ; " Ane Singular Auld 
 Sang JUL Partis. . . When shall my sorrow ;" 
 a "Hosanna" from a mass, "O parsi sparsi," 
 and '* Eoco d' oro 1' et4" without words, by 
 Italian composers ; also Prince Edward's Pavan, the 
 Queen of England's Pavan, and another. At the 
 end of Wode's MS. is written — "Correctit according 
 to the copy that J bad ; as of all vther sangis zee haue 
 heir . , , the maist part hee beine sung of auld." 
 The remainder of the volume is in a later (early 
 seventeenth century) hand, the contents correspond- 
 ing with the pieces at the end of the other volumes of 
 the original set. The principal ones are : — " What is 
 a day or a month or a yeir," "Earth is but a poynt," 
 the "Plough-song" beginning "My heartie service 
 to yow my lord," and two Christmas pieces beginning 
 " All sons of Adam " and *' Tnp and goe hey." 
 
Digitized by the Internet Archive 
 
 in 2011 with funding from 
 
 Princeton Theological Seminary Library 
 
 http://www.archive.org/details/accountofscottisOOIain 
 
^C^ z.^ /42a5?>7^^;^E-<^>'L.^-,s^«^^ 
 
■ ' IN ACCOUNT 
 
 SCOTTISH PSALTEE OF A.D. 1566, 
 
 CONTAINING THE PSALMS, CANTICLES, AND HYMNS, 
 
 SET TO MUSIC IN FOUR PARTS, 
 
 MANUSCRIPTS OF THOMAS WODE OR WOOD, 
 
 VICAE OF SANCTANDKOUS. 
 
 DAVID LAING, Esq. 
 
 fOR. SEC. S.A. SCOT. 
 
 From the Proceedings of the Society of Antiquaries of Scotland, Vol. VII. 
 
 EDINBURGH: 
 PRINTED PY NEILL AND COMPANY. 
 
 MDCCCLXXI. 
 
 / 
 
AN ACCOUNT 
 
 OF THE 
 
 SCOTTISH PSALTER OF A.D. 1566. 
 
 [Apiul 13, 1868.] 
 
 In the "Illustrations" or Notes, which accompanied the re-issue, in 
 1839, of Johnson's " Scots Musical Museum," I attempted to give a 
 chronological list of the earlier collections of Scottish Music. Although 
 somewhat out of j^lace, I also brought forward a few detached notices 
 connected with the Church music of the Eeformation, when describing 
 the MS. Scottish Psalter, written and noted in four Parts by Thomas 
 Wode or Wood, in 1566, who styled himself Vicar of St Andrews. Of 
 these volumes, only two had been discovered, the one (supposed by 
 mistake to be the Contra-Tenor part) having been presented to the 
 Library of the University of Edinburgh in the year 1672, the other, the 
 Basstis, had come into my own possession. On the supposition that 
 these tunes were composed and harmonised for the special use of the 
 Chapel Eoyal, it seemed in the opinion of competent judges to be quite 
 hopeless from these two parts to ascertain the actual tunes or melodies. 
 More recently, a simple solution of this difficulty was suggested by tlie 
 editor of " The Scottish Metrical Psalter of a.d. 1635," who, after care- 
 fully examining the two manuscripts, says (p. 54) — " These volumes 
 precisely follow the course of the printed Psalms — the first verse accom- 
 panying each tune, and the melodies being obviously the same. The 
 Tenor volume, therefore, must have been merely a transcript of the tunes 
 in the early editions of the Psalter; and if the fourth part or Contra 
 could be found, the original harmony, as it stood seventy years earlier 
 than that ultimately printed (in 1635), would be ascertained." 
 
 The chance of discovering an additional volume of Wood's Manuscripts 
 seemed to be very unlikely ; notwithstanding that, many years before, 
 among the MSS. in the Library of Trinity College, Dublin, I came upon 
 
4 ACCOUNT OF THE SCOTTISH PSALTEU OF A.U. 15GG. 
 
 an unknown Fifth or Supplemental Volume to the Four books. It was 
 with surprise, therefore, that I observed in the catalogue of a sale by 
 auction at London, in May 18G7, two volumes, containing the " Trebbil 
 and Tennour," described at some lengtli, as " invaluable for the History 
 of Sacred Music in Scotland." I was, of course, desirous to secure these 
 volumes, and the commission I sent for them fortunately proved successful. 
 The recovery of these additional volumes I consider indeed to be a 
 matter of some importance, not merely for enablii:g us to form a correct 
 notion of the tunes and harmonies of the Psalter as contained in Wood's 
 Manuscripts, but from the light which his notes incidentally furnish 
 respecting the state of Sacred Music in Scotland at the time of the 
 Ke formation. 
 
 In the numerous editions of the Metrical Psalms printed for the use 
 of the Scottish Church, between 15G5 to 1G43, only the Church part, as 
 it was called, or the melody, was given on the Tenor cleff C, and not, as 
 now, on the Treble cleff G- ; leaving apparently the harmony to be supplied 
 at discretion, according to the skill of the several congregations. 
 
 On this head the following passage may also be quoted from Dr E. 
 F. Eimbault's Introduction to Este's Psalter of 1592, reprinted for the 
 Musical Antiquarian Society, in 1844. 
 
 " There is a peculiarity in the mode of harmonising the Church tunes 
 in the sixteenth and early part of the following century wliich requires 
 notice. The melody or 'plain song,' as it is sometimes called, is given 
 to the Tenor voice, and not, as in the generality of modern music, to the 
 Treble. This mode of arrangement was derived from tlie Romish Church, 
 where the Ganto-fermo or plain song is to this day sung by men's voices. 
 It was, no doubt, intended that the congregation should sing the tune 
 (which from its pitch and compass would suit any kind of voice), and 
 
 that the accompanying parts should be sung by a choir of voices 
 
 The Cantus or upper part is the work of the arranger, whilst the Tenor 
 (or line above the Bass, for it is sometimes \vritten in the Alio cleff) is 
 invariably that of the melody or 'old church-tune.' " 
 
 The later English Psalter of Ravenscroft may also be noticed : — " The 
 whole Booke of Psalmes, with the Hymnes, Evangelicall, and Songs 
 Spirituall: Composed into 4 parts. Newly corrected. By Tho. Ravens- 
 
ACCOUNT OF THE SCOTTISH PSALTER OF A.L). 15()H. 
 
 croft." It was first published in 1621, 8vo. The four parts are named 
 Cmitiis, Medius, Tenor or Playu Song, and Bassus. Prefixed is " An 
 index of such Names of the Tunes of the Psalmes, usually sung in 
 Cathedrall Churches, Colegiats, Chappels, &c. As also, the forraigne 
 Tunes usually sung in Great Brittaine." 
 
 The names are given under the heads of English Tunes, Northerne 
 Tunes, Scottish Tunes, Welch Tunes, &c. The Scottish Tunes given by 
 Kavenscroft, are as follows : — 
 
 
 Psalmes. 
 
 
 Psalmes 
 
 Abby, . 
 
 34, 88 
 
 Glascow, 
 
 37, 91 
 
 Dukes, 
 
 33, 87 
 
 Kings, 
 
 32, 86 
 
 Dunferraeling, 
 
 35, 89 
 
 Martyrs, 
 
 . 39, 92, 99, 118 
 
 Dundy, 
 
 36, 90 
 
 
 
 The edition of the Psalms, j)rinted at Edinburgh in 1635, is a memorable 
 exception to those of an earlier date, as it contains all the four Parts, 
 iskilfully arranged, and piofessing to be derived from tlie best sources, by 
 an unknown editor who signs his name "E. M." His words are, "I 
 acknowledge sincerely the whole compositions of the parts to belong to 
 the primest musicians that ever this kingdome had, as John Deane, 
 Angus, Blackball, Smith, Peebles, Sharp, Black, Bucuan, and others, 
 famous for their skill in this kind. I would be most unwilling to wrong 
 such shyning-lights of this Art, by obscuring their Names, and arrogat- 
 ing anytliing to niyselfe, which any wayes might derogate from them," 
 &c. I was afterwards (in 1853) able to show that this ardent lover 
 of sacred music was Edward Miller, A.M., who resided in Eilinburgh, as 
 a teacher of music, and who was one of the prebendaries of the Chapel 
 Boyal. 
 
 Four years ago this edition of 1635 was republished in a large and 
 handsome form, accompanied with very copious illustrations, under tlie 
 following title : — 
 
 " The Scottish IMetrical Psalter of a.b. 1635, Eeprinted from the 
 original work ; the Additional matter and various Eeadings found in the 
 editions of 1565, &c. being appended, and the whole illustrated by Dis- 
 sertations, Notes, and Facsimiles. Edited by the Bev. Neil Livingston. 
 Glasgow, 1864. Folio. 
 
6 ACCOUNT OF THE SCOTTISH PSALTER OF A.D. 1566. 
 
 Having succeeded in bringing together and re-uniting these MSS. 
 volumes by Wood, after tliey had been separated for upwards of two 
 Centuries, I thought it might be wortliy of the attention of the Society, 
 while exhibiting the originals, to furnish a brief description of them, 
 and to extract tlie characteristic notes by the zealous compiler. 
 There is, indeed, one point on whicli I am not competent to give any 
 oi)inion, viz.. Whether the existing Harmonies might display such musical 
 skill or genius as to warratit any scheme of printing in score a limited 
 number of copies for subscribers. Should this communication be printed 
 in the Society's Proceedings, I propose, at least, to introduce a few 
 pages in facsimile, and also the tunes of two or three Psalms in the 
 different parts, by way of specimen, from which some conclusion in 
 regard to the harmony may be deduced. Wood himself gives no unhesi- 
 tating commendation of their value, when he says, to any one having 
 but a reasonable knowledge of music, these books " were woiih their 
 weight in gold." 
 
 In regard to tliis set of Psalm-tunes, it is now evident that while the 
 melody or tune, as well as the words, were supplied from the earliest 
 printed edition of what is called the G-eneva Psalter (or, still more 
 erroneously, Knox's Psalms and Liturgy), these tunes were harmonised 
 by David Peebles, one of the canons of St Andrews, acting upon a 
 desire expressed by Lord James Stewart, then Prior of St Andrews, 
 who was created Earl of Murray, and became Regent of Scotland. His 
 instructions were to avoid the intricacies or "curiosity" of musical 
 composition, and to adopt a plain and sweet style best suited for general 
 use. The importance of congregational singing in public worship 
 cannot be over-estimated, and the effects of a multitude of voices so 
 employed is very striking. In this desire to have the ordinary Psalm 
 Tunes accompanied with simple and easy harmonies, Lord James may 
 have been influenced by what he himself had witnessed among the 
 French Huguenots and in other Protestant Churches abroad. But 
 Wood insinuates that "the Chanon " of St Andrews was by no means 
 very earnest in the matter, and that it was mainly owing to his own 
 continued and persevering solicitations that the task was at length 
 happily completed. 
 
ACCOUNT OF THE SCOTTISH PSALTER OF A.D. ISGCi. 7 
 
 VOLUME FIRST.— Tknor. 
 
 This volume has a rude drawing, as a frontispiece, of an elderly man 
 iu a long gown, holding an open music book in his left hand, and a 
 clarionet in his right. (See facsimile.) Over his head is written 
 " Tennour," and in a scroll these lines — 
 
 " It uiay be knawin be my hewinly hew 
 I am ane Man of mekill modestie, 
 And thairfor syngis my Part with uotis most trew, 
 As it efferis vnto my facultie." 
 
 The number of tunes is one hundred and two — the remaining psalms 
 in the printed copies being directed to be sung to one or other of these 
 tunes. 
 
 In the MS. " Heere endes the Psalmes, set furtli in iiij partes, con- 
 forme to the Tennour of the Buke in 1566 (and followeth certan Canticles; 
 and first Veni Creator, &c.), be ane honorable and singulare cunning 
 [skilful] man Dauid Pables in Sanctandrous, and noted and wreaten be 
 me Thomas Wode." 
 
 Towards the end of the volume is the following explanatory note, 
 written after the Eegent's death, in February 1569-70 : — 
 
 " I HAUE thought gude to make it knawin wha sett the thre pairtes to 
 and agreable to the Tenor, or common pairt of the Psalme buke : the 
 Mess and the Papisticall seruice abolished, and the preaching of the 
 Euangell stablisit heir, into Sanct Androus, my Lord Jamis (wha efter 
 wes Erie of Murray and Regent) being at the Reformation, Pryour of 
 Sanct Androus, causes ane of his Channons, to name Dauid Pables, 
 being ane of the cheiff Musitians into this land, to set three pairtes to 
 the Tenor; and my Lord commandit the said Dauid to leave the curiosity 
 of musike, and sa to make plaine and dulce, and sa he lies done : hot the 
 said Dauid he wes not earnest ; hot I being cum to this Toune, to remaine, 
 I was euer requesting and solisting till thay wer all set ; and the Can- 
 ticles (like as Veni Creator, the Savg of Amhrose, the Sang of Mary, &c.) 
 I oft did wreat to Maister Andro Blakehall, to Jhone Angus, and sum 
 Andro Kempe set, sa I notit tenors, and send sum to Mussilbrough, and 
 sum to Dunfarmling, and sa wer done : God grant wee use them all to 
 
8 ACCOUNT OF THE SCOTTISH PSALTER OF A.D. 1566. 
 
 his glory ! — notwithstanding of this trauell I have taken, I cannot under- 
 stand hot Musike sail pereishe in this land alutterlye and the mair . . . 
 [some words cut off]. To ane great man that hes bot ane resonable 
 gripe of musike thir Fyue Tkikes wer worthy thair wayght of gould." 
 
 VOLUME SECOND.— Treulk. 
 
 This volume has also a frontispiece, by Wood, of a young man in a 
 green dress, holding in his right hand a large music book, and pointing 
 with his left to the word " Tribbill" (see facsimile) : and higher up the 
 following lines in a scroll : — 
 
 " My glistring collowr glorius and grene 
 
 Betaknis Youth, with glaid and mirry hart 
 Wliilk euer dois with courage frome the spleine, 
 But preice or paiue witli pleisour syng my Part." 
 
 VOLUME THIRD.— Contra Tknor. 
 
 This volume has not been recovered. The one in the College Library, 
 which was so called, has proved, upon comparison, to be a duplicate cojiy 
 of the above volume, containing the Treble. It has no frontispiece. 
 
 Near the end of the original volume Second, Wood thus explains his 
 object in undertaking the task of writing a duplicate set of the Four 
 Parts ; and it may render his statement more intelligible by noticing 
 that a portion of the Psalms, begun by Sternhold and enlarged by 
 Hopkins, and the English exiles, was printed with the music at G-eneva 
 in 1556. Three years later the number of the Psalms was extended to 
 eighty-nine; and the complete version, as received by the Scottish 
 Church, was first printed at Edinburgh in 1565. 
 
 " TniR bukis I begouth in the zeir of God J"' V*^ Ixij [1562] zeiris, 
 and I rewlit, and was in purpose to haue first wreatin the first vearce of 
 euerilk Psalme that hes ane tune : and sum that knew this my purpose 
 and preparation, desyrit me to stay a quhyle, for the hcall Psalmis wes 
 printit in Greneua and wer to cum heame shortly, and so I held my hand 
 till the heall Psalmis com hame, and I wreat the first vearce of euerilke 
 Psalme that had ane tune put to it ; and in lyk mnner the Canticles and 
 
ACCOUNT OF THE SCOTTISH PSALTER OF A.D. 1566. 9 
 
 euer as I obteinit ony to be set, did put tliem in heir till I had gottin 
 them all. Efter this four or fyve zeiris I tuk uther tlirescore throwglus 
 of liimbert paper and x or xii, and wreat all thir Psalmis and Canticles 
 and notit them better and farer nor thay ar heir, and thay lyand besyde 
 me thir mony zeiris unhand, for layke of the Kynges armis drawing be 
 maister Jhone Greddy; and seing that maister Jlione furgettis and hes 
 put me sa lang in houpe I purpose God willing to cause bind theme sa 
 shortly as I may." 
 
 At the end of the original volume of the Treble is the Canticle Si quis 
 diliget me, "set be Dauid Fables in Four partis in the year of Grod 15ij0, 
 or thairby; and ane noueice callit Francy Heagy, and was this Dauid 
 Fables awin dissyple, set the Fyft pairt, a lytill before Finky [1547] 
 and that uerray weell." 
 
 In the notes that follow, Wood has given a very interesting notice re- 
 garding the musical t^kill of King James tlje Fifth. He says — 
 
 " Now zee knaw that this is the Fyft^pairt [of Si quis diliget] maid to 
 the Four, as Dauid Fables first set it, and presentit the sam to Kyng 
 Jamis the Fyft, quha wes ane musitian himselif ; he had ane singular 
 gud eir, and culd sing that he had neuer seine before, hot his voyce wes 
 rawky and harske. I have said, in ane of thir bukis that Musik will 
 pereishe, and this buke will shaw zou sum resons quhy: We se be expe- 
 riance, that craft nor syence is not learnit hot to the end he may leiue be 
 it quhen he has the craft or science ; and if Doctor Farfax wer alyue in 
 this cuntry he wald be contemnit, and pereise for layk of mentinance ; 
 and sa of neid force it man dikeay." 
 
 Kobert Fairfax, here mentioned, was an eminent English composer 
 during the reigns of Henry the Seventh and Henry the Eighth. He was 
 of a Yorkshire family, and took the degree of Mus D. in the University of 
 Cambridge in the year 1504, and was incorporated at Oxford in 1511. 
 His MS. collection of the most ancient English songs, to which music 
 has been preserved, is well known to musical antiquarians. He was 
 organist of the Abbey Church of St Alban's, wliere he lies interred.^ 
 
 1 Hawkins's History of Music, vol. ii. p. 539; Burney's Hist. vol. ii. p. 515 
 Cooper's Atheii?e Cantabrigienses, vfil. i. p. 15. 
 
10 ACCOUNT OF THE BfOTTISH PSALTKIl OF A.U. 1506. 
 
 VOLUME FOUKTH — The Bassos. 
 
 In this volume, which is fully described in the Introduction to 
 Johnson's "Musical Museum," p. xxviii., there is no frontispiece. Mr 
 Stenhouse also mentions the volume in his Notes to that work, wliich 
 although printed in 1820, remained unpublished till 1S39. The MS. 
 then belonged to the late Mr Blackwood, who obtained it from a sale 
 by auction in Dublin ; and after his decease, when a portion of his 
 own stock was sold off in Edinburgh, I was fortunate enough to secure it. 
 In that Introduction, at page Ixxxi., I referred to a duplicate volume 
 wanting some leaves at the beginning and end, which had also fallen 
 into my hands about the same time from the late Mr Constable's collec- 
 tion, but having lent the volume for the purpose of sending to England, 
 it was for several years supposed to be lost ; but was recovered not many 
 months ago, and restored to myself as its owner. Like the one in 
 the College Lilirary, it i)roved, upon comparison, to be a volume of the 
 Duplicate set which Wood had copied on what he calls lumbard paper. 
 At the end of Psalm 23 is written " Thir four buikkis wes only pennit 
 by me Thomas Wod Vicar of Sanct Androus, four zeiris laubours. 
 Thomas AVod Vicar of Sanctandrous, 1578." As it was of no importance 
 to me for completing the original set, I transferred the MS. to that 
 Library, to stand alongside of its companion. 
 
 Of the early history of Thomas Wode or Wood, Vicar of St Andrews, we 
 have no certain information. His own words show that in 15G2, he had 
 joined the Reformers, and had commenced liis labours on the music 
 adapted to the metrical Psalms, and that in the course of four years 
 his work in four books had been completed. Not being aware of any 
 difference in date of the duplicate volumes, or that his explanatory notes 
 were added at various times, I fell into the common mistake of suppos- 
 ing him to have held the office of Vicar for some years previous to 1566. 
 At that period it was not unusual for one person to hold an office, 
 while another enjoyed the teinds or emoluments; but the office itself 
 of Vicar ceased to be recognised in the Presbyterian Church, although 
 the vicarage teinds were assigned by special grant from the Crown as 
 a stipend to ]\finisters or Readers. There is little doubt that Wood 
 
ACCOUNT OF THE SCOTTISH PSALTER OF A.D. 1566. 11 
 
 acted as Keader in one or other of the churches in Fife before he obtained 
 a special grant of the Vicarage of St Andrews in 1576, by virtue of 
 whicli he assumed the title Yicar of St Andrews.^ During a vacancy 
 at St Andrews, in the Eegister of the Thirds of Benefices for 1574, the 
 stipend is entered as being " The haill fruites of the vicarage, vacand 
 be deceis of umquhill Mr Adam Hariot" [minister of Aberdeen, who 
 died in 1574]. From the Eegister of the Privy Seal, we further learn, 
 that on the 21st March 1575-6, Thomas AVood having obtained from 
 " My Lord Regentis G-race a presentation to the vicarage of Sanct Androis, 
 Mr John Wynrame, superintendent of Fyfe, was charged to admit him 
 to the said vicarage."^ Wood not having taken his degree of A.M. at the 
 University, he cannot be identified with " 3Iaister Thomas Wood," 
 reader at Largo in 1574, who became minister of Carnbee in 1576.^ 
 
 VOLUME FIFTH, or Supplement. 
 
 This volume, preserved among the MSS. in Trinity Cullege Library, 
 Dublin, has already been mentioned. It is a thin volume, pp. 112, 
 besides the Tables, lettered " Airs and Sonnets." It has no ornamental 
 capital letters, but on the first page is a small unfinished sketch of a 
 knight on horseback. But Wood's portion extends only to page 33. 
 Tlie title he gives it is as follows : — 
 
 " This is the Fyft Buke, addit to the four Psalme Bukkis, for Songis of 
 four or fyue Pairtis, meit and apt for Musitians to recreat thair spirittis 
 when as they shall be ouercum with heuines or any kynd of sadnes, not 
 only Musitians, but also euiu to the ignorant of a gentle nature, hearing 
 shal be conforted, and be mirry with us. 1569," 
 
 The volumes of the original set, consisting of the Four Books and 
 of this Supplement, after Wood's death, appear to have come into the 
 possession of some person fond of music, who has inserted on the bhmk 
 leaves at the end of each of the parts, a number of secular airs. They 
 
 1 See Fasti Ecclesise Scoticanse, by the Kev, Hew Scott, D.D., vol. ii. p. 421. 
 
 2 This grant of the vicarage teinds was for life, and Wood survived probably till 
 the close of the sixteenth century. One of his marginal notes has the date 1592. 
 
 •* Scott's Fasti Eccl. Scotican?p. vol. ii. p. 411. 
 
12 ACCOUNT OF THE SCOTTISH PSALTKK OK A.l). 150(1. 
 
 are written in a neat small hand, which I have not been able to identify.' 
 Stenhonse, in his Notes in one or two places, has referred to these Airs 
 contained in the Bassus volume, as if they had actually been written by 
 Wood in loGG. IMost of the words and tunes are evidently copied from 
 English collections of a later date, and I should imagine the hand to be 
 not earlier than the year 1G2(). 
 
 The admirable facsimiles of the Manuscripts given to illustrate these 
 notices have been executed by Mr Gibb of Aberdeen, a fellow of the 
 Society of Antiquaries. They consist of the two frontispieces, with the 
 opposite pages containing the Tenor and Treble of Psalm First; and 
 the Eassus of the same Psalm ; portions of Psalm cxxxvii., " By the 
 rivers of Babylon," with the ornamented borders from two of the MSS. 
 whicli represent various musical instruments. Also the colophon; and on 
 separate pages, Psalms c, cxxiv., cxxxvii., nnd cxlix., in three parts are 
 brought together with the music (but not as facsimiles), to furnish the 
 reader with the means of ascertaining the tune and harmony. 
 
 Subjoined to the Psalms are several Canticles or Church Hymns, much 
 the same as those which accompany the older editions of the English 
 Psalm Books of Sternhold and Hopkins, set in four or five parts. The 
 titles and first words with the names of the several composers may be 
 a<lded as given by Wood, without repeating the minute particulars regard- 
 ing their history, in the Introduction to the "Scots Musical Museum." 
 
 De.\n John Angus, one of the conventual brethren of the Abbey of Dun- 
 fermline, was born about the year 1515. I have his signature in some 
 deeds relating to the property of the Abbey Church, in 1543, &c. 
 Having joined the Protestants, at a later period, he obtained a pension, 
 and also a living connected with the Chapel Royal of Stirling. Wood 
 speaks of him in affectionate terms as "gude Angus," " gude and meike 
 .lohn Angus." He died before the 2d of March 159G-7. 
 
 ' It is curious that four of tliese volumes should have cast up in Ireland. The 
 Bassus came, as already stated, from a sale in Dublin ; the Supplement is in Trinity 
 College Library there ; and the other two recently acquired had belonged (I was 
 informed) to a deceased Irish clergyman, who held tlie office of Vicar-Choral of St 
 Canice Cathedral. Kilkenny. Tin' niistiiii;; volume, therefore, may be still existing 
 in Ireland. 
 
ACCOUNT OF THE SCOTTISH PSALTEK OF A.D. 1566. 13 
 
 Mr Anduew Blackhall, at the time of the Eeformation, was a Canon 
 of the Abbey of Holyrood House. He became one of the Protestant 
 ministers, and was first settled at Ormiston, in East Lothian, in 1567. 
 In 1574, he was translated to the large and important parish of luveresk 
 or Musselburgh, where he continued till his death on the 31st January 
 1609. When the old church at Inveresk was pulled down and rebuilt 
 in 1806 there was fixed on the outer wall, near the south porch, a large 
 slab, with an inscription to the memory of the Kev. John Williamson, 
 who died in 1740. At the top of tins slab it is recorded that his prede- 
 cessor, Blackhall, was aged 73 when he died on 31st January 1609. 
 There is probably a mistake of ten years in regard to his age, as other- 
 wise, in October 1593, he would only have been 57, when he applied to 
 the Synod, "^n respect of his age and the greatness of the congregation," 
 for a lielper or a second minister to the parish. 
 
 Sir John Futhie, a priest, celebrated as an organist, returned to Scot- 
 land in 1532. In his Fifth book, Wood says that he was still living 
 in 1592, when he must have attained a very advanced age. " God 
 ahufe, &c., in iiij pairtis, composit be Sir Jhone Futhy, bayth letter and 
 note. This man wes the first Organeist that euer brought in Scotland 
 the curius new fingering and playing on Organs, and yit it is mair nor 
 threscore yeiris since he com hame : This is wreatin J" v^ fourscore and 
 xij [1592]." 
 
 Francis Heaqie is mentioned by Wood as a •' disciple of David 
 Peblis." See Supra. 
 
 Egbert Johnson was " ane Scottis priest born in Dunse," who fled, 
 before the Eeformation, to England, having been accused of heresy. 
 
 Andrew Kemp was master of the Sang or Music School at Aberdeen 
 in 1570. To one of the additional airs, Wood adds, — '' Quod Kemp, and 
 noted (written) be his awin hand, and not myne." 
 
 James Lawder, a chaplain in the Collegiate Church of St G-iles, Edin- 
 burgh, in 1552-53. In Wood's MS. he has inserted a tune with the title 
 of "My Lord Marche's Paven " (a name given to a grave and stately 
 dance), set by Lawder in 1584. 
 
 David Peblis, one of the conventual brethren of the Abbey Church of 
 St Andrews, died in December 1579. Wood calls him "ane of., the 
 principal musicians in all this land, in his tyme. This sang [Si quis 
 
14 ACCOUNT OF THE SCOTTISH PSALTER OF \.l). 156C. 
 
 diligit me in V pairtis] wes set about the zeir of God I'" v' xxx. [1530] 
 zeiris." From Wooers statement, already given, we learn that most of the 
 Psalm tunes in these MS. volumes were harmonised at the instigation 
 of the Earl of Murray, then Prior of St Andrews, and afterwards Regent. 
 
 LIST OF HYMNS AND CANTICLES IN WOOD'S MSS. 
 
 1. Veni Creator Spiritus. — Kemp. 
 
 " Cum holy Ghost, eternall God."' 
 
 2. The humble Sute of a Synnar. — Blackhali.. 
 
 " Lord of whom I do depend." 
 
 3. Tiie Song of Ambrose. — Kemp. 
 
 " We praise thee, God, we knowledge thee." 
 
 4r. The Song of the Thre Childring. — Angus. 
 
 " 0, all ye workes of God the Lord, bless ye the Lord. 
 
 5. The Song of Zacharias. — Angus, 
 
 •' The onlye Lord of Israeli, Le praised evermore."' 
 
 6. The Sang of the blissit Virgin. — Angus. 
 
 " My soule doth magnifie the Lord." 
 
 7. The Sang of Simeon callit Nunc dimittis. — Angus. 
 
 " Lord, because my hartes desyre." 
 
 8. The SimboU or Creide of Athanasius. — Angus. 
 
 •' What man soeuer he be Saluation will attaine." 
 
 9. The Lamentation of a Sinnar. 
 
 " O Lord, turne not away thy face." 
 
 10. The Lord's Prayar. 
 
 " Oor Father which in heauen art." 
 
 11. The Ten Commands. 
 
 " Harke Israeli, and what I say." 
 
 12. The Complaint of ane Sinnar. —Kemp. 
 
 '• Where righteousnes doth say, Lord." 
 
ACCOUNT OF THE SCOTTISH PSALTER OF A.D. 15GG. 15 
 
 13. The Ten Comnicands. — Angus. 
 
 "Attend my people, and giue eare." 
 
 14. The Sang of Simeon. — Angus. 
 
 " Now suffer me, Lord." 
 
 15. The Lordis Prayer. (Another version.) — Angus. 
 
 " Our Father which in heauen art, 
 And makst us all one brotherhood." 
 
 J 6. The xii Articles of our BeleifF. — Angus. 
 " All my beleif and confidence." 
 
 17. Da pacem Domine. — Angus. 
 
 " Giue peace in these our dayes, Lord." 
 
 18. Eobher [Eobert] Wisdome; rather call this a Praj'^er. — Blackuall 
 
 " Preserue vs Lord by thy dere worde." 
 
 " Folloueth sertan G-odlye Songs, perfitly set in iiii pairtis and singular 
 gude musike, which I haue put in heir amongs the rest, and first, Te 
 Deum, Laudamus in prose, set by Andro Kempt, 1566. — Wreattin and 
 notit be me Thomas Wod, vicar of Sanct Androus." 
 
 19. The Sang of Ambrose and of Augusteine. In iv. pairtes.- — Kemp. 
 
 Te Deum, &c. — " We praise thee, God," &c. 
 
 20. Psalm CI. Voluntarie. In v. pairtes. Quod M. Andro Blackuall, 
 M.V". lx\'j. (corrected in one MS. to 1568). 
 
 '• Of raercye and of judgement bothe." 
 
 21. Psalm CXXVIII. Voluntarie. In v. pairtes. — Blackball. 
 
 " Blissed art thou that fearis God." 
 
 The contents of Wood's portion of this Supplemental A^olume — 
 
 Dublin MS.— may be specified — 
 
 Page 1. CI. Psalme v. pairtis he M. A. Blakhall, (the secund tribble) 
 Of mercy and of judgement. Finis quod maister Andro Blakhall in 
 Halyrude hous (now Minister of Musselbrugh) 1569, gififin in propyne 
 to the Kitig. 
 
16 ACCOUNT OF TIIK .S(,'(JTTISH J'SALTEli OV A.D. 1566. 
 
 Page 5. Aspice Domine, in v. pairtis. (juod ane Italian. 
 
 Page 7. Psalnie cxxviii set & send bo Blakliall to my L. Mar at his 
 
 first niiiriadge with my L. of Angus' Sister, begins Blessed art thou 
 
 thatfearest God. v pairtis. quod BLikhall. 
 Page 11. God abufe, (fee. in iiij pairtis composit be Shir Jhone 
 
 Filthy bayth letter and not, &c. (See Supra.) 
 Page 13. Donune in virtute tua letabitur Bex. v pairtis set in Ingland 
 
 be ane baneist Scottis preist. At the end Wood had written, 
 
 " Quod ane Inglisbeman & as I have heard, he was blind quhen he 
 
 set it." (This is erased, and on the margin is added) " This was set 
 
 in Ingland be ane Scottis Preist baneist." 
 Page 18. Ovmes Genies attendite. v pairtis set in Ingland. 
 Page 19. Deus miseriatur nostri. iiij pairtis, at the end, Inglishe 
 
 Thomas Wod Vicar of Sauct Androis wyth my hand. 
 Page 22. Judge and revenge my cause Lord, xliii psalme. v pairtis 
 
 Blakhall. 
 Page 25. ffollowis sertain sangis vpon plaine sang of dyvers men and 
 
 to singular gude musike, iiij pairtis, plaine sang and all. 
 
 In nomine. Quod Talis iiij pairtis. 
 Page 26. Ane uther sang callit In nomine, iij pairtis upon the plain 
 
 sang. 
 Page 28. Qui Consolahitur. v pairtis. (On the margin) I layk ane pairt. 
 Page 29. Si quis diligit me. v pairtis. (At the end) Quod Dauid Pables 
 
 suratyme ane Chanone in the Abbay of Sanct Androus ane of the 
 
 principall mussitians in all this land in his tyme : this sang wes set 
 
 about the zeir of GTod 1*" v*^ xxx [1530] zeirs. 
 Page 30. Descendi in hortum meum. 4 pairtis. quod (name blank). 
 Page 31. Susane vnioure, Italian, v pairtis. 
 Page 32. foUowis ane mirry sang, iiij pairtis, callit Vviour, finis, corrcctit. 
 
 (Wood's part of the MS. ends at p. 33.) 
 
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