ciary: On the 25th of June, 1557, Robert Scott, in Bowhill parish, priest of the kirk of St Mary's, accused of the convocation of the Queen's lieges, to the number of 200 persons, in warlike array, with jacks, helmets, and other weapons, and marching to the chapel of St Mary of the Lowes, for the slaughter of Sir Peter Cranstoun, out of ancient feud and malice prepense, and of breaking the doors of the said kirk, is repledged by the archbishop of Glasgow. The bail given by Robert Scott of Allenhaugh, Adam Scott of Burnefute, Robert Scott in Howfurde, Walter Scott in Todshawhaugh, Walter Scott younger of Synton, Thomas Scott of Hayning, Robert Scott, William Scott, and James Scott, brothers of the said Walter Scott, Walter Scott in the Woll, and Walter Scott, son of William Scott of Harden, and James Wemyss in Eckford, all accused of the same crime, is declared to be forfeited. On the same day, Walter Scott of Synton, and Walter Chisholme of Chisholme, and William Scott of Harden, became bound, jointly and severally, that Sir Peter Cranstoun, and his kindred and servants, should receive no injury from them in future. At the same time, Patrick Murray of Fallohill, Alexander Stuart, uncle to the laird of Trakwhare, John Murray of Newhall, John Fairlye, residing in Selkirk, George Tait, younger of Pirn, John Pennycuke of Pennycuke, James Ramsay of Cokpen, the laird of Fassyde, and the laird of Henderstoune, were all severally fined for not attending as jurors; being probably either in alliance with the accused parties, or dreading their vengeance. Upon the 20th of July following, Scott of Synton, Chisholme of Chisholme, Scott of Harden, Scott of Howpaslie, Scott of Burnfute, with many others, are ordered to appear at next calling, under the pains of treason. But no farther procedure seems to have taken place. It is said, that, upon this rising, the kirk of St Mary was burned by the Scotts. called Hair, used this parish for a very long time."-Account of Parish of Ewes, apud Macfarlanes' MSS. Note III. It had much of glamour might.-P. 79. Glamour, in the legends of Scottish superstition, means the magic power of imposing on the eye-sight of the spectators, so that the appearance of an object shall be totally different from the reality. The transformation of Michael Scott by the Witch of Falsehope, already mentioned, was a genuine, operation of glamour. To a similar charm the ballad of Johnny Fa' imputes the fascination of the lovely Countess, who eloped with that sypsey leader: Sae soon as they saw her weel far'd face, In 1881, when the Duke It was formerly used even in war. of Anjou lay before a strong castle, upon the coast of Naples, a necromancer offered to "make the ayre so thycke, that they within shal thynke that there is a great bridge on the see (by which the castle was surrounded,) for ten men to go a front; and whan they within the castle se this bridge, they wil be so afrayde, that they shall yelde them to your mercy. The Duke demanded-Fayre Master, on this bridge that ye speke of, may our people assuredly go thereon to the castell to assayle it? Syr, quod the enchantour, I dare not assure you that; for if any that passeth on the bridge make the signe of the crosse on hym, all shall go to noughte, and they that be on the bridge shall fall into the see. Then the Duke began to laugh; and a certain of young knightes, that were there present, said, Syr, for godsake, let the mayster essay his cunning; we shal leve making of any signe of the crosse on us for that tyme." The Earl of Savoy, shortly after, entered the tent, and recognized in the enchanter, the same person who had put the castle into the power of Sir Charles de la Payx, who then held it, by persuading the garrison of the Queen of Naples, through magical deception, that the sea was coming over the walls. The sage avowed the feat, and added, that he was the man in the world most dreaded by Sir Charles de la Payx. "By my fayth, quod the Erl of Savoy, ye say well; and I will that Syr Charles de la Payx shall know that he hath gret wronge to fear you. But I shall assure him of you; for ye shall never do enchauntment to deceyve hym, nor yet none other. I wolde nat that in tyme to come we shulde be reproached that in so high an enterprise as we be in, wherein there be so many noble knyghtes and squyers assembled, that we shulde do any thyng be enchauntment, nor that we shulde wyn our enemys by suche crafte. Than he called to him a servaunt, and sayd, Go and get a hangman, and let him stryke of this mayster's heed without delay; and as sone as the Erle had commaunded it, incontynent it was done, for his heed was S stryken of before the Erle's tent."-FROISSART, Vol. I. ch. 391, 392. The art of glamour, or other fascination, was anciently a principal part of the skill of the jongleur, or juggler, whose tricks formed much of the amusement of a Gothic castle. Some instances of this art may be found in the Minstrelsy of the Scottish Border, vol. III. p. 119. In a strange allegorical poem, called the Houlat, written by a dependant of the house of Douglas, about 1452-3, the jay, in an assembly of birds, plays the part of the juggler. His feats of glamour are thus described: He gart them see, as it semyt, in samyn houre, Bot a black bunwede; He could of a henis hede, Make a man mes. He gart the Emproure trow, and trewlye behald, A lang spere of a bittile for a berne bald, |