dom as possessing considerable interest for students of psalmody, the Danish "Psalmebog" of Berggreen, 1853; Hurlebusch's Dutch "Psalmen," 1766; Umbreit's "Allgemeines Choral-Buch," 1811; "I Sacri Salmi di David messi in rime volgari Italiane," 1664; the Rouman collections of Grass, 1683, and Gonzenbach, 1733; Marot and Beza's versions (French), numerous editions from 1560; the Bohemian edition of Streyce, 1618, and many others of no less interest though more generally known, and in consequence less requiring notice.

In addition to the psalters and collections of sacred music above described, there are a number of hymnaries, liturgical works, and other books connected with the church service, which the lack of proper facilities for examination prevents our describing in detail. They are, however, old and rare works, worthy of a better fate than is reserved for them in the catalogue of the Euing Library, where they are jumbled together at the end in a chaotic manner which reflects little credit on the compiler.

The richness and variety of the department of secular vocal music would require more than double the space at our disposal to be adequately treated. Among the older works are John Abell's "Collection of Songs in Several Languages," London, 1701. This is one of several such compilations by the same eminent vocalist, and is a somewhat rare book. A collection of the madrigals of Arcadelt of 1543 is another rare book. Playford's "Banquet of Musick," 6 books, 1688-92, is a valuable collection of songs, now becoming very scarce, and in a sense a standard work from which many later compilers have borrowed. Byrd's Songs of Sundrie Natures, some of Gravitie and others of Myrth," 1589, is a quaint and delightful specimen of a fine old master, whose "Psalms" has been formerly noticed. It is a very rare work, as, indeed, are all of the 16th century publications, and its

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merits are as high as its market value. Carey's "Musical Century," 2 volumes, 1737-40, is a collection of ballads of much importance, and a collection of "Choice Songs and Ayres" of date 1673 may be named as equally valuable. Among other rare collections may be named "Clio and Euterpe," 1762; "Comes Amoris," Lond., n.d.; "Delicia Musica," 1695-6; Arnold's "Essex Harmony," 1774; Faber's "Melodiæ Prudentianæ," 1533; Forbes' "Cantus, Songs, and Fancies," third edition, Aberdeen, 1682; Hilton's "Catch that Catch Can," 1652; "Mercurius Musicus," 1699-1701; "Parthenia, or the Maidenhead of the first Musick that ever was printed for the Virginals," composed by three famous master, William Byrd, Dr. John Bull, and Orlando Gibbons, 1655. In this book the difficulties invented by the older English writers of instrumental music are made fully apparent. Playford's "Musical Companion," 1673, is a good collection of old catches, glees, airs, etc. The "Theatre of Music," 4 volumes, 1685-87, contains many beautiful airs to the words of contemporary poets. The everfamous Tom D'Urfey is represented by a reprint of his "Pills to Purge Melancholy," and by "Choice New Songs," 1684. "Musica Transalpina," a collection of Italian madrigals published by Nicholas Yonge, 1588-97, is a scarce and scarce and highly valuable work, the words of which are reprinted in Oliphant's "Musa Madrigalesca," 1837. Though the collections just named are valuable in many respects, the works by individual composers must be held to have a greater interest, and perhaps a greater value. We can only name Arne, Banister, Blow, Caccini, Corkine, Croft, Eccles, Este, Ford, Gamble, Gesualdo, Gibbons, Giovanelli, Greene, Greeting, Jones, Kapsberger, King, Lawes, Pilkington, Porpora, Purcell, Ravenscroft, Ward. Weelkes, Willbye, and Wilson. Most of those just named are madrigal writers celebrated in musical history, and whose works are still as fresh as

when first penned. The operatic section is represented by most of the great names connected with the musical drama, and comprises works by Arne, Auber, Beethoven, Bellini, Benedict, Bishop, Boieldieu, Boyce, Campra, Cherubini, Cimarosa, Donizetti, Gluck, Gounod, Grétry, Handel, Hérold, Isouard, Lampe, Linley, Lully, Macfarren, Marschner, Mercadante, Meyerbeer, Mozart, Nicolai, Pacini, Paër, Purcell, Rossini, Rousseau, Shield, Spohr, Spontini, Storace, Verdi, Wallace, Weber, Winter, etc. The absence of Wagner, Balfe, Barnett, and a few others is a surprising circumstance, when the catholicity of Mr. Euing's taste is taken into account. The collection of glees and catches is almost complete, and contains nearly every composer of importance from the middle of last century. Most of those are present in the original editions, which adds greatly to the value of the whole. Among more modern collections of songs are an "American Musical Miscellany" of date 1798. Berggreen's Danish Anthology, 1869, is a valuable national collection. Bickham's "Musical Entertainer is a handsomely engraved work by a once celebrated writing-master. The Scottish songs are represented in the collections of Bremner, Butler, Campbell, Dale, Dun and Thomson, Elouis, Graham, Hamilton, Johnson, Maver, Oswald, Parry, Ritson, Smith, George Thomson, W. Thomson, Turnbull, and others; while the national collections of Germany, France, England, Wales, Ireland, Spain, and Switzerland, are well represented in various valuable compilations.

It now remains before concluding this chapter to notice two other divisions, namely, Instrumental Music and Miscellaneous, which form the two last in the classification fixed on a former page. The instrumental division is not marked by any special wealth one way or another, and contains few examples of the more modern composers. Music for the organ and pianoforte, including some very valuable works of

Frescobaldi, bulks largely, but the number of full scores is not great. Beethoven is represented by a collection of full scores of his symphonies, and by his pianoforte works. Corelli's concertos for two violins, viola, and violoncello, with obligato, are present in seven quarto volumes, as edited by Geminiani, with several of his other works. Couperin, that rarest of harpsichord composers, is inadequately represented in a work of no great value. There are arrangements of the orchestral works of various masters for pianoforte, including Handel, Haydn, Vanhall, and the Earl of Westmoreland, but the collection is on the whole much inferior to what might have been expected. The string quartets of Mozart, Haydn, and Mendelssohn are present entire, but the works in the same class by Boccherini and succeeding masters are not in the library at all. The whole of the instrumental division bears evidence of Mr. Euing's want of sympathy with this form of music, and its presence seems more due to accident than design. The Miscellaneous contents of the library include sets of valuable musical journals, a set of the Musical Antiquarian Society publications, and a number of manuscript works, including autographs of great musicians, etc. In this section must also be included a large number of works on musical æsthetics and collections of musical anecdotes and gossip, not properly coming under any of the headings we have used.

Taken as a whole, the library is of surpassing interest and value to the musician, and should its treasures ever be made accessible to the public, it will no doubt prove of much influence, both in an educational and artistic sense, in the future musical history of Glasgow. The shortcomings which must necessarily be apparent in this paper are in part due to the limited opportunities given the writer of making personal examination of the books, and the catalogue proved but a poor substitute. What has been attempted will perhaps

serve to give interested persons a notion of the great value of a library which is virtually decaying in their midst; while liberal-minded persons, whether musical or not, will perhaps be brought to think that an effort should be made to recover for the public benefit a treasury of musical lore at present withheld on not over-reasonable grounds.

CHAPTER XIII.

LIBRARY OF JOHN FERGUSON, ESQ., M.A., PROFESSOR OF CHEMISTRY IN THE UNIVERSITY OF GLASGOW.

Character and growth of the Collection Volumes from great Libraries, by famous Printers and Binders, and with the Autographs of Great MenFifteenth Century Books-Volume from the Press of Machlinia-Vincent de Beauvais' Speculum, the largest Book printed in the Fifteenth Century -English Literature-Foreign Literature-Gipsy Books--Scotland-Darien Tracts-Scottish Topography-Scottish Prose Writers-Works from the Press of Raban, Aberdeen's first Printer-Scottish Poets-Copy of the first Work printed in GlasgowWorks of Glasgow Men-Boyd's "Last Battell of the Soule in Death"-Early Scottish Scientific Writers -Fine Art-Chemistry, Manuscripts, Histories and Bibliographies-Alchemy and Early Chemistry— Works on Phosphorus, Assaying and Analysis, Distillation, Minerals and Metals-Demonology, Witchcraft, Magic, Mysticism-Bibliography-ClassicsConclusion.

THIS is in many respects a remarkable library, and while it stands undoubtedly by itself among the libraries of