and a Haig still owns that ancient _château_ on the Tweed, which has a singular set of traditions. Learmont is usually given as the Erceldoune family name; a branch of the family owned Dairsie in Fifeshire, and were a kind of hereditary provosts of St. Andrews. If Thomas did predict the death of Alexander III., or rather report it by dint of clairvoyance, he must have lived till 1285. The date of the poem on the Fairy Queen, attributed to Thomas, is uncertain, the story itself is a variant of “Ogier the Dane.” The scene is Huntly Bank, under Eildon Hill, and was part of the lands acquired, at fantastic prices, by Sir Walter Scott. His passion for land was really part of his passion for collecting antiquities. The theory of Fairyland here (as in many other Scottish legends and witch trials) is borrowed from the Pre-Christian Hades, and the Fairy Queen is a late refraction from Persephone. Not to eat, in the realm of the dead, is a regular precept of savage belief, all the world over. Mr. Robert Kirk’s _Secret Commonwealth of Elves_, _Fauns_, _and Fairies_ may be consulted, or the Editor’s _Perrault_, p. xxxv. (Oxford, 1888). Of the later legends about Thomas, Scott gives plenty, in _The Border Minstrelsy_. The long ancient romantic poem on the subject is probably the source of the ballad, though a local ballad may have preceded the long poem. Scott named the glen through which the Bogle Burn flows to Chiefswood, “The Rhymer’s Glen.” SIR HUGH.—p. 19 The date of the Martyrdom of Hugh is attributed by Matthew Paris to 1225. Chaucer puts a version in the mouth of his Prioress. No doubt the story must have been a mere excuse for Jew-baiting. In America the Jew becomes “The Duke” in a version picked up by Mr. Newells, from the recitation of a street boy in New York. The daughter of a Jew is not more likely than the daughter of a duke to have been concerned in the cruel and blasphemous imitation of the horrors attributed by Horace to the witch Canidia. But some such survivals of pagan sorcery did exist in the Middle Ages, under the influence of “Satanism.” SON DAVIE.—p. 22 Motherwell’s version. One of many ballads on fratricide, instigated by the mother: or inquired into by her, as the case may be. “Edward” is another example of this gloomy situation. THE WIFE OF USHER’S WELL.—p. 24 Here “The cock doth craw, the day doth daw,” having a middle rhyme, can scarcely be of extreme antiquity. Probably, in the original poem, the dead return to rebuke the extreme grief of the Mother, but the poem is perhaps really more affecting in the absence of a didactic motive. Scott obtained it from an old woman in West Lothian. Probably the reading “fashes,” (troubles), “in the flood” is correct, not “fishes,” or “freshes.” The mother desires that the sea may never cease to be troubled till her sons return (verse 4, line 2). The peculiar doom of women dead in child-bearing occurs even in Aztec mythology.