The pipes have, however, been associated with religious services on a good many occasions. The Italian shepherds, when visiting Rome to celebrate the Nativity, carry their pipes with them, and play to images of the Virgin Mary and the infant Messiah, which are placed at the corners of the streets. The pipes were used in the services of the Catholic Church in Edinburgh in 1536. In 1556 there was a procession in Edinburgh in honour of St. Giles, the patron saint of the town. The procession was led by the Queen Regent and was attended by bagpipers. When James I. came to Scotland in 1617, he did not take the organ from Holyrood chapel, when he was clearing out every other symptom of idolatry, because “there is some affinity between it and the bagpipes.” “I know a priest,” says an old English writer, “who, when any of his friends should be marryed, would take his back-pype and so fetch them to church, playing sweetlye afore them, and then he would lay his instrument handsomely upon the aultare till he had marryed them, and sayd masse, which thyng being done, he would gentylle bring them home agayne with back-pype.” Then we have Dunbar, in his _Testament of Mr. Andro Kennedy_, throwing some light on the manners and customs of the Carrick district of Ayrshire, when he makes a brother churchman, with whom he held poetic jousts, desire that no priest may sing over his grave:— “Bot a bag pipe to play a spryng, _Et unum ail wosp ante me_, In stayd of baneris for to bring, _Quatuor lagenas ceruisie_. Within the graif to set sic thing, _In modum crucis juxta me_, To fle the fendis than hardely sing, _De terra plasmasti me_.”[10] Footnote 10: Scottish Text Society’s version. So the poet knew the sound of the “bag pipe,” and thought it an instrument fit to “fie the fendis.” Here some lowlanders would, no doubt, be willing to agree with him.