A.D. 1745.—Prince Charlie had a large number of pipers with him in his rebellion of 1745. After the battle of Prestonpans his army marched into Edinburgh, a hundred pipers playing the Jacobite air, “The King shall enjoy his ain again:” and when he marched to Carlisle he had with him a hundred pipers. Perhaps it was because of its prominence in his rebellion that the bagpipe was afterwards classed by the ruling powers as an instrument of warfare, the carrying of which deserved punishment. A.D. 1775.—In this year we find the first reference to a professional maker of bagpipes. In the _Edinburgh Directory_ for 1775, a book that could be carried in the vest pocket, “Hugh Robertson” is entered as “pipe maker, Castle Hill, Edinburgh.” It was this same Hugh Robertson who made the prize pipes competed for at the meetings inaugurated by the Highland Society of London some time later, and an instrument of his make which took first prize at one of the competitions was recently in the possession of Mr. David Glen, Edinburgh. Where it now is cannot be discovered, as Mr. Glen parted with it to one of whose whereabouts he is not aware. It is not necessary to trace the instrument farther down through the years. In Scotland, after it overcame the setback of the ’45, it became more popular year by year until at last in 1824, we find an English traveller saying that “the Scots are enthusiastic in their love for their national instrument. In Edinburgh the sound of the bagpipe is to be heard in every street.” The Lowland, the Northumberland and the Irish pipes lost favour, and the Lincolnshire—that referred to by Shakespeare— has been totally extinct since about 1850. The Great Highland Bagpipe is the only form that has held its own.