There is nothing in the music that connects it with any part of the Continent, or that shows that it was borrowed from any particular place. The pibroch cannot possibly have come from the Tyrol or Italy, neither can the reels and other popular melodies. The importation theory grew out of the ideas entertained of the rude and uncivilised state of Scotland at an early period, which was considered altogether incompatible with the delicacy of taste and feeling its poetry and music displayed. But the student of Highland history soon discovers that, with all the rudeness, there existed among the people just that delicacy of taste and feeling which found expression in the music, and he at once concludes that the music is a real growth of the home soil. The race were always in the land: why not their language, their music, their customs, in a more or less rude form? Passing from debateable ground, the result of our assorting of quotations seems to be that the first thoroughly authentic reference to the bagpipe in Scotland dates from 1406, that it was well known in Reformation times, that the second drone was added about 1500, that it was first mentioned in connection with the Gaelic in 1506, or a few years later, that it was classed in a list of Scottish musical instruments in 1548, that in 1549 and often afterwards it was used in war, that in 1650 every town had a piper, that in 1700 the big drone was added, and that in 1824 the Scots were enthusiastic about the pipes. There is not the slightest doubt, of course, that the instrument was used in Scotland for many years, probably for centuries, before we can trace it, but previous to the dates given we have only tradition and conjecture to go by.