[from “Irish Minstrels and Musicians”, Capt. Francis O'Neill, Chicago, Regan Printing House, 1913]



WHEN music finds a lodgment in the soul of man, neither rank nor station, creed nor calling, is exempt from a yearning desire to give it vocal or instrumental expression in all ages of the world’s history.

Who has not heard that the Emperor Nero fiddled while Rome burned? Be that as it may, it can be stated on better authority, that he was famed as a performer on the primitive bagpipes of his day. James the Sixth of Scotland bore an enviable reputation as a Highland piper, and so did “Bonnie Prince Charlie.” Frederick the Great of Prussia, who delighted in playing the flute, affected his audience to tears. But, however, much English, French and Spanish royalty may have appreciated and enjoyed the music of the Irish or Union pipes in the late centuries, it is not a matter of record that there were any royal performers on that fascinating instrument, unless we except the many deseendants of Irish kings of untainted blood and unquestioned pedigree who won fame if not fortune as Irish pipers. Not a few were the men of rank and wealth who have been immortalized, on account of their prominence as performers on the Irish pipes.

For obvious reasons they never courted publicity in the indulgence of their hobby, but enjoyed the distinction of being designated “Gentleman Pipers.” In the hands of a good performer, Walker, in his Historical Memoirs of the Irish Bards, remarks the bagpipe is not unworthy of the ear of royalty, and adds that George II, about the middle of the eighteenth century, was so much delighted with the performance of an Irish gentleman on the bagpipe that he ordered a medal to be struck for him.


Without a rival among the nobility in the hearts of his countrynien, this distinguished patriot was the fifth son of the Duke of Leinster and was born at the family residence, Dublin, October 18, 1763.

The story of his life, self-sacrifice and tragic death is a glorious episode in the history of Ireland and need not be dwelt on in connection with the purpose of this work.

Loving the music of his native land as dearly as its freedom, he learned to give it proper expression on the Union pipes, a sweet-toned instrument as characteristically Irish as the native language.

A set of Union pipes made of ivory and silver and said to be the instrument on which he played was deposited in the Dublin Museum. For some reason a plain wooden chanter has been substituted for the original ivory one. On the silver collar of the stock is engraved the name “Lord Edward Fitzgerald,” the family arms, and the date “1768. Made by Egan, Dublin.” Our interest in the exhibit is naturally much lessened, and the authenticity of the relic itself brought into question, when we come to consider that the noble embryo piper was but five years old in 1768, when the instrument is alleged to have been made.


The earliest of the “Gentleman Pipers” of whom we have any available record is Pierce Power of Glynn, whose fame is perpetuatedhin the song called “Plearca an Gleann,” or, “The Humors of Glynn,” which he composed in the first quarter of the eighteenth century.

Robert Burns, who was always on the lookout for attractive airs, adopted it for his song known as “Their Groves o’ Sweet Myrtle.” Words and music to the air “Humours of Glen” are included in The lrish Minstrel published by R. A. Smith in 1825 at Edinburgh. A florid setting of the melody under the same name with eight variations is to be found in McGoun's Repository of Scots and Irish Airs, printed at Glasgow about 1803.

The Glynn from which the air takes its name is a small romantic country village situated at either side of the Suir, not far from Clonmel, being partly in the the counties of Waterford and Tipperary. Glynn was anciently the residence of a branch of the Powers, to which family it probably still belongs. One of them, Pierse Power, called Mac an Bharuin (the Baron’s son, for his father was the Baron of an annual fair held there), was celebrated as a poet and musician, and there is a tradition among his descendants that he was the author of the popular air of “The Humors of Glynn.” We may as well add that Grattan Flood ascribes its composition to O’Carolan.


A contemporary of Pierce Power of Glynn. Lawrence Grogan of Johnstown Castle, County Wexford, was still more celebrated as a piper and composer, though, like Power, his fame rests chiefly on one air - ”Ally Croker” - which caught the popular fancy. It was taken up innnediately by the ballad-singers, circulated far and wide, and within a few years had been incorporated in three operas.

The authenticity of the air has been questioned in recent times, by Chappell, an English publisher, and Sir Villiers Stanford, because it first appeared in print in an English publication.

We are informed by Crofton Croker, an excellent authority, that the song and music of “Ally Croker’, were composed about the year 1725, by Lawrence Grogan, a gentleman piper. It is not easy to see how its appearance in the opera of Love in a Riddle five years later renders its Irish origin improbable. Its popu- larity became more widespread on being introduced by Foote in1753 into his comedy, The Englishman in Paris, and by Kane O’Hara in Midas, seven years afterwards. In 1803 the air was wedded by George Colman to a song entitled “The Unfortunate Miss Bailey.”

Tom Moore’s song, “The Shamrock,” set to the air of “Ally Croker,” has been excluded from the Stanford edition of Moore’s Irish Melodies – Restored.

Like the gentleinen of his day, “Larry” Grogan, as he was called, was devoted to hunting and horse-racing. Widely known, he was immortahzed in verse in his prime, but no account of him since the middle of the eighteenth century can be traced.

Following is a jig bearing his name, to be found in the first volume of Airds Selection of English, Scotch, Irish and Foreign Airs, published in 1782 at London.


The most celebrated Irish piper of the eighteenth century, or perhaps of any age, taking all things into consideration, was Walter Jackson, better known as “Piper” Jackson. He tlourislied in the prime of his glory about the middle of the eighteenth century. A gentleman of wealth and landed estates, he won undying fame not alone for his skill as a performer on the Union pipes but for his versatility as a composer of music suitable for that instrument. His residence near Ballingarry, County Limerick, called “Jackson’s Turret,” commanded an extensive view of the surrounding country. From the fact of his leaving sixty pounds a year to the poor of Ballingarry parish, half to be distributed by tlie Catholic pastor and half to the Protestant rector, according to Grattan Flood, there can be no doubt as to his having lived in that part of the country.

The present writer remembers having read somewhere that Jackson belonged in the County Monaghan, where he owned an estate. A correspondent from South Australia, Mr. Patrick O’Leary, of Drumlona, Eastwood, Adelaide, who is a man of prominence in that country, tells a story which unexpectedly strength- ens the presumption that County Monaghan had as much claim to him as County Liinerick.

Referring to what is said of Jackson in Irish Folk Music: A Fascinating Hobby, Mr. O’Leary says: “You struck a sympathetic chord in my memory in your altogether too meagre reminiscences of the famous and never-to-be-forgotten `Piper’ Jackson, of Creeve, near Ballibay, County Monaghan, for well do I recollect the expression of delight that would light up my mother’s face – God rest her ! - When talking about the famous Jackson, his tunes, and his playing.

Her father, being a good fiddler himself and a neighbor of the renowned musi- cian. Was also something of a crony of his, and enjoyed the latter’s friendship for years.

Jackson belonged to a well-known family. They were linen lords in Ulster for over a century, and were also mill owners, and possessed a stable of race horses. Differing materially from the Anglo-Scottish squirearchy of Ulster of their time, or any other time, they were liberal, broad-minded and hospitable.

During my boyhood I have heard fifty or sixty tunes, reels and jigs, that were credited to the famous piper, such as `Jackson’s Solio,’ `Jackson’s Flowery Garden’ (`The Rose in the Garden’ in your great work), `Jackson’s Maria,’ `Jackson’s Drowsy Maggie’ etc.”

Commenting on ”Jacky Latin,” a tune printed in O’Neill’s Dance Music of Ireland, Mr. O,Leary continues: “This fine old reel is said to have been com- posed in honor of a young man, John Duffy – better known as `Jack’ Duffy’- who lived in the townland of Lattan, near Jackson’s home in the parish of Auglinamullen. Duffy being a fine, strapping young man, a local Adonis, and an incomparable dancer in those days when dancing was a fine art in Ireland, he won Jackson’s friendship and esteem to such a degree that the great composer immortalized him in the beautiful tune, `Jack o’ Lattan.’” A very romantic story indeed. Truth compels us to add, however, that among the contents of Waylet’s Collection of Country Dunces, published in 1749, is “Jack Lattin.” Whether this fact militates against its probability is a question which is open to speculation.

Practically all Jackson’s tunes bore his name; such, for instance, as “Jackson’s Morning Brush,” his best known composition. After its introduction by John O’Keefe in The Agreeable Surprise, in 1781, this popular jig has been included in almost every collection of Irish music since that time, although by no means superior to the majority of Jackson’s tunes.

A small volume of his melodies published by Sam Lee of Dublin in 1774, and reprinted in 1790, is now so rare that the principal book agency of London has been unable to procure a copy of it for the present writer.

Most of Jackson’s tunes, kept alive traditionally for more than a century, have lost their original titles as well as their original settings, but from an exami- nation of various collections of Irish music at hand, commencing with Airds’ Selection, etc., in 1782, the following have been found retaining the eomposer’s name, exclusive of those mentioned by Mr. O’Leary: “Jackson’s Morning Brush,” “Jackson’s Nightcap,” “Jackson’s Over the Water,” “Jackson’s Welcome Home,” “Jackson’s Frolic” (now known as “Kitty of Oulart”), ”Jackson’s Bouner Bougher” (original of “Morgan Rattler” before being embellished with variations). “Jackson’s Bottle of Brandy,” “Jackson’s Cravat,” “Jackson’s Frieze Coat.” “Jaekson’s Jug of Punch.,’ “Jackson’s Rambles,” “Jackson's Rolling Jig,” “Jackson’s Maggott”, “Jackson’s Bottle of Punch,” “Jackson’s Jig,” “Jackson’s Punch Bowl,” “Jackson’s Coge in the Morning,” “Jackson’s Dream,” “Jackson’s Maid at the Fair.” “Jaekson’s Cup,” “Jackson’s Rowly Powly,” “Jackson’s Favorite,” “Jackson’s Bottle of Claret,” “Jackson’s Maid,” and “Jackson’s Delight,” which, by the way, is identical with “The Irish Washerwoman.” Besides the above named, we find “Copey’s Jigg” (”Jimmy O’Brien’s Jig”, in the O’Neill Colleetions) and ”Pither in enugh,” attributed to Jackson in Clinton’s Gems of Irelamd. Many other well-known tunes, such as “Cherish the Ladies” and “The Little House Under the Hill.” are ascribed to Jackson. The original simple two-strain melodies were doubtless the products of his prolific fancy, but the varia- tioiis_four in the first ease, and nine in the second-were the work of later composers. It may not be out of place to add that an “Irish Air” in The Poor Soldier, to be found in The Hibernian Muse, published in 1787, is unmistakably a simple version of “The Little House Under the Hill.” A violinist of ability, as well as a performer on the Union pipes, Walter Jackson has been immortalized as “Piper” Jackson because of his enthusiasm and love of the instrument and its music, while all his forebears and descendants have been forgotten.


Casual but provokingly meagre mention has been made of a “Gentleman Piper” named Edward Blake, of Castlegrove, near Tuam, County Galway. He is said to have been “a beautiful performer.” Having been referred to as an ancestor of the late Edward Blake, M. P. For Longford, he probably flourished in the early part of the nineteenth century.


No book on pipers and pipering would be complete without an account of Capt. Williarn Kelly, the great County Kildare piper, who was born in New Abbey House, County Kildare, early in the last quarter of the eighteenth century. He played before King George IV when that monarch visited Ireland, and was pre- sented with a set of pipes – ebony, silver-mounted – which is shown to visitors at Kilkea Castle, Maganey, County Kildare. After his death, his widow gave this set of bagpipes to a Mrs. Bailey, of Newtown Bert, near Athy, whose son, Samuel Bailey, was also a famous piper. The latter, after playing on them for years, died in August, 1895, and two years later the historical instrument Was obtained from his daughter, Mary, and is now at Kilkea Castle, as before stated.

Round the stock is engraved “William Kelly, Esq., 1809.” “Sporting” Captain Kelly, as our hero was affectionately called, typifies the best qualities of his race, with few or none of its failings; and as a man of his prominence and parts deserved much more than the recognition which current history accords him, we have deviated from our main subject in order to make partial amends in that respect. Not the least of- Captain Kelly’s claims to the veneration of Kildare people is the circumstance that he trained Dan Donnelly, the boxer, for his contest with Cooper, the Englishman, champion pugilist of his time. Donnelly was born in Townsend Street, Dublin, and on one occasion Captain Kelly saw the yet untrained man dispose with a single box each of three bullies who had set upon him. The sporting gentleman at once recognized Donnelly’s powers and undertook to develop them, with the result we have all heard of, both in poetry and prose. Captain Kelly was well known on the turf; for many years he kept a racing establishment at Madrlenstown Mansions, Curragh, and named several of his horses after parts of the pipes, as “Chanter,” “Drone,” etc.

Drone was a particularly fine gray horse, and his successes are recorded in the Racing Calendars of the period. Captain Kelly had several proteges among the pipers of his time, one of the most distinguished being John Hicks, who left his native country for Liverpool and eventually made his way to New York, Chicago and other American cities.

The fighting as well as the sporting instinct was well developed in the Kelly family. Two brothers of “the Captain’, served in the British army – Col. Ponsonby Kelly, who commanded the Twenty-fourth Regiment, and Capt. Waldron Kelly, who served in the Forty-first. The Captains first cousin, Col. Edward Kelly. Performed brilliant service on the held of Waterloo.

Capt. William married his first cousin, Miss Orford, of Rathhride Manor, and had issue, seven sons and one daughter. After a long and brilliant career on the turf, the Captain retired to his town house, Clontarf Crescent, and after a few years’ residence died there about the year 1858.

The custodian of the family traditions, records, heirlooms, etc., is Mrs. Jane Ellis-Bailie, granddaughter of Captain Kelly, who lives at “The Porch,” Castleblaney, County Monaghan, and whose picture graces the opposite page.

Besides being imbued with an intensely national patriotic spirit, the Kellys would seem to have been endowed with the faculty of choosing suitable mates. At the time of his death, December, 1911, there was no more popular man in Monaghan County than the late Mr. Robert Ellis Bailie, crown solicitor; his funeral was three miles long.

It was through Mrs. Ellis Bailie that the picture of the Captain was obtained, having been copied from an oil painting in the lady’s possession. She has also an oil painting of the celebrated racer, Drone. In addition, there may be seen also at “The Porch” a unique collection of plates, glass, china, etc., as Mrs. Bailie has been a collector for many years. She has specimens of even the spurs which used to be fitted on game cocks. As showing Mrs. Bai1ie’s benevolence, it may be mentioned that she is a life governor of four Dublin hospitals and an active member of the guild founded by Lady Dudley for affording aid to young women in choosing a profession.

It often happens that family traits, after lying partially dormant for one or two generations, manifest themselves with added force in a third or fourth.

This truth is strikingly exemplified in the person of Mr. Robert John Ellis Bailie, son of Mrs. Ellis Bailie, consequently great-grandson of the celebrated piper.

He hunts the country from his seat, Shortstone, Dundalk; he is a perfect horseman, a keen judge of blood stock and breeder of race horses; he is twenty-two years old and six feet in height. He is very musical, but he will scarcely ever play on his great ancestorys pipes, the instrument, as already stated, being kept at Kilkea Castle, where it is greatly prized by the family of Lona Walter Fitzgerald.

A grand-aunt of Mrs. Bailie’s was the lady who staked her coach and four and a heavy sum in cash on Dan Donnelly. This notice may appropriately end with a quotation from the well known song:

Long life unto Miss Kelly, she’s recorded on the plain;

She boldly stepped into the ring, saying, ”Dan, what do you mean ?”

Saying, “Dan, my boy, what do you mean, Hibernia’s son?” said she;

“My coach and horse I have bet on you, Dan Donnelly.,’


A renowned performer on the Union pipes in his day was “Gustyy’ Nieolls, a landlord who lived on his estate near Carrigallen, in the southern part of County Leitriin. He had probably reached early manhood at the beginning of the nine- teenth century, for it was from him James Quinn, of Cloone, who was born about that time, learned to play the pipes.

Mr. Quinn, an excellent piper himself in later years, spoke in the highest terms of the ability of his generous teacher, both as a performer and composer.

His most popular piece being “Gusty’s Frolics.” a hop or slip jig of seven strains.

The versatile “Gentleman Piper’, was the instructor of his cousin, “Parson” Nicolls, whose sketch will be found in the chapter devoted to “Reverend Musi- cians.”

Blessed with manly beauty, musical talents, and worldly wealth, Augustus earned the reputation of being an irresistible heartbreaker also.


Unaffected by wealth or station, and enjoying the respect and confidence of rich and poor alike, Robert Brownrigg, of Norrismount, barony of Scarawalsh.

County Wexford, was the type of Irish gentleman – none too numerous – whom all men honor. A really fine performer on the Union pipes, ‘twas his delight to entertain with his music those who partook of his hospitality.

In every sense of the word a “Gentleman Piper,” he was a magistrate in those days when none but the landed proprietor and city magnate were entrusted with the commission of the peace, and all his sons entered the learned professions.

Mr. Brownrigg not alone practiced but patronized Irish music in true traditional style. To such a degree did its influence enter into the activities of his

life that it was his custom to attend the weddings and merry-makings of the peasantry, and go wheresoever good pipers might appear, in order to participate in the festivities and indulge what might justly be termed his ruling passion.

On one such occasion he secured an engagement to assist where the great Hugh Kelly – long dead and almost forgotten – had been already installed as official piper. After tuning their instruments to an even pitch, they started in to entertain the company, but it was not long before Kelly, though blind, dis- covered the identity of his partner and told him so in a eonhdential whisper. The only response was a gentle pressure on the blind piper’s toe, which conveyed all the assurance necessary. So they played away together until morning for a company which had no suspicion that the pipers had ever met before.

The unknown piper, who of course was Mr. Brownrigg in disguise, received his stipulated fee from the host and liberal donations from the assembled guests, all of which, with the addition of a small gold coin of his own, he stealthily slipped into the pocket of his comrade of the night’s diversion.

The adventurous “Bobbie” however, was not always so successful in pre- serving his incognito. At another time he made his appearance at a popular benefit ball where he encountered a great army of pipers. Competitions in both music and dancing were the order of the night, the winners to be decided by popular acclaim. When it came to our hero’s turn to display his musical abilities and compete for the honors at stake, much speculation was rife in the andienee as to the capabilities of the unknown piper. Not the least disconcerted by the evident anxiety of the crowd to learn what county or province he hailed from, he commenced his performance, quite carelessly, but it was plainly seen that his indifference was only affected. Warming up to his work, a murmur of appro- bation greeted his ears, and so he began to let himself out in great shape, finally winding up with one of his peculiar flourishes. This characteristic wind-up, betrayed his identity and he was greeted with a tumult of applause from all over the house, interspersed with remarks such as “Well done, Brownrigg” “More power to your elbow !” “That your bag and bellows may never fail you!” and other phrases indicating the esteem in which he was held as a man and a musician.

He did not tarry long to receive the congratulations of his ardent admirers, or the prize which he had inadvertently won, but hastened away to temporary obscurity, from which he was sure to emerge when suitable opportunity was presented.

A remarkable character in many ways, Robert Brownrigg died about the middle of the nineteenth century at a ripe old age.


The oldest son of Robert Brownrigg, he not only inherited his father’s patri- inony at Norrismount, County Wexford, but his musical taste and talent, for, though a barrister by profession. The melody of the bagpipes had more attractions for him than the intricacies of the law.

Henry Brownrigg as a musician was best known to fame in association with the great Highland instrument, of which he had many. One of the costliest of them, in a tolerable state of preservation, still remains a sonvenir at the Rowsome honie at Ballintore.

Little less eccentric than his father, nothing seemed to afford him greater pleasure than to take out a set of Highland pipes on a fine evening and play them on the slopes above Norrismount and Whitewell. Often in the night-time the clear, ringing tones of his instrument could be heard for miles along the valley through which the River Banna winds its serpentine course. Played under such coiiditions – and we agree with him – music produces its most charming effects.

There is a tradition in connection with his memory which still holds good, that his music haunted the valley and was heard even after his death, which occurred about the year 1860.

Surviving his father only ten or twelve years, he probably lacked a decade of reaching the scriptural allotment of three score years and ten.


Of this “Gentleman Piper” little can be told except that. He lived in the nineteenth centurvand that he was one of the landlord class, whose estates of over thirteen thousand acres included Tintern Abbey, in the southvvestern part of the county of Wexford.

For more than three centuries the Colcloughs lived in great style on their property and werethe leading magnates in that part of the county bordering on Bannow Bay. Living among their tenantrv and spending their income for useful purposes at home, unlike most landlords, they enjoyed uncommon popularity, One of them, Anthony Colelough, who became a Catholic and joined the “rebels” in ‘o8, was duly hanged for his patriotism.


Many were the accomplished performers on the Irish bagpipes who played only for their own pleasure and yet could hardly be classed as “Gentlernen~ Pipers,” for this distinction seems to have been always associated with rank or title. Men endowed with the musical instinct had little choice as to the means of giving it musical expression in Ireland, since the decline of the harp, except as between the flute, fiddle, and pipes. Being inexpensive and always in order, the flute was the great favorite. From the humble tin whistle to the keyed concert flute, dozens were to be found in every parish, and the gamut being somewhat similar to that of the chanter of the bagpipe, ambitious huters naturally graduated into practicing on the more difficult and elaborate instrument.

That many of them by natural talent and assiduous practice became famous performers on the Irish pipes, is a fact beyond question, for be it known it was by that method all, or nearly all, pipers, peasant or noble, lay or cleric, amateur or professional, acquired their skill on that instrument which for some has such peculiar fascination.

Following a paragraph in praise of the music of the Irish pipes, Shelton Mackenzie tells us of an apotheeary, named O’Donnell, who was the last performer of any note on the instrument in the town of Fermoy, County Cork. He died about the year 1869, but when living he certainly could discourse “most eloquent music.” “It was almost impossible,” he says, “to listen with dry eyes and unmoved heart to the exquisite manner in which he played the Irish melo- dies-the real ones, I mean, not those which Tom Moore and Sir John Stevenson had `adopted’ (and emasculated) for polite and fashionable pianoforte players and singers.”

Mackenzie speaks of Charles Ferguson, “whose performance on the Irish pipes may be said to equal-it could not stirpass-that of O’Donnell.” This is high praise, indeed, for Fergusons fame as an air player was world-wide in his day.


This aristocratic performer on the Irish or Union pipes was a wealthy landlord, owner of the town of Monaghan and no doubt other estates in the county. He was born in 1765, ennobled in 1796, and died in 1843. His son, the third baron, was also an accomplished Irish piper.

In a work compiled by Hussey De Burgh, entitled The Landowners of Ireland, we learn the family name from the following entry: “Lord Rossmore, Derrick Warner William Westenra, 4th Baron – 14,839 acres County Monaghan. Residence Rossmore Park, Monaghan.”

An examination of the Complete Petrie Collection shows that six tunes were obtained from Lord Rossmore, who personally noted down some of them from the playing of “Paddy” Coneely, the famous Galway piper. Three others were credited to Colonel Westenra. Of the same family, possibly the Captain Westenra of Bumper Hall, County Meath, mentioned in Arthur O’Neill’s Memoirs.


A great lover of Irish music and an ardent performer on the Union pipes, the late Alderman William Phair, chairman of the water works committee of the city of Cork, was none other than a genuine “Gentleman Piper.” Inheriting neither wealth nor title, he acquired both by the exercise of those admirable qualities with which nature so liberally endowed him. A familiar figure in the life of the city for over a quarter of a century, both as Alderman and Councillor, Mr. William Phair departed this life March 9, 1912, in the sixty- sixth year of his age. His death occasioned the deepest regret among all classes of the community, for a more respected and popular gentleman did not live in the province.

A native of the parish of Dunisky, southeast of Macroom, he migrated in early life to the city on the Lee, and was elected to the reformed corporation at its inception in 1883. From that date until shortly before his death he was elected and re-elected to offices of responsibility, and often unopposed, so completely had he won the respect and eonhdenee of the citizens.

In everything that conduced to the uplifting of his native land, Alderman Phair’s support was ever at the call of his country. A native Irish speaker, the Gaelie Revival found in him a warm advocate, and the revival of Irish music a splendid champion. A great admirer of the Irish bagpipes, he was the chief patron of Robert Thompson, the forgotten minstrel, who through the aid supplied by his enthusiastic friend traveled to Dublin to attend the first Oircachtas and outelassed all competitors in the manipulation of the melodious Irish instrument.

And by the same token ‘twas on the alderman’s pipes he played, for he had none of his own for many a year.

The Cork Pipers’ Club. Founded in 1898, elected Alderman Phair its hrst president, and though the flippuncy and levity of some of its members on his appearance at a meeting in a fur-trimmed coat and tall silk hat, after attending a council session. Offended his dignity, he never lost interest in its welfare. Poor “Bob” Thompson, whose health had subsequently failed, found in him a steadfast and generous friend.

When attending the Munster Feis in 1906, it was the writer’s good fortune to form the acquaintance of the able but unassuming official, who called to tender us the hospitality of Gilabbey House, which is poised on a precipice overlooking the “Pleasant Waters of the River Lee.”

The proverbial hospitality of an Irish gentleman needs no description, but it certainly was worth “a day in the garden” to be entertained by a man of such distinction with a tune on the pipes-aye, and dozens of them at that:. john S.

Wayland, so prominent in the Music Revival, was no silent partner in contributing to the pleasures of the evening, and what with the kindly solicitude of Mrs. Phair the remembrance of our enjoyable evening at Gilabbey House will always remain a milestone in our memory.