One other Edinburgh figure of the seventeenth century must be mentioned, the notorious Major Weir, whose story is said to have suggested the character of Manfred to Byron. He lived in “the sanctified bends of the Bow,” which was, at the end of the seventeenth century, a nest of pharisaical fanatics known as “Bow-head saints.” Of these Major Weir was one. He had “a grim countenance and a big nose”; he wore a black
To the left of the spire of the Tolbooth Church, in the centre of the picture, and next the city wall, stands the Martyrs’ Monument, in front of which is the figure of a girl; above the figure appear some houses in Candlemaker Row. The low building on the extreme left of the picture is the old guardhouse. The duty of the guard was to prevent the stealing of bodies from the graveyard. The elaborate monument on the right of the picture is one of many erected in this graveyard during the early part of the eighteenth century.
cloak and carried a black staff; he was “notoriously regarded among the Presbyterian strict sect”; and “at private meetings he prayed to admiration.” In short, he was a pattern of sanctity, and was known among the “Holy sisters” of the Bow as “Angelical Thomas.” Alas! Angelical Thomas was not what he seemed. He never broke the Sabbath, but then he broke every other commandment in the Decalogue. When he was nearly seventy a severe illness led him to confess a long list of peculiarly horrible crimes. Perhaps, in this more prosaic age, the Major’s form of religion, his illness, his crimes and his confessions would all have been attributed to the same cause, and have landed him comfortably in an asylum for the insane. As he lived in the good old times, he was strangled and burnt between Edinburgh and Leith; whilst his sister Grizel, in deference to her sex, was gently hanged in the Grassmarket. Round the names of Major Weir and his sister a hundred gruesome legends sprang up, and “fearsome sichts were seen” in the West Bow; and the house that he had occupied there remained uninhabited and haunted until 1878, when it was pulled down.
The eighteenth century in Edinburgh, like the seventeenth, teems with so many names that it is hardly possible to mention all of even the most notable. There was Edinburgh’s Horace, Allan Ramsay, the poet and wig-maker, who scandalised the “unco guid” by bravely aiding and abetting in all that made for innocent joyousness, setting up a circulating library, doing his best to provide the town with a theatre, and losing money thereby, and encouraging the Assemblies and writing verses in their praise. His shop, where all the literati gathered, was beside the city Cross; but his quaint round house was on the Castle hill, and was long known in Edinburgh as “the Goose Pie.” It is still standing, but is incorporated in a large mass of new building, so that its characteristic shape is lost. Allan Ramsay’s son was another Allan Ramsay, and was portrait-painter to George III., and his son was General John Ramsay; so that the Goose Pie was owned in turn by three generations, all notable Edinburgh citizens.
Those were the days of Jacobite Edinburgh, when Jacobite sentiments were breathed in every close, and Jacobite sympathies were cherished in many old families. When the King’s health was drunk the goblet was silently passed over the caraffe of water to signify which King was meant, and portraits of the young Chevalier hung in many secret places of honour. The story of one of these Jacobite queens of society, who were generally also either authors themselves or patrons of art and letters, is told in Chambers’s Traditions of Edinburgh. Susanna, Countess of Eglintoun, was the daughter of Sir Archibald Kennedy, and the grand-daughter of Lord Newark, the Covenanting General. She became, when a very beautiful girl, the third wife of the ancient Lord Eglintoun, whose previous wives had left him without a male heir. She had been wooed by Sir John Clerk of Penicuik, who had sent her love-verses concealed in a flute, discoverable only to herself when she put her lips to it. But Sir Archibald, when asked for his daughter’s hand, consulted his old friend Lord Eglintoun on the subject. “Bide a wee, Sir Archie, my wife’s very sickly,” was the advice given—and taken. The daughter’s own feelings are matters of conjecture, not of history. Susanna Kennedy became Countess of Eglintoun about the time of the Union, and lived in Stamp Office Close, where seven daughters (who were afterwards to form one of the sights of Edinburgh as they were carried in sedan-chairs to the Assemblies) only decided the old peer to divorce his wife. The intention was diverted by the birth of a son. Having reigned as one of the queens of Edinburgh society for over a quarter of a century, and the death of her ancient lord in 1729 having made her a widow, Lady Eglintoun carried her social triumphs to London in 1730, where she was “much satisfied with the honour and civilities shewn her ladyship by the Queen and all the royal family.” In her old age Lady Eglintoun retained her loyalty to the house of Stuart, for it was told of her that a portrait of Prince Charlie was hung in her room so that it should be the first thing that met her sight in the mornings. And the only request she ever refused her son (10th Lord Eglintoun) was when he wished her to walk as a peeress in the Coronation of George III. She was a patroness of poets—if they were Tories (did she ever remember those verses inside a flute?); and to her Allan Ramsay, as Jacobite at heart as ever she was, dedicated his Gentle Shepherd. It was not in Stamp Office Close, but at her dower house, Auchans Castle, near Irvine, that she received Boswell and Johnson on their return from the Hebrides. She was then in her eighty-fifth year, and she and the lexicographer found their Church and State principles congenial, and the old lady told him she might have been his mother, and now adopted him. She kissed him at parting, which, it is said, made a lasting impression on him. The next curiosity the old Countess adopted was a large collection of rats, which she also succeeded in taming.