The archæology and prehistoric annals of Scotland

by Sir Daniel Wilson

The advent of the Bronze Period, however, cannot be held to have been fairly introduced until the native Caledonian had learned, at least to melt the metals, and to mould the weapons and implements which he used, if not to quarry and smelt the ores which abound in his native hills. The progress consequent on the indirect introduction of the metals would speedily create new wants and the desire for modifications and improvements on the implements of foreign manufacture. The demands on his sagacity and skill would increase with the gradual progress in intelligence and civilisation consequent on the new impulses brought into operation; and thus would the arts of the smith and the jeweller be superinduced on the originally barbarian devices of the Caledonian. Once introduced, by whatever means, he was not slow to improve on the lessons furnished in the novel art; and while, with a pertinacious adherence to ancient models singularly characteristic of primitive races, we find implements and personal ornaments of the modern Scottish Highlander not greatly differing from those of fully ten centuries ago, we also find the natives of isolated districts, beyond the reach of changing influences, practising the ingenious arts of this remote period when every man was his own armourer and goldsmith.

It needs not either the authority of revelation, or the demonstrations of ethnology, to prove that God has made of one blood all that dwell upon the earth. Man, placed under the same conditions, everywhere exhibits similar results. The ancient Stone Period of Assyria and Egypt resembles that of its European successor, and that again finds a nearly complete parallel in the primitive remains of the valley of the Mississippi, and in the modern arts of the barbarous Polynesians. So, too, with the higher state which succeeds this. The characteristics of the early Bronze Period are long since familiar to us. Milton, who accords equally stinted honours to Mulciber and to Mammon, by whose suggestion taught, men

"Ransack'd the centre, and with impious hands
Rifled the bowels of their mother earth
For treasures better hid,"—

refers to the introduction of the metallurgic arts as first among those great sources of change which the Archangel Michael makes known to Adam when exhibiting to him the future destiny of his seed. The knowledge of working in metals is there also introduced in contrast to the simpler arts of the pastoral state, and as the chief source of social progress with all its accompanying development of luxury and crime. On one side Adam sees the shepherds' huts and grazing herds;

"In other part stood one who, at the forge
Labouring, two massy clods of iron and brass
Had melted, (whether found where casual fire
Had wasted woods on mountain or in vale,
Down to the veins of earth; thence gliding hot
To some cave's mouth; or whether washed by stream
From under ground,) the liquid ore he drained
Into fit moulds prepared, from which he formed
First his own tools, then what might else be wrought
Fusil, or graven in metal."

Amid the highly artificial results of modern civilisation we might find some difficulty in conceiving of such a social state, in which considerable taste and ingenuity were displayed in the forging of arms and tools, and in the manufacture of personal ornaments. But not only are we able to compare the results of the division of labour with the fruits of such isolated skill, in races only now beginning to develop these first elements of civilisation; we can also look upon the living representatives of the Caledonian at the dawn of his historic era. Dr. Layard, in describing a visit to an ancient copper mine in the Tiyari Mountains, remarks,—"In these mountains, particularly in the heights above Lizan, and in the valley of Berwari, mines of iron, lead, copper, and other minerals, abound. Both the Kurds and the Chaldæans make their own weapons and implements of agriculture, and cast bullets for their rifles—collecting the ores which are scattered on the declivities, or brought down by the torrents."[265] This affords a parallel modern picture of such a state of society as that we have to conceive of in the early dawn of the British Bronze Period. Martin, in his description of the Western Isles, written at the commencement of the eighteenth century, remarks of the islanders,—"When they travel on foot the plaid is tied on the breast with a bodkin of bone or wood, just as the spina worn by the Germans, according to the description of Tacitus." He then furnishes a detailed account of the ancient dress, even then becoming rare, and of the breast-buckle or brooch, of silver or brass, which appears to have formed, from the very earliest times, the most favourite personal ornament of both sexes. "I have seen some of the former," says he, "of an hundred marks value: it was broad as any ordinary pewter plate, the whole curiously engraven with various animals, &c. There was a lesser buckle, which was worn in the middle of the larger, and about two ounces weight. It had in the centre a large piece of crystal, or some finer stone, and this was set all round with several stones of a lesser size."[266] The Rev. John Lane Buchanan, visiting these islands nearly a century later, found the same customs unchanged, and the primitive metallurgic arts of the ingenious Hebrideans not greatly in advance of the modern Asiatic Kurds. This writer remarks of the females,—"All of them wear a small plaid, a yard broad, called guilechan, about their shoulders, fastened by a large brooch. The brooches are generally round, and of silver, if the wearer be in tolerable circumstances; if poor, the brooches, being either circular or triangular, are of baser metal and modern date. The first kind has been worn time immemorial even by the ladies. The married women bind up their hair with a large pin into a knot on the crown of their heads."[267] The same writer thus describes the practice of every necessary art and trade by the simple islanders:—"It is very common to find men who are tailors, shoemakers, stocking-weavers, coopers, carpenters, and sawyers of timber. Some of them employ the plane, the saw, the adze, the wimble, and they even groove the deals for chests. They make hooks for fishing, cast metal buckles, brooches, and rings for their favourite females."[268] They were, in fact, at that very recent period practising nearly the same arts as we may trace out at a time when the Phœnician traders were still seeking the harbours of Cornwall, and exchanging the manufactures of Carthage, and perhaps of Tyre, for the products of the English mines. A no less unquestionable proof of the unchanging character of the Celtic arts is to be found in the fact that the ornamentation, not only on many of the old Highland brooches and drinking horns, but invariably employed in decorating the handle of the Highland dirk and knife, down to the last fatal struggle of the clans on Culloden Moor which abruptly closed the tradition of many centuries, is exactly the same interlaced knotwork which we are familiar with on the most ancient class of sculptured standing stones in Scotland. The annexed figure of a Highland powder-horn of the seventeenth century is from one in the possession of Mr. James Drummond, bearing inscribed on it the initials and date, G. R. 1685. The triple knot, so common on early Scottish and Irish relics that it has been supposed to have been used as a symbol of the Trinity, is no less frequently introduced on the Highland targets and brooches of last century, and is shewn along with other interlaced ornaments, on an example of the latter introduced in a subsequent chapter.

Engraved by W^m. Douglas, from Drawings in possession of the Soc. Antiq. Scot.

THE GLENLYON BROOCH.