T THE Highland Harp, known as the Clarsach Lumanach, or Lamont Harp, belongs to the owner of the Queen Mary Harp, C. Durrant Steuart, Esq., of Dalguise, Perthshire. Both harps were sent to Edinburgh in 1805 by General Robertson of Lude, who owned them at that time, at the request of the Highland Society, and a book was published in 1807 under the patronage of the Society, entitled An Historical Enquiry respecting the Performance on the Harp in the Highlands of Scotland from the earliest times until it was discontinued about the year 1734, by John Gunn, F.A.S.E., in which they were described, and a version of the family tradition of Lude given, compiled from letters written by General Robertson, now unfortunately not forthcoming. Although Mr. Gunn's story of the Queen Mary Harp is coloured in order to attach the gift of it to Mary Queen of Scots, that of the Lamont Harp appears to be according to the simple statement of the original narrator, and may be thus epitomised from a paper published in the Proceedings of the Society of Antiquaries of Scotland, 1880-81, by Mr. C.D. Bell, F.S.A. Scot.: "The family tradition of Lude alleges that for several centuries past the larger of these harps has been known as the Clarsach Lumanach or Lamont Harp, and that it was brought from Argyllshire by a daughter of the Lamont family on her marriage with Robertson of Lude in 1464. It is said to be the older of the two. If the probably quiet place in the house of Lude be considered, and that it was likely to be valued and cared for there, also that the repairs appear to be of very old date, then the Clarsach Lumanach may have already, before 1464, been an old broken and mended instrument with a pre-traditional story we can never hope to hear." From Burke's Landed Gentry, "Lineage of the Robertsons of Lude," we learn that Charles, fifth Laird of Lude, married Lilias, daughter of Sir John Lamont of The drawing shows the harp as it is, and may have been for centuries, but Mr. M'Intyre North, in his Book of the Club of True Highlanders, London, 1880, proposes, by the substitution of a longer bow or forearm, to bring this harp to the lines of the Queen Mary Harp and that of Brian Boru. It is sufficient here to observe that the present bow agrees in measurement with that of the Queen Mary and Brian Boru Harps, and is certainly very old. Against its originality is the fact that the Lamont Harp appears to have always had thirty-two strings, and for the three extra treble strings a longer bow ought to have been required. The extreme length of the Lamont Harp is 38 inches, and the extreme width 18½ inches. The sound chest, as with other ancient harps, is hollowed out of one piece of wood, but the back has been in this instrument renewed, although probably a long time ago. The sound chest is 30 inches long, 4 inches in breadth at the top, and 17 at the bottom. The comb projects 15½ inches. The broken parts of the bow are held together by iron clamps. As to the musical effect of a Gaelic or Irish harp when well played, the impression of such a performance recorded by Evelyn in his Diary is worth quoting. He says: "Came to see me my old acquaintance and the most incomparable player on the Irish harp, Mr. Clarke, after his travells. He was an excellent musitian, a discreete gentleman, borne in Devonshire (as I remember). Such musiq before or since did I never heare, that instrument being neglected for its extraordinary difficulty; but in my judgment it is far superior to the Lute itselfe, or whatever speakes with strings." Elsewhere he speaks of a Mr. Clark (probably the same performer) as being from Northumberland, and says of the instrument, "Pity 'tis that it is not more in use; but indeede to play well takes up the whole man, as Mr. Clark has assur'd me, who, tho' a gent of quality and parts, was yet brought up to that instrument from 5 yeares old, as I remember he told me." |