ately demolish the steeple of St. Nicholas. The mayor and
aldermen upon hearing this, immediately ordered a certain number of the
chiefest of the Scottish prisoners to be carried up to the top of the
tower, the place below the lanthorne and there confined. After this,
they returned the general an answer to this purpose,--that they would
upon no terms deliver up the town, but would to the last moment defend
it: that the steeple of St. Nicholas was indeed a beautiful and
magnificent piece of architecture, and one of the great ornaments of the
town; but yet should be blown into atoms before ransomed at such a rate:
that, however, if it was to fall, it should not fall alone, that the
same moment he destroyed the beautiful structure he should bathe his
hands in the blood of his countrymen who were placed there on purpose
either to preserve it from ruin or to die along with it. This message
had the desired effect. The men were there kept prisoners during the
whole time of the siege and not so much as one gun fired against it.

Avison, however, had other claims to distinction, besides being organist
of this ancient church. He was a composer, and was remembered by one of
his airs, at least, into the nineteenth century, namely "Sound the Loud
Timbrel." He appears not to be remembered, however, by his concertos, of
which he published no less than five sets for a full band of stringed
instruments, nor by his quartets and trios, and two sets of sonatas for
the harpsichord and two violins. All we have to depend on now as to the
quality of his music are the strictures of a certain Dr. Hayes, an
Oxford Professor, who points out many errors against the rules of
composition in the works of Avison, whence he infers that his skill in
music is not very profound, and the somewhat more appreciative remarks
of Hawkins who says "The music of Avison is light and elegant, but it
wants originality, a necessary consequence of his too close attachment
to the style of Geminiani which in a few particulars only he was able to
imitate."

Geminiani was a celebrated violin player and composer of the day, who
had come to England from Italy. He is said to have held his pupil,
Avison, in high esteem and to have paid him a visit at Newcastle in
1760. Avison's early education was gained in Italy; and in addition to
his musical attainments he was a scholar and a man of some literary
acquirements. It is not surprising, considering all these educational
advanta