U ■ .rt^wiji^-iTVi ! uimvi 4A<: W l ftlA'iSdff; m^ Wh te."ft>-!t'; •s;:?:'?- l^i \iv;>-.i< 'li^' ^t '.§1 V*l,r' ^^^3SU: CORNELL UNIVERSITY LIBRARY MUSIC CORNELL UNIVERSITY LIBRARY 924 066 563 853 'M ^»^ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924066563853 GENERAL HISTORY OF THE SCIENCE AND PRACTICE OF MUSIC, BY SIR JOHN HAWKINS. A NEW EDITION, WITH THE AUTHOR'S POSTHUMOUS NOTES. VOL. IL LONDON : NOVELLO, EWER & CO., i, BERNERS STREET (W.), And 35, POULTRY (E.G.) NEW YORK, J. L. PETERS, 843, BROADWAY. 1875- NOVELLO, EWER AND CO., TYPOGRAPHICAL MUSIC AND GENERAL PRINTERS, I, BERNERS STREET, LONDON. GENERAL HISTORY SCIENCE AND PRACTICE OF MUSIC. OHAPTEE XCIX. Thomas Morlby, one of the gentlemen of queen Elizabeth's chapel, the author of a well known treatise on the subject of practical music, was a disciple of Bird, for whom he ever entertained the highest reverence. He obtained a bachelor's degree in 1588, and was sworn into his place in the chapel July 24, 1592 ; he was the author of Canzonets or little short songs to three voices, Lond. 1593. The first book of Madrigals to four voices, Lond. 1594. Canzonets or little short Airs to 5 or 6 voices, Lond. 1695. Madrigals to 5 voices, Lond. 1595. In- troduction to Music, Lond. 1597. The first book of Aires or little short Songes to sing and play to the lute with the bass viol, Lond. 1600. And the first book of Canzonets to two voices, Lond. 1595, and 1619. He also composed divine services and an- thems, the words of some whereof are printed in James Clifford's Collection of divine services and anthems usually simg in cathedrals.* A service for the burial of the dead of his composition, the first of the kind, to the words of our liturgy, is printed in Dr. Boyce's Cathedral Music, vol. L He also collected and published madrigals, entitled the Triumphs of Oriana, to five and six voices, composed by divers authors, Lond. 1601, and a set or two of Italian madrigals to English words ; but the most valuable of all his works is his Plaine and easie In- troduction to practicall Musicke, so often referred to in the course of this work, and of which an account is here given. This valuable work is divided into three parts, the first teaching to sing ; the second treating of Descant, with the method of singing upon a plain -song ; the other of composition in three and more parts. Each of the three parts of this book is a several and distinct dialogue, wherein a master, his scholar, and a person competently skilled in music, are the interlocutors ; and in the course of their conversation so many little particulars occur relating to the manners of the times, * This liook is very frequently referred to by Wood. It is a collection of the words only, of the services and anthems then usually sung, printed in duodecimo, 1664. The compiler was a native of Oxford, a chorister of Magdalen college there, and afterwards a minor canon of St. Paul's, and reader in some church near Carter-lane, and also chaplain to the society of Seijeant's Inn in Fleet-street. Atlien. Oxon. as render the perusal of the book in a great degree entertaining to those who are unacquainted with the subject of it ; the truth of this observation will ap- pear from the very introduction to the work, which is as follows : — ' polymathes. ' Philomathes. ' Master ' PoLYMATHES. Staye brother Philomathes, what haste ? Whither go you so fast ? Philomath. To seek out an old friend of mine. Pol. But before you goe I praie you repeat some of the discourses which you had yester- night at Master Sophobulus his banket, for commonly he is not without both wise and learned guestes. Phi. It is true indeed, and yesternight there were a number of excellent schollers, both gentlemen ^nd others : but all the propose which was then discoursed upon was musicke. Pol. I trust you were contented to suffer others to speake of that matter. Phi. I would that had been the worst ; for I was compelled to discover mine own ignorance, and confesse that I knewe nothing at all in it. Pol. How so ? Phi. Among the rest of the guestes by chance Master Amphron came thither also, who falling to discourse of musicke, was in an argument so quickly taken up and hotly pursued by Eudoxus and Calergus, two kinsmen of master Sopho- bulus, as in his own art he was overthrowne, but he still sticking in his opinion, the two gentlemen requested me to examine his reasons and confute them, but I refusing, and pretending ignorance, the whole company con- demned me of discurtesie, being fully persuaded that I had been as skilfull in that art as they took me to be learned in others ; but supper being ended, and musicke bookes according to the custome, being brought to the table, the mistress of the house presented mee with a part, earnestly requesting me to sing, but when, after many excuses I protested unfeignedly that I could not, everie one began to wonder, yea some whispered to others, demanding how I was brought up : so that upon shame of mine own ignorance I goe nowe to seek out mine old friende master Gnorimus, to make myself his schoUar. Pol. I am glad you are at length come to be of that mind, though I wished it sooner, therefore goe, and I praie God send you such good successe as you would wish to yourself; as for me, I goe to heare some mathematical lectures, so that I thinke about one time wee may both meete at our lodging. Phi. Fare- 490 HISTORY OF THE SCIENCE Book Xl. ' well, fot I sit upon thornes till I be gone, therefore I ' will make haste ; but, if I be not deceived, I see him ' whom I seeke sitting at yonder doore, out of doubt it is ' hee. And it should seeme he studieth upon some point ' of musicke, but I will drive him out of his dumpe. ' Good morrow. Sir. Master. And you also good ' Master Philoraathes, I am glad to see yon, seeing it is ' so long ago since 1 sawe you, that I thought you had 'either been dead, or then had vowed perpetually to 'keep your chamber and booke to which you were so ' much addicted. Phi. Indeed I have been well affected 'to my booke, but how have you done since first I saw ' you ? Mast. My health since you saw mee hath been ' so badd as, if it had been the pleasure of him who made ' all things, to have taken me out of the world I should ' have been very well contented, and have wished it more ' than once : but what business hath driven you to this ' end of the town ? Phi. My errand is to you, to make ' myself your schoUer ; and seeing I have found you at ' such convenient leisure, I am determined not to depart ' till I have one lesson in musicke. Mast. You tell mee • a wonder, for I have heard you so much speake against 'that art, as to terme it a corrupter of good manners, ' and an allurement to vices, for which many of your com- ' panions termed you a Stoic. Phi. It is true, but I am ' fo far changed, as of a Stoic I would willingly make a ' Pythagorean ; and for that I am impatient of delay I ' praie you begin even now. Mast. With a good will ; ' but have you learned nothing at all in musicke before? ' Phi. Nothing. Therefore I pray you begin at the very 'beginning, and teach me as though I were a childe. ' Mast. I will do so, and therefore behold here is the 'scale of musicke which we terme the Gam.' [Giving him the gamut with the syllables.] The master then proceeds to instruct his scholar in the rudiments of song, in the doing whereof he delivers to him the precepts of the plain and men- surable cantus, illustrated with examples in notes, to some whereof, for the greater facility of utterance, he has joined the letters of the alphabet, and these are introduced b}' a distich, and concluded by a direction to begin again, as here is shown : — It ^ i Christes crosse be my speede in all ver - tue to -^-^-6 — »— ^ prooede A. b. c. d. e. f. _^ -^ a & ^ h. qmt i. k. 1. m. n. o. p. q. r. s. et in 4= 1==i: ^^^^^ double w. v. x. with y. ez- od. et per se, ^:^^^^^ '^ con per Be. ti-tle, ti -tie. est Amen, When you have ss ^- . Ki. : 1 ^'^ B ' ''done be-gin againe,be-gin a-gaine. Christes crosse ^ -JfZ=^. Se 1 be myepeede,in al ver - tue to pro-ceede. "g -w' The second part of the Introduction of Morley is a treatise of Descant, as it was then called; the meaning of the term, and the nature of the practice, are oxplaiiied in the following colloquy : — ' Master. Whom do I see afar off, is it not my scholar * Philomathes ? out of doubt it is he, and therefore I will 'salute him. Good morrow, schoUer. Phi. God give 'you good morrow and a hundredth, but I marvayle not ' a little to see you so early, not only stirring, but out of ' doors also. Mast. It is no marvayle to see a snayle * after a rayne to creep out of his shell and wander all ' about seeking the moisture. Phi. I pray you talk not * so darkely, but let me understand your comparysocs 'playnley. Mast. Then in plaine tearmes being over 'wearied with studie, and taking the opportunity of the ' fayrt morning, I came to this place to snatch a mouth- ' ful of this holsome ayre, which gently breathing upon * these sweet-smelling flowers, and making a whispering 'noise amongst these tender leaves, delighteth with re- ' freshing, and refresheth with delight my over weary ' senses ; but tell me, I pray you, the cause of your hither 'coming; have you not forgotten some part of that ' which I shewed you at our last being together. Phi. *No verily, but the contrary, I am become such a singer * as you would wonder to heare me. Mast. How came 'that to passe? Phi. Be silent, and i will shew you; * The practice of annexing words of a frivolous import to notes, for the assistance of novices in the art of singing, was no new thing ; the Monks were the authors of it, and many of the examples of Glareanus himself are either Hebrew names or Laiin nonsense, set to very good music; but in the example before us, the distich < Christ's cross be my spede In all vertue to procede, has a meaning which it will be the business of this note to enquire after. In the course of this work occasion has been taken to mention St. Nicholas, and to shew that by those of the Romish communion he is looked on as the patron of young scholars. In the homily against peril of idolatry, which our church has directed to he read for the instruction of the people, is a very particular enumeration of those saints, who, either from a supposed power to heal certain diseases, or to confer peculiar graces, or, in short, some way or other to favour mankind, were the most common objects of private supplication ; the passage referred to is as follows :— - * Every artificer and profession hath his special saint as a peculiar * God. As for example, schoUars have Saint Nicholas and Saint Gregory ; * Painters Saint Luke : neither lack soldiers their Mars, nor lovers their 'Venus amongst Christians. All diseases have their special Saints as * Gods the curers of them. The pox Saint Roche, the falling evil St. ' Cornells, the tooth ache St. Appollin, &c. Neither do beattts and cattel 'lack their gods with us, for Saint Loy is the horseleach ft. e. the horse- , 'physician] and Saint Anthony the swineherd, &c. Where is God's * providence and due honour in the mean season ? * * * if we remember ' God sometimes, yet because we doubt of his ability or will, to help us, * we join to him another helper, as he were a noun adjective, using these * sayings : such as learn, God and Saint Nicholas be my speed : such as ' neese, God help and Saint John : to the horse, God and Saint Loy save 'thee, &c.' From the above passage it appears that anciently * God and Saint ' Nicholas be my spede,' was a customary ejaculation of young scholars ; and we can hardly suppose a more proper occasion for the use of it than when infants of tender years are learning the rudiments of literature. It is therefore not improbable that the distich * Saint Nicholas be my spede ' In all vertue to precede,' might he the introduction to the alphabet, and might be constantly re- peated by the child previous to the beginning its lesson. The alphabet is frequently termed the Criss Cross, that is to say Christ's cross row, because of a cross constantly placed before the letter A, which sign was anciently a direction to the child to cross itself before it began its lesson, as it is now in the mass-book for the same action in different parts of the service. The use of the prayer to St. Nicholas may well be supposed to have continued amongst us imtil the practice of praying to saints was con demned by our church as superstitious, which it was somewhat before Morley's time ; and after that, as our reformers had thought proper to retain the use of the sign of the cross in some few instances how naturally did this variation suggest itself, ' Christ's cross be my spede In all virtue to procede. which, as the reformation then stood, might well enough be deemeJ a good Protestant prayer. ' Chap. XCIX. AND PRACTICE OF MUSK!. 491 I have a brother, a good scholar and a reasonable musition for singing, he at my first coining to you, conceived an opinion, I know not upon what reasons f rounded, that I should never come to any meane nowledge in musicke, and therefore when he heard me practice- alone he would continually mock me, indeed notwithstanding reason, for many times I would sing halfe a note too high, other while as much too lowe, so that he could not contain himself from laughing ; yet now and then he would set me right, more to let me see that he could doe it, then that he ment any way to instruct me, which caused me so diligently to apply my prick- song booke, that in a manner I did no other thing but sing, practising to slip from one key to another, from flat to sharp, from sharp to flat, from any one. place in the scale to another, so that there was no song so hard but I woulde venture upon it, no mood, nor proportion so strange but I would go through and sing perfectly before I left it ; and in the end I came to such per- fection that I might have been my brother's maister, for although he had a little more practice to sing at first sight than I had, yet for the moods, ligatures, and other such things, I might set him to school. Mast. What then was the cause of your coming hither at this time ? Phi. Desire to learne as before. Mast. What would you now learne. Phi. Beeing this last daye upon occasion of some businesse at one of my friends houses, we had some songs sung, afterwards falling to discourse of musicke and musitians, one of the company naming a friend of his owne, tearmed him the best Descanter that was to be found. Now, Sir, I am at this time come to knowe what Descant is, and to learne the same. Mast. I thought you had onely sought to know prickt song, whereby to recreate yourself, being wearye of other studies. Phi. Indeed when I came to you first I was of that minde, but the common proverb is in me verified, that much would have more ; and seeing I have so far set foot in music, I doe not meane to goe backe till I have gone quite through all, therefore I pray you now, seeing the time and place fitteth so well, to dis- course with me what descant is, what parts, and how many it hath, and the rest. Mast. The heate in- creaseth, and that which you demand requireth longer discourse than you looke for, let us therefore go and sit in yonder shadie arbor to avoyde the vehementness of the sunne. — The name of Descant is usurped of the musitions in divers significations ; some time they take it for the whole harmony of many voyces, others some- times for one of the voyces or partes, and that is when the whole song is not passing three voyces. Last of all, they take it for singing a part extempore upon a playne song, in which sense we commonly use it ; so that when a man talketh of a descanter, it must be understood of one that can extempore sing a part upon a playne song. Phi. What is the meane to sing upon a playne song? Mast. To know the distances both of concords and discords. Phi. What is a concord? Mast. It is a mixt sound, compact of divers voyces, &c.' Among the rules for extemporary descant, which are in truth no other than the precepts of musical composition, he explains the nature of that kind of composition called two parts in one, which, as he says, is when two parts are so made as that the latter singeth every note and rest in the same length and order as the leading part did sing hefore. From hence he proceeds to declare the nature of canon framed to a given plain-song ; and of these he gives sundry examples with the plain-song in various situations, that is to say, sometimes above, sometimes below, and at other times in the midst of the canon. The third part of the Introduction treats of com- posing or setting of songs ; and here the author takes occasion to censure one master Boulde, an ignorant pretender to music ; and he does it in this way, he supposes Philomathes by this time to have profited so much by his master's instructions as to have got the start of his brother Polymathes, and that Polymathes, who is supposed to have learned the little he knew of music of the above Master Boulde, being sensible of this, is desirous of putting himself under the tuition of his brother's master ; the master tenders him a plain-song, desiring him to sing upon it a lesson of descant, which he does but very indifferently, the faults in this and another lesson or two which Polymathes sings, draws on a discourse between him and his new master, wherein he very humorously characterizes his former master, Boulde. — ' When,' says he, ' I learned descant of my ' maister Boulde, hee seeing me so toward and ' willing to learne, ever had me in his company; and ' because he continually carried a plaine song booke ' in his pocket, hee caused me to doe the like, and so ' walking in the fields he would sing the plainsong, ' and cause me to sing the descant, and when I sung ' not to his contentment he would shew me wherein ' I had erred ; there was also another descanter, ' a companion of my maister' s, who never came in ' my maister's company, though they were much ' conversant together, but they fell to contention, ' striving who should bring in the point soonest and ' make hardest proportions, so that they thought ' they had won great glory if they had brought in ' a point sooner or sung harder proportions the one ' than the other : but it was a worlde to heare them ' wrangle, everie one defending his owne for the best. ' What, saith tha one, you keepe not time in your ' proportions ; you sing them false, saith the other ; ' what proportion is this, saith hee ? Sesquipaltery, ' saith the other ; nay, would the other say, you ' sing you know not what ; it should seem you came ' lately from a barber's shop, where you had Gregory ' Walker* or a Coranta plaide in the new proportions ' by them lately found out, called Sesquiblinda and ' Sesqui-hearken after. So that if one unacquainted ' with musicke had stood in a corner and heard them, ' he would have sworne they had been out of their 'wittes, so earnestlie did they wrangle for a trifle. * A note in the original. * That name in derision they have priven this ' quadrant Pavan because it walketh among barbers and fiddlers more • common than any other/ This note of the autlior requires explanation. In Morley's time and for many years after, a lute or viol, or some such musical instrament, Tf as part of the furniture of a barber's shop, which was used then to be frequented by persons above the ordinary level of the people, who resorted to the barber either for the cure of wounds, or to undergo some chirurf4cal operations, or, as it was then called, to be trimmed, a word that signified either sllaving or cutting and curling the hair j these, to- gether with letting blood, were the ancient occupations of the barber- surgeon. As to the other important branch of surgery, the setting of fractured limbs, that was practised by another class of men called hone- setters, of whom there are hardly any now remaining. Feacham, in his account of Maurice landgrave of Hesse before cited, says he was generally accounted the best bone-setter in his country, whence it appears that this faculty was sometimes exercised by men of condition and benevolent tempers. But to return to the barber : the musical instruments in his shop were for the entertainment of waiting customers, and answered the end of a newspaper. At this day those who wait for their turn at the barber's, amuse themselves with reading the news of the day or week ; anciently they beguiled the time with playing on a musical instrument, which custom gave occasion to Morley to say of the quadrant Pavan mentioned by him, that it was so common that it walked amongst the barbers. 492 HISTORY OF THE SCIENCE Boos XI. 'And in truth I myselfe thought sometimes that 'they would have gone to round huffets with the 'matter, for the descant bookes were made angels,* ' but yet fistes were no visitors of eares, and therefore • all parted friends. But to say the verie truth, this ' Poliphemus had a very good sight, especially for ' treble descant, but very bad utterance, for that his 'voice was the worst that ever I had heard; and ' though of others he was esteemed verie good in that ■' kinde, yet did none think better of him then hee ' did of himself; for if one had named and asked his ' opinion of the best composers living at this time, ' hee would say in a vaine glory of his own sufficiencie ' tush, tush, for these were his words, he is a proper ' man, but he is no descanter, there is no stuffe in ' him, I wil not give two pinnes for him except he ' hath descant.' In the course of his directions for composing and setting of songs, Morley takes occasion to censure Alfonso Ferabosco and Giovanni Croce for taking perfect concords of one kind in succession, a practice which he loudly condemns, and says of Fairfax, Taverner, Shepheard, Mundy, White, Parsons, and Bird, that they never thought it greater sacrilege to spurn against the image of a saint than to take two perfect chords of one kind together. Speaking of the several kinds of composition practised in his time, Morley gives the first place to the motet.| Next to the motet he places the madrigal, for the etymology of which word he says he can give no ' reason.:]: He says 'it is a kind of music made ' upon songs and sonnets, such as Petrarch and many ' other poets have excelled in, and that it is, next ' unto the motet the most artificial, and, to men of ' understanding, most delightful ; and would not be ' so much disallowable if the poets who compose ' the ditties would abstain from some obscenities ' which all honest ears abhor, and from some such ' blasphemies as no man, at least who has" any hope • of salvation, can sing without trembling.' He then enumerates the several kinds of composition and air practised by the musicians of his time, mention whereof will be made in a subsequent chapter. It is to be remembered that the whole of this work of Morley is in dialogue, and that by the master, who is one of the interlocutors in it, he means tp represent himself, who having sufficiently instructed his scholars dismisses them. The dialogue being ended there follows what the author calls the Peroratio, in which he discovers much learning; in it he says that had it not been for Boetius, the knowledge of music had not yet come into our western part of the world, adding this as a reason, ' The Greek tongue lying as it were dead ' under thei barbarisme of the Gothes and Hunnes, 'and musicke buried in the bowels of the Greeke ' workes of Ptolomeus and Aristoxenus ; the one of ' which as yet hath never come to light, but lies in * f. e. they flew aljout their ears as if they had \ringE. * See an explanation of this word in page 388 of this work, in a note. i See the conjectures of various authors concerning it in page 33S of this work, in a note. ' written copies in some bibliothekes of Italie, the ' other hath beene set out in print, but the copies are ' everie where so scant and hard to come by, that ' many doubt if he have been set out or no.' Next follow certain compositions of the author's own, for three, four, and five voices, to Latin, Italian, and English words, which have great merit. The annotations at the end of the work are replete with curious learning ; in these Morley has not spared to censure some ignorant pretenders to skill in music, and, amongst the rest, the anonymous author of a book entitled 'The Guide of the Path-Way to 'Music,' printed in 1596 in oblong quarto, for William Barley, a great publisher of music books about that time, of which he gives this character. 'Take away two or three scales which are filched ' out of Beurhusius,§ and fill up the three first pages ' of the booke, you shall not finde one side in all the ' booke without some grosse errour or other. For ' as he setteth down his dupla, so doth he all his ' proportions, giving true definitions and false ex- ' amples, the example still importing the contrarie ' to that which was said in the definition. || But ' this is the worlde ; every one will take upon him ' to write and teach others, none having more need ' of teaching than himselfe. And as for him of ' whom we have spoken so much, one part of his ' booke he stole out of Beurhusius, another out of § Fbedebic BEDRHUsrvs, con-rector of the college of Dortmund, an Imperial town in the circle of Westphalia. He wrote an Erotemata Musics, which was published about the year 1580. [[ After this character of the book a particular account of its contents will hardly be wished for; there are printed with it three books of tablature, the first for the lute, the second for an instrument called the Orpharion, and the third for one called the Bandore, concerning which two last it may not be amiss here to speak, and first of the Orpharion. It is of the fol- lowing form, and is thus described by the author : — •The Orpharion is strung with more 'stringes than the lute, and also hath ' more frets or stops ; and whereas the 'lute is strung with gut stringes, the ' Orpharion is strung with wire stringes, ' by reason of which manner of stringing, * the Orpharion doth necessarilie require 'a more gentle and drawing stroke than 'the lute; I mean the fingers of the 'right hand must be easily drawn over ' the stringes, and not suddenly griped or ' sharpelie stroken as the lute is, for if ' yee should doo so, then the wire stringes 'would clash or jarre together the one 'against the other, which would be a 'cause that the sound would be harsh ' and unpleasant. Therefore it is meete ' that you observe the difference of the ' stroke. And concerning the frets or 'stoppes, the difference doth consist in 'the different number that is between 'them, for the lute hath no further 'than i, and the Orpharion hath to q; ■ but it is seldom that any lesson for the ' Orpharion doth passe the stops of L or 'M. yet those that are cunning can at •their pleasure make use of all the ' stops.' Among the lessons contained in this book for the Orpharion, there is one named Bockuigton's Pound, which seems to be no other than that tune now called Pack- ington's Pound, and to which is adapted one of the songs in the Beggar's Opera. I he onginal composer of it appears to be one Francis Cutting. As to the Bandore, the figure whereof is .lUo given in the following page the author says it is easy to play on, ana is both commendable and I'-t. j'ff consort or alone He add.s that the manner of ,tuninr doth a little differ from the lute and orpharion, but he has forgotten to mention whether the strmgs are of wire, hke those of the orpharion, or of catgut Chap. XCIX. AND PRACTICE OF MUSIC. 493 ' LoBsius, perverting the sense of Lossius his wordes, ' and giving examples flatte to the contrarie of that ' which Lossius saith. And the last part of his book ' treating of Descant he took verbatim out of an old ' written booke which I have : but it should seeme ' that whatsoever or whosoever he was that gave it ' to the presse, was not the author of it himselfe, ' else would he have set his name to it, or then he ' was ashamed of his labour.' In the annotations on the second part of Morley's Introduction is the following curious note on the term Descant. ' Thoughe I dare not afBrme that •■this part was in use with the musitions of the ' learned Ptolemaeus, or yet of that of Boetius, yet ' may I with some reason say that it is more auncient ■' than pricksong, and only by reason of the name, ' which is contrapunto, an Italian word devised since 'the Gothes did overrun Italy, and changed the -' Latine tongue into that barbarisme which they now ' use. As for the word itselfe, it was at that time fit ' enough to expresse the thing signified, because no ' diversity of notes being used, the musicians instead ■' of notes did set down their musicke in plain prickes ' or points ; but afterwards, that custom being altered ' by the diversitie of forms of notes, yet the name is ' reta,ined amongst them in the former signification, ' though amongst us it be restrained from the gene- ' rality to signifie that species or kind which of all ' others is the most simple and plaine ; and instead ' of it we have usurped the name of descant. Also ' by continuance of time that name is also degene- ^ rated into another signification, and for it we use ' the word setting and composing : and to come to ' the matter which now we are to intreat of, the word ' descant signifieth in our tongue the forme of setting ' together of sundry voices or concords for producing ' harmony ; and a musician if he heare a song sung like those of the lute. This instrument is said by Stowe in his Annals, pag. 869, to have been invented in the fourth year of Queen Elizabeth, by John Rose, citizen of London, living in Bridewell. As to the inBtrument called the Or- pharion, above described, it is necessary to be observed that it cannot be the same with tbe Orphion, mentioned in the poems of Sir Aston Cock aine to have been invented by Thomas Filkington, one of the queen's musicians, for Filkington was one of the musicians of Henrietta, the consort of Charles 1., and the Orpharlon appears to be of greater antiquity. Filkington died about 1660, at Wolver- hampton, aged thirty-live, and lies there buried. Besides an epitaph. Sir Aston Cockaine wrote a poeitl to his memory, in which are the following quibbling lines : — * Mastring all music that was known before, 'He did invent the Orphion, and gave more. * Though he by playing had acquir'd high fame, * He evermore escaped the gamester's name, 'Yet he at Gamut frequent was, and taught ' Many to play, till death set his Gam out. ' His flats were all harmonious ; not like theirs ' Whose ebbs in prose or verse abuse our ears. * But to what end praise I his flats, since that * He is grown one himself, and now lies flat!' ' and mislike it, he will say the descant is nought ; ' but in this signification it is seldom used, and the ' common signification which it hath is the singing ' extempore upon a plain-song, in which sense there is ' none who hath tasted the first elements of musicke ' but understandeth it. When descant did begin, by * whom, and where it was invented, is uncertaine ; for ' it is a great controversie amongst the learned if it ' were known to the antiquitie or no. And divers ' do bring arguments to prove, and others to disprove ' the antiquity of it ; and for disproving of it they ' say that in all the works of them who have written ' of musicke before Pranchinus, there is no mention ' of any more parts than one, and that if any did ' singe to the harpe, which was their most usual ' instrument, they sung the same which they plaied. ' But those who would affirme that the ancients knew ' it, sale : That if they did not know it, to what end 'served all those long and tedious discourses and ' disputations of the consonantes, wherein the most ' part of their workes are consumed ? But whether ' they knew it or not, this I will say, that they had ' it not in halfe that variety wherein we now have it, ' though we read of much more strange effects of ' their musicke than of ours.'* At the end of this book is the following list of English musicians, the far greater part of whom appear to have flourished before the reformation. M. Pashe. Eobert Jones. Jo. Dunstable. Leonel Power. Eobert Orwel. M. Wilkinson. Jo. Gwin- neth. Eobert Davis. M. Eisby. D. Farfax. D. Kirby. Morgan Grig. Tho. Ashwell. M. Sturton. Jacket. Corbrand. Testwood. Ungle. Beech. Bramston. S. Jo. Mason. Ludford. Parding. Cornish. Pyggot. Taverner. Eedford. Hodges. Selby. Thome, Oclande. Averie. D. Tye. D. Cooper. D. Newton. M. Tallis. M. White. M. Persons. M. Byrde. By the compositions of Fairfax, Cornish, Taverner, and Thorne, already given, a judgment may be formed of the state of Music in those days. It appears that many of the old English musicians were men of learning in other faculties, particularly in astronomy and physic, and what is strange, in logic. Thorne of York lies buried in the cathedral of that city, with the following inscription : — Here lyeth Thorne, mufician moft perfitt in his art, In Logick's lore wlio did excell ; all vice who fet apart : Whofe lief and converfation did all men's love allure, And now doth reign above the /kies in joys moft firm and pure. Who died Decemb. 7, 1573. And in the same church is an inscription of the ** It seems by the conclusion of this passage that Morley was but little acquainted with the effects of modem music, for there is extant a relation to this purpose that surpasses all accounts of the power of ancient music over the human mind. It is this; a musician of Ericus king of Denmark, surnamed the Good, who reigned about the year 1130, a hundred years after the time of Guido, having given out that he was able by his art to drive men into what aifections he listed, even into anger and fury, and being required by the king to put his skill into practice, played so upon the harp that his auditors began first to be moved, and at last he set the king into such a frantic mood, that in a rage he fell upon his most trusty friends, and, for lack of weapon, slew some of them with his fist, which when he came to himself he did much lament. This story is recorded at large both by Krantzius and Saxo Grammaticus, and is cited by Butler in his treatise on the Frinciples of Music, pag. 7. 494 HISTORY OF THE SCIENCE Book XL like import, celebrating the memory of another of his profession in these words : — Muficus et logicus Wyrnal hie jacet ecce Johannes Organa namque quafi fecerat ille loqui. Thus humorously translated ; — Musician and logician both, John Wyrnal lieth here ; Who made the organs erst to speak As if, or as it were. CHAP. 0. The foregoing account may suffice to shew the design and method of Morley's Introduction to Music, a work for which all who love or practice the science are under the highest obligations to its author. John Caspar Trost, organist of the church of St. Martin at Halberstadt, a learned musician of the last century, translated it into the German language, and published it in folio, with the title of Musica Practica. The particulars of Morley's life are no otherwise to be collected than from a few scattered notes con- cerning him in the Athense Oxonienses, and from his own work, throughout which he speaks the language of a sensible, a learned, and a pious man, a little soured in his temper by bodily infirmities, and more by the envy of some of his own profession, of which he com- plains in very feeling terms in the preface to almost every one of his publications. In that before his In- troduction he speaks of the solitary life which he led, being compelled to keep at home, and that made him glad to find anything wherein to keep himseff ex- ercised for the benefit of his country : and m the course of his work he takes frequent occasion to mention the declining state of his health at the time of his writing it ; nevertheless he_ survived the publication of it some years, dying as it seems in the year 1604. Doni, in his 'Discorso sopra la per- •fettione de Melodia,' printed with his treatise ' De' 'Generi e de' modi,' pag. Ill, styles him ' Tommaso, Morley, erudito musico Inglese.' As a practical composer he has doubtless shown great abilities; he was an excellent harmonist, but did not possess the faculty of invention in any very emineint degree. His compositions seem to be the effect of close study and much labour, and have in them little of that sweet melody which are found in those of Bennet, Weelkes, Wilby, Bateson, and some others ; nor in point of invention and fine contrivance are they to be compared with those of either Bird or Tallis. He composed a solemn burial service, the first perhaps of the kind ever known in England, and which continued to be performed at the interment of persons of rank till it gave way to that of Purcell and Croft, which will hardly ever be excelled. After the expiration of the patent granted to Tallis and Bird, it seems that Morley had interest enough to obtain of queen Elizabeth a new one of the same tenor, but with ampler powers.* It was granted to him 40 Eliz. Anno Dom. 1598. Under this patent William Barley printed most of the music books which were published during the time that it con- tinued in force. The style of Morley may be judged of by the following composition, which is the fourteenth of his madrigals to four voices, published in 1594 : — BE-SIDES a foun taine, be-sldes a foun - taine qf sweet bri - er ^^m^^ BE - SIDES a foun - taine, be - sides a foun taine of sweet - brier and w ^^^^^= ^^ fe^ ^^^ BE - SIDES a foun - taine, be-sides a foun - taine of sweet brier and 1^ r^= BE - SIDES a foun taine and ro - ses, heard I two lov-ers talk in sweet and wan -ton glo - g^g^g^^ig^g^^^^^^F^^=^^^^|i^=g ro - ses, heard I two lov-ers lov-ing talk in sweet and wan ton glo heard I two lov-ers talk in sweet and wan ton " Vide ante page 456. glo Chap. 0. AND PRACTICE OP MUSIC 495. ^^^i= :=t= '^^^^^^m^^^^m zt: - Bes, be- a. foun - taine, be-sides a foun - taine of sweet bri - er . E^^^- f3E i=r^^^pi== )=q= i^ E§=^ t ses, be sides a foun taine. be-sides a foun taine of sweet brier and ^ - - ses, be sides a foun sides a foun taine, Ei ro-ses, beard I two lov-evs lov-ing talk in sweet and ton glo and heard I two lov - ers talk in sweet and wan-ton glo - t : '—•, p 1 talk sweet and wan glo heard I twolov-ers talk sweet and ton glo i^^ =?3=f ^^m 'M^^m^m^m Say, dain-tydeere, quoth he. to whom, EE=fE tell me dain-tydeere, quoth he, to whom is thy Eg^^^E^^g =rJ^^^= P=g^E^g^ ^^| Say dain-ty deere, quoth he, to whom, . . say, dain-ty deere, to whom is thy lik E^^^^mm^mm^^^^i ^ Say, dain-ty deere, quoth he, to whom is thy lik-ing ty ^nii^^-^^iiiifi Say, dain-tydeere, quoth he, to whom is thy lik mg ^^^.::tf^f::p=:^^^^^=3=^=^Eggjpg:-g|^ ^g^ ^ lik - ing ty ed? To whom but thee iili ^^^^^^ mybon-ny love, to whom but ^m^m ing ty ed? To whom but thee, my bonny, bon-ny, bonny love, my love, to whom but ^^^ sm^ ^^^^^^^^^^ . ed? To whom but thee, . my bonny love, to thee. E3== my ^^= =3=3^ ty ed? To whom but thee, '-' thoa mv hnniiv Tmnmr hnnnw Inv^ mw lnu*>9 f.ViA rt— t-ri -a I -H^ . . D It. Thomas Morleit. he. ly come kisse me, then. and shew CHAP. 01. William Bathe, a person scarce known to the world as a writer on music, was nevertheless the author of a hook with this title : ' A brief intro- ' duction to the true art of musicke, wherein are set ' downe exact and easie rules for such as seeke but to ' know the trueth,-with arguments and their solutions, 'for such as seeke also to know the reason of the ' trueth : which rules be meanes whereby any by his ' owne Industrie may shortly, easily, and regularly ' attaine to all such thinges as to this arte doe belong : ' to which otherwise any can hardly attaine without ' tedious difficult practice, by meanes of the irregular ' order now used in' teaching, lately set forth by ' William Bathe, student at Oxenford. Imprinted ' at London by Abel Jeffes, dwelling in Sermon-lane 'neere Panics Chaine, anno 1584.' Small oblong quarto, black letter. The authors of the Biographia Britannica, adding their own laborious researches to a few memorials in the Athen. Oxon. have given a much more satisfactory account than could be expected of this obscure person, for his name does not once occur in any treatise extant on the subject of music. The account they give of him is that he was born in Dublin anno 1564 ; that he was descended from a considerable family, who, what by rebellions, extravagance of heirs, and other misfortunes, were reduced to straight circumstances. They say of this William that he was of a sullen saturnine temper, and disturbed in his mind that his family was fallen from its ancient spendour ; that he was educated under a Popish school-master, but removed to Oxford, where he studied several years with indefatigable industry, but in what college, or whether he ever attained to any academical honours, Wood himself could never learn. That growing weary of the heresy, as he usually called the protestant faith professed in Eng- land, he quitted the nation and his religion together, and in the year 1596 was initiated amongst the Jesuits. That having spent some time among the Jesuits in Flanders, he travelled into Italy, and completed his studies at Padua, from whence he passed into Spain, being appointed to govern the Irish seminary at Salamanca. That at length taking a journey to Madrid to transact some business of his order, he died there on the seventeenth day of June, 1614, and was buried in the Jesuits' convent of that city. In the estimation of his brethren he was a man of learning ; and Wood says of him that he had a most ardent zeal for the gaining of souls ; and that though of a temper not very sociable, he was much esteemed by those of his own persuasion for his extraordinary virtues and good qualities. He was the author of several books, the titles whereof are given in the Biographia Britannica. His Introduction to Music is dedicated to his uncle Gerald Fitzgerald, earl of Kildare, and that for reasons which seem to betray somewhat of that saturnine temper above ascribed to him, for in it he thus expresses himself, ' being rhetorically persuaded to graunt to the publishing thereof, I forbore to do it till I had considered two thinges, whereof the one was the worthinesse of the matter. The other, the feeding of the common affections. But for the worthinesse, I thought it not to be doubted, seeing heere one set forth a booke of a hundred mery- tales ; * another of the battaile between the spider and the fly ; t another De Pugnis Porcorum ; another of a monster born at London the second of January, bedded lyke a horse and bodied lyke a man, with other such lyke fictions ; and thinking this matter then some of these to be more worthy. As for the other, wich is to feede the common affections of the patient learned, I doubt not but it may soon be ; but he that wil take in hand to serve to the purpose of every petty pratler, may as soone by sprinckling water suffice the drienes of the earth, as bring his purpose to passe.' The preface was doubtless intended by the author to recommend his book to the reader's perusal, but he has chosen to bespeak his good opinion rather by decrying the ignorance of teachers, and the method of instruction practised by them, than by pointing out any peculiar excellencies in his own work. He says that many have consumed a whole year before they could come at the knowledge of song only, but that he had taught it in less space than a month. But how highly soever the author might value his own work, he thought proper some years after the first publication to write it over again in such sort, * The author here means a translation of Les Centes Nouvelles nou- Telles, which is mentioned by Ames to hare heen printed about this time. The original was published in 1455, by Louis XI. of France, then dauphin, during his retreat from his father's court to that of the duke of Burgundy. t The Parable of the Spider and the Fly, quarto, 1556, in old English verse, by John Heywood. 498 HISTOEY OF THE SCIENCE Book XI, as hardly to retain a single paragraph of the former edition. This latter edition was printed hy Thomas Este, without a date, with the title of ' A brief In- ' troduction to the skill of song : concerning the ' practice, set forth by William Bathe, gentleman.' And here again the author, according to his wonted custom, censures the musicians of his time, and magnifies the efficacy of his own rules ; for mark the modesty of his preface : — ' Olde musitions laid downe for song, manifold ' and crabbed confuse tedious rules, as for example ; ' though there be in all but sixe names, ct re mi fa ' sot LA, having amongst them an easie order, yet ' could not they by rule declare, whether of these ' should be attributed to everie note, unlesse they ' had first framed the long ladder or skale of gamut, ' to which some added, thinking the ladder too short ; ' some hewed off a peece, thinking it too long. Then ' would they have the learner be as perfect in coming ' down backward, as in going up forward, lest in his ' practice he should fall and break his necke. Then ' must he learne gamut in rule, A re in space, Jj mi 'in rule, fa ut in space, &c. Then must he ' know GAMUT, how many cleves, how many notes. ' A KE how many notes, &o. Then must he know ' J|, quadrij, proper-chant, and b mul, re in A re, ' whereby ut in fa dt, whereby mi in A la mi re, ' whereby, &c. And when all have done, after their ' long circumstances of time, whereby they should be ' often driven to millibi, for notes standing in diverse ' places of gamut have names that the place where ' they stand comprehend not. Touching all the ' prolixe circumstances and needlesse difficulties that ' they use, it loathes me greatly that heere I should ' write them : and much more would it grieve the ' reader to learne them. Also many things are used ' in song for which they give no rules at all, but ' committed them to dodge at it, harke to it, and ' harpe upon it.' The precepts for singing contained in this book are divided into ante rules, and post rules ; the ante rules respect Quantity, Time, and Tune ; the post rules, Naming, Quantity, Time and Tune ; and, from the manifold objections of the author to the usual method of teaching, a stranger would expect that these were not only better calculated for the purpose of instruction, but also discoveries of his ov?n ; but nothing like this appears : his rule of teaching is the scale with the six syllables, and the cliffs of Guido ; the mutations, the stumbling-block ■ of learners, he leaves as he found them ; and, in short, it may be truly said that not one of the ' prolixe ' circumstances or needlesse difficulties ' that others use in teaching, is by him removed, obviated, or lessened : nevertheless, as a proof of the efficacy of his rules, he produces the following instances : — ' ' In a moneth and leese I instructed a child about ' the age of eight yeares to sing a good number of ' songs, difficult crabbed songs, to sing at the first ' sight, to be so indifferent for all parts, alterations, ' cleves, flats and sharpes, that he could sing a part ' of that kinde of which he never learned any song, « which child for strangeness was brought before the ' lord deputie of Ireland to be heard sing, for there ' were none of his age, tnough he were longer at it, ' nor any of his time (though he were elder) known ' before these rules to sing exactly. ' There was another who by dodging at it, heark- 'ning to it, and harping upon it, could never be ' brought to tune sharps aright, who so soone as hee ' heard these rules set downe for the same, could tune ' them sufficiently well. I have taught diverse others ' by these rules in lease than a moneth what myselfe ' by the olde, obtained not in more than two yeares. ' Diverse other proofes I might recite which heere ' as needlesse I doe omit, because the thing will shew 'itselfe. Diverse have repented in their age that ' they were not put to sing in their youth ; but ' seeing that by these rules, a good skill may be had ' in a moneth, and the wayes learned in four or five ' dayes : none commeth too late to learne, and ' especially if this saying be true : That no man 'is so olde but thinketh he may live one yeere 'longer. As Aristotle in setting forth his pre- ' dicaments saw many things requisite to be entreated ' of, and yet unfit to be mixed with his treatise ; he ' therefore made ante predicaments and post predica- ' ments : so I for the same cause, desirous to abolish ' confusion, have added to my rules, ante rules and ' post rules. Vale.' As to these rules, the best that can be said of them is that there is nothing like them to be met with in any writer on music, and of the perspicuity of his style let this, which is the first chapter of his post rules of song, as he calls them, suffice for an example. ' The exceptions from the order of ascention and ' descention are diversely used according to the ' diversitie of place, and accordingly they are to ' be given, for each order in naming seemeth best to ' them that have been brought up withall. ' D is sometimes used in old songs as a cleve, and ' putteth ut down to the fifth place. ' In Italy as I understand, they change ut into ' SOL : in England they change re into la, when the ' next removing note before or after be under.' The following is the third chapter of this ingenious author's post rules, and respects the singing of hard proportions : — ' In timing hard proportions that go odding, many ' take care only of the whole stroke, wholly kept ' without dividing it to the going up and then down ' agayne of the hand. ' Some keepe semibreefe time, as sufficient easie of ' itselfe, and do not divide it into minim time.' ' Three minim time is more difficult, and therefore ' some do divide it into minim time.' But attend to a notable invention of this author for the measuring of time, and see what clear and in- telligible terms he has chosen to express his meaning. ' Take a stick of a certaine length, and a stone of ' a certaine weight, hold the stick standing upon an ' end of some table : see you have upon the stick ' divers marks : hold the stone up by the side of the ' stick, then as you let fall the stone, instantly begin to ' sing one note, and just with the noyse that it maketh 'upon the table, begin another note, and as long ' as thou boldest the first note, so long hold the rest, ' and let that note be thy cratehet or thy minim, &c.. Chap. OIL AND PRACTICE OF MUSIC. 499 ' as thou seest cause, and thus maist thou measure ' the verie time itselfe that thou keepest, and know ' whether thou hast altered it or not.' The account above given affords occasion to mention a musician who lived about this time, equally obscure, of the name of Whythome, the author of a book, of which the folloiving (taking it from the Tenor Part) is the title, and a very quaint one it is: ' Tenor of songs for 5 voices, ' composed and made by Thomas Whythorne, gent. 'The which songs be of sundry sorts, that is to say, ' some long, some short, some Jiard, some easie to be ' songe, and some plesant or mery : so that accord- ' ing to the skill of the singers (not being musitians) ' and disposition or delite of the hearers they may ' here fnde Songes for their contentation and 'liking. 3 Norn newly published A.D. 1571, ' 3 At the end of this book ye shall find an ad- ' vertisement concerning the use of the fats and ' sharps that are set with this musicke, also of the ' mast needful faults to be amended that are escaped ' in the printing these five Books.^ The book is of an oblong form, printed in a neat black letter type by old John Day. Whythorne' s name does not occur in any list of the musicians of this country, and it is inferred that he attained to no degree of eminence in his profession. John Mundy, organist, first of Eton college, and afterwards of the free chapel of Windsor in queen Elizaheth's reign, was educated under his father William Mundy, one of the gentlemen of the chapel, and an eminent composer. In 1586, at the same time with Bull, Mundy the son was admitted to the degree of bachelor of music at Oxford ; and at the distance of almost forty years after was created doctor in the same faculty in that university. Wood speaks of a William Mundy, who was a noted musician, and hath composed several divine services and anthems, the words of which may be seen in Clifford's collection; this person was probably no other than Mundy the father. John Mundy com- posed madrigals for five voices in the collection entitled the Triumphs of Oriana, before spoken of, and of which a particular account will be given hereafter ; was the author of a work entitled ' Songs ' and Psalmes composed into 3, 4, and 6 parts, for ' the use and delight of all such as either love or ' learne musicke,' printed in 1594. An excellent musician undoubtedly he was, and, as far as can be judged by the words he has chosen to exercise his talent on, a religious and modest man, resembling in this respect Bird. Wood says he gave way to fate in 1630, and was buried in the cloister adjoining to the chapel of St. George at Windsor. CHAP. CII. Thomas Weblkes, organist of Winchester, and, as it should seem, afterwards of Chichester, was the author of Madrigals to 3, 4, 6, and 6 voices, printed in 1597. He also published in 1598 ' Ballatts and ' madrigals to five voices, with one to six voices ; ' and in 1600 ' Madrigals of six parts apt for the viols ' and voices.' Walther in his Lexicon mentions that a monk of the name of Aranda published a madrigal of Weelkes in a collection of his own printed at Helmstadt in the year 1619. A madrigal of his for six voices is published in the Triumphs, of Oriana. He also composed services and anthems, which are well known and much esteemed. An an- them of his ' Lord grant the king a long life,' is printed in Barnard's collection. There is extant also a work entitled ' Ayeres or ' phantasticke spirites for three voices, made and newly ' published by Thomas Weelkes gentleman of his ' majesties chapell, Baohelar of musicke, and Organest ' of the Cathedral church of Chichester.' Lond> 1608. This collection contains also a song for six voices entitled ' A remembrance of my friend M. Thomas ' Morley.' The following most excellent madrigal of Weelkes is the eleventh in the collection published by him in 1597:— m ATE mee, my wont - ed joyes for - sake mee. ^^^^^ [j=-.i=tJ=JE AYE my wont - ed joyes for - Bake mee. my wont-ed my wont - ed joyes for - sake mee, my wont - ed joyes for - sake mee, joyes for - sake mee 500 HISTOKY OF THE SCIENCE Book XI. des - paire . , doth . . . o-ver - take mee. Aye mee, - ver-take, doth Q - - ver-take mee. Aye my wont - ed joyes for mee. P sake mee, my wont - ed joyes for - eake mee. ^ ■^- my wont-ed joyes for - sake . . mee. ^^^^^^^^^ ^ ^^^ =E my wont - ed joyes for - sake mee, my wont -ed joyes for - sake mee, and I whi - lome, whilome sung, I whi - lome sung, . . but . . now I mee ; I whilome, whilome sung, I . . . whi lome sung, but now I weep; mee; I whilome, whilome sung, I whi - lome sung, I whi - lome sung, but now weep; thus sor-rowes run when joy doth creep. thus sorrowes run when '^^^^E thus sor-rowes run when jov doth creep. weep; thus sor-rowes run when joy doth creep, doth ••, weep ; thus sor-rowes run when joy doth creep, thus sorrowes run when Chap. OIL AND PEAOTICE OF MUSIC. 601 ^^^^^^ - — - jj ^ — - — j — #: ^^i joy doth creep. $ ■ ^F=3^=fep^ thus sorrowes run when joy doth creep, w^^^^^ ^SE zf:- thus sorrowes run when joy doth creep. thus sor- rowes run when ^^i E^ia^ m^m creep, thus sor-rowes run when joy doth creep, thus sor-rowes run when ^m E?E | U I . w ^f iE joy doth creep. thus sorrowes run when joy doth creep, ^^^^^i^l^i^^i EF;^^i= thus soiTOwes runwhenjoydothcreep, when joy . doth creep. S==^: ^^=^^^ Em ES5E joy doth creep. thus ^E= rowes run when joy doth creep. ^^^^^^d Ea^3E I wish joy doth creep. when joy . doth creep. thus sorrowes run when joy doth creep. when joy doth creep. I wish to wish . . to live, and yet I dye, and yet T dye, I dye, for love J^^^g^feE^S^^ .rpz '^m^ -N live, and yet, . . and yet die. for love hath "^ wrought By the Faati Gxon. it appears that in 1602 William Weelkes of New College, Oxon. was ad- mitted to the degree of bachelor ; and Wood makes it a question whether the register of the university might not mistake the name of William, for that of Thomas Weelkes, whidh, considering the relation between New College and Winchester .college, it is more than probable he did. Giles Parnaby of Christ-Church college, Oxford, ry. Thomas Weelkes. was in 1592 admitted bachelor of music. He was of Truro in Cornwall, and nearly related to Thomas- Farnabie, the famous school master of Kent : there are extant of his composition, Canzonets to 4 voices, with a song of eight parts. Lond. 1598. A few of the Psalm-tunes in Eavenscroft's Collection, Lond. 1633, that is to say, the three additional parts'to the tenor or plain-song, which is the ancient church tune, are of Farn'aby's composition. 502 HISTORY OF THE SCIENCE .Book XI. John Milton, the father of our celehrated epic poet, though not so by profession, was a musician, and a much more excellent one than perhaps will be imagined. He was born at Milton near Halton and Thame, in Oxfordshire, and, by the advice of a friend of the family, became a scrivener, and followed that business in a shop in Bread-street, London,* having for his sign the spread eagle, the device or ■coat-armour of the family. Under whom, or by what means he acquired a knowledge of music, the accounts that are given of him are silent, but that he was so eminently skilled in it as to be ranked among the first masters of his time there are proofs irre- fragable, f His son, in a Latin poem entitled ^' Ad Patrem," celebrates his skill in music ; and in the following lines thereof, says of his father and himself, that the attributes of Phoebus, Music •and Poetry, mere divided between them : — ' Ipse volens Phcebus se dispertire duobus ' Jtltera dona mihi, dedit altera dona parenti, ' Dividuum que Deum genitor que puerque tencmus.' Among the Psalm -tunes composed into four parts by sundry authors, and published by Thomas Eavenscroft in 1633, there are many, particularly that common one called York tune, with the name John Milton ; the tenor part of this tune is so well known, that within memory half the nurses in Eng- land were used to sing it by way of lullaby ; and the chinies of many country churches have played it six or eight times in four and twenty hours from time immemorial. In the Triumphs of Oriana is a madrigal for five voices, composed by John Milton , and in a collection of musical airs and songs for voices and instruments entitled ' The Teares or ' lamentations of a sorrowful soule,' composed by Bird, Bull, Orlando Gibbons, Dowland, Ferabosco, Coperario, Weelkes, Wilbye, in short, by most of the great masters of the time, and set forth by Sir William Leighton, knight, one of the gentlemen pensioners in 1614, are several songs for five voices by John Milton, and amoilg the rest, this : — i lii^^f^ ^^^^m II had I wings like to a dove, O had I wings, had I wings like ~^^=l had I wings like to ^^^^^ ^^^^^^^ had I wings like to a dove, a dove, had I wings like i^ had I wings like * The word scrivener anciently signified a mere copyist. Chaucer febukes his amanuensis by the n^me of Adam Scrivenere. The writing of deeds and charters, making service-books, and copying manuscripts, was one of the employments of the regular clergy. After the dissolution of religious houses, the business of a scrivener became a lay profession; and 14 Jac. a company of scriveners was incorporated, about which time they betook themselves to the writing of wills, leases, and such other assurances as required but little skill in the law to prepare. It was at this time a reputable, and, if we may judge from the circumstances of the elder Milton, and the education which he gave his children, a lucra^ •tive profession ; but after the fire of London the emoluments of it were greatly encreased by the multiplicity of business which that accident gave occasion to. Francis Kirkman the bookseller was put apprentice to a scrivener, and, in the account of his life, entitled The Unlucky Citizen, he relates that almost all the business of the city in making leases, mortgages, and assignments, and procuring money on securities •of ground and houses, was transacted by these men, who hence assumed the name of money scriveners. The furniture of a scrivener's shop was a sort of pew for the master, desks for the apprentices, and a bench for the clientB to sit on till their turn came to be dispatched. The following jest may serve to explain the manner in which this business was carried on: A country fellow passing along Cheapside, stopped to look in at a scrivener's shop, and seeing no wares exposed to sale, asked the apprentice, the only person in it, what they sold there ? Loggerheads, answered the lad. By my troth, says the countryman, ' you must have ' a roaiing trade then, for I see but one left in the shop.* t We are told by Phillips, in his account of his uncle Milton, that he also was shilled in music. Mr. Fenton in his life of him adds That he played on the organ : and there can be but little reason to suppose, con- sidering that he had his education in London, viz., in St. Paul's school, that he had his instruction in music from any other person than his father. From many passages in his poems it appears that Milton the younger had a deep sense of the power of harmony over the human mind. This in the II FenseroscK— * But let my due feet never fail ' To walk the studious cloisters pale, ' And love the high embowed roof, * With antique pUlars massy proof, ' And storied windows richly dight, * Casting a dim religious light. * There let the pealing organ blow, * To the full-voic'd choir below, * In service high and anthems clear, ' As may with sweetness, through mine ear * Dissolve me into extasies, ' And bring all Heav'n before mine eyes.' shews that however he might object to choral service as a matter of dis- cipline, he was not proof against that enthusiastic devotion which it has a tendency to excite. It may here be remarked that the lines above quoted present to the reader's imagination a view of an ancient Gothic cathedral, and call to his recollection such ideas as may be supposed to possess the mind during the performance of the solemn choral service - and it is probable that the poet became thus impressed in his youth by his frequent attendance at the cathedral of St. Paul, which was near his school, and in his father's neighbourhood, where the service was more soluoin ilian iL is now, and which cathedral, till it was destroyed by the fire of London, had perhaps the most venerable and awful appearance of any edifice of the kind in the wond. Chap. Oil, AND PRACTICE OP MUSIC. 503 af^ — : l^^^ j=g= ^ ^ tu dove, then . . should I from these m si^^ dove, O . had I wings like to a dove, O had I wings like then should I from these troubles flie, these trou - bles flie, then should I from these troubles =^P ^ L^^= i^ i=t= dove. then should I from these trou bles flie, these troubles flie. then should then should I from these trou-bles flie, these from these troubles flie, then should I from these trou-bles flie, these trou -bles flie. to from these troubles flie, . . . then should I from these trou-bles flie, to trou-bles flie, then should I from these trou-bles flie, these trou - bles flie to der - nesse I would ... re - move, I would . . remove, to wil-der- nesse would re-move, I would re - move, to spend my life 2l 504 HISTOEY OF THE SCIENCE Book XI. 1 my life. i"^ to spend my life and there to die, and there to die, ^^1^ ^m- -r I r r r f # to spend my life . . . and there to die, to spen d my life and there to die, and there to die, die. and . . thereto and there to die,. . die, to die, . . . and there to die, to spend my life and there to to spend Shy life, and there to die, and . . . thereto and . . . there to die, and'T , there to die, . . to die. die, and . there to die, and . . . thereto die, to die. John Milton. And lastly, it is said in the life of Milton the son, written by his nephew Edward Phillips, and prefixed to a translation of some of his Latin letters of state, printed in 1694, that Milton the father composed an In Nomine of no fewer than forty parts, for which he was rewarded by a Polish prince, to whom he pre- sented it, wth a golden medal and chain.* CHAP. cm. John Copbrabio, a celebrated artist on the viol da gamba, and a good composer for that instrument, and also for the lute, was in great reputation about the year 1600. He excelled in the composition of fantasias for viols in many parts ; he taught music to the children of James the First ; and under him prince Charles attained to a considerable degree of proficiency on the viol ; some of his vocal compo- sitions are to be found in Sir William Leighton's collection, mentioned in the preceding article, and of * A golden medal and chain was the usual gratuity of princes to men of eminence in any of the faculties, more especially law, physic, poetry, and music. Orlando de Lasso is always represented in paintings and engravings with tliis ornament ahout his neck, as are Matthiolus, Bau- dius, Sennertus, Erycius Puteanus, and many others. It seems that the medal and chain once hestowed as a testimony of princely favour, was ever after a palt of the dress of the person thus honoured, at least on public occasions. So lately as the heginning of the present century the emperor Joseph I. presented Antonio Lotti of Venice with a gold chain, as a compliment for dedicating to him a book of Duetti Terzetti, Sec. of his composition, in which was contained the famous madrigal ' In una Siepe ombrosa.' Letters from the Academy of ancient Music at London to Signor Antonio Lotti of Venice, 1732. his fantasias there are innumerable in manuscript. He, in conjunction with Nicholas Laniere and others, composed songs in a masque written by Dr. Thomas Campion, on occasion of the marriage of Carr earl of Somerset and the lady Frances Howard, the divorced countess of Essex, and presented in the banquetting- room at Whitehall on St. Stephen's night, 1614. Mr. Penton, in his notes on Waller, on what authority he does not mention, says that Henry Lawes having been educated under him, introduced a softer mixture of Italian airs than before had been practised in our nation, from which, and from his giving him the appellation of Signor, he seems to intimate that he was an Italian : but the fact is that he was an English- man, and named Cooper, who having spent much of his time in Italy, Italianized his name to Coperario, and was called so ever after. •Coperario composed fantasias for viols to a great number, which are extant in manuscript only. His printed works are, the songs composed by him in conjunction with Laniere on occasion of the above-mentioned marriage, and these that follow : — 'Funeral Teares for the death of the Eight 'Honorable the Earle of Devonshire, figured in •seaven songes, whereof sixe are so set forth that ' the wordes may be exprest by a treble voice alone ■ ' to the lute and base viol, or else that the meane ' part may be added, if any shall affect more fulnesse Chap. GUI. AND PRACTICE OF MUSIC. 505 ' of parts. The seaventh is made in forme of a dia- ' logue, and cannot be sung without two voices. ' Invented by John Coperario. Pins pi6 Pol. Lond. 1606. ' Songs of Mourning, bewailing the untimely ' death of prince Henry, worded by Thomas Cam- ' pion, and set forth to bee sung with one voice to ' the lute or violl by John Coperario.' Pol. Lond. 1613. Elway Bevin, a man eminently skilled in the know- ledge of practical composition, flourished towards the end of queen Elizabeth's reign. He was of Welsh extraction, and had been educated under Tallis, upon whose recommendation it was that on the third day of June, 1589, he was sworn in, gentleinan extraor- dinary of the chapel, from whence he was expelled in 1637, it being discovered that he adhered to the Eomish communion. He was also organist of Bristol cathedral, but forfeited that employment at the same time with his place in the chapel. Child, afterwards doctor, was his scholar. It is worthy of remark that although Wood has been very careful in recording eminent musicians, as well those of Cambridge as of Oxford, the name of Bevin does not once occur in either the Athense or Fasti Oxonienses. One of the reasons for his care in preserving the memory of men of this faculty was that himself was a passionate lover of music, and a performer, and Bevin's merits were such as intitled him to ,an eulogium, so that it is difficult to account for this omission. The above memoir however will in some measure help to supply it. He has composed sundry services, some of which are printed in Barnard's collection, and a few anthems. Before Bevin's time the precepts for the composition of canon were known to few. Tallis, Bird, Waterhouse, and Farmer, were eminently skilled in this most ab- struse part of musical practice. Every canon as given to the public, was a kind of enigma. Compositions of this kind were sometimes exhibited in the form of a cross, sometimes in that of a circle : there is now extant one resembling a horizontal sun-dial ; and the resolution as it was called of a canon, which was the resolving it into its elements, and reducing it into score, was deemed a work of almost as great difficulty as the original composition ; but Bevin, with a view to the improvement of students, generously com- municated the result of many years study and ex- perience in a treatise which is highly commended by all who have taken occasion to speak of it. This book was published in quarto, 1631, and dedicated to Goodman, bishop of Gloucester, with the following title : — ' A briefe and short instruction ' of the art of musicke, to teach how to make discant ' of all proportions that are in use : Very necessary ' for all such as are desirous to attain to knowledge ' in the art ; and may by practice, if they can sing, •■ soone be able to compose three, four, and five parts, ' and also to compose all sorts of canons that are * usuall, by these directions of two or three parts in ' one upon the plain-song.' The rules contained in this book for composition in general are very brief ; but for the composition of canon there are in it a great variety of examples of almost all the possible forms in which it is capable of being constructed, even to the extent of sixty parts. In the course of his work the author makes use of only the following plain-song — i as th« basis for the several examples of canon con- tained in his book, and it answers through a great varifety of canons, following at the stated distances of a crochet, a minim, a semibreve, a breve, and three minims, by augmentation and diminution, rectfe et retro and per arsin et thesin of three in one,' four in two, in the diatessaron and subdiatessarcn, diapente and subdiapente, and at various other intervals. But what must be matter of amazement to every one acquainted with the difficulties that attend this species of composition is, that these few simple notes appear virtually to contain in them all those harmonies which,, among a great variety of others, the following compo- sition of this author is contrived to illustrate : — CANON OF FIVE PARTS IN TWO, EEGTE ET RETRO: ET PER ARSIN ET THESIN. f u W ^ <^ r ■ L <"> / "^ o a a- w ti- ^ ■ ^ - sent me with a dou - ble dou-ble doubt - ing. my eies pre - ^=^E rf^3^^= ^^^^^m^^ - m f eies pre - sent me with a dou - hie dou - ble doubt ing, for view - ing both a - like hard - ^^ '^^m^^m -^ EEEE pre-sent me with a dou-ble dou-ble doubt - iug, for view -ing both eies pre - sent me with a dou - ble dou - ble doubt - ing, for view - ing both l-v - sent me with a dou - ble dou-ble doubt ing, for view - ing both 513 HISTORY OF THE SCIENCE Book XL - - like, hard - lie my mind sup - po ;s, whe-ther the ro - ses be your lips or your 1^b>^= ^ - - lilie, hard - lie my mind sup - po whether the ro - ses be be your lips or your lips the ro - ses, whe-ther the ro- ses be your lips or your be your lips or your lips the ro - ses. i^ whe-ther the ro - ses be your lips or your - ses, whether the ro - ses be your lips or your lips the ro John Wh-bye. Chap. CV. AND PRACTICE OF MUSIC. 513 The same Wilbye, in the year 1600, published ' A second set of Madrigals to 3, 4, 5, and 6 parts, • apt both for viols and voices ; ' dedicated to the Lady Arabella Stuart. CHAP. CV. In 1599 John Bennet published ' Madrigals to ' four voyces, being his first works.' He also com- posed a madrigal in the Triumphs of Oriana, and some of the songs contained in a boot written by Thomas Ravenscroft, and published in 1614:, en- titled ' A briefe discourse of the true but neglected ' use of charact'ring the degrees by their perfection, ' imperfection, and diminution in mensurable musicke, ' against the common practice and custom of these ' times.' In the preface to which book he is styled a gentleman ' admirable for all kind of composures either in art or ayre, simple or mixt.' Excepting the above short eulogium, we meet with no particulars relating to this person. Wood does not so much as mention him, from which circumstance alone it may not only be inferred that he was not a graduate in either university, but also that he was little known to the world in his pro- fession. In the dedication of his book of Madrigals to Ralph Asheton, Esq. receiver of the queen's duchy revenues in the counties Palatine of Lancaster and Chester, it is hinted that the author was indebted to that gentleman both for his patronage and hia education ; but under what masters he received it we are at a loss to find. The madrigals composed by Bennet, and printed in the collection above-mentioned, are seventeen in number ; this which follows is the tenth of them ; they are finely studied, and abound with all the graces and elegancies of vocal harmony ; and it may be said of the work in general, that it is an honour to our country, and in no respect inferior to any collection of the kind published by the Italian or other foreign musicians.: — YEE rest - lesse thoughts, yee rest - lesse thoughts. that har TEE rest - lesse thoughts, yee rest - lesse thoughts that con - tent, cease your as-saults and let my hart la - ment, and ^^ ^^^^g - tent. cease your as-saults, as-saults, and let my hart la - meut. and 1^^^^ :t: - - bor dis con - tent, cease your as-saults, cease your as-saults. and let my hart la - tent. cease your as-saults, cease your as - saults, and let my hart la ■ C1.4 HISTOKY OF THE SCIENCE Book XI. ^ ^=-^=^^^=E^ ^ p= let my hart la-ment, la - ment, and let my tong have leave . . to tell let my hart la ment, la - ment, and letmytong,and let my tong have leave to ^^^ - ment, and let my hart la - ment, and let my tong have leave to tell m=^ -.n=M=. Mzbfi^z '~\ - ment, and let my hart la- ment, and let my tong have leave to tell m eE^^^IP '^ my greefe. that she may pi - tie though not grannt re ^^^^^ =^=g^^^ 3^=3E :S<= tell my that she may pi - tie though not graunt re - leefe, jf^^^i^f^^Eg^ my greefe, that she may pi - tie though not graunt re a^ ^iS^ leefe, re - leefe, that she may :t ^=g^5S ^^^ :t: niy greefe, that she may pi - tie though not graunt re - leefe, that she may pi - tie leefe, that she may pi - tie though not grant re -leefe ; pi- tie would help, a - las. that she may pi - tie though not graunt releefe, pi - tiewouldhelp, a las, pi - "tie would help, a - ^^^^m^^^^ pi- tie though not graunt re - leefe re-leefe; pi tiewouldhelp, a las. what /o V ~i — I sthoughnotgrauntre - leefe, re leefe ; pi -tiewouldhelp, a - las. what love . hath al - most slaine, al - most slaine, hath al g^p=^^^^| ^^ z*==E=p ^jj r^ — ^--^ wf. most slaine, hath las, what love hath al most slaine, what love hath al ^ love hath al - most slaine, what love" hath al most slaine. hath ^m M^- :rt — zg= =1== ■^ what love hath al - most slaine, what love hath al - most slaine, what love hath most slaine, ^^^^^^^^^ and heal the wound by con - qu'ring her dis =s al - most slaine, and heal the wound by con - qu'ring, by con - qunng, i^ m al - most slaine, and heal the wound by con - qu'ring her, by conqu'ring her dis ^=g= E^EEEi al - most slaine. and heal the wound by con - qu'ring her dis Chap. CV. AND PKACTICE OF MUSIC. 515 her dis - daine, by con - qu'riug her dis - daine, her dis - daine. j^i ^g =@=a =ig=EJi • daine, by conqu'ring her dis - daine, by- con-qu'ring her dis - daine. -daine, by conqu'ring her dis - daine, by con-qu'ring her dis - - daine. John Bennet, John Farmer, of whoiTi mention has already been to other their true effect, which is to move de- made, published in the same year, 1599, ' The first light ; this virtue being, as he says, so singular in Sett of English Madrigals to four voices.' In the the Italians, as under that ensign only they hazard preface to this work the author professes to have their honour, so fully linked his music to number, as each give The following madrigal is the first in the collection. ^^^^ ^^^^^m z^=do: YOU pret - ty flowers that smile for som ers sake, pull , in m^ E^-^E^= your i ^g=t==i= =t=: =1::: m YOU pret - ty flowers that smile for som ers sake, pull iu a- i^= ^^^^m^^m ^= ^^^i=l YOU pret - ty flowers that smile for som - ers sake, pull in vour heads, pull heads be -fore my wa-t'ry eies doe turn doe turn the medows =gEE^^EEEg^ -p I f ^ p=±=p.^ff^^^^^ ^- w- =|-=: your heads be - fore my wa-t'iy eies doe turn, the medows to a stand - ing in, pull in your heads be - fore my wa-t'ry eies doe turn the me - dows to . E3-=^: t ^^E^^^^^^B^^^^^^^ - -\ your heads be - fore tny wa-t'ry eies doe turn, doe turn the medows to a ^^^^ T> M_ [- p^ -4— ^ =*= to a stand ing lake, by whose un - time - ly floods your glo m lake, a, stand - ing lake, by whose un - time - ly floods your glo ^^^^^^^^ ^^^ ^m a . . stand - ing lake, by whose un - time ly floods your glo r Gia sou-ra star ti veg - gia, On - de mo - yo da l Ciel per dar - ti ai ta, Hor tu m'ascol - ta. Ch'a dis-pe-ra to fi ne, Con es.tre- mo do-lo - re, M'havean con-dot -to gia sdegn' ed A- ■ mo - re eo - co-mi dunqu'at-ten-toa tue ra-gio - ni, Ce-les - te pa - dre hor cio' che vuoi m'im-po ni. Chap. CVIIl. AND PKACTICE OF MUSIC. 527 APOLLO. tfe^=F%=P-=^ ^ f^ F^ tf^"? E^ ^^3^ ^ ^^^ m Trop-potrop - po gio-is - ti Di tua lie- ta ven - tu - ra, Hor trop-po piau-gi Tua sor-te acerba e du - ra an - cor uon sa i, Co - me nul - la qua gift di - let - ta e du - ra ? Dun w= ^- ^= ZEt ■ que se go-der bra - mi immor-tal vi ta, Viente nemi-oo al Ciel ch'a se t'in - vi ta Si non ve - dro piu ma - i, De I'amata Eu - ri - dice i del - ci ra i i^^E APOLLO. Nel 60 - - lee nel-le stel - le Va-geg-ge - rai . . le sue sembian - ze bel le. — a^Egi^t Ben di-co tan - to Pa -dre far-si non deg - no fig - lio ee non seguis - ci il tuo fe-del con-sig - Ko. Apollo ed Obfeo ascende al cielo, cantando. ^S^i^g^^i^gi^ ^g^^^g ^^ SALIAM, Saliam, Saliam fc rr?f^^ ^WJ_JJ^. 3^^^^ E ^^gg^^^^ d'al Cie can - tan ^fm:«E f^-|' qg rff- rp:»,gg3f:gf^-r^^jE d'al ^^1=1 528 HISTOEY OF THE SCIENCE. Book. XIL lo Dove ha vir - til ve - ra - ce, De - gno pre - mio di di - let ^^^ES^^^^. ^=^ Z=^zij^d=^=^^^ Cia lo Dove ha vir -tt ve - ra - ce, De - gno pre - mio di to e pa - ce, Dove ha vir-tii ve - ra ce De - Clatjdio Mohtevebdb. Notwithstanding that this kind of melody is said medium between speaking and singing, but approacli by the inventors of it to correspond with the method too nearly towards the latter to produce the effects of enunciation practised by the ancient G-reelsB and of oratory. Eomans, it may well be questioned whether the There is no final chorus of voices to the opera difference between the one and the other was not from whence the above extracts are made, but the very great, for this reason, that the inflections of the re,presentatioii concludes with a dance to the fol- voice in the modern recitative do not preserve a lowng tune : — MOEESCA Chap. CIX. AND PEAOTICE OP MUSIC. 629 Claudio Monteteede. CHAP. CIX. There is very little doubt but that the Cantata Spiritnale, or what we now call the Oratorio, took its rise from the Opera. Menestrier* attributes its origin to the Crusades, and says that the pilgrims returning from Jerusalem and the Holy Land, from St. James of Compostella, and other places to which pilgrimages were wont to be made, composed songs, reciting the life and death of the Son of God, and the mysteries of the Christian faith, and celebrating the achievements and constancy of saints and martyrs. This seems to be a mere conjecture of Menestrier ; other writers render a much more probable account of the matter, and expressly say, that the Oratorio was an avowed imitation of the opera, with this difference only, that the foundation of it was ever some religious, or at least moral subject. Crescimbeni speaks of it in these terms : — ' The Oratorio, a poetical composition, formerly a ' commixture of the dramatic and narrative styles, ' but now entirely a musical drama, had its origin ' from San Filippo Neri,t who in his chapel, after ' sermons and other dfvotions, in order to allure ' young people to pious offices, and to detain them ' from earthly pleasure, had hymns, psalms, and ' such like prayers sung by one or more voices. ' These in process of time w».re published at Kome, ' and particularly in a bool' .printed in 1585, with ' the title of Laudi Spirituoii, stampate ad istanza ' d^ MR. PP. della Congreganone dell' Oratorio ; ' and another in 1603, entitled Laudi Spirituali di ' diversi, solite cantarsi dopo sermoni dcS PP. ' della Congregazione delV Oratorio. Among these ' spiritual songs were dialogues ; and these entertain- ' ments becoming more frequent, and improving ' every year, were the occasion that in the seventeenth ' century oratorios were iirst invented, so called from ' the place of their origin. | It is not known who * DeB Represent, en Musique, pag, 153. + St. Philip Neri -was born at Florence in the year 1515. He was intended by his parents for a merchant, and to that end was sent to his uncle, who followed that employment, to be instructed therein, but he betook himself to study and exercises of devotion, and became an ecclesiastic. The congregation of the Fathers of the Oratory, founded by him, is an institu^on well known : in the first establishment of it he was assisted by Caesar, afterwards Cardinal Baronius, who was his disciple. Baronius in his annals has borne an honourable testimony to his character and abilities, by styling him the original author and contriver of that great work. There is an account of St, Philip Neri in Ribadeneyra's Lives of the Saints, by means whereof, notwithstanding the many silly stories and palpable falsities related of him, it is easy to discover that he was both a devout and learned man. J This though the true, is but an awkward etymology. The society ' was the first that gave them this name, not even by ' the fathers of the Congregation, who have been ' asked about it. We are certain however that ' Oratorios could not begin before the middle of ' the above-mentioned century ; as we do not find ' any before the time of Francesco Balducci, who ' died about the year 1645, in whose collection of ' poems there are two, one entitled " La Fede, ove ' si spiega il Sagrifizio d' Abramo," the other " II ' Trionfo sopra la Santissima Vergine ;" and although ' Giano Mcio Eritreo, who flourished even before ' 1640, speaking of Loreto Vettori, of Spoleto, an ' excellent musician and a good poet, says that on ' a certain night he heard him sing in the Oratory of ' the above-mentioned fathers, Magdalence sua de- 'Jlentis crimina, seque ad Christi pedes abjidentis, ' querimonia ; which lamentation might be in that ' kind of poetry we are just speaking of ; yet, as the ' author of it is unknown, and the time not certain ' when it was sung, we cannot say it preceded the ' Oratorios of Balducci.§ ' These compositions in the beginning were a ' mixture of dramatic and narrative parts, for under ' the name of history, in those of Balducci or of Testo, ' as well as in all others, the poet has introduced the ' dramatis persons ; but although Testo's manner ' has been followed even in our days, at present it ' is quite abolished, and the Oratorio is a drama ' throughout. Of these some are ideal, others para- ' bolical, and others with real persons, which are the ' most common, and others are mixed with both ' the above-mentioned kinds of persons : they are ' generally in two parts, and, being set to music, ' take up about two hours in the performance ; yet ' Malatesta Strinati, and Giulio Cesaro Grazini, both ' men of letters, published two Oratorios, the former ' on St. Adrian, divided into three acts, the latter on ' St. George, into five. No change of place or length ' of time is observed in them, for being sung without ' acting, such circumstances are of no service. The ' metre of them is like that of the musical drama, ' that is to say, the lines rhymed at pleasure ; they ' are full of airs, and are truly very agreeable to hear ' when composed by good authors, such as Cardinal here spoken of. La Congregazione dei Padrl' dell Oratorio, evidently derives its name from the verb Orare, an oratory being a place of prayer ; in this instance the appellative Oratorio is transferred f^om the place to the exercise ; a singular proof how inadequate the powere of language are to our ideas. § Jani Nicci ErythrEei Pinac. altera Ixviii. art, Loreius Victoeibs, 530 HISTOEY OF THE SCIENCE Book XII. 'Pier Matteo Petrucci, and Gio. Pilippo Berninoa, ' prelate in the court of Eome, among the dead ; and ' Cardinal Benedetto Pansilio, and Pietro Ottoboni, ' now living, who both in this, as well as in all kinds ' of poetry, are arrived at great excellency. ' But although Oratorios are at present so much in 'vogue, we have not lost entirely the manner of ' singing sacred things, for we hear some of them 'in those dialogues which are called Cantatas, and ' particularly in the summer, when the fathers of ' Vallicella perform' their concerts in the garden of ' the monks of St. Onofrio. This custom is likewise ' followed with great splendour at particular times ' of the year by Cardinal Gio. Battista Spinola of ' St. Cecilia, who on Wednesdays has some very fine ' ones performed in his palace ; for the most part the ' composition of Plaminio Piccioni, an eminent dra- ' matic poet. There is sung besides every year on ' Christmas eve in the pontiff's palace, a charming ' cantata, in the presence of the sacred college, for ' whom Giubileo da Pesaro, who died a few years ' ago, composed some very famous ; as likewise Paolo ' Francesco Oarli, a Florentine poet, not less cele- ' brated for his serious, than his comic productions: and ' this year the advocate Francesco Maria de Conti ' di Campello has favoured us with one, that for ' sweetness of versification, nobility of sentiment, and ' allusion to the present affairs of Italy, deserves to ' be highly commended.' * To this account of Crescimbeni, Mons. Bourdelot adds, that St. Philip Neri having prevailed upon the most skilful poets and musicians to compose dia- logues in Italian verse, upon the principal subjects of the Holy Scripture, procured some of the finest voices of Rome to sing, accompanied with all sorts of instruments, and a band of music in thejnterludes. — That these performances consisted of Monologues, Dialogues, Duos, Trios, and Recitatives of four voices ; and that the subjects of some of them were the conversation of the Samaritan woman with the Son of God ; of Job with his friends, expressing his misery to them — The prodigal son received into his father's house — Tobias with the angel, his father, and wife — The angel Gabriel with the Virgin, and the mystery of the incarnation. — That the novelty of these religious dramas, and, above all, the exquisite style of music in which they were composed, drew together such a multitude of people as filled the church boxes, and the money taken for admission was applied in defraying the expences of the per- formance. Hence the origin of Oratorios as they are now styled, or spiritual shows,f the practice * Crescimb. Comm. int. all' Istor. della volg. Foesia, vol. I. lib. iv. pag. 256. t This is a mistake ; spiritual shows, though not with music and recitative, are much more ancient than the time of St. Philip Neri. The fraternity del Gonfalone, as it is called, was founded in 1264; and in their statutes, printed in Rome in 1584, it is expressly declared that the principal end of this institution was, that the members of the fraternity should represent the passion of our Lord. It is true that this practice was abolished in the pontificate of Paul III. that is to say, about the year 1548; but we learn from Crescimbeni and other writers, that re- presentations of this kind were common in Italy, and the practice of great antiquity. Vasari, in his life of Bufialmacco the painter, gives an account of a feast that was solemnized on the river Arno in the year 1304, where a machine representing hell, was fixed on boats, and a sacred history acted, supposed to be that of Lazafus. Comment, int. all' Istor. della volg. Poesia, vol. I. lib. iv. pag. 241. , It is probable that this representation suggested to Pietro de Cosimo, whereof is now become so general in Rome, that hardly a day passes in which there are not one or two such representations. J The deduction of the history of church-music, herein before given, contains an account of the rise and progress of antiphonal singing in the Greek and Latin churches, the opposition it met with, the pa- tronage given it by the Roman pontiffs at succeeding periods, the form of the choral service exemplified in the Cantus Gregorianus, with a general idea of the musical offices directed by the ritual of the church of Eome, as well on solemn as ordinary occasions. That the mode of religious worship, above de- scribed, prevailed in all the European churches till the time of the Reformation, is not to be doubted : the first deviation from it that we are now able to trace, was that which followed the reformation by Luther, who being himself a great proficient in, and a passionate lover of music ; and being sensible of its use and importance in divine worship, in conjunction with his friend Melancthon framed a ritual, little less solemn, and calculated to engage the affections of the people, than that of the church of Rome : and, to a Florentine painter, of whom Fellbien has given an account, the idea of a spectacle, the most whimsical, and at the same time the most terrifying that imagination can conceive, which in the year 1510 he caused to Ik exhibited at Florence. Felibien's relation of it is to this purpose: * Having taken a resolution to exhibit this extraordinary spectacle at the ' approaching Carnival, Cosimo shut himself up in a great hall, and there ' disposed so secretly every thing for the execution of his design, that no ' one had the least suspicion of what he was about. In the evening of ' a certain day in the Carnival season, there appeared in one of the chief ' streets of the city a chariot painted black, with white crosses and dead ' men's bones, drawn by six buffalos _; and upon the end of the pole stood ' the figure o% an angel with the attributes of Death, and holding a long ' trumpet in his hands, which he sounded in a shrill and mournful tone, ' as if to awaken and raise the dead : upon the top of the chariot sat ' a figure with a scythe in his hand, representing Death, having under his ' feet many graves, from which appeared, half way out, the bare bones of * carcases. A great number of attendants, clothed in black and white, * masked with Death's heads, marched before and behind the chariot, ' bearing torches, which enlightened it at distances so weU cliosen, that 'every thing seemed natural. There were heard as they marched, ' muffled trumpets, whose hoarse and doleful sound served as a signal for ' the procession to stop. Then the sepulchres were seen to open, out of ' which proceeded, as by a resurrection, bodies resembling skeletons, who ^' sang, in a sad and melancholy tone, airs suitable to the subject, as * Dolor pianio e Peniienxa, and others composed with all that art and in- ' vention which the Italian music is capable of: while the procession ' stopped in the public places, the musicians sang with a continued and * tremulous voice the psalm Miserere, accompanied with instruments ' covered with crape, to render their sounds more dismal. The chariot wa.s ' followed by many persons habited like corpses, and mounted upon the ' leanest horses that could be found, spread with black housings, having ' white crosses and death's heads painted at the four comers. Each of ' the riders had four persons to attend him, habited in shrouds like the ' dead, each with a torch in one hand, and a standard of black tafFety ' painted with white crosses, bones, and death's heads in the otlier. In * short, all that horror can imagine most affecting at the resurrection of ' the dead, was represented in this masquerade, which was intended to ' represent the triumph of Death. A spectacle so sad and mournful struck ' a damp through Florence ; and although in a time of festivity, made ' penitents of some, while others admiring the ingenious manner in which ' every thing was conducted, praised the whim of the inventor, and the * execution of a concert so suitable to the occasion.' ■ Crescimbeni, Comm. int. all' Istor. della volg. Poesia, vol. I. lib. iv. pag. 243, speaking of those representations of sacred history, says that he had met with one, namely, Abraham and Isaac, written by Feo Belcari, and acted for the first time in the church of St. Mary Magdalen at Florence in 1449. These representations, however well intended, failed of producin"' the end of their institution ; Castelvetro says that in his time, and even at Rome, Christ's passion was so acted as to set the spectators a laughing. In France was a company of strollers, incorporated as it seems for the same purposes as the fraternity del Gonfalone, with whom Francis I. was much delighted ; but the abuses committed by them were so nu- merous, that towards the end of his reign a process was commenced against them, and in four or five years after his decease they were banished France. Rymer, at the end of his Short View of Tragedy has given a copy of the parliament roll, containing the process at length. He has also, because it contains a particular history of the stage, given an abridgment of it in Enghsh. I Hist, de la Musique, et de ses Effets, tom. I. pag. 256. Chap. OIX. AND PEACTICE OP MUSIC. 531 say the truth, the whole of the liturgy, as settled by him, appears to be, if not a reasonable, at least a nausical service. The evidence of this assertion is a book intitled 'Psalmodia, hoc est Cantica sacra veteris Ecclesise selecta,' printed at Norimberg in 1553, and at Wittemberg in 1561. The publisher of it was Lucas Lossius, rector of the- college at Lunenberg,* who has also given his own Scholia thereon. To speak of this work in particular, it is prefaced by an epistle from Melancthon to the editor, whom he acknowledges as his intimate friend. This is followed by a dedication of the book to the brethren Frederick and John, sons of the reigning king of Denmark. The work is divided into four books, and the of&ces therein severally contained appear by the titles of each as they follow thus in order : — Liber primus, continens Antiphonas, Eespon- soria, Hymnos et Sequentias, quas leguntur diebus Dominicis, et festis Christi. Liber secundus, continens cantica veteris ecclesise, selecta de prsecipiis festis sanctorum Jesu Christi. Liber tertius, continens cantiones missae, seu sacri, ut vocant, prseter Introitus, quos supra in Dominicis, et festis diebus invenies suo loco. Liber quartus, Psalmi cum eorum antiphonis ferialibus, et intonationibus, additis scholiis et lec- tionis varietate ex Psalterio D. Georg. majoris. Calvin, whose separation from the church of Rome was founded in an opposition as well to its discipline as its tenets, in his establishment of a church at Geneva, reduced the whole of divine service to prayer, preaching, and singing ; and this latter was by him laid under great restraints, for none of the ofiSoes in the Romish service, namely, the Antiphon, Hymn, and Motet, with that artificial and elaborate music to which they were sung, were retained ; but all of music that was adopted by him, consisted in that plain metrical psalmody now in general use among the reformed churches, and in the parochial churches of this country. Not but there is reason to believe that the practice of psalmody had the sanction of Luther himself. The opinion which Luther entertains of music in general, and of the lawfulness of it in divine worship, appears by those extracts from his Colloquia Mensalia herein before given ; and there is good reason to believe, not only that those sweet Motetse, which his friends sang at supper with him, were the composition of German musicians, but that German musicians were also. the authors or composers of many of those melodies to which the Psalms then were, and even now are, usually sung. Sleidan informs us that upon a certain occasion, mentioned by him in his History of the Reformation of the Church, Luther para- phrased in the High German language, and set to a tune of his own composing, the forty-sixth Psalm, 'Deus noster refugium.' It is certain that he was a performer on the lute ; and in the work above cited he speaks of his skill in music as an acquisition that he would not exchange for a great matter. Besides this, there is a tradition among the German » See an account of this peison, pag. 397 of this woik. Protestants that he was the author of many of the melodies to which the Psalms are now usually sung in their churches ;f and Bayle expressly says that to sing a Psalm was, in the judgment of the orthodox of that day, to be a Lutheran. All this considered, it is more than probable, though history is silent in this respect, that the practice of psalmody had its rise in Germany. We are not however to conclude from hence that it was admitted into the churches of the reformed, or that it made part of their public worship in the life-time of Luther; it rather seems to have been confined to family worship, and con- sidered as a source of spiritual consolation ; and to this purpose the many devout ejaculations with which the Psalms of David abound, render it with a re- markable degree of propriety applicable. In this situation stood the matter about a year before the death of Luther ; no vulgate translation of the Psalter had as then appeared in the world, and there was little reason to expect one from any country where the reformation had not got firm footing,^ much less was there to think that any such work, in a country where the established religion was the Romish, could possibly receive the sanction of public authority. But it fell out otherwise ; and, however paradoxical it may sound, the protestant churches were indebted for this indulgence to a body of men whose tenets indeed forbad any such hopes, namely the college of the Sorbonne at Paris. It happened about the year 1543, that there lived in France, Clement Marot, a man moderately endowed with learning, but extremely improved by conver- sation with men of parts and ingenuity, who with great success had addicted himself to the study of poetry ; he had acquired great reputation by certain imitations of Tibullus, Propertius, and Catullus, and had by an elegant translation of the first book of Ovid's Metamorphosis into the French language, established the character of a good poet. This man .being inclined to Lutheranism, was persuaded by a friend to publish at Paris a French version of the first thirty of David's Psalms, which he did by per- mission of the doctors of the Sorbonne, wherein they declare that the book contained nothing contrary to the Christian faith ; soon after he added twenty more, but before he could complete his design, which was to have translated the whole in like manner, he died, and a version of the rest in French metre also, was supplied by his friend Theodore Beza. Sleidan, from whom the above account is in part taken, has bestowed this eulogiiim on Marot : ' I ' thought it not amiss to commend the name of so ' excellent an artist to other nations also ; for in ' France he lives to all posterity ; and most are of ' opinion that hardly any man will be able to equal ' him in that kind of writing ; and that, as Cicero said ' of Caesar, he makes wise men afraid to write. ' Others and more learned men than he, have handled ' the same subject, but have come far short of the ' beauty and elegancy of his poems.' t Mr. Handel has heen many times heard to say that the melody of our hundredth Psalm, -which hy the way is that of the hundred and thirty-fourth both of Goudimel and Claude le Jeune's Psalms, and certain other Psalm-tunes, were of Luther's composition. , 532 HISTORY OF THE SCIENCE Book XII. This it is to be noted is the character of Marot and his book, drawn by a Protestant historian. Another writer, but of a different persuasion, Fami- anus Strada, has given a less favourable account of both; and yet perhaps, allowing for that prejudice which he could not but entertain against the author of Buoh an innovation as this of Marot undoubtedly was, it is such as will justify the character that Sleidan has given of him ; that of Strada is as follows : — ' Among the grooms of the bed-chamber to Francis ' I. of France, there was one Clement Marot, born at ' Douve, a village in the earldom of Namur, a man ' nuturally eloquent, having a rare vein in French • poetry, wherewith the king was much taken, who ' therefore kept him as a choice instrument of his ' learned pleasures. But as his wit was somewhat 'better than his conditions, from his acquaintance ' with the Lutherans he was suspected to have changed ' his religion ; and therefore fearing the king would ' be offended, he fled to his majesty's sister at Bern, ' the old sanctuary for delinquents ; a while after, the ' king was pacified and he returned to Paris, where ' he was advised by his friend Franciscus Vatablus, ' the Hebrew lecturer, to leave the trifling subjects ' he -wrote upon, and study divine poesy. Thereupon ' he began to translate the Psalms of the Hebrew ' prophet into French stanzas, but so ignorantly and ' perversely,* as a man altogether unlearned, that ' the king, though he often sang his verses, yet, upon ' the just complaints of the doctors of the Sorbonne, ' and their severe censure past on them, commanded ' that nothing of Marot in that kind should be from 'thenceforth published. But being forbid by pro- ' damation, as it often happens, the longing of the reader, and fame of the work was increased so, that ' new tunes were set to Marot's rhymes, and they ' were sung like profane ballads. He in the mean ' time growing bold by the applauses of the people, ' and not able to forbear bragging, for fear of punish- ' ment, ran to Geneva ; and fl3ring from thence for ' new crimes committed, and first having been well ' whipped for them, he died at Turin. The success ' of tiiis translation of the Psalms moved Theodore ' Beza, a friend of Marot, and who wrote an elegy ' in French on his death, to add to the fifty which ' Marot had published, a version in French of the ' other hundred made by himself, so the whole book ' of David's psalms was finished ; and to make it ' pleasing to the people, tunes were set to them by ' excellent composers, that chimed so sweetly, that ' every one desired to have the new psalter ; but ' many errors in it against religion being detected, ' and the work therefore prohibited, as well because ' the sacred verses of the prophet were published in * a vulgar tongue by profane persons, as that they were dolo malo bound up with Calvin's catechism ■ at Geneva : these singing psalms, though abhorred and slighted by the Catholics, remained in high esteem with heretics; and the custom of singing the Geneva psalms in French at public meetings, ♦ Marot understood not the Hebrew language, but was furnished with ■ ) translation of the Psalms by Vatablus. Bayle, Mabot, In not. ' upon the highway, and in shops, was thenceforth ' taken for the distinctive sign of a sectary.'! To this account of Strada may be added from Bayle, that the first publication of thirty of the psalms was dedicated to Francis I., that it was so well re- ceived by the people, that copies could not be printed so fast as they were sold off; that they were not then set to music as they are now, to be sung in churches, but every one gave such a tune as he thought fit ; ' Each of the princes and courtiers,' says this author, 'took a psalm for himself: Hen. II. loved this, " Ainsi qu'on oit le cerf bruire," which he sang in 'hunting; Madam de Valentinois took this, " Du " fond de ma pensee." The queen chose the psalm " Ne vueilles pas 6 Sire," which she sang to a merry ' tune ; Anthony king of Navarre took this, " Eevenge " moy, pren le querelle," and sang it to the tune of a ' dance of Poitou. In the mean time, Marot, fearing 'lest he should be sent to prison, fled to Geneva, ' where he continued his version as far as fifty psalms. ' Beza put the remaining hundred into verse ; and the ' psalms which he rhymed in imitation of Marot's, ' were received by all men with great applause.' CHAP. ex. No sooner was this version of the Psalms completed, than Calvin, who was then at the head of the church of Geneva, determined as it were to consecrate it, and introduce the practice of singing psalms amongst his people : for some time he stood in doubt whether to adopt the Lutheran choral form of singing in con- sonance, or to institute a plain unisonous melody in which all might join ; at length he resolved on the latter, and to this end employed a musician, named Guillaume Franc, to set them to easy tunes of one part only, in which the musical composer succeeded so well, that the people became infatuated with the love of psalm-singing ; at length, that is to say, in the year 1553, which was about seven after the version was completed, Calvin, to put the finishing hand to his design, divided the psalms into pauses or small portions, and appointed them to be sung in churches, and so made them a form of religious worship ; soon after they were bound up with the Gene-ra Catechism, and from that time the Catholics, who had been accustomed to sing Marot's psalms in common with profane songs, were forbid the use of them under a severe penalty. The Protestants how- ever continued the indiscriminate use of them at church ; they considered the singing of psalms &» an exercise of devotion ; in the field it was an incentive to courage and manly fortitude, for in their frequent insurrections against their persecutors, a psalm sung by four or five thousand of tiiem answered the end of the music of trumpets and other warlike instruments, and, in short, was among them the accustomed signal to battle. To this purpose Strada mentions several notable instances that happened a few years after the pub- lication of Marot's version ; and first, speaking of the popular tumults in the Low Countries about the year t strada de Bello Belgico, lib. III. Sir Rob. Stapylton's translation. Ex Florimond de Remond in Hist. Ortu. &c. Hsres. lib. viil. Chap. OX. AND PEACTICE OP MUSIO. 533 1562, he relates that ' two French Calvinist preachers ' in the night, the one at Valenciennes, and the other ' at Tournay, openly before a great assembly in the ' market-place, delivered their new gospel, and when ' they had done were followed through the streets by ' the multitude, to the number of an hundred at Va- ' lenciennes, and six hundred at Tournay, singing ' David's Psalms in French.* And in another place ' he says that on the 21st of August, 1566, the ' heretics came into the great church at Antwerp with * concealed weapons, as if they resolved, after some ' light skirmishes for a few days past, to come now to ' battle, and waiting till evensong was done, they ' shouted with an hideous cry Long live the Gheuses ; f ' nay, they commanded the image of the blessed Virgin ' to repeat their acclamation, which if she refused to ' do, they madly swore they would beat and kill her ; ' and though Johannes Immersellius, prsetor of the ' town, with some apparitors, came and commanded ' them to keep the peace, yet he could not help it, ' but the people running away to get out of the tumult, ' the heretics shut the doors after them, and as con- ' querors possessed themselves of the church. Now ' when they saw all was theirs, hearing the clock strike ' the last hour of the day, and darkness giving them ' confidence, one of them, lest their wickedness should ' want formality, began to sing a Geneva psalm, and ' then, as if the trumpet had sounded a charge, the ' spirit moving them altogether, they fell upon the • effigies of the mother of God, and upon the pictures ' of Christ and his saints, some tumbled down and ' trod upon them, others thrust swords into their ' sides, or chopped off their heads with axes, with so ' much concord and forecast in their sacrilege, that ' you would have thought every one had had his ' several work assigned him ; for the very harlots, ' those common appurtenances to thieves and drunk- ' ards, catching up the wax candles from the altars, ' cast down the sacred plate, broke asunder the picture ' frames, defaced the painted walls ; part setting up ' ladders, shattered the goodly organs, broke the win- ' dows flourished with a new kind of paint. Huge ' statues of saints that stood in the walls upon pedes - ' tals, they unfastened and hurled down, among which ' an ancient great crucifix, with the two thieves ' hanging on each hand of our Saviour, that stood ' right against the high altar, they pulled down with ' ropes and hewed it to pieces, but touched not the ' two thieves, as if they only worshipped them, and ' desired them to be their good lords. Nay they pre- ' sumed to break open the conservatory of the eccle- ' siastical bread, and putting in their polluted hands, ' to pull out the blessed body of our Lord. Those ' base offscourings of men trod upon the deity, adored ' and dreaded by the angels. The pixes and chalices ' which they found in the vestry they filled with wine ' prepared for the altar, and drank them off in de- ' rision ; they greased their shoes with the chrisme or ' holy oil; and after the spoil of all these things, laughed ' and were very merry at the matter.' J ♦ De Bello Belgico, lib. III. t A name ■which signifies a Vagrant^ or rather a Beggar, but having been applied toihemby a nobleman, an enemy to their faction, they assumed Has a defiance ofhvm. Vide Strada, sub anno 1556. J De Bello Belgico, lib V. Such were the effects produced by the introduction of psalm-singing among those of the reformed re- ligion ; and no one can be at a loss for a reason why those of the Romish communion have expressed themselves with the utmost bitterness against the practice of it. Bayle in the article Marot, has given a letter from a gentleman who had served the queen of Navarre, to Catherine de Medicis, subscribed Vil- lemadon, dated in August 1590, containing an account of the reception of the psalms which Marot met with at court, but abounding with such severe and scurrilous invectives against the Oalvinistical psalmody, and those who were the friends of it, that the omission of it in this place will, it is hoped, find a ready excuse. From the several relations herein-before given it would be difficult to form any judgment either of the merit of Marot's version or of its author, but Ba}-le has summed up his character, and, after bestowing high commendations on his Psalms, ranks him among the best of the French poets. Having said thus much of the poetry, it now remains to speak of the music of Marot's psalms : the common notion is that they were originally set by Lewis Bourgeois and Claude Goudimel, which is only so far true as it respects the setting of them in parts ; for it appears by an anecdote commuioated to Bayle by a professor' of Lausanne, and inserted in a note on a passage of his life of Marot, that before this they were sung to melodies of one part only in the churches at Geneva, and that the composer of those melodies was one Guillaume Franc ; and to this fact Beza himself testifies in a kind of certificate, signed with his own hand, dated Nov. 2, 1652. Bayle's correspondent farther adds, that he had in his pos- session a copy of the Geneva psalms, printed in 1564, with the name Guillaume Franc to it, whereto is pre- fixed the licence of the magistrate, signed Gallatin, and sealed with red wax, declaring Guillaume Franc to be the author of the musical notes to which the psalms in that impression are set. It seems that Bourgeois composed music to only eighty-three of the Psalms, which music was in four, five, and six parts ; these Psalms so set were printed at Lyons in 1561. As to Goudimel, it is certain that he set the whole in four and five parts, for the book was printed at Paris in 1565, by Adrian Le Eoy and Robert Ballard. Nevertheless there is reason to think that this or some other collection of Marot's Psalms with the music, had made its appearance earlier than 1565 ; and indeed express mention is made of fifty of Marot's Psalms with the music, printed at Strasburg with the liturgy in 1545 ; and there is extant a preface to Marot's Psalms written by Calvin himself, and dated June 10, 1543, wherein is the following passage : ' All the psalms with their ' music were printed the first time at Geneva, with a ' preface concerning an agreement of the printers ' thereof, whereby they had engaged to appropriate a ' part of the profits arising from that and future im- ' pressions for the relief of the poor refugees at ' Geneva. § § Bayle, Marot, in not. This agreement is alluded to by the deacons of the church of Geneva, who in a note after the preface to the Sermons of Calvin on Deuteronomy, published anno 1567, complain of the breach of it, insisting, that those vrho printed the psalms every day, could not 534 HISTOKY OF THE SCIENCE Book XIL The name Guillaume Franc is hardly known among musicians, however, as the original melodies have never been ascribed to any other author, credit may be given to the anecdote above-mentioned to have been communicated to Bayle concerning them. What those original melodies were will hereafter be considered. It is certain that the honour of first composing music in parts to the Geneva psalms is due to Bourgeois and Goudimel ; of the former very little is to be learned, but the character and unfor- tunate hi-story of the latter remain on record. Claude Goudimel, a supposed native of Franche Oomte, was of the reformed religion ; and in the Histoire Universelle of Mons. D'Aubigng is men- tioned, among other eminent persons, to have been murdered in the massacre of Paris on St. Bartho- lomew's day, anno 1572 : the circumstances of his death, as there related, are, that he, together with Mons. Perot, a civilian, were thrown out of a window, dragged along the streets and cast into the river ; but this account is erroneous in respect of the place of his death; for Thuanus, in that part of his history where he takes occasion to mention the massacre of Lyons, has these words : ' The same fate [death] ' attended Claudius Goudimel, an excellent musician ' of our time, who set the psalms of David, translated ' into metre by Clement Marot and Theodore Beza, ' to various and most pleasing tunes.' In the Pro- testant Martyrology mention is made of Goudimel in these words : ' Claudius Goudimel, an excellent ' musician, and whose memory will live for ever for ' having composed tunes to the greater part of David's ' psalms in French.' With respect to Goudimel's work, the music in four parts to the psalms, it was first published in the year and has past a multitude of editions ; one in 1602, printed at Delft, without any mention of Bourgeois, is intitled ' Les Pseaumes mis en rime ' Franpoise. Par Clement Marot et Theodore de Beze ; mis en musique a quatre parties par Claude ' Goudimel.' These psalms, for the greater facility in singing them, are of that species of musical com- position called Counterpoint ; but before his death Goudimel had meditated a noble work, viz., the psalms in five, six, seven, and eight parts, composed in the form of motets, with all the ornaments of fugue, and other inventions common to that kind of music ; he had made a considerable progress in it, and, had not death prevented him, would quickly have completed the work. The psalms of Marot and Beza were also set by another very ertiinent musician, Claude le Jeune, of whom an account has already been given.* He was a Protestant, a native of Valenciennes, and a favourite of Henry IV. of France. In the title- page of many of his works, published after his death, he is styled 'Phenix des musiciens;' and unques- tionably he was in his art one of the greatest men of that day. There are extant two collections of psalms with ■with a good conscience do so without paying to their poor what was promised and agreed to be paid ,for their use before they were printed the first time. » Book X. chap. xo. of this work. the music of Claude le Jeune, both which appear to be posthumous publications ; the one of these, most beautifully printed in separate books, of a Small oblong form, at Paris, in 1613, and dedicated by his sister, Cecile le Jeune, to the Duke de Bouillon, contains the whole hundred and fifty psalms of Marot and Beza, with the music in four and five parts as it is said, but in truth the fifth part is frequently nothing more than a reduplication of some of the others in the octave above. A few of the psalms in this collection are plain counterpoint, the rest are of a more artificial contexture, but easy enough for the practice of persons moderately skilled in singing. There is extant also another collection, published at Paris in 1606, of a larger size than the former, entitled ' Pseaumes en vers mezurez, mis en Musique, 'A 2, 3, 4, 5, 6, 7, et 8 parties, par Claude le ' Jeune, natif de Valentienne, Compositeur de la 'musique de la chambre du Roy;' these are certain select psalms paraphrased by an unknown author, and as to the music, it abounds in all those ornaments of fugues, points, and varied motion, which distinguish the Canto figurato from the Canto fermo ; so that thus set they might not improperly be styled Motets. This last collection of psalms was published by the author's sister, Cecile le Jeune, and dedicated by her to a friend and fellow-servant of her brother, one of the gentlemen of the chamber to Henry IV. She also published in 1603, and dedicated to our king James I. a book entitled Le Printemps, con- taining compositions of her brother in three, four, five, six, seven, and eight parts, in the style of madrigals. By an advertisement prefixed to the book it seems that it was part of a work which the author had undertaken, and intended to adapt to the four seasons of the year. Another work of his was also published by the same Cecile le Jeune in 1606, intitled ' Octonaires de la vanity et inconstance dii monde,' in three and four parts. These two musicians, Goudimel and Claude le Jeune, are the most celebrated composers of music to the French psalms. But here it is necessary to remark, that though the common opinion is that they each composed the four parts, superius, contratenor, tenor, and bassus, of every tune, yet the tenor part, which at that time was of the most consequence, as it carried in it the air or melody of the whole com- position, is common both to the tunes of Goudimel and le Jeune, and was in fact composed by another person, so that neither of them have done any thing more than given the harmony to a certain melody, which melody is in both authors one and the same. It is very difficult to assign a reason for this con- duct, unless we suppose that these melodies, to' which the studies and labours of both these eminent men were but subservient, were on the score of their antiquity or excellence, in such estimation with the people, as to subject a modern musician that should reject them, to the imputation of envy or vanity ; or, perhaps after all, and abstracted from every other claim to preference, the frequent use of them in the French protestant congregations might have occa- sioned such prejudices in their favour, as to render Chap. OXI. AND PRACTICE OF MUSIC. 536 any others actually inadmissible among them. In either case our curiosity leads us to enquire who was the author of those melodies which two of the most eminent musicians of France condescended thus to honour. In short, recollecting what Bayle has related about the original French psalm-tunes of one part, and laying the above circumstances together, there is little reason to doubt but that those original melo- dies which constitute the tenor part, and are therefore the ground-work of Groudimel and Claude le Jeune's psalm-tunes, were those very original tunes which the above-cited author has ascribed to Guillaume Franc. The psalms thus set by Goudimel and Claude le Jeune, were introduced into the puhlic service of the church, not only at Geneva, but in France, Flanders, and most other countries where the reformation had got footing, and the service was in the French lan- guage ; and continued tO' be sung until the version became obsolete ; the church of Geneva, the first that received, was the first that forsook it and made use of another, hegun by Mons. Conrart, and finished by Mons. Bastide ; but the French churches, which since the revocation of the edict of Nantes became settled in foreign countries, continued and still use the version of Marot and Beza, revised and altered from time to time through a great number of editions, so as to correspond with those innovations and refine- ments to which the French and most other living languages are liable.* Of the German psalmody very little can be said. It is imagined that the High Dutch version of the psalms was made very soon after Luther's time by some of the ablest of their ministers ; but as the language is not very fit for poetry, whether it be good or bad the world has shewn very little curiosity to enquire. There are many excellent melodies sung in the German protestant congregations, which is no wonder, considering that that country has been famous for skilful musicians. They have a tradition among them that some of these melodies were com- posed by Luther himself; and as it is certain that he was skilled in music, that they were is highly probable. CHAP. CXI. It remains now to show what part the church of England acted with respect to church music, and to account for its existence at this day : and here it may be observed, that the great revolutions of religion and government generally take a tincture from the characters of thpse under whose authority or influence they are brought ahout. The affectiop of Leo X. to music, was propitious to the final establishment of choral service in the Romish church ; and that it is yet retained in this kingdom, notwithstanding the reformation, and the many efforts of its enemies to banish it, may be ascribed to the like disposition in * This must be urtderstood tuiih an exception, for in some churches both here and abroad, the Wrench jtrotesiants sing a paraphrase of the Psalms, by Antoine Godeau, This person was successively Bishop of Grasse and Fence, and died in 1672. The PsaJans thus paraphrased are set in four parts by Jacques de Boiry, and were Jvrst published in Amsterdam in 1691 ; some yea/rs after they were reprinted by Pearson for the use of the French churches in London. the four last princes of the Tudor family. For to instance in Henry VIII. it is certain that he was not only a lover of music, but profoundly skilled in it as a science."!" It will appear farther, that all the children of Henry were skilled in music ; with respect to his son Edward, we are told by Cardan that he ' Cheli ' pulsabat ; ' and in Edward's manuscript Journal, written with his own hand, now in the British Museum, and which is printed in Burnet's History of the Reformation, mention is made of his playing on the lute to the French embasBador.| As to Mary, her affection for the choral service might probably arise from her attachment to the Romish religion, yet she too was skilled in the practice of music, as appears by a letter from her mother queen Catherine to her, wherein she recom- mends to her the use of the virginals or lute if she have any.§ The skill in music which Elizabeth possessed is clearly evinced by the following passage in Melvil's Memoirs. 1 1 ' The same day, after dinner, my Lord ' of Hunsdean drew me up to a quiet gallery that ' I might hear some music, (but he said he durst not ' avow it) where I might hear the queen play upon 'the virginals. After I had hearkened a while I took ' by the tapestry that hung before the door of the ' chamber, and seeing her back was towards the door, ' I entered within the chamber, and stood a pretty ' space, hearing her play excellently well ; but she ' left off immediately so soon as she turned her about ' and saw me. She appeared to be surprized to see ' me, and came forward, seeming to strike me with ' her hand, alledging she was not used to play before ' men, but when she was solitary to shun melancholy.'^ To this passage it may not be improper to add a little anecdote, which perhaps has never yet ap- peared in print, and may serve to shew either that she had, or affected to have it thought she had, a very nice ear. In her time the bells of the church of Shoreditch, a parish in the northern suburbs of London, were much esteemed for their melody ; and in her journies from Hatfield to London, as soon as she approached the town, they constantly rang by way of congratulation. Upon these occasions she seldom failed to stop at a small distance short of the church, and amidst the prayers and acclamations of + See the foregoing voliune, book VIII. chap. Ixxvii. In a letter from Sir John Harrington to the lord treasurer Burleigh, mention is made of certain old Monkish rhymes called ' The Blacke Saunctus, or Monkes Hymn to Saunte Satane,' The father of Sir John Harrington, who had married a natural daughter of Henry VIII. named Esther, and was very well skilled in music, having learned it, as the letter says, * in the fellow- ' ship of good Maister Tallis, set this hymn to music in a canon of three * parts J and the author of the letter says that king Henry was used * in ' plesaunt moode to sing it.' Nugse Antiquae, printed for W. Frederick at Bath, 8to, 17B9, pag. 132. • t ' 19 July [1551]. Mons. le Mareschal St. Andre sypped with me; ' after supper saw a dozen courses, and after I came a^d made me ready. ' 20. The next morning he came to me to mine arraying, and saw mj ' bedchamber, and went a hunting with hounds, and saw me shoot, and ' saw all my guards shoot together; he dined with me, heard me play on 'the lute, ride; came to me to my study, supped with me, and so . ' departed to Richmond." Collection of Records, &c. in the Appendix to Burn. Hist, Reform, part II. pag. 31. § Burnet Hist. Reform, part II. Appendix pag. 142. II Lond. 1752, pag. 99. IT It is also said that she played on an instrument strung with wire, called the Poliphant. Preface to Playford's Introduction to the Skill of Musick, edit. 1666. 2n 636 HISTORY OF THE SCIENCE Book XIL the people, would lieten attentively to and commend the music of the bells. From these particulars it may reasonably be in- ferred, that the several princes to whom they relate were disposed to the retention of music in our solemn church service. It remains to shew on the other hand what were the sentiments of those who headed the reformation in England with respect to this part of divine service. And first it appears that great complaints were made by many of the dignified clergy and others, of the intricacy and difficulty of the church music of those times. In consequence whereof it was once proposed that organs and curious singing should be removed from our churches.* Latimer, in his diocese of Worcester, went stiU farther, as appears by certain injunctions of his to the prior and convent of St. Mary, whereby he forbids in their service all manner of singing.f By a statute of 27 Hen. VIII. cap. 15, power was given to the king to nominate two and thirty persons of his clergy and laity to examine all canons, consti- tutions, and ordinances provincial and synodical, and to compile a body of such ecclesiastical laws as should in future be observed throughout this realm. Nothing was done towards this necessary work during the life-time of Henry ; but in the reign of his son the consideration of it was resumed, and a commission granted for the purpose to eight bishops, eight divines, eight civilians, and eight common lawyers. The deliberations of this assembly, composed of the ablest men in their several professions that the age afforded, terminated in a work, which though pr'nted and exhibited to public view, is incomplete, and ap- parently defective in respect of authority, as wanting the royal sanction. It was published first in 1571, by Fox the Martyrologist, and by some other person, for very obvious reasons, in 1640, under the title of Reformatio Legum Ecolesiasticarum. Dr. Walter Haddon, a celebrated Latin scholar of that age, and Sir John Cheke, were employed in drawing it up, in the doing whereof they very happily imitated the style and form of the Roman civil law, as contained in the Pandects and Institutes of Justinian ; but it seems the giving the work an elegant form was the whole of their merit, for virtually and in substance it was the work of Cranmer, who at that time was justly esteemed the ablest canonist in England. Upon this work it may be observed that if ever choral music might be said to be in danger of being banished from our churches, the era of the compi- lation of the Reformatio Legum Ecolesiasticarum was of all others the time ; and it may well be imagined that to those who were interested in the retention of the solemn church service, the years which were spent in framing that work, were a dreadful interval ; however their fears were con- siderably abated when it was known that the thirty - two commissioners had not reprobated church music, but had barely condemned, by the name of figurate and operose music, that kind of singing which was » Bum. Hist. Refoim. part III. pag. 302, 304. t Burnet Hist. Reform, pait II. .Collection of Records, book II. numb. 23. productive of confusion, and rendered unintelligible to the auditory those parts of the service which required their strictest attention ; at the same time the rule prescribed by the commissioners requires that certain parts of the service be sung by the ministers and clerks in a plain, distinct, and audible, manner ; which in effect was nothing more than reducing choral service to that state of purity and simplicity from which it had deviated. J In the book of Homilies we meet with a passage, which, whether intended to justify or reprehend the use of music in divine worship, has been a matter of controversy : an objection is put into the mouth of a woman, supposed to be discoursing with her neigh- bour on the subject of the reformed church service, which she utters in the following words : — ' Alas, ' goffip, what fliall we now do at church, fince all the ' goodly fights we were wont to have are gone ; fince we ' cannot hear the like piping, finging, chanting, and play- ' ing upon the organs that we could before?' Upon which the preacher interposes, saying, ' But, dearly beloved, * we ought greatly to rejoice and give God thanks that * our churches are delivered out of all thofe things which ' difpleafed God fo fore, and filthily defiled his holy houfe * and his place of prayer.' § Upon a review of the censures on church-music contained in the decree of the council of Trent, heretofore mentioned, and in the Reformatio Legum Ecclesiasticarum, it will for the most part be found that they were occasioned rather by the abuses that for a long time had attended it, than any persuasion in the reformers of the unlawfulness of the practice. It is true that those of the English clergy, who in the persecution under queen Mary had fled to Franc- fort, and there laid the foundation of nonconformity, affected to consider it as superstitious and idola- trous ; but the less rigid of their brethren thought it had a tendency to edification, and was sufficiently warranted by scripture and the practice of the primitive church. The rule laid down for church music in England, almost a thousand years ago, was ' Simplioem ' sanctimque Melodiam, secundum morem Eeclesiae, ' sectentur ;'|| with a view to this the thirty-two commissioners laboured to prevent the corruption of a practice that had at least the sanction of antiquity on its side, and to remove from the church what they as justly as emphatically termed ' curious ' singing,' X 'In divinis capitibns recitandis, et Psalmis concinendis, ministri ' et clerici diligenter boc cogltare debent, non soliim 4 se Deum laudari * oportere, sed alios etiam bortatu et exemplo et observatione illorum * ad eundem cultum adducendos esse. Quapropter partita voces et dis- * tinct^ pronuntient, et cantus sit illorum clarus et aptus, ut ad auditorum 'omnia sensum, et intelligentiam ptoveniant; itaque vibratam illam, * et o|)erosam musicam, quae figurata dicitur, auferri placet, quae sic in 'multitudinis auribus tumultuatur, ut saep^ linguam non possit ipsam ' loquentem intelligere. Turn auditores etiam ipsi sint in opere simul * cum clericis et ministris certas divinorum of&ciorum particulas canent«s, ' in quibus Fsalmi primiim erunt, annumerabitur fidei symbolum, et gloria ' in excelsis, decem solemnla praecepta, cseteraque hujusmodi praecipua * religionis capita, quae maximum in communi fide nostra pondus habent : 'hiia enim piis divini cuUuB exercitationibus et invitamentis populus ' seipsum eriget, ac sensii quondam babebit orandi, quorum si nuUae nisi 'auscultandi partes sint, ita friget et jacet mens, ut nuUam de rebus * divinis vehementem et seriam cogitationem suscipere possit,' Refor- matio Legum Ecclesiasticarum, tit, De Divinis Officiis, cap, 5. § Second part of the Homily of the Place and Time oi Prayer, pag, 209. II Spelman, Concil, vol, I. pag, 248. Chap. OXII. AND PRACTICE OP MUSIC. 537 There is an ambiguity in the expression ' curious singing' which might lead a stranger to the state of music at this period to suspect that it meant such a nicety, exactness, and volubility in the performance, as is at present required in the music of the theatre ; but this seems not to have been the case. Morley, who is somewhat free in his censure of the choir singers of his time, acquits them of any such affected nicety in their singing as might lead men to say it was over curious : on the contrary, he represents their performance as slovenly to a great degree.* In short, the true object of those many censures which at different times were passed on choir service, was not curious singing, but intricate, elaborate, and unedifying music : jlgwrata is the epithet by which it is characterised in the Reformatio Legum Bcclesi- asticarum ; now Cantus jigviratus is a term used in contradistinction to Cantus planus or Cantusjirmus, and means that kind of song which abounds with fugues, responsive passages, and a commixture of various and intricate proportions, which, whether extemporary or written, is by musicians termed descant, and of this kind of music a specimen will be found in Appendix, No. 57. f CHAP. OXII. The above particulars sufficiently explain the term Curious Singing, and shew that the music of the church was, at the time above spoken of, extremely elaborate and artificial in its contexture. It also appears that those who had the direction of choral service in the several churches and chapels in this kingdom, were to a great degree solicitous about the performance of it ; and to the end that every choir should be furnished with a competent number of singers, more especially boys, writs or placards were issued, empowering the officers to whom they were directed, to impress the male children of poor persons in order to their being instructed in music, and qualified for choir service. Tusser, the author of the Five hundred Points of good Husbandry, and who was born in the reign of Henry VIII. relates that being a child, and having been sent by his father to a music school, as was the practice in those times, he was removed to Wallingford college, where he remained till he was seized by virtue of one of those placards, which at that time were issued out to * Introd. to Practicall Music, pag. 179. t Dr. Brown, on the authority of Gassendi, asserts that some time, he says not how long, after the inv ention of counterpart hyGuldo, according to the natural tendency of this improvement, all the world ran mad after an artificial variety of parts. Dissertation on the Union, &c. of Poetry and Music, pag. 209. In this he seems to have made a twofold mistake, fox neither was Guido the inventor of counterpoint, nor was it after a variety of parts that the world were running mad ; it was an affection for that curious and intricate music above spoken of that intoxicated the musicians, and which first the council of Trent, and afterwards the thirty-two commissioners, as above is related, endeavoured to reform, Nor is this author less unfortunate in his assertion that the Greeks that escaped irOTO. the taldng of Constantinople brought a refined and enervate species of music into Italy from Greece. Ibid. Some ancient Greek manuscripts on music and other subjects were all they brought, and many of them have since been published ; that enervate species of music which he complains they brought to Kome, is no where taken notice of in history ; if by enervate he means elaborate. It is to be accounted for by supposing, that as the science improved, the musicians departed by degrees from that simphcity which distinguishes the songs of the Provencals, who, after all that can be said, were the fathers of the modem secular music, for as to ecclesiastical music, notwithstanding ^ that he has advanced, it was under the direction and management of the clergy. sundry men, empowering them to impress boys J for the service of the several choirs in this kingdom; and that at last he had the good fortune to be settled at St. Paul's, where he had Redford, a skilful musician, for his master. The poor child seems to have had a hard time of it, as appears by his account in these words : — Stanza III. It came to pas that born I v/as, Of linage good and gentle blood. In EiTex laier in village faier That Rivenhall hight: Which village lide by Banktree fide. There ipend did I mine infancy j There then my name in honeli fame Remained in light. IV. I yet but yoong, no fpeech of tong. Nor teares withall that often fall From mothers eies when child out cries To part her fro ; Could pitty make good father take. But out I muft to fong be thruft; Say what 1 would, do what I could, His mind was fo. V. O painefuU time ! for every crime What toofed eares, like baited beares ! What bobbed lips, what yerkes, what nips, Whathelliih toies! What robes ! how bare ! what coUedge fere! What bread how ftale ! What penny ale ! Then Wallingford how wert thou abhor'd Of filly boies! VI. Thence for my voice, I muft (no choice) Away of forfe like polling horfe. For fundrie men had placards then Such child to take : The better breft, the leffer reft§ To ferve the queere, now there now here ; For time fo fpent I may repent. And ibrrow make. VII. But marke the chance, myfelf to vance. By iriendlhip's lot to Paule's I got ; So found I grace a certain fpace Still to remaine With Redford || there, the like no where For cunning fuch and vertue much. By whom fome part of muficke art So did I gaine. X See a note of a coTnmission, tmd also a letter directed to the maeter of the children of the chapel, Richwrd Gowre (query Bowyer mentioned infra -page H2) Temp. Edmard FI. in Slryp^s mem. ecclea Vol. II., 638, 539, giving power to take lip children for thekm^a use, and to serve in his chapel. § This expression is worthy of a critical observation: — ' The better brest the lesser rest.' In singing, the sound is originally produced by the action of the lungs ; which are so essential an organ in this respect, that to have a good breast was formerly a common periphrasis to denote a good singer. The Italians make use of the terms Voce di Petto and Voce di Testa to signify two kinds of voice, of which the first is the best. In Shakespeare's comedy of Twelfth Night, after the clown is asked to sing, Sir Andrew Aguecheek says : — ' By my troth the fool has an excellent breast.* And in the statutes of Stoke college in Suffolk, founded by Parker, archbishop of Oanterbury, is a provision in these words ; ' of which said ' queristers, after their breasts are changed [c. e. their voices broke] we 'will the most apt of wit and capacity be helpen with exhibition of forty ' shillings, &c.' Strype'a Life of Parker, pag. 9. il John Bedford, organist and. almoner of St. Paul's. See page S6() of this work. 638 HI8T0EY OF THE SCIENCE Book XII. VIII. From I'aule's I went, to Eaton fent To learn ftreightwaies the latin phraies. Where fiftie three ftripes given to mee At once I had For fault but fmall or none at all, It came to pas thus beat I was ; See Udall* fee the mercie of thee To me poore lad. Such was the general state of cathedral music about the middle of the fifteenth century ; the reformation in religion, which took' place at that period, produced great alterations, as well in the discipline as doctrine of the Christian church ; these, so far as they respect the Lutheran ritual, have been already mentioned ; and those that relate to the Calvanists are purposely referred to another place. It remains then to trace the rise and progress of that formulary which at present distinguishes the church of England from the other reformed churches. And first it is to be noted, that until about the year 1530, the liturgy, as well here as in other countries then in subjection to the see of Kome, agreeably to the Eoman ritual, was said or sung in Latin. In the year 1536 the Creed, Pater noster, and Ten Commandments were by the king's command put into English ; and this, as Puller observes, was the farthest pace which the reformation stepped in the reign of king Henry VIILt In the year 1548, being the second of the reign of Edward VI. a liturgy wholly in English was composed by Cranmer, archbishop of Canterbury, and other eminent divines, confirmed by a statute 2 and 3 of the same king, that imposed a penalty on such as should deprave the same, or neglect the use thereof, and printed in the year 1549, with the title of the ' Book of Common Prayer, &c.' as being framed as well for the use of the people as the priest, and in which all are required to join in common. Against this liturgy some objections were taken by Calvin, Beza, Fagius, Peter Martyr, Bucer, and others, upon which a statute, was made in the fifth and sixth years of the same king, enacting that it should be faithfully and godly perused, explained, and made perfect. This was accordingly done, and, with some variations, the liturgy was published in 1562. * This Udall was Nicholas Udall, styled hy Bale < Elegantissimus * omnium bonarura literarum magister, et earura felicissimus interpres ;* and that master of Eton school whose severity made divers of his scholars run away from the school for fear of beating. Roger Ascham tells the story in the preface to his Scholemaster ; and a specimen of Udall's elegance both in verse and prose may be seen in the appendix to Ascham's works in quarto, published by John Bennet, 1761. The life of this poor man [Tusser] was a series of misfortune ; ftom Eton he went to Trinity hall in Cambridge, but soon left the university, and at diflferent times was resident in various parts of the kingdom, wliere he was successively a musician, school-master, serving-man, husbandman, grazier, and poet, but never throve in any of these several vocations. FulleT relates ' that he traded at large in oxen, sheep, daixles, ' and grain of all kinds, to no profit ; that whether he bought or sold he 'lost; and that when a renter he impoverished himself, and never * enriched his landlord :' all which seems to be too true by his own showing, and is a proof of the truth of that saying in holy scripture that the battle is not to the strong, nor the race to the swift. As to the Five hundred Points of Husbandry, it is written in familiar verse, and abounds with many curious particulars that bespeak the manners, the customs, and modes of living in this country from the year 1520, to about half a century after; besides which it discovers such a degree of oeconomical wisdom in the author, such a sedulous attention to the honest arts of thriving, such a general love of mankind, such a regard to justice, and a reverence for religion, that we do not only lament his misfortunes, \ ut wonder at them, and are at a loss to account for his dying poor, who u nderstood so well the method to become rich. t Church Hist, in Brltaine, book VII. pag. S86. In the first year of the reign of queen Elizabeth it underwent a second, and in the first of James a third revisal ; but the latter of these produced only a small alteration in the rubric, so that we may date the final settlement of the English liturgy from the year 1569, when it was printed by Grafton, with this title, 'The Booke of Common Prayer and ' Administration of the Sacraments, and other Kites ' and Ceremonies of the Church of England.' But notwithstanding these several alterations and amendments of the ritual, it will be found that the solemn service of our church is nearly coeval with the liturgy itself ; for the rubric, as it stands in the first common prayer of Edward VI. prescribes in terms the saying or mnging of mattens and even- song ; and in the ministration of the communion that the clerks shall Ang in English for the office or Introite, as it is called, a psalm appointed for that day. And again it directs that the clerks shall sing one or many of the sentences therein mentioned, according to the length and shortness of the time that the people be offering. Again, the rubric to the same first common prayer of Edward VI. directs that on Wednesdays and Fridays the English litany shall be said or sung in all places after such form as is appointed by the king's majesty's injunctions. These, together with the several directions con- tained in the rubric above-cited, for singing the post communions, Gloria in excelsis, and other parts of the service, sufiiciently prove that, notwithstanding the objections against choral music, and the practice of some of the reformed churches, the compilers of the liturgy, and indeed the king himself, as may be gathered from his injunctions, looked upon the solemn musical service as tending to edification, and were therefore determined to retain it. And this opinion seems to be adopted by the statute of 2 and 3 Edw. VI. cap. 1. which though it contains no formal obligation on the clergy or others to use or join in either vocal or instrumental music in the common prayer, yet does it clearly recognize the practice of singing, and that in such terms, as cannot but preclude all question about the lawfulness of it with those who admit the authority of parliament to determine the form and order of public worship, for the statute enacts that ' if any manner of parson, ' vicar, or other whatsoever minister that ought to ' sing or should rnig or say Common Prayer, ac- ' cording to the form then lately appointed, or shall ' refuse to use the same, or shall use any other form, ' he shall forfeit, &c.' And section VII. of the same statute is a proviso that psalms or prayer taken out of the Bible may be used in due time, not letting or omitting thereby the service or any part thereof. J This lets in the JuUlate, Magnifyiat, Nunc Dimittis, and Anthem, hut not the Te Dewm. The subsequent abolition of the mass, and the t With respect to the manner of performing the solemn choral service at the begmnmg of the reign of Edward VI. we meet with the following note: 'On the eighteenth day of the moneth of September, 154?, the ' letany was sung m the English tongue in St. Paul's church between the quire and the high altar, the singers kneeUng, half on the one side and half on the other. And the same day the epistle and gospel was also 'red at the high mass m the English tongue.' Heylin's History of the Reformation, pag. 42. ' Ohap. OXII. AND PRACTICE OF MUSIC. 639 introduction of a new liturgy into the church, calcu- lated to be either sung or said in churches, as it implied no less than a total repudiation of the ancient musical service, made it necessary for those who were concerned to maintain the dignity and splendour of divine worship to think of framing a new one. Many very excellent musicians were living about that time, but few of them had embraced the new religion, as it was called, and those of the old could not be expected immediately to assist in it. Dr. Tye, the king's pre- ceptor in music, was a protestant, but he had under- taken, in emulation of Sternhold, to translate the Acts of the Apostles into English metre, and farther set them to music of four parts ; notwithstanding all which, in less than two years after the compiling of king Edward's liturgy, a formule was composed, so perfect in its kind, that, with scarce any variation, it continues to be the rule for choral service even at this day. The author of this valuable work was that John Marbeck or Merbecke, of whose persecution, grounded on a suspicion of heresy, an ample account has herein-before been given. This book was printed by Richard Grafton in 1550, and has this short title : — Wxe iSoobe oC Somtnon ^taizv noteD. At the bottom of the last leaf is the name Wahn HHttbtht, by which we are to understand that he was the author or composer of the musical notes : these, so far as the liturgy of Edward VI. and that of Elizabeth may be said to correspond, are very little different from those in use at this day, so that this book may truly be considered as the foundation of the solemn musical service of the church of England. A particular account of this curious work is here intended to be given, but first it is necessary to observe that it is formed on the model of the Romish ritual ; as first, it contains a general recitatory in- tonation for the Lord's Prayer, the Apostle's Creed, and such other parts of the service as are most proper to be read, in a certain key or pitch. To the Versicles, Responses, Introits, Kyries, Gloria in ex- celsis. Offertories, Prefaces, Sanctus, and Post-com- munions, melodies are adapted of a grave and decent form, and nearly as much restrained as those of St. Ambrose or Gregory ; and these have a harmonical relation to the rest of the service, the dominant of each being in unison with the note of the key in which the whole was to be sung. After a short explanation of the musical characters that occur in the book, follows the order of Mattins, beginning with the Lord's Prayer,* which, as it is not required by the rubric to be sung, is set to notes that bespeak nothing more than a succession of sounds of the same name and place in the scale, viz., C sol pa UT, that being about the mean tone of a tenor voice. These notes are of various lengths, adapted to express the quantity of the syllables, which they do with great exactness. For the reasons of this uniform kind of intonation ■" It is to be remarked that the sentences from scripture, one or more whereof the minister at his discretion is directed to recite; the exhor- tation, general confession, and absolution, with which the order of Common Prayer now begins, were no ^art of King Edward's liturgy, but were first inserted in that of Queen Elizabeth. it is necessary to recur to the practice of the church at the time when choral or antiphonal singing was first introduced into it, when it will be found that almost the whole of the liturgy was sung ; which being granted, the regularity of the service required that such parts of it as were the most proper for music, as namely, the Te Deum and other hymns, and also the evangelical songs, should be sung in one and the same key ; it was therefore necessary that this key, which was to pervade and govern the whole service, should be fixed and ascertained, other- wise the clerks or singers might carry the melody beyond the reach of thejjr voices. As the use of organs or other instrument^ in churches was not known in those early times, this could no otherwise be done than by giving to the prayers, the creeds, and other parts of the service not so proper to be sung as read, some general kind of intonation, by means whereof the dominant would be so impressed on the ears and in the memories of those that sung, as to prevent any deviation from the fundamental key ; and accordingly it may be observed that in his book of the Common Praier noted, Marbeck has given to the Lord's Prayer an uniform intonation f in the key of 0, saving a small inflexion of the final clause, which here and elsewhere he makes use of to keep the several parts of the service distinct, and prevent their running into each other. But this will be better understood by a perusal of the composition itself, which is as foUowB : — MATTINS. ft TAe QuERE wyM tie Priest. /'A ~? (IN- — ■ — ■ — ■ — ■ — ■ — ■ — ■ — ♦ — ♦ — ■ — w- — URE Fa-ther which arte in hea-ven, hal-low-ed, &c. ^ - p Priest. o Lorde o - pen thou- my Uppes. » — ■" 1., Answer. And my mouth flial fliew forth thy praife. O^^^ Priest. God make fpede to fare me. Answer. O Lorde make haft to heipe me. Priest. Glo - ry be to the Father and to the Sonne, and to the t It is true that that uniform kind of intonation ahove described, especially in the precatory parts of divine service, is liahle to exception, as being void of that energy which some think proper in the utterance of prayer ; yet when it is considered that the inflexions of the human voice are so various with respect to tone and cadence, that no two persons can in strictness be said to read alike, and that scarce any thing is more offensive to a nice and discerning ear than false emphasis or an affected pathos, it may well be questioned whether a grave and decent monotony is not upon the whole the best form of utterance, at least in public worship, as well for the other parts of the service required to be read, as the prayers. 640 HISTOEY OF THE SOIBNOE Book XII. 31 — ■-'-♦-^ — ♦-♦-■-■-♦-»-■- Ho-lyGhoft. As it was in the beginnyng, isnow,ande-ver ^ -O- -♦-♦- i=^= -■-■ ■•♦ ; = thy mercy up-on us, Ausw. And graunt us thy falva-ci-on. 5E ^^- -m — ♦-♦- aal be, world wythoutend. A-men. Praifeye the Lorde. P-'^st. O Lorde fave the kyng. Answ. And mercifully heare The manner of intonating the psalms is directed to be the same as of the hymn Venite exultemus, the notes whereof are as follow : — COME, lett us fyng un - to the Lorde, lett us hertly rejoyce in the ftrength of cure ~ ' And Jo forth layth the refi of the Pfalmes, as they be appointed. -■^-11 ial - va-cion, &c. Next follows the Te Deum, which being a hymn of praise, deviates more from that tone of audible reading directed by the rubric than the preceding parts of the mattin-servioe. The Benedictus, which is directed to follow the second lesson, is noted in a different manner; in short, it is set to a chanting tune, which is iterated as the several verses return. The same hymn, Benedictus, is set to other notes, but still in the form of a chant, and either of these, at the election of the priest, are allowed to be sung.* Then follow the Kyrie and Ohriste Eleyson, and after them the Apostles' Creed and Lord's Prayer, both of which are intonated in fa ut ; but in the intonation of the latter this particular is remark- able; it is directed to be sung by the choir vdth the priest to the clause, ' And lead us not into temptation,' which the priest sings alone, and is answered by the choir in the last clause. The versicles,f responses, and collects follow immediately after : the whole is thus intonated : — ^tss^ =6^ — ■ — ■ — ■- -■ — ■ -^T _-2 — ■ Priest. And leadeus not in 1 ■ - to tempta-cy 1 -on. Answ But -S- - — ^-^- — de-li-ver us from e-vil. Amen. Priest. O Lorde, fliew ** The practice of Chanting the Fsalms, which doubtless is meant to imitate the ancient antiphonal singing instituted by Flavianus and Diodorus, is supposed to have had its rise at this time. In the English PsEdter, to facilitate the practice of chanting, the text is constantly pointed in a manner no way reconcileable with the rules of Orthography, that is to say, with a colon as near the middle of the verse as possible, without the least regard had to the sense of it, as here, ' I am well ' pleEued : that the Lord hath heard the voice of my prayer.' ' O how * amiable are thy dwellings : thou Lord of hosts I ' ' Behold now, ' praise the Lord : all the servants of the Lord.' The Psalter referred to by the common prayer to he read in the daily service, is taken from the great Bible translated by Miles Coverdale and others ; and in the title page thereof the psalms are said to be pointed as they are to be sung or said in churches. In the great Bible the method of punctuation is that which the sense requires, but in the Psalter from queen Elizabeth's time downwards, the psalms are pointed in the manner above described. For the rule of chanting, before each verse of the psalm was thus divided, we are to seek. + The versicles ' O Lord open thou my lips, &c.' and the responses are by the old church musicians improperly termed Preces ; and the versicles * The Lord be with you, &c.' with their answers, preceding the litany. Responses. Vide The first Book of selected Church-Music published by John Barnard, Lond. 1641, fol. 83. 91. us when we call up-on thee. Priest. Indue thy mmifliers F ■ ^ 1^:^=1^ with righteoufnes. Answ. And make thy cho-fen peo-ple ¥. ^-— — P^ joyfull. Priest. O Lorde fave thy pe-ple, Answ. And *=i= -♦-■- blelTe thyne inheritaunce. Priest. Give peace in our tyme O Lord J Answ. Becaufe there is none other that fighteth ^ for us, but onely thou O God. Priest. O God make clene ~^^^- our hertes witmn us, Answ. And take not thine Ho - ly -♦-♦- -f^ I^ ■ ■ 1 - Spi-rit from us. Priest. The Lord be with you. Answ. And ^Jier the ColleB :$ ^ ■— ♦-♦ -■— ■— N ^ fir the day, the/e wyth thy fpirit. Priest. Let us pray. '>>"' follow '— OS God, which arte audlhor of peace and lover of Concorde, 3:^i=:if: in know - ledge of. wnom flandeth our eternal life, whofe fervice is perfefte fredom : Defend us thy humble fervauntes in all alTaultes of our enemies, that we furely truffing in thy defence, maye not feare the power of any adverfaries : Through the might ^^P ■— • — ■ — ■- ^ of Je - fu Chrift oute Lorde. Ausw. A - men. ^^ OS Lorde our heavenlye fe-ther, al-migh-tie and everly vyng God, which has fafely brought us to the begynnyng of thys daye : defend us in the fame wyth thy myghtye power, and graunt that this day we fall into no fynne, neither runne into any kinde of daunger, but that all oure doynges may be ordred by thy governaunce, to do alwayes that is righteous in thy fight : Through Je - fus Chrift our Lorde. Answ. A - men. And thus, saith the book,endeth Mattyns. Chap. CXIII. AND PRACTICE OF MUSIC. 541 CHAP. CXIII. The Even-song, as it stood in the first liturgy of Edward VI. is noted in li^e manner. The versicles and responses, which are here called suffrages, cor- respond very nearly with the form of singing them at Uiis day. The hymn Benedicite, and the Athanasian Creed, which are occasionally sung in the morning service, appear also in this work of Marheck with music of his composing. In the Communion service occurs, iirst the Introite, which is thus intonated : — THE INTROITE. At the Communion. LESSED is that man that hath not walked in the counfalle ^=5^ of the ungodlye : nor ftande in the waye of fynners, and 3^ hath not fyt in the feate of the fcornefull, But liis delight is, &c. Then the Kyrie, intonated in the key of P fa dt : — ORDE have mer - cy up - on us. iij. Chrift =|t * d= i5=K ^^^ have mer-cy up-on us. iij. Lord have mer-cy up-on us. The Gloria in excelcis and Creed are composed as melodies, as are also the Offertories to the number of fifteen : The common and proper prefaces for Christmas, Easter, and Ascension days, and for Whit- Sundays and Trinity Sundays, follow next in order, and after them the Sauctus.* SANCTUS. - o- H^^EffcEEES o L Y, Ho - ly, Ho - ly Lorde God of hoftes. 3E ^^ -f^ni— r Heaven and earth are full of thy glo-ry. Ofanna in the higheft. B^ * LESSED is he that commeth in the name of the Lorde : ■±zS=mz Glo-iy to the, O Lorde, in the higheft. The prayer for the whole state of Christ's church, which has since been altered into a prayer for the whole state of Christ's church militant here on earth, with the last clause, is intonated in A ek, a fifth * The Sahctus is part of the communion office ; nevertheless in Cathedrals, on Sundays and high festivals it is constantly sung at the end of morning prayer, andbefore that part of the service which is read by the Episteller and Gospeller while they are making their approach to the communion table. above D sol re, the final note of the Sanctus. Then follows a prayer for the blessing of the Holy Spirit on the elements, vnth. the intonation of the last clause, versicles, and responses, the Lord's prayer, Agnus Dei, Post-communions, and a thanksgiving ; which several parts of the service are either wholly omitted, or greatly altered in the liturgy of Elizabeth. These are chiefly noted as melodies. Marbeck's book contains also an office at the burial of the dead, which differs greatly from that now in use. i The objections of particular persons, and the censure of the thirty-two commissioners in the Reformatio Legum Ecclesiasticarum against curious singing had made it necessary that the new service should be plain and edifying. In order that it should be so, this of Marheck was framed according to the model of the Greek and Latin churches, and agreeable to that tonal melody, which the ancient fathers of the church have celebrated as completely adequate to all the ends of prayer, praise, thanksgiving, and every other mode of religious worship. The interval between the framing the first liturgy of Edward VI. and the setting it to musical notes, was but a year at most. It appears that at this time, besides an establishment of household musicians, con- sisting of singers and players on sundry different instruments, there was also one of gentlemen and children of the royal chapel, which had subsisted in succession from the time of Edward IV. The fol- lowing is a list of both, with the salaries or stipends of the several officers as it stood in the reign of Edward VI :— f Trumpeters. Seijeante. McsiTioirs and Flayebs. Benedict Browne I" in No. 16, every of them"j Trumpeters, -j having by the yere Luters. Harpers. Singers. Bebeck. number 6, whereof Vyalls in number 8, whereof Bagpiper. Minstrelles in number 9, whereof Dromsladesj: in number 3, whereof Players on the flutes. Players on virginals £24 6s. 8d. ' - I /Philip Van Welder - \ \Peter Van Welder J {William Moore Bernard de Ponte /Thomas Kent - \ Thomas Bowde John Sevemeoke {5 having ^624 6s. 8d. by 1 the yeere, and one at >■ £36 10s. - J C 6 at £30 8s. 4d. theyeere, ) i and one at £20,' and [ ( another at £18 5s. ) Richard Woodward ( 7 at £18 5s. a peeoe - ■^ 1 at £24 6s. 8d. (. 1 at £3 6s. 8d. ( EofeertBruer, Master drummer ■I Alexander Pencax ( John HodgMn {Oliver Eampona Pier Ghiye ■ - . ( John Heywoode ■! Anthony de Chounte ( Eobert Bewman Fee £. 24 B. 6 d. 8 Fee 389 6 8 Fee 40 Fee Fee 18 20 5 Fee Fee 9 9 2 2 6 6 Fee 24 6 8 Fee 158 3 4 Fee 220 15 Fee 12 3 4 Fee 127 18 Fee 24 6 8 Fee 3 6 8 Fee 18 5 Fee 18 5 Fee 18 5 5 Fee 18 5 Fee 34 8 4 Fee 50 Fee 30 8 4 Fee 12 3 4 t Vide extract from the Liber Niger Domus Regis at page 271, et seq. { Dhumslabe, idem quod Drumuer, Minsh. 542 HISTORY OF THE SCIENCE Book XII. Musicians Straungera Players of in- terludes in number 8 Makers of instruments. 'the 4 brethren Venetians, '^ viz., John.Anthonye Jas- > per, and Baptiste - } Augustine Baasane William Trosses .William Denivat - ■> - every of them at £S 6s. 8d. . J by yeere £26 13s. 4d. ' j Camera 7,£236d.8d. '^ Ssio one £S 6s. 8d. {William Beton I Organ-maker J William Tresorer) Eegal-maker J " Summa totalis Fee 16 6 8 Fee Fee Fee 36 10 38 38 i.8d. ^ i. in I i. in j Fee 26 13 4 Fee 20 Fee 10 1732 5 Total number of persons 73 Oppioebs op the Chappell. 40 9 13 4 16 {Fee Largesse to the chil- dren at high feasts - Allowance for break- fast for the children 'Emery Tuckfield John Kye Nich. Archibald John Angel William Walker William JHuchins B. Chamberleyn Eobeit Phelipps W. Gravesend Thomas Birde Richard Bowyer Robert Perry William Barber Thomas Wayte R. Richmounte Thomas Talles Nicholas Mellowe Thomas Wright yes 13 4 Gentlemen of the chappell 32, every ■( of them John Bendebow Robert Stone 7d. ob. William Mawpley J. Shephakde a day. George Edwards Wil. Hynnbs or HiiNNis Robert Morecock Thomas Manne R. Alyeworth Roger Kenton T. Palfreman Lucas Caustell ^RichaedFakbant Edward Addams^ 2 at 4d. ob. a day either of them 13 13 5 at 4d. the daye every of them 30 8 4 S-46 Hugh Williams at 40s. a yeere 2 -365 13 9") 8 4U 0) 2 1 Summa totalis 476 15 5 1732 5 476 15 Musicians Number of persons 73 5 Officers of the Chappell Number of persons 41 "" 114 3209 5 Total of both But all the labour and pains that had been bestowed in settling a ritual for the proteatant service, were rendered vain ; and the hopes that had been enter- tained of seeing the reformation of religion perfected, were defeated by the death of the king in 1653, and the succession to the throne of the lady Mary, from whose bigotry and natural gloominess of temper the protestants had every thing to fear. It is sufficiently known that this event was attended not only with an immediate recognition of the papal authority, but with the restoration of the Romish ritual, and that the zeal of this princess to undo all that had been done in the preceding reigns of her father and brother, was indefatigable. In particular she seems to have sedulously laboured the re-establishment of the Romish choral service, and directed the repub- lication of a great number of Latin service-books. among which were the Primer, Manual, Breviary and others, in Usum Sarum, which were reprinted at London by Grafton, Wayland, and other of the old printers, with the musical notes, for the use of her chapel.* CHAP. CXIV. The accession of Elizabeth to the throne in 1558, was followed by an act of parliament, entitled an Act for the uniformity of the common prayer and service in the church, and administration of the sacraments, which, after reciting that at the death of Edward VI. there remained one uniform order of common service and prayer, which had been set forth and authorized by an act of the parliament holden in the 5th and 6th years of his reign, and that the same had been repealed by an act of parliament in the first year of queen Mary, to the great decay of the due honour of God, and discomfort to the pro- fessors of the trueth of Christes religion. Doth enact 'That the said statute of repeal, and every thing ' therein contained, only concerning the saide booke 'and service, &c. shall be void. And that all ' ministers shall be bounden to say and use thu ' Mattens, Evensong, celebration of the Lord's sup- ' per, and administration of the sacraments in such ' order and form as is mentioned in the said booke ' so authorized by parliament in the fifth and sixth ' yere of the reign of king Edward VI. with one ' alteration or addition of certaine lessens to be used ' on every Sunday in the yere, and the forme of the ' Letanie altered and corrected, and two sentences ' onely added in the deliverie of the sacrament to the ' communicants, and none other.' By this statute the second liturgy of Edward VI with a few variations, was restored ; but here we may note that correction of the litany which is re- ferred to by the statute, for it indicates a temper less irascible than that which actuated the first re- formers In the litany of Henry VIII. continued in both the liturgies of Edward, is contained the fol- lowing prayer : ' From all sedition and privy con- ' spiracy,_/ro«i the tyranny of the bishop of Rome ' and all his detestable enormities ; from all false ' doctrine and heresy, from hardness of heart, and ' contempt of thy word and commandment. Good ' Lord deliver us ;' taken, with a very small variation, from this in the litany of the Lutherans, ' Ut ab ' hostium tuorum, Turcsa, et Papse blasphemiis, csede ' et libidinibus clementer nos conservare digneris.'f The correction above-mentioned consisted in the recision of so much of the prayer for deliverance from sedition, &c. as related to the bishop of Rome and all his detestable enormities, as they are termed, and the addition of the words rebellion and schism, which are now a part of the prayer. It is said of Elizabeth, that being a lover of state * It is worthy of remark, that notwithstanding the fundamental dif- ference in religion and the form of public worship in the two rragns, It appears by a record now in the possession of the Antiquarian Society, that with the variety of only a very few names, the list of Mary's chapel establishment was the same with that above given of her brother Edward's. t In Psalmod. sive cant, sacra, vet. Eccles. select, per Luc, LosbIuk Luneberg. Chap. OXIV. AND PRACTICE OP MUSIC. 543 and magnificence, she was secretly a friend, though not to the doctrines,* yet to the pomp and splendor of the Romish religion, and consequently to the ancient form of worship ; and from principles of policy she might wish that the difference between the reformed and the Romish service might be as little as possible ;t the effects of this disposition were visible in the reluctance with which she gave up the use of images and prayers for the dead, and the behaviour of those of the Romish communion, who made no scruple of attending the service of a church which had wrested the supremacy out of the hands of the pope.J At the beginning of her reign, those divines who had fled from the persecution under Mary, to Prancfort, and other parts of Germany, and to Geneva, and had contracted a dislike to the disci- pline established in England, together with some of the principal courtiers, made some faint attempts towards a revival of the opposition to choral service ; they insisted that the psalms of David in metre, set to plain and easy melodies, were sufficient for the purposes of edification ; and for this they appealed to the authority of Calvin, and the practice of the churches under his direction. But the queen, and those to whom she had committed the care of re- vising the liturgy, thought that the foreign divines had already meddled more in these matters than * Nevertheless she seems to have entertained some opinions, which none of the reformed churches would ever acquiesce in. When one of her chaplains, Mr. Alexander Nowel, dean of St. Paul's, had spoken less reverently in a sermon preached before her, of the sign of the cross than she liked, she called aloud to him from her closet window, commanding him to retire from that ungodly digression, and return to his text. And when ;one of her divines, on Good Friday, anno 1565, had preached a sermon in defence of the real presence, she openly gave bim thanks for his pains and piety. Heylin's History of the Reformation, Eliz. pag. 124. It seems that when she gave that shrewd answer to a Popish priest, who pressed her very hard to declare her opinion touching the presence of Christ in the sacrament : — 'Twas God the word that spake it. He took the bread and brake it ; And what the word did make it ; That I believe, and take it. she had either not settled, or was too wise to declare, her opinion touching the doctrine of transuhstantiation. t It is certain she had a crucifix in her chapel. See a letter from Sandys, bishop of Worcester, to Peter Martyr, expressing his uneasiness at it. Bum. Reform. III. 289. 291. and Records to book VI. No. 61. Heylin says that it remained there for some years, till it was broken to pieces by Patch the fool, no wiser man daring to undertake such a des- perate service, at the solicitation of Sir Prancis KnoUes, a near relation of the queen. Heylin's Hist, of the Reformation, Eliz. pag. 124. Neal goes much farther, and says 'that the altar was furnished with rich ' plate, with two gilt candlesticks, with lighted candles, and a massy * crucifix in the midst, and that the service was sung not only with * organs, but with the artificial music of cornets, sacbuts, &c. on solemn * festivals. That the ceremonies observed by the knights of the garter * in their adoration towards the alter, which had been abolished by * Edward VI. and revived by queen Mary, were retained. That, in ' short, the service performed in the queen's chapel, and in sundry * cathedrals, was so splendid and showy, that foreigners could not dis- 'tinguish it from the Roman, except that it was performed in the ' English tongue.' By this method, he adds, most of the Popish laity were deceived into conformity, and came regularly to church for nine or ten years, till the pope, being out of all hopes of an accommodation, forbad them, by excommunicating the queen, and laying the whole kingdom under an interdict. Hist, of the Puritans, vol. I. page 156. X This fact is rather invidiously mentioned by Neal, in the passage cited from him in the preceding note ; the authority fbr it is a letter from the queen to Sir Francis Walsyngham, dated 11. Aug. 1570, in which she says of the Roman Catholics, ' that they did ordinarily resort from ' the beginning (t her reign in all open places to the churches, and to •divine services in the church, without contradiction or shew of mls- * liking : ' to the same purpose Sir Edward Coke, in a charge of his at Norwich assizes, asserted that for the first ten years of queen Elizabeth's reign the Roman Catholics came frequently to church ; and in his speech against Garnet, and other conspirators, he afiirmed this upon his own linowledge, giving an instance thereof in Bedingfield, Cornwallis, and several others of the Romish persuasion. Collier's Ecclesiast. Hist. Tol. 11. pag. 436. became them ; the common prayer of her brother had been once altered to please Calvin, Bucer, Pagius, and others of them, and she seemed de- termined to make no more concessions, at least to that side, and therefore insisted on the retention of the solemn church service. The declaration of her will and pleasure in this respect is contained in the forty-ninth of those in- junctions concerning the clergy and laity of this realm, which were published by her in the first year of her reign, a. d. 1559 ; they were printed first by Jugge and Cawood, and are to be found in Sparrow's Collection of Articles, Injunctions, and Canons, in quarto, 1684. That above referred to, entitled ' for ' continuance of syngynge in the church,' is in the words following : — 'Item, becaufe in dyvers collegiate, and alfo fbme • parifhe churches, there hath been lyvynges appoynted ' for the mayntenaiince of menne and chyldren, to ufe 'fyngynge in the churche, by meanes whereof the ' lawdable fcyence of muficke hath ben had in eftima- ' tion, and preferved in knowledge : The queenes ' majeftie, neyther meanynge in any wife the decaye or ' any thynge that myght conveniently tende to the ufe ' and continuance of the iaide fcience, neyther to have ' the fame in any parte fo abufed in the churche, that ' thereby the common prayer flioulde be the worfe ' underftande of the hearers : Wylleth and commandeth ' that fyrft no alteration be made of fuch affignementes • of lyvynge as heretofore hath been appointed to the ' ufe of fyngynge or mufycke in the churche, but that ' the iame {o remayne. And that there bee a modefte ' and deyftyndle fong fo ufed in all partes of the com- ' mon prayers in the churche, that the fame may be as ' playnely underftanded as yf it were read without ' fyngyng. And yet neverthelefle for the comforting ' of fuch as delite in muficke, it may be permytted that ' in the begynninge or in thend of common prayers, ' either at mornynge or evenynge, there may be funge • an hymne or fuch lyke fonge, to the prayfe of Al- ' mighty God, in the beft forte of melodye and muficke • that may be convenienty devyfed, havynge refpefte ' that the fentence of the hymme may bee underftanded ' and perceyved.' And yet, notwithstanding this express declaration of the queen's pleasure with regard to continuance of singing in the church, about three years after the publishing these her injunctions, six articles, tending to a farther reformation of the liturgy, were presented to the lower house of convocation, the last whereof was that the use of organs be removed from churches ; which, after great debate, were so near being carried, that the rejection of them was owing to a single vote, and that, too, by the proxy of an absent member. § Bishop Burnet has given from Strype, but without a direction where they are to be found, the heads of another proposal for a reformation, wherein it is in- sisted that organs and curious singing should be removed.jl In the resolution which queen Elizabeth maintained to continue the solemn musical service in the church, § Burn. Hist. Reform, part III. pag. 303. |J Ibid. 304. 544 HISTORY OF THE SCIENCE Book XIL it is supposed she was confirmed by Parker, whom she had then lately promoted to the see of Canterbury, a man of great learning and abilities, and, as it happened, eminently skilled in music. Strype, in his life of this prelate, says he had been taught in his youth to sing by one Love, a priest, and also by one Manthorp, clerk of St. Stephen's in Norwich. In his retirement from the persecution under queen Mary he translated into English verse the whole book of the psalms of David. In the foundation of his college at Stoke in Suffolk is a provision for queristers. He had a considerable hand in revising the liturgy of queen Elizabeth. Some of the particu- lars above related afford ground for a conjecture that Parker's affection to music might co-operate with his zeal for the church, and induce him to join with Elizabeth in her endeavours to reform the choral service, and consequently that its re-establishment was in some degree owing to him. By the passing of the act of uniformity of the first of Eliz. cap 2, the common prayer and communion service were restored by such words of reference to the usage in her brother Edward's time, as would well warrant the use of that music which Marbeck had adapted to them ; for which reason, and because it had been printed under the sanction of royal au- thority, the Booke of Common Praier noted by John Marbecke, was considered as the general formula of choral service : and to the end that the whole should be uniform and consistent, it is directed by the rubric of Elizabeth's liturgy, that in such places where they do sing, those portions of scripture which constitute the lessons for the day, as also the epistles and gos- pels, shall be sung in a plain tune, after the manner of distinct reading ; the meaning whereof seems to be, that they should be uttered in a kind of monotony, with a reference to the dominant or key-note of the service, which for the most part lay in C fa ut, that being nearly the mean tone of a tenor voice : and most of the printed collections of services give as well the intonation of the lessons, as the melodies of the hymns and evangelical songs. The settlement of religion, and the perfecting of the reformation, as it was of the utmost importance to the peace of the kingdom, and coincided with the queen's opinion, so was it the first great object of her attention. She succeeded to the crown on the seven- teenth day of November, in the year 1558 ; on the twenty-eighth of April, 1559, the bill for the uni- formity of the common prayer passed into a law, and was to take effect on the twenty-fourth day of June then next. Hitherto the Romish office was permitted to continue, the Latin mass-book remained, and the priests celebrated divine service for the most part as they had done in the time o'f queen Mary, during which interval were great and earnest disputes between the Protestant and Romish clergy touching the English service-book. It seems that the queen was so eager to hear the reformed service, that she anticipated its restoration ; for whereas the act re- quired that it should take place throughout the kingdom on St. John the Baptist's day, service in English was performed in her chapel on Sundav, May the second,* which was but four days after the use of it was enacted. The liturgy of queen Elizabeth was printed in the first year of its establishment with this title, ' The ' Boke of common prayer and administration of the ' sacraments, and other rites and ceremonies of the 'church of England;' and the license contained in the rubrics, which declare that it may be said or sung, and direct that in choirs and places where they sing, the anthem shall follow certain parts of the service, is a plain intimation that this form of divine worship was calculated as well for choral as parochial service. The queen's injunctions, and also the act of uniformity, amounted to a tacit recognition of a solemn choral serviee ; and under the authority of these, that of Marbeck was sung in the several choirs throughout the kingdom, but it was soon found that this formula, excellent as it was in its kind, was not adequate to all the purposes of framing it. In short, it was mere melody ; the people, whose ears had been accustomed, as the homily above-cited expresses it, to piping, singing, chanting, and playing on the organs, could but ill brook the loss of those incentives to devotion ; and in the comparison, which they could not but make between the pomp and splendour of the old form of worship, and the plainness and simplicity of the new, they were not a little disposed to prefer the former ; the consideration whereof was probably the motive to the publication in the year 1560 of a musical service with this title, ' Certaine notes set forth in foure and ' three parts, to be song at the morning, communion, ' and evening praier, very necessarie for the church ' of Ohriste to be frequented and used : and unto them ' added divers godly praiers and psalmes in the like ' forme to the honor and praise of God. Imprinted ' at London, over Aldersgate, beneath S. Martins, by ' John Day, 1560.' It does not appear by this book that any innovation was made in the service as formerly set to musical notes by Marbeck, and there is good reason to sup- pose that the supplications, responses, and method of intonating the Psalms, remained the same as he composed them. But it is to be remarked, that al- though the litany made a part of king Edward's first liturgy ,f Marbeck had omitted or purposely forborne to set musical notes ffi it ; and this is the rather to be wondered at, seeing that it was the ancient practice of the church, founded on the example of St. Gregory himself, to sing it ; this omission however was soon supplied by the composer, whoever he was, of the • strype, in his Annals, vol. I. pag. 191, says the twelfth of May; hat in this he must be mistaken, he haying before, viz., pag. 77, said that the bill passed April the twenty-eighth. By a passage in the same Tolnme of the Annals, page 134, it seems that the practice of singing psalms in churches had its rise a few months after, for he says ' On the day of * this month, September, [1559] began the true morning prayer at St. ' Antholin's, London, the bell beginning to ring at five, when a psalm * was sung after the Geneva fashion, all the congregation, men, women, ' and boys singing together.* Bishop Juel, in a letter written in March, 1660, seems to allude to this fact ; his words are, ' the singing of psalms was begun in one church in ' London, and did quickly spread itself, not only through the city, but in * the neighbouring places : sometimes at St. Paul's Cross there will be ' 6000 people singing together." Vide Burnet Hist. Reform, part III. pag. 290. The foreign protestants had distinguished themselves by this practice some years before. Roger Ascham, in a letter from Augusta in Germany, dated 14 Mail, 1551, says ' three or four thousand, singing at a time in one church of that city is but a trifle." Ascham's Works, published by James Bennet, 4to. pag. 382. t See the twenty-second of king Edward's Injunctions. Chap. OXV. AND PRACTICE OF MUSIC. 545 litany in the book above described, and afterwards by Tallis, who composed the litauy known by his name, which, by reason of its superior excellence, is the only one of many that have been made, that is used at this day. The great difference between Day's first book and that of Marbeck appears to be this. In Marbeck's the whole of the service was set to music of one single part, whereas in that published by Day, the offices in general were composed in four parts ; the following is the order in which they stand, Venite exultemus, Te Deum laudamus, Benedictus Dominus, the Letanie, the Lorde's Praier ; the Communion office, containing the Kyries after the commandments, Gloria in excelsis, Nicene Creed, Sanctus, the blessing of the minister upon the people. The offices in the order of evening prayer set to jnusic are only the Magnificat and Nunc dimittis. Besides these, the book contains sundry prayers and anthems, composed also in four parts, in many of which this particular is remarkable, that the bass part is set for children.. The book also gives the names of many of those that composed the music ; but it is to be observed that the litany has no name to it, neither does it in the least correspond with the litany of Tallis, so that we may suppose that he had not then set that office to music. Besides the name of Tallis, which occurs first at the end of the prayer ' Heare the voice and ' prayer of thy servants,' &c. we have these that follow. Thomas Cawston, M. [for Master] Johnson, Oakland, Shepard ; and near the end of the book is inserted an In Nomine of Master Taverner, the bass part for children. Five years after this, was published another col- leetion of offices, with musical notes, with the follow- ing title, ' Mornyng and Evenyng prayer and Com- 'munion set forthe in foure partes, to be song in • churches, both for men and children, with dyvers ' other godly prayers and anthems of sundry men's ' doynges. Imprinted at London by John Day, 1565.' The names of musicians that occur in this latter collection are Thomas Cawston, Heath, Robert Has- leton. Knight, Johnson, Tallis, Oakland, and Shepard. Each of these works must be considered as a noble acquisition to the science of music ; and had but the thought of printing them in score also occurred to those who directed the publication, the world had reaped the benefit of their good intentions even at this day; but being published as they are in separate parts, the consequence was that they could not long be kept together; and the books are now so dispersed, that it is a question whether a complete set of all the parts of either of these two collections is now to be found : and a farther misfortune is, that few persons are sufficiently skilled in music to see the evil of separating the parts of music books, or to attempt the retrieving them when once scattered abroad ; on the contrary, many learned men have taken a single part for the whole > of a musical work, and have thought themselves happy in the possession of a book of far less value than a mutilated statue. A single part of the Cantiones of Tallis and Bird, with the word Discantus at the top of the title-page, to dis- tinguish it from the Superius, Medius, Bassus, and other parts, was in the possession of the late Dr. Ward, Gresham professor of rhetoric; and he, though one of the best grammarians of his time, mistook that for part of the title, and has given it accordingly. In like manner, Ames, a man of singular industry and intelligence in matters that relate to printing, having in his possession the Morning and Evening Prayer of 1565, above mentioned, has described it in his Typographical Antiquities by the title of the Common Prayer with musical notes Secundus Contra- tenor, never imagining that these two latter words were no part of the title, and that he had only one fourth part of a work which appeared to him to be complete. Nevertheless the public were great gainers by the setting forth of the two collections of church-music above mentioned in print, one advantage whereof was, that the compositions therein contained were, by means of the press, secured against that corruption which inevitably attends the multiplication of copies of books by writing; and although it may be said of ancient manuscripts in general, that they are far more correctly and beautifully written than any since the invention of printing, it is easy to see that the increase of written copies must necessarily have been the propagation of error; and the fact is, that the ancient church-services, which before this time had been usually copied by monks and singing-men for the use of their respective churches, were, till they were corrected, and the text fixed by printed copies, so full of errors as to be scarce fit for use. CHAP. CXV. Thus was the solemn choral service established on a legal foundation, and the people not only acquiesced in it, but thought it a happy temperature between the extremes of superstition and fanaticism ; but the disciplinarian controversy, which had its rise in the preceding reign, and had been set on foot at Franc- fort and Geneva, whither many able divines had fled to avoid persecution, was pushed with great vehemence by some, who insisted on a falrther re- formation in matters of religion than had as yet taken place ; these were the men called Puritans, of whom the leader at that time was one Thomas Cartwright. This man, a bachelor of Divinity, a fellow of Trinity college, Cambridge, and Lady Margaret's professor in that university, in his public lectures, read in the year 1570, had objected to the doctrine and discipline of the church. Against the tenets of Cartwright, Dr. Whitgift, afterwards archbishop of Canterbury, preached ; Cartwright challenged the doctor to a public disputation, which the latter refused unless he had the queen's licence for it ; he however offered a private conference with him in writing, which the other declining, Whitgift collected from his lectures some of the most exceptionable pro- positions, and sent them to the queen, upon which Cartwright was deprived of his fellowship, and expelled the university. He then went abroad, and became minister to the English merchants at 546 HISTOEY OF THE SCIENCE Book XII. Antwerp, I and afterwards at Middleburg ; in his absence the Puritans had drawn up a book entitled An Admonition to the Parliament, containing an enumeration of their grievances, the authors whereof, two Puritan ministers, Mr. Field and Mr. Wilcox, were committed to Newgate; soon after this. Cart- wright returned, and drew up a second admonition,* upon which a controversy ensued, wherein Oartwright maintained that the holy scriptures 'were not only ' a standard of doctrine, but of discipline and govern- ' ment, and that the church of Christ in all ages was ' to be regulated by them.' Whitgiift on the other hand asserted, that though the holy scriptures are a perfect rule of faith, they were not designed as a standard of church discipline or government ; but that the forms of these are changeable, and may be accommodated to the civil government we live under : That the apostolical government was adapted to the church in its infancy, and under persecution, but was to be enlarged and altered as the church grew to maturity, and had the civil magistrate on its side. In the course of this dispute, objections were made to the liturgy, and to the form and manner of cathe- dral service, particularly against 'the tossing the psalms from one side to the other,' a sarcastical expression which Cartwright frequently uses, with the intermingling of organs. Whitgift had defended this practice by the example of the primitive Chris- tians, and upon the general principle that the church had a power to decree rites and ceremonies agreeably to the twentieth article of the church of England; and here the dispute rested for some time;f but ■ Fuller Beems to be mistaken in his assertion that Cartwright drew up the first admonition ; Neal ascribes it to the two persons above- named { both admonitions were rejected by the parliament; but the Puritans met with such favour from some of the members, that upon the dissolution of it, they presumed to erect a presbytery at Wands- worth in Surrey: this was in 1572, and from hence the origin of nonconformist or dissenting nleeting-houses in this kingdo^i is to be computed. Vide Fuller's Church Hist, of Britain, Cent. XVI, book ix. pag. 103. t It appears that Cartwright prosecuted this dispute many years after his return from abroad ; and that in September, 1590, be was convened before the ecclesiastical commissioners ; and for refusing to take the oath ex ofScio, was committed to the Fleet [Collier Eccl. Hist. vol. TI. 626.] but was afterwards pardoned, and retired to an hospital at Warwick, of which he was master, and lived in friendship with the archbishop ever after. [lb. 640.] Life of Hooker, 14. Nay, it is said that he changed bis opinion, and sorely lamented the unnecessary troubles he had caused in the church by the schism which he had been the great fomenter of. Biogr. Brit. vol. VI. part II. pag. 4253. note KKE. Contemporary with Cartwright was Robert Brown, a man descended of a good family in Rutlandshire, and a distant relation of the lord treasurer Burleigh ; this man, though bred in Bennet college, Cambridge, entertaining a dislike to the doctrine and discipline of the established church, left England, and joined Cartwright's congregation at Middle- burg, and, being a man of bold temper and turbulent disposition, laboured with all his might to widen the breach that Cartwright had made between the Puritans and the church, and to multiply the reasons against conformity ; to this end he contended that church government was antichristian, that the rites of the church of England were super- stitious, and its liturgy a mixture of popery and paganism : a summary of his doctrines, which are said to he the same in eifect with those of the Donatists, is contained in a book iprinted by bim at Middleburg, intitled a Treatise of Reformation, of which many copies were dispersed in England. Returning hither soon after the publication of bis book. Brown, together with one Richard Harrison, a country school-master, associated himself with spme Dutchmen of the Anabaptist sect, and began a formal schism, in which he succeeded so well, that many separate congregations were set up in divers parts of the kingdom ; at length his behaviour drew on him the censures of the church, which brouglit him to a partial recantation of his opinions, and procured him a benefice in Northampton- shire ; but he soon after relapsed, and in an advanced age died in North- ampton gaol, to which prison he had been committed for a breach of the peace, not being able to find sureties for his keeping it. Fuller, who was acquainted with him, and had heard him preach, gives the following circumstantial relation of the causes and manner of his commitment and death, ' As for his death in the prison of Northampton many years after, in it was afterwards revived by Walter Travers, the lecturer at the Temple, a friend of Cartwright; and a formal examination and refutation of his tenets was undertaken by the learned and excellent Hooker, who at that time was Master of the Temple. In the Ecclesiastical Polity, the objections _ of Cartwright and his adherents against the doctrine and discipline of the established church, are occa- sionally inserted in the margin of the book, but, which seems a strange omission in the publishers of it, without any reference to the particular book of Cartwright, to which it was an answer, or any in- timation that he was the oppugner of Cartwright, other than the letters T. C. the initials of his Christian and surname, which are added to the several passages cited by Hooker. The objections against singing in general, and also against antiphonal singing, are to this purpose : ' From whencesoever the practice [of antiphonal ' singing] came, it cannot be good, considering that 'when it is granted that it is lawfull for all the 'people to praise God by singing the Psalms of ' David, this ought not to be restrained to those few ' of the congregation who are retained in the service * of the church for the sole purpose of singing ; and ' where it is lawfull both vsdth heart and voice to ' sing the whole psalm, there it is not meet that they ' should sing but the one half with their heart and ' voice, and the other with their heart only. For ' where they may both with heart and voice, sing, ' there the heart is not enough ; and therefore, besides ' the incommoding which cometh this way, in that ' being tossed after this sort, men cannot understand ' what is sung ; those other two inconveniences come ' of this form of singing, and therefore it is banished ' in all reformed churches. And elsewhere, The ' singing of psalms by course, and side after side, ' although it be very ancient, yet it is not commendable, ' the reign of king Charles, anno 1630, it nothing related to those opinions ' he did, or his followers do maintain, for, as I am credibly informed, ' being by the constable of the parish, who chanced also to be his god- 'son, somewhat roughly, and rudely required the payment of a rate, he ' hapned in passion to strike him. The constable not taking it patiently ' as a castigation from a god-father, but in anger, as an affront to his ' oifice, complained to Sir Rowland St. John, a neighbouring justice of * the peace, and Brown is brought before Jiim. The knight of himself 'was prone rather to pity and pardon than punish his passion, hut ' Brown's behaviour was so stubborn, that he appeared obstinately ' ambitious of a prison, as desirous after long absence to renew his ' familiarity with his ancient acquaintance. His mittimus is made, and ' a cart with a feather-bed provided to carry him, he himself being too * infirme (above eighty) to goe, too unweldie to ride, and no friend so ' favourable as to purchase for him a more comly conveyance. To North- ' ampton jayle he is sent, where soon after he sickned, died, and was ' buried in a neighbouring churchyard ; and it is no hurt to wish that his ' bad opinions had been interred with him.' Church Hist. Cent. XVI. book ix. page 168. The same author relates that he boasted he had been committed to thirty-two prisons, some of them so dark, that in them he was not able to see his hand at noon-day. The opinions which Brown had propagated were those which dis- tinguished that religious sect, who after him were called Brownists. Not only Puller and Collier, but Neal also represent him as a man of an idle and dissolute life, in no respect resembling either Cartwright or Travers, who dissented upon principle, and appear both, to have been very learned and pious men. These men were the first of those who opposed the liturgy, and were the occasion of those admirable arguments of Hooker in defence of church music, which here follow. There is a passage in one of Howel's letters which seems to indicate that the tenets of Brown were grown very odious at the time when the former wrote, which for the singularity of it take in his own words ; ' Difference in opinion may work a disafifection in me, but not a detes- ' tation i I rather pitty than hate Turk or Infldell, for they are the same 'metall, and bear the same stamp as I do, though the inscriptions differ: ' if I hate any it is those schismatics that puzzle the sweet peace of our ' church, so that I could be content to see an Anabaptist go to hell on * a Brownist's back.' Familiar Letters of James Howel, 1678, vol I sect. 6. Letter xxxii. To Sir Ed. B. Knt. Chap. CXV. AND PEAOTICE OF MUSIC. 547 ' and is so much the more to be suspected, for that ' the Devil hath gone about to get it so great ' authority, partly by deriving it from Ignatius time, ' and partly in making the world believe that this ' came from heaven, and that the angels were heard ' to sing after this sort, which as it is a mere fable, ' so is it confuted by historiographers, whereof some ' ascribe the beginning of this to Damasus, some other ' unto Flavianus and Diodorus.' These are the principal arguments brought in proof of the unlawfulness and impropriety of choral antiphonal singing in the worship of God ; in answer to which it may be said, that its lawfulness, propriety, and conduciveness to the ends of edification, have been asserted by a great number of men, each as fitly qualified to determine on a subject of this nature as the ablest of their opponents. But the merits of the controversy will best appear from that defence of the practice in question contained in the Eccle- siastical Polity, of our countryman Hooker, who with his usual temper, learning, eloquence, and sagacity, has exhibited first a very fine eulogium on music itself, and afterwards a defence of that particular appli- cation of it to divine service, which our national church had recognized, and which it concerned him to vindicate. And first as to music in general, and its efficacy in the exciting of devout affections, he uses these words : — ' Touching musical harmony, whether by instru- • ment or by voice, it being but of high and low in ' sounds, a due proportionable disposition, such not- ' withstanding is the force thereof, and so pleasing • effects it hath in that very part of man which is ' most divine, that some have been thereby induced ' to think that the soul itself by nature is, or hath in 'it harmony. A thing which delighteth all ages, ' and beseemeth all states ; a thing as seasonable in ' grief as in joy ; as decent, being added unto actions 'of greatest weight and solemnity, as being used ' when men most sequester themselves from action : ' the reason hereof is an admirable facility which ' music hath to express and represent to the mind ' more inwardly than any other sensible mean, the ' very standing, rising, and falling, the very steps ' and inflections every way, the turns and varieties of ' all passions whereunto the mind is subject ; yea, so ' to imitate them, that whether it resemble unto us ' the same state wherein our minds already are, or ' a clean contrary, we are not more contentedly by ' the one confirmed, than changed and led away by ' the other. In harmony the very image and character ' even of virtue and vice is perceived, the mind de- ' lighted with their resemblances, and brought, by ' having them often iterated, into a love of the things ' themselves ; for which cause there is nothing more ' contagious and pestilent than some kinds of har- ' mony, than some nothing more strong and potent ' unto good. And that there is such a difference of ' one kind from another we need no proof but oui • own experience, inasmuch as we are at the hearing ' of some more, inclined unto sorrow and heaviness, ' of some more mollified and softened in mind ; one ' kind apter to stay and settle us, another to move ' and stir our affections. There is that draweth to ' a marvellous grave and sober mediocrity ; there is ' also that carrieth as it were into ecstasies, filling the ' mind with an heavenly joy, and for the time in ' a manner severing it from the body. So that al- ' though we lay altogether aside the consideration of ' ditty or matter, the very harmony of sounds being ' framed in due sort, and carried from the ear to 'the spiritual faculties of 'our souls, is, by a native ' puissance and efficacy, greatly available to bring to ' a perfect temper whatsoever is there troubled ; apt ' as well to quicken the spirits, as to allay that which ' is too eager ; sovereign against melancholy and 'despair ; forceable to draw forth tears of devotion, ' if the mind be such as can yield them ; able both to ' move and to moderate all affections. The prophet ' David having therefore singular knowledge, not in ' poetry alone, but in music also, judged them both ' to be things most necessary for the house of God, ' left behind him to that purpose a number of divinely ' indicted poems ; and was farther the author of add- ' ing unto poetry, melody in public prayer, melody ' both vocal and instrumental for the raising up of ' men's hearts, and the sweetening of their affections ' towards God. In which considerations the church ' of Christ doth likewise at this present day retain it ' as an ornament to God's service, and an help to our ' own devotion. They which, under pretence of the ' law ceremonial abrogated, require the abrogation of ' instrumental music, approving nevertheless the use ' of vocal melody to remain, must shew some reason ' wherefore the one should be thought a legal cere- ' mony and not the other. In church music curiosity ' and ostentation of art, wanton, or light, or unsuitable ' harmony, such as only pleaseth the ear, and doth ' not naturally serve to the very kind and degree of ' those impressions, which the matter that goeth with ' it leaveth or is apt to leave in men's minds, doth ' rather blemish and disgrace that we do, than add ' either beauty or furtherance unto it. On the other ' side, these faults prevented the force and efficacy of ' the thing itself, when it drowneth not utterly, but ' fitly suiteth with matter altogether sounding to the ' praise of God, is in truth most admirable, and doth 'much edify, if not the understanding, because it, ' teacheth not, yet surely the affection, because there- ' in it worketh much. They must have hearts very ' dry and tough, from whom the melody of the psalms ' doth not some time draw that wherein a mind re- ' ligiously affected, delighteth.' * And to the objection against antiphonal singing, ' that the Devil hath gone about to get it authority,' he thus answers : — ' Whosoever were the author, whatsoever the ' time, whencesoever the example of beginning this ' custome in the church of Christ ; sith we are wont ' to suspect things bnly before tryal, and afterwards ' either to approve them as good, or if we find them ' evil, accordingly to judge of them ; their counsel ' must need seem very unseasonable, who advise men ' now to suspect that wherewith the world hath had ' by their own account, twelve hundred years ao- • Eccl. Polity, liook V. sect. 88. 548 HISTORY OF THE SCIENCE Book XH. ' quaintanoe and upwards ; enough to take away ' suspicion and jealousie. Men know by this time, ' if ever they will know, whether it be good or evil ' which hath been so long retained. As for the ' Devil, which way it should greatly benefit him to ' have this manner of singing psalms accounted an ' invention of Ignatius, or an imitation of the angels ' of heaven, we do not well understand. But we ' very well see in them who thus plead, a wonderful ' celerity of discourse. For perceiving at the first, ' but only some cause of suspicion, and fear lest it ' should be evil, they are presently in one and the ' selfsame breath resolved that what beginning soever ' it had, there is no possibility it should be good. ' The potent arguments which did thus suddenly ' break in upon and overcome them, are First, that 'it is not unlawful for the people, all jointly to ' praise God in singing of psalms. Secondly, that 'they are not any where forbidden by the law of ' God to sing every verse of the whole psalm both ' with heart and voice quite and clean through- ' out. Thirdly, that it cannot be understood what is ' sung after our manner. Of which three, forasmuch ' as lawfulness to sing one way, proveth not another ' way inconvenient ; the former two are true allega- ' tions, but they lack strength to accomplish their ' desire ; the third so strong that it might persuade ' if the truth thereof were not doubtful. And shall ' this enforce us to banish a thing which all Christian ' churches in the world have received ? a thing which ' so many ages have held : a thing which the most ' approved councils and laws have so oftentimes ' ratified ; a thing which was never found to have ' any inconvenience in it ; a thing which always ' heretofore the best men and wisest govemours of ' God's people did think they never could commend ' enough ,* a thing which as Basil was persuaded did ' both strengthen the meditation of those holy words ' which are uttered in that sort, and serve also to ' make attentive, and to raise up the hearts of men ; ' a thing whereunto God's people of old did resort ' v?ith hope and thirst ; that thereby, especially their ' souls might be edified ; a thing which filleth the ' mind with comfort and heavenly delight, stirreth ' up fragrant desires and affections correspondent •unto that which the words contain; allayeth all ' kind of base and earthly cogitations, banisheth and 'driveth away those evil secret suggestions which ' our invisible enemy is always apt to minister, ' watereth the heart to the end that it may fructify, ' maketh the virtuous, in trouble full of magnanimity ' and courage, serveth as a most approved remedy • against all doleful and heavy accidents which be- ' fall men in this present life. To conclude, so ' fitly accordeth with the apostle's own exhortation, " Speak to yourselves in psalms and hymns and " spiritual songs, making melody and singing to the " Lord in your hearts;" that surely there is more ' cause to fear lest the want thereof be a maim, than ' the use a blemish to the service of God.'* As to the merits of this controversy, every one is at liberty to judge ; and if any shall doubt at the » Eccl, Polity, book V. sect. 39. lawfulness and expediency of choral music after con- sidering the arguments on both sides, there is little hope of their being reconciled to it till an abler ad- vocate than Hooker shall arise in its defence.^ The form and manner of divine service being thus far adjusted, an establishment of a chapel seemed to follow as a matter of course, the settlement whereof was attended with but very little difficulty. As those gentlemen of the chapel who had served under Edward VI. continued in their stations notwith- standing the revival of the mass, so wheti the Eomish service was abrogated, and the English liturgy re- stored, they manifested a disposition to submit to those who seemed to be better judges of religious matters than themselves ; and notwithstanding that in the time of queen Mary all persons engaged in the chapel service must, at least in appearance, have been papists, we find not that any of them objected to the reformed service : this at least is certain, that both Tallis and Bird, the former of whom had set the music to many Latin motets, and the latter made sundry masses and other compositions for queen Mar^a chapel, continued in the service of Elizabeth, the one till the time of his death, and the other during the whole of her reign, and the greater part of that of her successor, he dying in 1623. For the state of queen Elizabeth's chapel we are in a great measure to seek : it is certain that Tallis and Bird were organists of it, and that Bichard Bowyer was upon her accession to the crown con- tinued one of the gentlemen of her chapel, who dying, Bichard Edwards was appointed master of the children. This person, who has been mentioned ■ in a former part of this work, was a native of Somersetshire, and a scholar of Corpus Christi col- lege in Oxford, under 'George Etheridge, and at the time of its foundation was made senior student of Christ Church college, being then twenty -four years of age. Wood, in the Athen. Oxon. has given a curious account of the representation of a comedy of his writing, entitled Pidemon and Arcite, before queen Elizabeth, in the hall of Christ Church college, and of the queen's behaviour on the occasion. Ed- wards died on the thirty-first day of October, 1596 ; and the fifteenth of November in the same year William Hunnis, a gentleman of the chapel, and who had been in that station during the two preceding reigns, was appointed his successor ; this person died on the sixth day of June, 1597, and was succeeded by Dr. Nathaniel Giles, of whom an account will hereafter be given. CHAP. CXVI. It will now be thought time to enquire into the rise and progress of psalmody in England ; nor will it be said that we were very remiss when it is known how short the interval was, between the publication of the French version and ours by Stemhold and Hopkins, who as having been feUow-labourers in this work of Eeformation, are so yoked together, that hardly any one mentions them asunder. Thomas Sternhold is said to have been a native of Hampshire. Where he received the rudiments of Chap. CXVI. AND PRACTICE OP MUSIC. 549 literature is not known, but Wood says that he resided some time in the university of Oxford, and that he left it without the honour of a degree. By some interest that he had at court, he was preferred to the office of groom of the robes to Henry VIII. which he discharged so well, that he became a per- sonal favourite of the king, who by his will left him a legacy of an hundred marks. Upon the decease of the king, Sternhold was continued in the same employment by his successor,; and having leisure to pursue his studies, he acquired some degree of esteem about the court for his vein in poetry and other trivial learning. He was a man of a very reli- gious turn of mind, in his morals irreproachable, and an adherent to the principles of the reformation, and being offended with the amorous and immodest songs, which were then the usual entertainment of persons about the court, he undertook to translate the Psalms of David into English metre, but he died without completing the work. His will was proved the twelfth day of September, anno 1549; he is therein styled Groom of his Majesty's robes, and it thereby appears that he died seised of lands to a considerable value in Hampshire and in the county of Cornwall. Fifty-one of the Psalms were all that Sternhold lived to versify, and these were first printed by Edward Whitchurch, and published anno 1549, with the following title : ■' All such Psalmes of David ' as Thomas Sternholde, late grome of the kinges ' maj'estyes robes did in his lyfe-tyme drawe into ' Englyshe metre.' The hook is dedicated to king Edward VI. by the author, and was therefore pro- bably prepared by him for the press. In the dedi- cation it is said that the king took pkaswre in hearing these Psalms sung to him. Wood is mis- taken in saying that Sternhold caused musical notes to be set to his Psalms ; they were published in 1549 tod 1552, without notes; and the first edition of the Psalma with notes is that of 1562, mentioned hereafter.* Ames takes notice of another work of the same author, entitled ' Certayne chapters of the Proverbs ' of Solomon drawen into metre ; ' this also was a posthumous publication, it being printed anno 1551, two years after Stemhold's decease.f Contemporary with Sternhold was John Hopkins, originally a school-master, a man rather more esteemed for his poetical talents than his coadjutor : he turned * It is worthy of remark that both in France and England the Psalms were first translated into vulgar metre by laymen, and, which is very singular, by courtiers. Marot was of the bed-chamher to Francis I. and Sternhold groom of the robes to Henry VIII and Edward VI ; their respective translations were not completed by themselves, and yet they translated nearly an equal number of psalms, that is to say, Marot fifty, and sternhold fifty-one. t In the same year was published • Certain Psalmes chosen out of the ' Psalmes of David, commonly called vii penytentiall Psalmes, drawen ' into Englyshe meter by Sir Thomas Wyat, Knyght, whereunto is added ' a prologe of the auctore before every Psalme, very pleasant and profett- ' able to the godly reader. Imprinted at London, in Paules churchyarde, ' at the sygne of the Starre, by Thomas Raynald and John Harryngton, ' cum previlegio ad imprimendom solum, MDXLIX. The last day of ' I)ecember.' And in 1550, ' Certayne Fsalmes chosen out of the Psalter of David, ' and drawen furth into Englysh meter by William Hunnis, servant to ' the ryght honorable Syr 'Wmiam Harberde, knight. Newly collected 'and imprinted. Imprynted at London in Atdersgate strete, by the wydowe of John Herforde for John Harrington, the yeare of our Lord ' M D and L. Cum privilegio ad iraprimendum solum.' into metre fifty-eight of the Psalms, which are dis- tinguished by the initial letters of his name. Bishop Tanner styles him, ' Poeta, ut ea ferebant tempora, eximius ; ' and at the end of the Latin commendatory verses prefixed to Fox's Acts and Monuments, are some stanzas of his that fully justify this character. William Whittyngham had also a hand in this version of the Psalms ; he was a man of great learn- ing, and one of those English divines that resided abroad during the persecution under queen Mary ; preferring the order and discipline of the Genevan church to that of Francfort, whither he first fled ; he chose the latter city for the place of his abode, and became a favourite of Calvin, from whom he received ordination. He assisted in the translation of the Bible by Coverdale, Goodman and others, and translated into English metre those Psalms, in number only five, which in our version bear the initials of his name; among these is the hundred and nineteenth,, which is full as long as twenty of the others. He also versified the Decalogue, and the prayer imme- diately after it, and very probably the Lord's Prayer, the Creed, and the hymn Veni Creator, all which follow the singing psalms in our version. He was afterwards, by the favour of Robert earl of Leicester, promoted to the deanery of Durham; and might, if he had made the best of his interest, have succeeded Sir William Cecil, afterwards Lord Burleigh, in the employment of secretary of state. Wood, who has raked together many particulars concerning him, relates that he caused the image of St. Cuthbert, in the cathedral church of Durham, to be broke to pieces, and that he defaced many ancient monuments in that church. J The letter N. is also prefixed to twenty-seven of the Psalms in our English version; this is in- tended to denote Thomas Norton, of Sharpenhoe in Bedfordshire, a barrister, and, in Wood's phrase, a forward and busy Calvinist in the beginning of queen Elizabeth's reign, a man then accounted eminent for his poetry and making of tragedies. Of his merit in which kind of writing he has left us no proofs excepting the three first acts of a tragedy, at first printed with the title of Ferrex and Porrex, but better known by that of Gorbuduc, which it now bears, the latter two acts whereof were written by Thomas Sackville, lord Buckhurst earl of Dorset, lord high treasurer in the reign of James I. and the founder of the present Dorset family. This per- formance is highly commended by Sir Philip Siiiey in his Defence of Poesy, and is too well known to need a more particular character. Robert Wisdome translated into metre the twenty^ fifth psalm, and wrote also that prayer in metre at the end of our version, the first stanza whereof is : — ' Preserve us Lord by thy dear word, ' From Pope and Turk defend us Lord, ' Which both would thrust out of his throne ' Our Lord Jesus Christ thy deare son.' For which he has been ridiculed by the facetious bishop Corbet and others, though Wood gives him the character of a good Latin and English poet for t Athen. Oxon. col. 195. 550 HISTORY OF THE SCIENCE Book XII. his time. He adds, that he had been in exile in queen Mary's reign ; that he was rector of Sett- rington in Yorkshire, and also archdeacon of Ely, and had been nominated to a bishoprick in Ireland, temp. Edward VI. and that he died 1568. The 70, 104, 112, 113, 122, 125, and 134 Psalms are distinguished by the initials W. K. These denote William Keshe, a Scotch divine. See Wa/rton^s History of English Poetry y Vol. IILpag* 418; in note. Psalm 136 has the letters T, V., hut for the name of this person we are to seek. The first publication of a complete version of the Psalms was by John Day, in 1562, it bears this title : ' The whole booke of Psalmes, collected into ' English metre by T. Stemhold, J. Hopkins, and * others, conferred with the Ebrue ; with apt notes to sing them withalL' * * Another version of the Psalms, and that a complete one, but very little known, is extant, the work of archbishop Parker during his exile. In the diary of that prelate printed from his own manuscript, in Strype's life of archbishop Parker is the following memorandum : — ' And still this *6 Aug. [his birth day] An. Dom. 1557, 1 persist in the same constancy 'upholden by the grace and goodness of my Lord and Saviour Jesus * Christ, by whose inspiration I have finished the book of Psalms turned ' into vulgar Verse.' Strype says, * What became of the Psalms I know not ; ' nevertheless it seems that they were printed, and that with the following' title : — ' The 'whole Psalter translated into English Metre, which contayneth an 'hundreth and fifty Psalmes. "Quoniam omnis terre Deus: Psalllte " eapienter— Psal. 47. Imprinted at London by John Daye; dwelling over " Aldersgate beneath S. Martyn's." without a date. In a copy of this book, very richly bound, which was bought at the sale of the late Mr. West's library, is a memorandum on a spare leaf in the hand-writing of Br. White Kennet, bishop of Peterborough, purporting that the arch- bishop printed this book of Psalms, and that though he forbore to publish it with his name, he suffered his wife to present the book fairly bound to several of the nobility; Dr. Kennet therefore conjectures that the very book in which this memorandum is made, is one of the copies so pre- sented ; and gives for a reason that he himself presented a like copy to the wife of archbishop Wake, wherein Margaret Parker in her own name and hand dedicates the book to a noble lady. Signed Wh. Peterb. After the preface, which is in metre, and directs the singing of the psalms distinctly and audibly, is a declaration of the virtue of psalms in metre, and the self-same directions from St. Athanasius for the choice of psalms for particular occasions, as are prefixed to the version of Sternhold and Hopkins, and the rest, and at the conclusion of each psalm is a collect. They are printed without music, save that at the end are , eight tunes in four parts, Meane, Contratenor, Tenor, and Basse, which, agreeably to the practice of the Romish church, are composed in the eight ecclesiastical tones, the tenor being the plain-song. It is said by Strype that Parker in the course of his education had been instructed in the practice of singing by two several persons, the one named Love, a priest, the other one Manthorp, clerk of St. Stephen's in Norwich, of the harshness of both which masters he felt so much, that he could never- forget it. His affection to music in his mature age may be inferred from the provision made by him in the foundation of a school in the college of Stoke, in the county of Suffolk, of which he was dean ; in which the scholars, besides grammar, and other studies of humanity, were taught to sing and play on the organ and other instruments : and also from the statutes of the same college, framed by himself, the last whereof is in these words : ' Item, to be found in the college henceforth * a number of queristers, to the number of eight or ten or more, as may ' be born conveniently of the stock, to have suiflcient meat, drink, broth, * and learning. Of which said queristers, after their breasts be changed, * we will the most apt of wit and capacity be helpen with exhibition of 'forty shillings, four marks, or three pounds a-piece to be students in * some college in Cambridge. The exhibition to be enjoyed but six years.' And that he had some skill in music appears by the following charac- teristic of the ecclesiastical tones, prefixed to the eight tunes above- mentioned. The nature of the eyght tunes. 1. The iirll: is meelce : devout to fee, 2. The fecond fad : in majefty. 3. The third doth rage: and roughly brayth, 4.. The fourth doth fawne : and flattry playth, 5. The fifth deligth : and laugheth the more, 6. The fixt bewayleth : it weepeth full fore, 7. The feventh tredeth floute: in froward race 8. The eighte goeth milde : in modelt pace. The Tenor of thefe partes be for the people when they will ftng alone, the other partes put for the greater queers, or to (uche as will fyng or play them privately. Tt is conjectured that the Psalms thus translated, with tunes adapted to coem, were intended by the author to be sung in Cathedrals, foi- at the Notwithstanding some of these persons are cele- brated for their learning, it is to be presumed that they followed the method of Marot, and rendered the Hebrew into English through the medium of a prose translation : the original motive to this undertaking was not solely the introduction of psalm- singing into the English protestant churches ; it had also for its object the exclusion of that ribaldry which was the entertainment of the common people, and the furnishing them with such songs as might not only tend to reform their manners, but inspire them with sentiments of devotion and godliness ; and indeed nothing lees than this can be inferred from that declaration of the design of setting them forth, contained in the title-page of our common version, and which has been continued in all the printed copies from the time of its first publication to this day : ' Set forth and allowed to be sung in churches * of the people together, before and after evening ' prayer, as also before and after sermon ; and more- ' over in private houses, for their godly solace and ' comfort, laying apart all ungodly songs and ballads, * which tend only to the nourishment of vice and ' corrupting of youth.* There is good reason to believe that the design of the reformers of our church was in a great measure answered by the publication of the Psalms in this manner ; to facilitate the use of them they were time when they were turned into verse, the church were put to great shifts, the compositions to English words being at that time too few to fUmish out a musical service r and this is the more probable from the directions given by the archbishop for singing many of them by the rectors and the quier alternately. Who we are to understand by the rectors it is hard to say, there being no such otficer at this time in any cathedral in this kingdom. If the word were of the singular number it might be interpreted chanter. These directions seem to indicate that till some time after queen Elizabeth's accession, the form and method of choral service was not settled, nor that distinction made between the singers on the dean's side and that of the chanter, which at this day is observed in all cathedrals. Archbishop Parker's version of the Psalms may be deemed a great typographical curiosity, inasmuch as it seems to have never been pub- lished, otherwise than by being presented to his friends, it is therefore not to be wondered that it never fell in the way either of Strype, who wrote his life, or of Mr. Ames, that dilligent collector of typographical antiquities. As to the book itself, the merits of it may be judged of by the following version of Psalm xxiii. extracted from it : — The Lord fo good : who geveth me food My fhepeheard is and guide : How can I want : or fufFer fcant Whan he defendth my fide. To feede my neede ; he will me lead. In pafhires greene and fat : He forth brought me in libertie. To waters delicate. My foule and hart : he did convert, To me he fheweth the path : Of right wifenefs : in holines. His name fuch vertue hath. Yea though I go : through Death hys wo His vaale and ihadow vi^de : I feare no dart ; wyth me thou art. With ftafF and rod to guide. Thou fhalt provyde : a table wyde. For me agaynft theyr fpite : With oyle my head : thou halt befpred. My cup is fully dight. Thy goodnefs yet : and mercy great, Will kepe me all my dayes : In houfe to dwell : in reft full well, Wyth God I hope alwayes. Chap. CXVI. AND PKACTICE OF MUSIC. 551 printed ' with apt notes to sing tliem withall ; '* and from thenceforth the practice of psalm-singing became the common exercise of such devout persons as at- tended to the exhortation of the apostle ; ' if any was ' afflicted, he prayed ; if merry, he sang psalms.' To enquire into the merits of this our translation might seem an invidious task, were it not that the subject has employed the pens of some very good judges of English poesy, whose sentiments are col- lected in a subsequent page : it may here suffice to * To the earlier impiessions of the Psalms in metre was prefixed a treatise, said to be made by St. Athanasius, concerning the use and virtues of the Psalms, wherein, among many other, are the following directions for the choice of psalms for particular occasions and exigencies. ' If thou wouldst at any time describe a blessed man, who is he, and 'what thing maketh him so to be; thou hast the 1, 32, 41, 112, 128 * psalmes. ' If that thou seest that evill men lay snares for thee, and therefore ' desirest God's eares to heare thy praiers, sing the 5 psalme. * If so again thou wilt sing in giving thanks to God for the prosperous * gathering of thy frutes, use the 8 psalme. 'If thou desirest to know who is a citizen of heaven^ sing the 15 ' psalme, * If thine enemies cluster against thee, and go about with their bloody ' hand to destroy thee, go not thou about by man's helpe to revenge it, ' for al mens judgments are not trustie, but require God to be judge, for ' he alone is judge, and say the 26, 35, 43 psalmes. ' If they presse more tiercelie on thee, though they be in numbers like ' an armed hoast, fear them not which thus reject thee, as though thou * wert not annointed and elect by God, but sing the 27 psalme. ' If they be yet so impudent that they lay wait against thee, so that it ' is not lawfull for thee to have any vocation by them, regard them not, ' but sing to God the 48 psalme. ' If thou beholdest such as he baptized, and so delivered from the ' corruption of their birth, praise thou the bountifuU grace of God, and ' sing the 32 psalme. ' If thou delightest to sing amongst many, call together righteous men of godlie life, and sing the 33 psalme. ' If thou seest how wicked men do much wickednesse, and that yet ' simple folke praise such, when thou wilt admonish any man not to ' follow them, to bee like unto them, because they shall be shcftrtly rooted ' out and destroid ; speake unto thyselfe and to others the 37 psalme. ' If thou wouldst call upon the blind world for their wrong confidence ' of their brute sacrifices, and shew them what sacrifice God most hath ' required of them, sing the SO psalme. ' If thou hast suffered false accusation before ihh king, and seest the ' divel to triumph thereat, go aside and say the 52 psalme. * If they which persecute thee with accusations would betray thee, as ' the Phariseis did Jesus, and as the aliens did David, discomfort not ' thyselfe therewith, but sing in good hope to God, the 54, 69, 57 psalmes. ' If thou wilt rebuke Painims and heretiks, for that they have not the ' knowledge of God in them, thou maist have an understanding to sing ' to God the 86, 115 psalmes. * If thou art elect out of low degree, especially before others to some ' vocation to serve thy brethren, advance not thyselfe too high against ' them in thine own power, but give God his glorie who did chuse thee, ' and sing thou the 145 psalme.' The efiects of these directions may be judged of by the propensity of the people, manifested in sundry ^instances to the exercise of psalm- singing. The Protestants who fled frbm the persecution of the duke de Alva in Flanders, were mostly woollen manufacturers. Upon their arrival in England they settled in Gloucestershire, Somersetshire, Wiltshire, and a few other counties, where they distinguished themselves by their love of Psalmody. 'Would I were a weaver,' says Sir John Falstaff"," [in Henry IV. part I. the first edition] ' I could sing psalms or any thing.' As the singing of psalms supposes some degree of skill in music, it was natural for those who were able to do it to recreate themselves with vocal music of another kind ; and accordingly so early as the reign of James I. the people of these counties were, as they are at this day, expert in the singing of catches and songs in parts. Ben Jonson, in the Silent Woman, makes Cutberd tell Morose that the parson 'caught his ' cold by sitting up late, and singing catches with Clothworkers ;' and the old Gloucestershire three part song, ■ The stones that built George Ridler's ' oven,' is well known in that and the adjacent counties. And to speak of the common people in general, it may be remembered that the reading of the book of Martyrs, and the singing of psalms were the exercises of such persons of either sex, as being advanced in years, were desirous to he thought good christians j and this not merely in country towns, villages and hamlets, where a general simplicity of man- ners, and perhaps the exhortations of the minister might be supposed to conduce' to it, hut in cities and great towns, and even in London itself; and the time is not yet out of the memory of a few persons now living, when a passenger on a Sunday evening from St. Paul's to Aldgate, would have heard the families in most of the houses in his way occupied in the singing of Psalms. 'In the year 1646, king Charles I. being in the hands of the Scots, * a Scotch minister preached boldly before the king at Newcastle, and ' after this sermon called for the fifty-second psalm, which begins, " Wby " dost thou tyrant hoast thyself, thy wicked works to praise." His majesty ' thereupon stood up, and called for the fifty-sixth psalm, which begins, " Have mercy Lord on me I pray, for men would me devour." The ' people waived the minister's psalm, and sung that which the king called ' for,' Whitelocke's Memorials, 234. say, that so far as it tends to fix the meaning of sundry words, now for no very good reasons become obsolete, or exhibits the state of ' English poetry at the period when it was composed, it is one of those valuable monuments of literary antiquity which none but the superficially learned would be content to want. But it seems these considerations were not of force sufficient to restrain those in authority from complying with that humour in mankind which disposes them to change, though from better to the worse ; and accordingly such alterations have at dif- ferent times been made in the common metrical translations of the singing Psalms, as have frustrated the hopes of those who wished for one more elegant and less liable to exception. Thus much may suffice for a general account of the introduction of psalmody into this kingdom, and the effects it wrought on the national manners ; the order and course of this history naturally lead to an enquiry concerning the melodies to which the Psalms are, and usually have been sung, no less particular than that already made with respect to the French psalm-tunes. Stemhold's Psalms were first printed in the year 1549 ; and the whole version, as completed by Hop- kins and others, in 1562, with this title : ' The ' whole booke of Psalmes collected into English ' metre by T. Sternhold, J. Hopkins, and others, ' conferred with the Ebrue, with apt notes to sing ' them withall.' By these apt notes we are to under- stand the tunes, to the number of about forty, which are to be found in that and many subsequent im- pressions, of one part only, and in general suited to the pitch and compass of a tenor voice, but most ex- cellent indeed for the sweetness and gravity of their melody; and because the number of tunes thus published was less than that of the Psalms, directions were given in cases where the metre and general im- port of the words allowed of it, to sing sundry of them to one tune. The same method was observed in the several editions of the Psalms published during the reign of queen Elizabethj particularly in those of the years 1564, and 1577, which it is to be remarked are not coeval with any of the editions of the Common Prayer, to which they are usually annexed, for which no better reason can here be assigned than that the singing psalms were never considered as part of the liturgy ; and the exclusive privilege of printing the Common Prayer was then, as it is now, enjoyed by different persons. Nor do we meet with any im- pression of the Psalms suited, either in the type or size of the volume, to either of the impressions of the liturgy of Edward the Sixth, published in 1549 and 1552. In short, it seems that the practice of publishing the singing psalms by way of appendix to the Book of Common Prayer, had its rise at the beginning of the reign of queen Elizabeth ; for in 1562 that method was observed, and again in 1564 and 1577, but with such circumstances of diversity as require particular notice, And first it is to be remarked that in 1576, though by a mistake of Jugge the printer, the year in the 2o 552 HISTOEY OF THE SCIENCE. Book. XII. title-page is 1676, the liturgy was for the first time printed in a very small octavo size ; to this are an- nexed Psalms of David in metre by Sternhold, Hop- kins, and others, 'with apte notes to sing them withall,' imprinted by the famous John Daye, cum privilegio, 1577. The publication of the Psalms in this manner supposed that the people, at least the better sort of them, could read ; and by parity of reason it might be said that the addition of musical notes to the words implied an opinion in the publishers that they also could sing ; but that they in fact did not think so at the time now spoken of, is most evident from the pains they were at in collecting together the general rudiments of song, which in the editions of 1664 and 1577, and in no other, together with the scale of music, are prefixed by way of introduction to the singing Psalms. Who it was in particular that drew up these rudiments, is as little known as the authors of the tunes themselves ; they bear the title of ' A short Introduction into the Science of ' Musicke, made for such as are desirous to have the ' knowledge thereof for the singing of the Psalmes.' As to the Introduction into the Science of Musicke, or, as it is called in the running title, ' The intro- duction to learn to sing,' it is not to be found in any of the impressions of the Common Prayer subsequent to that in 1577, which is the more to be wondered at, seeing the author, whoever he was, was so well persuaded of its efficacy as to assert, that ' by means ' thereof every man might in a few dayes, yea in ' a few houres, easily without all payne, and that also ' without all ayde or helpe of any other teacher, ' attain to a sufficient knowledge to singe any psalme ' cbntayned in the booke, or any other such playne ' and easy songes.' In which opinion the event shewed him to be grossly mistaken, as indeed, with- out the gift of prophesy, might have been foretold by any one who should have reflected on the labour and pains that are required to make any one a singer by notes to whom the elements of music are unknown ; for in the year 1607 there came out an edition of the Psalms with the same tunes in musical notes as were contained in the former, with not only more par- ticular directions for the sol-faing, but with the syllables actually interposed between the notes : this was in effect giving up all hope of instructing the people in the practice of singing, inasmuch as what- ever they were enabled to do by means of this as- sistance, they did by rote. Who was the publisher of this edition of 1607 does not appear ; the title mentions only in general that it was imprinted for the company of stationers ; the reasons for annexing the syllables to the notes are given at large in an anonymous preface to the reader, which is as follows : — ' Thou flialt underftand (gentle reader) that I have ' (for the helpe of thofe that are defirous to learne to ' fing) caufed a new print of note to be made, with • letters to be joyned to every note, whereby thou •maieft know how to call every note by his right • name, fo that with a very little diligence (as thou art • taught in the introduflion printed heretofore in the Pfalmes) thou maieft the more eafily, by the viewing of thefe letters, come to the knowledge of perfeft folfayeng : whereby thou maieft fing the Pfalmes the more fpeedilie and eafilie : the letters be thefe, U for Ut, R for Re, M for Mi, F for Fa, S for Sol, L for La. Thus where you fee any letter joyned by the note, you may eafilie call him by his right name, as by thefe two examples you ftiay the better perceive : — I M ^- 3C2zi.v; izs3E±±zJ;"*: 1S.C — F-^- :m.-2Ie-«-p^- ^ DT BE MI FA SOL LA LA GOL FA MI RE CT LO 1 ^^^^^^feg^^ UT BE ^ ZS3p FA fea ' Thus I commit thee- unto him that liveth for ever, ' who grant that we fing with our hearts unto the ' glorie of his holy name. Amen.' And to exemplify the rule above given, every note of the several tunes contained in this edition has the adjunct of a letter to ascertain the sol-faing, as men- tioned in the above preface. After the publication of this edition in 1607, it seems that the company of stationers, or whoever else had the care of supplying the public with copies of the singing -psalmes, thought it best to leave the rude and unlearned to themselves, for in none of the subsequent impressions do we meet with either the introduction to music, or the anonymous preface, or, in a word, any directions for attaining to sing by notes. CHAP. CXVII. Great has been the diversity of opinions con- cerning the merit of this our old English translation. Wood, in the account given by him of Sternhold, says that so much of it as he wrote is truly admirable ; and there are others, who reflecting on the general end of such a work, and the absolute necessity of adapting it to the capacities of the common people, have not hesitated to say that, bad as it may be in some respects, it would at this time be extremely difficult to make a translation that upon the whole should be better. Others have gone so far as to assert the poetical excellence of this version, and, taking advantage of some of those very sublime pas- sages in the original, which are tolerably rendered, but which perhaps no translation could possibly spoil, have defied, its enemies to equal it.* On the other hand, the general poverty of the style, the meanness of the images, and, above all, the awkward- ness of the versification, have induced many serious persons to wish that we were fairly rid of a work, that in their opinion, tends less to promote religion than to disgrace that reformation of it, which is * See a defence of the book of Psalms collected into English metre by Thomas Sternhold, John Hopkins, and others, &c. by bishop Beveridee. Lond, 1710. Chap. OXVII. AND PRACTICE OF MUSIC. ooS justly esteemed oue of the greatest blessings of this country. Another, but a very different class of men from those above enumerated, the wits, as they style them- selves, have been very liberal in their censure of the English version of the Psalms. Scarce ever are the names of Sternhold and Hopkins mentioned by any of them but for the purpose of ridicule. Fuller alone, of all witty men the best natured, and who never exerr cises his facetious talent to the injury of any one, has given an impartial character of them and their works, and recommended a revision of the whole translation against all attempts to introduce a better in its stead.* His advice was followed, though not till many years alter his decease, for in an impression of the Psalms of Sternhold and Hopkins, printed in 1696, we find the version accommodated to the language of the times, by the substitution of well-known words and familiar modes of expression in the room of such as were be- come obsolete, or not intelligible to the generality of the common people. But as the poet, whoever he was, was at all events to mend the version, its con- formity with the original, if peradventure he could read it, could be with him but a secondary consider- ation. Neither does it seem that he was enough ac- quainted vsdth the Engligh language to know that in the alteration of an old word for a new, the exchange is not always of the worse for the better. Hearne has given some shrewd instances of this kind in the Glos- sary to his Eobert of Gloucester,! and very many more might be produced ; however the first essay towards an emendation met with so little opposition from the people^ that almost every succeeding im- pression of the Psalms was varied to the phrase of the day ; and it is not impossible but that in time, and by imperceptible degrees, the whole version may be so innovated, as scarcely to retain a single stanza of the original, and yet be termed the work of its primitive authors. A history of the several innovations in the metrical version of David's Psalms is not necessary in this place. It may suffice to remark, that in the first impression of the whole there is a variation from the text of Stern- hold in the first stanza of the first psalm, which in the two editions of 1549 and 1552 reads thus : — The man is blell that h^th not gon$ By wicked rede aftray, ^ Ne fat in chayre of peftylence, Nor walkte in fynners waye. And that the edition of 1662 stood unaltered till 1683, as appears by Guy's copy printed at Oxford in folio that year. In 1696 many different readings are found, the occasion whereof is said to be this ; about that time Mr. Nahum Tate and Dr. Nicholas Brady published a new version of part of the book of Psalms as a spe- cimen of that version of the whole which was after' wards printed in 1696. In this essay of theirs they, in the opinion of many persons, had so much the ad- vantage of Sternhold and Hopkins, that the company, of stationers, who are possessed of the _8ole privilege * Church Hist, of Britain, cent. XVI. hook vii. pag. 406. t Vocib. behet, rede. of printing the Psalms, took the alarm, and found themselves under a necessity of meliorating the version of the latter, and for this purpose some person endued with the faculty of rhyming was employed by them in that very year 1696, to correct the versification as he should think proper ; and since that time it has been still farther varied, as appears by the edition of 1726, but with little regard to the Hebrew text, at the pleasure of the persons from time to time intrusted with the care of the publication. The effects of these sveral essays towards a re- formation of the singing psalms are visible in the version now in common use, which being a hetero- geneous commixture of old and new words and phrases, is but little approved of by those who con- sider integrity of style as part of the merit of every literary composition, and the result is, that the primitive version is now become a subject of mere curiosity. The translation of the Psalms into metre was the work of men as well qualified for the under- taking as any that the times they lived in could furnish ; most of those which Norton versified, par- ticularly psalms 109, 116, 139, 141, 145 ; and 104, 119, and 137 by Whittyngham, with a very small allowance for the times, must be deemed good, if not excellent poetry ; and if we compare the whole work with the productions of those days, it will seem that Puller has not greatly erred in saying, that match these verses for their ages, they shall go abreast with the best poems of those times. With respect to the version as it stands accom- modated to the language of the present times, it may be said, that whatever is become of the sense, the versification is in some instances mended ; that the unmeaning monosyllable eke, a wretched contrivance to preserve an equality in the measure of different verses, is totally expunged ; that many truly obsolete words, such as hest for command, mell for meddle, pight for pitched, Saw for Precept, and many others that have gradually receded from their places in our language, are reprobated ; that many passages wherein the Divine Being and his actions are re- presented by images that derogate from his majesty, as where he is said to bruise the wicked with a mace, the weapon of a giant, are rendered less exceptionable than before; and where he is expostulated with in ludicrous terms, as in the following passage :■ — Why dooft withdraw thy hand aback. And hide it i;i tliy iappe, O pluck it out qnd be not Hack To give thy foes a rappe.J and thiSjWhioh for its meanness is not to be defended : — For why their hearts were nothing bent To him \God'\ nor to his trade. § And where an expression of ridicule is too strongly pointed to justify the use of it in an address to God, as is this : — Confound them that apply, And feeke to worke me ftame. And at my harme do laugh, and cry So, fo, there goeth the game.|l t Psalm IxxiT. verse 12. § Psalm Ixxviii. verse 37. II Fsaliu Ixx. verse 3. 554 HISTORY OF THE SCIENCE Book XII. And where the rhymes are ill sorted like these : — Nor how he did commit their fruits Unto the caterpiller, And all the labour of their lands He gave to the grafljopper.* And these others : — remembered \ lord 1 remember 7 offended "j" J world J J ever§ J In these several instances the present reading is to be preferred, but, after all, what a late author hag said of certain of his own works, may with equal truth and propriety be applied to the language of the modern singing-psalms. ' It not only is such as ' in the present times is not uttered, but was never ' uttered in times past ; and if I judge aright, will ' never be uttered in times future : it having too ' much of the language of old times to be fit for the ' present ; too much of the present to have been fit ' for the old, and too much of both to be fit for any ' time to come.' There is extant a metrical translation of the Psalms by James I. which was printed, together with the Common Prayer and Psalter, in 1636, upon the resolution taken by Charles I. to establish the liturgy in Scotland; some doubt has arisen whether this version was ever completed ; but, unless credit be denied to the assertion of a king, the whole must be allowed to be the work of the reputed author, for in the printed copy, opposite the title-page is the following declaration concerning it : — ' Charles R. 'Having caused this translation of thePsalmes ' (whereof our late dear father was author) to be ' perused, and it being found exactly and truly ' done. We do hereby authorize the same to ' be imprinted according to the patent granted ' thereupon, and do allow them to be sung in ' all the churches of our dominions, recommend- ' ing them to all our good subjects for that eifect.' The Psalms have been either totally or partially versified by sundry persons, as namely, Sir Philip Sidney, Christopher Hatton, H. Dodd, Dr. Henry King, bishop of Chichester, Miles Sipith, Dr. Samuel Woodford, John Milton, William Barton, Dr. Simon Ford, Sir Richard Blackmore, Dr. John Patrick, Mr. Addison, Mr. Archdeacon Daniel, Dr. Joseph Trapp, Dr. Walter Harte, Dr. Broome, and many others, learned and ingenious men, whose translations are either published separately, or lie dispersed in col- lections of a miscellaneous nature. There are also extant two paraphrases of the Psalms, the one by Mr. George Sandys, the other by Sir John Denham. The foregoing account respects solely the poetry of the English Psalms, and from thence we are naturally led to an enquiry concerning the melodies to which they now are, and usually have been sung. Mention has already been made of certain of these, and that they were first published in the version of the Psalms by Sternhold and Hopkins, in the year 1562, by the name of apt notes to sing them withal, but as many of them have been altered and sophis- * Psalm Ixxviii. verse 4G* X Psalm Ixxxiii. ver. ult. -f Fsalm xiii. verse 1. § Psalm cxix. verse -19. ticated, a few of them are here given as they stand in that edition, with the numbers of the psalms to which they are appropriated : — PSALM I. :t:3E^- -Jf — e^ ^ I THE man is blest that hath not bent, to wicked Jl 11 1 "ffciw 1 1 ■ ^ - ■■!. \ \ a i V ■ 11 ^ ^ 1 1 rede his eare : Nor led his life as sinners do, nor sat I il=t- j= -^—*- ^^ in scorners chaire. But in the law of God the Lor d, te^z '^^ =? — »- ^ doth set his whole delight: And in that lawe doth i ^ i ^EEp ± ex - er - cise himself both day and night. PSALM XIV. ff m ^ ^^ =5-*- :t=t= -0 ^ o It THERE is no God, as foolish men affirme in their Ef=?^^T^f mad moode : Their drifts are all corrupt and vayn, not i^^ n S one of them doth good. The Lord beheld from heaven m^ high, the whole race of mankind: and saw not one m =!- :iz n= ^ that sought indeed, the liv-ing God to finde. PSALM xvni. y^P^ To" -^- ^^ God my strength and fortitude, offeree I must i^ ^- t ^ l^^Efe love thee: Thou art my castle and defence in my fe^^ ^^^^ ^ 3z: ne-ces-si-tie. My God my rocke, in whome I trust, =^=f^^- - r. the worker of my wealth : My re-fuge, buckler, and E5^= :ti ^. 1 ^- my shield, The home of all ray health. Chap. CXVII. AND PRACTICE OF MUSIC. f-jSS PSALM LXXII. :i* -0 — *- ^m ^ I LOKD, give thy judgments to the king, therein lit i =t fel:-^ ?^ instruct him well : And with his sonne, that princely H: i^& =1= =1= 7t thing, Lord, let thy justice dwell. That he may goveme fesisSE;^ ^^^ I uprightly, and rule thy folke a-right ; And so defend ^^^^^ Hi :^ through e - qui - ty, the poor that have no might. PSALM CXXtV. :S1 S i: Se S NOW Is-ra-el may say and that truely, If that 2_ -^=?- It S the Lord had not our cause maintayned, If that the I -P ^ :tirJ:= M m Lord had not our right susteined, When all the world zt: a-gainst us furiously, made their uprores, and sayd ps we should all dye. Besides the tunes to the psalms, there are others appropriated to the hymns and evangelical songs, such as Veni Creator, The humble Suit of a Sinner, Benedictus, Te Deum, The Song of the three Children, Magnificat, Nunc dimittis, Quicunque vult, or the Athanasian Creed, the Lamentation of a Sinner, the Lord's Prayer, the Decalogue, the Complaint of a Sinner, and Robert Wisdome's Prayer, ' Preserve us Lord by thy dear word ; ' all which are versified and have a place in our collection of singing psalms. The want of bars, which are a' late invention,* might make it somewhat difficult to sing these tunes in time, and the rather as no sign of the mood ever occurs at the head of the first stave ; but in general the metre is a sufficient guide. With respect to the authors of those original melodies, published in the more early impressions of the version of Sternhold and Hopkins, we are * The use of bars is not to be traced higher than the time when the English translation of Adrian le Roy's book on the Tablature was published, viz., the year 1574 ; and it was some time after that, before the use of bars became general. To come nearer to the point, Barnard's Cathedral Music, printed in 1641, is without bars ,- but bars are to be found throughout in the Ayres and Dialogues of Henry Lawes published in 1653, from whence it may be conjectured that we owe to Lawes this improvement. somewhat to seek ; it is probable that in so important a service as this seemed to be, the aid of the ablest professors of music was called in, and who were the most eminent of that time is easily known ; but before we proceed to an enumeration of these, it is necessary to mention that some of the original melodies were indisputably the work of foreigners : the tunes to the hundredth, and to the eighty-first psalms are precisely the same with those that answer to the hundredth, and eighty-first in the psalms of Goudimel and of Claude le Jeune ; aud many of the rest are supposed to have come to us from the Low Countries. It is said that Dr. Pepusch was wont to assert that the hundredth psalm-tune was composed by Douland ; but in this he was misunderstood, for he could hardly be ignorant of the fact just above- mentioned ; nor that in some collections, particularly in that of Ravenscroft, printed in 1633, this is called the French hundredth psalm-tune ; and therefore he might mean to say, not that the melody, but that the harmony was of Douland's composition, which is true. But if the insertion of this tune in the French col- lections be not of itself evidence, a comparison of the time when it first appeared in print in England, with that of Douland's birth, will go near to put an end to the question, and shew that he could hardly be the author of it. In the preface to a work entitled ' A Pil- grimes Solace,' published by Douland himself in 1612, he tells his reader that he is entered into the fiftieth year of his age, and consequently that he was born in 1663 : now the tune in question appears in that collection of the singing-psalms above-mentioned to have been published in 1577, when he could not be much more than fourteen years old ; and if, as there is reason to suppose, the tune is more ancient than 1577, the difference, whatever it be, will leave him still younger. Of the musicians that flourished in this country about 1562, the year in which the English version of the Psalms with the musical notes first made its appearance, the principal were Dr. Christopher Tye, Marbeck, "Tallis, Bird, Shephard, Parsons, and Wil- liam Muudy, all men of eminent skill and abilities. and, at least for the time, adherents to the doctrines of the reformation. There is no absolute certainty to be expected in this matter, but the reason above given is a ground for conjecture that these persons, or some of them, were the original composers of such of the melodies to the English version of the Psalms as were not taken from foreign collections ; it now remains to speak of those persons who at different times com- posed the harmony to those melodies, and thereby fitted them for the performance of such as sung with the understanding. The first, for aught that appears to the contrary, who attempted a work of this kind, seems to have been William Damon, of the queen's chapel, a man of eminence in his profession, and who as such has a place in the Bibliotheca of bishop Tanner. He it seems had been importuned by a friend to compose parts to the common church psalm-tunes ; and having frequent occasion to resort to the house of this person, 556 HISTOHY OP THE SCIENCE Book XII. he so far complied with his request, as while he was there to compose one or more of the tunes at a time, till the whole was completed, intending thereby nothing more than to render them fit for the private use of him who had first moved him to the under- taking. Nevertheless this friend, without' the privity of the author, thought fit to publish them with the following title :^ — ' The Psalmes of David in Eng- ' lish meter, with notes of foure partes set unto them ' by Guilielmo Daman for John Bull,* to the use of ' the godly Christians for recreating themselves, in- ' stede of fond and unseemely ballades.' 1579. It seems that neither the novelty of this work, nor the refputation of its author, which, if we may credit another and better friend of his than the former, was very great, were sufficient to recommend it : on the contrary, he had the mortification to see it neglected. For this reason he was induced to imdertake the labour of recomposing parts, to the number of four, to the ancient church-melodies, as well those adapted to the hymns and spiritual songs, as the tunes to which the psalms were ordinarily sung. And this he completed in so excellent a manner, says the publisher, ' that by comparison of these and the ' former, the reader may by triall see that the auctor ' could not receive in his art such a note of disgrace ' by his friend's oversight before, but that now the ' same is taken away, and his worthy knowledge ' much more graced by this second travaile.' But the care of publishing the Psalms thus again composed, devolved to another friend of the author, Williata Swayne, who in the year 1591 gave them to the world, and dedicated them to the lord treasurer Burleigh. It is not impossible that either Damon himself, or his friend Swayne might buy up, or cause to be destroyed what copies of the former impression could be got at, for at this day the book is not to be found. This of 1591 bears the title of ' The former ' booke of the music of Mr. William Damon, late one ' of her Majesties musicians, conteyning all the tunes ' of David's Psalmes as they are ordinarily soung in ' the church, most excellently by him composed into ' 4 parts ; in which sett the tenor singeth the church- ' tune. Published for the recreation of such as de- ' lighte in musicke, by W. Swayne, Gent. Printed ' for T. Este, the assign^ of W. Byrd, 1591.' The same person also published at the same time with the same title, ' The second booke of the musicke ' of M. William Damon, containing all the tunes of ' David's Psalms, differing from the former in respect ' that the highest part singeth the church'tune.' The tunes contained in each of these collections are neither more nor less than those in the earlier impressions of the Psalms, that is to say, exclusive of the hymns and spiritual songs, they are about forty in number ; the author has however managed, by the repetition of the words and notes, to make each tune near as long again as it stands in the original ; by which contrivance it should seem that he intended them rather for private practice than the service of the church ; which perhaps is the reason that none « Called in the preface Citezen and Goldsmith of London -: this person could not he Dr. Bull, who at this time was but "st&teeh years m age. Ward's Lives of Gresh. Prof. pag. 208, in not. of them are to be found in any of those collections of the Psalms in parts composed by different authors, which began to appear about this time. By the relation herein before given of the first publication of the Psalms in metre with musical notes, and the several melodies herein inserted, it appears that the original music to the English Psalms was of that unisonous kind, in which only a popular congregation are supposed able to join. But the science had received such considerable improvements about the beginning of the seventeenth century, and the people by that time were so much accustomed to symphoniac harmony, that a facility in singing was no longer a recommendation of church tunes. At this time cathedral and collegiate churches, and above all, the royal chapels, were the principal seminaries of musicians. The simplicity and par- simony that distinguished the theatrical represent- ations aiforded no temptation to men of that pro- fession to deviate from the original design of their education or employment, by lending their assistance to the stage ; the consequence hereof was, that for the most part they were m«n of a devout and serious turn of mind, with leisure to study, and a disposition to employ their skill in celebrating the praises of their Maker. It was natural for men of this character to reflect that as much attention at least was due to the music of the church as had been shown to that of the chamber ; the latter had derived great advantages from the use of symphoniac harmony ; whereas the former had been at a stand for near hjvlf a century ; and though it might be a question with some, whether the singing of the Psalms in parts was not in effect an exclusion of the majority of every con- gregation in the kingdom from that part of divine service ; it is to be noted that neither the law nor the rubric of our liturgy gives any directions in what manner the Psalms of David are to be sung in divine service ; and that they had the example of foreign churches, particularly that of Geneva, between which and our own there was then a better understanding than is likely ever to be again, to authorize the practice. In short, with a view to promote the practice of psalmody, as well in churches as in private houses, the most eminent musicians of queen Elizabeth's time undertook and completed a collection of the ancient church-tunes, composed in four parts, and in counterpoint. In the execution of which purpose it is plain that they had the example of Goudimel and Claude le Jeune in view ; and that their design was not an elaborate display of their own invention, in such an artificial commixture of parts, as should render these compositions the admiration of the pro- foundly learned in the science, but an addition of such plain and simple harmony to the common church-tunes, as might delight and edify those for whose benefit they were originally composed; and hence arose the practice, which in many country ohurtlies prevails even at this day, of singing the Psalms, not by the whole of the congregation, but by a few select persons sufficiently skilled in music to sing each by himself, the part assigned him. Chap. CXVII. AND PKACTICE OF MUSIC. 557 The names of those public-spirited persons who first undertook the work of composing the psalm-tunes in parts, is preserved in a collection, of which it is here meant to give more than a superficial account, as well on the score of its antiquity, as of its merit, namely, ' The whole booke of Ps'almes, with their wonted tunes as they are sung in churches, com- posed into foure parts by X sondry authors ; im- printed at London by Thomas Est, 1594.' These authors were John Douland, E. Blancks, E. Hooper, J. Farmer, K. Allison, G. Kirby, W. Cobbold, E. Johnson, and G. Farnaby, who in the title page are said to have ' so laboured in this worke that the ' unskilful by small practice may attaine to sing ' that part which is fittest for their voice.' * The book is very neatly printed in the size and form of a small octavo, with a dedication by the printer Thomas Est, to Sir John Puckering, knight, lord keeper of the great seal of England, wherein we are told, ' that in the booke the church-tunes are 'carefully corrected, and other short tunes added, ' which are sung in London, and most places of this ' realme.' The former publications consisting, as already has been mentioned, of the primitive melodies, and those to the amount of forty only, gave but one tune to divers psalms ; this of Est appears to be as copious as need be wished, and to contain at least as many tunes as there are psalms, all of which are in four parts, in a pitch for and with the proper cliffs to denote the cantus, altus, tenor, and bass, as usual in such compositions. It is to be observed, that throughout the book the church-tune, as it is called, holds the place of the tenor ; and as the structure of the compositions is plain counterpoint, the additional parts are merely auxiliary to that, which for very good reasons is and ought to be deemed the principal. , It may here be proper 'to remark, that although in these tunes the church-tune is strictly adhered to, so far as relates to the progression of the notes, yet here for the first time we meet with an innovation, by the substituting semitones for whole tones in almost every instance where the close is made by an ascent to the final note ; or, in other words, in form- ing the cadence the authors have made use of the sharp seventh of the key ; which is the more to be wondered at, because in vocal compositions of a much later date than this, we find the contrary practice to prevail ; for though the coming at the close by a whole tone below be extremely offensive to a nice ear, and there seems to be a kind of necessity for the use of the acute signature to the note below the cadence, yet it seems that the ancient composers, who by the way made not so free with this character as their successors, particularly the composers of instru- mental music, left this matter to the singer, trusting that his ear would direct him in the utterance to prefer the half to the whole tone. But these compositions, however excellent in * In the title-page Est is described as dwelling in Aldersgate-street, at the sign of the Black Horse. He therein styles himself the assign^ of William Bird, who -with Tallis, as before observed, had a joint patent from queen Elizabeth for the sole printing of music. Tallis died first, and this patent, the first of the kind, survived to Bird, who probably for a valuable consideration might assign it to Est. themselves, were not intended for those alone whose skill in the art would enable them to sing with pro- priety ,■ they were, though elegant, simple ; in short, suited to the capacities of the unlearned and the rude, who sung them then just as the unlearned and the rude of this day do. If then it was found by experience that the com- mon ear was not a sufficient guide to the true singing ■ of the ancient melodies, it was very natural for those who in the task they had undertaken of composing parts to them, were led to the revisal of the originals by the insertion of the character above-mentioned, to rectify an abuse in the exercise of psalm-singing, which the authors were not aware of, and consequently had not provided against. About five years after the publication of the Psalms by Est, there appeared a collection in folio, entitled, ' The Psalmes of David in meter, the plaine song ' beinge the common tune to be sung and plaide upon ' the lute, orpharion, citterne, or base vioU, severally ' or altogether, the singing part to be either tenor or ' treble to the instrument, according to the nature of ' the voyce ; or for foure voyces, with tenne short ' tunes in the end, to which for the most part all the ' psalmes may be usually sung, for the use of such as ' are of mean skill, and whose leysure least serveth ' to practize. By Kichard Allison, Gent, practitioner ' in the art of musicke, and are to be sold at his ' house in the Dukes place neere Aldgate. Printed ' by William Barley, the assign^ of Thomas Morley, ' 1599, cum privilegio regise majestatis.' The above book is dedicated ' to the right honour- ' able and most virtuous lady the lady Anne coun- ' tesse of Warwicke.' Immediately following the dedication are three copies of verses, the first by John Douland, bachelor of musicke ; the second a sonnet by William Leighton, esquire, afterwards Sir William Leighton, and the third by John Welton, all in com- mendation of the author and his most excellent worke. This collection being intended chiefly for chamber practice, the four parts are so disposed in the page, as that four persons sitting round a table may sing out of the same book ; and it is observable that the author has made the plain-song or church- tune the cantus part, which part being intended as well for the lute or cittern, as the voice, is given also in those characters called the tablature, which are peculiar to those instruments. There are no original melodies in this collection : the author confining himself to the church-tunes, has taken those of the hymns and spiritual songs and psalms as they occur in the earlier editions of the version by Sternhold and Hopkins. To this collection of Allison succeeded another in 1621, with the title of ' The whole book of Psalmes ' with the hymnes evangelicall and songs spiritnall, ' composed into four parts by sundry authors, to such ' severall tunes as have beene and are usually sung ' in England, Scotland, Wales, Germany, Italy, ' France, and the Netherlands. By Thomas Ra- ' venscroft. Bachelor of Musicke,' in which is in- serted the following list of the names of the authors who composed the tunes of the psalms into four 558 HISTOEY OF THE SCIENCE Book XII. parts : ' Thomas Tallis, John Douland, doctor of ' Musicke,* Thomas Morley, bachelor of Musicke, ' Giles Parnaby, bachelor of Musicke, Thomas Tom- ' kins, bachelor of Musicke, John Tomkins, bachelor ' of Musicke, Martin Pierson, bachelor of Musicke, ' William Parsons, Edmund Hooper, George Kirby, ' Edward Blancks, Eichard Allison, John Farmer, ' Michael Cavendish, John Bennet, Eobert Palmer, 'John Milton, Simon Stubbs, William Oranford, 'William Harrison, and Thomas Eavenscroft the ' compiler.' In this collection, as in that of Est, the common church-tune is the tenor part, which for distinction sake, and to shew its pre-eminence over the rest, is here in many instances called the tenor or plain- song, and not unfrequently tenor or faburden.f Some of the tunes in the former collection, as that to the sixth psalm by George Kirby, that to the eighteenth by William Oobbold, and that to the forty-first by Edward Blancks, are continued in this ; but the far greater part are composed anew, and many tunes are added, the melodies whereof are not to be found in any other collection; and here we have the origin of a practice respecting the names of our coipmon church tunes, that prevails among us to this day, namely the distinguishing them by the name or adjunct of a particular city, as Canterbury, York, Eochester, and many others. It was much about the time of the publication of this book that king Charles I. was prevailed on by the clergy to attempt the establishment of the liturgy in Scotland ; and perhaps it was with a view to humour the people of that kingdom that some of these new-coffiposed rtunes were called by the names of Dumferling, Dundee, and Glasgow. Among the new composed tunes in this collection, that is to say such as have new or original melodies, the composition of the author whose name they bear, is that well-known one called York-tune, as also another called Norwich-tune, to both whereof is prefixed the name of- John Milton ; this person was no other than the father of our great poet of that name. The tune above spoken of called York-tune, occurs in four several places in Eavenscroft's book, for it is given to the twenty-seventh, sixty-sixth, and one hundred and thirty-eighth psalms, and also to a prayer to the Holy Ghost, among the spiritual songs at the end of the book ; but it is remarkable that the author has chosen to vary the progression of the notes of one of the parts in the repetition of the tune; for the medius, as it stands to the words of the one hundred and thirty-eighth psalm, and of the prayer above-mentioned, is very different from the same part applied to those of the twenty-seventh and sixty-sixth. Although the name of Tallis, to dignify the work, stands at the head of the list of the persons who composed the tunes in this collection, the only com- position of his that occurs in it is a canon of two parts in one, to the words ' Praise the Lord, O ye * In the Fasti Oxon. it is noted that Douland -was admitted to a bachelor's degree at Oxford, li July 1588, hut it does not appear that he ■was ever created doctor. ♦ Of the term Pabubbew, see an explanation in page 256 of this work. 'Gentiles;' and many of the' tunes in Allison's col- lection are taken into this. Eavenscroft was a man of great knowledge in his profession, and has disco- vered little less judgment in selecting the tunes than the authors did in composing them.J Eavenscroft's book was again published in 1633, and having passed many editions, it became the manual of psalm-singers throughout the kingdom; and though an incredible number of collections of this kind have from time to time been published, the compilations of those illiterate and conceited fellows who call themselves singing-masters and lovers of psalmody, and of divine music, yet even at this day he is deemed a happy man in many places, who is master of a genuine copy of Eavenscroft's psalms. The design of publishing the Psalms in the man- ner above related was undoubtedly to preserve the ancient church-tunes ; but notwithstanding the care that was taken in this respect, the same misfortune attended them as had formerly befallen the eccle- siastical tones ; and to this divers causes contributed, for first, notwithstanding the pains that had been taken by the publication of the Introduction into the Science of Musike, prefixed to the earlier copies of the Psalms in metre, to instruct the common people in the practice of singing, these instructions were in fact intelligible to very few except the mi- nister and parish clerk, for we grossly mistake the matter if we suppose that at that time of day many of the congregation besides, could understand them. In consequence of this general ignorance, the know- ledge of music was not so disseminated among them but that the poor and ruder sort fell into the usual mistake of flat for sharp and sharp for flat. Another cause that contributed to the corruption and consequent disuse of the church tunes, was the little care taken in the turbulent and distracted times immediately following the accession of Charles I. to appoint such persons for parish-clerks as were capable of discharging the duty of the office. The ninety-first of tte canons, made in the year 1603, had provided that parish-clerks should be sufficient in reading and writing, and also of competent skill in singing; but it is well known that instead of rendering obedience to canons, those who at that time were uppermost denied their efficacy. Nay, in cases where a reason for the omission of a thing was wanting, it was thought a good one to say that the doing it was enjoined by the authority of the church. The recognition of the office of a parish-clerk by the church, and its relation to psalmody, naturally lead us to enquire into the nature of that function, t It is in this collection of Eavenscroft that we first meet with the tunes to which the Psalms are now most commonly sung in the parish churches of this kingdom^ for excepting those to the eighty-iirst^ hundredth, and hundred and nineteenth psalms, the ancient melodies have given place to others of a newer and much inferior composition. Tlie names of these new tunes, to give them in alphabetical order, are, Bath and Wells or Glastonbury, Bristol, Cambridge, Canterbury, Chichester, Christ's hospital, Ely, Exeter, Gloucester, Hereford, Lincoin, Litchfield and Coventry, Loudon, Norwich, Oxford, Peterborough, Rochester, Salisbury, Winchester, Windsor or Eaton, Worcester, Wol- verhampton ; and, to give what are styled northern tunes, in the same order, they are Carlisle, Chester, Durham, Manchester, Southwell, and York. The Scottish tunes are Abbey-tune, Duke's, Dumferling, Dundee, Glasgow, Kings and Martyrs; and the Welch, St. Asaph, Bangor, St. David's, Landaif, and Ludlow : so that the antiquity of these may be traced back to the year 1621. Chap. OXVII. AND PKACTICB OF MUSIC. 559 and the origin of the corporation of parish-clerks which has long existed in London.* Anciently parish-clerks were real clerks, but of the poorer sort; and of these every minister had at least one, to assist under him in the celebration of divine offices. By a constitution of Boniface archbishop of Canterbury, A. D. 1261, 45 Hen. III. it is ordained that the officer for the holy water shall be a poor clerk ; and hence a poor clerk oiSoiating under the minister is by the Canonists termed Aqu^bajulus, a water-bearer. In the Eegister of archbishop Courtney the term occurs; and notwithstanding he was maintained by the parishioners, he was appointed to the office by the minister ; and this right of appointment, founded on the custom of the realm, is there declared, and has in many instances been recognized by the common law. The offices in which the clerk was anciently exercised, must be supposed to have respected the church-service, as the carrying and sprinkling holy water nnquestionably did ; and we are farther told that they were wont to attend great funerals, going before the hearse, and singing, with their surplices hanging on their arms, till they came to the church. Nevertheless we find that in the next century after making the above constitution, they were employed in ministring to the recreation, and, it may perhaps be said, in the instruction of the common people, by the exhibition of theatrical spectacles ; and as touch- ing these it seems here necessary to be somewhat particular. And first we are to know that in the infancy of the English drama, the people, instead of theatrical shows, were wont to be entertained with the re- presentation of scripture histories, or of some remark- able events taken from the legends of saints, martyrs, and confessors ; and this fact is related by Fitz- Stephen, in his description of the city of London, printed in the later editions of Stow's Survey, in these words : ' Lundonia pro spectaculis theatralibus, ' pro ludis scenicis, ludos habet sanctiores, repre- ' sentationes miraculorum, qure sancti Confessores ' operati sunt, seu representationes Passionum, quibus ' claruit constantia Martyrum.' The same author, speaking of the Wells near London, says that on the north side thereof is a well called Clarks-Well ; and Stow, assigning the reason for this appellation, furnishes us with a curious fact relating to the parish-clerks of London, the subject of the present enquiry; his words are these: 'Clarks- ' well took its name of the parish-clerks in London, ' who of old time were accustomed there j'early to ' assemble, and to play some large history of holy ' scripture for example, of later time, to wit, in the ' year 1390, the 14th of Richard the Second, I read ' that the parish-clerks in London on the 18th of ' July plaid Enterludes at Skinners-well near unto ' Clarks-well, which play continued three days to- ' gether, the king, queen, and nobles being present. ' Also in the year 1409, the tenth of Henry the ' Fourth, they played a play at the Skinners-well, * The opce seams to have sprung out of thai of Deacons, for in the early ages of Cristianity the Beacons exercised the functions thereof helping the Priest in divine service. The subdeacans gave out the Psalms, Weever's Fun. Mon. 127, from the Summa Angelica Litera D. ' which lasted eight days, and was of matter from the ' creation of the world ; there were to see the same ' most part of the nobles and gentiles in England.' f It is to be remarked that Fitz-Stephen does not speak of the acting of histories as a new thing, for the passage occurs in his account of the sports and pastimes in common use among the people in his time ; and therefore the antiquity of these spectacles may with good reason be extended as far back as to the time of the Conquest. Of this kind of drama there are no specimens extant so ancient as the re- presentation first above spoken of, but there are others in being, of somewhat less antiquity, from which we are enabled to form a judgment of their nature and tendency. The anonymous author of a dialogue on old plays and old players, printed in the year 1699, speaks of a manuscript in the Cotton library, intitled in the printed catalogue ' A collection of Plays in old ' English Metre;'! and conjectures that this may be the very play which Stow says was acted by the parish-clerks in the reign of Henry IV. and took up eight days in the representation ; and it must be confessed that the conjecture of the author above- mentioned ■ seems to Jbe well warranted. By the character and language of the book it seems to be upwards of three hundred years old : it begins with a general prologue, giving the arguments of forty pageants or gesticulations, which are as so many several acts or scenes representing all the histories of both Testaments, from the creation to the choosing of St. Matthias to be an apostle. The stories of the New Testament are more largely related, viz., the Annunciation, Nativity, Visitation, the Passion of our Lord, his Resurrection, and Ascension, and the choice of St. Matthias. After which is also represented the Assumption and Last Judgment. The style of these compositions is as simple and artless as can be supposed ; nothing can be more so than the following dialogue : — MARIA. But hulband of a thyng pray you moft mekely, I have knowing that your cofyn Elifabeth with childe is, That it pleafe yow to go to her haftyly: If ought we myght comfort her it were to me blys. JOSEPH. A Goddys fake is fhe with child, flie.' Than will hir hulband Zachary be mery ; In Montane they dwelle, far hencee fo mot yt be In the city of Juda, I know it verily; It is hence I trowc myles two a fifty. We are like to be wery or we come of the fame ; I wole with a good wyll bleflyd wyfF Mary Now go we forth then in Goddys name, &c. A little before the Resurrection. Nunc dormient milites et veniet anima Christi de inferno, cum Adam et Eva, Abraham, John Baptist, et aliis. t Survey of London, 4to. 1G03, pag. 15. t Sir William Dugdale, in his Antiquities of Warwickshire, pag. 1 16, cites it by the title of Ludus CoventricB. The following is the title as it stands in the Catalogus Libror. Manuscript, Biblioth. Cotton, pag. 113. ' VIII. A Collection of Plays in old English Metre, h. e. Dramata sacra, ' in quibus exhibentur historiae veteris et N. Testament! introductis ' quasi in scenam personis illic memoratis, quas secum invicem coUo- ' quentes pro ingenio fingit Poeta videntur olim coram populo, sive ad * instruendum sive ad placendum, k fratibus mendicantibus reprae- * sentata.' SCO HISTORY OF THE SCIENCE Book XII. ANIMA CHRISTI. Come forth Adam and Eve with the. And all my fryendes that herein be In paradyfe come forth with me, In blyffe for to dwell : The fende of hell that is your foo, He fliall be wrappyd and woundyn in woo, Fro wo to welth, now fhall ye go. With myrth ever mo to melle. ADAM. I thank the Lord of thy grete grace, That now is forgiven my gret trefpace. Now ihall we dwell yn blylTful place. The last scene or pageant, which represents the day of Judgment, begins thus : — MICHAEL. Surgiie, All men aryfe, Vemte ad judialum, For now is fet the high juftice. And hath affignyd the day of dome; Kepe you redyly to this grett aflyfe. Both grett and fmall, all and fum, And of your anfwer you now advife. What yow ihall fay when that yow come, &c. Mysteries and moralites appear to have constituted another species of the ancient drama ; the first seem to have been representations of the most interesting events in the gospel-history ; one of this kind, in- titled Candlemas-Day, or the Killing of the Children of Israel, is among the Bodleian manuscripts, and was bequeathed to the university by Sir Kenelm Digby ; the name of its author was Jhan Parfre, and it appears to have been composed in the year 1512. The subject of this drama is tragical, notwith- standing which there are in it several touches of that low humour, with which the common people are ever delighted ; for in it the poet has introduced a servant of Herod, whom he calls Watkyn the messenger. This fellow, who is represented as cruel, and at the same time a great coward, gives Herod to understand that three strangers, knights, as he calls them, had been to make coffins at Bethlehem ; upon which Herod swears he will be avenged upon Israel, and commands four of his soldiers to slay all the children they shall find within two years of age ; which Watkyn hearing, intreats of Herod first that he may be made a knight, and next that he may be permitted to join the soldiers, and assist them in the slaughter. This request being granted, a pause ensues, the reason whereof will be best understood by the following stage-direction : Here the knyghts walke abought the place till Mary and Jofeph be conveied into Egipt. Mary and Joseph are then exhorted by an angel to fly, and they resolve on it. The speech of Joseph concludes thus : — Mary, you to do pleafaunce without any let, I fliall toynge forth your afle without more delay, Ful foone Mary thereon ye ihall be fett, And this litel child that in your wombe lay. Take hym in your armys Mary 1 you pray, And of your fwete mylke let him fowke inowe. Mawger Herowd and his grett fray : And as your fpoufe Mary I ihall go with you. This ferdell of gere I ley upon my bakke; Now I am redy to go from this cuntre. All my fmale inilruments is put in my pakfce. Now go we hens, Mary it will no better be, For dredc of Herowd apaas I high me ; Lo now is our geer trnfled both more and lefle, Mary for to plefe you with all humylite, I ihall go before, and lede forth your aiTe. Et exeunt. Then begins the slaughter, represented in the fol- lowing dialogue : — r MILES. Herke, ye wyfFys, we be come your houihold to viiite, Though ye be never fo wrath nor wood, With iharpe fwoords that redely wyll byte, All your chyldren within to years age in our cruel mood Thurghe out all Bethleem to kylle and ihed ther yong blood As we be bound to the commaundement of the king. Who that feith nay, we ihall make a ilood To renne in the ilretis by ther blood ihedyng. a MILES. Therefor unto us make ye a delyverance Of your yong children and that anon; Or cUs be Mahounde we ihall geve a myfchaunce, Our iharpe fwerds thurgh your bodies ihall goon. WATKYN. Therfor be ware for we wyll not leve oon In all this cuntre that ihall us efcape, I ihall rather flee them everych oon. And make them to lye and mowe like an ape, I MULIER. Fye on you traitors of cruel tormentrye, Wiche with your fwerds of mortall violens a MULIER. Our young children that can no focoure but crie, Wyll fle and devour in ther innocens. 3 MULIER. Ye falfe traitors unto God ye do grete offens To flee and morder yong children that in the cradell flumber ; 4 MULIER. But we women ihall make ageyns you reiiftens, After our power your malyce to encomber. WATKYN. Peas yon folyihe quenys, wha ihuuld you defende, Ageyns us armyd men in this apparaile ? We be bold men asd the kyng us ded fende, Hedyr into this cuntre to holde with you battaile. 1 Mlf-LIER. Fye upon thee coward : of thee I will not feile To dubbe thee knyght with my rokke rounde, Women be ferfe when thei liil to alTaile, Suche proude boyes to caile to the grounde. 2 MULIER. Avaunt, ye ikowtys, I defye you everych one. For I wole bete you all myfelf alone. [Watkyn hie occidet per se.] I MULIER. Alas, alas good cofynes, this is a forowfuU peyn To fe our dere children that be fo yong. With tbefe caytyves thus fodeynly to be flayn ; A vengeaunce I aike on them all for this grett wrong. a MULIER. And a very myfchefF mut come them amonge, Wherefo ever thei be come or goon, For thei have killed my yong fone John. 3 MULIER. Goffippis, a fliamefuU deth I aike upon Herowde our kyng, That thus rygoroufly our chyldren hath flayn. Chap. CXVIII. AND PRACTICE OF MUSIC. 561 4. MULIER. I pray God bryng hym to an ille endyng, And in helle pytte to dwelle ever in peyn. WATKYN. What ye harlotts ? I have afpied certeyn That ye be tratorys to my lord the kyng, And therfor I am fure ye fliall have an ille endyng. I MULIER. If ye abide, Watkyn, you and I fliall game With my diftafte that is fo rounde. 3 MULIER.. And yf I feas, thanne have I fliame, Tyll thu be fellid down to the grounde. 3 MULIER. And I may gete the virithin my bounde. With this ftafte I fliall make thee lame. WATKYN. Yee I come no more ther, be feynt Mahound, For if I do, methyrfketh I fliall be made tame. I MULIER. Abyde, Watkyn, I fliall make thee a knyght. WATKYN. Thu make me a knyght ! that were on the newe But for fliame my trouthe I you plight, I fliud bete your bak and fide tyll it were blewe, But be my god Mahounde that is fo true, My hert bsgynne to favle and waxeth feynt, Or ells be Mahounds blood ye fliuld it rue, But ye fliall lofe your goods as traitors atteynt. 1 MULIER. What thu jabell, canft not have do? Thu and thi cumpany, fliall not depart, Tyll of our diftavys ye have take part : Therfor ley on goflippes with a mery hart, And lett them not from us goo. Here thei fliall bete Watkyn, and the knyghts fliall come to rcfcue hym, and than thei go to Herowds hous. Of Moralities, a species of the drama diifering from the former, there are many yet extant, the titles whereof may be seen in Ames's Typographical An- tiquities ; the best known of them are one entitled Every Man, Lustie Juventus, and Hycke Scorner, an accurate analysis of which latter, Dr. Percy has given in his Reliques of ancient English Poetry, vol. I. pag. 130. That such representations as these, nam«ly, his- tories, mysteries, and moralities, were frequent, we may judge from the great number of them yet ex- tant, and from the fondness which the people of this country have ever manifested for theatrical enter- tainments of all kinds ; and that the parish-clerks of all other persons should betake themselves to the profession of players, by exhibiting such as these to the public, will not be wondered at, when it is re- membered that besides themselves, few of the laity, excepting the lawyers and physicians, were able to read ; and it might be for this reason that even the priests themselves undertook to personate a character in this kind of drama. Of the fraternity of parish-clerks, Strype, in his edition of Stowe's Survey, book V. pag. 231, gives the following account : ' They were a guild or fra- ' ternity first incorporated by K. Hen. III. known ' then by the name of the brotherhood of St. Nicholas, ' whose hall was near St. Helens by Bishopsgate ' street, within the gate, at the sign of the Angel, ' where the parish-clerks had seven alms-houses for ' poor clerks' widows, as Stow shews. Unto this ' fraternity men and women of the first quality, ' ecclesiastical and others, joined themselves, who ' as they were great lovers of church - music in 'general, so their beneficence unto parish -clerks ' in particular is abundantly evident, by some ancient ' manuscripts at their common hall in Great Wood ' street, wherein foot-steps of their great bounty ' appear by the large gifts and revenues given for ' the maintenance and encouragement of such as ' should devote themselves to the study and practice ' of this noble and divine science, in which the parish- ' clerks did then excel, singing being their peculiar ' province. ' Some certain days in the year they had their ' public feasts, which th«y celebrated with singing ' and music, and then received into their society such ' persons as delighted in singing, and were studious ' of it. These their meetings and performances ' were in Guildhall college or chapel. Thus the ' 27th of September, 1560, on the eve thereof they ' had even-song, and on the morrow there was a ' communion ; and after they had retired to Car- ' penter's-hall to dinner. And May 11, 1562, they ' kept their communion at the said Guildhall chapel, ' and received seven persons into their brotherhood, ' and then repaired to their own hall to dinner, and ' after dinner a goodly play of the children of West- ' minster, with waits and regals and singing. ' King Charles I. renewed their charter, and con- ' ferred upon them very ample privileges and im- ' munities, and incorporated them by the style and ' title of the Master, Wardens, and Fellowship of ' Parish-Clerks, of the city and suburbs of London ' and the liberties thereof, the city of Westminster, ' the borough of Southwark, and the fifteen out- ' parishes adjacent.' BOOK XIII. CHAP. CXVIII. The principles of music, and the precepts of mraical composition, as taught in the several countries of Europe about the middle of the sixteenth century, were uniformly the same ; the same harmonies, the same modulations were practised in the compositions of the Flemish, the Italian, the German, the French, and the English musicians; and nothing character- istic of the genius or humour of a particular country or province, as was once the case of the Moorish and Provenjal music, was discernible in the songs of that period, except in those of the Scots and Irish, the former whereof are in a style so peculiar, as borrow- ing very little from art, and yet abounding in that sweetness of melody, which it is the business of art 562 HISTORY OF THE SCIENCE Book XIII. to cultivate and improve, that we are driven to seek for the origin of this kind of music elsewhere than in the writings of those authors who have treated on the subject in general terms. To speak of the Scots music in the first place; the common opinion is that it has received a con- siderable degree of infusion from the Italians, for that David Ricci or Rizzio, a lutenist of Turin, in the year 1564:, became a favourite of Mary queen of Scots, and was retained in her service as a musician ; and finding the music of the country of such a kind as rendered it susceptible of great improvement, he set himself to polish and refine it ; and adopting, as far as the rules of his art would allow, that desultory melody, which he found to be its characteristic, com- posed most of those tunes to which the Scots songs have for two centuries past, been commonly sung. Against this opinion, which has nothing to support it but vulgar tradition, it may be urged that David Ricci was not a composer of any kind. The historians and others who speak of him represent him as a lutenist and a singer ; and Sir James Melvil, who was personally acquainted with him, vouchsafes him no higher a character than that of a merry fellow, and a good musician. ' Her majesty,' says he, 'had ' three valets of her chamber, who sang three parts, ' and wanted a bass to sing the fourth part. There- ' fore they told her majesty of this man, as one fit ' to make the fourth in concert. Thus was he drawn ' in to sing sometimes with the rest ; and afterward ' when her French secretary retired himself to Prance, ' this David obtained the same office.'* Melvil, in the course of his Memoirs, relates that Ricci engrossed the favour of the queen ; that he was suspected to be a pensioner of the pope; and that by the part he took in all public transactions, he gave rise to the troubles of Scotland, and precipitated the ruin of his mistress. Buchanan is somewhat more particular ; the ac- count he gives is, that Ricci was born at Turin; that his father,. an honest but poor man, got a mean livelihood by teaching young people the rudiments of music. That having no patrimony to leave them, he instructed his children of both sexes in music, and amongst the rest his son David, who being in the prime of his youth, and having a good voice, gave hopes of his succeeding in that profession. That with a view to advance his fortune, Ricci went to the court of the duke of Savoy, then at Nice ; but meeting with no encouragement there, found means to get himself adniitted into the train of the Count de Moretto,,then upon the point of setting out on an embassy to Scotland. That the Count, soon after his arrival in Scotland, having no employment for Ricci, dismissed him. The musicians of Mary queen of Scots were chiefly such as she had brought with her from Prance, on the death of the king her hus- band ; and with these, as Buchanan relates, Ricci ingratiated himself by singing and playing among them, till he was taken notice of by the queen, soon after which he was retained in her service as a singer. From this station, by means of flattery and the most * Memoirs of Sir James Melvil of Halhill, 8vo. Lond. 1752, pag. 107. abject arts of insinuation, he rose to the highest degree of favour and confidence; and being appointed her secretary for French affairs, became absorbed in the intrigues of the court, in the management whereof he behaved with such arrogance and contempt, even of his superiors, as rendered him odious to all about him.f The rest of his history is well known; he grew rich, and his insolence drawing on him the hatred of the Scottish nobility, he was on the ninth day, of March, in the year 1566, dragged from the presence of the queen into an outer chamber of the palace, and there slain. In such an employment as Ricci had, and with all that variety of business in which he must be supposed to have been engaged, actuated by an ambitious and intriguing spirit, that left him neither inclination nor opportunities for study, can it be thought that the reformation or improvement of the Scots music was his care, or indeed that the short interval of two years at most, afforded him leisure for any such undertaking ? In fact, the origin of those melodies, which are the subject of the present enquiry, is to be derived from a higher source ; and so far is it from being true, that the Scots music has been melio- rated by the Italian, that the converse of the propo- sition may be assumed ; and, however strange it may seem, an Italian writer of great reputation and authority has not hesitated to assert that some of the finest vQcal music that his country can boast of, owes its merit in a great measure to its afiSnity with the Scots. To account for that singularity of style which distinguishes the Scottish melodies, it may be ne- cessary to recur to the account given by Giraldus Cambrensis of the music of the inhabitants of the northern parts of this kingdom, particularly near the Humber ; and to advert to that passage in the ecclesiastical history of Bede, wherein he relates the arrival of John the Archchanter from Rome, his settlement among the Northumbrians ; and the pro- pensity of that people to music ;_:f whose sequestered situation, and the little intercourse they must be supposed to have held with the adjacent countries, will account for the existence of a style, in music truly original, and which might in process of time extend itself to tlie neighbouring kingdom. § t Buchan. Ker. Scotic. Hist. lib. xvii. J See pag. 138 of this work. § The ancient Scotch tunes seem to consist of the pure diatonic inter- vals, without any intermixture of those chromatic notes, 'as they are called, which in the modern system divide the diapason into twelve semitones ; and in favour of this notion it may he observed that the front row of a harpsichord will give a melody nearly resembling that of the Scots tunes. But the distinguishing characteristic of the Scots music is the frequent and uniform iteration of the concords, more especially the third on the accented part of the bar, to the almost total exclusion of the second and the seventh ; of which latter interval it may be remarked, that it occurs seldom as a semitone, even where it precedes a cadence ; perhaps because there are but few keys in which the final note is preceded by a natural semitone; and this consideration will also furnish the reason why the Scots tunes so frequently close in a leap from the key-note to tlie fifth above. The particulars above remarked are obvious in those two famous tunes Katherine Ogie and Cold and raw, which are unquestionably ancient, and in the true Scots style. The con- s^uction of the old Scotch tunes ?b this, that almost every succeeding em- phatical note is a third, a fifth, an octave, or^ in short, some note that is in concord with the preceding note. Thirds are chiefly used ; which are verg pleasing concords. I use the word emphatical to distinguish those notes which have a stress laid on them in singing the tune, from the lighter con' necting notes, that serve merely like grammar articles in common speech to tack the whole together. When we consider how these ancient tunes were first performed, we shall see that such harmonical succession of sounds was natural and even necessary Chap. OXVIII. AND PRACTICE OF MUSIC. 563 How long it was that the popular melodies of Scotland continued to be propagated by tradition, it is not easy to ascertain, for it does not appear that that kingdom ever abounded with skilful musicians ; however by the year 1400 the science had made such a progress there, that one of its princes, James Stuart, the first of his name, and the hundred and second in the list of their kings, attained to such a proficiency in it, as enabled him to write learnedly on music, and in his compositions and performance on a variety of instruments, to contend with the ablest masters of the time. Bale and Dempster, and after them bishop Tanner, take notice of this prince in the accounts by them severally given of Scottish writers, and ascribe to liim among other works, a treatise De Musica, and Cantilenas Scoticas. Buchanan has drawn his character at full, and among many other distinguishing particulars, men- tions that he was excellently skilled in music, more indeed, he adds, than was necessary or fitting for a king, for that there was no musical instrument on which he could not play so well, as to be able to contend with the greatest masters of the art in those days.* The particulars of his story are related by all the Scottish historians, who, as do others, represent him as a prince of great endowments, being ignorant of no art worthy the knowledge of a gentleman; complete in all manly exercises, a good Latin scholar, an excellent poet, a wise legislator, a valiant captain, and, in a word, an accomplished gentleman and a great monarch. Notwithstanding which his amiable and resplendent qualities, a conspiracy was formed against him in the year 1436, by the earl of Athol, and others of his subjects, who broke into his chamber, he then being lodged in the Black Friars in Perth, and with many cruel wounds slew him in the forty- fourth year of his age, and the thirteenth of his reign.f In the account given of James I. by bishop Tanner the brief mention of the Cantilenas Scoticas there in their construction. They were composed to be played on the harp ac- companied by the voice. The harp was strung with wire which gives a sound of long continuance, and had no contrivance like thai in the modern harpsichord, by which the sound o/(fiepreceding could be stopped the moment a succeeding note began. To avoid actual discord it was therefore necessary that the succeeding emphatic note sltould he a chord with the preceding, as their sounds must exist at the same time. Hence arose that beauty in those tunes that has so long pleased, though men scarce know why. That they were originally composed for the harp, and of the most simple hind, — J mean a harp without any half notes, but those in the natural scale, amd with no more tlian two octaves of strings from C to C, — I conjecture from another circumstance, which is, that not one of these tunes really ancient has a single artificial note in it; and that in tunes where it was not convenient for the voice to use the middle notes of the harp, and place the hey in jF, there the B, v/hich if used should be a B jp, is always omitted by passing over it with a third. * ' In musicis curiosius erat instrucUis, quam reRem vel deceat, vel ' expcdiat, nullum enim organum erat, ad psallendi usum, comparatum, •quo non iUe tam scite modulabatur, ut cum summis illius eetatis 'magistris contenderet.' Buch. Rer. Scotic. Hist. lib. x. sect. 57. In the continuation of the Scoticbronicon of Johannes de Fordun, [Scotichron. k Heame, vol. IV. pag. 1323,] is a character of James I. to the same purpose, but more particular ; and in Hector Boethius is an eulogium on him, which is here given in the dialect of the country, from the translation of that historian by Ballenden. *He was weil lernit to 'fccht with the swerd, to just, to turnay, to worsyl, to syng and dance, ' was an expert medicinar, richt crafty in playing baith of lute and harp, * and sindry othir instrumentis of musik. He was expert in gramer, * oratry, and poetry, and maid sae flowand and sententious versia, apperit ' weil he was ane natural and borne poete.' t Buch. Rer. Scot. Hist. lib. x. Holinshed's Hist, of Scotland, pi;;;. 384. ascribed to him leaves it in some measure a question, whether he was the author of the words, or the music, of those Scots songs. That he was a poet is agreed by all ; and Major, in his History de Gestis Scotorum, and bishop Nicholson,^ mention a poem written by him on Joan daughter of the duchess of Clarence, afterwards his queen, and two songs of his writing, the latter of which is yet extant, and abounds with rural humour and pleasantry :§ but the evidence of his composing tunes or melodies is founded on the testimony of a well-known Italian author, Alessandro Tassoni, who in a book of his writing, entitled Pensieri diversi, printed at Venice in 1646, speaking of music, and first of the ancient Greek musicians, has this remarkable passage : ' We may reckon ' among the moderns, James, king of Scotland, who ' not only composed sacred poems set to music, but ' also of himself invented a new, melancholy, and ' plaintive kind of music, different from all other. ' In which he has since been imitated by Carlo ' Gesualdo, prince of Venosa, who in these our times ' has improved music with new and admirable com- ' positions.' || That the Scots melodies at the time when they were originally composed were committed to writing there can be no doubt; but it is to be feared that there are no genuine copies of any of them now remaining, they having for a series of years been propagated by tradition, and till lately existed only in the memory of the inhabitants of that kingdom. Nevertheless they seem not to have been corrupted, nor to have received the least tincture from the music of other countries, but retain that sweetness, delicacy, and native simplicity for which they are distinguished and admired. Some curious persons have of late years made attempts to recover and reduce them to writing ; and such of them as were sufficiently skilled in music, by conversation with the Highlanders, and the assistance of intelligent people, have been able to reduce a great number of ancient Scots melodies into musical notes. There are many fine Scots airs in the collection of songs by the well-known Tom Durfey, entitled ' Pills to purge Melancholy,' published in the year 1720, which seem to have suffered very little by their passing through the hands of those English masters who were concerned in the correction of that book; but in the multiplicity of tunes in the Scots style that have been published in subsequent collections, it is very difficult to distinguish betweeen the ancient and modern; those that pretend to be possessed of this discriminating faculty assert that the following, viz., Katherine Ogie, Muirland Willy,' X In his Scottish Historical Library, pag. 55. § Tanner includes these in his account of his works. Allan Ramsay, in his Ever-Green, and also in his own poems, has ascribed that hu- morous Scots poem, ' Christ's Kirk on the Green,' to James I. and in his notes on it has feigned some circumstances to give a colour to the opinion that he was the author of it ; but bishop Tanner with much better reason, gives it to James V. who also was a poet, 11 * Noi ancora possiamo connumerar trjl nostri Jacopo R6 di Scozia, ' che non pur cose sacre compose in canto, ma trovb da se stesso una ' nuova, musica lamentevole, e mesta, differente da tutte' 1' altre. Nel ' che poi 6 state imitato da Carlo Gesualdo, Prencipe di Venosa, che in 'questa nostra etil hi illustrataanch'egli la musica con nuove mirabili ' invenzioni.' Lib. X. cap. xxiii. Angelo Berardi in his Miscellanea Musicale, pag 50, acquiesces in this relation, and, without citing his authority, gives it in the very words of Tassoni. 5G4: HISTORY OP THE SCIENCE Book XIII, and Cold and Raw,* are of the highest antiquity, and that the Lass of Peatie's Mill, Tweed-side, Mary Scot, and Galloway Shiels, though perfectly in the Scots vein, bear the signatures of modern com- position.f Of the Irish music, as also of the Welch, alike remarkable with the Scotch for wildness and irre- gularity, but far inferior to it in sweetness of modu- lation, little is to be met with in the works of those who have written professedly on music. Sir James Ware has slightly mentioned it in his Antiquities of Ireland, and noted that the Irish harp is ever strung with brass wires. The little that has been said of the Welsh music is to be found in the Cambrise Descriptio of Silvester Giraldus ; | and mention is made of the Irish music, as also of the Scotch, in the continuation of the Scotichronicon of Johannes De Fordun, lib. 16. cap. 29. The passage is curious, as it contains a comparison of the music of the three countries with each other, and is in these words : — 'In musJcis instrumentis invenio commendabilem ' gentis istius diligenciam. In quibus, pra omni ' nacione quam vidimus, incomparabiliter instructa ' est. Non enim in Mis, ut in Britannicis, quibus ' assueti sumus, instrumentis tarda et morosa est ' modulacio, verum velox et prseceps, suavis tamen ' et jocunda sonoritas, miraque in tanta tam prae- ' cipiti digitorum rapacitate musica proporcio et ' arte per omnia indempni, inter crispatos modules ' organaque multipliciter intricata, tam suavi velo- ' citate, tam dispari paritate, tam discordi concordia ' consona redditur et completur melodia, sen Dia- * This last air was wrought into a catch by John Hilton, which may be seen in his Collection of Catches, published in 1652. The initial words of it are ' Ise gae with thee my Peggy.' This tune was greatly admired by queen Mary, the consort of king William ; and she once affronted Furcell by requesting to have it sung to her, he being present ; the story is as follows. The queen having a mind one afternoon to be entertained with music, sent to Mr. Gostling, then one of the chapel, and afterwards subdean of St, Paul's, to Henry Purcell and Mrs. Arabella Hunt, who had a ver>' fine voice, and an admirable hand on the lute, with a request to attend her ; they obeyed her commands ; Mr. Gostling and Mrs. Hunt sang several compositions of Furcell, who accompanied them on the harpsichord ; at length the queen beginning to grow tired, asked Mrs, Hunt if she could not sing the old Scots ballad ' Cold and Raw,' Mrs. Hunt answered yes, and sang it to her lute. Purcell was all the while sitting at the harpsichord unemployed, and not a little nettled at the queen's preference of a vulgar ballad to his music ; but seeing her majesty delighted with this tune, he determined that she should hear it upon another occasion : and accordingly in the next birth- day song, viz., that for the year 1692, he composed an air to the words, ' May her bright example chace Vice in troops out of the land,' the bass whereof is the tune to Cold and Raw ; it is printed in the second part of the Orpheus Britannicus, and is note for note the same with the Scots tune. t About the year 1730, one Alexander Munroe, a native of Scotland, then residing at Paris, published a collection of the best Scotch tunes fitted to the German flute, with several divisions and variations, but the simplicity of the airs is lost in the attempts of the author to accommodate them to the style of Italian music. In the year 1733, William Thompson published a collection of Scotch songs with the music, entitled Orpheus Caledonius ; the editor was not a musician, but a tradesman, and the publication is accordingly in- judicious and very incorrect. Three collections of Scots tunes were made by Mc Gibbon, a musician of Edinburgh, and published about twenty years ago with basses and variations ; and about the same time Mr. Francis Barsanti the father of Miss Barsanti, of Coven^Garden theatre, an Italian, and an excellent musician, who had been resident some years In Scotland, published a good collection of Scots tunes with basses of his own com- position. t It is said that the Welch music is derived from the Irish. In the Cluonicle of Wales by Caradocus of Lhancarvan, is a relation to this purpose, viz., that Griffith Ap-Conan, king of North Wales, being by mother and grandmother an Irishman, and also bom in Ireland, carried with him from thence divers cunning musicians into Wales, who devised in a manner all the instrumental music used there, as appears as well by the books written of the same, as also by th« names of the tunes and measures used among them to this day. Vide Sir James Ware's An- tiquities of Ireland, published by Walter Harris, Esq. chap. xxv. pag. 184. ' tessarone seu Diapente cordae concrepent, semper 'tenera Bemol incipiunt, et in Bemol redeunt, ut ' cuncta sub jocunda sonoritatis dulcedine comple- ' antur, tam subtiliter modules intrant et exeunt, sicque 'subtuso grossioris cordae sonitu gracilium tinnitus 'lieencius ludunt, latencius delectant, lasciviusque ' demulcent, ut pars artis maxima videatur arte velari, ' tamquam si lata ferat ars depressa pudorem. Hinc 'accidit, ut ea, quse subtilius intuentibus, et artis 'archana decernentibus, internas et ineffabiles com- ' parent animi dilicias, ea non attendentibus, sed quasi ' videntibus non videndo, et audiendo non intelli- ' gentibus, aures pocius onerent quam delectant, et 'tam confuso et inordinato strepitu invitis audi- ' toribus fastidia parant tsediosa. Olim dicebatur, ' quod Scocia et Wallia Yberniam in modulis imitari ' semula nitebantur disciplina. Hibernia quidem tan- ' tum dnobus et delectatur instrumentis, cithara, ' viz. et tymphana, Scocia tribus, cythera, tympana ' et choro, Wallia, cythera, tibiis et choro. .fflneis ' quoque utuntur cordis, non de intestinis vel corio ' factis. Multorum autem opinione hodie Scocia nou ' tantum magistram aequiparavit Hiberniam, verum ' eciam in musica pericia longe jam prsevalet et ' prsecellit. Unde et ibi quasi fontem artis jam ' requirunt. Hsec ibi. Venerunt itaque periciores ' arte ilia de Hibernia et Anglia, et de incom- ' parabili praecellencia et magisterio musicae artis ' regiae admirantes, eidem prae ceteris gradum attri- ' buunt superlativum. Ceterum quam diu hujus regni ' orbita volvitur, ejusdem prsedicabilis practica, lau- ' dabilis rectoria, et praecellens policia accipient ' pra8Conii incrementum.' Towards the beginning of the seventeenth century, the principles of harmony being then generally known, and the art of composition arrived to great perfection, there appeared a great emulation among the masters throughout Europe in their endeavours towards the improvement of the science ; and to speak with pre- cision on the subject, it seems that the competition was chiefly between the Italians and the Germans. The former of these, having Palestrina for their master, had carried church-music to the highest degree of perfection; and in the composition of madrigals, for elegance of style, correctness of har- mony, and in sweetness and variety of modulation, they were hardly equalled by the musicians of any country. Nevertheless it may be said that in some respects the Germans were their rivals, and, in the knowledge and use of the organ, their superiors. This people began very soon to discover the power and excellence of this noble instrument ; that it was particularly adapted to music in consonance; that the sounds produced by it, not like those that answer to the touch of a string, were unlimited in their duration ; that all those various graces and elegancies with which the music of the moderns is enriched, such as fugues, imitative and responsive passages, various kinds of motion, and others, were no less capable of being uttered by the organ, than by a number of voices in concert ;§ and so excellent § Milton, who himself played on the organ, discovers a just sense of the nature and use of this noble instrument in that passage of his Tractate on education where he recommends, after bodily exercise, the recreating and composing the travailed spirits of his young disciples Chap. CXVIII. AND PRACTICE OF MUSIC. 5S5 were the Germans in this kind of performance on the organ, that towards the close of the fifteenth century, they seem almost to have exhausted its power; for in the year 1480, we are told that a German, named Bernhard, invented the pedal, thereby increasing the harmony of the instrument by the addition of a fundamental part. But notwithstanding the competition above spoken of, it seems that as the principles of music were first disseminated throughout Europe by the Italians, so in all the subsequent improvements in practice they seemed to give the rule : to instance in a few par- ticulars, the church style was originally formed by them; dramatic music had its rise in Italy; Recitative was invented by the Italians; that elegant species of vocal composition, the Cantata, was invented by Carissimi, an Italian ; Thorough-bass was also of Italian origin. These considerations determine the order and course of the present narration, and will lead us, after doing justice to our own country, by ex- tending the account of English musicians to about the close of the sixteenth century, to exhibit a given series, commencing at that period, of Italian musicians ; interposing, as occasion offers, such eminent men of other countries as seem to be entitled to particular notice. The history of music as hitherto deduced, is con- tinued down to a period, at which the science may truly be said to have arrived at great perfection. Abroad it continued to be encouraged and to flourish; but in this country it was so little regarded, as to afford, at least to the professors of it, a ground of complaint that music was destitute of patronage, and rather declined : the king, James I. was a lover of learning and field recreations ; and though he had some genius for poetry, he had little relish for either music or painting. Indeed, had his love of music been ever so great, his own country afforded scarce any means of improvement in it ; for we read of no eminent Scottish musicians either before or since his time. It is true his mother, as she was a very finely accomplished woman, was an excellent proficient, and during the time she was in France had contracted a love for the Italian vocal music ; and it is recorded that upon her return to Scotland she took into her service David Ricci, a native of Turin, who had a very fine bass voice, to assist in the performance of madrigals for her own private amusement : Ricci was slain in the presence of the queen at the time when she was with child of the prince, afterwards James I. after which there was perhaps scarce any person left in her dominions capable of the office of preceptor to a prince in the science of music* with the solemn and divine harmonies _of music; 'Either -while the * skilful organist plies his grave and fancied descant^ in lofty fugues, or * the whole symphony with artful and unimaginable touches adorn and * grace the well-studied chords of some choice composer.' I * Besides James I. of Scotland, we know of no person, a native of that country, who can with propriety be said to have been a musician ; never- theless it is to be observed that there is extant m the collection of the author of this work, a manuscript-treatise on music, written in the Scottish dialect, which appears to have been composed by some person eminently skilled in the science. It is of a folio size, and is entitled •The Art of Music collectlt out of all ancient Doctouris of Musick.' Fr. 'Qwhat is mensural musick?' It contains the rudiments of music, and the precepts of composition, with variety of examples, and a formula of the tones ; from which circumstance it is to be conjectured that it was written before the time of the reformation in Scotland. With respect to church-music, it is highly pro- bable that James adhered to the metrical psalmody that had been instituted by Calvin, and adopted by many of the reformed churches ; and of this his version of the Psalms may be looked upon as some sort of evidence ; however upon his accession to the crown of England he was necessitated to recognize the form and mode of public worship established in this kingdom. Notwithstanding the love which queen Elizabeth bore to music, and the affection which she manifested for the solemn choral service, it seems that the ser- vants of her chapel experienced the effects of that parsimony, which it must be confessed was part of her character ; they solicited for an increase of their wages ; but neither the merits of Bull nor of Bird, both of whom she affected to admire, nor of Giles, or many other excellent musicians then in her service, were able to procure the least concession in their favour. Upon her decease they made the like application to her successor, having previously engaged some of the lords, of the council to promote it. The event of their joint solicitation appears by an entry in the Cheque-book of the chapel-royal, of which the following is a transcript : — * 5 December, 1604. Be it remembered by all that shall succeed us, that in the year of our Lord God 1604, and in the second yeare of the reign of our most gracious sovereign Lord James, the first of that name, by the grace of God of Great Britaine, France, and Ireland, king. After a long and chargeable sute continued for increase of wages in the end, by the furtherance of certaine honourable persons named in the margent, commissioners, and by the special favour and help of the right worsnipfull doctor Montague, deane of the chappel then beinge, and by the great paynes of Leonard Davies, sub- deane, and of Nathaniel Gyles, then master of the children, with other auntients of the place, the king's most excellent majestie of his royall bountye and regard, pleased to add to the late intertainement of the chappell ten pounds per annum to every man : so increasinge there stipends from thirtie to fortie pounds per annum, and allso augmented the twelve childrens allow- ance from six pence to ten pence per diem. And to the sergeant of the vestrie, was then geven increase of xl. per annum, as to the gent, and the two yeomen and the groome of the vestrie, the increase of fower pence per diem as to the twelve children. His royall majestie ordayninge that these several increases should be payd to the members of the chapell and vestrie in the nature of bourd wages for ever. Now it was thought meete that seeinge the intertainement of the chappell was ^ * This is the augmentation alluded to by Bird in the dedication of his Gradualia, part I, to Henry Howard earl of Northampton, above styled Xo, Harrie Haward, earl of Northampton, and is recorded amongst the instances of king James tJie First's bounty in Stow's AnnatSfpage 1037, The Lo. Charles "j Haward high Y admiral!. J The Lo. Tho. -j Haward Lo. V Chamberlaine J The Lo. Harrie "v Haward earle ' ofNorthamp- ( ton ) The Lo. Cecill vicount Cram- borne The Lo. Knowles "i treasurer of I houshold j 566 HISTOKY OF THE SCIENCE. Book. XIII. Cursed be the not augmented of many years by any partie that his majesties progenitors kinges and taketh this quenes raigninge before his Sghnes, leafe out of that therefore his kinglie bountie in this book. augmenting the same (as is before Amen. shewed) should be recorded, to be had ever in remembrance, that thereby not onlye wee (men and children now lyve- inge) but all those also which shall succeede us in the chappell shuld day- lye see cause (in our most devoute prayers) humblye to beseech the devine majestie to bless his highnes, our gra- cious queen Ann, prince Henrie, and all and everye of that royal progenie with blessings both spirituall and tem- porall, and that from age to age, and everlastynglye. And let us all praye Amen, Amen. The names of the Gent, lyveing at the time of this aug- mentation graunted : — Leonard Davies, Subdean. Jo. Hewlett Barthol. Mason ^ „ Richard Plumley Antho. Harrison I g Tho. Goolde Robert Stuckey r^ Peter Wright Steven Boughton [ g< Will. Lawrence William Lawes Ig James Davies Antho. Kerbie -' Jo. Amerye Doctor Bull, Organist Jo. Baldwin Nathaniel Gyles, Master of Francis Wyborow the Children Arthur Cocke Thomas Sampson, Gierke of George Woodson the Cheque Jo. Woodson Robert Stone Edmund Shirgoold Will. Byrde Edmund Hooper. Bychard Granwell Crue Sharp The Officers of the vestrie Edmund Browne then were — Tho. Woodson Ralphe Fletcher, Sergeant Henrie Eveseede Jo. Patten \ fr Robert Allison Robert Lewis /^^'""e" Jo. Stevens Harrye AUred, Groome. CHAP. CXIX. The recreations of the court during the reign of James I. were altogether of the dramatic kind, con- sisting of masques and interludes, in the composing and performance whereof the gentlemen, and also the children of the chapel, were frequently employed. Most of these dramas were written by Ben Jonson,* some in the lifetime of Samuel Daniel, laureate or court poet ; and others after Jonson, succeeded to that employment.| * Sfeed's Chron. 725. t The office of Poet Laureate is well known at this time. There are no records that ascertain the origin of the institution in this kingdom, though there are many that recognise it. The following is the hest account that can here he given of it. As early as the reign of Henry III. who died in the year 1272, there was a court poet, a Frenchman, named Henry de Avranches, and otherwise ' Magistro Henrico Versificator,' Master Henry the Versifier, who from two several precepts, to he found in Madox's History of the Exchequer, is supposed to have had an assign- ment of a hundred shillings a year by way of salary or stipend. Vide Hist, of English Poetry by Mr. Thomas Warton, vol. I. pag. 47. In the year 1341,'Petrarch was crowned with laurel in the capitol by the senate of Rome. After that Frederic III. emperor of Germany, gave the laurel to Conradus Celtes ; and ever since the Counts Palatine of the empire have claimed the privilege solemnly to invest poets with the bays. Chaucer was contemporary with Petrarch, and is supposed to have become acquainted with him while abroad. Upon his return to England hs assumed the title of Poet Laureat i and, anno 22 Eich. II. obtained agrant of an annual allowance of wine, as appears by the following docquet :— ' Vigesimo secundo anno Kichardi secundi concessum Galfrido ' Chaucer unum dolium vini per annum durante vita, in porta * civitatis London, per manus capitalis pinceruse nostri.' Vide Fuller's Worthies, 27. John Kay, in his dedication of the Siege of Rhoi's to Edward IV. The children of James were well instructed in music, and particularly in ' dancing, for their im- provement in which latter accomplishment the king appears to have been very solicitous. In a letter from him to his sons, dated Theobalds, April 1, 1623, now among the Harleian manuscripts in the British Mu- seum, Numb. 6987. 24, he desires them to keep up their dancing privately, ' though they whistle and ' sing to one another for music' Prince Charles was a scholar of Coperario, and by him had been taught the Viol da gamba ; and though Lilly the astrologer in his character of Charles I. con- tents himself with saying that the king was not un- skilful in music, the fact is, that he had an excellent judgment in the science, and was besides an able performer on the above instrument. J As to prince Henry, it is highly probable that he had the same instructor with his brother : of his proficiency little is said in the accounts of his life ; but that he was how- ever a lover of music, and a patron of men of eminence in the science, may be inferred from the following ex- tract from the list of his household establishment, as contained in the Appendix to the Life of Henry Prince of Wales, by Dr. Birch : — Musicians. Dr. Bull Mr. Ford Valentine Sawyer Mr. Lupo Mr. Cutting Matthew Johnson Mr. Johnson Mr. Stinte Edward Wormall Mr. Mynors Mr. Hearne Thomas Day Mr. Jones John Ashby Sig. Angelo. A brief declaration of what yearly pensions, and to whom his highness did grant the same, payable out of his highness's treasure from the time of his creation until the first day of November, 1612 : — 1611 I £. £. JunejToJohnBulldoc-|^() To John Ashby - 30 tor of music J To Edward Wormall 20 To Robert Johnson 40 To Matthias Johnson 20 To Thomas Lupo 40 1611 I To Thomas "x To John Mynors - 40 March J Fordoneofhis I To Jonas Wrench - 40 highness's musicians, >10 To Thomas Day 40 by way of increase to | To Valentine Sawyer - 40 his former pension. } To Thomas Cutting§ 40 August. To Jerom "j To John Sturte - - 40 Hearne one of his f20 To Thomas Ford - 30 highness's musicians. ) subscribes himself his humble poet laureat ; and Skelton, who lived in the reigns of Henry VII. and VIII. styles himself Skelton Laureat. At the beginning of the reign of James I. Samuel Daniel was laureat ; but though he was a man of abilities, Jonson was employed to write the court poems. Upon the death of Daniel, about the year 1619, Jonson was appointed his successor, who before this, viz., in February 1615, had obtained a grant of an annual pension of one hundred marks. In the year 1630, by letters patent of Charles I. this pension was augmented to one hundred pounds per annum, with an additional grant of one terse of Canary Spanish wine, to be taken out of the king's store of wines yearly, and from time to time remaining at, or in the cellars within or belonging to his palace of Whitehall ; and this continues to be the establishment in favour of the poet laureate. Upon these grants of wine it may be observed that the first of the kind seems to be that in a pipe-roll Ann. 36 Hen. III. to Richard the king's harper, and Beatrice his wife, in these words : * Et in uno dolio vini • empto et dato Magistro Ricardo, Citharistae regis xl. fol. per Br. Reg. • Et in uno dolio empto et dato Beatrici uxori ejusdem Ricardi.' J Playford, who had good opportunities of information, speaking of the skill in music of some of our princes, says, ' Nor was liis late sacred ' majesty and blessed martyr king Charles the First, behind any of his ' predecessors in the love and promotion of this science, especially in the ' service of Almighty God, and with much zeal he would hear reverently 'performed, and often appointed the service and anthems himself, ' especially that sharp service composed by Dr William Child, being by • his knowledge in music a competent judge therein ; and would play his ■ part exactly well on the hass-violl, especially of those incomparable ' fancies of Mr. Coperario to the organ.' § This Thomas Cutting was an excellent performer on the lute. In the year 1607 he was in the service of the Lady Arabella Stuart, when Chap. CXIX. AND PEACTICE OF MUSIC. 567 Before the publication of Morley's Introduction the precepts of musical composition were known but to few, as existing only in manuscript treatises, which being looked upon as inestimable curiosities, were transmitted from hand to hand with great caution and diffidence ; so that for the most part the general precepts of music, and that kind of oral instruction which was communicated in the schools belonging to cathedral churches, and other seminaries of music, were the only foundation for a course of musical study ; and those who laboured to excel in the art of practical composition were necessitated either to ex- tract rules from the works of others, or trust to their own powers in the invention of harmony and, melody ; and hence it appears that Morley's work could not but greatly facilitate and improve the practice of musical composition. The world had been but a few years in possession of Morley's Introduction before Thomas Eavenscroft, an author heretofore mentioned as the editor of the psalm-tunes in four parts, thought fit to publish a book of his writing with this title : ' A brief discourse of the true (but neglected) use of ' charact'ring the degrees by their Perfection, Imper- 'fection, and Diminution in Measurable Musicke Christian IV. kinf; of Denmark, begged him of his mistress. The occasion -was probably this : Christian loved the music of the lute, and having while in England heard Douland, he obtained permission to take him with hira to Denmark ; hut Douland, after a few years stay at Co- penhagen, imagining himself slighted, returned to England, and left the king without a lutenist ; in this distress Christian applied to his sister Ann, the wife of James I, and she, and also her son prince Henry in- terceded with the Lady Arabella to part with her servant Cutting, and obtained her consent. It seems that Cutting stayed in Denmark hut little more than four years, for he became a servant to Christian about March, 1607, and by the above list it appears that he was in the service of prince Henry iii June, 1611. The following are the letters on the subject, the originals whereof are among the Harleian MSS. in the British Museum. See the Catalogue, No. 6986. 42, 43, 44. Anna R. Wellheloved cousine Wee greete you hartlye well ; Udo Gal, our deere brothers tlie king of Denraarks gentleman-servant, hath insisted with us for the licensing your servant thomas cottings to depart, but not without your permission, to our brother's service, and therefore we wryte these few lines to you, being assured your H. will make no difficultie to satisfie our pleasure and our deere brother's desires ; and so geving you the assurance off our constant favours, with our wishes for the conteneuance or convalescence of your helth, expecting your returne, we commit your H. to the protection of God. From Whythall, 9 March 1607. To our most honorable and wellheloved cousine the Lady Arabella Stuart. Madam, the queenes ma. hath commaunded me to signifie to your La. that shee would have Cutting your La. servant to send to the king of Denmark, because he desyred the queene that she would send him one that could play upon the lute, I pray your La. to send him back with ane answere as soon as your La. can. I desyre you to commend \ne to my lo. and my la. Shrewsbury, and also not too think me any thing the worse acrivenere that I write so ill, but to suspend your judgement till you come hither, then you shall find me, as I was ever, A Madame Arbelle Your La. loving cousin ma Cousine. and assured friend, Henki. May it please your Highnesse, I have received your Hs. letter whearin I am let to understand that the queene's majesty is pleased to command Cuttinge my servant for the king of Denmark : concerning the which your Highnesse requireth my answer to hir Majesty, the which I have accordingly returned by this bearer, referring him to hir Majesty's good pleasure and disposition. And although I may have some cause to he sorry to have lost the con- tentmeni of a good lute, yet must I confesse that I am right glad to have found any occasion whearby to expresse to her Majesty and your High- •nesse the humble respect which I ow you, and the readinesse of my disposition to be conformed to your good pleasures : whearin I have placed a great part of the satisfaction which my heart can receive. I have according lo your Hs. direction signitied unto my uncle and aunt of Shrewsbury your Hs. gratious vouchsafeing to remember them, who with all duty present theyr most humble thancks, and say they will ever pray for your Hs. most happy prosperity: and yet my uncle saith that he carrieth the same splene in his heart towards your Hs. that he hath ever done. And so praying to the Almighty for your Hs. felicity I humbly cease. Prom Sheffeild the 15th of March, 1607. Your Hs. most humble and dutifuU To the Prince his Highnesse, AaBEiiA Siuart. ' against the common practice and custome of these ' times.' Quarto, 1614.* The author of this book had been educated in St. Paul's choir, under Master Edward Pearce, and was not only a good musician, but a man of considerable learning in his faculty ; the drift of it is to revive the use of those proportions, which, because of their intricacy, had long been discontinued. To justify this attempt, he cites the authority of Pranchinus, Glareanus, and Morley ; of which latter he says that he declared himself loth to break the common practice or received custom, yet if any would change that, he would be the first that would follow. This declaration of Morley naturally leads to the question whether, even at the time of his writing his Introduction, any change for the better could have been possibly effected ; since he himself has expressly said, that of the many authors who had written on mensurable music, and particularly on those branches of it, mood, time, and prolation, with their several varieties, hardly any two of them can be said to tell the same tale. Upon the whole, proportion is a subject of mere speculation ; and as to practice, there seems to be no conceivable kind of proportion, but in the present method of notation may be signified or charactered without regarding those distinctions of perfection, imperfection, and diminution of mood, time, and pro- lation, which this author labours to revive. To this discourse of Eavenscroft are added ex- amples to illustrate his precepts, expressed in the harmony of four voices, concerning the ' Pleasure of ' five usual recreations : 1. Hunting ; 2. Hawking ; ' 3. Dancing ; 4. Drinking ; 6. Enamouring.' f In the year 1603, Thomas Eobinson published a book entitled ' The school of musicke, the perfect ' method of true fingering the Lute, Pandora, Or- ' pharion, and Viol da Gamba.' It is a thin folio, and merits to be particularly noticed in this place. The style of it is remarkably quaint, and it is written, as the author expresses it, ' dialoguewise, betwixt a ' knight who has children to be taught, and Timo- ' theus who should teach them.' After a general eulogium on music, the author proceeds to his directions for playing on the lute, beginning with an explanation of that method of no- tation peculiar to it, called the Tablature, the precepts whereof seem to be nearly the same with those con- tained in the book of Adrian le Eoy, an account whereof has herein before been given. These are succeeded by a collection of easy lessons for the lute, * In this book it Is asserted, on the authority of the' Prfficeptiones Musices Poeticae seu de Compositione Cantus of Johannes Nucius,'that John Dunstable, of whom Morley takes notice, and who is also herein before mentioned, invented musical composition in parts; and that Pranchinus de Colonia invented mensurable music. In this latter name Ravenscroft is mistaken, for it is to Franco, a scholastic or professor of Liege that the honour of this invention is due, though it is almost universally ascribed to Johannes de Muris. With regard to the antiquity of musical composition in parts, Morley had his doubts about it, and declares his inability to trace it much farther hack than the time of Pranchinus, who lived some years after Dunstable; and as to symphoniac music in general, there is no conclusive evidence that it existed before the time of Bede : and it is highly probable that it had its origin in that practice of extemporary descant described by Giraldus Cambrensis, and mentioned previously in this work. + This Thomas Ravenscroft was also the author of a collection of songs entitled ' Melismata, Musical Phansies fitting the Court, Citie, * and Countrey-Humours, to 3, 4, and 5 voyces,' published in the year 1611, 2p 668 HISTOEY OP THE SCIENCE Book XIIL and these latter by what the author calls rules to instruct you to sing, and a few psalm-ttines set in Tablature for the viol da gamba. This book of Eobinson may be deemed a curiosity, as it tends to explain a practice which the masters of the lute have ever shewn an unwillingness to divulge. In the year 1609 was published a book with this title : ' Pammelia, Musicks Miscellanie, or mixed 'varietie of pleasant lioundelayes and delightful ' Catches of 3. 4. 5. 6. 7. 8. 9. 10 parts in one. ' None so ordinarie as musical, none so musical as not ' to all very pleasing and acceptable. London, printed ' by William Barley for E. B. and H. W. and are to ' be sold at the Spread Eagle at the great North doore ' of Paulas.' Quarto. It was again printed by Thomas Snodham, for Matthew Lownes and John Browne, in 1618. This book, the oldest of the -kind extant, fully answers its title, and contains a great number of fine vocal compositions of very great antiquity,*- but, which is much to be lamented, without the names of the authors. Among the Bounds is the song men- tioned in the character of Mr. William Hastings, written by the first earl of Shaftesbury, and printed in Peck's Collection of curious Historical Pieces, No. xxxiii. concerning which it is first to be observed, that, among numberless other singularities, respecting the diet and manner of living of this person , it is in the character said that he never wanted a London Pudding, and always sang it in with ' My pert eyes therein-a;' absolute nonsense ! which the song itself " here given will set to rights : — l^p gz^ &rd=di ^^y^S THERE lyes a Pudding in the fire, and ^m H^ri^i^J Whom should I call in good fel-lowes and mine * The words to these compositions are for the most part on subjects of low humour, of which specimens are inserted in chap. LXVII,, and here it may be observed that it was formerly a practice with the musicians to set the cries of London to music, retaining the very musical notes of them. In the collection entitled Pammelia, is a round to the cry of New oysters, Have you any wood to cleave ? Orlando Gibbons set music of four parts to the Cries in his time, among which is one of a play to be acted by the scholars of our town ; Morley, set those of the Milliners' Girls in the New Exchange in the Strand, built in the reign of James I., and pulled down about thirty years ago : and among others eoually unknown to the present times, these occur; Italian Falling Bands, French Garters, Roman Gloves, Rabatos, a kind of ruffs. Sister's, i.e., Nun's Thread, Slick-stones, Poking-sticks, these were made taper, and were of use to open and separate the plaits of those great rufis then in fashion. In a play called Tarquin and Lucrcce, these cries occur, a Marking-Stone, Bread and Meat for the poor Prisoners, Rock-Samphire. A few rounds from this collection are inserted by way of example of canons in the unison, in chap. LXVII. of this work ; these that follow are of the same kind of composition, but to words of a dif- ferent import : — et la-bo - ra, et la - bo - ra. m fcq=J=3==!= MI SE - RE-RE me - i De se-cun " ," " " "^""^ ™*g i? nam mi - se-rieordi am tuam,') . . -5iQ- ■s-^ & mi - Be - ricordiam tu m eP=^ F=l=i IN te Do =t: 1 mi - ne spe - ra i=^^:iL^^^^^i^g con-fun - der in e-ter m 3=JEE^^j^E m num. In te Do - mi-ne spe - ra-vi, non ^^^^fefe^ con -fun - der ter a Hassoc for your Pew, or a Pesocke to tlirust your feet in, Lanthome and Candle-light, with many others. The cries of London in the time of Charles II. differed greatly from those of the preceding reigns ; that of a Merry new Song, in the set of Cries designed by Lauron, and engraved by Tempest, is a novelty, as the singing of ballads was then but lately become au itinerant profession. The ancient printed ballads have this colophon : ' Printed by A. B., and ' are to be sold at the stalls of the Ballad-singers ; * but Cromwell's ordi- nance against strolling fiddlers, printed in Scobel's collection, silenced these, and obliged the ballad-singers to shut up shop. Chap. CXX. AND PKACTICE OF MUSIC. 5G9 In the same year was published ' Deuteromelia, or ' the second part of Mnsick's Melodie, or melodious ' Mnsicke of pleasant Eoundelaies, K. H. mirth or ' Freemens Songs,* and such delightful Catches, Qui ' canere potest canat, Catch that catch can. London, ' printed for Thomas Adams, dwelling in Paules ' church-yard, at the sign of the White Lyon, 1609.' In this collection there are comparatively but few rounds or catches, it consisting chiefly of songs for three voices, in which all the stanzas are sung to the same tune like this, which is one of them : — moy je vouz en prie : Late - ly come forth of the ^^^i^^^i^^^i =b moy je vouz en prie: Late-ly come forth of the moy je vouz en prie: Late-ly come forth of the * Of this ternij Freemen's Songs no other interpretation can here be given than that of Cotgrave in his Dictionary, where it is used to ex- plain the words Verilay and Round ; and Verilay is elsewhere, by the same author, given as the signification of the word Vaudeville, a country ballad or song, a Roundelay j from Vaudevire, a Norman town, wherein Olivier Bassell, the first inventor of this kind of air, dwelt. For the meaning of the letters K. H. ws are yet to seek. low coun-try, with ne - ver a pen - ny of mo-ny. ^^^^^^^^^^m low coun-try, with ne - ver a pen - ny of mo- low coun-try, with ne - ver a, pen-ny of mo-ny. Here good fellow I drinke to thee, Pardonez moy je vouz en prie : To all good fellowes where ever they be. With never a penny of mony. And he that will not pledge me in this, Pardonez moy je vouz en prie : Payes for the shot what ever it is, With never a penny of mony. Charge it again boy, charge it againe, Pardonez moy je vouz en prie : As long as there is any inoke in thy pen. With never a penny of mony. CHAP. CXX. \ Or musicians who flourished in or about the reign of James I. not heretofore ijarticularly mentioned, the following is a list, including in it notes of their respective publications. John Amnek, bachelor of music, organist of the cathedral church of Ely, and master of the children. There are extant of his composition, Sacred Hymns, of three, four, five, and six parts, for voices and viols, quarto, Lond. 1615; and some anthems, the words whereof are in Clifford's collection. John Attey, gentleman and practitioner in music, was the author of a work entitled, 'The first Booke ' of Ayres of four parts with Tablature for the Lute, ' so made that all the parts may be plaide together ' with the lute, or one voyce with the lute and bass ' violl.' Pol. Lond. 1622. John Baetlett, gentleman, and practitioner in the art of music, was the author of a work with this title, ' A Booke of Ayres with a triplicitie of musicke, ' whereof the first part is for the lute or Orpharion, ' and the viol da Gamba, and 4 parts to sing. The ' second is for trebles to sing to the lute and viole ; ' the third part is for the lute and one voyce, and the ' viole da Gamba.' Fol. Lond. 1606. Thomas Beewer, educated in Christ's Hospital London, and bred up to the practice of the viol, composed many excellent Fantasias for that instru- ment, and was the author of sundry rounds and catches, printed in Hilton's collection, as also of a celebrated song to the words ' Turn Amarillis to thy swain,' published in the earlier editions of Playford's Introduction, in two parts, and in his Musical Com- panion, printed in 1673, in three, and thereby spoiled, as some of the musicians of that day have not scrupled in print to assert. Thomas Campion was the author of two books of Airs, of two, three, and four parts. Wood, in the Fasti Oxon. vol. I. col. 229, styles him an admired C70 mSTOKY OF THE SCIENCE Book XIII. poet and musician, adding. that Camden mentions him together with Spenser, Sidney, and Drayton. In Ferabosco's Aires, published in 1609, are com- mendatory verses signed Thomas Campion Dr. of Pliysic ; there are also prefixed to Coriate's Crudities certain Latin verses by the person, who is^ere stylfed Medicinse Doctor. Farther, the entertainment at the nuptials of Carr with the lady Prances Howard, ap- pears to have been written by Dr. Thomas Campion ; there is also in the Bodleian library a book entitled ' Observations on the Art of English Poesy,' printed in 1602, by Thomas Campion, 12mo. Again, there is extant a work entitled ' Songs bewailing the un- ' timely death of Prince Henry,' written by Dr. Thomas Campion, and set to the viol and lute by Coperario. Lond, 1613, folio. The same person was also the author of ' A new way of making fowre • parts in Counterpoint by a most familiar and in- ' fallible rule,' octavo, printed without a date, biit dedicated to ' Charles, prince of Great Britaine.' * This tract, but under the title of the ' Art of Descant, ' or composing of Musick in parts, with annotations ' thereon by Mr. Christopher Simpson,' is published by way of Appendix to the earlier editions of Play- ford's Introduction. Wood mentions a Thomas Campion, of Cambridge, incorporated master of arts of Oxford, anno 1624, clearly a different person from him above-mentioned ; but, which is strange, he does not so much as hint that Campion the poet and musician was a graduate in any faculty of either university. William Corkinb published ' Ayres to sing and ' play to the Lute and Basse Violl, with Pavins, ' Galliards, Almaines, and Corantes for the Lyra- ' Violl. Fol. Lond. 1610.' In 1612 he published a second part of this work. John Danyel, M.B. of Christ-Church, 1604. He was the author of ' Songs for the Lute, Viol, and Voice, ' in! folio, Lond. 1606,' and is supposed to be the bro- ther of Samuel Daniel, the poet laureate and historian, and the publisher of his works in 1623. Robert Dowland, son of John, was the author of a work entitled 'A Musical Banquet,' folio, printed in 1610. Michael Est, bachelor of music, and master of the choristers of the cathedral church of Litchfield, was the author of sundry collections of Madrigals, and other vocal compositions, and of a madrigal of five parts, printed in the Triumphs of Oriana. His pub- lications are much more numerous than those of any author of his time : one of them, entitled ' The sixt ' Set of Bookes, wherein are Anthemes for Versus, ' and Chorus of' 5 and 6 parts ; apt for Violls and ' Voices,' is dedicated to Williams, bishop of Lincoln, and lord keeper, with an acknowledgement of his be- neficence in granting to the author an annuity for his life. It seems by the epistle that Est was an absolute stranger to the bishop, and that his lordship was * The proof of that sin^lar fact that Campion was a doctor in physic, and not, as some have imagined, a doctor in music, might be rested on the particulars above-mentioned ; but the dedication to this tract fixes it beyond doubt : for the author, after declaring himself to be a physician by profession, apologizes for his oifering * a worke of musicke to his *Highnesseby the example -of Galen,' who he says became an expert musician, and would ' needes apply all the proportions of music to the uncertaine motions of the pulse,' moved to this act of bounty by the hearing of some motetts of Est's composition. It is probable that this person was the son of that Thomas Est who first pub- lished the Psalms in parts, and other works, assuming in many of them the name of Snodham, and the bro- ther of one John Est, a barber, famous for his skill on the Lyra- Viol. John Earsden, together with George Mason com- posed the music in a work entitled ' The Ayres that ' were aung and played at Brougham castle in West- ' moreland, in the King's entertainment, given by the ' right honourable the Earle of Cumberland, and his ' right noble sonne the Lord Clifford.' Fol. Lond. 1618. TjjoMAS FoEb, the name of this person occurs in the list already given of Prince Henry's musicians, and also in certain letters patent purporting to be a grant of pensions or salaries to .sundry of the king's musicians, 2 Car. I. herein after inserted. He was the author of a work entitled ' Musicke of sundre ' kindes, set forth in two books, the first whereof are ' Aires for 4 voices to the Lute, Orpherion, or Basse ' Viol, with a dialogue for two voices, and two basse - ' viols in parts, tunde the lute -way. The second are ' Pavens, Galiards, Almaines, Toies, Jiggs, T'hum:pes,\ ' and such like, for two basse Viols the liera way, so ' made as the greatest number may serve to play alone, ' very easy to be performed.' Fol. Lond. 1607. The same Thomas Ford was the author of some Canons or Rounds printed in John Hilton's collection. Edmund Hooper, organist of Westminster Abbey, and a gentleman of the chapel royal, where he also did the duty of organist. He was one of the authors of the Psalms in four parts, published in 1594, and of sundry anthems in Barnard's Collection. He died July 14, 1621. Robert Jones seems to have been a voluminous composer ; two of the works published by him are severally entitled ' A musical Dreame, or the fourth ' book of Ayres ; the first part for the Lute, two voices, ' and the Violl da Gamba ; the second part is for the ' Lute, the Violl, and four voices to sing ; the third ' part is for one voyce alone, or to the Lute the basse ' Viol, or to both, if you please, whereof two are Italian ' ayres.' Fol. Lond. 1609. ' The Muses Gardin for ' delights, or the fift booke of Ayres ouely for the ' Lute, the basse Violl, and the voyce.' Fol. Lond. 1611. Sir William Leighton, Knight, one of the honor- able band of gentlemen pensioners, published in 1614, ' The Tears or Lamentations of a sorrowful Soul, com- ' posed with musical ayres and songs both for voices and divers instruments.' These are compositions by himself and other authors, of whom an account has already been given. t The word Dump, besides sorrow and absence of mind, which are the two senses which Dr. Johnson gives of it in his Dictionary, has also another, which has escaped him, viz., a melancholy tune; or, as Mr. Steevens, in a note on a passage in Romeo and Juliet, act IV. scene v, conjectures, an old Italian dance ; and considering the very licentious spelling of the time when this collection of Ford was printed, a suspicion might arise that the word Thumpe here noted was no other than the word Dwjjp ; but upon looking into the book, an air occurs, viz., the eleventh, wherein by a marginal note the performer on the lute is directed wherever he meets with one or two points under the letter a, which in the Tablature denotes an open string, to thump it with the first or second finger of the left hand : the use and effect of this strange practice is best known to the performers on the lute. Chap. CXX. AND PEACTICE OF MUSIC. 571- JoHN Maynard, a Intenist, was the author of a work with this title, 'The XII Wonders of the ' World, Bet and composed for the vioU de gamho, ' the Into, and the voyce, to sing the verse, all three ' jointly, and none several ; also lessons for the lute ' and base violl to play alone : with some lessons to ' play Lyra-wayes alone, or if you will to fill up the ' parts mth another violl set lute- way, newly composed ' by John Maynard,lutenist at the famous schoole of St. ' Julian's in Hertfordshire.' Fol. Lond. 1611.- These twelve wonders are so many songs exhibiting the characters of a courtier, a divine, a soldier, a lawyer, a physician, a merchant, a country gentleman, a bache- lor, a married man, a wife, a widow, and a maid. George Mason, see John Earsd^. William Meredith, organist of New College, Oxon. by Wood in his Hist, et Antiquit. Univ. Oxon. lib. II. pag. 157, styled 'Vir pius et facultate sua ' peritissimus,' is there said to have died anno 1637. John Mundy, one of the organists of Queen Eliza- beth's chapel, and also one of the organists of the free chapel of Windsor, was admitted to his bachelor's degree at Oxford in 1586, and to that of doctor in 1624. In the place of organist of Windsor he was the immediate successor of John Marbeck, of whose sufferings for religion, and providential escape from the flames, an account has herein before been given.* He was deeply skilled in the theory and practice of music, and published Songs and Psalms composed into three, four, and five parts, Lond. 1594 ; and was also the author of sundry anthems, the words whereof are printed in Clifford's Collection ; and of a madrigal in the Triumphs of Oriana. He died anno 1630, and was buried in the cloister of St. George's chapel at Windsor. William Mundy. Of this person Wood barely makes mention ; he styles him one Will. Mundy, a noted musician, a composer of services and anthems, but^no graduate. However it has been discovered that he was a composer as early as the year 1591, and was nevertheless the son of the former. In certain verses at the end of Baldwin's MS. cited in page 469 of this work containing the names of the several authors, whose compositions are therein in- serted, are these lines : — I will begine with White, Shepper, Tye, and TaUis, Parfons, Gyles, Mundie th'oulde one of the queenes pallis Mundie yonge, th'ould man's fon - - - - The old Mundy of the queen's palace was un- doubtedly John, for in the Fasti, vol. I. col. 131, he is said to have been in 1586, or afterwards, one of the organists of her majesty's chapel; and Mundy the young is above expressly said to be the old man's son, and there are several compositions in Baldwin's MS. with the name Will. Mundie to them. The deduction from these particulars is, that William Mundy was the son of Dr. John Mundy, one of the * Marbeck ia conjectured to have died about the year 1585, He had a son named Roger, a canon of Christ-Church, Athen. Oxon, vol. I. col. 152, and provost of Oriel college, and the first standing or perpetual orator of the university, and who in 1573 was created doctor in physic, and afterwards was appointed first physician to queen Elizabeth, He died in 1605, and, as Wood conceives, was buried in the church of St. Giles without Cripplegate, London, in which parish he died. Fasti Oxon. vol. I. col, 109. organists of queen Elizabeth's palace, or more pro- perly of her royal chapel at Whitehall, and also organist of the chapel of St. George at Windsor. The name Will. Mundy is set to several anthems in Barnard's Collection, and, by a mistake, which Dr. Aldrich w^s at the pains of detecting, to that anthem of king Henry VIII. before mentioned, ' God the ' maker of all things.' Martin Pieeson or Pearson, was master of the choristers at St. Paul's at the time when John Tomkins was organist there ; he took his degree of bachelor in his faculty in 1613 ; and in 1630 pub- lished a work with this singular title, ' Mottects, or ' grave Chamber Musique, containing Songs of five ' parts of severall sorts, some ful, and some verse and ' chorus, but all fit for voyces *and vials, with an ' organ part ; which for want of organs may be per- ' formed on Virginals, Base-Lute, Bandora or Irish 'harpe. Also a mourning Song of sixe parts for the ' Death of the late Right Honorable Sir Fulke Grevil, ' Knight, composed according to the rules of art by ' M. P. batchelor of musique, 1630.' He died about the latter end of 1650, being then an inhabitant of the parish of St. Gregory, near the said cathedral, and was buried at St. Faith's church adjoining. He bequeathed to the poor of Marsh, in the parish of Dunnington, in the Isle of Ely, an hundred pounds, to be laid out in a purchase for their yearly use. Francis Pilkinqton, of Lincoln college, Oxford, was admitted a bachelor of music anno 1595. He was a famous lutenist, and one of the cathedral church of Christ in the city of Chester. Wood says he was father, or at least near of kin to Thomas Pilkington, one of the musicians of queen Henrietta Maria, cel- ebrated in the poems of Sir Aston Cokaine. See page 493 of this work. He was the author of ' The ' first booke of Songs or Ayres of 4 parts, with ' Tablature for the lute or Orpherion, with the Violl ' da Gamba.' Fol. Lond. 1605. Philip Rosseter. This person was the author of •a work entitled 'A booke of Ayres set foorth to be ' sang to the Lute, Orpherian, and base Violl, by ' Philip Rosseter, lutenist, and are to be sold at his ' house in Fleet-street, neere to the Grayhound.' Fol. Lond. 1601. In the preface to this book the author expresses in a humorous manner his dislike of those ' who to appeare the more deepe and singular in ' their judgment, will admit of no musicke but that • which is long, intricate, bated with fugue, chained ' with sycopation, and where the nature of the word ' is precisely exprest in the note, like the old exploded ' action in comedies, when if they did pronounce ' JUemini, they would point to the hinder part of ' their heads; if Video, put their finger in their eye.' William Stonaed, organist of Christ-Church Oxon. and created doctor in music anno 1608. Besides certain anthems, the words whereof are in Clifford's Collection, he was the author of some compositions communicated by Walter Porter to Dr. John Wilson, BQusic-professor at Oxford, to be reposed and kept for ever among the archives of the music-school. Dr. Stonard was a kinsman either of Dr. Wilson or Porter ; but Wood's account of him is so am- 572 HISTORY OF THE- SCIENCE Book XIIL biguously worded, that this circumstance will apply- to either. Nicholas Strogbrs, an organist temp. James I. ; some services of his are to be found in Barnard's Collection. John Ward was the author of a service and an anthem in Barnard's Collection, and also of Madrigals to three, four, five, and six voices ; and a song lamenting the death of Prince Henry, printed in 1613, and dedicated to Sir Henry Fanshaw, by whom he was highly favoured. Matthew White, of Christ-Church college, Oxon. accumulated doctor in music in 1629; the words of some anthems composed by him are in Clifford's Collection : there was also a Robert White, an eminent church musician, the*composer of several anthems in Barnard's Collection. Morley celebrates one of this name, but whether he means either of these two persons, cannot be ascertained. About the end of James the First's reign, to speak of the progress of it in this country, music received a new and very valuable acquisition in the foundation of a music lecture in the university of Oxford by Dr. William Heyther;* (a Portrait,) the occasion was this : he was an intimate friend of the famous Camden, who having a few years before his decease determined to found a history-lecture in the same university, sent his friend Mr. Heyther with the deed of endowment properly executed to the vice-chancellor Dr. Piers ; this was on the seventeenth day of May, 1622; and Mr. Heyther having for some years before applied himself to the study of music, and signified an intention to be honoured with a degree in that faculty, he, together with his friend Mr. Orlando Gibbons, were suffered to accumulate the degrees both of bachelor and doctor in music ; and on that or the next day, viz., the eighteenth of May, 1622, they were both created doctors.f It seems that there was at Oxford a professorship or music lecture founded by king Alfred, but how en- dowed does not at this distance of time clearly appear, and we find it continued till after the Restoration ; for Anthony Wood, in his life, has given the suc- cession of music-lecturers, as he terms them, from the * His name of his own signature in tlie clieque-l)oij\c is spelt Heyther, notwithstanding which it is frequently spelt Heather and that even by Camden himself, t By the Fasti Oxon. vol. I. col. 221, it appears that Wood had searched in vain to find out whether Orlando Gibbons had been admitted to any degree in music or not j but the following letter from Dr. Piers to Camden, in the Collection of Epistles to and from Camden, published by Dr. Thomas Smith in 1691, pag. 329, is decisive of the question, and proves that Heyther and Gibbons were created doctors on the same day ; — CCLXIII. G. Fiersius. G. Camdeno. ' Worthy Sir, * The university returns her humble thanks to you with this letter. ' We pray for your health and long life, that you may see the fruits of * your bounty. We have made Mr. Heather a doctor in music ; so that * now he is no more Master, but Dr. Heather ; the like honour for your ' sake we have conferred upon Mr. Orlando Gibbons, and made him ' a doctor too, to accompany Dr. Heather. We have paid Mr. Dr. Hea- 'ther's charges for his journey, and likewise given him the Oxford * courtesie, a pair of gloves for himself, and another for his wife. Your * honour is far above all these things. And so desiring the continuance * of your loving favour to the university, and to me your servant, I take * my leave. ' Oxon, 18 May Yours ever to be commanded, '1622. 'WlLIIAM FiEas.' * Mr. Whear shall make his oration this term ; and I shall write •to you from time to time what orders the university will com- 'mend unto your wisdom concerning your history-lecture.' year 1661 to 1681 ; but by his list of their names it does not seem that any of them were musicians ; and perhaps the reading of the old lecture was a matter of form, and calculated merely to preserve the station of music among the liberal sciences. As to that of Dr. Heyther, it was both theoretic and practical, as appears by the following account of the circumstances of its foundation, extracted from the books of the university : — ' This matter was first moved and proposed in a ' convocation held the 5th May, 1626, and afterwards . ' agreed upon by the delegates, and published in the ' convocation-house, as approved by them, together 'with Dr. Heyther's orders about it the 16th of ' November the same yeare ; by his deed, bearing ' date 20 Feb. 2,Cha. I. he gave to the university for ' ever an annuity or yearly rent charge of 16Z. 6s. 8^., ' issuing out of divers parcells of land, situate and ' being within the parish of Chislehurst in Kent, ' whereof ISl. 6s. 8d. is to be employed in the music- ' master's wages, out of which he is to repair the ' instruments and find strings ; and the other 31. is to ' be employed upon one that shall read the theory of ' music once every term, or oftner, and make an ' English music-lecture at the Act time. Unto which ' SI. Dr. Heyther requiring the ancient stipend of 40«. ' that was wont yearly to be given to the ordinary ' reader of music, to be added, or some other sum ' equivalent thereunto, the university thereupon agreed ' in a convocation that the old stipend of the morall ' philosophic reader, which was 45s.. should be con- ' tinned to the music-reader, and so by that addition 'he hath 51. Ss. yearly for his wages.' f The first professor under this endowment was Richard Nicholson, bachelor of music, and organist of Mag- dalen College. The right of electing the professor is in the vice- chancellor, the dean of Christ-Church, the president of Magdalen College, the warden of New College, and the president of St. John's. It further appears by the university books, that Dr. Heyther's professor was required to hold a musical praxis in the music-school every Thursday afternoon, between the hours of one and three, except during the time of Lent ; to promote which he gave to the university an harpsicon, a chest of viols,§ and divers music-books both printed and vsrritten. It is highly probable that Dr. Heyther was moved to this act of beneficence by Camden, who having been a chorister at Magdalen college, Oxford, may be sup- posed to have retained a love for music ;|| and that Camden had a great ascendant over him, might be inferred from the intimate friendship that subsisted between them for many years. They had both em- ployments that obliged them to a residence in West- minster; for Camden was master of Westminster J This stipend was afterwards augmented by Nathaniel Lord Crew, bishop of Durham. § A Chest or set of Viols consisted of six viols, which were generally two basses, two tenors, and two trebles, each with six strings ; they were the instruments to which those compositions called Fantasias were adapted. A more particular description of a chest of viols will be given hereafter. il By his Will published in the Appendix to Hcarne's collection of Discowrses written hy eminent antiquaries, he gives six pounds to the singing men of Hie Collegiate Church of Westminster. Chap. CXX. AND PRACTICE OP MUSIC. 573 Bcliool, and Ileyther a gentleman of the king's chapel. In town they lived in the same house ; and when in 1609 a pestilential disease having reached the house next to Camden and himself, Camden was seized with it, he retired to the house of his friend Heyther at Chislehurst, and by the help of Dr. Gifford, his physician, was cured. But of the friendly regard which Camden entertained for Dr. Heyther, he gave ample testimony, by appointing him executor of his will ; and in the deed executed by Camden on the nineteenth day of March, 1621-2, containing the en- dowment of his history-lecture at Oxford, the grant thereby made of the manor of Bexly in Kent, is subjected to a proviso that the profits of the said manor, estimated at iOOl. a year, should be enjoyed by Mr. William Heyther, his heirs and executors, for the term of ninety-nine years, to commence from the death of Mr. Camden, he and they paying to the history professor 1401. per annum ; at the expiration of which term the estate was to vest in the university. Biog. Brit. Camden, 133, in note. It has been doubted whether Heyther had any skill in music or not, but it appears that he was of the choir at Westminstei-, and that on the twenty-seventh day of March, 1615, he was sworn a gentleman of the royal chapel. Farther, it appears by the Fasti Oxon. that on the fifth day of July, 1622, a public dis- putation was proposed, but omitted to be held between him and Dr. Nathaniel Giles on the following ques- tions : 1. Whether discords may be allowed in music ? Affirm. 2. Whether any artificial instru- ment can so fully and truly express music as the natural voice ? Negat. 3. Whether the practice be the more useful part of music, or the theory ? Affirm. That he had little or no skill in practical com- position may fairly be inferred from a particular which Wood says he had been told by one or more eminent musicians, his contemporaries, viz., that the song of six or more parts, performed in the Act for Heyther, was composed by Orlando Gibbons.* Dr. Heyther was born at Harmondsworth, in Mid- dlesex ; he died the latter end of July, 1627, and was buried on the first of August in the broad or south aisle, joining to the choir of Westminster abbey. He gave to the hospital in Tothill-Fields, Westminster, one hundred pounds, as appears by a list of bene- factions to the parish of St. Margaret in that city, printed in the JVem View of London, pag. 339. There is now in the music-school at Oxford a picture of Dr. Heyther in his gown and cap, with the book of madrigals, intitled Musica Transalpina, in his hand ; from this picture the portrait of him is taken. Orlando Gibbons, fa Portrait,) a native of Cambridge, was, as Wood says, accounted one of the rarest musicians and organists of his time. On the thirty-first day of March, 1604, he was appointed organist of the chapels royal in the room of Arthur Cock : some of his lessons are to be found in the col- lection herein before spoken of, intitled Parthenia. * A manuscript copy of the exercise for Dr. Heytlier's degree has been found, with the name of Orlando Gibbons to it. It is an anthem for eight voices, talcen from the forty-seventh Psalm, and appears to be the very same composition with the anthem of Orlando Gibbons to the ■words ' O clap your hands together, all ye people,' printed in Dr. Boyce's Cathedral Music, vol. II. pag. 59. He published Madrigals of five parts for Voices and Viols. Lond. 1612.f But the most excellent of his works are his compositions for the church, namely, services and anthems, of which there are many extant in the cathedral books. One of the most celebrated of his anthems is his Hosanna, one of the most perfect models for composition in the church-style of any now existing ; and indeed the general characteristic of his music is fine harmony, unaffected simplicity, and unspeakable grandeur. He also composed the tunes to the hymns and songs of the church, trans- lated by George Withers, as appears by the dedication thereof to king James I. ; they are melodies in two parts, and in their kind are excellent. It ha-s been for some time a question whether Orlando Gibbons ever attained to either of those academical honours due to persons of eminence in his pro- fession ; but it appears most evidently by the letter inserted in the preceding article of Dr. Heyther, that on the seventeenth, or at Jhrthest the eighteenth of May, 1622, he accumulated the degrees of bachelor and doctor in his faculty ; as also that this honour was conferred on him for the sake of Camden, who was his intimate friend. In 1625, being commanded to Canterbury to attend the solemnity of the marriage of Charles I. and Henrietta of France, upon which occasion he had composed the music, he was seized with the small-pox, and died on Whit-Sunday in the same year, and was buried in the cathedral church of Canterbury; his Avidow Elizabeth erected a monument over his grave with the following inscription : — ' Orlando Gibbons Cantabrigi^ inter Musas et ' Musicam nato, sacrae R. Capellse Organistae, Sphee- ' rarum Harmonise Digitorum : pulsu asmulo Can- ' tionum complurium qu»que eum non canunt minus ' quam canuntur conditori ; Viro integerrimo et cujus ' vita cum arte suavissimis moribus concordissimS ' certavit ad nupt. C. R. cum M. B. Dorobern. accito ' ictuque heu Sanguinis Crudo et crudeli fato extincto, ' choroque ccelesti transcripto die Pentecostes A. D. N. ' MDCXXV. Elizabetha conjux septemque ex eo ' liberorum parens, tanti vix doloris superstes, mseren- ' tissimo mserentissima. P. vixit A. M. D.' :|: Over his monument is a bust with the arms of Gibbons, viz., three scadops on a bend dexter, over a lion rampant. Dr. Orlando Gibbons left a son named Christopher, an excellent organist, who will be spoken of hereafter. He had two brothers, Edward and Ellis, the one organist of Bristol, the other of Salisbury. Edward was a bachelor of Cambridge, and incorporated at Oxon in 1592. Besides being organist of Bristol, he was priest-vicar, sub-chanter, and master of the choristers in that cathedral. He was sworn a gen- tleman of the chapel March 21, 1604, and was master to Matthew Lock. In the triumphs of Oriana are two t In the dedication of the book to Sir Christopher JIatton, the author says that they were composed in the house of his patron ; and that Sir Christopher furnished the words. This person was a collateral descendant of the Lord Chancellor Hatton : he died l^th Sept. 1619, and lies interred in St. John Saptist'Sf otherwise Jolip's Chapel, in Westminster Abbey, t The letters A. M. D. signify Annos, Menses, Dies, they were in- tended to have been placed at a distance from each other and to be filled up ; hut Mr. Dart, author of the antiquities of Canterbury Cathedral, has given a translation of the inscription, in which vixit A. M. D. is rendered ' he lived 1 500." Wood says he was not quite forty-five wlren he died. 674 HISTOKY OF THE SCIENCE Book XIII. madrigals the one in five, the other in six parts, com- posed by Ellis Gibbons. Wood styles him the admired organist of Salisbury. Of Edward it is said that in the time of the rebellion he assisted king Charles I. with the sum of one thousand pounds ; for which instance of his loyalty he was afterwards very severely treated by those in power, who deprived him of a considerable estate, and thrust him and three grand-children out of his house, though he had then numbered more than fourscore years. Nathaniel Giles was born in or near the cit}- of Worcester, and took the degree of bachelor in 1585 ; he was one of the organists of St. George's chapel at Windsor, and master of the boys there. Upon the decease of William Hunnis, in 1597, he was appointed master of the children of the royal chapel, and was afterwards one of the organists of the chapel royal to king Charles I. He composed many excellent services and anthems. In 1607 he supplicated for the degree of doctor in his faculty, but for some nn- Imown reason he declined performing the exercise for it till the year 1622, when he was admitted to it, at which time it was proposed that he should dispute with Dr. Heyther upon the certain questions, men- tioned in the account above given of Dr. Heyther, but it does not appear that tlie disputation was ever held. Dr. Giles died January 24, 1633, aged seventy-five, and was buried in one of the aisles ad- joining to St. George's Chapel at Windsor, under a stone with an inscription to his memory, leaving behind him the character of a man noted as well for his religious life and conversation, as his excellence in his faculty. He lived to see a son of his, named Nathaniel, a canon of Windsor and a prebendary of Worcester ; and a daughter Margaret diposed of in marriage to Sir Herbert Croft, bishop of Hereford: she was living in the year 1695. Upon the accession of Charles I. to the crown, Nicholas Laniere was appointed master of the king's music ; and in Rymer's Foedera, tom. XVIII. pag. 728, is the following grant in favour of him and other musicians, servants of the king : — ' Charles, by the grace of God, &c. To the ' treasurer and under -treasurer of our exchequer ' nowe being, and that hereafter for the tyme shall be, ' greetinge, Whereas wee have beene graciously ' pleased, in consideration of service done, and to be ' done unto ns by sundrie of our musicians, to graunt ' unto them the severall annuities and yearly pensions ' hereafter following, (that is to say) to Nicholas ' Laniere master of our music two hundred poundes ' yearly for his wages, to Thomas Foord fourscore ' poundes yearly for his wages, that is, for the place ' which he formerly held, fortie poundes yearely, and ' for the place which John Ballard late deceased, held, ' and now bestowed upon him the said Thomas Foord ' fortie poundes yearly, to Eobert Johnson yearely for ' wages fortie poundes and for stringes twentie poundes ' by the yeare, to Thomas Day yearely for his wages ' fortie poundes and for keeping a boy twenty-fower ' poundes by the yeare, also to Alfonso Ferabosco, ' Thomas Lupo, John Laurence, John Kelly, John 'Cogshall, Eobert Taylor, Eichard Deering, John ' Drewe, John Laniere, Edward Wormall, Angelo ' Notary, and Jonas Wrench, to everie of them fortie ' poundes a peece yearly for their wages, and to ■ Alfonso Bales and Eobert Marshe, to each of them ' twentie poundes a-peece yearely for their wages. 'Theis are therefore to will and command you, ' out of our treasure in the receipt of our exchequer, ' to cause payment to be made to our said musicians ' above-mentioned, and to every of them severally ' and respectively, the said severall annuities and • allowances, as well presently upon the sight hereof ' for one whole year ended at the feast of th' Annun- ' ciation of the blessed Virgin Mary last past before ' the date hereof, as alsoe from the feast hitherto, and ' soe from tyme to tyme hereafter at the fower usuall ' feasts or termes of the yeare, (that is to say) at the ' feast of the Nativity of St. John the Baptist, St. ' Michael, th' Archangell, the birth of our Lord God, ' and th' Annunciation of the blessed Virgin Mary, ' by even and equall portions, during their natural! ' lives, and the lives of everie of them respectively, ' together with all fees, profitts, commodities, allow- ' ances and advantages whatsoever to the said places ' incident and belonging, in as large and ample raan- ' ner as any of ouc musicians in the same places ' heretofore have had and enjoyed the same ; and ' theis presents, or the inrollment thereof, shall be ' your sufficient warrant and dischardge in this be- ' halfe. In witnes whereof, &c. Witnes ourself at Westminster, the eleaventh day of July. ' Per breve de privato sigillo, &c.' Charles Butler, a native of Wycomb in the county of Bucks, and a master of arts of Magdalen College, Oxford, published a book with this title, ' The Principles of Musik, in singing and setting : ' with the twofold use thereof, ecclesiasticall and ' civil.' quarto, Lond. 1636. The author of this book was a person of singular learning and ingenuity, which he manifested in sundry other works, enu- merated by Wood in the Athen. Oxon. among the rest is an English grammar, published in 1633, in which he proposes a scheme of regular orthography, and makes use of characters, some borrowed from the Saxon, and others of his own invention, so sin- gular, that we want types to exhibit them. And of this imagined improvement of his he appears to have been so fond, that all his tracts are printed in like manner with his grammar ; * the consequence whereof has been an almost general disgust of all that he has written. His Principles of Music is however a very learned, curious, and entertaining book ; and, by the help of the advertisement from the printer to the reader, prefixed to it, explaining the powers of the several characters made use of by him, may be read to great advantage, and may be considered as a judi- cious supplement to Morley's Introduction. Its con- tents are in the general as follows : — Lib. I. cap. 1. Of the moodes : these the author makes to be five, following in this respect Cassiodorus, and ascribing to each a different character and effect ; ♦ A specimen of his orthography is inserted in Dr. Johnson's grammai prefixed to his Dictionary. Chap. CXXI. AND PRACTICE OP MUSIC. 575 their names are the Doric, Lydian, jEolic, Phrygian, and Ionic. Cap. 2. Of Singing; and herein of the number, names, tune, and time of the notes, with their external adjuncts. Cap. 3. Of Setting, and herein of the parts of a song, of melody, harmony, intervals, concords, and discords, with the consecution of each : Of Ornaments, that is to say. Syncope, fugue, and formality. Cap. 4. Of the two ways of setting, that is to say, in counterpoint and in discant. Lib. II. cap. 1. Of instruments and of the voice. Of ditty-music, and of mixt music, in which instru- ments are associated with the voice. Cap. 2. Of the divine use of music. Of the continuance of church- music ; of objections against it. Of the special uses of divine music, with an apostrophe to our Levites. Cap. 3. Of the allowance of civil music, with the special uses thereof, and of the objections against it. Epilogue. This book abounds with. a great variety of curious learning relating to music, selected from the best writers ancient and modern, among which latter the author appears to have held Sethus Calvisius in high estimation. CHAP. CXXI. Otje church-music, through the industry of those who had set themselves to recover and collect the works of such musicians as flourished about the time of the Reformation ; and the learning and ingenuity of those their successors who had laboured in pro- ducing new compositions, was by this time arrived at so high a degree of improvement, that it may be questioned, not only whether it was not then equal to that of any country; but whether it is if not even now, so near perfection, as to exclude the expectation of ever seeing it rivalled : and it is worthy of remark, that in the compositions of Tye, Tallis, Bird, Farrant, Gibbons, and some others, all that variety of melody, harmony, and fine moduktion are discoverable, which ignorant people conceive to be the effect of modern refinement, for an instance whereof we need not seek any farther than to the anthem of Dr. Tye, ' I will exalt thee,' which a stranger to the music of our church would conceive to be a composition of the present day rather than of the sixteenth century. The same may be said of most of the compositions in the Cantiones Sacraj of Tallis and Bird, and the Cantiones Sacrarum and Gradualia of the latter, which abound with fugues of the finest contexture, and such descant, as, in the opinion of a very good judge, entitle them to the character of angelical and divine. These considerations, aided by the disposition which Charles I. had manifested towards the church, and the favour shown by him to music and its professors, were doubtless the principal inducement to the pub- lication in the year 1641, of a noble collection of church-music by one John Barnard, a minor canon of St. Paul's cathedral, the title whereof is as follows: — ' The first book of selected Church-music, consist- ' ing of services and anthems, such as are now used ' in the cathedral collegiate churches of this kingdom, ' never before printed, whereby such books as were 'heretofore with much difficulty and charges tran- ' scribed for the use of the quire, are now, to the ' saving of much labour and expence, published for ' the general good of all such as shall desire them ' either for publick or private exercise. Collected ' out of divers approved authors by John Barnard, ' one of the Minor Canons of the cathedral church ' of Saint Paul, London. London, printed by Edward ' Griffin, and are to be sold at the slgne of the Three ' Lutes in Paul's alley. 164:1.' The contents of this book are services for morn- ing and evening, and the communion, preces, and responses by Tallis, Strogers, Bevin, Bird, Orlando Gibbons, William Mundy, Parsons, Morley, Dr. Giles, Woodson; the Litany by Tallis, and anthems in four, five, and six parts, to a great number, by Tallis, Hooper, Farrant, Shepheard, Will. Mundy, Gibbons, Batten, Dr. Tye, Morley, Hooper, White, Dr. Giles, Parsons, Weelkes, Dr. Bull, and Ward : and here it may not be amiss to remark, that in this collection the anthem ' God the maker of all things,' is ascribed to William Mundy, contrary to the opinion that has ever been entertained. It was probably this book that set Dr* Aldrich upon an inquiry after the fact, which terminated in a full conviction, founded upon evidence, that it is a composition of Henry VIII. The book is dedicated to king Charles I. consider- ing which, and the great expence and labour of such a publication, it might be conjectured that his majesty had liberally contributed towards it; but the contrary is so evident from a passage in the preface, where the author speaks of the charges of the work as an adventurous enterprize, that we are left at a loss which to commend most, his zeal, his industry, or the liberality of his spirit. For not to mention the labour and expence of collecting and copying such a number of musical compositions as fill a folio volume, not only the music, but the letter-press types appear to have been cast on purpose, the latter of which are in the character called by writing- masters, Secretary; with the initial letters in German text of a large size and finely ornamented. A few years after the publication of Barnard's Collection, another was printed with this title, ' Musica ' Deo sacra et Ecclesias Anglicanse, or music dedicated ' to the honour and service of God, and to the use ' of cathedrals and other churches of England, espe- ' cially the chapel royal of king Charles I.' in ten books by Thomas Tomkins, bachelor of music, of whom an account has before been given.* This work consists of a great variety of services of different kinds, and anthems from three to ten parts, all of the author's own composition, many whereof are in great estimation.! There was great reason to expect that the publi- cations above-mentioned would have been followed " See page 507 of tliis work. t It is much to be lamented that the thought of printing them in score did not occur to the publishers of these several collections ; the con- sequence is, that, by the loss of part of the book, they at this day can scarcely he said to exist. Some years ago diligent search -was made for a complete set of Barnard's books, and in all the kingdom there was not one to be found ; the least imperfect was that belonging to the choir of Hereford, but in this the boys' parts were defective. 576 HISTORY OF THE SCIENCE Book XIII, by others of the like kind not less valuable ; but the Puritans, who had long been labouring to abolish the liturgy, had now got the reins of government into their hands, and all hopes of this kind were frustrated by an ordinance which passed the House of Lords January 4, 1644:, repealing the statutes of Edward VI. and Elizabeth, for uniformity in the Common Prayer ; and ordaining that the book of Common Prayer should not from thenceforth he used in any church, chapel, or place of public worship within the kingdom of England or dominion of Wales ; but that the directory for public worship therein set forth, should be thenceforth used, pursued, and observed in all exercises of the public worship of God* The directory referred to by the above ordinance was drawn up by the assembly of divines at West- minster,! who were the standing council of the par- liament in all matters concerning religion ; the pre- face represents the use of the liturgy or service-book as ' burdensome, and a great hindrance to the preach- ' ing of the word, and that ignorant and superstitious ' people had made an idol of common prayer, and, ' pleasing themselves in their presence at that service, ' and their lip-labour in bearing a part in it, had ' thereby hardened themselves in their ignorance and ' carelessness of saving knowledge and true piety. ' That the liturgy had been a great means, as on the ' one hand to make and increase an idle unedifying ' ministry, which contented itself with set forms made ' to their hands by others, without putting forth them- ' selves to exercise the gift of prayer, with which our ' Lord Jesus Christ pleaseth to furnish all his servants ' whom he calleth to that office ; so on the other side it ' had been, and ever would be, if continued, a matter ' of endless strife and contention in the church.' For these and other reasons contained in the preface, which represent the hearing of the word as a much more important duty of religion than prayer or thanksgiving, the directory establishes a new form of divine worship, in which the singing of Psalms is all of music that is allowed ; concerning which the fol- lowing are the rules : — ' It is the duty of Christians to praise God pub- ' lickly by singing of psalms, together in the congre- ' gation, and also privately in the family. In singing ' of psalms the voice is to be tuneably and gravely ' ordered ; but the chief care must be to sing with ' understanding and with grace in the heart, making ' melody unto the Lord. That the whole congre- ' gation may join herein, every one that can re^d is ' to have a psalm-book, and all others, not disabled ' by age or otherwise, are to be exhorted to leajto to ' read. But for the present, where many in tile con- ' gregation cannot read, it is convenient that the ' minister, or some fit person appointed by him and ' the other ruling officers, do read the psalm line by ' line before the singing thereof.' The objection of the Puritans to the use of in- strumental Music in holy offices is, that it is loth Jewish and Popish : upon which it may he remarked that the same may respectively be said of one at least • Rushw. part II. vol. II. page 839. 1 t Pref. to vol. III. of Neal's Hist, of the Puritans. of the ten Commandments and of the Lor^s Prayer; and Sir Edward Deering, mho had the meHt of bringing into the House of Commons the Bill for the abolition of Epucopacy, in the true spirit of his party has asserted in print that one single groan in the Spirit is worth the Diapason of all the Chwrch music in the world. See his Declaration and Pe- tition to the House of Commons, Lond. 1644. The Directory seems to have compounded the matter by allowing the singing of Psalms, but has left it as a question to be agitated in future, whether the use of Organs in Divine worship be lawful or not ; ac- cordingly upon the Restoration of the Liturgy and the use of Organs in 1660, the Non-conformists de- clared against all instrumental music in Churches, and gave occasion to the publication of a discourse entitled ' The well-tuned Organ,' by one Joseph Broohband, a Clergyman, 4do, 1660, wherein the question is fully discussed and the Affirmative main- tained. In 1679, Dr. Edward Wetenhall, then Chanter of Christ Church, Dublin, and afterwards Bishop ofKilmore and Ross, published a discourse of Gifts and Offices, i.e. Prayer, Singing and Preaching, in the worship of God, Qvo. wherein the usage in the establislied church with respect to the points in question is with great learning and judg- ment defended. In 1698, upon tlie erection of an organ in the Parish Church of Tiverton, in the County of Devon, a sermon was preached by one Mr. Nemte, which produced an anonymous answer in Ato, 1698. This was followed by a discourse concerning the rise and antiquity of Cathedral Worship, in a letter to a friend first printed in 1699, aoid afterwards in a collection of Tracts on the growth of Deism and other subjects, 8vo. 1709. This discourse includes a very severe censure of the practice in question; hut was suffered to remain without animadversion. In 1700, the learned Mr. Henry Dodwell published a treatise concerning the lawfulness of wjusic in holy offices, in an octavo volume; the preface written by the above Mr. Newte is a formal reply to the answer to the sermon; and for upwards of four-score years this controversy, which began between Cartright and Hooher, has been at rest. Vide first note in chap. cxxv. Thus was the whole fabric of the liturgy subverted, and the study of that kind of harmony rendered use- less, which had hitherto been looked upon as a great incentive to devotion. That there is a tendency in music to excite grave, and even devout, as well as lively and mirthful affections, no one can doubt who is not an absolute stranger to its efScacy ; and though it may perhaps be said that the effects of music are mechanical, and that there can be nothing pleasing to God in that devotion which follows the involuntary operation of sound on the human mind : this is more than can be proved ; and the scripture seems to inti- mate the contrary. The abolition of the liturgy was attended not barely with a contempt of those places where it had been usually performed ; but by a positive exertion of that power which the then remaining reliques of the legis- Chap. CXXI. AND PEACTIOE OF MUSIC. 577 lature had usurped, the Common Prayer had been de- clared by public authority to be a Buperstitious ritual. In the opinion of these men it therefore became necessary for the promotion of true religion that or- gans should be taken down ; that choral music-books should be torn and destroyed ; that painted glass win- dows should be broken ; that cathedral service should be totally abolished, and that those retainers to the church whose duty it had been to celebrate its more solemn service, should betake themselves to some em- ployment less offensive to God than that of singing his praises. In consequence of these, which were the predominant opinions of those times, collegiate and parochial churches were spoiled of their ornaments ; monuments were defaced ; sepulchral inscriptions en- graven on brass were torn up ; libraries and reposi- tories were ransacked for ancient musical service- books, and Latin or English, popish or protestant, they were deemed equally superstitious and ungodly, and as such were committed to the flames or other- wise destroyed, and, in short, such havoc and devas- tation made, as could only be equalled by that which attended the suppression of religious houses under Henry VIII. The sentiments of these men, who, to express the meekness and inoffensiveness of their dispositions, had assumed the name of Puritans, with respect to the reverence due to places set apart for the purpose of religious worship, were such as freed them from all restraints of common decency : that there is no inherent holiness in the stones or timbers that com- pose a cathedral or other church ; and that the cere- mony of consecration implies nothing more than an exemption of the place or thing which is the subject of it from vulgar and common use, is agreed by the sober and rational kind of mankind ; and on the minds of such the ceremonies attending the dedi- cation of churches have operated accordingly ; but, as if there had been a merit in contradicting the common sense and opinion of the world, no sooner were these men vested with the power, than they found the means to level all distinctions of place and situation, and to pervert the temples of God to the vilest and most profane uses. To instance in one particular ; the cathedral church of St. Paul was turned into horse-quarters for the sol- diers of the parliament, saving the choir, which was separated by a brick wall from the nave, and con- verted into a preaching place, the entrance to which was at a door formerly a window on the north side eastwards.* Hitherto many of the citizens and others were used to resort to hear Dr. Cornelius Burgess, who had an assignment of four hundred pounds a year out of the revenue of the church, as a reward for his sermons, which were usually made up of in- vectives against deans, chapters, and singing-men, against whom he seemed to entertain a great anti- pathy .f The noble Corinthian portico at the west end, designed by Jones, was leased out to a man of a projecting head, who built in it a number of small shops, which were letten by him to haberdashers, » Dugdale's Hist, of St. PauFs Cathedral, pag. 173 t Mhen. Oxon. vol. II. col. 347. glovers, semsters, as they were then called, or mil- liners, and other petty tradesmen, and obtained the name of St. Paul's Change. Of musicians of eminence who flourished in the reign of king Charles I. the following are among the chief : — EicHARD Deeking was descended from an ancient family of that name in Kent. He was bred up in Italy, where he obtained the reputation of a most admirable musician. On his return to England, he practised for some time, but being straightly importuned, he became organist to the monastery of English nuns at Brussels ; upon the marriage of king Charles I. he was appointed organist to his consort Henrietta Maria, in which station he con- tinued till he was compelled to leave England : he took the degree of bachelor of music as a member of Christ-Church college, Oxon, in 1610; he has left of his composition ' Cantiones sacrse quinque vocum, ' cum basso continue ad Organum.' Antwerp, 1597 ; and ' Cantica sacra ad melodiam madrigalium elabo- ' borata senis vocibus.' Antwerp, 1618. He died in the communion of the church of Rome about the year 1657. John Hingston, a scholar of Orlando Gibbons, J was organist to Oliver Cromwell, who as it is said, had some affection for music and musicians.§ , King- ston was first in the service of Charles I. but for a pension of one hundred pounds a year he went over to Cromwell, and instructed his daughters in music. He bred up under him two boys, whom he taught to sing with him Deering's Latin songs, which Cromwell greatly delighted to hear, and had often performed before him at the Cock-pit at Whitehall. He had concerts at his own house, at which Cromwell would t Anthony Wood, from whose manuscript in the Ashraolean Museum the ahove account is partly taken, was not able to fill up the blank which he left therein for the name of Kingston's master ; but a manu- script in the hand-writing of Hingston, now extant, ascertains itl This relic is thus inscribed : — ' My Masters Songs in score with some Fanta- ' zias of 6 parts of my own.' The Fantazias stand first in the book, and are about six in number, some subscribed Jo. Hingston, Jan. 1640, and other dates ; the songs are subscribed Orlando Gibbons. Hence it is to be inferred that Orlando Gibbons was the master of Hingston : and this supposition is corroborated by the following anecdote, communicated by one of Hingston's descendants now living, to wit, that the Christian name Orlando, for reasons which they have hitherto been ignorant of, has in several instances been given to the males of the family. Note, that in the MS. above-mentioned one of Gibbons's songs has this memo- randum, ' Made for Prince Charles to be sung with 5 voices to his wind * instrument.' § There are many particulars related of Cromwell, which show that he was a lover of music: indeed Anthony Wood expressly asserts it in his life of himself, pag. 139, and as a proof of it relates the following story ; — *A. W. had some acquaintance with James Qvin, M.A. one of the ' senior students of Christ Church, and had several times heard him *sing with great admiration. His voice was a bass, and he had a great * command of it ; t'was very strong, and exceeding trouling, but he * wanted skill, and could scarce sing in consort. He had been turn'd out * of his student's place by the visitors, but being well acquainted with ' some great men of those times that loved musick, they introduced him * into the company of Oliver Cromwell the protector, who loved a good 'voice and instrumental musick well. He heard him sing with very * great delight, liquor'd him with sack, and in conclusion said, " Mr. *• Quin, you have done very well, what shall I do for you ? " To which ' Quin made answer with great complements, of which he had command, * with great grace, " That your Highness would be pleased to restore me " to my student's place ; " which he did accordingly, and so kept it to ' his dying day.' Cromwell was also fond of the music of the organ, as appears from the following remarkable anecdote : — In the grand rebellion, when the organ at Magdalen college in Oxford among others was taken down, Cromwell ordered it to be carefully conveyed to Hampton-Court, where it was placed iu the great gallery ; and one of Cromwell's favourite amusements was to be entertained with this instrument at leisure hours. It con- tinued there till the Ilestoral^on, when it was returned to its original owners, and was the same that remained in the choir of that college till within these last thirty years. Observations on the Fairy Queen of Spenser bv Tho. Warton. Lorid. 1772, vol. II. pag. 236, in not. 578 HISTORY OF THE SCIENCE Book XIII. often be present. In one of these musical entertain- ments Sir Roger L'Estrange happened to be a per- former, and Sir Roger not leaving the room upon Cromwell's coming into it, the Cavaliers gave him the name of Oliver's fiddler ; but in a pamphlet entitled Truth and Loyalty vindicated, Lond. 1662, he clears himself from the imputation which this reproachful appellation was intended to fix on him, and relates the story in the words following : — ' Concerning the Story of the fiddle, this I suppose ' might be the rise of it. Being in St. James's park, ' I heard an organ touched in a little low room of one ' Mr. Hinckson's ; I went in, and found a private ' company of five or six persons : they desired me to ' take up a viole and bear a part, I did so, and that a ' part too, not much to advance the reputation of my ' cunning. By and by, without the least colour of a ' design or expectation, in comes Cromwell. He ' found us playing, and as I remember so he left us.' Hingston was Dr. Blow's first master, though the inscription on Blow's monument takes no notice of it, but says that he was brought up under Dr. Christopher Gibbons. He had a nephew named Peter, educated under Purcell, and who was organist of Ipswich, and an eminent teacher of music there and in that neigh- bourhood. A picture of John Hingston is in the music-school, Oxon. John Hilton, (a Portrait,) a bachelor in music of the university of Cambridge, was organist of the church of St. Margaret, Westminster, and also clerk of that parish.* He was the author of a madrigal in five parts, printed in the Triumphs of Oriana. In 1627 he published Fa La's for three voices ;f and in 1652, ' A choice Collection of Catches, Rounds, and Canons for 3 or 4 voyces,' containing some of the most excellent compositions of this kind any where extant, many of them by himself, the rest by the most eminent of his contemporaries. There are extant in the choir-books of many cathedrals a morning and evening service of Hilton's composition, but they were never printed. He died in the time of the usurpation, and was buried in the cloister of the abbey-church of Westminster, with the solemnity of an anthem sung in the church before his corpse was brought out for interment ; an honour which he well deserved, for, though not a voluminous composer, he was an ingenious and sound musician. William Lawes, the son of Thomas Lawes, a vicar-choral of the church of Salisbury, and a native of that city, having an early propensity to music, was, at the expence of Edward earl of Hertford, • These two offices may seem incompatible, hut upon searching the Parish Boohs it is found. The antient usage of the Parish of St. Margaret was to elect two persons to the office of Parish Clerk, and one of them to thai of Organist. Hilton was elected Parish Clerk and Organist in 1628, and in the account of ike Chwchwardens his salary as Clerk is cliarged at £6. 13». id. (yr ten Marks a year : his salary for officiating in the latter capacity does not appear. It is supposed that his employment of Organist ceased in \Mi ; for in that year by an ordinance of Parliament, Organs were taken down; and the cliwrcJi seems to have been without one till after the Restoration, when Father Smith was employed to build that which is now in the above chwch, and was himself in 1676 elected Organist with a salary of £20. a year. It appears by the Parish Books, that, while the church was without an organs it was the usage there to read, and not to sing the singing Psalms. t Fa La's are short songs set to music, -with a repetition of those syllables at the second and fourth line, and sometimes only at the end of every stanza. Motley composed many songs of this kind, but none equal to those of Hilton, which are remarkable for the goodness of the melody. educated under Coperario. He was first of the choir at Chichester, but was called from thence, and on the first day of January, 1602, was sworn a gentleman of the royal chapel. On the sixth day of May, 1611 he resigned his place in favour of one Ezekiel Wood, and became one of the private musicians to king Charles I. Fuller says he was respected and beloved of all such persons who cast any looks towards virtue and honour ; and he seems to have been well worthy of their regard : his gratitude and loyalty to his master appear in this, that he took up arms for the king against the parliament, and though, to exempt him from danger, the general, Lord Gerrard, made him a commissary, yet the activity of his spirit dis- dained that security which was intended for him, and at the siege of Chester, in 1645, he lost his life by a casual shot. The king was so affected at his loss, that it is said he wore a particular mourning for him.:}: His compositions were for the most part Fantasias for viols and the organ. His brother Henry, in the preface to a joint work of theirs, hereunder men- tioned, asserts that he composed above thirty several sorts of music for voices and instruments, and that there was not any instrument in use in his time but he composed so aptly to it as if he had only studied that. Many songs of his are to be met with in the collections of that day ; several catches and rounds, and a few canons of his composition are published in Hilton's Collection, but the chief of his printed works are, ' Choice Psalms put into Musick for three voices,' with a thorough-bass, composed to the words of Mr. Sandys's paraphrase, by him in conjunction with his brother Henry, and published in 1648, with nine canons of William Lawes printed at the end of the thorough-bass book. Henry Lawes, (a Fortrait,) the brother of the former. Of his education little is known, except that he was a scholar of Coperario. By the cheque-book of the chapel royal it appears that he was sworn in Pisteller on the first day of January, 1625, and on the third of November following a gentleman of the chapel ; after that he was appointed clerk of the cheque, and of the private music to king Charles I. Lawes is celebrated for having first introduced the Italian style of music into this kingdom, upon no better pretence than a song of his, the subject where- of is the story of Theseus and Ariadne, being the first among his Ayres and Dialogues for one, two, and three voices, Lond. fol. 1653, wherein are some passages which a superficial reader might mistake for recitative. The book however deserves par- ticular notice, for it is published" with a preface by Lawes himself, and commendatory verses by Waller, t The following quibbling lines were written on occasion of his death ; — On Mr. William Lawes, Musician, slain at the siege of West Chester. Concord is conqtter'd; in this urn there lies The Master of great Music's Mysteries; And in it is a riddle like the cause. Will. Lawes was slain by those whose Wills were Laws. Who was the author of them is hardly worth enquiry; but it may be noted, that among the commendatory verses pr^xed to the second edition of Playford's Musical Companion, printed in 1673, are certain lines written by Thomas Jordan, wherein is this couplet — When by the fury of the good old cause. Will. Lawes was slain by such whose Wills were Laws. This Thomas Jordan was a Dramatic Poet and a composer of city pageants: there is an article for him in Langbaiae's account of the Eng- lish Uramatic Poets, page 306. Chap, OXXI. AND PRACTICE OF MUSIC. 579 Edward and John Phillips, the nephews of Milton, and other persons ; besides, that the songs are, for the poetry, some of the best compositions of the kind in the English language ; and, what is remarkable, many of them appear to have been written by young noblemen and gentlemen, of whose talents for poetry there are hardly any other evidences remaining ; some of their names are as follow : Thomas earl of Winchelsea, William earl of Pembroke, John earl of Bristol, lord Broghill, Mr. Thomas Carey, a son of the earl of Monmouth, Mr. Henry Noel, son of lord Camden, Sir Charles Lucas, supposed to be he that together with Sir George Lisle was shot at Colchester after the surrender of the garrison ; and Carew Raleigh, the son of Sir Walter Raleigh. In the preface to this book the author mentions his having formerly composed some airs to Italian and Spanish words ; and speaking of the Italians, he acknow- ledges them in general to be the greatest masters of music : yet he contends that this nation had produced as able musicians as any in Europe. He censures the fondness of the age for songs sung in a language which the hearers do not understand : and to ridicule it, mentions a song of his own composition, printed at the end of the book, which is nothing else than an index containing the initial words of some old Italian songs or madrigals ; and this index, which read to- gether made a strange medley of nonsense, he says he set to a varied air, and gave out that it came from Italy, whereby it passed for an Italian song. In the title-page of this book is a very fine engraving of the author's head by Faithorne, a copy whereof, with the inscription under it, is inserted in the Portrait volume. The first composition in this book is the Complaint of Ariadne, written by Mr. William Cartwright of Christ-Church college, Oxon. The music is neither recitative nor air, but is in so precise a medium between both, that a name is wanting for it. The song is in the key of C, with the minor third, and seems to abound with semitonic intervals, the use of which was scarcely known at that time. Whether it was this singular circumstance, or some other less obvious, that contributed to recommend it, cannot now be discovered, but the applauses that attended the publication of it exceed all belief. In the year 1633, Henry Lawes, together with Simon Ives, were made choice of to compose the airs, lessons, and songs of a masque presented at Whitehall on Candlemas-night before the king and queen by the gentlemen of the four inns of court, under the direction of Noy the attorney-general, Mr. Edward Hyde, afterwards earl of Clarendon, Mr. Selden, Bulstrode Whitelocke,* and others. Of this ridi- * Whitelocke made great pretensions to skill in music. In the manu- script memoirs of his life aljove-mentioned, he relates that 'with the • assistance of Mr. Ives he composed an air, and called it Whitelocke's * Coranto, which was first played publicly by the Black Friars music, * then esteemed the best in London. That whenever he went to the ' playhouse there, the musicians would immediately upon his coming in ' play it. That the queen hearing it, would scarce believe it was com- ' posed by an Englishman, because, as she said, it was fuller of life and ' spirit than the English airs, but that she honoured the Coranto and the ' maker of it with her majesty's royal commendation : and, lastly, that • it grew to that request, that all the common musicians in this towne, ' and all over the kingdome, gott the composition of it, and played it 'publicly in all places for about thirty years after.' The reader may probably wish to peruse a dance tune the composition of a grave lawyer, one who was afterwards a commissioner of the great seal, and an ambassador, and which a queen of England vouchsafed thus to honour ; and to gratify his curiosity it is here inserted by the favour of Dr. Morton of the British Museum, the possessor of the MS. from which it is taken : — CORANTO. ^^^^^^^^ii^ In the Journal of his embassy to Sweden, lately published from the above-mentioned MS. is this passage: ' Piementelle staying with ' Whitelocke above three howers, he was intertained with 'Whitelocke's * musick; the rector chori was Mr. Ingelo, excellent in that and other * faculties, and seven or eight of his gentlemen, well skilled both in ' vocali and instrumentall musicke -. and Whitelocke himself sometimes * in private did beare his part with inem, having bin in his younger dayes ' a master and composer of musick.' Vol. I. page 289. In the account which gave occasion to this note it is said that Lawes LoKD Commissioner Whitelocke. and Ives had each an hundred pounds for composing the music to the masque: the same adds that proportionable rewards were also given to four French gentlemen of the queen's chapal, who assisted in the representation. Whitelocke's words are these: 'I invited them one ' morning to a collation at St. Dunstan's taverne, in the great roome, the * Oracle of Apollo, where each of them had his plate layd for him covered, •and the napkin by it; and when they opened their plates, they found ' in each of them forty pieces of gould of their master's coyne fcr the ' first dish.* 580 HISTOEY OP THE SCIENCE. Book. XIII. culous scene of mummery Whitelocke has' given an account in his Memorials, but one much longer and more particular in certain memoirs of his life extant in manuscript, wherein he relates that Lawes and Ives had each an hundred pounds for his trouble, and that the whole charge of the music came to about one thousand pounds. The ■niasque was written hy Shirley, it is entitled the Triumph of Peace, and is printed in ito. like his plays. William Lames joined wpJi his hrotlier and Ives in the composition of the music. Henry Lawes also composed tunes to Mr. George Sandys's excellent paraphrase on the Psalms, published first in folio in the year 1638, and in 1676 in octavo. These tunes are different from those in the Psalms composed by Henry and William Lawes, and pub- lished in the year 1648 ; they are for a single voice with a bass, and were intended for private devotion : that to Psalm Ixxii. is now, and beyond the memory of any now living, has been played by the chimes of the church of St. Lawrence Jewry, London, at the hours of four, eight, and twelve. Milton's Comus was originally set by Henry Lawes and was first published by him in the year 1637, with a dedication to Lord Bracly, son and heir of the earl of Bridgewater. Of the history of this elegant poem little more is known than that it was written for the entertain- ment of the noble earl mentioned in the title-page of it, and that it was represented as a masque by his children and others ; but the fact is, that it is founded on a real story : for the earl of Bridgewater being president of Wales in the year 1634, had his residence at Ludlow-castle in Shropshire ; lord Bracly and Mr. Egerton, his sons, and lady Alice Egerton, his daughter, passing through a place called the Hay- Wood forest, or Haywood in Herefordshir«, were benighted, and the lady for some short time lost; this accident being related to their father upon their arrival at his castle, furnished a subject which Milton wrought into one of the finest poems of the kind in any language ; and being a drama, it was repre- sented on Michaelmas night, 1634, at Ludlow-castle, for the entertainment of the family and the neigh- bouring nobility and gentry. Lawes himself per- forming in it the character of the attendant spirit, who towards the middle of the drama appears to the brothers habited like a shepherd, and is by them called Thirsis.* Lawes's music to Comus was never printed, and there is nothing in any of the printed copies of the poem, nor in the many accounts of Milton now extant, that tends to satisfy a curious enquirer as to the form in which it was set to music, whether in recitative, or otherwise; but by a MS. in his own hand-writing it appears that the two songs, ' Sweet ' Echo,' and ' Sabrina Pair,' together with three other passages in the poem, 'Back, shepherds, back,' 'To ' the ocean now I fly,' ' Now my task is smoothly ' done,' selected for the purpose, were the whole of the original music to Comus, and that the rest of it being blank verse, was uttered with action in a man- ner conformable to the rules of theatric representation. The first of these songs is here given. At the end of it a quaint alteration of the reading occurs, which none but a musician would have thought of : — ^^i^^^i E^^^^^i^^ m iP^ Me - an-ders mar-gent greene, and in the Vi - o - let em-broider'd vale where tlie Lovelome m 1^.^^===^^ ^^^^ t^ =iz ^-J^-^-H^^^^g^^^ir^"^i^J^ Night-in-gale night - ly to thee her sad song mourn - eth well, Canst thou not tell me ^m rSi -J—T»- ^^^^m ' m^^^^^^^ of a gen-tlepayre, that lik - est thy Narcis-sus are? O if thou have hid them in some • Sec the fieclicatlon of the original piinted in 1637, and in Dr. Newton's edition of Milton's poetical works. Chap. CXXI. AND PRACTICE OP MUSIC. 581 flow' - ry cave. Tell me but where, Bweet queen of par - ley, daugh - ter of the sphere. So maystthoube trans-planted to the skies, and hold a coun-ter-point =F= Lawes taught music in the family of the earl of Bridgewater, the lady Alice Egerton was in particular his scholar ;* he was intimate with Milton, as may be conjectured from that sonnet of the latter — ' Harry, whose tuneful and well-measured song.' Peck says that Milton wrote his masque of Oomus at the request of Lawes, who engaged to set it to music ; this fact needs but little evidence ; he fulfilled his engagement, adapting, as we may well suppose, the above song to the voice of the young lady whose part in the drama required that she should sing it. The songs of Lawes to a very great number are to be found in the collections entitled ' Select musical ' Ayres and Dialogues,' by Dr. Wilson, Dr. Charles Colman, Lawes himself, and William Webb, fol. 1652 ; Ayres and Dialogues published by himself in 1653, and The Treasury of Music, 1669; and in various others printed about that time. , Among them are most of the songs of Waller set by Lawes ; and Mr. Waller has acknowledged his obligation to him for one in particular which he had set in the year 1635, in a poem wherein he celebrates his skill as a musician, concluding with these lines : — ' Let those which only warble long, ' And gargle in their throats a song, ' Content themselves with ut, re, mi, ' Let words and sense be set by thee.' Mr. Fenton, in a note on this poem, says that the best poets 6f that age were ambitious of having their ▼erses composed by this incomparable artist, who having been educated under Signer Coperario, in- troduced a softer mixture of Italian airs than before had been practised in our nation.f This assertion has no better a foundation than the bare opinion of its author, and upon a slight examination will appear to be a mistake ; Coperario was not an Italian, but an Englishman, who having visited Italy for improve- ment, returned to England, Italianized his name, and affected to be called Signer Giovanni Coperario, * She was also Countess of Carhery. See the Dedication to Lawes' s Songs, 1653. Dr. Taylor preached her funeral sermon ; it is among his printed sermons. There is a song among the old collections entitled The Earl to the Countess of Carbery. Her sister Lady Man-y married Lord Herbert of Cherbury. See the above Dedication, and Collinses Peerage — Egerton Duhe of Bridgewater. + Mr. Fenton, in the same note upon these lines of "Waller, seems not to have understood the meaning of the two last. It was a custom with the musicians of those times to frame compositions, and those in many parts, to the syllables of Guide's hexachord, and many such are extant : Mr. Waller meant in the passage above-cited to reprehend this practice, and very emphatically says that while others content themselves with setting notes to syllables that have no meaning, Lawes employs his talent in adapting music to words replete with sentiment, like those of Mr. Waller. Heney Lawes. instead of Mr. John Cooper. It appears by his com- positions that he affected to imitate the style of the Italians, but that he introduced into our music any mixture of the Italian air, will hardly be granted by any that have perused his works. And as to Lawes, he has in the preface to his Ayres and Dialogues, intimated little less than a dislike of the Italian style, and in the last composition in that book done his utmost to ridicule it. The truth is, that not only in the time of Coperario, but in that of Lawes himself, the music of the English had scarce any air at all : and although in the much-applauded song of Lawes, his Ariadne, he has imitated the Italians by setting part of it in recitative ; there is nothing in the airs that distinguishes them from the songs of the time composed by English masters ; at least it must be confessed that they differ widely in style from those of Carissimi and Marc Antonio Cesti, who were the first that introduced into music that elegant succession of harmonic intervals which is understood by the term melody. This superiority of the Italian melody is to be ascribed to the invention of the opera, in which the airs are looked on as the most considerable part of the entertainment : it is but natural to suppose that when the stage was in possession of the finest voices of a country, every endeavour would be used to exhibit them to advantage ; and this could no way so effectually be done as by giving to the voice-parts such melodies as by their natural sweetness and elegant contrivance would most conduce to engage the attention of the judicious hearers. But to return to Henry Lawes, he continued in the service of Charles I. no longer than till the breaking out of the rebellion ; after that he betook himself to the teaching of ladies to sing, and by his irreproachable life and gentlemanly deportment, con- tributed more than all the musicians of his time to raise the credit of his profession ; he however re- tained his place in the royal chapel, and composed the anthem for the coronation of Charles II. He died on the twenty-first day of October, 1662, and was buried in Westminster abbey. If we were to judge of the merit of Lawes as a musician from the numerous testimonies of authors in his favour, we should rank him among the first that this country has produced ; but setting these aside, his title to fame will appear but ill-grounded. Notwithstanding he was a servant of the church, he contributed nothing to the increase of its stores : his 582 HISTOEY OF THE SCIENCE Book XIII. talent lay chiefly in the composition of songs for a single voice, and in these the great and almost only excellence is the exact correspondence between the accent of the music and the quantities of the verse ; and if the poems of Milton and Waller in his commendation be attended to, it will be found that his car6 in this particular is his chief praise. It will readily be believed that music flourished but very little during the time of the usurpation ; for although Cromwell was a lover of it, as appears by his patronage of Kingston, and other particulars of him above-noted; yet the liturgy being abolished, those excellent seminaries of music, cathedrals, ceased now to afford a subsistence to its professors, so that they were necessitated to seek a livelihood by teach- ing vocal and instrumental music in private families ; and even here they met with but a cold reception, for the fanaticism of the times led many to think music an unchristian recreation, and that no singing but the singing of David's Psalms was to be tolerated in a church that pretended to be forming itself into the most perfect model of primitive sanctity. Of the gentlemen of king Charles the First's chapel, a few had loyalty^ and resolution enough to become sharers in his fortunes; and among these were George Jefferies, his organist at Oxford in 1643, and Dr. John Wilson; of the latter Wood gives an account to this purpose : — John Wilson (a Portrait,) was born at Fever- sham in Kent. He seemed to value himself on the place of his nativity, and was often used to remark for the honour of that county, that both Alphonso Ferabosco and John Jenkins were his countrymen ; the former was born of Italian parents at Greenwich, and the latter at Maidstone ; they both excelled in the composition of Fantasias for viols, and were greatly esteemed both here and abroad. He was first a gentleman of his majesty's chapel, and after- wards his servant in ordinary in the faculty of music ; and was esteemed the best performer on the lute in England ; and being a constant attendant on the king, frequently played to him, when the king would usually lean on his shoulder. He was created doctor at Oxford in 1644, but upon the surrender of the garrison of that city in 1646, he left the university, and was received into the family of Sir William Walter, of Sarsden in Oxfordshire, who with his lady, were great lovers of music. At length, upon the request of Mr. Thomas Barlow, lecturer of Church-Hill, the parish where Sir William Walter dwelt, to Dr. Owen, vice-chancellor of the university, he was constituted music-professor thereof anno 1656, and had a lodging assigned him in Baliol college, where being assisted by some of the royalists, he lived very comfortably, exciting in the university such a love of music as in a great measure accounts for that flourish- ing state in which it has long subsisted there, and for those numerous private meetings at Oxford, of which Anthony Wood, in his life of himself, has given an ample and interesting narrative. After the Restoration he became one of the private music to Charles II. and one of the gentlemen of his chapel, succeeding in the latter capacity Henry Lawes, who died on the twenty-first day of October, 1662. These preferments drew him from Oxford, and induced him to resign his place of professor to Edw^ard Low, who had officiated as his deputy, and to' settle in a house at the Horse-ferry, at Westminster, where he dwelt till the time of his death, which was in 1673, he then being near seventy-nine years old : he was buried in the little cloister of St. Peter's church, Westminster. A picture of him is yet remaining in the music- school at Oxford, and the engraving (as in separate Volume) is taken from it. The compositions of Dr. Wilson are ' Psalterium Carolinum, the Devotions of his sacred Majestie in his solitudes and sufferings "rendered in verse, set to musick for three voices and ■ 'an organ or theorbo,' fol. 1657. ' Cheerful Airs or 'Ballads; ' first composed for one single voice, and since 'set ' for three voices. Oxon. 1660.' 'Airs for a voice 'alone to a Theorbo or Bass Viol;' these are printed in a collection entitled ' Select Airs and Dialogues,' fol. 1653. ' Divine Services and anthems,' the words whereof are in James Clifford's Collection, Lend. 1663. He also composed music to sundry of the odes of Horace, and to some select passages in Ausonius, Claudian, Petronius Arbiter, and Statius, these were never published, but are extant in a manuscript volume curiously bound in blue Turkey leather, with silver clasps, which the doctor presented to the university with an injunction that no person should be permitted to peruse it till after his decease. It is now among the archives of the Bodleian library. It appears that Dr. Wilson was a man of a facetious temper, and Wood has taken occasion from this circumstance to represent him as a great humourist, and a pretender to buffoonery : most people know that a humourist and a man of humour are two very different characters, but this distinction did not occur to Anthony. Henry Lawes has given a much more amiable, and probably a truer portrait of him in the following lines, part of a poem prefixed to the Psalterium Carolinum : — ' From long acquaintance and experience, I ' Could tell the world thy known integrity ; ' Unto thy friend ; thy true and honest heart, 'Ev'n mind,good nature, all but thy great art, ' Which I but dully understand.' :CHAP. CXXIL Benjamin Eogbbs was the son of Peter Eogers of the chapel of St. George at Windsor ; he was born at Windsor, and was first a chorister under the tuition of Dr. Nathaniel Giles, and afterwards a clerk or singing -man in that chapel : after that he became organist of Christ-Church, Dublin, and continued in that station till the rebellion in 1641, when being forced thence, he returned to Windsor, and again became a clerk in St. George's chapel; but the troubles of the times obliging him to quit that station, he subsisted by teaching music at Windsor, and on an annual allowance, which was made him in con- sideration of the loss of his place. In 1653, he composed Airs of four parts for Violins, which were presented to the archduke Leopold, afterwards Chap. CXXII. AND PRACTICE OF MUSIC. 683 emperor of Germany, and were often played before him to his great delight ; he being himself an excel- lent musician. Mr. Rogers was favoured in his studies by Dr. Nathaniel Ingelo, a fellow of Eton college, who in the year 1653 being appointed chaplain to lord com- missioner Whitelocke, embassador to Sweden, took with him thither some compositions for instruments, which were oftentimes played before queen Christina, and greatly admired, not only by her majesty, but by the Italian musicians her servants.* Afterwards, viz., in the year 1658, the same Dr. Ingelo recom- mended his friend Rogers to the university of Cam- bridge, and having obtained a mandate from Cromwell for that purpose, he was admitted to the degree of bachelor in music of that university. In the year 1662, October 21, Mr. Rogers was again appointed a clerk of St. George's chapel at Windsor, with an addition of half the salary of a clerk's place beside his own, and also an allowance of twenty shillings per month out of the salary of Dr. Child, in consideration of his performing the duty . of organist whenever Child was absent ; and about the same time he was appointed organist of Eton college.f All these places he held until a vacancy happening in Magdalen college, he was invited thither by his friend Dr. Thomas Pierce, and appointed organist there; and in 1669, upon the opening the new theatre, he was created doctor in music. In this station he continued till 1685, when being ejected, together with the fellows, by James II. the society of that house allowed him a yearly pension, to keep him, as Wood says, from the contempt of the world, adding, that in that condition he lived in his old age in a skirt of the city of Oxon. unregarded. The works of Dr. Rogers enumerated by Wood are of small account, being only some compositions in a collection entitled ' Court Ayres, consisting of ' Pavans, Almagnes, Corants, and Sarabands of two ' parts,' by him. Dr. Child, and others, Lond. 1655, octavo, published by Playford ; and some hymns and anthems for two voices in a collection entitled Cantica Sacra, Lond. 1674, and others in the Psalms and Hymns of four parts, published by Playford. But his services and anthems, of which there are many in our cathedral books, are now the most esteemed of his works, and are justly celebrated for sweetness of melody and correctness of harmony. Wood concludes his account of him in these words : ' His compositions for instrumental music, whether ' in two, three, or four parts, have been highly valued, ' and were always 30 years ago or more, first called ' for, taken out and played, as well in the public ' Music-school, as in private chambers ; and Dr. ' Wilson the professor, the greatest and most curious 'judge of music that ever was, usually wept when ' he heard them well performed, as being wrapt up * Whitelocke In the account of that embassy lately published, fre- quently mentions the applause given by the queen and her servants to ■what he calls his music, but he has forborne to mention to whom that applause was due, or even hinted that the author of it was Dr. Rogers. Whitelocke pretended to skill in music ; he says that while he was in Sweden he had music in his family, and frequently performed a part. Vide page 579, in not. an air of his composition. t Vide Slate Trials, Pol. IK, p. 2?4. ' in an extacy, or if you will, melted down, while ' others smiled, or had their hands and eyes lifted up ' at the excellency of them.' Upon the restoration of Charles II. the city of London having invited the king, the dukes of York and Gloucester, and the two houses of parliament to a feast at Guildhall, Mr. Rogers was employed to compose the music ; Dr. Ingelo upon this occasion, wrote a poem entitled Hymnus Eucharisticus, be- ginning ' Exultate justi in Domino,' this Mr. Rogers, set in four parts,J and on Thursday the fifth day of July 1660, it was publicly performed in the Guild- hall, and Mr. Rogers was amply rewarded for hi& excellent composition. John Jenkins, a native of Maidstone in Kent, was one of the most celebrated composers of music for viols- during the reigns of Charles the First and Second. He was patronized by Deerham of Norfolk, Esq. and by Hamon L'Estrange of the same county, a man of very considerable erudition. In the family of this gentleman, Jenkins resided for a great part of his life, following at the same time the profession of a private teacher of music. ,His compositions are chiefly Fantasias for viols of five and six parts, which, as Wood asserts, were highly valued and admired, not only in England, but beyond seas. He set to musie some part of a poem entitled Theophila, or Love's- Sacrifice, written by Edward Benlowes, Esq., and printed at London, in folio, 1651 ; and many songs. Notwithstanding that Jenkins was so excellent a master, and so skilful a composer for the viol, he- seems to have contributed in some degree to the ba- nishment of that instrument from concerts, and to the introduction of music for the violin in its stead. Ta say the truth, the Italian style in music had been making its way into this kingdom even from the beginning of the seventeenth century ; and though Henry Lawes and some others affected to contemn it, it is well known that he and others were unawares- betrayed into an imitation of it ; Walter Porter pub- lished ' Airs and Madrigals with a Thorough-bass for the Organ, or Theorbo-lute, the Italian way ;' evea t Of this hymn, those stanzas which are daily sung by way of grace- after meat at Magdalen college, Oxford, are part ; they begin at ' Te Deum Patrem coUmus.' Of the other compositions above spoken of, and of the reception they met with, abroad, mention is made in a letter fromi Mr, Rogers to his intimate friend Anthony Wood, dated April 9, 1695,, from his house in New-Inn, Hall-lane, Oxon., from which the following: is an extract : — ' According to your desire when you were at my house last week, E ' have herewith made some addition to what I formerly gave you, viz. — ' That Dr. Nathaniel Ingelo going into Sweedland as chaplaine to the- ' lord ambassador to Christina the queen, he did then present to the said ' queen two sets of musique which I had newly made, being four parts, ' viz., two treble violins, tenor, bass in Elaml key, which were played ' often to her Majesty by the Italians, her musicians, to her great ' content. 'There are also several setts of his of two parts for the violins ' called Court-masquing Ayres, printed by John Playford, at the Inner ' Temple, in the year 1662, which were sent into Holland by the said John ' Playford, and played there by able masters to the States General at the- ' conclusion of the treaty of peace, when the Lord HoUis went over am- * bassador there ; which were so well liked ofl", that the noblemen and ' others at the playing thereof did drink the great rummer of wine to ' Minehere Rogers of England : this account I had of Mr. John Feiris- ' of Mag:dalen college, who was there at that time, and one of the per- * formers thereof.' The letter above written is signed Ben, Rogers, and directed to his- worthy friend Anthony Wood, at his house over-against Merton College ; the design of the letter is evidently to satisfy Wood in a request to have an account of the doctor's compositions ; and therefore, notwithstanding the use of the pronoun his for mine, the compositions of two parts for violins abovementioned, must be understood to be the doctor's own, and as such they are mentioned in Wood's account of him in the Fasti Cxon. vol. II. col. 174. 2q 584: HISTOEY OF THE SCIENCE Book XIII. Dr. Child, whose excellence lay in the composition of church -music, disdained not to compose psalms after the Italian way, and Deering gave wholly into it, as appears by his Oantiones Sacrse, and his Cantica Sa- cra, the one published in 1597, the other in 1618. Others professed to follow the Italian vein, as it was called ; and to favom* this disposition a collection of Italian airs was published about the beginning of king Charles the Second's reign, by one Girolamo Pignani, then resident in London, entitled ' Scelta di Oanzo- ' nette Italiane de piu autori : dedicate a gli amatori ' della musica ;' after which the English composers, following the example of other countries, became the imitators of the Italians. In compliance therefore with this general prepos- session in favour of the Italian style, Jenkins com- posed twelve Sonatas for two violins and a bass, with a thorough-bass for the organ, printed at London about the year 1660, and at Amsterdam in 1664 ; and these were the first compositions of the kind by an Englishman. Jenkins lived to about the year 1680. He is mentioned in terms of great respect by Christopher Simpson, in his compendium of Practical Music ; and there is a recommendatory epistle of his writing, prefixed to the first edition of that work printed in 1667. Wood says he was a little man, but that he had a great soul. Musicians of eminence in the reign of Charles I. besides those already noticed were : — Adrian Batten, a singing-man of St. Paul's and a celebrated composer of services and anthems, of which there are many in Barnard's Collection ; as are also the words of many anthems composed by him in that of Clifford. John Cabrwarden, a native of Hertfordshire, of the private music to king Charles I. a noted teacher on the viol but a harsh composer. Richard Cobb, organist to Charles I. till the re- bellion, when he betook himself to the teaching of music* Dr. Charles Colman, a gentleman of the private music to king Charles I. after the rebellion he taught in London, improving the lyra-way on the viol. Dr. Colman, together with Henry Lawes, Capt. Cook, and George Hudson, composed the music to an enter- tainment written by Sir William D' Avenant, intended as an imitation of the Italian opera, and performed during the time of the usurpation at Rutland-house in Charter-house-yard. Dr. Colman died in Fetter-lane, London. William Cranford, a singing man of St. Paul's, the author of many excellent rounds and catches in Hilton's and Playford's Collections. He composed that catch in particular to which Purcell afterwards put the words ' Let's lead good honest lives, &c.' John Gamble, apprentice to Ambrose Beyland, a noted musician, was afterwards musician at one of the play-houses ; from thence removed to be a comet in the king's chapel. After that he became one in * This name occurs in the Ashmolean manuscript; but is probably mis- ialten for John Cobb, the composer of an elegy on William Lames, printed among the Fsahns of Henry wnd William Lawes, ita. 1648, in whichhe is styled Organist of his M(^esty'B Chapel-Royal. Sundry catches and canons t^hii composition appear in Hilton's collection mentioned inpage 578. ■Charles the Second's bapd of violins, and composed for the theatre. He published ' Ay res and Dialogues to the Theorbo and bass Viol,' fol. Lond. 1659. Wood, in his account of this person. Fasti, vol. I. col. 285, conjectures that many of the songs in the above collection were written by the learned Thomas Stanley, Esq. the author of the History of Philo- sophy, and. seemingly with good reason, for they resemble, in the conciseness and elegant turn of them, those poems of his printed in 1651, containing trans- lations from Anacreon, Bion, Moschus, and others. William Howes, born near Worcester, where he was bred up with the waits, became one of the choir of Windsor till the rebellion, when he followed the king to Oxon. and was a singing man of Christ- Church ; he returned after the wars to Windsor, and had a soldier's pay allowed him to subsist on, till the restoration resettled him in both places, he was afterwards a cornet in the king's chapel. He died at Windsor, and was buried in St. George's chapel yard. George Jefferies, organist to Charles I. when he was at Oxon. 1643, servant to Lord Hatton of Kirby in Northamptonshire, where he had lands of his own, was succeeded in the king's chapel by Edward Low. His son Christopher Jefferies, a student of Christ-Church, played well on the organ. Randal or Randolph Jewit, a scholar of Orlando Gibbons, and bachelor in music of the university of Dublin, was organist of Christ-Church Dublin, succeeding in that station Thomas Bateson, before spoken of. In 1639 he quitted it, and Benjamin, afterwards Dr. Rogers, was appointed in his room, upon which Jewit returned to England, and became organist of Winchester, where he died, having ac- quired great esteem for his skill in his profession. Edward Low, originally a chorister of Salisbury, afterwards organist of Christ -Church, Oxon. and professor of music, first as deputy to Dr. Wilson, and afterwards appointed to succeed him. He suc- ceeded George Jefferies as organist of the chapel royal, he died at Oxford the eleventh of July, 1682, and lies buried in the Divinity chapel joining to Christ-Church there. He published in 1661 ' Short directions for the performance of Cathedral Service,' of which, as also of the author, there will be farther occasion to speak. Richard Nicholson, organist of Magdalen college, Oxford, was admitted to the degree of bachelor in music of that university in 1596. He was the first professor of the musical praxis in Oxford under Dr. Heyther's endo\\Tnent, being appointed anno 1626. He died in 1639, and was the author of many madrigals, and of one of five parts, printed in the Triumphs of Oriana. Arthur Phillips was made a clerk of New Col-, lege, Oxford, at the age of seventeen ; after that he became organist of Magdalen college, took the degree of bachelor of music in that university, and upon the decease of Richard Nicholson, Dr. Heyther's professor, in 1639, was elected to succeed him. Upon the breaking out of the rebellion he went abroad, and after changing his religion for that of Rome, Chap. OXXII. AND PRACTICE OF MUSIC. 585 was rstaiued by Henrietta Maria queen of England, then in Prance, as her organist, but being dismissed her service, he returned hither, and was entertained in the family of Caryl, a gentleman of the Romish persuasion in Sussex. His vocal compositions of two and three parts are said to have great merit, but we know not that any of them are extant in print. Wood asserts that this person was nearly related to, if not descended from, the famous Peter Phillips, organist to the archduke and archduchess Albert and Isabel, of whom an account is herein before given. Walter Porter, a gentleman of the chapel royal to Charles I. and master of the choristers at West- minster. He suffered in the time of the rebellion, and was patronized by Sir Edward Spencer : his works are ' Airs and Madrigals for two, three, four, ' and five voices, with a thorough-bass for the organ ' or Theorbo-lute, the Italian way,' printed in 1639 ; Hymns and Motets for two voices, 1657; and the Psalms of Mr. George Sandys composed into music for two voices, with a thorough-bass for the organ, printed about the year 1670. Thomas Warwick, organist of the abbey-church of St. Peter's Westminster, and also one of the organists of the royal chapel. This person, as Tallis had done before him, composed a song of forty parts, which was performed before king Charles I. about the year 1635, by forty musicians, some the servants of his majesty, and others, of whom Benjamin, after- wards Dr. Rogers, was one. He was the father of the noted Sir Philip Warwick, secretary of the treasury in the reign of Charles II. During that period, which commenced at the be- ginning, and terminated with the middle of the seven- teenth century, the English seem to have possessed a style of their own ; at least it may be said that till towards the year 1650 our music had received no stronger a tincture from that of Italy than must be supposed necessarily to result from the intercourse between the two countries ; and this too was con- siderably restrained by those civil commotions which engaged the attention of all parties, and left men little leisure to enjoy the pleasures of repose, or to cultivate the arts of peace. Upon the restoration of 'the public tranquillity, the manners of this country assumed a new character ; theatrical entertainments, which had long been interdicted, ceased to be looked on as sinful, and all the arts of refinement were practised to render them alluring to the public. To this end, instead of those obscure places, where tragedies and comedies had formerly been represented, such as the Curtain near Shoreditoh,* the Magpye in Bishopsgate- street, and the Grlobe on the Bank-side, Black-Friars, theatres were erected with soenical decorations, and women were introduced as actors on the stage. The state of dramatic music among us was at this time very low, as may well be inferred from * At this theatre Ben Jonson -was an actor ; it was situated near the north-east corner of Upper Mooriields, and behind Hog-lane ; the whole neighhourhood, for want of another name, is called the Curtain, which some have mistaken for the term Curtain used in fortiiication, imagining that some little fortress was formerly erected there, but it is taken from the sign of the theatre, which was a green curtain. Vide Athen, Oxon. vol. i. col. 608. the compositions of Laneare, Coperario, Campion,' and others to court masques in the reign of king James I. and from the music to Milton's Comus by Lawes ; and yet each of these was in his time esteemed an excellent musician : this general dis- parity between ecclesiastical and secular music is thus to be accounted for : in this country there are not, as in Italy and elsewhere, any schools where the latter is cultivated ; for, to say the truth, the only musical seminaries in England are cathedral and collegiate foundations ; and it is but of late years that the knowledge of the science was to be attained by any other means than that course of education and study which was calculated to qualify young persons for choral service ; it is notorious that the most eminent composers for the theatre for some years after the Restoration, namely. Lock, Purcell, and Eccles, had their education in the royal chapel ; f and till the time of which we are now speaking, and indeed for some years after, he was held in very low estimation among musicians, who had not dis- tinguished himself by his compositions of one kind or other for the church. Prom this propensity to the study of ecclesiastical music it naturally followed that the national style was grave and austere ; for this reason, the blandishments of the Italian melody • were looked on with aversion, and branded with the epithets of wanton and lascivious, and were repre- sented as having a tendency to corrupt the manners of the people. It is very difficult to annex corre- spondent ideas to these words, as they respect music ; we can only observe how the principle operated in the compositions of those masters who affected to be influenced by it ; and here we shall find that it laid such restrictions on the powers of invention, that all discrimination of style ceased. In all the several collections of songs, airs, and dialogues published between the years 1600 and 1650, the words might, without the least injury to the sense, be set to any airs of a correspondent measure ; and with regard to melody, he must have no ear that does not prefer a modern ballad tune to the best air among them. The defects in point of melody under which the music of this country so long laboured, may justly be ascribed to the preference given to harmony ; that is to say, to such compositions, namely, madrigals and fantasias for viols in five and six parts, as were the general entertainment of those who professed to be delighted with music ; and these had charms sufficient to engage the attention not only of learned, but even of vulgar ears : The art of singing had never been cultivated in England with a view to the improvement of the voice, or the calling forth those powers of expression and execution, of which we at this time know it is capable; and as to solo-com- positions for instruments, the introduction of such among us was at a period not much beyond the reach of the memory of persons yet living. In Italy the state of music was far different ; the + This circumstance gave occasion to Tom Brown to say that the men of the musical profession hang between the church and the playhouse like Mahomet's tomb between the two loadstones. Works of Mr. Thomas Brown, vol. II. page 301, in a letter of Dr. Blow to Heniy Purcell, in answer to one feigned to be '^yritten from among the dead. 586 HISTORY OF THE SCIENCE Book XIII. invention of the opera had introduced a new species, differing from that of the church, in regard that it admitted of all those graces and ornaments, which, as they tended rather to gratify the sense than improve the affections, it had been the business of councils, and the care of bishops and pastors, to exclude from divine worship. In the musical entertainments of the theatres it was found that the melody of the human voice, delightful as it naturally is, was in males capable of improvement by an operation which the world is at this day well aware of ; as also that in the performance on single instruments the degrees approaching towards perfection were innumerable, and were generally attained in a degree proportioned to the genius and industry of all who were candidates for the public favour. The applauses, the rewards, and other encourage- ments given to distinguished performers, excited in others an emulation to excel ; the effects whereof were in a very short time discerned. It was about the year 1590 that the opera is generally supposed to have had its rise ; and by the year 1601, as Scipione Oerreto relates,* the number of performers celebrated for their skill in single instruments, such as the lute, the organ, viol d'arco, chittarra, viol da gamba, trumpet, cornet, and harp, in the city of Naples only, exceeded thirty .f * Delia Frattica Musica, pag. 157. + In Corlat's Crudities the author mentions his hearing in the year 1608, at St. Mark's church at Venice, the music oC a treble viol, so excellent that no man could surpass it. He also gives a description of a musical performance in the same city in honour of St. Roche, at which he was also present ; and celebrates as well the skill and dexterity of many of the performers as the music itself, which he says was such as he would have gone an hundred miles to hear. The relation is as follows :— * This feast consisted principally of musicke, which was both vocall ' and instrumental!, so good, so delectable, so rare, so admirable, so * superexcellent, that it did even ravish und stupifie all those strangers 'that never heard the like. But how others were affected with it * I know not ; for mine owne part I can say this, that I was for the time * even rapt up with St. Paul into the third heaven. Sometimes there ' sung sixeteene or twenty men together, having their master or mode- * rator to keepe them in order ; and when they sung, the instrumentall ' musicians played also. Sometimes sixteene played together upon their ' instruments, ten sagbuts, foure cornets, and two violdegambaes of an 'extraordinary greatnesse; sometimes tenne, sixe sagbuts, and foure * cornets ; sometimes two, a comet and a treble violl. Of those treble ' viols 1 heard three severall there, whereof each was so good, especially * one that I observed above the rest, that I never heard the like before. ' Those that played upon the treble viols, sung and played together, and * sometimes two singular fellowes played together upon Theorboes, to ' which they sung also, who yeelded admirable sweet musicke, but so * still that they could scarce be heard but by those that were very neare ' them. These two Theorbists concluded that night's musicke, which ' continued three whole bowers at the least. For they beganne about * five of the clocke, and ended not before eight. Also it continued as * long in the morning : at every time that every severall musicke played, ' the organs, whereof there are seven faire paire in that roome, standing * al in a rowe together, plaid with them. Of the singers there were ' three or foure so excellent that I thinke few or none in Christendome - ' do excell them, especially one, who had such a peerelesse and {as '1 may in a manner say) such a supernaturall voice for sweetnesse, * that I thinke there was never a better singer in all the world, insomuch ' that he did not onely give the most pleasant contentment that could be ' imagined, to all the' hearers, but also did as it ivere astonish and amaze ' them. I alwaies thought that he was an eunuch, which if he had beene, * it had taken away some part of my admiration, because they do most * commonly sing passing wel ; but he was not, therefore it was much the ' more admirable. Againe it was the more wortliy of admiration, because * he was a middle-aged man, as about forty yeares old. For nature doth ' more commonly bestowe such a singularitie of voice upOn boyes and ' striplings, then upon men of such yeares. Besides it was farre the ' more excellent, because it was nothing forced, strained, or affected, but ' came from him with the greatest facilitie that ever I heard. Truely ' I thinke that had a nightingale beene in the same roome, and contended * with him for the superioritie, something perhaps he might excell him, ' because God hath granted that little birde such a priviledge for the ' sweetnesse of his voice, as to none other; but I thinke he could not * much. To conclude, I attribute so much to this rare fellow for his ' singing, that I thinke the country where he was borne, may be as * proude for breeding so singular a person as Smyrna was of her Homer, ' Verona of her Catullus, or Mantua of Virgil: but exceeding happy may It was scarce possible but that a principle thus uniformly operating through a whole country, should be productive of great improvements in the science of melody, or that the style of Italy, where they were carrying on, should recommend itself to the neighbouring kingdoms ; the Spaniards were the first that adopted it, the French were the next, and after them the Germans. In England, for the reasons above given, it met at first with a cool reception, and Coperario, who went to Italy purposely for improvement, brought very little back but an Italian termination to his name. Lawes disclaimed all imitation of the Italians, though he was the first who attempted to introduce recitative amongst us, a style of music confessedly invented by Giulio Caccini, a musician of that country, Lawes's favourite song of Ariadne in Naxos is no other than a cantata, but how inferior it is to those of Cesti and others any one will determine who is able to make the comparison. Other of our musicians who were less attached to what was called the old English style, thought it no diminution of their honour to adopt those improve- ments made bj' foreigners which fell in with that most obvious distinction of music into divine and secular, and which had before been recognized in this kingdom in compositions of Allemands, Corantos, Pavans, Passamezzos, and other airs borrowed from the practice of the Germans and the Italians. Even the grave Doctors Child and Eogers, both church- musicians, and Jenkins, who is said to have been the glory of his country, disdained not to compose in the Italian vein as it was called : the first of these published Court Ayres after the manner of the Italians, as did also Rogers, and Jenkins composed Sonatas for two violins and a bass, a species of music invented in Italy, and till the time of this author unknown in England. From the example of the e men ensued in this country a gradual change in the style of musical composition ; that elaborate con- texture of parts which distinguish the works of Tye, Tallis, Bird, and Gibbons, was no longer looked on as the criterion of good music, but all the little graces and refinements of melody were studied. To answer particular purposes, the strict rules of harmony were occasionally dispensed with; the transitions from key to key were not uniformly in the same order of succession; and in our melody, too purely diatonic, chromatic passages were introduced to aid the expression, and give scope for variety of modu- lation; in short, the people of this country, about the middle of the seventeenth century, began to entertain an idea of what in music is termed fine air, and seemed in earnest determined to cultivate it with as much zeal as their neighbours. Nor are we to look on this propensity to innovation as arising from the love of novelty, or that caprice which often leads men to choose the worse for the better ; the improvements in melody and harmony ' that citie,'or towne, or person bee that possesseth this miracle of nature. ' These musicians had bestowed upon them by that company of Saint ' Roche an hundred duckats, which is twenty three pound sixe shillings ■eight pence starling. Thus much concerning the musicke of those ' famous feastes of Saint Lawrence, the Assumption of oui Lady, and ' Saint Roche.' Coriat's Crudities, page 250. Chap. OXXIII. AND PRACTICE OF MUSIC. 587 are reciprocal, and both have a necessary tendency to introduce new combinations, and thereby produce variety. CHAP. CXXIII. The efiforts from time to time made by the Italians in the improvement of music, have been deduced to the year 1600 ; and its progress in other countries has been traced to the same period : it is necessary to observe the same course through the succeeding century, and by memoirs of the lives and works of the most eminent theoretic and practical musicians who flourished during that period, to relate the sub- sequent refinements, as well in the theory as the practice of the science. Benedetto Pallavacino, a native of Cremona, and an eminent composer, was maestro di capella to the duke of Mantua about the year 1600. He is highly celebrated by Draudius, in his Bibliotheca Classica, pag. 1630. His works are chiefly madrigals for five and six voices, and in general are very fine. DoMBNioo Pedro Cerone, a native of Bergamo, and maestro di capella of the royal chapel at Naples, was the author of a very voluminous work written in the Spanish language, and published at Naples in the year 1613, with this title, 'El Melopeo y Maestro. ' Tractado de musica theorica y pratica : en que se ' pone por extenso, lo que uno para hazerse perfecto ' musico ha menester saber : y por mayor facilidad, ' comodidad, y claridad del lector, esta repartido en ' xxii libros.'* This book, perhaps the first of the kind ever written in the language of Spain, is a musical institute, and comprehends in it the substance of Boetius, Franchinus, Glareanus, Zarlino, Salinus, Artusi, Galilei, and, in short, of most of the writers on music who had gone before him. In it are treated of the dignity and excellency of music, of the necessary qualifications in a teacher of the science, and of the reciprocal duties of the master and disciple ; in what cases correction may be administered to advantage, and of the reverence due from disciples to their masters : these, and a great number of other particulars still less to the imme- diate purpose of teaching music, and yet supported by a profusion of references to the scriptures, the fathers, and to the Greek and Latin classics, make up the first book. The titles of the several books are as follow : — Lib. i. De los Atavios, y Consonancias morales. Lib. ii. De las Curiosidades y antiguallas en Music. Lib. iii. Del Oantollano Gregoriano 6 Ecclesiastico. Lib. iv. Del Tono para cantar las Orac. Epist. y Evang. Lib. v. De los Avisos necess. en Oantollano. Lib. vi. Del Canto metrico, mensural, 6 de Organo. Lib. vii. De los Avisos necess. en canto de Organo. Lib. viii. De las glosas para glosar las obras. Lib. ix. Del Contrapunto comun y ordinario. Lib. x. De los Contrapuntos artificiosos y doctus. Lib. xi. De los movimientos mas observados en la Comp. Lib. xii. De los Avisos necessaries para la perf. Comp. • It seems also to have been pul)lished in 1619 at Antwerp. Walth. 152. Lib. xiii. De los Pragmentos Musicales. Lib. xiv. De los Oanones, Fngas, y de los Contr. a la xij. &c. Lib. XV. De los Lugares comunes, Entradas y Clau- sulas, &c. Lib. xvi. De los Tonos en Canto de Organo. Lib. xvii. Del Modo, Tiempo, y Prolacion. Lib. xviii. Del valor de las notas en el Ternario. Lib. xix. De las Proporciones, y comp. de diversos Tiempos. Lib. xx. La declaracion de la Missa Lomme arme de Prenestina. Lib. xxi. De los Conciertos, e instrum. music y de su temple. Lib. xxii. De los Enigmas musicales. In the fifty-third chapter of his first book Cerone enquires into the reasons why there are more pro- fessors of music in Italy than in Spain ; and these he makes to be five, namely, 1. The diligence of the masters. 2. The patience of the scholars. 3. The general affection which the Italians entertain for music ; and this he illustrates by an enumeration of sundry persons of the nobility in Italy who had dis- tinguished themselves by their skill in music, and had been the authors of madrigals and other musical compositions, particularly the Count Nicolas De Arcos, the Count Ludovico Martinengo, the Count Marpo Antonio Villachara, Geronimo Branchiforte Conde de Camerata, Carlo Gesualdo Principe de Venosa, Alexander Gonzaga, duke of Mantua, and Andrew Aquaviva, duke of Atri, the author of a learned treatise on music published in 1528. Under this head he takes occasion to celebrate the liberality of Philip III. the then reigning king of Spain towards musicians ; as an instance whereof he says that of chapel-masters and organists under him, some had salaries of three hundred, and some of five hundred ducats a year. The fourth reason assigned by him is the great number of academies in Italy for the study of music, of which he says there are none in Spain, excepting one founded by Don Juan de' Borja, Major-domo to the empress Donna Maria de Austria, sister of Philip II. king of Spain. The fifth reason he makes to be the continual exercise of the Italian masters in the art of practical composition. These reasons of Cerone sufficiently account for the small number of musicians which Spain has pro- duced in a long series of years ; but though it be said that during that interval between the time when St. Isidore, bishop of Sevil lived, and that of Salinas, we meet with no musician of eminence a native of Spain excepting Bartholomeus Eamis, the preceptor of Spataro, already mentioned, and Don Bias, i. e. Blasicis Eosetta,| Christopher De Morales, and Thomas a Sancta Maria ; nor indeed with any intimation of the state of the science in that country, yet at the time that Salinas published his treatise De Musica the Spaniards are remarked to have applied themselves to the study of the science with some degree of assiduity. The first musician of t Rosetta was the author of a treatise published in 1529, entitled * Rudimenta Musices, de triplici musices specie ; de modo dehite solvendi 'divinum pensum: et de auferendis nonulUs abusihus in templo Dei.' Christopher Morales was an excellent composer of madrigals about the year mentioned before. Thomas a Sancta Maria was a native of Spain, being bom at Madrid, and a Dominican monk ; he lived a very few years before Salinas, and in the year 1565 published at Valladolid a work entitled 'Arte de tanner fantasia para tecla viguela y todo instrumendo de tres o quatro ordines.' 588 HISTOEY OF THE SCIENCE Book XIII. eminence among the Spaniards after Salinas seems to have been Gongalo Martinez, and after him Fran- cesco de Montanos : this person was a portionist or pensioner and maestro di cappella in the church of Valladolid for the space of thirty-six years ; he was the author of a treatise entitled ' Arte de Musica theorica y practica,' published in 1592 ; and of another entitled ' Arte de OontoUano,' published at Salamanca in 1610, to whom succeeded Sebastian Eaval, a celebrated composer. After this apology for the low state of music in his country, Oerone proceeds to explain the nature of the ancient system of music, mating use of the several diagrams that occur in the works of Fran- chinus, Glareanus, Salinas, Zarlino, and other writers ; he then proceeds to teach the precepts of the Cantus Gregorianus, following herein that designation of the ecclesiastical tones, and the method of singing the offices which is to be found in the works of Fran- chinus. From these he proceeds to the practice of singing, and the Cantus Mensurabilis, next to the precepts of Counterpoint, or plain and figurate^ Descant, and then to fugue and canon. Towards the end of this book he treats of the pro- portions in music, giving the substance of all that is said by other writers on that branch of the musical science. In the twenty-first book he speaks of musical in- struments, which he divides into three classes, namely, the pulsatile, which he calls Instrumentos de golpe, comprehending the Atambor, Symphonia, Gystro, Crotal, Ciembalo, Tintinabulo, PanderOj and Ataval: Under Qie head of wind-instruments he ranks the Chorus, Tibia or Flute, the Sambuca, Calamo, So- delina or Gayta, the Syringa or Fistula, the Chirimia, Trompeta, Sacabuche, Corneta, Kegal, Organo, Fa- gote, Cornamusa, Cornamuda, Duljayna, and Doblado. Lastly, in the class of stringed instruments he places the Sistro comun, Psalterio, Accetabulo, Pandura, Dulcemiel, Eebequina or Eabel, Vihuela, Violon, Lyra, Cjrthara or Oitola, Quitarra, Laud, Tyorba^ Arpa, Monochordio, Olavichordio, Cymbalo, and Spineta. He speaks also of the temperature of the lute, and delivers the sentiments of the various writers on that controverted subject. The twenty-second and last book is affectedly mysterious ; it consists of a grea* Variety of musical enigmas as he calls them, that is to say. Canons in the forms of a cross, a key, and a sword, in allusion to the apostles Peter and Paul ; others that have a reference to the figure of a balance, a piece of Spanish coin, a speculum, a chess-board, and one resolvable by the throwing of dice. It appears very clearly from this work of Oerone that the studies of the Spanish musicians had been uniformly directed towards the improvement of church-music ; and for this disposition there needs no other reason than that in Spain, music was a part of the national religion; and how tenacious they were of that formulary which St. Gregory had in- stituted for the use of the Latin church, may be in- ferred from a fact related in a preceding part of this history, to wit, that a contest for its superiority divided the kingdom, and was at length determined by the sword. With this predilection in favour of ecclesiastical, it cannot be supposed that secular music could meet with much encouragement in Spain. In this huge volume, consisting of near twelve hundred pages, we meet with no compositions for instruments, all the examples exhibited by the author being either ex- ercises on the ecclesiastical tones, or motets, or Eicercatas,* and such kind of compositions for the organ ; neither does he mention, as Scipione Ceretto, Mersennus, Kircher, and others have done, the names of any celebrated performers on the lute, the harp, the viol, or other instruments used in concerts. The common musical divertisements of the Spaniards seem to have been borrowed from the Moors, who in a very early period had gained a footing in Spain, and given a deep tincture to the manners of the people ; these appear to be songs and dances to in- struments confessedly invented by the Arabians, and from them derived to the Moors, such as the Pan- dore, the protatype of the lute ; and the Eebec, a fiddle with three strings, and to which most of the songs in Don Quixote are by Cervantes said to have been sung. As to their dances, excepting the Pavan, which whether it be of Spanish or Italian original is a matter of controversy, the most favourite among the Spaniards till lately have been the Chacone and Sarabandf and that these were brought into Spain by the Moors, seems to be agreed by all that have written on music. In the enumeration of instruments by Oerone mention is made of the guitar, Ital. Chittara, an appellation well known to be derived from the word Cithara. The form of the guitar is exhibited by Mersennus in his Harmonics, lib. I. De Instrumentis harmonicis, pag. 25, and is there represented as an instrument so very broad as to be almost circular; the same author also gives the figure of an instrument longer in the body than the former, and narrower in the middle than at the extremities, somewhat re- sembling a viol, and this he calls the Cithara His- panica or Spanish Guitar.^ This instrument by numberlfess testimonies appears for some ages back to have been the common amuse- ment of the Spanish gentlemen : Quevedo, an eminent Spanish writer of the last century, relates the adven- tures of a very accomplished gentleman, but a great humourist, one who in the day time constantly kept within doors, excluding the light of heaven from his apartments, and walked the streets of Madrid by ** RicEBCATA, a. term derived ftom the Italian verb Ricercare, to searcli or enquire into, signifies in tl>e language of musicians, though improperly, a prelude or Fantasia for the organ, harpsichord, or Theorbo; they are generarlly extempore performances, and in strictness, when committed to writing, should, as should also voluntaries, be distinguished by some other appellation. Vide Dictionaire de Musique par Brossard. + Besides the dances abovementioned there is one called the Fandango, which the Spaniards are at this time fond of even to madness, the air of it is very like the English hornpipe ; it is danced by a roan and woman, and consists in a variety of the most indecent gesticulations that can be conceived. J About the year 1730 a teacher of the guitar, an Italian, arrived at London, and posted up in the Royal Exchange a bill inviting persons to become his scholars : it began thus : ' De delectabl music calit Chittara 'fit for te gantlman e ladis camera;' the bill had at the top of it the figure of the instrument- miserably drawn, .but agreeing with that in Mersennus. The poor man offered to teach at a very low rate, but met witli none that could be prevMled on to learn of him. Chap. CXXIII. AND PEAOTICE OF MUSIC. 689 night with his guitar, on which he had arrived at great perfection, imitating in this particular the practice of the young nohility and gentry of Spain, who followed it as the means of recommending themselves to the notice and favour of their mistresses. For this instrument there are extant many collec- tions of lessons composed by Spaniards and others. Mersennus mentions one published in 1626 by Ludo- vico de Bri^enneo, entitled ' Tanner 6 Templar la ' Guitarra ; ' another written by Ambrosius Colonna of Milan, published in 1627, entitled ' Intavolatura ' di Cithara Spagnola,' containing many airs, viz., Passacalli tam simplices quam Passegiati, Chiacone, Zaravande, Folias, Spagnolette,* Pavagnilie Arie, Monache, Passe-mezzi, Eomanescha, Corrente, Gag- liarda. Toccata, Nizarda, Sinfonia, Balletto, Capricio, and Canzonette. Romano Michieli, [Lat. Miohaelius Eomanus,] maestro di cappella in the church at Venice called, Cathedrale de Concordia. He published at Venice a Compieta for six voices. This author is celebrated for his skill in the composition of canon, an example whereof in a canon for nine choirs or thirty-six voices is inserted in Kiroher's Musurgia, tom. I. pag. 584. But his most celebrated work is a book entitled 'Musica vaga ed artificiosa,' published at Venice in 1615, in which the subject of canon is very learnedly discussed and explained by a variety of examples. In the preface to this book are con- tained mempirs of the most celebrated musicians living in Italy at the time of writing it. JoHANN WoLTZ, orgauist of Heilbrun, an imperial town in the dukedom of Wirtemberg, and also' a burgher thereof, was the publisher of a work printed at Basil in 1617, entitled ' Novam musices organices- ' tabulaturam,' being a collection of motets and also fugues and canzones, gathered from the works of the most famous musicians and organists of Germany and Italy. In the dedication of this book to the magistrates of Heilbrun the author takes notice that he had been, organist there forty years, and that his son had succeeded him. He was esteemed one o£ the most skilful organists of his time; nevertheless tiiere are no compositions of his own extant, a cir- cumstance much to be lamented. LuDovico ViADANA, maestro di cappella at first of the cathedral church of Fano, a small city situate ia the gulph of Venice in the duchy of Urbino, and. afterwards of the cathedral of Mantua, is celebrated for having about the year 1605 improved music by the invention of the figured or thorough-bass. Printz has given a relation of this fact in the following: * Of the seveial airs aljove enumerated a particular description -will be given hereafter, at present it may not be improper to mention that, the Chacone is supposed to have been invented by the Arabians, and the Saraband by the Moors ; the Follia is so particularly of Spanish original,, that in music-books it is frequently called Follia di Spag:na. Grassineau has given a very silly description of it, styling it a particular sort of air called Fardinal's Ground, which mistake is thus to be accounted for: about the year 1690 there resided at the court of Hanover, in quality of concert-master, a musician named Farinelli. Corelli being then at Hanover, Farinelli gave him a ground to compose on ; and the divisions by him made thereon, to the number of twenty-four, make the twelfth of his solos, termed Follia. Corelli had the practice of the Spanish musicians in his eye, the Follia di Spagna, being nothing else than, a certain number of airs in different measures composed on a ground bass. Vivaldi also has composed a sonata consisting of divisions on the same ground, and called it Follia. See his Sonatas for two violins and a bass opera prima. terms : ' In the time of Viadana, Motets abounded ' with fugues, syncopations, the florid and broken ' counterpoint, and indeed every kind of affectation ' of learned contrivance ; but as the composers seemed ' more to regard the harmony of the sounds than the ' sense of the words, adjusting first the one, and ' leaving the other to chance, such confusion and ' irregularity ensued, that no one could understand ' what he heard sung ; which gave occasion for many ' judicious people to say, " Musicam esse inanem " sonorum strepitum.' Now this ingenious Italian ' organist and skilful composer, (who, as Christopher ' Demantius relates, was able to raise more admiration ' in the minds of the hearers with one touch upon 'the organ, than others with ten) perceiving this, he ' took, occasion to invent monodies and concerts, in ' which the text, especially aided by a distinct pro- ' nunciation of the singer, may well and easilj' be ' understood. But as a fundamental bass was necea- ' sarily required for this purpose, he took occasion ' from that necessity to invent that compendious ' method of notation which we now call continued ' or thorough-bass.' Draudins has mentioned, several works of Viadana, among which are the following : 1. ' Opus musicum ' sacrorum Concentuum, qui et unica voce, nee non ' duabus, tribus, et quatuor vocibus variatis conci- ' nentur, una cum basso Cont. ad Organum applicato,' an. 1612. 2. ' Opera omnia sacrorum Concentuum, ' 1„ 2, 3, et 4: vocum cum Basso continuo et generali, ' Organo applicato, novS,que inventione pro omni ' genere et sorte Cantorum et Organistarum accom- ' modata. Adjuncts, insuper in Basso generali hujus ' novae inventionis instructione et succincta expli- ' catione. Latine, Italice, et Germanice, an. 1613 '(item. an. 1620).' f Claudio Monteveede, maestro di cappella of the church of St. Mark at Venice,^ was a famous com- poser of motets and madrigals, and flourished about the end of the sixteenth and the beginning of the last century. In the year 1600 he became engaged in a dispute with some of the ablest musicians of his time, occasioned by certain madrigals of his, in which the dissonances were taken in a manner not warranted by the practice of other musicians. The particulars of this controversy are related by Artusi in the second part of his treatise ' De Imperfettioni della moderna Musica.' Monteverde is celebrated for his skill in recitative, a style of music of which he may be said to have been one of the inventors ; at least there are no examples of recitative more ancient than. t It does not aijpear by the date of any of the above publications that Viadana invented thorough-bass so early as 1605. But as Frintz has expressly asserted it, and his testimony has never yet been contro- verted, it would be too much at this distance of time to question it ; nevertheless it may be remarked that within two years as early as the period above assigned, it was practised by another author, namely, Gregory Aichinger, a German, and a voluminous composer, who in 1607 published at Augsburg, ' Cantiones Ecclesiasticas a 3 et 4 voc. mit. * einem G. B.' says the relator, i. e. with a general or thorough bass. Walth. 18. Farther, it has been discovered that the practice of figuring basses was known before the beginning of the seventeenth century : in a work ofour countryman Richard Deering, entitled 'Cantiones Sacrse quinque vocura,' published at Antwerp in 1597, the bass part is figured with a 6tU wherever that concord occurs. t Upon a comparison of times it seems probable that he was the im- mediate successor in that station of Zarlino, who himself succeeded Adrian Willaert. £90 HISTORY OF THE SCIENCE Book XIII, are to be found in his opera of Orfeo, from which an extract is inserted in a subsequent part of this work ; and indeed it may with truth be said that Monteverde was the father of the theatric style. It seems that before his advancement to the dignity of chapel- master of St. Mark's he was chapel-master to the duke of Mantua, for he is so styled in his fifth book of madrigals represented at Venice in the year 1612. Monteverde was one of the original members of the Accademia Filomusi, erected at Bologna in the year 1622. Some very fine madrigals of his composition are extant in the collections published by Pietro Phalesio and others, about the year 1600. Antonio Oifra, a Roman educated in the school heretofore mentioned to have been instituted by Palestrina and Nanino, for the instruction of youth in music ; after he had finished his studies was taken into the service of the archduke Charles of Austria, brother of the emperor Ferdinand II. After that he became director of the music in the German college at Rome, and about the year 1614 was ap- pointed maestro di cappella of the church of Loretto. He composed altogether for the church, and made ■a great number of masses and motets. Milton is «aid to have been very fond of his compositions, and to have collected them when he was in Italy. PiETRO Francesco Valentini, a Roman, and of a noble family, was educated under Palestrini and Gio. Maria Nanino, in the school instituted by them at Rome ; he was an excellent theorist, and, not- withstanding the nobility of his birth, was necessitated *o make music his profession, and even to play for bire. He was the author of many compositions of inestimable value, among the rest is the canon en- titled 'Canon Polymorphus,' inserted in page 303 of this work, which may be simg two thousand ways ; this composition was once in the possession of Antimo Liberati, who esteemed it as a very great curiosity ; not knowing perhaps that the author had given it to Kircher, who published it in his Musurgia. Valentini was the author of a work published in 1645, entitled ■■ La Transformatione di Dafne, Favola morale con ■* due intermedii ; il primo contiene il ratto di Pro- ' serpina, il secondo la cattivita nella rete di Venere - e Marte. La Metra Favola Grseca versificata ; con " due intermedii ; il primo rappresentante I'uccisione •' di Orfeo, ed il secondo Pitagora, che ritrova la " Musica.' Paolo Agostino, (a Portrait,) a disciple of the eame school, was successively »organist of* Sancta Maria Trastevere, St. Laurence in Damaso, and lastly of St. Peter's at Rome. For invention he is said to have surpassed all his contemporaries. His ■compositions for four, six, and eight choirs are said ito have been the admiration of all Rome. He died in 1629, aged thirty-six, and lies buried in the •church of St. Michael in Rome. ,He left a daughter, married to Francesco Foggia, who will be spoken of hereafter. GiROLAMO DiRUTA was a Franciscan friar, and the author of a work entitled ' II Transilvano, Dialogo ' sopra il vero modo di sonar Organi ed Istromenti ■' da penna,' printed at Venice in folio in the year 1625. The author styles himself Organista del Duomo di Chioggia. The design of this his work is to teach the method of playing on the organ and harpsichord. After explaining the scale of music and the characters used in the Oantus Mensurabilis, he remarks the distinction between the organ and the other instruments which are the subject of his discourse : the organ he observes is to be sounded gravely, and at the same time elegantly ; other instruments used in concerts and in dancing he says are to be played on with spirit and vivacity. And here he drops a hint that the profane and lascivious music, forbidden to be used in the church by the decree of the council of Trent, consisted in airs resembling dance-tunes, i. e. 'Passemezzi, ed altre ' sonate da hallo.' After some general directions respecting the posi- tion of the hand, and the application of the fingers to the instrument, he exhibits a variety of lessons or Toccatas upon the ecclesiastical tones, some by him- self, and the rest by other masters, as namely, Claudio Merulo, Andrea Gabrieli, Luzzasco Luzzaschi, Paolo Quagliati, Gioseffo Guami, and others. In the course of this dialogue the author takes occasion to mention in terms of the highest respect, Claudio Merulo and Andrea Gabrieli, who seem to have been joint organists of the church of St. Mark at the time of the first publication of this book. In the year 1622 Diruta published a second part of the Transilvano ; this is divided into four books, the first is said to be ' Sopra il vero modo de intavolare ciaschedun Canto.' The second teaches the rules of counterpoint, and the method of com- posing Fantasias, of which kind of music he gives a variety of examples, the composition of Luzzasco Luzzaschi, Gabriel Fattorini, and Adriano Bianchieri. The third part treats of the ecclesiastical tones, and of the method of transposing them, and other matters necessary to be known by every organist. The fourth book treats of the method of accompanying in choral service, with the use of the several registers or stops, as they are now called, of the organ. Michael Pr^torius, a musician eminent both in the theory and practice, was a native of Creutzberg, a city, castle, and bailiwick on the river Wena in Thuringia, belonging to the duke of Saxe Eisenach, where he was born on the fifteenth day of February, 1571. Having made a great proficiency in music, he was appointed by Henry Julius, duke of Brunswick, chapel-master, and chamber-organist of his court, and also chamber or private secretary to Elizabeth his consort ; after which, being an ecclesiastic by pro- fession, he became prior of the Benedictine monastery of Ringelheim or Ringeln, situated between Goslar and Lichtenburg, in the bishopric of Hildesheim. In the year 1596 he was the forty-eighth of fifty- three organists who were appointed to make trial of an organ then lately erected in the castle-church of Groningen. He was also, but in what part of his life is not ascertained, chapel-master of the electoral court of Dresden ; this appears by the superscription of a congratulatory ode in Latin, composed by John Steiiimetz, prefixed to the first volume of the Syn- Chap. CXXIII. AND PEACTICE OF MUSIC. 591 tagma Musicum of Prsetorius. The musical com- positions of Prsetorius are very numerous, and consist of motetts, masses, hymns, and other offices in the church service. Besides these he composed a work, intended to consist of four volumes in quarto, but only three were printed, it is entitled Syntagma Musicum, and contains a deduction of the progress of ecclesiastical music from its origin to the author's own time, with a description of the several instru- ments in use at different periods. In the dedication of this work Prsetorius complains of the many troubles and fatigues which he had undergone ; and perhaps it is to be imputed to these that he left the work imperfect. He died at Wolfenbuttle on the fifteenth day of February, 1621, which day of the month was also that of his nativity, he having just completed the fiftietk year of his age. Heineich Schutz was born on the eighth day of October, 1585, at Kosteritz, a village on the river Elster in Voightland. His grandfather Albrecht , Schutz, a privy-councellor, dying in 1591, at Weis- senfeils, and leaving considerable possessions, Chris- topher his son removed with his family thither, — Yx^Ti —f-^^S^ vi - den - tesnon vi-de-ant, ut vi-den-tes-. . non vi - de-ant, ut . . vi - den ut vi -den - tes non vi -de - ant, non vi - -de - ant, ut vi-den tes non . . videant, et au -di - en-tes non in - tel - li . gant. et au -di - en-tes eant, ct au -di - en-tes - li gant, . 594 HISTORY OF THE SCIENCE Book XIII. tes, au -di en tes non intel - li - gant, et au-di - en-tes non . . in- tel - li-gant. et au -di -_en-tcs non in telli - gant, non in -tel- li-gant, et au-di -en.- tes non in - tel - li -gant. in - tel li-gant, non in -tel -li -gant, et au-di en tes non in -tel - li-gant. Gbegorio Allegri, (a Portrait,) a disciple of Gio. Maria Nanino, and a fellow student under him and Palestrina, with Bernardino Nanino, the nephew of Gio. Maria, Antonio Cifra, Pier Francesco Valen- tini, and Paolo Agostino, was a singer in the papal chapel, being admitted as such on the sixth day of December, 1629. He was besides, as a scholar of his, Antitno Liberati, relates, a celebrated contra- puntist. Andrea Adami, surnamed da Bolsena, who has given a brief account of him, says that he was but an indifferent singer ; but that he was dis- tinguished for his benevolent disposition, which he manifested in his compassion for the poor, whom he daily relieved in crowds at his own door, and in daily visits to the prisons of Rome, and communica- tions with those confined there, whose distresses he enquired into and relieved to the extent of his abilities. Allegri was a man of very devout temper : his works are chiefly for the service of the church ; nevertheless he sometimes composed for instruments : * among his compositions in the church style is a Miserere in five parts in the key of G, with the minor third, which by reason of its supposed ex- cellence and pre-eminence over all others of the like kind, has for a series of years been not only reserved for the most solemn functions, but kept in the library of the pontificial chapel with a degree of care and reserve that none can account for.f Andrea Adami, who might be a good singer, but w^s certainly a very poor writer, and, as may be collected from many passages in his book, less than a competent judge of the merits of musical composi- tion, has given a character of this work in the following words : ' Among those excellent com- ' posers who merit eternal praise, is Gregorio Allegri, ' who with few notes, but those well modulated, and ' better understood, has composed a Miserere, that * A composition of his for two violins, a tenor and bass viol, is pub- lished in the Musurgia of Kircher, torn. I. pag. 487. \ The few copies of the Miserere of Allegri till lately extant are said to be incorrect, having been surreptitiously obtained, or written down by memory, and the chasms afterwards supplied : such it is said is that in the library of the Academy of Ancient Music, but one in every respect complete, and copied with the utmost care and exactness, was about three years ago presented as an inestimable curiosity by the present pope to an illustrious personage of this country. The French church-musicians have a Miserere, which is highly valued among them, the production of their own country, composed by Allouette, of the church of NStre Dame in Paris, a celebrated composer of motets, and a disciple of Lully. li - gant. Mabco Soacchi. ' on the same days in every j-ear is sung, and is the ' wonder of our times, being conceived in such pro- ' portions as ravish the soul of the hearer.' The above eulogium, hyperbolical as it is, will he found to mean but little when it is considered that most men express delight and admiration, rapture and astonishment in the strongest terms that imagi- nation can suggest. The Miserere of Allegri is in its structure simply counterpoint, a species of com- position which it must be allowed does not call for the utmost exertions of genius, industry, or skill ; and it might be said that the burial service of Purcell and Blow may well stand in competition with it; if not, the Miserere of Tallis, printed in the Cantiones Sacr» of him and Bird in the year 1575, in the opinion of a sober and impartial judge, will be deemed in every respect so excellent, as to suffer by the bare comparison of it with that of Allegri. This person died on the eighteenth day of February, in the year 1652, and was buried near the chapel of St. Filippo in the Chiesa nuova, in the place of sepulture appropriated to the singers in the pope's chapel. Barbara Strozzi, otherwise Strozza, a Venetian lady,:}: flourished towards the middle of the last century, and was the author of certain vocal com- positions, containing an intermixture of air and re- citative, which she published in 1653, with the title of ' Cantate, Ariette, e Duetti,' with an advertisement prefixed, intimating that she having invented this commixture, had given it to the public by way of trial ; but though the style of her airs is rather too simple to be pleasing, the experiment succeeded, and she is allowed to be the inventress of that elegant species of vocal composition the Cantata. GiAcoMo Caeissimi, maestro di cappella of the church of St. Apollinare in the German college at Rome, is celebrated by Kircher and other writers as one of the most excellent of the Italian musicians. He is reputed to be the inventor of the Cantata, which is borrowed from the opera, but which in the J This lady is not to be confounded with another of her own sex, Laurentia Strozzia, a Dominican nun of Florence, who lived near fifty years after her, and wrote on music. She was very learned, understood the Greek language, and wrote Latin Hymns, which were translated into French, and set to music by Jacques Mauduit, a French musician, celebrated by Mersennus in his Harmonic Universelle Des Instrumens de Percussion, page G3. Chap. CXXIV. AND PKACTICE OF MUSIC. 595 preceding article is shewn to have been invented by Barbara Strozzi, a lady his contemporary, and in truth was only first applied by Carissimi to religious subjects, and by him introduced into the church : a remarkable composition of his in this kind is one on the last Judgment, which begins with a recitative to the words ' Suonare I'ultima tromba.' One of the most finished of his compositions is his Jephtha, a dialogue of the dramatic kind, and adapted to the church service ; it consists of recitatives, airs, and chorus, and for sweetness of melody, artful modula- tion, and original harmony, is justly esteemed one of the finest efforts of musical skill and genius that the woi^ld knows of. Kircher in his Musurgia, tom. I. page 603, speaks with rapture of this work, and after pointing out its beauties, gives the chorus of virgins ' Plorate filise Israel,' for six voices in score and at length. Another work of Carissimi, of the same kind, and not less excellent than that abovementioned, is his Judicium Salomonis, to which may be added his dialogue between Heraclitus and Democritus, in which the affections of weeping and laughing are finely contrasted in the sweetest melodies that ima- gination ever suggested.* To Carissimi is owing the perfection of the re- citative style ; this species of music was invented by Jacopo Peri and Giulio Caccini, but reduced to practice, and greatly improved by Claudio Monte- verde ; Carissimi excelled in imitating the inflections of the human voice, and in uniting the charms of music with the powers of oratory. He was likewise the inventor of moving basses, in which he was imitated by a famous composer of Cantatas, Pier Simone Agostino, Colonna, Bassani, and lastly by Corelli. He was also among the first of those that introduced the accompaniment of violins and other instruments with the voices in the per- formance of motets, a practice which he took from the theatre, and was afterwards adopted by Colonna, Bassani, Lorenzani, and other Italians. A disciple of his. Marc Antonio Oesti, who will be spoken of in the next article, introduced the Cantata pn the stage and into secular performances. Mattheson calls this a profanation, but with little reason, for the Cantata was never appropriated to church-service, and in its original design was calculated for private enter- tainment. . Kircher in the strongest expressions of gratitude acknowledges his having received great assistance from Carissimi in the compilation of the Musurgia, particularly in that part of it which treats of Eecita- tive, in which style he asserts that Carissimi had not his equal. Dr. Aldrich has adapted English words to many of Carissimi's motets ; one of them, ' I am well pleased,' is well known as an anthem, and is fre- quently sung in the cathedrals of this kingdom : and here it may be noted that the chorus in Mr. Handel's oratorio of Samson, ' Hear Jacob's God,' is taken from that in Jephtha ' Plorate filise Israel.' Among the Harleian manuscripts is a volume of musical compositions, said by Mr. Humphrey Wanley, who drew up the Catalogue as far as No. 2407, to have been bought of himself, the first whereof is entitled ' Ferma, lascia, ch'io parli Sacrilego Ministro, ' Cantata di Giacomo Carissimi,' upon which is the following note : ' This Giacomo Carissimi ' was in his time the best composer of church- ' music in all Italy. Most of his compositions were ' with great labour and expence collected by the late ' learned dean of Christ-Church, Dr. Henry Aldrich. ' However, some things of Carissimi I had the luck ' to light upon, which that great man could not ' procure in Italy, of which this Cantata was one. ' Carissimi living to be about ninety years old, com- ' posed much, and died very rich as I have heard.' f Marc Antonio Cbsti was first a disciple of Ca- rissimi, and afterwards a monk in the monastery of Arezzo in Tuscany. The emperor Ferdinand III. made him his maestro di cappella, notwithstanding which, and his religious profession, he composed but little for the church, for which he has been censured ; nay he composed for the theatre, operas to the number of five ; one entitled Orontea was performed at Venice about the year 1649, and another entitled La Dori some years after. His Cantatas, as has been mentioned in the article of Carissimi, were all of the secular kind, and the invention of the Cantata di Camera is therefore by some ascribed to him, while others contend that the honour of it is due to Carissimi his master ; neither of these opinions have any foundation in historical truth ; the Cantata, as above is related, was originally invented by Barbara Strozzi ; and there are some of her compositions now extant which bear the name of Cantatas, and are so in fact, as consisting of recitative and airs for the voice ; it is true that the evidences of art and skill in the contrivance of them are but few, however they are prior in respect of time to those of Carissimi and Cesti, and must therefore be looked on as the earliest compositions of the kind. One of the most cele- brated Cantatas of Cesti is that to the words ' cara Liberta ; ' some of his airs are printed in a col- lection published in London about the year 1665 by Girolamo Pignani, entitled ' Scelta di Canzonette 'Italiane de piu Autori.' The following sprightly duet is also of his composition CA-EA oa-ra'e dol. ce Li-ber-ta, ca -ra'e, ca - ra'e dol - ce, ca - ra'e dol - ce • * Fietro Xorri, chapel-master of tlie church of BiuBsels in the year 1722, composed a duet on the same subject, t Harleian Catalogue, No. 1265. 596 HISTOKY OF THE SCIENCE. Book XIII. Esther Elizabeth Velkiehs may justly be thouglit to merit a place in a work of this kind, for her ex- cellence in the faculty of music. She was a native of Geneva, and was born about the year 1640, but before she was a twelvemonth old, through the care- lessness of a servant, was suffered to go so near a heated oven, that she was in an instant almost totally deprived of her sight. As she grew up, her father discovering in her a strong propensity to learning, taught her the use of letters by means of an alphabet cut in wood, and had her instructed in the Latin, German, French, and Italian languages. Being thus furnished, she applied terself to the study of the mathematics, natural and experimental philosophy, and lastly, theology ; in all which sciences she ac- quired such a degree of knowledge as rendered her the wonder and admiration of the ablest professors. As a relief to her severer studies, she betook herself to music, the knowledge whereof she acquired vnth great facility. She had a good voice and a very fine hand, which she exercised on the harpsichord. She had scarce any remains of sight, but had nevertheless attained the power of writing a hand very legible. Nothing of her composition is remaining, nor any other memorials of her extraordinary genius and abilities, than are to be found in some of the German Maeo Astonio Cesti. Lexicons, in which she is mentioned in terms of great respect.* JoHANN Caspar Kbrl, was a native of Saxony, and having in his early youth made great proficiency in music, was called to Vienna by the archduke Leopold, and appointed organist at his court, where discovering signs of an extraordinary genius, ho was for his improvement committed to the care of Gio- vanni Valentini, maestro di cappella at the Imperial court, and after that sent to Borne for instruction under Carissimi : upon his return great offers were made him to enter into the service of the Elector Palatine, but he declined them, chusing rather to settle at Bavaria, where he became maestro di cappella to the elector Ferdinando Maria. His principal work is his ' Modulatio Organica super Magnificat octo ' Tonis Ecclesiasticis respondens,' engraved and printed in folio at Munich in 1687. Kerl is justly esteemed one of the most skilful and able organists that the world ever produced. In a competition that he had with some Italian musicians at the court of the elector of Bavaria, he composed a piece for that instrument of wonderful contrivance, and which none but himself could execute. The following is given as a specimen of Kerl's style of composition for the organ. * Bishop Burnet in 1685, when abroad on his travels, saw and had long conversations with this extraordina/ry person, ' Chap. CXXIV. AND PEACTIOE OF MUSIC. OANZONA. 597 m^^^^m^^^^^^^^^^^^^ Sb= J. m A A A r J-Aj. '^^ :=^f=0 ^ M^^r= ^=^R'f= ^ ^^^^^^^^^^mm 598 HISTORY OP THE SCIENCE Book XIII. Pabio CoLONifA, of the illustrious family of that name at Rome, was a celebrated mathematician, naturalist, and speculative musician. He was born at Naples in the year 1567, and flourished at the beginning of the succeeding century. He acquired great reputation by his skill in botany, and by the publication at different times of three books of Plants with figures, and remarks on the writings of Theo- phrastus, Pliny, Dioscorides, and Matthiolus : he was a member of the society called Accademia Lyncsei, established by the Duke De Aqua Sparta ; the first of those institutions for the improvement of science and literature, which are now so numerous in Italy and other parts of Europe. In the year 1618 he published in the Italian language a work in three books, entitled ' Delia Sambuca Lincea, overo dell' instrumento musico perfetto, which instrument he named Lincea, and also Pentecontachordon, as con- sisting of fifty strings. In this work of Oolonna is contained the division of the diapason, which many have confounded .with that of Vicentino, and makes the octave to consist of thirty-two sounds or thirty-one intervals. Salinas asserts, and as it seems Mersennus once thought, that the two systems of Vicentino and Oolonna were one and the same, as they both divide the tone into five parts, three whereof are given to the greater semitone, and two to the lesser. Salinas's words are these : ' I should not pass over a certain ' instrument, which was begun to be fabricated in ' Italy about forty years since, and was by its in- ' ventor, let him be who he will, called Archieymba- ' lum, in which all the tones are found to be divided ' into five parts, three whereof are given to the greater ' semitone, and two to the lesser one.' And Mersennus remarks that that division cannot be called a new one which began to be made ninety- seven years before the time of his, Mersennus's, writing, viz,, in the year 1634 ; between which time, and the time when Salinas published his book, fifty years elapsed : wherefore says Mersennus, as Colonna is a very old man, and confesses that he received this invention from another, it agrees very well with what Salinas has remarked.* But in the Harmonic Universelle, livre III. Des Genres de la Musique, Prop. XI. Mersennus exhibits Oolonna's system, which has no one circumstance in common with that of Vicentino, excepting only the division of the tone into five parts, as appears by the following description : — ' Fabio makes use of a monochord of the length of ' seven feet between the two bridges, and divides it ' into 200 equal parts, by means of an iron wheel, ' of the size of a Julio, an Italian coin worth five ' pence, this wheel has forty teeth, and being placed * Harmonic!, lib. VI. De Generibus et Modis, Prop. xiii. JOBANN CaSPAB KeUL. ' in a collateral situation with the string, and rolled ' along, in fifty revolutions marks 200 points. ' As to the degrees of the different species of the ' Diatonic, which he endeavours to find in the division ' of the octave into thirty-eight intervals, they prove ' that the Greeks have groped in the dark for that • which they might easily have found if they had ' followed nature. ' The design of Fabio is to prove that the tone ' ought to be divided into five parts, but this may ■ be done, as we have elsewhere said, by a division ■of 19 parts.' t 'The table here ex- 'hibited shews all the ' chords, and intervals in ' the octave of Pabio. Its ' two columns contain all ' the chords of the octave, ' and shew the different ' points of the monochord 'on which the bridge is ' to be placed, to find ' every degree and every ' interval, as well against ' the whole chord, as a- ' gainst the residue ; and ' for this purpose the right ' han^ column contains a ' ntiinber, which, together 'with its correspondent ' number on the left, com- ' pletes the number 2000, 'representing the whole ,' chord. ' For example, the num- ' bers 1000 and 1000 at ' the top of each column, ' make up the number ' 2000 ; the numbers in ' the sixth place from the ' top, that is to say, 1200 ' and 800 in like manner ' complete the number ' 2000 ; and the same ' thing will come to pass ' in all the rest of the num- ' bers in the two columns, ' whose addition will al- 'ways give the number '2000, the sum of the ' divisions contained in ' the whole chord. It is easy to know ' what every residue ' makes with the whole ' chord, or with the other A 1000 1000 1063 ^ 936^ 1090 i^ 909 ^\ G nil i 888 1 1142 ^ 857 i P 1200 800 F 1250 750 E 1333 ^ 666 f 1538 T% 461 T^ 1411^4 588 T-\ 1428 1 571 f 1454 -^ 545 A D 1500 500 P 1600 400 1739 ^ 260 If 1658 ^ ^41-^ 1666 § 333 i 1684 1 315 1 h 1714 f 285 f 1777 ^ 222 1 1860 1^ i3i-ir 1811 if 188 11 1818 -^ 181 A 1828 1 171 ^ 1840 T%. 153 H 1882 -^ 117 il 1937 If 62 If 19001^ 99t^ 1904 if 95 A 1910 f^ 89 If P 1920 80 1939^ 60 If 1963^^ 36^11 1949^^ SOU? 1951 A 48 1^ 1954t?5C0O tOOO-5 hf>-02OO03C0OOi-'OO 'io Hw ''I"' ~^'° "•" ■^'^ '^'^ ' ""I" 3" ' But the octave, divided as under into twelve ' equal semitones, answers all the ends of his division. 1 2 3 4 5 6 7 8 9 10 11 12 13 i ^-w=^- tB ^i— «: » pzFJ fe - ^ $=s= Mersennus has given so copious a description of Colonna's system, that he has left very little to be said on the subject, except that it has never been adopted in any of the proposals for a temperature : neither indeed has that of Vicentino, which he has investigated with great ingenuity. On the contrary, the above division of the octave into thirteen sounds and twelve intervals, which is the same with that 2r 600 HISTOKY OF THE SCIENCE Book XIII. mentioned in pag. 401 of this work, in not. and which Mersennns has particularly recomiQended in the Harmonie Universelle, liv. III. Des Genres de la Musique, Prop. XII. seems to prevail, as having hitherto resisted all attempts towards a farther im- provement. , CHAP. OXXV. MaeiN Mersenne, (a Portrait,) [Lat. Marinus Mersennus,] a most learned French writer, was born on the eighth day of September, 1588, at Oyse in the province of La Maine. He received his instruction in polite literature at the college of Flgche, but quitting that seminary, he went to Paris, and after having studied divinity some years in the college of the Sorbonne, entered himself among the Minims, and on the seventeenth day of July, 1611, received the habit. In September, 1612, he went to reside in the convent of that order at Paris, where he was ordained priest, and performed his first mass in October, 1613. Immediately upon his settlement he applied himself to the study of the Hebrew language under the direction of father John Bruno, a Scots Minim, and having acquired a competent degree of skill therein, he became a teacher of philosophy and theology in the convent of Nevers. In this station he continued till the year 1619, when he returned to Paris, de- termined to spend the remainder of his life in study and conversation, as indeed he did, making them his whole employment. In the pursuit of his studies he established and kept up a correspondence with most of the learned and ingenious men of his time. During his stay at la FlSche he had contracted a friendship with Des Cartes, which he manifested in many instances, of which the following may be reckoned as one. Being at Paris, and looked on as the frien^d of Des Cartes, he gave out that that philosopher was erecting a new system of physics upon the foundation of a Vacuum ; but finding the public were indifferent to it, he immediately sent intelligence to Des Cartes that a Vacuum was not then the fashion, which made that philosopher change his system and adopt the old doctrine of a Plenum. The residence of Mersennus at Paris did not hin- der him from making several journies into foreign countries, for he visited Holland in the middle of the year 1629, and Italy four times, viz., in 1639, 1641, 1644, 1646. In the month of July, 1648, and in the dog-days, having been to visit his friend Des Cartes, he returned home to his convent excessively heated ; to allay his thirst he drank cold water, and soon after was seized with an illness which produced an abscess on his right side. His physicians ima- gining his disorder to be a kind of pleurisy, he was bled several times to no purpose ; at last it was thought proper to open his side, and the operation was begun, but he expired in the midst of it on the first day of September, 1648, he being then about the age of sixty. He had directed the surgeons, in case of a miscarriage in the operation, to open his body, which they did, and found that they had made the incision two inches below the abscess. The author of Mersennus's life, Hilariou de Coste, gives this farther character of him and his writings. He was a man of universal learning, but excelled particularly in physics and the mathematics ; on these subjects he published many books, and one in particular entitled ' Questiones celeberimse in Genesim, ' cum accurata textus explicatione : in quo volumine ' athaei et deistseimpugnantur, &c.'* Paris 1623 It abounds with long digressions, one on the subject of music, in which, and indeed in many other parts of his book, he takes occasion to censure the opinions of Eobert Fludd, an Englishman, a doctor in physic, and a fellow of the college of physicians in London, but a crack-brained enthusiast, of whom, as he was a writer on music, an account will hereafter be given. The character of Mersennus as a philosopher and a mathematician is well known in the learned world. To that disposition which led him to the most abstruse studies, he had joined a nice and jujiicious ear, and a passionate love of music, these gave a direction to his pursuits, and were productive of numberless ex- periments and calculations tending to demonstrate the principles of harmonics, and prove that they are independent on habit or fashion, custom or caprice, and, in short, have their foundation in nature, and the original frame and constitution of the universe. In the year 1636 Mersennus, published at Paris, in a large folio volume, a work entitled Harmonie Universelle, in which he treats of the nature and properties of sound, of instruments of various kinds, of consonances and dissonances, of composition, of the human voice, and of the practice of singing, and a great variety of other particulars respecting music. This book consists of a great number of separate and distinct treatises, with such signatures for the sheets and numbers for the pages as make them independent of each other. The consequence whereof is, that there are hardly any two copies to be met with that contain precisely the same number of tracts, or in which the tracts occur or follow in the same order, so that to cite or refer to the Harmonie Universelle is a matter of some difficulty. The titles of the tracts are as follow : De I'Utilite de THarmonie. De la Nature et des Proprietez du Son. Des Con- sonances. Des Dissonances. Des Instrumens. Des Instrumens a chordes. Des Instrumens a vent. Des Instrumens de Percussion. Des Orgues. Des Genres de la Musique. De la Composition. De la Voix. Des Chants. Du Mouvement des Corps. Des Mouve- mens et du son des Chordes. De I'Art de bien chanter, and herein des Ordres de Sons, de I'Art d'embellir la Voix, les Eecits, les Airs, ou les Chants. De la Rythmique. As the substance of these several treatises is con- tained in the Latin work of Mersennus herein spoken, of, it is not necessary to give any thing more than a general account of the Harmonie Universelle ; nevertheless some material variations between the Latin and the French work will be noted as they occur. In the year 1648, Mersennus published his Har- monie Universelle in Latin, with considerable addi- * The title of the book as entered in the Bodleian Catalogue is Questiones et Explicatio in sex priora capita Genese(i>s, quil)us etiam * GrEBCorum et Hebrseorum Musica instauratur.' Par. 1623. It seems that the Harmonie Universelle and Harmonici, contain in substance the ^vhole of what he has said in it relating to music. Chap. GXXV. AND PRACTICE OP MUSIC. 601 tions and improvements, with this title, 'Harmoni- ' corum libri xii. in quibus agitur de sonorum natura, * causis, et effectibus : de consonantiis, dissonantiis, ' rationibus, generibus, modis, cantibus, compositione, ' orbisque totius harmonicis instrumentis.' This work, though the title does not mention it, is divided into two parts, the first containing eight, and the second four books, thus distinguished : Lib. i. De natura et proprietatibus sonorum. ii. De causis Eonorum, seu de corporibus sonum producentibus. iii. De fidibus, nervis et chordis, atque metallis, ex quibus fieri solent. iv. De sonis consonis, seu con- sonantiis. V. De musicse dissonantiis, de rationibus, et proportionibus; deque divisionibus consonantiarum. vi. De speciebus consonantiarum, deque modis, et generibus. vii. De cantibus, seu cantilenis, earumque numero, partibus, et speciebus. viii. De compositione musica, de canendi methodo, et de voce. The several chapters of the second part are thus entitled : — Lib. i. De singulis instrumentis Evrarotc seu eyxop^ois hoc est nervaceis et fidicularibus. ii. De instrumentis pneumaticis. iii. De organis, campanis, tympanis, ac casteris instrumentis KpovofiEvoig, seu que percutiuntur. iv. De campanis, et aliis instrumentis Kpovo/MevoiQ seu percussionis,ut tympanis, cymbalis,&c. The titles of these several books do in a great measure bespeak the general contents of them seve- rally; but the doctrines delivered by Mersennus are founded on such a variety of experiments touch- ing the nature and properties of sound, and of chords, as well of metal as those which are made of the intestines of beasts ; and his reasoning on these subjects is so very close, and withal so curious, that nothing but the perusal of this part of his own original work can afibrd satisfaction to an enquirer, for which reason an abridgment of it is here for- borne. In the fourth and fifth books he treats of the consonances and dissonances, shewing how they are generated, and ascertaining with the utmost degree of exactness the ratios of each ; for an instance whereof we need look no farther than his fifth book, where he demonstrates that there are no fewer than five different kinds of semitone, giving the ratios of them severally. His designation of the genera contained in his sixth book, De Generibus et Modis, is inserted in page 34 of this work. Previous to his explanation of the modes, he exhibits a view of the scale of Guido in a collateral position with that of the ancient Greeks, making Proslambanomenos answer to A re, and Nete hyperboleon to aa, la mi ee. Of the ancient modes he says very little, but hastens to declare the nature of the modern, or as they are otherwise termed the ecclesiastical tones, and these with Glareanus he makes to be twelve. This book contains also his examen and censure of the division (if the monochord by Fabio Colonna. In his seventh book, De Cantibus, in order to shew the wonderful variety in music, he exhibits tables that demonstrate the several combinations or possible arrangements of notes in the forming a Can- tilena; and in these the varieties appear so multi- farious, that the human mind can scarce contemplate them without distraction ; in short, to express the number of combinations of which sixty-four sounds are capable, as many figures are necessary as fill a line of a folio page in a small type; and those exhibited by Mersennus for this purpose are thus rendered by him : — ' Ducenti viginti et unus vigintioctoiliones, 284 ' vigintiseptemiliones, 59 vigintisexiliones, 310 vigin- ' tiquinqueiliones, 674 vigintfquatuoriliones, 795 vi- ' gintitresiliones, 878 vigintiduoiliones, 785 viginti ' et unusiliones, 453 vigintiliones, 858 novemdeci- ' miliones, 545 octodecimUiones, 553 septemdecimi- ' liones, 220 sexdecimiliones, 443 quindecimiliones, ' 327 quatuordecimiliones, 118 tredecimiliones, 855 ' duodecimiliones, 467 undecimiliones, 387 decimi- ' liones, 637 noviliones, 279 octiliones, 113 septi- ' liones, 59 sexiliones, 747 quintiliones, 33 quadri- * liones, et sexcenti triliones.'* In his book intitled De Instrumentis harmonicis, Prop. II. he takes occasion to speak of the chords of musical instruments, and of the substances of which they are formed ; and these he says are metal and the intestines of sheep or any other animals. He says that the thicker chords of the greater viols and of lutes are made of thirty or forty single intestines, and that the best of this kind are made in Rome and some other cities in Italy, and this superiority he says may be owing to the air, the water, or the herbage on which the sheep of Italy feed : he adds that chords may be also made of silk, flax, or other materials, but that the animal chords are far the best. Chords of metal he says are of gold, silver, copper, brass, or iron, which being formed into cylinders, are wrought into wires of an incredible fineness; these cylinders he says are three, or four feet long, and by the power of wheels, which require the strength of two or three men to turn them, are drawn through plates with steel holes, which are successively changed for others in gradual diminution, till the cylinders are reduced to slender wires. To demonstrate the ductility of metals, particularly silver and gold, he siys that he tried a silver chord, so very slender, that six hundred feet of it weighed only an ounce, and found that it sustained a weight of eight ounces before it broke; and that when it was stretched by the same weight on a monochord eighteen inches in length, it made in the space of one second of time a hundred vibrations : as to gold, he says that an ounce may be converted into sixteen hundred leaves, each at least three inches square, and that he remembered a gold-beater that by mere dint of labour hammered- out such a leaf of gold till it covered a table like a table-cloth. He mentions also the covering cylinders or chords of silver or copper with gold, and demonstrates that an ounce of gold being beaten into leaves, may be made to gild a wire two hundred and sixty-six leagues long. In Prop. VIII. of the same book, the author * According to the computation of ringers, the time required to ring all the possible changes on twelve bells is seventy-five years, ten months, one week, and three days. 602 HISTOEY OF THE SCIENCE Book XIII. treats of the Cithara or Lute, and of the Theorbo, which he calls the Cithara bijuga, thus represented by him : — After having explained the construction of these two se- veral instru- ments, and shewn the tun- ing, and the method of play- ing on each, as also the me- chanical opera- tions of the workmen in making them, he directs the application of the hands and fingers, and describes the several little percussions or graces in the performance on the lute. And here, to avoid confusion, it may tie proper to note the difference between the above two instru- ments : the first is the primitive French Inte^ im- proved by an additional number of strings from that represented in page 418 of this work. The other is the Theorbo or Cithara bijuga, so called from its having two necks, though we ought rather to say that it has two nuts, which severally determine the lengths of the two sets of strings. When the strings of the latter are doubled, as among the Italians they frequently are, the instrument is called Arcileuto, the Arch-lute. See page 418 of this work, in not. The use of it then is chiefly in thorough-bass. In the earlier editions of Oorelli's Sonatas, particularly of the third opera, printed at Bologna in 1690, the principal bass part is entitled Violone, 6 Arcileuto. In the Antwerp editions it is simply Violone, from ■whence it may be inferred that in Flanders the Arch- lute was but little, if at all, in use. In Prop. XIII. he explains the tablature for the lute as well by figures as letters, illustrating the latter method in a subsequent proposition by a Can- tilena of Mons. Boesset, master of the chamber-music to the king of France. Prop. XIX. contains a description of another in- strument of the lute-kind, which he calls the Pan- , dura, of the fol- lowing form : — 1 and seems to be ' an improvement of the instrument called the Bandore, invented by John Eose,* and spoken of in pag. 493 of this work. * The right name of this person seems to have been Ross. He had a son, a famous viol-malcer. Mace, in his Musick's Monximent, pag. 245, says that one Bolles and Ross were two the best makers of viols in the world, and that he had known a bass-viol of the former valued at one hundred pounds. In Prop. XX. are given the figure, concentus, and ta- blature of the Man- dura or lesser lute, an instrument of this form ; — In Prop. XXI. the following representation of the Cithara His- panica, or Spanish Guitar, f In Prop. XXII. are exhibited the form and con- centus of the instrument called the Cistrum, thus delineated : — This instru- ment Mersennus says is but little used, and is held in great con- tempt in France, as indeed it has been till very lately in this country. The true English appellation for it is the Cittern, notwith- standing it is by ignorant people called the Guitar : the practice on it being very easy, it was formerly the common recreation and amusement of women and their visitors in houses of lewd resort. Many are the allusions to this instrument in the worlds of our old dramatic poets : whence it appears that the Cittern was formerly the symbol of a woman that lived by prostitution. Another proof of the low estimation in which it was form.erly held in England is that it was the common amusement of waiting customers in barbers' shops, f Prop. XXIV. exhibits the form and use of an instrument resembling the Cittern in the body, but having a neck so long as to make the distance between the nut and the bridge six feet. The general t According to the well-known maxim * Additio probat minoritatem,' the appellation Cithara Hispanica, which we render the Spanish Guitar, supposes a guitar of some other country, but the case is not so, although a certain instrument now in fashion, and which is no other than the Cistrum or Cisteron of Mersennus, or the old cittern, is ignorantly termed a guitar. This confusion of terms is to be thus accounted for : almost every instrument of the lute-kind is in Latin called Cithara, and by the Italians Cetera, and sometimes Chittarra ; the Spaniards pronounce this latter word Guitarra, and sometimes, as in Cerone, Quitarra. So that upon the whole the simple appellative. Guitar, is a sufTicient designation of the Cithara Hispanica or Spanish lute, which diifers greatly from that of the French and Italians in its form, as may be seen by comparing their respective diagrams above exhibited. X This fact is alluded to in Jonson's Comedy of the Alchemist, and also in his Silent Woman, in which Morose finding that instead of amute wife he has got one that can talk, cries out of Cutberd, who had re- commended her to him, * That cursed barber I I have married his Cittern that is common to all men.* It seems that formerly a barber's shop, instead of a newspaper to amuse those that waited for their turn, was furnished with a musical instrument, which was seldom any other than the Cittern, as being the most easy to play on of any, and therefore might be truly said to be common to all men ; and when this is known, the allusion of the poet appears to he very just and natural ; as to the fact itself, it is ascertained in one of those many little books written by Crouch, the bookseller in the Poultry, and published with the initial letters R. B. for Robert Burton, entitled Winter Evening Entertainments, 12mo. 1687, it consists of ten pleasant relations, and lifty riddles in verse, each of which has a wooden cut before it ; Numb. XLIV. of these riddles is explained a barber ; the cut prefixed to it represents his shop with one person under his hands, and another sitting by and playing on a cittern This instrument grew into disuse about the beginning of this century,' Dr. King, taking occasion to mention the barbers of his time, says that turning themselves to periwig making they had forgot their cittern and their music. Works of Dr. William King, Vol. 2, page 79. Chap. 0XX\. AND PKAOTICE OF MUSIC. 603 name of it is the Colachon ; but it is also called the Bichordon or Trichordon, accordingly as it is strung ; the use of it is to play songs in two or three parts, which Mersennus says may be performed on it with all the varieties of fugues, Syncopes, and other orna- ments of fiigurate music. He adds that the table or belly of this instrument may be of parchment or copper, or even of glass. The several instruments above enumerated are of that genus which is characterized by the appellation of the Cithara, or as it is usually rendered, the Lute. Another class is included in the general denomination of the Barbiton, and of these there appear to be two species, the Violin and the Viol ; these Mersennus particularly characterizes, but first he describes an instrument of a singular form, and a very diminutive size, which, for want of a better name, he calls the Lesser Barbiton ;* this is a small violin invented for the use of the dancing-masters of France, of such a form and dimension, as to be capable of being carried in a case or sheath in the pocket. There are two forms of this instrument by him thus ex- hibited : — • He then de- scribes the violin properly so call- ed ; that is to say, the common treble violin, and from thence pro- ceeds to the greater, called by the Italians the Violone, and of late years the Violoncello. He gives also a representation of the violin : to each of these instruments he assigns a tuning by fifths, but the ambit of the former differs from that of the modern Violoncello. Mersennus speaks also of the tenor and contra- tenor violin, which he says differ only in magnitude from the treble violin. He adds that these instru- ments are severally strung with four chords, each acuter than the other in the progression upwards by a diapente. Mersennus having treated thus largely of the violin species, and shewn what is to be understood by a concert of violins, f he proceeds to a description * In England this instrument is called a Kit, it is now made in the form of a violin ; its length, measuring from the extremities, is about sixteen inches, and thatof the bow about seventeen. Small as it is, its powers are co-extensive with those of the violin. Mr. Francis Pemberton, a dancing-master of London, lately deceased, was so excellent a master of the Kit, that he was able to play solos on it, exhibiting in his per- formance all the graces and elegancies of the violin, which is the more to be wondered at as he was a very corpulent man. t We have here a perfect designation of a concert of violins, as contra- distinguished from one of viols, usually called a chest of viols, by means whereof we are enabled to form an idea of that band of twenty-four violins established by Lewis XIV, which as Mons. Perrault and others assert, was the most famous of any in Europe. The common opinion of this band is, that it consisted of four and twenty treble violins, thus ridiculously alluded to by Durfey in one of his songs, * Four and twenty fiddlers all in a row.' But the fact is that it was composed of Bass, Tenor, Contratenor, and Treble instruments, all of which were included under the general de- nomination of violins. Mersennus gives a very particular description of Lewis's band in the following passage :— ' Whoever hears the 24 fidicinists 'of the king with six Barbitons to each part, namely, the bass, tenor, * contratenor, and treble, perform al) kinds of Cantilenas and tunes for ' dancing, must readily confess that there can be nothing sweeter and of the viol species ; and first he treats of the greater viol, which he says has six chords ; the form of this instrument is thus represented by him : — Speaking of that little pillar of wood placed under the belly of the viol and other instruments, which we call the sound-post, Mersennus makes it a question, why it is placed under the slenderest, rather than the thick- est chord, which seems most to require a support, and recom- mends to the enquiry of in- genious persons the reason of this practice, f In Prop. xxii. Mersennus treats of an instrument which he calls the new, or rather the ancient lyre, but whether properly or not, almost any one is able to judge. It is an instrument of a very singular kind as may be seen by the following re- presentation of it : — ' pleasanter. If you have a mind to hear the upper part only, what can ' be more elegant than the playing of Constantinus ? what more vehement * than the enthusiasm of Bocanus ? what more subtile and delicate than ' the little percussions or touches of Laxarinus and Foucardus ? If the ' bass of Legerus be joined to the acute sounds of Constantius, all the ' harmonical numbers will be compleated.' At present we have no such instruments in use as the contratenor violin. It seems that soon after this arrangement it was found un- necessary, inasmuch as the part proper to it might with ease be per- formed on the violin, an instrument of a more sprightly sound than any other of the same species ; and it may accordingly be observed, that in concertos, overtures, and other instrumental compositions of many parts, the secopd violin is in truth the countertenor part. Mersennus has taken no notice of the instrument now used in concerts, called by the Ttallans and French the Violone, and by us in England the double bass; it seems that this appellation was formerly given to that instrument which we now call the Violoncello ; as a proof whereof it may be remarked, that in the earlier editions of Corelli's Sonatas, particularly that of Opera III. printed at Bologna in 1690, that bass part which is not for the organ is entitled Violone, whereas in the latter, printed at Amsterdam by Estienne Roger, the same part is entitled Violoncello ; hence it appears that the name Violone being transferred to the greatest bass of modem invention, there resulted a necessity of a new de- nomination for the ancient bass-violin, and none was thought so proper as that of Violoncello, which is clearly a diminutive of the former. The Violone or double bass is by Brossard and others said to be double in its dimensions to the Violoncello, and consequently that its ambit is precisely an octave more grave ; but this depends upon the number of strings, and the manner of tuning them, some performers using four strings, and others only three, and in the tuning of these there is a difference among them. The true use of the Violone is to sustain the harmony, and in this application of it has a noble effect ; divided basses are improper for it, the strings not answering immediately to the percussion of the how ; these can only be executed with a good effect on the Violoncello, the sounds whereof are more articulate than distinct. It is much to be doubted whether the countertenor violin ever came into England; Anthony Wood, in his Life, speaking of the band of Chas. II. makes no mention of the contratenor violin, the following is his description of it : * Before the restoration of K. Ch. 2, and especially ' after, violins began to be out of fashion, and only violins used, as treble * violin, tenor and bass violin ; and the king, according to the French ' mode, would have 24 violins playing before hira while lie was at meals, * as being more airie and brisk than viols.' I The figure here given represents the true form of the viol, but great confusion arises from the want of names whereby to- describe the in- struments of which we are now speaking ; Mersennus could find no term to signi^ the Viol but the Barbiton and the Lyre ; the former of these names he gives also to all the instruments included in the violin species ; nay the Italians and others call a tenor violin Viola, and as to the Lyre, Galilei uses it for the lute, and by others of the Italian writers it is made to signify most other instruments of that class, but the true distinction between the viol and the violin species, arises from the difference of their form, and the number of their strings respectively, the viol, meaning that for concerts, of what size soever it be, having six strings, and the violin, whether it be the treble, the tenor, or the bass, having uniformly four. 604 HISTOEY OF THE SCIENCE Book XIII, It is mounted witli fifteen chords, sustained by a bridge which forms a segment of a very large circle, and of con- sequence is nearly flat : it is capable of performing a con- centus of four, and even five parts. It seems that Mons. Bailif, a French musician, used this instrument in accompani- ment to his voice. Mersennus calls him the French Orpheus. The subject matter of Prop, xxxiii. is so very curious, that it will not admit of an abridg- ment. The proposition is en- titled ' Explicare quamobrem ' nervus quilibet percussus ' plures simul sonos edat, qui ' faciunt inter se Diapason, Disdiapason, duodecimam, ' decimamseptimam,' &a. and is to this effect : — ' This proposition opens a wonderful phenomenon, ' and throws a light on the 8, 11, 12, 13, and other ' problems of Aristotle contained in his nineteenth ' section, in which he demands "Why do the graver " sounds include the acuter." And here it may be ' noted that Aristotle seems to have been ignorant ' that every chord produces five or more different ' sounds at the same instant, the strongest of which ' is called the natural sound of the chord, and alone ' is accustomed to b,e taken notice of, for the others ' are so feeble, that they are only perceptible by ' delicate ears. Some things therefore are here to be ' discussed, when some most certain and true experi- ' ments have been premised, the first of which is, ' that a chord of brass or metal produces as many ' sounds precisely as one made of gut ; the second ' is that these several different sounds are more easily ' perceived in the thicker than the slenderer chords ' of instruments, for this reason, that the former ' are more acute ; the third experiment teaches that ' not only the Diapason and Disdiapason, the latter ' of which is more clearly and distinctly perceived ' than the octave, hut also the twelfth and greater ' seventeenth are always heard ; and over and above ' these I have perceived the greater twenty-third, ' about the end of the natural sound.'* The fourth ex- " The Bitipason, Diadia^aaon, twelfth, greater seventeenth, and greater twenty-third here mentioned, are with respect to the octave or diapason, subordinate or secondary sounds : the four Jtrst arise from the respective vibrations of certain parts, ex. gr, alialf, a fourth, a iJtird, and a fifth of the chord, coinciding with the vibrations of the same chord in an harmonical ratio of I to 9. Mersennus at the close of the above proposition leaves it as a- desideratum. Of these partial vibrations of a chord mention is made in some of the papers communicated to the Royal Society by Dr. Wallis and others, published in the Philosophical Transactions [Vide, page 407 in not. net infra .] But Mons. Sauvetir, of the Academy of Sciences at Paris, has pursued this discovery by a distinction of his own invention between harmonical and inharmoniiial sounds. According to him,, harmonical sounds are such as make a determinate number of vibrations in the time thai some other' fundamental sound to which tltey are referred makes one vibration ; ajid these ajre produced by ilie parts of chords which vibrate a certain number of times, white the whole chord vibrates once. By this circumstance the harmonical sounds are distinguislied from the thirds ma^or and minor, and fifth, where the relations of the vibrations are respectively 4 io 5, 5 to 6, 2 to 3. And whereas the ratios of sounds had before the time of Mons, Sauveur, been contemplated in the fallowing series of numbers, 1 io 2, 2 to 3, 3 (0 4, 4 to 5, measuring respectively the intervals of an octave, a fifth, a fourth, and a third major, he took the numbers in their natural order, 1, 2, 3, 4, 5, 6, ^c. and found that as I to 2 is the ratio of the octave, 1 to 3 a twelfth, 1 to t a fifteenth or double octave, I to 5 a seven. ' periment convinces us that all these sounds are not ' perceived by some persons, although they imagine 'they have delicate and learned ears. The fifth ' shews that the sounds which make the twelfth and ' the seventeenth are more easily distinguished than ' the others, and that we very often imagine we 'perceive the diapente and the greater tenth, mis- ' taking for them their replicates, that is to say, the ' twelfth and seventeenth. Lastly, the sixth experi- ' ment teaches us that no chord produces a so and ' graver than its primary or natural sound. ' These things being premised, we are now to ' investigate the cause why the same chord should ' produce the sounds above-mentioned, and expressed ' in these lesser numbers, 1, 2, 3, 4, 5, for the dia- ' pason is as 1 to 2, the twelfth as 1 to 3, the Dis- ' diapason as 1 to 4, and the greater seventeenth as ' 1 to 5. These phenomena cannot be referred to ' any other causes than the different motions of the ' air ; but it is very difficult to explain by what ' means the same chord or air is moved at the same ' time once, twice, thrice, four, and five times ; for ' as it is struck but once, it is impossible that it can ' be moved twice or three times, &c. unless we allow ' that there is some motion of the chord or the air, ' greater than the rest, and of an equal tenor from ' the beginning to the end, while other intermediate teenth major, 1 to 6 a nineteenth, meaning by the first number of these several ratios the whole of the chord, and by the second the parts thereof cor- responding with such^number ; so while a general vibrarion of the whole chord was going on, other vibrations of the several parts thereof denoted by the above numbers exceediTig the unit were making thatproduced subordinate sounds in consonance with their fundamental, and these he called har monical sounds. Vide. Chamber^s Diet. Voce Harmonical Sounds, and ^e the original tract of M. Sauveur in the History of the Academy of Sciences for the year 1 70 1 . The parts of a bell, besides the general sound which is excited by the stroke of the clapper, do in like manner in certain proportions at the same time yield subordinate and acuter sounds in consonance therewith, which a nice ear will clearly distinguish. The same may be observed of that useful and most accurate instrument, the tuning fork as now constructed, the slightest percussion of which will bring out a variety of subordinate harmonical sounds; though here it must be remarked that the secondary sounds of bells are very freijuently dissonant, as may be observed in the belt of almost any house clock ; and in a peal of hand-bells tuned in respect of their primary sounds, with the utmost nicely, it has been discovered that being heard at such a distance as to render their secondary sounds pre- dominant, viz., atthat of fifty yards or thereabouts, these latter have been most offensively discordant. [Vide infra .] Of these subordinate or secondary sounds, vuire especially such as are produced from a chord or the tuning fork, the least acute which we hear is an octave with the whole sound, the next tliat follows is a twelfth, the next a seventeenth, till they grow too acute for the ear to perceive them. As to the greater twenty-third, it is an interval compounded of the Trisdiapason and tone, or in other words, the Triplicate of the second, and being therefore a Dissonant, is not to be accounted for upon the principles here laid down ; and it may be observed that as it was the last sound of the five mentioned by him, that Mersennus was able to hear, it might possibly be the necessary result of languid and expiring vibrations, resembling as himself hints the departing smoke of a candle. Upon all which it is remarked that upon the percussion of a chord, no subordinate or secondary sound is produced that makes a- fifth, or a third major or minor, with the fundamental or primary sound ; nor in short, any that does not coincide in respect of its vibrations with every single vibration of the whole cltord or sonorous body whatever it be. The doctrine of subordinate sounds, so far as they are produced by the vibration of a chord, is by this discrimination clearly investigated, and we learn by it how far nature unassisted by art will go in the production of consonances; but on what principle tliose are founded tliat arise from the percussion of a bell, or the stroke of a tuning fork, on which the proportions of the subvibrating parts are undiscoverable, and by consequence their proportions immensurable, remains yet to be discovered. Mons. Sauveur asserts that the structure of the organ, by which he must be supposed to mean the combination of pipes therein, depends upon this so long-unknown principle ; but we should rather say it is resolvable into it; in like manner as we must suppose the wedge of the pulley and the lever, which were in use before the principles on which they severally act were investigated; for in the construction of the organ, meaning thereby the Diapason orfiill concentus or symphony of the greater or lesser pipes, it was si^gicient for the fabricators of that instrumeiit to know, thai they could not long be ignorant of it that the acuter sounds in ilie harmonical ratios above enumerated would coincide with, and also did, the fundamental or graver; and it remained for philosopliers and speculative musicians ia discover the physical causes of this wonderful coincidence. OiiAP. cxxv. AND PRACTICE OF MUSIC. 605 ' motions are made more frec[uent, almbst in the same ' manner as, according to the Copemican system, the ' earth makes three hundred and sixty-five daily ' revolutions, while it makes only one round the sun. ' But it appears from experience that a chord of ' an hundred foot long, composed of any materials ' whatsoever, has not the two above-mentioned mo- ' tions, but only one, whereby it makes its courses ' backwards and forwards : wherefore the cause of ' this phenomenon is to be sought from other motions, ' unless it is to be imputed to the different surfaces ' of the chords, the upper one whereof might produce ' a graver, and the others that follow, as far as the ' centre of the chord, acuter sounds ; but as these ' surfaces constitute only one continued homogeneous ' body, as appears from chords made of pure gold or ' silver, and are therefore moved by the same action ' and vibrated backwards and forwards by the same • number of courses, they cannot produce the different ' sounds, wherefore I imagine that the air which is ' first affected by the percussion of the chord, vibrates ' quicker than the chord itself, by its natural tension ' and aptitude for returning, and therefore produces ' an acuter sound, or rather that the same air being ' driven by the chord to the right side for example, ' returns at first with the same celerity, but is again ' repelled, and is agitated with a double velocity, and 'thus produces a Diapason with the primary and ' principal sound of the chord, which being still more ' agitated by the different returns of the chord, and ' returning more frequently itself, acquires a triple, ' quadruple, and quintuple celerity, and so generates ' the twelfth, fifteenth, and greater seventeenth. These ' first consonances must occur, nor can the air receive ' any other motions, as it should seem, before it is ' affected by them. But by what means it makes the ' twenty-third, or 1 to 9, let them who have leisure ' enquire, and I advise them to lend a most attentive ' ear to the chords, that they may be able to catch or ' perceive both the above sounds, and any others that ' may be produced. ' To this phenomenon of chords may be referred ' the different sounds produced at the same time by ' the greater bells, as is well known by every one ; ' and the leaps and intervals of the trumpet and litui, ' which imitate the sounds of the above-mentioned ' chords. Add to these the various sounds of glass ' vessels when their edges are pressed or rubbed by 'the finger, also the different figures and periods ' of smoke ascending from the flame of a candle ; ' and the pipes of organs which make two sounds at ' one time.' Prop. XXXVI. contains a description of the instru- ment called by the author, Vielle, and by Kircher Lyra Mendicorum ; a figure of this instrument is to be seen in the Musurgia of Ottomarus Luscinius, and in a preceding part of this work. Mersennus says that the construction of it is little understood, by reason that it is only used by blind men and other beggars about the streets. He makes it to consist of four chords, that is to say, two which pass along the belly of the instrument, and are tuned in unison to each other, but are an octave lower than the former two. All the four strings are acted upon by a wheel rubbed with powder of rosin, which does the office of a bow. The middle strings are affected by certain keys which stop them at different lengths, and produce the tones while the others perform the part of a mono- phonous bass, resembling the drone of a bagpipe. Mersennus says that there were some in his time who played so well on this contemptible instrument, that they could make their hearers laugh, or dance, or weep. Mersennus next treats, viz. in Prop, xxxvii. of that surprising instrument, the Trumpet Marine, here delineated, con- cerning which he thus delivers his ' sentiments : — 'The instrument commonly called the Marine ' Trumpet, either because it was invented by seamen, ' or because they make use of it instead of a trumpet, ' consists of three boards so joined and glued ' together, that they are broad at the lower end, and ' narrow towards the neck, so that it resembles a tri- ' lateral pyramid with a part cut off; a neck with ' a head is added to this pyramid in order to contain ' the peg that commands the chord ; near the greater ' end of the instrument is a stay, to which the chord 'is fastened by a knot under the belly, and detains it. ' To the left of the stay is the movable bridge which ' bears up the chord, and determines with the little 'bridge or nut at the smaller end, the harmonical ' length of the chord. The, bow is necessary to strike ' the chord, and consists of silk, and a stick, as has ' been said in the discourse on the Barbitons. ' The most remarkable thing that occurs in this ' instrument is that little stud of ivory, bone, or other ' matter which is fastened into the left foot of the 'bridge, under which a square little piece of glass is ' placed, and fastened to the belly, that when it is ' agitated by the different strokes of the- stud it may ' communicate a tremor to the sounds of the chord, ' and that by this means this instrument may imitate ' the military trumpet, for when the chord is rubbed ' by the bow, the left leg beats against the glass plate ' with repeated strokes, and impresses a peculiar ' quality or motion into the sounds of the chord, com- '' posed of the triple motion, namely of the stud, the ' chord, and the bow. ' The manner of using the trumpet marine is this, 'its head is turned towards the breast of the per- ' former, and leans thereon while he passes the bow ' across the chord, and lightly touches with the ' thumb or the fore-finger those parts of the chord ' which are marked by the divisions ; but the bow ' is to be drawn over the chord between the thumb ' which the chord is touched by, and the little bridge, ' not but that it might be drawn at any other place, 'but at that above directed it strikes the chord a ' great deal more easily and commodiously. ' Of the six divisions marked' on the neck of the ' instrument, the first makes a fifth with the open 'chord, the second an octave, and so on for the rest, ' corresponding with the intervals of the military ' trumpet.' 606 HISTORY OF THE SCIENCE Book XIII. Mersennus says that Glareanus has taken notice of the trumpet marine, and that he distinguishes it by the appellation of the Citharisticum ; to which we may add, that there are many curious particulars both in the Dodecachordon of Glareanus, and the Harmonics of Mersennus, as also in the Harmonie Universelle of the latter, concerning this instrument.* Prop. XXXIX. treats of the Spinaet, or, as Mer- sennus terms it, the Clavicymbalum ; the figure which he has given of it resembles exactly the old English virginal, in shape a parallelogram, its width being to its depth in nearly the proportion of two to one ; from whence it may be inferred that the tri- angular spinnet now in use is somewhat less ancient than the time of Mersennus. He makes it to consist of thirteen chords and keys, including twelve in- tervals ; that being the number contained in an octave, divided according to the modern system into seven tones and five semitones. He says that the tuning of this instrument is by many persons held a great secret, nevertheless he reveals it by explaining * In the Philosophical Transactions for 1692, is a discourse on the trumpet and trumpet marine by'.the'Hon. Francis Roberts, and a copious extract from it in the Abridgment of Xowthorp and Jones, vol. I. pag. 607, wherein are many'curious particulars concerning this instrument. As an introduction to his discourse the author observes of the military or common trumpet, that its ordinary compass is from double C fa ut to c SOX FA in alt, hut that there are only some notes in that series which it will give ; and farther that the 7th, 11th, 13th, and 14th notes in that progression, viz., B b, f, aa, and bb are out of tune. To account for these defects he adverts to the trumpet marine, which though very unlike the common trumpet, has a wonderful agreement vnth it ; as resembling it most exactly in sound, yielding the self same notes, and having the same defects. He refers to the known experiment of two unison strings, and observes upon it that not only the unison will answer to the touch of a corres- pondent string, but also the 8th and 12th in this manner : — If an unison be struck, it makes one entire vibration in the whole string, and the motion is most sensibly in the midst, for there the vibra- tions take the greatest scope. If an 8th is struck it makes two vibrations, the point in the midst heing in a manner quiescent, and the most sensible motion the middle of the two subdivisions. If a 12th be struck it makes three vibrations, and the greatest motion at the midst of the three subdivisions, the points that divide the string into three equal parts heing nearly at rest, so that in short the ex- periment holds when any note is struck which is an unison to half the string, and i 12th to the third part of it. In this case (the vibrations of the equal parts of a string being synchronous) there is no contrariety in the motion to hinder each other, whereas it is otherwise if a note is unison to a part of a string that does not divide it equally, for then the vibrations of the remainder not suiting with those of the other parts, immediately make confusion in the whole. Now, adds he, in the Trumpet Marine you do not stop close as in other instruments, but touch the string gently with your thumb, whereby there is a mutual concurrence of the upper and lower part of the string to produce the sound. This is sufficiently evident from this, that if any thing touches the string below the stop, the sound will be as eifectually spoiled as if it were laid upon that part which is immediately struck with the bow. From hence therefore we may collect that the Trumpet Marine yields no musical sound but when the stop makes the upper part of the string an aliquot of the remainder, and consequently of the whole, other- wise, as we just now remarked, the vibrations of the parts 'will stop one anotlier, and make a sound suitable to their motion altogether confused. The author then demonstrates with great clearness that these aliquot parts are the very stops which produce the trumpet notes, and that the notes which the trumpet will not hit are dissonant, merely because they do not correspond with a division of the monochord into aliquot parts. Having before premised that the trumpet and trumpet 'marine labour each under the same defects as the other, he applies this reasoning to the trumpet in these words : — • Where the notes are produced only by the different force of the breath, * it is reasonable to imagine that the strongest blast raises the sound by ' breaking the air within the tube, into the shortest vibrations, but that ' no musical sound will rise unless they are suited to some aliquot part, 'and so by reduplication exactly measure out the whole length of the •instrument; for otherwise a remainder will cause the inconvenience ' before-mentioned to arise from conflicting vibrations j to which if we ' add that a pipe being shortened according to the proportions we even ' now discoursed of in a string, raises the sound in the same degrees, ■ it renders the case of the trumpet just the same with the monochord.' To these remarks of Mr. Roberts another not less curious and difficult to account for, may be added, viz., that the chord of the trumpet marine is precisely equal in length to the trumpet, supposing it to be one con- tinued uninflected tube. the method of tuning the spinnet, agreeable to the practice of the present times. Prom the spinnet he 'proceeds in Prop. XL. to shew the construction of the Organocymbalum, in French called the Clavecin, and in English the harpsichord, an instrument too well known at this day to need a description. But it seems that in the time of Mersennus there were two kinds of harpsi- chord, the one of the French above spoken of, and the other of the , Italians, called by him the Mani- chordium. Of this he treats at large in Prop. XLII. In this instrument the diapason is said by the author to be divided according to the three genera ; it resembles in shape the spinnet described by Mersennus, but is considerably larger, having fifty keys. He adds that the use of it is for the private practice of those who choose not to be heard ; but he gives no reason for the difference between this and other instruments of the like kind in the division of the diapason. He next proceedsto describe an instrument .which he calls the Clavicytherium or harp with keys ; this is no other than the upright harpsichord, which of late has been introduced into practice, and made to pass with the ignorant for a new invention. Prop. XLIII. contains an explanation of the figure, parts, harmony, and use of the Chinor, Cinyra, or harp, which he exhibits in the form of a harp of our days. His description of this instrument is brief, and rather obscure, but in the Harmonie Universelle he is more particular, and delivers his sentiments of it to this effect : ' Many difficulties ' have been started relating to this instrument, among ' others whether the harp of David resembled this of ' ours ; but as there are no vestiges of antiquity re- ' maining, whereby we can conclude any thing about ' it, it must suffice to describe our own,' and this he does by a figure of it. The verbal description which follows the figure of the instrument imports that this harp is triple strung, and that the chords are brass wire. The first row, and also the third, consist of twenty-nine chords, and are tuned in unison ; the intermediate row consists of semitones, and contains a less number. In the Harmonie Universelle, which contains a much fuller description of the harp than the. book now quoting, Mersennus speaks of a French musician, Mons. Plesle, who in his time touched the harp to such perfection, that many preferred it to the lute, over which he says it has this advantage, that all its chords are touched open, and besides, its accordature or tuning comes nearer to truth than that of the lute ; and. as to the imperfection complained of, that the vibrations of the chords sometimes continue so long as to create dissonance ; he observes that a skilful performer may with his fingers stop the vibration of the chords at pleasure. Prop. XLIV. contains an explanation of the figure, parts, concentus, and use of the Psalterium, together with a proposal of a mundane instrument. The instrument first above spoken of, as exhibited by Mersennus, is in truth no other than that common instrument known by the name of the Dulcimer. Chap. CXXVI. AND PRACTICE OF MUSIC. 607 The little rod or plectrum with which it is struck, is by him said to be made of the wood of the plumb, the pear, or the service-tree. He adds that two of these may be used at a time for the playing of Duos and Cantilenas in consonance. The mundane instrument above-mentioned is more largely spoken of in the Harmonic Universelle ; the figure of it is apparently taken from the Utriusque Cosmi Historia of Dr. Robert Fludd, a book of which a large account will hereafter be given. The conceit of a mundane instrument is certainly one of the wildest that madness ever formed ; Mersennus says r answers to the earth, A to the water, ]-| to the air, and so on for the rest till G, which answers to the sun, supposed to be the centre of our system, and from thence in a progression of tones and semitones upwards to the heavens. CHAP. CXVI. The boob of Mersennus entitled De Instrumentis Harmonicis is subdivided into two, the first whereof treats of nervaceous or . stringed, and the second of pneumatic or wind instruments. In preface to this latter the author waives the consideration of the nature of wind, and refers to the Historia Ventorum of our countryman Lord Verulam. In Prop. I. he describes an instrument resembling the Syringa of Pan, formed of reeds in different length con- joined with wax. The instru- ment exhibited is of this form, and it consists of twelve tubes of tin, the lesser being subtriple in its ratio to the greater. This instrument be says is used by the braziers or tinkers of Paris, who go about the streets to mend kettles, and advertise the people of their approach by the sound of it. He next speaks of the lesser Tibise, and those of few holes, here I delineated, which he thus describes: | ' The first of these instruments, viz., I ' that on the left hand is perforated ' both above and below, and is mads | ' of the rind or bark of a tree, or of ' a branch of the elder-tree, having | ' the pith taken out; or of the wood ' of the box-tree excavated, or even I ' of iron, or any other matter. The ' second has three apertures, that is ' to say, one at the top, where the I ' breath is blown into it, another in ' front, below it, where tlie sound is made, and a third ' at the bottom where the wind goes out. The third ' and fifth figures represent pipes of reed or wheat- ' straw, on which the shepherds play, wherefore the ' instrument is called "tenuis avena," "calamus agres- '•' tis," and "stipula," and those who play on the barley- ' straw are called pairaravXai because pairaTri is the ' same as KoXaftie, as Salmasius on Solinus observes. ■ But whether these pipes may be. called Gingrinse, ' a kind of short pipes of goose bones, that yield ' a small doleful sound, and those who play on them ' Gingritores ; and whether they are said, jugere, to ' cry like a kite, I leave to the judgment of the ' critics, who also dispute whether the right and the ' left-hand pipes had the same number of holes, such ' as those we give in the sixth proposition, or whether ' they were unequal in the number of their holes. ' A very late translator of Vopiscus, concludes that ' they were unequal, and attributes more holes to the ' left tibia than to the right, that the former might ' sound more acute ; and that the left or Tyrian, sung ' after, or followed, the right or Lydian in singing ; ' and also that the Adelphi, Andria, and Heauton- ' timorumenos of Terence were acted with these, and ' that in such manner as never to sing together. ' Moreover you may justly call the pipe which comes ' next in Prop. II. with three holes, the right-hand ' pipe, and the flajolet the left, if any person has ' a mind to sing the Cantus of Terence's comedies ' with these pipes ; I shall however add that the left- ' hand pipe, though not equal to it in the number of ' holes, was shorter than the right-hand one, in order ' to sound more acute ; pipes of this kind are usually ' made after two manners, namely, with a little tongue ' placed in the middle of the reed, which appears in ' the third figure, so that while the mouth com- ' prebends the little tongue, the left hand stops and ' opens with any finger the upper hole, as the right ' hand does the lower ; or the tongue is cut in the ' upper part, as in the fifth figure, and then when the ' mouth blows therein the fingers of the right hand ' open and shut the holes to form the different sounds. ' There now remains the fourth pipe, which is ' commonly called the Eunuch. This sings rather by ' speaking than by blowing, for it returns a sound or ' voice of the. same acumen with which it is prolated, ' and which is reflected with a bombus or humming ' sound like a drone, from a very thin or fine shecp- ' skin or onion -peel, and acquires a new grace. This ' slender skin covers the orifice at the upper extremity, ' and like the head of a drum is stretched or strained ' on the pipe, and tied round with a thread, and the ' cap or cover, which is represented over it, and ' which has several' holes in it, is put over it, but the ' sound comes freely out of the hole at the bottom. ' There are some persons who recite songs of four or ' more parts with these pipes. We must not omit ' that pipes of this kind may be made of the bones ' of mules or other animals well cleansed, or of those ' of birds, nay even of the middle stalk of an onion, ' of glass, wax, &c. and of these materials some have ' constructed organ-pipes.' Prop. II. contains a description of the small flute, or pipe with three holes, with which the tabor or little drum is used in accompaniment. Its form is here delineated. Upon this instrument Mersennus makes some curious observations, as that though it has but three holes, eighteen sounds may be produced from it. He says that the gravest sound is prolated when all the holes are stopped, and that the three next in succession are made by lifting up the fingers, so that the fourth note is the 608 HISTOEY OF THE SCIENCE. Book XIII. sound of the instrument when open. The other sounds, and which make up the number eighteen, he says are produced by stronger blasts of the breath, accommodated to the different degrees of acuteness required; and this variety of blowing is also observed in the other tibisa and iistute, of which he afterwards sj)eaks. Mersennus says he had heard an Englishman, John Price by name, by the sole variety of blowing on this instrument, ascend to the compass of a ter- diapason or twenty-second. He adds, that there are some things concerning this pipe which are wonderful. First, that after the graver sounds, g, a, b, c, which are produced by the least blast, the blowing a little stronger gives the fifth above : and yet it is im- possible to produce from this instrument the three intermediate sounds which occur between the fourth note c, and the fifth gg, viz., d, e, f, thai so the first octave might be perfect, as is the second: and this defect he says is peculiar to this instrument only. Secondly, that it leaps from its gravest sound to a diapason when the wind is a little increased, and again to a second diapason if the wind be increased to a greater degree.* From the pipe with three holes, the associate of the tabor, Mersennus proceeds to what he calls the lesser tibia or Flajolet, here delineated. Of this instrument Mersennus observes that it need not exceed the length of the little finger. He says that at the aperture near the top the impelled wind goes out, while the rest passes through the open holes and the lower orifice. He observes that the white circles marked on the instrument resembling a cypher, denote the holes on the back part of it, and that the uppermost of these is stopped by the thumb of the left hand, and the lowermost or fifth from the top, by the thumb of the right hand : the black circles represent the holes in the front of the instrument. He adds that in his time one Le Vacher was a celebrated performer on this instrument, and in his French work he inti- mates that he was also a maker of flajolets. In the Harm. Univer. Des Instnimens a Vent, Prop. VII. Mersennus speaks more fully of the flajo- let. He says that there are two ways of sounding this instrument ; and all such as have the lumiere, i. e. the aperture under the tampion ; the first is by simple blowing, the other by articulation and the ac- tion of the tongue ; the former he says imitates the organ, the latter the voice : one is practised by vil- lagers and apprentices, the other by masters. The ambit of the flajolet, according to the scale exhibited by Mersennus, is two octaves from g sol RB UT upwards. At the end of his description of the instrument, both in the Latin and French work, he gives a Vaudeville for flajolets in four parts f by * This observation applies to flutes of almost all kinds ; in the flute Abec, by stopping the thumb hole, and certain others with the flngers, a sound is produced, but half stopping the thumb-hole without any other variation, gives an octave to such sound. The octaves to most of tha sounds of the Fistula Germanica, or German flute, are produced only by a more forcible blast. This uniformity in the operations of nature, though it has never yet been accounted for, serves to shew how greatly Ihe principles of harmony prevail in the material world. t It is a kind of Gavot, having four bars in the first strain, and eight in the last. The air at the end of the fifth Sonata of the fourth Opera of Corelli answers precisely to this description. For the inventor 0{jj:hls kind of air, and the etymology of the word Vaudevilie, see page 569 of this work, in not. Henry le Jeune, who he says composed the examples for the other wind-instruments described in his book, as knowing very well their power and extent. Prop. V. treats of the Fistula Dulcis, seu Anglica, called also the flute Abec; f the figure of it is here represented. § Of the two figures adjacent to the instru- ment at length, the uppermost shews the aperture for the passage of -the wind between the tampion or plug and the beak ; the other represents the end of the flute with a view of the beak and the tampion. This instrument has eight holes in the front, and one behind, which is stopped by the thumb ; as to the lower or eighth hole, Mersennus remarks that there are two so numbered ; for this reason, that the instrument may be played on either by right or left-handed persons, one or other of the two holes being stopped with wax. || Mersennus observes that flutes are so adjusted by their different sizes as to form a concentus of treble, contratenor, tenor, and bass ; and that the treble-flute is more acute than the contratenor by a ninth or a diapason, and a tone. The contratenor he makes to be a diapente more acute than the bass, as is also the tenor ; for he supposes the contratenor and tenor to be tuned in unison, in the same manner as they are in several other harmonies of instruments.^ In this, which is his Latin work, Mersennus does not mention the sizes of the several flutes, but in the Harmonie Universelle he is more particular, for he says that the length of the bass-flute is two feet and three quarters, that of the tenor one foot five inches, and the treble only eleven lines.** From the scale or diagram for the flute exhibited by Mersennus, it appears that the ambit or compass of the instrument is a disdiapason or fifteen notes, and that the lowest note of the system for the treble- flute is FA UT ; but this system, as also those of the. tenor and bass-flute, is adapted to what is called by him and other French writers, le petit Jeu ; ne- vertheless there is a flute known by the name of the concert-flute, the lowest note whereof is F;fj" indeed J For the reason of this appellation see page 331 of this work, in not. § Flutes are mentioned in the works of St. Evremond with great encomiums on the French performffrs thereon, and in Sir George JEtherega's Comedy of the 'Man of Mode,' II From hence it is evident that the practice of making the flute in pieces, that so the lower hole, by turning the piece about, might be accommodated to the hand, was not known when Mersennus wrote. IT Particularly the viol and violin, in neither of which species there is any distinction between the tenor and contratenor ; perhaps in the con- centus of flutes the contratenor part was given to the tenor, in that of the violin it is the second treble. ** This is a mistake of the author which we know not how to correct ; a line is but a twelfth part of an inch. ft The true concert flute is that above described ; but there are also others introduced into concerts of violins of a less size, i^ which case the method was to write the flute part in a key correspondent to its pitch ; this practice was introduced by one Robert Woodcock, a celebrated performer on this instrument, and by an ingenious young man, William Babell, organist of the church of Allhallows Bread-street, London, about the year 1710, both of whom published concertos for this instrument, in which the principal part was for a sixth flute, in which case the lowest note, though nominally F, was in power D, and consequently required a transposition of the flute-part a sixth higher, viz., into the key of D. But these attempts failed to procure for the flute a reception into concerts of various instruments, for which reason one Thomas Stanesby, a very curious maker of flutes and other instruments of the like kind, about the year 1732, adverting to the scale of Mersennus, in which the lowest note is made to be C fa vr, invented what he called the new Chap. CXXVI. AND PRACTICE OF MUSIC. 609 over since the introduction of the flute into concerts, the lowest note of the flute, of what size soever it be, has been called F, when in truth its pitch is deter- minable only by its correspondence in respect of acuteness or gravity with one or other of the chords in the Scala Maxima or great system. Mersennns next proceeds to what he calls Fistulas regias, royal flutes,* or those of the Grand Jeu as he calls it ; meaning thereby, as it is supposed, those that are tuned in unison with their respective notes in the Scala Maxima, respective forms whereof are thus represented by him : — The Instru- ments here de- lineated are thus described by the author : The flute A, has a key, which by the pres- sure of the little finger opens the hole which is un- der it in the box. The fistula B, has three boxes, a greater and two lesser ; the first of J these is represent- ed apart by C, that all the springs which are any wa)' necessary to open and shut the holes may appear; below that part of the instrument, resembling in its form a barrel, are two k6ya which command two holes below them, and being pressed with the little finger, open either the one or the other of them. Beneath these are seen springs contained in the two lower boxes of the instrument B, but as they are too far distant from the hands, the little square pieces of brass which appear in the lower part of fig. C, are pressed down by the foot, in order to lift up the springs, as is seen in the tail of the lower spring, which being pushed down, lifts up the plate, and opens a great hole like a window, and nearly equal to the breadth of the fistula. system, in which hy making the flute of such a size as to be a fifth above '•oncert pitch, the lowest note became C sol pa ut ; by this contrivance the necessity of transposing the flute part was taken away ; for a flute of this size adjusted to the system above mentioned, became an octave to the violin. To further this Invention of Stanesby, one Lewis Merci, an excellent performer on the flute, a Frenchman by birth, but resident in London, published about the year 1735, six Solos for the flute, three whereof are said to be accommodated to Mr. Srailesby's new system, but the German flute was now become a favorite instrument, and Stanesby's ingenuity failed of its efiect. There were two persons, flute-maJcers, of the name of Stanesby, the father and the son, the Christian-name of-both was Thomas ; they were both men of ingenuity, and exquisite workmen ; the father dwelt many years in Stonecutter-street leading from Shoe-lane to what is now the Fleet-market, and died about the year 1734; the son had apartments and his workshop over the Temple Exchange, in Fleet-street : he died in 1754, and lies buried in Sc. Fancras church-yard near London, where is a stone with the following incription to his memory : — ' Here lies the body of the • ingenious Thomas Stanesby, musical wind instrument maker ; esteemed ' the most eminent man in his profession of any in Europe. A facetious ' companion, a sincere friend ; upright and just in all his dealings ; ready to serve and relieve the distressed; strictly adhering to his word, even • upon the most trivial occasions, and regretted by all who had the hap- sue Discorso intorno all' Opere del Zarlino, k una favola de' Modenli,' che senza Greca letteratura, camlna unitamente con 1' altre. ■ } Page 83. Chap. CXXXVIII. AND PEACTICE OF MUSIC. 655 days on which they are permitted to go out of the college, he says the scholars are wont to sing at a certain place without the Porta Angelica, near the Mount of Marius, where is an echo, which, as it is pretended, returns the sound of their voices in such a manner as to enable them to discover their defects in singing. At other times, says he, they resorted to the churches in Eome, and either assisted in the ser- vice, or attended to the performance of those excellent singers and musicians who flourished during the pon- tificate of Urban VIII. After which they returned to the school or college, and, making exercises on what they had heard, communicated them and their observations to their master, who in return, in lectures delivered and explained to them the precepts of science and practice.* He then proceeds to exhibit from Franchinus, or, as he calls him, Gaffaro, and Vanneo, the constitution of the four ecclesiastical tones of St. Ambrose, which he shews to be derived from the Dorian, Phrygian, Lydian, and Mixolydian modes of the ancient Greeks. After which he proceeds to relate that St. Gregory increased the number of the ecclesiastical . tones to eight, by adding thereto four others, derived as he says, from the Hypodorian, Hypophrygian, Hypo- lydian, and Hypermixolydian, distinguishing the eight ecclesiastical tones into authentic and plagal.f In the first subdivision of the third part, Delia Pratica Moderna, he considers the practice of the moderns, founding it on the reformation of the scale by Guido Aretinus ; of whose invention of a method of determining the place of the semitones in the diapason, by the use and application of the syllables, he has given a just aocount.J The syllables of Guido, as they were invented solely for the purpose of assisting the voice in the discrimination between the tones and semitones, determine nothing as to the ratios or measures of those intervals ; and it is obvious that a succession of tones precisely equal with the semitones, interposed in their natural order, had been productive of those inconveniences, arising from a surd quantity in the constitution of the diatessaron, which it had been the endeavour of many writers to palliate, and which had given rise to that controversy between Zarlino and Galilei, whether the ditonic diatonic of Ptolemy, or rather of Pythagoras, or the intense or syntonous diatonic of the former was to be preferred. To remedy this inconvenience, a system had been invented which divided the octave into thirteen sounds or chords, and twelve intervals, that is to say, semitones, of which Bontempi speaks to the following purpose : ' This was that sublime and, ' memorable operation, which so improved the noble ' science of counterpoint ; for a very skilful man, ' whose name, and even the age he lived in, is not ' known, having found that the diatessaron and dia- ' pente would admit of a small variation without offence to the ear, he reformed those intervals. ' Besides this he first interposed in the middle of ' each tetrachord the Spesso Oromatico ; § and after- * Page 170. t Page 172. J 1S2, et seq. ' § By the Spesso Oromatico Bontempi means the chromatic or double diesis, or, in other words, the lesser semitone, consisting of four commas. ' wards, at other distances, an interval never known ' before in the orders of tetrachords, marked thus ®, ' or thus b, according as the modulation was either ' of the sharp or flat kind ; thus he formed a system ' of sounds, separated from each other by the interval ' of a semitone, and thereby united the chromatic ' with the diatonic genus, and of the two formed one.'|| Bontempi has said that the name of the author of this last and great improvement of the musical system, as also the age in which he lived, are un- known, and refers to Polydore Virgil, lib. III. cap. xviii. Polydore Virgil's book De Inventoribus Rerum, contains little more respecting music than a brief account of the invention of it, and of a few instruments, such as the harp, the organ, and the lyre ; and it seemed strange that he who has men- tioned in particular no one system, should take notice of the improvement of any ; his work has therefore been recurred to, and all that he says on the subject is found to be contained in the following words : ' Multa ,insuper novissimis temporibus instrumenta ' musica inventa sunt, quorum autores jam in ob- ' livionem venerunt. Ex quibus propter suavitatem ' concentus omni admirationi et laude digna sunt ' ilia, quae organa nuncupant, valde quidem ab illis ' dissimilia, qu» David Judseorum rex fecerat, qui- ' bus LevitsB sacros hymnos concinerent, sicut nos ' his pariter canimus. Item alia id genua sunt, ' quae monochordia clavicymbala varieq ; nominantur, denoted by a double cross, which is the common sharp signature. Vide Brossard Diet, de Musique, Diesis. II Page 186. Brossard has given an account of this improvement, which, as it is much more full and satisfactory than that of Bontempi, is here in- serted : — ' It being found that there was a chord placed between the Mese and ' Paramese of the ancients, or our A and B, wliich divided the interval of ' a tone, that was between them, into two semitones : it was thought ' that chords also might be added, as well between those that were at the ' like distance from each other, i. e. had a tone between them ; the ' author of this improvement therefore not only inserted the B mol, as * in Guide's system, but also the chromatic chords of the ancient scale, * that is those which divide the tones major of each tetrachord into ' semitones ; and this he did by raising the lowest chord a semitone, by ' means of a double diesis j|, which was placed immediately before the ' note 80 to be raised, or on the same degree with it after the cliff: again, ' it liaving been found that the tones minor terminating the tetrachords ' upwards, were no less capable of such division, he, by the help of the ' chromatic chords, divided them also ; so that the octave then became ' composed of thirteen sounds and twelve intervals, eight whereof are 'diatonic or natural, distinguished by white notes ttms O, and five ' chromatic thus, by black ones ♦ ; and the diesis prefixed.' Diet, de Musique, voce Ststema. BE <^ ^* »-i^ z$:M*z is=H= Brossard elsewhere observes, that in the several systems of the dia- tonic genus for which he refers to Bontempi, page 93, the tetrachord is composed of three intervals, that is to say, semitone, tone major, and tone minor; and that Ptolemy and Didymus, among all their re- formations, taking it for granted that the tone minor was indivisible into semitones, interposed but one chromatic sound in the tetrachord, thereby dividing the tone major into semitones, the one major and the other minor, leaving the tone minor as they found it. But he says that it having afterwards been found necessary to divide the tone minor in like manner, and also to extend the diatessaron and contract the dia- pente ; a very learned man, whose name is not mentioned in history, perceiving that the ear was not displeased if the fifth was a little diminished, that is, if it was not quite of so great an extent, found out an admirable temperament, which rendered the second tone of the fourth equal to the first, by giving the fourth a little greater extent than it naturally had from its mathematical form of 3, 4, which tone con- sequently admitted one chromatic chord, that divided it into two semi- tones. This system is called by the Italians Systema Temperato. He observes that by means of this addition of the chromatic chord the octave becomes divisible into twelve semitones, without any chasm in or between the two tetrachords that compose It ; and also that thereby two of the genera, that is to say. the chromatic and diatonic, are brought into one system, which, for that reason, is by Bontempi and other of the Italian writers, called Systema Participato. Vide Brossard, voce Tem- FERAMENTO. 656 HISTOKY OF THE SCIENCE. Book XV. ' eorum, tamen seque inventores magno qnidem suse • glorise damno in nocte denaiasima delitescunt.' * In the aeoond subdivision of the third part, della Practica Moderna, Bontempi deduces the practice of counterpoint from the time of its supposed invention by Gruido down to the time of Johannes de Muris, who lived about three hundred years after. Impli- citly relying on Gaffurius, Vanneo, and Kircher, he ascribes to De Muris the invention of the Cantas Mensurabilis, and says that it was adopted and im- proved by Prosdocimus, Tintor, Franco, Caserta, Anselmo da Parma, and other contrapuntists. He says that in the original invention of counterpoint the sounds in consonance were distinguished in writing, by an opposition of note against note, but that by the introduction of the Cantus Mensurabilis, which was signified by certain characters, of dissimilar forms, that which was originally termed counterpoint assumed the name of Canto figurato.f In treating on the science of counterpoint, this author, following the method of the Italians, divides it into five parts, namely, 1. the figures or characters used to denote the sounds and their measures ; 2. the degrees of mode, time, and prolation, signified by their respective characters ; 3. the proportions ; 4. Contrapunto semplice; 5. Contrapunto florido.J In the discussion of each of these he is very accurate ; and in his discourse on the last two heads delivers the precepts for the composition of a cantilena in consonance both in the Contrapunto florido and the Contrapunto semplice, according to the practice of his time. In the course of his work he celebrates two of his countrymen, namely, Lemme Eos8i§ and Baldassare Ferri, both of Perugia ; the former of these had written a treatise on music, from which Bontempi has given many copious extracts ; the latter was a singer, of whom he gives a great character. The Historia Musica of Bontempi is a work of some merit ; but, to speak ingenuously, it seems little calculated for instruction ; the author appears to have read a great deal on the subject of music ; never- theless it is apparent in many instances that the knowledge he had attained was not derived from the genuine source. That he had perused the Greek writers in the edition of Meibomius cannot be doubted, for he cites the book, though he has not adopted all the prejudices of the editor. But his great fault is a too ready acquiescence in the authorities of Fran- chinus, Steffano Vanneo, and Kircher in matters respecting the theory and practice of music among the moderns, under which comprehensive term he properly enough includes not only Guido, the inventor of the modern system, but St. Gregory and St. Ambrose, who, from the modes of the ancients, * instituted for the purpose of religious worship, that * Polyd. Virgil. De Invent. Rer. Lib, VIII. Basil, apud Johan. Frolien. 1521. + Page 199. : 205. S Lghhe Rossi was an eminent mathematician and philosopher, and professor of the Greek language in the university or academy of Perugia. He appears to have been deeply skilled in the theory of music by the work above alluded to, which was published at Perugia in the year 1666, and is entitled 'Systema Musica, overo Musica speculativa, dove si * spiegano i piU celebri di tutti txh generi.' formula of vocal melody comprized in the eight ecclesiastical tones. In a discourse on this important branch of musical history, it was requisite that the author should have recurred to original materials, such as are to be found in public repositories, not to say in Italy only, but in almost every_ city and university in Europe : the neglect of this method has led Bontempi to adopt the errors of former writers, who seem to have founded their reports on mere popular tradition, and to becomethe propagator of many errors, which, as a historian, it was his duty to detect and explode. To enumerate instances of this kind is an invidious office, but those contained in his relation of the invention of music in consonance by Guido, and of the Cantus Mensurabilis by Jo- hannes de Muris, are of such importance, that they merit particular notice. With respect to the former assertion, there is not the least authority for it either in the Micrologus or the Argumentum novi Cantus inveniendi of Guido,- or in his epistle to his friend Michael of Pomposa ; and, from the superficial account which he gives of Guido and his improvements, there is reason to think that Bontempi had never perused any of his writings; and as to the Cantus Men- surabilis, no one can read the relation of its invention by Franco of Liege, as given by the learned Bene- dictines, the publishers of the Histoire Literaire de la France, but must conclude that the- names De Muris, Prosdocimus, Tintor, Franco, Caserta, and Anselmo da Parma, are cited by rote from the margin of the Practica Mnsicse of Franchinus, or rather from the Systema Musica of his compatriot Lemme Eossi, whose name occurs in almost every page of his work. Indeed it is easy to discover where the materials of this author failed him ; for while he had the Latin version of the Greek writers on music lying before him, he was able to give an account of the original constitution of the lyre of Mercury, and of the names of the several persons who at different times increased the number of chords of which it consisted, from four to seven, as also of the subsequent extention of the system to fifteen chords, with other improvements ; but no sooner does he dismiss these materials, than his narration is interrupted, and a chasm ensues, which he attempts to supply by citations from Alstedius and other chronological writers, the bare recorders of memorable events ; and from materials so scanty as these we are not to wonder if he found himself unable to furnish many particulars respecting that history, the deduction whereof is the object of his work. The invention of the several musical instruments in use among the moderns, and the successive im- provements made in them at different periods, is surely a very essential part of musical history ; and it would be but a weak answer to any one who should object that Bontempi is silent on this head, to say that a great deal to the purpose is to be found in the Musurgia of Ottomarus Luscinins, the Dialogo della Musica of Vincentio Galilei, in the writings of Mersennus, the Musurgia of Kircher, and in the History of Music of Wolfgang Caspar Printz. And Chap, CXXXIX. AND PEACTICE OF MUSIC. G57 here it may be remarked, that an unjustifiable par- tiality for the country where the author was born distinguishes this work ; for, among the moderns whom he has taken occasion to mention, the name of any musician not an Italian, scarcely occurs. In a word, the information contained in the Historia Musica of Bontempi is just sufficient to awaken that curiosity which it is the end of history to gratify. In those who are ignorant of the subject it may excite approbation; but that it falls short of affording satisfaction to a learned and curious enquirer, every one of that character must feel when he reads it. Lorenzo Penna, of Bologna, a Carmelite monk, and a professor of music, was the author of a work entitled Albori Musicale, printed at Bologna in 1672, divided into three parts, the first treating of the elements or principles of the Canto Figurato ; the second on Counterpoint ; and in the third, of the precepts or rules, to use the author's own expression, ' per suonare I'Organo sopra la parte.' In this book, which is one of the best of those many on the subject written by Italians, and pub- lished after the year 1600, the scale of Guido with the use of the syllables* and the cliffs, and the nature of the mutations are explained in a very concise and intelligible manner, as are also the characters used in the Oantus Mensurabilis. Of the rules for counter- point laid down by this author, little can be said other than that they are perfectly consistent with the laws of harmony. In the course of his directions for the composition of counterpoint, examples in notes are contained, teaching the student the use and application of various passages, with cautions for avoiding such as the rules of harmony prohibit. Under the head of Contrapunto Fugato his direc- tions are very concise and perspicuous. Of Canon he gives a variety of examples, both in Partito and in Corpo, with rules for the composition of canon in the unison, the second, the third major and minor, and so on to the diapason. The third part is in effect a treatise on thorough- bass or the art of accompanyment, and is drawn from the works of Luzzasco Luzzaschi, Claudio Merula, Frescobaldi, and other celebrated organists of Italy. The second part of the Albori Musicale was published at Venice in the year 1678, but whether by the author or some one else does not appear. The publication of one part only of the three which the Albori Musicale contains, is perhaps to be ac- counted for by the circumstance of its utility to students in the musical faculty, an intimation whereof is given by the words ' Per li Studiosi,' in the title- page of the second impression. Feancesco Foggia (a Portrait), is celebrated as one of the most eminent of the Italian musicians of the last century. He was born about the year 1604, and was a disciple, and also the son-in-law of Paolo Agostino, as having married his daughter. Very early in his life, being distinguished for his skill in ecclesiastical harmony, he was appointed maestro di cappella of the church of San Giovanni Laterano in * This author makes use of the syllahle do instead of VT, and speaks of it as a modem practice in his time. Borne. Kircher, in the Musurgia, lib. VII. cap. vi. page 614:, has spoken of him in terms of high com- mendation. He was living in the year 1684, the year in which Antimo Liberati published his letter in answer to one of Ovidio Persapegi, in which is the following character of him — ' essendo il sostegno, ' e '1 padre della musica, e della vera harmonia ' ecclesiastica, come nelle stampe ha saputo far vedere, ' e sentire tanta varieta di stile, ed in tutti far cog- ' noscere il grande, 1' erudito, il nobile, il polito, il ' facile, ed il dilettevole, tanto al sapiente, quanto all' ' ignorante ; tutte cose, che difficilmente si trovano ' in un solo huomo, che dovrebbe esser' imitato da ' tutti i segnaci di buon gusto della musica, come io ' ho cercato di fare colla mio debolezza, essendo stato ' sempre invaghito, innamorato di quella nobilissima ' maniera di concertare.' Akdeeas Lorbnte, of Alcala, organist of the principal church there, published in the year 1673, a work in folio in the Spanish language, entitled El Porque de la Musica, in four books, the first con- taining the elements of plainsong ; the second treating of consonance and the Cantus Mensurabilis, the third of counterpoint, and the fourth of the composition of music. This book, of which the late Mr. Geminiani was used to say it had not its fellow in any of the modern languages, is questionless a very learned work ; it is in truth a musical institute, and may be said to contain all that is necessary for a practical composer to know. From the method of solmi- sation directed by this author, it is evident that the Spaniards, as well as the French and others, have for some time past solfaed by heptachords ; or in other words, they have added a syllable to the six of Guido. It has been already said that the French use SI after la ; Lorente directs to sing bi in the same place. In the course of the work are interspersed a great number of compositions of his own and other authors, from three to five parts ; that is to say, hymns and ofi&ces for the church, and some motets, which shew great skill and invention. Gio. Paolo Colonna, maestro di cappella nella Basilica di S. Petronio in Bologna, Accademico Filaschisi, e Filarmonico, flourished at this time. His compositions, which are very numerous, are altogether for the church, consisting of Motets, Litanies, Masses, Psalms, and Offices for the dead, many whereof he published at Bologna, between the years 1681 and 1694. Like the motets of Oarissimi, Bassani, and other of the church-musicians of the last century, his are usually with instrumental parts. His style is at once pathetic and sublime ; and in the composition of church-music he stands among the first of the Italians. CHAP. CXXXIX. Antimo Liberati, (a Portrait), when a youth, served in the Imperial chapel of Ferdinand III. and his brother Leopold. Afterwards he became a singer in the pontifical chapel, and maestro di cappella, and organist of the church della Santissima Trinity de' Pelieffrini ; and, lastly, maestro di cappella and 658 HISTORY OF THE SCIENCE Book XV. organist of the church di Santi Maria dell' Anima della Natione Teutonica at Rome. In this quality- he -wrote a letter dated the fifteenth of October, 1684:, -with the folio-wing title : ' Lettera scritta dal Sig. Antimo Liberati in risposta ad una del Sig. Ovidio Persapegi,' the occasion -whereof -was as follo-WB : about the middle of the year 1684 the place of maestro di cappella of the metropolitical church of Milan being vacant, Persapegi, by the direction, as it is presumed, of those -who had the appointment to that office, -wrote to Liberati for his opinion touching the pretensions of five persons, ■who at that time -were candidates for it. Who they ■were does not appear by the ans^wer of Liberati ; nor is it certain that Persapegi's letter is extant in print.* After discussing the merits of the several com- positions tendered by the candidates as evidence of their abilities, he proceeds to trace the rise and progress of music from the time of Pythagoras do^wn^wards, taking particular notice of Guide's invention, and the completion of it by Johannes de Muris. Among the less ancient practical musicians he celebrates Johannes Okenheim, the disciple of lodocus Pratensis He mentions, from Glareanus, the circumstance of his having made a composition for thirty-six voices or nine choirs, to obviate an opinion of some professors of his time, that music for so many voices ■was a modern invention. Besides this he asserts that fugue, canon, and double counter- point were invented by the same Okenheim. He says that from these two great men, lodocus Pratensis and Johannes Okenheim, sprang many excellent masters, who erected musical academies in different kingdoms and provinces ; that many of them settled in Italy and in Rome ; and that the first who gave public instructions for singing and harmonic modulation was Gaudio Mell, Flandro, a man of great talents, and of a sweet flo^wing style, who opened at Rome a noble and excellent school for music, where many pupils distinguished them- selves in that science, but, above all, Gio. Pierluigi Palestrina,f who, as if marked by nature herself, he says surpassed all other rivals, and even his own master. With him he joins Gio. Maria Nanino, the intimate friend of Palestrina, and conrector with him in the musical school by them established at Rome. Among many eminent musicians educated in this seminary, he mentions Bernardino Nanino, the youngest brother of Gio. Maria Nanino, Antonio Oifra, Pier Francesco Valentini, Gregorio AUegri, and Paolo Agostino, of whom he gives a very high character. Of Allegri he says that he wrote for * Walther speaks of the letter of Liberati as a great curiosity. It seems he was never able to get a sight of it, and therefore ■was content with an extract of it, with which he was furnished by a friend of his, Gottfried Heinrich Stoltzels, chapel-master to the duke of Saxe Gotha, and from it has inserted the character of Francesco Foggia in its pjace. Better success has attended the researches of the author of this -wolrk, who thinks himself warranted in saying that the letter, which is now lying before him, abounds with very many curious particulars of musical history, which it would have been scarcely possible to supply from any other materials; and of this opinion it seems was Andrea Adami, who, in his Osservazioni per ben regolare il Coro de i Cantori della Cappella Pontificia, has followed Liberati very closely, and even adopted some of his mistakes. t See a detection of this error in the account of Palestrina, given in page 419, et seq. the pontifical chapel, where he was a singer, and that from him he, Liberati, received his instructions in music. Of Agostino he says that in music he surpassed all of his time, and that he died in the flower of his youth; and that from him sprang Francesco Foggia, then living, and eighty years of age. He mentions also another disciple of Agostino, Vincenzo Ugolino, famous for his skill in teaching, and for having been the master of Lorenzo Ratti and Horatio Benevoli, who for many years was maestro di cappella nella Basilica di San Pigtro. Liberati says that at the time of -writing his letter there were living three disciples of Horatio Benevoli, of whom the oldest was himself ; the next in age Ercole Bernabei, who succeeded Benevoli at St. Peter's, and went afterwards to Bavaria, invited thither by the elector ; the youngest he says was Giovanni Vincenti, for many years maestro di cappella della Santa Oasa di Loretto, but who then lived in perfect ease, enjoying his patrimony, and the fruits of his studies. Angelo Beraedi, a canon of the collegiate church of St. Angelo di Viterbo, was the author of many musical tracts, and, amongst the rest, one entitled Documenti Armonici, in the composing whereof he was assisted, as himself confesses, by Marco Scacchi, chapel-master to the ting of Poland. It was printed at Bologna in 1687, and is divided into three books, containing the precepts for the com- position of counterpoint, fugue, and canon, illus- trated by a great variety of examples, among which are sundry compositions of Adrian Willaert, lodocus Pratensis, and others, well deserving the attention of the curious. In the year 1689, Berardi published, at Bologna, Miscellanea Musicale, in three parts ; the first is a collection from Boetius, Zarlino, Kircher, and other -writers, containing, it must be confessed, few particulars relating to the state of music at different times, that are not to be found in every treatise on the subject that has been -written within these last hundred years. He takes occasion to enumerate many princes who have been distinguished, as well for their skill in music, as their affection for it ; and, among the rest, James I. king of Scotland, concerning whom he cites verbatim from Alessandro Tassoni the passage inserted in the account herein before given of that prince, and his improvement of the Scots music. In the second part he relates the invention of the syllables,^ and the reformation of the scale by Guido, as also the institution of the Oantus Mensurabilis by John de Muris ; but, as he professes to follow Viucentino, it is no wonder that his account is erroneous in many particulars. The third part contains a variety of examples of t Brossard relates that Berardi very ingeniously comprised the syllables of Guido in the following line : — UT RElevet Miserum FAtum soLitosque lAbores. But it does not appear in this place, nor is it to be found in ar.y of the tracts above spoken of; but it may be remarked that the sign of the printer at Bologna who published Corelli's Opera terza, is a violin with this verse round it. Chap. OXXXIX. AND PEACTIOE OP MUSIC. 659 counterpoint, and a series of exercises on the twelve tones. In 1693, Berardi being then maestro di cappella of the church di Santa Maria in Trastevere, pub- lished at Bologna ' II Perche Musicale overo Staffetta Armonica;' and, in 1706, Arcani Musicali ; and these, according to Walther, are all his works. The writings of this author abound with par- ticulars worthy the attention of a student in music. He appears to have been an ingenious, and certainly was a modest man, for, although a canon, and maestro di cappella of a cathedral, he governed himself according to the directions of his friend Marco Scacchi, and submitted his works to his inspection ; and of his friendly disposition towards those of his own profession a judgement may be formed from the tract entitled II Perche Musicale, which is divided into sections, many of which are dedicated to con- temporary musicians in terms of great esteem and affection. IsAAO Vossins, a man of considerable parts and learning, was the son of Gerard John Vossins, already spoken of. He was born at Leyden in the year 1618, and, having his father for his instructor, soon became distinguished for his proficiency in academical learning, and was honoured with the favour of Christina, queen of Sweden, who corres- ponded with him by letters, and invited him to her court, and was taught by him the Greek language ; but, about the year 1662, having incautiously in- tended a design to write against Salmasius, who at that time stood very high in her favour, the queen withdrew her regard from Vossius, and dismissed him from any further attendance on her. After the death of his father, Isaac Vossins was by the university of Leyden complimented with the offer of the history professor's chair, but thought proper to decline it. In the year 1670 he came into England, and was created doctor of laws in the university of Oxford. In 1673 king Charles II. appointed him a canon of Windsor, and assigned him lodgings in the castle, where he died in 1688, leaving behind him a library, which for a private one, was then supposed to be the best in the world. Of his works, which are not near so numerous, nor indeed so valuable as those of his father, the most popular is his treatise ' De Poematum cantu et 'viribus Eythmi,' printed at Oxford in 1673, of which here follows an account : — It begins with a remark that music is of two kinds, that is to say, it is either naked and simple, consisting of mere sounds, or of sounds joined to words ; and that although many think them to be poets who are able to sing verses, because anciently poets were also musicians, he held a different opinion, because poets were not the only singers of poems ; the distinction between the two being that those who made verses were called poets, and those that sung them singers, or, by a more honourable name, musicians. He says that the primitive verses wanted feet, and were therefore ungraceful, but that metre and rythmus were afterwards invented, which are as it were the very soul of poetry, and of these he speaks to the following purpose. The beauty and elegance of verse consist in an apt disposition of different numbers and their symmetry. The Greeks first observed that it was not sufficient that the verses should run with an equal number of syllables, without a ratio of time, and therefore divided the syllables into long, short, and ambiguous : after- wards finding that those verses did not move con- cinnously which wanted members, they distributed the syllables into classes, and composed feet of two, three, or more, that the motion of the cantus and verses might be distinguished by measures and inter- vals. But as it was not sufficient for the members to be moved unless they had motions suited to the affec- tions which they were designed to express, they invented feet of different times and modes, by which they represented in so lively a manner, not only the conspicuous motions of the body, but the dispositions of the mind, that there was scarce any thing existing that they could not express in their cantus and numbers. After a brief enumeration of the various kinds of metrical feet, he proceeds in his observations on the force and efficacy of that particular arrangement and interchange of quantities, which he calls the Eythmus, ascribing to that only those' wonderful effects which are said to have been wrought by the music of the ancients. He says that the ancient manner of reciting verses differed but little from the practice of scanning ; though he admits a difference between the cantus of singing, and recitation or common speech ; in the latter whereof he says it was ever esteemed a fault for the voice to ascend higher than the Diapente. He adds, that among the ancient musicians there was a threefold method of prolation, namely, continuous, diastemical or distinguished by intervals; and another in a medium between both; and that Aristides Quintilianus, Martianus Capella, and Boetius uniformly assigned the latter to the reci- tation of verses ; on the contrary, he says Dionysius Halicarnassseus and Nichomachus make no distinc- tion between the voice of recitation and common speech. To manifest his contempt of modern music and musicians, he cites, from Saxo Grammaticus, the re- lation of the effects of music on Ericus king of Den- mark, already mentioned in the course of this history, but insists it is a fable borrowed from the story of Alexander and Timotheus. He says that the power of exciting the affections by music has ceased above these thousand years, that is to say, from the time that the knowledge and use of the rythmus was lost ; and that now, when music is much more flourishing than it was at the time when Ericus lived, no ma- sician would dare attempt what his citharedist is said to have effected. After observing that there is a rythmus in the arterial pulse, and bestowing a few commendations on Galen for his diligent enquiries on that subject in his book 'De Natura et Differentiis Pulsuum,' he asserts that the Chinese, as they excel the Europeans in many things, so do they in the medicinal art ; for that without enquiring of their patients whether 660 HISTORY OF T;HE SCIENCE Book XV. their head, their stomach, their shoulders, or any- other part of their body gives them pain, they feel both pulses at the same instant, and, without ever failing, pronounce the nature of the disorder with which the patient is afQicted. Upon that controverted question, namely, whether the ancients were acquainted with music in con- sonance or not, the author, with his usual temerity, delivers these as his sentiments : — ' Some have arrived to such a pitch of folly as to ' assert in their writings that the Concentus of several ' voices was utterly unknown to the ancients ; and ' that what they called Symphony, was nothing more 'than the Concentus sung alternately. Can any ' person be so ignorant of Greek and Latin, as not ' to see that even the terms Harmony, Symphony, ' and Concentus testify the contrary ? Who can ' there be so foolish as to think that the chorusses of ' singers and troops of symphonists under a Ohoro- ' didasoulus, did not sing together but alternately ? ' Surely if this had been the case, Seneca must have 'lied when he spoke thus in Epistle 84. "Non " vides, quam multorum vocibus chorus constet ? " Unus tamen ex omnibus Bonus redditur. Aliqua " illic acuta est, aliqua gravis, aliqua media. Ac- " cedunt veris feminae, interponuntur tibiae. Singu- " lorum ibi latent voces, omnium apparent." * What ' need I bring down Plato, Aristotle, Cicero, and • an infinite number of others, who all with one ' unanimous consent teach us, that harmony or con- ■ centus was made when several voices, differing in ' the acumen and gravity of sound, were equally ' mingled together ? I make no mention of the ' manifold concentus of the tibiae, or the harmonical ' fullness of the hydraulic organ, being ashamed to ' dwell any longer on a thing that is so manifest.' He says that the patrons of this age infer the ignorance of the ancients with respect to music in consonance, from this circumstance, to wit, that they did not reckon the ditone, and trihemitone, or semi- ditone, nor either of the two sixths, namely, the greater and the less, among the consonants ; but that this argument is no better than that other adduced to prove that the modern music is more complete than the ancient, namely, that the system of the ancients contained only fifteen chords, which is less by a hexachord than that of Guido ; but he says that many of the improvements ascribed to Guido are erroneously attributed to him ; for that in the framing of the scale he did but follow the example of the organs and harps of his time, which consisted respectively of twenty pipes or strings, as a writer more ancient than Guido by some ages testifies. The application of the syllables ut, re, mi, &o. he makes to be an invention of no worth ; never- theless he says that the Egyptians prolated their musical sounds by the vowels, which he conceives to be the more convenient practice ; and that the very Barbarians distinguished their sounds by such * * Do you not see how many voices the chorus consists of ? yet there ' is but one sound rendered by them all ; some voices are acute, some * grave, and some in the medium ; women are joined with the men, and ' the tibiae are interposed. In this case the voice of either person is not , page 95. X This concerto was composed on occasion of a solemnity peculiar to the Romish church, the celebration of the Nativity ; the printed copiea having this advertisement, ' Fatto per la Notte di Natate.* § Dr. Sam. Johnson's preface to his edition of Shakespeare. 678 HISTORY OF THE SCIENCE Book XV. The natural and familiar style of Corelli's music, and that simplicity which is one of its characteristics, betrayed many into an opinion that it was easily to be imitated ; and whoever considers that from har- monies such as his are, a rule or canon might be drawn that would give to any music, composed in conformity to it, a similar appearance, would enter- tain the same notion ; but the experiment has been made, and has failed. Ravenscroft professed to imi- tate Oorelli in those Sonatas which Roger published, and hoped to make the world believe were some of the earliest of his works. The airs indeed of Albinoni, Torelli, Giuseppe Valentini, and Mascitii, especially the AUemands, Oourants, and Jigs, seem to have been cast in Corelli's mould ; but an English- man, named James Sherard, an apothecary by pro- fession,* composed two operas of Sonatas, which an ordinary judge, not knowing that they were the work of another, might mistake for compositions of this great master. Alessandro Scarlatti of Naples, and a Cavaliero, a most voluminous composer, is celebrated as having perfected the theatric style. It is said that he com- posed near a hundred operas ; and oratorios, sere- natas, and cantatas to an incredible number ; and farther, that his invention was so fertile, and his application so intense, that his copyist was not able to write so fast as he composed. Of his numerous compositions we know of but two works in print, viz. ' Cantate a una e due Voci,' and ' Motetti a una, ' due, tre, e quattro Voci con Violini.' f He is said to have first introduced into his airs accompaniments for the violin, and symphonies, which both enrich the melody and give relief to the singer. He had a son named Domenico, who was formerly chapel-master in some church of Rome, but in the year 1728 was taken into the service of the king of Portugal, who it is said, upon his arrival at Lisbon, to defray the expense of his journey, presented him with two thousand dollars, since which time he has applied himself to the composition of lessons for the harpsi- chord, of which there are a great number in print. ToMAso Albinoni, a Venetian,, was originally a maker of cards, but having an early propensity to music, and having been taught the violin in his youth, he became not only an excellent performer on that instrument, but also an eminent composer. The titles of such of his works as are in print may be seen in the Dutch Catalogues ; they consist solely of music for instrnments, viz. Concertos and Sonatas for Violins, and Cantate da Camera, and a Collection * This person lived in Crutched-Friars, London ; he was the brother of Dr. Sherard the botanist, author of the Hortus Bltbamensis, The Sonatas of Sherard were printed at Amsterdam, and published by Efltienne Roger. + An opera of-his, entitled ' Pjrrrhus and Demetrius,' was translated into English, and, with some additional airs and an overture, by Nicolini Haym, was performed at the Haymarket theatre in 1708, and printed with both the Italian and English words. The original opera was per- formed with universal applause at Rome, Naples, and other places, and is said to be the finest in its kind of all Scarlatti's works. In the English opera the airs of Haym are distinguished from those of Scarlatti by their superior excellence ; and also by this circumstance, that the latter have the Italian printed under the English words. The air ' Vieni o Sonno,' is celebrated as divine ; and that of ' Veder pamii un ombra nera,' as also another not printed, are, in the opinion of a very good judge, who was living at the time of the performance, two of the most masterly airs that were ever composed for the theatre. See a Com- parison between the French and Italian Music and Operas, translated from the French, with remarks. Page 16, in not. and page 75. of Airs, entitled ' Balletti k tre, due Violini e Vio- 'loncello col Basso da Tomaso Albinoni, Dilettante ' Veneto, Opera terza,' which were sundry times printed, and at length became so familiar in England, that many of the common fiddlers were able to play them. In the year 1690 we find him associated with Gasparini, mentioned in the next article, in the composition of an opera called Engelberta, performed at the theatre di San Cassiano at Venice. . Albinoni was living about the year 1725, and was known to a person who furnished the above facts concerning him. Francesco Gasparini, born at Lucca about the year 1650, Accademico filarmonico, and director of the choir in the hospital della Pieta at Venice, was one of the finest vocal composers of the last century. He excelled eq^ially in the composition of chamber and theatrical music, his Cantatas being esteemed among the finest of the kind ever published ; and his operas, of which he composed a great number, are scarcely exceeded by those of Scarlatti. An opera of his, entitled Merope, was performed in Italy, not so' long ago as to be beyond the remembrance of a very able musician lately deceased, who relates that he was present at the representation of it, and that one recitative without instruments, sung by Merope and her son, produced a general effusion nf tears from a crowded assemby of auditors. He joined with Albinoni in the composition of an opera entitled Engelberta, mentioned in the preceding article, and was living at Rome in the year 1723, as appears by a letter of his writing, prefixed to the Psalms of Marcello, in answer to one of the author. The works of Gasparini in print are, Cantate da Camera a Voce sola, printed at Lucca in 1697; and a treatise, published at Venice in 1708, entitled L'Armonico Prattico al Cimbalo, regole per ben suonare il basso. It is needless to observe upon the foregoing de- duction of facts, tliat music was arrived at a great degree of perfection towards the end of last century ; and it must appear from the accounts already given in the course of this work, of eminent professors in different ages, and of various countries, that the science owes much of the perfection to which it has been brought to the Italians and Germans. In what degree the English contributed to its improvement, can only be judged of by their works, and the suffrages of those writers, and, among others, Erasmus, who have borne testimony to the general disposition of the people of this country to favour the practice of it ; to which may be added one farther testimony, viz., the declaration of Lewis XIV. in his grant to LuUy, before inserted, wherein he recites that he had granted to Perrin licence to establish academies of music, in which should be sung the- atrical dramas, ' comme il se pratique en Italic, en ' Allemagne, et en Angleterre ;' from whence it seems that, in the opinion of the French in the year 1669, the dramatic music of the English was of such a kind as to be at least worthy of imitation, and that by a people who were endeavouring to form a taste after the purest models of perfection. This consideration, as also another, to wit, that Chap. CXLII. AND PKACTICE OP MtJStC. 679 the succession of English, musicians has, in this work, hitherto been continued down no further than to about the middle of the last century, makes it necessary to recur some years backward, and to take a view of the state of music in that gloomy period, during which a sullen abstinence from innocent and elegant delights was looked upon as conducive to the glory of God and the interests of religion; and this naturally leads us to the history of the theatre, which will be found to involve in it, at least for a considerable number of years, the history of music also. CHAP. CXLII. The intelligent reader need not be told, that during the time of the usurpation stage plays were an abomination ; the first writer who endeavoured to possess the world with the belief that theatrical entertainments were inconsistent with the purity of the christian religion, was one Stephen Gosson, rector of St. Botolph's without Bishopsgate, a man of wit and learning, who himself had written some few things for the stage, but falling in with the principles of the puritans, he changed the course of his studies, and became a bitter enemy to plays, players, and pipers, by whom he means musicians in general, as appears by a little book published by him 1579, entitled ' The School of Abuse, containing ' a plesaunt invective against poets, pipers, plaiers, 'jesters, and such like catterpillers, of a common ' welth ; setting up the flagge of defiance to their ' mischievous exercise, and overthrowing their bul- ' warkes by prophane writers, natural reason, and ' common experience.' Gosson's book, notwithstanding the severity of the satire, is in truth what he calls it, a pleasant in- vective, for it abounds with wit and humour, and exhibits a very lively picture of the manners of the age in which it was written. The author soon after published a small tract, entitled, ' Plays confuted in 'five Actions, proving, that they are not to be ' suffered in a christian common weale ; by the ' waye, both the cavils of Thomas Lodge,* and the ' Play of Playes, written in their defence, and other ' objections of players frendes are truely set downe, ' and directly aunswered,' wherein are several severe reflections, as well on musicians, as on the authors and frequenters of stage entertainments. The quarrel which Gosson had commenced against plays and players, was prosecuted with all the male- volence that fanaticism could suggest, by that hot- brained zealot "William Prynne, in his book entitled ' Histrio-Mastix, the Players Scourge, or Actors ' Tragsedie, in which it is pretended to be evidenced, ' that stage playes, (the very pompes of the divell, ' which we renounce in baptisme, if we believe the ' fathers) are sinful, heathenish, lewde, ungodly ' spectacles, and moat pernicious corruptions ; con- ' demned in all ages as intolerable mischiefes to ' churches, to republickes, to the manners, mindes, • and soules of men. And that the profession of < Dr. Lodge, tJio anthorof simdry pnstord poems in England's Helicon, and ether elegant composiUons, ' play-poets, of stage players, together with the 'penning, acting, and frequenting of stage players ' are unlawfull, infamous, and misbecoming christians. ' All pretences to the contrary are here likewise fully ' answered, and the unlawfulnes of acting or beholding ' academicall enterludes briefly discussed, besides ' sundry other particulars concerning dancing, dicing, ' health-drinking, &c.'f The prosecution of Prynne for publishing this book and the consequences of it, are well known to every person conversant with English history ; but the effects it wrought upon the minds of the people in general, were such as put a total stop to stage exhibitions of every kind. The public could but ill brook the total interdiction of dramatic represen- tations, which, under proper regulations might, and indeed have been rendered subservient to the pur- poses of morality ; and the dissatisfaction that was expressed on this occasion suggested to Sir William Davenant, the thought of an entertainment resembling the Italian opera, in which he was encouraged by no less a person than the famous Sir John Maynard, Serjeant at Law, and several citizens. That tliis entertainment was in the Italian language, though Wood calls it an Italian opera, is much to be doubted ; but whatever it was, it was performed at Rutland House, in Charterhouse-yard or Square, on the 23rd day of May, 1666. J It is highly probable, it was no other than that drama published among Sir William Davenant's Works, page 341, entitled, ' the First day's Entertainment at Eutland House, ' declamations and music, after the manner of the ' ancients,' and if so, it had not the least claim to the title of an opera. It consists of several orations in prose, intermixed with vocal and instrumental music, which in a note at the end, we are told, was composed by Dr. Charles Coleman, Mr. Henry Lawes, and Mr. George Hudson. Wood says, that this opera, as he calls it, was afterwards translated to the Cockpit in Drury-lane, and delighting the eye and ear extremely well, was much frequented for many years. But notwithstanding these attempts in its favour, the forbidding the use of the liturgy, and the re- straints on the stage, amounted in effect, to a pro- scription of music from the metropolis, and drove the professors of it to seek protection where they wore most likely to find it. It will easily be conceived, that the prohibition of cathedral service left a great number of musicians, as namely, organists, minor canons, lay-clerks, and other persons attendant on choirs, without employment; and the gloomy and sullen temper of the times, together with the fre- quent hostilities that were carried on in different parts of the kingdom, during the usurpation, had driven music to a great degree out of private families. The only place which these men could, as to an asylum, resort, was to Oxford, whither the King + It is pretended that Prynne meant by this hook, to libel Queen Henrietta Maria, the consort of Charles I. Avho, about tlie time of its publication, had acted a part in a pastoral at Somerset House; but Whitelock asserts, that it was published six weeks before that pastoral was acted. See his Memorials and Athen. Oxon. 434. , J Athen. Oxon. vol. II. col. 412. 680 HISTORY OF THE SCIENCE Book XV. had retired ; there went with him thither, Dr. Wilson, one of the Gentlemen of his chapel, and he had an organist with him named George Jeffries ; these and a few others, with the assistance of the University people, made a stand against- the per- secution of the times ; choral service was performed there after a very homely fashion, and concerts of vocal and instrumental music were sometimes had in the rooms of the Gentlemen of the University for the entertainment of each other. But this lasted only till the surrender of the garrison in 1646, when the King was ohliged to leave the place ; however, the spirit that had heen excited in favour of music during his residence there, and the continuance of Dr. Wilson in the University, who was professor, and a man of a cheerful disposition, contributed to an association of Gentlemen of the University, with the musicians of the place, and these together established a weeldy concert. The place of greatest resort for this purpose was the house of one William Ellis, formerly organist of Eton College, and, at the time now spoken of, organist of St. John's. Of this meeting, and of the persons who frequented it Wood gives a very particular account in his life, published by Hearne, at the end of his edition of Caii Vindicise Antiq. Acad. Oxon. 1730, and again at Oxford in 1772 ; and in the manuscript of his in the Ashmolean Museum, mentioned in vol. III. page 258, in not. is the following memoir relating to it : — ' After Cathedrals and Organs were put down in ' the grand Rebellion, he [Ellis] kept up a weekly ' Meeting in his house opposite to that Place where ' the '^rheatre was afterwards built, which kept him 'and his wife in a comfortable Condition. The ' Meeting was much frequented and many Masters ' of Musick were there, and such that had belonged ' to Choirs, being out of all Employ, and therefore 'the Meeting, as all other Musick Meetings, did ' flourish ; and Musick, especially vocal, heing dis- ' countenanced by the Presbyterians and indepen- ' dents, because it favoured much the Cathedrals and ' Episcopacy, it was the more used. But when 'King Charles was restored and Episcopacy and ' Cathedrals with it, then did the Meetings decay, 'especially for this Reason, hecause the Masters of ' Musick were called away to Cathedrals and Col- ' legiate Choirs.' Of the meeting itself the following is Wood's account in his own words : — * '* Wood may lie credited in -whatever he relates touching music, for he was passionately fond of it ; and was besides, a good proficient on the violin, as appears hy the following extract from his life, page 70, edit. 1772 :— ' This yeare [1651] A. W. began to exercise his natural and insatiable ' Genie he had to Musick. He exercised his Hand on the Violin, and ' having a good eare to take any tune at first hearing, he could quickly ' draw it out from the Violin, but not -with the same tuning of Strings ' that others used. He wanted Understanding, Friends, and Money, to ' pick him out a good Master, otherwise he might have equal'd in that * Instrument, and in singing, any person then in the Universitie. He had * some companions that -were musical, but they wanted instruction as ' well as he.' Elsewhere [page 74] he says, ' that being taken ill he retired to Cassing- ' ton, and there learn't to ring on the six Bells, then newly put up ; and 'having had from his most tender years, an extraordinary ravishing ' Delight in Musick, he practised privately there, without the help of an Instructer, to play on the Violin. It was then that he set and tuned ' his strings in Fourths, and not in Fifths, according to the manner : ' And having a good eare, and being ready to sing any Tune upon hearing ' By this time, [viz. anno 1656,] A. W. had some ' genuine skill in Musick, and frequented the ' Weekly Meetings of Musitians in the house of ' Will. Ellis, late Organist of S. John's Coll. situat ' and heing in a House, opposite to that place ' whereon the Theater was built. The usual Oom- ' pany that met and performed their parts were (1) 'Joh. Cock, M. A. Fellow of New Coll. by the ' Authority of the Visitors. He afterwards became ' Rector of Heyford-Wareyne neare Bister,! and ' marrying with one of the Woodwards of Wood- ' stock, lived an uncomfortable Life with her. (2) ' Joh. Jones, M. A. Fellow of the said Coll. by the ' same Authority. (3) George Croke, M. A. Fellow ' of the said Coll. also by the same Authority. He ' was afterwards drown' d, with Brome, son of Brome ' Whorwood of Halton near Oxon. in their passage ' from Hampshire to the Isle of Wight, 5. Sept. 1667. '(4) Joh. Friend, M. A. Fellow also of the said ' House, and by the same Authority. He died in 'the Country, an. 1658. (5) George Stradling, ' M. A. Fellow of Alls. Coll. an admirable Lutinist, ' and much respected by Wilson the Professor. ' (6) Ralph Sheldon, Gent, a Rom. Catholick of ' Steple-Barton in Oxfordshire, at this time living in ' Halywell neare Oxon. admired for his smooth and ' admirable way in playing on the Viol. He died ' in the City of Westminster .... 165 , and was ' buried in the Chancel of the Church of S. Martin in 'the Fields. (7) Thom. Wren, a yonger son of 'Matthew Wren, Bishop of Ely, a Sojourner now in ' the House of Franc. Bowman, Bookseller, living 'in S. Marie's parish in Oxon. (8) Tho James, ' M. A. of Magd. Coll. would he among them, but ' seldome played. He had a weekly Meeting in 'his Chamber at the Coll. practised much on the * it once or twice, he would play them all in short time with the said ' way of Tuning, which was never knowne before.' In the year 1653 he put himself under the tuition of a master, of whom, and his proficiency under him, he gives the following account : — ' After he [A. W.] had spent the Summer at Cassington in a lonish * and retir'd condition, he return'd to Oxon, and being advised by some ' persons, he entertain'd a Master of Musick to teach him the usual way * of playing on the Violin, that is, by having every String tuned 5 notes * lower than the other going before. The Master was Charles Griffith, ' one of the Musitians belonging to the City of Oxon. whom he thought * then to be a most excellent Artist ; but when A. W. improv'd himself * in that Instrument, he found him not so. He gave him 2s. 6d. entrance, 'and 10s. quarterly. This person after he had extrcamly wondered how ' he could play so many Tunes as he did by Fourths, without a Director ' or Guide, he then tuned his Violin by Fifths, and gave him Instructions ' how to proceed, leaving then a Lesson with him to practice against his ' next coming. Ibid. 76. ' Whereas A. W. had before learned to play on the Violin by the In- ' struction of Charles Grifiitb, and afterwards of Jo. Parker, one of the 'Universitie Musitians, he was now advis'd to entertaine one Will. ' James, a Dancing-Master, by some accounted excellent for that Instru- ' ment ; and the rather, because it is said, that he had obtained his ' knowledge in Dancing and Musick in France. He spent in all half ' a yeare with liim, and gained some improvement from him ; yet at ' length he found him not a compleat Master of his facultie, as Griifith ' and Parker were not : and, to say the Truth, there was yet no compleat ' Master in Oxon. for that Instrument, because it had not been hitherto ' used in Consort among Gentlemen, only by common Musitians, who ' played but two Parts. The Gentlemen in privat Meetings, which A. W. ' frequented, play'd three, four and five Farts with Viols, as Treble- Viol, ' Tenor, Counter-Tenor and Bass, with an organ. Virginal, or Harpsicon 'joyn'd with them: and they esteemed a Violin to be an Instrument * only belonging to a common Fidler, and could not endure that it should * come among them, for feare of making their Meetings to be vaine and ' fidling. But before the Restoration of K. Ch. 2. and especially after, ' Viols began to be out of fashion, and only Violins used, as Treble- ' Violin, tenor and Bass-Violin ; and the King, according to the French ' Mode, would have 24 Violins playing before him, while he was at Iteales ' as being more airie and brisk than Viols.' Ibid. 96. t Wood is very licentious in his spelling: the place here meant is Bicester, a market- town in Oxfordshira. Chap. OXLtl. AND PRACTICE OF MUSIC. 681 ' Theorbo Lute ; and Gervace Westcote being often ' with, him as an Instructor, A. W. would sometimes ' go to their Meeting and play with them. ' The Musiclc Masters, who were now in Oxon. ' and frequented the said meeting, were (1) Will. ' Ellis, Bach, of Musick, owner of the House ' wherein the Meeting was. He alwaies play'd his 'part either on the Organ or Virginal. (2) Dr. ' Joh. Wilson, the public Professor, the best at the ' Lute in all England. He sometimes play'd on ' the Lute, but mostly presided at the Concert. (3) ' Curteys, a Lutinist, lately ejected from ' some Ohoire or Cath. Church. After his Majes- ' tie's Restoration he became Gent, or singing-man 'of Ch. Church in Oxon. (4) Tho. Jackson, a ' Bass-Violist ; afterwards one of the Choire of S. ' John's Coll. in Oxon. (6) Edw. Low, Organist ' lately of Ch. Church. He play'd only on the ' Organ ; so when he performed his part Mr. Ellis ' would take up a Counter-Tenor Viol, and play, if 'any person were wanting to performe that part. ' (6) Gervace Littleton alias Westcot, or Westcot ' alias Littleton,* a Violist. He was afterwards a ' singing man of S. John's Coll. (7) Will. Glexney, ' who had belonged to a Choire before the Warr. ' He was afterwards a Gent, or singing -man of ' Ch. Ch. He play'd well upon the Bass- Viol, and ' sometimes sung his part. He died 6 Nov. 1692, ' aged 79 or thereabouts. (8) Proctor, a ' yong man and a new Commer. He died soon ' after. * * * * John Parker, one of the Uni- ' versitie Musitians, would be sometimes among ' them, but Mr. Low, a proud man, could not ' endure any common Musitian to come to the ' Meeting, much less to play among them. Among ' these I must put Joh. Haselwood an Apothecary, • a starch'd formal Clisterpipe, who usually play'd ' on the Bass-Viol, and sometimes on the Oounter- ' Tenor. He was very conceited of his Skil (tho he ' had but little of it) and therefore would be ever ' and anon ready to take up a Viol before his betters : ' which being observed by all, they usually call'd ' him Handlemood. * * * * ' . . . - Proctor died in Halywell, and was ' buried in the middle of the church there. He ' had been bred up by M. Joh. Jenkyns, the Mir- ' rour and Wonder of his Age for Music, was ex- ' cellent for the Lyra- Viol and Division-Viol, good 'at the Treble-Viol and Treble-Violin, and all ' comprehended in a man of three or 4 and twentie ' yeares of age. He was much admired at the ' Meetings, and exceedingly pitied by all the faculty ' for his loss.'f • The grandfather of Littleton, the famous lawyer and judge, temp. Edw. IV. Thomas de Littleton, took his name from the place of his hirth. He had issue a daughter Elizabeth, his only child, who was married to Thomas Westeote, Esq. but, as Lord Coke observes, ' she 'being fair, and of a noble spirit, and having large possessions and inheritance, resolved to continue the honour of her name ; and there- ■■ fore prudently, whilst it was in her power, providedby Westcote'sassent 'before marriage that her issue inheritable should be called by the name ' of de Littleton.' Pref. to Lord Coke's first Institute. And accordingly Littleton is by Gamden, in his Britannia, named Thomas Littleton alias Westcote. The person above-mentioned was doubtless a descendant of this family i and hence it appears how long it was before the Littletons renoimced their paternal, in favour of their maternal name, as deeming the latter the more honourable. 1 Life nf Anthony i Wood, Oxf 1772, page 88, rt seq. The state of music in Oxford, the only part of the kingdom in which during this melancholy period it could be said to receive any countenance, is farther related by Wood in the following passages contained in his life of himself : — ' In the latter end of this yeare, 1657, Davis ' Mell, the most eminent Violinist of London,'| being ' in Oxon. Peter Pett, Will. Bull, Ken. Digby, and ' others of Allsoules, as also A. W. did give him a ' very handsome entertainment in the Taverne cal'd ' The Salutation in S. Marie's parish Oxon. own'd ' by Tho. Wood, son of Wood of Oxon. ' sometimes servant to the father of A. W. The ' Company did look upon Mr. Mell to have a pro- ' digious hand on the Violin, and they thought that ' no person, as all in London did, could goe beyond ' him. But when Tho. Baltzar, an Outlander, came ' to Oxon. in the next yeare, they had other thoughts ' of Mr. Mell, who tho he play'd farr sweeter than 'Baltzar, yet Baltzar's hand was more quick, and ' could run it insensibly to the end of the Finger- ' board. § ' 1658. A. W. entertain'd two eminent Musitians ' of London, named Joh. Gamble and Tho. Pratt, • after they had entertain'd him with most excellent 'Musick at the Meeting House of Will. EUia. ' Gamble had obtained a great name among the ' Musitians of Oxon. for his book before publish'd, 'entit. Ayres and Dialogues to be sung to the ' Tlieorho-Lute or Bass- Viol ; || the other for se- ' veral compositions ; which they played in their ' consorts. ' Tho. Baltzar, a Lubecker borne, and the most ' famous Artist for the Violin that the World had 'yet produced, was now in Oxon. and this day 'A. W. was with him and Mr. Ed. Low, lately ' Organist of Ch. Church, at the Meeting-House of ' Will. Ellis. A. W. did then and there, to his very ' great astonishment, heare him play on the Violin. ' He then saw him run up his Fingers to the end of ' the Finger-board of the Violin, and run them ' back insensibly, and all with alacrity and in very ' good tune, which he nor any in England saw the ' like before. A. W. entertain'd him and Mr. Low ' with what the House could then afford, and after- ' wards he invited them to the Tavern ; but they ' being engag'd to goe to other Company, he could ' no more heare him play or see him play at that ' time. Afterwards he came to one of the weekly ' Meetings at Mr. Ellis's house, and he played to the ' wonder of all the auditory : and exercising his ' Fingers and Instrument several wayes to the ' utmost of his power, Wilson thereupon the public ' Professor (the greatest Judg of Musick that ever J Of this person mention is made in the Miscellanies of John Aubrey, Ksq. under the article Miranda. He is there styled the famous Violinist and Clock maker. The story related by Aubrey is, that a child of his, crookbacked, was cured by the touching or rubbing of a dead hand. In the dijry of Wood he is jailed ' Davie or Davis Mell the eminent Violinist ' and Clockmaker.' Life of Wood 1772, pag. 108, in note. § Ibid, page 108. II Gamble was one of the playhouse musicians, and of king Charles the Second's band : he was a man of considerable note in his time. The words of the above Ayres and Dialogues are supposed to have been written by Mr. Stanley, author of the History of Philosophy. Vide ante, page 584. 682 HISTOEY OF- THE SCIENCE. Book X\' ' was) did, after his liumoursome way, stoop downe 'to Baltzar's Feet, to see whether he had a Huff* ' on, that is to say, to see whether he was a Devil or ' not, tecause he acted beyond the parts of a man.f ' About that time it was, that Dr. Joh. Willdns, ' Warden of Wadham Coll. the greatest Ourioso of ' his time, invited him and some of the Musitians to ' his Lodgings in that Coll. purposely to have a ' consort, and to see and heare him play. The In- ' struments and Books were carried thither, but ' none could be perswaded there to play against ' him in Consort on the Violin. At length the ' Company perceiving A. W. standing behind in a ' corner neare the dore, they haled him in among ' them, and play, forsooth, he must against him. ' Whereupon he being not able to avoid it, he took ' up a Violin, and behaved himself as poor Troylus ' did against Achilles. He was abash'd at it, yet ' honour he got by playing with and against such a ' grand Master as Baltzar was. Mr. Davis Mell ' was accounted hitherto the best for the Violin in ' England, as I have before told you ; biit after ' Baltzar came into England, and shew'd his most ' wonderful parts on that instrument, Mell was not ' so admired ; yet he play'd sweeter, was a well-bred ' Gentleman, and not given to excessive drinking ' as Baltzar was.J ' All the time that A. W. could spare from his 'beloved Studies of English History, Antiquities, ' Heraldry and Genealogies, he spent in the most ' delightful facultie of Musick, either instrumental « i. c. a hoof. t Life of Wood, page 111. t Life of Wood, 112. The account given by Wood of Baltzar may seem a little exaggerated ; and, 50 far as regards his performance, we must take it iipon the credit or vocal ; and if he had missed the weekly Meetings in the House of Will. Ellis, he could not well enjoy himself all the week after. All or most of the Company, when he frequented that Meeting, the names of them are set dovrae under the yeare 1656. As for those that came in after, and were now performers, and with whome A. W. frequently playd, were these : (1) Charles Perot, M. A. Fellow of Oriel Coll. a well bred Gent. and a person of a sweet nature. (2) Christop. Harrison, M. A. Fellow of Queen's Coll. a maggot- headed person and humourous. He was afterwards Parson of Burgh under Staynsmore in Cumberland, where he died in the Winter time an. 1694. (3) Kenelm Digby, Fellow of Alls. Coll. He was afterwards LL.Dr. and dying in the said Coll. on Munday night Nov. 5. an. 1688, was buried in the Chappel there. He was a Violinist, and the two former Violists. (4) Will. Bull, Mr. of Arts, Bach, of Phys. and Fellow of Alls. Coll. for the Violin and Viol. He died 15 Jul. 1661. aged 28 yeares, and was buried in the Chappel there. (5) Joh. Vincent, M. A. Fellow of the said Ooll. a Violist. He went afterwards to the Inns of Court, and was a Barrester. (6) Sylvanus Taylorj somtimes Com. of Wadh. Coll. afterwards Fellow of AUsoules, and Violist and Songster. He went afterwards to Ireland, and died at Dublin in the beginning of Nov. 1672. His elder brother, capt. Silas Taylor, was a Composer of Music, playd and sung his part;§ and when his occasions brought of the relator ; but were it to be judged of hy the style and manner of his compositions, of which there are some in print, it must have been admirable. The following Allemand of his is taken from the Division- Violin, part II. published in 1693, and is the first air of the book :— ALLEMAND. § Of the elder of these two young men, Silas*Dom\ille or D'omville alias Taylor, there is an account in the Athen. Oxon. vol. II. col. 623. He was, by the testimony of Wood, a man of learning and ingenuity, and well versed in the history and antiquities of this country, as appears ty a history of Gavelkind written by him, and published in 16^3, 4to. He was also well skilled in music. • "Wood says that he composed two or more anthems, which being sung in his majesty's chapel, and well per- Thomas Baltzau. formed, his majesty was pleased to tell the author he liked tli^nl. A composition of his in two parts is printed' in Playford's "Collection oi Court Ayies, &c. He set to music Cowley's translation of an ode of Anacreon, * The thirsty earth,* &c. for two voices : it is printed in Play- ford's 'Musical Companion,' edit. 1673, page 78, and wrote also rules for the composition of music, wliich were never published; a manuscript copy thereof is in the collection of the author of this work. At the Chap. CXLIII. AND PEACTICE OP MUSIC. 683 ' him to Oxon, he would he at the Musical Meetings, ' and play and sing his part there. (7) Hen. Langley, ' M. A. and Gent. Com. of Wadh. Coll. a Violist and ' Songster. He was afterwards a worthy Knight, ' lived at Ahbey-Foriat neare Shrewsbury, where he ' died in 1680. (8) Samuel Woodford, a Commoner ' and M. A. of the said Coll. a Violist.* He was • afterwards a celebrated Poet, beneficed in Hamp- ' shire, and Prebendary of Winchester. (9) Franc. ' Parry, M. A. Fellow of Corp. Ch. Coll. a Violist ' and Songster. He was afterwards a Traveller, and ' belonged to the Excise OfSce. (10) Christop. ' Coward, M. A. Fellow of C. C. Coll. He was ' afterwards Eector of Dicheat in his native County ' of Somersetshire, proceeded D. of D. at Oxon. in ' 1694. (11) Charles Bridgeman, M. A. of Queen's ' Coll. and of Kin to Sr. Orlando Bridgeman. He ' was afterwards Archdeacon of Eichmond. He died ' 26 Nov. 1678, and was buried in the Chap, belong- ' ing to that Coll. (12) Nathan. Crew, M. A. Fellow ' of Line. Coll. a Violinist and Violist, but alwaies ' played out of Tune, as having no good eare. He ' was afterwards, thro several Preferments, Bishop of ' Durham. (13) Matthew Button, M. A. Fellow of ' Brasnose Coll. an excellent Violist. Afterwards ' Eector of Aynoe in Northamptonshire. (14) Thorn. ' Ken of New Coll. a Junior.f He would be some- ' times among them, and sing his part. (15) Christop. ' Jeffryes, a junior Student of Ch. Church, excellent ' at the Organ and Virginals or Harpsichord, having ' been trained up to those Instruments by his Father ' Georg Jeffryes, Steward to the Lord Hatton of ' Kirbie in Northamptonshire, and Organist to K. ' Ch. I. at Oxon. (16) Eich. Ehodes, another junior ' Student of Ch. Church,J a confident Westmonas- ' terian, a Violinist to hold between his Knees. ' These did frequent the Weekly Meetings, and ' by the help of publick Masters of Musick, who ' were mixed with them, they were much improv'd. ' Narcissus Marsh, M. A. and Fellow of Exeter instance of his father he took part yvitii the usurpers, and became a captain under colonel Edward Massey, and after that a sequestrator for the county of Hereford, but exercised his power with so much humanity and courtesy, that he was beloved of all the Icing's friends. * Afterwards DD. Upon his leaving the university he went to the Inner Temple, and was chamber-fellow with Thomas Flatman the poet. He paraphrased the Psalms and the Canticles ; the former is commended by Mr. Richard Baxter, and was also the author of a few original poems. See more of him in Athen. Oxon. vol. II. col. 1098. + Afterwards bishop of Bath and Wells, and one of the seven bishops that were sent to the Tower. His conscience not permitting him to take the oaths at the revolution, he was deprived, and spent the remainder of his days in retirement. He was so eminently distinguished for piety and benevolence, that Bryden is said to have intended for him that character of a good parson, which he has imitated fi-om Chaucer. During his retreat bishop Ken amused himself with poetry: many of his com- positions were published, together with his life, in 1713, by a relation of his, William Hawkins of the Middle Temple, Esq., and in the Harmonia Sacra, book II. is an Evening Hymn, written by him and set to music by Jeremiah Clark. t * Richard Rhodes, a Gentleman's Son of London, was educated 'in ' Westminster School, transplanted thence to Ch. Ch. and soon after was ' made Student thereof, being then well grounded in Grammar and in ' the Practical Part of Music. He wrote and composed Flora's Vagaries, ' a Comedy, which, after it had been publickly acted by the Students of ' Ch. Ch. in their common Refectory on the 8th of Jan. 1663, and at the ' Theatre Royal by his Maj. Servants, was made publick at London 1670, 'and afterwards in 1677. This person, who only took one Degree in ' Arts, [at which time he made certain Compositions in Musick of two *or more Parts, but not as I conceive, extant] went afterwards into * France, and took, as I have heard, a Degree in Physick at Mountpelier. * But being troubled with a rambling Head, must needs take a Journey * into Spain, where, at Madrid, he died, and was buried in 1668.' Athen. Onon. vol. II. col. 419. '„Coll.§ would come sometimes among them, but ' seldome play'd, because he had a weekly Meeting ' in his Chamber in the said Coll. where Masters of ' Musick would come, and some of the Company ' before mention" d. When he became Principal of ' S. Alhan's hall, he translated the Meeting thither, ' and there it continued when that Meeting in Mr. ' Ellis's house was given over, and so it continued ' till he went into Ireland, and became Mr. of Trin. ' Coll. at Dublin. He was afterwards Archb. of ' Tuam in Ireland. 'After his Majestie's Eestoration, when then the ' Masters of Musick were restored to their several ' places that they before had lost, or else if they ' had lost none, they had gotten then preferment, the ' weekly Meetings at Mr. Ellis's house began to ' decay, because they were held up only by Scholars, ' who wanted Directors and Instructors, &c. so that ' in a few yeares after, the Meeting in that house ' being totally layd aside, the chief Meeting was at ' Mr. (then Dr.) Marshe's Chamber, at Exeter Coll. ' and afterwards at S. Alhan's hall, as before I have ' told you. 'Besides the Weekly Meetings at Mr. Ellis's ' house, which were first on Thursday, then on Tnes- ' day, there were Meetings of the Scholastical Musi- ' cians every Friday Night, in the Winter time, in ' some Colleges : as in the Chamber of Hen. Langley, ' or of Samuel Woodford in Wadham Coll. in the ' Chamber of Christop. Harrison in Queen's Coll. in ' that of Charles Perot in Oriel, in another at New ' Coll. &c. to all which some Masters of Musick ' would commonly retire, as Will. Flexney, Tho. ' Jackson, Gervas Westcote, &c. but these Meetings ' were not continued above 2 or 3 yeares, and I think ' they did not go beyond the yeare 1662.' CHAP. CXLIII. Prynnib, who in his Histrio-Mastix has made stage-plays the principal object of his satire, is not less bitter in his censure of music, especially vocal. He asserts that one unlawful concomitant of stage- plays is amourous, obscene, lascivious, lust-provok- ing songs, and poems, which he says were once so odious in our church, that in the articles to be enquired of in visitations, set forth in the first yeere of queene Elizabeth's raigne. Art. 54, church- wardens were enjoined to enquire ' whether any ' minstrels or any other persons did use to sing or ' say any songs or ditties that he vile and uncleane.' And as to instrumental music, he cites Clemens Alexandrinus to prove that ' cymbals and dulcimers ' are instruments of fraud ; that pipes and flutes ' are to be abandoned from a sober feast ; and that ' chromaticall harmonies are to be left to impudent ' malapertnesse in wine, to whorish musicke crowned ' with flowers :' with a deal of such nonsense. In these bitter invectives Prynne does but speak the language of the sectaries of his time. Gosson § Of this pefrson there is a fuller account in Athen. Oxon. vol. 11. col. 960. Among other things there mentioned he is said to liave written ' An introductory Essay to the Doctrine of Sounds,' printed in the Philosophical Transactions, and of which an account will herein after be given. 684 HISTORY OP THE SCIENCE Book XV. and Stubs talk in the same strain: the latter calls those, bandy pipers and thundering drummers and assistants in the Devil's Daunce, who play to the Lord of Misrule and his company in country towns and villages upon festivals.* The consequence of the hatred excited by these and other writers against the recreations of the people, were an almost total interdiction of stage-plays and other theatrical en- tertainments,f and such a general reprobation of music, as in a great measure banished it from the metropolis, and drove it, as has been related, to Oxford, where it met with that protection and en- couragement which has ever been shown it by men of liberal and ingenious minds. The necessary connection between dramatic en- tertainments and music we have hitherto forborne to speak of; reserving the subject for this place. That this connection is nearly as ancient as the drama itself few need be told, it being well known that the scenic representations, as well of the Greeks as Romans, were accompanied with music, both vocal and instrumental. In the old English Mo- ralities, which were dramas of a religious kind, songs were introduced in the course of the representation; thus in the old morality intitled Lusty Jnventus, written in the reign of Edward VI. a song is intro- duced. In the comedy of Gammer Gurton's Needle, the most ancient in our language, the se^jond act begins with a song, which, though it has been greatly corrupted, is at this time not unknown in many parts of England.^ In the comedy of King Cambises musicians play at the banquet. In the tragedy of Ferrex and Porrex, otherwise called Gorbuduc, written about the year 1556, the order of the dumb show before each act requires severally the music of violins, cornets, flutes, hautboys, and of drums and flutes together.. In the Statiro-Mastix or the Untrussing , of the humourous Poet, by Thomas Dekker, in the advertisement ad Lectorem it is intimated to have been customary for the trumpet to sound thrice before the beginning of a play. In the Return from Parnassus, act V. begins with a concert. In the pleasant comedy called Wily beguiled, nymphs and satyrs enter singing ; and in a word, the plays of Shakespeare, Beaumont and Fletcher, Jonson, and others written before the time of the usurpation, afford such abundant evidence of the union of music with theatrical representations, as proves little less than that they are necessarily co-existent, and that the banishment of the one from the stage was a proscription of the other. The Restoration was followed by a total change in the national manners ; that disgust which the rigour of the preceding times had excited, drove the people into the opposite extreme of licentiousness ; bo that in their recreations and divertisements they were * Anatomie of Abuses, page 107. t There was nevertheless a sort of connivance at these entertainments in favour of friends, and to a limited depree; as in the instance of Sir William Davenant's entertainment at Rutland house, which was pa- tronised by Seijeant Maynard, and of a licence granted in 1659 to Rhodes the bookseUer for acting plays at the Cockpit in Drury-lane ; but the restraints under which the stage was laid were such, that Whitelocke thought it a bold action of Sir William Davenant to print his entertain- ment. Vide White!. Mem. of Engl. Affairs sub apno 1656. I See it in page 373. hardly to be kept within the bounds of moderation the theatres, which in the reign of king James I, to speak of London only, were seventeen in number, § § The author of the preface to Dodsley's collection of old Plays, has given the following enumeration of as many of them as he was able to recover. ' St. Paul's singing-school, the Globe on the Bankside, Southwark, the * Swan and the Hope there ; the Fortune between Whitecross -street and * Golden-lane, which Maitland tell us was the first playhouse erected in 'London; the Red Bull in St. John's Street, the Cross-KeyB in Grace-, * church-street, Juns, the Theatre, the Curtain, the Nursery in Barbican, ' one in Black-Friers, one in White-Friers, one in Salisbury Court, and 'the Cockpit, and the Fhcenix in Drury-Lane.' The same person seems to think that, having continued his account of the English theatre down to the year 1629, it becomes immediately connected with that given by Gibber in his life, which commences a little after the restoration. But in his history there is a chasm, which no one has thought of supplying, so that we can have but a very confused notion of the number and situation of the playhouses in the time of Charles I. But by the help of a pamphlet, now become very scarce, entitled ' Rosclus ' AnglicanuB or a Historical Review of the Stage,' written by Downes, who at first was an actor in, and afterwards prompter to that which was called the Duke's theatre, we are enabled to connect the two accounts, to correct many mistakes in our.theatrical history, which we have hitherto passed unnoticed, and to bring the whole of it into one point of view. This author relates ' that in the reign of king Charles I. there were 'six playhouses allow'd in town: the Black-Friars Company, his ' Majesty's Servants ; the Bull in St. Jolm's Street ; another in Salisbury ' Court ; another cali'd the Fortune ; another at the Globe ; and the sixth ' at the Cockpit in Drury Lane j all which continu'd acting till the ' beginning of the said Civil Wars. The scattered remnant of several 'of those houses, upon King Charles's Restoration, fram'd a Company, 'who acted again at the Bull, and built them a new house in Gibbons * Tennis Court in Clare-market, in which two places they continu'd acting 'all 1660, 1661, 1662, and part of 1663. In this time thejr built them a ' new Theatre in Drury Lane ; Mr. Thomas Killegrew gaining a Patent ' from the King in order to create them the King's Servants ; and from ' that tin* they cali'd themselves his Majesty's Company of Comedians * in Drury Lane.' Touching Drury-lane theatre, it may be observed that it was permitted in the time of the usurpation, for Downes in his pamphlet, page 17, says, ' In the year 16S9 General Monk marching then his army out of Scotland ' to London, Mr. Rhodes a Bookseller being Wardrobe-keeper formerly '(as I am inform'd) to king Charles the first's Company of Comedians ' in Black Friars, getting a License from the then Governing State, fitted ' up a House then for Acting called Che Cock-pit in Dtury Lane, and in ' a short time compleated his Company.' Gibber, in his Apology for his Life, 4to. page 53, 54, says that the patent for Drury-lane was granted to Sir William Davenant, and that another was granted to Henry Killigrew, Esq. for that company of players which was called the Duke's Company, and acted at the Duke's theatre in Dorset Garden. In this he is egreglously mistaken, Sir William Davenant never had any concern in the theatre at Drury-lane, nor had Killigrew any with the Duke's company, who acted first in Lincoln's Inn fields, and afterward^ in Dorset Garden. He farther in- forms us, page 240, that the new theatre in Drury-lane was designed by Sir Christopher Wren. The description he gives of it is such, as joined with our own feelings, must make us regret those alterations in that edifice which the thirst of gain has from time to time suggested to the managers. Downes mentions that the theatre in Drury-lane opened on Thursday in Easter week, being the eighth day of April, 1663, with the comedy of the Humorous Lieutenant. The theatre in Drury-lane was called the King's theatre : of that called the Duke's, the following is the history. King Charles I. by his letters patent, bearing date the twenty-sixth day of March, in the fifteenth year of his reign, grants to Sir William Davenant, his heirs and assigns, licence to errect upon a parcel of ground behind the Three Kings or- dinary in Fleet-street, in the parish of St. Dunstan in the West, or St. Bride's, London, or in any other place to be assigned him by the Earl Marshall, a theatre or playhouse, forty yards square at the most, wherein plays, musical entertainments, scenes, or other the like presentments may be presented. The patent is extant in Rymer's Foedera, torn. XX. page 377. It does not appear that any theatre was erected by Sir William Davenant on the spot described in the above licence ; it seems that lie engaged with Betterton, who had been an apprentice to Rhodes the bookseller above-mentioned, and was afterwards a player under him, and also with the rest of Rhodes's company, to build one elsewhere. Sir William having thus formed a company of actors, obtained from Charles II. licence to erect a new theatre in Lincoln's Inn fields. Downes says that by this patent Betterton, who was then but twenty- two years of age, and the rest of Rhodes's company were created the King's Servants, and were sworn by the earl of Manchester, then lord chamberlain, to serve his royal highness the duke of York at the theatre in Lincoln's Inn fields. Rose. Angl. 19. While this theatre was building, Sir Williim Davenant wrote the Siege of Rhodes, in two parts, and that excellent comedy the Wits, which were rehearsed at Apothecary's Hall ; and upon opening the house in 1662, these were the first plays acted there. Rose. Angl. 20. After a few years continuance at Lincoln's Inn fields, Sir William Davenant erected a magnificent theatre in Dorset Garden, in a situation between Salisbury Court, and the Thames, and determined to remove thither with the players under him. But he died in 1668, probably before it was compleated, and his interest in the patent devolved to his widow, lady Davenant, and Mr. Betterton. Gibber says that the actors both at the King's and the Duke's theatre Chap. CXLIV. AND PEACTICE OF MUSIC. G85 were, it is true, reduced to two, namely, the King's in Drury-lane, and the Duke of York's in Dorset Garden, but these latter exceeded the former in splendour and magnificence so greatly, that the difference between the one and the other in these respects was immeasurable. The old playhouses were either a large room in a noted alehouse, or a slight erection in a garden or place behind an alehouse ; the pit imfloored, in which the spectators either stood, or were badly accommodated with benches to sit on ; the music was seldom better than that of a few wretched fiddles, hautboys, or cornets ; and to soothe those affections which tragedy is cal- culated to excite, that of flutes was also made use of: but the music of these several classes of instruments when associated being in the unison, the performance was far different from what we understand by concert and symphony ; and upon the whole mean and despicable. The modern playhouses above-mentioned were truly and emphatically styled theatres, as being constructed with great art, adorned with painting and sculpture, and in all respects adapted to the pur- poses of scenic representation. In the entertain- ments there exhibited music was required as a were masters of their art. In each there were also women ; Downes says that four of Sir William Davenant's women actresses were boarded at his own house. Rose. Angl. 20. This passage in Downes's narrative ascertains the time when female actors first appeared on the stage. In the infancy of the English theatre it was held indecent for women thus to expose themselves, and, to avoid the scandal thence arising, it was the custom for yoiing men dressed in female habits to perform the parts of women ; but this was exclaimed against by puritan writers, particularly Prynne, who in his ' Hlstrio- Mastix,' page 169, cites St. Chrysostom and other of the fathers to prove that the dressing up a youth to represent the person of a tender virgin, is a most abominable act. So that at this time the former was looked upon as the lesser evil. This gave occasion to Sir William Davenant to solicit for permission to employ females ; and accordingly in his patent was the following clause: 'And whereas the women's parts in plays have * hitherto been acted by men in the habits of women, at which some have ' taken oifence, we do permit and give leave, for the time to come, that ' all women's parts he acted by women.' Gibber relates that in the contest between the two companies for the public favour, that of the king had the advantage ; and that therefore, these are his words, ' Sir William Davenant, master of the Duke's ' Company, to make head against their success, was forc'd to add spectacle 'and musick to action ; and to introduce a new species of plays, since ' called Dramatick Operas, of which kind there are the Tempest, Psyche, 'Circe, and others, all set off with tlie most expensive decorations of ' scenes and habits, with the best voices and dancers.' Life of Gibber, 57. It is to be feared that in this relation Gibber, without recurring to authentic memorials, trusted altogether to the reports of others ; for not one of the plays above-mentioned were represented under the direction, or even during the life-time of Sir William. The fact stands thus ; Sir William died in 1668 ; the theatre in Dorset Garden was opened on the ninth day of November, 1671, with the comedy of Saint Martin Marr-all. In 1673 was represented the Tempest, made into an opera by Shadwell, and set to music by Matthew Lock. In February in the same year came forth tlie opera of Psyche, also written by Shadwell, and set to music by Lock and Sign. Baptist Dragbi ; and in 1676 was performed Circe, an opera, written by Dr. Charles Davenant, a son uf Sir William, ahd set to music hy Mr. John Banister. These representations are related to have been made at a prodigious expense, in music, dancing, machinery, scenes, and other decorations, and were intended to rival those of the French stage ; and some of the best French dancers, namely, L' Abbed, Balon, and Mademoiselle Subligny, performed at them. At length, in the year 1682, according to Downes, but, as Cibber says, in 1684, the Duke's company not being able to subsist, united with the King's, and both were incorporated by the name of the King's Company of Comedians. For about ten years that at Drury-lane was the only theatre in London. But Mr. Betterton obtained a licence from king William to erect a theatre within the walls of the tennis court in Lincoln's-Inn fields, and, tjy the help of a liberal subscription of the nobiUty and gentry, opened it in 1695, with a new comedy of Mr. Congreve, viz. Love for Love. Gibber's Life, 113, 114. The theatre in Lincoln's-Inn fields was rebuilt by William Collier, Esq. a lawyer, and member for Truro in Cornwall, and in 1714 opened with the comedy of the Recruiting Officer. The subsequent histoiy of the two theatres, as also the erection of that in the Haymarket, now the Opera-house, are related at large by Cibber in the Apology for his Life. The patent for Lincoln's-Inn fields theatre came afterwards into the hands of Mr. Christopher Rich, whose son, the late Mr. John Rich, built the present theatre in Covent-Garden. Mr. Shepherd was the architect who designed it. necessary relief, as well to the actors as the audience, between the acts : compositions for this purpose were called Act-tunes, and were performed in concert ; instruments were also required for the dances and the accompaniment of songs. Hence it was that, upon the revival of stage -entertainments, music became attached to the theatres, which from this time, no less than formerly the church had been, became the nurseries of musicians ; insomuch, that to say of a performer on any instrument that he was a playhouse musician, or of a song, that it was a playhouse song, or a playhouse tune, was to speak of each respectively in terms of the highest com- mendation. It must be confessed that this exaltation of the stage did not immediately follow the restoration : a work of greater importance engaged the attention of all serious men, to wit, the restoration of the liturgy, and the revival of that form of religious worship which had been settled at the reformation, and which by the ordinance that abolished the use of it, and by the preface to the directory substituted in its place, had been stigmatized as vain, super- stitious, and idolatrous. In what manner this great purpose was effected, and in particular the methods which were taken to restore cathedral service, will hereafter be related, as will also the prosecution of that design, which has been hinted at in the relation herein before given of an entertainment at Eutland- house, intended by the author. Sir William Davenant, as an imitation of the opera, and the subsequent progress of music in its connection with the drama ; but first it will be necessary, by way of explanation of Wood's account of the state of music at Oxford during a period of near twenty years, to describe particularly thoge concerts which were so well attended, and afforded such entertainment to the members of the university. CHAP. CXLIV. What is to be understood by a concert of viols, such as Wood speaks of, is now hardly known : we are therefore necessitated to recur to a book published by old John Playford in the year 1683, entitled ' An Introduction to the Skill of Music, the tenth ' edition, for a description of the bass, the tenor, and ' the treble viol, with the respective tunings of each ; ' and from thence we learn that the bass-viol had six strings, the first called the treble ; the second the small mean ; the third the great mean ; the fourth the counter-tenor; the fifth the tenor or gamut string, and the sixth the bass : and that the tuning these was as follows, viz. the first or treble string, D LA SOL EE ; the second, A la mi ee ; the third, E LA MI ; the fourth, fa UT ; the fifth. Gamut ; and the sixth double D sol re. The Tenor -viol, which also had six strings, was tuned to the same intervals, the sixth or greatest string answering to Gamut on the bass, and the first to G SOL EE UT on the treble viol, which had its tuning precisely an octave higher than the bass-viol.* * We have here a perfect designation of the order and tuning of a set of viols, and this will explain what is meant by a chest of viols, which generally consisted of six in number, and were used for playing Fantazias 686 HISTORY OP THE SCIENCE Book XV, The bass-viol was originally a concert instru- ment, and used in the performance of Pantazias from two to six parts, hut it was frequently played on alone, or as an accompaniment to the voice, in the manner of the lute. In the first case it was called the Concert-viol, in the other the Viol da gamba. It was fretted with more or fewer frets, according to the use to which it was employed ; when used in concert, four were generally sufficient, but when alone, or to accompany the voice, seven were requisite. Concerning compositions of many parts adapted to viols, of which there are many, it is to be obsej'ved, that when the practice of singing ma- drigals began to decline, and gentlemen and others began to excel in their performance on the viol, the musicians of the time conceived the thought of sub- stituting instrumental music in the place of vocal ; and for this purpose some of the most excellent masters of that instrument, namely Douland, the younger Ferabosco, Coperario, JenMns, Dr. Wilson, and many others, betook themselves to the framing compositions called Fantazias, which were generally in six parts, answering to the number of viols in a set or chest, as it is called in the advertisement in the preceding note, and abounded in fugues, little responsive passages, and all those other elegancies observable in the structure and contrivance of the madrigal. In what manner a set of these instru- ments was tuned for the purpose of performing in concert, has been already mentioned. It now re- mains to speak of the Bass-viol or Viol da Gamba. To the instructions respecting the bass, the tenor, and the treble viol contained in the second book of Playford's Introduction, are added brief directions for the treble violin, the tenor violin, and the bass violin, which, as they are each strung with four strings, appear clearly a species separate and distinct from the viol. And here it is to be noted, in six parts. To this purpose old Thomas Mace of Camhridge speaks, in that singularly humorous book of his writing, ' Musick's Monument.* page 245. ' Your best provision (and most compleat) will be a good 'chest of viols, six in number (viz.) 2 Basses, 2 tenors, and 2 trebles, all ' truly and propoitionably suited. Of such there are no better in the ' world than those of Aldred, Jay, Smith, yet the .highest in esteem are 'Bolles and Ross (one bass of BoUes's I have known valued at 1001.) ' these were old, but we have now very excellent workmen, who (no * doubt) can work as well.' In a collection of airs, entitled 'Tripla Concordia, published in lGfi7 * by John Carr, living at the Middle Temple gate in Fleet Street,' is the following advertisement ; — * There is two Chests of Viols to be sold, one made by Mr. John Ross, ' who formerly lived in Bridewell, containing two trebles, three tenors, ' and one bass : the chest was made in the year 1298. * The other being made by Mr. Henry Smith, who formerly lived over- ' against Hatton-house in Holbourn, containing two trebles, two tenors, * two basses. The chest was made in the year 1633. Both chests are * very curious work.' The John Ross mentioned in the above advertisement, was the son of the person mentioned in the Annals of Stowe by the name of John Rose, to have invented 4to. Eliz. the instrument called the Bandora. See page 493, in not. Concerts of viols were the usual entertainments after the practice of singing madrigals grew into disuse : and these latter were so totally ex- cluded by the introduction of the violin, that, at the beginning of this century, Dr. Tudway of Cambridge was but just able. to give a de- scription of a chest of viols, as appears by the following extract from a letter to his son, written for the purpose of instructing him in music : — 'A chest of viols was a large hutch, with several apartments and ' partitions in it ; each partition was lined with green bays, to keep the ' instruments from being injured by the weather ; every instrument was ' sized in bigness according to the part played upon it ; the least size ' played the treble part, the tenor and all other parts were played by a ' larger sized viol ; the bass by the largest size. They had six strings 'each, and the necks of their instruments were fretted. Note, I believe * upon the treble-viol was not higher than G or A in alt, which is nothing 'now.' that the bass-violin, which is also described by Playford, and had the tuning of its first or highest string, in G sol re vt, its second in C fa vt, and its third in PP pa ut, and its fourth in BB mi, ap- pears clearly to have been an Instrument different from the Violoncello, now the associate of the treble and tenor violin in concerts, into which it was first introduced by the Italians. But we are now speaking of the viol species ; and of this it is to be observed, that the method of notation proper to it was by the characters common to both vocal and instrumental music, but that about the time of king James I. the notation for the lute called the tablature, was by Coperario transferred to the Bass-viol. The tabla- ture as adapted to the Bass-viol consisted in a stave of six lines, representing the six strings of the instrument, with letters of an antique form, signi- fying the place of the tones and semitones on each string. The first of these methods was calculated for the performance on the viol in concert, the com- positions for that instrument called Fantazias being uniformly written in the notes of the Gamut. The Lyra-way,* as it was called, was adapted to the tab- lature, and by that method the viol was rendered capable, without a variation of the characters, of performing lute lessons. In either way the instrument, consisting of six strings, was tuned according to the following direc- tions of Playford : ' The treble, being raised as high ' as it will conveniently bear, is called D la sol re ; ' then tune your second four notes lower, and it is ' A LA MI RE ; the third four notes lower, is E la mi ; ' the fourth three notes lower is C fa dt ; the fifth ' four notes lower is Gamut ; and the sixth four ' notes lower than the fifth, is double D sol RB.'f The instrument being fretted with five frets for the first or treble string, and four for each of the others, the progression on each string will be as follows : — 1—a— 3—a- 4— o- 5 — a- 6 — a~ -h c- l- -b- 6- —d- -d- -/- -/- '3— -3- -A- -h~ -h— -h— : Open First Second Third Fourth Fifth Sixth nh Fret. The frets which cross the stave in the above example, together with the letters adjoining to them, determine the station of the tones and semitones on each string ; thus, to instance in the first string, a stands for D, which has the sound for the string open or unstopped ; J for D ,c for E, d for F, e for F#,/for G, g for G#, and h for A ; and this expla- nation will apply to the other strings on the instru- ment. As to the frets, they were nothing more than pieces of very small catgut string dipped in warm glue and tied round the neck of the instru- * Playford calls the method of playing on the Bass-viol by the Tablature the Lyra-way, and the instrument played on in this manner the Lyra-viol. Introduction to the Skill of Musiok, page 96, 8?, edit. 16S3. t The six lines above, as they answer to the strings of the instrument, have not the least relation to the stave of Guido ; the letters and not the lines represent the notes in succession ; and as to the characters to de- note their several lengths, they are referred to above. Chap. CXLIV. AND PEACTICE OF MUSIC. 687 ment, at proper distances ; and in stopping them it was required that the extremity of the finger should he behind, but in immediate contact with the fret. The notation by the tablature determines nothing as to the time or value of notes, and therefore re- quires the aid of other characters for this purpose ; those in use when the viol was in greatest esteem' were such as were originally adapted to the tabla- ture for the lute, and are described in page 419. But afterwards they were changed to those cha- racters that are used in the notation according to the Gamut* It has already been mentioned that the practice of singing madrigals, which had prevailed for many years throughout Europe, gave way to concerts of viols, such as are above described ; but the languor of these performances, which consisted of Fantazias of five and six parts, was not compensated by that sweet and delicate tone which distinguishes the viol species ; the violin, though it had long been in the hands of the vulgar, f and had been- so degraded that the appellation of Fiddler was a term of re- proach, was found to be an instrument capable of great improvement; and the softness and delicacy of the violin tone, and the occasional force and energy of the instrument itself, were such recommen- dations of it as determined the Italian masters, about the beginning of the seventeenth century, to intro- duce it into practice. The treble violin, the tenor violin, and the vio- loncello, have a necessary connection with each other, and form a species of fidicinal instruments distinct from that of the viol : the introduction of these into concerts is therefore to be considered as a new era in musical history, and may justify a re- trospect to the circumstances that preceded and con- tribiited to this event. What kind of an instrument the ancient violin or fiddle mentioned by Chaucer was, we are at a loss at this distance of time to discover ; but what the fiddle was about the year 1530, appears by the figure of it in the Musurgia of Ottomarus Luscinius, hereinbefore exhibited. Notwithstanding this cer- tainty, there is good reason to suppose that towards the end of the sixteenth centry the shape of it was rather vague and undetermined, for at a sale by auction of the late duke of Dorset's effects, a violin was bought, appearing to have been made in the year 1678, which, though of a very singular form, and encumbered with a profusion of carving, was essentially the very same instrument with the four- * These have heen considerably improved both in England and Holland since their iirst invention, for originally the quavers and semiquavers, though ever so numerous in succession, were all distinct ; but about the 3'ear 1660 Playford invented what he called the new tyed note, wherein by one or two strokes continued from the bottom of each note to the next, the quavers and semiquavers were formed into compages of four or six, as the time required, a contrivance^ that rendered the musical characters much more legible than before. The Dutch followed this example soon after the English had set it ; and afterwards the French, and after them the Germans ; but so lately as the year 1?24, when Mareello's Psalms were published in a splendid edition at Venice, the Italians printed after the old manner, and so did the Spaniards till within these very few years. t Dr. Tudway, in his letter to his son, says that within his re- membrance it was scarce ever used but at wakes and fairs, and that those who played on it travelled about the country with their instrument m a cloak-bag. stringed violin, as appears by the following repre- sentation of it: — :}: To the above engraving, taken immediately from the instrument itself, a verbal description of it will be deemed but a necessary adjunct. The dimensions of the instrument are as follow. From the extremity of the tail-pin to the dragon's head, two feet. From A to B seven inches and a half. Prom C to D six inches. Length of the belly thirteen inches. Thickness at E one inch, at P four and a half. Over the pins is a silver gilt plate, that turns upon a hinge, and opens from the nut downwards ; thereon are engraved the arms of England, and under them, encircled by a garter with the usual motto, the bear and ragged staff, § and an earl's coronet at top ; in the tail -pin is in- serted a gilt silver stud, to which the tail-piece is looped, with a lion's face curiously wrought on the top ; this is secured by a nut,, which screws to it on the under side of the instrument, whereon are en- 15 graven these letters and figures I P supposed to 78 signify the year when it was made, and the initials of the maker's name. The subject of the carving on the deepest part, and on the side above presented to view, is a man with an axe, standing on the ground, and working upon some fallen branches of an oak tree : on the opposite part are represented hogs under an oak tree, and a man beating down acorns ; the rest of the carving is foliage ; the whole is in alto relievo. Under the carving is a foil of tinsel or silver gilt. The back of the instrument is not curved, but forms a very obtuse angle ; and from the bottom of the back, extending to the back of the dragon's head, the carving, which is very bold, con- sists of oak foliage. Notwithstanding the exquisite workmanship of it, the instrument produces but a close and sluggish tone, which considering the profusion of ornament, and the quantity of wood with which it is incum- bered, is not to be wondered at. / But, notwithstaiiding the diversities iii the shape of the violin at different periods, that the modern violin had assumed the form which it now bears, almost as early as the beginning of the seventeenth century, is indisputable, for of the violins of Cremona, so long celebrated for the beauty of their shape and fineness of tone, |) there are great numbers that X A larger plate of this instrttment viilt he Jbund in the Supplementary Volume of Portraits. § The bear and ragged staff was the cognizance of the Nevils earls of Warwick. Robert Dudley, earl of Leicester, who derived his pedigree from them, took it for his crest. See Fuller's Worthies in Warwickshire, 118. This agrees with a tradition concerning it, that the instrument was originally queen Elizabeth's, and that she gave it to her favourite the earl of Leicester, which is not improbable, seeing that her arms are also upon it. II There were three persons of the name of Amati, natives of Cremona, and makers of violins, that is to say, Andrew, Jerome, and Antony t.U 688 HISTORY OF THE SCIENCE Book XV. appear to have been made before year 1620, and yet it does not appear that the violin was used in con- cert till some years after. Scipione Cerreto, in his treatise De Prattica musi- cale, enumerates the many excellent composers and performers on various instruments living at Naples in the year 1601 ; and it is worthy of note that among the latter are mentioned only Sonatori excel- lenti del Liuto, d'Organo, di Viola d'arco, di Chittara a sette chorde, di Lira in gamba, di Tromboni, di Oiaramelle e Cornetti, and dell' Arpa a due ordini, from whence it may be inferred that at that time the violin in Italy, as in England and other countries, was an instrument of little account, and deemed fit only for the entertainment of the vulgar ; never- theless we find that in a very few years after it rose so high as to be admitted into the theatre : indeed it may be said to be coeval with the opera itself. It has already been mentioned that the most ancient opera in print is the Orfeo of Claudio Monteverde, represented at Mantua in 1607, and published at Venice in 1615; to this is prefixed the personages of the drama, and the names and numbers of the instruments used in the performance ; and among the latter occur duoi Violini piccoli alia Francese : now the diminutive, piccoli, supposes an instrument of the same species, of a larger size than itself, i. e. a violin ; but this it seems was not admitted into the performance, perhaps for this reason, that the Viola da brazzo, i. e. the treble viol, held its place : and if it be asked what then was the iise of the Violino piccoli ? it may be answered, perhaps for a particular accompaniment, the imitation of the singing of birds for instance; or for a like purpose as the Flauto alia vigessima seconda, viz. a treble octave flute. However it is certain that at the beginning of the sixteenth century the practice of the violin was cultivated in Italy with uncommon assiduity; so that in a few years after it became the principal of concert instruments. From Italy it passed into France, and from thence into England. At first it was used in accompani- ment with the voice, and was confined to the theatre ; but the good effects of it, in giving to the melody a force and expression which was wanting in the sound of the voice, and extending the limits of the harmony in the chorus, recommended it also to the church. The motetts and hymns that made a part of divine service, had hitherto been composed for voices, with no other accompaniment than that of the organ; and this kind of music, which corresponds with the practice of the primitive church, is still retained in sons, and Nicolas, the son of the latter. Andrew flourished about the year 1600, Besides these there were two persons of the name of Stradivarius of Cremona, admirable artisans ; the latter was living at the beginning of this century : his signature was • Antonius Stradivarius Cremonensis Faciebat Anno AtS.' Andrew Guamier, also of Cremona, signed thus, ' Andreas Guarnerius, ' fecit Cremonoe sub titulo Sancta Teresze, 16S0.' The violins of Cremona are exceeded only by those of Stainer, a German, whose instruments are remarkable for a full and piercing tone ; his signature is as follows : — ' Jacobus Stainer, In Absam prop6 Oenipontum 1647.' Oenipons is th« Latin name of Insprunck in Germany, the chief city of Tyrol. Matthew Albani, also a Tyrolese, signed thus ' Matthias Albanus fecit in Tyrol Bulsani i654.' the pope's chapel ; but no sooner were the advan- tages discovered that resulted from the union of voices and instruments, than all the objections arising from the seeming profanation of the temples of God, by admitting into them such instruments as had hitherto been appropriated to theatrical represen- tations, vanished. This innovation gave rise to a new church-style, in which the principal end of the composer was rather to display the excellencies of either some fine singer or instrumental performer, than to iiispire the auditory with those sentiments which should ac- company divine worship. For examples of this kind we need look no farther than the liiotets of Carissimi, Colonna, and Bassani, in which the solo vocal parts are wrought up to the highest degree of perfection ; and the instrumental accompaniments abound with divisions calculated to shew the powers of execution in the performers. Whether vocal music gains more than it loses by being associated with such instruments as it is usually joined with, may admit of a question : it is univer- sally agreed, that of all music that of the human voice is the sweetest ; and it may be remarked, that in a chorus of voices and instruments the sounds never coalesce or blend together in such a manner," as not to be distinguishable by the ear into two species ; while in a chorus of voices alone, well sorted, and perfectly in tune, the aggregate of the whole is that full and complete union and consent, which we understand by the word Harmony, as applied to music. On the other hand it may be said that what is wanting in harmony is made up by the additional force and energy which is given to vocal music by its union with that of instruments ; but it is worthy of consideration whether music, the end whereof is to inspire devotion, stands in need of such aids, or rather indeed whether such aids have not a tendency to defeat its end. This at least is certain, that the theatric and ecclesiastic stj'les are discriminated by the very nature and tendency of each, and that the confusion of the one with the other has for upwards of a century been considered by the ablest defenders of choral service as one of the great abuses of music. CHAP. CXLV. It is now time to speak of the revival of choral service upon the restoration of king Charles the Second. At this time no more than nine of the bishops of the church of England were living; these immediately on the king's return took pos- session of their respective bishoprics ; and such sees as were vacant were immediately filled up, either by translations or new appointments. The seques- tered clergy severally entered upon the livings which they had been ejected from, and dispossessed the incumbents whom they found there. Heads and fellows of colleges were also reinstated, and the government and discipline of the church were re- duced to the legal form. No sooner was the liturgy re-established, than Chap. CXLV. AND PEAOTICE OF MUSIC. 689 tlie bishops and clergy became sensible of tbe neces- sity of reviving the choral service ; but here they were greatly at a loss. By an ordinance made in the year 1644, organs in churches and chapels had been commanded to be taken down ; * and the fury of the rabble was not less remarkable in their de- molition, than in that impious zeal which prompted them to despoil churches of their ornaments, and, as far as it was in their power, by the destruction of funeral monuments, to efface from the remembrance of mankind those virtues of the illustrious dead, which it is the end of monuments and sepulchral inscriptions to perpetuate. Organs being thus destroyed, and the use of them forbidden in England, the makers of those instru- ments were necessitated to seek elsewhere than in the church for employment; many went abroad, and others betook themselves to such other occupations for a livelihood, as were nearest related to their own ; they became joiners and carpenters, and mixed un- noticed with such as had been bred up to those trades ; so that, excepting Dallans, Loosemore of Exeter, Thamar of Peterborough, and Preston of York, there was at the time of the restoration scarce an organ-maker that could be called a workman in the kingdom. Some organs had been taken down, and sold to private persons, and others had been but partially destroyed ; these, upon the emergency that called for them, were produced, and the artificers above named were set to work to fit them up for use ; Dallans indeed was employed to build a new organ for the chapel of St. George at Windsor, but, whether it was through haste to get it finished, or some other cause, it turned out, though a beautiful structure, but an indifferent instrument. The next step towards the revival of cathedral service, was the appointment of skilful persons for organists and teachers of music in the several choirs of the kingdom ; a few musicians of eminence, who had served in the former capacity under the patronage of Charles I. namely Child, Christopher Gibbons, Eogers, Wilson, Low, and others, though advanced in years, were yet living; these were sought out and promoted ; the four first named, were created doctors, and Child, Gibbons, and Low were appointed organists of the royal chapel ; Gibbons was also made. master of the children there, and organist of Westminster Abbey. Eogers, who had formerly been organist of Magdalen college at Oxford, was preferred to Eton ; Wilson had a place both in the chapel and * The^words of the ordinance are ' all organs, and the frames or cases ' wherein they stand, in all churches and chappels [». e. cathedral, 'collegiate, or parish churches or chdppels] shall be taken away and ' utterly defaced, and none other hereafter set up in their places," Scobell's Collection of Arts, 1651, page 181. Bishop Sanderson, in one of his sermons, says, that the Puritans objected to the use of instrumental music in divine worship, deeming it unlawful : this opinion was adopted by the Nonconformists at the Restoration, and in general seems to be still retained by them. At the close of the last century, upon occasion of erecting an organ in a parish church at Tiverton, in the county of Devon, a sermon was preached by one Mr. Newie, which was remarked on in an anonymous pamphlet, entitled ' a letter to a friend in the country con- cerning the use of instrumental music in the worship of God, tto. 1698. To this letter the preacher replied in the preface to a treatise by the learned Mr. Jiodwell on the lawfulness of instrumental music in holy ojpces, Svo. 1700. The preface and the tract that follows H contain a full and decisive vindication of the practice in question, and so far prevailed with some of the more moderate of the Dissenters, that Dr. Edmund Calamy was once heard to say that in his Meeting Place in Long Ditch, Westminster, he should have no objection to the erection of an organ. in Westminster choir ; and Albertus Bryne was made organist of St. Paul's. By this method of appointment the choirs were provided with able masters ; but great difficulties, arising from the late confusion of the times, and the long intermission of choral service, lay behind. Cathedral churches, from the time of the suppression of monasteries, had been the only seminaries for the instruction of youth in the principles of music ; and as not only the revenues appropriated for this pur- pose were sequestered, but the very institution itself was declared to be superstitious, parents were de- prived both of the means and the motives to qualify their children for choral duty, so that boys were wanting to perform those parts of the service which required treble voices. Nay, to such streights were they driven, that for a twelvemonth after the res- toration the clergy were forced to supply the want of boys by cornets,"}' and men who had feigned voices. Besides this, those of riper years, whose duty it had been to perform choir service, namely, the minor canons and lay-clerks of the several cathedrals, had upon their ejection betaken themselves to other employments ; some went into the king's army, others taught the lute and virginals ; and others psalmody, to those whose principles restrained them from the use of any other music in religious worship. In consequence hereof, and of that inaptitude which follows the disuse of any faculty, when the church-service was revived, there were very few to be found who could perform it; for which reason the universities, particularly that of Oxford, were very sedulous in their endeavours to promote the study of practical music : and, to render the church- service familiar, a book, written by Edward Low, was printed at Oxford in 1661, entitled ' Some short directions for the performance of Cathedral Ser- vice.' This Edward Low| came from Salisbury, having been brought up under John Holmes, the organist of that cathedral. In the year 1630 he + These instruments had been introduced into the choral service before, for in the Statutes of Canterbury Cathedral, provision is made for players on sackbuts and cornets. And the same appears by the following passage in the Life of Archbishop Whitgift, as given in the Biographia Britwnnica, page 4255, respecting the service at Canterbury Cathedral. ' There happily ' landed an intelligencer from Borne, who wondered to see an Archbishop or * Clergyman in England so reverenced and attended, and being present also ' the Sunday following at service at the Cathedral iit Canterbury, where * seeing his grace attended with his gentlemen and servants, as also the Dean , * Prebendaries, and Preachers, in their Surplices and scarlet hoods, and * hearing the solemnmusic, with the voices and organs, cornets and sackbuts, * he was struck with amazement and admiration, and declared that ihei/ * were led in great blindness at Rome by our own nation, who made the 'people there believe, that there was not in England either Archbishop or ' Bishop, or Cathedral or any church or Ecclesiastical government ; but thai 'all was pulled down to the ground, and that the people heard their Minister ' in woods and fields, among trees and brute beasts; but for his own part he 'protested that, unless it were in the Pope's chapel, he never saw a more ' solemn sight, or heard a more heavenly sound.' And we are told that at Ute churching of the queen, after the birth of lady Mary, daughter of James I. in the Royal Chapel sundry Anthems were sung with organ, cornets, sack tints, and other excellent instruments of music. Vide Stow's Annals, 864. Lastly Charles I. when at Oxford, had service at the Cathedral with organs, sackbuts, recorders, cornets, 8rc. From a tract entitled ' The well tuned Organ,' by Joseph Brookband, 4to, 16G0. X Of this person mention has already been made. Vide ante pag. 584 et 681, and Wood in his life takes frequent occasion to speak of him. Soon after the restoration he was appointed one of the organists of the chapel royal. He died on the eleventh of July, 1682, and was buried at the upper end of the divinity chapel, on the north side of the cathedral of Christ Church, near to the body of Alice, his sometime wife, daughter of Sir John Peyton the younger, of Doddiiigton in the Isle of Ely, Knight. Fasti, vol. 1. coll. 178. Henry Purcell succeeded him in tho place of organist of the royal chapel, July 14, 1682, as appears bv the Cheque-Book. 690 HISTOKY OF THE SCIENCE Book XV. Bucceeded Dr. Stonard as organist of Christ Church, Oxford. He was also for some years deputy rausic professor for Dr. Wilson, hut, upon Wilson's leaving the university, was appointed professor in his own right. Wood says that though not a gra- duate, he was esteemed a very judicious man in his profession. Fasti, vol. I. col. 178. The book above-mentioned was again published in duo- decimo, anno 1664, under the title of ' A Eeview of some short directions for performance of Cathedral Service,' with a dedication to Dr. Walter Jones, subdean of the chapel royal, and a preface, ad- dressed to all gentlemen that are true lovers of cathedral service, wherein he informs them, which is strictly true, that the versicles, responses, and single tunes of the reading psalms then in use, and which he has published, are exactly the same that were used in the time of Edward VI., for which he refers to another copy, printed anno 1550, which can be no other than the book entitled ' The Booke of Common Praier noted,' by John Marbeck, of which an account has herein before been given. As the formulary contained in this book of Low is adapted to the liturgy established in the reign of queen Elizabeth, and continued, with a few incon- siderable variations, to this time, it necessarily fol- lows that it must differ in many respects from that of Marbeck, which was adapted to the common prayer of Ewd. VI. To enumerate all the par- ticulars in which they differ will hardly be thought necessary ; it may suffice to say that the versicles and responses are very nearly the same in each : besides these, the author has inserted a variety of chanting tunes for the Psalms, Venite exultemus,&c. some of which it is conjectured were composed by Dr. Child, of Windsor, as is also a Te Deum of fonr parts in counterpoint, there also given. The litany seems to be that of Tallis in four parts : * it is fol- lowed by a burial service in four parts of Mr. Eobert Parsons, and a Veni Creator, the author unknown, which concludes the book. The places of organist and master of the chil- dren in the several cathedrals were no sooner filled up with able men, than those on whom they were bestowed, as also the gentlemen of the king's chapel, laboured incessantly in the composition of services and anthems ; thereby endeavouring to make up the loss which church-music had sustained in the preceding period of near twenty years, so that in the short space of two years a great number of each were composed by them, as appears by James Clifford's Collection of divine Services and Anthems usually sung in his Majesties Chappell, and in all the Cathedrals and Collegiate Choires of England and Ireland. Lond. 1664, duod. This James Clifford was a native of Oxford, being born in the parish of St. Mary Magdalen there. He was educated in Magdalen college school, and became a chorister of that college, but took no degree in the university of Oxford. After the restoration he was a minor canon of St. Paul's cathedral, and reader in some church near Carter- * It is Tallis only in part. lane ; and after that chaplain to the honourable society of Serjeants-Inn in Fleet-street, London.]' He died about the year 1700, leaving ii widow, who survived him some years ; she dwelt in Wardrobe- court, in Great Carter-lane, London, and had a daughter, who taught a school of little children.! Besides the above collection, he published a Cate- chism, and a preparation Sermon; and these seem to be the whole of his writings. To the collection of Services and Anthems above- mentioned is a dedication to Dr. Walter Jones, sub- dean of the chapel royal, and two prefaces, the one whereof seems to have been published with an earlier edition of the book, the other containing chanting tunes for the Venite, Te Deum, Benedioite, Jubilate, Magnificat, Cantate Domino, Nunc Di- mittis, Deus Misereatur, the Psalms, and Quicunque vult. After these follow ' Brief directions for the 'understanding of that part of the divine service ' performed with the organ in St. Paul's cathedral ' on Sundayes, &c.' The particulars most worthy of regard among these directions are the following : ' After the Psalms, a voluntary upon the organ ' alone.' ' After the third collect " Lord our " heavenly father, &c." is sung the first anthem.' ' After the blessing " The grace of our Lord Jesus " Christ, &c" a voluntary alone upon the organ.§ In the second or communion service nothing re- markable occurs ; but after the sermon follows another anthem, which concludes the morning service. At evening service, ' After the psalms a voluntary ' alone by the organ.' After the third collect, " Lighten our darkaess, &c." is sung the first, and " after the sermon the last anthem.' At the end of the book is a short address to the reader, in which it is intimated that the best musi- cians of later times had found it expedient to re- duce the six syllables used in solmisation to four, by permutation of tjt, re, into sol, la. At the end of this postscript the author professes to exhibit a table, containing, as he terms it, ' that very basis or foun- • ' dation of music which had long before been com- ' piled for the instruction of youth in the rudiments ' of musick, by that most worthy and excellent ' author thereof, Kalph Winterton, Dr. of Physick ' and Eegius Professor of the same in the university ' of Cambridge, in his own words and methode ;' ' but, by some unaccountable mistake, this table or basis, whatever it be, is omitted in all the copies of the book that have come to our hands, and instead thereof is inserted ' A Psalm of Thanksgiving to be ' sung by the Children of Christ's Hospital on ' Monday and Tuesday in Easter holydaies at St. t Allien. Oxon. vol. II. col. 1019. X These particulars were communicated ty a person now living, who was one of the daughter's little pupils, and, though turned of fourscore, retains a rememhrance of his person. § This was the usage in cathedrals for many years, hut in some, particularly St. Paul's and Canterbury, and at Westminster, the practice has been, and still is, instead of a voluntary, to sing the Sanctus to solemn music in the interval between morning prayer, concluding with the Benediction, and the second or communion service, which is certainly a change for the better. In the Temple church, which by the way is neither a cathedral nor parochial church, a voluntary is introduced in this part of the service, but at no other in London. Chap. CXLV. AND PEAOTICE OF MUSlO. 691 ' Maries Spittle, for tlieir founders and benefactors, ' composed to Music by Thomas Brewer.' This book, as it contains not the music, but only the words of the services and anthems in tise at the time of its publication, is so far at least valuable, as it serves to show what was the stock of music which the church set out upon at the restoration, as also who were the composers of greatest eminence in that and the preceding time. The names that occur in this collection are, William Bird, Thomas Tallis, Thomas Weelks, Richard Farrant, Edmund Hooper, William Mundy, John Shepherd, Orlando Gibbons, Adrian Batten, Dr. Tye, Robert White, Dr. Giles, Robert Parsons, Thomas Morley, John Ward, John Hilton, Dr. Bull, Richard Price, Albertus Bryne, or- ganist of St. Paul's cathedral ; Michael East, Henry Lawes, Henry Smith, Mr. Cob, Henry Molle, Mr. Johnson, Thomas Tomkyns, Christ. Gibbons, Law- rence Fisher, Mr. Stonard, Henry Loosemore, Mr. Jeffries, Randolph Jewett, Mr. Bennett, Mr. Wil- kinson, Mr. Gibbs, John Amner, John Holmes, Mr. Coste, Mr. Cranford, Dr. Wilson, Richard Gibbs, organist of Christ Church in Norwich; Mr. Wig- thorpe, Leonard Woodson, Richard Hutchinson, Mr. Rogers, Martin Peerson, Mr. Mudde, John Heath, Dr. Child, Edward Smith, Peter Stringer, organist of Chester cathedral ; Richard Hinde, Richard Port- man, George Mason, John Hingestone, Richard Carre, Giles Tomkins, William Lawes, Edward Low, Pelham Humfrey, John Blow, and Robert Smith, the three latter children of his majesty's chapel ; Henry Cook, Esq., master of the children, and one of the gentlemen of his majesty's chapel royal ; Matthew Lock, Esq. Sir William Leighton, Robert Jones, Alphonso Ferabosco. The number of workmen in England being found too few to answer the demand for organs, it was thought expedient to make offers of encouragement for foreigners to come and settle here ; these brought over from Germany Mr. Bernard Schmidt and Harris ; the former of these, for his excellence in his art, and the following particulars respecting him, deserves to live in the remembrance of all such as are friends to it. Bernard Schmidt, (a Portrait), or, as we pro- nounce the name. Smith, was a native of Germany, but of what city or province in particular is not known. Upon the invitations of foreign workmen to settle here, he came into England, and brought with him two nephews, the one named Gerard, the other Bernard ; and, to distinguish him from these, the elder had the appellation of Father Smith. Im- mediately upon their arrival Smith was employed to bnild an organ for the royal chapel at Whitehall, but, as it was built in great haste, it did not answer the expectations of those who were judges of his abilities; He had been but a few months here before Harris arrived from France, bringing with him a son named Eenatus,whohad been brought up in the business of organ-making under him ; they mot with little encouragement, for Dallans and Smith had all the business of the kingdom ; but upon the decease of Dallans in 1672,* a competition arose between these two foreigners, which was at- tended with some remarkable circumstances. The elder Harris was in no degree a match for Smith, but his son Renatus was a young man of ingenuity and spirit, and succeeded so well in his endeavours to rival Smith, that at length he got the better of him. The contest between Smith and the younger Harris was carried on with great spirit ; each had his friends and supporters, and the point of pre- ference between them was hardly determined by that exquisite piece of workmanship of Smith, the organ now standing in the Temple church ; of the building thereof the following is the history, as related by a person who was living at the time, and intimately acquainted with both Smith and Harris. ' Upon the decease of Mr. Dallans and the elder ' Harris, Mr. Renatus Harris and Father, Smith 'became great rivals in their employment, and ' several tryals of skill there were betwixt them on ' several occasions ; but the famous contest between ' these two artists was at the Temple church, where ' a new organ was going to be erected towards the ' latter end of K. Charles the second's time : both ' made friends for that employment ; but as the ' society could not agree about who should be ' man, the Master of the Temple and the EeiKjners ' proposed they both should set up anosgSn on each ' side of the church, which in^ jthoflfnalf a year or ' three quarters of a year. '«iras done accordingly ; ' Dr. Blow and Mr. PurCell, who was then in his ' prime, shewed and played Father Smith's organ on ' appointed days to a numerous audience ; and, till ' the other was heard, every body believed that ' Father Smith certainly would carry it. 'Mr. Harris brought Mr. Lully,f organist to ' Queen Catherine, a very eminent master, to touch ' his organ, which brought Mr. Harris's organ into ' that vogue ; they thus continued vying with one ' another near a twelvemonth. 'Then Mr. Harris challenged Father Smith to ' make additional stops against a set time ; these ' were the Vox-humane, the Cremona or Violin ' stop, the double Courtel or bass Flute, with some ' others I may have forgot. ' These stops, as being newly invented, gave great ' delight and satisfaction to the numerous audience : ' and were so well imitated on both sides, that it ' was hard to judge the advantage to either. At last ' it was left to my Lord Chief Justice Jeffries, who ' was of that house, and he put an end to the con- ' troversy by pitching upon Father Smith's organ ; ' so Mr. Harris's organ was taken away without loss 'of reputation, f and Mr. Smith's remains to this * An inscription on a stone in the old church of Greenwich ascertained nearly the time of his death ; Strype gives it in these words : * Ralph ' Dallans, Organ-maker, deceased while he was making this organ ; 'begun by him Feb. 1672. James White his partner finished it, anr! 'erected this stone 1673.' Circuit Walk. Greenwich. The organ a' New College, Oxford, as also that in the music-school there, were madt^ by Dallans. + Qy. JDraghi, whose ckrisiian name Bapiisi, might mislead Br. Tudway, the author of this account, t Harris's organ was afterwards purchased for the cathedral of Christ Church at Dublin, and set up there ; but about twenty years ago Mr. 692 HISTORY 01" THE SCIENCE Book XV. •' day.* * * * * Now began the setting up of organs ' in the chiefest parishes of the city of London, where ' for the most part Mr. Harris had the advantage of ' Father Smith, making I believe two to his one ; ' among them some are reckoned very eminent, viz. ' the organ at Saint Bride's, Saint Lawrence near ' Guildhall, Saint Mary Ax, &c. * Notwithstanding the success of Harris, Smith was considered as an able and ingenious workman ; and, in consequence of this character, he was employed to build an organ for the cathedral of St. Paul ; f in which undertaking lie narromly escaped being a great sufferer, for on the 27 th day of February, 1699, afire brohe out in a little room, at the west end of the North aisle of the church, enclosed for the organ buUdsr's men, which communicating it- self towards the organ, had 'probably consumed the sa77ie and endangered at least one side of the choir; but it mas timely extinguished, though not without damage to two of tlie pillars and some of the fine carmng by Gibbons. Vide New View of London, 457. The vulgar report was, that the Plumbers or some others employed in soldering or repairing the mstal pipes, had been negligent of their fire ; but the true cause of the accident mas never discovered. Tlie organs made by Smith, though in respect of the workmanship they are far short of those of Harris, and even of Dallans, are justly admired, and for the fineness of their tone have never yet been equalled. The name of Smith occurs in the lists of the chapel establishment from 1703 to 1709, inclusive, as organ-maker to the chapel, and also to queen Anne. He had a daughter, married to Christopher Schrider, a workman of his, who about the year 1710 succeeded him in his places. J The organ of St. Paul's, erected soon after the Byfield was sent for from England to repair it, which he objected to, and prevailed on the chapter to have a new one made by himself, he allowing for tlie old one in exchange. When he had got it he wonld liave treated with the parishioners of j^ynn in Norfolk for the sale of it ; but they dis- daining the offer of a second-hand instrument, refused to purchase it, and employed Snetzler to build them a new one, for which they paid him 700^. Byfied dying, his widow sold Harris's organ to the parish of Wolverhampton for 500^. and there it remains at this day. One of two eminent masters now living, who were requested by the churchwardens of Wolverhampton to give their opinions of this instrument, declares it to be the best modem organ he ever touched. t Mr. Francis Piggot was the first organist of the Temple church. This person had been an organist extraordinary of the chapel royal, but, upon the decase of Dr. Child, was appointed to succeed him as organist in ordinary, and was sworn in accordingly, 10 Apr. 1697. He died in 1704, and was succeeded at the Temple by his son, who died about the year 1736. As the church is common to both the societies of the Inner and Middle Temple, there have for many years past been two organists of it. * Dr. Tudway's letter to his son above cited. + He also made the organ for the theatre, and Christ Church, and for the church of St. Mary at Oxford; and at London he made that of St. Mary at Hill, St. Clement Danes, and of St. Margaret's Westminster. That at the theatre was taken down, and removed to the church of St. Peter in the East at Oxford, and a new one, made by Byfleld and Green, erected in its stead. J On ihis person iKere is lite following humorous Epitaph inprint;^ Here rests the musical Kit Schrider, Who organs built when he did bide here, With nicest ear he tuned 'em up ; But Heath has put the cruel stop : Tlio* breath to others he convey'd. Breathless, alas ! himself is laid, May he who us such Iceys has given, Meet with St. Peter's Keys of Heaven .' His Cornet, twelfth, and Diapason Could not with air supply, he weasoned ; Bass, Tenor, Treble, Unison, The loss of tunefH Kit bemoan. Webb's Collection of Eiiilaphs, vol. 11. page 7G. year 1700, had established the character of Smith as an artist ; whether Harris had been his competitor for building an instrument for that church, as he had been before at the Temple, does not now appear ; but in the Spectator, No. 562, for December 3, 1712, is a recommendation pf a proposal of Mr. Renatiis Harris, organ-builder, in these words : ' The am- ' bition of this artificer is to errect an organ in St. ' Paul's cathedral, over the west door, at the entrance ' into the body of the church, which in art and ' magnificence shall transcend any work of that kind ' ever before invented. The proposal in perspicuous ' language sets forth the honour and advantage such ' a performance wou'd be to the British name, as ' well that it would apply the power of sounds in ' a manner more amazingly forcible than perhaps ' has yet been known, and I am sure to an end ' much more worthy. Had the vast sums which 'have been laid out upon operas without skill or ' conduct, and to no other purpose but to suspend or ' vitiate our understandings, been disposed this way, ' we should now perhaps have an engine so formed, ' as to strike the minds of half a people at once in ' a place of worship with a forgetfulness of present ' care and calamity, and a hope of endless rapture, ' joy, and Hallelujah hereafter.' In the latter part of his life Renatus Harris retired to Bristol, and, following his business there, made sundry organs for the churches in that city, and in the adjacent parishes, as also for churches in the neighbouring counties. He had a son named' John, bred up under him, who followed the business of organ-making, and made a great number of very fine instruments. § In the Mercurius Musicus for September and October, 1700, is a song inscribed ' Set by Mr. Ren6 Harris.' CHAP. CXLVL Immediately upon the restoration the utmost en- deavours were exerted for the establishment of a § The subsequent history of organ-makers and of organ-making ii. this country lies in so short a compass, that It may briefly be continued down from the time when Dr. Tudway's account ends, to nearly the present. Smith's nephews, Gerard and Bernard, worked chiefly in the country, as did also one Swarbrick, bred* up under the elder Harris, and one Turner of Cambridge ; their employment was more in the repairing of old than the building of new organs. About the year 1700, one Jordan, a distiller, who had never been instructed in the business, hut had a mechanical turn, and was an ingenious man, betook himself to the making of organs, and succeeded beyond expectation. He had a son named Abraham, whom he instructed in the same business ; he made the organ for the chapel of the Duke of Chandois at Canons near Edgware, and many organs for parish churches. Byfield and Bridge were two excellent workmen ; the former made the organ for Greenwich hospital, and the latter that noble instrument in the church of Spital- fields, for which he had only 600i. These are all now dead. In the latter part of their lives, to prevent their underworking each other, there was a coalition between them ; so that whoever was the nominal artificer of any instrument, the profits accruing from the making of it were divided among them all. Contemporary with these men was one Morse of Bamet, an apothecary by profession, who would needs be a maker of organs. He made an organ for the church of St. Matthew Friday-street, and another for that of St. James Clerkenwell: they were both wretched instruments, and were taken down in a very few years after they were set up. One Griflin a barber in Fenchurch-street, also pretended to make organs : he dealt with a few parishes in London in a very singular way: in consideration of an annuity granted to him for his life, he built for the contracting parish an organ, and engaged to pay a person for playing it as long as the annuity should be payable : encouraged by his success in three or four instances of the kind, this man stood for Gresham professor of music against a person well skilled in the science, and, being a common- council man, and the electors also common-council men of London, he was chosen. OnAP. CXLVI AND PRACTICE 01*' MUSIC. 69S choir in the royal chapel : three organists were ap- pointed, namely. Dr. Child, Dr. Christopher Gibhons, and Mr. Edward Low. These had also other places ; for Child was organist of Windsor, Gibbons of West- minster Abbey, and Mr. Low of Christ church, Ox- ford ; and, as they attended by monthly rotation. their foreign places were rendered tenable with those at the chapel. Henry Cook was made master of the children : this person had been bred up in the king's chapel, but quitted it at the commence- ment of the rebellion, and went into the king's army. In the year 1642 he obtained a captain's commission, and ever after *as called Captain Cook. Not his loyalty alone, but that and his skill in music recom- mended him to the favour of Charles II. A hymn of his composing in four parts was performed in- stead of the litany, in the chapel of St. George at Windsor, by order of the sovereign and knights of the garter, on the seventeenth day of April, 1661. The establishment of the chapel of king Charles II. appears by the following entry in the Cheque- book : — ' The names of the Subdean, Gentlemen, and others of his ' Majesty's Chapel Royal, at the time of the Coronation of ' King Charles the Second. April 23d, being St. George's Day, 1661. Dr. Walter Jones, Subdean. William Howes Uoger Nightingale 1 Thomas Blagrave Ilalph Aniner Gregory Tliomdell Philip Tinker g Edward Bradock John Sayer ! S. Henry Purcell Dm-ant Hunt f fj James Cobb George Low 3 Nathaniel Watkins Heniy Smith John Cave William Tucker J Alphonso Marsh Edward Lowe "j Raphael Courteville William Child >■ Organists. Edward Coleman Christ. Gibbons J Thomas Purcell Heniy Cook, Master of the Chil- Henry Frost dren. John Goodgroom Henry Lawes, Clerk of the Cheque. George Betenham Thomas Piers ■) Matthew Pennell Thomas Hazzard >■ Gents. John Harding J Thomas Haynes, Serjeant of the Vestiy. j William Williams, Yeoman. ; George Whitaker, Yeoman. ! Augustine Cleveland, Groom. ' At which time every gentleman of the cliapel in orders ' had allowed to him for a gown five yards of fine scarlet ; and ' the rest of the gentlemen, being laymen, had allowed unto ' each ot them foure yards of the like scarlet.' The stock of music which they set out upon con- sisted chiefly of the anthems and services contained in Barnard's collection, and such others in manu- script as could be recovered and made perfect : these lasted about three or four years ; but the king perceiving a genius in many of the young people of the chapel, encouraged them to compose themselves ; and many of this first set, even whUe they were children of the chapel, composed anthems and ser- vices which would do honour to a mature age. These were sung to violins, cornets, and sacbuts, the performers on which were placed in the organ-loft ; and, by the king's special order, had Symphonies and Eitornellos adapted to those instruments. The salaries of the gentlemen of the chapel had been augmented both by James I. and Charles I., and in the year 1663 Charles II., by a privy-seal, farther augmented them to seventy pounds a year, and granted to Mr. Cook and his successors in ofBce thirty pounds a year, for the diet, lodging, washing, and teaching each of the children of the chapel royal. A copy of this grant is entered in the cheque-book ; in the margin thereof is a memo- randum purporting that it was obtained at the soli- citation of Mr. Cook.* The encouragement given to church music by king Charles II. had an effect upon all the choirs in the kingdom. In cathedrals that were amply en- dowed, as St. Paul's for instance, in which a main- tenance is assigned for minor canons and lay singers, the performance was little inferior to that of the royal chapel :f in other cathedrals, where the re- venues were so small as to reduce the members of the church to the necessity of taking mechanics and illiterate persons to assist in the choral service, it was proportionably inferior. But the most obvious effect of it was a variation in the church style. It * Charles the Second had some knowledge of music ; he understood the notes, and san^, to use the expression of one who had often sung with him, a plump bass; but it no where appears that he considered music in any other view than as an incentive to mirth. In a letter of his to Henry Bennet, afterwards earl of Arlington, dated from nrugcs, August 18, 1655, he says, 'Pray get me pricked down as many new ' Corrants and Sarrabands and other little dances as you can, and bring ' them with you, for 1 have got a small tidier that does not play ill on * the fiddle.' See the account of the preservation of King Charles II. after the battle of Worcester, page 150. And in another letter to the same person, dated Sept. 1, 165G, he says ' You will find by my last, that though I am furnished with one small * fidler, yet I would have another to keep him company ; and if you can ' get either he you mention, or another that plays well, I would have you 'doit.' Ibid, page 16S. His taste for music seems to have been such as disposed him to prefer a solo song to a composition in parts ; though it must be confessed that the pleasure he took in hearing Mr. Gostling sing, is a proof that he knew how to estimate a fine voice. This gentleman came from Canter- bury, and in 1678 was sworn a gentleman extraordinary, and in a few days afterwards, a vacancy then happening by the death of Mr. William Tucker above mentioned, a gentleman in ordinary of the royal chapel. He was afterwards subdean of St. Paul's, and his memory yet lives in that cathedral. Purcell made sundry compositions purposely for him, and, among others, one, of which the following is the history : — The king had given orders for building a yacht, which, as soon as it was finished, he named the Fubbs, in honour of the Duchess of Forts- mouth, who we may suppose was in her person rather full and plump. The sculptors and painters apply this epithet to children, and say for instance of the hoys of Fiammengo, that they are fubby. Soon after the vessel was launched the king made a party to sail in this yacht down the river, and round the Kentish coast ; and, to keep up the mirth and good humor of the company, Mr. Gostling was requested to be of the number. They had got as low as the North Foreland, when a violent storm arose, in which the king and the duke of York were necessitated, in order to preserve the vessel, to hand the sails, and work like common seamen ; by good providence however they escaped to land : tut the distress they were in made an impression on the mind of Mr. Gostling, which was never effaced. Struck with a just sense of the deliverance, and the horror of the scene which he had but lately viewed, upon his return to London he selected from the psalms those passages which declare the wonders and terrors of the deep, and gave them to Purcell to compose as an anthem, which he did, adapting it so peculiarly to the compass of Mr. Gostling's voice, which was a deep bass, that hardly any person but himself was then, or has since been able to sing it ; but the king did not live to hear it : this anthem, though never printed, is well known. It is taken from the 107th psalm ; the first two verses of the anthem are the 23rd and 24th of the psalm. ' They that go down to the sea in ships, ' and occupy business in great waters. These men see the works of the ' Lord, and his wonders in the deep.' King Charles II. could sing the tenor part of an easy song ; he would oftentimes sin^ with Mr. Gostling; the duke of York accompanying them on the guitar. t About this time it was very common for persons of rank to resort In the afternoon to St. Paul's to hear the service, and particularly the anthem ; and to attend a lady thither was esteemed as much an act of politeness, as it would he now to lead her into the opera. In the life of Mary Moders, the famous pretended German princess, who was executed in the year 1673, for a capital felony in stealing plate, and who had been married to many husbands, it is related that whilst Mr. Carleton, one of them, was courting her, and in the infancy of their acquaintance, he invited her to honour him with her company to St. PauVs to hear the organ, and certain excellent hymns and anthems performed by rari voices. 694 HISTORY OF THE SCIENCE. Book XV. has already been remarked, that the services and anthems contained in Barnard's collections were the stock ivhich the church set out upon at the restora- tion ; these were grown familiar after a few years' practice ; the king was in the flower of his age, and the natural gaiety of his disposition rendered him averse to the style of our hest church music; in short, he had not solidity of mind, nor skill sufficient to contemplate the majesty and dignity, nor taste enough to relish that most exquisite harmony, which distinguish the compositions of Tye, of Tallis, Bird, Farrant, Gibbons, and many others. This was soon discovered by the young people of the chapel, and gave such a direction to their studies, as terminated in the commencement of what may very truly and emphatically be called a new style of church music* Amongst those that affected to compose in the light style of church music, Mr. Pelham Humphrey ,t Mr. Blow, and Mr. Michael Wise were the chief; these were children of the chapel, educated under Captain Cook; they were all three young men of genius, and were not more distinguished for the novelty and originality of their style, than for their skill in the principles of harmony. The restoration of monarchy, and the re-establish- ment of ecclesiastical discipline, induced many devout persons to attempt a revival also of that knowledge which is necessary to the decent and orderly per- formance of parochial music or psalmody; and to that end John Playford published a new edition of his ' Introduction to the Skill of Mnsick,' originally printed during the usurpation, viz., in 1655, which was followed by a collection entitled ' Psalms and ' Hymns in solemn musick, in foure parts, on the ' common tunes to the psalms in metre used in parish ' churches. Also six hymns for one voice to the ' organ,' by the same John Playford ; printed by W. Godbid, and dedicated to Sancroft, dean of St. Paul's. Fol. 1671. In the preface to this work, which carries with it an air of seriousness that distinguishes the writings of this honest old man, the testimony of some of the fathers and the example of the primitive church are adduced in favour of the practice of psalm -singing. The author cites a passage from Oomenius, which shows that in his time the Bohemians, besides the Psalms of David, had no fewer than seven hundred hymns in use. He then gives a short history of the custom of singing psalms ; and, speaking of our old version, and the reception it met with, says it was made by men whose piety exceeded their poetry, but that, such as it was, it was ranked with the best English poesy at that time ; that the Psalms, trans- lated into English metre, and having apt tunes set to them, were at first used and sung only for devotion in private families, but that soon after by permission * The particular instances of innovation ■were solo anthems and move- ments in courant time, -which is a dancing measure, and -which the king had acquired a great fondness for while he was in France. t Of Humphrey it is said in particular that his proficienoy in music, and the presages of his becoming a great man in his profession, gave great uneasiness to his roaster. Captain Cook. In the Ashmolean Manu- script, mentioned in page 455, it is said by the author, Anthony -\Vood, of Cook that he was the best musician of his time, till Pell. Humphries came up, after which says the MS. he died in discontent. they were brought into churches ; that for many years this part of divine service was skilfully and devoutly performed with delight and comfort by many honest and religious people, and is still continued in onr churches, but not with that reverence and estimation as formerly, some not affecting the translation, others not liking the music, both which he confesses need reforming ; that those many tunes formerly used to these psalms, for excellency of form, solemn air, and suitableness to the matter of the Psalms, are not inferior to any tunes used in foreign churches, but that the best and almost all the choice tunes are lost and out of use in our churches ; the reason whereof he gives in these words : — ' In and about this great ' city, in above one hundred parishes, there is but 'few parish-clerks to be found that have either ' ear or understanding to set one of these tunes ' musically as it ought to be ; it having been a custom ' during the late wars, and since, to chuse men into ' such places more for their poverty than skill and ' ability, whereby this part of God's service hath ' been so ridiculously performed in most places, that ' it is now brought into scorn and derision by many ' people.' For these reasons he professes, through the assis- tance of Almighty God, to have undertaken the pub- lication of this work, and therein to have selected all the best and choicest tunes, to the number of forty- seven, to which, with a bass he has composed two contratenors, making four parts, all which are fitted to men's voices. Playford appears to have been no admirer of the old version of the Psalms, and therefore he has selected from a translation by Dr. Henry King, bishop of Chichester, and from another by one Mr. Miles Smith, and also from the poems of Mr. George Herbert, such psalms and hymns, as for elegance of style, smoothness of language, and suitableness to the tunes, he thinks excel those contained in the former. There are few positions in this preface of Playford but what will be readily assented to, except that which relates to the loss of the best and almost all the choice tunes anciently used in our churches ; for, though in a great measure out of use, they exist even at this day in the collections of Este, Ravensoroft, Allison, and other authors, as has been shewn. The same Playford soon after published in octavo, ' The whole Book of Psalms : with the usual Hymns 'and Spiritual Songs. Together with the ancient • and proper Tunes sung in Churches, with some 'of later use. Composed in three parts, Cantns, 'Medius, and Bassus, in a more plain and useful ' method than hath been formerly published.' In this collection the author, varying from the rule ob- served by him in the former, has given the church- tune to the cantus part, and has contrived the medius so as not to rise above the cantus, to the end that the air of the church-tune should predominate; farther he has placed the two upper parts in the G SOL RK UT cliff, an innovation which it is easier to make than defend. We meet here with a great variety of tunes now Chap. OXLVII. AND PRACTICE OF MUSIC. 695 iu common use, which are not contained in Ravens- croft, namely, St. James's, London New, St. Mary's, and others called Proper Tunes, which, for ought that appears to the contrary, we may conclude were composed by Playford himself. From the reasons deducible from the above account of his works, Playford is looked upon as the father of modern psalmody; but, notwithstanding his labours, it does not appear that the practice has much improved since his time ; one cause whereof may possibly be the use of the organ in parish churches, which within this last century has increased to so great a degree, that in most of the cities and great towns in the kingdom it is a sign of great poverty in a parish for a church to be without one. The consequence whereof is, that the conduct of this part of the service devolves to the organist : he plays the thorough-bass, or, in other words, the whole harmony of the tune, while the clerk and the congregation sing the tenor, which they remember and sing by ear only, in which kind of performance not the least skill in music is necessary.* Besides what are to be found in the collections before enumerated, there are extant many other musical compositions to the words of David's Psalms, either closely or paraphrastically rendered, which lie dis- persed in the works of the musicians who flourished about the latter end of the sixteenth, and the begin- ning of the last century ; to mention a few instances, a collection entitled Certaine Pfalmes felect out of the Pfalmes of David, and drawen into Englyftie Metre, with notes to everie Pfalme in foure partes to fynge, was published by Francis Seager, 12mo. 1653. John Keeper, of Hart Hall, Oxon. published in 1574, ' Select Psalms of David set to musicke of foure ' parts;' and in 1585 one John Cosin published the Psalms in musicke of five and six parts. In 1594 Dr. John Mundy, organist of the chapel of Windsor,! published ' Songs and Psalmes com- ' posed into 3 and 4 parts for the use and delight of all such who either love or learne musicke.' As to the songs, they are to every intent madrigals; and for the psalms, some are prose, as they stand in the old Bible translation, the rest are of the version of Sternhold and Hopkins, to the amount of about twenty in the whole. Some years after, a person, of whom nothing more than the initials of his name, R. H. is known, published a translation of an Italian paraphrase of the seven penitential psalms, written by Francesco Bembo, with the music of Giovanni Croce, Maestro di Cappella of the church of St. Mark at Venice, a celebrated composer of that time,f and whom * In country parishes, where the people have not the aid of an instru- ment to guide them, such young men and women as nature has endowed with an ear and a tolerable voice, are induced to learn to sing by book as they call It ; and in this they are generally assisted by some poor ignorant man, whom the poring over Ravenscroft and Playford has made to believe that he is as able a proficient in psalmody as either of those authors. Such men as these assume the title of singing-masters and lovers of divine music, and are the authors of those collections which are extant in the world, and are distinguished by the titles of * David's •Harp new strung and tuned,' 'The Harmony of Sion,' 'The Psalm- ' singer's Companion,' and others of the like kind, to an incredible aumber. t Mentioned page 571 of this work. t See an account of him in page 442. Morley mentions as such in his Introduction. The title of the book is ' Musica Sacra to six voyces, ' composed in the Italian tongue by Giovanni Croce, ' new Englished,' printed by Este in 1608. The motives of the publication of this book, which are said to be the excellence of the songs, and the pro- motion of piety, are given at large in the dedication of the work ' to the vertuous lovers of musicke.' These compositions are in a style greatly superior to those contained in the former collections, which, as they were intended solely for popular use, were, as has been mentioned, of that species of musical composition distinguished by the name of Counter- point : On the contrary, these of Mundy and Cosin, and more eminently those of Byrd are descant, and that of a very artificial contexture. The paraphrase of the Psalms by George Sandys was, and that very deservedly, in great estimation about the beginning of the last century ; and this induced the two brothers, Henry and William Lawes, the great musicians of that day, to set many of them to music. Sandys's Psalms are also set to music for two voices, with a thorough-bass, by Mr. Walter Porter. A paraphrase of some select psalms by Sir John Denham, Mr. Addison, and others, was set to music for a single voice with instrumental parts, by Mr. Andrew Roner, a teacher of music in London, and published about the year 1730. CHAP. CXLVIL The practice of music had suffered no less than the profession of it during the usurpation. King Charles I. soon after his accession, had shewn a dis- position to encourage the liberal arts, and particularly music, as appears by his charter granted to Nicholas Laniere and others, herein before inserted. § He had also in the eleventh year of his reign granted a charter to divers persons, the most eminent mu- sicians, incorporating them by the style of Marshall, Wardens, and Cominalty of the Arte and Science of Musick in Westminster, in the County of Middle- sex, and invested them with sundry extraordinary powers and privileges, which charter was by the same king confirmed in the fourteenth year of hi.s reign. This charter had lain dormant from the time of granting it to the restoration, that is to say, above twenty-five years, but immediately after that event, the persons named in it, or such of them as were then living, determined to rescue music from the disgrace into which it had fallen, and exert their authority for the improvement of the science and the interest of its professors. The history of this company lies in a short compass ; the minutes of their transactions are extant among the Harleian manuscripts, in a book formerly Mr. Wanley's, numbered in the catalogue 1911. As there is no entry in this book of the charter, recourse has been had to the patent-roll, in the chapel of the Rolls : the purport whereof is as follows : — § Page 574 of this work. 2z 696 HISTORY OF THE SCIENCE Book XV. The charter bears date 15 Jul. 11 Oar. and recites that king Edw. ' IV. by his letters patent under the * greate scale of his realme of England, bearing date * the foure and twentieth day of Aprill, in the nynth * yeare of his raigne, did for him and his heires give * and graunt licence unto Walter Haliday * Marshall * Sic Grig. The Christian name of Marshall is Robert, as appears by the ctiarter itself, which as a singular curiosity is here inserted from Kymer'8 Fcedera, torn. XI. ' Pro Fraterniiate Ministrallorvm Regis. * Rex OmnibuB, ad quos &c. Salutem. ' Sciatia qu6d, ex ftuerelosa Insinuatione, Dilectorura Nobis, Walteri ' Haliday Marescalli, Johavnis Cliff, Roherti Marshall, Thomce Grene, ' Thomce Calthorn, Willielmi Cliff, Willielmi Christean, Et WiUieliai ' Eyneysham, Ministrallorura nostrorum ancepimuB qualiter nonnulli, * I'udes Agricolae et Artifices diversarum Misterarum Regni nostri Angliee, 'dinxerunt se fore Ministrallos, ' Quorum aliqui Liberatam nostram, eia minimfe datam, portarent, ' Seipsos etiam fingentes esse Ministrallos nostros proprios, ' Cujus quidem Liberatae ac dictae Artis sive Occupatioais Ministral- 'lorum colore, in diversis Partibus Regni Nostri prsdicti, grandes ' Pecuniarum Exactiones de Ligeis nostris deceptive coUigunt et le- * cipiunt, ' £t licet Tpsi in Arte sive Occupatione ilia minimi Intelligentes sive ' Experti existant, et diversis Artibus et Operationibus Diebus Fej-jalibus ' sive Profestis utuntur, et Victum suum inde suflficienter Percipiant, de ' Loco tamen ad Locum in Diebus Ft-stivalibus discurrunt, et Proficua ' ilia totaliter perciplunt, e quibus Ministralli nostri preedicti, et CEeteri * Ministralli nostri pro tempore existentes, in Arte sive Occupatione ' prsedicta sufficienter Eruditi et Instruct!, nuUisque aliis Laboribus, ' Occupatipnibus, sive Misteyis utentes, vivere deberent, ' Nedim in Artis sive Occupationis illius nimiam Verecundiam, ac 'ipsorum Ministrallorura nostrorum, eadem Arte sive Occupatione ut * praediotum est utentium, Deteriorationem muUiplicera et manifestam, * verilm etiara in Populi nostri in hujusmodi Agricultura sua et aliter 'Dampnum ut accepimus non modicum et GraTamen, ' Unde iidem Ministralli nostri Nobis huoailim^ supplic&runt ut Nos * els de Remedio congruo in hac parte ex Gratia nostra speciali providere * dignaremur, * Nos, PrEemissa considerantes ac Supplication! suae rationabili in ea 'parte favorabUiter inclinati, de Gratia nostra praedicta, ac ex certa ' Scientia et mero Motu nostris, Concessimus et Licentiam dedimus, ac * per Praesentes Concedimus et Licentiam damns, pro Nobis, et Haeredibus * nostris, quantum in Nobis est, prsefatis, Waltero iTaZiefo^ Marescallo, Jo- * hanni Cliff Roberto Marshalle, Thoma Grene, Thomce Calthorn, Wi}lielmo * Christean, £t Williehno Eneysham, Ministrallis nostris quod Ipsi, ad ' Laudem et Honorem Dei, et ut specialiilLS exorare teneantur pro salubn < Statu nostro et Fraecarissimae ConGortis nostra ElizabetheB Regince ' Angliae diim agimus in humanis, et pro Animabus nostris cilm ab hac 'luce migraverimus, necnon pro Anima Carissimi Domini et Patris * nostri Richardi nuper Ducis Eborum, et Animabus inclitorum Pro- ' genitorum nostrorum, et omnium Fidelium Defunetorum, tim in ' Capella beatae Marlae Virginia infra Ecclesiam Cathedralem Sancti *'Pauii Loiidoniae, qu4m in Libera Capella nostra Regia Sancti Anthonii 'in eadem Civitajte nostra Londoniae, quandam Fhaternitatev sive * GiLDAH perpetu9,m (quam, ut accepimus, Fratres et Sorores Fraterni- 'tatis MinistralloTum Regni nostri praedictl, retroactis temporibuB, ' Inierunt, Erexerunt, et Ordinarunt) Stabilire, Continuare, et Augmen- 'tare, ac quasciimque Personas, tarn Homines, qu4m Mulieres, eis * grato animo Adhaerentes, in Fratries et Sorores Fraternitatis ' sive Gii/DM prmdictes Recipere, Admittere, et Acceptare possent et ' valeant, * Et qu6d Marescallus et Ministralli nostri praedicti per Se sint et esse ' d^beant. Jure et Nomine Uwum Corpus et Una Communitas per- * PETUA, ac Habiles et Gapaces in Lege, Habeantque Successionem * per^fetuam, ' Et quod Xhm Ministralli prsdicti, qui nunc sunt, qu3.m c^teri ' Ministralli nostri et Haeredum nostrorum qui exnunc erunt imper- 'petuum, ad eorum libitum Nominare poasint, Eligere, Ordinare, et * successive Constituere de Seipsis Unum Marebcalluh habilem et * idoiieum, pro Termino Vitae suae in Officio illo permansurum, ac etiam ' quolibet Anno Duos Custodbs ad Fraternitatem sive Gildam pradictam * Regendvm et Gubernandum. ' Etj uUeriuB, Volumus et per Praesentes Concedimut, proSupportatione 'et Augmentatione Fraternitatis sive Gildce pnedicta, qu6d nullus ' Ministrallus Regni nostri praedicti, quamvis in hujusmodi Arte sive Occupatione sufficienter Eruditus existat, eadem Arte sive Occupatione ' infra Regnum nostrum praedictum de caetero, nisi de Fraterniiate sive ' Gilda prtBdicta sit et ad eandem Admissus fuerit et cum caeteris Con- ' fratribuB ejuBdem contrihuerit, aliquo modo utatur, nee earn palam sen * public^ excerceat (ita tamen qu6d nullus presdietorum Ministrallorum, ' sic ut praedicitur admittendorum, solvat pro hujusmodi Jngressu sive ' Admissione ultra Tres Solidos et Qmtuor Denarios) et, si secus fecerit, ' seu quoquo modo contravenerit, per praefatos Marescallura et Mini- 'strallos nostros et Haeredum nostrorum praedictorum, pro tempore * existentes, juxta eorum Discretiones Amerciatur, ' Et qu&d praedicti Manscallus et Ministralli nostri, ac Oustodes et ' Successores sui CongregaUones et Communicationes licitas et honestas de ' Seipsis, ac Staiuta et Ordinationes liciia pro salubri Gubernatione et 'Commode Fraternitatis sive Gildee preedicttB, quotiens et quando opus ' fuerit, licitfe et impunfe Incipere, Facere, et Ordinare valeant, * Et, si aliquis hujusmodi Ministrallorum nostrorum vel Haeredum ' nostrorum praedictorum Decesserit vel Obierit, seu ob Demerita vel * Offensas sua, aut ali^ Causft quaciimque, a Servitio nostro praedicto * Exoneratus, Amotus, sive Depositus fuerit, adtunc Ma/reseallus et * and John Cliff, end others, then minstrellsf of tlie ' said king, that they by themselves should be in ' deed and name one body and cominalty, perpetual ' and capable in the lawe, and should have perpetual * succession ; and that as well the minstrells of the 'Cisteri Ministralli nostri, et Haeredum nostrorum pro tempore exis- ' tentes, alium Ministrallorum idoneum et in Arte sive Occupatione ilia ' Expertiun sufflcienter et Eruditum, ubiciimque loco infra Regnum ' nostrum praedictum tiim infra Libertate? qu6m extra eun^ inveniri ' contigeri!; .{Comitatu Cestria Excepto) Vice et Loco hujusmodi sic ' Descendentis Exonerati, AniQti, sive Depositi, ex parte nostra Eligere, ' Nominare, et in unum Ministrallorum nostrorum et Hapredum nos- * trorum penes Nos Retinendum Habilitare, ac ad Vadia nostra, nostro ' Regio Assensu superinde habito, Admittere et Acceptare possint et * valeant, * Et, insuper, Volumua et per Praesentes Concedimus prsefatis Mare- ' scallo et Ministrallis nostris, qu6d Ipsi et Successores sui de caetero * Fotestatem habeant et Facultatem Ipquirendi, omnibus viis modia et 'mediis rationabi libus et legitimis quibus meliiis sciverint, per totum 'Regnum nostrum praedictum, t^m infra Libertates qyajn pxtr^, (dicto 'Comibatu Cestriae Excepto) de omnibus et singulis hujusmodi Personis ' fingentibus se fore Ministrallos, et dictara Liberatam nostram surreptiv6 'portantibus, ac Arte sive Occupatione ill^, ut praedictum est, indebit^ ' et minus justS utentibus, seu eandem exercentibus^ aut de Fraternitaie * sive Gilda prcedicta non exisrentibus, et de omnibus aliis Articulis et ' Circumstantiis Praemissa qualiterciimque concernentibus, ' Ac ad omnes et singulas hujusmodi Personas, praedictam Artem et ' Occupationem Ministrallorum Excercentes, de tempore in tempus, ' quotiens necesse fuerit, tam infra Libertates quin^ extra (dicto Comitatu ' Cestriae ut praemittitur Excepto) Supervidendum, Scrutandum, Re- ' gendum. et Gubernandum, et earum quamlibet, ob Offensas et Defectus ' suos in Prsemissis factos, just^ et debit^ Corrigendum et Puniendum, 'Ac quaeciimque Amerciamenta, Fines, Forisfacturas, et Deperdita '(si quae praetextu hujusmodi Inquisitionis Supervisfls seu Scrutinii, ' ratione Praeniissorum, super quasc6mque Personas, se ut praefertur ' Ministrallos fingentes, seu aliter Delinquentes, debits et probabilitei 'invener^nt Adjudieata, Assessa, sive Afferata) ad Uaum et Proficuum * Fraternitatis prcedictee, pro continuaet perpetua Sustentatione certarum * Candelarum cerearum, vulgariter uuncupatarum Tapers, ad Sumptus 'ejusdem Fraternitatis in Capellis praedictis ad praesens existentium de 'caetero existere contingentium, Levandum, Applicandum, et Dis- ' ponendum, ' Habenda et Occupanda, Excercenda et Gaudenda, omnia et singula 'praedicta Inquisition em, Scrutiniura, Supervisum, Regimen, Guber- ' nationem, Correctionera, Pujiitionem, ac caetera Friemissa modis et ' formis supradictis, prsfatis Waltero, Johanni, Roberto, Thomee Grene, ' ThomtB Calthorn, Willielmo Cliff, WilUelmo Crigtean, et Williekno * Eynesham, Ministrallis nostris, et Successoribus suis Ministrallis 'nostris et Hae'redum nostrorum praedictorum imperpetuilim, sine ' Occasione, Impedimento, I^npetitione, Molestatione, Ferturbatione, * seu Calumnia Nostri, vel Haeredu,m nostrorum, Justiciariorum, Es- 'caetorum, Vicecomitum, aut alio>rum Ballivorum seu Ministronim ' nostrorum, vel Haeredum nostrorum et aliorum quorumcdmque, ' Et hoc absque Fine vel Feodo Magno seu Parvo, in Hanaperio ' Cancellariae no^trse seu alibi, ad usum nostrum seu Nomine nostro, 'pro Fraemassis faciendis aut solvendis, ' Eo qu6d expressa mentio de vero Valore seu Certitudine Frx- 'missorum, sjve eorum alicujus, in Fraesentibus m^nim^ facta existit, ' aut aliquo Statuto, Actu, sive Ordinatione in contfarium factis, editisi ' seu provisis, non obstantibus. * In cujus &c. ' Teste Re^e apud Wesimonasterium VicCBimo quarto die Aprilis. ' Per Breive de Privato SigiUo et de Data, §*c.' The above Walter Haliday, Rope.rt Marshall, and John Cliff, together •with one William Wykes, had it seems been minstrels of the king's pre- decessor Hjen. VI. and were iropowerpd by him to impress minstrels 'in solatium regis,' as the wri^t expresses it. This singular precept appears in Rymer's Foedera, torn. XI. page 375, and is in th-ifl form :— ' De Ministrallis propter Solatium RegM providep^is. '"RfiX, dilectis sibi, WfiUero Maf^df^f, Roberto Marshall^ Willielmo * Wykes, et Johanni Clyffe, Salutem. ' ' Sciatis qn6d Nos, considerantes qualiter quidem Ministralli nostri ' jam tard^ Viam universae Carnis sunt ingressi, aliisque, loco ipsorum, 'propter Solatiqm nostrum de necesse indigentes, Aifignavimus vos, 'conjunctim et divisim, ad quosdam Fu^os, Membris Naturalibus ' Elegantes, in Arte Ministreltat^s ins.tructos, ublcilnque inveniri po- 'terint, t^m infra Libertates, quim extra, Capiendum, et in Servitio 'nostro ad Vadia nostra Ponendum» &c.' It is highly probable that the placards for impressing children for the service of the choir, mentioned by Tusker, and under which he himself was taken from his father's house, [See page 537,] were founded on the authority of this precedent, + It appeals by this charter, as also by the list of the howfehold establishment of Edw. IV. seepage 271, that in the reign of that prince Circa 1461, Minstrel was the common appellation of one that played on any musical insPrujnent; and we find that such persons continued to be so denominated down to the time of the latest English translation of the Bible. In the 2nd book of Kings, Chapter III. verse 15, it is related that the prophet Elisha upon a certain occasion called for a minstrel to coinpose his mind and fit it for divine in^iration. And 9 Matt. 22 we read that when Jesus came into the ruler's house in order to raise his daughter then dead, and about to be carried to her funeral, he saw the Minstrels. Men of this profession have been for many years past, and now are called Musicians, a term which, as Boeiius has clearly shewn^ belongs to the higher order of speculatists in the science. Chap. CXLVll. AND PRACTICE OF MUSIC. 697 • said king, which then were, as other minstrells of 'the said king, and his heires which should he ' afterwards, might at their pleasure name, chuse, ' ordeine, and successively constitute from amongst ' themsehres, one Marshall, ahle and fitt to remaine ' in that office during his life, and alsoe twoe warden^ ' every yeare, to governe the said fraternity and guild.' It also recites that ' certeine persons, suggesting ' themselves to be freemen of a pretended society ' of minstrells in the cittie of London, in prejudice ' of the liberties and priviledges aforesaid in the said ' recited letters patents mencioned and intended to ' the minstrells and musicians of the said king and ' his heires, did by untrue suggestions procure of ' and from king James of ever blessed memory, ' letters patent under his greate scale of England, ' bearing date the eight day of July, in the second ' yeare of his raigne, to incorporate them by the ' name of master, wardens, and cominalty of the arte ' or science of the musicians of London. And, ' amongst divers other priviledges, to graunt unto ' them the survey, scrutiny, correction, and govern- ' ment of all and singular the musicians and minstrells ' within the said cittie of London, suburbs, liberties ' and precincts of the said cittie, or within three 'miles of- the same cittie. By colour whereof they ' endeavoured to exclude the musicians and minstrells ' enterteyned into the king's service, and all others • expert and learned in the said art and science of ' musick, from teaching and practising the same ' within the said cittie, and three miles thereof, ' that would not subject themselves unto theire said ' pretended fraternity, or purchase their appro - ' bation thereunto, although greate part of them ' were altogether unskilfull in the said art and science ' of musick.' It farther recites that 'at the prosecution of ' Nicholas Lanier, Thomas Ford, Jerome Lanier, 'Clement Lanier, Andrewe Lanier, Thomas Day, ' John Cogsball, Anthony Eoberts, Daniell Farrant, ' John Lanier, Alfonso Ferabosco, Henry Perabosco, ' Edward Wormall, and John Drewe, musicians en- ' terteyned in the king's service, a Scire Facias had 'bin brought in the king's name against the said ' pretended master, wardens, and cominalty of the ' art or science of the musicians of London, in the 'high' court of chauncery, for the cancelling and ' making voide of the said letters patent ; and that 'judgement at theire said prosecution had been had ■ and given by the said court accordingly, and the • said letters patent vacated and cancelled thereupon.' The king, therefore, ' for and in copsideration of ' the good an.d faithfuU servic0 which his said mu- ' sicians }iad done and performed unto him, and in ' pursuance of the intent and ijietoinge of the said ' king Edward the Fourth, in his said recited letters ' patent mentioned, of his speciall grace, certeine ' knowledge, and meere motion, doth for him, his ' heires, and successors, will, ordeine, constitute, ' declare, and graunt that the said Nicholas Lanier, 'Thqmas Ford, Jerome Lanier, Clement Lanier, 'Andrews Lanier, Thomas Day, John Oogshall, 'Anthony Roberts, Daniel Farrant, John Lanier, ' Alfonso Ferabosco, Henry Perabosco. Edward 'Wormall, John Drewe, John Stephens, Thomas ' Tompkins, Ezechiell Wade, Roger Nightingall, ' Walter Porter, John Frost senior, John Frost 'junior, Ralph Amner, Henry Lawes, John Tom- ' kins, William Lanier, Jeronimo Bassano, Robert ' Baker, Anthony Bassano, William Gregory, Robert ' Parker, John Mason, Christopher Bell, John ' Adson, Frauncis Farmelowe, Thomas Mell, Moun- ' sieur Gaultier,* Nicholas Du Vail, John Kelly, ' Giles Tomkins, Robert Taylor, William Lawes, 'John Wilson, Phillip Squire, Morrice Webster, 'Stephen Noe, John Woodington, Davis Mell.f ' Thomas Lupo, Daniell Johnson, and Theophilua 'Lupo, his said musicians, and all such persons as 'are, or shall be the musicians of him, his heires, ' and successors, shall from thenceforth for ever, by ' force and vertue of the said graunt, be a hody cor- ' porate and politique, in deed, fact, and name, hy ' the name of Marshall, Wardens, and Cominalty of ' the arte and science of musick, in Westminster in ' the county of Middlesex, and by the same name ' have perpetual succession, and be capable in the ' law to impleade and be impleaded : And that they ' have a common scale.' The charter goes on to appoint Nicholas Lanier the first marshal for life, Thomas Ford and Jerome Lanier first wardens until Midsummer day next ensuing the date of the patent, and Clement Lanier, Andrew Lanier, Thomas Day, John Cogshall, Anthony Roberts, Daniel Parant, John Lanier, Alfonso Ferabosco, Henry Ferabosco, Edv/ard Wormall, and John Drewe to be the first assis- tants, and continue in the same office for their natural lives, with power to elect a marshal, warden, and assistants in future. The other powers granted hy this charter are, that the corporation shall meet in or near the city of Westmiiister from time to time. That they make bye-laws and impose fines on such as transgress them, which fines they shall have to their own use, after which is a clause in these words : — ' And for the hetter government and ordering of ' all such person or persons as doe or shall at any ' time hereafter, professe and exercise the said art ' and science of miisique within our said realme of ' England, our county palatine of Chester only ex- ' cepted,'! Wee doe herehy, for us, our heires, and ' successors, further will, give, and graunt unto the ' said marshall, wardens, and cominalty of the said ' art and science of musique in Westmister, in the ' county of Middlesex, and theire successors, that the • said marshall, wardens, and assistants, and theire ' successors, or the greater part of them, for the tyme ' being, for ever hereafter, shall have the survey,. ' scrutinie, correction, and government of all and. ' singuler the musicians within our said kingdome of " Jacques (}ovteb, a Frenohi^p^, and a celebrated lutenist. There is extant a very fine etching of him, of which see an account in Granger's Biogr. Hist. vol. I. page 538. The author of that work is mistaken in saying that he is represented holding two lutes in his left hand, for the instrument he;holds is a theorbo, which has two necks, and is therefore termed Cithara bijuga. t The famous violinist mentioned page 681. t For the reason of this txception see page 191, et seq. 698 HISTORY OF THE SCIENCE Book XV. ' England, the said county palatine of Chester onely ' excepted. And wee doe for us, our heires, and suc- ' ceasors, give and graunt unto the said marshall, ■ wardens, and cominalty of the art and science of 'musique, in Westminster in the county of Mid- ' dlesex, and their successors, that it shall and may ' be lawfull to and for the said marshall, wardens, ' and cominalty, and every person and persons that ' shall be at any tyme hereafter admitted to be a ' member of theire said fraternity and corporation, or ' shall be, uppon due examination and tryall had of ' theire sufficiency and skill in the said art or science, ' allowed thereunto hy the said marshall, wardens, ' and assistants, or the greater part of them, to use, ' exercise, and practise the said arte and science of ' musique in and within the cittie of London, and •suburbs and liberties thereof, or elsewhere soever ' within our said kingdome of England, our said ' county palatine of Chester onely excepted, any act, ' ordinance, or constitution of common council of the ' said citty of London, or any other matter or thing ' whatsoever to the contrary thereof in any wise not- ' withstanding.' In pursuance of the powers above granted, the corporation hired a room in the house of one Mr. Ganley, situated in Durham-yard, in the Strand, and within the city and liberty of Westminster. Their first meeting was on the twenty-second day of Oc- tober, 1661, Nicholas Laniere then being marshal, from which day they proceeded to make orders, of which the following are the most remarkable : — ' 1662. Jan. 20. Ordered that Edward Sadler, for ' his insufficiency in the art of musique, be from ' henceforward silenced and disabled from the exer- ' cise of any kinde in publique houses or meetings.' Some orders signed ' Hen. Cooke, Dep. Marshall.' ' Feb. 3. Richard Graham, appointed their soli- ' citor at law.' 19. It appears they licensed teachers of music. ' 1663. Nov. 24. Symon Hopper resigns his ' office of assistant, John Banister elected in his ' room. ' Jan. 13. Ordered that Matthew Lock, Christopher ' Gihbons, Dr. Cha. Colman, and William Gregory, ' do come to the chamber at Durham-yard on Tuesday 'next, at two of the clock in the afternoon, and ' bring each of them ten pounds, or show cause to the ' contrary. ' March 1. Ordered that there be a petition pre- 'sented to the king's majestie for the renewing of ' their former patent. '1664. May 13. Ordered that Henry Cooke, 'George Hudson, John Hingston, and John Lilly ' do meete fower of the musique of the cittie of ' London, to treat upon such matters and things as • concern the good of the said corporation. ' June 14. Proceedings at law ordered against all ' such persons that make any benefit or advantage of ' musique in England and Wales, and that do not ' obey the grant under the great seale to the cor- ' poration. ' June 21. Ordered that John Hill, Francis ' Dudeny, John Dunstan, James Saunders, and 'others, now waites of the cittie of Westminster, do ' appear before this corporation at Mr. Ganley his ' house in Durham-yard, in the county of Middlesex, ' on Tuesday next at 10 of the clock in the morning, ' as they tender obedience to his majesties letters ' patent in that behalf graunted. ' July 2. Ordered that Richard Hudson, the clerk ' of the corporation, doe summon all the common ' minstrells from tyme to tyme to come before the ' corporation. ' July 9. Thomas Purcell chosen an assistant in ' the room of Dr. Charles Colman, deceased. ' Same day. Ordered that all his majesties mu- ' sique do give their attendance at the chamber at ' Durham-yard for practise of musique, when the ' master of the musique shall appoint them, upon for- ' feiture of 51. each neglect. ' 1670. Jan. 21. Pelham Humphrey chosen an ' assistant. 1670. From Monday, August 22, to Thursday, August 26. Whereas Sis Sacred Mmesty hath been pleased, after the example of his Moyal An- cestors, to incorporate the Musttians of England for its encouragement of that excellent science, and the said corporation to have power over all that pro- fess the same, and to allow and make free all such as they shall think ft: This is to give notice to all persons concerned in Musique that the Corporation sits the Saturday in every week at their Hall in Durham-yard in the Strand, in pursuance of the trust and authority to them, committed hy His Most GraxAous Majesty, and that they have granted ■ several deputations into several counties to execute the same.. — London Gazette, No. 498, page 173. ' 1672. June. 24. Henry Cooke, Esq. being mar- ' shall of the corporation of musique in Westminster, ' in the county of Middlesex, resigns by reason of • sicknesse, and Thomas Purcell appointed in his ' room. Signed, John Hingeston, deputy marshal, ' and by the wardens and assistants. ' July 18. John Blow chosen assistant. ' 1675. Dec. 17. Mr. Nicholas Staggins chosen an assistant, and admitted deputy marshal.' The meetings of the corporation after this time appear hy the entries in. their minute-book to have heen very few; the last was at the Three Tuns tavern, on the second day of July, 1679, when John Moss was chosen an assistant in the room of John Lilly. It seems that they. were incapable, otherwise than by their own particular studies, of effecting any thing for the improvement of the science, and that they held it the wisest course to leave the matter as they found it. By a note of Mr.W^anley on this manuscript in the Harleian Catalogue, it appears that at the time of making it the corporation was extinct* * There can l)e np doubt that this corporation is extinct, and there is ^ood ground to suppose that the London company of musicians are in a condition but little better; their charter appearing to have been obtained by untrue suggestions, and to have been vacated by a judgment of the court of chancery. The law it is true recognizes as corporations those fraternities that subsist by prescription, but it requires as a con- dition to this title that their exercise of corporate functions shall have been from time immemorial ; but as to that of London, its origin may be traced to the time of Ja. 1. which in a legal sense is within time ot memory. A very remarkable particular occurs in Strype's Continuation of Stowe * Chap. CXLVIII. AND PRAOTICE OF MUSIC. 699 BOOK XVI. CHAP. CXLVIII. Meetings of such as 4eligMed in the practice of music began now to multiply, and that at Oxford, which had subsisted at a time when it was almost the only entertainment of the kind in the kingdom, flourished at this time more than ever. In that general joy, which the restoration of public tran- quility had produced, an association was formed of many of the principal members of the university, heads of houses, fellows, and others, in order to promote the study and practice of vocal and instru- mental harmony in the university. The occasion and circumstances of this laudable design can only now be made appear by a list of the contributors to it, now extant in the music-school, and also by a written table, exhibiting an account of the expen- diture of divers sums of money, which had been given to promote it, these are as follow : — I. The list of those noble and worthy benefactors who have contributed to the refurnishing the publique Musick Schoole in this university with a new organ, harpsecon, all sortes of the best authors in manuscript for vocall and instrumental! music, and other necessaryes to carry on the practicall music in that place. All the old instruments and bookes left by the founder, being either lost, broken, or imbeasled in the time of rebellion and usurpation. This collection began in the yeare 1665. and was carryed on in part of the two following yeares, and then ceased by reason of the first Dutch warr, but now compleated in this yeare 1675. Noblemen in 1665. Ld. Annesley gave - £5 Sr. Seomour Shirley - 5 Mr. Crew now Bp. - - 3 Drs. in 1665. Dr. Blandford, vice chanc. 3 Dr. Fell, Deane Chr. Ch. 4 Dr. Merredeth, All. S, - 3 Dr. Woodward, N. Coll. 3 Dr. Dolbin, now Bp. - - 2 Dr. Dickenson - - 2 Dr. Pierce, Pre. Mag. - 2 Dr. Barlow, now Bp. - 2 Dr. Gardner, Chr. Ch. Dr. AUestrey, Chr. Ch. Dr. Mayne - Dr. Mew, Bp. - Dr. Yates, Prin. Bra«. Dr. Jenkins, Princ. Jes. Masters in 1665. Mr. Houghton, Braz. Mr. E. Hill, Chr. Ch. Mr. E. South, Chr. Ch. Mr. H. Bagshaw, Chr. Ch, Mr. Martin, Chr. Ch. Mr. Coward, Cp. Christi £2 - 2 Survey of London ; that author, under the head of Temporal Government, exhibits the arms of the several companies of London, with a short history of them severally, beginning with the day and year of their in- corporation. In the instance of the Musicians, book V. chap. xxv. he gives the arms of that company, but says not a word of the corporation itself. This omission he endeavours to supply in the second appendix to his work, page 16, by a letter from Mr. Mauduit, Windsor herald, contaming an account of some incorporations not expressed in the Survey. In this letter Mr. Mauduit, speaking of the company of Musicians, says ' that the time of their incorporation was refused by the ' clerk of the company to be given,' He however supposes that they were incorporated by James I. by the name of Master, Wardens, and Commonalty. Of their arms he says that they were granted them by patent by William Camden Clarencieux, An. 1614. The reason for this refusal may be collected from the recitals in the preamble to the above patent, but it is not so easy to account for the exercise of those powers which the London company of musicians even at this day claim, particularly that by which they exclude from per- formances within the city such musicians as are not fiee of their com- pany. A remarkable Instance of this kind happened in the year 1737. One Povey, a whimsical man, and known to the world by his having been the original projector of the Fenny-post office, engaged a number of musicians, some from the opera, to play at a weekly concert, for which he obtained subscriptions, to be held in a great room in an old house in a court in St. Martin s le Grand. The first night of performance was the Saturday after the interment of queen Caroline ; the bills and advertise- ments announced that an oration would be delivered, deploring the death of that princess, but in the midst of the performance such of the musicians as were known to be foreigners were arrested at the suit of the company of musicians of London ; a proceeding, which had it been contested, could scarcely have been warranted, seeing that St. Martin's ]e Grand is not part of the city of London, but a liberty of Westminster. Mr. Steny, Merton - -£1 Mr. T. Spratt, Wad. £1 Mr. Denton, Queens 10s. Noblemen in 1675. Mr. Pairy, Cor. Christi -£l Sr. J. Parsons, Chr. Ch. - 2 Mr. J. Price, St. Johns lOs. Sr. J. Chichester, Exeter V, Mr. J. Price, New Coll. -£1 Sr. C. Yelverton - - 8 Mr. T. Tomkins, All. S. 1 Sr. T. Isham - - - 3 Mr. J. Tomkins, Bal. - 1 Drs. in 1675. Mr. Button, Braz. - 1 Dr. Bathurst, Vice chanc. 3 Mr. Lowe, New Coll - 1 Dr. Lockey, Chr. Ch. - 2 Mr. Thomas, New Coll. 10s. Dr. Wallis - - 1 Mr. Hawkins, Bal. - -£l Dr. Smith - - . 2 Mr. Fairfax, Mag. - - 1 Masters in 1675. Strangers in 1665. Mr. Bernard, St. Johns - 1 Bp. H. King - - - 5 Mr. Thornton, Wad. 1 Dr. Franklin - 1 Mr. Old, Chr. Ch. - - Mr. Hannes - 1 Mr. Aldrich, Chr. Ch. Mr. Tinker - - IDs. Strangers in 1675. Mr. Sayer - - - 10s. Mr. C. Harris - - - 2 Mr. Hodges 10s. G. Lowe, Esq. - 2 Mr. Stratford, Trin. - -£l J. Lowen - - £1. 10s. n. The account of instruments, books, and other necessaries bought for the use of the music school, with money contributed for that use from those noble and worthy benefactors nominated on the other side, as also what instruments, books, &c., have been given by others. 1 upright organ with 4 stopps, made by Ralph Dallans, for which he received 481. (abating 101. for the materials of the old organ) and for painting and gilding to Mr. Taylor painter in Oxford 31. 10s. in all - 51 10 i) Sets of cboix^ books for instrumental music, ii. whereof are the composition of Mr. John Jenkins, for 2. 3. 4. 5 and 6 parts for the , organ and harpsecon, and 6 sets more com- posed by Mr. Lawes, Coprario, Mr. Brewer, and Orlando Gibbons, all bought of Mr. Wood, which cost - - - - 22 2 violins with their bowes and cases, bought of Mr. Comer in the Strand ; cost 121. 10s. and are at 2nd hand, • • • • which was Mr. Bull's of All Soulds cost 21. lOs. In all 15 1 set of books, the composition of Mr. Baltzar (commonly called the Swede) for violins, viol, and harpsicon ; as also the com- positions of Dr. Christopher Gibbons, his famous Ayres and Galliards for violins, viol, and organ, both sets together cost - - 5 7 desks to lay the books on for the instru- ments and organ, bought of John Wild at 2s. apiece - - - - -0 14 To Mr. Taylor the painter for the long picture in the music schoole of our Saviour and the woman of Samaria - - - 3 C By charge in procuring the several pictures of those great masters in the facultie of music, carriage of them hither, frames to some of them, boarding all of them behinde to secure them from the dampe wall, &c. - - 10 The several disbursements then in the year 1667 was and deducting what was allowed for the materials of the old organ, there rests ----- Jol 4 o Mr. Henry Lawes, Gent, of his majesty's chappell royal and of his private music, gave to this school a rare Theorbo for singing to, valued at • • • with the earl of Bridge- water's crest in brass just under the finger- board, with its case, as also a set of * * • / 700 HISTORY OF THE SCIENCE Book XVI. Dr. Will. Child, Gent, of Ms majesty's chappell royal, and organist of the free chapp. at Windsor, gave his own picture from * * * ' * talFaty curtain » • • • the whole charge amounting to - - - 6 9 6 The paper containitig the above accounts being I pasted on a wainscot board, has been so much injured by the damp, that no more of the writing is legible. This at Oxford was the first subscription concert of which any account is to be met with : indeed it seems to have been the only association of the sort in the kingdom; the reason of this might be, that the pretenders to the love of music were not then bo numerous as they have been of late years. A concert was formerly A serious entertainment, at which such only as had a real and genuine affection for music assembled, for the purpose of enjoying the pleasures of harmony, and contemplating the effects of it in a silent approbation : such as had no ear for music, and these are by far the majority of the human species, were then ingenuous enough to confess it, and that a concert was an entertainment that afforded them no kind of pleasure ; and we may accordingly suppose that concerts were the entertainment of such select companies only, and that at the houses of persons of distinction, the avowed patrons of the science of harmony, and its professors. The first assembly of the kind deserving the name of a concert in London, was established under cir- cumstances that tended rather to degrade than re- commend such an entertainment, as being set on foot by a person of the lowest class among men in this country, in a suburb of the town, difficult of access, unfit for the resort of persons of fashion, and in a room that afforded them scarce decent accommo- dations when they had escaped the dangers of getting at it. In short, it was in the dwelling of one Thomas Britton, a man whose livelihood was selling about the streets small coal, which he carried in a sack on his back, that a periodical performance of music in parts was first exhibited, and that gratis too, to the inhabitants of this metropolis. The house of this man was situate in Aylesbury-street, leading from Clerkenwell-green to St. John's-street ; the room of performance was over his small -coal shop, and, strange to tell, from the year 1678, when he first began to entertain the public, to the time of his death in 1714, Tom Britton's concert was the weekly resort of the old, the young, the gay and the fair of all ranks, including the highest order of nobility. The history of this extraordinary person will find a place in a subsequent part of this work, where an account will be given of sundry persons eminent in music, from whose assistance his concert derived its reputation; that it is here mentioned will scarce need any other apology, than that the order of nar- ration seemed to require it. For the common and ordinary sort of people there were entertainments suited to their notions of music ; these consisted of concerts in the unison, if they may be so called, of fiddles, of hautboys, trumpets, &c. ; these were performed in booths an, fairs held in and about London, but more frequently in certain places called ttiudc-houses, of which there many in the time of Charles IL* The first of this kind was one known by the sign of the Mitre, situate near the west end of St. Paul's ; the name of the master of this house was Robert Hubert, alias Forges. This man, besides being a lover of music, was a collector of natural curi- osities, as appears by the following title of a pamphlet published in duodecimo, anno 1664, ' A Catalogue of ' the many natural rarities, with great industry, cost, ' and thirty years travel into foreign countries, col- ' lected by Robert Hubert, alias Forges, Gent, and ' sworn servant to his majesty, and daily to be seen ' at the place called the Mnsick-House at the Mitre, ' near the west end of St. Paul's church.f Another place for entertainment of the like kind was the music-house at Stepney, situated in the row of houses fronting the west end of Stepney church ; it had for a sign the head of Charles II. and was the resort of seafaring people and others. In a great room of this house was an organj and a band of fiddles and hautboys, to the music whereof it was no unusual thing for parties, and sometimes single per- sons, and those not of the very inferior sort, to dance. Ward, in his London Spy, Part XIV. has given a particular description of a music-house which he visited in the course of his ramble, surpassing all of the kind in or about London. Its situation was in Wapping, but in what part of that suburb we are not told. The sign was that of the Mitre, and by the account which this author gives of it, the house, which was both a tavern and a music-house, was a very spacious and expensive building. He says that the music-room was a most stately apartment, and that no gilding, carving, painting, or good con- trivance were wanting in the decoration of it ; the seats, he says, were like the pews in a church, and the upper end being divided by a rail, appeared to him more like a chancel than a music-loft. Of the music he gives but a general account, saying only that it consisted of violins, hautboys, and an organ. * Edward Ward, in his -London Spy, Fart XI. pa^e 2S5, mentions these, as also the music-houses and music-booths in Bartholomew fair, which, as he relates, were very numerous so late as about the year 1700; but it seems that upon his visit to the fair, he liked this kind of music so little, that he professes he had rather have heard an old barber ring Whittington's bells upon a cittern, than aU that these bouses afforded, London Spy, Fart XI. page 255. t In a maiiuETCi-ipt of the late Mr. Oldys, beihg a collection relating to the city of London and its history, mention i& made of this pamphlet with the following note. ' I have been informed by Sir Hans Sloane ' that this collection, or a great part of it, was purchased by him into his ' noble museum bf the like curiosities, which now with his library is ' removed from his late house by Bloomsbury-square to his larger house ■ ' at Chelsea.' It is conjfectured that this house was situated in London-house Yard, at the north-west end of St. Paul's church, and on the very spot where now stands the house known by the sign of the Goose arid Gridiron; for the tradition is that it was once a music-house. It seems that the successor of Hubert was no lover of music, but a man of humonr, and it is said that in ridicule of the meetings formerly held there, he chose for his sign a goose stroking the bars of a gridirtfh with his foot, and called it the Swan and Harp. X It seems that in the usurpation, ivhen the Liturgy and the use of orgahi in divine service was abolished, these instruments, being removed from the vhwrches, were set up in such houses as that above describedf and to this purpose the anonymous author, a Frenchman, of a character of England, translated by Mr, Evelyn, and published with an answer 2ito 1659 has these words: ' they have translated the organs out of their churches and set * them up in Taverns chanting their dithyrambica and bestial Bacchanalias *to the tune of those instruments which Were iSoni to assist them tn m ' celebration of God's praises,' page 30. § Probably in Shadwell. Onthe South side of that street, is a plabecaUkd Music-house-court, New View of London 57. See it in the Plan of Si. ^ohn's,Wiiipping, and St.Paul'Si Shadwell, Strype'sStow. Booh IF.pageit, Chap. CXLVIII. AND PRACTICE OF MUSIC. 701 The house being a tavern, was accommodated as well to the purpose of drinking as music; it contained many costly rooms, with whimsical paintings on the wainscotting. The kitchen was railed in to prevent the access to the fire of those who had nothing to do at it, and overhead was what this author calls an har- monious choir of canary birds singing. The owner of tliis house had, according to Ward's account, used every method in his power to invite guests to it; and, under certain circumstances, ap- peared to be not less solicitous for their safety than their entertainment; for he had contrived a room under ground, in which person^ were permitted to drink on Sundays, even duri^jg the time of divine service, and elude the search of the churchwardens.* Another music-house, and which subsists even at this day, but in a different form, was that of Sadler's Wells, concerning which a pamphlet was published in the year 1684, with this title, 'A true and exact account of ' Sadler's Wells lately found at Islington, treating of ' its natures and vertues ; together with an enumera- ' tion of the chief diseases which it is good for, and ' against which it may be us(d, and the manner and ' order of taking it, published for the good of the ' publick by T. G., Doctor in Physick.'f The music performed at these houses of entertain- ment was such as, notwithstanding the number of in- struments, could scarcely entitle it to the name of a concert. For the most part it was that of violins, hautboys, or trumpets, without any diversity of parts, and consequently in the unison ; or if at any time a bass instrument was added, it was only for the pur- pose of playing the ground-bass to those divisions on old ballad or country-dance tunes which at that time were the only music that pleased the common people. Some of the most admired of these were then known, and are still remembered by the fol- lowing names : — John Dory ;:[: Paul's Steeple ; Old * Within the time of memory it waa customaiy for the churchwardens in London and the suhurbs, to perambulate their parishes on Sundays, during the time of divine service, and search the taverns and alehouses ; and if they found any persons drinking therein, to turn them out, and deal with the keepers of such houses according to law. + The author says the water of this well was before the reformation very much famed for several extraordinary cures performed thereby, and was thereupon accounted sacred, and called Holywell. The priests belonging to the priory of Clerkenwell using to attend there, made the people believe that the virtues of the water proceeded from the eificacy of their prayers. But upon the reformation the well was stopped up, upon a supposition that the frequenting of it was altogether superstitious ; and so by degrees it grew out of remembrance, and was wholly lost, until found out by the labourers which Mr. Sadler, who had newly built the musick-house there, and, being surveyor of the highways, had employed to dig gravel in his garden, in the midst whereof they found it stopped up, and covered witli a carved arch of stone, in the year 1683. It is here also said to he of a ferruginous taste, somewhat like that of Tunbridge, but not so strong of the steel. It is recommended for opening all obstructions, and also for purging and sweetening of the blood, &c. And Dr. Morton had that summer advised several of his patients to drink it, as the owner also was to brew his beer with it. After the decease of Mr. Sadler above mentioned, one Francis Forcer, a musician, and the composer of many songs; printed in the ' Theater of Music,' publislied by Henry Flayford and John Carr in the years 1685, 1686, and 1687, became the occupier of the Wells and music-house. His successor therein was a son of his, who had been bred up to the law, and, as some said, a barrister; he was the first that exhibited there the diversions of rope-dancing, tumbling, &c. He waa a very gentlemanly man. remarkably tall and athletic, and died in an advanced age, about Che year 1730, at the Wells, which for many years had been the place of his residence. t The song of John Dory, with the tune to it, is printed in the , Deuteromelia, or the_ second part of ' Musick's Melodie,' 1609. The legend of this person is, that being a sea-captain, or perhaps a pirate, he engaged to the king of France to bring the crew of an English ship bound as captives to Paris, and that accordingly he attempted to make prize of an English vessel, but waa himself taken prisoner. The song Simon the King ; Farinel's Ground ; § Toilet's Ground; Roger of Coverly; John come kiss me, a tune inserted in the earlier editions of Playford's Introduction ; II Johnny cock thy Beaver, a tune to the song in D'Urfey's Pills to Purge Melancholy, ' To Horse brave Boys,' &c. ; Packingtou's, quasi Bockington's Pound; Green Sleeves, which ii! the tune to the air in the Beggar's Opera, ' Though laws are made for every degree'; The Old Cebell, com- posed by Signer Baptist Draghi, and printed with a song to it in dialogue, sung in an opera called the Kingdom of the Birds, written by D'Urfey, and printed in the first volume of his Pills to purge Melancholy ; a sweet air composed by Mr. Solomon Eccles, with divisions, printed as a country-dance tune, and called Bellamira, in the ' Dancing Master,' published by Henry Playford in 1701, page 149. Besides these there occasionally came into practice divers song and dance-tunes that had been received with applause at the theatres, and which by way of eminence were called play-house tunes, such as Genius of England, Madam Subligny's minuet, the Louvre, and many others. The principal composers of this kind of music not already named, were Mr. John Reading,^ John Banister, Godfrey Finger,** Mr. Bullimore, John Lenton, Christopher Simpson, Matthew Lock, Henry and John Eccles, Raphael Courteville, and other less eminent musicians. This, as far as it can be now traced, was the state of popular music about the end of the last century. Of the gradual refinements in the prjictice of it at large, and of the introduction of the opera into this kingdom, the following is the history : — The restoration of king Charles II. must be con- sidered as a remarkable epoch in the history of music in two respects ; first as the re-establishment of choral service, and the commencement of a new style in church-music is to be dated from thence ; and, secondly, as it gave a new form to that kind of music, which, in contradistinction to that of the church, is usually termed secular music. The in- struments commonly used in this latter appear to have been the lute, the harp, the fiddle, cornets, pipes of various kinds, and, lastly, viols, the latter of which were at length so adjusted with respect to size and tuning, that a concert of viols became a technical term in music. Hitherto in Englandthe violinhad never been con- of John Dory, and the tune to it were a long time popular in England : in the_ comedy of the Chances, written by Beaumont and Fletcher, Antonio, a humorous old man, receives a wound, which he will not suffer to he dressed but upon condition tliat the song of John Dory be sung the while. § Mentioned page 677 of this work, to have been composed by Farinelli of -Hanover, and to have been made the subject of Corelli's twelfth Solo. II This was a very favourite tune : in the first part of the Division Violin there are two sets of divisions on it, the one by Mr. Davis Mell, the other by Baltzar the Lubecker, of whom Anthony Wood speaks so highly in his life. Most of the tunes above mentioned, together with many others of great antiquity, in a style peculiar to this country, are inserted in an appendix to this work. IF A scholar of of the octave, and that all their endeavours for that purpose have been baffled by that surd quantity which has remained in every mode of division that the wit of man has hitherto suggested ; it may therefore be inferred -that no proportions strictly mathematical can be found by which a division, such as' the author pretends to have discovered, can be effected. After all, this proposal is not mathematical, but simply practical' and as all the inconveniences that this author proposes to remove by tho use of changeable finger-boards for the viol arise, &om the frets, so by Chap. CL. AND PKACTICE OF MUSIC. 717 Wood is greatly mistaken in the account liy Mm given of this dispute ; for the observations of Lock on Salmon's hook, and ' The present Practice of Music Vindicated,' by the same author, with the ' Duellum Musicum' of Philhps, and the letter from Playford, are two separate and distinct publications. The following is the true history and order of the controversy : — I. Essay to the advancement of music by Thomas Salmon. II. Observations thereon by Matthew Lock. III. A vindication of an Essay to the advance- ment of Music from Mr. Matthew Lock's observa- tions inquiring into the real nature and most convenient practice of that Science, by Thomas Salmon, M.A. of Trin. Coll. Oxon. This vindication is in the form of a letter to Dr. John WalKs, Savilian professor of geometry in the university of Oxford, and begins with thanks for a letter from that person to the author, testifying his approbation of the essay, and an acknowledgment of the honour done him by the Royal Society, who in their Transactions, No. 80, published in February, 1671-2, had upon their judgments recommended it to public practice. These several tracts were all published in the year 1672. In the following year came forth IV. The present practice of music vindicated, with the Duellum Musicum and Playford's letter, which closes the dispute. The subject-matter of this controversy is not now so important as to require a minute detail of the arguments ; it may sufSce to say, that with a stu- died affectation of wit and humour, it abounds with the most abusive scurrility that ever disgraced con- troversy. Wood, who seems to have entertained an unjus- tifiable partiality for Salmon and his proposal, inti- mates that he had the best of the argument ; but the contrary may be presumed from the total silence of Salmon, after the last publication against him by Lock and his associates, and from the opinion of the public, who have never acquiesced in the pro- posal to reject the cliffs, from a well-groimded per- suasion that the substituting of letters in their places would introduce rather than prevent con- fusion ; so that the method of notation contended for by Lock continues to be practised, without the least variation, to this day; and Mr. Thomas Salmon, together with his essay to the advancement of music, by casting away the cliffs, and uniting all sorts of music in one universal character, are now very deservedly forgotten. Mention has been made in a preceding page of the removal of the frets the inconveniences are removed : and we find by experience that persons having a good ear, and nature only for their guide, do in all cases divide the octave most accurately. At the end of the proposal is a letter of Dr. Wallis to the author, approving in general of his design, but attended with some such shrewd remarks on it, as tend to show that Salmon was far from equal to the task he had undertaken. At the close of the remarks is a very curious passage, containing an assertion of Dr. Wallis, that there are manifest places in Ptolemy that the frets, yaayaJia, of the ancients were moveable, not in tuning only, but even in playing, which is a strong argument against the opinion that in the ancient modes the tones and semitones followed in succession as they arise in the scale, and that of seven modes •r keys, five are lost ; so that only two, viz. A and C, are remaining. the introduction of the opera into this kingdom, and of the opera of Psyche, written by Shadwell, and composed by Lock ; this entertainment seems to have been well received by the public, for in 1675 he published it in score, together with the music in the Tempest, before mentioned, with a preface in his usual style, and a dedication to James duke of Monmouth. It appears by Lock's preface that the instrumental music, before and between the acts, of Psyche, was composed by Sig. Giovanni Battista Draghi, a musician in the service of queen Catherine, and who is mentioned in the next succeeding article. The world is indebted to Lock for the first rules ever published in this kingdom on the subject of continued or thorough-bass ; a collection of these he has given to the world in a book entitled Melo- thesia, Lond. oblong quarto, 1673. It is dedicated to Roger L'Estrange, Esq., afterwards Sir Roger L'Estrange, a man eminently skilled in music, and an encourager of its professors, and contains, besides the rules, some lessons for the harpsichord and organ by himself and other mastei's. He was also the author of a collection of airs entitled ' A little Con- sort of three parts for Viols or Violins,' printed in 1657, and of the music to sundry songs printed in the Treasury of Music, the Theater of Music, and other collections of songs. In the latter of these is a dialogue, ' When death shall part us from these kids,' which he set to music, and, together with Dr. Blow's ' Go, perjured man,' was ranked amongst the best vocal compositions of the time. Lock was very intimate with Silas Taylor, the author of a History of Gavelkind, who himself was a good musician,* as also an antiquary. Their ac- quaintance commenced through Lock's wife, who was of the same county with Taylor, viz. Hereford : her maiden name was Gammons. It is to be presumed that at the time when he composed his morning ser- vice he was of the chapel royal, and consequently a protestant ; but it is certain that he went over to the Romish communion, and became organist to queen Catherine of Portugal, the consort of Charles II. and that he died a papist in 1677.'|" Giovanni Battista Dkaghi was an Italian by birth, and was probably a brother of Antonio Draghi, maestro di capella at Vienna, and of Carlo Draghi, organist to the emperor Leopold. He is supposed to have been one of those musicians who came into England with Mary d'Este, princess of Modena, the consort of James II. He was a very fine performer on the harpsichord, and composed and published in England lessons for that instrument. He joined with Lock in composing the music to the opera of Psyche, and upon his decease in 1677, suc- ceeded him in the place of organist to the queen. J * An anthem of his, 'God is our hope and strength,' is well known among the church musicians. t It is probable that his residence was at Somerset-house, the palace of the queen dowager, for his last publication is dated from his lodgings in the Strand. J The queen was permitted the exercise of her own religion ; and it is probable that in some part of Whitehall she might have a chapel, in which mass was celebrated, with an organ, and something liiie a choir. This is certain, that when, upon the death of Charles II. she went to reside at the palace of Somerset-house, she had an ecclesiastical establish- ment, which included in it an organist and three chapel-boys, as appeara 718 HISTORY OF THE SCIENCE. Book XVI. Although Draghi was an Italian, and there are many compositions of his extant, particularly a Ma- drigal among the Harleian manuscripts in the British museum, ' Qual spaventosa Tromba,' which are altogether in the Italian style, he seems during his long residence in this country to have, to a re- markable degree, assimilated his style to that of the old English masters, as appears by an anthem of his, ' This is the day that the Lord hath made,' and more evidently in sundry old ballad airs and dance- tunes composed by him, the melodies whereof are , singularly excellent. During the reigns of Charles II. and James II. Draghi seemed to be a favourite court musician. Mr. Wanley, a faithful narrator of facts, and who, being a musical man, might possibly have been per- sonally acquainted with him, says that Draghi was music-master to our most excellent queen Anne;* meaning, it is presumed, that the queen, when young, and of a suitable age, had been taught music by this person, as was probably her sister, the princess Mary. Towards the latter end of his life he composed the music to an opera written by D'Urfey, ' The Wonders in the Sun, or the Kingdom of Birds.' This whimsical drama was performed at the Queen's Theatre in the Hay-market, in the month of July, 1706. It is said that the songs in this opera, of which there are a great number, were written by several of the most eminent wits of the age, who lent the author their assistance ; and it is probable that for this reason he dedicated it to the Kit Kat Club. Among others that seem to be the production of a genius superior to D'Urfey, is that excellent song known by the name of the ' Dame of Honour.' This song was set by Draghi, and it is difficult to say which is most to be admired, the song for the senti- ments, or the air for the sweetness of its melody. There are also in it the famous tune callM the ' Old Cebell;' as also another very fifie one to the words ' Tell me, Jenny, tell me roundly;' and, lastly, a tune which, some years after the exhibition of the opera, became a country-dance, and in the printed collections of country-dance tunes is called the Czar. Downes, the prompter, says of this opera that the singers in it were Mr. Cook, Mr. Laroon, Mr. Lawrence, Mr. Hudson, and others, and the dancers, Mons. De Bargues,Mons. L' Abbe's brother, Mr. Fair- by the following list in Chamberlayne's present state of England, printed in 1694. Lord Almoner, Cardinal Howard of Norfolk j Mr. Paulo de Almeyda, Mr. Emanuel Diaz, Almoners ; Confessor, Father Christopher de Rozario , Father Huddlestone, and Father Michael Ferreyra, Chaplains ; three Portugal Franciscan Friars, called Arrabidoes, and a lay brother ; Mr. James Martin, Mr. Nicholas Kennedy, Mr. William Hollyraan, Chapel- boys ; Mr. John Battista Draghi, Organist ; Mr. Timothy de Faria, Mr. James Read, Mr. Anthony Fernandez, Virgcrs. Queen Catherine's chapel at Somerset-house was remaining till the year 1733, when it was destroyed to make room f6r the Prince of Orange, when he came over to marry the Princess Anne. A gentleman, who remembers it, says that adjoining to it was a bed-chamber, with a small window, contrived that the queen when in bed might see the elevation of the Host. The window was at the top above the bedsteadt so thnt she might hear the service but could see nothing. I have been in that room. — Horace Walpole. * Queen Anne played on the harpsichord. She had a spinnet, the loudest and perhaps the finest that ever was heard, of which she was very fond. She gave directions that at her decease this instrument should go to the master of the ihildren of the chapel royal for the time being, and descend to his successors in office : accordingly it went first to Dr. Croft, and is now in the hands of Dr. Nares, master of the children of the royal chapel. bank, Mr. Elford,f and others ; and that it lasted only six days, not answering half the expense of it. We meet in the printed collections many songs with the name Signer Baptist to them ; this subscrip- tion means uniformly Baptist Draghi, and not Baptist LuUy, as some have supposed. Pelham Humphrey was one of the first set of children after the restoration, and educated, together with Blow and Wise, under -Captain Cook. He was admitted a gentleman of the chapel Jan. 23, 1666, and distinguished himself so greatly in the composi- tion of anthems as to excite the envy of his master, who, it is confidently asserted, died of discontent at seeing paid to him that applause which was but due to his merit.^ Cook died on the thirteenth day of July, 1672, and on the thirtieth of the same month Humphrey was appointed master of the children in his room. This honourable station he held but a short time, for he died at Windsor on the fourteenth day of July, 1674, in the twenty-seventh year of his age, and was succeeded as master of the children by his condisciple Blow. He lies interred in the east ambulatory, reaching from north to south of the cloister of Westminster Abbey. On his grave- stone was the following inscription, but it is now effaced : — HERE LIETH INTERKED THE BODY OF PELHAM HUMPHREY, WHO DIED THE XIVTH OF JULY, ANN. DOM. MDCLXXIV, AND IN THE XXVIITH YEAR OF HIS AGE. In Dr. Boyce's Collection of Cathedral Music are two very fine anthems of Humphrey, ' Lord my God,' and 'Have mercy upon me.' In conjunction with Dr. Blow and Dr. Turner he composed the anthem ' I will alway give thanks.' He also composed tunes to many of the songs in the Theater of Music, the Treasury of Music, and other collections in his time, particularly that to the song ' When Aurelia first I courted,' which was the favourite of those times; and another to a song said to have been written by king Charles II. ' I pass all my hours in an old shady grove,' printed with the music in the appendix to this work. PiETRO Eeggio, a native of Genoa, was of the private music to Christina, queen of Sweden, and was greatly celebrated for his performance on the lute.§ Upon the queen's resignation of the crown he came to England, and choosing Oxford for the place of his residence, in the year 1677 published there a little tract entitled ' A Treatise to sing well any Song + Mr. Richard Elford was educated in the choir of Lincoln, and was afterwards of the choir at Durham, but coining to London, be became a singer on the stage. His person being^, as Dr. Tudway relates, awkward and clumsy, and his action disgusting, he quitted the theatre, and was admitted a gentleman of the chapel royal, and to the places of a lay-vicar in St. PauUs cathedral and Westminster abbey. His voice was afinecountertenor. As a gentleman of the chapel he had an addition of an hundred pounds a year to his salary. Mr. Weldon's six Solo Anthems, published with the title of ' Divine Harmony,' were composed on purpose for him ; and in the preface the author celebrates Mr. Elford for his fine performance of them. He had a brother, also a singer, who by the interest of Dean Swift was preferred to a place in one of the cathedrals in Dublin. X Captain Henry Cook was made master of the children at the restoration. He was esteemed the best musician of his time to sing to the lute, till Pelham Humphries came up, after which he died with discontent. Ashmolean MS. art. Cook. § Whitelock, when embassador at Stockholm, heard him sing and ac- company himself on the Theorbo, with great applause. Ashmolean MS. Chap. CL. AND PEACTICE OF MUSIC. 719 whatsoever.' He also set to music for a single voice, with a thorough-bass, those love-verses of Cowley called the Mistress. After some years residence in Oxford, he removed to London, and died in the parish of St. Giles in the Fields, on the twenty-third day of July, 1685. The following inscription to his memory was remaining till about the year 1735, when the church was pulled down in order to be rebuilt : — PETRUS REGGIO CUJUS CORPUS EX ADVERSO JACET NATUS GENU* DIVINAM MHSICjE SCIENTIAM A CLARISSIMIS IN SUA PATRIA ATQUE A DEO IN TOTO ORBE MAGISTRIS EXCULTAM AB IPSO ULTERIUS ORNATAM EX ITALIA ET COELO DICERES TRANSALPES IN HISPANIAM GERMANIAM SUECIAM ET GALLIAM DEINDE IN ANGLIAM TRANSTULIT POSTREMO AD COELESTES CHOEOS SECUM EVEXIT DIE XXIII JULII MDCLXXXV. Michael Wise, a most sweet and elegant com- poser, born in Wiltshire, was one of the first set of children of the royal chapel after the restoration : he became organist and master of the choristers in the cathedral church of Salisbury in 1668; and on the sixth of January, 1675, was appointed a gentleman of the chapel royal in the room of Raphael Court- ville, deceased. On the twenty-seventh of January, 1686, he was preferred to be almoner and master of the choristers of St. Paul's. He was much favoured by Charles II. and being appointed to attend him in a progress which he once made, claimed as the king's organist pro tempore, to play the organ at what- sover church the king stopped at : it is said that at one church he presumed to begin his voluntary before the preacher had finished his sermon ; a very unwarrantable and indecent exertion of his right, how well soever founded. It is possible that some such indiscreet behaviour as this might draw on him the king's displeasure ; for upon his decease he was under a suspension, and at the coronation of James II. Edward Morton ofiiciated in his room. He composed several very fine anthems, namely, ' Awake up my glory,' ' Prepare ye the way of the Lord,' ' Awake, put on thy strength,' and some others. He also composed that well-known two-part song, ' Old Chiron thus preached to his pupil Achilles,' and some Catches, printed in the Musical Companion, which are excellent in their kind. He was a man of great pleasantry, but ended his days unfortunately ; for being with his wife at Salisbury in the month of Aiigust, 1687, some words arose between him and her, upon which he went out of the house in a passion, and, it being towards midnight, he was stopped by the watch, with whom he began a quarrel, in which he received a blow on the head with a bill, which fractured his skull and killed him. The advantages were very great which music de- rived from the studies of these men : they improved and refined upon the old church-style, and formed a new one, which was at once both elegant and solemn ; and from the many excellent compositions of the musicians of king Charles the Second's reign now extant, it may be questioned whether the principles of harmony, or the science of practical composition, were ever better understood than in his time; the composers for the church appearing to have been possessed of every degree of knowledge necessary to the perfection of the art. Other improvements, it is true, lay behind, but these regarded the philosophy of sound in general, and in the division of the science of physics are comprehended under the term Phonics. The first, at least among modern philosophers, that have treated on the generation and propagation of sound is Lord Verulam, who in his Natural History, Century II. has given a great variety of very curious experiments touching music in general, and in particular touching the nullity and entity of sounds. II. The production, conservation, and dila- tion of sounds. III. The magnitude and exility and damps of sounds. IV. Of the loudness or softness of sounds, and their carriage at longer or shorter distance. V. Touching the communication of sounds, &c. The Royal Society, which was instituted at London immediately after the restoration, for the improve- ment of natural knowledge, seems to have prosecuted this branch of it with no small degree of ardour, as appears by a great variety of papers on the subject of sound, its nature, properties, and affections, from time to time published in the Philosophical Transac- tions. Besides which there are extant a great va- riety of tracts on this subject, written by the mem- bers of that society, and published separately, some of the most distinguished of which are, ' A Philoso- phical Essay on Music,' published in quarto, 1677, without the name of the author, but which it is cer- tain was written by Sir Francis North, Lord Chief Justice of the Court of Common Pleas, and afterwards Lord Keeper of the Great Seal ;* a translation of ' Des Cartes de Musica,' by a person of honour, Henry Lord Brouncker, president of the Royal Society, with learned notes by the translator ; an ' Introductory Essay to the Doctrine of Sound, con- taining some proposals for the improvement of Aoousticks,' by Narcissus, bishop of Ferns and Leighlin ; and a ' Discourse on the natural Grounds and Principles of Harmony,' by William Holder, D.D. London, octavo, 1694. A short abstract from two of the discourses above mentioned will suffice to show the nature and ten- dency of each. Of the others mention is elsewhere made in the course of this work. The general purport of the treatise written by Sir Francis North is as follows : — It begins with an inquiry into the cause of sounds : in order thereto the author states those phe- nomena of sound which he thinks most considerable, as, first, that it may be produced iu the Toricellian. vacuity. 2. That it causes motion in solid bodies. 3. That it is diminished by the interposition of solid bodies; and 4. If the bodies interposed are very * This is expressly asserted in the Life of the Lord Keeper North, written by his hrother, the Hon. Roger North, Esq. page 297. 720 HISTORY OF THE SCIENCE Book XVi. thick, its passage is wholly obstructed. 5. That it seems to cojne to the ear in straight lines, when the object is so situated that it cannot come in straight lines to the ear. 6. That when there is a wind, the sphere is enlarged on that part on which the wind blows, and diminished on the contrary part. 8 That it arrives not to the ear in an instant, but consider- ably slower than sight. 9. That it comes as quick against the wind as with it, though not so loud, nor so far. Hence he raises the following hypothesis ; he sup- poses the air we breathe in to be a mixture of divers minute bodies, of different fiorts aaid sizes, though all of them are so small as to escape our senses : the grosser of them he makes elastical, and to be resisted by solid bodies, altogether impervious to them : the smaller parts he supposes to pass through solid bodies, though not with that ease ; but that upon a sudden and violent start of them they shock the parts of solid bodies that stand in their way, and also the grosser parts of the air. Lastly, he sup- poses there may be another degree of most subtle ethereal parts, with which the interstices of these and all other bodies are replete, -which find a free passage everywhere, and are capable of no compression, and consequently are the medium and cause of the im- mediate communication of sound. Now, of these three, he esteems the middle sort to be the medium and cause of sound, and supposes that; at any time when the grosser air is driven off any space, and leaves it to be possessed by these and other more subtle bodies, and returns by its elas- ticity to its former place, then are these parts ex- truded with violence, as from the centre of that space, and communicate their motion as far as the sound is heard : or that where any solid body is moved with a sudden and violent motion, these parts must be affected thereby ; for as these parts are so much resisted by solid bodies as to shock them, so on the contrary they must needs be moved by a sudden starting of solid bodies. So that, according to him, sound may be caused by the trembling of solid bodies, without the presence of gross air ; and also by the restitution of gross air, when it has been divided by any sudden force, as by the end of a whip, having all the motion of a whip contracted in it, and by a sudden turn throwing off the air ; or by ascension, as in thunder and guns ; or by any impression of force, carrying it where other air cannot so forcibly follow, as upon com- pressing of air in a bladder till it hreaks, or in a potgun, a sudden crack will be caused. Having laid down this hypothesis, and left his reader to apply it to the before-mentioned phenomena, he proceeds to discourse of music itself, and labours to show how this action that causes sound is performed by the several instruments of music. His definition of a tone is adapted to his hypo- thesis, and will be thought somewhat singular : 'A tone,' says he, ' is the repetition of cracks or pulses ' in equal spaces of time, so quick, that the interstices ' or intervals are not perceptible to sense.' He observes that the compass of music extends from such tones, whose intervals ai-e so great, that the several pnlses are distinguisliable by sense, to those whose interstices are so very small, that they are not commensurate with any other. Speaking of tlie production of tones, and of the assistances to sound by instruments, he says that wherever a body stands upon a spring that vibrates in equal terms, such a body put in motion will pro- duce a tone, which will be more grave or aeute according to the velocity of the returns ; and that therefore strings vibrating have a tone according to the bigness or tension of them ; and bells that vibrate by cross ovals produce notes according to the bigness of them, or the thickness of their sides ; and so do all other bodies, whose superficies being displaced by force, result or come back by a spring that carries them beyond their first station. And here he ob- serves that it is easy to comprehend how every pulse ' upon such vibrations causes sound ; for that the gross air is thrown off by the violence of the motion, which continues some moment of time after the return of the vibrating body ; whereupon some space must be left to that subtle matter, which upon the result of the air starts as from a centre, which action being the same as that which our author supposes to be the cause of sound, is repeated upon every vibration. But finding it more difficult to show how tones are made by a pipe, where there are no visible vibrations, he considers the frame of a pipe, and the motion of the air in it, and thereby attempts to find the cause of the tone of a pipe, and the pulse that gives it sound. His doctrine on this head is delivered in these words : ' To shew how the pulses are caused, ' whereby the included air is put into this motion, it ' is necessary to observe the frame of a pipe, which ' chiefly consists in having a long slit, through which ' the air is blown in a thin film against, or very near, 'a solid edge that is at some distance opposite to it, 'in such manner that the intermediate space is ' covered by the stream of air. This film of air on ' the one side is exposed to the outward air, and on ' the inside is defended from it by the sides of the ' pipe, within which the air inclosed in the pipe ' stagnates, whilst the outward air is by the blast ' put into a vortical motion. ' The vortical motion or eddy on the outside is so ' strong, that there not being a balance to that force ' on the inside, the film of air gives way, and ' the eddy bears into the pipe, but is immediately ' overcome by the blast, which prevails until the ' eddy overcomes it again ; and so there is a crossing ' of streams by turns and pnlses, which causes the ' voice of the pipe, the gross air of one stream being ' thrown off by the interposition of the other. ' These vicissitudes or terms will answer the tone ' of the pipe according to the gage of its cavity : for 'the spring of the included air helps towards the 'restitution of the blast and eddy in their turns, ' which causes those turns to comply with the tone of ' the pipe ; and therefore the same blast will cause ' several tones, if the" gage or measure of the included ' air be changed by apertures in the side of the pipe, ' But there must be some proportion between the CuAP. OL. AND PRACTICE OF MUSIC. 721 ' mouth, so I call that part of the pipe where the ' voice is, and the gage of the pipe ; for though the ' pulses will be brought to comply with the tone of ' the pipe iu any reasonable degree, yet when there ' is great disparity it will not do so ; as if the pipe fee 'too long for the proportion of the diameter, the ' pulses at the mouth cannot be brought to so slow ' terms as to answer the vibrations of the included ' air ; therefore the pipe will not speak unless it can ' break into some higher note. If the slimy stream ' of air be too thick, the pipe will not speak, because ' the eddy cannot break through ; if the opposite ' edge be too remote, the stream cannot entirely cover 'the aperture, for it mixes with the outward air, ' and is more confused the further it is from the vent ' or passage, whereby some outward air may have ' oonamunication to make an opposite eddy on the ' inside of the stream. For the same reason, if there ' be the least aperture in the region of the mouth of ' the pipe, it will not speak at all. ' Hence it is that the voice of organ pipes is so ' tender and nice : but shrill whistles depend not ' upon this ground ; for they are made in any small ' cavity, where the blast is so applyed that the erum- ' pent air must cross it, whether the stream be thick ' or thin. Therefore the bore of a key, a piece of ' nut-shell, or any other cavity will make a whistle, ' whose tone will be according to the quantity of the ' included air ; for the less that is, the harder it is to ' be compressed, and the quicker and stronger it ' must Tjreak forth. ' Another kind of whistle is, when a hollow body ' with a small cavity is perforated by opposite holes, ' a blast either way will cause a tone, which seems ' to be made in this manner. ' The air that is violently drawn or thrust through ' these holes, is straitned at the passage by the swift- ' ness of the motion, and within the cavity is some- ' what enlarged, and consequently its force is directed, ' and it presses beyond the compass of the opposite ' aperture, whereupon it bears of all sides into the * cavity ; hereby the air within the cavity is com- ' pressed until it breaks forth by crossing the stream, ' which being done by vicissitudes, causes a tone : ' this kind of action, as I imagine, is performed when ' men whistle with their lips. ' In some pipes the pulses are caused by springs, ' as the Eegal stop of an organ, which is commonly ' tuned by shortening the spring, whereby it becomes ' stronger, but the note will be changed by the alter- 'ation of the cavity; and therefore to make them ' steddy, some that stand upon very weak springs ' have pavilions set to them. ' A rustick instance may be given of the compliance ' of a spring, in taking such vibrations as are pro- ' portionable to the cavity ; it is a Jews-harp, or ' Jews-trump, the tongue whereof has natural vibra- ' tions according to the strength and length of the ' of the spring, and so is fitted to one particular tone ; 'but countrymen framing their breath and their ' mouth to several notes make a shift to express a ' tune by it. , 'In a shawm or hautboy the quiU at the mouth is ' a kind of spring, but so weak and indifferent, that it ' complies with any measure*, and therefore the tone ' will be according to the apertures of the pipe. ' The fluttering and jarring of discording sounds, ' which I did before observe, is so regular, and ' the sounds take their turns with equal interstices, ' which makes the joining of them produce a harsher ' sound than either had before ; whereby organ- ' makers imitate the hautboy or trumpet without any ' spring or quill, by joming discording pipes-f ' In a Sacbut the lips of a man do the same office as a ' quill does in a Shawm or hautboy; when the inclu- ' ded air is lengthened, the tone varies ; nevertheless ' they can produce several notes that are in chord to ' the tone of the instrument by strengthening the blast ' without lengthening the cavity : and in a trumpet 'which is the same kind of instrument, only not ' capable of being lengthened, they can sound a whole ' tune, which is by the artificial ordering the blast ' at the mouth, whereby the sound breaks into such ' notes as are to be used.' Having thus shown how tones are produced by instruments of music, the author proceeds to take notice of other assistances which instruments give to sound, in these words : — ' In violins and harpsieords the tones are made ' wholly by the vibrating strings, but the frame of ' the instrument adds much to the sound ; for such ' strings vibrating upon a flat rough board, would ' yield but a faint and pitiful sound. ' The help that instruments give to the sound, is ' by reason that their sides tremble and comply with ' any sound, and strike the air in the same measure ' that the vibrations of the music are, and so consi- ' derably increase the sound. ' This trembling is chiefly occasioned by the con- 'timuity of the sides of the instrument with the ' vibratiag string ; therefore if the bridge of a violin ' be loaded with lead, the sound will be damp; and ' if there be not a stick called the sound post to ' promote the continuity between the back and belly ' of the instrument, the sound wiU not be brisk and ' sprightly. ' Such a continuity to the nerve of hearing will ' cause a sense of sound to a man that hath stopped ' his ears, if he will hold a stick that touches "die ' sounding instrument between his teeth.:|: 'The sound of itself, without such continuity, ' would occasion some trembling ; but this is not ' considerable in respect of the other, though it be all ' the assistance that the structure of a chamber can ' give to musick, except what is by way of echo. *£ic in Oriff, Tjut Quere if not pressure ? + In this sentiment the author is mistaken : discordant pipes are made use of by the organ-makers to imitate the kettle-drum ; and the best for this purpose are FJ^ and Gamut, but the hautboy and trumpet are imitable only by reed pipes of the same form as those instruments respectively, that is to say, having the greater end spreading with a curve like a bell, in a greater or less degree. X Thomas Mace, a writer of whom there will shortly be occasion to speak, and a lutenist, having almost lost his hearing, invented a double lute, which he contrived to make the loudest instrument of the lute kind he had ever heard ; nevertheless he was not able to hear all that he played on U, except by means of suc^ a contrivance as is above suggested. In short, as he relates, he heard by the help of his teeth, which when he played he was wont to lay close to the edge of the instrument, where the lace is fixed, and thereby derived, as he expresses it, with thankfulness to God, one of the principal refreshments and contentn:''nts that h2 enjoyed in this world. Musick's Monument, page 203. 722 HISTORY OP THE SCIENCE Book XVI, ' This tremtle of the instruments changes with ' every new sound ; the spring of the sides of the in- ' Btrument standing indifferent to take any measure, ' receives a new impression ; but a vibrating string ' can take no measure but according to its tension. ' Therefore instruments that have nothing to stop ' the sounding strings, make an intolerable jangle to ' one that stands near, as bells to one that is in ' the steeple, and hears the continuing sound of ' dissonant tones; such is the Dulcimer: buttheharp- ' sichord, that hath rags upon the jacks, by which ' the vibration of the string is staid, gives no distur- 'bance by the sonorousness of the instrument, for ' that continues not the sound after the vibrations ' determined, and another tone struck, but changes ' and complies with the new sound.' Next he treats of the varying and breaking of tones into other tones, both in strings and in pipes. In his discourse on this part of music there occur divers pertinent observations concerning the motions of pendulums, the nature of the trumpet marine, and of the true trumpet, and of the sacbut. And having shown that sound causes a motion, not only of solid bodies, but of the grosser parts of the air, within the sphere of it, he considers that if the air which is moved by being inclosed, stands upon such a degree of resistance to compression, that it hath a spring vibrating in the same measure with the sound that puts it into motion, there will be the same effect as when two strings are tuned in unison ; that is, the motion will be so augmented by succeeding regular pulses, that the inclosed air may be brought to ring, and produce a tone. And here he takes notice of the advice of Vitruvius in his Architecture, importing that in the structure of a theatre there should be vases or hollow pots of several sizes, to answer all the notes of music, placed upon the stage ; in such a manner that the voice of them which sing upon the stage may be augmented by the ringing of them ; Vitruvius mentioning divers ancient theatres where such were, in some of brass, in some of earth. After this he proceeds to consider the nature of the kej's in music, and of a single tune, which he says consists in the succeeding notes having a due relation to the preceding, and carrying their proper emphasis by length, loudness, and repetition, with variety that may be agreeable to the hearer. Next he treats of Schisms, and the scale of music, showing that the latter is not set out by any determinate quantities of whole notes or half notes, though the de- grees are commonly so called ; but that the degrees of the musical scale are fixed by the ear in these places where the pulses of the tones are coincident, without any regard to the quantity ; and here he endeavours, by a division of the monochord, corresponding as it seems very nearly with that of Lord Brouncker, in his translation of Des Cartes, to show how all notes come into the scale by their relation and dignity ; whence he thinks it is obvious why, for easiness of instruction and convenience, the scale of degrees of music is made as musicians now exhibit it. He next proceeds to the consideration of music consisting of several parts, which, as he expresses it, is made up of harmony, formality, and conformity. Lastly, he speaks of time, or the measure of music, the due observation whereof he says is grateful, for the reasons given by him for the formality of a single tune, because the subsequent strokes are measured bj- the memory of the former ; and if they comprehend them, or are comprehended by them, it is alike pleasant, for that the mind cannot choose but com- pare the one with the other, and observe when the strokes are coincident with the memory of the former. Wherefore he says it is that the less the intervals are, the more grateful the measure ; because it is easily and exactly represented by the memory; whereas a long space of time, that cannot he compre- hended in one thought, is not retained in the memory in its exact measure, nor can abide the comparison, the time past being always shortened by so much as it is removed from the time present. He concludes his discourse with two observations, first, that it plainly appears how music comes to be so copious, for, considering the species of keys, the number of them, the variety of chords, the allowable mixture of discords, and the diversity of measure, it is not to be wondered at, that it should, like language, afford every age and nation, nay, every person, particular styles and modes. Secondly, it appears that tones or modes of music in ancient time could not be of other kinds than they are now, since there can be no other in nature ; whereof the great effects it then had, if truly related, must be imputed to the rarity of it, and the barbarity of the people, who are not transported with anything after it becomes common to them. A farther account of this scarce and curious tract is given in that singular book The Life of the Lord Keeper Guilford, written by the honourable Roger North,* a brother of his lordship, which, as it * This person wrote also the lives of his two brothers, the honourable Sir Dudley North, Knight, commissioner of the customs, and afterwards of the treasury to Charles II. and the hon. and rev. Dr. John North, master of Trinity college in Camhridf^e ; as also an Examen or Enquiry into the Credit and Veracity of the compleat History of England, com- piled by Bishop Kennet, 4to. 1740. The Life of the Lord Keeper ia a curious book, as it contains the history of Westminster Hall, with a great variety of entertaining particulars of the most eminent practisers from the year 1650 to 1080 ; but the style of it, like that of the author's other writings, is exceedingly quaint and affected. Nor are his opinions of men and things, particularly of law nnd justice, less singular, as will presently be shown. Sir Dudley North was a Turkey merchant, and, being one of the English factory at Constantinople, had the management of a great number of lawsuits ; how he managed them, and what were the sentiments of his brother touching his conduct, and particularly of the obligation of an oath, the following passage will show : — * Another scheme of our merchants law conduct was touching proofs. ' The Turkish law rigidly holds every person to prove all the facts of his * case by two Turkish witnesses, which makes the dealing, with a view ' of dispute, extremely difficult ; for which reason the merchants usually * take writing ; ■ but. that hath its infirmity also, for the witnesses are 'required to prove'not only the writing, which with us is enough, but * they must prove every fact contained in it to he true, or else the evidence * is insulhcient. It fell out sometimes that when he had a righteous * cause, the adversary was knavish, and would not own the fact, and be * had not regular and true witnesses to prove it ; he made no scruple in * such case to use false ones ; and certain Turks that had belonged to the * factory, and knew the integrity of their dealings, would little scruple to * attest facts to which they were not privy, and were paid for it. I have * heard the merchant say he had known that at trials Turks standing by * unconcerned, have stept forwards to help a dead lift (as they tell ot ' a famous witnessing attorney, who used to say at his trial, ' Doth it ' stick ? give me the book),' as these expect to be paid, and tlie merchants ' fail not to send them the premio, else they may cause great incon- ' veniences. Nay, a merchant there will directly hire a Turk to swear the ' fact, of which he knows nothing, which the Turk doth out of faith he ' hath in the merchant's veracity ; and the merchant ia very safe in it, for ' without two Turks to testify, he cannot be accused of subornation. This ' is not as here accounted a villainous subornation, but an ease under an ' oppression, and a lawful means of coming into a just right. The ' Christian oath is not in fhe case, so there is no profanation : and (upon ■ ' the whole) the morality of the action seems to depend on the puje Chap. CL. AND PEAOTICE OF MUSIC. 723 contains a summary of the doctrines laid down in the Philosophical Essay of Music, as also some particulars relating to his lordship's musical studies, is here inserted in the words of the author : — ' Now to illustrate his lordship's inclination to ingenious arts, and sciences, I have two subjects to ' enlarge upon. 1. Musiclc. 2. Picture. As for his ' musick, I have already mentioned his exquisite ' hand upon the Lyra and Bass-Viol, and the use he * made of it to relieve his solitude in his chamber. ' He had a desire to use also the Theorbo and violin. ' He scarce attempted the former, but supplied the ' use of it by the touch of his Lyra Viol upon his ' knee, and so gained a solitary consort with his ' voice.* He attempted the violin, being ambitious ' of the prime part in consort, but soon found that ' he began such a difficult art too late ; and his profit ' also said nay to it, for he had not time for that kind ' of practice. It was great pity he had not naturally ' a better voice, for he delighted in nothing more ' than in the exercise of that he had, which had ' small virtue but in the tuneableness and skill. He ' sang anything at first sight, as one that reads in a ' new book, which many, even singing-masters, ' cannot do. He was a great troller of songs, espe- ' cially duets, for in them his brother could accom- ' pany him ; and the Italian songs to a thorough-bass were choice purchases, and if he liked them he ' commonly wrote them out with his own hand ; ' and I can affirm that he transcribed a book of ' Italian songs into a volume of the largest quarto, ' and thicker than a Common Prayer Book. And this ' was done about the time he had received the Great ' Seal ; for if he would discharge his mind of ' anxieties, he often took the book of Songs, and ' wrote one or two of them out ; and as he went ' along he observed well the composition and ele- ' gancies, as if he not only wrote but heard them, ■■ which was great pleasure to him. ' His lordship had not been long master of the ' viol, and a sure consortier, but he turn'd composer, ' and from raw beginnings advanced so far as to ' complete divers concertos of two and three parts, ' which at his grandfather's house, were perform'd ' with masters in company, and that was no small ' joy and encouragement to him. But it was not to ' be expected he should surmoimt the style and mode ' of the great musick-master Mr. Jenkins, then in 'justice and right, and not upon the regularity {in a Christian sense) of ' tlie means. The Turks in their country are obliged, as we are here, by ' the rules of common justice. - But it is to be supposed that being here, ' they would not regard our forms, ' but would get their right if they ' might by infringing them all. So we in that country are obliged in * Dommon honesty to observe even their law of right and equity, but have * no reason to regard their forms ; and the compassing a right by any means ' contrary to them all, is not unreasonable. But to apprehend these ' diversities one must have a strong power of thought, to abstract the ' prejudices pf our domestic education, and plant ourselves in a way of * negotiating in heathen remote countries. ' Our merchant found by experience that in a direct fact a false ' witness was a surer card than a true one ; for if the judge has a mind ' to baiSe a testimony, an harmless honest witness, that doth not know 'his play, cannot so well stand his many captious questions as a false ' witness used to the trade will do, for he hath been exercised, and is ' prepared for such handling, and can clear himself when the other will * be confounded ; therefore if there be true witness, circumstances may ' be such as shall make the false ones more eligible.' Life of the Hon. Sir Dudley North, page 46. * The nature of the Lyra- Viol, and the practice of the Viol Lyra way are fully explained in the account herein after given of John Playfoid. use where he came. And, after his capacity reach'd higher, he had no time to be so diverted. Yet while he was Chief Justice, he took a fancy to set to musick, in three parts, a Canzon of Guariiii, beginning thus, "Cor mio del," &c. In that he aimed to compass what he thought a great per- fection in consort-musick, ordering the parts so that every one shall carry the same air, and how- ever leading or following, the melody in each part is nearly the same, which is in composing no easy task. ' Not many years before his lordship was preferred to the Great Seal, he fell upon a pleasing specula- tion of the real mechanism whereby sounds are dis- tinguished into harmony and discord, or disposed to please or displease our sense of hearing. Every one is sensible of those effects, but scarce any know why, or by what means they are produced. He found that tones and accords might be anatomised, and by apt schemes be presented to the eye as well as to the ear, and so musick be demonstrated in effigie. After he had digested his notions, and continued his schemes, he drew up a short tract, which he entitled A Philosophical Essay of Musick, not with the form and exactness of a solemn writer, but as the sense of a man of business, who minds the kernel and not the shell. This was printed by Mr. Martin, printer to the Eoyal Society, in 1677. The piece sold well, and in- a few years it was out of print, and ever since is scarce to be met with but in private hands. If I may give a short account of his lordships's notion, it is but this : all musical sounds consist of tones, for irregular noises are foreign to the subject. Every tone consists of dis- tinct pulses or strokes in equal time, which being indistinguishably swift, seem continual. Swifter pulses are, accordingly, in sound sharper, and the slower flatter. When diverse run together, if the pulses are timed in certain proportions to each other, which produce coincidences at regular and constant periods, those may be harmonious, else dis- cord. And in the practice of musick, the stated accords fall in these proportions of pulsation, viz. 1' 2' 3' 4> 6- Hence flow the common denomina- tions of 8th, 5th, 4th, 3d, 2d; and these are produced upon a monochord by abscission of these parts, 2' 3' 4' 6! 6- Of all which the fuller demonstration is a task beyond what is here intended. ' But to accomplish an ocular representation of these pulses, his lordship made a foundation upon paper by a perpetual order of parallel lines, and those were to signify the flux of time equably. And when a pulse happened, it was marked by a point upon one of those lines, and if continued so as to sound a base tone, it was marked upon every eighth line ; and that might be termed the Base. And then an upper part, which pulsed as f , or octave, was marked, beginning with the first of the base, upon every fourth line, which is twice as swift : and so all the other harmonious pro- portions, which shewed their coincidences, as well with the base as with one another. And there was also shewed a beautiful and uniform aspect in 724: HISTOEY OF THE SCIENCE Book XVI. ' tte composition of these accords when drawn ' together. This as to Times. The ordinary col- ' lation of sounds is commonly made by numbers, ' which, not referred to a real cause or foundation ' in nature, may he just, hut withal very obscure, ' and imparting of no knowledge. Witness the ' mathematicians musical proportions. His lordship ' did not decline numbers, hut derived them from 'plain truths. He found S60 the aptest for those ' subdivisions that musick required, and, applying ' that to an open string or monochord, each musical ' tone, found by abscission of a part of the string, is ' expressihle hy those numbers so reduced in pro- ' portion. As I of the string pinched off is as f , or ' 180, an octave : and 3 as f 240 ; and so of the • rest down to the tone or second, which cuts off J, ' and the semitone a j^g, &c.'* Life of Lord Keeper Guilford, page 296. The discourse of Dr. Marsh is of a different kind, and treats altogether of the philosophy of sound, without intermeddling with either the theory or practice of music. Of the author mention has been made in a preceding page. From the account given of him hy Wood it appears that he was well skilled in the practical part of music ; and that while he was a fellow of Exeter college, and principal of Alban-hall, he had a weekly meeting or concert of insitrmmental, and sometimes vocal music at his lodgings : and to the account of his subsequent preferments given hy Wood, may be added, that from the archiepiscopal see of Oashell he was trans- lated to that of Duhlin, and from thence to that of Armagh, and that he died in 1713. In his discourse on Acousticks the Doctor treats very largely on Vision, and the improvements there- of by means of glasses and tubes of various kinds, and from the principles laid down in the preceding part of his discourse, he concludes that considerable improvements may also be made in Acousticks, which improvements he distributes into two classes, viz. improvements of hearing as to its object, which is sound, and the improvements of the organ of hearing, and the medium through which sound is propagated. Under these two several heads he treats at large of the imitation of the voices of sundry animals, as quails and cats; and of those sounds which are produced by the collision of solid bodies ; of the speaking-trumpet, and of reflected audition by echoes, which he says is capable of great improvement, one whereof he thus describes : — * The author of this hook was himself well acquainted with the principles of music, and entertained some douhts on the division of the monochord, of which he could find no solution in the method of division proposed hy his brother in the essay above cited. Among the papers of Dr. Pepusch was found the following quEere in his own hand-writing, as also the answer to it in the hand-writing of the Doctor. Quaere. The sound arising by the abscission of -f-ths is a tone, and more remote from perfection of consonance than that of Xths ; why then is the former accepted in music, aad not the latter, which is abhorred ? Die et eris Apollo. Answer. Considering only the numbers, it is true that -S- is nearer to concordance than ■!■, but as they are both discords, 4- is allowed, having a natural and immediate relation to the concords, which X having not, is absolutely rejected. For the same reason, all relations compounded of the numbers 2, 3, 5, are musical, all others ^, -^, .^-J^ &c. are con- trary to it. • As speculas may be so placed, that reflecting one ' upon or into the otber, either directly or obliquely, ' one object shall appear as many : after the same ' manner ecchoing bodies may be so contrived and ' placed, as that reflecting the sound from one to 'another, either directly and mutually, or obliquely 'and hy succession, out of one sound shall many ' echoes be begotten, which in the first case will be ' altogether, and somewhat involved and swallowed ' up by each other, and thereby confused, as a face ' in a looking-glass obverted ; in the other they will ' be separate, distinct, and succeeding one another, ' as most multiple ecchoes do. ' Moreover a multiple eccho may be made hy so ' placing the ecchoing bodies at unequal distances, ' that they reflect all one way, and not one on the '.other, by which means a manifold successive sound ' will be heard, not without astonishment ; one clap ' of the hand like many ; one Hah ! like laughter ; ' one single word like many of the same tone and ' accent, and one viol like many of the same kind, ' imitating each other.f ' Furthermore, as Speculas may be so ordered, ' that by reflection they will make one single obj,ect ' appear many ; as one single man to seem many ' men differing in shape and complexion, or a com- ' pany of men ; so may ecchoing hodies also be ' ordered, that from any one sound given they shall ' produce as many ecchoes, different both as to their ' tone and intension ; the grounds whereof have ' elsewhere heen laid down in a treatise concerning ' the sympathy of lute-string. ' By this means a musical room might be so con- 'trived, that not only one instrument play'd in it ' shall seem as many of the same sort and size, but ' even a concert of somewhat different ones, only by ' placing certain ecchoing bodies, so that any note ' played shall he return'd by them in third, fifth, ' and eighth.' There is very little doubt but that the writings of Mersennus and Kircher, and probably the various discoveries of Lord Bacon, and the hints suggested by him in his Natural History, gave this direction to the studies of philosophical men of this time. It seems that the Academy Del Cimento had for some time been making experiments on the philosophy of sound, many of which are referred to in the Transactions of the Eoyal Society : the result of these appears with great advantage in a very learned treatise written by Padre Daniello Bartoli, of the Society of Jesus, printed at Eome in the year 1679, entitled 'Del Suono de Tremori Armonici e dell' udito.' The pursuits of the Eoyal Society of London were directed to the same object : in the Philosophical Transactions are sundry papers on the nature and properties of sound, and others expressly on the subject of music, among which is one entitled ' The Theory of music reduced to arithmetical and ' geometrical proportions, by Thomas Salmon.' t It is tlie opinion of some that ilte sound of words mmf be invpnaoned and lei loose so as to articulate. Of this persuasion the papists endeavour to avail tliemselves when they produce, as they a/re said to do, a most precious relic, the Hah I of Joseph the husband of the blessed Virgin, uttered by him when fetching a stroke with hilt axe, hermetically sealed, in a glass viol. Vide Bp. Wilkin's Secret and Swift Messenger, Cha^. XVIL Chai'. CLI. AND PRACTICE OF MUSIC. 725 This paper seems to contain in snlDstance tliat proposal to perform music in perfect and mathematical proportions, of which mention has been made in the preceding account of this person, and refers to a musical experiment said to have been made before the society, for the purpose, as it seems, of trying the truth of his proportions. The nature of this experiment will best appear from the author's own words, which are these : — ' To prove the foregoing propositions, two viols ' were mathematically set out, with a particular fret for each string, that every stop might be in a per- fect exactness : upon these a sonata was perform'd ' by Mr. Frederick and Mr. Christian Stefldns ; ' whereby it appeared that the theory was certain, ' since all the stops were owned by them to be per- ' feet. And that they might be proved agreeable to ' what the best ear and the best hand perform in ' modern practice, the famous Italian, Signer Gas- ' parini,* plaid another sonata upon the violin in ' consort with them, wherein the most compleat har- ' mony was heard.' The result of this experiment was a conviction, at least of the author, that the harmony resulting from Ms division was the most complete that ever had been heard, and that by it the true theory of music was demonstrated, and the practice of it brought to the greatest perfection. Vide Philosoph. Trans. No. 302, page 2072. Jones's Abridgm. vol. IV. part II. page 469. John Abell, one of the chapel in the reign of King Charles II. was celebrated for a fine counter- tenor voice, and for his skill on the lute. The king admired his singing, and had formed a resolution to send him, together with one of his chapel, Mr. Gostling, to the Carnival at Venice, in order to show the Italians what good voices were produced in England ; but the latter signifying an unwilling- ness to go, the king desisted from his purpose. He continued in the chapel till the time of the revolu- tion, when he was discharged as being a papist. Upon this he went abroad, and distinguished himself by singing in public in Holland, at Hamburg, and other places, where acquiring considerable sums of money, he lived profusely, and affected the expense of a man of quality, moving about in an equipage of his own, though at intervals he was so reduced as to be obliged to travel, with his lute slung at his back, through whole provinces. In rambling he got as far as Poland ; and upon his arrival at Warsaw, the king having notice of it, sent for him to his court. Abell made some slight excuse to evade going, but upon being told that he had everything to fear from the king's resentment, he made an apology, and re- ceived a command to attend the king next day. Upon his arrival at the palace, he was seated in a chair in the middle of a spacious hall, and imme- diately drawn up to a great height; presently the king with his attendants appeared in a gallery oppo- *• Francesco Gaspabini, of -wliom an account is given in page 678 of this work. The two persons of the name of Stefkins were of the Mng's band in 1694, as appears by Chamberlayne's present State of England, published in that year, and were the sons of Theodore Stefkins, a very fine performer on the lute, celebrated by Salmon in his essay to the Advancement of Music. site to him, and at the same instant a number of wild bears were turned in ; the king bade him then choose whether he would sing or be let down among the bears : Abell chose the former, and declared afterwards that he never sang so well in his life. This fact is alluded to in a letter from Pomigny de Auvergne to Mr. Abell of London, singing-master, among the letters from the dead to the living in the works of Mr. Thomas Brown, vol. II. page 189.f Mattheson, in his Vollkommenen Cappellmeister, takes notice of Abell, and says that he sang in Hol- land, and at Hamburg, with great applause. He adds that he was possessed of some secrets, by which he preserved the natural tone of his voice to an ex- treme old age. About the latter end of Queen Ann's reign Abell was at Cambridge with his lute, but he met there with poor encouragement. How long he lived after- wards is not known, but the account of his death was communicated to the gentleman who furnished many of the above particulars by one, who, having known him in his prosperity, assisted him in his old skge, and was at the expense of his funeral. After having rambled abroad for many years, it seems that Abell returned to England, for in 1701 he published at London a Collection of Songs in several languages, with a dedication to King William, wherein he expresses a grateful sense of his majesty's favours abroad, and more especially of his great cle- mency in permitting his return to his native country. In this collection is a song of Prior, ' Reading ends in melancholy,' published among his posthumous works, and there said to have been set by Mr. Abell. Mention is made in the Catalogue of Estienne Roger of Amsterdam, of a work of Abell, entitled ' Les Airs d' Abell pour le Concert du Duole;' and in the ' Pills to purge Melancholy,' vol. IV. are two songs, set by Abell to very elegant tunes. CHAP. CLI. John Birchensha was probably a native of Ireland ; at least it is certain that he resided at Dublin in the family of the Earl of Kildare, till the rebellion in the year 1641 , drove him from thence hither : he was remarkable for being a very genteel man in his person and behaviour ; he lived in London many years after the restoration, and taught the viol. Shadwell, in his comedy of the Humourists, act III. puts this speech into the mouth of a brisk fantastical coxcomb, 'That's an excellent Corant; really I must ' confess that Grabu is a pretty hopeful man ; but ' Birkenshaw is a rare fellow, give him his due ; for ' he can teach men to compose that are deaf, dumb, 'and blind.' [walks about conibing his peruke.% + In this letter are many intimations that Abell was a man of intrigue ; there are in it also allusions to some facts not particularly mentioned, as that the king of France presented him with a valuable diamond for singing before him, which was stolen from him by an Irishman ; and that he received a sum of money from the Elector of Bavaria for some particular purpose, and went off with it ; and in Abell's answer he is made to confess the fact, by his apology that it was but spoDing the Egyptians. In another letter of the same person from Henry Purcell to Dr. Blow, Abell is celebrated as a fine singer. Brown's Works, vol. II. page 297. t Combing the peruke, at the time when men of fashion wore large wigs, was even at public places an act of gallantry. The combs for this 726 HISTORY OF THE SCIENCE Book XVL The last sentence of the ahove speech has an allusion to a proposal of his, hereunder mentioned, for printing hy subscription a work entitled Syntagma Musicse. He published in 1664, Templum Musicum, or the Musical Synopsis of Johannes Henricus Alstedius,* and a small tract in one sheet, entitled Hules and Directions for composing in Parts. In the Philosophical Transactions for the year 1672, page 5153, is the following pompous advertisement respecting a book which Birchensha was about to publish. ' There is a book preparing for the press ■ entituled Syntagma Musicse, in which the eminent ' author, John Birchensha, Esq. treats of music ' philosophically, mathematically, and practically. • And because the charge of bringing this book to ' the press will be very great, especially the several ' cuts therein, with their printing off, amounting by ' computation to more than 5001. besides other great ' expenses for the impression of the said book, divers ' persons, for the encouragement of the said author ' have advanced several sums of money, who for ' every 203. so advanced are to receive one of the ' said books fairly bound up ; the author engaging ' himself under his hand and seal to deliver to each ' of the subscribers and advancers of so much money ' one of the said books, at or before the 24th March, ' 1674. In which excellent work there will be : — ' 1st. A discovery of the reasons and causes of ' musical sounds and harmony. A complete scale ' of music never before perfected. The proportions ' of all consonant and dissonant sounds useful in ' music, demonstrated by entire numbers, which the ' author says hath not been done by any. The ' different opinions of musical authors reconciled. ' Of sounds generated and dififused in their medium. ' Of their difference to the organ of hearing; together ' with their reception there, and wonderful effects. ' Of the matter, form, quantity, and quality of musical ' bodies or sounds: that musical sounds are originally ' in the radix or unison ; and of their fluxion out of ' it. Of the general and special kinds, differences, ■ properties, and accidents of sounds. Of the truth ' and falsehood of sounds. ' 2. Of the mathematical principles of music. ' Of the whole and parts of the scale of music. ' Of sounds equal and unequal. Of the numeration, purpose were of a very large size, of ivory or tortoise-shen curiously chased and ornamented, and were carried in the pocket as constantly as the snuff-box ; at court, on the mall, and in the boxes, gentlemen conversed and combed their perukes. There is now in being a' fine picture by the elder Laroon, of John duke of Marlborough at his levee, in which his grace is represented dressed in a scarlet suit, with large white satin cuffs, and a very long white peruke, which he combs while his valet, who stands behind him, adjusts the carls after the comb has passed through them. ' * Alsiedius was a German divine of the reformed religion, and one of the most voluminous writer,s of the last century. He was for many years professor of theology and philosophy at Herborn, in the county of Nassau, and after that at Alba-Julia in Transylvania ; and was one of the divines that assisted at the synod of Dort. He laboured for the greatest part of his life to reduce the several branches of science into systematical order, in which, according to the opinion of most men, he succeeded well. Nevertheless it must be said of 'the Templum Musicum that it is so formal as to resemble a logical more than a musical treatise. Of the many works which he was the author of, his encycloposdia and his Thesaurus Chronologicus are deemed the most valuable. He was a Millenarian, and published in 1627 a treatise De MUle Annls, wherein he taught that the faithful shall reign with Jesus Christ upon earth a thousand years, at the end whereof would be the general resurrection and last judgment ; and he asserted that this reign would commence in the year 1694 , He died at Alba-Julia in the year 1638, being fifty years of age. ' addition, subtraction, multiplication, and division ' of musical sounds. Of musical proportions and ' their various species. What a musical body or ' sound mathematically considered, viz. as numerable, ' is. Of musical medieties, scilicet, arithmetical, ' geometrical, and harmonical ; together with eight ' other musical medieties, of which no mention is ' made by any musical author. Of the radixes of ' musical numbers ; and that by their powers all ' those numbers, and no other, which demonstrate ' the proportions of sounds do arise. Of music ' diatonic, chromatic, and enharmonic. Of the prin- ' cipals of a musical magnitude : What and how ' manifold they are ; how they are conjoin' d. Of ' the contact, section, congruity, and adscription of ' a musical body. Of the commensurability thereof. ' In what respect a musical sound may be said to be ' infinite, and how to bound that infinity. ' 3. Of musical systems, characters, voice or ' key. Of the transposition of keys. Of the mu- ' tatibns of musical voice. Of musical pauses and ' periods. " Of the denomination of notes. Of the ' moods and intervals. Of pure and florid counter- ' point. Of figurate music. Of fugues, canons, ' double descant, syncope, of the mensuration of ' sounds called time ; the reason thereof. Of choral ' musick both Eoman and English. Of the rythmical ' part : of music. Of solmization, and the reason ' thereof. ' 4. The abstruse and difficult terms of this science ' are explained. The unnecessary and mystical sub- ' tleties into which the causes both of the theory ' and practice of music were reduced, to the great ' obscuring this art, are omitted : the principles of ' philosophy, mathematicks, grammar, rhetoric, and ' poetry are applied to musical sounds, and illustrated ' by them ; the generation of such sounds is discoursed ' of, and particularly demonstrated. ' 5. An easy way is by this author invented for ' making airy tunes of all sorts by a certain rule, ' which most men think impossible to be done ; and ' the composing of two, three, four, five, six, and ' seven parts, which by the learner may be performed ' in a few months, viz. in two months he may exqui- ' sitely, and with all the elegancies of music, compose 'two parts; in three months three parts, and so ' forward, as he affirms many persons of honour and ' worth have often experienced, which otherwise ' cannot be done in so many years. ' 6. Whatsoever is grounded upon the several ' hypotheses and postulata in this book, is clearly ' demonstrated by tables, diagrams, systems,' &c. This book was either never published, or is become very scarce ; for after a very careful search, and much inquiry, a copy of it has not been found. Birchensha was also the publisher of that book written by Thomas Salmon, which gave rise to the controversy between the author and Matthew Lock, of which an account has already been given. The preface to ft is subscribed John Birchensha. Thomas Mack (a Portrait), a practitioner on the lute, one of the clerks of Trinity college, Cambridge, stands distinguished among the writers on music by Chap. CLI. AND PRACTICE OF MUSIC. 727 a work entitled ' Musick's Monument, or a Eemem- ' brancer of the best practical Musick both divine ' and civil, that has ever been known to have been ' in the world,' folio, 1676. This person was born in the year 1613 : under whom he was educated, or by what means he became possessed of so much skill in the science of music, as to be able to furnish out matter for a folio volume, he has no where informed us : nevertheless his book contains so many particulars respecting himself, and so many traits of an original and singular character, that a very good judgment may be formed both of his temper and ability. With regard to the first, he appears to have been an enthusiastic lover of his art ; of a very devout and serious turn of mind, and cheerful and good-humoured under the infirmities of age, and the pressure of misfortunes. As to the latter, his knowledge of music seems to have been confined to the practice of his own instrument, and so much of the principles of the science, as enabled hiin to compose for it ; but for his style in writing he certainly never had his fellow. As to the book itself, a singular vein of humour runs through it, which is far from being disgusting, as it exhibits a lively portraiture of a good-natured, gossiping old man, and this may serve as an apology for giving his sentiments in many instances in his own phrase. The four first chapters of his first book are an eulogium on psalmody and parochial music; the fifth contains a recommendation of the organ for that purpose ; and the sixth, with its title, is as follows : — ' How to procure an Organist. ' The certain way I will propose shall be this, * viz., first, I will suppose you have a parish dark, ' and such an one as is able to set and lead a psalm, ' although it be never so indifferently. ' Now this being granted, I may say that I will, ' or any musick master will, or many more inferiours, ' as virginal players, or many organ makers, or ' the like ; I say any of those will teach such a ' parish clark how to pulse or strike most of our ■* common psalm-tunes, usually sung in our churches, ' for a trifle, viz. 20, 30, or 40 shillings, and so well ' that he need never bestow more cost to perform ' that duty sufficiently during his life. ' This I believe no judicious person in the art will * doubt of. And then, when this clark is thus well ' accomplished, he will be so doated upon by all the ' pretty ingenuous children and young men in the ' parish, that scarcely any of them but will be begging ' now and then a shilling or two of their parents to * give the clark, that he may teaeh them to pulse a ' psalm-tune ; the which any such child or youth ' will be able to do in a week or fortnight's time ' very well. ' And then again, each youth will be as ambitious ' to pulse that psalm-tune in publick to the congre- ' gation, and no doubt but shall do it sufficiently well. ' And thus by little and little the parish in a short ' time will swarm or abound with organists, and ' sufficient enough for that service. ' For you must know, and I intreate you to be- ' lieve me, that seriously it is one of the most easie ' pieces of performances in all instrumental musick, ' to pulse one of our psalm-tunes truly and well after ' a very little shewing upon an organ. ' The clark likewise will quickly get in his money ' by this means. ' And I suppose no parent will grutch it him, but ' rather rejoyce in it. ' Thus you may perceive how very easily and cer- ' tainly these two great difficulties may be overcome, ' and with nothing so much as a willing mind. ' Therefore be but willingly resolved, and the ' work will soon be done. ' And now again methinks I see some of you ' tossing up your caps, and crying aloud, " We will " have an organ, and an organist too ; for 'tis but " laying out a little dirty money, and how can we " lay it out better than in that service we offer up " unto God ? and who should we bestow it upon, if " not upon him and his service ?" ' This is a very right and an absolute good resolve, ' persist in it and you will do well, and doubtless ' find much content and satisfaction in your so doing. ' For there lies linked to this an unknown and un- ' apprehended great good benefit, which would re- ' dound certainly to all or most young children, who ' by this means would in their minorities be so ' sweetly tinctured or seasoned, as I may say, or ' brought into a kind of familiarity or acquaintance ' with the harmless innocent delights of such pure ' and undefilable practices, as that it would be a great ' means to win them to the love of virtue, and to ' disdain, contemn, and slight those common, gross, ' ill practices which most children are incident to ' fall into in their ordinary and accustomed pursuits.' But lest his arguments in favour of the general use of the organ should fail, this author shows in Chap. VIII. how psalms may be performed in churches without that instrument; his method is this : — ' Wheresoever you send your children to the 'grammar-school, indent so with the master, that ' your children shall be taught one hour every day ' to sing, or one half day in every week at least, ' either by himself, or by some music-master whom ' he shall procure ; and no doubt but if you will pay ' for it the business may be effected. ' For there are divers who are able to teach to ' sing, and many more would quickly be, if such a ' general course were determined upon throughout ' the nation. 'There would scarcely be a schoolmaster but ' would or might be easily able himself to do the ' business once in a quarter or half a year ; and ' in a short time every senior boy in the school will ' be able to do it sufficiently well. ' And this is the most certain, easie, and sub- stantial way that can possibly be advis'd unto. ' And thus, as before I told, how that your organists ' would grow up amongst you as your corn grew in ' the fields ; so now, if such a course as this would ' be taken, will your quiresters increase even into ' swarms like your bees in your gardens ; by which 3b 728 HISTOEY OP THE SCIENCE Book XV). ' means the next generation will lie plentifully able ' to follow St. Paul's counsel, namely, to teach and ' admonish one another in psalms, and hymns and ' spiritual songs, and so sing with a grace in their ' hearts and voices unto the Lord, and to the setting ' forth of his glorious praise.' Chap. X. the author mentions the time and place when and where was heard, as he professes to believe, the most remarkable and excellent singing of psalms known or remembered in these latter ages ; in his judgment far excelling all other either private or public cathedral musick, and infinitely heyond all verbal expression or conceiving. ' The time when was in the year 1644, the place ' where, was in the cathedral church of the royal ' city York.* * * * The occasion of it was the great 'and close siege which was then laid to the city, ' and strictly maintain'd for eleven weeks space, by ' three very notable and considerable great armies, ' viz. the Scotch, the Northern, and the Southern ; ' whose three generals were these, for the Scotch, 'the old Earl Leven, viz. David Lessley, alias ' Lashley ; for the Northern, the old Ferdinando 'Lord Fairfax; for the Southern, the Earl of ' Manchester : and whose three chief commanders ■■ next themselves were, for the Scotch, Lieutenant ' General -; ; for the Northern, Sir Thomas ' now Lord Fairfax ; and for the Southern, Oliver ' Cromwell, afterwards Lord Protector. ' By this occasion there were shut up within that ' city abundance of people of the best rank and ' quality, viz. lords, knights, and gentlemen of the ' countries round about, besides the soldiers and ' citizens, who all or most of them came constantly ' every Sunday to hear publick prayers and sermon ' in that spacious church. ' And indeed their number was so exceeding great, ' that the church was, I may say, even cramming or ' squeezing full. ' Now here you must take notice, that they had ' then a custom in that church, which L hear not in ' any other cathedral, which was, that always before ' the sermon the whole congregation sang a psalm, ' together with the quire and the organ : and you ' must also know, that there was then a most ex- ' cellent, large, plump, lusty, full-speaking organ, ' which cost, as I am credibly informed, a thousand ' pounds. ' This organ I say, when the psalm was set before ' the sermon, being let out into all its fullness of stops, ' together with the quire began the psalm. ' But when that vast concording unity of the ' whole congregational-chorus, came, as I may say, ' thundering in, even so as it made the very ground ' shake under us ; Oh the unutterable ravishing ' soul's delight ! in the which I was so transported ' and wrapt up in high contemplations, that there was ' no room left in my whole man, viz., body, soul, ' and spirit, for any thing below divine and heavenly ' raptures : nor could there possibly be any thing on ' earth to which that very singing might be truly ' compared, except the right apprehensions or con- ' ceivings of that glorious and miraculous quire, re- ' corded in the scriptures at the dedication of the ' temple, of which you may read in the 2 Ohron. ' ch. 5, to the end ; but more particularly eminent ' in the two last verses of that chapter, where king ' Solomon, the wisest of men, had congregated the ' most glorious quire that ever was known of in all ' the world : and at their singing of psalms, praises, ' or thanksgivings, the glory of the Lord came ' down amongst them, as there you may read.* * * * ' But still further that I may endeavour to make ' this something more lively apprehended, or under- ' stood to be a real true thing. ' It would be considered that if at any time or ' place such a congregated number could perforin ' such an outward service to the Almighty, with ' true, ardent, inward devotion, fervency, and aiifec- ' tionate zeal, in expectation to have it accepted by ' him ; doubtless it ought to be believed that it ' might be and was done there and then. ' Because that at that time the desperateness and ' dismaidness of their danger could not but draw ' them into it, in regard the enemy was so very ' near and fierce upon them, especially on that side ' the city where the church stood ; who had planted ' their great guns so mischievously against the ' church, and with which constantly in prayers time ' they would not fail to make their hellish dis- ' turbance, by shooting against and battering the ' church, insomuch that some times a canon bullet ' has come in at the windows, and bounced about ' from pillar to pillar, even like some furious fiend ' or evil spirit, backwards and forwards, and all ' manner of side ways, as it has happened to meet ' with square or round opposition amongst the- ' pillars, in its returns or rebounds, untill its force ' has been quite spent. ' And here is one thing most eminently remarkable, ' and well worth noting, which was, that in all the ' whole time of the siege there was not any one ' person, that I could hear of, did in the church re- ' ceive the least harm by any of their devilish cannon ' shot ; and I verily believe that there were con- ' stantly many more than a thousand persona at that ' service every Sunday during the whole time of ' that siege.' In Chapters XL and XII. this author treats of cathedral music, and after asserting that we have in this nation a large collection of compositions for the church, so magnificently lofty and sublime, as never to be excelled by art or industry, he laments the paucity of clerks in the several choirs of this kingdom, and the inability of many of them ; and assigns as a principal reason for the decline of cathedral service, that the lay clerks are necessitated to be barbers, shoemakers, tailors, and smiths, and to follow other still inferior occupations, having no better a provision than the ancient statutable wages ; the hardship of which restraint he says himself had been an experimental witness of during more than fifty years' service in the church ; and upon this occasion he tells a story to the following purpose, of which he says he was both an eye and ear witness : a singing man, a kind of pot ^ wit, very little skilled Chap. GLI. AND PEAOTIOE OF MUSIC. 729 in music, had undertaken in Ws choir to sing a solo anthem, but was not able to go through with it : as the dean was going out, and the clerk was putting off his surplice, the dean rebuked him sharply for his inability ; upon which with a most stern, angry countenance, and a vehement rattling voice, such as made the church ring, shaking his head at him, he answered the dean, ' Sir, I'd have you know that ' I sing after the rate of so much a year,' naming his wages, ' and except ye mend my wages, I am re- ' solved never to sing better whilst I live.' The second part of this work treats of the lute, and professes to lay open all the secrets of that in- strument, which till the author's time were known only to masters ; and to this their closeness, and extreme shyness in revealing the secrets of the lute, he attributes it that the instrument is so little under- stood. On this occasion he complains of the French, who he says are generally accounted great masters, for that they would seldom or never write their lessons as they played them, much less reveal any thing that might tend to the understanding of the art of the instrument, so that there have seldom been at any time above one or two excellent or rare artists in this kind. In the second chapter he endeavours to refute the common objections against the lute, such as that it is the hardest instrument in the world ; that it will take up the time of an apprenticeship to play well upon it; that it makes young people grow awry; that one had as good keep a horse as a lute for cost ; that it is a woman's instrument ; and that it is out of . fashion. Under the objection of difficulty he takes notice that it is chiefly grounded on the number of strings on the lute, which he makes to be twelve, only six whereof are used in grasping or stopping ; the other six, being basses, and are struck open with the thupib : and the easiness of hitting them, he demonstrates by what he calls an apt comparison; for he supposes a table with six or seven ranks of strings, such, he says, as many country people have at the end of some cupboards, fastened on with nails at each end, with small stones or sticks to cause them to rise and sound from the wood : he says that an ingenious child might strike these six or seven strings in order, resembling the bells, and then out of order, in changes ; and to these ranks of strings on the country people's cupboards does he resemble the six ranks of the lute-basses. The objection that the lute is a costly instrument, he answers by an affirmation that all his life long he never took more than five shillings the quarter to maintain a lute with strings, nor for the first stringing more than ten shillings. Chap. III. contains directiops how to know and choose a good lute ; the author says that the lutes most esteemed in his time were those made by Laux Mailer, two whereof he says he had seen, pitiful, old, battered, cracked things, valued at one hundred pounds a-piece; one of these he says was shown him by Goutier, the famous lutenist,* which the king had paid that sum for : the other he says was * Jacques Gouteb, vide page 697 of this work. the property of Mr. Edward Jones, one of Goutier's scholars, who being minded to dispose of it, made a bargain with a merchant that desired to have it with him in his travels, that on his return he should either pay Mr. Jones a hundred pound as the price of it, or twenty pound for his use of it in the journey. After a multiplicity of directions for ordering the lute, and particularly for taking off the belly, which he says is generally necessary once in a year or two, he proceeds in Chap. VI. to give directions for stringing the lute, and describes very minutely the various kinds of strings, and for the choice of a true length gives the following direction, which he calls a pretty curiosity : — ' First draw out a length or more, then take the ' end, and measure the length it must be of within ' an inch or two, for it will stretch so much at least ' in the winding up ; and hold that "length in both ' hands, extended to a reasonable stiffness ; then ' ' with one of your fingers strike it, giving it ao ' much liberty in slaclmess as you may see it vibrate, ' or open itself ; which, if it be true, it vdll appear ' to the eye just as if there were two strings ; but ' if it shews more than two it is false, and will sound ' unpleasantly upon your instrument ; nor will it ever ' be well in tune, either stopt or open, but snarle.'']" Chap. IX. contains an explanation of that kind of notation called the Tablature, in which each of the six strings of the lute are represented by a line, and the several frets or stops by the letters a, b, t, S) f; fj B' ^; 2't ft> *^^ letter a ever signifying the open string in all positions. § With the same precision and singularity of style he describes the characters for the time of notes, calling the semibreve the master note ; and for the more easy division of it, calling that a groat, the minim two pence, the crotchet a penny, the quaver a half penny, and the semiquaver a farthing. From thence he proceeds to directions for the fingering, as also for the graces, one whereof, by him called the nerve-shake, he says he was not able to make well, and that for a reason, which with his usual pleasantry he gives in these words : — ' Some there are, and many I have met with, who ' have such a natural agility in their nerves, and ' aptitude to that performance, that before they could ' do anything else to purpose, they would make ' a shake rarely well. And some again can scarcely ' ever gain a good shake, by reason of the unaptness ' of their nerves to that action, but yet otherwise ' come to play very well. ' I for my own part have had occasion to break ' both my arms, by reason of which I cannot make t This direction is given hy Adrian Le Roy in his instructions for the lute. See page 420 of this work, and is adopted both by Mersennus and Kircher. Indeed this experiment is the only known test of a true strings and for that reason is "practised by such as are curious at this day. I y is used hy him in preference to i, as being a more conspicuous, character. § Of the notation by the tablature frequent mention hat been made in the course of this work ; from the nature of it, it is obvious that it has not the least relation to the musical characters properly so caUed; and the fact is, that many persons have been good performers on the lute, and at the same time totally ignorant of the notes of the Gamut,, and yet there are masters of the lute who play by them ; and this U supposed in those compositions of Corelli's iii particular, where tha thorough-bass is said to be for the organ, harpsichord, or arch-lute.. 730 HISTOEY OF THE SCIENCE Book XVI. ' the nerve-shake well nor strong ; yet by a certain ' motion of my arm, I have gained such a contentive ' shake, that sometimes my scholars will ask me how ' they shall do to get the like ? I have then no ' better answer for them than to tell them they must ' first break their arm as I have done, and so possibly ' after that, by practice they may get my manner ' of shake.' Among a variety of lessons of the author's com- position, inserted in this his work, is one which he calls has Mistress, as having been composed a short time before his marriage, and at the instant when, being alone, he was meditating on his intended wife. It is written in tablature, but is here rendered in the characters of musical notation : — The occasion of his composing it, and the reasons for giving it the name of his Mistress, are related in the following singular history : — ' Yon must first know that it is a lesson, though ' old yet I never knew it disrelished by any ; nor is ' there any one lesson in this book of that age as it ' is ; yet I do esteem it in its kind, with the best ' lesson in the book, for several good reasons which ' I shall here set down. ' It is, this very winter, just 40 years since I made ' it ; and yet it is new, because all like it ; and ' then, when I was past being a suitor to my best ' beloved, dearest, and sweetest living mistress, but ' not married, yet contriving the best and readiest ' way towards it : and thus it was. ' That very night, in which I was thus agitated ' in my mind concerning her, my living mistress, ' she being in Yorkshire, and myself at Cambridge, ' close shut up in my chamber, still and quiet, about ' 10 or 11 a clock at night, musing and writing ' letters to her, her mother, and some other friends ; ' in summing up and determining the whole matter ' concerning our marriage ; You may conceive I ' might have very intent thoughts all that time, and ' might meet with some difficulties ; for as yet I had ' not gained her mother's consent, so that in my ' writings I was sometimes put to my studyings. 'At which times, my lute lying upon my table, ' I sometimes took it up, and walked about my ' chamber, letting my fancy drive which way it ' would, for I studied nothing at that time as to ' musick ; yet my secret genius or fancy prompted ' my fingers do what I could into this very humour, ' so that every time I walked and took up my lute ' in the interim betwixt writing and studying, this ' ayre would needs offer itself unto me continually ; ' insomuch that at the last, liking it well, and lest ' it should be lost, I took paper and set it down, ' taking no further notice of it at that time ; but ' afterwards it passed abroad for a very pleasant and ' delightful ayre amongst all ; yet I gave it no name ' till a long "time after, nor taking more notice of it ' in any particular kind, than of any other my com- ' posures of that nature. ' But after I was married, and had brought my Thomas Mace. ' wife home to Cambridge, it so fell out that one ' rainy morning I sta/d within, and in my chamber, ' my wife and I were all alone ; she intent upon her ' needle-works, and I playing upon my lute at the ' table by her. She sat very still and quiet, listning ' to all I played without a word a long time, till at ' last I happened to play this lesson, which so soon ' as I had once play'd, she earnestly desired me to ' play it again ; for, said she, that shall be called ' my lesson. ' From which words so spoken with emphasis and ' accent, it presently came into my remembrance the ' time when, and the occasion of its being produced, ' and returned her this answer, viz.. That it may very ' properly be called your lesson, for when I composed ' it you were wholly in my fancy, and the chief ' object and ruler of my thoughts; telling her how ' and when it was made ; and therefore ever after ' I thus called it my Mistress ; and most of my ' scholars since call it Mrs. Mace to this day.' This relation is followed by a kind of commentary on the lesson itself in these words : — ' First, observe the two first bars of it, which will ' give you the fugue, which fugue is maintained quite ' through the whole lesson. ' Secondly, observe the form and shape of the 'whole lesson, which consists of two imiform and ' equal strains, both strains having the same number ' of bars. ' Thirdly, observe the humour of it, which you ' may perceive by the marks and directions is not ' common. j. ' These three terms or things ought to be con- ' sidered in all compositions and performances of ' this nature, viz., ayres or the like. ' The fugue is lively, ayrey, neat, curious, and ' sweet like my mistress. ' The form is uniform, comely, substantial, grave, ' and lovely like my mistress. ' The humour is singularly spruce, stmiahle, plea- ' sant, obliging, and innocent like my mistress.'- He afterwards composed a second part of this ' lesson, so contrived, as to be, as he calls it, a Oonsort- ' lesson to the former, to be played upon another ' equal lute, or as a lone lesson. J I Chap. CLI. AND PEAOTICE OF MUSIC. 731 ^=fe===^ii^=^^i-^^ ^^ ^ i. =f; ^^^^m- 3 -««- ii^igi^^l p^^^ =r w. -A ^^^i^i^^ii^re^ii^^^^P&^^ Touching the performance of which, he gives a direction, purporting that when the second part is played with the first, the performer is to rest the two last notes of the fourth bar, and the three first notes of the fifth. The remainder of the second part consists of directions for the composition of lessons for the lute, as namely, Preludes, Fancies, and Voluntaries, Pavans, Almains, Galliards, Oorantos, Sarabands, Tattle de Moys,* Chacones, Toys or Jigs, Common tunes, f and Grounds, with examples of each; and concludes with a comparison between two tunings of the lute, the one called by him the flat tuning, and the other the new tuning, though he says it was in his time at least forty years old : the latter of these he endeavours by a variety of examples to prove is the best, and concludes his argument with this assertion, ' The flat tuning is a most perfect, full, ' plump, brisk, noble, heroic tuning; free and copious, ' fit, aptly and liberally to express any -thing in any ' of the 7 keys ; but that new tuning is far short of ' these accommodations, and is obviously subject to ' several inconveniences.' The third part treats of the viol, and of music in general ; and here he takes occasion to lament the abuse of music in the disproportionate numbers of bass and treble instruments in the concerts of his time, in which he says it was not unusual to have but one small weak -sounding bass-viol, and two or three violins, scolding violins, as he calls them ; nay he says that he has frequently heard twenty or more violins at a sumptuous meeting, and scarce half so many basses, which latter he says should in reason be the greater number. Of the concerts which he had b'een accustomed to hear in his youth, and before the violin became a concert instrument, he never speaks but in such * This is the name of an air invented by himself, much like a Sara- hand, but having as he expresses it, more of conceit in it, and speaking in a manner those very words. + These tunes he says are such as the hoys and common people sing about the streets, many whereof were then as the common song-tunes have since been, most excellent. Thomas Mace. terms of rapture, as shew him to have been tho- roughly susceptible of the charms of music. The following is his description of them, and refers to about the beginning of the last century : — ' In my younger time we had musick most ex- ' cellently choice and most eminently rare, both ' for its excellency in composition, rare fancy, and ' sprightly ayre ; as also for its proper and fit per- ' formances ; even such, as if your young tender ears ' and fantasies, were but truly tinctured therewith, ' and especially if it possibly could but be cry'd up ' for the mode or new fashion, you would embrace ' for some divine thing. ' And lest it should be quite forgot, for want of ' sober times, I will set down, as a remembrancer 'and well-wisher to posterity, and an honourer of ' the memory of those most eminent worthy masters ' and authors, who some of them being now de- ' ceased, yet some living, the manner of such musick ' as I make mention of, as' also the nature of it. ' We had for our grave musick Fancies of 3, 4, 5, ' and 6 parts to the organs, interposed, now and then, ' with some Pavins, Allmaines, solemn and sweet ' delightful ayres, all which were, as it were, so many ' pathetical stories, rhetorical and sublime discourses, ' subtil and acute argumentations, so suitable and ' agreeing to the inward, secret, and intellectual ' faculties of the soul and mind, that to set them forth ' according to their true praise, there are no words suf- ' ficient in language ; yet what I can best speak of them ' shall be only to say, that they have been to myself, ' and many others, as divine raptures, powerfully cap- ' tivating all our unruly faculties and affections for the ' time, and disposing us to solidity, gravity, and a ' good temper, making us capable of heavenly and ' divine influences., ''Tis great pity few believe thus much; but far ' greater that so few know it. ' The authors of such like compositions have been ' divers famous Englishmen and Italians, some of ' which for their very great eminency and worth in ' that particular faculty, I will name here, viz., Mr. 732 HISTOEY OF THE SCIENCE Book XVI. ' Alfonso Ferabosco, Mr. John Ward, Mr. Lupo, Mr. ' White, Mr. Eichard Deering, Mr, William Lawes, ' Mr. John Jenkins, Mr. Christopher Simpson, Mr. ' Ooperario, and one Monteverde, a famous Italian * author ; besides divers and very many others, who ' in their late time were all substantial, able, and pro- ' found composing masters in this art, and have left ' their works behind them, as fit monuments and ' patterns for sober and wise posterity, worthy to be ' imitated and practised : 'tis great pity they are so 'soon forgot, and neglected, as I perceive they are ' amongst many. ' And these things were performed upon so many ' equal and truly-siz'd viols, and so exactly strung, ' tuned, and played upon, as no one part was any ' impediment to the other; but still, as the composi- ' tion required, by intervals, each part amplified and ' heightened the other, the organ evenly, softly, and ' sweetly according to all. ' We had, beyond all this, a custom at our meet- ' ings, that commonly after such instrumental music ' was over, we did conclude all with some vocal 'music to the organ, or, for want of that, to the ' Theorboe. ' The best which we ever did esteem, were those ' things which were most solemn and divine, some of 'which I will for their eminency name, viz. Mr. ' Deering's Gloria Patri, and other of his Latin songs, ' now lately collected and printed by Mr. Playford, ' a very laudable and thank-worthy work, besides ' many other of the like nature, Latin and English, ' by most of the above-named authors and others, ' wonderfully rare, sublime, and divine beyond all ' expression. ' But when we would be most ayrey, jocond, ' lively, and spruce, then we had choice and singular ' consorts, either for 2, 3, or 4 parts, but not to the ' organ, as many, now a days, improperly and unad- ' visedly perform such like consorts with, but to the ' harpsicon ; yet more properly and much better to ' the pedal, an instrument of a late invention, con- ' trived, as I have been inform' d, by one Mr. John ' Hayward of London, a most excellent kind of in- ' strument for a consort, and far beyond all harpsicons ' or organs that I yet ever heard of, I mean either ' for consort or single use ; but the organ far beyond ' it for those other performances before mentioned.' Of the pedal above mentioned he gives a brief de- scription, which seems to indicate that it was a kind of harpsichord with stops to be governed by the feet. He says that the pedal was not commonly used or known, because few could make of them well, and fewer would go to the price of them, twenty pounds being the ordinary price of one, but that the great patron of music in his time. Sir Eobert BoUes, whom in the university he had the happiness to initiate in the high art of music, had two of them, the one at thirty pounds, and the other at fifty pounds. -He then proceeds to give directions for procuring au'l maintaining the best music imagiaable, and ex- hi -its first the plan of a music-room contrived by himself for concerts, with galleries for auditors, capable of holding two hundred persons. Among the instruments proper for a great concert to be performed in this room, he recommends a table- organ, as being far more reasonable and proper than an upright organ. He says that two table organs were in being at the time when he wrote his hook, that they were of his own contrivance, and were for his own use, as to the maintaining of public concerts, &c. and that he did design to erect such a music-room as he has described, but that it pleased God to disappoint and discourage him, chiefly by the loss of his hearing, and the con- sequent emptiness of his purse ; but concludes his account with an advertisement, that although it had been his unhappiness to be compelled to part with these instruments, yet that one of them was then to be sold, and that if any person would send to him about it, he would find it a very, very, jewel. He next recommends as the properest instruments for a concert, a chest of viols, a description whereof, as the term is at this day scarcely understood, is here given in his own words : — ' Your best provision and most compleat will he ' a good chest of viols, six in number, viz., two ' basses, two tenors, and two trebles, all truly and ' proportionably suited. ' Of such there are no better in the world than ' those of Aldred, Jay, Smith, yet the highest in ' esteem are BoUes and Eoss ; one bass of BoUes ' I have known valued at 1001. These were old, 'but we have now very excellent good. workmen, ' who no doubt can work as well as those, if they ' be so well paid for their work as they were ; yet ' we chiefly value old instruments before new ; for ' by experience they are found to be far the best. ******* But if you cannot procure an iutire ' chest of viols, suitable, &a. endeavour to pick up ' here or there so many excellent good odd ones, as ' near suiting you as you can, every way, viz., both 'for shape, wood, colour, &c. but especially for size. ' And to be exact in that, take this certain rule, ' viz. let your bass be large : Then your trebles ' must be just as short again in the string, viz., from ' bridge to nut, as are your basses, because they ' stand eight notes higher than the basses, therefore ' as short again ; for the middle of every string is ' an eighth. The tenors in the string just so long ' as from the bridge to F fret, because they stand ' a fourth higher than your basses, therefore so long. ' Let this suffice to put you into a compleat order ' for viols either way ; only note, that the best place ' for the bridge is to stand just in the three quarter ' dividing of the open cute below, though most, ' most erroneously suffer them much to stand too ' high, which is a fault. ' After all this you may add to your press a pair ' of violins, to be in readiness for any extraordinary 'jolly or jocund consort occasion; but never use ' them but with this proviso, viz., be sure you make ' an equal provision for them, by the addition and ' strength of basses, so that they may not out-cry ' the rest of the musick, the basses especially ; to ' which end it will be requisite you store your press ' with a pair of lusty, full-sized Theorboes, always Chap. CLII. AND PEAOTIOE OF MUSIC. 733 ' to strike in with your consorts or vocal musick, to ' which that instrument is most naturally proper. ' And now to make your store more amply com- ' pleat, add to these three full-sized Lyra-viols, there ' being most admirable things made, by our very best ' masters for that sort of musick, both consort-wise, ' and peculiarly for two or three Lyres. ' Let- them be lusty, smart-speaking viols ; because ' that in consort they often retort against the treble, ' imitating, and often standing instead of that part, ' viz., a second treble. ' They will serve likewise for Division-viols very ' properly. ' And being thus stored, you have a ready enter- ' tainment for the greatest prince in the world.' He next proceeds to give directions for the prac- tice of the viol, together with a few lessons by way of example ; and concludes with a chapter on music in general, but which contains nothing more than some reflections of the author on the mysteries of music, which he says have a tendency to strengthen faith, and are a security against the sin of atheism. Mace does not appear to have held any consider- able rank among musicians, nor is he celebrated either as a composer or practitioner on the lute ; nevertheless his book is a proof that he was an excellent judge of the instrument, and contains such a variety of directions for the ordering and manage- ment thereof, as also for the performance on it, as renders it a work of great utility. ' In it are many curious observations respecting the choice of stringed instruments, the various kinds of wopd of which they are made, the method of preserving them, and the preference due to the several kinds of strings im- ported hither from Kome, Venice, Pistoja, Lyons, and other places. In another view of it his work must be deemed a great curiosity, as containing in it a full and accurate description of that kind of nota- tion called the Tablature, of the truth and accuracy whereof proof has been made by persons ignorant of the lute, in the translation of some of his lessons into the characters of musical notation. The singu- larity of his style, remarkable for a profusion of epithets and words of his own invention, and tauto- logy without end, is apt to disgust such as attend less to the matter than the manner of his book ; but on others it has a different effect, as it exhibits, without the least reserve, all the particulars of the author's character,* which the reader will easily discern was not less amiable than singular. The engraving given of Mace (see Portrait Vblume) is taken from one of Faithorne, prefixed to his book, the inscription under which bespeaks him to have been sixty-three years of age in 1676. How long he lived afterwards is not known. It seems that he had children, for in his book he speaks of * The most remarkalile of these are that affected precision "with which he constantly delivers himself, and his eager desire to communicate to others, even to the most hidden secrets, all the knowledge he was possessed of. In the relation he gives of the occasion of composing that lesson of his called Mrs. Mace, and the tenderness and affection with which he speaks of her who had been his wife more than forty years, who does not see the portrait of a virtuous and kind-hearted man ? To which we may add, that the book throughout breathes a spirit of de- votion ; and, agreeably to his sentiments of music, is a kind of proof that his temper was improved by the exercise of his profession. his youngest son named John, who, with scarce any assistance from his father, had attained to great pro- ficiency on the lute by reading his book."|" CHAP. cm. John Playford (a Portrait), born in the year 1613, was a stationer and seller of musical instru- ments, music-books, and music-paper. What his education had been is not known, but that he had attained to a considerable proficiency in the practice of music and musical composition is certain. In the Ashmolean Manuscript it is said he was clerk of the church belonging to the Temple, and that he dwelt near the Inner Temple gate. This latter assertion is erroneous in two respects, for in the first place many of the title-pages of books published by him describe his shop as situated in the Temple near the church-door ; and it may be thence conjectured that it was at the foot of the steps, either on the right hand or on the left, descending from the Inner Temple-lane to the cloisters. As to his dwelling, it was in Arundel-street in the Strand. In the year 1655 he published an introduction to the skill of music, which appears to be extracted from Morley's Introduction, Butler's Principles of Music, and other books on the subject of music; it is di- vided into three books, the first containing the principles of music, with directions for singing ; the second, instructions for the bass, treble, and tenor viol, and also for the treble violin, with lessons for each ; and the third the art of descant, or composing of music in parts. Wood says that in the drawing up of this book Playford had the assistance of Charles Pidgeon of Grays-Inn ; and that Dr. Benjamin Eogers also assisted him in many of his vocal compositions, of which there are many extant. Be this as it may, the Introduction of Playford, as it was written in a plain and easy style, succeeded so well, that in the year 1683 was published a tenth edition of it, considerably improved and enlarged by the author and his friends. This is the edition referred to here and elsewhere in this work, its character being that it is fuller than some editions, and more correct than any. The explanation given by this author of the scale of music, and of the several kinds of time, are no other than are to be found in most books on the subject; but what he says of the graces proper in singing is entire new matter, and is taken from a tract with this title : ' A brief discourse of the ' Italian manner of singing, wherein is set down the • use of those graces in singing, as the Trill and ' Gruppo, used in Italy, and now in England ; ' written some years since by an English gentleman ' who had lived long in Italy, and, being returned, ' taught the same here.':j: + Page 45. To this instance of the efficacy of his book in teaching the practice of the lute, it may here be added, that the late Mr, John Immyns, lutenist to the chapel royal, had the like experience of it. This person, who had practised on sundry instruments for many years, and was able to sing his part at sight, at the age of forty took to the lute, and by the help of Mace's book alone, became enabled to play thorough- bass, and also easy lessons on it, and by practice had rendered the tablature as familiar to him as the notes of the scale. I Wlio was the author of this discourse is not known. He says of 734 HISTORY OF THE SCIENCE. Book XVI. Of the graces here treated on, the Trill, or plain shake, and the Gruppo are the chief: the first is defined to be a shake upon one note only, in the making whereof the scholar is directed to sing the first of these examples : — Trill. Gruppo. ^ 3:;g^s&^ ^ beginning with the first crotchet, and beating every note with the throat upon the vowel o to the last breath. The Gruppo as defined by this author, appears to be no other than the shake now practised, and which consists in the alternate prolation of two tones in juxta position to each other, with a close on the note immediately beneath the lower of them. The second of the above examples is intended to explain it. The first, of these graces, called the Trill, or plain shake, is farther described in the following note of Playford relating to it : — ' Our author having briefly set forth this chief or • most usual grace in singing called the Trill, which, ' as he saith very right, is by a beating in the throat ' on the vowel o ; some observe that it is rather the ' shaking of the Uvula or palate on the throat in ' one sound upon a note : for the attaining of this ' the most sure and ready way is by imitation of ' those who are perfect in the same ; yet I have ' heard of some that have attained it after this manner, ' in singing a plain-song of six notes up and six • down, they have in the midst of every note beat or ' shaked with their finger upon their throat, which ' by often practice came to do the same notes exactly ' without. It was also my chance to be in company ' with some gentlemen at a musical practice, which ' sung their parts very well, and used this grace, ' called the TrUl, very exactly. I desired to know ' their tutor, they told me I was their tutor, for they ' never had any other but this my Introduction. ' That, I answered, could direct them but in the ' theory, they must needs have a better help in the ' practice, especially in ■ attaining to sing the Trill ' so well. One of them made this reply, which ' made me smile ; I used, said he, at my first learn- ' ing the Trill to imitate the breaking of a sound 'Jin ' the throat, which men use when they lure their ' hawks, as he-he-he-he, which he used slow at first, ' and after more swift on several notes, higher and ' lower in sound, till he became perfect therein. ' The Trill being the most usual grace, is usually ' made in closes or cadences, and when on a long '.note exclamation or passion is expressed, there the himself that he had heen taught that noble manner of singing which he professes to teach others, hy the famous Sdplone del Palla in Italy ; and that he had heard the same frequently practised there hy the most famous singers, men and women. He speaks also of airs of his com- position, which, as also this discourse, were by him intended for publication. Playford, in his Introduction, edit. 1666, says that the publication of it by the author was prevented by his death, but that the manuscript fortunately coming to his hands, he was by some of the most eminent masters encouraged to print it. ' Trill is made in the latter part of such note ; but ' most usually upon binding notes, and such as pre- ' cede the closing note. To those who once attain ' to the perfect use of the Trill, other graces will be- ' come easie.*' Of the other graces in singing mentioned by this author, the exclamation is the chief, and which is nothing more than an increase of the voice to some degree of loudness at the extremity of an ascending passage. After sundry examples of short songs for the practice of learners, and a few of the most common psalm tunes, follows the order of performing the divine service in cathedrals and collegiate chapels, taken from Edward Low's treatise on that subject; of which an account has already been given. The second book consists of an introduction to the play- ing on the bass viol or viol da gamba, as also on the other instruments of that species, namely, the treble and tenor viol ; this is followed by a like introduc- tion to the treble violin, including the tuning of the tenor or bass violin. What the author has said re- specting the first of these two classes of instruments has been given in a preceding page, and the following extracts from his book will show the system of the latter, as also the manner of teaching the violin in the author's time. It has already been related that the notation by the tablature had been transferred from the lute to the viol. This method had been found so easy and convenient for those who were content to be small proficients, that it was applied also to the violin, and may be understood by the following scale and example of a tune called Parthenia, set in that manner : — The First or Treble. A B O T) i: F (?■ The Second or small Mean. A H C n ■v. V (J- l |= ^^^^^ i|^ ^as The Third or great Mean. The Fourth String or Bass. -arn c n :e f ft- ^^^E^:^!^^ * Notwithstanding all that is above said of it, the trill must appear ta be somewhat very dliferent from a grace or ornament in singing; nay, that the practice of it approaches to a defect; for it is notliing less than an intermitted prolation of a single tone. As to the Gruppo or shake, properly so called, it is the chief grace, as well in instrumental as vocal performance ; nevertheless it is not once mentioned by Morley or Butler, or any of the old English writers on music, and seems to have been unknown among us at the time when Playford wrote ; which is much to be wondered at, seeing that it had been practised in Italy long before, as appears by Doni's treatise * De Preestantia Musicse veteris,' page 59, where Philoponus, one of the interlocutors, speaking of the graces and elegancies of modern music, makes use of these words: ' Hinc fre- * quentes argutissimorum ac praedulcium melismatum usurpationes ; et ' Compismorum in clausulis jucundissimus usus.' The directions above given point out very properly where the shake may be used, but they were little heeded in England till the practice of the opera singers had; taught ua the true use of i*. Those who can recollect Mr Phillip Hart^ Chap. CLII. AND PEAOTICE OF MUSIC. 735 an i.i i.nii ly-- *■ ■ V LJQ_,_ r H_. I- P C _A C. , % — 1- -1 ^1- 1 - 1 1 i. D i. 1 C , A i.r 1 4 A n 1 i 1 f I M w * ii' 1 A 1 1 [* 1 1 1 -[7 1 1 II 1 1 11 A •ni A 1 1 *•* A 1 1 A i.ni 1? V. * ■''■ 1 1 1? c , - a— 1 '*! 1? ■* 1 1 1 1 7 II 11 1 11 A .ni 1.. A r 1 1 ! 1 ■R O A n V H 'e^, V, -E I- 1 ]!' II ?~ 1 1 1 II Z-. 1 1 1 _. II Whicli tune, according to the rule before given, respecting the lute and the viol, viz., that if a crotchet he over any letter, the following letters are to he crotchets also till the note he changed, and the like of other notes, is thus to be rendered in the charac- ters of mnsical notation : — l ^^^^^M^^m^ ^^^^Egfg^fE^g^i The third part of Playford's Introduction con- sists of rules for composing music in parts ; but this has been varied from time to time in the several editions, as occasion offered. In that of 1660, the third part consisted solely of Dr. Campion's tract en- titled ' The art of Descant, or composing music in parts, with the annotations of Christopher Simpson ;' but in that of 1683 Campion's tract is rejected, and instead thereof we have ' A brief Introduction to the art of Descant, or composing music in parts,' without the name of the author, and probably written by Playford himself. In the subsequent editions, particularly that of 1713, this is continued, but with- very considerable additions, said to have been made by Mr. Henry Purcell. Playford appears to have possessed the friendship of most of the eminent musicians of his time, and in consequence thereof was the publisher of a very great number of music-books between the years 1650 and 1685. He was a good judge of music, had some skill in composition, and was very industrious in bis vocation, contributing not a little to the improve- organist of the church of St. Mary Undershaft, and Mr. Bernard Gates, master of the chlldreii of the chapel royal, must have remarked in the playing of one and the singing of the other, such a frequent iteration of the shake, as destroyed the melody : and that even the last set of hoys educated by the latter, sang in the manner their great grandfathers must oe supposed to have done. ment of the art of printing music from letter-press types, by the use of what he calls in some of his publications the new tied note, of the invention whereof it may not be improper here to take some notice.* The musical characters formerly in use in this kingdom were wrought from metal types : the notes were distinct from each other, and the quavers and semi-quavers were signified by single and double tails, without any mark of colligation or connection whatever. In the Melothesia of Matthew Lock, published by John Oarr in 1673, the quaver and semi-quaver are joined by single and double tails. But it is to be noted that the music in that work is printed from copper -plates ; from hence it is sup- posed Playford took the hint, and transferred the practice to letter-press types. Of the numerous publications of Playford, the col- lection of Catches by John Hilton, entitled ' Catch that Catch can,' printed in 1652, seems to be the first. Playford was then clerk of the Temple church, and the book was sold at his shop near the church-door. In 1667 it was published with the additional title of the Musical Companion, with very considerable additions ; and a second part, containing Dialogues, Glees, Ayres, and Ballads for two, three, and four voices. This edition was dedicated to Charles Pigeon, Esq. and other members of a music society and meeting in the Old Jewry, London. Before it are recommendatory verses in Latin and English, by the said Pigeon, who appears to have been a member of the society of Gray's Inn. In 1673 the Musical companion was published with still farther additions; and in 1687 a second book; and after that a few additional sheets without a title, but called the ' third part. The catches, rounds, and canons in this collection were composed by Hilton himself, Henry and William Lawes, Holmes, Nelham, Cranford, Ellis, Brewer, Webb, Jenkins, Dr. Child, Ives, Dr. Wilson, Ford, Dr. Eogers, Captain Cooke, Lock, and others, the most eminent musicians of that time ; and it is not too much to say that they are the best of the kind extant.^ * In page 380 of this work, it is remarked that the first musical types used in this country appear in Higden's Polychronicon, printed by Wynkyn de Word, in the year 1495 ; and their introduction being thus ascertained, it may be thought necessary to continue the history of music printing, at least in this country, down to that period to which we have brought the history of the science itself : and here it is to be noted that after Wynkyn de Word, Grafton appears to have used musical types, and after him old John Day of Aldersgate ; but in queen Elizabeth's reign letters patent were obtained by Tallis and Bird, granting to them and their assigns the sole privilege of printing music: neither Tallis nor Bird were printers in fact, but they employed to print their Cantiones, in 1575, Thomas Vautrollier of Black Friars, and after him Thomas East, Est, or Este, who about the year 1600 changed his surname to Snodham. In the year 1598 a patent, with ampler powers than were contained in the former, was granted to Thomas Morley, author of the Introduction ; after the expiration of which it seems the business of music printing lay under no restraints, but was exercised by the printers in common, that is to say, by John Windet, "William Barley, William Godbid, and many others, for various booksellers and publishers till the time of the restoration, soon after which the sellers of musical instruments took to the business of selling music books also. t In this collection is a Three Part Song, ' The Glories of our Birth and State,' set hy Edward Coleman, which was formerly much sung at Oxford and elsewhere, by the friends of king Charles I. as being thought to allude to his unhappy catastroplie. It was reputed to have been written on that occasion by Butler; and as such is printed among his Porthumous Works in three little volumes. Further to recommend it, the last stanza has very much the appearance of a version of a passage in the Eikon BasiliUe Sect. 15. Yet after all, the whole of it was written, and probably before 736 HISTORY OF THE SCIENCE Book XVI, Anotter publication of Playford merits also par- ticular notice in tHs place, as it explains a practice to whicli we at this day are strangers. The book here meant is entitled ' Musick's Recreation on the Viol Lyra-way,' concerning which the following ad- vertisement is given in the preface : — 'The Lero or Lyra- Viol is so called from the ' Latin word Lyra, which signifies a harp, alluding ' to the various tuning under the name of Harp-way, ' &c. This way of playing on the viol is but of late ' invention ; an imitation of the old English lute or ' bandora, whose lessons were prickt down by certain ' letters of the alphabet, upon six lines or rules ; ' which six lines did allude to the six course of ' strings upon those instruments, jas they do now " unto the six single strings upon the viol. The first ' authors of inventing and setting lessons this way to ' the viol were Mr. Daniel Farrant, Mr. Alphonso ' Ferabosco, and Mr. John Coperario, alias Cooper, ' who composed lessons not only to play alone, but ' for two or three Lyra-viols together in consort ; 'and since it hath been much improved by the ' excellent inventions and skill of famous masters, ' viz., Mr. William Lawes, Dr. Oolman, Mr. Jenkins, ' Mr. Ives, Mr. Hudson, Mr. Withie, Mr. Bates, Mr. ' Lillie, Mr. Gregory, Mr. Mosse, Mr. Wilson, and ' others.' Playford says the Lyra-viol has six strings, as also frets or stops to the number of seven, on the neck of the instrument, to which are assigned seven letters of the alphabet, viz., b, t^ tl, e, t, Q, h, the letter a answering to the open string wherever it occurs. It seems that there were sundry methods of tuning the Lyra-viol, which were severally adopted by the masters of the instrument, the most usual whereof were those termed harp-way sharp and harp-way flat, high harp-way sharp and high harp- way flat, and of these the book contains examples. "The two methods of notation for the viol and other stringed instruments, by the letters and by the notes, are severally distinguished by the terms Lyra-way and Gamut-way, with this exception, that the literal notation for the lute is ever called the Tablature ; concerning which, as also the notation by letters in general, it may be observed that they do not imply the least degree of skill in the system or scale of music, and are therefore a very inartificial practice ; the same may be said of the old method of notation for the flute and flageolet by dots, of which, as a matter of curiosity, an account will hereafter be given. Playford's skill in music was not so great as to entitle him to the appellation of a master. He knew nothing of the theory of the science, but was very well versed in the practice, and understood the rules of composition well enough to write good harmony ; of this he has given proofs in a great number of Bongs in two, three, and four parts, printed in the Musical companion, as also in his Psalms and Hymns in solemn Music, in four parts, printed in folio,* and the Bihon Basilike, as a solemn funeral song in a play of Shirley's, entitled ' Tlie Contention of Ajax and Ulysses.* Vide Percy's ReUques of Ancient English Poetry, vol. I. page 270. * It is wortli remarking, that in the preface to this hook it is said that in that collection in octavo entitled the 'Whole Book of Psalms, with the usual Hymns and spiritual Songs, composed in three parts.' In the compiling of his Introduction it is apparent that he was as- sisted by men more knowing than himself; for in the preface to the later editions of it, particularly that of 1666, are sundry curious partictdars. relating to music which indicate a greater degree of learning than a man in his station of life could be supposed to be possessed of. Doubtless the book itself was of great benefit to the public, as it disseminated the knowledge of music among the common people; many learned to sing, and to play on the viol and the fiddle, in a homely way it is true, and parish clerks in the country acquired a competent skill in psalmody, having no other instructor than Playford's Introduction. With such talents as Playford was possessed of, and with a temper that disposed him to communi- cate to others that knowledge which could not have been attained without much labour; and being be- sides an honest and friendly man, it is not to be wondered at that he lived upon terms of friendship with the most eminent professors of music his contem- poraries, or that he should have acquired, as he appears to have done, almost a monopoly in the pub- lication of music-books. He lived to near the age of fourscore. His memory is celebrated in two or three short poems on his death, and in an elegy by Nahum Tate, the then poet laureat, 'which was set to mvsic ly Henry Purcell, and published in 1687. Playford had a son named John, a printer of music, and a younger named Henry, who followed the business of his father, at first in the shop near the door of the Temple-church, but afterwards in the Temple Exchange, Fleet-street. His dwelling- house was that which had been his father's in Arundel -street in the Strand. The music books advertised by him were but few in number compared with those published by his father. Among them were the Orpheus Britannicus, and the ten Sonatas, and the airs of Purcell. The printers employed by him were John Heptinstall and William Pearson ; the latter greatly improved the art of printing musie on metal types ; he dwelt in Aldersgate-street, near the end of Long-lane, and was living after the year 1735. Henry Playford published in 1701 what he called the second book of the ' Pleasant musical Companion, ' being a choice collection of Catches for three and ' four Voices ; putlished chiefly for the encourage- ' ment of the musical societies, which will be speedily ' set up in all the chief cities and towns in England.' The design of this publication is more fully explained in the preface to the book, particularly in the follow- ing passage : — ' And that he [the publisher] may be beneficial to ' the publick in forwarding a commendable society, ' as well as the sale of his book, he has prevailed with ' his acquaintance and others in this city to enter the ancient practice in the singing of psalms in church was for the clerk to repeat each line ; probably because at the first introduction of the psalms into our service, great numbers of the common people were unable to read. Chap. CLIII. AND PRACTICE OF MUSIC. 737 ' into several clubs weekly, at taverns of convenient ' distance from each, other, having each house a par- ' ticular master of musick belonging to the society ' established in it, who may instruct those, if desir'd, ' who shall be unskilled, in bearing a part in the ' several catches contained in this book, as well as ' others ; and shall perfect those who have already ' had some insight in things of this nature, that they ' shall be capable of entertaining the societies they ' belong to abroad. In order to this he has provided ' several articles to be drawn, printed, and put in ' handsome frames, to be put up in each respective ' room the societies shall meet in, and be observed ' as so many standing rules, which each respective ' society is to go by ; and he questions not but the ' several cities, towns, corporations, &c. in the king- ' doms of Great Britain and Ireland, as well as foreign ' plantations, will follow the example of the well- ' wishers to vocal and instrumental musick in this ' famous city, by establishing such weekly meetings ' as may render his undertaking as generally received ' as it is useful. And if any body or bodies of gentle- ' men are willing to enter into or compose such ' societies, they may send to him, where they may ' be furnished with books and articles.' This project was recommended in certain verses written by Tom Brown, and dated from Mr. Steward's, at the Hole in the Wall in Baldwin's Gardens, inscribed to his friend Mr. Playford on his book of Catches, and his setting up a weekly club for the encouragement of music and good fellowship. It had some success in promoting the practice of catch- singing in and about London, and also at Oxford ; but it does not appear that in other parts of the kingdom any such musical clubs or societies were formed, as it was the drift of the proposal to recommend. It is conjectured that Henry Playford survived his father but few years, for we meet with no pub- lication by him after the year 1710, about which time Mr. John Young was become a man of note in the business of selling musical instruments and music books. The shop of this person was at the corner of London-House-yard in St. Paul's church-yard, and was much frequented by the choir-men of St. Paul's. Edward Ward, in his London Spy, says that there was perpetual fiddling in it to draw in customers, and that the door used to be crowded with hearers ; this Mr. John Young was the father of a musical family, and of Mr. Talbot Young, a fine performer on the" violin, the founder of the Castle concert in Paternoster-row, of whom there will be occasion to speak hereafter. CHAP. CLIII. The flute appears to be an instrument of great antiquity in this kingdom; it is frequently mentioned by Chaucer ; and it seems by the description of it in Mersennus, that there was a species of it, which by himself and other foreigners was termed the English Flute, ' Fistula dulcis sen Anglica.'* The * See page 608 of this work. proper and most discriminating appellation for it is that of the Flute a bee, or beaked flute ;t never- theless we meet with ancient books of instructiona for the instrument, wherein it is termed, but very improperly, as it is conceived, the Recorder. Milton could never mean that they were one and the same instrument, when in the same line he mentions 'Flutes and soft Recorders.' Among bird-fanciers the word record is used as a verb to signify the first essays of a bird in singing ;J and it is well known that Bullfinches and other birds are taught to sing by a flajolet. Lord Bacon, in his Natural History, Cent. III. Sect. 221, speaks of Recorders and Flutes at the same instant, and says that the Recorder hath a less bore and a greater, above and below; and elsewhere. Cent. II. Sect. 187, he speaks of it as having six holes, in which respect it answers to the Tibia minor or flajolet of Mersennus. Prom all which particulars it should seem that the Flute and the Recorder were different instruments, and that the latter in propriety of speech was no other than the flajolet. § Nevertheless the terms are confounded ; and in a book of instructions and lessons for the flute, so old that the notation is by dots, the instructions for the instrument are entitled directions for the Recorder. We are now to speak of the method of notation by dots, which will easily be understood by such as have ever had occasion to look into the books pub- lished for the instruction of learners on the flute, German flute, or hautboy, for it consists simply of a stave of eight lines, answering to the number of holes on the instrument, whereon dots are placed to signify when the holes are to be stopped, the upper- most line answering to the thumb-hole ; so that dots on all the eight lines bespeak the note F, and dots on all the lines but the lowest, G ; and so of the rest : and as to the time, it was signified by such characters as were used for the same purpose in the tablature for the lute. The like way of playing by dots was" used for the flajolet, as appears by a book entitled ' The Pleasant Companion, or new Lessons ' and Instructions for the Flagelet by Thomas ' Greeting, Gent.' printed for John Playford in 1675. The last publication of this kind was a book called The New Flute Master, printed in 1704, in which are sundry preludes by Mr. John Banister, the grandson of that Banister mentioned before to have been sent to France by king Charles II. for improvement on the violin; in this the learner is t See an explanation of tliis term page 331, in note. J Nevertheless the pastoral poets use it for the singing of hirds in general, as in these instances : — Sweet Philomel, the bird, That hath the heavenly throat, Doth now alas ! not once afiooid, Recording of a noate. N. BuETON, in England's HELicoi*. Now birds record new harmonie, And trees do whistle melodies ; Now every thing that nature breeds, Doth clad itself in pleasant weedes. Tho. Watson, in the same collection. § Thirlbi/, bishop of Westminsier, while a scholar of Trinity Hall, Cambridge, had a chamber under that of Bilney the martyr ; at which time he used often to play on his recorder for his diversions, and then good miney would go to his prayers. Strype's Eccles. Mem. Vol. II. 464. 738 HISTORY OF THE SCIENCE Book XVI, furnished with directions for playing either Dot-way or Gamut-way, for these were the terms of distinction, and is left to his choice of either. After what has been said of the tahlature, and of the notation by dots, it must appear that the playing at sight after either of these methods was scarcely practicable, and that the rejection of them both is but a consequence of the great improvements of music within this last century. From the account herein before given of the progress of music, it appears that through every stage of improvement, besides that it was the pro- fession of persons educated to the practice of it, it was the recreation of gentlemen : among the latter, those of a more grave and serious turn betook them- selves to the practice of the lute and viol da gamba,* resorting to it as a relief from study, and as an incentive to sober mirth. Others, less sensible of the charms of harmony and melody, looked upon music as a mere accomplishment, and were content to excel only on those instruments on which a moderate degree of proficiency might be attained with little labour and application; and these seem to have been the Flute a bee and the Flageolet : the latter of these was for the most part the amusement of boys ; it was also used for the purpose of teaching birds, more particularly bullfinches, to sing easy tunes ; for which reason one of the books of in- structions for the flageolet now extant, is entitled The Bird-fancier's Delight ; but the flute, especially of the larger size, was a more solemn instrument, and was taken to by the fine gentlemen of the time, whose characters were formed after that model of good breeding exhibited in the French court towards the end of the last century. Cibber, in the Apology for his Life, page 214, has with great propriety marked the character of the beaux of his time, who he says were of a quite different cast from the modern stamp, and had more of the stateliness of the peacock in their mein, than which now seems to be their highest emulation, the pert air of a lapwing ; to which remark we may add, that the character of a gentleman, in the vulgar apprehension, consisted then in the assemblage of such external qualifications, as served to recommend him to the favour of those who looked no farther than the mere outside ; among which some small skill in music was thought as necessary as the accomplishment of dancing. As the French mode of behaving and conversing had been adopted here, so were in some degree their recreations and amusements. Prom the time of making that present of English flutes to the king of France, which Mersennus speaks of, the flute be- came a favourite instrument among the French, and many gentlemen were notable proficients on it ; and though the instrument had passed from England to Prance, the general practice of it by persons of fashion was then derived from thence to us.f That * In the -will of Sir Henry Wotton, printed in liis remains, is a bequest of liis viol da gamba to one of liis friends. Sir Jolin BoUes, Sir Francis North, and Sir Roger L'Estrange, as above related, were excelient per- formers on this instrument. + The fiageoUt had also its admirers : in that most ingenious and the flute was formerly the instrument of a gentleman may be inferred from the following circumstance : in that species of graphical representation called Still Life, we observe a collection of implements and utensils thrown in disorder on a table, exhibiting a group of various forms, contrasted with each other, at the will of the artist. He that shall carefully attend to pictures of this kind, will seldom fail to find a lutfe, and also a flute, frequently with a book of lessons for one or the other instrument ; but if this particular fail to prove that the flute was the recreation of gentlemen, what shall be said to a por- trait of one of our poets, who died above fifty years ago, drawn when he was about twenty, wherein he is represented in a full trimmed blue suit, with scar- let stockings rolled above his knees, a large white peruke, and playing on a flute near half an ell in length ; or to this, which is the frontispiece to a book of instructions and lessons for this instrument, pub: lished about the year 1700. And to come nearer to our own times, it may he remembered by many now living, that a flute was the pocket companion of many who wished to be thought fine gentlemen. The use of it was to enter- tain ladies, and such as had a liking for no better music than a song-tune, or such little airs as were then composed for that instrument ; and he that could play a solo of Schickbard of Hamburg, or Robert Valentine of Rome, was held a complete master of the instrument. A description of the mutual compliments that attended a request to one of these accomplished gentlemen to perform, ov a recital of the forms of entreaty or excuse, with a relation of the apologies, the bows, the congees that passed upon such an occasion, might furnish mat- ter for a diverting scene in a comedy ; but here it entertaining book, Dr. Morels divine Dialogues, Hylobares one of the interlocutors, at intervals during the conversation, entertains his friends with the music of the Flageolet, as does another of them, Bathynous, on the _Theorljo. On this latter instrument we are told the author himself was a performer, and that the power of the music thereof, aided by his own rapturous thoughts, was frequently so great as forced him to desist. See hit Life by the Bev. Mr. Richard Ward, and the Biog. Brit. Art. MoRK [Henry j3 Chap. CLIII. AND PEAOTICE OF MUSIC. 739 may suffice to say, that in the present state of man- ners, nothing of the kind is to be found amongst us.* As the French had set us the example for the practice of the flute a bee, so did they for the Ger- man or traverse flute, an instrument of little less antiquity. The Sieur Hotteterre le Remain of Paris was the first that published instructions for it ; and these were considerably improved in a treatise entitled ' Methode pour apprendre aisement a joiier de la Flute traversiere,' by Mons. Corrette : the for- mer of these books was published about the year 1710 ; and from that time the practice of the flute a bee descended to young apprentices of tradesmen, and was the amusement of their winter evenings; the German or traverse flute still retains some degree of estimation among gentlemen, whose ears are not nice enough to inform them that it is never in tune.-f NicHOLAS Staggins, a man bred under his father, a common musician in London, had interest enough to procure himself the place of composer to Charles II. and afterwards to be master of the band of music to William III. In the year 1664, more by the favour of Dr. James, the vice-chancellor, than any desert of his own, he attained to the degree of doctor in music. His exercise should have been a vocal composition in five or six parts, and also one for in- struments, but the former, as being the more difficult work, was dispensed with. The partiality shown to this man seems to have occasioned great murmur- ings, and to silence them the following advertisement was published in the Gazette for the year 1664, No. 1945: — 'Cambridge, July 6. Dr. Nicholas Staggins, ' who was some time since admitted to the degree of ' Dr. of music, being desirous to perform his exercise ' upon the first public opportunity for the said ' degree, has quitted himself so much to the satisfac- 'tion of the whole university this commencement, 'that by a solemn vote they have constituted and 'appointed him to be a public professor of music ' there.' At Cambridge is no endowment for a music pro- fessor, so that the appointment here mentioned must have been merely honorary ; however, in virtue of it Dr. Tudway succeeded to the title upon the death of Dr. Staggins, and it has been continued down to the present time. In a collection entitled ' Choice Ayres, Songs, and 'Dialogues to sing to the Theorbo-Lute or Bass- ' Viol,' published in 1675, is a song composed by Dr. Staggins, to the words ' While Alexis ;' and in Playford's Dancing Master is a country-dance tune called Dr. Staggins's Jig ; a few other such compositions may possibly be found, but it does not appear that he ever composed anthems or services, or * This account wiU not seem exaggerated to those who rememher such old gentlemen as had been the scholars of Banister, Woodcock, Baston, and other masters of the flute. J- This is an objection that lies in common against all perforated pipes J the best that the makers of them can do is to tune them to some one key, as the hautboy to C, the German flute to D, and the flute k bee to F ; and to effect this truly, is a matter of no small difficulty. The flutes of the latter kind of the younger Stanesby approach the nearest of any to perfection ; but those of Bressan, though excellent in their tone, are all too flat in the upper octave. For these reasons some are induced to think, notwithstanding what we daily hear of a fine embouchure, and a brilliant finger, terms equally nonsensical applied, as they are, to the German flute, that the utmost degree of proficiency on any of these in- struments is scarcely worth the labour of attaining it. indeed any works that could render him justly emi- nent in his faculty. John Wallis, an eminent divine and mathema- tician, was born at Ashford in Kent on the twenty- third day of November, 1616. From a grammar- school at Felsted in Essex he went to Emanuel col- lege in Cambridge, and became a fellow of Queen's college before a vacancy happened in his own. About the year 1640 he was admitted to holy orders, and, leaving the university, became domestic chap- lain to Sir Richard Darly of Yorkshire, and the Lady Vere, the dowager of Lord Horatio Vere. In 1664, he was chosen one of the scribes or secretaries to the assembly of divines at Westminster. Having made a considerable progress in mathematics and natural philosophy, he was in 1649 appointed Savalian professor of geometry at Oxford ; upon which occasion he entered himself at Exeter college, and was admitted to the degree of master of arts, and in 1654 to that of doctor of divinity : soon after which, upon the decease of Dr. Gerrard Langbaine, he was appointed Custos Archivorum of the university. In his younger years he invented the art of deci- phering, and by his great penetration and ingenuity discovered and established those principles which have been the rule of its professors ever since, and have entitled him to the appellation of the father of the art. His singular readiness in developing the sense of secret writing, drew upon him the suspicion of having deciphered the letters' of Charles I. taken at the battle of Naseby; but he fully cleared himself in a letter to Dr. Fell, bishop of Oxford, dated April 8, 1685, an extract whereof is published in the preface to Hearne's edition of Peter Langtoft's Chronicle. Dr. Wallis was one of those persons whose private meetings for the improvement of philosophy by experiments, gave occasion to the institution of the Royal Society ; and after its establishment he was a constant attendant, and frequent correspondent of the society, communicating from time to time his discoveries in various branches of natural philosophy and the mathematics, as appears by his publications in the Philosophical Transactions. The learning of Dr. Wallis was not less deep than extensive. A singular degree of acuteness and penetration is discoverable in all his writings, which are too multifarious to be here particularized; and the rather as a copious account of them is given in his life in the Biographia Britannica. Those which it concerns us here to take notice of, are his edition of Ptolemy, with the appendix entitled ' De veterum ' harmonia ad hodiernam comparata;'J as also 'Por- 'phyrii in Harmonica Ptolemsei Commentarius, ex ' cod. MS8. Grsece et Latitie editus ;' and ' Mauuelis ' Bryennii harmonica ex cod. MSS.,' which are con- tained in the third and last volume of his works in folio, printed at Oxford in 1669. These pieces of ancient harmonics, with those before published by J The reduction of tlie ancient system of music to the modern, which makes the Greek scale, as far as it goes, correspond with that of Guide, though an arduous undertaking. Dr. Wallis has happily effected in his appendix to Ptolemy ; and in his notes on that work he has gone very near to demonstrate an exact correspondence between the modes of the ancients and keys of the moderns. 740 HISTOBY OF THE SCIENCE Book XVI. MeibomiuB, complete the whole of what the ancient Greek writers have left upon that subject. Dr. Wallis was also the author of sundry papers printed in the Philosophical Transactions, par- ticularly A Discourse on the Trembling of con- sonant Strings;* another on the division of the monochord ;f another on the imperfection of the organ;:}: and a fourth on the strange effects reported of music in former times.§ Many particulars of the life of this great man are related in a letter from him to Dr. Thomas Smith, printed in the preface to Hearne's edition of Peter Langtoft's Chronicle ; at the end of which letter is a very serious vindication of himself from the calum- nies of his enemies. What is related of him in the Athen. Oxon. is little to he regarded, for it is evident that Wood hated him for no other reason than the moderate principles which he professed, and which show Dr. Wallis to have been a much wiser man than himself. He died on the twenty-eighth day of Octoher, 1703, in the eighty-eighth year of his age, and was buried in the church of St. Mary at Oxford, in which is a handsome monument to his memory. CHAP. CLIV. John Blow (a Portrait), a native of North CoUingham, in the county of Nottingham, was one of the first set of children after the restoration, being hred up under Captain Henry Cook. He was also a pupil of Hingeston, and after that of Dr. Christopher Gibbons. On the sixteenth day of March, 1673, he was sworn one of the gentlemen of the chapel in the room of Roger HUl; and in July, 1674, upon the decease of Mr. Pelham Humphrey, was appointed master of the children of the chapel. In 1685 he was made one of his majesty's private music, and composer to his majesty, a title which Matthew Lock had enjoyed before him, but which seems to have been at that time merely honorary. He was also almoner and master of the choristers of the cathedral church of St. Paul, heing appointed to those places upon the death of Michael Wise, in 1687, who had been admitted but in the January preceding ; but he resigned them in 1693, in favour of his scholar Jeremiah Clark. Blow was not a graduate of either imiversity ; but archbishop Sancroft, in virtue of his own authority in that respect, conferred on him the degree of doctor in music. Upon the decease of Purcell in 1695, he became organist of Westminster- Abbey. In the year 1699 he was appointed composer to his majesty, with a salary of forty pounds a year, under an establishment, of which the following is the history. After the revolution, and while king William was in Flanders, the summer residence of queen Mary was at Hampton Court. Dr. Tillotson was then dean of St. Paul's and the reverend Mr. * Philos. Trans. No. 134, pag. 839, Mar. anno 1677. t Ibid. No. 238, pag. 80, Mar. anno 1698. % Ibid. No. 242, pag. 249, July, anno 1698. § No. 243, pag. 297, Aug. anno 1698. lowthorp and Jones's Abridgm. edit. 1732, chap. x. pag. 608, et seq. Gostling sub-dean, and also a gentleman of the chapel. The dean would frequently take Mr. Gostling in his chariot thither to attend the chapel duty; and in one of those journeys, the dean talking of church music, mentioned it as a common observation, that ours fell short of what it had been in the preceding reign, and that the queen herself had spoken of it to him. Mr. Gostling's answer was, that Dr. Blow and Mr. Purcell were capable of composing at least as good anthems as most of those which had been so much admired, and a little encouragement would make that appear. The dean mentioned this to her majesty, who approved of the thought, and said they should be appointed accordingly, with a salary of 4S)l. per annum, || adding that it would be expected that each should produce a new anthem on the first Sunday of his month of waiting.^ This conversation, according to the account above given, which was communicated by the son of Mr. Gostling now living, was had in the life-time of Purcell, that is to say, before the year 1695, but it did not take effect till four years after, and then only as to one composer,** as appears by the fol- lowing entry in the Cheque-book : — ' 1699. Upon a new establishment of a com- ' poser's place for the chapel royal. Dr. John ' Blow was admitted into it by a warrant ' from the right reverend dean, and sworn in ' by me ' Ralph Battell, Subdean.' Blow was a composer of anthems while a chapel- boy, as appears by Clifford's collection, in which are several subscribed ' John Blow, one of the chil- dren of his majesty's chapel;' and on the score of his merit was distinguished by Charles II. The king admired very much a little duet of Oarissimi to the words ' Dite o Cieli,' and asked of Blow if he could imitate it. Blow modestly answered he would try, and composed in the same measure, and the same key of D with a minor third, that fine song, ' Go perjured man.'ff That the reader may be able to draw a comparison between the two compositions, that of the Italian is here inserted. Blow's is known to every Englishman conversant in music. II These salaries have since been augmented to 732. per annum, and thereby made equal to those of the gentlemen of the chapel. IT Dr. TUlotson's interest with queen Mary, 'Which was very great, is thus to be accounted for. Upon her marriage, the prince of Orange and she were hurried out of town so fast (there being a secret design to invite them to an entertainment in the city which the court did not like), that they had scarce time to make provision for their journey. Being come to Canterbury, they repaired to an inn, where, through haste, they came very meanly provided. Upon application by Mr. Bentinck, who attended them, to borrow money of the corporation, the mayor and his brethren, after great deliberation, were afraid to lend them any. Dr. Tillotson, then dean of Canterbury, hearing of this, immediately got together his own, and what other plate and money he could borrow, and went to the inn of Mr. Bentinck with the offer of what he had. This was highly - acceptable to the prince and princess, and the dean was carried to wait upon them. By this lucky accident he began that acquaintance and correspondence with the prince and Mr. Bentinck, which advanced him afterwards to the archbishoprick. Echar's Hist, of Eng. Appendix, page 11. Rapin, vol. II. page 083. This fact is related by Dr. Birch in his life of archbishop Tillotson, page 49, with this additional circumstance, that it is drawn from a manuscript account taken from the archbishop't own mouth. »* There was no appointment of a second composer till 1715, when Mr. John Weldon was admitted and sworn into that place. tt He afterwards composed another, little inferior, also printed in the Amphion Angelicus, to the words ' Go peijured maid.' Chap. CLIV. AND PEACTICE OF MUSIC. 741 -^^^ DI-TE o Cie-li si cm - de - li, so - no i del mio Ben ^^g=ptg^^^^_gE£gH^^p^^JE DI - TE o Cie - li, si cm - de - 11 so - no i sguar-di del mio Ben del mio Ben si oru - de - li so - no i sguar-di del . Ben. Ben. I^^^l^^-P del mio Ben si cru-de - li so - no i sguar-di del Ben. Ben. dar - di che pun - tu - re dan si du re, dan si du re, che tra-fit - to ne dar - di che pun - tu - re dan si du re, dan si du-re, che tra-fit - to ne res - ta il cor e'l ^^g^^=r^^ g=g i==i^i ii^ ^^=1 l^ s f^ w '^^^^^^m m=m res - ta il cor e'l sen che tra-fit - to, ne res-ta il cor e'l sen che tra-fit - to ne res-ta il cor e'l I? .fetfe 1=3= ^^^^^^^^^=^^^^^^^ 1 m m che tra-fit - to ne res - ta il cor e'l sen che tra-fit - to ne ^^ ^^£EE [ Eg^^ p. ie^^P "=« 6^ 6tt ft 4 5'' 7 6S i ^p^^^^i^^ ■im m cor e'l sen e'l m ^^gi^^^g=g=g^ gi ^S^^gg^ g The song of 'Go perjured man' was first pub- lished singly, and some years after in the fourth and last book of the Theater of Music, printed for Henry Playford in 1687. It was again published with the addition of instrumental parts, in the Amphion Anglicus of Dr. Blow, "but in none of tlie copies are the words sense. The song is to le found in a hooli jfor the extreme scarcity oj which no reason can he assigned, other than that it was never thought GiAOOMO Cakissimi. worthy of a second impression. It is a Collection of Poems much in the cast of those of Cleveland, and is entitled ' Hesperides,' by Robert Herrie, Bvo. 1648. The words, such as they are, are as under. ^ * Go, perjured Tnan, and if thou e^er reUtrn To see the small remainder of my Urn, When, thou shalt laugh at my religious dust, And ask Where's now the colour, form, and trust Of woman's beauty? and with hand more rude Jtijle the flowers which the virgins strew'd. Know, I have pray'd to fury, that the wind May blow my ashes up and strike thee blind. 74:2 HISTORY OP THE SCIENCE Book XVI. The Orpheus Britannicus of Purcell had heen puhlished hy his widow soon after his decease, and contained in it some of that author's finest songs : the favourable reception it met with was a motive with Blow to the publication, in the year 1700, of a work of the same kind, entitled ' Amphion Anglicus, ' containing compositions for one, two, three, and ' four voices, with accompanyments of instrumental ' music and a thorough-bass figured for the organ, ' harpsichord, or theorbo -lute.' This book was dedicated to the princess Anne of Denmark ; in the epistle the author gives her royal highness to understand that he was preparing to publish his church services and divine compositions, but he lived not to carry his design into effect. To the Amphion Anglicus are prefixed commendatory verses by sundry persons, many of whom had been his scholars, as namely, Jeremiah Clark, organist of St. Paul's cathedral ; William Croft, organist of St. Anne, Soho, and John Barret, music-master to the boys in Christ's hospital, and organist of St. Mary at Hill. Among them is an ode addressed to the author by one Mr. Herbert, in a note on which it is said that an anthem of Bird, in golden notes, is pre- served in the Vatican library ; and in the second stanza are the following lines respecting Blow : — ' His Gloria Patri long ago reach'd Eome, ' Sung and rever'd too in St. Peter's dome; 'A canon will outlive her jubilees to come.' The canon here meant is that fine one to which the Gloria Patri in Dr. Blow's Gamut service is set.* That it should be sung in St. Peter's church at Eome may seem strange, but the fact is thus accounted for : Dr. Ralph Battell, subdean of the royal chapel, and a prebendary of Worcester, being at Eome in the reign of James II. was much with Cardinal Howard, then protector of the English nation, as Cardinal Albani is now, and being upon his return to England, the Cardinal requested of him some of our church- music, particularly the compositions of Blow and Purcell, which he said he had been told were very fine ; the doctor answered he should readily oblige his eminence, and desired to know how he should send them ; the Cardinal replied in William Penn's packet.f And there can be little doubt but that so * The "whole service is printed in the first volume of Dr. Boyce's Cathedral Music, page 263, and the Canon alone, in the editions of Playford's Introduction after the year 1700. > t This was the famous William Penn, the Quaker, who from the favour shown him by James II. and other circumstances, was strongly suspected to he a concealed papist. The imputation-he aflected to con- sider as greatly injurious to his character ; and accordingly entered into a very serious debate with the archbishop Tillotson on the subject, which he did not give over till by his letters he had fully convinced him that the charge was groundless. If the above anecdote does not stagger the faith of those whp have read Penn's Letters, it is possible the following story may : — The same Dr. Battell being a prebendary of Worcester, was, as his duty required, annually resident there for a certain portion of the year ; the gaoler of the city was a man of such a character, as procured him admittance into the best company. By this person. Dr. Battell was told that he had once in his custody a Komish priest, who lamenting the troubles of James the Second's reign, told his keeper that the misfortunes of that prince were chiefly owing to Father Petre and Father Penn. Dr. Battel) recollecting that Penn was frequently with Sherlock, then dean of St. Paul's, was determined to sift him about it ; accordingly he applied to Dr. Sherlock, with 4hom he was well acquainted, and told him the story ; the Doctor said that Mr. Penn dined with him once a week, and that he should be glad to be satisfied touching the truth or falsehood of the insinuation ; that he would mention it to Penn, and engage Dr. Battell to meet him at the deanery and state the fact as he had heard it ; but Penn evaded an appointment and from that time forbore his visits to Dr. Sherlock. excellent a composition as that above mentioned was in the number of those sent. Of the work itself little is to be said; in the songs for two, three, and four voices, the harmony is such as it became so great a master to write ; but in the article of expression, in melody, and in all the graces and elegancies of this species of vocal composition, it is evidently defective. Dr. Blow set to music an Ode for St. Cecilia's day, 1684, the words by Mr. Oldham, published together with one of Purcell on the same occasion, performed in the preceding year. He also composed and published a collection of lessons for the harpsi- chord or spinnet, and an ode on the death of Purcell, written by Mr. Dryden. There are also extant of his composition sundry hymns printed in the Har- monia Sacra, and a great nnmber of Catches in the latter editions of the Musical Companion. This great musician died in the year 1708, and lies buried in the north aisle of Westminster Abbey. On his monument is the canon above mentioned, en- graven on a book under the following inscription : — Here lieth the body Of John Blow, Doctor in Musick, Who was organist, composer, and Master of the children of the chapel Royal for the space of 35 years. In the reigns of K. Cha. II. K. Ja. II. K. Wm. and Q. Mary, and Her present majesty Q. Anne, And also organist of this collegiate church. About 15 years. He was scholar to the excellent musician Dr. Christopher Gibbons, And master to the famous Mr. H. Purcell, and most of the eminent masters in musick since. He died Oct. 1, 1708, in the 60th year of his age. His own musical compositions. Especially his church musick. Are a far nobler monument ■ To his memory. Than any other can be raised For him. He married Elizabeth, the only daughter of Edward Braddock, one of the gentlemen, and clerk of the cheque, of the royal chapel, one of the choir, and master of the children of Westminster Abbey. She died in childbed on the twenty-ninth day of October, 1683, aged thirty. By her he had four children, viz., a son, named John, and three daughters, Eliza- beth, married to William Edgeworth, Esq. Catherine, and Mary. John died on the second day of June, 1695, aged fifteen; he lies buried in the north ambulatory of the cloister of Westminster Abbey, next to his mother, with an inscription, purporting that he was a youth of great towardness and extra- ordinary hopes. Elizabeth died on the second day of December, 1719 ; Catherine the nineteenth of Mav 1730, and Mary the nineteenth of November 1738. Dr. Blow was a very handsome man in his person, and remarkable for a gravity and decency in his deportment suited to his station, though he seems by some of his compositions to have been notalto- gether insensible to the delights of a convivial Ijour Chap. OLV. AND PRACTICE OF MUSIC. 743 He was a man of blameless morals, and of a tene- volent temper ; but was not so insensible of his own worth, as to be totally free from the imputation of pride. Such as would form a true estimate of his character as a musician, must have recourse to his' compositions for the church, which are very many ; and to them we are very judiciously referred by the author of his epitaph; for it is not in his songs, a few excepted, that we find much to admire ; the reason whereof may be that his studies had been uniformly directed to the expression in musical language of the most sublime sentiments. Not- withstanding the encomiums contained in the verses prefixed to the Amphion Anglicus, the publication of that work drew on Blow the censures of Dr. Tudway and others of his friends, some of whom ascribed it to no better a motive than a desire to emulate Purcell ; though whoever shall compare it with the Orpheus Britannicus, must be convinced that in point of merit the difference between the two is immeasureable. For this reason the friends of Dr. Blow's memory may wish that this collection of songs had never been published, but for their con- solation let them turn to those heavenly compositions, his services and anthems, particularly his ' services in E LA MI and A ke, his Gamut service above mentioned, and the anthems ' God is our hope and ' strength,' ' God, wherefore art thou absent,' and ' I beheld and lo a great multitude,'* printed in Dr. Boyce's Cathedral Music, which afford abundant reason to say of Dr. Blow, that among church musi- cians he has few equals, and scarce any superior. CHAP. CLV. Henry Purcell (a Portrait), was the son of Henry Purcell,f and the nephew of Thomas Purcell, both gentlemen of the chapel at the restoration of Charles II. if The former died on the eleventh day of August, 1664, § his son being then but six years old ; the latter survived, and continued in his station till the day of his death, which was the thirty-first of July, 1682. II At the time of the decease of the elder Henry, Oapt. Cook was master of the children of the chapel, and having been appointed to that charge immediately upon the restoration, had edu- cated one set of children, who for distinction sake are called the first set of chapel children after that * Touching the last of the above-mentioned anthems there is an anecdote, which, as it was communicated by Mr. Weeley of the king's chapel, who had been a scholar of Blow, we may venture to give as authentic. In the reign of king James II. an anthem of some Italian composer had been introduced into the chapel, which the king liking very much, asked Blow if he could make one as good ; Blow answered he could, and engaged to do it by the next Sunday, when he produced the anthem ' I beheld,' &c. When the service was over the king sent Father Petre to acquaint Blow that he was much pleased with it. ' But,' added Petre, ' I myself think it too long :' ' That,' answered Blow, ' is ' the opinion of but one fool, and I heed it not.' The Jesuit was so nettled at this expression of contempt, that he meditated revenge, and wrought so with the king, that Blow was put under a suspension, which however he was Areed from by the Revolution, which took place very shortly after. t Ashmol. MS. t Vide page 693, the list of the gentlemen and officers of the chapel at the time of the coronation of king Cliarles II. being St. George's day, 1661. Tiioraas Purcell was the author of that fine chant printcc" in Dr. Boyce's collection, vol. I. page 289, No. II. called the Burial Chant. i Ashmol. MS. || Cheque Book. event. Among these were Blow, Wise, Pelham Humphrey, and others. Purcell was one of the second set, and is said to have been educated under Blow; but considering that Purcell was born in 1658, and that Blow was not appointed master of the children till sixteen years after, it can hardly be thought that Blow was his first instructor. It may with a great appearance of probability be supposed that Purcell was at first a scholar of Cook, who came in at the restoration, and died in 1672 ; and the rather as it is certain that he was a scholar of Humphrey, who was Cook's imme- diate successor. To reconcile these several facts with the inscription on Blow's monument, in which it is expressly said tbat Blow was Purcell's master, the only way is to suppose that Purcell, upon quit- ting the chapel, might, for the purpose of completing his studies, become the pupil of Blow, and thereby give occasion to what is generally reported touching the relation between them of master and scholar. Being very diligent and attentive to the instruc- tions of his teachers, Purcell became an early profi- cient in the science of musical composition, and was able to write correct harmony at an age, when to be qualified for the performance of choral service is all that can be expected. And here it may be noted that among the first set of children of the chapel after the restoration, were several, who while they were in that station were the composers of anthems ; and Purcell, who was of the second set, gave proofs of his genius by the composition of several of those anthems of his, which are now sung in the church. Upon the decease of Dr. Christopher Gibbons in the year 1676, Purcell, being then but eighteen years of age, was appointed organist of the collegiate church of Saint Peter at Westminster ; and in the year 1682, upon the decease of Mr. Edward Low, he became his successor as one of the organists of the chapels royal. In the ieginning of the year 1689 Ae became engaged in a dispute with Dr. Sprat, the then Dean, and the Chapter of Westminster, the occasion whereof was this. It seems that at the coronation of king William and queen Mary, he had received and claimed as his right, the money taken for admission into the organ loft of persons desirous of being near spectators of that ceremony, which Jbr the following reasons must be supposed to have amounted to a considerable sum; the profit arising to the owner of one of the houses at the west end of the Abbey, where only the procession could be viewed, amxyunted at the last coronation to five hundred pounds. The organ in Purcell's time was on the north side of the choir, and was much nearer the altar than now, so that spectators from thence might behold the whole of that august cerem,ony. A sum like that which this must be presumed to have been was worth contending for, and if Purcell had the authority of precedent for his support, he was right in retaining it as a perquisite arising from his office ; but his masters thought otherwise, and insisted on it as their due, for in an old cJiapter book I find the following entry : ' 18 April, 1689, 3o U4: HISTORY OF THE SCIENCE Book XVI. ' Mr. Pwcell, the organ blower, to pay to Mr. ' Needham such money as was received by him for 'places in the organ loft, and in default thereof his 'place to be declared null and void, and that his 'stipend or sallary he detained in the Treasurer's 'hands until further orders' Upon which it may be observed that the penning of it is an evidence of great ignorance or malice, in that it describes him by the appellation of organ blower who was organist of their own church, and in truth the mast excellent imisician of Ms time. What the issue of this contest was does nowhere appear. It may be supposed either that he refunded the ynoney or compounded the matter with the Dean and Chapter, it being certain that he continued to execute his office for some years after. It has been remarked by one wbo was intimately acquainted with him, that Purcell in his earlier compositions gave into that style which King Charles II. affected : this is true so far as it respects the melody of his compositions, and for so doing he had the authority of Wise and Humphrey ; though, to say the truth, the taste of the king, and the example of these his predecessors did but coincide with his own ideas of music. There is a vulgar tradition that Mary D'Este of Modena, the consort of king James II., upon her arrival in England brought with her a band of musicians of her own country, and that Purcell, by acquaintance and conversation with them, and sometimes joining with them in performance, contracted an affection for the Italian style ; but for this assertion there is no foundation, for before this time he had looked very carefully into the works of the Italian masters, more especially Oarissimi, Cesti, Oolonna, Gratiani, Bassani, and Stradella, of which latter he could never speak without rapture. There is but very little doubt that the study of the works of these excellent masters was the motive with Purcell for introducing into his compositions a more elegant and pathetic melody than had been known in England ; of the good effects whereof he was so soon well persuaded, that in the year 1683 he published twelve Sonatas for two violins and a bass, for the organ or harpsichord, in the preface to which he gives the fol- lowing as his sentiments of the Italian music : — * * * ' For its author he has faithfully endeavoured a just ' imitation of the most famed Italian masters, prin- ' cipally to bring the seriousness and gravity of that ' sort of musick into vogue and reputation among our 'countrymen, wliose humour 'tis time now should ' begin to loath the levity and balladry of our neigh- ' hours. The attempt he confesses to be bold and ' daring ; there being pens and artists of more emi- ' nent abilities, much better qualified for the imploy- ' ment than his or himself, which he well hopes ' these his weak endeavours will in due time provoke ' and enflame to a more accurate undertaking. He 'is not ashamed to own his unskilfulness in the ' Italian language, but that is the unhappiness of his ' education, which cannot justly be counted his fault ; ' however he thinks he may warrantably affirm that ' he is not mistaken in the power of the Italian notes, ' or elegancy of their compositions.' From the structure of these compositions of Purcell, it is not improbable that the sonatas of Bassani, and perhaps of some other of the Italians, w^ere the models after which he formed them : for as to Oorelli, it is not clear that any of his works were got abroad so early as the year 1683. Be that as it may, the sonatas of Purcell have manifestly the cast of Italian compositions; each begins with an adagio movement: then follows what we should call a fugue, but which the author terms a canzone ; then a slow movement, and last of all an air. Before the work is a very fine print of the author, his age twenty-four, without the name of either painter or engraver, but so little like that prefixed to the Orpheus Britannicus, after a painting of Closterman, at thirty-seven, that they hardly seem to be representations of the same person. It should seem that this work of Purcell met with encouragement, for afterwards he composed ten Sonatas, in four parts, among which is one in F fa UT, that for its excellence has acquired the appella- tion of the Golden Sonata. These were not pub- lished till after his decease, and will therefore be spoken of hereafter. As Purcell had received his education in the school of a choir, the natural bent of his studies was towards church music : services he seemed to neglect, and to addict himself to the composition of anthems, a kind of music which in his time the church stood greatly in need of. And here it is proper to mention an anthem of his, ' Blessed are they that fear the Lord,' as being composed on a very extraordinary occasion. Upon the supposed pregnancy of king James the Second's queen in 1 687, a proclamation was issued for a thanks- giving to be observed on the fifteenth day of January, in London and twelve miles round ; and on the twenty-ninth day of the same month throughout England, for joy of this event ; and Purcell, being then one of the organists of the royal chapel, was commanded to compose an anthem, and he did it accordingly for four voices with instruments. The original score in his own hand-writing is yet extant. The anthem 'They that go down to the sea in ' ships,' was composed at the request of the Rev. Mr. Subdean Gostling, who being at sea with the king and the duke of York in the Fubbs yacht, and in great danger of being cast away, providentially escaped.* Among the letters of Tom Brown from the dead to the living, is one from Dr. Blow to Henry Purcell, in which it is humorously observed, that persons of their profession are subject to an equal attraction of the church and the playhouse, and are therefore in a situation resembling that of the tomb of Mahomet,! which is said to be suspended between heaven and earth. This remark of Brown does so truly apply to Purcell, that it is more than probable his particular situation gave occasion to it ; for he was scarcely known to the world before he became, in the exercise of his calling, so equally divided between both the church and the theatre, tliat neither the church, the tragic, nor the comic muse could call him her own. * For the particulars of this deliverance, vide ante, page 693, in not. t Works of Mr. Thomas Brown, vol. II. page 301. Chap. CLV. AND PKACTICE OF MUSIC. 745 In the pampUet, so often referred to in the course of this work, entitled ' RoBcius Anglicanus,' or an ' Historical View of the Stage,' written by Downes the prompter, and published in 1708, we have an account of several plays and entertainments, the music whereof is by that writer said to have been composed by Puroell. It does not appear that he had any particular attachment to the stage, but a occasional essay in dramatic music drew him into it. One Mr. Josias Priest, a celebrated dancing-master, and a composer of stage dances, kept a boarding school for young gentlewomen in Leicester-fields ;* and the nature of his profession inclining him to dramatic representations, he got Tate to write, and Parcell to set to music, a little drama called Dido and vEneas ;| Purcell was then of the age of nine- teen, but the music of this opera had so little appearance of a puerile essay, that there was scare a musician in England who would not have thought it an honour to have been the author of it. The ex- hibition of this little piece by the young gentlewomen of the school to a select audience of their parents and friends was attended with general applause, no small part whereof was considered as the due of Purcell. At this time Banister and Lock were the stage composers ; the former had set the music to Dr. D'avenant's opera of Circe, and the latter to Macbeth ; but the fame of Dido and ^neas directed the eyes of the managers towards Purcell, and Purcell was easily prevailed on by Mr. Priest to enter into their service. He composed the music to a variety of plays mentioned in Downes's account, of which the following is an abstract : — Theodosius or the Force of Love, written by Nat. Lee, the music by Mr. Henry Purcell, being the first he ever composed for the stage. King Arthur, an opera written by Dryden, the musical; part set by Mr. Henry Purcell, and the dances composed by Mr. Josiah| Priest. The Prophetess, an opera written by Mr. Bettetton, the vocal and instru- mental music by Mr. Henry Purcellj^and the dances by Mr. Priest. The Fairy Queen,' an opera altered from the Midsummer Night's Dream of Shakespeare, the music by Mr. Purcell, the dances by Mr. Priest. These are all the plays to which, according to Downes's account, Purcell composed the music. But it appears by the Orpheus Britannicus that he made the music to very many others, namely, Timon of Athens, Bonduca, the Libertine, QSdipus, the Tem- pest, as altered from Shakespeare by Dryden and Sir William Davenant; and composed many of the songs in that most absurd of all dramatic represen- tations, the History of Don Quixote, in three parts, by Tom D'Urfey ; farther, that collection of Airs composed for the Theatre, published by his widow in 1697, contains the overtures and airs to the fol- lowing operas and plays : Dioclesian,§ King Arthur, * He removed in 1680 to the great school-house at Chelsea, formerly Mr. Portman's, Vide Gazette, Nunb. 1567. t The song in the Orpheus Britannicus ' Ah I Belinda,' is one of the »irs in it. In the original opera the initial words are ' Ah ! my Anna.' t Sic Orlg. § Called also the Prophetess ; it was not written by Betterton, but VS3 altered by him from Beaumont and Pletclier. Fairy Queen, the Indian'Queen, the Married Beau,|( Old Bachelor, Amphitryon, and Double Dealer, comedies; and to the Princess of Persia, '(j the Gordian Knot untied,** Abdelazor, or the Moor's Revenge,jf and Bonduca,JJ tragedies, and the Virtuous Wife, a comedy. §§ The opera of Dioclesian in score was published by Purcell himself in the year 1691, with a dedica- tion to Charles duke of Somerset, in which he ob- serves that ' Music is yet but in its nonage, a forward ' child, which gives hope of what he may be hereafter ' in England, when the masters of it shall find more ' encouragement ; ' and ' that it is now learning ' Italian, which is its best master, and studying ' a little of the French air, to give it somewhat more ' of gaiety and fashion.' In the year 1684 Purcell published ' A musical ' entertainment performed on November 22, 1683, it ' being the festival of St. Cecilia, a great patroness of ' Music' The rest of Purcell's compositions in print are chiefly posthumous publications by his widow, and consist of ' A Collection of Ayres composed for the Theatre, and upon other occasions, 1697.' The ten Sonatas above mentioned, the ninth whereof is that which for its excellence is called the Golden Sonata in F FA UT, printed also in 1697. Lessons for the Harpsichord, Orpheus Britannicus, in two books, a work not more known than admired, sundry hj'mns • and four anthems in the Harmonia Sacra, and part of the solemn burial service, which was completed by Dr. Croft, and is printed at the end of his book of anthems. The compositions above mentioned, as also a great number of songs and airs, rounds and catches, and even dance-tunes, set by him, are a proof of Purcell's extensive genius ; but neither the allurements of the stage, nor his love of mirth and good-fellowship, of which he seems to have been very fond, were strong enough to divert his attention from the service of the church. The Te Deum and Jubilate of Purcell are well known to all persons conversant in cathedral music. The general opinion has long been that he composed these offices for the musical performance at St. Paul's for the benefit of the sons of the clergy, ||(| grounded perhaps on the uniform practice of per- forming them on that occasion until about the year 1713, when they gave way to the Te Deum and; II By Crowne. IF By Elkanah Settle. ** The author unknown, tt By Mrs. Behn. tj By Beaumont and Fletcher. §§ By D'Urfey. II II Of this benevolent institution the history is as follows. In tlie time of the usurpation a sermon was preached at St. Paul's, Nov. 8, 1658, to the sons of ministers solemnly assembled, by George Hall, minister at St. Botolph Aldersgate, son of the famous bishop Hall, and afterwards bishop of Chester. It is supposed that the design of this discourse was to promote charitable contributions in favour of the so^s of the clergy, since the corporation created for that purpose date their origin from the time above-mentioned. Whether before the restoration sermons of this kind were annual we know not, hut afterwards a charter was granted, beaiing date the first day of July, 1678, whereby a body politic and corporate was constituted by the name of the Governors of the Charity for the Relief of the poor Widows and Children of Clergymen, with licence to possess any estate not exceeding the yearly value of 20001. Afterwards, upon the accession of Dr. Thomas Turner's gift, which amounted to about 18,0002. the governors, Dec. 16, 1714, obtained an augmentation of the said grant, by a licence to possess the yearly value of 3000?. over and above all charges and reprises, as also over and above the said 2000i. per annum. To promote the design of this institution, a sermon was preached at the anniversary meeting of the sons of cl«jgy- men in the church of St, Mary le Bow on the seventh day of NoveiBbei, 746 HISTORY OF THE SCIENCE Book XVL Jubilate of Mr. Handel, which had been composed for the thanksgiving on the peace of Utrecht, but the fact is otherwise, as will be shown. Soon after the restoration of Charles IL, when the civil commotions that had long disturbed the peace of this realm were at an end, the people gave into those recreations and amusements which had been so severely interdicted during the usurpation. Plays were not only permitted to be acted, but all the arts of scenical representation were employed to render them the objects of delight, and musical associations were formed at Oxford, and in other parts of the kingdom. The first voluntary association of gentlemen in London, for the purpose of musical recreation, and which could properly be called a concert, seems to have been that at the house of Britton, the small-coal man, established about the year 1678, an acount whereof, as also of concerts given by masters, and which were uniformly notified in the London Ga- zette, will hereafter be given ; but the lovers of music residing in this metropolis had a solemn an- nual meeting at Stationers' Hall on the twenty- second day of November, being the anniversary of the martyrdom of St. Cecilia,* from the time of re- 1678, by Dr. Thomas Sprat, afterwards Mshop of Rochester, in which, upon a reference to it, it appears that these solemnities had been usual before they were encouraged by a royal establishment. The sermons continued to be preached at Bow church till the year 1697, when Dr. George Stanhope preached his sermon for the benefit of this charity at the cathedral church of St. Paul, at which time, as it is imagined, the thought was first suggested of agrand musical performance, as a joint motive to devotion and pity, with the eloquence of the preacher. The annual feast of the sons of the clergy appears to be prior to their incorporation. In the London Gazette of November 22, 1677, is an advertisement of the annual feast of the sons of the clergy, to he held at Merchant Taylors' hall, on Thursday the twenty-ninth day of November then next. Since the year 1697 there has been constantly an annual sermon, and also a grand musical service at the cathedral, church of St. Paul to pro- mote the ends of this charity j the most eminent divines of our church have in succession been the preachers, and the musical performance has received all the advantages that could possibly he derived from the assistance of the ablest of the faculty. For many years past it has been the practice of the stewards of the corporation to have at St. Paul's on the Tuesday preceding the day of the sermon, what is called, a rehearsal of the performance, as also a collection for the charity. " St. Cecilia, among Christians, is esteemed the patroness of music, for the reasons whereof we must refer to her history, as delivered by the notaries of the Roman church, and from them transcribed into the Golden Legend, and other books of the like kind. The story says that she was a Roman lady, born of noble parents, about the year 225. That notwithstanding she had been converted to Christianity, her parents married her to a young Roman nobleman named Valerianus, a pagan, who going to bed to her on the wedding night, as the custom is, says the book, was given to understand by his spouse that she was nightly visited by an angel, and that he must forbear to approach her, otherwise the angel would destroy him. Valerianus somewhat troubled at these words, desired he might see his rival the angel, but his spouse told him that was impossible, unless he would be baptised and become a Christian, which he consented to : after which returning to his wife, he found her in her closet at prayer, and by her side, in the shape of a beautiful young man, the angel cloathed with brightness. After some conversation with the angel, Valerianus told him that he had a brother named Tibuitius, whom he greatly wished to see a partaker of the grace which he himself had received ; the angel told him that his desire - was granted, and that shortly they should both be crowned with martyrdom. Upon this the angel Vani'shed, hut soon after showed himself as good as his word ; TiburtiUs was concerted, and both he and his brother Valerianus were beheaded ; Cecilia was offered her life upon condition that she would sacrifice to the deities of the Romans, but she refused, upon which she was thrown into a cauldron of boiling water, and scalded to death; though others say that she was stifled in a dry bath, t. e. an inclosure from whence the air was excluded, having a slow fire underneath it; which kind of death was sometimes inflicted among the Romans upon women of quality who were criminals. 'See the second Nonne's Tale in Chaucer, the Golden Legend, printed by Caxton, and the Lives of Saints by Peter Ribadeneyra, Priest of the Society of Sesns. Pririted at St. Omer*3 in 1699. Upon the spot inhere her house stood is a church, *aSd to have btfen built by pope Drban I. who administered baptism W> her husbartd aftd his brothelr ; it is the church of St. ICecilia in Ttistevtfre, Within is 'h building that edifice after the fire of London. The performances on occasion of this solemnity being in- tended to celebrate the memory of one wlio, for reasons hard to discover, is looked on as the tutelar saint and patroness of music, had every possible ad- vantage that the times afforded to recommend them: not only the most eminent masters in the science contributed their performance, but the gentlemen of the king's chapel, and of the choirs of St. Paul's and Westminster, lent their assistance, and the festival was announced in the London Gazette :"|" and to give it a greater sanction^ a sermon was annually for some years preached at the Church of St. Bride, Fleet-street. For the celebration of this solemnity Purcell com- posed his Te Deum and Jubilate, and also the most curious painting of the saint, as also a stately monument, with a cumbent statue of her with her face downwards. St. Cecilia is usually painted playing either on the organ or on the harp, singing as Chaucer relates thus : — And whiles that the organs made melodie. To God alone thus in her herte fong ihe, O Lorde my foul and eke my body gie , Unwemmed left I confounded be. Over and above this account there is a tradition of St. Cecilia, that she excelled in music, and that the angel, who was thus enamoured of her, was drawn down fromthecelestialmansionsby the charms of her melody; this has been deemed authority sufficient for making her the patroness of music and musicians. The legend of St. Cecilia has given frequent occasion to painters and sculptors to exercise their genius in representt^itions of her, playing on the organ, and sometimes on the harp. Rapba^ has painted her singing with a regal in her hands ; and Domenichino and Mignard singing and playing on the harp. And in the vault under the choir of St. Paul's cathedral, against one of the middle columns on the south side, is a fine white marble monument for Miss "Wren, the daughter of Sir Christopher, wherein that young lady is represented on a bass relief, the work of Bird, in the charact-er of St. Cecilia playing on the organ, a boy angel sustaining her book, under which are the following inscriptions : — 'M. S. ' Deslderatissims Virginis Janae Wren Clariss. Dom. Christophod 'Wren Filae unicae, Patemae indolis literis deditse, pise, benevola, 'domisidae, Arte Musicaperitissims. 'Here lies the body of Miss. Jane Wren, only daughter of Sir * Christopher Wren, Kt. by Dame Jane his wife, daughter of William 'Lord Piz- William, Baron of Lifford in the kingdom of Ireland. Ob. 29 ' Decemb. anno 1702, MtsX. 26.' In this vault lies interred also Dr. Holder, who will he spoken of hereafter. As few are acquainted with this place of sepulture, this opportunity is taken to mention that in a book entitled * A new View of London,' in two volumes octavo, 1708, it is said to be probably one of the most capacious, and every way curious vaults in the world. A few words more touching the above-mentioned book are here added for the information of the curious reader, and will conclude what it is feared may by some be thought a tedious note. It was written by Mr. Edward Hatton, surveyor to one of the Fire, offices in London, and the author of Comea Comercii, an Index to Interest and useful books. The duty of the author's employment obliged him to make surveys of houses in all parts of the city, and in the discharge thereof he took every opportunity of remarking what Appeared to him most worthy of note. His View of London contains the names of squares, streets, lanes, &t:., and a description of all public edifices; among these are the churches, which, he being very well skilled in architecture, are no where else so accurately described} and although in the book the monumental inscriptions are sometimes erroneously given, no one can see it, as he may almost every day, exposed to sale ou stalls, but must regret that a work of such entertainment and utility is held so cheap. t Of the several poems written on occasion of this solemnity, Dryden's Alexander's Feast has unquestionably the preference ; though it has been remarked that the two concluding lines liave the turn of an epigram. Without pretending to determine on their respective merits, here follows a list of as many others of them as are to be found in Dryden's Miscellany. A Song for St. Cecilia's day, 1687. By Mr. Dryden, part IV. page 331. Set to music by Mr. Handel many years after it was written. A Song for St. Cecilia's day, 1690* Written by Tho. Shadwell, Esq., composed by Mr. King, part IV. page 93. An Ode for St. Cecilia's day, 1690, part VI. page 130. An Ode for St. Cecilia's day, 1693, written by Mr. "tho. Yalden, and composed by Mr. Daniel Purcell, part IV» page 35. A Hymn to Harmony, written in honour of St. Cecilia's day, 1701, by Mr. Congreve, set to music by Mr. John EOcles, master of her majesty's music, part IV. page 308. A Song for St. Cecilia's day at Oxford. By Mh Addison, part IV. page 20. Besides these there is extant an Ode for St. Cecilia's day, 1708, b; Mr. Pope, printed among his works. Chap. CLV. AND PRACTICE OF MUSIC. 747 muaical entertainment performed for St. Cecilia's day above mentioned; the lattter was published, together with a second musical entertainment of Dr. Blow for the same anniversary, in the following year. The former was printed under the direction of Mrs. Purcell, but on so coarse a type, and with such evi- dences of inattention, as have subjected those who had the care of the publication to censure.* The several works above-mentioned were composed with great labour and study, and with a view to the establishment of a lasting reputation ; but there are others that is to say, hymns, in the Harmonia Sacra, t and single songs and ballad tunes to a very great number, in the printed collections of his time, which alone shew the excellencies of Purcell in vocal composition ; even his rounds and catches, many whereof were composed and sung almost at the same instijnt, have all the merit which can be ascribed to that species of harmony. And here it may not be improper to mention an anecdote respecting one of them, which the communication of a friend to this work has enabled the author to give. The reverend Mr. Subdean Goatling played on the viol da gamba, and loved not the instrument more than Purcell hated it. They were very intimate, as must be sup- posed, and lived together upon terms of friendship ; nevertheless, to vex Mr. Gostling, Purcell got some one to write the following mock eulogium on the viol,f which he set in the form of a round for three voices. Of all the instruments that are. None with the viol can compare : Mark how the strings their order keep. With a whet whet whet and a sweep sweep sweep ; But above all this still abounds. With a zingle zingle zing, and a zit zan zounds. Though the unsettled state of public affairs at the time when he lived, obliged almost every man to attach himself to one or other of the two contending parties, Purcell might have availed himself of that exemption which men of his peaceable profession have always a right to insist on, but he seemed not disposed to claim it. In James the Second's time he sang down the Whigs, and in that of William, the Tories. It is true he did not, like William Lawes, sacrifice his life 'to the interests of a master who loved and had promoted him, but he possessed a kind of transitory allegiance ; and when the former had attained to sovereignty, besides those gratuitous effusions of loyalty which his relation to the court disposed him to, could as easily celebrate the praises of William as James. ' His billet at the fire was found, ' Whoever was depos'd or crown'd.' * Vide Preface to Dr. Croft's Anthems. t The Harmonia Sacra is a collection in twb books, of divine hymns and dialogues, set to m^sic by music hy Lock, Humphrey, Blow, Purcell, and others. The third edition, printed in 1714, is by far the best. In it are four anthems by Purcell, and three by Croft, Blow, and Clark. To the second book are verses addressed to Blow and Purcell by Dr. Sacheverell. Tale collected the words, and published them in a small volume without the music. X It was first printed in the second book of the ' Pleasant Musical Companion,' published in 1701, and has been, continued in most of the subsequent collections of Catches. This indifference is in some degree to be accounted for by that mirth and good humour, which seem to have been habitual to him ; and this perhaps is the best excuse that can be made for those connexions and intimacies with Brown and others, which show him not to have been very nice in the choice of his company. Brown spent his life in taverns and ale- houses ; the Hole in the Wall in Baldwin's Gardens§ was the citadel in which he baffled the assaults of creditors and bailiffs, at the same time that he attracted thither such as thought his wit atoned for his profligacy. Purcell seems to have been of that number, and to merit censure for having prostituted his invention, by adapting music to some of the most wretched ribaldry that was ever obtruded on the world for humour. The house of Owen Swan, a vintner 1 1 in Bartholomew-lane, humorously called Cobweb-hall, was also a place of great resort with the musical wits of that day; as also a house in Wych-street, behind the New Church in the Strand, within time of memory known by a sign of Purcell's head, a half length ; the dress a brown full-bottomed wig, and a green night-gown, very finely executed, the name of the person who last kept it as a tavern was Kennedy, a good performer on the bassoon, and formerly in the opera band. But notwithstanding the intimacies above men- tioned, he had connections that were honourable. The author of the Life of the Lord Keeper North, speaking of his lordship's skill in the science, and the delight he took in the practice of music, says that at his house in Queen-street his lordship had a concert, of which Mr. Purcell had the direction ; and at that time of day concerts were so rare, that it required the assistance of no less than a master to keep four or five performers together : his scholars were the sons and daughters of the nobility and principal gentry in the kingdom, a circumstance which alone bespeaks the nature of his connexions, and the rank he held in his profession. Of his performance on the organ we are able to say but little, there being no memorials remaining that can tend to gratify our curiosity in this respect, save a humorous rebus in Latin metre, written by one Mr. Tomlinson, and here inserted ; in which it is intimated that he was not less admired for his performance than his compositions. The verses above alluded to were set to music in the form of a catch by Mr. Senton ; they were first printed in § A pretended privileged place. See NorihKooh. II In the Pleasant Musical Companion, printed in 1726, is a catch on t^is person, the words whereof are written by himself. A gentleman now living, who knew him, relates that the sign of his house was the Black Swan, and that he was parish-clerk of St. Michael's in Comhill ; that failing in his trade as a vintner in his latter years, he removed to a small house in St. Michael's-alley, and took to the selling of tobacco, trusting to the friendship of a numerous acquaintamce ; and that on his tobacco papers were the following lines composed by himself: — The dying Swan in sad and moving strains. Of his near end and hapless fate complains. In pity then your kind assistance give. Smoke of Swan's best, that the poor bird may live. A like exhortation to. lend assistance to this poor old man, is contained in the following epigram, written by one of his friends : — The aged Swan, opprest with time and cares, With Indian sweets his funeral prepares ; Light up the pile, thus he'll ascend the skies. And, Phcenix like, from his own ashes rise. 748 HISTOEY OF THE SCIENCE Book XVI. the second book of the Pleasant Musical Companion, published in 1701, and are as follow: — Galli marita, par tritico seges, Prasnomen est ejus, dat chromati leges ; Intrat cognomen blanditiis Cati, Exit eremi in iEdibus stati, Expertum eifectum omnes admirentur. Quid merent Poetae ? ut bene caloentur. Thus translated and set to music : — A mate to a cock, and corn tall as wheat. Is his Christian name who in musick's compleat : His surname begins with the grace of a cat, And concludes with the house of a hermit ; note that. His skill and performance each auditor wins. But the poet deserves a good kick on the shins. Purcell died on the twenty-first day of November, 1695.* There is a tradition that his death was ocfeioned by a cold which he caught in the night, waiting for admittance into his own house. It is said tliat he used to keep late hours, and that his wife had given orders to his servants not to let him in after midnight : unfortunately he came home heated with wine from the tavern at an hour later than that prescribed him, and through the inclemency of the air contracted a disorder of which he died. If this be true, it reflects but- little honour on Madam Purcell, for so she is styled in the advertisements of his works ; and but ill agrees with those expressions of grief for her dear lamented husband, which she makes use of to Lady Elizabeth Howard in the dedication of the Orpheus Britannicus.f It seems probable that the disease of which he died was rather a lingering than an acute one, perhaps a con- sumption ; and that, for some time at least, it had no way affected the powers of his mind, since one of the most celebrated of his compositions, the song ' Prom rosy boiyers,' is in the printed book said to have been the last of his works, and to have been set during that sickness which put a period to his days. He was interred in Westminster Abbey. On a tablet fixed to a pillar, before which formerly stood the organ,J placed there by his patroness the * Dr. Boyce, in the account of Purcell prefixed to his Cathedrfll Music, vol. II. says that he resigned his place of organist of Westminster-Abbey in 1693 ; but in this particular he seems to have been misinformed ; upon searching the treasurer's accounts for 1694, PurceH appears to have been then organist. Farther he is a subscribing witness to an agreement dated 20th July, 1694, between the dean and chapter of Westminster and Father Smith for repairing the abbey organ, and is therein called organist of the said church. The treasurer's ai;counts for 1695 are not to be found ; nor can any entry he found in the books or accounts of the abbey that will determine the question whether Purcell resigned or died in the office ; but upon the evidence above etated the latter is the more eligible supposition. As organist of the chapel royal he was succeeded by Mr. Francis Figgot, organist of the Temple ; and as organist of Westminster Abbey by Dr. Blow, who was his senior, and had been his master. f Mr. Wanley in the Harleian Catalogue, No. 1272, giving an account of Stradella, says that when Purcell, who had only seen two or three of his compositions, heard that he was assassinated, and upon what account, he lamented him exceedingly ; nay, so far as to declare that lie could have forgiven him an injury in that kind ; and then adds this reflection of his own, * which those who remember how lovingly Mr. Purcell lived ' with his wife (or rather what a loving wife she proved to him) may • understand without farther explication.* J The customary place of interment for an organist is under the organ of his church. In Purcell's time, and long after, the organ of Westminster Abbey stood on the north side of the choir, and this was anciently the Station of the organ in all churches. In Hollar's fine view of the inside of old St. Paul's in Sir William Dugdale's history of that cathedral, the organ is so situated, as it is at this day at Canterbury and the king's chapel. The reason of it was that the organist should not be obliged to turn his back to the altar. But this punctilio is now disregarded, and, which is extraordinary, even at the embassador's chapel in Lincoln's-Inn fields, where the organ stands at the west end, as in most churches in this kingdom. Lady Elizabeth Howard, is an inscription, which has been celebrated for its elegance, and is as follows : — ' Here lyes ' Henry Purcell, Esq. ; ' Who left this life, • And is gone to that blessed place, ' Where only his harmony ' can be exceeded. ' Obiit 21mo. die Novembris, ' Anno .^tatis suee 37mo, 'Annoq; Domini 1695.' Lady Elizaheth Howard had been a scholar of Purcell; she was the eldest daughter of Thomas earl of Berkshire, and the wife of Dryden, who is plainly alluded to in the dedication of the Orpheus Britannicus. Many of his best compositions were made for her entertainment, and were recommended by her own performance. Purcell had set the music to King Arthur, and many other of Dryden's drama- tic works. Dryden wrote an ode on his death which Dr. Blow set to music ; and Lady Elizabeth erected the tablet. From all these particulars the inference is not unnatural that Dryden was the author of the above inscription. On a flat stone over his grave was the following epitaph, now totally effaced : — Plaudite, felices superi, tanto hospite ; nostris Praefuerat, vestns additur ille choris : Invida nee vobis Purcellum terra reposcat, Questa decus sefili, deliciasque breves. Tam cito decessisse, modos cui singula debet Musa, prophana suos reUgiosa sues. Vivit lo et vivat, dum vicina organa spirant, Dumque colet numeris turba canora De-j- ^ ^m^.^^^^m^^^M »3EE?E^^E fe*=3i ipg^ ^fg^ ^ g^^ ^^i^^pg^^g^ ^ggg^^^^^ i my wat'ry realm with peace. 752 :^=-E ■-t?«- ^-f- HISTOEY OF THE SCIENCE : ||E^^E^_ ^ ^=a^E^^g^i£^^;gE^fp^F: SI ^=^^^:E^=g^|J^ ^E^3E£^e =?z: - -J r e=E: In the year 1702 was publisted a second edition of the Orpheus Britannicus, and also a second book ; the editor of this latter was Henry Playford. It is dedicated to Charles Lord Halifax, and contains songs in the Fairy Queen, the Indian Queen, birthday songs,* and other occasional compositions, together with that noble song, ' Genius of England.' This latter composition, which has an accompaniment for a trumpet, and is said to have been sung by Mr. Freeman and Mrs. Gibber, leads us to remark that Purcell was the first who composed songs with symphonies for that instrument ; and that it is to be inferred from the many instances in the Orpheus Britannicus of songs so accompanied, that he had a great fondness for it, which is thus to be accounted for : — In the royal household is an establishment of a sergeant and office of trumpets, consisting of the sergeant and sixteen trumpets in ordinary. The origin of this office may be traced back to the time of Edw. VI., when Benedict Browne was sergeant- trumpeter, with a salary of £24 6s. 8d. per ann. (see page 541 of this work.) The salary was after- wards augmented to £100, and so continues ; but even thus increased, it bears but a small proportion to the perquisites or fees of office, some of which arise from creations of nobility, and even from the patents by which sheriffs are appointed. In Puroell's time the Serjeant was Matthias Shore. This man had a brother named William, a trumpeter, and also a son named John, who by his great in- genuity and application had extended the power of that noble instrument, too little esteemed at this day, beyond the reach of imagination, for he produced from it a tone as sweet as that of a hautboy. Matthias Shore had also a daiighter, a very beautiful and amiable young woman, whom Purcell taught to sing and play on the harpsichord. Gibber was well acquainted with John Shore, and being one day on a visit to him at his house, happened to hear his sister at her harpsichord, and was so charmed with * Among these is the song ' May her blest example chase,' the hass whereof is the melody of the old ballad ' Cold and raw.' For the history of this composition vide ante page 504, in note. HeNEY PUEOELI. her that he became her lover and married her. Gibber was then not quite twenty-two years of age, and, as himself confesses,t had no other income than twenty pounds a year allowed him by his father, and twenty shillings a week from the theatre, J which could scarce amount to above thirty pounds a year more. The marriage having been contracted against the consent of the lady's father, she and her husband were by him left to shift for themselves ; upon which she took to the stage ; and in a part in Don Quixote, together with Mr. Freeman, sang the song above- mentioned, her brother performing the symphony on the trumpet. CHAP. CLVI. To entertain an adequate idea of the merits of Purcell, we must view him in the different lights of -t Of this family the following is the farther history. William Shore succeeded Matthias, and survived him hut a few years. By a note in Strype, [St. Martin's in the Fields, page 7Z,'\ it appears that he was hurled in the old church of that parish. Old Mr. Shore was afterwards so far reconciled to his daughter, Mrs. Cibber, that he gave her a small fortune ; the rest of what he was possessed of, he laid out in hmlding a house on the bank of the Thames, which was called Shore's Folly, and has been demolished several years. John Shore the son succeeded his uncle in the office of Seijeant Trumpeter ; and by the lists of the royal household it appears that in 1711 he had a place in the queen's band. At the public entry of king George I., in 1714, he rode as Serjeant Trumpeter in cavalcade, hearing his mace ; and on the eighth day of August, 1715, upon a new establishment of gentlemen and additional performers in the king's chapel, was sworn and admitted to the place of lutenist therein. He was a man of humor and pleasantry, and was the original inventor of the tuning-fork, an instrument which he constantly carried about him, and used to tune his lute by, and which whenever he produced it gave occasion to a pun. At a concert he'would say, ' I have ' not about me a pitch-pipe, but I have what will do as well to tune by, ' a pitch fork.' Some of his contemporaries in otfice, now living, give him the character of a well-bred gentleman, extremely courteous and obliging to all. It is said that he had the misfortune to split his lip in sounding the trumpet, and was ever after unable to perform onthat instrument, and also to be engaged in contentious suits for the ascertaining of his fees ; and that his bad success in some of them, disordered his understanding, insomuch that meeting one day with Dr. Croft in the Park, he would needs fight him. He died in the year 1753, and was succeeded in his place of Seijeant Trumpeter by Mr. Valentine Snow, and in that of lutenist to the chapel by Mr. John Immyns. His sister, Mrs, Cibber, was very much afflicted with an asthma, and died about the year 1730. These particulars respecting Gibber's marriage, and his wife's father, are related by his daughter, Mrs. Charlotte Charke, in a narrative of her life, published in 1755. Mr. Snow died about ten yeari agot and ia the subject of the following humorous epitaph: — Thaw every breast, melt every eye with woe, Sere's dissolution by the hand of death ; To dirt, to water's turn'd the fairest Snow, ! the king's Trumpeter has lost his breath. Webb's Collection of Epitaphs Vol. II. page 4. t Apolo^ for his Life, quarto, page 107. Chap. CLVI. AND PRACTICE OF MUSIC. 753 a composer for the church, the theatre, and the cham- ber. He was not fond of services, and, excepting that sublime composition, his Te Deum and Jubilate, his services in Bb, and what is called his second or Be- nedicite service, in the same key, we know of no work of his of this kind extant. Anthems afforded more exercise for his invention, and in these his excellen- cies are beyond the reach of description : that of his to the words ' O give thanks,' is esteemed the most capital of them ; but there are others, namely, ' God thou art my God,' ' God thou hast cast us ' out,' ' O Lord God of hosts,' ' Behold I bring you ■■glad tidings,' 'Be merciful unto me God,'* and ' My song shall be alway of the loving kindness of ' the Lord,' a solo anthem, composed on purpose for Mr. Gostling ; which are in a style so truly pathetic and devout, that they can never be heard without rapture by those who are sensible of the powers of harmony : and so finely were his harmonies and melodies adapted to the general sense of mankind, that all who heard were enamoured of them. Brown in one of his Letters mentions that the cathedrals were crowded whenever an anthem of Purcell was expected to be sung. Of his compositions for the theatre we are enabled to form some judgement, from those parts of them that are published in the Orpheus Britannicus; of these the music to King Arthur seems to h^ve been the most admired : the frost scene in that drama, and the very artful commixture of semitones therein, con- trived to imitate that shivering which is the effect of extreme cold, have been celebrated by the pen of Mr. Charles Gildon, in his Laws of Poetry ; but doubtless the most perfect of his works of this sort are the music to the Tempest, the Indian Queen, and ffidipus. The former of these plays, in compliance with the very corrupt taste of the times, was altered by Sir William D'avenant and Dryden from Shakes- peare, who, as if they had formed their judgment of dramatic poesy rather on the precepts of Mons. Quintinye, than of Aristotle, and thought that the exact regularity observed in the planning of the gardens of that day, afforded a good rule for the conduct of the drama, chose that the characters of Caliban and Miranda should each have a counterpart, and accordingly have given us a Sycorax, a female savage ; and Hyppolito, a man that never saw a woman. It is said that Dryden wrote his Alexander's Feast with a view to its being set by Purcell, but that Purcell declined the task, as thinking it beyond the power of music to express sentiments so super- latively energetic as that ode abounds with. The truth of this assertion may well be questioned, seeing that he composed the Te Deum, and scrupled not to set to music some of the most sublime passages in the Psalms, the Prophecy of Isaiah, and other parts of holy scripture ; not to mention that Mr. Thomas Clayton, he that set Mr. Addison's opera of Rosamond, who was the last in the lowest class of musicians, saw nothing in Alexander's Feast to deter him from Betting and performing it at the great room in * Usually sung at Westminster Abbey on the 30(7* of January. Villiers-street, York-buildings, in 1711, Sir Richard Steele and he being then engaged in an undertaking to perform concerts at that place for their mutual benefit.f But Clayton's composition met with the contempt it deserved ; and the injury done by him to this admirable poem was amply repaired bv Mr. Handel. As to the chamber-music of Purcell, it admits of a division into vocal and instrumental ; the first class includes songs for one two and three voices ; those for a single voice, though originally composed for the stage, were in truth Cantatas, and perhaps they are the truest models of perfection in that kind extant ; among the principal of these are ' Prom rosy bowers,' sung by Mrs. Cross in the character of Altisidora, in the third part of Don Quixote ; and that other ' From silent shades ;' to which we may add the incantation in the Indian Queen, ' Ye ' twice ten hundred deities,' with the song that follows it, ' Seek not to know what must not be revealed ;' and that bass song sung by Cardenio in Don Quixote, ' Let the dreadful engines of eternal will.'J Nor can less with justice be said of his songs for two voices, particularly ' Sing all ye Muses,' ' When ' Myra sings,' ' Fair Chloe my breast so alarms,' and others : as to his dialogues ' Since times are ' so bad,' and ' Now the maids and the men,' they are songs of humour, and in a style so peculiarly his own, that we know not to what test of comparison they can be brought, or how to judge of them, otherwise than by their own intrinsic excellence. Other compositions of his there are of a class different from those above mentioned, as ballads and catches, of which he made many. The air ' What ' shall I do to show how much I love her,' in the opera of Dioclesian ; ' If love's a sweet passion,' in the Fairy Queen ;§ and another printed in Comes Amoris, book IV. song I. to the words ' No, no, ' poor suff'ring heart,' are ballads, and perhaps the finest of the kind ever made. Of Catches it may be said that they are no more the test of a musician's abilities than an epigram is of a poet's ; nevertheless each has its peculiar merit : and of the catches of Purcell it may be said, that they have every ex- cellence that can recommend that species of vocal harmony. As Purcell is chiefly celebrated for his vocal com- positions, it may perhaps be conceived that in the + Life of Mr. John Hughes prefixed to his poems. X Of the two compositions last above mentioned we are ahle here to give the judgment of foreigners. When the Italian musicians, who came hither with the princess of Modena, king James the Second's queen, became acquainted with our language, they discovered great beauties in Purcell's recitative ; and it is said on very good authority, that the notes to the words in the song, ' Seek not to know, &c., ' Enquire not then who shall from bonds be freed, ' Who 'tis shall wear a crown, and who shall bleed,' charmed them to astonishment. And touching the other, a reverend divine, a member-of a cathedral choir, a great lover and an excellent judge of music, communicates the following anecdote. ' A very eminent master in London told me that a * disciple of his, who went by his advice to Italy for improvement of his ' studies in music, at his first visit to him after his return mentioned his * having heard Purcell talked of as a great composer, and desired his ' opinion of him ; for an answer the master sat down to the harpsichord, ' and performed this song. The young gentleman was so struck when ' he heard the passage " Can nothing warm me," that he did not know ' how to express his admiration, but by crying out he had never heard * music before.' § Printed among his Ayres, page 12. 754 HISTOKY OF THE SCIENCE. Book XVI. original performance of them they derived con- siderable advantages, and that the singers, like the actors of that day, had abilities superior to those of the present ; but this, as far as the inquiry can he traced, was not the fact : before the introduction of the Italian opera into England the use of the vocal organs was hut little understood ; and as to what is called a fine manner, the best singers were as much strangers to it as they were to the shake, and those many nameless graces and elegances in singing now so familiar to us ; for which reason it is that we see in many of Purcell's songs the graces written at length, and made a part of the composition. From all which it may be inferred that the merit of the singers in and about this time rested chiefly in that perfection which is common to all ages, a fine voice. Those among them who seem to have been most liberally endowed with this gift, were, of men, Mr. James Bowen, Mr. Harris, Mr. Freeman, and Mr. Pate, all actors and singers at the theatres ;* and Mr. Damascene, Mr. Woodson, Mr. Turner, and Mr. Bouchier, gentlemen of the chapel ;f and of women, Mrs. Mary Davis, Miss Shore, afterwards Mrs. Cibher, Mrs. Cross, Miss Campion, and Mrs. Anne Bracegirdle.J * None of the men abovementioned are greatly celebrated as singers, their chief praise being that they were excellent actors, especially Harris, who is highly spoken of by Downes. t The gentlemen nf the chapel about this time were used occasionally to assist in musical performances on the stage, but queen Anne, thinking the practice indecent, forbad it. t Mrs. Davis was one of those female actresses who boarded with Sir William D'avenant in his house. Downes relates that she acted tfaepart of Celania, a shepherdess, in a play called the Rivals, said to have been written by him ; and in it sang, in the character of a shepherdess mad for love, the following song : — My lodging it is on the cold ground, and very hard is my fare ; But that which troubles me most is the unkindness of my dear ; Yet still I cry, O turn love, and I prethee love turn to me. For thou art the man that I long for, and alack what remedy I I'll crown thee with a garland of straw then, and I'll marry thee with a rush ring. My ftozen hopes shall thaw then, and merrily we will sing ; O turn to me my dear love, and I prethee love turn to me. For thou art the man that alone canst procure ray liberty. But if thou wilt harden thy heart still, and be deaf to my pittyful moan, Then I must endure the smart still, and tumble in straw all alone ; Yet still I cry, O turn love, and I prethee love turn to me. For thou art the man that alone art the cause of my misery. Which king Charles the Second hearing, he was so pleased that he took her off the stage, and had a daughter by her, who was named Mary Tudor, and was married to Francis lord Ratcliffe, afterwards earl of Derwent- water. Mrs. Davis was also a fine dancer ; she danced with Mr. Priest an £ntr6e in a masque in the last act of Dryden's comedy of Feigned Inno- cence, or Sir Martin Mar-all, and was greatly applauded. Of Miss Shore mention has already been made. Mrs. Cross was a celebrated actress, especially in those characters in which sineing was required. She acted the part of Altisidora in the third part of Don Quixote, and in that cha- racter sang the song * From rosy bowers.' The history of Mrs. Bracegirdte is well known. She it seems had a fine voice, and acted the part of Marcella in the second part of Don Quixote, and in it sang the song ' I burn, I bum,' set to music by Mr. John Eccles. In the Orpheus Bri- tannicus is a song in which she is celebrated for her performance of this character. Miss Campion was a young woman of low extraction, un- happy in a beautiful person and a fine voice. William the first duke of Devonshire took lier oflT the stage, and made her his mistress. She died in May 1708, in the nineteenth year of her age ; and the duke, who was then In his sixty-sixth, buried her in the church of Latimers, the seat of his family in the county of Bucks. In the chancel of that church he erected a monument for her, on which is a Latin inscription, importing that she was wise above her years, bountiful to the poor, even beyond her abilities j and at the playhouse, where she sometime acted, modest His music for instruments consists of overtures, act-tunes, and dance-tunes composed for the theatre, and the two sets of Sonatas for violins, of the publication whereof mention is above made. These compositions are greatly superior to any of the kind published before his time ; and if they fall short of his other works, the failure is to te attributed to the state of instrumental music in his time, which was hardly above mediocrity. For although Fera- bosco, Ooperario, and Jenkins, in their compositions for viols had carried the music for those instruments in concert to great perfection, upon the introduction of the violin into this kingdom these were dis- regarded, and the English musicians, namely, Eogers, Porter, Child, Lock, and others, set themselves to compose little airs in three and four parts for violins and a bass. Jenkins indeed composed a set of Sonatas for those instruments, and so did Godfrey Finger some years after ; but of these works the; chief merit was their novelty. Neither does it appear that in Italy the improve- ments in instrumental had kept an equal pace with those of vocal music. In a general view of the state of instrumental music towards the end of the last century, it will appear to have been wanting in spirit and force : in the melody and harmony it waa too purely diatonic ; and, in regard to the contexture of parts, too nearly approaching to counterpoint. In France Lully invented that energetic style which distinguishes his overtures, and which Handel himself disdained not to adopt ; and in Italy Corelli intro- duced a variety of chromatic, or at least semitonio combinations and passages, which, besides that they had the charm of novelty to recommend them, gave a greater latitude to his modulation, and allowed a wider scope for invention : nor was the structure of his compositions less original than delightful ; fugues well sustained, and answering at the properest intervals through all the parts ; fine syncopations, and elegant transitions from key to key ; basses, with the sweetest harmony in the very melody; these are the characteristics of Corelli's compositions, but these Puroell lived rather too early to profit hy. Doubtless, therefore, Lully and Corelli are to be looked on as the first great improvers of that kind of instrumental harmony which for full half a century and untainted ; that, being taken with a hectic fever, with a firm confi- dence and christian piety she submitted to her fate, and that William duke of Devonshire upon her beloved remains had erected that tomb as sacred to her memory. Dr. White Kennet, afterwards bishop of Peter- borough, preached the funeral sermon of this noble personage, and published memoirs of his family, representing him in both, as also in his comi>lete History of England, as no less distinguished by his virtues than his titles, the chief reason whereof, seems to be that the duke styled himself a hater of tyrants, and was a great instrument in the Revolution. Notwithstanding' which, a general indignation rose in the minds of all sober and good men against the duke and his panegyrist, the one for the shameless insult on virtue and good manners, contained in the above in- scription, the other for his no less shameless prostitution of his eloquence, in an endeavour to confound the distinctions between moral good and evil, and represent as worthy of imitation a character, which in one very essential particular is justly to he abhorred. It is said that the duke re- pented of his past life, and it is to be hoped, though there is no evidence of it, that in the number of his errors his conduct in the above instance was included. To the account already extant of Mrs. Braoegirdle it may be added, that in the latter part of her life she dwelt in the family of Francis Chute, Esq., one of his majesty's learned counsel, his house being then in Kor- folk-street in the Strand. She died on the twelfth day of September, 1748, in the eighty-fifth year of her age, and lies buried in the east am- bulatory of the cloister of Westminster Abbey, under a black marble stone, the inscription on which is all, except her name, eflfaced. Chap. OLVl. AND PEACTICE OF MUSIC. 785 has been practised and admired throughout Europe. The works of the latter of these were not published until a few years before Purcell's death, so that unless we suppose that he had seen them in manu- script, it may be questioned whether they ever came to his hands ; * and therefore who those famed Italian masters were whom he professes to have imitated in the composition of his first sonatas, we are at a loss to discover. And yet there are those who think that, in respect of instrumental composition, the difference between Purcell and Gorelli is less than it may seem. Of the Golden Sonata the reputation is not yet extinct ■ there are some now living who can scarce speak of it without rapture : and Dr. Tudway of Cambridge, in that letter of his to his son, which has so often been quoted in the course of this work, has not scrupled to say of it that it equals if not exceeds any of Corelli's sonatas. Which sentiment, whether it be just or not, the reader may determine by the help of the score here inserted : — SONATA. . ■ b. .b . , , , m g i J , i^ c: —V ^^ I ^ Jm ^iB — C--, — L-"fe Largo. 1^^ e^s^^E^ =p— r=F^gE£ 1=^=^^ ^4-g te^^^S^^::g^^^^EE=l '^^^^S^EE ^f^ ^S$ r^^^^^.^^EE^^^^^^S^ ^fE^^^^ m^E^^SEE^, e £ ant ^^^ i^* )^H^ o ^ !!?-^ ig^TE^^ * In the liondon Gazette, Numb. 3116, for September 23, 1695, is the following advertisement : * Twelve Sonatas (newly come over from Rome) *ttt 3 parts, composed by Signeur Archaiigelo Corelli, and dedicated to •his Highness the Elector of Bavaria, this present year 1694, are to be * had fairly prick'd from the true original, at Mr. Kalpli Agutter's, Musical ' Instrument Maker, over-against York-Buildings in the Strand, London.' Up^n the fa*ce tlS this advertisement it may be questioned whether the book to which it refers was then printed^or nSt, bilt it is pr6tty clear from the expression ' prick'd from the true ijrigihal,' which means tbe notation of music by writing, in contradistinction to printing, that the copy above mentioned was a manuscript one. And it is certain that for some years, that is to say, till about 1710, when the elder Walsh ifirst printed them on pewter plates, the Sonatas of Corelli were circulated through this kingdom in manuscript copies. 756 HISTORY OF THE SCIENCE Book XVI. Imo. and 2n(io. l^^EBSg gglJiE^p^^ ^g^^ -I — r Adagio. l^f^y^E^^EE^E^^ 6 6 b7 74 3 5 6 £16 ts i75 t, J76 8 t> b4 3 b7 « ^ig-^^ii^i dESfEE^^E^S^^EE^ :^E^^pEE^^^dE^^=a^j=^ -I 1 1 - fc^=i Si J- ^^ i^E ===lli 7 i?6 * 5 4 6 S t74 3 4 1?9 f^~? gl =ri=^^=^=^&= —I 1 , 1 ^ , gg- ft S^HEEfe ^ -g=t2i ^=^a a: E^SE ^ igL-^?gl:-g|: I — r F -t| #j / J f — «5' e =F- ^^^^S^^H^ , U. >4 3 i7 P6 5 6 l74 "3 = " 8 4 — i, i?4 1?5 5 '6 175 -pe! 3 4 3 4 5 177 6 U 6 it4 l^b^J^^^E^i^^^^EiiE^ ?^^^^^^^ i^^^^P ^^ P ■ 3 4 1 3 176 5 6 4 t; p4 9 3 4 5 1?7 if 5 6 H — J,4 "^ Canzona Allegro. ^ ^ -*- " -•- -^ -»:"•" ^I^S^g^=EH^|E3 ^^^g^ g^Sl^gJE gEiEE ggEgS ^E^^^ ^ .p r. «. fe^Mi ilEg^^£g^i|pl^:^1^B-^^^ii^^^ g ^=p=1^ ^g^g #E=JsS:S: ^E^ E^E^i^^ =Rfip^^^ ±Sl=t: '&-CJ •Hi? ^^^^i^grp^jg^i^g^^^^^:^^ =r£fef^-^f^ Chap. CLVI. AND PKACTICE OF MUSIC, 757 z?j?^r;?=:--£fr^ m ^^^^^^ ^^ ^^^^^^ ^^^^^5§^^h^^^ ^^ S^^3^£^^^ ^^=3 ^^r^S^B^^^^^^-^=^^Tf^: '^.isar ^ ^^^^^m ^m^j^ 0^^^^^^^^^^^^. feEES ^fe !-•--•. -t.Uri=S^=e£f njj_ =S=^ pi^i^^ g ^ip^iP^^PPPsi 5 6 5 5 6 ^^^^^^^^^m^^ ^ ^M^^ -m-m m-r-^ :g^ =2=: ^1 fe-... -1?=E eE^ 3E* ^^le^i^i^^l g^^g^agj^^gMi pS ji fe ^ iiEEtE^jEtE^J?^ zqT^zrrSrs— r: -i=3: aa4 -Sj— I liil- E^E 7 6 5 6 gi Jt-^: -•— #- ^ ^^^^^p^P=E|»ErpE g;^gEggEgE;^Eg^ gi^zE^3Eg= p^^^=^iEEEEE^r^f^F£^^ "^;^ ^E^EE^^^ ^gEg Ep^; £| rig^^l rs_.^. •'* I TSsersT 765 = - # ^igpEilS^iig^^^Mi^lp:^^^^^!-^^^^ ps==:^.=p==^==4 =pn:: ^g::=t"=^|^ i^^E E g^^ g=g-Z^3g^E^g3 ^=J^^ -^a "^^^^^"^ Si r~^ ^ a 6~1 it -*-Al«^?^-f=-r-^ ^•gEE ^^ ^^^liE r ■ • -J P" "^ -,3^ r I^^D ^^ ^^ T^ "' 666 7665 6 5 — " 7 — 4 II 758 HISTORY OF THE SCIENCE Book XVI. :SEggE^^^=EkfE^5li^ElF|g^aEg|g=g^^ii^^gi^gi^p ^3EgEr=r^^^ ^£g[i^ ^EE5p_^g ^Ei gEg ^^^gg'EgpgEg£ g i —^-^ S _ 7 B S 7 i ft d _ B 7 *B S 7 -"»- .i' > _ _l .«^ ft '^^i f^:4=r4f^ -f^^^^^i:^ ^^^^^^ :^B^'ff^ ^^^^ ^^ i>5 -f-^-?- -^ £^ !^;^^^gE^;gf^^g^:^p-^i^£g^fe^pgE^t=^g£^-^g?-g"^g|r^l tr I / r ^ ^^ res *-^— ' 6 6 # J Chap. CLVI. AND PRACTICE OF MUSIC. 4:-: 759 i^^^=|^ig^i^Eg^gggpg^g| igE|[53^i|i=Ei ■ ^^^ ^^ ^^^^^ ^ m^^^^ ^ ^m^^^m ^^^^^^^w ^ ^m^^^- v^r Whatever encomiums may have teen bestowed elsewhere, as namely, on Coperario, Lawes, Laneare, and others, it is certain that we owe to Purcell the introduction amongst us of what we call fine air, in contradistinction to that narrow,'contracted melody, which appears in the compositions of his predeces- sors : the first effort of this kind was the Ariadne of Henry Lawes, between which and the ' Rosy bowers' of Purcell the difference in point of merit is im- measurable. It has already been mentioned, and Purcell has expressly said, that in his compositions he imitated the style of the Italians ; * and there is good ground to suppose he sedulously contemplated the works of Carissimi and Stradella: how far he profited by their example, and to what degree of perfection he improved vocal music in this countiv, those only know who are competently skilled in this divine science, and have studied his works with that care and attention which they will ever be found to merit. Daniel Purcell was a brother of the former, and from him derived most of that little reputation which as a musician he possessed. It does not appear that he was educated in any choir, or that he stood in any * The very explicit declarations to this purpose in the dedication of his first sonatas, and of his opera of Dioclesian, are enough to silence for ever those, who, knowing nothing either of him or his works, assert that the nusic of Purcell is different from the Italian, and entirely English. ^se;i Henry Pcrcell. degree of relation to the church other than that of organist; so that unless we suppose him to have been a scholar of his brother, we are at a loss to guess who was his instructor in the science. He was for some time organist of Magdalen college, Oxford, and afterwards of St. Andrew's Church in Holborn.f He was one of the candidates for a prize payable out of the sum of 2001. raised by some of the nobility, to be distributed amongst musicians. The design of this act of bounty will be best ex- plained by the following advertisement respecting it, published in the London Gazette, No. 3585, for March 21, 1699 : — ' Several persons of quality having ' for the encouragement of musick advanced 200 ' guineas, to be distributed in 4: prizes, the first of '100, the second of 50, the third of 30, and the 'fourth of 20 guineas, to such masters as shall t The occasion of his coming to London was as follows : Dr. Sacheve- rell, who had heen a friend of his hrother Henry, having heen presented to the living of St. Andrew Holbom, found an organ in the church, of Harris's building, which, having never been paid for, had from the time of its erection in 1699, been shut up. The doctor upon his coming to the living, by_ a collection from the parishioners, raised money to pay for it, but the title to the place of organist was litigated, the right of election being in question between the rector, the vestry, and the parish at large; Nevertheless he invited Daniel Purcell to London, and he accepted it,; but In February, 1717, the vestry, which in that parish is a select' one, thought proper to elect Mr. Maurice Greene, afterwards Dr. Greene, in preference to Purcell, who submitted to stand as a candidate. In the year following Greene was made organist of St- Paul's, and Daniel Purcell being then dead, his nephew Edward was a candidate for the plftce, but it was conferred on Mr. John Isum, who died in June 1726. 3d 760 HISTORY OF THE SCIENCE Book XVI. ' be adjudged to compose the best ; this is therefore ' to give notice, that those who intend to put in for ' the prizes are to repair to Jacob Tonson at Grays- ' Inn-gate, before Easter next day, where they may ' be further informed.' It is conjectured that the earl of Halifax was a liberal contributor to the fund out of which these sums were proposed to be paid.* The poem given out as the subject of the musical composition was the Judgment of Paris, written by Mr. Congreve. Weldon, Eccles, and Daniell Purcell were three of the competitors ;f the two former obtained prizes, and we may suppose that the latter was in some degree successful, seeing that he was at the expense of publishing his work in score. Daniel Purcell composed also the music to an opera entitled Brutus of Alba, or Augusta's Triumph, written by George Powell, the Comedian, and per- formed in 1697 at the theatre in Dorset-garden. A collection of single songs from this opera, with the music, is in print. He composed also songs for plays to a very great number ; sundry of them, but without the basses, are in the Pills to purge Melan- choly. In general they have but little to recom- mend them, and Daniel Purcell is at this day better known by his puns, with which the jest-books abound, than by his musical compositions. CHAP. OLVII. William Holder (a Portrait), doctor in di- vinity, a canon of Ely, a residentiary of St. Paul's, and subdean of the chapel royal, a person of great learning and sagacity, was the author of a treatise of the natural grounds and Principles of Harmony, octavo, 1694; as also a tract entitled the Elements of Speech, and a discourse concerning time, with appli- cation of the natural day, lunar month, and solar year. He is said to have taught the use of speech to a young gentleman, Mr. Alexander Popham, born deaf and dumb, by a method which he relates in an apendix to his Elements of Speech ; but it seems that Mr. Popham was afterwards sent to Dr. Wallis, who had done the same thing by another young person ; and upon Mr. Popham's being made able to speak. Dr. Wallis claimed the merit of it in a paper published in the Philosophical Transactions, which Dr. Holder answered.t The wife of Dr. Holder, Susanna, the sister of Sir Christopher Wren, was not less famous than her husband for cures of another kind, it being related of her in the inscription on her sepulchral monument that ' in compassion to the ' poor she applied herself to the knowledge of me- 'dicinal remedies, wherein God gave so great a ' blessing, that thousands were happily healed by ' her, and no one ever miscarried ; and that king ' Charles the Second, queen Catherine, and very ' many of the court had also experience of her suc- ' cessful hand.§ * This is hinted at in the dedication of the second book of the Orpheus Britannicus. t Jerry Clark being asked why he did not compose for the prize, gave for answer that the nobility were to be the judges, leaving the querist to make the inference. t Fasti Oxon. vol. II. col. 139. § This inscription seems to allude to a cure which corresponds with It will appear by the account hereafter given of Dr. Holder's treatise on harmony, that he was very deeply skilled in the theory, and well acquainted with the practice of music. In the chapel and the cathedrals where his duty required him to attend, he was a strict disciplinarian, and, for being very exact in the performance of choral service, and fre- quently reprimanding the choir-men for their negli- gence in it, Michael Wise was used to call him Mr. Snub-dean. He died at his house in Amen-corner, in London, on the twenty-fourth day of Januarv, 1696, aged eighty-two, and lies buried in the vault under the choir of St. Paul's cathedral, with a marble monument, on which is the following inscription : — ' H. S. E. ' Gulielmus Holder, S. T. P. Sacelli EegalisSub- ' decanus, Sereniss. Regije Majestati Subeleemosi- ' narius, Ecclesise Sti. Pauli et Eliens. Canonicus, ' Societatis Regise Lond. Sodalis, &c. Amplis quidem ' Titulis donatus amplissimis dignus. Vir per ele- ' gantis et amoeni ingenii Scientias Industrie sua, ' illustravit, Liberalitate promovit, egregie eruditus ' Theologicis, Mathematicis, et Arte Musica, Me- ' moriam excolite posteri et k Lucubrationibus suis ' editis Loquelse Principia agnosoite et Harmoniffl. ' Obiit 24 Jan. 1697.' The treatise of the natural grounds and principles of harmony is divided into chapters. In the first the author treats of sound in general, how it is pro- duced and propagated. Chap. II. is on the subject of sound harmonic, the first and great principle whereof is shewn to be, that the tune of a note, to speak in our vulgar phrase, is constituted by the measure and proportion of vibrations of the sonorous body, that is to say, of the velocity of those vibrations in their recourses, whether the same be a chord, a bell, a pipe, or the animal larynx. After explaining with great per- spicuity Galileo's doctrine of pendulums, he supposes for his purpose the chord of a musical instrument to resemble a double pendulum moving upon two centfes, the nut and the bridge, and vibrating with the greatest range in the middle of its length. Chap. IV. He makes a concord to consist in the coincidence of the vibrations of the chords of two instruments, and speaks to this purpose: — If the vibrations correspond in every course and recourse, the concord produced will be the unison, if the ratio of the vibrations be as 2 to 1, in which case they will unite alternately, viz., at every course, crossing at the recourse, the concord will be the octave. If the vibrations be in the ratio of 3 to 2, their sounds will consort in a fifth, uniting after every second, i. e. at every other or third course ; and if as 4 to 3, in a diatessaron or fourth, uniting after every third recourse, viz., at every fourth course, and so of the other consonances according to their respective ratios. the following anecdote. Mrs. Holder was recommended to Charles II. to cure a sore finger that he had j the king put himself under her care, and while she was dressing it, the Serjeant surgeon came in, and enquiring what she was about, the king gave him his finger ; the surgeon upon looking at it, said 'Oh, this sore is nothing :' 'I knowvery well (said ' the king) it is nothing, but I know as well that of it you would have * made something, which was what I meant to prevent, by committing ' myself to the care of this good lady.' Chap. CLVII. AND PRACTICE OF MUSIC. 761 In Chap. V. he treats of the three sorts of pro- portion, namely, arithmetical, geometrical, and that mixed proportion resulting from the former two, called harmonical proportion. Under the head of geometrical proportion, the author considers the three species of multiplex, superparticular, and super- partient, already explained in the course of this work, and gives the rules for finding the habitudes of rations or proportions, as also a medium or mediety between the terms of any ration, by addition, sub- traction, multiplication, and division of rations, form- ing thereby a praxis of musical arithmetic. In Chap. VI. entitled of Discords and Degrees, the author digresses to the music of the ancients, touching which he seems to acquiesce in the opinion of Kircher and Gassendus, that the Greeks never used concert music, i. e. of different parts at once, but only solitary, for one single voice or instrument; which music he says by the elaborate curiosity and nicety of contrivance of degrees, and by measures, rather than by harmonious consonancy and by long studied performance, was more proper to make great impressions upon the fancy, and operate accordingly as some historians relate. Whereas, adds he, ours more sedately affects the understanding and judg- ment, from the judicious contrivance and happy composition of melodious consort. He concludes this sentiment with an assertion that the diatonic genus of music is founded in the natural grounds of harmony; but not so, or not so regularly, the chromatic or enarmonic kinds, of which nevertheless he gives an accurate designation, concluding with a scheme from Alypius of the characters used in the notation of the ancient Greek music, with their several powers. i In the conclusion of this work he gives as a reason why some persons do not love music, a discovery of the famous Dr. Willis, to wit, that there is a certain nerve in tbe brain which some persons have and some have not. ^ The above-mentioned treatise of Dr. Holder is written with remarkable accuracy ; there is in it no confusion of terms ; all that it teaches is made clear and conspicuous, and the doctrines contained in it are such as every musician ought to be master of ; and much more of the theory of music he need not know. ti It appears that besides a profound knowledge in the theory of music. Dr. Holder was possessed of an eminent degree of skill in the science of practical coniposition. In a noble collection of churcb-music, in the hand-writing of Dr. Thomas Tudway, now in the British Museum, of which an account will hereafter be given, is an anthem for three voices in the key of with the greater third, to the words ' Praise our God ye people,' by Dr. William Holder. Mrs. Arabella Hunt, (a Portrait), celebrated for her beauty, but more for a fine voice and an exquisite hand on the lute, lived at this time, and was the person for whom many of the songs of Blow and Purcell were composed. She taught the princess Anne of Denmark to sing ; and was much favoured by queen Mary, who, for the sake of having Mrs. Hunt near hepj bestowed on her an employment about hep person, and would frequently be entertained in private with her performance, even of common popular songs.* A gentleman now living, the son of one who used frequently to sing with her, re- members to have heard his father say, that Mrs. Hunt's voice was like the pipe of a bullfinch. She was unfortunate in her marriage : nevertheless she lived irreproachably, and maintained the character of a modest and virtuous woman ; the reputation whereof, together with her accomplishments, rendered her a welcome visitant in the best families in the kingdom. In the summer season she was much at the house of Mr. Eooth, at Epsom. This gentleman had married the dowager of the second earl of Donegal, and being very fond of music, had frequent concerts there. In a letter from Mr. Eooth to Mr. John Hughes, the author of the Siege of Damascus, he tells him that Mrs. Hunt is at his house, and waits to see him, and hopes he will bring Signer Corelli with him.| Mrs. Hunt died on the twenty-sixth day of December, 1705. Mr. Congreve has celebrated her in an ode entitled ' On Mrs. Arabella Hunt singing,' and in the following lines, written after her decease, under the picture of her by Kneller : — Were there on earth another voice like thine. Another hand so blest with skill divine. The late afflicted world some hopes might have And harmony retrieve thee from the grave. In the foregoing account respecting the English church musicians, frequent occasion has occurred to mention their appointments to places in the royal chapel. The term royal chapel means in general the chapel in each of the royal palaces, but in com- mon speech it is taken for that of Whitehall. This makes it necessary to relate a melancholy accident that happened near the end of the last century, which was followed by a translation of the royal residence, and may in some sort be considered as a new era in the history of church-music. The palace of Whitehall was originally built by Cardinal Wolsey. On his attainder it became for- feited to tbe crown, and was the town residence of our princes from Henry VIII. down to William and Mary : it was a spacious building, in a style some- what resembling Christ Church college, Oxford, and the chapel was a spacious and magnificent room. On the fifth day of January, 1698, by the carelessness, as it is said, of some of the servants in the laundry, the whole of it was consumed,^ and the king and queen necessitated to take up their residence at St. * Vide ante, page 564, in note, the story of her singing, at the queen's request, the old ballad of ' Cold and raw,' and Purcell's revenge on the queen for it. t Meaning the Sonatas ot Corelli, then but lately published. J This edifice narrowly escaped a total demolition by fire on the ninth day of April, 1691. The circumstances are thus related in a letter from Mr. Pulteney to Sir W. Colt, cited in the Continuation of Rapin's History of England, vol. I. page 171. ' It began about eight o'clock at night, by ' the negligence of a maid servant, who (to save the pains of cutting a ' candle from a pound) burnt one oif, and threw the rest down carelessly ' before the flame was out, at the lower end of the stone gallery, in those ' lodgings which were the duchess of Portsmouth's, and burnt very vio- ' lently till four the next morning, during which time almost all the stone * gallery and buildings behind it, as far as the Thames, were consumed, * and one or two men killed by the buildings that were blown up. 762 HISTORY OF THE SCIENCE JBooK XVIf. James's, where there was neither room sufficient to receive, nor accommodations for, half the household.* Concerning the palace of St. James, it is said hy Stow, Newconrt, and others, that it was formerly, even before the time of the Conquest, an hospital founded by the citizens of London for fourteen sis- ters, maidens that were leprous, living chastely and honestly in divine service. ' This hospital was surrendered to king Hen. VIII. ' in 23 of his reign, being then valued at 1001. per ' ann. The sisters being compounded with, were al- ' lowed pensions for term of their lives, and the king ' built there a goodly mannor, annexing thereunto a ' park, inclosed about with a wall of brick, now ' called St. James's Park, which hath been of latn ' years (to wit) soon after the restauration, very much ' improved and beautified with a canal, ponds, and ' curious walks between rows of trees, by king ' Charles II. and since that very much enlarged, and ' the whole encompassed round with a brick wall by ' the same king, and serves indifferently to the two ' palaces of St. James and White-hall.' Newcourt's Repertorium, vol. I. page 662. Stow's Survey, edit, 1633, page 495. BOOK XVII. - CHAP. CLVIII. In tracing the progress of music in this country, it is found that the compositions of our most celebrated masters wefe calculated either for the service of the church, for theatric entertainment, or for private chamber practice. Those persons who understood or professed to love music had their meetings in divers * The places of the royal residence from time to time are very indis- tinctly noted by our historians, the inquiry into them is a subject of some curiosity, and not unworthy the attention of an antiquary ; the most an- cient that we know of was the palace of £dward the Confessor, adjolninf]; to the monastery of Westminster, the site whereof is now called Old Fatace yard. In this was the Aula Regia, in which were liolden the courts of justice. William Rufus built Westminster-hall, as it is said, to rid his house of so great and troublesome assemblies; and it is further said that he meditated building near it a new palace, which design of his gave name to New Falace-yard. Nevertheless the succeeding kings down to Henry VIIl, continued to dwell in the old palace. Whitehall was originally built by Hubert de Burgh, earl of Kent, and justiciary of England, and afterwards became the inn or town residence of the archbishops of York. Wolsey re-edified it, but being convicted of a premunire, anno 1529, it was, 21 Henry VIII. by Sir Thomas More, lord chancellor, the duke of Norfolk, and certain other great oilicers, reco- vered to them and their heirs for the use of the king against the cardinal, by the name of York-place, and they by charter delivered and confirmed the same to the king, which charter, dated 7 Feb. 21 Hen. VIII. is now extant among the records at Westminster. Strype, book VI. page 5. After this, Henry VIII. removed his dwelling from the old palace near the monastery of St. Feter Westminster to Whitehall, and that because the old palace was then, and had been a long time before, in utter ruin and decay, as it is expressed in an act of parliament, 28 Hen. VIII. cap. 12, and that the king had lately obtained this Whitehall, which is styled in the same act, * One great mansion, place and house, being parcel of ' the possessions of the archbishoprick of York, situate in the town of * Westminster, not much distant from the same ancient palace; and that ' he had lately upon the soil of the said mansion, place and house, and ' upon the ground thereunto belonging, most sumptuously and curiously ' builded and edified many and distinct beautiful, costly, and pleasant * lodgings, buildings, and mansions, for his grace's singular pleasure, * comfort, and commodity, to the honour of his highness and his realm. ' And thereunto adjoining had made a park, walled and environed with ' brick and stone ; and there devised and ordained many and singular ' commodious things, pleasures, and other necessaries, apt and convenient * to appertain to so noble a prince for his pastime and solace.' By the said act the whole limits of the royal palace are set out and de- scribed, namely, ' That all the said soil, ground, mansion, and buildings, ' and the park, and also the soil of the ancient palace, should be from * thenceforth the king's whole palace at Westminster, and so be taken, ' deemed, and reputed, and to be called and named the king's palace at * Westminster for ever. And that the said palace should extend, and be * as well within the soil and places before limited and appointed, as also * in all the street or way leading from Charing Cross unto the Sanctuary- 'gate at Westminster; and to all the houses, buildings, lands, and ' tenements on both sides of the same street or way from the said Cross * unto Westminster-hall, between the water of the Thames on the east ' part, and the said park- wall on the west part, and so through all the * limits of the old palace.' Before this time, besides the old palace at Westminster, our princes had sundry places of residence, as namely the Tower, the Old Jewry, where Henry VI. dwelt ; Baynard's Castle, the habitation of Henrv VII. Tower Royal, of Rich. II. and Stephen ; the Wardrobe in Carter-lane, of Rich. III. Hen. VII. lived also at Bridewell, and Elizabeth at White- hall, and also at Somerset House. Of their summer palaces, namely Windsor, Hampton-Court, Shene, Greenwich, Eltham, and others, Jrequent mention is made in history. , In the reign of James I. Inigo Jones made a design for a new palace at Whitehall, but the only part of it ever built was the Banqneting-house as it now appears. One Cavendish Weedon, a member of Lincoln's-Inn, of whom farther mention will be made hereafter, published a proposal for rebuilding it in seven years, at an expence not exceeding 600,000^. as also a scheme for raising the money. Vide Strype's Continuation of Stow's Survey of Lon('on, book VI. page 6. parts of the kingdom for the practice of vocal and instrumental music; but till the establishment of those weekly musical meetings at Oxford of which an account has herein before been given, we meet with no voluntary associations for musical recreation, till some time after the restoration. The first of the kind in London had its rise in a very obscure part of the town, viz., at Clerkenwell, in such a place, and under such circumstances, as tended more to disgrace than recommend such an institution. In short it was in the house, or rather hovel of one Thomas Britten, a man who for a livelihood sold small-coal about the streets, that this meeting was held, the first of the kind in London, as beginning in the year 1678, and the only one that corresponded with the idea of a concert. An account of this extraordinary man, and of the meetings at his house, is referred to a future page. His concert is here mentioned as that which gave rise to other meetings for a similar purpose, of which there were many towards the end of the last century. In the interim it is proposed to speak of those musical -performances with which the people in ge- neral were entertained at places of public resort, distinguishing between such as were calculated for the recreation of the vulgar, and those which for their elegance come under the denomination of con- certs. The first of these were no other than the musical entertainments given to the people in Music- houses, already spoken of, the performers in which consisted of fiddlers and others, hired by the master of the house ; such as in the night season were wont to parade the city and suburbs under the denomina- tion of the Waits, f The music of these men could scarcely be called a concert, for this obvious reason, that it had no variety of parts, nor commixture of different instruments: half a dozen of fiddlers would scrape Sellenger's Round, or John come kiss me, or Old Simon the King with divisions, till themselves and their audience were tired, after which as many players on the hautboy would in the most harsh and discordant tones grate forth Green Sieves, Yellow Stockings, Gillian of Croydon, or some such common dance-tune, and the people thought it fine music. But a concert, properly so called, was a sober re- t It was the ancient custom for the waits to parade the streets nightly during the winter. Now they go about a few nights only before Christ- mas to furnish a pretence for asking money at the return of that festival. Chap. OLVlll. AND PRACTICE OP MUSIC. 7G3 recreation ; persons were drawn to it, not by an affectation of admiring what they could not taste, but by a genuine pleasure which they took in the entertainment. For the gratification of such, the masters of music exerted their utmost endeavours ; and some of the greatest eminence among them were not above entertaining the public with musical per- formances, either at their own houses, or in places more commodious ; receiving for their own use the money paid on admission. And to these perform- ances the lovers of music were invited by advertise- ments in the London Gazette, the form and manner whereof will appear by the following extracts. Numb. 742. Dec. 30, 1672. ' These are to give ' notice, that at Mr. John Banister's house (now called ' the Musick-school) over against the George tavern ' in White Fryers, this present Monday, will be mu- ' sick performed by excellent masters, beginning ' precisely at 4 of the clock in the afternoon, and ' every afternoon for the future, precisely at the same ' hour.' Numb. 958. Jan. 25, 1674. Mr. John Banister advertises that he is removed to Shandois-street, Covent Garden, and there intends entertainment as formerly on Tuesday then next, and every evening for the future, Sundays only excepted. Numb. 961. Feb. 4, 1674. ' A rare concert of ' four Trumpets Marine, never heard of before in ' England. If any persons desire to come and hear ' it, they may repair to the Fleece tavern near St. ' James's, about two of the clock in the afternoon, ' every day in the week except Sundays. Every ' concert shall continue one hour, and so begin again. ' The best places are one shilling, and the other ' sixpence.' Numb. 1154. Dec. 11, 1676. 'On Thursday ' next, the 14th instant, at the Academy in Little ' Lincoln's-Inn-fields, will begin the first part of the ' Parley of Instruments, composed by Mr. John ' Banister, and perform'd by eminent masters, at six ' o'clock, and to continue nightly, as shall by bill or ' otherwise be notifi'd. The tickets are to be deli- ' ver'd out from one of the clock till five every day, ' and not after.' Numb. 1356. Nov. 18, 1678. 'On Thursday ' next, the 22d of this instant November, at the ' Musick-school in Essex-buildings, over-against St. ' Clement's church in the Strand,* will be continued ' a consort of vocal and instrumental musick, be- ' ginning at five of the clock every evening, composed ' by Mr. John Banister.' Banister died in the year 1679, as has been already related ; he left a son named John, a fine performer on the violin, who was one of king William's band, and played the first violin at Drury-lane theatre when operas were first performed there, and will be spoken of hereafter. Numb. 2088. Nov. 23, 1685. An advertisement of the publication of several Sonatas, composed after the Italian way, for one and two bass-viols, with a thorough-bass, by Mr. August Keenell, and of their * VilB., in the great houBe a few doors down on the right hand. h«w occupied hy Mr. Paterson, the auctioneer. being to be performed on Thursday evenings at the dancing-school in Walbrook, next door to the Bell inn ; and on Saturday evenings at the dancing-school in York-buildings, at which places will be also some performance on the Baritone by the said Mr. August Keenell. About this time we also find that concerts were performed in Bow-street, Covent Garden, for in the Gazette, Numb. 2496, Oct. 14, 1689, is an advertise- ment that the concerts that were held in Bow-street and York-buildings were then joined together, and would for the future be performed in York Buildings. Numb. 2533. Feb. 20, 1689. The music meeting that was lately held in Villiers-street, York-build- ings,* is advertised to be removed into Exeter Change in the Strand ; but in a subsequent advertisement of- March 10, in the same year, it is said to be removed back to Villiers-street. Numb. 2599. Oct. 9, 1690. ' Mr. Franck's con- ' sort of vocal and instrumental musick will be ' performed to-morrow, being the 10th instant, at the ' 2 Golden Balls, at the upper end of Bow-street, ' Covent-Garden, at 7 in the evening ; and next ' Wednesday at the Outroper's* office in the Royal ' Exchange, and will be continued all the ensuing ' winter.' Numb. 2637. Feb. 19, 1690. ' The consort of 'musick lately in Bow -street is removed next ' Bedford -gate in Charles -street, Covent Garden, ' where a room is newly built for that purpose, and ' by command is to begin on Friday next the 20th ' instant, where it is afterwards to be continued ' every Thursday, beginning between 7 and 8 in the ' evening.' Numb. 2651. April 9, 1691. ' The consort of ' vocal and instrumental musick, lately held in York- ' Buildings, will be performed again at the same ' place and hour as formerly, on Monday next, ' being Easter Monday, by the command, and for ' the entertainment of Her Royal Highness the ' Princess of Denmark.' Numb. 2654. April 20, 1691. ' The concert of ' vocal and instrumental music in Charles-street, ' Covent Garden, by their Majesties' authority will ' be performed on Tuesday next, the 23d instant, ' and so continue every Thursday by command.' Numb. 2746. March 6, 1691. 'A concert of ' musick, with several new voices, to be performed t In Villiers-street, York-buildings, was formerly a great room used for concerts and other public exhibitions. In the Spectator are sundry advertisements from thence. About the year 1711 SirRicfaard Steele and Clayton were engaged in a concert performed there ; and since their time it has been used for the like purposes. The house of which it was part was on the right hand side of the street, near the bottom, and adjoining to what is now called the water-office, but within these few years it was pulled down, and two small houses have been built on the site of it. J For the etymology of the appellative Outropeu we are to seek ; bui the following clause in the charter granted by Charles II. to the citizens of London, will go near to explain the meaning of it. ' Also we will, * and for us our heirs and successors do erect and create in and through * the said city, &c. a certain office called Outroper or common cryer, to * and for the selling of houshold stuiF, apparel, leases of houses, jewels, 'goods, chattels, and other things of all persons who shall be willing; ' that the said officers shall make sale of the same things by public and * open clamour, commonly called Outcry, and sale in some common and ' open place or places in the said city, &c.' And in the London Gazette, Numb. 2404, is an order of the Mayor and Aldermen of London for re- viving the said office of Outroper, for the benefit of the orphans to whom the chamber of London is indebted, and that Thomas Puckle be admitted thereto : And that the West Pawn of the Royal Exchange be the place fbc such sales. 764 HISTORY OE' THE SCIENCiS. SOOK Xvtl ' on the 10th instant at the Vendu in Charles-street, ' Covent Garden.' * Numb. 2834. Jan. 9, 1692. 'The Italian lady, ' (that is lately come over that is so famous for her ' singing) has been reported that she will sing no ' more in the concert in York-buildings : This is to ' give notice that next Tuesday, being the 10th in- ' stant, she will sing in the concert in York Buildings, ' and so continue during this season.' Numb. 2838. Jan. 23, 1692. ' These are to give ' notice that the musick meeting, in which the Italian ' woman sings, will be held every Tuesday in York- ',buildings, and Thursdays in Freeman's-yard, in ' Cornhill, near the Eoyal Exchange. Numb. 2858. April 3, 1693. ' On next Thurs- ' day, being the 6th of April, will begin Signor ' Tose'sf consort of musick, in Charles-street, Covent- ' garden, about eight of the clock in the evening. Numb. 2917. Oct. 26, 1693. ' Signor Tosi's con- ' sort of musick will begin on Monday, the 30th ' instant, in York-buildings, at eight in the evening, ' to continue weekly all the winter.' Numb. 2926. Nov. 27, 1693. 'In Charles-street, ' in Covent-garden, on Thursday next, the 30th in- ' stant, will begin Mr. Franck's consort of musick, ' and so continue every Thursday night, beginning ' exactly at eight of the clock.' Numb. 2943. Jan. 25, 1693._ 'At the consort- ' room in York -buildings, on this present Thursday, ' at the usual hour, will be perfonne'd Mr. Purcell's ' Song, composed for St. Cecilia's Day in the year ' 1692, together with some other compositions of his, ' both vocal and instrumental, for the entertainment ' of his Highness Prince Lewis of Baden.' Numb. 2945. Feb.'l, 1693. ' At the consort in ' York-buildings, on Monday next, the 5th instant, ' will be performed Mr. Finger's St. Cecilia's Song, ' intermixed with a variety of new musick, at the or- ' dinary rates.' Numb. 29^2. June 11, 1694. 'On Thursday ' will be a new consort of musick in Chariest-street, ' Covent-garden, where a gentlewoman sings that , ' hath one of the best voices in England, not before ' heard in publick, to be continued every Thursday ' for a month.' Numb. 3027. Nov. 15, 1694. 'A consort of 'musick, composed by Mr. Grabue,:}: will be per- ' formed on Saturday next at Mr. Smith's, in Charles- ' street, Covent-garden, between the hours of SQven . ' and eight.' Numb. 3030. Nov. 26, 1694. ' The consort pf ' musick in Charles-street, Covent-garden, will ' begin again next Thursday, with the addition of ' two new voices, one a young gentlewoman of 12 ' years of age, the room being put in good condition, ' and there to continue this season.' ♦ The Vendu, hy an advertisement in the preceding Gazette, appears to have been a place for the sale of paintings, and to have been situate next Bedford-gate in Charles-street. t Pier-Fbakcesco Tost, a fine singer, mentioned in page 653, hi note, and of whom occasion will be taken to speak hereafter. It may be remarked that the spelling in all these advertisements is very incorrect, and the notification in the most awkward terms. t The person Who set to music Dryden's Albion and Albanius. See page 707, in Motei Numb. 3250. Jan. 1696. ' The musick that was performed of St. Cecilia's Day, composed by Signor Nicola, § will be performed on Thursday night in York-buildings, being the 7th instant.' Numb. 3286. May 10, 1697. 'On Thursday next, being the 13th instant, will be performed in York-buildings an entertainment of vocal and in- strumental musick, composed by Dr. Staggins.' Numb. 3356. Jan. 10, 1697. ' In York-buildings, this present Monday, the 10th instant, at the re- quest of several persons of quality, will be a con- sort of vocal and instrumental music never per- formed there before, beginning at the usual hour, for the benefit of Mr. King and Mr. Banister.' || Numb. 3366. Feb. 14, 1697. ' An entertainment of new musick, composed on the peace by Mr. Van [Vaughan] Eichardson, organist of Winchester cathedral, will be performed on Wednesday next, at 8 at night, in York-buildings.' Numb. 3374. March 14, 1697. 'Wednesday next, being the 16th instant, will be performed in York -buildings a consort of new musick, for the benefit of Dr. Blow and Mr. Paisible, beginning at 8.' Numb. 3377. March 24, 1698. ' Monday next, the 28th instant, will be performed in York-build- ings, a new consort of musick by the chiefest masters in England, where Signior Eampony, an Italian musician belonging to the prince of Vaudemont, at the request of several persons of quality, will for once sing in the same in Italian and French. Half a guinea entrance.' Numb. 3388. May 2, 1698. ' Wednesday next, the 4th of May, will be performed, in York-build- ings, the Song which was sung before her royal highness on her birth-day last. With other va- riety of new vocal and instrumental musick, com- posed by Dr. Turner,^ and for his benefit.' Numb. 3390. May 9, 1698. ' On Tuesday next, the 10th instant, will be performed in York-build- ings an entertainment of vocal and instrumental musick, being St. Cecilia's Song, composed by Dr. Blow, and several other new songs, for the benefit of Mr. Bowman and Mr. Snow.' Numb. 3396. May 30, 1698. 'This present Monday, being the 30th of May, Mr. Nicola's con- sort of vocal and instrumental musick will be per- formed in York -buildings.' Numb. 3454. December 19, 1698. ' On Friday next will be performed, in York-buildings, a new entertainment of vocal musick by Signeur Fidelio, beginning exactly at 7 at night.' Numb. 3458. Jan. 2, 1698. ' On Wednesday next will be performed in York-buildings Mr. Daniel Purcell's musick made for last St. Cecilia's feast, for the benefit of Mr. Howell and Mr. Shore, with an addition of new vocal and instrumental musick, be- ginning at 7 at night.' It appears also that concerts were occasionally performed at the theatre in Drury-lane. In Dryden's § Supposed tu be Nicola Matteis, the author of two collections of airs for the violin. II The younger Banister : the elder died about eight years before. ir Of the royal chapel : he lived far into the present century, and is therefore referred to a subsequent page. CirAP. CLIX. AND PRACTtOE OP MUSIC. 765 Miscellany, part III. page 151, are verses thus en- titled, ' Epilogue to the ladies, spoken by Mr. Wilks ' at the musick-meeting in Drury-lane, where the 'English woman* sings. Written by Mr. Man- ' waring, upon occasion of their both singing before ' the queen and K. of Spain at Windsor, f About this time a man of a projecting head, one Cavendish Weedon, a member of Lincoln's Inn, had formed a design of an establishment for the relief of poor decayed gentlemen, and for erecting a school for the education of youth in religion, music, and accounts. To this end he had a performance of divine music at Stationers' Hall, January the 31st, 1701, for the entertainment of the lords spiritual and temporal, and the honourable House of Commons. This performance consisted of an oration written by himself, two poems by Nahum Tate, and three an- thems, one composed by Dr. Blow, the two others by Dr. Turner. The words of the whole are extant in a quarto pamphlet printed at the time. He had also another performance of the same kind, and for the same purpose, at Stationers' Hall, in the month of May, 1702 : the oration was written by Jeremy Collier ; the music was an anthem and a Te Deum, both composed by Dr. Blow. Besides this benevolent design, the author enter- tained another, in which he seems to have been de- sirous of emulating Amphion, and by the power of harmony to erect public edifices. To this end he projected a musical service of voices and instruments, to be performed in Lincoln's Inn chapel every Sunday at eleven o'clock, except during Lent and the vacation, under the direction of Dr. Edward Maynard, by subscription, the proposals for which were engraved on a folio sheet, and on two others the plan of Lincoln's Inn-fields, with the figures of the twelve apostles, and water-works at each corner, to be supplied from Hampstead water, and the model of St. Mary's chapel, to be erected in the centred/or praise, as he terms it, after a design of Sir Christopher Wren, engraved by Sturt in 1698.:^ Strype, in his continuation of Stowe's Survey, book IV. page 74, mentions a proposal of the same person which, whether it be included in the above or was another does not there appear, for building the Six Clerks' office, and other Chancery offices at the east side of Lincoln's Inn garden. CHAP. CLIX. ' Henry Aldeich, (a Portrait), an eminent scholar and divine, the son of Henry Aldrich of Westminster, Gent., was born there in the year 1647, and educated in the college school in that city under the famous Dr. Kichard Busby, In 1662 he was admitted of Christ Church college, Oxon. and having been elected ' * Supposed to lie Mrs. Tofts. ' t Of the arrival of this prince mention is made in Salmon s Chronolo- gical Historian in the following passage. ' Dec. 23, [1703] King Charles • HI. arrived at Spithead. The duke of Somerset, master of the horse, ' brought him a letter from her majesty, and invited him to Windsor, ■ where he arrived the 29th, and on the 31st returned with the duke of ' Somerset to his seat at Fetworth in Sussex. He set sail for Portugal ' the 5th of January, but being put back by contrary winds, it Was the •j!7th of FebruMy before he arrived at Lisbon.' t Anecdotes of British Topography, page 312. a student under that foundation, took the degree of master of arts April 3, 1669. Entering soon after into holy orders, he distinguiahed himself by his great proficiency in various branches of divine and human learning, and became a famous tutor in his college. On the fifteenth of February, 1681, he was installed a canon of Christ Church, and the second of May following accumulated the degrees of bachelor and doctor in divinity. In the contro- versy with the papists during the reign of king James II. he bore a considerable part, and thereby rendered his merit so conspicuous, that when at the revolution Massey the popish dean of Christ Church fled beyond sea, his deanery was conferred on Dr. Aldrich, who was therein established the seventeenth of June, 1689. In this eminent station he presided with a dignity peculiar to his person and character, behaving with great integrity and uprightness, at- tending to the interests of his college, and the welfare of those under his care, and promoting to the utmost of his abilities learning, religion, and virtue. The learning of Dr. Aldrich, and his skill in polite literature were evinced by his numerous pub- lications, particularly of many of the Greek classics, one whereof he generally published every year as a gift to the students of his house. He also wrote a system of logic for the use of a pupil of his, and printed it ; but he possessed so great skill in archi- texture and music, that his excellence in either would alone have made him famous to posterity. The three sides of the quadrangle of Christ Church college, Oxford, called Peck -water square, were designed Ijy him, as was also the elegant chapel of Trinity college, and the church of All Saints in the High- street, to the erection whereof Dr. Ratcliff, at his solicitation, was a liberal contributor. Amidst a variety of honourable pursuits, and the cares which the government of his college subjected him to. Dr. Aldrich found leisure to study and cultivate music, particularly that branch of it which related both to his profession and his office. To this end he made a noble collection of church-music, consisting of the works of Palestrina, Carissimi, Victoria, and other Italian composers for the church, and by adapting with great skill and judgment Englidi words to many of their motets, enriched the stores oT onr church, and in some degree made their works our own.§ With a view to the advancement of music, and the honour of its professors, Dr. Aldrich had formed a design of writing a history of the science, which, had he lived to complete it, would have superseded the necessity of any such work as the present. The materials from which he proposed to compile it are yet extant in the library of his own college. Upon a very careful perusal of them it seems that he had noted down everything he had met with touching music and musicians, but that no part of them had been wrought into any kind of form. § Instances of this kind are the anthems ' I am well pleased,' from Carissimi, and *0 God king of glory,' from Palestrina. To improve himself in the practice of composition, he Was very industrious in putting into score the works of others. The author of this work has in his col- lection four books of the madrigals of the Prencipe di Venosa, copied by the late Mr. John Immyns from a scote in the hand-writing of Dr Aldrich. %f, HIST'OEY 01^ TllE SCIENCE. Book XVII. The abilities of Dr. Aldricli as a musician rank him among the greatest masters of the science : he composed many services for the church, which are well known, as are also his anthems, to the numher of near twenty. In the Pleasant Musical Companion, printed in 1726, are two catches of Dr. Aldrich, the one, ' Hark the bonny Christ-church bells,' the other entitled 'A Smoking Catch, to be sung by four men smoaking their pipes, not more difficult to sing than diverting to hear.'* That he was a lover of mirth ^nd pleasantry may be inferred from the above and numberless other particulars related of him. The following stanzas of his composition are a version of a well known song, and evidence of a singular vein of humour, which he possessed in an eminent degree : — Miles et navigator, Sartor, et asrator, Jamdudum litigahant, De pulchri quam amabant, Noraen cui est Joanna. Jam tempus consummatum. Ex quo determinatum, Se non vexatam iri, Prae desiderio viri, Nee pernoctare solam. Miles dejerabat, Hanc prEed^ plus amabat, Ostendens cicatrices, Quas sestimat felices, Dum vindicavit earn. Sartor ait ne sis dura, Mihi longa est mensura, Instat ffiris fabricator, Ut oUa sarciatur, Rimaque obstipetur. * Dr. Aldrich's excessive love of snioking was an entertaining topic of liiscourse in the nniversity, concerning which the following story among others passed current. A young student of the college once find- ing some difficulty to bring a young gentleman his chum into the belief of it, laid him a wager that the dean was smoking at that instant, viz., about ten o'clock in the morning. Away therefore went the student to the deanery, where being admitted to the dean in his study, he related the occasion of his visit. To which the dean replied in perfect good hu- mour, * You see you have lost your wager, for I'm not smoking but Dum hi tres altercantur, Nauta vigilante r, Et calide moratur, Dum preelium ordiatur, Ut agat suam.rem. Perinde ac speratur, Deinceps compugnatur, Et sseviente hello, Transfixit eam telo Quod vulneravit cor. The publication of Lord Clarendon's History of the Rebellion was committed to the care of Dr. Aldrich jointly vyith Dr. Sprat, bishop of Rochester, and upon no better testimony than the hearsay evidence of a zealous patriot, Mr. John Oldmixon, they were charged with having altered and inter- polated that noble work. In 1702 Dr. Aldrich was chosen prolocutor of the convocation ; and on the fourteenth day of December, 1710, to the unspeakable grief of the whole university, he died at his college of Christ Church, being then in the sixty-third year of his age. He continued in a state of celibacy all his life- time, and as he rose in the world, disposed of his income in works of hospitality and charity, and in the encouragement of learning. Notwithstanding that modesty and humility for which he was re- markable, and which he manifested by withholding his name from his numerous learned publications, he exerted a firm and steady conduct in the govern- ment of his college. Pursuant to his directions before his death, he was buried in the cathedral of Oxford, near the place where bishop Fell lies, and without any memorial of him, other than that character which he had justly acquired, of a deep scholar, a polite gentleman, a good churchman, and a devout Christian. ' filling my pipe.* The catch above mentioned was made to be sung by the dean, Mr. Sampson Estwick, then of Christ church, and afterwards of St. Paul's, and two other smoking friends. Of this Mr. Estwick, who is plainly pointed out by the words in the above catch ' I prithee ' Sam fill,' an account will be given in the next ensuing article. The smoking catch gave occasion to another on snuff, which for the singular humour of it is here inserted. Tom Brown wrote the words, and Kobert Bradley, a composer of songs in the collections of that time, set them to the following notes : — bless - ing, then tell me, God bless ye, tell me, God bless ye, bao CO and Wine ; Whilst o - tbers praise wo - men ; but Snuff shall be mine. Che ho, do cry. God bless ye, God bless ye, the peo - pie re - ply. tell me what think ye, Is't best to say so, or cry Damn ye and smk ye. RoBEBT BuADLEr. Chap. CLIX. AND PEACTICE OF MUSIO. 767 Sampson Estwick was one of the first set of cliildren after the restoration, and educated under Captain Henry Cook. From the king's chapel he ■went to Oxford, and entering into holy orders, became a chaplain of Christ Church, where he was honoured with the friendship of Dr. Aldrich, his intimacy with whom may be inferred from the famous smoking catch mentioned in the preceding article. Upon the decease of Dr. Aldrich he came to London, and was appointed one of the minor canons, and afterwards a cardinal of St. Paul's.* After he had been ?ome time in the choir, he was presented to the rectory of St. Michael, Queenhithe, London. Nevertheless he continued to perform choral duty till near the time of his decease, when he was a little short of ninety years of age. In the former part of his life, viz., soon after his settlement in London, he was a candidate for Gresham professor of music, but without success. He died in the month of February, 1739. In a character given of him in one of the public papers, he is styled a gentle- man universally beloved for his exemplary piety and orthodox principles. This venerable servant of the church still survives in the remembrance of many persons now living. Bending beneath the weight of years, but preserving his faculties, and even his voice, which was a deep bass, till the last, he constantly attended his duty at St. Paul's, habited in a surplice, and with his bald head covered with a black satin coif, with grey hair round the edge of it, exhibited a figure the most awful that can well be conceived. Some compositions of his are extant, but not in print. Besides the several English musicians who lived after the restoration, of whom an account has been given in the foregoing pages, there were many others of whom few memorials are now remaining ; these , may be classed under three heads, namely, composers whose works exist only in manuscript; performers on particular instruments, whose merits could not long survive themselves ; and gentlemen of the chapel, distinguished by remarkable circumstances. Of these it is here thought proper to give an account, commencing about the middle, and continued down to the end of the last century. Samuel Akeroyd, of the Yorkshire family of that name. He composed many songs in the Theater of Music, a collection of Songs in four books, pub- lished in the years 1685, 1686, and 1687. Thomas Baltzar. This person is mentioned in a preceding page ; he was born at Lubec, and was esteemed the finest performer on the violin of his time. He came into England in the year 1658, * ' The chutcli of Saint Paul had before the time of the Conqueror ' two Cardinalls, which office still conti:iues. They are chosen by the ' deane and chapter out of the number of the twelve petty canons, and ' are called Cardinales chori ; their office is to take notice of the absence ' or neglect of the quire, and weekely to render accompt thereof to the * deane and-chapter. These two Cardinalls doe minister ecclesiasticall * sacraments to the ministers of the church and their seruants, as well to ' the healthfull as to the sieke. They heare confessions, and appoint ' comfortable penance : and lastly, they commit the dead to some conue- ' nient sepulture. These Cardinalls haue the best preheminence in the * quire above all next to the Subdeane, and the best stalls.' Weever's Funeral ,Monuments, page 384; and see the Statutes of St. Paul's in the Appendix to 'Dugdale's History of that Cathedrall, tit. De Cardinalibus chori. — Vi^e Fuller's Worthies^ Chapter 4t P"lie 13. and lived about two years in the house of Sir Anthony Cope, of Hanwell, in Oxfordshire. In the memoranda of Anthony Wood concerning musicians, it is said that Baltzar commenced bachelor of music at Cambridge, which is rather improbable, seeing that he resided chiefly at Oxford; but to ascertain the fact, recourse has been had to the register of the university of Cambridge, and in a list of graduates in music, extracted from thence, his name does not appear. He was the great competitor of Davis Mell, who, though a clock maker by trade, was, till Baltzar came hither, allowed to be the finest per- former on the violin in England; and after his arrival he divided with him the public applause, it being agreed that Mell exceeded in the fineness of his tone and the sweetness of his manner, and Baltzar in the power of execution and command of the instrument. Moreover, it is said of the latter that he first taught the English the practice of shifting, and the use of the' upper part of the finger-board. Baltzar was given to intemperance, and is said to have shortened his days by excessive drinking : he was buried in the cloister of Westminster-abbey on the twenty-seventh day of July, 1663, as appears by the register of that church.f John Bishop was a scholar of Daniel Eosingrave, organist of Salisbury Cathedral, and a lay singer in King's college chapel, Cambridge, but removing thence, he became organist of the cathedral and college of Winchester. He published a collection of airs for two flutes, entitled Harmonia Lenis, and composed some things for the church. Thomas Blagravb, a gentleman of the chapel of Charles II., and a performer on the cornet there,J was of the Berkshire family of that name ; a few songs of his are printed in ' Select Ayres and Dia- logues,' folio. 1669. His picture is in the music school, Oxford. EicHARD Beind, educated in St. Paul's choir, and afterwards organist of that cathedral, and Dr. Greene's master. He composed two thanksgiving anthems, now scarcely known. William Cjssar, alias Smegeegill, composed sundry songs, printed in Playford's Musical Com- panion, the Treasury of Music, publfshed in 1669, and other collections of that time. Julius Cesar, a physician of Eochester, descended from an ancjent family of that city, was well skilled in music. Two catches of his composition are pub- lished in the Pleasant Musical Companion, 1726, and are inferior to none in that collection. Edward Colman, son of Dr. Charles Colman, a t Ashmol. MS. t Upon the revival of choral service, in the royal chapel especially, they were necessitated, for want of treble voices, to make Use of cornets ; [See page 689] : and on particular occasions sacbuts and other instru- ments were also employed. Besides this, as Dr. Tudway relates, king Charles II. commanded such as composed for the chapel to make also Symphonies and Ritornellos to many of the anthems in use, which were performed by a band of Instruments placed in the organ-loft. The knowledge of this fact will in some measure account for the places in the procession at the coronation, which performers on these instruments have sometimes had. At that of James II. and also that of Geo. I. walked two of the king's musicians in scarlet mantles, playing each on a sacbut, and another, clad in like manner, playing on a double curtal or bassoon. The organ-blower had also a place in the two processions above mentioned, having on him a short red coat, with a badge on his left breast, viz., a nightingale of silver, gilt, sitting on a sprig. Us aiSTOtlY OF THfi SCIENCE. 600K JLVIt. singing master in London, and also a teacher of the lute and viol.* John Courteville was the author of sundry songs printed in the Theater of Music. Raphael Courteville was a gentleman of the chapel in the reign of Charles II., and the first organist of the church of St. James, Westminster, and is supposed to have been the hrotber of him men- tioned above. He composed Sonatas for two flutes, and sundry songs printed in the collections of his time. A son of his, named also Eaphael, succeeded him as organist of St. James's. The latter of these was the reputed author of the Gazetteer, a paper written in defence of Sir Eobert Walpole's adminis- tration, and was by the writers on the side of opposi- tion stigmatized with the name of Court-evil.j- Alexander Damascene, one of the gentlemen of the chapel royal in the reign of William and Mary, composed sundry songs published in the Theater of Music. Thomas Dean, organist of Warwick and Coventry. Some airs of his composition are printed in the Division-Violin. He flourished at the beginning of this century, and accumulated the degrees of ba- chelor and doctor in his faculty of the university of Oxford in 1731. John Est, a barber. It has been before observed that the profession of music had some sort of connexion with the trade of a barber, and that a cittern was part of the furniture of a barber's shop.f This man was first a small proficient on that instru- men, but afterwards took to the Lyra-viol, and be- came so famous a performer on it as to give occasion to the following verses, which are here inserted, not for their goodness, but because they are evidence of a fact that has been frequently asserted in the course of this work : — In former time 't hath been upbrayded thus, That barber's musick was most barbarous. For that the cittern was confin'd unto The Ladies Fall, or John come kiss me now, Green Sleeves, and Pudding Pyes, with Nell's delight. Winning of BoUoigne, Essex' last good night. § But, since reduc'd to this conformity, And company became society. Each barber writes himself, in strictest rules. Master, or bachelor i' th' musick schools, How they the mere musitians do out-go. These one, but they have two strings to their bow. Barber musitians who are excellent. As well at chest, as the case instrument. Henceforth each steward shall invite his guest Unto the barber's and musitian's feast, Where sit ye merry, whilst we joy to see Art thus embrac'd by ingenuity. ♦ Formerly there were in London many masters who taught the prac- tice of singing by the syllables : the profession is alluded to in some of the comedies written about the time of Charles II. But singing follows so naturally the smallest degree of proficiency on any instrument, that the learning of both is unnecessary ; and in fact those that teach the harpsichord are now the only singing-masters, that we Icnow of, except a few illiterate professors, who travel about the country, and teach psalmody by the notes, at such rates as the lower sort of people are able to pay. t In a weekly paper, now deservedly forgotten, entitled the Westmin- ster Journal, Numb. 91, for Saturday, December 4, 1742, is a fictitious letter subscribed, ' Ralph Courtevil, Organ-blower, Essayist, and ' Historiographer.' ' * " " t A song to this purpose in tlis ' Pills to pwge Melmclioly.^ § Popular tunes so called. Thomas Farmer, originally one of the waits in London, was nevertheless admitted to the degree of bachelor in music of the university of Cambridge in 1684. He composed many songs printed in the collections of his time, and particularly in the ' Theater of Music' and the ' 'Treasury of Music,' and was the author of two very fine collections of airs, the one entitled ' A Consort of Music Jji ' four parts, containing thirty-three lessons, beginning • with an overture,' and another ' A second Consort ' of Music in four parts, containing eleven lessons, ' beginning with a Ground,' both printed in oblong quarto, the one in 1686, the other in 1690. In the Orpheus Britannicus is an elegy on his death, written by Tate and set by Purcell, by which it appears that he died young. His dwelling house was in Martlet-court in Bow-street, Covent-garden. Daniel Farrant, supposed to be a son of Richard Farrant, mentioned page 522, of this work, was one of the first of those musicians who set lessons lyra- way for the viol, in imitation of the old English lute and Bandore. John Goodgroome, bred a chorister at Windsor,, a gentleman of the chapel in the reigns of Charles II, and William and Mary, composed songs, printed in the ' Treasury of Music' One of the same name, probably his son, was about fifty years ago organist of the church of St. Peter in Cornhill, London. Richard Goodson, bachelor in music, organist of New college and Christ Church, Oxford, elected professor in that university the nineteenth of July, 1682. He lies buried in the chapel adjoining to the choir of Christ Church, on the south side thereof, under a stone, on which is the following inscription :— ' H. S. E. ' Richardus Goodson, ' Hujus Ecclesiffi organista, ' Hujus Acadera. Mus. Prselector ' Utriq ; Deliciae et Decus. ' Ob. Jan. 13, 1717-8.' He was succeeded as professor and organist of Christ Church by his son Richard Goodson, who was also a bachelor in music, and the first organist of Newbery. He died Jan. 9, 1740-1, and lies buried near his father. William Hall, one of the royal band, temp. Gul. & Mar. composed sundry airs published in a collection entitled Tripla Concordia. He died in 1700, and lies buried in the church-yard of Rich- mond in Surrey. On his grave-stone he is styled William Hall, a superior violin. CHAP. CLX. Henry Hall, born about the year 1655, the son of Capt. Henry Hall, of New Windsor, was educated in the royal chapel, and had for his last master Dr. Blow. His first promotion was to the place of organist of Exeter. After that he became organist of Hereford, and also a vicar choral in the same church. He died March 30, 1707, and lies buried under a stone inscribed to his memory in the cloister of the college of the vicars of Hereford cathedral, He had a son of both his names, who was a vicat Chap. CLX. AND PKAC^tCE OF MUStC. r69 and also organist of Hereford, and dying Jan. 22, 1713, was buried near his father in the above mentioned cloister. The similar situation of these two persons, and the small difference of six years between the time of the death of both father and son, make it somewhat difficult to distinguish them, and this difficulty is increased by the additional circumstance that each had a talent of poetry. The elder was a sound musician, and composed sundry anthems, well known to those who are conversant in church-music. He also wrote commendatory verses to both books of the Orpheus Britannicus : in those to the first, are these lines, which bespeak him to have been a fellow-disciple with Purcell under Blow, and consequently the elder of the two. ' Hail ! and for ever hail harmonious shade ! ' I lov'd thee living, and admire thee dead. ' Apollo's harp at once our souls did strike, ' We learnt together, but not learnt alike : ' Though equal care our master might bestow, ' Yet only Purcell e'er shall equal Blow : ' For thou, by heaven for wondrous things design'd, ' Left'st thy companion lagging far behind. ' Prefixed to the Amphion Anglicus are com- mendatory verses, subscribed Henry Hall, organist of Hereford, addressed to his esteemed friend Dr. Blow upon publishing his book of Songs, upon which it may be observed that as they are written in a very familiar style, and contain not the least intimation that the relation of master and scholar ever subsisted between them, it is to be inferred that these were written by the younger Hall. The following are the concluding lines of this address : — ' Thus while you spread your fame, at home I sit, ' Amov'd by fate, from melody and wit, ' The British bard on harp a 'Treban* plays, ' With grated ears I saunter out my days ; ' Shore's most harmonious tube ne'er strikes my ear,t ' Nought of the bard besides his fame I hear ; ' No chanting at St. Paul's regales my senses, ' I'm only vers'd in Usum Herefordensis. ' But if by chance some charming piece I view, ' By all caress'd because put forth by you ; ' As when of old; a knight long lost in love, ' Whose PhUlis neither brine nor blood cou'd move, ' Throws down his lance, and lays his armour by, ' And falls from errantry to elegy : i ' But if some mighty hero's fame he hears, ' That like a torrent all before him bears, ' In haste he mounts his trusty steed again, ' And led by glory, scow'rs along the plain ; ' So I with equal ardour seize my flute, ' And string again my long neglected lute.' The above lines are far from being destitute of merit, but there are verses of the same author that have gained him rank among our poets. A ballad of his on the Jubilee in 1700 found its way into a collection in two volumes, printed by Lintot, and called Pope's Miscellany, as containing in it Windsor * The Trehan, called ctlso the warrior's song, is a tune of great antiquity among the inltahitants of Wales ; the words to it are in stanzas of three lines, each of seven syllables. Tlie Tfehan of South Wales, called Treban morganisg, has the same character, but is conjectured to be less ancient. Ex. Rel. Mr. Sdw. Jones, the harper and publisher of a late Collection of Welch Foet/ry and Music. t The trumpet of Serjeant Shore, who is mentioned page 752 of this work. Forest, the Eape of the Lock, Eloisa to Abelard, and other of his best poems ; and in a collection entitled the Grove, consisting of original poems and translations by Walsh, Donne, Dryden, Butler, Suckling, and others, published in 1721,| are as many of Hall's poems as probably could Idb found. Among them is that well-known ballad beginning ' All in the land of cyder,' and these verses that follow, addresed to Mr. R. 0., who every year sent him a Dun a little before St. Paul's day : — ' If rhime for rhino could atone, ' Or wit stave off an ardent dun, ' If words in sweetest numbers chose, ' Would but wipe off our tickling prose, ' How blest a life would poets lead, ' And, ah ! how punctual you'd be paid ! ' But since the greatest stroke of wit, ' Will not compound the meanest debt, ' Nor fifty feet in Congreve's muse ' Tick with old Tranter § for two shoes ; ' Nor all the rhymes great Dryden wrote, ' Prevail to trust him for a coat ; ' Know, Robin, I design you money, ' To face the fair now falling on you. || ' But ol the Saints both great and small, ' There's none torments me like Saint Paul, ' Who yearly persecutes the poor, ' As he did Christians heretofore : ' For still about that holy tide, ' When folk to fair of Bristol ride, ' More dunning bills to me are brought, ' Than e'er the Saint epistles wrote. ' But here the difference is, we see, * He wrote to Heathens, they to me. ' Nor can I blame their cleanly calling, ' So often from their faith for falling, ' Since many a one thro' sly deceivers ' Have been undone by being believers. ' ' But, Robin, this is not your case, ' Whom heav'n some coin has giv'n, and grace ; ' Who gruff when sober, bright when mellow, ' Art in the main a pretty fellow.' In the same collection are the following lines of his on the Vigo expedition : — ' Whilst this bumper stands by me brim full of cydero, ' A fig for king Philip and Portocan-ero ; ' With the smoke of my pipe thus all my cares vanish, ' Whilst, with their own silver, wepurchase the Spanish, II ' And since the whole Flota is taken or sunk, boys, ' We'll be, as becomes us, exceedingly drunk, boys.' Most of the musical compositions with the name Henry Hall are to be ascribed to the elder of the two of that name, for it is not clear that the younger was the author of any ; and indeed it seems that his character of a musician is lost in that of a poet. Stephen Jeffries, a pupil of Michael Wise, in 1680, being then hut twenty years of age, mas elected organist of Gloucester Cathedral, which office he held thirty-four years. He composed that fine melody which the chimes of the above-mentioned chwrch continue to play to this day, and which, for X In this collection are sundry poems, \Tritten by Kenrick, a doc- tor hoth in divinity and physic. He wrote for Purcell those two songs in the Orpheus Britannicus, 'When Teucer from his father fled,' and ' Nestor who did to thrice man's age attain,' which are printed in the collection ahovementioned. § A shoemaker. || Bristol fair. IT Spanish tobacco : In Dr. Aldrich's smoking catch the concluding words are ' a pipe of Spanish.' aisToii'sr OF 'Thei science £0OK xvtt. the singular contrivance of it, deserves rerrmrh — for it IS to he observed that the hells thereof are 2ht in number, descending by a major sixth and rdfrom d to JD, and that the clock bell is a minor third lower than the tenor bell, viz., B^. The tune, which is a very solemn one, is so contrived as to take in every bell in the peal, and, by an artful eva- sion of the semitone below D, which there is no bell to answer, to make the clock bell the final note, thereby constituting a series of tones and semitones proper to the key of B. The notes of this singular melody are given below.* This person died in 1712, and lies buried in the east ambulatory of the cloister adjoining to his church, as appears by an inscription on his grave- stone. The chairmen of Gloucester relate tJiat, to cure him of a habit of stayiug late at the tavern, his wife drest up a fellow in a winding-sheet, with directions to meet him with a lanthorn and candle in the cloisters through which he was to pass On his way horns; but that, on attempting to terrify him, Jeffries expressed his wonder only by saying, 'I thought allyou spirits had been abed before this time.' That Juries was a man of singular character we have another proof in the following story related of him. A singer from a distant church, with a good voice, had been requested and undertook to sing a solo anthem in Gloucester Cathedral, and for ilmt purpose took his station at the elbow of the or- ganist in tlie organ-loft. Jeffries, who found him trip in the performance, instead of palliating his mistake and setting him right, immediately rose from his seat, and leaning over the gallery, called out aloud to the choir and the whole congregation, ' He carit sing it.' William Hinb succeeded to the place of organist of Gloucester Cathedral upon the decease of Stephen Jeffries in 1712. He joined with one of the Halls in that composition which is known by the name of Hall and Hin^s Service, and was so much esteemed for skill in his faculty and his gentlemanly qualities, that his salary was, by the dean and chapter of his chwrch, increased twenty pounds a year. He was the mudcal preceptor of Mr. Richard Church, late organist of Christ Church, Oxford, and also of Dr. Williaw Hayes, late professor of music in that university. He died at the age of forty-three, in August, 1730. William Inglott, organist of tlie cathedral churcli of Norwicli, should have have had a place in a preceding page, as having lived at the 'beginning of the last century ; nevertheless, rather than omit it, a memoir of him is here inserted. He lies buried in the al)ove-mentioned cathedral, and, by an in- scription to his memory, seems to have been in his * The tune as it is Set to ilie proper Itey of the belts, by Mr. Abraham Uudhatl, belt founder, in Gloucester. day a famous organist, at least Dr. Croft may be supposed to have thought so when he repaired his monument, on which are the following lines : — ' Here William Inglott organist doth rest, ' Whose art in musick this cathedral blest, ' For descant most, for voluntary all, ' He past on organ, song and virginall : ' He left this life at age of sixty-seven, ' And here 'mongst angells all sings first in heav'n, ' His fame flies far, his name shall never die, ' See art and age here crown his memorie. ' Non digitis Inglotte tuis terrestria tangis ; ' Tangis nunc digitis organa celsa pou. 'AnnoDom. 1621. ' Buried the last day ' of December 1621. This erected the 15th day of June 1622. P«*=l ^^^^^^^^^^m ^M^^^^^^^^ ' Ne forma hujusce monumenti injuria ' Temporum pen6 deleti, dispereat, exculpi ' Ornavit Gut. Croft, Reg. Capellse in ' Arte Musicd Discipul. Praefectus.' Simon Ives was a lay vicar in the cathedral of St. Paul, till driven from thence by the usurpation, when he hecame a singing-master and a teacher in private families. He and Henry Lawes were made choice of to compose the airs, lessons, and songs of the masque presented by the four inns of court before king Charles I. and his queen at Whitehall, on Candlemas night 1633.f Many catches and rounds of Ives are to be found in Hilton's collection, and in Playford's Musical Companion, as are also single songs among the Ayres and Dialogues published in his time. He died in the parish of Christ Church, London, 1662. Whitelock in his Memorials gives him the character of an excellent musician and a worthy man. William Ejng, organist of New College, Oxford, set to music Cowley's Mistress, and published it with this title, ' Poems of Mr. Cowley and others ' composed into songs and ayres, with a thorough- ' basse to the Theorbo, Harpsecon, or Base-violl.' fol. Oxford 1668. EoBERT King, bachelor in music, of Cambridge, 1696, one of the band of William and Mary. He composed sundry airs printed in the Tripla Con- cordia ; and set to music many songs printed in the Theater of Music. John Lbnton, one of the band of king William and queen Mary, was a master of the flute. He composed and published, in conjunction with Mr. Toilet, hereafter mentioned, a work entitled ' A con- ' sort of musick in three parts.' Some catches of his composition are printed in the Pleasant Musical Companion. He was also author of a tract, entitled ' the GentlemarCs Diversion, or the violin explained' oblong ito, no date : at the end are sundry fine airs by himself and other masters of his time. A second edition of it with an appendix, but without the airs, •was published in 1702, under the title of ' The ' useful instructor on the violin.' In the directions for ordering the bow and instrument, the learner is cautioned, as well against holding the latter under the chin, as against a most unaccmmtable practice, t See page 479 of this work. Chap. CLX. AND PRACTICE OF MUSIC. 771 vix., the holding it so lorn as the girdle ; which he says some do in imitation of the Italians : so that we must conclude he means that the violin should rest on the breast of th^ performm\ It is also remarkable that in neither of tlie editions of the hook is there any inention, nay the least hint about shifting, and that the scale therein exhibited reaches but to C on the second line above the stave ; a proof of the comparatively small degree of proficiency to which the masters of the instrument mere at that period arrived; and, yet at the end of his book the author says, that this nation mas never so well pro- vided with able performers, as at the time of its publication. Henry Loosemorb, bachelor in music of Cambridge, 1640, and organist first of King's college, Cambridge, and afterwards of the cathedral of Exeter. He com- posed services and anthems. One of this name, a lay singer or organist of Exeter cathedral, is said to have built the organ which was erected in that church at the restoration. George Loosemohe, bachelor in music of Trinity- college, Cambridge. Alphonsus Marsh was a gentleman of the chapel in the reign of Charles II. Sundry songs of his composition, as also of a song of his, of both his names, are extant, in the ' Treasury of Musick,' and other collections of that time. John Newton, doctor in divinity, and rector of Boss in Herefordshire, a person of great learning and skill in the mathematics, was the author of the ' English Academy, or a brief Introduction to the ' seven liberal Arts,' in which music, as one of them, is largely treated of. It was published in octavo, anno 1667. Vide Athen. Oxon. col. 632. Roger Nightingale, a clergyman, and one of the chapel at the restoration, was then an old man. He had been of the chapel to Charles I. and, even before the commencement of that king's reign, distinguished as a singer. He dwelt with Williams, bishop of Lincoln, at Bugden in Huntingdonshire, the episcopal seat ; and when that prelate was translated to York, he took Nightingale with him to Cawood-castle, and, as a mark of his favour, gave him a lease worth £500 to be sold.* Francis Piggot, bachelor in music of the uni- versity of Cambridge, 1698, and first organist of the Temple church. He succeeded Purcell as one of the organists of the royal chapel. An anthem of his, ' I was glad,' is extant in many cathedrals. He had a son, who succeeded him as organist of the Temple, and was also organist of Windsor chapel, but coming into a large fortune upon the decease of a relation. Dr. John Pelling, rector of St. Anne, Westminster, he retired to Windsor, and either resigned his places, or did his duty by deputies. John Reading, a scholar of Dr. Blow, was a lay vicar, and also master of the children in the cathedral church of Lincoln. Removing from thence, he became organist of the parish church of St. John, * Bishop Williams was very beneficent to musicians. Happening to heal some compositions of Michael Est, to whom he was quite a stranger, he settled an annuity on him for his life, moved by no other consideration than his merit in his profession. See page 560 of this work. Hackney, and afterwards St. Dunstan in the West, and St. Mary Woolnoth, London. He published a collection of anthems of his composition with this strange title, ' By subscription a Book of new An- ' thems, containing a Hundred Plates fairly en- ' graven, with a Thorough Bass figured for the ' Organ or Harpsichord with proper Retornels. By ' John Reading, Organist of St. John's, Hackney ; ' educated in the Chappie Royal, under the late ' famous Dr. John Blow. Price 10 Shillings.' He died a few years ago, in a very advanced age. Vaughan Richardson, a scholar of Dr. Blow, and organist of the cathedral of Winchester. He pub- lished, in the year 1706, A Collection of Songs for one two, and three voices, accompanied with instru- ments, and composed sundry anthems, which are well Icnown in most cathedrals. Daniel Rosingrave, educated in the chapel royal, and a fellow-disciple of Purcell, became organist of Salisbury, and afterwards of St. Patrick's, Dublin. He had two sons musicians, one of whom, named Thomas, having been sent by his father into Italy to study, in the year 1710, returning to England, was elected organist of the parish church of St. George, Hanover-square ; the other remained in Ireland, and was his father's successor. Theodore Stepkins, one of the finest performers on the lute in his time, and as such he is celebrated by Salmon in his Essay to the Advancement of Music. There were two other persons of this name, Frederic and Christian, sons of the former, who were of the band of William and Mary ; the latter was living in 1711. William Thatcher, born at Dublin, and bred there under Randal Jewit, came into England and taught on the virginals before and after the restora- tion. He died in London about 1678. Thomas Tollet. This person composed that well-known ground known by his name, and pub- lished directions to play on the French flageolet. In conjunction with John Lenton, mentioned above, he composed and published, about the year 1694, a work entitled A Consort of Musick in three parts. A daughter of his was a dancer at Goodman's-fields playhouse about the year 1728, when that theatre was first opened. To these may be added the following names of famous organists, celebrated performers on particular instruments, and composers of music of various kinds, who flourished during the above period. Isaac Blackwell. This person composed songs, printed in a collection entitled ' Choice Ayres, Songs, and Dialogues to sing to the Theorbo-lute and Bass-viol,' fol. 1675. There are some compositions of his for the church in the books of the royal chapel, and in those of Westminster Abbey. Bowman, organist of Trinity college, Cambridge. James Cooper, organist of the cathedral of Norwich, and there buried. Cotton, also organist of the same cathedral, and there buried. William Davis, one of the choir, and master of the children of the cathedral of Worcester. Edward and John Dyer, dancing masters by profession, but both excellent musicians ; HISTOEY OF THE SCIENCE Book XVI, they lived about the time of the restoration, and had their dwelling in Shoe-lane, London. James Hakt, a gentleman of the chapel in the reign of king William and queen Mary. James Hawkins, the father and son, the one organist of the cathedral of Ely, the other that of Peterhorough. William Hike, organist of Gloucester. George Holmes, or- ganist of Lincoln. Benjamin Lamb, organist of Eton college, and verger of the chapel of St. George at Windsor: he composed many anthems. John Moss, composer of sundry songs in the Treasury of Music. NoRRis, master of the children of the same cathedral of Lincoln. Paisiblb, a famous master of the flute, and a composer for that instru- ment. Thomas Pleasants, organist of the cathedral of Norwich, and there buried. Charles Qcarles, bachelor in music of Cambridge, 1698, and organist of Trinity college there. John Kogers, servant to Charles II., a famous lutenist, lived near Aldersgate, and died about the year 1663. Anthony Wakbley, organist of the cathedral of Salisbury. John Walter, organist of the collegiate church at Windsor. Thomas Wanless, bachelor in Music of Cambridge, 1698, and organist of York cathedral. Thomas Williams, organist of St. John's college, Cambridge. Giuseppe Torelli, a native of Verona, academico filarmonico di Bologna, and a famous performer on the violin, was concert master at Anspach about the year 1703. After that ho removed to Bologna, and became maestro di capella in the church of San Petronio in that city. He composed and published sundry collections of airs and Sonatas for violins, but the most considerable of his works is his eighth opera, published at Bologna by his brother, Felice Torelli, after the death of the author, viz., in 1709, entitled ' Ooncerti grossi con una pastorale, per il santissimo natale,' consisting of twelve concertos, ' a due violini concertini, due violini ripieni, viola e cem- balo.' He is said to have been the inventor ot that noble species of instrumental composition the Con- certo grosso. Zaccaeia Tbvo, a native of Saccha, a city in Sicily, a Franciscan monk, bachelor in divinity, and a professor or master of music in Venice, published in the year 1706, in quarto, a work entitled II Musico "Tesore, containing in substance the whole of what has been written on the subject by Boetins, Franchinus, Galilei, Mersennus, Kircher, and, in short, almost every other author on the subject of music. As the works of these have been mentioned in order as their names have occurred, there seems to be but little occasion for a more particular account of Tevo's book than the following Index, containing the heads of the several chapters, will furnish. Never- theless it may be remarked, that he is so libera] in his quotations from the Margarita Philosophica of Gregory Reisch,* that almost the whole of the tract on music therein contained is inserted in the Musico Tesore of Tevo : — PARTE PRIMA. Cap 1. DelTitolo dell' Opera; 2. Delia Defini- tione, e Divisione della Musica; 3. Delia Musica * See the account of this book in page 306 of this work. Mondana ; 4. Della Musica Humana ; 5. Delia Mu- sica Armonica ; 6. Della Musica Metrica, e Ritmica ; 7. Della Musica Organica ; 8. Della Musica Piana, e Mesurata ; 9. Della Musica Tcorica, & Inspettiva ; 10. Delia Musica Prattica, & Attiva; 11. Dell' In- ventione della Musica; 12. Della Propagatione della Musica; 13. Qual fosse I'Antioa Musica; 14. Quanto fosse rozza I'Antica Musica; 15. Degl' effetti della Musica; 16. Dell' inventione del Cantar in consonanza ; 17. Del detrimento della Musica; 18. A che fine si deve imparare -la Musica; 19. Qual sii il vero Musico ; 20. Delia difesa della Mu- sica, e Cantar moderno. PARTE SECONDA. Cap. 1. Delle Voci, e suoni in Commune; 2. Della definitione delle Voci, e suoni ; 3. Della for- matione della Voce ; 4. Delia varieta delle Voci, e suoni ; 5. Delia formatione, e propagatione de suoni neir Aria; 6. Come vengono comprese le voci, e suoni dal senso dell' udito ; 7. Dell' inventione delle Figure Musicali; 8. Del Tuono, e Semituono; 9. Che cosa sii Musico intervallo ; 10. Delli Tetra- cordi, e Generi della Musica; 11. Del Sistema Greco, & antico, sua inventione, e divisione; 12. Del Sistema di Guido Aretino; 13. Del Sistema principato comparato alle quattro Parti, & alia tas- tatura dell' Organo ; 14. Delia Melopeia ; 15. Delia proprieta del Canto; 16. Delle quattro parti Mn- sicali, e loro natura ; 17. Delle Mutationi ; 18. Della Battuta; 19. Degl' Essempii di qualsivoglia Battuta ; 20. Degl' Affetti causati dalla modulatione delle Parti. PARTE TERZA. Cap. 1. Che sii contrapunto, consonanza, disso- nanza, numero sonoro ; 2. Delle consonanze, de di."!- sonanze in particolare, e loro formatione in ordine Pratico; 3. Delia consideratione del Numero in ordine Armonico ; 4. Delle proportioni in ordine Armonico ; 5. Delle dimostrationi delle consonanze, e dissonanze in ordine Teorico; 6. Del modo di formare li Passaggi; 7. Che non si possino fare due conzonanze perfette del medesimo genere ; 8. Delli passaggi del Unisono ; 9. Delli passaggi della terza maggiore, e minore ; 10. Delli passaggi della Quinta; 111. Delli passaggi della Sesta maggiore, e minore ; 12. Delli passaggi dell' Ottava ; 13. Delle dissonanze in commune ; 14. Delli passaggi della Seconda; 15. Delli passaggi della Quarta ; 16 Delli passaggi della quarta superflua, e della Quinta dimi- nuta; 17. Delli passaggi della Settima; 18. Delle Legature, e delle Sincope ; 19. Delle due disso- nanze, e delle due Negre; 20. Di alcune osserva- tioni per le parte di mezzo. PARTE QUARTA. Cap. 1. Di alcune regole generali del Contrapunto: 2. Delle spetie del Contrapunto; 3. Modo di for- mare I'Armonial Testura a due^ e piu voci per Con- trapunto semplice: 4. Delli Tuoni, 6 Modi Armo- niali secondo gV Antichi; 5. Delli Tuoni, 6 Modi Armoniali secondo li Moderni ; 6. Del modo di for- mare il ContrSpunto a due, e piu voci, e delle sue cadenze ; 7. Delle regole per la formatione del Con- Chap. CLXI. AND PRACTICE OF MUSIC. trapunto sopra il Basso; 8. Delle Cadenze degli otto Tuoni delli Moderni; 9. Delia natura, e pro- prieta delli Tuoni ; 10. Del Contrapunto Fugato in genere; 11. Delia Fuga in particolare, e delle sue Specie; 12. Delle Imitationi; 13. Delli Duo, e Fughe per tutti li Tuoni; 14. Delli Oanoni; 15. Delia formatione di piu soggetti ; 16. Delli Contra- punti doppii ; 17. Del modo di rivoltare le Parti, e Soggetti ; 18. Del modo di formare le Compositioni con Voci, Instrumenti ; 19. Delia Musica Finta, e Trasportatione delli Tuoni; 20 & Ultimo. Cou' gedo deir Auttore al sue Musico Testore. It has already been remarked of the several trea- tises on music by Italian authors, from the time of Franchinus downwards, that the latter have for the most part been but repetitions of the former ; and this might be objected to Tevo's book ; but when it is considered that, notwithstanding the copiousness of the subject, it is concise, and at the same time perspicuous, it may well be considered as a valuable abridgment, abounding with a great variety of learning and useful instruction. CHAP. CLXI. PiETEO ToRRi, an Italian by birth, was, in the younger part of his life, chamber musician to the Margrave of Bareith ; after that he became chapel master of the great church at Brussels. It is said that he was a disciple of Steffani, which is probable, seeing that his compositions are chiefly duets and close imitations of the style of that master. One of the most celebrated of his compositions of this kind is a duet entitled Heraclitus and Democritus, in which the affections of laughing and weeping arc contrasted and expressed v/ith singular art and in- genuity. He died about the year 1722. The fame of his excellence was very great throughout all Flanders ; and it is said that in queen Anne's time, while we were at war with the French, his house being in some danger, the duke of Marlborough gave particular orders that it should be protected from violence ; in gratitude for which instance of generosity, he presented the duke with a manuscript, containing some of the most valuable of his compo- sitions, which are yet remaining in the family library. About the beginning of the present century music flourished greatly under the patronage of the em- peror Leopold, who was himself not only a judge, iDut a great master of the science; as an evidence whereof there are yet extant many compositions made by him for the service of his own chapel. He was a great friend of Kircher, as also to Thiel of Naumburg, mentioned in a former part of this work. To the latter he made many presents in reward of his excellent compositions. The anonymous author of the life of this prince, published at London in 1708, in the character which he gives of him, speaks particularly to his affection for music, and represents the personal indignities to which his love of it sometimes exposed him, in the following passage : — ' This person was versed in most of the specula- ' tive sciences, and imderstood musick to perfection, ' and had several pieces of his own composing sung in ' his own chapel, and therefore he had several mu- ' sicians, especially Italians, about him, who showed ' themselves very insolent upon divers occasions, and ' more than once refused to sing in the face of the ' emperor himself and his court, upon pretence their ' salaries were not well paid them ; and this, upon a ' representation to his Imperial majestj', what punish- ' ment they deserved, gave him occasion jestingly to ' answer, that these fellows, when they are deprived ' of their virility, might at the same time lose part of ' their brains. The impertinence of these eunuchs ' may be judged of by the behaviour of one of them ' a little before the emperor's death. This person ' crouding into the chapel where he had at that time ' no part of the music, and pressing upon a foreign ' knight to make way for him, which the other was ' not forward to do, the eunuch angrily said to him, " Ego sum Antonius M. Musicus sacTie Cresarea! " majestatis.'' The principal musicians in the court of the em- peror Leopold were, his chapel-master Fux, and his vice chapel-masters Caldara and Ziani, all three very great men, but differently endowed, the first being a theorist, the others mere practical musicians. Here follows an account of them severally : — JohaNlS- Joseph Fux was a native of Stiria, a pro- vince of Germany in the circle of Austria. In 1707 he published at Nuremberg a work of his composi- tion, entitled ' Concentum musico-instrumentale in 7 partitas divisum,' and also composed an opera called Eliza, for the birth of the empress Elizabeth Chris- tiana, which was printed at Amsterdam by Le Cene. But he is better known to the world by his ' Gradus ' ad Parnassum, sive manuductio ad compositionem ' musiose regularem, methodo nova ac certS,, nondum ' antfe tam exacto ordine in lucem edita,' printed in the year 1725, and dedicated to the emperor Charles VI., who defrayed the whole expense of the publica- tion. This work is printed in a folio volume, di- vided into two books, and merits particular notice. In the preface he gives as reasons for writing his book, that many learned men have written on the speculative part of music, but few on the practice,* and that the precepts of these latter are not suffi- ciently clear. For these reasons, he says, and farther, because many young students of his ac- quaintance had testified an ardent desire of know- ledge in the science, but were not able to attain it for want of proper instructors, he at first gave leo-^ tures to such, and continued so to do for near thirty years, during which time he had served three em- perors of the Romans. At length, recollecting that sentiment of Plato recorded by Cicero, viz., that we were not born for ourselves, but for our country, our parents, and our friends, he determined to give his labours to the world, and now offers them to the public, with an apology for the work, that he was frequently interrupted in the progress of it by sick- * In this assertion Fux is grossly mistaken : Franchinus, Zavllno, Zaccone, Artusi, Berardi, the elder Bcnoncini, Gasparini, and ni.iny utliers, wliom we liave enumerated, have written expressly on the subject of practical music. 774 HISTORY OF THE SCIENCE Book XVII nesSj and the necessary attendance in the discharge of his function. ^ The first book is altogether speculative, its prin- , cipal subject being number, with the proportions and ' differences thereof. The proportions that respect music the author makes to be five, namely, multiple, superparticular, superpartient, multiple-superparti- oular, and multiple-superpartient. The division of proportion he says is threefold, namely, into arithmetical, harmonical, and geo- metrical, of all which an explanation has been given inthe foregoing part of this work.. He next de- cri,bes the several operations for the multiplication, addition, and subtraction of ratios ; applying the rules laid down by him to the discovery of the ratios of the several intervals contained in the octave. Towards the conclusion of this book the author observes that the genera of the ancient Greeks were three ; but that the moderns had restrained them to two, namely, the diatonic and chromatic, the com- mixture of which he says he does not disapprove : but he most earnestly dissuades the musicians of his time against the use of the mixed genus in the com- position of church-music, having as he says, by long practice and experience found that the diatonic alone is most suitable to this style. The second book is written in the form of a dialogue, the interlocutors in which are Aloysius a master, and Joseph a disciple. The author's reason for assuming those names is to be found in the preface, where he says that by Aloysius he means Praenestinus or Palestrina, to whom he owns himself indebted for all his knowledge in music, and whose memory he professes to reverence with the most pious regard ; wherefore we are to understand by Joseph, Fux himself, whose Christian names were John Joseph. In this conversation the author, in the person of Aloysius, delivers the precepts of musical com- l)osition, beginning with simple counterpoint, i. e. that which consists in the opposition of note to note, with various examples of compositions on a plain- song in two and three parts. From thence he pro- ceeds to the other kinds, explaining as he goes along the use of the dissonances. From simple he proceeds to florid counterpoint, the doctrine of which he illustrates by a variety of exercises in four parts on a given plain-song. Having delivered and illustrated by examples the precepts of counterpoint, the author goes on to explain the doctrine of fugue, which denomination he contends is applicable only to those compositions, where a certain point is proposed by one part, and answered by another, in intervals precisely the same, that is to say, such as may be proved by the sol- misation. This obliges him to lay down the order in which the tones and semitones sncceeed each other in the several modes or keys, and terminates in a very obvious distinction between fugues pro- perly so called, in which the points in the several parts sol-fa alike, and those other where the sol- misation is different ; these latter, though to the eye they may appear fugues, being in fact no other than imitations.* This explanation of the nature of fugue in general is succeeded by rules for the composition of fugues in two, three, and four parts, and of double counter- point, a kind of composition so constructed, as that the parts are converted the one into the other ; that is to say, the upper becoming the under, and h con- verso ; with many other varieties incident to this species, such as diminution, inversion, and retrograde progression. At the end of this discourse on fugue, Aloysius reprehends very severely the singers in his time for those licentious variations which it was the practice with them to make. Discoursing on the modes, he cites a passage from Plato in his Timaeus, to show that the music of the ancient Greeks was originally very deficient in respect of the number of the intervals. He says that the ancient modes borrowed their names from those countries in which they were respectively invented or most in use, but that the true distinction between them arises from the different succession of the tones and semitones in each, from the unison to the octave. In short, he supposes the modes and the species of diapason to be correlative, and making the latter to be six in number, viz., D, E, F, G, A, C, he pronounces that, notwithstanding other authors reckon more, the modes are in fact only six.f But here it is to be noted, that he admits of the distinction of the modes into authentic and plagal, the first of which two classes consists in the har- monical, the other in the arithinetical division of the diapason ; and had he admitted B as a species of diapason, he would, agreeably to the sentiments of Glareanus, Zarlino, Artusi, and most of the succeeding writers, have brought out twelve modes, that is to say, six authentic, and six plagal ; instead of which latter he gives but five, namely, 0, D, E, G, A,' passing over F, as incapable of an arithmetical division, by reason of the tritone arising at b. So that upon the whole he makes but eleven modes, agreeing in this particular with no one author that has written on the subject of music. For the distinction between the authentic and plagal modes he cites the opinion of Zarlino, who says that the beginnings and endings, or closes, are the same in both, and that the sole difference between them consists in the nature of the modulation, which in the authentic modes is in the acute, and in the plagal in the grave part. Having before assumed that there are but six species of diapason or octave, and having justly remarked that the distinction of authentic and plagal respects chiefly the ecclesiastical tones, he proceeds to point out, by means of the flat and sharp signatures, several successions of tones and semitones, which he says are transpositions from the several modes : a needless labour as it seems, seeing that the use * This distinction is very accurately noted in Dr. Pepuscli's Sliort Introduction to Harmony. t The species of diatessaron are three, and of diapente four ; and these added together form seven species of diapason. See page 130 of tills work ; and Wallisii Append, in Ptolemffii Harmonicis, 4to. page 310, 311. Chap. CLXI. AND PEACTIOE OF MUSIC. 775 of six modes, in the sense in which the term ia strictly understood, is unknown to the moderns, who look upon the word as synonymous with the word key; and of these there seem to be in nature but two, viz., those whose respective finals are A and C,* the one having its third minor, and the other major ; and into one or other of these all that variety of keys, included under the denomination of Musica ficta, or, as the Italians call it, Musica finta, that is to say,, feigned music, are demonstrably resolvable. Towards the conclusion of his work he treats of the ecclesiastical style, which he says is of two kinds, to wit, that of the chapel, and that proper for a full choir. With respect to the former he observes that in the primitive times the divine offices were sung without the aid of instruments ; and that the same practice prevails in many cathedral churches, and also in the court of the emperor during the time of Lent. But that notwithstanding the primitive practice, the organ, and a variety of other instruments were introduced into the chapel service, and con- tinued to be used, with the exceptions above noted, in his time. He recommends in the composition of music for the service of the chapel, the pure diatonic genus, without any mixture of the chromatic, and celebrates Palestrina as the prince of composers in the chapel style, referring to a motet of his, ' Ad te ' Domine levavi animam meam,' as a composition admirably adapted to the sense of the words, and in other respects most excellent. After this he gives some directions for com- positions for the chapel, wherein the organ and other instruments are employed. In these he says the restrictions are fewer than in the former ; and adds, that the first and second violin parts should ever be in the unison with the cantus, as the trumpets are with the altus and tenor. Of the mixed style, or that which is proper for a full choir, he says but little, and proceeds to the recitative style, for composing in which he gives a few general rules ; and is most particular in point- ing out those rests and clausules which best cor- respond with the points or stops in written speech, namely, the comma, semicolon, colon, and period ; as also with the notes of interrogation and admiration, and with these he concludes his discourse. Upon a careful survey of this work of Fux, it may be said to be sui generis, for it is of a class a little superior to those many introductions to music, heretofore mentioned to have been written for the instruction of children, and published in Germany above two centuries ago, under the titles of Enchiridion Musicje, Musicse Isagoge, Erotemata Musicse, Compendium Musices.f &c. and greatly below those more elaborate works that treat of the science at large. Antonio Caldaea, one of the vice-chapel-masters of the emperor Leopold, under Pux, is celebrated for the sublimity of his style, which he has mani- fested in two oratorios of his composition, the one * Vide ante, page 60 of this work, et seq, I t See page 397 of this work, et seq. entitled Giuseppe, performed in the year 1722 ; the other ' II Ee del dolore, in Giesu Cristo Signer ' nostro, coronato di spine.' He published two operas of sonatas for two violins and a bass, printed at Amsterdam, and ' Cantate da Camera a voce sola,' printed at Venice. Mark Antonio Ziani, the other vice-chapel- master of the Emperor Leopold, composed sundry operas and oratorios, which, being extant only in manuscript, are no where to be found but in the collections of the curious, though there are sonatas of his extant, printed by Eoger. The three persons above named are spoken of in terms of great respect in a collection of Letters from the Academy of Ancient Music at London to Sig. Antonio Lotti of Venice, with his answers and testimonies, published at London 1732. Antonio Lotti was organist of the ducal chapel of St. Mark at Venice. In the year 1705 he pub- lished at Venice, and dedicated to the emperor Joseph, a work entitled ' Duetti Terzetti e Madrigali.' In this collection is a madrigal for five voices, inscribed ' La Vita Caduca,' beginning ' In una Siepe ombrosa.' The history of this composition is attended with some peculiar circumstances : the words of it were written by Abbate Pariati, and the music to it composed at his request : in return for some compositions of Ziani, Lotti sent to that master a copy of this madrigal, which he caused to be sung before the emperor Leopold, who highly approved of it; upon which Lotti determined to publish his Duetti Terzetti, &c., and dedicated it to the emperor; but he dying before it was finished, he dedicated it to the emperor Joseph, who honoured him with a present customary on those occasions, a gold chain and medal. Many years after the publication of the book, this madrigal was produced in manuscript in the Academy of Ancient Music at London, as a com- position of Giovanni Bononcini, then resident here. But it being known to some of the members that it had been published among other of Lotti's works, Bononcini's title to it was disputed ; and he refusing to clear up the matter, an appeal was made to the author himself, he being then living, which ter- minated in the utter confusion of Bononcini and his adherents. The particulars of- this controversy will be given in a subsequent page, among other transactions of the .Academy of Ancient Music. Excepting the above work, we know of no com- positions of Lotti in print, but there are very many in manuscript, which shew him to have been a very fine composer of church-music. He married Signora Santini, a celebrated singer, who had appeared in most of the courts in Germany. Lotti was living at Venice in the year 1731, as appears by his cor- respondence with the Academy above mentioned. Francesco Conti, a celebrated theorbist, was, upon the decease of Ziani, appointed vice- chapel-master to the emperor of Germany. He composed an opera entitled ' Archelao E6 di Cappadooia,' the words whereof were written by Abbate Pariati, as also 3 E 776 HISTORY OF THE SCIENCE Book XVIL the opera of Clotilda) performed at London in the year 1709. The misfortunes of this person, arising from an' inconsiderate indulgence of his resentment, have excited compassion in some, ^ho would otherwise perhaps have envied the reputation and honours which he enjoyed. In the year 1730, upon some provocation given him by a secular priest at Vienna, he revenged the insult by blows, and was sentenced to a most severe punishment. The particulars of his sentence are contained in the following extract of a letter from Ratisbon, dated October 19, 1730. ' Vienna, Sept. 10. The Imperial composer, ' Franc. Oonti, in pursuance of a decree of a church- ' ban pronounced against him, was sentenced to ' stand at the door of the cathedral church of St^ ' Stephen. His Imperial majesty indeed, with his ' usual clemency, reduced the standing three times ' to once only ; but as he behaved so ill the first ' time of standing in the presence of many hundred ' people, he was ordered to stand again at the said ' door the 17th of Sept. for the second time, in ' a long hair coat, called a coat of penitence, between ' twelve peace-ofGicers, forming a circle about him, ' with a black lighted torch in his hand, for an hour, ' which he is to do again on the 24:th. His allowance ' is bread and water, so long as he is in the hands of ' the spiritual court, and as soon as he shall be ' delivered to the temporal he will be fined to pay ' 1000 florins to the clergyman he struck, and all ' the costs and damages besides, and to be imprisoned ' four years, and afterwards banished for ever from ' the Austrian dominions, because he behaved so ' rude and scandalously the first time of his standing ' before the church door. ' The following epigram was made on this occa- sion : — ' Non ea musa bona est nee musica, composuisti ' Quam Conti, tactus nam fuit ille gravis ; . ' Et bassus nimium crassus neque consona clavis : ' Perpetuo nigras hie geris ergo notas.' It evidently appears by the foregoing account of the progress of music, that among the moderns the great improvements both in science and practice were made by the Italians ; and that these were in general adopted by the Germans, the French, the English, and indeed almost every other nation in Europe. The French, even so early as the time of Charlemagne, appear to have been extremely averse to innovations, at least in their church-music ; since that they have been very backward in adopting the improvements of their neighbours ; and it was not till about the middle of the last century that music flourished in any considerable degree among them. But soon after that time, in consequence of the studies of Mersenmis, and the practice of LuUy, a style was formed in France, which by other countries was thought worthy of imitation. Of Cambert and LuUy, Nivers and Brossard, an account has already been given. Here follow memoirs of such other French musicians as are most dis- tinguished for skill either in the theory or practice of the science. CHAP. CLXII. Henri' Dumont, chapel-master to Lonia XIV. is celebrated by the French writers as a masterly performer on the organ. He was born in the diocese of Leige in 1610,and was the first French musician that introduced thorough-bass into his compositions^ There are extant some of his motets, which are in great estimation ; as also five grand masses, called royal masses, which are still performed in some of the convents iii Paris, and in many provincial churches of France. Dumont died at Paris in the year 1684. Michel Lambert was bom in 1610, at Vivonne, a small village' of Poitou. He had an exquisite hand on the lute, and sa,ng to it with peculiar grace and elegance. His merit alone preferred him to the office of master of the king's chamber music; upon which he became so eminent, that persons of the highest rank became his pupils, and resorted to his Ijouse, in which he held a kind of musical academy. Lambert is reckoned the first who gave his country- men a just notion of the graces of vocal music. His compositions however are of but small account, consisting only of some little moletts, music for the Legons de Tinebres, and a collection containing sundry airs of one, two, three, aiid four parts, with a thorough-bass. Lambert had a daughter, who was the wife of Lnlly. He died at Paris in the year 1690.* GrATiTHiBR, snmamed the Elder, was also an admired French lutenist. He, together with a cousin of his, Pierre Gauthier, mentioned in the next article, published a collection entitled ' Livr6 ' de tableau des pieces de Luth sur diff6rens modes.' The authors have added some rules for playitig on this instrument. The principal piece of the elder Gauthier are those lessons of his entitled I'lmmor- telle, la Nonpareille, le Tombeau de Mezangeau. There was also a Denis Gauthier, who composed lessons much adinired by performers on the htte', of which the most esteemed are those entitled I'Homicide, le Canon, and le Tombeau de Lenclos. Pierre Gauthier, a musician of Ciotat, in Provence, was director of an op^a company, which exhibited by turns at Marseilles, Montpellier, and Lyons. He embarked at the Port de Cette, and perished in the vessel, at the age of fifty-five, in 1697. There is extant of his composition a collection of duos and trios, which is much esteemed. Lodlie', a French musician, was the author of an ingenious and useful book, published in 1698 by Estienne Eoger of Amsterdam, entitled ' Elements ou Principes de Musique mis dans un nouvel ordre,' in which, after teaching the method of solmisation according to the French manner, in which the syllable si is assumed for the last note of the septenary, he explains the nature of trans- position, and suggests the method of reducing music in any of the keys denoted by either the acute or grave signatures into the original or radical keys, * In Sir George Eihereg^s comedt/ of the Man of Mode, Sir TaphnS aays, ' / learved to sing at PariSf of Lambert, the greatest master in ttu, ' world, but I have his own fault, a weak voice* Chap. CLXII. AND PRACTICE OF MUSIC. 777 from wMch they are respectively transpositions ; which practice is explained at large in Chapter XII of this work. A discovery the more worthy of notice, as some pains have been taken to con- ceal it.* In the course of his work the author lays down an easy rule for the division of the monochord, and assigns the proportions of the natural sounds in the octave, distinguishing between the greater and lesser tone. Towards th© end of the book is a description of an instrument called by him the Chronometer, contrived for the measuring of time by means of a pendulum. The form of the instrument, as ex- hibited by hiitt, is that of an Ionic pilaster, and is thus described by Malcolm in his Treatise of Music, page 407 : — ' The ChroBometer consists of a large ruler or ' board six foot or seventy--two inches long, to be ' set on end ; it is divided into its inches, and the ' numbers set so as to count upwards ; and ait every ' division there m a small round hole, through whose ' center the line of division runs. At the top of ' this ruler, about an inch above the division 72, ' and perpendicular to the ruler, is inserted a small ' piece of wood, in the upper side of which there is ' a groove, hollowed along from the end that stands ' out to that which is fixt in the ruler, and near ' each end of it a hole is made : through these holes ' a pendulum chord is drawn, which runs in the ' groove ; at that end of the chord that comes ' through the hole furthest from the ruler the ball ' is hung, and at the other end there is a small ' wooden pin, which can be put in any of the holes ' of the ruler ; when the pin is in the upmost hole ' at 72, then the pendulum from the top to the center ' of the ball, must be exactly seventy-two inches ; ' and therefore whatever hole of the ruler it is put ' in, the pendulumi will be just so many inches as ' that figure at the hole denotes. T^he manner of ' using the machine is this ; the composer lengthens ' or shortens his pendulum till one vibration be ' equal to the designed length of his bar, and then ' the pin stands at a certain division, which marks • the length of the pendulum ; and this number ' being set with the clef at the beginning of the ' song, is a direction to others how to use the ' ehronometer in measuring the time according to ' the composer's design ; for with the number is set ' the note, crotchet or minim, whose value he would ' have the vibration to be ; which in brisk duple ' time is best a minim or half a bar, or even a whole ' bar, when that is but a minim ; and in slow time ' a crotchet. In triple time it would do well to be ' the third part, or half or fourth part of a bar ; and ' in the simple triples that are allegro, let it be a •> In Dr. Pepusch's Short Introduction to Harmony is a whole chapter on the subject of transposition, referring to a plate with a diagramof six keys, viz., three with the minor, and three with the m^or third, with the flats and sharps in order as they arise. Over this is a stave of lines which he calls the slider, with the letters signifying the cliifs placed thereon. To enahle the student to reduce any transposition to its original key, he is dSreoted to cut off the slider, and apply it to the diagram, whioh pro- cess will terminate in the annihilation of the flat and sharp signatures, and shew the original key from whence the transposition is made. For tlie reason of the whole the student is to seek ; but the secret is revealed by Louli6 in the twenty-ninth page of his hook above mentioned. ' whole bar. And if in every time that is allegro, ' the vibration is applied to a whole or half bar, ' practice will teach us to subdivide it justly and ' equally. And mind that to make this machine of ' universal use, some canonical measure of the divi- ' sions must be agreed upon, that the figure may ' give a certain direction for the length of the ' pendulum.' Jean Baptistb Moheau, a musician of Angers was led by his musical talents to try his fortune iii Faris ; and having succeeded in a bold attempt to get unperceived into the closet of Madame the Dauphin ess Victoire de Baviere, who was fond of music, he had the assurance to pull her by the sleeve, and ask permission to sing to her a little air of his own composing ; the dauphiness, laughing, permitted him ; he sang without being disconcerted, and the princess was pleased. The story came to the king, and he desiring to see him, Moreau was introduced to his majesty in the apartment of Madame Maintenon, and sang several airs, with which the king was so well pleased, that he immediately ordered him to eompose a musical entertainment, which was per- formed at Marli two months after, and applauded by the whole court. He was also engaged to compose the interludes for the tragedies of Esther, Athalie, Jonathas, and several other pieces for the house of St. Cyr. His chief excellence consisted in his giving the full force of expression to all kinds of words and subjects assigned him. The poet Lainez, with whom he was intimate, furnished him with songs and little cantatas, which he set to music, but none of them are publish-ed. Maro Antoine Charpentier was superintendant of the music of the duke of Orleans, and his instructor in the art of musical composition. He has left several operas, one of which, viz., his Medfee, was in its time highly celebrated. He composed another called Philomele, which was thrice represented in the Palais Royal. The duke of Orleans, who had composed part of it, would not suffer it to be published. Charpentier died at Paris in 1704. Louis Lully, and Jean Louis Lully, sons of Jean Baptist Lully, were also musicians. They composed in conjunction the music to the opera of Zephire et Flore, written by Michel du BouUai, secretary to the grand prior of Vend6me, and re- presented in the Academic Royal on the twenty- second day of March, 1688. They also set the opera of Orpheus, written by the same person, and an opera called Alcide. Pascal Colassb, chapel-master to Louis XIV., was born at Paris 1636. He was a pupil of Lully and took him for his model in all his compositions, as the following lines testify : — Colasse de LuUi craignit de s'^oarter, II le pilla, dit-on, cherchant k I'lmiter. But it is said that whether he imitated Lully or not, his opera of Thetis and Peleus will always be esteemed an excellent production. There are besides of his composition, motets and songs. Colasse de- stroyed both his fortune and health in an infatuated 778 HISTORY OF THE SCIENCE Book XVII. pursuit of the Philosoplier's Stone, and died at Versailles in the year 1709. . N. Allouette, conductor of the music in the church of Notre Dame at Paris, is known for his motets and a very fine Miserere. Lully was his master. GciLLAUME MiNORET was One of the four masters of, or composers to the chapel of Louis XIV.* He composed many motets, which, though greatly ad- mired, have never yet been printed. Those in greatest esteem are ' Quemadmodum desiderat,' ' Lauda Jerusalem Dominum,' ' Venite exultemus,' ' Nisi Dominus sedificaverit domum.' Minoret died in the year 1716 or 1717, in a very advanced age. Andre' Oampra, born at Aix in Provence in 1660, was at first a chorister in the cathedral of that city, having for his instructor in music William Poitevin, a preacher to that church. Soon after his leaving the choir he became distinguished by his motets, which were performed in churches and private concerts, and so well received that they procured him the rank of director of the music in the Jesuits' church at Paris, and some other preferment in that metropolis. His genius having been too much confined while restrained to the narrow limits of a motet, he set himself to compose for the stage, and made the music to sundry operas. His progress in this new course of study was answerajble to his industry, and by following the manner of Lully he acquired a degree of excel- lence but little inferior. His Europe Galante, Car- naval de Venise, and Fgtes Venitiennes ; his Ages, his Fragmen de Lully, which are ballets, his operas of Hesione, Alcide, Teleph6, Camille, and Tancrede, were greatly applauded, and are still admired. The grace and vivacity of his airs, the sweetness of his melody, and, above all, his strict attention to the sense of the words, render his compositions truly estimable. Jean Gilles, of Tarascon, in Provence, was di- rector of the music, or chapel-master in the church of St. Stephen in Thoulouse. He possessed the Christian virtue of charity in so great a degree, and had such a disposition to relieve the distresses of others, as tended to the impoverishment of himself. He was a singer in the chuir of the cathedral of Aix, and a fellow-pupil, with the celebrated Campra, of William Poitevin, mentioned in the preceding ar- ticle. Gilles's abilities soon became so conspicuous, that Bertier, bishop of Rieux, who particularly es- teemed him, solicited for him the place of chapel- master in the church of St. Stephen in Thoulouse ; but the chapter had already conferred it on Farinelli,'}' who, on being told that Gilles was a candidate for it, * The others were ColoBse, Lalande, and Coupillet. They were all chosen upon great deliberation, for upon the death of Dumont In 1680, or thereahouts, the king instead of two composers for his chapel would have four ; and to that end he directed circular letters to be sent into all the provinces of France, inviting musicians to Versailles, in order to give proof of their abilities. Le Seur was a candidate for one of the places, hut lost it by his -unhappy setting of two words in a motett, and Coupillet succeeded by fraud ; for after he was elected it was discovered that the composition by which he obtained the place was not his own, but the work of Desmarets. a young man then unknown, but who afterwards became one of the first musicians in France. ' t This might possibly be that Farinelli already spoken of as concert- master or director of the music in the electoral palace of Hanover, and whom Mattheson in his Vollkommenen Capellmeister expressly asserts ' to have been the uncle of Carlo Broschi Farinelli, the famous singer in the opera at the Haymarket. sought out his competitor, and obliged him to acqui- esce in his resignation of the ofiice — an instance of generosity equally honourable to both. There are of Gilles many fine motets ; several of them have been performed in the Concert Spirituel at Paris with great applause, particularly his ' Diligam te.' But his capital work, however, is a Messe des Morts, in which, at the first time of performing it, he sang himself. MicHEi, Richard de Lalande, born at Paris in the year 1657, was the fifteenth child of his parents, and discovering in his infancy a strong propensity to music, he was entered a chorister in the church of St. German I'Auxerrois, and was there distinguished for the fineness of his voice. At the age of puberty his voice left him, but before that time, by diligent application, and frequently spending whole nights in practice, he attained to great perfection on various instruments, and on the violin in particular he played with great facility and judgment. Being thus qua- lified, he applied to Lully, requesting to be taken into the opera, but being rejected, he broke his instrument, and renounced the use of it for ever.J After this discouragement he betook himself to the organ and harpsichord, and was soon solicited to ac- cept of several churches, but at length was chosen by the duke de Noailles to instruct his eldest daughter. This nobleman, who never suffered any opportunity to escape him of bearing testimony to the merit of Lalande, embraced an occasion of recommending him to Louis XIV., and did it with so much honest warmth that the king chose him to instruct his daughters. Mademoiselle de Blois and Mademoiselle de Nantes, on the harpsichord. He frequently composed in obedience to the orders, and sometimes even in the presence of Louis, little musical pieces, and so much was the king delighted with him that he loaded him with favours. He enjoyed in succession the two of&ces of music-master Of the king's chamber, the two of composer, that of superintendent of music, and the four offices of the royal chapel. His motets, which were always performed before Louis XIV, and Louis XV. with great applause, have been col- lected and puhlished in two volumes in folio. The Cantate, the Dixit, and the Miserere, are principally admired. He died at Versailles in 1726. J. Theobalde, called Thbobaldo Gatti, was born at Florence. It is said of him, that, being charmed with the music of Lully, which had reached him even in his native country, he went to Paris to com- pliment that celebrated musician, and in all his com^ positions studied to emulate him, and at length dis- covered himself to he a meritoricftis pupil of that great man, by two operas which he caused to he re- presented in the Royal Academy of Paris, viz., Coronis, a pastoral in three acts, the words by Mons. Baug6 ; and Scylla, a tragedy in five. He died at Paris in the year 1727, at an advanced age, having for fifty years been a performer on the bass viol in the orchestra of the opera, and was interred in the church of St. Eustache. t He had been valet to the Marshal de Gramntoni, and by him toaa intrth duced to Lully. See page GiS of this work. Chap. CLXII. AND PKACTIGE OF MUSIC. 779 Jean Francois Laloubttb, a disciple of LuUy, successively conducted the music in the churches of St. Germain I'Auxerrois and Notre Dame. He com- posed many motets for a full choir, which are much admired; but none of his compositions have been published, except some motets for the principal anni- versary festivals, for one, two, and three voices, with a thorough bass. He died at Paris in 1728, at the age of 75. Mabin Marais, born at Paris in 1656, made so rapid a progress in the art of playing on the viol, that Sainte-Golombe, his master, at the end of six months would give him no farther instructions. He carried the art of playing on this instrument to the highest pitch of perfection, and was appointed one of the chamber music to the king. Marais was the first that thought of adding to the viol three strings of brass wire to deepen the tone. He composed several pieces for the viol, and sundry operas, namely, Alcide, Ariane, Bacchus, Alcione, and SemeM, the most celebrated of which is the Alcione. There is a tempest in it particularly admired, and which pro- duces an astonishing effect ; a rumbling and doleful sound joining with the sharp notes of a flute and other instruments, presents to the ear all the horrors of a tempestuous ocean and the whistling of the wildest winds. His works bear the pregnant marks of a fertile genius, united to an exquisite taste and judgment. This celebrated musician died in 1728, in the Fauxbourg S. Marceau, and lies buried in the church of St. Hyppolite. He has left behind him of • his composition three collections of pieces for the bass viol.* Elizabeth Claude Jacquette de la Gueebe, a female musician, the daughter of Marin de la Guerre, organist of the chapel of St. Gervais in Paris, was born in that city in 1669, and instructed in the prac- tice of the harpsichord and the art of composition by her father. She was a very fine performer, and would sing and accompany herself with so rich and exquisite a flow of harmony as captivated all that heard her. She was also an excellent composer, and, in short, possessed such a degree of skill, as well in the science as the practice of music, that but few of her sex have equalled her. An opera of her composition, entitled Oephale et Procris, was re- presented in the Royal Academy of Paris in the year 1694, and is extant in print. She died in the year 1729, and lies buried in the church of St. Eustache in Paris, . Salomon, a native of Provence, was ad- mitted into the band of the chapel royal to play on the bass viol, an instrument on which he excelled. This man, who was very plain and simple in his ap- pearance, seemed to possess no other talent than that of playing with exactness and precision ; yet he com- posed an opera entitled Med^e et Jason, which was performed in the Royal Academy in 1713 with great applause, and is in print. At the first night of * Catalogue de la Musique, in)priin6e ^ Amsterdam chez Etienne Koger, page 4?. the representation he went disguised into the crowd, and was a silent witness of the praises and censures passed upon the piece. Salomon died at Versailles in the year 1731, being seventy years of age. Jean Louis Marchand was a native of Lyons, and an organist of some church in that city ; when, being very young, he would needs go to Paris, and strolling as by accident into the chapel of the col- lege of St. Louis le Grand, a few minutes before service was to begin, he obtained permission to play the organ ; and so well did he acquit himself, that the Jesuits taking pains to find him out, retained him amongst them, and provided him with every re- quisite to perfect himself in his art. Marchand would never give up his office in that college, though he was tempted to it by advantageous offers. He died at Paris in 1732, aged sixty-three, and left of his composition two books of lessons for the harpsi- chord, which are greatly admired. Francois Ooupebin, organist of the chapel to Louis XIV. and his successor, the late king, and also of his chamber-music, in which he had the charge of the harpsichord, was a very fine composer for this latter instrument. The family of Couperin has produced a succession of persons eminent in music ; the following is a brief account of it. There were three brothers of the name of Louis, Francis, and Charles, natives of Chaume, a little town in Brie. Louis, the eldest, was become eminent for his performance on the organ, and in consequence thereof obtained the place of organist of the king's chapel. In reward of his merit a post was created for him, namely, that of Dessus-de-viole. He died about the year 1665, at the age of thirty-five, and has left of his composition three suites of lessons for the harpsichord, in manu- script, which are to be found only in the collections of the curious. Francis, the second of the three brothers, was a master of the harpsichord, but no composer : he prac- tised and taught his scholars the lessons of his brother. At the age of seventy he had the misfor- tune to be overturned in a carriage in one of the streets of Paris, and lost his life by the accident, He had a daughter named Louisa, who sang and played on the harpsichord with admirable grace and skill, and who, notwithstanding her sex, was in the number of the king's musicians, and in that capacity re- ceived an annual pension or salary. She. died in the year 1728, at about the age of fifty 'two. Charles, the youngest, was a celebrated organist : he died in 1689, leaving one son, namely, Francis Couperin, above spoken of, and who was indeed the glory of the family, being, perhaps, the finest com- poser for the harpsichord that the French have to boast of. The lessons for this instrument, published by himself, make four volumes in folio ; among them is one entitled ' Les Goiits r^unis, ou I'Apothfiose de Lulli et de Corelli,' and the following allemande, which may serve as a specimen of his style : — 780 HISTOEY OF THE SCIENGE Book XVII, ^sigi^^^i^^^^p^^^^ X' — » « JW ga!:;- ^^4,. — f-_-»i,__t_=>j±SJ — ^ffi^^^^B^^^E^a. *^»-i<- ^■=rb»—Tr-m-f^i "vJ* ^^«- ^ =r ^^^i r-^ J-=-J . !__#_^ j^ ^3 lipi^^P r^ =^=^= ■F n^^ 5^^y==-+= 3^:^^ -fCy -JJ-&. f^ ^^? ^=^=^^^=1^-=^ F^^^— ^^gj ' '^ =^'^ r =:=xfjfi -z EEg€E ^^z^g= ^ ^^P^^l^^^^^^^#^^ ^Tl^ "^^ ^^^ '^^ '^i' ^ ^ ^X^ ^ FeANCOIS CODPEBIS. Chap. CLXIIl. AND PKACTICE OP MUSIC. 781 The foregoing air is entitled ' Les Idees Heu- reuses,' agreeably to tie practice of the French composers of lessons for the harpsichord. See the ^irticle Gauthier, ante page 776. This Oouperin, whom we must oa,ll the younger Francis, died in 1733, aged sixty-five, leaving two daughters, equally celebrated for their performance on th^t which appears to have been the favourite in. strument of the family ; the one a nun in the abbey of Maubuisson ; the other is the successor of her father in the charge of the harpsichord in the king's chamber, an employment which, except in this instance, was never known to have been conferred on any but men. CHAP. CLXIIl, The establishment of the Royal- Academy at Paris contributed greatly to the improvement of the French music, but it failed of answering the ultimate end of its institution. It appears to have been the design of Cardinal Maaarine and Louis XIV. to in- troduce a style in France corresponding with that of the Italians : but for reasons arising from the temper and genius of the people, or perhaps some other in- scrutable causes, it gradually deflected from its ori- ginal, and in the space of a few years assumed a character so different from that of the Italian music, that it afforded ground for a dispute which of the two was entitled to the preference, and gave rise to a controversy which is scarely yet at an end. It began as follows :— • In the year 1704 was published a small tract en- titled 'Paralele des Italiens et des Franpois, en ce qui regarde la Musique et les Opera,' in which the pretensions of each are thus stated :^r- On the part of the French it is asserted, that the French operas are, in respect of the poetry, regular coherent compositions, perfectly consistent with the laws of the drama ; and as to the music, that the French have the advantage of bass voices, so proper in the character of gods, kings, and heroes ; that the French opera derives still farther advantages from the chor russes and dances ; that the French masters excel those of Italy in their perfor^iance on the violin, the hautboy, and the flute;* the latter of vyhom, says this author, have taught the instrument to lament in so affecting a ma?jner in the mournful airs, and to sigh so amorously in those that are tender, that all are moved by them. Besides these advan^ tages he mentions others on the side of the Frpnpl^, as, namely, their habits and their dances ; he says that the Combatans and the Cyclopes in Perseus, the Trembleurs and the Forgerons in Isis, and the Songes Funestes in Atys, all operas of Lully, as well in respect of the airs as of the stops adapted thereto by Beauchamp, are originals in their kind. And lastly, that the conduct apd economy of a French opera is through the whole so admirable, that no person of common understanding will deny that it .affords a more lively representation than the Italian, and that a mere spectator cannot but be much better pleased in France than Italy. * Here the author celebrates as fine perfonners on the flute, Philbert. Fhilidor, Descoteaux, and les Hoteterres. In behalf of the Italian music the author observes, that the language itself, abounding with vowels that are all sonorous, whereas above half the French vowels are mute, or at least are seldom pronounced, i^ Hiore naturally adapted to music than that of the French. That in their respective compositions the invention of the Italians a,ppears to be inexhaustible ; that of the French narrow and constrained. That the French in their airs affect the soft, the easy, and the flowing ; but the Italians pass boldly from sharp to flat, and from flat to sharp, venturing on the most irregular dissonances, and the boldest cadences ; so that their airs resemble the compositions of no other nation in the world: and that a like boldness is discoverable in the Italian singers, who, having been taught from their cradles to sing at all times, and in all places, sing the most irregular passages with the same assurance as they would the most orderly, uttering everything with a confidence that secures them success. He says that the Italians are more susceptible of the passions than the French, and by •consequence express them more strongly in their music ; as an instance whereof the author refers to a symphony in a performance at the Oratory of St. Jerome at Rome, on St. Martin's day, in the year 1697, upon these two words, ' mille saette,' of which he speaks to this purpose. 'The air consisted of ' disjoined notes, like those in a jig, which gave the ' soul a lively impression of an arrow ; and that ' wrought so effectually on the imagination, that ' every violin appeared to be a bow, and their bows ' were like so many flying arrows darting their ' pointed heads upon every part of the symphony.' From simple airs the author proceeds to the con- sideration of compositions in several parts, in which he says the Its.lians have greatly the advantage; for that whereas in the French music the melody of the upper part is only regarded, in the Italian it is so equally good in all the parts, that we know not which to prefer. He concludes his remarks on the general comparison of the French and Italian music, with an observation that Lully was an Italian ; and that he excelled all the musicians in France, even in the opinion of the French themselves ; and that therefore, to establish an equality between the two nations, an inst?.nce ought to be produced of a French musician who has in the like degree excelled those of Italy; hut this he says is impossible. He adds that Italy pj-gduced Luigi, Carissimi, Melani, and Legrenzi, and ^fter them Scarlatti, Bononcini, Corelli, and Bassani, who were living at the time of his writing, and chaijmed all Europe with their excellent productions. From this gene:?al comparison the author proceeds to one more particular, viz., that of the French with the Italian oppra. He confesses that the French recitative is to be preferred to the Italian, which he says is close and simple, with very little inflection of the voice, and therefore too nearly approaches common speech; but he says that accompanying their recitatives with such fine harmony as the Italians use, is a practice not to be met with in any other part of the world whatsoever. Having men- 782 mSTOEY GF THE SCIENCE. Book XVIL tioned in tie foregoing part of his discourse the advantage which the music of France derives from the number of bass voices with which that country abounds, he observes that this is small in comparison with the benefit which the opera in Italy receives from the castrati, who are there very numerous; and on the comparative excellence of these over women, in respect of the sweetness, flexibility, and energy of the voice, he expatiates very largely, adding, that whereas the voices of women seldom continue in perfection above twelve years, those of castrati will continue for forty : he adds, that the latter are fitter in general to represent female cha- racters than even women themselves, for that they usually look handsomer on the stage ; as an instance whereof he mentions Ferini, who performed the part of Sybaris, in the opera of Themistocles at Home, in 1685. He says that all the towns in Italy abound with actors of both sexes ; and that himself once saw at Rome a man who understood music well ; and who, though he was neither a musician nor a comedian by profession, but a procurator or solicitor, that had left his business in the carnival time to perform a part in the opera,* acquitted himself as an actor as well as either the French Harlequin or Raisin could have done upon such occasion. He says that the Italians have the same advantage over the French in respect of their instruments and the performers, as of their singers and their voices. That their violins are much larger strung, and their bows longer.f That the arch-lutes of the Italians are as large again as the theorboes of the French, as are also their bass-viols. That in Italy, youths of fourteen or fifteen play at sight over the shoulders of perhaps two or three persons standing between them and the book, such symphonies as would puzzle the best French masters, and this correctly, without having the time measured to them ; whereas nothing of the kind is to be seen at Paris. But the reason he gives for the exquisite performance in the Italian bands is, that the greatest masters are not above appearing in them. ' I have,' says this author, ' seen Corelli, Fasquini, and Gaetani play all together ' in the same opera at Rome; and they are allowed ' to be the greatest masters in the world on the ' violin, the harpsichord, and Theorbo or Arch-lute ; ' and as such they are generally paid 3 or 400 ' pistoles a-piece for a month or six weeks at most ; ' whereas in France the profession of music is ' despised.' He concludes his comparison with a description of some very extraordinary representations on the Italian stage, of which he says he was an eye- witness; which description is here given in the words of a very judicious person, J the translator of * The name of the person here alluded to was Paciani, a man well known at Rome at the latter end of the last century j his performances en the theatre were gratuitous, and the mere result of his fondness for the profession of an actor. 1 The bow of the violin has been gradually increasing in length for these last eei-aty years ; it is now about twenty-eight inches. In the year 1720, a biw of twenty-four inches was, on account of its length, oalt&d a Sonata bow ; the common bow was shorter ; and by the account above given the French bow must Have been shorter still. } Supposed to be Mr. Galliard. the book into English. ' To conclude all, the Italian decorations and machines are much better than ours ; their boxes are more magnificent ; the open- ing of the stage higher, and more capacious; our painting, compared to theirs, is no better than daubing; you will find among their decorations statutes of marble and alabaster, that may vie with the most celebrated antiques in Rome ; palaces, colonnades, galleries, and sketches of architecture, superior in grandeur and magnificence to all the buildings in the world ; pieces of perspective that deceive the judgment as well as the eye, even of those that are curious in the art ; prospects of a prodigious extent, in spaces not thirty feet deep; nay, they often represent on the stage the lofty edifices of the ancient Romans, of which only the remains are now to be seen ; such as the Colossus which I saw in the Roman college in the year 1698,§ in the same perfection in which it stood in the reign of Vespasian its founder ; so that these decorations are not only entertaining but instructive. 'As for their machines, I cannot think it in the power of human wit to carry the invention farther. In the year 1697 I saw an opera at Turin, wherein Orpheus !| was to charm the wild beasts by the power of his voice : of these there were all sorts introduced on the stage ; nothing could be more natural, or better designed ; an ape among the rest played an hundred pranks, the most diverting in the world, leaping on the backs of the other animals, scratching their heads, and entertaining the spectators with the rest of his monkey-tricks. I saw once at Venice an elephant discovered on the stage, when, in an instant, that great machine disappeared, and an army was seen in its place; the soldiers having, by the disposition of their shields, given so true a representation of it, as if it had been a real living elephant. ' The ghost of a woman, surrounded with guards, was introduced on the theatre of Oapranica at Rome in the year 1698 ; this phantom extending her arms, and unfolding her cloaths, was, with one motion, transformed into a perfect palace, with its front, its wings, its body, and court-yard, all formed by magical architecture ; the guards striking their halberds on the stage, were immediately turned into so many water-works, cascades, and trees, that formed a charming garden before the palace. Nothing can be more quick than were those changes, nothing more ingenious or surprising : and, in truth, the greatest wits in Italy frequently amuse § 'The Colossus the author mentions was painted by father Andrea Pozzo the Jesuit, who, as well for his painting in the church of St. Ignatius belonging to his order, and other pieces, hut especially for his hook of perspective, in folio, printed at Rome, is worthily esteemed as the first man in that kind, by all those that have any skill in that science.' The intelligent reader needs hardly be told that both in the passa^ above, and in this note, the translator has mistaken his author m rendering the word Colisee Colossus, instead of Coliseum, the name of the amphitheatre of Vespasian, the ruins whereof are yet to be seen at Rome. II This opera of Orpheus was afterwards performed at Rome, but not succeeding, the undertakers were obliged to have recourse to the opera of Roderigo, which they had presented just before. Tliis opera of Roderigo was composed by Francesco Gasparini, and was universally applauded. Both these were performed on the theatre della Pace, and the principal parts were done by Biscione, Maurino, and Valentino, he who afterwards sang in the opera in London. Chap. CLXIII. AND PEACTICE OF MUSIC. 783 ' themselves with inventions of this nature : people ' of the first quality entertain the publick with such ' spectacles as these, without any prospect of gain ' to themselves* Signor Oavaliero Acciaioli, brother ' to the cardinal of that name, had the direction ' of those on the theatre Oapranica in the year 1698. ' This is the sum of what can be offered on behalf ' of the French or Italian musick by way of parallel. ' I have but one thing more to add in favour of the * operas in Italy, which will confirm all that has ' been already said to their advantage ; which is, ' that though they have neither chorusses nor other ' diversions in use with us, their entertainments last ' five or six hours together,! and yet the audience is ' never tired ; whereas after one of our representations, ' which does not hold above half so long at most, ' there are very few spectators but what grow suffi- ' ciently weary, and think they have had more than ' enough.' The author of this discourse, though he affected concealment, was soon after its publication discovered to be the Abbe Raguenet, a native of Rouen, the author of ' Les Monumens de Rome, ou description * On this passage the English translator of the Parallel makes the following note. * Besides the machines mentioned hy the author in this * place, we saw several others at Rome of the same Cavaliero Acciaioli's * contrivance, as la Frescataue on the theatre of Torre di Nona, the 'Colonnato of Lapis Lazuli, the funeral in Penelope, and many ' more equally surprizing. Upon the theatre of Capranica the sareie ' artist contrived II Gigante, &c. But the most famous of all on that * theatre was the Intermede of Hell, in the opera of Nerone Infante, * which I will endeavour to describe with as much brevity as I am able, Mt being impossible to express it in such words as it deserves. At the ' sound of a horrid symphony, consisting of Corni, Serpentoni, and Regali, ' part of the floor of the stage opened and discovered a scene underneath, ' representhig several caves full of infernal spirits, that flew about iu ' a prodigious number, discharging Are and smoak at tlieir nostrils and ' their mouths : at some distance likewise was observed a great number ' of damned spirits, labouring under their several torments ; and in * another side was discovered a river of Lethe with Charon's boat, on * board of which "was Mercury, Cupid, and tlie soul of one who had lately ' died for love. Upon their landing a prodigious monster appeared, * whose mouth opening, to the great horror of the spectators covered * the front wings, and the remaining part of the stage : within his jaws ' were discovered a throne composed of fire, and a multitude of monstrous ' serpents, on which Pluto sate, with a crown of fire on his head, and ' habited in other royal ornaments of the same nature. The singer that ' performed this part was one of those deep basses which, in the author's * opinion are so rarely found in Italy. After Cupid had demanded justice ' of Pluto upon those old women, who in the preceding intermede, had * cut his wings for making Agrippina, Nero's mother, in lov^ ; and several ' other passages belonging to this intermede, the mouth of the monster * closed, at which instant Cupid endeavouring to fly off was arrested by ' a little devil, who seized on his foot ; upon which Cupid giving himself ' a little turn shot the devil with one of his darts ; whereupon the devil * was transformed into a curling smoke that disappeared by degrees, and * Cupid escaped. After this the great monster expanding his wings ' began to move very slowly towards the audience ; under his body 'appeared great multitudes of devils, who formed themselves into a * ballet, and plunged one after another into the opening of the floor before * mentioned ; out of which a prodigous quantity of flre and smoke was 'discharged. After this the great monster being got as far as the * musick-room, and whilst all the spectators were intent upon what was * doing, and began to fear he would come into the pit, he was in an in- ' stant transformed into an innumerable multitude of broad white ' butterflies, which flew all Into the pit, and so low that some of them * touched the hats of several of the spectators ; at which some seemed ' diverted, and others not a little terrified, till by degrees they lodged ' themselves on different parts of the theatre, and at length disappeared. * During this circumstance, which sufliciently employed the eyes of the ' spectators, the stage was refitted, and the scene changed into a beautiful ' garden, with which the third act begun. This representation was so ' extraordinary in its nature, so exactly performed, and so universally * admired and applauded, that great numbers of foreigners came to * Rome on purpose to behold it ; and confessed when they had seen it, * that it far exceeded the expectations fame had given them of it. And * it must be confessed it gave tlie spectators a more perfect instructive < idea of hell, than 'tis possible for the most artful flowing fancy to de- ' lineate. So that the author was not mistaken when he said that these 'sorts of entertainments are no less instructive than agreeable.* t The Italian operas do not usually last flve or six hours, as this author imagines, the longest being not above four : it is true that sometimes at Vienna the late emperor Leopold would have operas of the length the author mentions, provided they were good, being a great admirer of the Italian music : besides he composed lumself, and played on the harp- sichord to perfection. ' des plus beaux ouvrages de Peinture, de Sculpture, ' et d' Architecture de Rome, avec des observations.' Paris, 1700 et 1702; 'L'Histoire d'Olivier Cromwel,' and other works; upon which Mons. Jean-Laurent le Cerf de la Vieuville de Freneuse, undertook a refutation of the Parallel in three dialogues, entitled ' Oomparaison de la Musique Italienne, et ' de la Musique Frangois.' Brux. 1704. The Oomparaison consists of three dialogues, in which the several passages in the Parallel that tend either to the praise of the Italian or the censure of the French music, are made to undergo a severe examination. In the comparison between the musicians of the two countries, Charpentier and Oolasse fire opposed to Luigi, i. e. Palestrina, and Carissimi ; Lully is placed above all competition, and Bassani and Corelli below it. Of the com- positions of the latter, he says that they are harsh and irregular, abounding with dissonances ; that he has seen a piece of Corelli in which were fourteen fourths together, and that in the eleventh sonata of his fourth opera the reader may discern twenty-six sixths in succession. After a long eulogium on Lully, in which the most celebrated airs in his operas are pointed out, the author takes notice of a passage in the Parallel, in which the voices of the Italian castrati are compared to those of nightingales ; and of another that follows it, wherein it is asserted, that from the particular circumstances that distinguish persons of this kind, they are better actors of female characters than even women themselves. To refute an asser- tion so wild as this, requires no great force of argument; nevertheless this author takes great pains to render it ridiculous, and has succeeded in the attempt. To his instance of the Roman procurator, who left his employment in carnival time, and became an actor on the public stage, he opposes the example of Mons. Destouches, whose profession it seems was that of a soldier, un mousquetaire, notwithstanding which, for his pleasure he studied music, and was the com- poser of many fine operas. To that passage in the Parallel, in which the author asserts that he has seen at Rome, Corelli, Pasquini, and Gaetani perform together in the same opera, he answers, that at Paris the great masters do the same ; and that Rebel, Theobald, and La Barre were wont to appear in the orchestra, whenever a performance of theirs required their attendance ; and notwithstanding that exquisite piece of machinery devised by the Cavalier Acciaioli, mentioned in the Parallel, he says that the French are more ingenious than the Italians in representations of this kind ; and that in the decorations of the theatre they excel all other nations. And for this assertion, as also for the superiority of the French machinery, he appeals to the testimony of Misson and St. Evremont, who both 6ay something to the same purpose. At the end of the dialogues is a letter from the author to an anonymous friend, dated 3 April, 1704, to the same effect with the rest of the work. It appears that the Abhe Raguneet replied to the 7«4 HISTOEY OF THE gOIENOE. Book XVII. .Cpmparaison, and that Le Cerf defended it in an answer and two otter pieces, which were reprinted some years after the first publication of thejn, and are extant in an edition of the Histoire de 1^ Musique et de ses efiets, printed in the year 1725. Thus the controversy ended as between the parties; but a French .physician named Andri, who about the time wrote in the Journal de Sgavans, after commendiiig the first of Le Oerf's publications, turned into ridicule the two last ; upon which Le Cerf being greatly irritated, published a pamphlet entitled 'L'Art de decrier ce qu'on n'entend .point; ou le Medecin Musicien.' The piece was full as bitter as its title seenied to indicate, and it seems that its bitterness was its most remarkable characteristic ; for Fontaine, upon reading of it, pronounced, that if any one deserved to be called a complete foql, it was Le Cerf: But to qualify this severe censure, the Abbe Trublet, from whom this anecdote is taken, says that folly does not imply a total privation of ,j'eason and pene> tration ; and thfit Le Cerf had a gres,t share of both ; but that his great defect was that want of common sense, which will sometime expose a man to the ridicule of his inferiors in understanding, The succession of eminent English musicians from that period at which we were constrained to interrupt it by the above account, is as follows. CHAP. CLXIV. Jbebmiah CifAEK was educated in the, royal chapel, under Dr. Blow, who entertained, so, great a friend' ship for him, as to resign in his (favour the .place gf master of the phil(3ren ^nd almoner of St. Paul's; rand Clark was ^.ppointed his successor in 1693, and shortly after he became organist of that cathedr£|,i. In July, ITOO.-heand his fellow-pupil were appointed gentlemen extraordinary of the royal chapel ; and in 1704 they were jointly admitted to a place of organist thereof in the room of Mr. FEapcis';Piggot. Clark had the misfortune to entertain a hopeless passion .for a very beautiful lady in a station of life far, aboviB him ; his despair of success threw him into a deep melancholy : in short, he greiw weary of his life, and on the; first day of December, 1707, shot himself.* The compositions of Clark are few : his anthems are remarkably pathetic, at the same time that they preserve the dignity and majesty of the church * He was determined ypon this metliod of putting an end to his life .by an event, which, Btyange ^s it may seem, js at:tested by the late Mr, Samuel Weeley, one of the lay-vicars of St, Paul's, who was. very intimate with him, and had heard him relate it. Being at the house of a friend in the country, he took an abrupt resolution to return to London : his friend having observed in his behaviour marks of great dejection, furnished him with a horse and a servant. Riding along the road, a fit of melancholy seized him, upon which he alighted, ind giving the servant his horse to hold, went into a field, in a corner whereof was a pond, ,and also trees ; and began a debate with himself whether he should then end his days by hanging or drowning. Not being able to resolve on either, he thought of making what he looked upon as chance, the umpire, and drew out of his pocket, a piece of money, and tossing it into the air, it came down on its edge and stuck in the clay : though the determination answered not his wish, it was far from ambiguous, as it seemed to forbid both methods of .destruction ; .and would have given unspeakable comfort to a mind less disordered than his was. Being . thus interruRted in ^is purpose, be returned, and mounting his horse, rode on to Lopaon,.and in a short time after shot h^imself. ,He^ dwelt in^a ■ house in- St.; Paul's cburch-yard, situate on the place where the Chapter- house now stanfls ; old- Mr. ^ea^in^, mentioi^ed in page 771 of this work, yfas passing by at the instant .the pistol went off, and entering the house -found.hia friend in the agon;es.of.4eath. .style ; the most celebrated of them are, 'I will love ' thee,' printed in the second book of the Harmonia Sacra ; 'Bow down thine ear,' and ' Praise the Lord, ' Jerusalem.' The only works of Clark published by himself are lessons for the harpsichord, and sundry songs, which are to be found in the collections of that day, particularly in the Pills to purge Melancholy; but they, are there printed without the basses. He also composed for D'Urfey's comedy of the Pond Husband or the Plotting Sisters, that sweet ballad air, ' The bonny grey-eyed morn,' which Mr. Gay has intro- du(8gd into the Beggars Opera, and is sung to the words, ' 'Tis woman that seduces all mankind.' John Welpon, a native of Chichester, had his in- struction in music under John Walter, organist of Eton college, and afterwards under Henry Purcell. From Eton he went to Oxford, and. was made organist of New College. On the sixth day of January, 1701, he was appointed a gentleman extraordinary of the royal chapel ; and in 1708 succeeded Dr. Blow as organist thereof. In 1715, upon the establishment of a second composer's place, Weldon was admitted to it:j- He had been but a short time in this station before' he gave a specimen of his abilities in the com- position of the Communion-TofBce, that is to say, the Prefaces, Sanctus, and Gloria in excelsis; and also sundry anthems, agreeably to the condition of his appointment. At the same time that Weldon was organist of the royal chapel, he was also organist of the church of St. Bride, London ; and king George I. having presented . the parish of St. Martin in the Fields with an organ, Mr. Weldon, perhaps in compliment to the king, was phosen organist.^ The studies of Weldon were for the most part in church music ; and we do not find that, like Look and Purcell, and many others of his profession, he ever t Upon the accession of George I. to the crown, that prince, who was a lover of music, carried into execution the proposal of Dr. Tillotson, mentioned in the foregoing account of Blow, for an establishment bt two composers for the chapel ; and made some other regulations for the im- . . provement of the servipe : these appear by the following entries in the Cheque-book of the chapel royal :^- '1715. His majesty liaving been graciously pleased to add four gentle- * men of the chapel to the old establishment, viz., Mr. Morley, Mr. ' George Carleton, Mr. Tho. Baker, and Mr. Samuel Chittle, and by * virtue of four several warrants from the right rev. father in God, Jobn, 'lord bishop of London, dean of his majesty's chapel royal, I have f sworn and admitted the aforesaid gentlemen, gentlemen in ordinary of f his majesty's chape] royal, to en^oy the same together with all privileges * and advantages thereunto belonging. Witness my hand this 8th day 'of August, 17}5. f Dan. Williams, clerk * J. Dolbek, Subdean.' ' of the Cheque. ' Aug. 8, 1715. That besides the four additional gentlemen of the ' chapel above-mentioned, there was added in king George's establishment * as follows, viz. : — * A second composer in ordinary, which place Mr. John Weldon was * sworn and admitted into. f A lutenist, which place Mr. John S)iore was sworn and admitted into. ' A viollst, which place Mr. Francisco (roodsens was sworn and ad- ' mitted into. * All these three were sworn and admitted into their respective places * by me. ' * Witness, Dan. Williams.' ' J. Dolben, Subdean.' ' There was likewise inserted in the aforesaid establishment an allowance ' to Dr. William Croft, as master of the cliUdren, of eighty pounds pec * annum, for teaching the children to read, write, and accompts, and for * teaching them to play on the organ and compose music' * J. Dolben, Subdean.' J The reason that moved the king to this act of munificence was, a very singular one; the parish had chosen him their churchwardeb, and he executed the office for two months, but at the end thereof, as hd well might, he grew tired of it, and presented the parish with that noble instrument which is now in the church. Chap. CLXIV. AND PRACTICE OF MUSIC. 785 composed for the theatre, except that in competition niih two other masters, namely, Daniel Purcell, John lEccles, and one Franck, or Franco, mention-ed m page 763 of this work, and perhaps many others, -he set to music Mr. Oongreve's masque, the Judg- ment of Paris. The motive to this undertaking was -an -advertisement in the London Gazette, offering rewards out of a fund of two hundred guineas advanced by sundry persons of quality, to be dis- tributed in prizes to such masters as should be adjudged to compose the best.* The largest was adjudged to Weldon, and the next to Eccles. Some songs of Weldon's composition are to be found in a book entitled Mercurius Musicus, and other collections ; the following is yet remembered as a favourite aiy in its time : — S^i --=1=5 'i^^^^^^^^^^ ^^m FROM grave lessons and re-straint, I'm stole out to re-vel here; Yet I trem-ble and I =Ji =dz^ d== ==!=F- l^^^^g^is^e pant, in the mid-die of the fair. 0, 0, O wou'd for - tune in my way ■--!•-» :|^eE fe?iii=£^^gi^=^ g^i =?^¥^ E^ fe= '^^^^^m :^^ 1^ ^ iH^niTs^^Eii throw a lov-er kind and gay ; Now^a the time, now's the time, now's the time, he soon may move a ■^^ ^^w m ^^m^^^m^ go ? O no, no, no, no, no, no, no, no, no, no, no, no, no, i^o, no, I mjist not try, I can-not fly, I must not, durst uotj can .-not fly, I must not try, J can -not ^ ^M^r^ =r^=^g^ ^ 'm^m^^^m^Mm i3E^^=P^^^3iil3z3-^^ fly, I must not, durst not, can - not fly. Help me Na ture, help pie Art, why should I de - ny . . . my heart? help me Na ture * See the advertisement, page 759 of this work. 786 HISTOEY OF THE SCIENCE. Book XVII. il ^Sp ^^=j^=^^=|.=^^=^ ^=^=^Sjpg==-j aEp^ At the time when Weldon tecame first of the chapel, Mr. Elford was a singer there, and was cele- brated for a very fine counter-tenor voice. Weldon composed for him sundry solo anthems, six of which he published, with a preface acknowledging the ad- vantages they derived from his fine performance. These have their merit, but they fall very far short of his full anthems, particularly those to the words, ' In thee, O Lord,' ' Hear my crying,' of which it is hard to say whether the melody or the harmony of each be its greatest excellence. Weldon was a very sweet and elegant composer of church musi(3 : He died in the year 1736, and lies buried in the church-yard of St. Paul, Covent-ga-rden. His. successor in his places in the royal chapel is one whose merits will ever endear him to the lovers and judges of harmony, and particularly of cathedral music, Dr. William Boyce. John Eccles was the son of Solomon Eccles, a master of the violin, and the author of sundry grounds with divisions thereon, published in the second part of the Division Violin, printed at London, in 1693, oblong quarto. He was instructed by his father in music, and became a composer for the theatre, of act- tunes, dance-tunes, and such incidental songs as fre- quently occur in the modern comedies, a collection whereof he published, and dedicated to queen Aiine. He composed the music to a tragedy entitled Rinaldo and Armida, written by Dennis, and performed in 1699, in which is a song for a single voice, ' The ' jolly breeze,' which for the florid divisions in it was by many greatly admired. Eccles set to music an John Weldon. ode for St. Cecilia's Day, written by Mr. Congreve, and performed on the anniversary festival of that saint in 1701 ; as also his masque entitled the Judgment of Paris, for one of the prizes mentioned in the preceding article ; and obtained the second, which was of fifty guineas. His music to the Judgment of Paris is published. In the collection above mentioned are many ex- cellent songs, particularly one for three voices, ' Inspire us. Genius of the day,' and another, also for three voices, ' Wine does wonders every day,' sung in a comedy entitled Justice Busy, which has long been a favourite with the Gloucestershire singers of catches, and other small proficients in vocal harmony. In it are also contained a very spirited song for two voices, sung in the play of Henry V. to the words ' Fill all your glasses ;' and a solo song, which with sundry others the author composed for D'Drfey's play of Don Quixote, the rest being set by Furcell. That of Eccles above mentioned is a mad song, sung by Mrs. Bracegirdle, in the character of Marcella, the words whereof are ' I burn, my brain consumes • to ashes.' In the Orpheus Britannicus is a song occasioned by Mrs. Bracegirdle's singing ' I burn,' &c. ; there are also some pretty tunes of his composing to songs in the Pills to purge Melancholy, published by D'Urfey. Eccles composed the tune to the song ' A soldier and a sailor,' * in Mr. Congreve's comedy of Love for Love, with a bass peculiarly adapted to the manner of singing it as directed by the play ; which never having been printed, is here inserted. i^iw#.^iii^^i EE^^ Ef=f=^^& i^^^ppi^ig ^^i PPi^ * The words of this song are those translated by Dean Al^ich, * Miles et na/vigator,' vide page 7G6 of this work. Chap. CLXIV. AND PKACTICE OF MUSIC. 787 ^i^i^iii^^^^^^^^iElilMli^^li mm^^^^^^^^^^^M^^^^m^= c=ii; zz:zt= E^Ei gEg=gigEB r.;i^rr:rF: £ii=iiiE^=l| :E^^eEi=g=^;3pggi^E E-^t^§ lfe?=.Z ^iiti i^^=E^ ^^il^ii^l^ EE==P= i^g^liiHi Elii^i^^p : g=g=rg^| :i^ ^E=^ip^^^ii ^i^^: l=^^EE EE=t=£ E^=iE About the year 1698, upon the decease of Dr. Staggins, Eccles was appointed master of the queen's hand ; but in the latter part of his life he was known to the musical world only by the New Year and Birth-day Odes, which it was his duty to compose, having retired to Kingston in Surrey for the con- venience of angling, a recreation of which he was very fond. There were three brothers of the name of Eccles, all musicians, viz., 'the above named John Henry, a vioHn player in the king of France's band, and the author of twelve excellent solos for that instru- ment, printed at Paris in 1720, and Thomas,* who was one of those itinerant musicians, perhaps the * This person was living about thirty years ago. A good judge of music, who had heard him play, gives the following account of him and his performance. 'It was about the month of November, in the year * 1735, that I with some friends were met to spend the evening at a ' tavern in the city, when this man, in a mean but decent garb, was in- 'troduced to us by the waiter; immediately upon opening the door 'I heard the twang of one of his strings from under his coat, which was •accompanied with the question, "Gentlemen will you please to hear "any music ?" Our curiosity, and the modesty of the man's deportment, ' inclined us to. say yes ; and music he gave us, such as I had never heard 'before, nor shall again under the same circumstances ; with as fine and * delicate a hand as I ever heard, he played the whole fifth and ninth ' solo of Corelli, two songs of Mr. Handel, Del minnaciar in Otho, and 'Sperosimio caro bene, in Adraetus; in short, his performance was , ' such as would command the attention of the nicest ear, and left us his * auditors much at a loss to guess what it was that constrained him to * seek his living in a way so disreputable : he made no secret of his 'name; he said he was theyoungestofrhree brothers, and that Henry, * the middle one, had been his master, and was then in the service of the * king of Prance : we were very little disposed to credit the account he ' gave us of his brother's situation in France, but the collection of solos * above-mentioned to have been published by him at Paris, puts it out of * question.' Upon inquiry some time after, it appeared that he was idle, and given to drinking. He lodged in the Biitcher-row near Temple bar, and was well known to the musicians of his time, who thought themselves disgraced by this practice of his, for which they have a term of reproach not very intelligible ; they call it going a-husking. By the Leges Cenviviales of the academy of Ben Jonson, held in the Apollo Room, at the Devil Tavern, Temple bar, such persons as these were forbidden admittance into that assembly. Fidiun, nisi accersitus, non venito. Let no saucy fiddler dwre to intrude unless he is sent for to vary our bliss. Vide second part of Miscellany Poems, published'by Mr. Dryden, 12oto, nw,page 148-150. John Ecoles. last of them, who in winter evenings were used to go about to taverns, and for the sake of a slender subsistence expose, themselves to the insults of those who were not inclined to hear them ; there are none of this class of mendicant artists now remaining, but in the time of the usurpation they were so numerous, that an ordinance was made declaring them vagrants.f From the above account of English musicians in + Vide ante, page 702, in a note. To the practice of having music in taverns and inns there are number- less allusions in our old English writers. In bishop Earle's character of a poor fiddler, inserted in the note above referred to, we are told that he made it his business to get the names of the worshipful of the inn, in order that he might salute them by their names at their rising in the morning : hut it seems that formerly there were to the greater inns, musicians who might be said to be in some sort retainers to the house. Fynes Moryson has given a hint of this in his Itinerary, part III. page 151, in a passage, the whole whereof, as it exhibits a view of the manners of his time, is here inserted. ' As soone as a passenger comes to an Inne, ' the servants run to him, and one takes his horse and walkes him till he 'be cold, then rubs him, and gives him meate, yet I must say that they 'are not much to be trusted in this last point, without the eye of the 'Master or, his Servant to oversee them. Another servant gives the * passenger his private chamber, and kindles his fier, the third pulls of ' his bootes, and. makes them cleane. Then the Host or Hostess visits *him, and if he will eate with the Host, or at a common Table with * others, his meale will cost him sixpence, or in some places but foure ' pence, (yet this course is less honourable and not used hy Gentlemen): ' but if he will eate in his chamber, he commands what meate he will ' according to his appetite, and as much as he thinkes fit for him and his ' company, yea, the kitchen is open to him, to command the meat to 'be dressed as he best likes ; and when he sits at the Table, Host or * Hostess will accompany him, or if they have many Guests, will at least ' visit him, taking it for curtesie to be bid sit downe : while he eates, if ' he have company especially, he shall be (jffered musicke, which he may ' freely take or refuse, and if he be solitary, the Musitians will give him ' the good day with Musicke in the morning. It is the custome and no ' way disgracefuU to set up part of supper for his breakefast : in the ' evening or in the morning after breakefast, (for the common sort use ' not to dine, but ride from breakefast to supper time, yet comming early ' to the Inne for better resting of their Horses) he shall have a reckoning ' in writing, and if it seeme unreasonable, the Host will satisfie him, ' either for the due price, or by abaiting part, especially if the servant * deceive him any way, which one of experience will soone find. I will * now onely adde that a Gentleman and bis Man shall spend as much, as ' if he were accompanied with another Gentleman and his Man, and if * Gentlemen will in such sort joyne together, to eate at one Table, the * expenses will be much diminished. Lastly, a Man cannot more freely * command at home in his owne House, then he may doe in his Inne, < and at parting if he give some few pence to the Chamberlln and Ostler, ' they wish him a happy journey.' 788- HISTOKY OF THE SCIENCE Book X,VIL succession, it is necessary here to digress to make way for the relation of a discovery, the result of a series of experiments made hy Sir Isaac Newton, tending to demonstrate what has often been asserted in the course of this work, viz., that the principles of harmony are discoverable in so great a variety of instances, that they seem to pervade the universe. Many arguments in favour of this opinion are deducible from geometry, as particularly from the Helicon of Ptolemy, the famous theorem of Archimedes,* and that other of Pythagoras, contained in the 47th Proposition of the first book of Euclid, with the observations thereon by Mr. Harrington and Sir Isaac Newton, mentioned previously. But, which was little to be expected, farther demonstration of this general principle results from the analogy between colours and sounds. This noble discovery we owe to the sagacity of Sir Isaac Newton, whose relation of it is here given in his own words : — ' When I had caused the rectilinear line sides AP, ' GM, of the spectrum of colours made by the prism ' to be distinctly defined, as in the fifth experiment ' of the first book is described, there were found in ' it all the homogeneal colours in the same order ' and situation one among another as in the spectrum ' of simple light, described in the fourth experiment ' of that book. For the circles of which the spec- ' trum of compound light P T is composed, and ' which in the middle parts of the spectrum inter- ' fere and are intermixt with one another, are not ' intermixt in their outmost parts where they touch ' those rectilinear sides AF and GM. And therefore ' in those rectilinear sides when distinctly defined, ' there is no new colour generated by refraction. ' I observed also, that if any where between the ' two outmost circles TMF and PGA a right line, ' as yS, was cross to the spectrum, so as at both ends ' to fall perpendicularly upon its rectilinear sides, ' there appeared one and the same colour and degree ' of colour from one end of this line to the other. ' I delineated therefore in a paper the perimeter of 'the spectrum FAP GMT, and in trying the third ' experiment of the first book, I held the paper so ' that the spectrum might fall upon this delineated ' figure, and agree with it exactly, whilst an assistant, ' whose eyes for distinguishing colours were more ' critical than mine, did by right lines a/3, yS, ef, ' &c. drawn cross the spectrum, note the confines ' of the colours, that is of the red M a ;3 F 'of the ' orange ay S fi, of the yellow y e f 8, of the green ' £1)6 ^, of the blue »j i k 9, of the indigo iXfiK, and ' of the violet X G A ^. And this operation being ' divers times repeated both in the same and in ' several papers, I found that the observations agreed ' well enough with one another, and that the rec- ' tilinear sides M G and F A were by the said cross * Of this theorem of Archimedes mention is made in page 10, in a note. It seems he thought the discovery of such importance to man- kind, that he caused a diagram thereof to he engraven on his sepulchre. Cicero, in the Tusculan Disputations, hook V. sect, 23, glories in his having discovered at Syracuse, without one of the city gates, the sepulchre of Archimedes covered with brambles and thorns, and says tliat he knew it by the figure of a cylinder and a sphere carved on the stone. ' lines divided after the manner of a musical chord. ' Let G M be produced to X, that M X may be 'equal to GM, and conceive GX, XX, iX,'nX, ' £ X, y X, a X, MX, to be in proportion to one ' another, as the numbers i, |, |, |, §, 3, jS^, i, and ' so to represent the chords of the key, and of a tone ' a third minor, a fourth, a fifth, a sixth major, ' a seventh, and an eighth above that key : And ' the intervals Ma, ay, ye, eij, tji, iX. and X 6, will ' be the spaces which the several colours (red, ' orange, yellow, green, blue, indico, violet) take ' up.' Sir Isaac Newton's Optics, book I. part II. prop. iii. prob. i. exper. vii. Auk 6 Z S/3 F P! /Tn vLZ G X I T 8 S -*■ a fi M £ ya 2 3 9 1 3 S1.6 2 From the relation of this curious and important discovery in the theory, we proceed to relate the farther progress of music in such particulars as respect the practice. 'The concert of Britton, the small-coal man at Clerkenwell, continued to flourish till the end of the century in which it was established, and onward into the next, completing a period of more than forty years, when his death put an end to it. Many particulars relating to the life and character of this extraordinary man, are to be met with in books published about and after the time when he lived ; but the most authentic account of him, so far as it goes, is contained in Hearne's Appendix to his Hemingi Chartularii Ecclesiae Wygorniensis, page 665, which, as it was drawn up by one that was well acquainted with him, and he a man of the most scrupulous accuracy, is entitled to the highest degree of credit. Some pains have been taken by searches, and inquiries of persons in his neigh- bourhood, and of others who remember him, to collect those suppletory anecdotes which here follow Hearne's account of him, and furnish a copious memoir of this extraordinary person. CHAP. CLXV. ' Mr. Thomas Britton, (a Portrait), the famous 'Musical Small-Coal Man, was born at or near ' Higham Ferrers in Northamptonshire. Prom ' thence he went to London, where he bound himself 'Apprentice to a Small -Coal Man in St. John ' Baptist's Street. After he had served his full ' time of seven Years, his Master gave him a Sum ' of Money not to set up. Upon this Tom went in- ' to Northamptonshire again, and, after he had spent ' his Money, he returned again to London, set up ' the Small-Coal Trade (notwithstanding his Master ' was still living) and, withal, he took a Stable, and ' turned it into a House, which stood the next Door ' to the little Gate of St. John's of Jerusalem next ' Olarken-Well-Green. Some time after he had ' settled here, he became acquainted with Dr. Ga- Chai*. CLXr. AND PRAlCTrCE OF SIUSTC. T89^ ' renders, Ms near Neighbour, by which means he ' became an excellent Ohymist, and perhaps, he. ' performed such Things in that Profession, as had ' never been done before, with little Cost and Charge, ' by the help of a moving Elaboratory, that was ' contrived and built by himself, which was much ' admired by all of that Faculty, that happened to ' see it ; insomuch that a certain Gentleman of Wales ' was so much taken with it, that he was at the ' Expense of carrying him down into that Country, ' on purpose to build him such another, which Tom ' performed to the Gentleman's very great satis- ' faction, and for the same he received of him a very ' handsome and generous Gratuity. Besides his ' great skill in Chymistry, he was as famous for his ' knowledge in the Theory of Musick; in the Practick ' Part of which Faculty he was likewise very con- ' siderable. He was so much addicted to it, that ' he pricked with his own Hand (very neatly and ' accurately) and left behind him a valuable Col- ' lection of Musick, mostly pricked by himself, which ' was sold upon his Death for near an hundred ' Pounds. Not to mention the excellent Collection ' of printed Books, that he also left behind him, ' both of Chymistry and Musick. Besides these ' Books that he left behind him, he had, some Years ' before his Death, sold by Auction a noble Col- ' lection of Books, most of them in the Rosacrucian ' Faculty (of which he was a great Admirer) whereof ■ there is a printed Catalogue extant (as there is of ' those that were sold after his Death) which I have ' often looked over with no small surprize and ' wonder, and particularly for the great Number of ' MS8. in the before mentioned Faculties that are ' specifyed in it. He had, moreover, a considerable ' Collection of Musical instruments, which were sold • for fourscore Pounds upon his Death, which hap- ' pened in Septeinber 1714:, being upwards of three- ' score Years of Age, and lyes buried in the Church- ' Yard of darken -Well, without Monument or ' Inscription, being attended to his Grave, in a very ' solemn and decent manner, by a great Concourse ' of People, especially of such as frequented the ' Musical Club, that was kept up for many Years ' at his own Charges (he being a Man of a very ' generous and liberal Spirit) at his own little Cell. ' He appears by the Print of him (done since his ' Death) to have been a Man of an ingenious Coun- ' tenance and of a sprightly Temper. It also re- ' presents him as a comely Person, as indeed he was, ' and, withal, there is a modesty expressed in it ' every way agreeable to him. Under it are these ' Verses, vfrhich may serve insteaid of an Epitaph : — ' Tho' mean thy Rank, yet in thy humble Cell ' Did gentle Peace and Arts unpurchas'd dwell ; ' Well pleas'd Apollo thither led his Train, ■ And Musick warbled in her sweetest Strain. ' Cyllenius so, as Fables tell, and Jove ' Came willing Guests to poor Philemon's Grove. ' Let useless Pomp behold, and blush to find ' So low a Station, such a liberal Mind.* • These verses were written by Mr. John Hughes, who was a frequent performer on the violin at Britton's concert : they are printed in the first volume of his Foems, published in 1735 ; and are also under one of two niezzotinto prints of Britton. ' In short, he wafe aii ext/aordinary and very valuable ' Man, much admired by the Gentry, even those of ' the best Quality, and by all others of the more ' inferiour Rank, that had any manner of Regard ' for Probity, Sagacity, Diligence, and Humility. ' I say Humility, because, tho' he was so much fam'd ' for his Knowledge, and might, therefore, have lived ' very reputably without his Trade, yet he continued ' it to his Death, not thinking it to be at all beneath ' him. Mr. Bagford and he used frequently to con- ' verse together, and when they met they seldom ' parted very soon. Their Conversation was often , ' about old MSS. and the Havock made of them. ' They both agreed to retreive what Fragments of ' Antiquity they could, and, upon that occasion, they ' would frequently divert themselves in talking of ' old Chronicles, which both loved to read, tho' ' among our more late Chronicles, printed in English, ' Isaackson's was what they chiefly preferr'd for ' s. general knowledge of Things, a Book which ' was much esteem'd also by those two eminent ' Ghronologers, Bp. Lloyd and Mr. Dodwell. By ' the way, I cannot but observe, that Isaackson's ' Chronicle is really, for the most part, Bp. Andrews's, ' Isaackson being Amanuensis to the Bishop.' Hearne seems to have understood but very little of music, and we are therefore not to wonder that his curiosity extended not to an inquiry into the order and economy of that musical club, as he calls it, which he says Britton for many years kept up in his own little cell. The truth is, that it was nothing less than a musical concert ; and so much the more does it merit our attention, as it was the first meeting of the kind, and the undoubted parent of some of the most celebrated concerts in London. The time when Britton lived is not so remote, but that there are some now living who are able to give an account of this extraordinary institution, of the principal per- sons that performed at his concert, and of the com- pany that frequented it : many of these have been sought out and conversed with, for the purpose of collecting all that could be known of him : inquiries have been made in his neighbourhood, of particulars touching his life, his character, and general deport- ment ; and the result of these will furnish out such a supplement to what has been said of this extraor- dinary man in print, as can hardly fail to gratify the curiosity of such as take pleasure in this kind of information. Of the origin of Britton's concert we have an jiccount written by a near neighbour of his, one who dwelt in the same parish, and indeed but a small dis- tance from him, namely, the facetious Mr. Edward Ward, the author of the London Spy, and many doggrel poems, coarse, it is true, but not devoid of humour and pleasantry. Ward at that time kept a public-house in Clerkenwell, and there sold ale of his own brewing. From thence he removed to a house in an alley on the west side of Moorfields, between the place called Little Moorfields and the end of Ohiswell-street, and sold the same kind of liquor. His house, as we are given to understand by the notes on the Dunoiad, was for a time the gr-at •790 HISTORY OP THE SCIENCE. Book XVII. resort of high churchmen. In a hook of his writing, entitled Satirical Eeflections on Cluhs, he has be- stowed a whole chapter on the small-coal man's club : from the account therein given we learn that ' this club was first begun, or at least confirmed, by ' Sir Eoger L'Estrange, a very musical gentleman, ' and who had a tolerable perfection on the bass viol.' Ward says that 'the attachment of Sir Roger and ' other ingenious gentlemen, lovers of the Muses, to ' Britton, arose from the profound regard that he had ' in general to all manner of literature : that the pru- ' denoe of his deportment to his betters procured him 'great respect, and that men of the best wit, as well as some of the best quality, honoured his musical ' society with their company : that Britton was so ' much distinguished, that when passing the streets ' in his blue linen frock, and with his sack of small- ' coal on his back, he was frequently accosted with ' such expressions as these, " There goes the famous " small-coal man, who is a lover of learning, a per- " former in music, and a companion for gentlemen." Ward adds, and speaks of it as of his own knowledge, and indeed the fact is indisputable, that he had made a very good collection of ancient and modern music by the best masters; that he also had collected a very handsome library, which he had publicly dis- posed of to a very considerable advantage; and that he had remaining by him many valuable curiosities. He farther says that, at the first institution of it, his concert was performed at his own house, but that some time after he took a convenient room out of the next to it. What sort of a house Britton's own was, and the spot where it stood, shall now be related. It was situated on the south side of Aylesbury- street, which extends from Clerkenwell-green to St. John's-street, and was the corner house of that pas- sage leading by the old Jerusalem tavern, under the gateway of the priory, into St. John's-square ; * on the ground floor was a repository for small-coal; Over that was the concert-room, which was very long and narrow, and had a ceiling so low, that a tall man could but just stand upright in it. The stairs to this room were on the outside of the house, and could scarce be ascended without crawling. The house itself was very old and low-built, and in every respect so mean, as to be a fit habitation for only a very poor man. Notwithstanding all, this mansion, despicable as it may seem, attracted to it as polite an audience as ever th» opera did ; and a lady of the first rank in this kingdom, the duchess of Queens- bury, now living, one of the most celebrated beauties of her time, may yet remember that in the pleasure which she manifested at hearing Mr. Britton's con- cert, she seemed to have forgotten the difficulty with which she ascended the steps that led to it. Britton was in his person a short, thickset man, with a very honest, ingenuous countenance. There are two pictures of him extant, both painted by his friend Mr. Woolaston, and from both there are mezzotinto prints ; one of the pictures is now in the British Museum ; the occasion of painting it, as re- lated by Mr. Woolaston himself, to the author of « It has long since been pulled down and rebuilt ; at this time is an ilehouse, known by the sign of the Bull's Head. this work, was as follows: Britton had been out one morning, and having nearly emptied his sack in a shorter time than he expected, had a mind to see his friend Mr. Woolaston ; but having always been used to consider himself in two ca- pacities, viz., as one who subsisted by a very mean occupation, and as a companion for persons in a station of life above him, he could not, consistently, with this distinction, dressed as he then was, make a visit ; he therefore in his way home varied his usual round, and passing through Warwick-lane, determined to cry small-coal so near Mr. Woolaston's door as to stand a chance of being invited in by him. Accordingly he had no sooner turned into Warwick- court, and cried small-coal in his usual tone,| than Mr. Woolaston, who had never heard him there before, flung up the sash and beckoned him in. After some conversation Mr. Woolaston intimated a desire to paint his picture, which Britton modestly yielding to, Mr. Woolaston then, and at a few sub- sequent sittings, painted him in his blue frock, and with his small-coal measure in his hand, as he appears in the picture at the Museum. A mezzotinto print was taken from this picture, for which Mr. Hughes wrote those lines inserted in page 789 ; and this is the print which Hearne speaks of. But there was another picture of him painted by the same person, upon what occasion is not known : from that a mezzotinto print was also taken, which being very scarce, has been made use of for the engraving of Britton in- serted in this work : in this he is represented tuning a harpsichord, a violin hanging on the side of the room, and shelves of books before him. Under the print are the following lines : — Tho' doom'd to small-coal, yet to arts ally'd. Rich without wealth, and famous without pride; Musick's best patron, judge of books and men, Belov'd and honour'd by Apollo's train ; In Greece or Rome sure never did appear So bright a genius in so dark a sphere ; More of the man had artfully been sav'd. Had Kneller painted and had Vertue grav'd. The above verses were scribbled by Prior with a view to recommend Vertue, then a young man, and patronised by Edward earl of Oxford, though they are little less than a sarcasm on Woolaston and Johnson, who scraped the plate. It is suspected that the insignificant adverb artfully was inserted by a mistake of the transcriber, and that it originally stood probably. CHAP. CLXVL The account above given of Britton will naturally awaken a curiosity to know of what kind was the music with which his audience was entertained, and who were the persons that performed in his concert : an answer i the first of these queries may be collected from the catalogue of his music, which follows this account of him ; to the latter an answer is at hand : Dr. Pepusch, and frequently Mr. Handel, played the harpsichord, Mr. Banister, and also Mr. Henry + The goodness of his ear directed him to the ttse ; EI — ^ — of the most perfect of all musical intervals^ the diapason; his cry being, as some relate that re- member it; — Small coal. Chap. OLXVI. AND PRACTICE OF MUSIC. 791 Needier, of the Excise-ofSce, and other capital per- formers for that time, the first violin; Mr. John Hughes, author of the Siege of Damascus, Mr. Woolaston, the painter, Mr. Philip Hart, Mr. Henry Symonds, Mr. Abiell Whichello, and Mr. Obadiah Shuttleworth, a fine player on the violin, some con- stantly, and others frequently, performed there. That fine performer Mr. Matthew Duhourg was then but a child, but the first solo that ever he played in public, and which probably was one of Corelli's, he played at Britton's concert, standing upon a joint-stool ; but so terribly was the poor child awed at the sight of so splendid an assembly, that he was near falling to the ground.* It has been questioned whether Britton had any skill in music or not ; but those who remember him say that he could tune a harpsichord, and that he frequently played the viol da gamba in his own concert. Britton's skill in ancient books and manuscripts is mentioned by Hearne ; and indeed in the preface to his edition of Robert of Gloucester he refers to a curious manuscript copy of that historian in Britton's possession. The means used by him and other collectors of ancient books and manuscripts about that time, as related by one of that class lately de- ceased, were as follow, and these include an intima- tion of Britton's pursuits and connexions : — About the beginning of this century a passion for collecting old books and manuscripts reigned among the nobility. The chief of those who sought after them were Edward earl of Oxford, the earls of Pem- broke, Sunderland, and Winchelsea, and the duke of Devonshire. These persons in the winter season, on Saturdays, the Parliament not sitting on that day, were used to resort to the city, and dividing them- selves, took several routes, some to Little Britain, some to Mobrfields, and others to different parts of the town, inhabited by booksellers ; there they would inquire in the several shops as they passed along for old books and manuscripts, and some time before noon would assemble at the shop of one Christopher Bateman, a bookseller, at the corner of Ave Maria-lane, in Paternoster-row ; and here they * Mr. Walpole, in his account of Woolaston the painter, Anecdotes of Painting, vol. III., has taken occasion to mention some particulars of Britton, which he says he received from the son of Mr' Woolaston, who, as well as his father, was a member of Britton's musical club : it is there said that Britton found the instruments, that the subscription was ten shillings a year, and that they had coffee at a penny a dish. It seems by this passage that Britton had departed from his original institution, for at first no coffee was drunk there, nor would he receive, in any way whatever, any gratuity from his guests : on the contrary, he was offended whenever It was offered him. This is the account of a very ancient person now living, a frequent performer at Britton's concert ; and it seems to he confirmed by the following stanza of a song written by Ward in praise of Britton, printed at the end of his description of the small-coal man's club above cited n— Upon Thursdays repair To my palace, and there Hobble up stair by stair, But I pray ye take care That you break not your shins by a stumble : And without e'er a souse Paid to me or my spouse. Sit as still as a mouse At the top of the house, And thera,you shall hear how we fumble. And it is "farther confirmed by a manuscript diary of Mr. Thomas Rowe, the husband of the famous Mrs. Elizabeth Rowe, and the author of some supplemental lives to Plutarch, in which there is this memorandum, ' Thomas Britton, the musical small-coal man, had eon- * certs at his house in Clerkenwell forty-six years, to which he admitted ' gentlemen gratis. He died October, 1714." were frequently met by Mr. Bagford and other per- sons engaged in the same pursuits, and a conversa- tion always commenced on the subject of their in- quiries. Bagford informed them where anything curious was to be seen or purchased, and they in return obliged him with a sight of what they from time to time collected. While they were engaged in this conversation, and as near as could be to the hour of twelve by St. Paul's clock, Britton, who by that time had finished his round, arrived clad in his blue frock, and pitching his sack of small-coal on the bulk of Mr. Bateman's shop window, would go in and join them ; and after a conversation which gene- rally lasted about an hour, the noblemen above men- tioned adjourned to the Mourning Bush at Alders- gate,! where they dined and spent the remainder of the day. The singularity of his character, the course of his studies, and the collections he made, induced suspi- cions that Britton was not the man he seemed to be : and what Mr. Walpole says as to this particular is very true ; some thought his musical assembly only a cover for seditious meetings, others for magical purposes, and that Britton himself was taken for an atheist, a presbyterian, a Jesuit ; but these were ill- grounded conjectures, for he was a plain, simple, honest man, perfectly innoffensive, and highly es- teemed by all who knew him, and, notwithstanding the meanness of his occupation, was called Mr. Britton. The circumstances of this man's death are not less remarkable than those of his life. There dwelt in Britton's time, near Clerkenwell-close, a man named Robe, who frequently played at his concert, and who, being in the commission of the peace for the county of Middlesex, was usually called Justice Robe ; at the same time one Samuel Honeyman, a blacksmith by trade, and who lived in Bear-street, near Leicester-square, became very famous for a faculty which he possessed of speaking as if his voice proceeded from some distant part of the house where he stood; in short, he was one of those* men called Ventriloqui, i. e., those that speak as it were from their bellies, and are taken notice of by Reginald Scott in his Discovery of Witchcraft, page 111, for which reason he was called the Talking Smith. The pranks played by this man, if col- lected, would fill a volume.^ During the time that Dr. Sacheverell was under censure, and had a great resort of friends to his house, near the church in Holborn, he had the confidence to get himself ad- mitted, by pretending that he came from a couple who wished to be married by the doctor. He stayed not long in the room, but made so good use of his time, that the doctor, who was a large man, and one of the stoutest and most athletic then living, was t A bush was anciently the sign of a tavern, as may be inferred from the proverb ' Good wine needs no bush.' This was succeeded by a thing intended to resemble a bush, consisting of three or four tier of hoops fastened one above another ; with vine leaves and grapes richly carved and gilt, and a Bacchus bestriding a tun at top. The owner of this house, at the time when king Charles I. was beheaded, was so affected upon that event, that he put his bush in mourning by painting it black. t The following one is related by Dr. Shaw in his edition of the Philo- sophical Works of Lord Bacon, Vol. III. page 112, in nota. *Tis said that he once counterfeited a man's voice coming out of a large cask, in a cart loaded with empty casks, as it was going along the streets, to the great astonishment and perplexity of the carman. 3f 792 HISTOEY OP THE SCIENCE. Book XVII. almost terrified into fits. Dr. Derliain, of Upminster, that sagaoioHs enquirer into the works of nature, had a great curiosity to see Honeyman, but ihs person he employed to bring aboitt the meeting, and wh© com- municated this anecdote, contrived always to disap- point him, knowing full well that, had it taken effect, it jjQust have terminated in thedisgraee of the doctor, whose reputation as a divine and a pMlo80pl»er he thoaght a subject too serious to be sported with. This man, Bobe was foolish and wicked enough to introduce, unknown, to Brittoii, for the :sole purpose of terrifying him, and hesaeceeded in it : Honeyman, without moving his lips, or seeming to ispeak, an- noimced, as from afar oS, the deaith of poor Brftton within a few hours, with an intimation that the only way to avert his doom was for Hm to Ml on his '"knees immediately and say the Lord's Prayer, The poor man did as he was bid, went home and took to iis bed, and in a few days idn«d, leaving his friend Mr. Robe to enjoy the fruits of Ms mirth. Hearne says that his death happened in September, 1714. Upon searching the parish-books, it is found that lie was buried on the first day ,of October following. Britfcon's wife survived lier hiosband. He left little behind him besides his books, his collection of ma- nuscript and printed music, and Hmsieal instruments. Tiie former of these were soM by auction at Tom's coifee-bouse, Ludgate-hilL Sir Hans Sloane was a purchaser of sundry ,'ai'tiides,:andcatail0g!i!ies of ithem are in the hands of many collectors of sudi things as mattei's of curiosity. His Mrasic-books usere a-lso sold in the month of December, in the year of his death, by a printed catalDgue, aaf which flie following is a copy :— ' A CATMjoavx of esltraardinMy Biiraical rastmmentB made ' by the most eminemt workmen both at home and abroad. 'Also divers v^uable campositions, ancient and modem, ' by the "best masters in Europe.; a great many of which ' are finely engrav'd, neatly 'bound, and the whole care- ' fully preserv'd in admirable order; feerng the •entire ' GoUeetiOB of Mi. Thomas Britton (of Clerkeiiwelil, small- ' coal man, lately deceased, who at his own charge '.kept up so excellent a consort forty odd years at ffis ' dwelling-Tiousei, that the best masters were at all times • proud to exert themselves -therein ; and persons of the ' inghest quality desirouB ctf honomiaBg his humble cottage ' with their presence and attention : ibut death havine ' snatched away this most valuable mam that ever enjoyed ' so harmonious a life in so low a station, his music books ' and instruments, for tlie benefit ol his widow, are to le ' sdld by auction on Monday, Tuesday, and Wednesday, • the 6th, 7th, and 8th Deoemb. at Mr. Ward's, house in ' Bed Bull-Yard, in Clerkenwell, near Mr. Brittoi's, ' -where Catalogues are to lie had gratis j also at mast " Music-shops about town. Conditions of sale as usual. * 1. Two sets of books, one ofthree, and one of fom- parts, ' by divers authors. 2. 'Two sets 'of ditto in 4 parts by Jen- • kins. Look, Lawes, &a. .3. Two sets ditto by 18013611; Smith, ' Brewer, and other authors. 4. Two sets ditto by Mr. Kiohard ' Gobb, and other authors. 5. Two Lyra consorts by Loose- 'more, Wilson, us all over Europe. And here the author takes occasion to mention, that although the first anthem in the collection, ' 0' Lord, the maker of all things,' had been printed with the name of Mundy to it, yet that Dr. Aldrich had rettored it to its proper author, king Hen. VIII. In 1713 Croft was created doctor in music in the university of Oxford. His exercise for that degree was an English and also a Latin ode, written by Mr. Joseph Trapp, afterwards Dr. Ttapp, which were performed by gentlemen of the chapel, and others from London, in the theatre, on Monday, 13 July, 1713. Both the odes with the music were afterwards curiously engraved in score, and published with the title of Musicus Apparatus Academicus. In the same year an addition, was made to the old establishment of the royal chapel of four gentle- men, a second composer, a lutenist, and a violist, in which was inserted an allowance to Dr. William Groft, as master of the children, of eighty pounds per annum, for teaching the children to read, write, and accompts, and for teaching them to play on the organ and to compose music. In the year 1724 Dr. Croft published by subscrip- tion a noble work of his composition, entitled 'Musica 'Sacra, or select Anthems in score,' in two volumes, the first containing the burial service, which Purcell had begun, but lived not to complete. In the preface the author observes of this work that it is the first essay in music-printing of the kind, it being in Bcore, engraven and stamped on plates ; and that for want of some such contvivance, the music formerly printed in England had been very incorrectly pub- lished ; as an instance whereof he mentions the Te Deum and Jubilate of Purcell, in which he says the faults and omissions are so gross, as not to be amended but by some skilful hand. He professes himself ignorant of the state of church music before the reformation, as the same does not appear from any memorials or entries thereof in. books remaining in any of our cathedral churches, from whence it is to be inferred that he had never seen or heard of that formula of chorM service the Boke of Common Praier noted, composed by John Marbeek, of which, and also of the author, an account has already beea given. He celebrates, in terms of high commendation, for skill and a fine voice, Mr. Elford, of whom he says,, ' he was a bright example of this kind, exceeding all 'as far as is known, that ever went before him, and ' fit to be imitated by all that come after him ; he ' being in a peculiar manner eminent for his giving ' a due energy and proper emphasis to the words of ' his music' The anthems contained in this collection are in that grand and solemn style of composition which should ever distinguish music appropriated to the service of the church. Many of the anthems were made on the most joyful occasions, that is to say, thanksgivings for victories obtained over our enemies during a war in which the interests of all Europe were concerned : upon the celebration of which solemnities it was usual for queen Anne to go in state to St. Paul's Cathedral.* Others are no less worthy to be admired for that majestic and sublime style in which they are written, and of which the following, viz. ' O Lord rebuke me not,' ' Praise the ' Lord, my soul,' ' God is gone up,' and ' O Lord ' thou hast searched me out,' are shining examples. Dr. Croft died in August 1727, of an illness occasioned by his attendance on his duty at the coronation of the late king, George II. A monument was erected for him at the expence of one of his most intimate friends and great admirers, Humphrey Wyrley Birch, Esq., a gentleman of good estate, and a lawyer by profession,! whereon is inscribed the following character of him : — * As ' I will always give thanks,' for the victory Oudena.rde ; * Sinpr ■ unto the Lord,' for the success of oui arms in the year 1708. Many other anthems were composed by Dr. Croft and others on tlie like occasions,, which are not in print. See Sayletf's Collection ofATtiliems. + This person was remarkable for the singularity of his character. He was a man of abilities in his profession : he was of counsel for Woolston in the prosecution against him for his blasphemous publications against the miracles of our blessed. Saviour, and mdde for him as good a defence as so bad a cause would admit of. He was possessed of a good estate, and therefore at liberty to gratify bis passion for music, which was avery strange one, for be chiefly affected that which had a tendency to draw tears. Of all compositions he most admired the funeral service by Purcell and Croft, and would leave the circuit and ride many miles to Westminster Abbey to hear it. At the funeral of ciueen Caroline, for the greater con,venienee of hearing it, he, with another lawyer, who was afterwards a judge, though, neither of them could sing a note, walked among the choirmen of the abbey, each, clad in a surplice, with a music paper in one hand and a taper in the other. Dr. Croft was a countryman of Mr. Wyrley ]Qirch, which circumstance, together with his great merit in his profession, was Mr. Birch's inducement to the above-mentioned act of munifieenee, the erection of a monument for him. Chap. CLXVII. AND PRACTICE OF MUSIC. 797 Hie juxta Sepultos est GuiiELMus Croft Musica3 Doctor, Regiiq ; Sacelli et llujusce Ecdtesise CoBegutiE Organists. Harmoniam, A prseclarissimo Modulandi Artifice, Cui alterum jam claudit latus, Feliciter derivavit ; Suisq ; celebralis Operibus, Quse Deo consecravit pluriraa, Studiose provexit : Nee Solennitate tan turn Niunerorum, ,Sed et Ingenii, et Morum, et Vultils etiam Suavitate, Egregie commendavit. Inter Mortalia Per cpiin^uaginta fere Annos Cum summo versatus Caaudore, (Neo ullo Huinanitatis Ofiici conspectior Quam erga suos quotquot instituerit Alumnos Amicitia et charitate veie PatemS.) XIV Die Augusti, A. D. m-dcc. xxvii. Ad Coelitum demigravit Chorum, Prffisentior Angelorum Concentibus Suum adstiturua Hallelujah. Expergiscere, mea Gloria ; Experglscere, Nablium et cithara ; Expergiscar ego multo mane. Thus translated ; 'Near this place lies iaterred ' William Croft, doctor in music, organist o-f the 'royal chapel and this collegiate chmrch. His 'harmoay he happily derived from that excellent ' artist in modulation who lies on the other side of 'him.,* In his celehrsited wgnks, which for- the 'most part he coBseerated tO' God, he made a dili- ' gent progress ; nor was it by the solemnity of the ' numbers alone, but by the force of his ingenuity, 'and the sweetm-eas of his mannersi and even. Ins • countenance, that he excellently recommended ' them. Having resided among mortals for fifty ' yearsi behaving with the utmost candour (not ' more conspicuous for any other office of humanity ' than a friendship and love truly paternal towards ' all whom he had instrxucted), he departed to the ' heavenly choir on the fffurteenth day of Aiignist, ' 1727, that,, being near;, he might add his own ' Hallelujah to the concert of angels. Awalie np ' my glory, awate- psaltfiiiy ami harp, I myseK ■will ' awate right early .'f Dir. Croft was a grave andi decent man, and heing a sfincere lover of hia art, devoted himself to the study and practice of it. The bent of his genius led him to chnreh music; nevertheless he composed and pablished six sets of tunes for two violins and a bass, which in his youth he made for several plays. He also composed and published six Sonatas for two flutes,, and six Solos for a SMe and a bass> The flute, as we have already observed, being formerly a favoDirite instrument in this kingdom. There are alsO' extant in print songs, of hia com- position to a considerable ntnnber, and some in manuscript, that have never yet appeared ; among the latter is that well-known song of Dr. Byrom, ' My time O ye Muses,'J first published in the Spectator, No. 603w to which Dr. Croft made the following tender and pathetic air : — ne - ver fond shep-herd like Co liii Avas blest.. But now she is gone and has left, me lie - -hind. What a mar-vellous change om a sud-den. I find; When' thfiigs were as fine as eouM * Dr. Blow.. f Paatoi PvS. verse 9. t The lady tBe subject at the above ballad^ was the eldest daughter of the femoua Dr. Richard Bentley, and a university beauty at the time when the author was at college; she was married to Dr. Richard Cumberland, late bishop- of Kilmore, a son of Dr. Cumberland, bishop of Peterborough, the author of that noble antidote against, the poraon of Hohbes's philosophy, ' De Legibus Naturae Disquisltio Fhilosophica^' and died a few months ago. 798 HISTOEY OF THE SCIENCE Book XVIII. pos - si-bly 'oe; I thought t'was the spring, 1 thought t'was the spring, but a - las ! a - las! it was she. Doctor William Cboft. BOOK XVIII. CHAP. CLXVIII. EoBERT Crbighton, doctor in divinity, was the son of Dr. Robert Oreighton of Trinity college, Cambridge, who was afterwards bishop of Bath and Wells, and attended Charles II. during his exile. In bis youth he had been taught the rudiments of music, and entering into holy orders, he sedulously applied himself to the study of church music ; he attained to such a degree of proficiency therein, as entitled him to a rank among the ablest masters of his time. In the year 1674 he was appointed a canon residentary, and also chanter of the cathedral church of Wells; and, being an unambitious man, and in a situation that afforded him opportunities of indulging his passion for music, he made sundry compositions for the use of his church, some of which are remaining in the books thereof. He died at Wells in the year 1736, having attained the age of ninety-seven. Dr. Boyce has given to the world an anthem for four voices, ' I will arise and go to ' my father,' composed by Dr. Oreighton, which no one can peruse without regretting that it is so short. William Turner, one of the second set of chapel children, and a di^iple of Blow; when he was grown up, his voice broke into a fine countertenor, a circumstance which procured him an easy ad- mittance into the royal chapel, of which he was sworn a gentleman on the eleventh day of October, 1669, and afterwards was appointed a vicar choral in the cathedral church of St. Paul, and a lay vicar of the collegiate church of St. Peter at Westminster. In the year 1696 he commenced doctor of his faculty in the university of Cambridge. In the choir -books of the royal chapel, and of many cathedrals, is an anthem, ' I will alway give thanks,' called the club anthem, as having been com- posed by Humphrey, Blow, and Turner, in conjunc- tion, and intended by them as a memorial of the strict friendship that subsisted between them. Dr. Turner died at the age of eighty-eight, on the thirteenth day of January, 1740, and was buried in the cloister of Westminster Abbey, in the same grave and at the same time with his wife Elizabeth, whose death happened but four days before his own. They had been married but a few years short of seventy, and in their relation exhibited to the world an illustrious example of conjugal virtue and felicity. The daughter and only child of these two excellent persons was married to Mr. John Robinson, organist of Westminster Abbey, and also of two parish churches in London, namely, St. Lawrence Jewry, and St. Magnus, and of her further mention will be made hereafter. She had a good voice, and sang in the opera of Narcissus, performed at the Haymarket in 1720.* * In the Memoranda of Anthony Wood mention is made of a William John Goldwin was a disciple of Dr. William Child, and on the 12th day of April, 1697, suc- ceeded him as organist of the free chapel of St. George at Windsor. In the year 1703 he was ap- pointed master of the choristers there ; in both which stations he continued till the day of his death, which was the 7th of November, 1719. Of the many anthems of his composition. Dr. Boyce has selected one for four voices, ' I have set God alway before me,' which, in respect of the modulation, answers precisely to. the character which the doctor has given of the music of Goldwin, viz., that it is singular and agreeable. Charles King, bred up in the choir of St. Paul's, under Dr. Blow, was at first a supernumerary singer in that cathedral for the small stipend of 14Z. a year. In the year 1704 he was admitted to the degree of bachelor in music in the university of Oxford, and, upon the death of Jeremiah Clark, whose sister was his first wife, was appointed Almoner and master of the children of St. Paul's, continuing to sing for his original stipend, until 31 Oct. 1730, when he was admitted a vicar choral of that cathedral, according to the customs and. statutes thereof. Besides his places in the cathedral, he was permitted to hold one in a parish church in the city, being organist of St. Bennet Fink, London : in which several stations he continued till the time of his death, which happened on the seventeenth day of March, 1745. With his second wife he had a fortune of seven or eight thousand pounds, which was left her by the widow of Mr. Primatt the chemist, who lived in Smith- field, and also in that house at Hampton which is now Mr. Garrick's. But, notwithstanding this acces- sion of wealth, he left his family in but indifferent circumstances. King composed some anthems, and also services to a great number, and thereby gave occasion to Dr. Greene to say, and indeed he was very fond of saying it, as he thought it a witty sen- timent, that ' Mr. King was a very serviceable man.' As a musician he is but little esteemed ; his compo- sitions are uniformly restrained within the bounds of mediocrity ; they are well known, as being fre- quently performed, yet no one cares to censure or commend them, and they leave the mind just as they found it. Some who were intimate with him say he was not devoid of genius, but averse to study ; which character seems to agree with that general indolence and apathy which were visible in his look Turner, the son of a cook of Pembroke college, Oxon. who had been bred a chorister in Christ-church under Mr, Low, and was afterwards a singing- man in that cathedral : this might be Dr. Turner ; and upon searching the books of the parish of St, Margaret, Westminster, it appears that on the sixth day of April, 1708, Henry Turner was elected organist of that church in the room of Bernard Smith, being recommended by Mr, John llobinson : probably, therefore, this Henry Turner was a brother of the doctor. Chap. CLXVIII. AND PKACTICE OP MUSIC. 799 and behaviour at cliiirch, where he seemed to be as little affected by the service as the organ-blower. John Ihham, or, as his name is sometimes cor- ruptly spelt, Isum, though little known in the musical world, was a man of abilities in his profes- sion. Where he received his instruction in music is not known. He was the deputy of Dr. Croft for several years, and was one of the many persons who went from London to Oxford to assist in the per- formance of his exercise for his doctor's degree. It appears that Mr. Isham, together ^^^th William Morley, a gentleman of the royal chapel, were ad- mitted to the degree of bachelor in music at the same time that Croft commenced doctor. In the year 1711 Dr. Croft resigned the place of organist of St. Anne's, Westminster, and by his interest in the parish Isham was elected in his stead. Isham had no cathedral employment, nor any place in the royal chapel ; for which, considering his merit in his profession, no better reason can be sug- gested, than that perhaps he had not the recommen- dation of a good voice ; at least this is the only way in which we are able to account for his being so fre- quently a candidate for the place of organist to several churches in and about London. To that of St. Anne, Westminster, he was chosen on the twenty-second day of January, 1711. On the third day of April, 1718, he was elected organist of St. Andrew, Holborn, wi,th a salary of fifty pounds a year; upon which occasion Dr. Felling, the rector of St. Anne's, moved in vestry that he might be per- mitted to retain his place in that church, which motion being rejected, Isham quitted the place ; and a vacancy at St. Margaret's, Westminster, happening soon after, he stood for organist of that church, and was elected. He died about the month of June, 1726, having, with very little encouragement to such studies, made sundry valuable compositions for the use of the church. The words of two anthems composed by him, viz., ' Unto thee, Lord,' and ' sing unto the Lord a new song,' are in the collection heretofore mentioned to have been made by Dr. Croft, and pub- lished in 1712. He joined with William Morley, above mentioned, in the publication of a collection of songs composed by them both, among which is the following one for two voices : — BU-RY de - lights my rov - jng, rov ing eye, my rov - ing — I. ' • «-# r d -j..^. ^= P=I s=§= Ep^=PE mg eye, to view, to view the beau - ties there : but when As - ^^m J 3— P3 e'^ =rt — ; F" r '■ Efe EE^^P mg, rov - ing eye, to view, to view the beau - ties there ; but when As - te - ria, but when As te ria, but when As te - ria I . . . es - py, I see, I see a bright - er fair. So fierce, BO fierce, 60 fierce m^^^^^^^^^^^^^ see a bright -er fair. So fierce. so fierce, ^^m^^^^^^^^^m ^^^ her pow'r - ful gow'r - ful glan ces shine, and all, . . all ■ m - "^ a -^- a m fierce her pow'r - ful pow'r - ful glau ces shine, and all, all, HTKTORT OF THE SCIElirCE Book XVni. a ll . . ■ her charms are such, we think her some-thing so di - - vine, we can - not all .. , , . her channs are such„ we think her some-thing so di . vine, we can - not I^^Se^ can - not, can - - not gaze too much. gaze,: not gaze,. can - not, can - too much. JOHH ISHAM. Daniel Henstridge, organist of tie cafhedral cliTirch of Canterbury about tie year 1710, composed sundry anthems. Tie words of some of tiem. are in the collection entitled Divine Harmony, ierein before mentioned to have been publisisd by Dr. Croft in 1712. James Hesletine, a disciple of Blow, was organist of tie catiedral ciurci of Duriam, and also of the collegiate ciurci of St. Oatierine, near tie Tower, tie duty of wiici latter office ie executed by deputy. He was an. excellent catiedral musician, and com- posed a great number of anthems, a few wiereof, namely, ' Beiold how good and joyful,' and some otiers, are to be found in the choir books of many of the csBthedrals of tHs kingdom; otiersyto a g;reaA number, he caused to be copied into tie books of iis own cathedral ; but having, as he conceived, been slighted, or otierwise illtreated by tie dean and ciapter, he in revenge tore out of the dmrci- booka all his compositions that were there to- be found. He died in an advanced age about twenty years ago» Maurice GREBWRwastie son of a Londton clergy- man, viz., Mr. Thomas Greene, vicar of St. Olave Jewry, and nepiew of Join Greene, serjeant at law. He was brougit up in St. Paul's cioir under Mr. King, and upon tie breaking of iis voice was taken apprentice by Mr. Eiciard Brind, tien organist of tiat catiedral. Being an ingenious and studious- young, man, he was very soon diatinguished, as well for his skill in musical composition, as for an elegant and original style in performing on the organ. About tie year 1716, his uncle then being a member of Sergeant's-Inn, whici is situate in tie parisi of St. Dunstan in tie Westi, London, iad interest enougi to procure for his nephew, though under twenty years of age, tie place of organist of tiat paiisi chaareh. In February, 1717, Daatiel Purcell, organist of St. Andrew's, Holborn, being tien lately dead, and tie parisi iaving agreed to make tie salary fifty pounds a year, Greene stood for the place, and carried it ; but tie year following Brind dying, Greene was by tie dean and chapter of St. Paul's appointed iis successor; and upon this his prefernient ie quitted both iis. places, "Tie dean of St. Paul's at tMs time was Dr. Godolpiin, a musical man, and a friend of Greene, and ie by his influence witi the ciapter procured, in augmen- tation of tie ancient appoantmenrfc or salary of tie organist, tie addition of a lay vicar's stipend. In the year 1730 Idr. Greene was created doctor in music of tie university of Cambridge, and at the same time was honoured with the title of public professor of music in tiat university, in the room of Tudway, who it is supposed died some short time before; As there will be farther occasion to speak of Dr; Greene, the conclusion of this memoir con- cerning him is postponed. Frequent occasion has been taken,, in the conirse of this work, to mention Estienne Roger-, and Michael Charles Le Gene, two booksellers of Amsterdam. These persons were tie greatest publisiers of music in Eiirope ;-• and. as tiey greatly improved the method of printing music on copper plates, are entitled to particular notice. And here it must be observed that the practice now spoken of is supposed to have begun at. Rome about the time of Frescobaldi, whose second book of Toccatas -was printed there in the year 1637, on copper plates engraven. The practice was adopted by tiie Germans and tie French. Tha English also gave into it, as appears, by a collection of lessons by Dr. Bull, Bird, and otiers, entitled ' Partienia, or tie Maidenhead of tie first Music ' tiat ever was printed for the Virginals.' Net- witistanding these instances, it appears in general tiat music eontinued in most countries to be printed on letter-press typea ; and, to speak of England only, it prevailed so greatly iere, tiat but for tie single songs engraven by one Thomas Cross,-* wio dwelt in Oatierine-wieel-court near Holborn, or as it was also called, Snow-bill Conduit, and publisied from time to time, about tie beginning of tiis century, to a great number, we should scarce iave known tiat any otier method of printing music existed among us. Playford', whose shop, daring the space of neai half a century, was the resort of all musicians and practitioners in and about London, seems actually to have been himself a printer of music, at least for a great part of his life;. His printing-iouse was. in Little !&;itain,f and there ie bred up to the business * This person is mentioned by Harry Hall in some verses of his preAlfed to the second part of the Orpheus Britannicus ; and in his verses addressed to. Df . B-Iow upoa the pu&I£eatif this person has a place in page 595 of this work. Adami says that he excelled both in the chamber and the theatric styles; and that he composed an opera, La Dori, Teckoned a masterpiece in its kind. In the course of this worit are contained accounts of the following persons, members of the college of pontifical singers, viz., Christopher Morales, Paleetrina, Qio. Maria Narnino, Felice Anerio, Luca Marenzio, Ruggiero Giovanelii, Tomasso Lodovico ■da Vittoria, Antimo Liberati, and Matteo Simonelli. Tie substance of these severally is herein before inserted in the article respecting each person. * Of these one ©f the most celebrated is a work Bntitled • Messe -dell* ' Abbate Domenico dal Pane, Soprano della Cappella Fontificla, k quattrfi, * cinque, sei, ed otto Vooi, eBtratte onia, 1687/ ThislsaooUection of naasses made onthefollowing mo- tets of Palestrina, * Doctor bonus,' from which the anthem ' We have heard with our ears* is taken, and ' Doniinc quando veneris,' k 4 voci. ' Stella ■ qiiam viderant Magi,' ' O Beatum Virum,' and ' Jubilat Deo,' i, 5 voci, * Canite Tuba in Sion,' and * Fralrea ^o enim accepi,' d, 6 vocL The design of Adami is evidently to exalt into importance the college of pontifical singers. A work of this kind afforded the author a fair opportunity of deducing the history of choral singing and church music, from the time of its first introduction, through a variety of periods, in some whereof it was in danger of an almost total repudiation : The ma- terials for such an historical account are very copious, and lie dispersed in the writings of the ecclesiastical historians, ritualists, and the Corpus Juris Oanonici; and, above all, in the Lexicon of Dominicus Macrus, cited by him ; hesides what was to he extracted from Bulls, Breviates, and other pontifical instru- ments, containing grants in their favour. It seems that Adami was aware of the information that these would afford, for he has cited Durandus, Cardinal Bona, and other writers on the £ul)ject ; but his extracts from them are very brief and unsatisfactory. The acconnt of the contest between tiie Roman and French singers in the time of Charlemagne, though related by Baronins and the French chroniclers, with a variety of curious particulars, Adami has hut slightly mentiSned ; which is the more to be wondered at, seeing that tlie issue of the contest was a triumph of the Roman over the Galilean ritual. The description of the several functions performed in the pontifical chapel we may suppose to be very accurate ; and we learn from it that many com- positions of great antiquity, and which are in the collections of the curious in tliis Idngdom, are still held in high estimation. The lives of such of tlie pontifical singers as he has thought proper to distinguish, are simple narra- tions of uninteresting facts ; they can no way be considered as portraits of the persons whom they are intended to represent ; and they are greatly deficient in respect of those reflections, which a pau- city of events renders necessary in biographical writings ; so that, upon the whole, Adami's work is little more tlian an obituary, or at best a register ; and if we allow it to be a correct one, we give it all due praise. CHAP. CLXX. The Italian musie had for near fifty years been making its way in this country, and at the beginning of this century many persons of distinction, and gen- tlemen, had attained to great proficiency in the per- formance on the viol da gamba, the violin, and the iflute. In the year 1710 a number of those, in con- junction with some of the most eminent masters of the time, formed a plan of an academy for the study and praictice of vocal and instrumental harmony, to be held at the Crown and Anchor tavern, opposite St. Clement's ehurch, in the Strand, in which was a spacious room, in every respect proper for musical performances. The principal persons engaged in this laudable design were Mr. Henry Needier, a gen- tleman who held a considerable post in the excise ; Mr. John Christopher Pepmsch, Mr. John Ernest Galliard, a fine performer on the hautboy, and a very elegant composer ; Mr. Bernard Gates, of the c[ueen's 806 HISTORY OF THE SCIENCE Book XVIII. chapel ; and many other persons, whose names at this distance of time are not to be recovered. _ The foundation of this society was laid in a library, consisting of the most celebrated composi- tions, as well in manuscript as in print, that could be procured either at home or abroad ; these were a vo- luntary donation from several of the members of the society. With the assistance of the gentlemen of the chapel royal, and the choir of St. Paul's, and the boys belonging to each, and the small contribution of half a guinea a member, the academy set out, and greatly to the improvement of themselves, and the delight of such as heard their performances, this in- stitution continued to flourish till the year 1728, when an accident happened that went very near to destroy them, of which, and other particulars of their history, a relation will be given hereafter. Mr. Henry Needler (a Portrait), was the grand- son of a gentleman in the army. Colonel Needier, a royalist, who served under General Monk about the time of the restoration, and a brother's son of Mr. Henry Needier of the Navy-office, a collection of whose poems was published in 1724. His father was a good performer on the violin, and instructed him in the practice of that instrument ; but having attained in a short time to a considerable proficiency on it, he was committed to the care of Purcell, by whom he was instructed in the principles of harmony. After that he became a pupil of Mr. John Banister, who played the first violin at Drury-lane theatre, and was esteemed one of the best performers in his time. Being an excellent penman and arithmetician, before he had attained the age of twenty-five he was promoted to the place of Accountant-general of the Excise, the duties of which he discharged with the utmost care and fidelity. Notwithstanding that multiplicity of business in which his office involved him, and the close attendance which it obliged him to, having acquired in his youth a habit of industry and application, he found means to prosecute his musical studies, and to form connections of the best kind. At that time there were weekly concerts at the houses of the duke of Eutland, the earls of Burlington and Essex, lord Percival, father of the late earl of Egmont, and others of the nobility, at which Mr. Needier was always a welcome visitant as a gentleman performer. 'The soundness of his judgment and the goodness of his taste led him to admire the music of Corelli, and it is said that no person of his time was equal to him in the per- formance of it, and he stands distinguished by this remarkable circumstance, that he was the first person that ever played the concertos of Corelli in England, and that upon the following occasion. He was used to frequent a weekly concert at the house of Mr. John Loeillet, in Hart-street, Covent-garden. There lived at that time opposite Southampton-street, in the Strand, where Mr. Elmsley now resides, Mr. Prevost, a bookseller, who dealt largely to Holland. It happened that one day he had received a large consignment of books from Amsterdam, and among them the concertos of Corelli, which had just then been published; upon looking at them he thought of Mr. Needier, and immediately went with them to his house in Clement's-lane, behind St. Clement's church in the Strand, but being informed that Mr. Needier was then at the concert at Mr. Loeillet's, he went with them thither. Mr. Needier was trans- ported with the sight of such a treasure ; the books were immediately laid out, and he and the rest of the performers played the whole twelve concertos through, without rising from their seats.* Mr. Needier was one of that association which gave rise to the establishment of the Academy of Ancient Music, and being a zealous friend to the institution, attended constantly on the nights of per- formance, and played the principal violin part. The toils of business he alleviated by the study of music, and in his leisure hours employed himself in putting into score the worlcs of the most celebrated Italian masters, with a view to improve himself, and enrich the stores of the academy. He dwelt for the greatest part of his life in an old- fashioned house in Clement's-lane, behind St. Cle- ment's church, in the Strand, and was there frequently visited by Mr. Handel, and other the most eminent masters of his time. He married late, and having no children, nor any worldly pursuits to engage him, other than the discharge of the duties of his office, in which he was very punctual, he indulged himself in his love of music to such a degree, as to forego all other pleasures for the sake of it ; and the delight he took in it seemed to have such an effect upon his mind, as to induce in him a habit of cheerfulness and good- humour. When he was at the Academy he seemed to be at home ; strangers that came as visitors were introduced to him at their first entrance : he did the honours of the society in a manner becoming a gen- tleman, and was in his deportment courteous and obliging to all. He was a very fine and delicate performer on the violin, and, till he was advanced in years, when his arm grew stiff, was equal, in point of execution, to the performance of any composition that v/as not too difficult to be good for anything, and in the perform- ance of Corelli's music, in particular, he was not ex- ceeded by any master of his time. * Besides Mr. Needier, other gentlemen, not of the profession of music, have heen distinguished for their skill and performance. Mr. Valentine Oldys, an apothecary in Black-Friars, was the author of several compositions in Court Ayres, published in 1655. Lord Keeper North, V7hen young, was one of the greatest vlolists of his time, and afterwards became a good composer, and an excellent theorist. Dr. Nathaniel Crew, afterwards lord Crew, bishop of Durham, when at Oxford played his part in concert on the viol da gamba. The family of the Harringtons, descendants of Sir John Harrington, has produced several both theoretic and practical musicians. Sir Roger L'Estrange was an excellent violist. Mr. Sheiard, an apothecary in Crutched-Friais, played finely on the violin, and composed two operas of Sonatas. Dr. Caesar, a physician of an ancient family at Rochester, many of whose ancestors are interred in that cathedral, composed two excellent Catches, printed in the Pleasant Musical Companion, published in 1726. Col. Blatliwayt, whose picture when a boy, painted by Kneller, hangs in Hie music-school, Oxford, was a prodigy on the harpsichord at fourteen. He had been taught that instrument abroad by Alessandro Scarlatti. Dr. Arbuthnot composed an anthem : the words of it 'As pants the hart, are in a collection printed in 1712, without a name, but made by Dr. Croft, who wrote the preface to the book. In the collection of services and anthems made by Dr. Tudway for the earl of Oxford, in seven volumes, now in the British Museum, is a Te Deum and Jubilate com- posed by the hon. and rev. Mr. Edward Finch, afterwards dean of York, temp. Anne. Mr. Bendall Martyn, secretary to the commisioners of the Excise.-played on the violin, and composed fourteen Sonatas for that instrument which were published upon his decease about fifteen years ago. And lastly, Capt. Marcellus Laroon, the son of old Laroon the painter, played on the violoncello, and composed Solos for that instru- ment. This gentleman died at Oxford in 1772 Ghap. CLXX. AND PKACTICE OP MUSIC. 807 This ingenious and amiable man died on the eighth day of August, 1760, aged seventy -five, and was buried at Frinsbury, near Rochester.* During the time that Britton's concert subsisted, it was resorted to by the most eminent masters, who gave their performance gratis. Upon the absence of such performers as Banister, Corbett, or such others as usually played the principal violin, that part was taken by Mr. Woolaston, the portrait painter, of whom mention has been made before. He was a sound performer on that instrument, as also on the flute. Being but an indifferent painter, he, upon Britton's decease, with a view to the increase of his acquaintance, and consequently his business, gave a concert on Wednesday evenings at his house in Warwick-court, in Warwick-lane, Newgate-street, which was frequented by the best families in the city, especially Dissenters, till the establishment of the concert at the Castle tavern in Paternoster-row, of which there will shortly be occasion to speak. In the interim it is necessary to take notice that upon the beaking up of Britton's concert, the persons that frequented it formed themselves into little societies, that met at taverns in different parts of the town for the purpose of musical recreation. One of these was at the Angel and Crown tavern in White- chapel, where the performance was both vocal and instrumental : the persons that frequented it were Mr. Peter Prelleur, then a writing-master in Spital- fields, but who played on the harpsichord, and after- wards made music his profession, and by study and application became such a proficient in it as to be ranked among the first masters of his time. Mr. John Gilbert, a mathematical instrument maker, and clerk to a Dissenters' meeting in Eastcheap, and Mr. John Stephens, a carpenter in Groodman's-fields, two persons with good voices, and who had been used to sing Purcell's songs, were also of the number. Others of Britton's friends accepted a hospitable in- vitation to the house of Mr. William Caslon, the letter founder. This person had been bred to the business of engraving letters on gun-barrels, and served his apprenticeship in the Minories ; but, being an ingenious man, he betook himself to the business of letter-founding, and by diligence and unwearied application, not only freed us from the necessity of importing printing types from Holland, but in the beauty and elegance of those made by him surpassed the best productions of foreign artificers. Mr. Caslon meeting with encouragement suitable to his deserts, settled in Ironmonger-row, in Old- street, and being a great lover of music, had fre- quent concerts at his house, which were resorted to by many eminent masters : to these he used to invite his friends, and those of his old acquaintance, the companions of his youth. He afterwards removed to a large house in Chiswell-street, and had an organ in his concert-room ; after that he had stated monthly concerts, which for the convenience of his friends, and that they might walk home in safety when the performance was over, were on that Thursday in the * On Tuesday se'nnight died, at Dorking in Surrey, Mrs, Hester Needier, relict of Henry Needier Esq, in the 9\st year of her age; a lady greatly beloved by all who hnew her, for Iter benevolent disposition. — St. James* Chronicle, June 5, 1783. month which was nearest the full moon, from which circumstance his guests were wont humorously to call themselves Lunatics. The performers at Mr. Oaslon's concert were Mr. Woolaston, and oftentimes Mr. Charles Proud, organist of Cripplegate church, to whom, whenever he came, Mr. Woolaston gave place, and played the second violin; Mr. William De Santhuns, who had been an organist in the country, and succeeded Mr. Prelleur as organist of Spitalfields ; Mr. Samuel Jeacock, a baker at the corner of Berkeley-street in Red Lion-street, Clerk- enwell, and many others, who occasionally resorted thither. The performance consisted mostly of Corelli's music, intermixed with the overtures of the old English and Italian operas, namely, Clotilda, Hydaspes, Camilla, and othei-s, and the more modern ones of Mr. Handel. In the intervals of the per- formance the guests refreshed themselves at a side- board, which was amply furnished; and, when it was over, sitting down to a bottle of wine, and a decanter of excellent ale, of Mr. Oaslon's own brew- ing, they concluded the evening's entertainment with a song or two of Purcell's sung to the harpsichord, or a few catches, and about twelve retired. These and a few others for the same purpose were select meetings, but there were also about this time, though but very few in comparison with the present, public concerts, to which all were admitted that brought either tickets or money. Performances of this kind had been exhibited from a^out the year 1700, at the great room in York-buildings and other places, but these were discontinued about the year 1720, and Stationers' Hall in the city, and the Devil tavern at Temple-bar, were the places from whence concerts were most frequently advertised. The method of announcing them was by advertisement in the papers, and bills posted up, in which the names of the principal singers were generally inserted. There was one Mr. Charles Young, organist of the church of Allhallows, Barking, who had three daughters, namely, Cecilia, Esther, and Isabella ;f the first of these had an excellent voice, and was a good singer; at the concert here spoken of she was generally the first performer; and as few people then resorted to concerts but such as were real lovers of music, three or four performances of this kind in a winter were found to be as many as the town would bear ; and these were in a great measure dis- continued upon the establishment, in 1724, of the Castle concert in Paternoster-row, of which the fol- lowing is the history : — There dwelt at the west corner of London-house- yard, in St. Paul's church-yard, at the sign of the Dolphin and Crown, one John Young, a maker of violins and other musical instruments; this man had a son whose Christian name was Talbot, who had been brought up with Greene in St. Paul's choir, and had attained to great proficiency on the violin, as Greene had on the harpsichord. The merits of the two Youngs, father and son, are cele- brated in the following quibbling verses, which were set to music in the form of a catch, printed in the Pleasant Musical Companion, published in 1726 : — t Afterwards Mrs. Arne and Mrs, Zampe. 3a 808 HISTOEY OF THE SCIENCE. Book XVIIL You scrapers that want a. good fiddle well strung, Tou must goto the man that is old while he's young, But if this same fiddle you fain would play hold. You must go to- his son, who'll he young when he's old. There's old Young and young Young, hoth men of renown, Old sells and young plays the best fiddle in town, Young and old live together, and may they live long. Young to play an old fiddle, old to sell a new song. This young man, Talbot Young, together with CFrcene and several persons, had weekly meetiags at his father's house for the practice of music. The fame of this performance spread far and wide, and in a few winters the resort of gentlemen performers was greater than the house would admit of; a small subscription was set on foot, and they removed to the Queen's Head tavern in Paternoster-row. Here they were joined by Mr. Woolaston and his friends, and also by a Mr. Franchville, a fine performer on the viol da, gamba. And after a few winters, being grown rich enough to hire additional performers, they removed in the year 1724; to the Castle in Pa- ternoster-row, which was adorned with a picture of Mr. Young painted by Woolaston. The Castle concert continuing to flourish for many years, auditors as well as performers were admitted subscribers, and tickets were delivered out to the members in rotation for the admission of ladies. Their fund enabling them, they hired second-rate angers from the opera ; and many young persons of professions and trades that depended upon a numerous acquaintance, were induced by motives of interest to become members of the Castle concert Mr. Young continued to perform in, this society till the declining state of his health obliged him to quit it; after which time Prospero Castrucci, and other eminent performers in succession continued to lead the band. About the year 1744, at the instance of an alderman of London, now deservedly forgotten, the subscription was raised from two guineas to five, for the purpose of performing oratorios. From the Castle this society removed to Haberdashers' hall, where they continued for fifteen or sixteen years ; from thence they removed to the King's Arms in Comhill, where they now remain. Upon the plan of the Castle concert another society was fornied at the Swan tavern, now the King's Arms, in Exchange Alley, Comhill. The master of the house, one Barton, had been a dancing-master, and loved music ; the great room in his house was one of the best for the purpose of any in London; a great number of merchants and opulent citizens raised a subscription for a concert about the year 1728 : Mr. Obadiah Shuttleworth played the first violin ; after Mm Mr. John Clegg, then Mr. Abraham Brown, and after him Mr. Michael Christian Festing. This so- ciety flourished for about twelve years, but it broke into factions, which were put an end to by the me- lancholy accident of a fire, which, on the evening of a performance, on the twenty-fourth da,y of March, 1748, consumed the books and instruments, and among the latter a fine organ made by Byfield, and laid the house and adjacent buildings in ashes. CHAP. CLXXI. It is now necessary, in order to lay a foundation for an account of the introduction of the Italian opera into this kingdom, to recur to the beginning of the century, and, having mentioned Scarlatti, Gasparini, Bononcini, Conti, and some other com- posers in the theatric style, to take notice of some of the most eminent instrumental performers of the time, as also of a few of the most applauded singers of both sexes. At this time there were many performers in Italy, who for their excellence on various instruments were celebrated throughout Europe; namely, for the harp- sichord, Bernardo Pasquini, and his scholar Bernardo Gaffi, as also Alessandro Scarlatti ; these were settled at Eome. At Venice were Pol- LAEOLi, and a son of Scarlatti, called Scarlattino, the wonder of his time. For the violin at Bome Corelli was without a rival : next to him his scholar Mattbo and Antonio Montenari were most es- teemed. At Florence Martino Bitti was reckoned the most famous, and at Venice Albinoni ; at Naples Giovanni Carlo Caito and Pedrillo, as also Gio- vanni Antonio Guido ; and above all. Carlo Ambrosio Lunati, of Milan, surnamed II Gobho della Regina, who with Sifacio, a famous singer, was here in England in the reign of James II. For the violoncello Buononcini was indisputably the first ; at Turin, Fiore ; at Bologna, Giuseppe Jachini ; and at Rome, Pippo Amadio were in the highest degree of reputation. On the theorbo, Tedeschino of Florence was es- teemed a most capital performer ; but he was afterwards excelled by Conti, he who was in England in the year 1708, and had a hand in the opera of Clotilda. Contemporary with Corelli and Pasquini at Eome was Gaetano, an admirable master on the theorbo, who died very young. These three persons were performers at the same time in the opera at Rome. PETRnccio and Dombnico Sarri of Naples were at the same time celebrated for their performance on that instrument ; and Galletti on the cornet was deemed the greatest performer in the world. Of singers, he that was known by the name of Sifacio, from his having appeared in the character of Syphax in some opera abroad, was reckoned the first. He had been in England a singer in the chapel of James II., but, after a short stay, returned to Italy ; and about the year 1699, in his passage from Bologna to Perrara, was murdered ; he had a very fine voice, and was remarkable for a very chaste and pure manner of singing, and fine expression. LtriGiNO, a singer in the chapel of the emperor Joseph, was also in high repute. He died in 1707, and had been a scholar of Pistocchi, who, as having by the introduction of a chaste, elegant, and pathetic style, greatly improved the practice of vocal music among the Italians, was of such eminence, , that he ' merits to be particularly noticed. Francesco Antonio Pistocchi had a very fine Chap. GLXXI. AND PRACTICE OF MUSIC. B09 Boprano voice, which by a dissolute life he lost, to- gether with a fortune which he had acquired by the exercise of it. In this distress he was reduced to the necessity of becoming a copyist, in which em- ployment, by his attention and assiduity, he arrived at such a degree of skill in music, as to be able him- self to compose. In the course of a few years he discovered that his voice was returning; and having experienced great misery while he was deprived of that faculty, he practised incessantly till it settled into a fine contralto. With this valuable acquisition he determined to travel, and accordingly visited most of the courts in Europe ; and from a variety of manners in singing formed that elegant style, which the more modern refinements in singing render it difficult to conceive of. The encouragement he met with, and the offer of the employment of chapel- master to the Margrave of Anspach, with a handsome stipend, induced him to settle at that court, where in the possession of a newly acquired fortune he con- tinued many years. At length he returned to Italy, and retired to a convent, in which he died about the year 1690. There is extant of Pistocchi's composition, a col- lection of cantatas, duets, and songs, entitled ' Schefzi-Musicali,' dedicated to Frederic III., Mar- grave of Brandenburg Anspach, published by Estienne Eoger of Amsterdam ; at the end are two airs, one to French the other to German words ; in the former he professes to have imitated the style of Lully, in the latter that of the German composers. There were about the beginning of this century many other fine singers, but by some it is said that the excellences of them all were united in Nicolini Grimalbi, called Signor Nicolini di Napoli, who, not more for his singing than his personal merit, had been dignified with the title of Oavaliero di San Marco. This person came into England in the year 1708, and made his first appearance in the opera of Camilla. Mr. Galliard, in a note in his translation of Tosi's Opinioni de' Oantori, says that he was both a fine actor and a good singer. Mr. Addison in the Spectator, No. 405, has given him the same character, and complimented him on the generous approbation he had given to an English opera, Calypso and Telemachus, written by Mr. Hughes, and set by Mr. Galliard, when the other Italians were in a confederacy to ruin it. Nicolini seems to have enjoyed the friendship both of Steele and Addison. He entertained an affection for them and their writings, and was inclined to study the English language, for the pleasure of reading the Tatler.* He was in England at two or three different periods : upon his quitting it the first time it was supposed he meant not to return ; and the assurance thereof gave occa- sion to the following verses, published in Steele's Miscellany, which bespeaks the general sentiments of the English with regard to the Italian opera and singers : — Begone, our nation's pleasure and reproach I Britain no more with idle trills debauch, * Letters from several eminent persons deceased, including the Correspondence of Jolin Hughes, Esq. vol. I. page 60. Back to thy own unmanly Venice sail. Where luxury and loose desires prevail ; There thy emasculating voice employ, And raise the triumphs of the wanton boy. Long, ah ! too long the soft enchantment reign'd, Seduc'd the wise, and ev'n the brave enchain'd : Hence with thy curst deluding song! away! Shall British freedom thus become thy prey ; Freedom which we so dearly used to prize. We scom'd to yield it — but to British eyes. Assist ye gales, with expeditious care. Waft this prepost'rous idol of the fair ; Consent ye fair, and let the triiler go. Nor bribe with wishes adverse winds to blow : Nonsense grew pleasing by his syren arts. And stole from Shakespeare's self our easy hearts.f Valentini was a singer on the opera stage in London at the same time with Nicolini. He Jiad been a scholar of Pistocchi, and was, in the opinion of Mr. Galliard, though not so powerful in voice or action as Nicolini, much more chaste in his singing. Of the female singers the following were in the first degree of eminence at the end of the last century, and at the beginning of this. SiGNOEA GioKGiNA, a great favourite of Christina queen of Sweden, as also of the vice-queen of Naples, to whom she was first lady of honour, and by whose interest she was ennobled with the dignity of a marchioness of Spain. Maegakitina San Nicola, she was the principal singer in the court of Dresden, and was highly favoured by the elector of Saxony. In Italy Signora PoLLACiNi and Signora Marchesina ; as also those other females, Bombace, Mignatta, BAKBAEncci, DiAMANTiNA, and Cecoa, were highly celebrated. Signora Santini sang in several of the courts of Germany with great applause ; afterwards she went to Venice, where Sig. Antonio Lotti, the famous chapel-master of St. Mark's, married her. Franoesca Vanini Boschi and her husband were in England in 1710, and sang in Mr. Handel's opera, of Rinaldo : she continued here only one season,, at the end whereof she went to Venice, leaving her husband behind her : She was at this time in years, and her voice upon the decline. Signor Giuseppe- Boschi had a fine bass voice. He sang here in the opera of Hydaspes after his wife left England. Mr. Handel composed songs on purpose for liim, and among many others, those two fine ones, ' Del min- 'nacciar in vento,' in Otho, and 'Deh Cupido,' in Eodelinda. There was also a woman, who had sung in many of the couits of Europe, yet was known by no other appellation than that of the Baroness. Some liave supposed her to be the unfortunate relict of Stradella, see page 653 of this work, but this is a mistake. She was a German, a very fine singer, and, being in seems that he was used to frequent Bath, and that he sang in public In lomj Asian's song entitled ' TIte Sath Medley,' is the fallowing ' Her^s half a guinea to hear Nicolini ! ' Mus. Misc. Vol. III. page 162. among Durfey's songs is one entitled ' The Bath Teazers,' with this ' Then comes Nicolini to teaze them the more, ' Subscribe your two guineas to make up fourscore. ' / never performed at so low rate before.' Fills to Pur^e Melancholy, Vol. VI. page 263. t It there, line: — ' And stanza 810 HISTORY OF THE SCIENCE. Book XVIII. England, sang in the operas of Camilla, the Triumph of Love, and Pyrrhus and Demetrius. From the account herein before given of the progress of music in this country after the Eestora- tion, it evidently appears that the taste of the English was accommodating itself to that of the Italians, not to say of the French, who in this respect were then as little worthy of imitation as they are now. Cibber, in the Apology for his Life, says, that about the beginning of this century the Italian opera began to steal into England ; and that the new theatre in the Haymarket opened with a translated opera to Italian music called the Triumph of Love. That this account is erroneous in many respects will presently be shewn : it is true that entertainments of a similar kind to the opera were known among us soon after the Restoration; but these were in strictness no more than musical dramas; tragedies with interludes set to music, such as the Tempest, Oedipus, the Indian Queen, Timon of Athens, Dioclesian, and some others by Purcell, Circe by Banister, and Psyche by Matthew Lock. These for a series of years were performed at the theatre in Drury-lane, designed by Sir Christopher Wren, and furnished with all the conveniencies and accommodations requisite in a building of that kind. But the first opera, truly and properly so called, exhibited on the English stage, was that of Arsinoe, set to music by Mr. Thomas Clayton, and performed at Drury-lane theatre in 1707. The merit of this work, as also of its author, may be judged of by the following memoir, and the account hereafter given of his Rosamond : — Thomas Clayton was one of the royal band of music in the reign of king William and queen Mary ; there are two of the name of Clayton in the list of the royal band in Chamberlayne's present State of England, published in 1694:, the one William, the other Thomas. The one of them is mentioned in Shadwell's comedy of Bury Fair, act III. scene 1. in this speech : ' They sing Charon, O gentle ' Charon, and Come my Daphne [two famous old ' dialogues] better than Singleton and Clayton did.' The latter, a man of no account in Ms profession, travelled into Italy with a view to improvement; and Returning from thence into England, possessed people with an high opinion of his abilities, inso- much that men were persuaded into a belief that by means of Mr. Clayton's assistance the rusticity of the English music would no longer be its charac- teristic, and that, due encouragement being given to him, it would in a short time emulate that of the Italians themselves. This is an artifice that has been practised more than once in this kingdom, but never with such success as in this instance. With the hope of great advantages, Clayton associated to him two persons, namely, Signor Nicolino Haym and Mr. Charles Dieupart, both of them good musi- cians, and either of them, in respect of abilities, far his superior. Clayton had brought with him a collection of Italian airs, which he set a high value on ; these he mangled and sophisticated, and adapt- ing them to the words of an English drama, written for the purpose hy Motteux, and entitled Arsinoe Queen of Cyprus, called it an opera, composed by himself. Thare will be farther occasion to speak of this man ; in the interim it may be obswved that Mr. Addison says that Arsinoe was the jSrst opera that gave us a taste of the Italian music ; and as he intimates that it met with great success, and after- wards suffered Clayton to set his opera of Rosamond, it may be inferred that he thought it a fine com- position : But a better judge than himself* pro- nounces of it, that excepting Rosamond, it is one of the most execrable performances that ever disgraced the stage. In the year 1706 Sir John Vanhrugh designed, and, with the help of a subscription, erected a theatre in the Haymarket, and opened it with a pastoral entertainment entitled the Loves of Ergasto,f set to music after the manner of the Italian opera, that is to say, in recitative, with airs intermixed, by a German musician, who had studied in Italy, and called himself Signor Giacomo Greber. This man brought with him from Tuscany Signora Margarita de I'Epine, and gave occasion to her being called Greber's Peg. This entertainment, though but ill received, was succeeded by another of the same kind, the Temple of Love, composed by Signor Saggioni,, a Venetian, and a performer on the double bass, which pleased as little as the former. The bad success of these entertainments at the Haymarket induced the managers of Drury-lane theatre to attempt, in good earnest, the exhibition of an Italian opera; they fixed upon that of Camilla, the words whereof were written hy Silvio Stam- piglia, a Moman by birth, and poet to his Gmsarean Majesty, and the music composed by Bononcini, then resident in the court of the emperor. To accommodate the singers of our own country, many of the recitatives and airs were translated into English; the conduct of the whole was referred to Nicolino Haym, who was himself an able musician ; Valentini performed the part of Turnus ; and, not- withstanding the glaring absurdity of so motley a performance, it is said that the opera of Camilla never met with so good a reception abroad as it did here. To Camilla succeeded Rosamond, an entertain- ment of which the town had for some considerable time conceived a longing expectation, as well from the character of Mr. Addison as the supposed abilities of the musical composer. The names of the singers and the cast of the parts were as follow : — Queen Eleanor, Mrs. Tofts. Page, Mr. Holcombe. Sir Trusty, Mr. Leveridge. Grideline, Mrs. Linsey. Eosamond, Signora Maria GalKa.' ' King Henry, Mr. Hughs. War, Mr. Lawrence. Peace, Miss Beading. * The translator of the Abh6 Raguenet's Parallel of the French and Italian Musick and Operas, in his Critical Discourse on Operas and Musick in England, printed at the end thereof. Supposed to be Mr. Galliard. + A prologue written by Dr. Garth was spoken on the occasion, in which is this line — 'By beauty founded and by wit designed,' '' Alluding to lady Sunderland who laid the first stone, and Sir John Vanbrvgh the architect. Chap. CLXXI. AND PKACTICE OF MUSIC. 811 A criticism on this most wretched performance is more than it deserves, but, to account for the had re- ception it met with, it is necessary to mention that the music preponderating against the elegance and humour of the poetry, and the reputation of its author, bore it down the third night of representation. To begin with the overture ; it is in three parts, and in the key of D with the greater third ; the first movement pretends to a great deal of spirit, but is mere noise. The two violin parts are simple counter- point, and move in thirds almost throughout; and the last movement intended for an air is the most insipid ever heard. As to the songs, they have neither air nor expression. There is one that sings thus : — O the pleasing, pleasing, pleasing, pleasing, pleasing anguish. An ingenious and sensible writer, mentioned in a preceding note, who was present at the performance. says of Rosamond that it is a confused chaos of music, and that its only merit is its shortness. The Msferture and the succeeding duetto are given as a specimen of the work : — 8jjg*gp;s3al; ^sgg3S^jg ¥s m^^ ^^m ^^^^^i ^^^^^^^iP^Ji^^^Pl^S'^SW^^ loud. soft. totid. soft. loud. soft. loud. soft. loud. soft. ^^^^^^^i^^=^=?=^^|^^^|^S^^^^= gapi^spa^E loud. soft. ^^fc£ p;3E^S f-'f[-i' jEg =Cz:E ^ p=?=^ : g^^P Thomas Clayton. 812 HISTORY OP THE SCIENCE Book XVIII. ^^m^^^ ^ ^^^ ^^^ ^^^^. 3^B 53=3=1 SINCE cou-ju-gal passion is come in-to fashion, and marriage so bleston the Throne is, Like a SINCE con-ju-gal passion is come in-to fashion, and marriage so blest on tlie Throne is, ^^lpli=^^PiE^EiEE=~i^ We meet, in a critical discotirse on operas and music in England, published by way of appendix to an English translation of the Abb6 Raguenet's Parallel betwete the Freneh and Italians in regard to their Music, with the mention of a person by the name of the Swiss Count ; this was John James Heidegger, by birth a Fleming, as is supposed, who arriving in England in 1708, undertook tine conduct of the opera in the Haymarket, and continued it with various success till about 1730; by which h« ac- quired a large fortune, which he Bved to enjoy for twenty years after. What were his pretensions to the title ascribed to him is not known; he was a man of a projecting head, possessed of such talents as enabled him tO' gratify those whose chief pnrsuirta were pleasure, which he exercised in the introduction of masquerades into tiiis eointtry.* Thomas Claytok. This man, who is represented as in necessitous circumstances at the time of his arrival in England, had the address to procure a subscription, with which he was enabled to furnish out the opera of Thomyris, which, like the former was in English ; the music, however, was Italian, that is to say, airs selected from sundry of the foreign operas by Bonohdni, Scarlatti, Steffani, Gasparini, and Albinoni. It was performed at the Queen's Theatre in the Haymarket in 1709. Most of the songs in Thomyris were excellent, those by Bononcini especially ; Valentini, Margarita, and Mrs. Tofts sang in it; and Heidegger by this performance alone was a gainer of five hundred guineas.f The following is one of the songs com- posed by Bononcini, and was sung by Mrs. Tofts : — m^^^= f=ia3^ agg= ^^-=fe =piE= EE^g^ vain, in vain ia de - lay. ill vain, in vain is de - lay, near fall - ing, du - ty call ing, 'tis * In a collection of letters of several emitient. persons deceased, includSn^ the correspondence of Mr. John Hughes, vol. III., is a humorous dedication of his Vision of Charon or the Ferry-boat, printed in his worlcs, to the Swiss Count [Heidegger.] t Camilla and Thomyris were revived at Lincoln's-Inn fields in 172C, but the taste of the town was improved, and they did not succeed. Chap. CLXXII. AND PEACTICE OF MUSIC. 813 E ^=F^-^Ep^-^ ^g ^^^= E=g^g^|^g ^g^g=^^=fa time to go a - way, in vain, in vain is de - lay, in vain, in vain is de - lay, ^^gElge^gEJ^s^g^EfE g^^e^ ^^Hg^E gi E^5 fall-ing, du- ty call - - ing,'tis time to go a -way: near fall - ing, r-i — I- :-N -tr-r^f g ■ — lit - I I 1— ^ ^^^^^^ l ^^i^i^-^: Si^ f^^3^:^=t^ ^l^sSl=-^^^=^?=^ fall- ing, da - ty call ing, 'tis time to go a- way, to go a - way. |! ^°fF=g=^ =^eg==EEpji= ^g;p^ ^-| ^f-f^F=p No more your self be-tray, no more your sell' be- tray, when rea-son frees from ^S ^^Ete p ^^EgJg^^^P^l^^^i^i^^^ EE^EE •-^ nri _ «nn ■nn fVno _ 1 g=^^=^^ fe^^S^ E?^=3E:EE=S pri - son, no free - born soul would ftay ; no, when rea - son frees from ^ fe^^j gig ^^^^g^ pfcj^^g^ '^ pri - - son no free-born soul would stay ; no free -bom soul would stay; no, CHAP. CLXXII. The good success of Thomyris was an inducement with Valentini soon after to undertake an exhibition at the same theatre of a pastoral called the Triumph of Love. This pastoral was written by Cardinal Ottoboni, and set to music by Carlo Cesarini Gio- vanni, surnamed del Violone, and Francesco Gas- parini, and was intended to introduce a kind of drama, wherein certain little wooden figures were the actors, which by means of springs, contrived by two famous mechanics, the Count St. Martini and the Cavalier Acciaioli, were made to move with sur- prising grace and agility : the expense of this sin- GlOVANNI BoNONCINI. gular exhibition may in some measure be guessed at, when it is known that each of these little figures cost the cardinal an hundred pistoles* The music to this entertainment Valentini found means to procure, and having got it, he contrived to get it set to English words ; he rejected almost all the recitatives, to make room for a great number of noisy airs and chorusses, with dances after the French manner, and endeavoured to suit the performance, which was cal- culated for chamber amusement, to the opera stage; but the bad success that attended the representation, convinced him of his error, and determined him to confine himself to his profession of a singer, and never more act as a manager. 814 HISTORY OP THE SCIENCE Book XVIII. In the winter of 1709 the opera of Pyrrhus and Demetrius, written hy Owen Mac Sweney and set to music of Alessandro Scarlatti, was performed at the Haymarket theatre. Haym fitted the music to the words, and added many airs of his own composi- tion, one whereof is inserted in the account hereafter given of him. It was received with general applause, and, in the opinion of very good judges, was held to be superior even to Camilla. Clotilda, represented also in 1709, was tiie next opera that appeared. This was made up hy Heidegger; the airs were of Bononcini, Scarlatti, and Signor Francesco Conti, already spoken of, who made the overture. To these succeeded the opera of Almahide, consisting of songs hoth in Italian and English, adapted to Italian airs ; the latter were sung by Dogget the comedian. And with these the town were in general pleased till the arrival of Mr. Handel in England, whose coming announced the production of operas, such as were performed at the theatres in Italy ; that is to say, the drama being in the Italian language, and the music in the modern Italian style. At this time Mr. Aaron Hill was in the direction of the Haymarket theatre. Mr. Handel, then a very young man, had received pressing invitations from some of the principal nobility to come and settle in England; to these he yielded, and arrived in the year 1710. Mr. Hill received him with open arms ; he immediately concerted with him the plan of an opera entitled Einaldo, and in a very short time wrought it into form ; in short, he wrote the whole drama, and got it translated into Italian by a Signor Eossi, and Mr. Handel set it; an extract from the preface is inserted in the Spectator, No. 5, in which we are told that Mr. Handel composed this opera in a fortnight. It is needless to point out the beauties of this excellent composition, as the overture, and the airs are in print ; the applause it met with was greater than had been given to any musical perform- ance in this kingdom : in a word, it established Mr. Handel's character on a firm and solid basis. The success of Einaldo was in some measure in- jurious to the interests of those whose employment it had been to furnish out operas by collections from various. Italian masters, and torturing music to a sense that it was never intended to bear ; for in the Spectator, No. 258, for 26 Dec. 1711, and in another of the same papers. No. 278, Clayton, Haym, and Charles Dieupart, in a letter signed by them all, complain of their dismission, and solicit the public to favour a musical performance for their joint benefit at the house of Mr. Clayton in York-buildings.* The principal performers before this time were Valentini and Nicolini, Signora Margarita de I'Epine, and Mrs. Tofts, singers : in the band of instrumental performers were Dieupart above-mentioned, Mr. Pepusch, and Mr. Leoillet, masters of the harp- sichord ; Mr. John Banister, a son of him of that * In the preface to the poems of Mr. John Hughes is a letter from Sir Richard Steele, in the name of himself and Mr. Clayton, requesting him to alter Dryden's Alexander's Feast for music, in order to its being per- formed in York-buildings. He complied, and Clayton had the courage to attempt it, but failed, as Mr. Hughes relates in a letter to Sir Richard Steele, mentioned in the preface above cited. It is printed as altered, in Mr. Hughes's poems, and was performed in 1711. name, formerly mentioned; Mr. William Corbet, and Signor Claudio, violin masters ; Haym for the violoncello, and Saggioni for the double bass. The alteration that immediately followed Mr. Handel's coming to the Haymarket is no otherwise noticed than by the above letter, notwithstanding which, and the applause given to Rinaldo, other operas of the like kind with the former, particularly in 1712, Hydaspes, composed by Francesco Mancini, was represented at the Haymarket : the decorations of this opera were very splendid ; the scenes were painted by Morco Ricci, and the words of the songs were all Italian. From this time the opera was conducted in a manner less liable to exception than at first ; and to this reformation it is probable the ridicule of Mr. Addison, and the censures of critics less humorously disposed than himself, might not a little contribute ; for though in Rinaldo we are told that sparrows were introduced, f and in Hydaspes a lion, which part was performed by a man, and gave occasion to some of the most diverting papers in the Spectator,! we hear no more of these absurdities after the per- formance of Hydaspes, and the opera was freed from all objections, save only those to which the entertain- ment itself was at all times obnoxious. To understand the force of Mr. Addison's satire, if it merits to be called by so harsh a name, it is necessary for us to take a view of the opera at the time of its first introduction among us. Of the nature of this entertainment in general, a judgment may be formed from the account herein before given of the invention of recitative by the Italians, of the musical representations of the same people, and of the establishment of the Royal Academy of Paris ; as also from the memoirs of eminent French musicians, inserted in the preceding pages of this work; but of the English Italian opera no mortal can form a judgment, that is not acquainted with the cir- cumstances of its introduction among us, or hasjiot with a critical eye perused the several productions, which in the short space of four or five years at most, were obtruded on the world under that denomination. To take them in their order, Arsinoe consisted of English words fitted to Italian music, originally adapted to Italian poetry, of which the English does not so much as pretend to be a translation ; no wonder then if the hearers sought in vain for that correspondence between the sound and the sense, which in the opinion of some make so considerable a part of the merit of vocal composition. The case was the same in Camilla, Thomyris, Pyrrhus and Demetrius, and the rest, with this difference, that for the sake of those singers, who, as being foreigners, were strangers to our language, many of the songs were sung in the original Italian, to which a great part of the audience must at least at that time be t Spectator, No. 5. - % The humour of these papers is so strong and pointed, that it is said the Pope, on reading them, laughed till his sides shook. Mr. Addison, perhaps tram the bad success of Rosamond, was led to think that only nonsense was fit to be set to music ; and this error is farther to be ac- counted for by that want of taste, not to say of skill, in music, which he manifests in his preference of the French to the Italian composers, and in his general sentiments of music and musicians, in which lie is ever wrong. Chap. CLXXII. AND PKACTICE OF MUSIC. Sir. supposed to be utter strangers. But this was not all ; in the adapting English words to the Italian airs, not one circumstance was adverted to, except that of a correspondence, in respect of measure and cadence, between the words and the music ; sentiment and sense were held unnecessary, and these being neglected, what must the poetry have been but sucli nonsense as the following ? So sweet an air, so high a mien Was never seen. Arsinoe. For thy ferry boat Charon I thank thee, But thrust me not out for I come in a hurry. Ibid. Since you from death thus save me, I'll live for you alone , The life you freely gave me, That life is not my own. Camilla. Charming fair. For thee I languish. But bless the hand that gave the blow ; With equal anguish Each swain despairs. And when she appears Streams forget to flow. Ibid. My delight, my dear, my princess. With desire I lose my senses, I before you feel with fury. My blood hurry Through every vein, At my heart I feel a smart. Dying thus who can complain. T had vow'd to play the rover, Fool with love or give it over. But who can though grave and wise, 'Scape those dimples, lips, and eyes. Then to bless you I'll caress you. Press you, Kiss you, And caress you, Till like me you cry 'tis vain, O my dear to frown and feign. Dying thus who can complain. ThOmyris. Away you rover. For shame give over, So bold a lover Never will pass ; You press and thunder To bring us under. Then all you plunder, And leave the place. Though you are for storming. And think you are charming. Your faint performing We read in your face. Ibid. No more trial. Nor denial, Be more kind. And tell your mind ; So tost, So crest, I'm sad, I'm mad. No more then hide your good nature Thou dear creature ; Baulk no longer. Love nor hunger, Both grow stronger When they're younger ; But pall. And fall At last, If long we fast. Love's Triumph.* It must be confessed that, as musical compositions, such of the operas as were compiled from the works of Italfan masters had great merit. As to Camilla, though wholly the work of Bononcini, it was but a puerile essay, the author being scarce eighteen when he set it, and seems to have been greatly over- rated ; the airs are so very short, that they admit of no variety. The first air, ' I was born of royal race,' is but fourteen bars in length, and is no sooner heard than the idea of it is effaced by a succeeding one in a different key. In Thomyris, and Pyrrhus and Demetrius this fault seems to have been avoided ; besides which the airs appear to have been selected with great care from the works of a variety of great masters, such as Scarlatti, Bononcini, Cesarini, Gas- parini, and others ; and where these have failed, as they do in the latter, the defect has been ably sup- plied by Haym : so that upon the whole those entertainments were not destitute of merit, but it was of such a Idnd as no audience composed of persons promiscuously assembled, some with an ear for mu- sic, and others without, could be supposed capable of discerning ; and this circumstance co-operating with the others abovementioned, seems to lead to the true reason why the opera was less favourably received here than in Italy and France. In these and many of the subsequent operas some of the principal female singers were natives of this country, and among them Mrs. Barbier and Mrs. Anastasia Eobinson, afterwards countess of Peterborough, were the most celebrated. Mrs. Tofts, of whom we shall presently have occa- sion to speak, sang in Arsinoe, the first opera performed in England, but she quitted the stage in a short time ; the others continued to perform long after the opera had been supplied with Italian women : in her voice and manner she so far sur- passed the rest of the English women, as to be able to divide the applause of the town with Margarita ; but between any other of our countrywomen and the Italians we hear of no competition ; the reason whereof may perhaps be, that, in respect of their performance, the Italian women had so much the advantage over the English, that the latter could not but consider themselves as their scholars. The most celebrated English women singers about the end of the last century, were Mrs. Davis, Mrs. Cross, Mrs. * Love's Triumph, from whence the above air is taken, is a different drama from the Triumph of Love mentioned in page 810 of this work; it was written by Motteux, as were also the operas of Arsinoe, Thomyris, the Temple of Love, and most of the musical dramas and interludes that preceded the introduction of the Italian opera on the English stage. This man kept what in his time was called an India shop, in LeadenhaU-sireetf which was then much frequented by the old duchess of Marlborough, and other ladies of queen Anne's court; and sold tea, fans, screens, Japan cabinets, silks, and other commodities imported by the India Company : it was alse the staple of city news, and in the opinion of many a place of intrigue. The numerous publications of Motteux have entitled him to a rank among the English dramatic poets ; but of them he must be said to have been one of the mast vulgar. He died in 1717-18, and was interred in the parish church of St. Andrew Undershaftf London. 816 HISTORY OF THE SCIENCE. Book XVIIL Gibber, Mrs. Bracegirdle, and Miss Campion * all of whom have been already spoken of; but it is easy to discover that their perfections were confined to per- haps a beautiful person, graceful and easy action, and a fine voice, the gift of nature, and that owed little of its fascinating power to the improvements of art ; if this fact should be doubted, let any one look into the songs of that day, particularly those of Purcell, where he will find the graces written at length, a manifest proof that in the performance of them little was meant to be trusted to the singer. The two following ladies, as they contributed by their performance to establish the Italian opera in this country, merit our notice : — Mrs. Tofts, although a native of this country, is celebrated as a singer little inferior, either for her voice or her manner, to the best Italian women. Gibber, who was well acquainted with her, speaks thus of her in the Apology for his Life, page 226. ' Mrs. Tofts, who took her first grounds of musick ' here in her own country, before the Italian taste ' had so highly prevail' d, was then but an adept in ' it : yet, whatever defect the fashionably skilful ' might find in her manner, she had, in the general ' sense of her spectators, charms that few of the most ' learned singers ever arrive at. The beauty of her ' fine proportioned figure, and the exquisitely sweet, ' silver tone of her voice, with that peculiar, rapid • swiftness of her throat, were perfections not to be ' imitated by art or labour.' She sang in the operas of Arsinoe, Camilla, Eosamond, Thomyris, and Love's Triumph. The author of the following epigram, supposed to be Mr. Pope, at the same time that he celebrates her beauty and fine singing, has taken care to contrast these her excellencies with two vices, which, sup- posing him to speak truth, must have considerably abated the power of her charms. So bright is thy beauty, so charming thy song. As had drawn both the beasts and their Orpheus along ; But such is thy avarice, and such is thy pride. That the beasts must have starv'd, and the poet have died. In the opera of Camilla she performed the part of Camilla; and it is conjectured that the dignity which she was obliged to assume in that character, had an effect upon her mind ; for in the Tatler, No. 20, for Thursday, May 26, 1709, there is this plain intima- tion that her brain was turned : ' The unfortunate ' Camilla has had the ill-luck to break before her ' voice, and to disappear at a time when her beauty ' was in the height of its bloom. This lady enter'd ' so thoroughly into the great characters she acted, ' that when she had finished her part, she could not ' think of retrenching her equipage, but would appear ' in her own lodgings with the same magnificence ' that she did upon the stage. This greatness of soul ' has reduced that unhappy princess to an involuntary ' retirement, where she now passes her time among ' the woods and forests, thinking on the crowns and * Miss Campion sang in the Island Princess, as altered by Motteux, together with Mr. Magnus's boy: as he is called, a dialogue beginning ' Must I a girl for ever be!' set by Jerry Clark. She also sang at the theatre, and at the concert in York-buildings, many songs set by Weldon purposely for her. ' scepters she has lost, often humming over in her ' solitude, ' I was born of royal race, ' Yet must wander in disgrace.f ' But for fear of being overheard, and her quality known, she usually sings it in Italian. ' Nacqui al regno, nacqui al trono, ' E pur sono ' Sventurata.' It seems that this disorder had taken deep root in her mind : nevertheless, by the help of medicines and other proper remedies, she was restored to the use of her reason. In the meridian of her beauty, and possessed of a large sum of money, which she had acquired by singing, Mrs. Tofts quitted the stage, and was married to Mr. Joseph Smith, a gentleman, who heing appointed consul for the English nation at Venice, she went thither with him. Mr. Smith was a great collector of books, and patron of the arts ; he procured engravings to be made from pictures and designs of Amiconi, Marco Ricci, Piazetta, and other masters. He lived in great state and magni- ficence ; but the disorder of his wife returning, she dwelt sequestered from the world in a remote part of the house, and had a large garden to range in, in which she would frequently walk, singing and giving way to that innocent frenzy which had seized her in the earlier part of her life. She was living about the year 1735. Mr. Smith died about five years ago, and left a numerous and valuable col- lection of books, which was brought over into England, and sold by auction by Mr. Baker of York- street. Francesca Maegamta de L'Epine, a native of Tuscany, and also a celehrated singer, performed in some of the first of the Italian operas that were represented in England. She came hither with one Greber, a German, but who had studied some few years in Italy, J and appeared first in a musical entertainment of his composition, called the Loves of Ergasto, but better known hy the name of Greber's Pastoral.§ The most memorable circumstance re- lating to it is that it was performed in the year 1706, at the opening of the Haymarket theatre, and was the first entertainment of any kind there exhibited. From the connection between Margarita and Greber, she became distinguished by the invidious appellation of Greber's Peg. After it was ended she commenced a new one with Daniel, earl of Nottingham, which, in an imitation of an ode of Horace, ' Ne sit ancillse tibi amor pudori,' by Mr. Rowe, is thus alluded to : — Did not base Greber's Peg inflame The sober earl of Nottingham, Of sober Sire descended ? That, careless of his soul and fame, To playhouses he nightly came. And left church undefended.il f A song of her's in Camilla, the first in the opera. X Vide ante, page 810. § In the Catalogue de la Musigue of Estienne Roger, page 20, is the following article : ' Six Senates 4 une Fldte et une Basse continue, com- * poshes par Messrs. Greber et Ferte.' II The earl had written against Whiston on the doctrine of the Trinity. Chap. CLXXII. AND PEACTICE OP MUSIC. 817 And there is extant the following shrewd epigram relating to her, written by lord Halifax : — On Orpheus and Signora Francesca Margarita.* Hail, tuneful pair ! say by what wondrous charms, One scap'd from Hell, and one from Greber's arms ? When the soft Thracian touch'd the trembling strings, The winds were hush'd, and curl'd their airy wings ; And when the tawny Tuscan t raised her strain, Rook furls the sails, and dares it on the main. Treaties unfinish'd in the office sleep. And Shovell yawns for orders on the deep. Thus equal charms and equal conquests claim, ^ To him nigh woods, and bending timber came, [ To her shrub-hedges, and tall Nottingham. J Margarita sang in many of the earlier operas, particularly Thomyris, in which she did the part of the queen ; and in Love's Triumph, in which she performed the character of Olinda. In Mr. Hughes's opera of Calypso and Telemachus she appeared in the character of Calypso. She also sang in concerts at York-buildings and Stationers' -hall, and once in the hall of the Middle Temple, in a musical per- formance at the Christmas revels of that society. She continued to sing on the stage, and occasionally at concerts and other public entertainments, till about the year 1718, when having, as Downes relates, got, at a modest computation, above ten thousand guineas, she retired, and was married to Mr. afterwards Dr. Pepusch. The two singers abovementioned were rivals for the public favour, and it seems divided pretty equally the applause of the town. The following verses of Mr. John Hughes are a proof of this fact, and point out who of the principal nobility were at the head of the two parties that severally patronized them : — Music has learn'd the discords of the state, And concerts jar with Whig and Tory hate. Here Somerset and Devonshire attend The British Tofts, and every note commend , To native merit just, and pleas'd to see We've Roman arts, from Roman bondage free. There fam'd L'Epine does equal skill employ. While list'ning peers crowd to th' ecstatic joy : Bedford to hear her song his dice forsakes. And Nottingham is raptur'd when she shakes : Lnll'd statesmen melt away their drowsy cares Of England's safety in Italian airs. Who would not send each year blank passes o'er, Rather than keep such strangers from our shore. Mrs. Baebier, a native of England, was also celebrated among the female singers at the beginning of this century. Her first appearance was in the opera of Almahide, represented in the year 1711, upon which occasion she is said to have discovered a more than ordinary concern, that recommended her no less than her agreeable voice and just per- formance. J She sang in many of the subsequent operas, and in that of Calypso and Telemachus, represented at the Haymarket in 1712. She also performed the part of Daphne in Mr. Hughes's masque of Apollo and Daphne, set to music by Dr. ■ ♦ Collection of the works of celebrated authors, published by Tonson in three volumes duodecimo. t This epithet of tawny is very characteristic of her, for she was re- markably swarthy, and in general so destitute of personal charms, that Dr. Pepusch, who afterwards married her, seldom called her by any other name than Hecate, which she answered to very readily. t See a letter in the Spectator, No. 2,11. Pepusch, and performed at Drury-lane theatre in 1716. Notwithstanding her attachment to the stage, she remained under the protection of her parents, residing at her father's house till the year 1717, when, being no longer able to resist the solicitations of one that pretended love to her, she left it, and gave occasion to Mr. Hughes to write the following verses : — O yes ! — hear, all ye beaux and wits, Musicians, poets, 'squires, and cits. All, who in town or country dwell Say, can you tale or tidings tell Of Tortorella's hasty flight ? Why in new groves she takes delight, And if in concert, or alone, The cooing murmurer makes her moan ? Now learn the marks by which you may Trace out and stop the lovely stray ! Some wit, more folly, and no care. Thoughtless her conduct, free her air ; Gay, scornful, sober, indiscreet, In whom all contradictions meet ; Civil, affronting, peevish, easy, Form'd both to charm you and displease ypu ; Much want of judgment, none of pride. Modish her dress, her hoop full wide ; Brown skin, her eyes of sable hue. Angel, when pleas'd, when vex'd a shrew. Genteel her motion, when she walks. Sweetly she sings, and loudly talks ; Knows all the woi-ld, and its affairs, Who goes to court, to plays, to prayers. Who keeps, who marries, fails, or thrives. Leads honest, or dishonest lives ; What money match'd each youth or maid. And who was at each masquerade ; Of all fine things in this fine town. She's only to herself unknown. By this description, if you meet her, With lowly bows and homage greet her ; And if you bring the vagrant beauty Back to her mother and her duty. Ask for reward a lover's bliss. And (if she'll let you) take a kiss ; Or more, if more you wish and may, "v Try if at church the words she'll say, > Then make her, if you can — "obey." J After this elopement Mrs. Barbier returned to the stage, and attaching herself to Mr. Rich, sang in most of his pantomime operas ; and, upon the revival of Camilla and Thomyris at Lincoln's-Inn fields in 1726, sang in both of them. Her last appearance on the stage was in the pantomime of Perseus and An- dromeda, composed by Rich, in conjunction with Mr. Thurmond, a dancing-master, and represented about the year 1729. In a note on the above poem, which is printed among the letters of Mr. Hughes, herein before cited, it is said that the late John, earl of Corke, who knew her well, expressed his opinion of her as follows : ' She never could rest long in a ' place ; her affectations increased with her years. I ' remember her in the parts of Turnus and Orontes, 'when the operas of Camilla and Thomyris were ' represented at Lincoln's-Inn fields. She loved ' change so well, that she liked to change her sex.' There is an affectation of wit in this puerile sentiment that renders it totally unintelligible. 818 HISTORY OF THE SCIENCE Book XVIII CHAP. CLXXIII. The opera was an entertainment calculated for the better sort of people in this country : to say the truth, the practice of singing had never till lately been cul- tivated with any great assiduity among us ; and the best that is said of any of our most celebrated vocal performers from the time of Mr. Hales, in queen Elizabeth's, down to the end of queen Anne's reign, is that they were severally endowed with the gift of a fine voice, but as to grace and elegance, or what is called a manner in singing, their panegyrists are silent. In Italy we hear of schools of singers, wherein different styles were cultivated, by whieh the students of each were as much discriminated as were the disciples of the several schools of painters, the Roman, the Florentine, the Venetian, the Lom- bard, and the Flemish. In England we have none such ; no wonder then if the generality of the people had but little relish for those refinements which the Italian opera was productive of. Those who had a natural taste for music, were content with the plain harmony of vocal composition ; or, to spealc of vocal performance, with such singing as the playhouses afforded, which consisted for the most part in occa- • sional songs set to music by English masters ; with these the stage was competently supplied, and the success of them was a perpetual incentive to poets of an inferior class, and the musicians, to furnish the public with compositions of the like kind. The subjects of these were generally love and rural gal- lantry, or the delights of the bottle : in short, their general tendency was to promote mirth, to alleviate the toils of labour, and superinduce a temporary ob- livion of care. Among the poets of this class, the authors of popular songs, one stands so eminently distinguished as to claim a regard from all lovers of vocal melody, and merit that eulogium which is given him in the ensuing article. Thomas D'Hrfey (a Portrait), was a native of Devonshire, and bred to the profession of the law, which he forsook under a persuasion, which some poets, and even players, have been very ready to en- tertain as an excuse for idleness, and an indisposition to sober reflection, viz., that the law is a study so dull, that no man of genius can submit to it. With the full confidence in the powers of a mind thus liberally formed, D'Urfey enlisted himself in the service of the stage, and became an author of tragedies, comedies, and operas, of which he wrote near thirty. The suc- cess of his dramatic productions far exceeded their deserts ; for whether we consider the language, the sentiments, or the morals of his plays, they are in all these respects so exceptionable, as to be below criti- cism, and to leave him in possession of that character only which he seemed most to affect, to wit, that of a pleasant companion. The time when D'Urfey lived was very favourable to men of his facetious, and, we may say, licentious turn of manners : he came into the world a few years after the Restoration, when all was joy and merriment, and when to be able to drink and to sing were reckoned estimable qualities ; D'Urfey could do both ; and, superadded to these gifts, he had a talent of poetry, which he could adapt to any occasion : he wrote songs, and, though un- skilled in music, and labouring under the impediment of stammering in his speech, having a tolerable voice, sang them himself frequently at public feasts and meetings, and not seldom in the presence of king Charles II., who, laying aside all state and reserve, would lean on his shoulder and look over the paper.* The compositions of D'Urfey are so many, and so singularly humorous, that they elude all description, save that they are in general mirthful in the highest degree ; so that such of them as were not liable to exception, on account of their indelicacy, became favourites with the whole kingdom. Mr. Addison, in a paper in the Guardian, No. 67, after exhibiting a lively portrait of D'Urfey, whom he is pleased to call his old friend and contemporary, speaking to the ladies his disciples, says that he had often made their grandmothers merry ; and that his sonnets had per- haps lulled asleep many a toast among the ladies then living, when she lay in her cradle. And in No. 82 of the same paper is a notification to the reader that a play of D'Urfey's, the Plotting Sisters, which had been honoured with the presence of king Charles the Second three of its first five nights, was then shortly to be acted for his benefit, concluding with a recommendation of it as a pleasant entertainment. But nothing distinguishes his songs more than the uncouthness and irregularity of the metre in which they are written ; the modern Pindaric odes, which are humoi'ously resembled to a comb with the teeth broken by frequent use, are nothing to them. Besides that he was able to set English words to Italian airs, as in the instance of ' Blouzabella my buxom doxy,' wliich he made to an air of Bononcini, beginning ' Pastorella che tra le selve,' he had the art of jumb- ling long and short quantities so dexterously together, that they counteracted each other, so that order re- sulted from confusion. Of this happy talent he has given us various specimens, in adapting songs to tunes composed in such measures as scarce any in- strument but the drum would express ; and, to be even with the musicians for giving him so much trouble, ie composed songs in metres so broken and intricate, that few could be found that were able tu suit them with musical notes. It is said that he once challenged Purcell to set to music such a song as he would write, and gave him that well-known ballad ' One long Whitsun holiday,' which cost the latter more pains to fit with a tune than the composition of his Te Deum. Three volumes, consisting mostly of songs written by D'Urfey, were by him published early in this century, with the title of ' Laugh and be fat, or PUls to Purge Melancholy ;' but in the year 1719, he, with the assistance of a numerous subscription of lords, ladies, and gentry, as he styles them, re- published them, with the addition of three volumes, including a great number of Orations, Poems, Pro- * See Pills to Purge Melancholy, vol. I. page 246, the song ' Remember ' ye Whigs what was formerly done,' which is thus entitled, ' Advice to ' the City, a famous song : set to a tune of Signor Opdar, so remarkabler * that I had the honour to sing it with king Charles at Windsor, he ' holding one part of the paper with me.' Chap. CLXXIV. AND PEACTICE OF MUSIC. 819 lognes, and Epilogues written by him, and gave the whole collection the title of ' Wit and Mirth, or Pills to Purge Melancholy ; being a Collection of the best merry Ballads and Songs, old and new, fitted to all Humours; having each their, proper Tune for either Voice or Instrument.' In this collection, besides a great number of sin- gularly humorous songs, are many that bespeak the political sentiments of their author ; Tom, at least in the earl)"- part of his life, was a Tory by principle, and never let slip an opportunity of representing his adversaries the Whigs as a set of sneaking rascals. Mr. Addison says that the song of ' Joy to great Cjesar,' gave them such a blow as they were never able to recover during the reign of King Charles II.* This song is set to a tune called Farinel's Ground, of which wo have had occasion to speak in a pre- ceding page ; divisions were made upon it by some English master; it became a favourite tune, and D'Urfey set words to it, in which lie execrates the Papists, and their attempts to disturb the peace of the kingdom. Farinelli was a papist, a circumstance which gave occasion for that shrewd remark of Mr. Addison, that his friend Tom had made use of Italian tun es and son atas for promoting the protestant interest, and turned a considerable part of the pope's music against himself. The paper in which these and other passages, equally humorous, respecting D'Urfey and his compositions are contained, was written by Sir. Addison ^^^th a view to fill the house at a play, the Plotting Sisters, acted for his benefit on the fifteenth day of Juno, 1713, concluding with a cha- racter of him : — ' As my friend, after the manner of the Old ' Lyricks, accompanies his works with his own voice, ' he has been the delight of the most polite com- ' panics and conversations from the beginning of ' king Charles the Second's reign to our present ' times. Many an honest gentleman has got a repu- ' tation in his country by pretending to have been in ' company with Tom D'Urfey. ' I might here mention several other merits in my ' friend, as his enriching our language with a multi- ' tude of rhimes, and bringing words together, that ' without his good offices would never have been ac- ' quainted with one another so long as it had been a ' tongue. But I must not omit that my old friend • angles for a trout the best of any man in England. ' May-flies come in late this season, or I myself ' should before now have had a trout of his hooking. ' After what I have said, and much more that I ' might say on this subject, I question not but the ■ world will think that my old friend ought not to ' pass the remainder of his life in a cage like a ' singing-bird, but enjoy all that Pindarick liberty ' which is suitable to a man of his genius. He has ' made the world merry, and I hope they will make ' him easy so long as he stays among us." This ' I will take upon me to say, they cannot do a Idnd- ' ness to a more diverting companion, or a more 'chearful, honest, and good-natured man.'f D'Urfey was a great frequenter of places of public * Guardian, No. G7. t nid. resort, and, among the rest, Epsom, where in his time many of the best fashion were induced to pass a few weeks in the summer for the sake of the waters ; being there one season, a quarrel commenced between him and a person named Bell, a musician, and a duel ensued, which was the occasion of some mirth at the place. It seems that neither of the combatants had much stomach for fighting; and a wit of the time maliciously compared this rencounter with the famous single combat of Clinias and Dametas in Sir Philip Sidney's Arcadia, in the following verses : — ' I sing of a duel in Epsom befel ' 'Twixt fa sol la D'Urfey and sol la mi Bell : ' But why do I mention the scribbling brother, ' For naming the one you may guess at the other ? ' Betwixt them there happen'd a horrible clutter, ' Bell set up the loud pipes, and D'Urfey did sputter '" Draw, Bell wert thou dragon, I'll spoil thy soft note ; " ' " Thy squealing, " said t'other, "for, I'll cut thy throat." ' With a scratch on the finger the duel's dispatch'd, ' Thy Clinias (O Sidney) was never so matdi'd.' Ex. MS. Harl. No. 7319, page G25. Of D'Urfey it may be said as of Falstaff, that he not only had wit himself, but was also the cause of it in other men. In the Miscellanies of Pope and Swift are some humorous verses, occasioned by an &c. at the end of his name, in the title to one of his plays, and also a prologue designed for his last play : and in the fourth volume of the works of Tom Brown are three stanzas on him, wherein for pre- suming to call his ballads Lyric Odes, this judgment is denounced against him : — ' Horace shall pluck thee by the nose, ' And Pindar beat thy brains out. ' This merry fellow died, in a very advanced age, on the twenty-sixth day of February, 1723, and lies burled in the church- yard of St. James's, Westminster. CHAP. CLXXIV. Nicola Fkancesco Hj^ym, by birth a Roman, was settled at London as a professor of music, and en- gaged with Clayton and Dieupart in an attempt to establish an Italian opera here. It does not appear that he had any hand in the opera of Arsinoc, re- presented at Drury-lane theatre in 1707; that doughty performance being a collection of Italian airs adapted to English words by Clayton himself ; but in the opera of Camilla, performed at the same place in the year following, he lent his assistance, by fitting the airs to English words, and otherwise ren- dering it a proper entertainment for an English au- dience. He did the same by Pyrrhus and Demetrius, and added to it an overture, and sundry songs of his own composition, which rank with the best in the work. He continued thus employed, sharing with his colleagues the profits arising from these and other representations of the like kind, till the year 1710, when Mr. Handel arrived in England, and performed the opera of Rinaldo at the Haymarket. The superior merit of Rinaldo over every representation, of this nature, that till then had been exhibited on the English stage, had such an effect as to silence all 830 HISTORY OP THE SCIENCE Book XVIII. the attempts of Clayton and his associates to enter- tain the town with dramatic music ; and of this they heavily complain in a joint letter, printed in the Spectator, No. 258, for Wednesday, December 26, 1711, and also in another, printed in No. 278 of the same paper, for January 8, in the following year, wherein they claim the merit of having introduced Italian music into England, and solicit the encou- ragement of the pmhlic to a musical entertainment for their joint benefit at the house of Mr. Clayton, in York-buildings. For the success of this application wc are to seek ; and we only know with certainty that Clayton precipitated into contempt;* that Haym had little to do with the opera, or indeed with music, after the year 1712 ; and that Dieupart, who was a very fine performer on the violin, enlisted himself into the opera band, and became a teacher of the harpsichord. The merit of Haym as a musician entitled him to better encouragement than he seems to have met with. He published two operas of Sonatas for two violins and a bass, which shew him to have been an able master ; and his talent for dramatic music may be judged of by the following air in Pyrrhus and Demetrius, composed by him, and sung by Mrs. Tofts:— ^1 :^P^^^^^^^^^ =^-J^EB w xS:^a:mM diS- ^ .l ^m=i=miai: ■ ^^^^^^^ ^^m Too love-ly era -el ^^=^^m ^^m^^^^ ^^^ ^^^^^^^^^^ can I the torture bear, to see thee fly - ing ; too love-Iy cru-cl fair, too love-ly cm-el can I the torture bear, to see thee fly i ing ; too love-ly cru-el * Mr Tickell, in his life of Mr. Addison, speaking of the opera of Rosamond, says, ' that as the Italian taste prevailed, the musick was ' thought suflSciently inexcusable because it was the composition of an ' EngUshman." This it is ftfc men to talk of what they do not understand j and it is for the sake of refuting this injudicious charge, that the overture, and also a duet in this opera, are inserted in a preceding part of this work ; to those two compositions the intelligent reader is referred, and upon perusal of them is left to judge for himself, whether for the failure of Rosamond a better reason might not be assigned, than that the music to it was composed by an Englishman. Chap. CLXXIV. AND PEACTICE OF MUSIC. 821 ^e^gg^^aaiBgfep^ ^Si^'^ ^a^^i^s^i am dy-ing; dooiu'd to another's arms, while I . . am dy - ing; ^^^^^^l^^i^i^ while I am dy ing. ^^ Capo. ^^1 Haym was a man of learning, and is to be regarded in other respects than as a mere musician ; he was well skilled in medals, and published a work entitled ' II Tesoro delle Medaglie antiche,' in two volumes in quarto, Italian and English. He also wrote La Merope and La Demodice, two tragedies, and pub- lished a fine edition of the Gierusalemme Liberata of Tasso, in two volumes in quarto, with cuts ; and was the compiler of a very useful book to the lovers of Italian literature, entitled ' Notizia de' Libri rari Italiani.' This person published also, about the year 1730, proposals for printing by subscriptiou the whole history of music in two volumes in quarto, which he had written in Italian, and was to have been translated into English ; but it is to be presumed that he met with small encouragement, seeing that the work was never published, so that of the nature of it we can only judge by the proposals, in which the author first declares his intention in these words :^ — ' The author's design is, I. to render his subject ' intelligible and agreeable to all readers, even to ' those that do not understand music. II. From ' ancient writers, antique statues, bass relievos, and ' medals, to collect whatever is most material to ' ancient music : To give an account of its origin, ' and the esteem in which it was in the several ' periods of time : The lives of their musicians, 'and the nse they made of music in their games, ' sacrifices, &c , with some explications of the ancient ' fables concerning it. III. The progress and decay 'of the said science in the diiferent ages down to ' the present time. IV. The introduction of operas ' into several parts of Europe, and particularly into ' England ; with an accurate account of their pro- ' gress and success. V. The lives of all the eminent 'masters and professors of this art in all times, with ' their effigies.' This is the substance of the printed proposals circulated among the author's friends ; but besides these the following table, showing the order of the work, has come to hand : — ' Contents of the History of Musick in two Volumes. ' Volume I. Book I. Begins from the earliest ' antiquity to the restoring of Music in the Temple • after the captivity of the Jews : to which is " annexed an account of twenty gods of the Gen- ' tiles, who were all musicians, and the most ' remarkable medals concerning them. '' NicoLiNO Haym. ' Book II. The introduction of music into Greece ' in the time of Cadmus, down to the siege of Troy ; ' wherein mention in also made of 44 persons who ' exercised music and poetry in those ages ; together ' with all the monuments relating to them that are ' now extant. ' Book III. From the siege of Troy to the first ' Olympiad, with an account of forty persons who ' flourished during that period ; and the effigies ' of such of them as have been transmitted to pos- ' terity. In these three books several ancient fables, ' necessary for the illustration of this history, are ' explained. ' Book IV. From the first Olj'mpiad to Alexander ' the Great, containing the history of 84 musicians, ' witli several other particulars relating to the science ' they professed ; as also their effigies, and other ' antique monuments as above. N.B. To tliis period ' the reader will have a complete history of poetry ' as well as music, it being proved that all poets ' were hitherto musicians also. ' Book V. From Alexander the Great to the ' emperor Alexander Severus, when the music of ' the Gentiles ends ; containing the fall of ancient ' music, and an account of 40 other musicians as ' before ; to which is annexed 50 apophthegms of ' ancient musicians. ' Book VI. Treats of all those solemnities, &c. ' in which music was employed by the ancients, ' as sacrifices, wars, triumphs, nuptials, banquets, ' tragedies, comedies, pantomimic entertainments, ' dancings, funerals, festivals, and games, all proved ' and illustrated by medals, gems, bass reliefs, and ' other antique monuments. ' Book VII. Treats of the several instruments ' used by the ancients in a manner altogether new, ' and much clearer than has been done hitherto ; ' with such of their instruments, as conld be deli- ' neated from antiquities now existing, engraved on ' copper. The whole making the most complete ' collection of that kind yet published. ' Book VIII. Includes a curious enquiry into • ancient music in the several periods of time, with ' its excellency ; wherein the ancient musicians ex- ' celled the moderns ; and also those particulars in ' which the latter surpassed them ; and concludes ' with judging the palm to the ancient music. ' Vol. II. Book I. Begins from Christ, with the ' institution of music in the Christian churches ; and ' comprehends also the invention of the notes now 822 HISTORY OF THE SCIENCE Book XVIII. * used, and harmony ; their introduction into all ' parts of Europe ; with the institution of doctors ' of music in England ; and several other curious * matters that occurred during the space of 1550 * years. ' Book II. An account of the greatest masters in * all parts of Europe during the fifty years following, ■ with several other particulars. ' Book III. Beginning with the xvii. century, ' gives an accurate account of the invention of ' operas in imitation of the Greeks, with several ' important particulars ; and a series of masters to ' anno 1650. ' Book IV. Another series of masters for the ' succeeding 25 years ; the introduction of operas ' and other kind of music into different parts of ' Europe. ' Book V. The continuation as hefore for the next ' 25 years. ' Book VI. Beginning at 1700, with an account ' of the introduction of .Italian operas into England, * and the progress they have since made ; the founding ' of the royal academy, and several other curious ' matters. ' Book VII. Some account of the principal masters ' now living, and the present state of music in all ' parts of Europe. ' Book VIII. A curious dissertation or enquiry ' in what manner music may be carried to a greater ' perfection than it hath hitherto attained to.' Haym met with but small encouragement for this undertaking, as appears by a printed copy of the proposals and plan, with a list of subscribers in his own hand-writing, scarce amounting to forty in number ; for this reason he dropped the design, and, abandoning the profession of music, betook himself to another, viz., that of a collector of pictures ; and in that capacity was employed by Sir Richard Wal- pole. Dr. Mead, and other persons. Besides his talent in music, which was no inconsiderable one, he possessed the faculty of poetry : in a collection of Mr. Galliard's compositions, in his own hand- writing, are two Italian Cantatas written by Haym. He was also the author of Etearco, an opera repre- sented at the Haymarket in the year 1711. Charles Dikupart, a Frenchman by birth, and a fine performer on the violin, and also on the harpsichord, together with Clayton and Haym pro- moted the introduction of the Italian opera into England, and greatly assisted the former in bringing on the stage the first opera ever performed here, namely Arsinoe, represented at the theatre in Drury- lane in 1707. At the performance of that and the subsequent operas of Camilla, and Pyrrhus and Demetrius, he played the harpsichord, and Haym the violoncello. Upon Mr. Handel's first arrival in England in the year 1710, and the representation of Rinaldo at the Haymarket theatre, it was received with such applause, that the managers of the opera at Drury-lane were discouraged from any farther attempts of that kind ; the consequence thereof was that Clayton, Haym, and Dieupart were necessitated to solicit the encouragement of the town in behalf of a concert, which they proposed jointly to carry on at Clayton's house in York-buildings, in which was a large room, where concerts had been usually performed before. Their proposals for this under- taking are contained in two letters printed in the Spectator, Numb. 258 and 278. This association continued but a short time, for in 1711 we find him engaged with Sir Richard Steele in the performance of concerts there.* Haym went to the Haymarket, and became a performer in the opera band, and farther assisted in bringing on that stage sundry musical performances. Dieupart betook himself wholly to teaching the harpsichord, and in the capacity of a master of that instrument, had admission into some of the best families in the kingdom. In the latter part of his life he grew negligent, and frequented concerts performed at ale-houses, in obscure parts of the town, and dis- tinguished himself not more there, than he would have done in an assembly of the best judges, by his neat and elegant manner of playing the solos of Corelli. He died far advanced in years, and in very necessitated circumstances, about the year 1740. There are extant of Dieupart's composition, ' Six ' Suittes de Clavessin, divis6es en Ouvertures, AUe- ' mandes, Courantes, Sarabandes, Gavottes, Minuets, ' Rondeaux, et Gigues, conipos6es et mises en Con- ' cert pour un Violin et Flute, avec une Basse de ' Viole et un Archilut.' Godfrey Keller was a celebrated master of the harpsichord about this time. He, - together with Finger, published Sonatas in five parts for flutes and hautboys, and was the author of Six Sonatas for violins, trumpets, hautboys and flutes. The titles at large o>f these two several publications may be seen in the Dutch catalogue. At present Keller is known only by a work which he had prepared for the press, but was prevented from publishing by an immature death : it was however printed a short . time after by John CuUen, at the Buck, between the two Temple-gates, in Fleet-street, with the title of ' A compleat Method for attaining to play a Tho- ' rough-Bass upon either Organ, Harpsichord, or 'Theorbo -Lute, by the late famous Mr. Godfry ' Keller, with Variety of proper Lessons and Fugues, ' explaining the several Rules throughout the whole 'Work; and a Scale for timeing the Harpsichord ' or Spinnet, all taken from his own copies, which ' he did design to print.' It was afterwards reprinted by Pearson of Alders- gate-street, as an Appendix to Dr. Holder's Treatise of the natural Grounds and Principles of Harmony, to which it must be owned it is but an awkward supplement, as being altogether practical. Matthew Lock's Melothesia is the first book on the subject of thorough-bass published in England, this of Keller is the next; since his time there have been others without number. William Corbett, one of the king's band, was a celebrated performer on the violin, and leader of the first opera orchestra at the Haymarket, at the time when Arsinoe was performed there. Of this * Vide ante, page 814, Chap. CLXXV. AND PEACTICE OF MUSIC. 823 person tliere are some particulars worth noting. He was a good composer, and a great collector of music and musical instruments. When the Italian opera, properly so called, was established at London, that is to say in the year 1710, when Rinaldo was per- formed at the Haymarket, a new set of instrumental performers were introduced; and Corbett, though in the service of the king, was permitted to go abroad. Accordingly he went to Italy, and resided at Eome many years, during which time he made a valuable collection of music and musical instru- ments. Those who, as being acquainted with his circumstances, were otherwise at a loss to account for his being able to lay out such sums as he was observed to do in the purchase of books and instru- ments, confidently asserted that besides his salary he had an allowance from the government, and that his business at Eome waS' to watch the motions of the Pretender. In his younger days, and before he left England, he had published two or three sets of Sonatas for violins and flutes, twelve Concertos for all instru- ments, and sundry sets of tunes made for plays ; but upon his return, about the year 1740, he brought over with him a great quantity of music of his com- posing during his residence abroad, from the pub- lication of which here he hoped to derive con- siderable advantage : accordingly he published pro- posals for printing by subscription his Opera VIII. a work which he entitled ' Concertos or Universal ' Bizzarries, composed on all the new Gustos during ' many years residence in Italy,' in three books, containing thirty-five Concertos of seven parts, in which the styles of the various kingdoms in Europe, and of divers cities and provinces in Italy are pro- fessed to be imitated ; that is to say, to give a few of them, the several styles of Milan, Eome, Naples, Florence, Bologna, Brescia, Tyrol, England, Ireland, Scotland, Flanders, Hungary, Denmark, Muscovy, &c. The proposal was ridiculous ; for in music, composed according to the principles generally known and received, there can be no such discrimination of style as will enable the hearer to distinguish tlie music of one country, much less one city, from another. However the author was determined to try the experiment; and to make the proposal to go down, he advertised that any person of quality willing to encourage the publication of these com- positions, should, upon notice, be waited on by the author and a band of performers, in order, as he phrases it, ' that they might hear the idea of them.' With little or no encouragement Corbett proceeded to publish this his work; but, not being able to vend the many copies of it which he had caused to be printed, they in a short time became waste paper, and lay exposed on booksellers' stalls. Corbett died at an advanced age in the year 1748. By his will he bequeathed the best of his musical instruments, by the description of his 'Serys ' or Gallery of Cremonys and Stainers.' mentioned in an inventory, part of the vyill,* to the managers, as he calls them, of Gresham college, with a view * In the inventory one of the violins is said to have been formerly Corelli'8. as it seems that they should remain for inspection under certain rules. He also bequeathed 101. a year to a female servant to show these instruments ; and directed that the rest of his personal estate should be sold ' for the establishment of the rules of ' Gresham college ; 'f and farther gave to the same college many sets of the concertos composed by him, with directions that four copies should be presented every year to foreigners that were good performers. How far this whimsical disposition was complied with we know not,J but in a sliort time after the testator's decease, there was a sale by auction of his instruments at Mercer's-hall, where many curious violins were knocked down at prices far beneath their value. His collection of music- books and manuscripts was also sold by auction at his house in Silver -street, near Pulteney- street. Golden-square. John Loeillet, a relation, as it is supposed, of John Baptist Loeillet, of Ghent, a famous master of the flute, and the author of four operas of Solos for that instrument, was a celebrated master of the harp- sichord, and a performer in the opera band at the same time with Corbett and the others above men- tioned. He was a man well respected by those of his profession; and dwelling in a house in Hart- street, Covent-garden, in which was a large room, had a weekly concert there, which was frequented chiefly by gentlemen performers, who gratified him very handsomely for his assistance in conducting it. It was at this concert that the concertos of Corelli were first performed in England, the particular cir- cumstances whereof are related in the account herein before given of Mr. Henry Needier. Loeillet was a teacher of the harpsichord, and an excellent composer for that instrument. He was also celebrated for' his perfor'mance on the hautboy. There is extant among his printed lessons a minuet in the key of A, with the minor third, which was a great favourite with the ladies of the last age. The vulgar pronunciation of Loeillet's name led the world into a mistake, so that it was universally ascribed to Jean Baptiste LuUy, and few are sen- sible of the error. In the latter part of his life he dwelt in New North-street, near Eed Lion- square. He died about the year 1728, having by his industry acquired a fortune of 16,000Z. The worlcs published by him, and printed for Walsh, are six suits of lessons for the harpsichord, six Sonatas for variety of instruments, viz., flutes, hautboys, German flutes, and violins, Opera prima. Twelve Sonatas for violins, German flutes, and common flutes. Opera secunda. Twelve Solos for a German flute, common flute, and violin. Opera terza. CHAP. CLXXV. Pier Francesco Tosi was an Italian singer greatly celebrated in his time. Having resided in most of the courts of Europe, and being an attentive hearer of others, and a person of reflection, he attained to + i. e. the rules by hira prescribed, touching the custody of the in- struments, and the use to he made of them. I Repeated applications have been made to the clerk of the Mercer's Company for information in this respect, but to no purpose. 3h 824 HISTOEY OF THE SCIENCE Book XVIIL such a degree of skill and judgment in the practice of singing, as enabled him to compose a treatise on the subject, which he published at Bologna in the year 1723, with this title, ' Opinion! de' Cantori ' antichi e modemi, o sieno Osservazioni sopra il ' Canto Pigurato di Pier Francesco Tosi, Academico ' Filarmonico,' and dedicated to the earl of Peter- borough. Tosi not only visited England, but had made London his residence from the latter end of king William's reign to the end of that of George I. except during such short intervals as either business, or the desire of seeing his friends and relations called him hence : nevertheless it does not appear that he ever sang in the opera here, which is the more to be wondered at, seeing that he had concerts for his benefit.* During his abode in England he was greatly favoured by the principal nobility ; and upon lord Peterborough's return from Spain, and final settlement in England, was much at his house at Parson's-green, where he had opportunities of con- versing with Mrs. Anastasia Eobinson, then a singer in the opera, afterwards countess of Peterborough. The treatise of Tosi above mentioned is altogether practical, and contains a great number of particulars respecting the management of the voice, and the method of singing with grace and elegance. More- over, it contains short memoirs and general cha- racters of the most celebrated singers, male and female, of the author's time. Of Pistocchi in par- ticular he speaks in terms of high commendation, and scruples not to say that he excelled not only those of his own, but of all former times. Mr. Galliard, in the year 1743, published a translation into English of this book, with notes thereon ; but by adhering too closely to the original, and adopting those rhapsodical expressions of the author, which, though they suit well enough with the Italian lan- guage, disgust an English reader, he has rather de- graded than recommended the art which it is the design of the book to teach. Tosi was, it seems, not only a very fine singer, but also a composer. Mr. Galliard relates, that after his voice had left him he composed sundry cantatas of an exquisite taste, especially in the recitatives, wherein he says the author excels, in the pathetic and expression, all others. To Galliard's translation is a prefatory discourse, containing a brief account of the author, wherein it is said that he died soon after the late lang's accession to the crown, having at- tained above the age of fourscore. John Banistee (a Portrait), was the son of that Banister mentioned before to have been sent into Prance by king Charles II. for his improvement on the violin. The father died in the year 1679, and the son, who had been educated under him, played the first violin at Drury-lane theatre, as well when the opera was performed there, as ordinarily. He too was a composer, and made several Grounds, with » Vide ante, page f 64, an advertisement in the Gazette for April 3, 1693, of a concert for Signoi Tosi's benefit in Cliarles-street, Covent-Gardeu; and another in the Gazette for Octoher 26, in the same year, purporting that Signer Tosi's concert would he performed weekly during the winter in York-buildings. divisions thereon, published in the Division Violin ; and in the London Gazette, Numb. 2712, for No- vember 5, 1691, is an advertisement of a collection of music, composed by Godfrey Finger and himself, to be sold at Banister's house in Brownlow-street, Drury-lane. That he was a man eminent in his profession may be inferred from the mezzotinto of him by Smith, from which the engraving is taken. Banister continued at the head of the band at Drury- lane till about the year 1720, when he was succeeded by Oarbonelli. He died in or about the year 1725. A son of his taught the flute, and was it seems a celebrated performer ; for in Brightland's English Grammar, published about the year 1710, this sen- tence is given as an example, to show that the particle at is frequently used for on or upon, ' Banister is good at the flute.' He was famous for playing on two flutes at once. Thomas Rosbingkave was the son of Daniel Eoseingrave already spoken of,f who, having been organist of Salisbury, went to Ireland, and in the year 1698 was appointed organist, and also one of the vicars choral of the cathedral church of St. Patrick in Dublin. He had two sons, whom he brought up to music, the one named Thomas, the other Ralph ; Thomas, of whom we are about to speak, being a young man of a promising genius, was favoured by the chapter of St. Patrick with a pension, to enable him to travel for improvement ; and accordingly he went to Rome in the year 1710, where he became acquainted with Alessandro Scarlatti, and his son Domenico, with whom he contracted a friendship, which subsisted for many years. How long Eoseingrave continued abroad is not certainly known, but in 1720 he had some concern in the management of the opera at the Haymarket ; for in that year he brought upon the stage the opera of Narcissus, written by Eolli, and set to music by Do- menico Scarlatti, with additional songs composed by Eoseingrave himself. A short time after this repre- sentation the management of the opera got into other hands, and Eoseingrave became a teacher of music, in the principles whereof he was looked upon to be profoundly skilled ; notwithstanding which, his style both of playing and composing was harsh and dis- gusting, manifesting great learning, but void of elegance and variety. About the year 1725, an organ having been erected in the new church of St. George, Hanover-square, Eoseingrave offered himself for the place. The parish being determined to choose the person best qualified, required that each of the candidates should give a specimen of his abilities by a performance, of which Mr. Handel and Geminiani were requested to be judges ; the test of which was by them settled to be a point or subject of a fugue, which the performer was to conduct at his pleasure : this kind of trial was so suited to the talents of Eoseingrave, that he far exceeded his competitors, and obtained the place, with a salary of fifty pounds a year. With few other motives than the love of his art, Eoseingrave pursued the study of music with t Vide ante, page 771. Chap. CLXXV. AND PEACTICE OF MUSIC. 825 intense application, but so greatly to the injury of his mental faculties, that he refused to teach even persons of the first quality. He was an enthusiastic admirer of Palestrina, and the furniture of his bed- chamber was scraps of paper, containing select passages from the works of that author. His brother Ealph having been bred to music, their father, in the year 1718, obtained permission of the dean and chapter of St. Patrick's to resign his place of or- ganist in favour of him ; and in April, 1719, Ealph Eoseingrave was elected in his room. This person died in October, 1747, and left a son, William Eoseingrave, Esq., who is now living in Dublin, and enjoys several considerable employments under the government in Ireland. Thomas Eoseingrave died about the year 1750, having subsisted for some years chiefly on the bounty of his nephew above mentioned. Some time before his death he published a collection of lessons of his friend Domenico Scarlatti, in which is a composition or two of his own. His other works in print are, Additional Songs to the opera of Narcissus, Volun- taries and Fugues for the organ and harpsichord, to the number of fifteen ; and twelve Solos for the German flute, with a thorough-bass for the harpsi- chord. He was a frequent visitant of the reverend Mr. Woodeson, master of the free-school at Kingston- upon-Thames, and would often leave his bed in the night to go to the harpsichord. Mr. Woodeson wrote an epitaph for him, which Eoseingrave was so pleased with that he set it to music. It was an elegant composition, but is irrecoverably lost. John Barrett was music-master to the boys in Christ's hospital, London,* and organist of the church of St. Mary-at-Hill. He was a skilful musician, and made the tunes to songs in sundry plays ; excelling most of his time in the composition of songs and ballad airs. In the Pills to Purge Melancholy are many songs composed by him. He was the author of that sweet air to the song of ' lanthe the lovely,' made on queen Anne and prince George of Denmark, to which tune a song is adapted in the Beggar's Opera, ' When he holds up his hand.' Some verses of Barrett, prefixed to the Amphion Anglicus, bespeak him to have been a pupil of Blow. Lewis Eamondon was a singer in sundry of the English Italian operas. His first appearance was in that of Arsinoe. In Camilla he performed the part of Metius, and in Pyrrhus and Demetrius that of Cleartes. He had attained to some skill in music, and composed the tunes to some songs in a collection published in 1716, entitled the ' Merry Musician, or ' a Cure for the Spleen,' among which is a hymn upon the execution of two criminals, beginning ' All you ' that must take a leap in the dark.' It is there printed with only the song part, but there are other copies with the bass, which shew it to be a perpetual * In this Hospital, anno. 3 Jao. a free singing school was founded and endowed by Stobert Dow, whose many charitable donations are recorded by Stow in his Survey, edit. Strype, book II. page 18-19, book V. page 62; vjherein, as in the college at Dulwich founded by Allen the Player, the children were to be taught prick-song. Tliese, as far as can be recollected, are the only endowments of the hind since the Jtefarmaiion. At Dulwich the boys are taught the musical notes, and arc able to chant; but at Christ's Hospital they sing only psalm tunes, and those by ear. fugue, or composition in canon. Gay, in the Beggar's Opera, has adapted a song to this fine tune. PmLip Hart, supposed to be the son of Mr. James Hart, one of king William's band, and whose name frequently occurs in the Treasury of Music, and other collections of that time, was organist of the church of St. Andrew Undershaft, and also of St. Michael's, Cornhill, which latter place he quitted upon a disagreement with the churchwardens, who were so mean as to contend that during a repair of the organ, which took up a year, his salary should cease, and was elected organist to the neighbouring church of St. Dionis Backchurch. He was a sound musician, but entertained little relish for those re- finements in music which followed the introduction of the Italian opera into this country, for which rea- son he was the idol of the citizens, especially such of them as were old enough to remember Blow and Purcell. He was a grave and decent man, remark- able for his affability and gentlemanly deportment. There are extant of his composition a collection 6f Fugues for the organ, and the Morning Hymn from the fifth book of the Paradise Lost, which latter work he published in March, 1728-9. Mr. Galliard had set this hymn, and published it by subscription in 1728 ; and it is said that Mr. Hart meant to emu- late him by a composition to the same words ; but if he did, he failed in the attempt, for Mr. Galliard's hymn is a fine and elegant composition, admired at this day, whereas that of Mr. Hart is forgotten. He died about the year 1750, at a very advanced age. George Monro was an organist, and a competitor with Eoseingrave for the place at St. George's, Hanover-square : failing in this application, he be- came organist of the church of St. Peter, in Cornhill. He played the harpsichord at Goodman's-fields the- atre from the time when it was first opened, in 1729, till his death, which happened in a year or two after- wards. Monro had a happy talent in composing song tunes and ballad airs, of which he made many that were greatly admired. Sundry of them are printed in the Musical Miscellany, an elegant collec- tion of songs with the music, in six volumes, printed and published by Watts in the year 1731. George Hayden was organist of the church of St. Mary Magdalen, Bermondsey ; he composed and published, about the year 1723, three Cantatas, the first whereof was sung by one Bat, or Bartholomew Piatt, a favourite singer with the vulgar, in a pan- tomime called Harlequin Director, performed at Sadler's Wells ; the first words of it are ' A cypress grove, whose melancholy shade,' a composition which would have done honour to some of the ablest masters of the time. He also composed a song called New Mad ITom, beginning ' In my triumphant chariot hurl'd,' which the same Bat. Piatt was used to sing at Sadler's Wells, dressed in the character of a madman.-f- to the great delight of all who mistook roaring for singing. There is also extant of Hayden's composition a pretty song in two parts, ' As I saw + Songs of this kind, such as Tom of Bedlam, and others set by Lawes, of which there are perhaps more in the English than any other language, were frequently sung in character. In Shadwell's comedy of Bury Fair, act III. scene I. Sir Humphrey Noddy says of a fellow, one of the Thetford music, that he acts Tom of Bedlam to a miracle. 826 HISTOEY OP THE SCIENCE. Book XVIII. fair OUora walk alone,' which is well known to the proficients in vocal harmony. Vanbkugh composed and published two elegant collections of songs, some of which became great favourites. Of this person very little, not even his Christian name, is known : though by the title- page of the second book it appears that the author's house was next door to the Black Lion, near Serjeants' -Inn, Fleet-street. Magnus, organist of the church of St. Giles-in- the-Fields, was esteemed a great master of harmony, and had a style which none could imitate. In his voluntaries on the organ he despised the use of single stops, and attained to so great a command of the instrument as to be able to conduct four parts in fugue. Excessive study and application brought on a disorder in his mind, and he died a young man. William Babbll, organist of the church of All- hallows, Bread-street, and of his majesty's private music, was the son of a musician, who played the bassoon at Drury-lane theatre till he was eighty years of age. He was instructed by his father in the rudiments of music, and hy Dr. Pepuseh in the practice of Composition ; and taking to the harpsi- chord, he became an admirable proficient. Coming into the world about the time when the opera began to get footing in England, he made it his study to emulate the Italians. His first essay in composition was to make the favourite airs .in the operas of Pyrrhus and Demetrius, Hydaspes, and some others, into lessons for the harpsichord. After that he did the same by Mr. Handel's opera of Rinaldo, and succeeded so well in the attempt, as to make from it a book of lessons, which few could play but himself, and which has long been deservedly celebrated. He also composed twelve Solos for a violin or haut- boy, twelve Solos for a German flute or hautboy, six Concertos for small flutes and violins, and some other works, enumerated in Walsh's'catalogue. Babell died at about the age of thirty three, on the twenty • third of September, 1?23, at Canonbury House, Islington, and was buried in the Ghwrch of which he was Organist. It seems the fame of Babell's abilities had reached Hamburgh, for Mattheson says he was a pupil of Handel ; but in this he is mistaken, « for Handel disdained to teach his art to any but princes. EoBEKT Woodcock, a famous performer on the flute, composed twelve concertos, so contrived, as that flutes of various sizes, having the parts transposed, might play in concert with the other instruments*. He had a brother named Thomas, who kept a coffee- house at Hereford, an excellent performer on the violin, and played the solos of Corelli with exquisite neatness and elegance. In that country his merits were not known, for his employment was playing country-dances, and his recreation angling. He died about the year 1750. John Sheeles was a harpsichord master, and the author of two collections of lessons for that in- ♦ When the flute was an inBtrument in vogue this -was a very common practice. Corelli's concertos had heen in like manner fitted for flutes by Schiokard of Hamburgh, a great performer on, and composer for, that instrument. strument. He, together with Mr. Monro, before mentioned, Mr. Whichello, who will be spoken of hereafter, and Mr. Galliard, were great contributors to the Musical Miscellany, a collection of songs published in the year 1731, and mentioned in a preceding article. CHAP. CLXXVI. Obadiah Shdttleworth, organist of the ciurcli of St. Michael, Oornhill, London, was elected to that place upon Mr. Hart's quitting it, and a few years after was appointed one of the organists of the Temple church. He was the son of old Mr. Shuttleworth of Spitalfields, the father of a musical family, and who had acquired a little fortune, partly by teaching the harpsichord, and partly by copying Corelli's music before it was printed in England. There were three sons of this family, and also a daughter. The father had frequent concerts at his house for the- entertainment of a few select friends, in which the sons played the violin, the daughter the harpsichord^ and the old gentleman the viol da gamba. Obadiah in particular played the violin to such a degree of perfection, as gave him a rank among the first masters of his time. He played the. first violin at the Swan concert in Cornhill, from the first insti- tution of that society till the time of his death, which was about the year 1735. He was besides a very good composer, and made twelve ConcertoSj and sundry Sonatas for violins, of which some of his friends were favoured with manuscript copies. Nothing of his composition is extant in print, except two Concertos made from the first and eleventh Solos of Corelli. Of his two brothers, the one was a clerk in the South-Sea-house, a very gay man ; the other had a place in some other of the public offices, and was as remarkably grave ; they were both excellent performers on the violin, and used to be at all concerts in the city. Obadiah Shuttleworth was celebrated for his fine finger on the organ, and drew numbers to hear him, especially at the Temple church, where he would frequently play near an hour after evening service. Henry Stmonds, one of the king's band of musicians, and organist of the church of St. Martin, Ludgate, and also of the chapel of St. John, at the end of James-street, near Bedford-row, was a cele- brated master of the harpsichord in his time. He published Six suites of lessons for the harpsichord; in the dedication whereof to the duchess of Marl- borough he intimates that they had been seen and approved by Bononcini. He died about the year 1730. Abiell Whichello had been for some years deputy to Mr. Hart, who being a pluralist, had need of an assistant; after that he became organist of the church of St. Edmund the King, and taught the harpsichord in some of the best families in the city. He composed many songs, which have been sepa- rately printed, and a collection of lessons for the harpsichord or spinnet, containing Almands, Courants, Sarabands, Airs, Minuets, and Jigs. He was one of Chap. CLXXVI. AND PRACTICE OF MUSIC. 827 ttose masters that used to frequent the concert of Britten the small-coal man, and became there acquainted with Mr. John Hughes, for whose memory- he was used to profess a sincere regard. He died about the year 1745. John Eobinbon, organist of Westminster-abbey, and also of the parish churches of St. Laurence Jewry, and St. Magnus, London ; educated in the royal chapel under Blow, was a very florid and elegant performer on the organ, insomuch that crowds resorted to hear him. His wife was the daughter of Dr. William Turner, already spoken of in this work, who as it seems, sang in the opera of Narcissus ; and to distinguish her from Mrs. Anastasia Rolsinson, a singer in the same opera, was called Mrs. Turner Eobinson. He had a daughter, who sang for Mr. Handel in Hercules, and some other of his oratorios. Being a very active and industrious man, and highly celebrated as a master of the harpsichord, he was in full employ- ment for many years of his life ; and had a greater number of scholars than any one of his time. He •died at an advanced age in the year 1762. There is a good print of him sitting at a harpsichord, ■engraved by Vertue. RicHAED Leveeidgb, a young man possessed of a deep and firm bass voice, became a very early retainer to the theatres. In Dryden's tragedy of the Indian Queen he performed the part of Ismeron, a conjurer, and in it sang that fine song ' Ye twice ten hundred deities,' composed by Purcell on purpose for him. He also sang in the opera of Arsinoe, composed by Clayton; and afterwards in Camilla, Rosamond, Thomyris, and Love's Triumph. When the opera came to be entirely Italian, the bass parts were sung by singers of that country, of whom Boschi was one of the first ; and Leveridge became a singer in Lincoln's-Inn fields playhouse, under Eieh, where he made himself very useful by per- forming such characters as Pluto, Faustus, Merlin, or, in short, any part in which a long beard was necessary, in the pantomimes and other exhibitions of that kind, of which Rich was the contriver. Mr. Galliard, who made the music to the best of these entertainments, composed many songs pur- posely for him, and one in particular in the Necromancer, or Harlequin Dr. Faustus, which Leveridge valued himself much upon singing, ' Arise ye subtle forms that sport.' He had a talent both for poetical and musical composition ; the first he manifested by sundry songs of the jovial kind, made to well-known airs ; the latter by the songs in the play of the Island Princess, altered by Motteux, which have great merit, and various others. Though he had been a performer in the opera at the same time with Nicolino and Valentini, he had no notion of grace or elegance in singing ; it was all strength and compass; and at one time, viz., in the year 1730, he thought his voice so good, that he offered, for a wager of a hundred guineas, to sing a bass song ■with any man in England. About the year 1726, he opened a coffee-house in Tavistock-street, Covent-Garden, and published a collection of his songs in two pocket volumes, neatly engraved. In Rowe's edition of Shakespeare the music in the second act of Macbeth is said to be set by Leveridge; and perhaps we are to understand that the rest of the songs in that tragedy were also set by him ; but whether that editor did not mis- take the musick of Matthew Lock for Leveridge, may deserve enquiry. Being a man of rather coarse manners, and able to drink a great deal, he was by some thought a good companion. The humour of his songs, and indeed of his conversation, consisted in exhortation to despise riches and the means of attaining them ; to drown care by drinking ; to enjoy the present hour, and to set reflection and death at defiance.* With such a disposition as this, Leveridge could not fail to be a welcome visitor at all clubs and assemblies, where the avowed purpose of meeting was an oblivion of care ; and being ever ready to contribute to the promotion of social mirth, he made himself many friends, from whose bounty he derived all the comforts that in an extreme old age he was capable of enjoying. A physician in the city procured from a number of persons an annual contribution for his support, which he con- tinued to receive till about seven years ago, when he died, having nearly attained the age of ninety. Henry Carey (a Portrait), was a man of fa- cetious temper, resembling Leveridge in many re- spects. He was a musician by profession, and one of the lower order of poets; his first preceptor in music was Glaus Westeinson Linnert, a German ; he received some farther instructions from Rosein- grave ; and, lastly, was in some sort a disciple of Geminiani.f But with all the advantages he might be supposed to have derived from these instructors, the extent of his abilities seems to have been the composition of a ballad air, or at most a little cantata, to which he was just able to set a bass. Being thus slenderly accomplished in his art, his chief employ- ment was teaching at boarding-schools, and among people of middling rank in private families. Though he had but little skill in music, he had a prolific invention, and very early in his life distinguished himself by the composition of songs, being the author both of the words and the music ; one of these, beginning ' Of all the girls that are so smart,' he set to an air so very pretty, and withal so original, that it was sung by everybody. The subject of it is the love of an apprentice for a young girl in the lowest station of life, and, as the author relates, was founded on a real incident; and, mean as the subject * Smtimmtsoj this kind are predominant in almost all his songs, but in no one of them are they more closely compacted than in ike following : — Should I die by the force of^ffood wine, 'Tis my will that a tun he my shrine; And for the age to come Engrave this story on my tomb ; — Here lies a body once so brave, Who with drinking made his grave. Since thus to die will purchase fame, And raise an everlasting name. Drink, drink away. Brink, drink awwy ; And there leVs be nobly interr'd; Let misers and slaves Pop into their graves, And retain a dirty church-yard. t See his Poems, edit. 1729, pages 118, 111, 113. 828 HISTOEY OF THE SCIENCE Book XVIII. may appear, Carey relates that Mr. Addison was pleased with that natural ease and simplicity of sentiment which distinguishes the hallad, and more than once vouchsafed to commend it. With a small stock of reputation thus acquired, Carey continued to exercise his talent in poetry and music. He published, in the year 1720, a little oollection of poems, and, in 1732, six Cantatas, •written and composed by himself; he also composed sundry songs for modern comedies, particularly those in the Provoked Husband, and thereby com- menced a relation to the theatres ; soon after which he wrote a farce called the Contrivances, in which were several little songs to very pretty airs of his own composition : he also made two or three little dramas for Goodman's-fields theatre, which were very favourably received. In 1729 he published, by subscription, his poems much enlarged, with the addition of one entitled ' Namby Pamby ;' the occa- sion of it was as follows : Ambrose Phillips being in Ireland at the time when lord Carteret was lord lieutenant of Ireland, wrote a poem on his daughter, lady Georgina, now the dowager lady Cowper, then in the cradle ; in such a kind of measure, and with such infantine sentiments, as were a fair subject for ridicule : Carey laid hold of this, and wrote a poem, in which all the songs of children at play are wittily introduced, and called it by a name by which children might be supposed to call the author, whose name was Ambrose, Namby Pamby. Carey's talent lay in humour and unmalevolent satire ; in ridicule of the rant and bombast of modern tragedies he wrote one, to which he gave the strange title of Chrononhotonthologos, acted, in 1734, at the Little Theatre in the Haymarket, of which it is the least praise to say that no one can read it and preserve a serious countenance ; he also wrote a farce called the Honest Yorkshireman ; two interludes, the one called Nancy, or the Parting Lovers, the other Thomas and Sally; and twp serious operas, viz., Amelia, set to music by Mr. John Frederick Lampe; and Teraminta, set by Mr. John Christopher Smith. Carey was an Englishman, and entertained an excusable partiality for his country and countrjrmen ; in consequence whereof he had an unsurmountable aversion to the Italian opera and the singers in it ; which throughout his poems, and in some of his musical compositions, he has taken care to express. Farther, in pursuance of a hint in a little book called ' The Touchstone, or historical, critical, poli- ' tical, philosophical, and theological Essays on the reigning diversions of the town.' duod. 1728, written by the late Mr. James Ealph, he wrote a burlesque opera on the subject of the Dragon of Wantley, and gave it to a friend of his, the above mentioned Mr. John Frederick Lampe, a native of Saxony, but who had been some years in England, to set to music; Lampe undertook it, and did such justice to the work, that it may be said to be the truest burlesque of the Italian opera that was ever represented, at least in this country. Carey wrote a sequel to it, entitled the Dragoness, which Lampe also set, and is in no respect inferior to the Dragon of Wantley. As the qualities that Carey was endowed with were such as rendered him an entertaining com- panion, it is no wonder that he should be, as he frequently was, in straits. He had experienced the bounty of his friends by their readiness to assist him with little subscriptions to the works by him from time to time published. Encouraged by these, he republished, in 1740, all the songs he had ever composed, in a collection entitled ' The Musical ' Century, in one hundred English Ballads on various ' subjects and occasions, adapted to several characters ' and incidents in human life, and calculated for ' innocent conversation, mirth, and instruction.' In 1743 he published his dramatic works in a small quarto volume, and as well to this as his collection of songs, was favoured with a numerous subscription. With all his mirth and good humour, Carey seems to have been at times deeply affected with the male- volence of some of his own profession, who, for reasons that no one can guess at, were his enemies : It is true that in some of his poems he manifests a contempt for them, but it is easy to discover that it is dissembled. Unable to resist the Shafts of envy, and labouring under the pressure of his circumstances, about the year 1744, in a lit of desperation he laid violent hands on himself, and at his house in Warner- street, Coldbath fields, put a period to a life which had been led without reproach. As a musician Carey seems to have been one of the first of the lowest rank ; and as a poet, the last of that class of which D'Urfey was the first, with this difference, that in all the songs and poems written by him on wine, love, and such kind of sub- jects, he seems to have manifested an inviolable regard for decency and good manners. Heney Holcombb was a singer in the opera at its first introduction into this country. In that of Camillo he performed the part of Prenesto ; and being very young at the time, is in the printed copy of the music called the boy. In Rosamond he did the page, and is called by his name. He continued not long after a singer on the stage, but took to the profession of a harpsichord master, and taught in the families of some of the chief citizens of London. One, and but one song of his composition, ' Happy hours all hours excelling,' is printed in the Musical Miscellany, the words whereof were written by Dr. Wright, a dissenting teacher, minister to a congrega- tion in Carter-lane. Mr. Holcombe also set to music the song of Amo's Vale, written by Charles earl of Middlesex, afterwards duke of Dorset, and addressed to a favourite of his, Signora Muscovita, a singer, on occasion of the death, in the year 1737, of John Gaston, the last duke of Tuscany of the house of Medici. It is printed in a collection of twelve songs set by Mr. Holcombe, and published by himself a few years before his death, which happened about th& year 1750. CHAP. CLXXVIL John Ernest Galliaed was the son of a perru- quier, and a native of Zell ; he was born in or about the year 1687, and received his instructions in the practice of musical composition from Farinelli, the Chap. CLXXVII. AND PKACTICE OF MUSIC. 829 director of the concerts at Hanover, and of Steffani,* who was resident there in another capacity. After he had finished his studies he applied himself to the practice of the hautboy and the flute, which latter instrument was then the recreation of well-bred gen- tlemen, and was taken into the service of prince George of Denmark, who appointed him one of his chamber music. Upon the marriage of the prince with the lady, afterwards queen Anne, Galliard came over to England ; at that time Baptist Draghi, who had been her master, was chapel-master to the queen dowager Catherine, the relict of Charles II., at Somerset House, but upon her death this place became a sinecure, and Draghi dying soon after her, it was bestowed on Mr. Galliard. It appears by his own manuscript collection of his works, in which he has carefully noted down the times and occasions of his several compositions, that Mr. Galliard was much about the court ; and many of them are there said to have been made at Rich- mond and Windsor, the places of the royal resi- dence. He composed a Te Deum and Jubilate, and three anthems performed at St. Paul's and at the royal chapel at St. James's, upon thanksgiving for victories obtained in the course of the war;f and was in general esteemed an elegant and judicious composer. The merits of Mr. Galliard, together with his in- terest at court, afforded reason at one time to suppose that he would have had the direction of the musical performances in this kingdom ; but he was not able to stand in competition with either Bononcini or Handel, and wisely declined it. Nevertheless, in compliance with the request of his friend Mr. John Hughes, he set to music his opera of Calypso and Telemachus, which in the year 1712 was performed at the Haymarket theatre ; the singers were Signora Margarita, Signora Manina, Mrs. Barbier, Mrs. Pearson, and Mr. Leveridge. Notwithstanding the goodness both of the poetry and the music, and that Nicolini himself had the generosity to applaud it, the friends of the Italian opera formed a resolution to condemn it ; so that it was represented under the greatest discouragements ; but some years afterwards it was revived with better success at Lincoln's Inn fields. As Mr. Galliard led a retired and studious life, and had little intercourse with the musical world, there will be but little occasion to mention him hereafter, wherefore the particulars relating to him are here collected in one point of view. From the time of Mr. Handel's final settlement in this kingdom, he was occasionally the author of many elegant compositions, particularly six Cantatas, five of them written by Mr. John Hughes, and the sixth by Mr. Congreve; to the first impression of this work is a preface, containing sundry curious * See the printed catalogue of hia music, in which, lot 65 of the manuscripts, is thus described: 'Mr. Galliard's first lessons for com- * position under the tuition of Sig. Farinelli and Abhate Steffani, at the ' age of 15 or 16, in 1702 ;' and in a manuscript collection of many of his compositions is a Sonata for a hautboy and two bassoons, with this note in his own hand-writing, ' Jaij fait cet Air a Hannover, que Jaij Jou€ a * la Serenade de Monsieur Farinelli ce 22me Juin, 1704.' t The words of these severally are, * I will magnify thee, O Lord,' * O Lord God of hosts,' and ' I am well pleased.' particulars respecting this species of musical compo- sition ; three other Cantatas written by Mr. Hughes, and printed in his works; six Solos for the flute, with a thorough-bass ; six Solos for the violoncello or bassoon, composed at the request of one Kennedy, a fine player on the bassoon, and by him often per- formed in public. He also set to music, and pub- lished by subscription in 1728, the Morning Hymn of Adam and Eve, taken from the fifth book of Para- dise lost ; and in 1742 published a translation of Tosi's ' Opinioni de' Cantori antichi e moderni,' with the title of ' Observations on the Florid Song, or Sentiments on the ancient and modern singers.' Of the merits of this translation mention is made in the account hereinbefore given of Pier Francesco Tosi.J But his principal employment for a series of years was composing for the stage. He set to music an opera of one act, called Pan and Syrinx, written by Mr. Lewis Theobald, and performed at Lincoln's Inn fields in 1717; and in virtue of his engagements with Mr. Rich, was doomed to the task of composing the music to such entertainments as that gentleman from time to time thought proper to set before the public at his theatre in Lincoln's Inn fields, and afterwards at that of Covent-garden, consisting of a strange conjunction of opera and pantomime, the highest and lowest species of dramatic representation. Those of Mr. Galliard's composition, as far as can now be collected, were Jupiter and Europa ; the Necromancer, or Harlequin Dr. Faustus ; the Loves of Pluto and Prosperine, with the Birth of Harlequin ; Apollo and Daphne, or the Burgomaster tricked. One of the last of his works of this kind was the music to an entertainment called the Eoyal Chace, or Merlin's Cave, in which is that famous song ' With early horn,' by the singing whereof, for some hundred nights, Mr. Beard first recommended him- self to the public. He also composed the music for the tragedy of (Edipus, which had before been set by Purcell. This was never printed, but is in the library of the Academy of Ancient Music. Mr. Galliard was a great contributor by songs of his composition to the Musical Miscellany, in six vo- lumes, printed by Watts, and mentioned in a pre- ceding page. He also published, about 1740, in a separate volume, twelve songs composed by him at sundry times. A letter from Mr. Galliard to Mr. John Hughes is printed in the preface to Mr. Hughes's Poems in two volumes, duodecimo, published in the year 1735. About the year 1745 he had a concert for his benefit at Lincoln's Inn fields theatre, in which were t Mr. Galliard, though a foreigner, had attained to such a degree of proficiency in the English language, as to be able to write it correctly ; but he was not enough acquainted with the niceties of it to know that we have no term that answers to the appellative Canto figurato, and con- sequently that that of the florid song could convey to an Englishman scarce any other idea than of the song of a bird, the nightingale for instance, and it happened accordingly that upon the publication of his translation men wondered what was meant by the term. Mr. Galliard has Illustrated his author by notes of his own, which are curious and entertaining; and it is upon the use of certain phrases and peculiar modes of expression, common to the translation of the Ahh§ Raguenet's Parallel, published in 1709, with the title of ' A comparison between the 'French and Italian Musick and Operas, with Remarks,' and this of Tosi's book, tbat we found a conjecture that Mr. Galliard was the translator of both, and also the author of * A Critical Discourse upon ' Operas in England, and a means proposed for their improvement,' printed at the end of the translation of the Parallel. 830 HISTOKY OF THE SCIENCE. Book XVIII. performed the chorusses to Sheffield duke of Buck- ingham's two tragedies of Brutus and Julius Caesar, set to music by Mr. Glalliard, and an instrumental piece for twenty-four bassoons and four double basses. Mr. Galliard died in the beginning of the year 1749, leaving behind him a small but very curious collection of music, containing, among other things, a great number of scores of valuable compositions in I his own hand-writing, which has been inspected for the purpose of compiling this article ; and an Italian opera of his composition, not quite completed, entitled ' Oreste e Pilade, overo la Forza delT Amicizia.' This collection, together with his instruments, was sold by auction at Mr. Prestage's, a few months after his decease. The following duet in the hymn of Adam and Eve is inserted as a specimen of that natural and elegant style which distinguishes the compositions of this ingenious master : — And ye that walk the earth, and stately tread, or low - ly creep, praise ; witness if I be si - lent morn or even, mom or even, made vo-cal by my song, by my song, and taught His praise, made vo-cal by my song, by my song. m ^^ ^- E^ ^ taught His praise, /7\ ^^^m made vo-cal by my song, and . . taught His praise. c 5 4 jt John Eenest Galliaed. Chap. CLXXVII. AND PEAOTIOE OF MUSIC. 831 John Christopher Pbpusch (a Portrait), one of the greatest theoretic musicians of the modern times, was born at Berlin about the year 1667. His father, a minister of a protestant congregation in that city, discovering in him an early propensity to music, employed at the same time two different masters to instruct him, the one in the theory, the other in the practice of the science ; the former of these was Klingenberg, the son of Gottlieb Klingenberg, componist and organist of the churches of .St. James and St. John, at Stettin in Pomerania, the latter, one Grosse, a Saxon, and an exceedingly fine performer on the organ.* Under the care of these two masters Pepusch continued but the short space of one year, the strait circumstances of his father not affording him the means of farther instruction ; but labouring inces- santly at his studies, he profited so greatly under them, that he acquired an early reputation for his skill and performance ; for at the age of fourteen he was sent for to court, and by accompanying one of the ladies who sang before the queen, so recommended himself, that he was immediately appointed to teach the prince, the father of the present king of Prussia, on the harpsichord, and that very day gave him a lesson. Encouraged by a patronage so honorable, Pepusch prosecuted his studies with unremitted diligence ; > nor were his pursuits confined to that kind of knowledge, which is sufficient for a practical com- poser. He had an inquisitive disposition, that led him to investigate the principles of his art ; and being competently skilled in the learned languages, he applied himself to the study of the ancient Greek writers, and acquired the character of a deep theorist in music. He continued at Berlin a pro- fessor of Music, and in the service of the court, till about the thirtieth year of his age, when, being in the royal palace, he became an eye-witness of a transaction which determined him to quit the country of his nativity. An officer in the service of his Prussian majesty had at a levee made use of some expression which so exasperated the king, that he ordered the offender into immediate custody, and, without a trial, or any other judicial proceeding, his head was struck off. Mr. Pepusch, who was present, conceived the life of every subject so precarious in a country where in the punishment of offences the forms of public justice were dispensed with, that he determined to abandon it, and put himself under the protection of a government founded on better principles. In pursuance of this resolution he quitted Berlin, and arriving in England about the year 1700, was retained as a performer at Drury-lane. It is pro- bable that he assisted in fitting the operas for the stage that were performed there, for in that of Thomyris is an additional song of his composition, to the words ' How blest is a soldier.' While he was thus employed, he forbore not to « ProbaWy Severus Grosse of Hildesbeim, a bishopric in the circle of Lower Saxony. He was organist of the catliedral church at Groningen, a town situate in the principality of Halberstadt. prosecute his private studies, and these led him to an enquiry into the music of the ancients, and the perusal of the Greek writers, in which he persisted so inflexibly, that he arrived at a greater Imowledge of the ancient system, than perhaps any theorist since the time of Salinas ; and at length entertained an opinion that the science, instead of improving, had for many years been degenerating, and that what is now known of it, either in principle or practice, bears little proportion to that which is lost. Nevertheless this persuasion wrought not so upon his mind, as to prevent him from the exercise of his inventive faculty, nor of directing his studies to that kind of composition which was best suited to gratify the public ear, as appears by the works published by him at different times. It is well known that at the beginning of this century the state of dramatic music was very low ; and of the opera in particular, that it was scarce' able to stand its ground against the ridicule of Mr. Addison, and other writers in the Spectator. Nevertheless there were so many who affected to discover charms in the Italian music, particularly that novel species of it. Recitative, as gave great encouragement to the cofliposers of the time to study it : trusting to this disposition in its favour, Mr. Pepusch set to music six Cantatas for a voice and instruments, the words whereof were written by Mr. John Hughes ; and afterwards .six others by different authors. The several compositions con- tained in these two collections are evidently in the style of the Italian opera, as consisting of airs intermixed with recitative ; and he must be but very moderately skilled in music who cannot dis- cover between them and the cantatas of Alessandro Scarlatti a very near resemblance. They were received with as much applause as the novelty of this kind of music could well entitle them to ; but the remembrance of this work exists only in the cantata ' See from the silent grove,' which is yet heard with delight. The abilities of Pepusch as a practical composer were not likely to become a source of wealth to him ; his music was correct, but it wanted variety of modulation ; besides which Mr. Handel had gotten possession of the public ear, and the whole kingdom were forming their taste for harmony and melody by the standard of his compositions. Pepusch, who soon became sensible of this, wisely betook himself to another course, and became a teacher of music, not the practice of any particular instrument, but music in the strict sense of the word, that is to say, the principles of harmony and the science of prac- tical composition ; and this not to children or novices, but in very many instances to professors of music themselves. In the year 1713, at the same time with Croft, Mr. Pepusch was admitted to the degree of doctor in music in the university of Oxford,! and continued t To assist in the performance of the exercise for his degree, he took from London many of the performers from the theatres, and had concerts in the city for his heneiit, which was censured as a very unacademical practice, and unwarranted by any precedent. His conduct in this respect 832 HISTORY OF THE SCIENCE Book XVIII. to prosecute tis studies with great assiduity. Hav- ing taken upon himself to teach the rudiments of music, and the art of composition, he reverted to the system of Guido, and revived the practice of solmi- sation by the hexachords, which for almost a century had been disused in favour of a method far less cer- tain and perfect, viz., that in which only the syllables SOL, LA, MI, FA, WCrS USCd.* , His manner of inculcating the precepts of musical composition, and the method he took with his pupils to form their style, was somewhat singular. From the time that the works of Corelli first became known to the public, he entertained a most exalted opinion of their merit ; and conceiving that they contained the perfection of melody and harmony, he formed a kind of musical code, consisting of rules extracted from the works of this his favourite author ; and the exercises which he enjoined his disciples were divi- sions on, and harmonies adapted to, basses selected from his works. In the course of his studies Dr. Pepusch had dis- covered the error of those, who seemed to resolve the efficacy of music and its influence on. the human, mind solely into novelty ; he saw with concern per- sons who made pretensions to great skill in the science, treat with indifference and contempt the music of the preceding century ; and being himself persuaded of its superior excellence, he laboured to retrieve and exhibit it to public view. To this end, about the year 1710, he concerted with some of the most emiuent masters then living, and a number of gentlemen distinguished for their performance on various instruments, the plan of an academy for the practice of ancient vocal and instrumental music. The origin of this institution has already been spoken of ; the farther history of it is reserved for another part of this work. About the year 1712, the duke of Ohandois having built himself a house near Edgware in Middlesex, which he named Cannons, in pursuance of a plan, which he had formed of living in a state of regal magnificence,f determined on having divine service being contrasted with that of Croft, whose exercise was performed by Gingers from the chapel royal, and who declined all pecuniary emoluments on the occasion, gave great oifence to the university. * Touching the syllables used in solmisation, it may not be amiss to remark that they were originally six, ttt, re, mi, pa, sol, ia. See page 155, et aeq. The Italians finding the syllable vt rather difficult to pro- nounce, rejected it, and instead of it, made use of do ; and we find it adopted in the Armenia Gregoriana of Gerolamo Cantone, published in 1678. Some years before this, that is to say, upon the Restoration, when the masters throughout this kingdom were employed in training up children for cathedral service, which had been abolished in the time of the usurpation, they, as thinking it more easy, introduced a practice of aolfaing by the tetrachords, using only the syllables, sol, la, mi, fa ; which method Dr. "Wallis has followed in the several examples by him given in his Appendix to Ptolemy ; but it having been found in some respects less true and certain than the former. Dr. Fepusch revived the practice of solmisation by the hexachords ; which at first appeared so difficult, that few could be prevailed on to learn it. Stanesby the flute- maker, a very ingenious man, in the year 1736, declared that besides Dr. Pepusch he never met with but one person who could solfa hy the hexachords, namely Mr. John Grano, the author of sundry Trumpet- tunes, and a celebrated performer on that instrument. Mr. Sernard Gates, Tnaster of the chapel children, ptst in^oduced the practice into his school, and since that time the boys of St. Paul's choir have been taught to do it -mth great facility. t The very short period that intervened between the time of the performed in his chapel, with all the aids that could be derived from vocal and instrumental music. To this end he retained some of the most celebrated performers of both kinds, and' engaged the greatest masters of the time to compose anthems and services with instrumental accompaniments, after the manner of those performed in the churches of Italy. It is well known that Mr. Handel's anthems, to the num- ber of near twenty, were made for the duke's chapel. It is also certain, that the morning and evening ser- vices performed there were for the most part the compositions of Dr. Pepusch ; many of these, among which is a very fine Magnificat, as also some anthems composed by him at the request of the duke, are now in the library of the Academy of Ancient Music, and are occasionally performed in that society. About the year 1722 Signora Margarita de I'Pine having quitted the stage with a large sum of money, Dr. Pepusch married her, and went to reside in Bos- well-court, Carey-street. Her mother also lived with him. The house where they dwelt was sufficiently noted by a parrot, which was used to be set out at the window, and had been taught to sing the air ' Non e si vago e hello,' in Julius Gsssar. The far- ther particulars respecting Dr. Pepusch are referred • to a future page. erection and demolition of that fabric, Cannons, affords an example of the instability of human grandeur that history can hardly parallel. James Bridges, duke of Chandois, was paymaster of the forces during queen Anne's war ; and having accumulated an immense sum of money, determined on the building of two magnificent houses, the one for a town, the other for a country residence : for the situation of the former he made choice of Cavendish-square, but proceeded no farther in that design than the building of two pavilions, which are the two houses at the extremities of the north side of that quadrangle, and may be dis tinguished by the similarity of theii form, and the roofs, which are some- what singular. For the site of his country house, the place he fixed on was a little west of Brentford, about half a mile north of the great road, and on the right hand side of the lane where lord Holdemess's house now stands ; and there are yet remaining the stone piers for the gates, and some other erections, which mark the very spot fixed on ; but upon some disagreement with Charles, duke of Somerset, who did not choose that in his manor of Sion a mansion should be erected that was likely to vio with Sion-house itself, the duke of Chandois changed his intention, and went to Edgware in the county of Middlesex, from which place he had married his duchess, and there erected that splendid edifice, which for a few years was known hy the name of Cannons. Three architects were employed in the design of it, namely Gibbs, James of Greenwich, and one Sheppard, who had been a plaisterer, but having built in and about Grosvenor-square with some success, professed himself an architect, and designed Coodman's-fields theatre, and after that Covent-Garden. The fabric, the costly furniture, and the mode of living at this place, subjected the owner of it to the censure of Mr. Pope, who has been pretty free in pronouncing, that, unless for vain expence and inelegant profusion, the duke had no taste at all; he might have included in the exception his grace's taste for music, of which he gave the best proofs ; but panegyric and satire sort but ill together. It may he said that Mr. Pope in one of his letters to Mr. Aaron Hill, has denied that his Epistle on Taste is a satire on the duke of Cliandois ; but how far he may be credited, they only can judge who are able to point out, who but his Grace is meant by Lord Timon. Mr. Pope had the comfort to see the cause of his un- easiness removed in the change of the duke's circumstances, occasioned by the misfortunes of the year 1720, which in a short time obscured the splendour of Cannons ; and had he lived to the year 1747, he might have enjoyed the pleasure of seeing this magnificent structure, which cost 200,000/. erecting and furnishing, sold at such a price, as afforded the purchaser a temptation to pull it down, and dispose of the materials in lots, one of which, namely, the marble staircase, was bought by the late earl of Chesterfield for his house near Hyde-park, and is now there. Of the order and economy of his Grace's expenditure it is not so difilcult to judge, as of the proportion whicn it bore to his fortune ; this however is certain, that when the plan of living at Cannons was originally con- certed, the utmost abilities of human prudence were exerted to guard against profusion. One of the ablest accomptants in Engluid, Mr. Watts, master of the academy in Little Tower-street, was employed by the duke to draw a plan which ascertained, and by inspection declared, the total of a year's, a month's, a week's, and even a day's expenditure. The scheme was engraved on a very large copper plate ; and those who have seen impressions from it, pronounce it a very extraordinary effort of economical wisdom. Chap. CLXXVIII. AND PKACTICE OP MUSIC. 883- BOOK XIX. CHAR CLXXVIII. In the year 1715 was published ' Histoire de la ' Musique, at de ses Effets, depuis son Origine jusqu' ' a present.' The editor of this work was Bonnet, paymaster of the salaries of the lords of the parliament of Paris, who finding among the manu- scripts of his uncle the Abbe Bourdelot, and also among those of his own brother Bonnet Bourdelot, physician to the king of France, certain memoirs on the subject of music, was induced to publish them.* The first edition of the book, and which was printed in 1705, seems to contain only so much as was writ- ten by the Abb6, but a later, printed in 1715, and at Amsterdam in 1725,t extends it to four volumes, and comprehends the papers of Bonnet Bourdelot. The author begins his history with an account of the invention of the lyre by Mercury, and the esta- blishment of a system by Pythagoras, founded on a division of the monochord. The relation which he gives is taken chiefly from Boetius, and needs not here to be repeated. In tracing the subsequent im- provements by Gregory the Great, Guido Aretinus, and De Muris, he agrees in general with other writers. It is to be observed that this work is written in a very desultory manner, by no means containing a regular deduction of the history of the science : all the use thereof that will be here made of it, wUl be to give from it such particulars respecting music as are worth noticing, and are not to be found elsewhere, and of these there are many. In delivering the sentiments of the ancient phi- losophers, poets, and musicians, touching the use of music, and its effects on the passions, the author takes occasion to mention the marriage of our Henry VIII. with Anne Boleyn, who, he says, and cites Mezeray for his purpose, could sing and dance too well to be wise or staid, of which the king was well convinced when he discovered an intrigue between her and Mark Smeton, one of her musicians. | He cites from the memoirs of the Abbe Victorio Siry, a relation that queen Elizabeth of England, in the hour of her departure, ordered her musicians into her chamber, and died hearing them : and says that he had been informed hy a friend of his, one of the attendants on the prince of Orange, afterwards king William III. that in the year 1688, the prince heing then at the Hague, and, as it may he supposed, deeply engaged in reflections on the critical situation of his affairs at that time, had three choice musicians to play to him whenever he was disposed to be melancholy or over thoughtful. Another instance, and that a very affecting one, of the power of music to assuage grief, he cites from the life of the emperor Justinian to this effect : » Of the authors that cite this took, some, not adverting to the circumstances of its publication, refer to it as the work of Bonnet, who was in truth but the editor. t Ihmeifms. I Of this supposed intrigue Burnet has given the circumstances, which amount to no more than that Smeton was used to play on the virginals, to the queen ; that one day standing in a window of her apartments, very pensive, she asked him why he was so sad ; he said it was no matter. She answered, ' You must not expect I should speak to you as if you * were a nobleman, since you are an inferior person.' * No, no. Madam,' says he, ' a look suffices me.' Vide Burn. Hist. Reform, vol. I. page 199. Eicimer, king of the Vandals, § having been defeated in a great battle by Belisarius, was constrained to- fly to the mountains, and was there with his army invested byjhim. Overwhelmed with grief, he made- to the general this moving request : ' Send me,"^ says he, ' a loaf of hread, lest I perish with hunger; ' a spunge to dry up my tears ; and a musical instru- ' ment to console me under my afflictions.' Other particulars respecting music in general occur in this order. The ancient chronicles of France mention that Oherehert, king of Paris, about the year 562, married successively two of the maids of honour of his queen Ingoherge; their names were- Meroflede and Marcouefe, his inducement to it being that they were both fine singers. || Dagohert, king- of France, in the year 630 divorced his queen Gomatrude upon pretence of barrenness, and married Nantilde, a nun, and ,a fine singer. William, duke of Normandy, in his expedition to England had singers at the head of his army. Francis I. king of France had music both for his chamher and his- chapel : the musicians of his chapel followed him to Milan, and, jointly with those of pope Leo X. sang high mass, in the year 1515, at Bologna. Great numbers of Italian musicians followed Cathe- rine de Medicis into France, upon her marriage with Henry II. and raised an emulation among the French, which contributed greatly to the improvement of their music. In the reign of Charles IX. king of France, Jean-Antoine de Baif established an academy of music in his house, to which the king resorted once a week, and assisted at it in his own person, as did also his successor Henry III. till the civil wars of France obliged Baif to break up the academy. At this time Eustache du Carroys, a native of Beauvais, was chapel-master to Charles IX. who dying, he was continued in his employment hy his- successor.^ In the year 1580, Baltzarina, an Italian, afterwards called Beaujoyeux, came into France with a band of violins, and was made first valet-de- chambre to the queen. He was esteemed the finest performer on the violin then in Europe. Lewis XIII. of France is said to have composed a book of airs.** In 1630 a musician named Du Manoir, a fine performer on the violin, was by letters patent appointed King of the violins, with power to licence performers on that instrument in all the province* in France. In 1684:, cardinal Mazarine having sent for musicians from Italy, entertained the court at the Louvre with a representation of an Italian opera;: the suhject of it was the amours of Hercules :. LuUy composed the Entries, and thereby gave proofs- § The author seems to have mistaken this name for Gilimer, one of the nephews of Genseric, king of the Vandals,who claimed to be successor to his uncle. Justinian engaged in a war with him in behalf of Yldericus, another nephew of Genseric, and a competitor for his crown, and drove Gilimer into the mountains of Numidia. Of such a person as Ricimer we meet with no mention in the history of those times. II Cherehert had by his queen Ingoberge, a daughter, named Bertha, who was married to Ethelbert, king of Kent, and greatly £%voured th& arrival of Austin the monk, when he came to teach the Christian religion IT Some compositions of his are to be found both in the French and* the Latin work of Mersennus. ** This may be true, for see an air of his composition in page 638. 3h 834 HISTORY OF THE SCIENCE Book XIX. of his genius for music. In 1660 Lambert, master of tie king's music, brought singing to perfection in France, by introducing the shake, and other graces, to which the French till his time were strangers. In 1669 the king granted to Cambert his letters patent for an opera, he having a short time before iiet to music a pastoral of Perrin, which was re- presented at Vincennes with great applause. The dialogues in the operas performed under the direction of Cambert, were composed hy Lambert, Martin, Pordigal, Boisset, and himself, and were the models iifter which the French recitative was formed. Lewis XIV. understood music in perfection ; he was also the best dancer in his court ; cardinal Mazarine sent to Italy for a master to teach him the guitar, and in eighteen months the king excelled his master. All the foreign embassadors at the court of Prance allowed that the music of the king's chapel, as also of his chamber, excelled that of any prince in Europe. Few nations have a greater passion for music than the Spaniards ; there are few of them that do not play on the guitar, and with this instru- ment at night they serenade their mistresses. At Madrid, and in other cities of Spain, it is common to meet in the streets, young men equipped with a guitar and a dark lanthom, who taking their station under the windows, sing, and accompany themselves on their instrument ; and there is scarce an artificer or labourer in any of the cities or principal towns, who when his work is over does not go to some of the public places and entertain himself with his guitar : nevertheless few Spaniards are composers of music ; their operas are Italian, and the per- formers come chiefly from Milan, Naples, or Venice. Upon the marriage of the king of Spain, Charles II. with Mademoiselle d'Orleans, sundry operas of Lully were represented at Madrid, but the Spaniards were hut little pleased with them. The emperor Charles V. was a great lover and judge of music. Guerrino, the best musician in all Spain, composed motets, and, with a licence which some great masters have At times used, had made free with the compositions of others ; this the emperor discovered, although none of the musicians of his court were able to do it. The court of Vienna was the last that admitted ■the Italian music : upon the marriage of the ■emperor Leopold in the year 1660, an Italian opera was represented; the subject was the story of Orpheus ^nd Eurydice; and since that time the emperor's musicians have been Italians. The marqiiis San- tinella, an excellent musician, composed five or six Italian operas, one whereof was represented at the emperor's own expence, and was therefore entitled Opera Regia. Scarlatti composed an opera for the birth-day of the electoral prince of Bavaria ; the subject of it was 'The Triumph of Bavaria over ■' Heresy.' The English are said to owe their music to the French, for in 1668 Cambert left France, and • went into England, and at London performed his opera of Pomone; but although he was favoured by the king, he was envied by the English musicians, envy being inseparable from merit. Some English- men had composed music to operas in their own language, but these not succeeding, the Italian opera has taken place in that kingdom. Some years ago certain French musicians attempted an opera at London, which was well received by the audience ; but the English musicians being determined to interrupt the performance, began a quarrel, in which five or six were killed on one side or the other, and the survivors of the French musicians went hack to their ovm country.* In England are concerts at all the places resorted to for the benefit of mineral waters. The king of England's band of music is either good or otherwise; accordingly as he cares for the expence of it. That of James II. was very indifferent, for this reason, that the king chose rather to employ his superfluous money in charity than in music. These and other particulars contained in the first tome of this work, make the whole of the history of music, as given by the author ; the remainder of it has not the least pretence to that character, it heing a miscellaneous collection of dissertations, dialogues, discourses, and reflections on the suhject of music, without the least regard to the order and course of historical narration. Many of those it is to be sus- pected are not the work of the author, seeing that the second tome hegins vidth and contains the whole of the ' Oomparaison de la Musique Italienne et de ' la Musique Frangoise,' written by Mons. de la Vi6uville de Preneuse, in answer to the ' Paralele ' des Italiens et des Frangois,' &c., and mentioned in a preceding page of this work. The first of these detached pieces,, and which makes the twelfth chapter of the first tome of the ' Histoire de la Musique et de ses Effets,' is entitled 'Dissertation sur le bon Gout de la Musique d' Italic, de la Musique Franjoise, et sur les Opera.' It hegins with a remark that the admirers of the Italian music are a small sect of demi-spavans in the art, notwithstanding they are persons of condition, and that they ahsolntely condemn the French music as insipid. But that there is another party more deeply skilled in the science, who are faithful to their country, and cannot without indignation suffer that the French music should be despised; and these look upon the Italian music as wild, capri- cious, and contrary to the rules of art. Between these two parties the author professes to be a mo- derator: of his impartiality a judgment may be formed from the following sentiments. The harmony of the Italian musicians is learned, especially in their Cantatas and Sonatas; but the style of the French is more natural: besides, that, the French performers exceed the Italians in point of execution. The music of the Italians is like Gothic architecture, abounding with ornaments that obscure the work. The Italians express all the passions alike; their symphonies are but echoes of the song. They change the key too frequently, and repeat the same passages too often. Their Cantatas are fit only for the chamber, ♦ Of this quarrel no nention is made in any of the accounts extant of the English drama, nor any traces of it to be met with in any of the newspapers of the time, which we allow to comprehend all that interval hetween the first puhlication of the Gazette in kmg Charles the Second's reign and the year 1715, when the hook now citing was first published. Chap. CLXXVIII. AND PEACTICE OP MUSIC. 835 and their Sonatas of two parts should be played by one violin only. Their thorough-basses doubled and chorded, and their Arpeggios are calculated to deceive the ignorant ; and they are like dust thrown into the eyes of ^en to prevent their seeing ; with a deal more to the same purpose. He says that the Abh6 de la Louette made certain compositions for a concert at Eome, performed at the palace of the princess Colonna in 1689, which were so difficult to execute, that the famous Francisci was twice out in playing them ; from hence he says it appears that the Italian performers are not infallible when they attempt to play or sing at sight. In the thirteenth and last chapter of the ' Histoire ' de la Musique et de ses Effets,' that is to say, the his- tory of music properly so called, the author treats of the sensibility of some animals, and of the effects of music upon many of them. He says that, being in Holland in the year 1688, he went to see a villa of Milord Portland, and was struck with the sight of a very handsome gallery in his great stable. ' At ' first,' says he, ' I concluded it was for the grooms to ' lye in, but the master of the horse told me that it ' was to give a concert to the horses once a week to ' chear them, which they did, and the horses seemed ' to be greatly delighted therewith.' He says that naturalists observe that hinds are so ravished with the sound of a fine voice, that they will lie down and hearken to it with the more attention ; and that some of them are so enraptured with music, as to suffer themselves frequently to be taken without resistance.* It is not uncommon, he adds, to see nightingales, at the time of their making love, assemble themselves in a wood when they hear the sound of instruments or the singing of a fine voice, which they will answer by warbling with so much violence, as often to fall down expiring at the feet of the performer ; and as a proof of this fact, he relates that in the month of May the people of Paris go to play in the gardens of the Tuilleries upon lutes and guitars, and that the nightingales and linnets there will perch upon the necks of the instruments, and listen with great atten- tion and delight. The second tome begins with and contains the whole of the Comparaison de la Musique Italienne et de la Musique Frangoise, with a letter of the author to one of his friends on the ^me subject. The third tome contains a letter to a lady on the subject of music and the French opera, with some songs adapted to well-known airs in the French operas, and a pastoral drama entitled L'Innocente. This is followed by several dialogues on music in general, containing many curious particulars re- specting the French musicians, more particularly LuUy, of which a due use has been made in the memoir herein before inserted of that musician. In tome IV. the author re-assumes the style of history, interspersing a variety of observations upon church music, on the qualifications of a master of * That horses are sensible of the effects of music is remarked by the duke of Newcastle in his treatise of Horsemanship ; and that deer are rendered tame by it, is no less confidently asserted: Playford relates that he saw a herd of stags, twenty in number, who were drawn by the sound of a bagpipe and a violin, from Yorkshire to Hampton-Court, see page 402, In note. music, and on music in general ; and relates that Henry II. of France sang with the chanters of his chapel, as did also Charles IX., who, as Brantome asserts, sang his part very well ; and for an encou- ragement to the study and practice of church music, founded the school of St. Innocent. He adds that Henry III. also sang, and that both he and his pre- decessor, Henry II., were composers of music. The rest of this tome is taken up with an examen of the Italians and French with respect to the music of each. And herein the author takes occasion to observe on the liberty which some of the Italian musicians have assumed in the composition of motets, to alter the words of the vulgate translation ; and of this he gives as an instance a motet of Carissimi, ' Peccavi Domine,' &c., in which he severely censures him for the use of the word Culpas, though he allows the motet to be a beautiful one. Again he remarks that the Italian musicians seldom regard the expres- sion of the words ; as an instance whereof he refers to the Judicium Salomonis of this author, upon which he observes, that the setting of the word Discernere, in the prayer of Solomon, is shocking, as containing a melody in which all the chords are taken, which he condemns as a puerile effort. Never- theless, he commends very highly other parts of this composition, particularly the chidings of the two mothers; and, above all, the dignity and majesty with which Solomon is made to pronounce his decree. The author adds, that this composition is the finest of Oarissimi's works that he had ever seen, and that he looks upon this musician as the least unworthy adversary whom the Italians have to oppose LuUy. He observes that, for want of attention, the expression of a particular word in music may become ridiculous, and may even be a burlesque of the sentiment. And to this purpose he relates the following story : ' In 1680 or 82, when Dumont ' died, and Robert retired, instead of the two masters 'of music which the king had at his chapel, he ' chose to have four ; and to the end that these ' places should be filled by musicians that were ' worthy of them, he sent into the provinces a ' circular letter, by which all the masters at cathe- ' drals were invited to Versailles, in order to give ' proofs of their several abilities. Among many ' that offered themselves was Le Sueur, chapel- ' master of the church of Notre Dame at Eouen, ' a man of a happy and fruitful genius, one who ' had a very good knowledge of the Latin tongue, ' and merited this post as well as any. As he had 'no great patrons, he endeavoured to recommend ' himself by the performance of a studied com- ' position, previous to that which was to be the test ' of his abilities : to that end he prepared a piece ' to be sung one day at the king's mass : it was the ' seventieth psalm, " Qui habitat in adjutorio," &c.f ' an admirable one, and equal to the text ; and the ' king and all his court heard it with great attention. ' At the seventh verse, " Cadent a latere tuo," &o., ' Le Sueur had represented the falling, signified by t This is a mistake of the author, the psalm is the ninetieth in the Vulgate, and the ninety-first in our translation. «36 HISTORY OF THE SCIENCE Book XIX. ' the word Cadent, by a chorus in fugue, which made • a rumbling through seven or eight notes descending; ' and when the deep basses had run over the noisy ' octave, resting upon the last note, there was no ' auditor but must be supposed, according to Le Sueur, ^ whom this invention had charmed, to have repre- ' sented to himself th^ idea of a man rolling down ' stairs, and falling with great violence to the bottom. ' This description struck but too much one of the ' courtiers, who, upon hearing the rumblings of the ' fugue, at one of those Ca-a-a-dents, cried out, " There is somebody down that will never get up " again." This pleasantry disturbed the gravity and 'the silence of the whole assembly. The king ' laughed at it, and the rest appeared to wait only ' for permission to second him. A long uninterrupted ■* hearty laugh ensued, at the end whereof the king ' made a sign with his hand, and the music went on. ' At the tenth verse, " Et flagellum non appropin- ■" quabit," &c., poor Le Sueur, whose misfortune was ' that of not having exalted himself above those •puerilities, had set a new fugue upon the word ' Flagellum, in notes that represented the lashing of ^ scourges, and that in so lively a manner, that a ' hearer must have thought himself in the midst of ^ fifty Capuchins, who were whipping each other with ' all their might. " Alas !" cried another courtier, 'tired with this hurly burly, "these people have • been scourging each other so long, that they must " be all in blood." The king was again taken with ' a fit of laughter, which soon became general. The ' piece was finished, and Le Sueur was in hopes that ' the exceptionable passages in it would have been ' forgot. The time of trial drawing on, the candi- • dates were shut up in a house, and for five or six ' days maintained at the king's expence, but under a ' strict command that none of them should be per- ' mitted to communicate with any person. Each ' tried his utmost efforts upon a psalm appointed for ' the competition, which was the thirty-first, " Eeati '• quorum remissse sunt," &e. But as soon as those ' of the chapel began to sitig the work of Le Sueur, ' instead of attending to the beauties of the compo- ' sition, the courtiers recalling to mind the idea of the ' two obnoxious passages in his former master-piece, ' and the jests passed thereupon, cried out, " This is " the Ca-a-a-dent," and a general laughter ensued. ' The consequence was, that Colasse, La Lande, ' Minoret, andCoupillet were chosen; the three first ' worthy without a doubt, of this post, the last not ;* ' and Le Sueur returned home melancholy to his ' house, to execute in the choir of his church an • excellent " Beati quorum," which no one would ' hear at Versailles, though it received a thousand ' applauses at Rouen. This adventure, which Le ' Sueur after recounted with a very lively resentment ' against the court, had nevertheless so well cured ' him of trifling and false expression, that he passed ' over almost to the opposite extreme. He threw all ' his old music into the fire, fine and pleasing as it ' was ; and, during the remainder of his life, com- ' posed new upon every occasion, sober even to ' dryness.' * For a reason that will ie given hereafter. Throughout his book the author takes every occa- sion that offers to censure the practice of fugue; and, taking advantage of the story above related, he says that although in their church-music, and in their opera, fugues are the delight of the Italians, they are tiresome, and in church-music improper; for that there are few passages in scripture which allow us to repeat them so many times as the fugue would de- mand. It is even difficult, adds he, for one to find words in the church-service with which these fre- quent repetitions can agree. As to double fugues, which are made to differ at the same time, good sense requires that they should be sung by two choirs. He says of the profane music of France, that it was originally too intricate and elaborate ; but that Lully reformed it, and left a shining example of that medium, which ought ever to be preserved between the extremes of simplicity and refinement. Yet he observes that the music of Dumont, who flourished before Lully, though his motets were not printed till ,1688, is of an extreme simplicity. He farther says of this author, that it was he who brought in, or at least established in France, the tise of continued basses; and that the art and high skill which appear in the more modern compositions, have not rendered those of Dumont contemptible, but that they are yet bought; their respective graces are yet felt; and his dialogue between an angel and a sinner, ' Peccator ' ubi es ?' is still heard with pleasure. He says that Desmarets, author of the fine opera, .fflneas and Dido, ought to be reckoned among the church musicians, it being certain that he composed all that music which OoupiUet caused to be performed; as a proof whereof he relates the following fact. ' After OoupiUet had been named for the king's cha- ' pel, merely because Madam the Dauphiness, whom ' Mons. Bossuet had solicited, desired it ; he soon ' became sensible of his inability to discharge the ' duties of it, and had recourse to Desmarets, a young ' man then needy and unknown. A bargain was ' made between them, and during ten or a dozen ' years Coupillet held his employment with reputation ' and esteem, till upon breach of the agreement on ' the part of Coupillet, Desmarets made a discovery ' of the secret, and Coupillet retired.' Towards the close of this work we meet with a tract, l,hat appears to be an answer to a reply of the Abbe Raguenet to the Comparaison de la Musique Italienne et de la Musique Franpoise ; and by this author's recognition of the Comparaison, we know it to be the work of Mons. de la Vieuville de Freneuse. In this answer it appears that the applauses which in the Parellel are given to the Italians, more particu- larly Corelli andBononcini,hadgreatlyirritatedhim, and even bereft him of every source of argument, excepting personal reflection. Of Corelli he does but repeat the censures contained in the Comparaison, but Bononcini is made the subject of a distinct tract, entitled ' Eclaircissement sur Buononcini.' In this senseless libel, for it deserves no better a name, the author enters into an examination of the duets and cantatas of Bononcini, which he says have no other fault than that they cannot be sung ; which impossi- Chap. CLXXIX. AND PEACTICE OP MUSIC. 837 bility he makes to arise from the use of fugues, counter -fugues, and intervals but little used, most of them false and irregular ; objections, he says, which are equally to be made against the compositions both of Corelli and Bononcini. He then proceeds to examine a Cantata of Bononcini, as he has done a Sonata of Corelli, that he may equally satisfy, as he professes to do, the friends of these two heroes in different kinds of music. To this end he remarks on a cantata of Bononcini, ' Arde il mio petto amante ;' for the choice whereof he gives this notable reason, that it is very short, and therefore one of the best of the many which that author had composed : and after a great number of idle objections to the expression of the poet's sentiments, the conduct of the melody and harmony, and the use of the tritone in the reci- tatives, he expresses his sentiments in the following modest terms : ' Ces jolis traits de Corelli et de ' Buononcini, dont vous etes enchantez, choquent, ' renversent toutes les regies et de la musique et du ' bon sens : on vous d6fie de trouver quoi que ce soit ' de pareil dans Boesset, Lambert, Camus, dans tons ' les ouvrages de Lulli, et dans les ouvrages de ' Campra, de Desmarets, de M. des Touches, qui ont ' eu du succSs ; toute la France, les gens de la cour, ' les connoisseurs ont jusqu'ici m^pris^, abhorr6 de si ' fausses beautez.' He concludes his invective with an assertion, that, let his adversary, with all his skill in music, choose any sonata of Corelli, or cantata of Bononcini, and correct it at his pleasure, he will not be able to ac- commodate it to the taste of a Frenchman ; which assertion may be very true, and no reflection on the merit of either of these two persons. And lastly, to express his contempt, he exhorts the people, as it seems is the custom in Italy, to throw apples, medlars, and oranges at the heads of such musicians as those whom he has so freely censured in the passage above quoted. Traits du peuple en corroux, pommes, nefles, oranges, Sifflets de toute espjce et de toute grandeur, Volez sur ce compositeur, C^lebr^z ses louanges. No one that reflects on this controversy can wonder that nothing decisive is produced by it, seeing that in questions of this kind, those of one party gene- rally reason upon principles which are denied by the other. In such a case there can be no appeal but to the general sense of mankind, which has long deter- mined the question, and given to the Italian music that preference, which upon principles universally admitted, is allowed to be its due. CHAP. CLXXIX. Baron de Astorga was eminently skilled in music, and a celebrated composer. Of his history little is known, save that he was a Sicilian b}' birth, and was at the court of Vienna at the beginning of this cen- tury, where he was greatly favoured by the emperor Leopold, from whence it is presumed he went to Spain,* and had that title conferred upon him, which, * Astorga is a city in the province of Leon in Spain, and a bishop's see. for want of his family name, is the only known de- signation of him. He was at Lisbon some time, and after that at Leghorn, where being exceedingly ca- ressed by the English merchants there, he was induced to visit England, and passed a winter or two in Lon- don, from whence he went to Bohemia ; and at Breslaw, in the year 1726, composed a pastoral enti- tled Daphne, which was performed there with great applause. He excelled altogether in vocal composi- tion ; his cantatas in particular are by the Italians esteemed above all others. He never travelled with- out a great number of them, and, though very short-sighted, was used to sing them, accompanying himself on the harpsichord. The anonymous author of Eemarks on Mr. Avison's Essay on Musical Ex- pression, says that the Cantatas of the Baron d' Astorga have in general too much of that extravagant gusto, which he condemns, at the same time that he cele- brates a Stabat Mater of his as a composition to which he says he scarcely ever metwith an equal. This hymn, he adds, had lately been performed at Oxford with universal approbation. The Academy of Ancient Music are in possession of it, and it now frequently makes a part of their entertainment on Thursday evenings. Antonio Vivaldi (a Portrait), Maestro de' Oon- certi del Pio Ospitale della Pieta in Venetia, and Maestro di Capella da, Camera to Philip, landgrave of Hesse Darmstadt, was a celebrated composer for the violin, as also a great master of that instrument. He composed Solos, Sonatas, and Concertos to a great number; but his principal works are his third and eighth operas ; the latter of these consists of two books of concertos, entitled ' II Cimento dell Ar- menia e deir Inventione ;' but the common name of them is the Seasons. The plan of this work must appear very ridiculous ; for the four first concertos are a pretended paraphrase, in musical notes, of so many sonnets on the four seasons, wherein the author endeavours, by the force of harmony, and particular modifications of air and measure, to excite ideas cor- respondent with the sentiments of the several poems. The subsequent compositions have a similar ten- dency, but are less restrained ; whether it be that the attempt was new and singular, or that these compositions are distinguished for their peculiar force and energy, certain it is that the Opera VIII. is the most applauded of Vivaldi's works. Indeed the peculiar characteristic of Vivaldi's music, speaking of his Concertos- — for as to his Solos and Sonatas they are tame enough — is, that it is wild and ir- regular ; and in some instances it seems to have been his study that it should be so ; some of his composi- tions are expressly entitled Extravaganzas, as trans- gressing the bounds of melody and modulation ; as does also that concerto of his in which the notes of the cuckoo's song are frittered into such minute divi- sions as in the author's time few but himself could express on any instrument whatsoever. From this character of his compositions it will necessarily be inferred that the harmony of them, and the artful contexture of the parts, is their least merit ; but against this conclusion there are a few exceptions 838 HISTORY OF THE SCIENCE Book XIX. the eleventh of his first twelve Concertos being, in the opinion of the judicious author of Eemarks on Mr. Avison's Essay on Musical Expression, a very- solid and masterly composition, and an evidence that the author was possessed of a greater degree of skill and learning than his works in general discover. For these his singularities, no better reason can be given than this : Corelli, who lived a few years before him, had introduced a style which all the composers of Italy affected to imitate : as Corelli formed it, it was chaste, sober, and elegant, but with his imitators it degenerated into dulness ; this Vivaldi seemed to be aware of, and for the sake of variety, gave into a style which had little but novelty to recommend it.* The account herein before given of the progress of music in England respects solely this island, where only it had been cultivated as a liberal science. Mention has occasionally been made of the state of music in Wales, in Ireland, and In Scotland ; and a particular account has been given of the origin of those melodies which distinguish the music of this latter kingdom from that of every other country. In the principality of Wales, and the kingdom of Ire- land, it appears that music derived very little assist- ance from those precepts which it had been the en- deavour of learned and ingenious men to disseminate throughout Europe; the consequence whereof has been, that, submitting to no regulation but the simple dictates of nature, the music of those countries has for many centuries remained the same ; and can hardly be said to have received the least degree of iittprovement. In Scotland the case has been somewhat different : a manuscript is now extant,f written in the Scottish dialect, entitled ' The art of Music coUectit out of ' all ancient Doctouris of Music,' wherein all the modern improvements respecting the composition of music in parts are adopted ; and the precepts of Franchinus, Zarlino, and other eminent writers, are enforced by arguments drawn from the principles of the science, and the practice of those countries where it had been first improved, and has continued to flourish in the greatest degree. The study of the mathematics has in these later years been cultivated in Scotland ; and at the beginning of this century some faint essays were made in that country towards an investigation of the principles of music : the result of these we are strangers to ; but of the success of the pursuit in general we are enabled to form a judgment by means of a learned and valuable work, entitled ' A Treatise of Music, speculative, ' practical, and historical, by Alexandbe Malcolm,' printed at Edinburgh in 1721, of which it is here proposed to give an account. This book contains fourteen chapters, subdivided into sections. * The Opera terza of Vivaldi, containing twelve Concertos for violins, was reprinted in England, and published by Walsh and Hare, with the following title, which is here inserted as a proof of the assertion in page ' 801 of this work, that they were both illiterate men ; ■ Vivaldi's most ' celebrated Concertos in all their parts for violins and other instruments, •with a Thorough-Bass for the Harpsichord, Compos'd by Antonia • Vivaldi, Opera terza.' i Penes Authorem. Chap. I. contains an account of the object and end of music, and the nature of the science. In the definition and division of it under this head, the author considers the nature of sound, a word he says that stands for every perception that comes im- mediately by the ear ; and which he explains to be the effect of the mutual collision, and consequent tremulous motions in bodies, communicated to the circumambient fluid of the air, and propagated through it to the organs of hearing. He then enquires into the various affections of sound, so far as they respect music, of which he makes a two-fold division, that is to say, into I. The knowledge of the Materia Musica. II. The art of Composition. Chap. II. treats of tune, or the relation of acuteness and gravity in sounds. The author says that sounds are produced in chords by their vibratory motions, which, though they are not the immediate cause of sound, yet they influence those insensible motions that immediately produce it; and, for any reason we have to doubt of it, are always proportional to them ; and therefore he infers that we may measure sounds as justly in these as we could do in the other, if they fell under our measures ; but as the sensible vibrations of whole chords cannot be measured in the act of producing sound, the proportions of vibra- tions of different chords must be sought in another way, that is to say, by chords of different tensions, or grossness, or lengths, being in all other respects equal. And for the effect of these differences he cites Vincentio Galilei, who asserts that there are three ways by which we may make the sound of a chord acuter, viz., by shortening it, by a greater tension, and by making it smaller, caeteris paribus. By shortening it, the ratio of an octave is 1 : 2 ; by tension it is 1 : 4 ; and by lessening the thickness it is also 1:4; meaning in the last case when the tones are measured by the weights of the chord. The vibrations of chords in either of the cases above put, in order to ascertain the degrees of • acuteness and gravity, are insensible ; and being by necessary consequence immeasurable, can only be judged by analogy. In order however to form some conclusion about them, the author cites from Dr. Holder's treatise, the following passage ; on which he says the whole theory of his natural grounds and principles of harmony is founded. ' The first ' and great principle upon which the nature of har- ' monical sounds is to be found out and discovered ' is this : That the tune of a note (to speak in our ' vulgar phrase) is constituted by the measure and ' proportions of vibrations of the sonorous body ; ' I mean of the velocity of these vibrations in their ' recourses ; for the frequenter these vibrations are, ' the more acute is the tune : the slower and fewer ' they are in the same space of time, by so much ' more grave is the tune. So that any given note of ' a tune is made by one certain measure of velocity ' of vibrations, viz., such a certain number of courses ' and recourses, e. a. of a chord or string in such ' a certain space of time, doth constitute such a de- ' terminate tune.' Chap. CLXXIX. AND PRACTICE OF MUSIC. 839 Upon this passage Malcolm observes, that though we want experiments to prove that the difference of the numbers of vibrations in a given time is the true cause on thp part of the object of our perceiving a difference of tune, yet we find by experience and reason both, that the differences of tunes are inse- parably connected with the number of vibrations ; and therefore these, or the lengths of chords to which they are proportional, may be taken for the true measure of different tunes. Chap. III. contains an enquiry into the nature of concord and discord. The several effects of these on the mind are too obvious to need any remark ; but the causes of those different sensations of pleasure and distaste severally excited by them, he resolves into the will of God, as other philosophers do the principle of gravitation. Yet upon what he calls the secondary reason of things, arising from the law or rule of that order which the divine wisdom has established, he proceeds to investigate the ratios of the several intervals of the diapason, distinguishing them into concords and discords : and concludes this chapter with a relation of some remarkable phoenomena respecting concord and discord; such as the mutual vibration of consonant strings ; the breaking of a drinking-glass by the sound of the human voice adjusted to the tune of it, and gradually encreased to the greatest possible degree of loudness ;* and to these, which are the effects of concord, he adds an instance of a different kind, that is to say, of an effect produced by discordant sounds : the relation is taken from Dr. Holder, a person of sound judgment in music, and of unquestionable veracity, and is well worthy of attention. ' Being in an arched sounding room near a shrill ' bell of a house-clock, when the alarm struck I ' whistled to it, which I did with ease in the same ' tune with the bell ; but endeavouring to whistle ' a note higher or lower, the sound of the bell and ' its cross motions were so predominant, that my ' breath and lips were checked so, that I could not ' whistle at all, nor make any sound of it in that ' discordant tune. After, I sounded a shrill whistling ' pipe, which was out of tune to the bell, and their ' motions so clashed that they seemed to sound like ' switching one another in the air.'f Chap. IV. is on the subject of harmonical arith- metic, and contains an explanation of the nature of arithmetical, geometrical, and harmonical proportion, with rules for the addition, subtraction, multiplica- tion, and division of ratios and intervals. Chap. V. contains the uses and application of the preceding theory, explaining the nature of the ori- ginal concords, and also of the compound concords. Chap. VI. explains the geometrical part of music, and the method of dividing right lines, so as their sections or parts one ■with another, or with the whole, shall contain any given interval of soxiud. Chap. VII. treats of harmony, and explains the * It is said that Mr. Francis Hughes, a gentleinan of the royal chapel in the reign of king George I. who had a very strong counter-tenor voice, could with ease break a drinking-glass in this manner. t Treatise of the Natural Grounds and Principles of Harmony, page 34, nature and variety of it, as it depends upon the various combinations of concording sounds. Chap. VIII. treats of concinnous intervals, and the scale of music, and herein are shewn the, necessity and use of discords, and their original dependence on the concords. Farther it explains the use of degrees in the construction of the scale of music. Chap. IX. treats of the mode or key in music, and of the office of the scale of music. Chap. X. treats of the defects of instruments, and of the remedy thereof in general, by the means of sharps and flats. In order to shew these defects he exhibits in the first place the series of tones and semitones in the Systema Maxima, taking it from C, and extending it to cc, as hereunder given ; upon which it is to be observed that the colon between two letters is the sign of a greater tone, 8 : 9 ; a semicolon the sign of a lesser tone, 9 : 10 ; and a point the sign of a semitone, 15 : 16 ; supposing the letters to repre- sent the several notes of an instrument tuned accord- ing to the relations marked by those tones and semitones. C:D;E.F:G;A:B.c:d;e.f:g;a:b.cc. Upon which he makes the following observation : ' Here we have the diatonick series with the 3d ' and 6th greater proceeding from C ; and therefore ' if only this series is expressed, some songs com- ' posed with a flat melody, i. e. whose key has a ' lesser 3d, &c. could not be performed on the organ ' or harpsichord, because no one of the octaves of ' this series has all the natural intervals of the ' diatonick series, with a 3d lesser.' To remedy these and other defects of instruments whose intervals depend not upon the will of the performer, but are determined by the tuning, he says a scale of semitones was invented, which he exhibits in this form : — c. cjji. d. dft. o. f. ft g. gft. a. b. h oo. 15 128 15 2 4 15 128 15 16 3415 128 15 TB' TTS T^ ITS TS TTTS TS TS 'SVTW T3T T^ And upon it he observes that it contains the diatonic series in the key C, with both the greater and lesser third, with their accompaniments in all their just proportions ; and that it corrects the errors of the tritone between F and Jj, and the defective fifth between Jj and P. This division corresponds in theory with the Systema Participato mentioned by Bontempi, and spoken of in page US, and elsewhere in the course of tkis work. Malcolm also gives a second division of the octave into semitones in the following form : — c. c|. d. d|. «. f. fjf. g. gjf. a. b. b oc. 16 IX. 18 19 IS le 17 18 19 16 17 15 TT TTS TTTffTffTT T^'TIT 'TirTTTS'TB' being that invented by Mr. Thomas Salmon, and inserted in the Philosophical Transactions ; upon which Malcolm observes, that having calculated the ratios thereof, he found more of them false than in the preceding scale, but that their errors were 3i 840 HISTOEY OF THE SCIENCE Book XIX. considerably fewer ; so that upon the whole the merits of both seem to be nearly equal. This chapter of Malcolm's book contains many curious observations upon the necessity of a tem- perature, arising from that surd quantity, which for many centuries, even from the time of Boetius, it has been the study of musicians to dispose of. The author concludes with a general approbation of the semitonic division, and of the present practice in tuning the organ and harpsichord, corresponding as nearly to it as the judgment of the ear will enable men. As to the pretences of the nicer kind of musicians, he demonstrates that they tend to introduce more errors than those under which the present system labours. Chap. XI. describes the method and art of writing music, and shews how the differences in tune are represented. Under this head the author explains the nature and Use of the cliffs ; as also the nature t){ transposition, both by a change of the cliff and of the key or mode. He also explains the practice of solmisation, and makes some remarks on the names of notes. Lastly he enters into an examina- tion of Salmon's proposal for reducing all music to one cliff, as delivered in his Essay to the Advance- ment of Music. This proposal Malcolm not only approves of, but expresses himself with no little acrimony against that ignorance and superstition which haunts little minds, and the pride and vanity of the possessors of the art; all which he says have concurred in the rejection of so beneficial an invention. Chap. XII. treats of the time or duration of sounds in music, and herein, 1. Of time in general, and its subdivision into absolute and relative ; and particularly of the names, signs, and proportions in relative measures of notes as to time. 2. Of absolute time, and the various modes or constitution of parts of a piece of melody, on which the diiTerent airs in music depend ; and particularly of the distinction of common and triple time ; and the description of the Chronometer for measuring it. 3. Concerning rests and pauses of time, with some other necessary remarks in writing music. The Chronometer mentioned in this chapter is an invention of Mons. Loulie, a French musician, and is described in the account herein before given of him, and of a book of his writing, entitled ' Elemens ou Principes de Musique.' Chap. XIII. contains the general rules and prin- ciples of harmonic composition. The whole of this chapter, as Malcolm acknow- ledges in the introduction to his work, was com- municated to him by a friend, whom he is forbidden to name. The rules are such as are to be found in almost every book on the subject of musical composition. The account given in Chap. XIV. of the ancient music, is, considering the brevity of it, very enter- taining and satisfactory. Speaking of the tones or modes, he says there are four different senses in which the term is accepted, that is to say, it is used to signify, 1. A single sound, as when we say the lyre had seven tones. 2. A certain interval, as for example, the difference between the diatessaron and diapente. 3. The tension of the voice, as when we say one sings with an acute or a grave voice.* 4. A certain system, as when they say the Doric or Lydian mode or tone. In the consideration of this latter sense of the word Mode, he observes that Boetius has given a very ambiguous definition of the term ; for, to give the remark in his own words, Malcolm says he first tells us ' that the modes depend on the seven ' different species of the diapason, which are also ' called Tropi ; and these, says he, are ' Con' ' stitutiones in totis vocum ordinibus vel gravitate ' vel acumine differentes.' Again he says, ' Con- ' stitutio est plenum veluti modulationis corpus, ex ' consonantiarum conjunctione consistens, quale est ' Diapason, &c. Has igitur constitutiones, si quis ' totas faciat acutiores, vel in gravius totas remittat ' secundum supradictas Diapason consonantise species, ' efficiet modes septem.' This is indeed a very ' ambiguous determination, for if they depend on ' the species of 8ves, to what purpose is the last ' clause ? and if they differ only by the tenor or ' place of the whole 8ve, i. e. as it is taken at a ' higher or lower pitch, what need the species of ' 8ves be at all brought in ? His meaning perhaps ' is only to signify that the different orders or ' species of Sves lie in different places, i. e. higher ' and lower in the scale. Ptolemy makes them the ' same with the species of diapason ; but at the ' same time he speaks of their being at certain ' distances from one another.' Upon this seeming ambiguity it may be remarked, that the two definitions of a mode or tone above cited from Boetius, are reconcileable with each other ; for the proof whereof we refer to a disser- tation on this subject by Sir Francis Haskins Eyles Stiles, published in the Philosophical Transactions, vol. LI. pairt ii. for the year 1760, and abridged in book II. chap. 11, 12, of this work. In a short history of the improvements in music, which makes part of the fourteenth chapter, the author takes particiilar notice of the reformation of the ancient scale by Guido, and adopts the sentiments of some very ingenious man, who scruples not to say of his contrivance of six syllables to denote the position of the two semitones in the diatonic series of an octave, that it is ' Crux tenellorum ingeniorum.'f In the comparison between the ancient and modern music, contained in this chapter, this author says that the latter has the preference ; and upon that controverted question, whether the ancients were acquainted with music in consonance or not, he cites * Acuteness and gravity are affectione of sound ; and note of tone, that both the grave and acute pipes of any given stop in an organ, the vox humana and cornet, for instance, have, comparing pipe with pipe, the same tone, or rather that peculiarity of sound -which distinguishes tlie voice of one person from another, or the sound of the cornet from another instrument. + This censure is grounded on the opinion of some very ingenious man, whom Malcolm has not thought fit to name, and probably never heard of. Great pains have been taken to find out the author of it, but to no purpose. All that can be said of it is, that it occurs in Brossard's Dictionaire de Musique, voce Systkme, as the sentiment of an illustrious ■writer of the last age. Dr. Fepusch has given it an answer in hia Treatise of Harmony, edit. 1731, page 70. Chai*. CLXXX. AND PEACTICE OF MUSIC. 841 a variety of passages from Aristotle, Seneca, and Cassiodorus, to the purpose, and scruples not to determine in the negative. From this general view of its contents, it must appear that the work ahove mentioned is replete with musical erudition. Extensive as the subject is, the author has contrived to bring under consideration all the essential parts of the science. His knowledge of the mathematics has enabled him to discuss, with great clearness and perspicuity, the doctrine of ratios, and other abstract speculations, in the language of a philosopher and a scholar. In a word, it is a work from which a student may derive great advantage, and may be justly deemed one of the most valuable treatises on the subject of theoretical and practical music to be found in any of the modern languages. CHAP. CLXXX. John Francis De La Fond, a singing-master, and a teacher of the principal instruments, and also of the Latin and French tongues, published in 1725, at London, an octavo volume, entitled ' A new ' System of Music both theoretical and practical, ' and yet not mathematical,' wherein he undertakes to make the practice of music easier by three quarters, and to teach a new and easier method than any yet known of figuring and playing thorough, or, as he affects to call it, compound bass. The first of these ends he attempts to effect by an indiscriminate charge of folly and absurdity on all that had written on music before him, and an as- sertion that mathematics have little or nothing to do with music ; the second by an argument tending to prove, what no one ever yet denied, to wit, that in the semitonic scale, which divides the octave into tones and semitones, there are twelve intervals. His proposition of teaching thorough-bass consists not in the rejection of the figures with which it is necessarily encumbered, but in the assigning to them severally, powers difi^erent from what they now possess ; it is conceived in the following terms : ' Nature teaches us to call the first or unison, the ' unison ; the flat 2nd the 2nd ; the sharp 2nd the ' 3rd, the flat 3rd the 4th ; the sharp third the 5th, • the 4th the 6th, the flat 5th the 7th, the natural ' 5th the 8th, the sharp 5th or flat 6th the 9th, the ' sharp 6th the 10th, the flat 7th the 11th, the sharp ' 7th the 12th ; the 8th, which according to their ' notions should be either natural, flat, or sharp, or ' sometimes one of them, and sometimes another ; ' the 8th I say is the 13th, the flat 9th the 14th, • and the sharp 9th the 15th, all which I mark thus, ' 1, 2, 3, 4, 6, 6, 7, 8, 9, o, u, d, t, q, Q, using 'letters for the five last, not only for the sake of ' keeping to one figure only, but because those letters ' are the initials of the proper names of those con- ' cords ; and I make the last a capital, to distinguish ' it from the last but one. The concords I think ' proper to call by the Latin names, as being more ' musical than the English ones. And these terms ' I write here at length for the sake of the Non- ' Latinists ; Unison or Prime, Second, Terce, Quart, ' Quint, Sexte, Septime, Octave, None, Decime, ' Undecime, Duodecime, Tredecime, Quatuordecime, ' and Quindecime. Nor can this be thought a great ' innovation, for three of those names are received ' already. ' All these denominations are plain, self-consistent, • and free from the very shadow of ambiguity. The ' scholar, counting his concords from the bass note, ' as is now done, and minding his plain figures, ' without troubling himself about the naturalness, ' flatness, or sharpness of any note, will at once find ' all his concords, let the mode be soft or gay, or ' the piece run over all their flats and sharps.'* To illustrate this whimsical scheme of notation, the author gives an example in the sixth Sonata of the fourth opera of Corelli, figured according to the above directions. Another improvement of music suggested by this author, and which he means to refer to the first head, of an easier practice, is the rejection of the cliffs, for which innovation the following is his mo- dest apology : — ' At my first setting out, I have ' complained of a veil that has for many ages hung ' before the noble science of music. This complaint ' I have repeated since ; but this is the place where ' it ought to be repeated with the most passionate ' tone. For indeed the business of clefs is the thickest ' part of that thick veil. This veil, or rather this ' worst part of it, is so much the more intolerable, ' as it seems to have been wilfully made. We have ' seen that the authors of the seven pretended notes, ' &c. have probably been misled into that absurd ' notion by their idle remark that the voice naturally • sings eight notes. But I think it impossible to ' assign any cause of mistake in the introducing of ' the clefs into the tablature.'f His proposal for getting rid of the cliffs is in truth a notable one, and is nothing more than that we should suppose the three parts of a musical composition to be com- prehended within the compass of one cliff, viz., the treble, in which case, to use his own words, ' I call 'the note upon the second line G, (as it is now ' called in the trebles) not only in the treble, but ' likewise in the tenor and the bass * * * In short, ' I reduce both the tenor and the bass to the treble, ' because there are a great many more trebles played ' than there are tenors and basses, both put together.'! With regard to his system, as he calls it, so far as it tends to establish a division of the octave into twelve notes, omitting the blunder of notes for intervals,§ it is not his own, but is the systema participato, mentioned by Bontempi, explained in the foregoing part of this work, and referred to at the bottom of the page. His method of figuring thorough-bass is less intelligible than that now in use; and as to his proposal for rejecting the cliffs, * Page lis, et seq. f Page 40. The Tablature is that method of notation in which the sounds are signified by the letters of the alphabet, and not by the musical notes : here the author substituted the term in the place of the word Scale, and adds one instance more to the many others that occur in his book, of his ignorance of the subject he is writing on. t The Systema participato, or semitopic scale, divides the octave into thirteen sounds or notes, comprehending twelve intervals of a semitone each. See page 401 of this work, in note, 415, in note, 455, in note. § Page 14«. 842 HISTOEY OP THE SCIENCE Book XIX. there is no end to the conflision which it has a ten- dency to introduce ; nor can any one without the cliffs be capable of understanding the nature and office of the scale of music. And, after all, the arguments urged in favour of these several inno- vations, are none of them of weight sufficient to justify them, seeing, that with all the difficulties imputed to it, the modern system of notation is a language that we find by experience ' Girla may read, and boys may understand.' Pope. But allowing it to be otherwise, it might admit of a question what would be gained by an innovation, that would render the compositions of all former musicians as generally unintelligible as is at this day a Saxon manuscript. To enumerate all the arrogant assertions in favour of his own notions, and the contemptuous expressions with respect to the discoveries and improvements of others, that occur in the course of this work, would be in effect to transcribe the whole of a book now deservedly consigned to oblivion. In the year 1724:, the lovers of music were gra- tified with a work, the only one of the kind, and which, for the circumstances attending it, may be considered as the grandest and most splendid of any musical publication at this day extant ; the title of it, to give it at length, is as follows : ' Estro ' poetico-arrnonico Parafrasi sopra li primi venti- ' cinque Salmi. Poesia di Girolamo Ascanio Gius- ' tiniani, Musica di Benedetto Marcello, Patrizi ' Veneti.' This work, consisting of no fewer than eight volumes in folio, has the recommendation of some of the most eminent musicians of the time in all the several countries of Europe; and these ac- company not only the first, but each of the several volumes, in such sort, that it appears to have been the occasion of a correspondence, in which some of the most eminent poets and musicians were engaged, ultimately tending to celebrate the work and its author. The letters that passed oh this occasion, and are prefixed to the several volumes, abound with a variety of curious particulars respecting music, and have the signatures of the following persons, viz., Domenico Lazzarini, Francesco Gas- parini, Antonio Bononcini, Francesco Conti, Fran- cesco Rosellini, Carlo Baliani, Francesca-Antonio Calegari, Giovanni Bononcini, Tommaso Carapella, Domenico Sarri, John Mattheson, Steffano Andrea Piorfe, Giuseppe Bencini, Geminiano Jacomelli, and George Philip Telemann. Thus much must serve for a general character of the work, a particular account of it is referred to a memoir of the author, which it is here proposed to give. Benedetto Marcello, a noble Venetian, was bom on the twenty-fourth day of July, 1686. His father, Agostino Marcello, was a senator of Venice : his mother, Paolino, was of the honourable family of Cappello, being the daughter of Girolamo Oap- pello, and the aunt of Pietro Andrea Cappello, ambassador from the state of Venice to the court of Spain, Vienna, and Eome, and who also was resident in England in that capacity about the year 1743, and afterwards. The male issue of these two persons were Ales- sandro, a son next to him whose Christian name is unknown, and the above mentioned Benedetto Mar- cello. The elder of them addicted himself to the study of natural philosophy and the mathematical sciences, as also music, in which he attained to great proficiency ; his younger brother Benedetto had been well instructed in classical literature, and having gone through a regular course of education under proper masters, was committed to the tuition of his elder brother, and by him taken into his house, with a view to his farther improvement in philosophy and the liberal arts. Alessandro Marcello dwelt at Venice; he had a musical academy in his house, holden regularly on a certain day in every week, in which were frequently performed his own compositions. Being a man of rank, and eminent for his great endow- ments, his house was the resort of all strangers that came to visit the city. It happened at a certain time that the princes of Brunswic were there,' who being invited to a musical performance in the aca- demy above mentioned, took particular notice of Benedetto, at that time very young, and among other questions, asked him, in the hearing of his brother, what were the studies that most engaged his attention ; '0,' said his brother, 'he is a very ' useful little fellow to me, for he fetches my books ' and papers ; the fittest employment for such a one ' as he is.' The boy was nettled at this answer, which reflected as much upon his supposed want of genius, as his youth, he therefore resolved to apply himself to music and poetry; which his brother seeing, committed him to the care of Francesco Gasparini, to be instructed in the principles of music;* for poetry he had other assistances, and at length became a great proficient in both arts. In the year 1716, the birth of the first son of the emperor Charles VI. was celebrated at Vienna with great magnificence ; and upon this occasion a Sere- nata, composed by Benedetto Marcello, was performed there with great applause. In the year 1718, he published a little collection of Sonnets under the title of ' Driante, Sacreo Pastor Arcade,' which he dedi- cated to the celebrated Giovanni Mario Crescimbeni of Macerata, by his assumed name of Alfesibeo Carlo, one of the founders of the Academy of Arcadians, into which Benedetto, from his great reputation, had been some time before elected.f In the year 1722, he published an elegant little work, intitled ' Teatro alia moda,' of which there have been many editions. The judgment which the Marquis Scipio Maffei has given of this excellent performance, which is in the gay, lively, and facetious style, may be seen in the third volume of his Lite- rary Observations, page 308, of the Verona edition, printed in 1738, and in the letters of Apostolo. Zeno, both of them to the honour of the author. Benedetto Marcello also published a collection of * See a letter of this person prefixed to the first volume of Marcello's Psalms, wherein he mentions that Marcello prosecuted his studies under him. , t Vide Le Vite degli Arcade lUustri, in the Istoria della Volgar Poesia vf Crescimbeni, printed at Venice in 1730, vol. VI. page 378. Chap. OLXXX. AND PEACTICE OF MUSIC. 843 Sonnets intitled ' Sonetti a Dio,' with various other compositions on sacred subjects, of which there were two numerous impressions in a short time. This work he published as a forerunner of a greater, which he did not live to finish. To prepare himself for this learned and sublime undertaking, he employed some years in the study of theology and the holy fathers. As to his musical compositions, they were many and various ; two Cantatas of his, the one intitled ' II Timoteo,' the other ' La Cassandra,' are cele- brated by Signor Abbate Conti, in a letter to Girolamo Ascanio Giustiniani, to this effect : ' Dry den, ' a celebrated English poet, in an ode for music in- ' troduces Timotheus, who singing to Alexander, one ' while of wars and victories, another of tenderness ' and love ; then of the slain in battle, and their • ghosts, and of other subjects which move terror or ' pity, raises in him by turns all the softest and most ' furious passions. I was so pleased with the new- ' ness of this thought, that so long ago as when ' I was in France, I translated the ode out of English ' into Italian verse, changing the lyric form of the ' poem into the dramatic, by introducing the chorus ' and two persons, one of whom explains the subject " of the song, the other is Timotheus himself, who ' sings. Benedetto Marcello being pleased with the ' poem, set it to music in the form of a Cantata, dis- ' playing therein the fruitfulness, and at the same ' time the depth of his art. Afterwards he desired ' to have the whole variety of passions expressed in ' Timotheus, brought into a poem by means of some ' other fable or story, in which one person only should ' speak ; and recollecting that first Euripides, and ' afterwards Lycophron, had introduced Cassandra to ' foretell the misfortunes that should befall, in the ' one case the Greeks, in the other the Trojans, ' I undertook to imitate them ; and to give magnifi- ' cence and beauty to the imaginations of poetry, ' I put into the mouth of Cassandra, in the form of ' a prophecy, the most remarkable events celebrated ' by Homer in the Iliad. Marcello was pleased with * the invention, and adorned it with all those colours ' of harmony which are most interesting, surprising, ' and delightful ; and I think I say everything when ' I compare the music of the Cassandra, making due ' allowance for the deficiency of the subject, to that ' of the Psalms paraphrased by your excellence, and ' sung with so much applause at Venice, Vienna, ' and Padua.' Marcello made also a composition for a mass, which is highly celebratedj and was performed for the first time in the church of Santa Maria della Celestia, on occasion of Donna Alessandra Maria Marcello, his brother's daughter, taking the veil in that monastery. He also set to music the Lamentations of Jeremiah, the Miserere, and the Salve : these, with many other sacred compositions, he gave to the clergy of the church of Santa Sophia, and was at the pains of in- structing them in the manner in which they were to be performed. For many years Marcello was a constant member of a musical academy held at the house of Agostino Coletti, organist of the church of the Holy Apostles, in which he always sat at the harpsichord ; and by his authority, which every one acquiesced in, directed and regulated the whole performance. In the year 1724 came out the first four volumes of the Paraphrase of the Psalms by Giustiniani, in Italian, set to music for one, two, and three voices, by Benedetto Marcello ; and in the two subsequent years four more, including in the whole the first fifty of the Psalms. Before the work is a prefatory ad- dress of the poet and the musical composer, explaining the nature and tendency of the work, wherein they observe that it is the first of its kind, and is intro- duced into the world without the advantage of any precedent that might have directed the method and disposition of it. Of the Paraphrase they say, that, although embellished with the ornaments of poetry, it is rather literal than allegorical ; and that where the poet has ventured to dilate upon the text, he has followed those interpreters, who have most closely adhered to the letter. Farther, it is said that the verse is without rhyme, and of various metres ; ia which latter respect it corresponds with that of the Psalms (»s they stand in the Hebrew text, to which, notwithstanding that the Paraphrase is chiefly founded on the Vulgate translation, as also to the Septuagint version, the poet has in some instances had recourse. In what regards the music, we must suppose the preface to speak the sentiments of Marcello himself. And herein he observes, that as the subject requires that the words and sentiments be clearly and pro- perly expressed, the music for the most part is composed for two voices only. It was, he says, for this reason, and to move the passions and affections the more forcibly, that the music of the ancients, as namely the Hebrews, the Phoenicians, and Greeks, was altogether unisonous ; but in these our days, and now that our ears are accustomed to the harmony of many parts, an attempt to approach too nearly to the happy and simple melody of the ancients, might prove no less difficult than dangerous. It was therefore, he says, judged not improper to compose these Psalms, as he had done, for two, and sometimes for three and four parts ; but, after all, the author confesses that this kind of composition, which is ra- ther to be called an ingenious counterpoint, than natural melody, is more likely to please the learned reader, who peruses it in writing, than the ordinary hearer ; as well by reason of the perpetual conflict of fugues and imitations in the different parts, as from the multiplicity of mixed consonances which accom- pany them, in order to fill and complete the chorus; and which in fact are not real consonances, according to the undeniable geometric and arithmetic experi- ments of the ancient Greek philosophers, who in the investigation of what is to be admired in this science, have discovered great skill. On the other hand this author remarks, that during a long series of years, new laws have been given both to the theory and practice of music, to which it is necessary to render obedience. From this observation the author digresses to the 844 HISTORY OF THE SCIENCE Book XIX. music of the ancient Greeks, which he commends for its simplicity ; ascribing to it more powfer to affect the passions than that of the moderns with all its laboured and artificial ornaments. For this, as also for other reasons, Marcello professes that in his work he has not always affected the modern style, though he would not take upon him to reform it ; yet he owns that he has sometimes transgressed against the rules of it, in order to attain to the true simplicity and manly gravity which characterizes that of the ancients. After lamenting the debasement of music, by its association with vain and trivial poetry ; and the a,buse of the science, not only in the theatre, but in places of sacred worship, the author professes that his design is to restore it to its primitive dignity. And that to that end he has chosen for his subject the Psalms of David, which, though by him com- posed for the most part for two voices, he says may and ought to be sung by a great number, agreeably to the practice recorded in the holy scriptures, which speak of psalms and hymns sung by many companies or chorusses. » He gives his reader to understand that he has in- troduced in the course of his work several of the most ancient and best known intonations of the He- brews, which are still sung by the Jews, and are a species of music peculiar to that people. These, which for want of a better word, we are necessitated to call Chants, he says he has sometimes accompanied according to the artificial practice of the moderns, as he has done by certain Cantilenas of the ancient Greeks ; the latter, he says, he has interpreted with the utmost diligence ; and, by the help of those two ancient philosophers, Alypius and Gaudeatius, has reduced them to modern practice. To those mysterious and emphatic sentences, in which the royal prophet has denounced the terrors of divine justice, he says he has thought it not inex- pedient to adapt a peculiar kind of music, that is to say, a modulation in the Madrigalesc style, with a commixture of the diatonic and chromatic genera. And in this respect he compares his present labours to those of a pilot, who in a wide and tempestuous ocean avails himself of every wind that may conduct him to his port, yet in a long and dangerous voyage is constrained to vary his course. A few brief directions for the performance of the several compositions, and a modest apology for the defects in the work, conclude this preface, which, though written under the influence of strong pre- judices, is an ingenious and learned dissertation on the subjects of poetry and music. In the year 1726 this great work was completed by the publication of four volumes more, containing a paraphrase of the second twenty-five psalms ; and as an evidence of the author's skill in that kind of composition, in which some of the most eminent musicians^have endeavoured to excel, viz.. Canon, he has, at the end of the last volume, given one of a very elaborate contexture. For the character of this work we must refer to the letters and testimonies of those eminent musicians and other persons above named, who have joined in the recommendation of it in their several addresses to the author. Mattheson of Hamburg, in a letter to him, prefixed to the sixth volume, says that the music to some of the Psalms had been adapted to words in the German language, and had been per- formed with great applause in the cathedral of that' city. And we are farther told, that for the satis- faction of hearing these compositions, the Russians had made a translation of the Italian paraphrase into their own language, associating to it the original music of Marcello,* and that some sheets of the work had been transmitted to the author in his life- time. At Rome these compositions were held in the highest estimation by all who professed either to understand or love music : at the palace of Cardinal Ottoboni was a musical academy holden on Monday in every week, in which Corelli performed ; at this musical assembly one of the psalms of Marcello made constantly a part of the entertainment; and for the purpose of performing them there, the author composed to them instrumental parts.f When the news of Marcello's death arrived at Rome, his eminence, as a public testimony of affection for his memory, ordered that on a day appointed for the usual assembly, there should be a solemn musical performance. The room was hung with black ; the performers and all present were in deep mourning ; Father Santo Canal, a Jesuit, made the oration ; and the most eminent of the learned of that time rehearsed their respective compositions upon the occasion in various languages, in the presence of the many considerable personages there assembled. Nor has this country been wanting in respect for the abilities of this great man ; Mr. Charles Avison, organist in Newcastle, had celebrated this work in an Essay on Musical Expression, and had given out proposals for publishing by subscription an edition of it revised by himself; but it seems that the execution of this design devolved to another person, Mr. John Ga;rth, of Durham, who was at the pains of adapting to the music of Marcello suitable words from our own prose translation of the Psalms, with a view to their being performed as anthems in cathe- drals ; and with the assistance of a numerous sub- scription, the work was completed and published in eight folio volumes. From the foregoing account of his studies and pursuits it might be supposed that Marcello had wholly devoted himself to a life of ease and retire- ment ; but in this opinion it seems we should be mistaken, for we find that he held several honourable posts in the state, and as a magistrate was ever ready to contribute his share of attention and labour towards the support of that government under which he lived. He was for many years a judge in one of the councils of forty : from thence he was removed to the charge of Proveditor of Pola. Afterwards he was appointed to the ofi&ce of chamberlain or treasurer of the city of Brescia, where he gained the affection and esteem of all orders of men, and, above » Life of Marcello prefixed to the English Psalms adapted to the music of Marcello. t A copy of these was in the collectign of the late Mr. Smith, the English consul at Venice, and was sold as part of his library by Messieurs Baker and Leigh, booksellers, in Yorkstreet, Covent-Garden. Ohap. OLXXX. AND PEAOTIOE OF MUSIC. 845 all, of his eminence Cardinal Quirini, who encouraged frequent visits from him in the most familiar manner ; and had once a week a literary conference with him. Marcello died at Brescia in the year 1739. He was huried in the church of the fathers, Minor Observants of St. Joseph of Brescia, with a degree of funeral pomp suited to his rank. On his tomb- stone of marble, in the middle of the church, is engraved the following inscription : — BENEDICTO MARCELLO PATRITIO VENETO SAPIENTISSIMO FHILOLOGO POET^ MUSICES PRINCIPI QUESTORI BRIXIENSI UXOR MOESTISSIMA POSUIT AHNO MDCCXXXIX VIII KALENDAS AUGUSTI VIXIT ANNOS LII MENSES XI DIES XXVIII. While he was at Brescia he wrote a very elegant poem, which he entitled Volo Pindarico Eroi-comico, in which, feigning himself to be carried with a sudden flight to the coffee-house in the square of St. Felice at Venice, which he used to frequent, to meet the many friends he had there, he describes, in a pleasing and lively strain of humour, the peculiar manners and characters of them severally ; and then gives them the like information of his own way of life at Brescia, and of the most respectable of those persons whose friendship he there enjoyed. He left in manuscript some admonitions in prose to his nephew, Lorenzo Alessandro, a son of his brother Alessandro, a young man of great genius and learning : these consist of counsels and precepts that bespeak as well the piety as the wisdom of their author ; twenty -five cantos of the poem above-men- tioned ; a treatise of proportions ; another of the musical system ; another of the harmonical concords ; and a great number of poetical compositions, the manuscripts whereof are in the possession of his above-mentioned nephew. Of the noble family of Marcello mention is made by all the historians of Venice, and in the oldest chronicles in manuscript. Battista Nani celebrates Lorenzo Marcello, captain of the Venetian Galleasses, who in an engagement at sea, with the fleet of Amurath IV. had his arm broken, and was afterwards by the senate raised to a post of great honour. Among the moderns Casimire, Frescoth, Bruzen, La Martiniere, in his Geographical Dictionary, under the article Venice ; and Marco Foscarini, in his excellent treatise of the Italian literature, speak of this family in terms of the greatest respect. To the foregoing account of the works of Marcello may be added from the Dutch catalogues, VI. Sonata a violoncello solo e basso continuo, opera prima. XII. Senate a flauto solo e basso continuo, opera seconda ; and VI. Sonate a tre, due violoncelli o due viole da gamba, e violoncello o basso continuo, called opera seconda. Mr Avison, as weU in certain remarks on the Psalms of Marcello, prefixed to the English version adapted to his music, as in the proposals for the publication thereof, printed at the end of the second edition of his Essay on Musical Expression, has represented this work as a most perfect exemplar of the grand, the beautiful, and the pathetic in music ; with sundry other epithets, not less proper, as applied to music, than fanciful : notwithstanding which, and the numerous testimonies of authors, that accompany the original work, there have not been wanting in this country men of sober judgment, and of great eminence for skill in the science of practical com- position, who object to the Psalms of Marcello, that the levity of these compositions in general renders the work a fitter entertainment for the chamber, than an exercise for church service.* That they abound in the evidences of a fertile invention, improved to a high degree by study, all must allow ; but who- ever shall contemplate that style in music, which in the purest ages has been looked upon as the best adapted to excite devout affections, and understands what in musical speech is meant by the epithets, sublime and pathetic, will be apt to entertain a doubt whether these can with greater propriety be applied to them than to many less celebrated compositions. The following specimen of Marcello's style is selected from the forty-second of his Psalms : — DAL Tri-bunal' au- gusto, o ve tu sie di O di gius-ti zia Fon-te, O Fonte cle - men-za I'al-to giu-di - zio as - pet to I'al-to giu - di - zio aspet - to, E^^^l Crir =^ t^^^^ ^ ^^^_^^^J^JS:T-=i:i ^^^^^ ^:p^^ ^^^ -m m ^ - • w .— ■ '— ■ ' j p - ' ■ ■ ■ I — dal Tri-bunal' au- gusto o ve tu sie - di O . . di gius-ti - zia Fonte, O Fonte di cle-menza ^^ S^ ^^ =g i? =1:: ^=^ * See Remarks on Mr. Avison's Essay on Musical Expression, Lond. 1743, pag. 113, et seq. The author of these Remarks, in proof of his assertion, has referred to the eighth of Marcello's Psalms, than which a more injudicious association of sound and sentiment can hardly be found ! in this poem the psalmist celebrates the power and goodness of Gcd. as manifested in his works of creation and providence ; and to one of the most sublime sentiments contained in it, the musical composer has adapted an air in minuet time, the lightest that can be conceived. This psalm, which as it stands in the English version, begins, * O Lord our gb- vefnor, how excellent is thy name in all the world ! ' is now frequently sung as an anthem ; and there are persons that will give a boy half a guinea to sing it, who can scarce lend their attention to Gibhons't * Hosanna,' or Purcell'i ' O give thanks.' 846 HISTORY OF THE SCIENCE Book XIX. ^g= a g =^p^^^gEgs.^ - ip ig-E^y^g^ I'alto giu-di-zio as - pet to, I'alto giu -di - zio I'alto, glu-di -zio aspet - to. Di ^nl ^- ==^i^ 'zMZ±m.=± ^^=^^m^ ^^^^^^^^^^^M^m la la mia ra-giou d'a-dir-ti de gna, e si decida al-fin e si de-cida al fin la cau - sa mi- bfc^^i ^^^^^^^^^^m a e SI decida al - fiin e si decida al - fin la cau - sa mi a ■ ^=^^ Je^^^^^^. ■^sitils =i= g=t^:=E. Zargo. -? bm Eg ^E^g^EJifg^^^^^ ^ Daun Po-po-lochea tenon fu non . fu mai sa - cro, per pie-tH, per pie - til mi di- fen ^fc--j^^::^Eg;|gEg^-^ g di, e dagringanni i-niqui e dal-le frodi di quel che lo govema in-giusto Eege fa, chedis-oioltoche disciol Fp=--=g= t =£^^^ ^:-a^ to fa, che dis - oiolto che disciol 33^^ES?EE«Ef' fe* * .j.--mh fa, che dis - ciol m\ ?=^==^ - ti fa che disoiol-to, che dis-oiolto tua merce-de io io res - ti. ^^^^3=^^^i^^^^^^p Benedetto Makcello. Chap. CLXXXI. AND PKAOTICB OP MUSIC. 847 CHAP. CLXXXI. Francesco Gbminiani (a Portrait), a native of Lucca, was born about the year 1680. He received his first instructions in music from Alessandro Scarlatti, and after that became a pupil of Carlo Ambrosio Lunati, surnamed II Gobbo,* a most celebrated performer on the violin ; after which he became a disciple of Corelli, and under him finished his studies on that instrument. In the year 1714 he came to England, where in a short time he so recommended himself by his exquisite performance, that all who professed to understand or love music, were captivated at the hearing him ; and among the nobility were many who severally laid claim to the honour of being his patrons ; ■■ but the person to whom he seemed the most closely to attach himself was the Baron Kilmansegge, chamberlain to king George I. as elector of Hanover, and a favourite of that prince. In the year 1716 he published and dedicated to that nobleman twelve Sonatas, a Violino Violone e Cem- balo : the first six' with fugues and double stops, as they are vulgarly called ; the last with airs of various measures, such as AUemandes, Courants, and Jigs. The publication of this work had such an effect, that men were at a loss to determine which was the greatest excellence of Geminiani, his performance or his skill and fine style in composition ; and, with a due attention to his interest, there is no saying to what degree he might have availed himself of that favour, which his merits had found in this country : this at least is certain, that the publication of his book impressed his patron with such a sense of his abilities, as moved him to endeavour to procure- for him a more beneficial patronage than his own ; to this end he mentioned Geminiani to the king as an exquisite performer, and the author of a work, which at the same time he produced, and the king had no sooner looked over, than he expressed a desire to hear some of the compositions contained in it per- formed by the author. The haron immediately communicated the king's pleasure to Geminiani, who, though he was gladly disposed to obey such a com- mand, intimated to the Baron a wish that he might be accompanied on the harpsichord by Mr. Handel, which being signified to the king, both masters had notice to attend at St. James's, and Geminiani acquitted himself in a manner worthy of the ex- pectations that had been formed of him. It is much to he doubted whether the talents of Geminiani were of such a kind as qualified him to give a direction to the national taste ; his compo- sitions, elegant and ornate as they were, carried in them no evidences of that extensive genius which is required in dramatic music ; nor did he make the least effort to show that he was possessed of the talent of associating music with poetry, or of adapt- ing corresponding sounds to sentiments : the con- sequence hereof was, that he was necessitated to rely on the patronage of his friends among the nobility, Vide ante, page 808, and to depend for subsistence upon presents, and the profits which accrued to him by teaching, upon terms which himself was permitted to make. A situation like this must appear little better than humiliating, to one that considers the ease and afQuence, and, comparatively speaking, independent situation of Corelli, who through his whole life seems to have enjoyed the blessings of ease, affluence, and fame. Corelli for some years led the orchestra in the opera at Eome ; we find not that Geminiani occupied a similar situation at London, nor that he was at any time of his life a public performer : it may therefore be a wonder what were his means of subsistence during his long stay in this country. All that can be said to this purpose is, that he had very many bountiful patrons and pupils, as many in number as he could possibly attend. The relation between the arts of music and painting is so near, that in numberless instances, those who have excelled in one have been admirers of the other. Geminiani was an enthusiast in paint- ing, and the versatility of his temper was such, that, to gratify this passion, he not only suspended his studies, and neglected the exercise of his talents, but involved himself in straits and difficulties, which a small degree of prudence would have taught him to avoid. To gratify his taste, he bought pictures ; and, to supply his wants, he sold them ; the necessary consequence of this kind of traffic was loss, and its concomitant, necessity. In the distress, which by this imprudent conduct he had brought on himself, Geminiani was neces- sitated, for the security of his person, to avail himself of that protection which the nobility of this country have power to extend in favour of their servants. The late earl of Essex was- a lover of music, and had been taught the violin by Geminiani, who at times had been resident in his lordship's family ; upon this ground the earl was prevailed on to inroll the name of Geminiani in the list of those servants of his whom he meant to screen from the process of the law. The notification of the security which Geminiani had thus obtained was not so general as to answer the design of it. A creditor for a small sum of money arrested him, and threw him into the prison of the Marshalsea, from whence, upon an application to his protector, he was, however, in a very short time discharged.f A series of conduct such as that of Geminiani was, the neglecting the improvement of those advan- tages which would have resulted from his great abilities in his profession ; his contracting of debts, and neglect in payment of them, seem to indicate as well a want of principle as discretion : nevertheless that he was in an eminent degree possessed of the former, will appear from the following anecdote. The place of master and composer of the state music in Ireland had been occupied for several years t Immediately upon his confinement he sent, by one Forest, an attorney, a letter to a gentleman in lord Essex's family, who, upon shewing it to his lordship, was directed to go to the prison and claim Geminiani as the servant of the earl of Essex, which he did, and the prisoner was ac- cordingly discharged. This fact, together with many others above- mentioned, was communicated by the person to whom the letter was sent. 848 HISTORY OF THE SCIENCE Book XIX. by JoLn Sigismund CousBer, a German musician of great eminence, who will be spoken of hereafter. This person died in the year 1727 ; and notice of his decease coming to the earl of Essex, he, by means of lord PercivaJ, obtained of the minister, Sir Robert Walpole, a promise of the place ; which he had no sooner got, than lord Essex immediately sent for Geminiani, and told him that his difficulties were now at an end, for that he had provided for him an honourable employment, suited to his profession and abilities, and which would afford him an ample pro- vision for life ; but upon enquiry into the conditions of the office, Geminiani found that it was not tenable by one of the Romish communion, he therefore de- clined accepting it, assigning as a reason that he was a member of the catholic church; and that though he had never made great pretensions to religion, the thought of renouncing that faith in which he had been baptized, for the sake of worldly advantage, was what he could in no way answer to his conscience. Upon this refusal on the part of Geminiani, the place was bestowed on Mr. Matthew Dubourg, a young man who had been one of his pupils, and was a celebrated performer on the violin. Some years had now elapsed since the publication of his Solos, and as well with a view to advantage, as in compliance with his inclinations, he set himself to compose parts to the first part of the Opera quinta of Corelli, or, in_other words, to make Concertos of the first six of his Solos. This work he completed, and, with the help of a subscription, at the head of which were the names of the royal family, he pub- lished it in the year 1726. A short time after, he made the remaining six of Corelli's Solos also into Concertos ; but these having no fugues, and consist- ing altogether of airs, afforded him but little scope for the exercise of his skill, and met with but an indifferent reception. He also made Concertos of six of Corelli's Sonatas, that is to say, the ninth in the first opera, and the first, third, fourth, ninth, and tenth of the third. This seems to have been a hasty publication, and is hardly now remembered. In the year 1732 he pub- lished what he styled his Opera second, that is to say, VI. Concerti grossi con due Violini, Violoncello, e Viola di Concertino Obligati, e due altri Violini, e basso di Concerto grosso ad arbitrio, with a dedica- tion to Henrietta, duchess of Marlborough. The first of these compositions is celebrated for the fine minuet with which it closes ; the first idea of the Concerto was the following Solo, which the author had com- posed many years before, and has never yet appeared in print: — i;4 « S « J}8 « t^ Chap. CLXXXI. AND PKACTICE OF MUSIC. 849 Andante. .m±m-m^ ?a^ .^ J». jO. ^BE^^sglEE^E^ I *r —'pr. t t [, ^ :^ ;fF»"f ^ :|=l=t: EtE ■o I «g «g — — - «j — «s» ^^gEEEggE^g^g^ggjg^B ^ ^««^°- 9 S 4 4 l7 J77 4 3 7 Adagio, ^i^ ^E=^^^=i\E^ ^ ^ ,, P^ - : ^^^^g^^-^^^i^e^sgi^^^^^ ^te^^Eg^^ g^ -L^ ff^^pJ — J=f EE=EE E^^EE ^=^ ig£ ^ | gE^ | ^^^g^g g pS^Eii feEi ^^^^^^m. Feanoesco Geminian' 850 HISTOEY OF THE SCIENCE Book XIX: The publication of this, work was soon followed by another of the same kind, that is to say, his Opera terza, consisting of six Concertos for violins, the last whereof is looked upon as one of the finest com- positions of the kind in the world. Geminiani was now in the highest degree of esti- mation as a composer for instruments ; for, to say the truth, he was in this branch of music without a rival ; but his circumstances were very little mended by the profits that resulted from these several publi- cations. The manuscript of his Opera seconda had been surreptitiously obtained by Walsh, who was about to print it, but thinking it would be the better for the corrections of the author, he gave him the alternative of correcting it, or submitting it to appear in the world with such faults as would have reflected indelible disgrace on .the author. An offer of this kind was nothing less than an insult, and as such Geminiani received it. He there- fore not only rejected it with scorn, but instituted a process in the court of chancery for an injunction against the sale of the book, but Walsh compounded the matter, and the work was published under the inspection of the author. The Opera terza he parted with for a sum of money to Walsh, who printed it, and in an adver- tisement has given the lovers of music to understand that he came honestly by the copy. As Geminiani lived to a great age, and published at different times many other of his compositions, the farther particulars of his life are referred to a subsequent part of this work. The refinements that resulted from the association of music with the drama, were successively adopted by the English and the French ; by the former at the restoration of Charles II., and by the latter in the year 1669, when Lewis XIV. established the Royal Academy of Music at Paris. Germany at that time abounded with excellent musicians, viz., deep theorists, and men profoundly skilled in the principles of harmony, and the practice of musical composition ; but, excepting the organists of that country, and they must be acknowledged to have been at all times excellent, we hear of few that were distinguished for their performance on any particular instrument ; and of still fewer of either sex that were celebrated as fine singers ; and it seems that without those adventitious aids, which in other countries were thought necessary to the support of music, that is to say, the blandishments of an effeminate and enervated melody, and the splendour of scenic deco- ration, in Germany both the science and the practice continued to flourish for many ages in the simple purity of nature, and under regulations so austere, as seemed to bid defiance to innovations of any kind. It happened, notwithstanding, that the emperor Leopold, being a great lover of music, began to dis- cover an early propensity to the style of the Italians : the recitative of Carissimi exhibited to him a species of composition, in which the powers of eloquence derived new force by the association to speech, of sounds that corresponded to the sense, and were of all others the most melodious. As soon therefore as a cessation from the toils of war gave him leisure to cultivate the arts of peace, he set himself to intro- duce the Italian music into Germany; accordingly we find that he had Italian composers in his court ; that he gave pensions and rewards to the most ex- cellent of them, as namely, Caldara, Ziani, Lotti, Bononcini, and others ; that he had also represent- ations of Italian operas, and that some of the most celebrated singers performed in them, and requited his patronage and bounty with their usual ingra- titude and insolence. Nor was it alone at Vienna that Italian music and the opera were thus introduced and encouraged ; the same passion influenced other princes of Ger- many, and in other cities, namely, Berlin, Hanover, and Hamburg, we find that the Italian musicians were greatly caressed; that the works of some of the most eminent of them, that is to say, Pistocchi, Corelli, Vivaldi, and many others, are dedicated to German princes; .that operas were represented in the principal cities in Germany, some whereof were written in the German language; and, lastly, that the German musicians themselves became composers of operas. From these circumstances we are enabled to ascer- tain the origin of dramatic music in Germany, and having fixed it, it becomes necessary to give an account of some of the most celebrated composers in the theatric style, natives of that country, including one who chose this kingdom for his residence, and whose loss will long be deplored by its inhabitants. CHAP. OLXXXIL JoHANN SiGisMUND CoussBR, bom about the year 1657, was the son of an eminent musician of Presburg; in Hungary ; and being initiated by his father in the rudiments of music, and also in the practice of composition, he travelled for improvement into France, and at Paris became a favourite of LuUy, and was by him assisted in the prosecution of his studies. After a stay of six years in Paris, Cousser visited Germany, where he was so well received, that in two cities, viz.,'Wolffenbuttel and Stutgard, he was successively chosen chapel-master ; but, being of a roving disposition, he quitted the latter charge, and went to settle at Hamburg, where being chosen director of the opera, he, about the year 1693, introduced the Italian method of singing, to which the Germans had till that time been strangers. About the year 1700 he took a reso- lution to visit Italy, and made two journies thither in the space of five years. Upon his last return to Germany, failing of that encouragement which he thought due to his merit, he quitted that country, and came to England, and, settling in London, became a private teacher of music ; by which pro- fession, and also by the profits arising from an annual public concert, he was enabled to support himself in a decent manner. In the year 1710 he went to Ireland, and obtained an employment in the cathedral church of Dublin, which, though our ecclesiastical constitution knows no such officer, he Chap. CLXXXII. AND PEACTICE OP MUSIC. 851 looked upon as equivalent to that of chapel-master in foreign countries. After some continuance in that city, his merits recommended him to the place of master of the king's band of music in Ireland, which he held till the time of his death. From the time of his first settlement in Ireland, Cousser applied himself to the study of the theory of music, with a view, as it is said, to his attainment of the degree of doctor in that faculty of the university of Duhlin. His works in print are Erindo, an opera, 1693 ; Porus, and Pyramus and Thisbe, 1694 ; Scipio Africanus, 1696 ; and Jason, 1697. These several operas had been performed at Hamburg. There was also published at Nuremberg, in 1700, a work of Cousser, entitled ' ApoUon enjoUe, con- ' tenant six Overtures de Theatre, accompagn6es de ' plusieurs airs ;' and in the same year an opera entitled Ariadne ; as also a collection of airs from it, entitled Helicon-tgthe itlusen-%ust. He was re- sident in London at the time of the death of Mrs. Arabella Hunt, and set to music an ode written on that occasion by one William Meres, Esq. beginning ' Long have I fear'd that you, my sable muse.' The last of his publications was, A Serenade represented on the Birth-day of Geo. I. at the castle of Dublin, the 28th of May, 1724, in the title whereof he styles himself 'master of the muaick ' attending his Majesty's state in Ireland, and chapel- ' master of Trinity-college, Dublin.' Cousser died at Dublin in the year 1727 ; and, having recommended himself to the people of that city by his great abilities in his profession, and the general tenor of his deportment, his loss was greatly lamented. His successor in the office of master of the king's band was Mr. Matthew Dubourg, a pupil of Geminiani, and a celebrated performer on the violin. Ebinhard Kbiser was a native of Saxe-Weissen- fels, and chapel-master to the duke of Mecklenburg. He was a most voluminous writer, and is said to have exceeded Scarlatti in the number of operas composed by him ; which may probably be true, for in the preface to an opera of his, published at Hamburg in 1725, that work is said to be the hundred and seventh opera of his composing. The operas of Keiser were written in the German lan- guage, the music was nevertheless in the style of the Italians ; they were performed at Hamburg, and many of them were by the author himself published in that city. He had the direction of the opera at Hamburg from the time when it was first established, till, being a man of gaiety and expence, he was necessitated to quit it; after which the composers for that theatre were successively Steffani, Mattheson, and Mr. Handel. From Hamburg, Keiser went to Copenhagen ; and, in 1722, being royal chapel- master in that city, he composed an opera for the king of Denmark's birth-day, entitled Ulysses. An imperfect catalogue of his works, containing an account of such only of them as are printed, is given by Walther in the article KeisBb ; they consist of Operas, Oratorios, Hymns, and Cantatas, amounting to an incredible number. Keiser is ranked with Scarlatti and other the most eminent musicians who flourished at the begin- ning of this century ; and although his compositions could derive but little advantage from the poetry with which his music was associated, such was the native ease and elegance of his style, and such his command over the passions of his hearers, that all became susceptible of their effects. Dietrich Buxtehudb, son of Johann Buxtehude, organist of St. Olaus at Elsineur, was a disciple of John Thiel, and organist of the church of St. Mary at Lnbec. Mattheson, in his SFollttommennt Ca^ellmetster, page 130, celebrates him as a famous organist and composer, and speaks of six Suites of Lessons for the harpsichord of his, in Which the nature of the planets is represented or delineated. With these are printed a choral com- position to German words, being a lamentation on the death of his father. In 1696 he published two operas of Sonatas a Violino, Viola da Gamba, e Cembalo. Johann Mattheson, a native of Hamburg, was born the twenty-eighth day of September, 1681. In the seventh year of his age he was by his parents placed under the care of different masters, and was by them instructed in the rudiments of learning and the principles of music, in which science he improved so fast, that at the age of nine he was able to sing to the organ at Hamburg, compositions of his own. At the same time that he pursued the study of music he made himself master of the modern languages, and applied himself to attain a knowledge of the civil law ; to which purpose he became a diligent attendant on the public lectures successively read by two eminent doctors in that faculty. At the age of eighteen he composed an opera, and in it performed the principal part. In 1703 an offer was made him of the place of organist of the church at Lubec, but, not liking the conditions of the appointment, which were that he should submit to the yoke of marriage with a young woman whom the magistrates had chosen for him,* he thought proper to decline it. In 1704 he visited Holland, and was invited to accept the place of organist at Harlem, with a salary of fifteen hundred florins a year ; but he declined it, choosing to return to his own country, where he became secretary to Sir Cyril Wych, resident at Hamburg for the English court. In this station he made himself master of the English tongue, and, without abandoning the study of music, took up a resolution to quit the opera stage, on which he had been a singer for fifteen years. In 1709 he married Catherine, a daughter of Mr. Jennings,- a clergyman, nearly related to the admiral Sir John Jennings. In the eourse of his employment as secretary to the resident, he was intrusted with several important * This expedient to get rid of a burgher's daughter, by yoking her with the town organist, suggests to remembrance a practice nearly similar to it in this country. The road from Putney to Richmond lies through common fields, at the entrance whereof are sundry gates, at each of which a poor man is stationed, who upon opening the gate for passengers, is generally rewarded with a halfpenny. The appointment of these persons is by the parish officers, who. considering that the proiits thus arising are more than adequate to the wants of a poor man, annex to their grant a condition that the person appointed shall marry a poor woman out of their wnrkhouse, and rid the oarish of the expense of maintaining her. 852 HISTOEY OF THE SCIENCE Book XIX. negotiations, and made frequent journies to Leipsic, Bremen, and divers parts of Saxony, from which he reaped considerable advantages. Upon the death of Sir Cyril Wych, in the year 1712, the care of the English affairs in the circle of Lower Saxony de- volved upon Mattheson, and he occupied the ofBoe of resident till the son of the late minister was appointed to it. Upon the accession of king George I. to the crown of England, he composed a memorable Sere- nata ; and in the year 1715 obtained the reversion of the office of chapel-master in the cathedral of Hamburg, with certain other preferments annexed to it. During all this time he continued his station of secretary to the British resident ; and, upon many occasions of his absence, he discharged in his own proper person the functions of the minister. Amidst that multiplicity of business which necessarily sprang from such a situation, Mattheson found means to prosecute his musical studies ; he composed music for the church and for the theatre, and was ever present at the performance of it : he practised the harpsichord at his own apartments incessantly, and on that instrument, if not on the organ, was un- questionably one of the first performers of his time. He wrote and translated books to an incredible number, and this without an exclusive attachment to any particular object ; and the versatility of his temper cannot be more strongly marked than by observing that he composed church-music and operas, wrote treatises on music, and upon the longitude; and translated from the English into the German language, the Chevalier Kanisay's Travels of Cyrus, and the History of Moll Flanders, written by Daniel de Foe. Of his musical treatises his Orchestre, his Critica Musica, his iltuStcaUsche Patriot, and his ®oUitommenen ^a^dlmeiflttv, are the best known. His writings in general abound with intelligence communicated in a desultory manner, and are an evidence that the author possessed more learning than judgment. Mattheson was very well acquainted with Handel. Before the latter came to settle in England they were in some sort rivals, and solicited with equal ardour the favour of the public. Mattheson relates that he had often vied with him on the organ both at Ham- burg and Lubec. The terms upon which these two great men lived when they were together, must ap- pear very strange. Handel approved so highly of the compositions of Mattheson, particularly his les- sons, that he was used to play them for his private amusement ; * and Mattheson had so great a regard for Handel, that he at one time entertained thoughts of writing his life. In the years 173S and 1737 he published a work entitled Wie iuol-bUngenUe JFin= * Mattheson had sent over to England, in order to their being published here, two collections of lessons for the harpsichord, and they were accordingly engraved on copper, and printed for Richard Meares, in St. Paul's church-yard, and published in the year 1714. Handel was at this time in London, and in the afternoon was used to frequent St. Paul's church for the sake of hearing the service, and of playing on the organ after it was over ; from whence he and some of the gentlemen of the choir would frequently adjourn to the Queen's Arms tavern in St. FauPs chuich-yard, where was a harpsichord ; it happened one afternoon, when they were thus met together, Mr. Weely, a gentleman of the choir, came in and informed them that Mr. Mattheson'B lessons were then to be had at Mr. Meares's shop ; upon which Mr. Handel ordered them immediately to be sent for, and upon their being brought, played them all over without rising from the instrument. g[n:=S|itathe, i.^ e. ' The well-sounding Finger ' Language,' consisting of twelve fugues for the organ, on two and three subjects, and dedicated it to Handel, who, upon the publication of it,» wrote him a letter, in which is the following passage r — ' a present je viens de receivoir votre dernier ' lettre avec votre ouvrage, je vous en remercie ' Monsieur, et je vous assure que j'ai toute I'estime ' pour votre merite. — L'ouvrage est digne de I'atten- ' tion des connoisseurs, — et quant a moi je rous rends ' justice.' And yet these two men were in one moment of their lives at so great enmity, that each had the other opposed to the point of his sword. In short, they, upon a dispute about the feat at the harpsichord at the performance of one of Mattheson's operas, fought a duel in the market-place of Hamburg, which a mere accident prevented from being mortal to one or both of them. Mattheson died at Hamburg in the year 1764. At the beginning of the sixth volume of Marcello's Psalms, is a letter of his to the author, in the Italian language, dated Hamburg, 6 Oct. 1725, with this subscription, ' Giovanni Mattheson di ' S. A. E. il Duca d' Holstein, Secretario Britannico. ' Canonico minore della Chiesa d'Amburgo, e ' Direttore della Musica Catedrale.' JoHANN Bernhard Bach, cldcst son of Giles Bach, senior musician to the senate of Erfurth, was born November ^3, 1676, and was at first organist in the merchants' church there. Afterwards he went to reside at Magdeburg, and in the year 1703 to Eisenach, where he became chamber -musician to the duke. JoHANN Christopher Bach, of the same family, was organist at Eisenach, and continued in that function thirty-eight years. He died in the year 1703, leaving behind him three sons, all musicians, namely, Johann Nicolaus, organist at Jena in the year 1695, and a celebrated maker of harpsichords. Johann Christopher, who resided first at Erfurth, afterwards at Hamburgh, and after that at Eotterdam and London, in which cities his profession was teach- ing ; and Johann Frederick, organist of the church of St. Blase at Muhlhausen. Johann Michael Bach, brother of the above- mentioned John Christopher Bach, of Eisenach, was organist, and also town-clerk of Gehren, a market- town and bailiwick near the forest of Thuringia. He has composed a great many church pieces, con- certos, and harpsichord lessons, of which none have ever yet been printed. Johann Sebastian Bach, son of John Ambrose Bach, formerly musician to the court and senate of Eisenach, and a near relation of him last named, was born in that city on the twenty-first day of March, .1685. He was initiated in the practice of the harp- sichord by his eldest brother John Christopher Bach, organist and professor of music in the school of Ohrdruff ; and in 1703 was appointed first organist of the new church at Arnstadt, which station he quitted in 1707, for the place of organist of the church of St. Blase at Muhlhausen. Here also he stayed but a short time, for in 1708 he went to settle Chap. CLXXXII. AND PRACTICE OF MUSIC. 853 at Weimar, and became chamber-muBician, and also court-organist to the duke ; and in 1714 was ap- pointed concert-master to that prince. In 1717 he was preferred to the office of chapel -master to the prince of Anhalt Cothen ; and in 1723, upon the decease of Kuhnau, to that of music-director at Leipsic ; and about the same time was appointed chapel-master to the duke of Weissenfells. Amongst a great variety of excellent compositions for the harpsichord, he published, in 1726, a collection of lessons entitled Clabur-Hbung, or Practice for the Harpsichord. He composed a double fugue in three subjects, in one of which he introduces his name.* This person was celebrated for his skill in the composition of canon, as also for his performance on the organ, especially in the use of the pedals. Mattheson says that on this instrument he was even, superior to Handel. His son, Mr. Jobn Christian Baish, now in London, who has furnished some of the anecdotes contained in this article, relates that there are many printed accounts of his father extant in the German language ; as also that he had a trial of skill with Marchand, tbe famous French organist, and foiled him. The particulars of this contest are as follow : Marchand being at Dresden, and having shewn himself superior to the best organists of France and Italy, made a formal notification that he was ready to play extempore with any German who was willing to engage with him. Upon which the king of Poland sent to Weimar for John Sebastian Bach, who accepting the challenge of Marchand, ob- tained, in the judgment of all the hearers, a complete victory over bim. John Sebastian Bach died about tbe year 1749^ leaving four sons, who, as if it had been intended that a genius for music should be hereditary in the family, are all excellent musicians : the eldest, Fre- deric William, is at this time organist of Dresden : the second, Charles Philip Emanuel, is now an organist and music-director at Hamburg ; the third, John Frederic Christian, is in the service of the Count de la Lippe ; and the fourth, John Christian, after having studied some years in Italy, has chosen London for the place of his residence ; and in his profession has the honour to receive the commands of our amiable queen.f The following composition of John Sebastian Bach is among his lessons above mentioned. : — • ARIA. ^J-^d: '^ ^m^ 1 I . r , ■~~-.. . h- i8=t*±£f:i 11 S rr-i fr N * Walther relates that he had observed that the notes Bt?, A, C, and h are melodious in their order ; the last is by the Germans signified by the letter h: taking, therefore, this succession of notes for a point or subject, he wrought it into a fugue, as above is mentioned. Mr, John Christian Bach being applied to for an explanation of this obscure passage in Walther's memoir of his father, gave this account of it, and in the presence of the author of this work, wrote down the point of the fugue. + Her majest/s master of the harpsichord upon her arrival in England was Mr. Kelway, an Englishman ; as ia also the dancing-master of the present queen of France, a circumstance so singular as to merit re- membrance. A.t Layton Stone, in Essex, dwells an eminent dancing- master, Mr. Jay ; a few years ago he had an apprentice, the son of a neighbour, a diligent and ingenious lad, and who was generally called by the familiar appellation of Harry Bishop. A person of dis- tinction, who had a seat near Layton Stone, had taken notice of him, and conceiving him to be a youth of great hopes, sent him for improve- ment to Paris, and in a short time he excelled the most celebrated masters there ; and, such are his abilities in a profession in which the French are generally allowed to exceed all Europe, chat the queen of France is at this time the scholar of Mr. Bishop, an Englishman, and at the royal palace of Versailles receives from him a stated number of lessons in every week. 854 HISTORY OP THE SCIENCE Book XIX. &J^T^S^Ek^^Ss^E^lS^ i^^^^^^ 'm=^^^^^^ -m — »— ^- jj- ^^=i^ii r rr I, ^[^^ ^^E g?i=;=j=.fe^=J^ *-» — ^•= q=^= B^- t=t= ^^^^— r- 1 r^r I i~^r gg^-Jg;gj:^^ ^ ggl^^^^ .^ ^-S^^^i P ^ =E=^ I L 1 p I " » ^ i — r f^^E ,2^S_J ^^^pi Variatio. ^^^S^^^ =^^i^^=^^ J-r-J— J- ir:2ii.sj_.iir]^33^JS0^3t: pi^^S 2;z:r "N Canone alia Terza. ^^■1 ^ ,n Xj j ^^^^ss^^^^i^d Chap. CLXXXIII. AND PEACTICE OF MUSIC. 855 !, ^E^idU rrnraz :n!= -J^ffi, =fe! ^^^^ r gEgEEg gg^g^Ert; ±^t= i^^^lg^p^^^^^^ ^^^„^^^^l^j^^^^ CHAP. CLXXXIII. George Philipp Tblemann was born at Magde- burg on the fourteenth day of March, 1681. His father was a minister of the Lutheran church, who dying in the infancy of this his son, left him to the care of his mother. As the child grew up he dis- covered a strong propensity to music, which liis mother endeavoured to get the better of, intending him for the university ; but she finding that her son, who had been taught the rudiments of music, as other children in tlie German schools usually are, was determined to pursue the study of it, gave way to his inclination. As a proof of the early abilities of Telemann, it is said that he composed motets, and other pieces for the church service, in his infancy ; and that by the time he was twelve years of age, he had composed almost the whole of an opera. Having taken a resolution to yield to this inclination of her son, and seeing the progress he had already made in music, the mother of Telemann was easily prevailed on by the friends of the family to encourage him in this course of study ; accordingly she placed him first in the school of Zellerfelde, and after four years stay there, removed him to the Gymnasium at Hildesheim, where he perfected his stiidies in litera- ture ; and in music made such great improvements that he was appointed director of the church-music in the monastery of the Godchardins, and in the perT formance thereof was indulged with the liberty of employing musicians of the Lutheran persuasion. This was but the beginning of his fame; soon after a wider field opened for Mm to exhibit his un- common talents in, for in the year 1701, being sent to Leipsic to study the law, he was appointed to the direction of the operas, and was also chosen first music-director and organist in the new church. Anno 1704 he became chapel-master to the count of Promniz, which post, in 1709, he exchanged for that of secretary and chapel -master to the duke of Eisenach. In 1712 he was chosen chapel -master to the Carmelite monastery at Francfort-on-the-Mayne. Shortly after he obtained the music direction in St. Catherine's church, and was appointed chapel-master at the court of Saxe Gotha. In the year 1721, the city of Hamburg, desirous of having such an extraordinary man amongst them, prevailed on him to accept the place of director of their music, as also of the office of chanter in the church of St. John. He had hardly been a year at Hamburg, when an offer was made him of the post JoHANN Sebastian Bach. of music-director at Leipsic, which by the decease of Kuhnau was then lately become vacant ; but being so well settled, he declined accepting it, and it was thereupon conferred on John Sebastian Bach. All this time Telemann continued in the service of the duke of Eisenach, who found him sufficient employ- ment, not only in the way of his profession, but in his post of secretary, to which he had formerly appointed him. The few leisure hours which these his employments left him, he devoted to the service of the Margrave of Bareith, to whom for some years he had presented his compositions, and who had appointed him his chapel-master. However all these numerous avocations could not detain him from pur- suing a design, which for many years he had enter- tained, of seeing Paris ; and accordingly about Michaelmas, 1738, he made a journey thither ; and as his fame had reached that country, he met upon his arrival there with all the distinguishing marks of esteem due to his character. After a stay of about six months at Paris he returned to Hamburg, where he spent the remainder of his days. The time of his death is variously reported, but the better opinion is that it was about the year 1767. Telemann was a very voluminous composer, and the greatest church musician in Germany. Handel, speaking of his uncommon skill and readiness, was used to say that he could write a church piece of eight parts with the same expedition as another would write a letter. Telemann was twice married; by both his wives he had ten children, of whom it is remarkable that none of them ever discovered the least genius for music ; six of them were living at the time of his decease. To testify his regard for the city of Leipsic, to which he was indebted for his first preferments, he founded a music school there, which still exists. His successor in the office of music-director at Hamburg is the celebrated Charles Philip Emanuel Bach, mentioned in the preceding article. JoHANN Gottfried Walther was one of a family that from the time of Luther downwards, had pro- duced many excellent musicians. The person here spoken of flourished in the present century, and was organist of the church of St. Peter and Paul in the city of Weimar, and is by Mattheson, in his ©oHftnmmenen fitapellmeisttr, ranked among the most famous organists and composers for the organ of his time. Of his musical compositions little is here to be 3k 856 HISTORY OF THE SCIENCE Book XIX. said, the titles of none of them occurring in any of the catalogues, whence information of this kind has been derived in the course of this work ; but the friends of music have the highest obligation to him, as the author of a laborious and most valuable book compiled by him, and published at Leipsic in 1732, entitled iWusitaltSthea Lexicon, oder iilusualtBthe iStbUothec, in a large octavo volume, containing not only an explanation, in the manner of Brossard, of all the terms used in music, but memoirs of musicians in all ages and all countries, from the first institutors of the science down to his own time. Of the exactness and precision with which this work is executed, a clearer proof cannot be given, than that there is scarce a musician of any eminence, or a parish organist at all celebrated for his performance in this our country, for whom he has not an article. The book is written in the German language ; and no one that is sensible of the copious fund of know- ledge contained in it, and the great variety of information it is capable of affording, but must regret that it is not extant in every language in Europe. The Lexicon of Walther, unlike the History of Music of Printz, contains no account of the author himself, and therefore we are to seek for the parti- culars of his life. Considering the great variety of learning, and the evidence of long and laborious research displayed in this his work, we cannot suppose him a young man at the time of its publica- tion, and that being now forty-three years ago, it is probable that he has long been at rest from his labours. George Frederic Handel (a Portraif), or, if we would recur to the original spelling of his name, Hendbl, was a native of Halle, a city in the circle of Upper Saxony, and born on the twenty-fourth day of February, 1684. His mother was the second wife of his father, then a man advanced in years, being upwards of sixty ; a physician, and also a surgeon in that city. From the time that Handel began to speak he was able to sing, or at least to articulate musical sounds ; and as he grew up, his father, who almost from the time of his birth had determined him for the profession of the law, was very much concerned to find in the child such a strong propensity to music, as was at one time or other likely to thwart his endeavours for his welfare. To prevent the effects of this growing inclination, he banished from his house all musical instruments, and by every method in his power endeavoured to check it. As yet Handel, an infant under seven years of age, having never been sent, as most of the German children are, to the public schools, where they learn music as they do grammar, had no idea of the notes or the method of playing on any instrument : he had, perhaps, seen a harpsichord or clavichord, and, with the innocent curiosity of a child, may be supposed to have pressed down a key, which pro- ducing a sound, aifected him with pleasure ; be this as it may, by the exercise of that cunning, which is discoverable very early in children, Handel found means to get a little clavichord conveyed into a room at the top of his father's house, to which he constantly resorted as soon as the family retired to rest ; and, astonishing to say ! without any rules to direct his finger, or any instructor than his own ear, he found means to produce from the instrument both melody and harmony. The father of Handel had a son by his former wife, who was valet de chambre to the duke of Saxe-Weissenfells, and by the time that Handel had nearly attained the age of seven years, he had determined on a journey to see him : his intention was to have gone alone, but Handel having a strong desire to see his half-brother, pressed to be taken with him ; his father refused, and accordingly set out by himself ; the boy, however, contrived to watch when the chaise set off, and followed it with such resolution and spirit, as to overtake it ; and begging with tears to be taken up, the tenderness of a father prevailed, and Handel was made a companion in the journey. Being arrived at the court of the duke, Handel being suffered to go about the apart- ments, could not resist the temptation to sit down to a harpsichord wherever he met with one. One morning he found means, when the service was just over, to steal to the organ in the duke's chapel, and began to touch it before the people were departed ; the duke himself was not gone, and hearing the organ touched in an unusual manner, upon his return to his apartments enquired of his valet what stranger was at it, and was answered his brother ; the duke immediately commanded him to be sent for, as also his father : it is needless to repeat the conversation between them, for it terminated in a resolution in the father to yield to the impulse of nature, and give up his son to the profession of music ; and accordingly on his return to Halle he placed him under the care of Frederick William Zachau, a sound musician, and organist of the cathedral church of that city.* After having taught him the principles of the science, Zachau put into the hands of his young pupil the works of the greatest among the Italian and German composers, and, without directing his attention to any of them, left him to form a style of his own. Handel had now been under the tuition of Zachau about two years, during which time he had frequently supplied his place, and performed the cathedral duty; the exercises which he had been accustomed to were the composition of fugues and airs upon points or subjects delivered to him from time to time by his master.-f- At the age of nine he actually composed motets for the service of the church, and continued to make one every week for three years, with scarce any intermission. By the time he was arrived at the age of thirteen, Handel began to look upon Halle as a place not likely to afford him oppor- tunities of much farther improvement ; he determined * See an account of him in page 646 of this worlc. t This in Germany is the mode of exercise for young proficients in music, and is also the test of a master. When an organist was to be chosen for the new church of St. George, Hanover-square, Mr. Handel, who lived in the parish, Geminiani, Dr. Pepusch, and Dr. Croft, were the judges to determine of the pretensions of the candidates ; they gave them each the same suhject for a fugue ; and Roseingrave, who acquitted himself the best in the discussion of it, was elected. Chap. OLXXXIV. AND PEACTICE OP MUSIC. 857 to visit Berlin, and arriving in that city in the year 1698, found the opera there in a flourishing condition, under the direction of Bononcini and Attilio ; the former of these, a most admirable musician, was yet a haughty and insolent man ; the other, his inferior, was of a modest and placid disposition, a proof whereof he gave in the affection shewn by him to this young stranger, whom he would frequently set upon^his knee, and listen to with delight while he played on the harpsichord. Handel had been but a short time at Berlin before the king, the grandfather of the present king of Prussia, took notice of him, and signified to him an intention to send him to Italy ; but by the advice of his friends, Handel declined the offer, and returned home to Halle ; soon after which he had the mis- fortune to be deprived of his father. Being by this accident less attached to the city of his nativity than before, Handel began to think of another place of residence. There was at that time an opera at Hamburg, little inferior to that at Berlin : Steffani had composed for it, and Conradina and Mattheson were the principal singers ; the former of these was the daughter of a barber at Dresden, named Conradine, but, according to custom, she had given her name an Italian termination.* Mattheson was an indifferent singer, but he was a very good com- poser, and played finely on the harpsichord and organ. CHAP. CLXXXIV, Upon Handel's arrival at Hamburg he found the opera under the direction of a great master, Eeinhard Keiser, a native of Weissenfels, and chapel-master to the duke of Mecklenburgh, who being a man of gaiety and expense, was reduced to the necessity of absconding, to avoid the demands of his creditors. Upon occasion of his absence, the person who had played the second harpsichord thought he had a good title to the first, and accordingly placed himself at it ; but Handel, who had hitherto played the violin in the orchestra, and, as it is said, only a Ripieno part, with a promptitude which his inexperience of the world will hardly excuse, put in his claim to Reiser's place, and urged his ability to fill it. The arguments of Handel were seconded by the clamours of a numerous audience, who constrained the substi- tute of Keiser to yield to his competitor. For the name of this person we are to seek; it is said he was a German; he was deeply affected with the indignity that had been shown him : his honour had eustained an injury, but he comforted himself with the thought that it was in his power to repair it by killing his adversary, a youth but rising to manhood, and who had never worn, nor knew the use of a weapon; and at a time, too, when none were near to assist him. Accordingly one evening, when the opera was over, this assassin followed Handel out of the orchestra, and at a convenient place made a pass at him with his sword ; and, had it not been for the * She was Tjoth a fine singer and an excellent actress. She sang in the opera at Berlin in 1708f and in 17 1 1 was married to Count Gruzewska. score of the opera which Handel was taking home with him, and had placed in his bosom, under his coat, there is little doubt but that the thrust would have proved mortal. The absence of Keiser, the merits of Handel, and the baseness of this attempt to deprive him of life, operated so strongly, that those who had the manage- ment of the opera looked upon Handel as the only fit person to compose for it : he was then somewhat above fourteen years of age, and being furnished with a drama, he in a very few weeks brought upon the stage his first opera, named Almeria, which was per- formed thirty nights without intermission. Handel having continued at Hamburgh about three years, during which time he composed and performed two other operas, namely, Plorinda and Nerone, resolved to visit Italy. The prince of Tus- cany, brother to the grand duke John Gaston de Medicis, had been present at the performance of the operas of Almeria and Florinda, and had given Handel an invitation to Florence ; as soon, therefore, as he found himself in a situation to accept it, he went thither, and composed the opera of Roderigo, being then in his eighteenth year, for which he was honoured by the grand duke with a present of one hundred sequins and a service of plate. The prince's mistress, Vittoria, sang the principal part in it, and, if fame says true, conceived such a passion for Handel, as, if he had been disposed to encourage it, might have proved the ruin of them both. After about a year's stay at Florence, Handel went to Venice, and there composed the opera of Agrippina, which was performed twenty-seven nights succes- sively ; from thence he went to Eome, where being introduced to Cardinal Ottoboni, he became ac- quainted with Corelli and Alessandro Scarlatti ; the first of these had apartments in the cardinal's palace, and played the first violin in a concert which the cardinal had there on Monday in every week. From Rome he went to Naples, and after some stay there, having seen as much of Italy as he thought necessary, he determined to return to Germany. He had no particular attachment to any city, but having never seen Hanover, he bent his way thither. Upon his arrival he found Steffani in possession of the place of musician to the court; he might perhaps be styled chapel-master, a title which the foreign musicians are very ambitious of; but he could not be so in fact, for the service in the electoral chapel was according to the Lutheran ritual, and Steffani was a dignitary in the Romish church. The recep- tion which Handel met with from Steffani was such as made a lasting impression upon his mind. The following is the manner in which he related it to the author of this work : — ' When I first arrived at ' Hanover I was a young man, under twenty ; I was ' acquainted with the merits of Steffani, and he had ' heard of me. I understood somewhat of music, ' and,' putting forth both his broad hands, and ex- tending his fingers, ' could play pretty well on the ' organ ; he received me with great kindness, and ' took an early opportunity to introduce me to the • princess Sophia and the elector's son, giving them 858 HISTOTIY OF THE SCIENCE Book XIX. ' to understand tHat I was what he was pleased to ' call a virtuoso in music ; he obliged me with in- ' struutions for my conduct and behaviour during my ' residence at Hanover ; and being called from the ' city to attend to matters o£ a public concern, he left ' me in possession of that favour and patronage ' which himself had enjoyed for a series of years.' The connection between the court of Hanover and that of London at this time was growing every day more close, and Handel, prompted perhaps by curi- osity to see a city which was likely one time or other to become the place of his residence, determined to visit London. At the time that he was preparing for his departure, a nobleman at the court of Hanover, Baron KUmansegge, was actually soliciting with the electer the grant of a pension to Handel of fifteen hundred crowns per annum, which, he having obtained, Handel hesitated to accept, being conscious of the resolution he bad taken to visit England. Upon this objection the Baron consulted bis high- ness's pleasure, and Handel was then acquainted that he should not be disappointed in his design by the acceptance of the pension proposed, for that he had permission to be absent for a twelvemonth or more, if be chose it, and to go whithersoever he pleased. On these easy conditions he thankfully accepted the elector's bounty. Before be left Germany he made a visit to bis mother at Halle, whom he found labouring ilnder the accumulated burthen of old age and blindness ; be visited also his preceptor Zachau, and some other of his friends ; and passing through Dusseldorp to Holland, embarked for England, and arrived at London in the winter of the year 1710. The state of the opera in England at this time has already been spoken of; Mr. Aaron Hill was con- cerned in the management of it ; he gave to Eossi, an Italian poet, the story of Einaldo from Tasso's Gierusalemme ; and Eossi having wrought it into the form of an opera, Mr. Handel set the music to it, and HUl published it witb an English translation. As to the poem itself, it is neither better nor worse than most compositions of the kind ; . Mr. Addison, in the Spectator, No. 5, is very arch on it, and has extracted from the preface the following curious passage : ' Eccoti, benigno Lettore, un Parto ' di poche Sere, che se ben nato di Notte, non e' ' pero aborto di Tenebre, mk si fara conoscere ' Pigliolo d' Apollo con qualche Eaggio di Par- ' nasso ;' that is, ' Behold, gentle reader, the birth of a ' few Evenings, which thougb it be the offspring of ' the Night, is not the abortive of darkness, but will ' make itself known to be the son of Apollo, with a ' certain ray of Parnassus.' The following is the author's apology for the imperfections of the work : — ' Gradisci, ti prego, discretto lettore, questa mia ' rapida fatica, e se non merita le tue lodi, almeno ' non privarla del tuo compatimento, cbi diro piu ' tosto giustizia per un tempo cosi ristretto, poiche il ' Signor Hendel, Orfeo del nostro secolo, nel porla ' in musica, a pena mi diede tempo di scrivere ; e ' viddi con mio grand stupore, in due sole settimane 'armonizata al maggior grado di perfezzione un ' opera intiera.' Mr. Handel is said to have com- posed the opera of Einaldo in the short space of a fortnight ; in it is an air, ' Cara sposa,' sung by Nicolini, which the author would frequently say was one of the best be ever made. The success of this opera was greater than can be imagined; Walsh got fifteen hundred pounds by the printing it. After this specimen of bis abilities, tbe lovers of music h ere used every motive to prevail on Handel to make London the place of his residence ; but, after a twelvemonth's stay in England, he determined to return to Hanover. He took leave of tbe queen, and, upon expressing his sense of the obligations which he had to tbe English nation, and ber majesty in particular, she made him some valuable presents, and intimated a wisb to see him again. Upon his return to Hanover he composed for the electoral princess, Caroline, afterwards queen of England, twelve chamber duets, in imitation, as he professed, of those of Steffani, but in a style less simple, and in other respects different from those of that author. Tbe words of these compositions abound with all the beauties of poetry, and were written by Abbate Hortensio Mauro. After two years stay at Hanover, Mr. Handel ob- tained leave of tbe elector to revisit England, upon condition of bis returning within a reasonable time. He arrived at London about the latter end of the year 1712, at wbich time the negociations of the peace of Utrecht were in great forwardness. In the following year the treaty was concluded ; a public thanksgiving was ordered for the occasion, and Mr. Handel received from the queen a command to com- pose a Te Deum and Jubilate, which were performed at St. Paul's cathedral, her majesty herself attending the service. The queen died in 1714, and the elector of Hanover immediately came over. On his arrival here, he had two grounds of resentment against Handel, the one the breach of his engagement to re- turn to Hanover after a reasonable stay here ; the other his having lent the assistance of his art towards the celebrating as happy and glorious, an event which by many was looked upon as detrimental to the in- terests, not only of this kingdom, but of all the protestant powers of Europe. To avert the king's displeasure, baron Kilmansegge contrived an expe- dient, which nothing but his sincere friendship for Handel could have suggested ; the Baron formed a party, who were to take the pleasure of a fine summer's day on the Thames, and the king conde- scended to be of it : Handel had an intimation of the design, and was advised by the baron to prepare music for the occasion ; and he composed for it that work, consisting of an overture and a variety of airs and other movements, which we know by tbe name of the Water Music. It was performed in a barge, attendant on that in which tbe king and his company were, and Handel himself conducted it. Tbe king being little at a loss to guess who was the composer of music so grand and original as this appeared to be, anticipated the relation that Mr. Handel was the author of it. From this time the baron waited with impatience for an intimation from tbe king of his desire to see Handel ; at length an opportunity Chap. CLXXXIV. AND PEAOTICE OF MUSIC. 8S9 ■ offered, whicli he with the utmost eagerness em- braced; Geminiaai had heen in England a short time, during which he had published and dedicated to baron Kilmansegge his Opera prima, consisting of those twelve Solos for the violin, which will be admired as long as the love of melody shall exist, and the king was desirous of hearing them performed by the author, who was the greatest master of the instrument then living ; Geminiani was extremely pleased with the thought of being heard, but was fearful of being accompanied on the harpsichord by some performer, who might fail to do justice both to the compositions and the performance of them : in short, he suggested to the baron a wish that Mr. Handel might be the person appointed to meet him in the king's apartment ; and upon mentioning it to his majesty, the baron was told that Handel would be admitted for the purpose, and he attended accord- ingly ; and upon expressing his desire to atone for his former misbehaviour, by the utmost efforts of duty and gratitude, he was reinstated in the king's favour ; and soon after, as a token of it, received a grant of a pension of 200Z. a year, over and above one for the same sum which had been settled on him by queen Anne. Being now determined to raake England the country of his residence, Handel began to yield to the invitations of such persons of rank and fortune as were desirous of his acquaintance, and accepted an invitation from one Mr. Andrews, of Barn-Elms, in Surrey, but who had also a town residence, to apartments in his house. After some months stay with Mr. Andrews, Handel received a pressing invi- tation from the earl of Burlington, whose love of music was equal to his skill in architecture and his passion for other liberal studies, to make his house in Piccadilly the place of his abode. Into this hospi- table mansion was Handel received, and left at liberty to follow the dictates of his genius and invention, assisting frequently at evening concerts, in which his own music made the most considerable part. The course of his studies during three years residence at Burlington-house, was very regular and uniform : his mornings were employed in study, and at dinner he sat down with men of the first eminence for ge- nius and abilities of any in the kingdom. Here he frequently met Pope, Gay, Dr. Arbuthnot,* and others of that class : the latter was able to converse with him on his art, but Pope understood not, neither had he the least ear or relish for music; and he was honest enough to confess it. When Handel had no particular engagements, he frequently went in the afternoon to St. Paul's church, where Mr. Greene, though he was not then organist, was very assiduous in his civilities to him : by him he was introduced to, and made acquainted with the principal per- formers in the choir. The truth is, that Handel was very fond of St. Paul's organ, built by father Smith, and which was then almost a new instrument; Brind was then the organist, and no very celebrated per- * Dr. Arbuthnot was not only a passionate lover of music, but was ■well skilled in the science : an anthem of his composition, ' As pants the hart,' is to be found in the books of the chapel royal; See Divine Harmony, or a new Collection of select Anthems. Lond. octavo, 1712. former : the tone of the instrument delighted Handel; and a little intreaty was at any time sufficient to prevail on him to touch it, but after he had ascended the organ-loft, it was with reluctance that he left it ; and he has been known, after evening service, to play to an audience as great as ever filled the choir. After his performance was over it was his practice to adjourn with the principal persons of the choir to the Queen's Arms tavern in St. Paul's church-yard, where was a great room, with a harpsichord in it ; and oftentimes an evening was there spent in music and musical conversation.! After three years residence at Burlington-house, during which time he composed three operas, namely, Amadis, Theseus, and Pas'tor Fido, Mr. Handel received a pressing invitation from the duke of Chandois to undertake the direction of the chapel at his superb mansion. Cannons. Pepusoh had had for some years the direction of it, and had composed services and anthems for it to a great number ; but, like most other of his compositions, they were merely correct harmony, without either melody or energy ; and it suited but ill with the duke's ideas of magnificence, and the immense expence he had been at in building such a house, and furnishing his chapel, to have any other than the greatest musician in the kingdom for his chapel-master. We may suppose that the offers made to induce Handel to exchange the patronage of one nobleman for another, and to enter into engagements that rendered him somewhat less than master of himself and his time, were proportioned as well to the munificence of his new patron as his own merits : whatever they were, he complied with the invitation, and in the year 1718 went to reside with the duke at Cannons, where he was no sooner settled, than he sat himself to compose a suite of anthems for the duke's chapel. In the course of these his studies, he seems to have disdained all imitation, and to have looked with contempt on those pure and elegant models for the church style, the motets of Palestrina, AUegri, and Foggia, and for that of the chamber the Cantatas of Cesti and Pier Simone Agostino; for these he thought, and would sometimes say, were stiff, and void of that sweetness of melody, which he looked upon to be essential as well to choral as theatrical music ; much less would he vouchsafe an imitation of those milder beauties which shine so conspicuously in the anthems of the English composers for the church, namely, Tallis, Bird, Gibbons, and others ; or, to come near to his own time, those of Wise, Humphrey, Blow, and Purcell : in short, such was the sublimity of his genius, and the copiousness of his invention, that he was persuaded of his ability to form a style of his own : he made the experiment, and it succeeded. The establishment of the chapel at Cannons con- sisted in a sufficient number of voices of various pitches, including those of boys, for the performance of any composition merely vocal ; but, in imitation t At one of these meetings, word being brought that Mattheson's lesson's which had been engraved and printed in London, were just come from the press, the book was immediately sent for, and Handel, without hesitation, played it through. 860 HISTORY OF THE SCIENCE Book XIX. of the practice in the chapels of foreign countries, the duke retained a band of the best instrumental performers ; the anthems composed by Mr. Handel were made for voices and instruments, and in num- ber are supposed to be little short of twenty : as they have never been printed, it may be some satis- faction to the curious to be told that in the library of the Academy of Ancient Music in London, are the following : ' praise the Lord,' ' As pants the ' hart,' ' O sing unto the Lord,' ' Have mercy upon ' me,' ' come let us sing,' ' I will magnify thee,' ' The Lord is my light,' ' My song shall be alway,' ' In the Lord put I my trustj' ' The king shall ' rejoice,' and ' Let God arise.' The Academy have also an anthem of his, ' Sing ' unto God,' performed at the marriage of Frederic, prince of Wales. He also composed for the duke of Cbandois, his serenata of Acis and Galatea, the words whereof are said to have been written by Mr. Gay. Handel while at Naples had composed and performed a se- renata entitled Acide e Galatea ; and it is probable that he might have adapted many parts of the ori- ginal composition to the English words ; however this particular is to be remarked in the Acis and Galatea, that the fine chorus, ' Behold the monster Poly- ' pheme,' so much admired for expressing horror and affright, is taken from one of his duets, in which the self-same notes are set to words of a very different import. During the last year of his residence with the duke of Chandois, the principal nobility and gentry of the kingdom formed themselves into a musical academy for the performance of operas at the theatre in the flaymarket, to he composed by Mr. Handel, and performed under his direction. To this end a subscription was raised, amounting to 50,000/. The king subscribed lOOOZ., and permitted the society thus formed to be dignified with the title of the Eoyal Academy. It consisted of a governor, deputy governor, and twenty directors, whose names were as follow : Thomas, duke of Newcastle, governor ; lord Biiigley, deputy governor ; directors, the dukes of Portland and Queensberry, the earls of Burlington, Stair, and Waldegrave, lord Chetwynd, lord Stan- hope, James Bruce, Esq., colonel Blathwayt,* Thomas Coke, of Norfolk, Esq., Conyers D'Arcy, Esq., bri- gadier-general Dormer, Bryan Fairfax, Esq., colonel O'Hara, George Harrison, Esq., brigadier-general Hunter, William Pulteney, Esq., Sir John Vanbrugh, major-general Wade, and Francis Whitworth, Esq. Handel being thus engaged, found it necessary to seek abroad for the best singers that could be procured. Accordingly he went to Dresden ; and, having secured Senesino and Signora Margarita Durastanti, returned with them to England. It has been asserted that at this time Bononcini and Attilio were in possession of the opera stage ; but this can no otherwise be true, than that the compositions of those two masters, or rather operas made up of ♦ This gentleman, an officer in the anoY, had when a child been a pupil of Alessandro Scarlatti. His proficiency on the harpsichord at twelve years of age astonished every one. There is a picture of him by Kueller, painted when he was about that age, in the music school, Oxon. songs selected from Italian operas composed by them, were represented here : that this was the case with respect to Bononcini, is most evident from what has already been related touching the operas of Camilla and Thomyris. Besides which it may be observed that Bononcini came first to reside in London upon the invitation of the Academy ; and the first entire opera of his, named Astartus, was performed in the year 1720, and Coriolanus, the first of Attilio, in 1723. The fact seems to stand thus : Bononcini, though he had never been in England, had a strong party among the nobility ; and at the institution of the Royal Academy it seems to have been the design of the directors that the entertain- ment should have all the advantages that could be derived from the studies of men of equal abilities, but different talents, and accordingly Bononcini was included in the resolutions, and Attilio engaged about three or four years after. CHAP. CLXXXV. Giovanni Bononcini (a Portrait), or as he affected to spell his name, Buononcini, was one of the sons of Giovanni Maria Bononcini, of whom an account has already been given,-|- and a native of Modena. After having finished his musical studies, probably under his father, who, to judge from the works published by him, particularly a treatise entitled Musico Prattico, must have been an able instructor ; he went to Vienna, and having a very fine hand on the violoncello, was entered in the band of the emperor Leopold, and retained with a very large salary. At this time Alessandro Scarlatti had gained great reputation by the operas which he had composed ; and Bononcini, desirous to emulate him, though but eighteen years of age, composed one entitled Camilla, which was performed at Vienna, and also at divers of the Italian theatres, with greater applause than had ever been given to any work of the kind. The introduction of the Italian opera into England, and the feeble attempts of Mr. Clayton to recommend it, have already been mentioned ; Mr. Haym, convinced of the merit of Camilla, and of the possibility of adapting it to the taste of an English audience but little sensible of the charms of Italian melody, contrived to fit it with English, words ; and, notwithstanding the disadvantages arising from this conjunction, it is said to have been received no less favourably here than abroad. This was about the year 1707 ; and so deep was the im- pression which the music of Bononcini had made upon the minds of the people here, that tiU. the year 1710, the managers found themselves reduced to a kind of necessity of introducing into every opera they exhibited, more than an equal proportion of Bononcini's airs, selected from a variety of works, which by that time he had composed. In the year above-mentioned Mr. Handel arrived in England, and soon after gave to the English the opera of Rinaldo, and thereby laid the foundation for that t Page 661. Chap. CLXXXV. AND PEACTICE OP MUSIC. 861 fame , which he afterwards acquired, and so long enjoyed in this country, and indeed throughout Europe ; but his connections at Hanover did not allow of his making London his residence, wherefore, after a twelvemonth's stay here, he returned. The nobility and gentry, who were now become sensible of the charms of dramatic music, began to associate in its behalf, and themselves became conductors of the opera. Mr. Handel returned again to England ; but having entered into engage- ments with the earl of Burlington and the duke of Ohandois, he was for some years but an occasional composer of operas : as soon as these were deter- mined, the foundation of a royal academy was laid in the manner above related ; Bononcini was then at Eome, and, as he himself expressly asserts, was called from thence to the service of the Koyal Academy.* About three years after, Attilio was also sent for from Bologna, and, in virtue of their engagements with the directors, and during an interval of about seven years, they composed and exhibited the following operas ; that is to say, Bononciei composed the operas of Astartus, Crispus, Griselda, Pharnaces, Erminia, Calphurnia, and Astyanax ; and Attilio, those of Ooriolanus, Ves- pasian, Artaxerxes, Darius, and Lucius Verus. It was hardly possible that men possessed of talents so different as were those of Handel and Bononcini, should be equally admired and patronized by the same persons. The style of Bononcini was tender, elegant, and pathetic; Handel's possessed all these qualities, and numberless others, and his inven- tion was inexhaustible. For some or other of these considerations, and perhaps others of a very dif- ferent kind, two parties were formed among the nobility, the one professing to patronize Handel, and the other Bononcini : as to Attilio, he was an ingenious and modest man, and was therefore left to make his way as he could. Handel was honoured with the favour of the electoral family ; and this might be one, among other reasons, that induced the Marlborough family, as it stood affected at that time, to take his rival under their protection ; and yet, so strange and capricious are the motives of party opposition, Handel was espoused by the Tories, and Bononcini by the Whigs. Upon the death of John, duke of Marlborough, in 1722, Bononcini was employed by the family to compose an anthem, which was performed at his interment in Henry the Seventh's chapel, Westminster-abbey, and published in score ;f and soon after the countess of Godolphin, who upon the decease of her father, by a peculiar limitation of that title, was now become duchess of Marlborough, took him into her family, and settled on him a pension of five hundred pounds a year.| Her dwelling was in the Stable- * In the dedication of his Cantatas to king George I. t The initial sentence of it is as follows : ' When Saul was king over ' Israel, thou wast he that leddest out and broughtest in Israel.' This composition, though a fine one, is not uniformly excellent j but allowances must be made for the short interval to which the author was confined. J This circumstance is mentioned by Rolli in the notes on his translation of the comedy of the Conscious Lovers, and is confirmed by a lady of high rank, the daughter of the duchess, now living, who com- municated many of the particulars contained in this memoir.. yard near St. James's palace, in the house lately inhabited by her husband, the earl of Godolphin ; and there she had concerts twice a week, in which the music was solely the composition of this her favourite master, and the principal singers in the opera performed in it. In this easy and honourable situation, Bononcini had leisure and opportunity to pursue his studies ; here he composed most of his operas, as also twelve Sonatas or Chamber Airs for two violins and a bass, printed in the year 1732. That subscription of the nobility and gentry which has been already mentioned, and which laid the foundation of what was called the Royal Academy of Music, was calculated with a view to the improvement of the science ; but, unluckily for Bononcini, the views of this association were chiefly directed towards Handel, and accordingly he was the first retained in their service, and this not- withstanding that Bononcini had for his friend the governor of the academy, the late duke of New- castle, who had married the daughter of the coimtess of Godolphin, his patroness. The academy was no sooner established, than a contest began between the friends of Handel on the one part, and those of Bononcini on the other, which was brought to a crisis by the performance of the opera of Muzio Scffivola, of which Handel, Bononcini, and Attilio composed each an act : the judgment of the public in favour of Handel, put an. end to the competition, and left him without a rival for the public favour. This dispute, although it determined the point of precedence between Handel and Bononcini, did not operate in the total exclusion of the latter from the academy. He continued to perform operas there till the year 1727 ; after which he retired, and pursued a life of study and ease in that noble family which had so long afforded him protection ; but, being a man of a haughty and im- perious temper, he at length rendered himself unworthy of this honourable patronage ; and finding that he had ruined his fortunes in the Marlborough family, and by a singular instance of folly and disiri- genuity, forfeited the esteem of his friends in the musical world, he associated himself with a common sharper ; and, finding England no abiding place for them, took leave of it altogether. The motives to this retreat, so far as respected Bononcini, were as follow : — The Academy of ancient Music, of the establish- ment whereof an account has been given in a pre- ceding page, continued to flourish, and was become the resort of the most eminent masters, as well foreigners as natives, of the time, and ]3ononcini himself was a member of it. About the beginning of the year 1731, one of the members had received from Venice a book intitled ' Duetti, Terzetti and ' Madrigali, Oonsecrati alia Sacra Cesarea Real ' Maesta di Gioseppe I. Imperatore : Da Antonio ' Lotti Veneto, Organista della Ducale di San Marco, ' Venezia, 1705 ;' and, having looked it over, he appointed the eighteenth madrigal in the book, beginning ' In una siepe ombrosa,' to be sung in the S62 HISTORY OF THE SCIENCE. Book XIX. course of the next evening's performance, which was done accordingly : this madrigal had about four years before, by Dr. Greene, been produced in manuscript as a composition of Signer Giovanni Bononcini, who was then in England, and one of their members ; and he, hearing that it was now performed as the work of another author, writes a letter to the Academy, wherein he makes grievous complaints, accuses the pretended author of pla- giarism, and affirms that he himself composed it thirty years before, exactly as it is printed in the book, at the command of the emperor Leopold ; for a proof of which assertion he appeals to the archives of that emperor. This obliged the Academy to write by their secretary to Signer Lotti, who in his answer assures them that he was the author of the madrigal in question, and had formerly given a copy of it to Sig. Ziani, chapel-master to the emperor Leopold, before whom it had been performed ; and that it seemed incredible to him that Signor Bononcini should, in the ' gayet6 de coeur,' as he expresses him- self, adopt his defects for his own. This letter was delivered into Bononcini's own hands ; but he not thinking fit to answer it, the Academy wrote again to Venice, and procured from Lotti an instrument under the seal of a public notary, wherein, after an invocation of the name of the eternal God, it is certified that four of the most eminent masters of Venice,* and an officer of the emperor, had appeared before him, and, having voluntarily taken their oath, ' tacto pectore, et tactis Scripturis,' had deposed that they knew the madrigal, ' In una siepe ombrosa,' to be the work of the above-named Signor Antonio Lotti ; some of them having seen it composing in the rough draught ; others having sung it, and others iaving heard it practised before it went to the press. Besides this certificate, there were at the same time transmitted to London divers attestations of persons of undoubted credit living at Vienna, one of whom was the Abbate Pariati, author of the words of the above madrigal, to the same effect. These letters, for the satisfaction of the public, were soon after printed, and thus this remarkable contest ended.f The consequence of this dispute was very fatal to the interests of Bononcini ; it was thought a very dishonest thing in him to assume, and that in terms so positive and express, the merit of a composition, which he could not but know was the work of another ; to palliate this, it is said that the score of the madrigal delivered in to be sung at the Academy was not subscribed with the name of Bononcini, as others of his compositions had invariably been ; and to this fact a gentleman of undoubted veracity, now living, speaks with great certainty, who was present at the performance, and perused the manuscript of the score ; but whether the letters above referred to ♦ Their names and titles were as follow, viz., the most reverend Antonio Bifi, maestro di capella of the most serene republic of Venice ; Girolamo Melari, musician of the ducal chapel of St. Mark; Claudio Severo Frangioni, also musician of the said ducal chapel ; the reverend Sig. D. Clemente Leopoldo de Tarsis et Ottavio, late chamberlain of the Golden Key to his Imperial majesty, hereditary postmaster general of the empire at Venice, and Giorgio Gentili, first violin of the said ducal chapel. t Vide Letters from the Academy of ancient Music at London, to Signor Antonio tottl of Venice, with his Answers and Testimonies, octavo, Lond. 1732. are not evidence of his claim, and also of the injustice of it, will hardly bear a question, f Notwithstanding the variety and strength of the evidence against Bononcini, it does not appear that he ever retracted his claim to the madrigal in question, or apologized for his behaviour in any one instance during the contest, but with a sullen kind of pride left his adversaries to pursue their own measures ; all which conduct must seem unaccount- able to such as are acquainted with his great abilities; and the more so, as there are extant sundry com- positions of his of this very kind, that is to say, madrigals for five voices, not only equal to this of Lotti, but to any that we know of. From this time the reputation of Bononcini began to sink in the world ; and, what was worse, he found that his disgrace began to operate upon his interest in the Marlborough family; indeed his behaviour in it had at no time been such as suited with that generous protection which it had invariably aiforded him, for he was haughty and capricious, and was for ever telling such stories of himself as were incredible. From a propensity, that must seem unaccountable, he affected to be thought a much older man than he was ; and in the year 1730, when every circumstance in his person and countenance bespoke the contrary, he scrupled not to assert that he was on the verge of fourscore. About the year 1733 his affairs were come to a crisis in England : there was at that time about the town a man, who with scarce any other recommendation than fine clothes, and a great stock of impudence, appeared at court, and assumed the title of Count Ughi ; it is said that he was a friar, but his pretence here was that he was an Italian nobleman, and a natural son of our king James II. Being a man of parts, and well accomplished, he on the footing of relation, such as it was, gained an easy admission to the duchess of Buckingham, and became so much her favourite, that those who were not aware of the supposed consanguinity between them, hesitated not to say she meant to make him her husband. This fellow, among various other artifices, pre- tended to be possessed of the secret of making gold, and Bononcini, who had never in his life known the want of it, was foolish enough to believe him. In short, he was prevailed on to leave the hospitable roof under which he had so long been sheltered, and became a sharer in the fortunes of this egregious impostor ; they quitted the kingdom together, but it is probable that this connexion lasted not long, and that Bononcini was constrained to recur for a liveli- hood to the exercise of his profession ; for a few years after his leaving England, he was at Paris, and composed for the royal chapel there, a motet, in which was a solo, with an accompaniment for the t Dr. Greene, who had introduced the madrigal in question into the Academy, notwithstanding the evidence to the contrary, was one of the last to believe that it was a composition of any other than his friend Bononcini ; but finding himself almost singular in this opinion, he with- drew from the society, carrying with him the boys of St. Paul's ; and, calling to his assistance Mr. Festling, the first violin of the king's band, he established a concert at the Devil tavern. Temple Bar, which being performed in the great room called the Apollo, was named the Apollo Society ; and the joke upon this occasion among the academicians was, that Dr. Greene was gone to the Devil. Chap. CLXXXVI. AND PRACTICE OF MUSIC. 863 violoncello, which lie himself performed in the presence of the late king of France. This com- position was printed at Paris. Upon the conclusion of the peace of Aix la Ohapelle, Bononcini was sent for to Vienna hy the emperor of Germany, and composed the music for that occasion, and was rewarded with a present of eight hundred ducats. This was in the year 1748 ; and soon after the rejoicings for the peace were over, he, together with Monticelli, a singer who had appeared. in the opera at London, set out for Venice, the one having been engaged as composer, the other as principal singer there. Mr. Carrington, the messenger, was at Vienna at the same time, and saw them hoth set off in the same post-chaise. CHAP. CLXXXVI. The merits of Bononcini as a musician were very great ; and it must be thought no diminution of his character to say that he had no superior but Handel ; though, as the talents which each possessed were very different in kind, it is almost a question whether any comparison can justly be made between them. Handel's excellence consisted in the grandeur and sublimity of his conceptions, of which he gave the first proofs in his Te Deum and Jubilate ; Bononcini's genius was adapted to the expression of tender and pathetic sentiments. His melodies, the richest and sweetest that we know of, are in a style peculiarly his own ; his harmonies are original, and at the same time natural : in his recitatives, those manifold inflexions of the voice, which accompany common Speech, with the several interjections, ex- clamations, and pauses proper thereto, are marked with great exactness and propriety. Whoever reflects on the divisions and animosities occasioned by the competition between the two great masters, Handel and Bononcini, must wonder at the infatuation of the parties that severally espoused them, in that they were not able to discern in the compositions of both, beauties, of different kinds it is true, but such as every .soul susceptible of the charms of music must feel and acknowledge. This animosity may seem to have been owing to the determination of an over-refined judgment ; but such as have a true idea of the ridiculous character of an opera connoisseur, or are sensible of the extravagant length to which the affectation of a musical taste will carry silly people of both sexes, will justly impute it to ignorance, and an utter inability to form any ju'dgment or well grounded opinion about the matter. But where was the reason for competition ? Is it not with music as in poetry and painting, where the different degrees of merit are not estimated by an approximation to any one particular style or manner as a standard, and where different styles are allowed to possess peculiar powers of delighting ? And, to apply the question to the present case, why was it to be assumed as a principle, that to an ear capable of being affected with the sublimity and dignity of Handel's music, the sweetness and elegance of Bononcini's must necessarily be intolerable ? and, vice versa. Milton and Spenser were not contem- poraries ; but had they been so, could the admirers of one have had any reason for denying praise to the other ? In this view of the controversy, the conduct of the parties who severally espoused Handel and Bononcini can be resolved only into egregious folly and invincible prejudice ; and that mutual animosity, which men, when they are least in the right, are most disposed to entertain. The long residence of Handel in this country, the great number of his compositions, and the frequent performance of them, enable us to form a competent judgment of his abilities ; but the merits of Bononcini are little known and less attended to. Such as form their opinion of him by his early operas, such as Camilla, and those others from which the airs in Thomyris were taken, will greatly err in the estimation of his talents, these being but puerile essays, while he was under twenty years of age. The works of his riper years carry in them the evidences of a mature judgment ; and though his characteristic be elegance, softness, and a fine, easy, flowing fancy, there are compositions of his extant in manuscript, particularly a mass for eight voices, with instruments, a Laudate Pueri, and sundry madrigals for five voices, from which we must conclude that his learning and skill were not inferior to those powers of invention, which in an eminent degree he was allowed to possess. A person now living, and at the head of the pro- fession of music, and who perfectly remembers Bononcini, inclines to the opinion, that, notwith- standing the suspicions to the contrary, the reports which he made of his very advanced age were founded in truth ; and calculates that in the year 1748 he could be but little short of a hundred. He says that his merit in his profession may be inferred from that respect and deference with which he was treated by the singers in the opera, particularly Senesino ; as also by the principal instrumental performers, Carbonelli, the elder Castrucci, and Giuseppe San Martini.* A letter of Bononcini, dated from London, in the year 1725, is printed in the fifth volume of Marcello's Psalms, and contains a commendation of that work and its author. The works of Bononcini published in England are, Cantate e Duetti, dedicati alia sacra Maesta di Giorgio Re della Gran Bretagna, &c. Londra, 1721. f The subscription to this book was two guineas : It was honoured with the names of many of the principal nobility, who were very liberal to the author ; the duke and duchess of Queensberry sub- scribed each for twenty-five books ; and the countess of Sunderland alone for fifty -five ; and many others for ten and five ; and it is computed that this work produced the author near a thousand guineas. The operas of Astartus and Griselda, Divertimenti da Camera pel Violino o Flauto, dedicati all' eccellenza del Duca di Rutland, &c. Londra, 1722. The * of these severally an account will hereafter be given. + Some copies of the hook are ahroad, with a title page expressing barely the name of the book and of the author, and with no dedication. 864 HISTORY OF THE SCIENCE Book XIX. funeral anthem for John, duke of Marlborough, and Twelve Sonatas for the Chamber, for two violins and a bass, dedicated to the duchess of TVTarlborough, London, 1732. Of these publications the first seems to be the chief; and was the produce of those leisure hours of study, when, without being goaded by the call of the public, he was at liberty to wait the returns of his fancy, and to take advantage of those moments in which he found the powers of his genius and invention at the highest. Certain it is that the Cantatas and Duets contained in the above collection have long been held in high esti- StaccatOf Smorzato, e Dolce. mation by all good judges of music ; and it is some proof thereof, that the preludes to them, consisting of airs for two violins and a bass, till within about the last twelve years, were alternately, with Corelli's Sonatas, the second music before the play at one or other of the theatres. The following air of Bononcini, taken from his opera of Astyanax, was, at the time when that opera was performed, greatly admired for the sweetness of the air, and the originality of the accompani- ment ; it was never printed, and may be esteemed a curiosity : — Chap. CLXXXVI. AND PEACTICE OF MUSIC. 865 :^= ^J^^^^gJ^ JgEgJ^g^ggg EJ^g j gjEaEj^^^s-g ^fjggl -0- i^ .|p- -«. .^. -«. -0- -«- -0. -«- -m- -^-^^ir- -B^^g ^g^^igg^i to, deh lascia o cor di a fi4 r'*''^!^*'~^==l 67 ST S fi£ 6 6 tie 6 6 4 K .^^^^^^fe^^ :C=P= Pi la=:B=i:=izi=^== EfeEEp3^ F=P^£ i^^^|ii^|g|#^l^ig^ ^ ^==-^ ^g^ tor-na, e tomapoiconpiu do-lor a la-orimarohiomiconten to, e tor-napoiconpiudo- ^s^^s^gji 6 6 fl ^ 6 4 3^E=E= ^^^^^^^= E-=fE 8G6 HISTORY OP THE SCIENCE Book XIX. ^^^^ ^^ m^^^ ^^^^^^^M^ ^^ W. lor a lacrimarchiomieontentOjOhiomicon -ten to, conpiudolore alaorimarchiomiconten - to, -*B" " — • — •= — "-I ^^^^^^. Attilio Aeiosti Ca Portrait), an ecclesiastic, and therefore usually called in England and elsewhere Padre Attilio,* was a native of Bologna, and chapel- master to the electress of Brandenburg. In the year 1700, on the anniversary of the nuptials of Frederic, hereditary prince of Hesse Cassel, with the electoral princess of Brandenburg, Louisa Dorothea Sophia, being the first day of June, he performed at Lutzen- hurg, a villa of the princess at a small distance from Berlin, a ballet, and on the sixth of the same month, an opera, both of his composition, which were received with great applause. In the former he affected to imitate the style of LuUy ; but in the latter, following the dictates of his own genius and invention, he exceeded the highest expectations. The title of the opera was Atys, in which a shepherd of that name is represented in the extremity of rage and despair, to which passions Attilio had adapted a composition called Sinfonia Infernale, the modula- tion whereof was so singular, and withal so masterly, that the audience were alternately affected with terror and pity, in an exact correspondence with the sentiments of the poet and the design of the repre- * It is said that he was a Dominican friar, but that he had a dis- pensation from the pope that exempted hini from the rule of his order, and left him at liberty to follow a secular profession. Giovanni Bononoini. sentation. He also composed a musical drama entitled ' Amor tra Nemici,' which was performed on the birth-day of the emperor Joseph in that year. The words of this drama were printed for the perusal of the audience during the time of per- formance ; and it is from the title-page of this pub- lication only, that the fact of his being an ecclesiastic is ascertained ; for as to his profession, it was altogether secular, and he never pretended to the exercise of any ecclesiastical function. Attilio was a celebrated performer on the violoncello ; but he was most distinguished for his performance on an instrument, of which if he was not the inventor, he was the great improver, namely, the Viol d'Amore, for which he made many compositions. The re- sidence of Attilio at Berlin in the year 1698, the time when Handel, then but a child, arrived at that city, gave him an opportunity of knowing him, and laid the foundation of a friendship, which, notwith- standing a competition of interests, subsisted for many years after. The occasion of his leaving Berlin was an invitation from the directors of the opera here to come and settle at London ; upon his arrival he joined with Bononcini : the consequences of that association are related in the account herein Chap. CLXXXVII. AND PKACTICE OF MUSIC. 8G7 before given of his colleague and his rival Handel, and leaves little to be said of him farther than regards his vyorks, and hia general character as a musician. Of sundry operas composed by Attilio, only Coriolanus and Lucius Verus are in print, though many of the airs in others of them are to be found in collections published by Walsh. Of his operas Coriolanus was best received, and is the most cele- brated ; the prison scene in particular is wrought up to the highest degree of perfection that music is capable of, and is said to have drawn tears fro i the audience at every representation : one of the Newgate scenes in the Beggar's Opera is apparently a parody on it, and Mr. Gay seems to intimate no less in his preface. The success of Mr. Handel in the composition of operas, and the applause with which his productions were received, not only silenced all competition against him, but drove his opponents to the necessity of relinquishing their claim to the public favour. Bononcini, upon his ceasing to compose for the opera, found a comfortable retreat, and a sovereign remedy for the pangs of disappointed ambition, in the Marlborough family; the lot of Attilio was less happy, and we know of no patronage extended to him. Pressed by the necessity which followed from his want of encouragement, he not so properly solicited as begged, a subscription from the nobility and gentry to a book of Cantatas, in which he pur- posed to display the utmost of his abilities. Before this time Bononcini had made the like attempt in a proposal to publish his Duettos and Cantatas ; the subscription to the work was two guineas ; and he succeeded so well, that the profits of the publication were estimated at near a thousand guineas. Attilio, in the hope of like success, applied himself to such as he thought his friends, and, as well where he failed of a promise, as where he obtained one, he inroUed the name of the person applied to, in his list of subscribers, and his book was published with the strange title of ' Alia Maesta di Giorgio R6 della Gran Britagna, &c., &c., &c.,' and only the initials of his name to the dedication. The work consists of six Cantatas, the words whereof are conjectured to have been written by Paolo RoUi ; and a collection of lessons for the Viol d'Amore. The compositions of both kinds contained in it abound with evidences of a fertile invention, and great skiU in the art of modulation and the principles of harmony ; and upon the whole, may be said to have merited a better reception than the public vouchsafed to give them. After the publication of this book Attilio took leave of England. CHAP. CLXXXVII. The account which it is proposed to give of the opera, and of those contentions among the singers, that, in the subsequent history of it will be found to have greatly embarrassed the directors, and divided the supporters of it into parties, will convince every one who reads it, that the profession of an opera singer was become of great importance ; and that the caresses of princes and other great personages, who were slaves to their pleasures, had contributed to make them insolent ; and this consideration makes it necessary to recur some years backwards, and take a view of the profession in its infancy, and to assign the causes that contributed to aggrandize it. The profession of a public singer was not unknown to the ancient Romans ; but among that people those that followed it were in general the slaves or domestic servants of the Patricians. In after-times it was followed for a livelihood by persons of both sexes, and with the greatest emolument by males, who in their infancy had undergone an operation, which seldom fails to improve the vocal organs. Of the general character and behaviour of this latter class of singers, we have no clear intimation till about the year 1647, when Doni published his treatise De Prsestantia Musicse veteris, in which he gives many instances of their arrogant and licentious behaviour to their superiors, and their general dis- position to luxury and extravagance. Of the women the above writer says little but what is to their honour ; two th? most celebrated female singers of his time, Hadriana Baroni, and Leonora her daughter, he represents as virtuous and modest women. The same author informs us, that in his time singers with remarkably fine voices were hired at great rates to sing at the public theatres ; but so servile in his estimation does the profession seem to appear, that he has forborne, except in the instances above mentioned, to distinguish even the most cele- brated of them by their names. In proportion as theatric music improved, these people became more and more conspicuous ; but not till the close of the last century were any of the singers in the Italian opera known by their names ; the first that can be readily recalled to memory is Sifacio, who, after having sung abroad for many years with great applause, came into England, and was a singer in the chapel of James II., soon after whom appeared Francesco Antonio Pistocchi, who, to borrow a term from the painters, was the founder of a school, which has produced some of the most celebrated singers in these latter ages. The school of Pistocchi is called the School of Bologna ; but it seems that there was also one more ancient, called the School of Tuscany; and to this seminary Milton seems to allude in the following lines, part of a sonnet inscribed to Mr. Lawrence : — What neat repast shall feast us, light and choice. Of Attic taste, with wine ; whence we may rise To hear the lute well toucht, or artful voice Warble immortal notes and Tuscan air ? Mr. Martinelli, in two letters by him written to an English nobleman, on the origin of the Italian opera,* would insinuate that the style of the Tuscan school, even down to the beginning of the present century, retained much of that natural simplicity and austerity which characterized the songs of the church; and that Sifacio,-f- and La Tilla, both natives of * Lettere Familiari e Critiche di Vincenzio Martinelli. Londra, 1758. t This was a name of distinction given to him on his performing the character of Syphax in an opera, and in consequence thereof his true name was forgotten. 868 HISTORY OF THE SCIENCE Book XIX, Tuscany, and of this ancient school, determined the epocha of this grave and simple music ; and farther that Pistocchi corrupted it. His character of this person is, ' that he sang at first upon the theatre, but ' being obliged, because of his disagreeable voice and ' ungraceful figure, to quit the stage, he turned priest, • and undertook to teach an art which he was judged ' unable to practice with success.' To this opinion of Mr. Martinelli, so far as it respects Pistocchi, we have to oppose that of a much better judge, namely, Mr. Galliard, who gives the following account of him, viz., ' That he refined the ' manner of singing in Italy, which was then a little ' crude ; and that his merit in this is acknowledged • by all his countrymen, and contradicted by none : ' that when he first appeared to the world, and a ' youth, he had a very fine treble voice, but by a ' dissolute life lost it : that after some years he re- ' covered a little glimpse of voice, which by time • and practice turned into a fine contralto ; that he ' took care of it, and, travelling all Europe over, ' where hearing different manners and tastes, he • appropriated them to himself, and formed that ' agreeable mixture which he produced in Italy, ' where he was imitated and admired.' Mr. Galliard concludes this character of Pistocchi with the mention of a remark, which he seems to acquiesce in, viz., that though several of his disciples shewed the improvement they had from him, yet others made an ill use of it, having not a little contributed to the introduction of the modern taste. To proceed with the school of Bologna. Mr. Mar- tinelli adds, the most celebrated scholars of Pistocchi were Bernacchi* and Pasi, both of Bologna, and his countrymen ; the former he says has acquired the applause of a few enthusiasts, who are fond of difficulties, by his skill and ingenuity in running over the most hard passages of music in the short space of an Arietta ; but that he was never so successful as to please the generality^ because he often neglected the sentiment which he had to express, in order to give a loose to his fancy ; besides, he adds, his voice was little pleasing, and his figure wanted consequence. On the contrary, he s^ys, that Pasi retained , none of the lessons of his master but what were necessary in order to set off a voice, which, though weak, was exceedingly agreeable ; a circumstance, that, joined to an advan- tageous figure, procured him in a short time the reputation of the most perfect singer that had appeared upon the stage. The same author mentions Porpora as the instructor of Farinelli and other celebrated singers, and who, as he taught his pupils a manner of singing till then unknown, is, as well as Bernacchi, considered as the founder of a school which will be mentioned in a future page.f While the proposal for an academy was under * Antonio Bernacchi : one of that name sang at London in the opera of Lothaiius, represented in the year 1729, but with little applause, though he was allowed to be a great master. t The cant of all professions is disgusting, and that of the musical connoisseurs most so, as it is ever dictated by ignorance and affectation. . Nevertheless as the term school, as applied to musical performance, may be thought technical, we choose rather to adopt it than express it by a periphrasis. consideration, and to accelerate the carrying of it into execution, Mr. Handel set himself to compose the opera of Radamistus, and caused it to be repre- sented at the Haymarket theatre in the winter of the year 1720. The applause with which it was received cannot be better related than in the words of the anonymous author of Memoirs of the Life of Mr. Handel, published in the year 1760, which are as follow : ' If persons who are now living, and who ' were present at that performance, may be credited, ' the applause it received was almost as extravagant ' as his Agrippina had excited ; the crowds and ' tumults of the house at Venice were hardly equal ' to those at London. In so splendid and fashionable ' an assembly of ladies, to the excellence of their ' taste we must impute it, there was no shadow of ' form or ceremony, scarce indeed any appearance of ' order or regularity, politeness or decency : many, ' who had forced their way into the house with an ' impetuosity but ill suited to their rank and sex, ' actually fainted through the excessive heat and ' closeness of it ; several gentlemen were turned ' back who had ofiered forty shillings for a seat in ' the gallery, after having despaired of getting any ' in the pit or boxes.' The performance of the opera of Radamistus had impressed upon the friends of Handel, and indeed upon the public in general, a deep sense of his abilities. It received great advantages from the performance; for Senesino sang in it that admirable air, ' Ombra Cara,' and Durastanti others ; but, to remove all suspicion that the applause of the public was paid to the representation, and not to the in- trinsic merit of the work, Handel published it himself, having previously obtained a licence under the sign manual, dated 14 June, 1720, for securing to him the property in that, and such other of his works as he should afterwards publish. :f Whoever peruses the opera of Radamistus, will find abundant reason to acquiesce in the high opinion that was entertained of it. The airs in it are all excellent, but those of chief note are, ' Deh fuggi un ' traditore,' ' Son contenta di muore,' ' Doppo torbide ' procelle,' ' Ombra Cara,' ' Spero placare,' ' La sorte 'il ciel amor,' and ' Vanne sorella ingrata.'§ The performance and the publication jointly operated in bringing the interests of the three rivals to a crisis. Neither was disposed to yield, and the friends of each concurred in a proposal that Handel, Bononcini, and Attilio should in conjunction compose an opera, that is to say, each of them an act, as also an overture : the opera was Mutius Scsevola ; Bononcini set the first act, Attilio the second, and Handel the third ; the songs and the overture in the first and third are in print, and we are enabled to make a comparison J It was in the title-page said to be published by the author, and printed and sold by Richard Meares, musical instrument maker, and music printer, in St. Paul's church-yard, and by Christopher Smith, at the Hand and Music book in CoventlV street, near the Haymarket, and nowhere else in England.. § There is in this opera a short air, ' Cara Sposa,' In the key of A, with the greater third, which is to be distinguished from one with the same beginning in the opera of Rinaldo in E, with the lesser third, whieb is a studied composition, for this reason that Mr. Handel looked upon the two airs, ' Cara Sposa,' and ■ Ombra Cara,' as the two finest he ever made, and declared this bis opinion to the author of this work. Chap. CLXXXVII. AND PRACTICE OF MUSIC. 869 between Handel and Bononcini, but of Attilio's part of the work we can say nothing. The issue of this contest determined the point of precedence between Handel and his competitors : his act in Mutius Scaevola was pronounced superior to the others, and Bononcini's next in merit. This victory however was not productive of those conse- quences that some might hope for; it did not reduce the adversaries of Handel to the necessity of a pre- cipitate retreat, nor even leave the conqueror in possession of the field of battle, for both Bononcini and Attilio continued to compose for the opera after the dispute ; and indeed the finest compositions of each, as namely, Astartus, Crispus, Griselda, Phar- naces, Calphurnia, Erminia, Astyanax, by the former; and Coriolanus^ Vespasian, Artaxerxes, Darius, and Lucius Verus, by the latter, were composed and per- formed with the applause severally due to them, between the years 1721 and 1727.* Of the singers in the Royal Academy two only have as yet been particularly mentioned, that is to say, Senesino and Durastanti; and these had the greatest share in the performance. There were others however of such distinguished merit, as to deserve to be noticed, as namely, Signor Gaetano Berenstadt, whom Mr. Handel had brought from Dresden with the two former, and Boschi, for whom were composed those two celebrated bass songs, ' Del minacciar del ' vento,' in Otho, and ' Deh Cupido,' in Bodelinda ; and when these went off, their places were supplied by Pacini, Borosini, Baldi, Antenori, Palmieri, and others. Of female singers there were also some whose merits were too considerable to be forgotten : there were two of the same name, viz., Robinson, though no way related to each other ; one of them, Mrs. Anastasia Robinson, afterwards countess of Peterborough, will be spoken of hereafter; the other was the daughter of Dr. William Turner, and the wife of Mr. John Robinson, organist of Westminster- abbey, already mentioned ; for which reason, and to distinguish her from the former, she was called Mrs. Turner Robinson.'j" Soon after the establishment of the Royal Academy, Mr. Handel bad engaged Signora Cuzzoni, who sang with unrivalled applause till the year 1726, when Signora Faustina came hither, and became a competitor with her for the public favour, and succeeded so well in her endeavours to obtain it, as to divide the musical world into two parties, not less violent in their enmity to each other than any that we read of in history. An account of the dispute between these two fa- mous singers, equally excellent, but in different ways, will be reserved for a future page. In the interim it is to be remarked, that the establishment of the opera gave a new turn to the sentiments and manners of the young nobility and gentry of this kingdom : most of these were great frequenters of the opera ; they professed to admire the music, and next to that the language in which they were written ; * Klpidia and Elisa were performed in the year 1725, but by whom they were composed is not known. t She is so called in the opera of Narcissus, composed by Domenico, the son of Alessandro Scarlatti, with additional songs by Roseingrave, and performed at the theatre in the Haymarket in 1720. many of them became the scholars of the instru- mental performers, and by them were taught the practice of the violin, the violoncello, and the harp- sichord. Others, who were ambitious of being able to converse with the .singers, especially with the fe- males ; to utter with a grace the exclamations used to testify applause, and to be expert in the use of all the cant phrases which musical connoisseurs affect, set themselves to learn the Italian language ; and in proportion to their progress in it were more or less busy behind the scenes, and in other respects troublesome and impertinent. Who was the first writer in England of Italian operas is now only known in the instance of Etearcus, written by Haym, and represented in 1711 ; unless it can be supposed that Rossi, the author of Rinaldo, had been sufficiently encouraged to a second attempt of that kind ; however, at the time of the establish- ment of the Academy the directors took care to engage in their service one whose abilities as a poet were never questioned, namely, Paolo Antonio Rolli. This person was a Florentine by birth, and, notwith- standing his pretensions to an honourable descent, was, as it is asserted by a gentleman who knew him in England, originally of a very mean occupation, that is to say, a maker of vermicelli ; in plain Eng- lish a pastry-cook ; but having a talent for poetry, he cultivated it with great assiduity ; and in some little songs, cantatas, and occasional poems, by him published from time to time, gave proofs of his genius. He came into England about the year 1718, and wrote for the managers the opera of Narcissus ; Rolli vrrote also Mutius Scaevola, Numitor, Flori- dante, Astartus, Griselda, and Crispus,J and, in short, most of the operas exhibited under the direction of the Royal Academy : Elpidia, represented in 1725, was written by Apostolo Zeno. Finding in the English that frequented the opera a propensity to the study of the Italian language, Rolli became a teacher of it to those who were able to make him such gra- tifications, as men possessed with a high sense of their own merits are wont to require. Being a man of assiduity, he applied himself to the publication of valuable books written in his own language, as namely, the Decameron of Boccace, the Satires of Ariosto, the Opere burlesche of Francesco Berni, Giovanni della Oafa, and other Italian poets, and the translation of Lucretius by Alessandro Marchetti. For the improvement of his scholars he also trans- lated into Italian two of Sir Richard Steele's comedies, viz., the Conscious Lovers and the IHmeral, and also the Paradise Lost of Milton ; upon which it is to be remarked, that, being of the Romish communion, he has left out the Limbo of Vanity, and that some of the copies were printed on blue paper. In the year 1744 he quitted England, and retired, as it is said, t The subject of the opera of Griselda is the well known story of the marquis of Saluzzo and Griselda, related by Boccace, and is the Clerk of Oxford's tale in Chaucer. See vol. II. page 29. It is known to the vulgar by an old ballad entitled * Patient Grisel,* beginning ' A noble marquis as he did ride a hunting.' It seems that at the time of performing the operas of Griselda and Crispus, their comparative merits were the subject of a dispute that divided the ladies into parties, one whereof preferred the former, the other the latter. This diiference of opinion is taken notice of by Sir Richard Steele in his comedy of the Conscious Lovers, let II. 870 HISTORY OF THE SCIENCE Book XX to the enjoyment of a patrimonial estate in the Campania of Rome, assuming the title of a Roman senator. Besides the singers, the instrumental performers in the opera deserve some notice ; Corhett played the first violin at the time when they were first in- troduced : to him succeeded Olaudio, an Italian, a sound and judicious performer ; hut when the en- tertainment was put upon a new and better footing, Carbonelli was placed at the head of the orchestra. He continued in that station about seven years, and was succeeded by Pietro Castrucci. Mr. Galliard played the first hautboy, and Kenny, mentioned be- fore in the life of Purcell by the mistaken name of Kennedy, the bassoon. BOOK XX. CHAP. CLXXXVIII. Mr. Handel continued to fulfil his engagements with the directors, until the year 1726, when, having composed a new opera, entitled Alessandro, and en- gaged a new singer, namely Signora Faustina, he laid the foundation of a dispute, that terminated in the ruin of the whole undertaking. But before we proceed to relate the circumstances of this event, it may be observed that it seemed to be no more than the necessary consequence of that extravagant applause which the opera audience had shewn itself ever ready to bestow on their favourites among the singers. Senesino was one of the first that discovered this benevolent propensity in the English, and he laboured by a vigorous exertion of all his powers, to cultivate and improve that good opinion which had been conceived of him on his first appearance among us ; and it was not long before he began to feel his own importance. Handel was not a proud man, but he' was capricious : in his compa- rison of the merits of a composer and those of a singer, he estimated the latter at a very low rate, and affected to treat Senesino with a degree of in- difference that the other could but ill brook ; in short, they were upon very ill terms almost from the time of their first coming together ; but in a year or two after Faustina's arrival, the flame of civil discord burst forth, and all was disorder and confusion. The two women were soon sensible, from the applause bestowed upon Senesino, that the favour of an Eng- lish audience was worth courting; and in proportion as it appeared desirable, each of them began to grow jealous of the other: Senesino had no rival, but each of the women was possessed of talents sufficient to engage a very strong party. To render the history of this contest intelligible will require a short digression. Mrs. Anastasia Robinson (a Portrait) was de- scended from a good family in the county of Lei- cester ; her father was brought up to the profession of a portrait painter, and having, to perfect himself in his studies, travelled to Rome, he returned to England, and settling in London, married a woman of some fortune, by whom he had two daughters, Anastasia, the sulject of the, present article, and another named Margaret. In the infancy of these Ms children, Mr. MoMnson had the misfortune to lose his wife; and needing the assistance of a female to bring them up and manage the concerns of his family, he married a young gentlewoman of the name of Lane. Soon after this Mr. Robinson con- tracted a disorder in his eyes, which terminated in the loss of his sight, and deprived him of the means of supporting himself and his family by the exercise of his pencil. Under the heavy pressure of this calamity, he and his wife reflecting on their inability to make a provision for them, resolved to bring up both the children to a profession : Anastasia, the elder, having discovered in her childhood an ear for music, was designed by them for a singer; and other motives, equally cogent at the time, determined them to make of Peggy a miniature painter. The story of this younger daughter is but short, and is, against the order of precedence, here inserted, to prevent a digression in that which is more to our purpose, the the history of her sister. The second Mrs. Robinson was possessed of a small income, part whereof, under the direction of her husband, was appropriated to the instruction of the two children in the professions they were severally intended for ; but all the endeavours of the parents in favour of the younger were in vain ; she slighted her studies, and, deviating into her sister's track, would learn nothing but music : yielding, therefore, to this strong propensity, Mr. Robinson placed her under Bononcini, and afterwards sent her to Paris, where, being committed to the tuition of Rameau, and having a most delicate ear, and great powers of execution, she attained to such a degree of perfection in singing as set her upon a level with the most cele- brated performers of the time ; but having a natural bashfulness, which she could never overcome, and being besides lower in stature than the lowest of her sex, she could never be prevailed on to become a public singer ; yet with these disadvantages she was not destitute of attractions: a gentleman of the army, Colonel Bowles, liked and married her. On the other hand, Anastasia, who had been com- mitted to the care of Dr. Croft, but was rather less indebted to nature for the gift of a voice than her sister, prosecuted her studies with the utmost n- dustry. With the assistance of her father she be- came such a mistress of the Italian language, that she was able to converse in it, and to repeat with the utmost propriety passages from the poets. To remedy some defects in her singing, to mend if pos- sible her shake, which was not altogether correct, and, above all, to make the Italian modulation fami- liar to her, the assistance of Sandoni, a celebrated teacher,* was called in ; but all that could be done by him, and the lady called the Baroness, a singer in * Pier Giuseppe Sandoni ; he publisiied, and dedicated to the countess of Pembroke, a work of Ms entitled ' Cantate da Camera e Senate per il Cemhalo. Chap. CLXXXVIII. AND PEAOTIOE OF MUSIC. 871 the opera, then greatly caressed, in these respects was but little ; she had a fine voice, and an extensive compass, but she wanted a nice and discriminating ear to make her a perfect singer. Her first public appear- ance was in the concerts performed at that time in York-buildings, and at other places, in which she sang, and generally accompanied herself on the harpsichord. Her father had carefully attended to her education, and had exerted his utmost efforts in the improvement of her mind; the advantages she derived from these instances of his affection, added to her own good sense and amiable qualities, con- sisting in a strictly virtuous disposition, a conduct full of respect to her superiors, and an undissembled courtesy and affability to others, mixed with a cheer- fulness that diffused itself to all around her, were visible in the reception she met with from the public, which was of such a kind as seemed to ensure her success in whatever she undertook. Encouraged by the favour of the public to his daughter, and more especially by the countenance and bounty of some persons of high rank of her own sex, Mr. Eobinson took a house -in Golden-square, and had concerts, and also conversations on certain days in every week, which were the resort of all who had any pretensions to politeness. A lady of very high rank now living (tJie Duchess Dowager of Portland), who honoured Mrs. Anastasia Mobinson with her patronage, and mas very intimate with her, has condescended toj'ur- nish some of the above anecdotes respecting her and her family, which she concludes with saying tliat it was to support her afflicted father that she became a singer in the opera, and, speaking of her mental . endowments, gives her this exalted character: — ' Mrs. Robinson was most perfectly well bred and ' admirably accomplished, and, in short, one of the ' most virtuous and best of women, but never very 'handsome.' The same person says that Mr. Robinson had by his second wife a daughter, who was married to Mr. George Arbuthnot, a wine mer- chant, a brother of Dr. Arbuthnot, the physician and friend of Mr. Pope. At the time when Mrs. Tofts and Margarita re- tired from the stage, scarce any female singers worth hearing were left ; Mrs. Linsey, Mrs. Cross, Signora Isabella Girardeau, and the Baroness above men- tioned, are the only names that we meet with, except the two former, and Signora Maria Gallia, who sang the part of Eosamond in Mr. Addison's opera of that name, between the time of the first introduction of the opera and the year 1718. Under these favour- able circumstances, and the several others above enumerated, Mrs. Eobinson was prevailed on to appear on the opera stage. The first opera she sang in was that of Narcissus, mentioned in a preceding page to have been composed by Domenico Scar- latti, and brought on the stage by Eoseingrave ; in this she sang the part of Echo with great applause. In the succeeding operas of Mutius Scaevola, Crispus, Griselda, Otho, Floridante, Flavius, Julius C»sar, Pharnaces, Cori6lanus, and Vespasian, she also sang, and, together with Cuzzoni and Senesino, contributed greatly to the support of the entertainment. Her salary was a thousand pounds, and her emoluments, arising from benefits and presents of various kinds, were estimated at nearly as much more. She con- tinued to sing in the opera till the year 1723, at the end whereof she retired from the stage, in conse- quence, as it is supposed, of her marriage with the earl of Peterborough ; for she at that time went to reside at his house at Parson's Green, and appeared there the mistress of his family; and the marriage was announced some years after in the public papers, in terms that impoi-ted it to be a transaction some years precedent to the time of notifying it, which was not till the year 1735. During this critical interval, in which the earl, for the same reasons that restrained him from publishing his marriage, studiously avoided the styling her his countess, she was visited by per- sons of the highest rank, under a full persuasion, founded on the general tenor of her life and conduct, that she could be no other than the mistress of the mansion in which she did the family honours, and that she had a legal title to a rank which, for pru- dential reasons, she was content to decline. This nobleman had a seat called Bevis Mount, situate- near Southampton. By a letter from the earl to Mr. Pope, written about the year 1728, it appears that Mrs. Eobinson then lived with him, for she is there mentioned by the appellation of the Farmeress of Bevis ; and in others from the same person, of a later date, are sundry expressions alluding to the severities which at stated seasons she practised on herself, and plainly indicating that she was of the Eomish communion.* In this exalted station of life she forgot not her obligations to Bononcini ; he had improved her manner of singing, and in most of his operas, par- ticularly Crispus and Griselda, had composed songs peculiarly adapted to her powers of execution ; for him she obtained the pension of five hundred pounds a year, granted him by the duchess of Marlborough; and for his friend Greene she procured the places of * Works of Alexander Pope, Esq. Lond. 1739, vol. VI. page 210, et seq. It is conjectured that all her family were of the same persuasion ; at least it is certain that Mr. Robinson's second wife was, and that her hroiher Mr. Lane, resided in the family of the earl of Peterborough, from the time of his marriage with Mrs. Robinson, in the avowed character of a Romish ecclesiastic. The general character of the above-mentioned nobleman, who is equally celebrated for his bravery and his parts, is well known ; he wrote those exquisitely neat and elegant lines in Pope and Swift's Miscellany, beginning • I said to my heart between sleeping and waking ; ' four letters in Pope's collection, and a few other things of small account, mentioned in Mr. Walpole's Catalogue of Royal and Noble Authors ; but Mrs. Howard, afterwards countess of Suifolk, the subject of the above verses, had seen and read in the manuscript three volumes of his lordship's memoirs, which it is feared are irrecoverably lost. That lady, who knew him very well, used to relate a story, which she had from his own mouth, so singular, that the mention of it here may merit an excuse. Lord Peterborough, when a young man, and about the time of the Revolution, had a passion for a lady who was fond of birds ; she had seen and heard a fine canary bird at a coifee-house near Charing-cross, and entreated him to get it for her ; the owner of it was a widow, and lord Peterborough offered to buy it at a great price, which she refused : finding there was no other way of coming at the bird, he determined to change it; and getting one of the same colour, with nearly the same marks, but which happened to be a hen, went to the house ; the mistress of it usually sat in a room behind the bar, to which he had easy access ; contriving to send her out of the way, he effected Ms purpose ; and upon her return took his leave. He continued to frequent the house to avoid suspicion, but forbore saying any thing of the bird till about two years after; when taking occasion to speak of it, he said to the woman, * I would have bought that bird of you, and you refused my money for it, ' I dare say you are by this time sorry for it.' * Indeed, Sir,' answered the woman, 'lam not, nor would I now take any sum for him, for would ' you believe it ? from the time that our good king was forced to go ' abroad and leave us, the dear creature has not sung a note.' 3 L 872 HISTORY OF THE SCIENCE Book XX. organist and composer to the royal chapel, vacant by the decease of her master, Dr. Croft. The earl was very far advanced in years at the time when he married Mrs. Eobinson ; in 1735, being advised to go to Lisbon for the recovery of his health, he went thither, and on the twenty-fifth day of October, in the same year, died at the advanced age of seventy-seven. The countess sur- viving him, continued to reside at Bevis Momit till the year 1750, when she also died. During the residence of Mrs. Eobinson at Parson's Green she had a kind of a musical academy there, in which Bononcini, Martini, Tosi, Greene, and others of that party, were frequent performers. His lordship had also frequent dining parties, whom he entertained with music, and, what was little less delightful, the recital of his adventures during his long residence abroad, particularly while he com- manded in Spain. In that kingdom, while he was npon journies he was frequently in danger of perish- ing for want of food ; and when he could get it, was so often constrained to dress it himself, that he became a good cook ; and, such was the force of habit, that, till disabled by age, his dinner was con- stantly of his own dressing. Those who have dined with him at Parson's Green say that he had a dress for the purpose, like that of a tavern cook ; and that he used to retire from his company an hour before dinner time; and, having despatched his culinary affairs, would return properly dressed, and take his place among them. CHAP. CLXXXIX. Francesco Bernardo Senesino (a Portrait), a native of Sienna, as his surname imports, was a singer in the opera at Dresden in the year 1719, at the same time with Signora Margarita Durastanti. In consequence of his engagement with the directors of the academy, Mr. Handel went to Dresden, and entered into a contract with both these persons, as also with Berenstadt, to sing in the opera at London, the former at a salary of fifteen hundred pounds for the season. Senesino had a very fine even-toned voice, but of rather a narrow compass ; some called it a mezzo soprano, others a contralto ; it was never- theless wonderfully flexible : besides this he was a graceful actor, and in the pronunciation of recitative had not his fellow in Europe. His first appearance was in the opera of Mutius Scsevola, represented in the year 1721. It has been already mentioned, that notwithstand- ing Senesino was so excellent and useful a singer, as to be in a great measure the support of the opera, Handel and he agreed but ill together ; and that a short time after the arrival of Faustina, the disputes among the singers rose to such a height, as threatened the ruin of the opera. Handel suspected that the example of Senesino had given encouragement to that refractory spirit which he found rising in the two contending females; and being determined to strike at the root of the evil, he proposed to the directors to discard Senesino ; but they refusing to consent, Handel refused also to compose for him any longer, or indeed to have any farther concern with him. A year or two afterwards the academy broke up, after having flourished for more than nine years. The academy being thus dissolved, some of the nobility raised a new subscription for an opera at Lincoln's-Inn fields, in which Porpora was engaged to compose, and Senesino to sing. The success of this undertaking will be the subject of a future page; Senesino continued in the service of the nobility, singing at Lincoln's-Inn fields theatre, and afterwards at the Haymarket, which Handel had quitted, till about the year 1735, when, having acquired the sum of fifteen thousand pounds, he retired to Sienna, the place of his nativity, and built a handsome house, which, upon his decease, he bequeathed, together with the whole of his fortune, to his relations. Signora Margarita DnEASTAnri was engaged by Mr. Handel at the same time with Senesino, and came with him into England. She sang in the operas composed by Handel, Bononcini, and Attilio, till the year 1723. For the reason of her quitting England we are to seek, unless we may suppose that the applause bestowed on Cuzzoni, who appeared on the stage for two or three winters with her, was more than she could bear. However, she made a handsome retreat, and, as it seems, took a formal leave of the English nation by singing on the stage a song written for her in haste by Mr. Pope, at the earnest request of the earl of Peterborough, which, together with a burlesque of it by Dr. Arbuthnot, were lately printed in some of the public papers from a volume of poems among the Harleian manu- scripts in the British Museum. ' Both poems are here inserted : — Generous, gay, and gallant nation. Bold in arms, and bright in arts ; Land secure from all invasion. All but Cupid's gentle darts ! From your charms, oh who would run ? Who would leave you for the sun ? Happy soil, adieu, adieu ! Let old charmers yield to new. In arms, in arts, he still more shining ; All your joys be still encreasing ; All your tastes be still refining ; All your jars for ever ceasing : But let old charmers yield to new Happy soil, adieu, adieu ! Puppies, whom I now am leaving, Merry sometimes, always mad. Who lavish most, when debts are craving. On fool, and farce, and masquerade ! Who would not from such bubbles run. And leave such blessings for the sim ? Happy soU, and simple crew ! Let old sharpers yield to new ; All your tastes be still refining ; All your nonsense still.more shining : Blest in some Berenstadt or Boschi, He more aukward, he more husky ; And never want, when these are lost t'us, Another Heidegger and Faustus. Happy soil, and simple crew ! Let old sharpers yield to new 1 Bubbles all, adieu, adieu ! Chap, CLXXXIX. AND PEACTICE OF MUSIC. 873 Feancesca Cuzzoni Sandoni (a Portrait), a native of Modena, became a singer in the opera at London soon after the arrival of Senesino ; for it appears that she sang in the opera of Otho, which was performed in the year 1722. She continued to sing the principal songs till the year 1726, when Faustina arrived, and becoming a competitor with her for the public favour, gave rise to a contest, which more properly belongs to the next article. SiGNORA Faustina* (a Portrait), a Venetian by Ijirth, and a young woman with a handsome face, and of a pleasing form, had sung abroad with such applause, that, as it is said, persons labouring under the tortures of the gout left their beds, and resorted to the theatres to hear her ; and at Florence, in par- ticular, medals in honour of her were struck. It was thought that the accession of such a distinguished singer would tend greatly to the advantage of the opera in England ; accordingly, in the year 1726, she was engaged, and appeared first in the opera of Alexander. In the powers of execution, and a dis- ^tinct manner of singing quick passages, she exceeded Cuzzoni : the merit of her rival consisted in a fine- toned voice, and a power of expression that fre- quently melted the audience into tears. For the circumstances of this famous dispute recourse has teen had to some persons of distinguished rank, leaders of the two parties which it gave rise to ; and as all animosity hetween them is now subsided, the relation of each appears to be such as may safely be relied on. Till the time of Faustina's arrival, Cuzzoni as a female singer was in full possession of the public favour ; the songs which Mr. Handel gave her were composed with the utmost solicitude to display her talents to advantage, as appears hy the songs ' Affanni del pensier,' in Otho, ' Da tanti affanni ' oppressa,' ' Sen vola lo sparvier,' and ' E per monti ' e per piano,' in Admetus, and others. She had driven Durastanti out of the kingdom ; Mrs. Robin- son quitted the stage about the same time, so that for three seasons she remained without a rival. The consciousness of her great abilities, and the stubborn resistance of Senesino to Handel, had no small effect on the behaviour of Cuzzoni : she too could at times be refractory ; for some slight objection that she had to the song ' Falsa imagine,' in Otho, she at the practice of it refused to sing it ; when Mr. Handel referring to other instances of her stubhornness, took her round the waist, and swore, if she persisted, to throw her out of the window. It was high time therefore to look out for means of quieting this rebellious spirit, and, to effect his purpose, nothing seemed to bid so fair as the engagement of Faustina. As Handel had taken the pains to compose songs peculiarly adapted to the powers and excellencies of Cuzzoni, he was not less solicitous to display those of Faustina ; accordingly he made for her the air, ^ ' Alia sua gabbia d'oro,' in Alexander, in the per- formance whereof she emulated the liquid articula- * Riccobont in his account of the theatres in Europe, gives her two surnames, calling her Faustina Bardoni A sse. The latter, it is supposed, is meant for that which she acquired bi/ her marriage with Jfasse, Vide infra 874. tion of the nightingale, and charmed the unprejudiced part of her hearers into ecstasy ; as also ' Vedeste ' mai sul prato,' in Siroe, ' Gelosia spietato alletto/ in Admetus, and many others. Miccohoni asserts that she invented, hut me should rather say introduced, a new mannei of singing, and it seems so hy the .songs composed Jor her, which abound with long and rapid divisions, such as none hut a voice like hers could execute. From the account above given of Cuzzoni and Faustina, it appears that they were possessed of very different talents. The design of the directors in producing them both on the same stage, was to form a pleasing contrast between the powers of expression and execution, that of Handel was to get rid of Cuzzoni ; but the town no sooner became sensible of the perfections which each was possessed of, than they began to compare them in their own minds, and endeavour to determine to whom of the two the greatest tribute of theatrical applause was due. Some ladies of the first quality entered very deeply into the merits of this competition ; a numerous party engaged to support Cuzzoni, and another not less formidable associated on the side of Faustina. Thus encouraged, the behaviour of the rivals to each other was attended with all the circumstances of malevolence that jealousy, hatred, and malice could suggest; private slander and public abuse were deemed weapons too innoxious in this warfare, blows were made use of in the prosecution of it, and, shame to tell ! the two Signoras fought. The countess of Pembroke f headed the Cuzzoni party, and carried her animosity to such lengths, as gave occasion to the following ejngram : — Upon Lady Pembroke's promoting the catcalling of Faustina. Old poets sing that beasts did dance Whenever Orpheus play'd, So to Faustina's charming voice Wise Pembroke's asses bray'd. The chief supporters of Cuzzoni among the men are pointed out in the following epigram, which with that above given is extracted from a volume of poems among the Harleian manuscripts now in the British Museum, Numb. 7316, pages 394, 319. Epigram on the Miracles wrought by Cuzzoni. Boast not how Orpheus charm'd the rocks, And set a dancing stones and stocks, And tygers' rage appeas'd ; AH this Cuzzoni has surpass'd. Sir Wilfred J seems to have a taste. And Smith § and Gage || are pleas'd. Faustina's friends among the ladies were Dorothy, countess of Burlington, and Charlotte, lady Delawar ; the men in general were on her side, as being by far a more agreeable woman than Cuzzoni.^ t Mary Howe, third wife of earl Thomas. t Sir Wilfred Lawson, Bart. § Simon Smith, Esq. || Sir William Gage, Bart, all subscribers to the Boyal Academy. IT In the contest hetween Faustina and Cuzzoni, Sir Robert Walpotv took part with the former, as being the least assuming of the two. His Lady, that the latter might not bebornedown bg his injluenee countenanced ■ Cuzzoni ; and on SundayS'When he was gone to Chelsea would invite them to dinner. She was at first distrest to adjust the precedence hetween them at her table, but their concessions to each other were mutual. 874 HISTORY OF THE SCIENCE Book XX. The directors, greatly troubled with the dispute, and foreseeing the probable consequences of it, fell upon an odd expedient to determine it. The time for a new contract with each of these singers was at hand, and they agreed among themselves to give as a, salary to Faustina one guinea a year more than to her rival. Lady Pembroke and some others, the friends of Cuzzoni, hearing this, made her swear upon the holy gospels never to take less than Paustina, and the directors continuing iirm in their resolution not to give her quite so much, Cuzzoni found herself ensnared by her oath into the necessity of quitting the kingdom. The following lines were written by Ambrose Phillips on her departure : — Little syren of the stage, Charmer of an idle age. Empty warbler, breathing lyre, Wanton gale of fond desire ; Bane of every manly art, Sweet enfeebler of the heart ; O ! too pleasing is thy strain, Hence to southern climes again : Tuneful mischief, vocal spell. To this island bid farewell ; Leave us as we ought to be, Leave the Britons rough and free. About the year 1748 she was engaged to sing at the Hay market, and appeared in the opera of Mitridate, composed by Terradellas, but, being far advanced in years, she gave but little satisfaction. She returned to Italy at the end of the season, and, as we have been informed, was living about five years ago in a very mean condition, subsisting by the making of buttons. That she mas of a turbulent and obstinate temper may be inferred from a cir- cumstance noted in a preceding page, and that she was ungrateful and insolent is kttte less certain, if credit be due to the author of the 'Ussai sur la ' Musigue,' printed at Paris, in fow tomes, quarto, mho relates that she begged of am, English nobleman a suit of lace, but not liking it when sent to her, she threro it into the fire. After her leaving England ■she was for some time in Holland, where being imprisoned for debt, she was occasionally indulged by her Iteeper with permission to sing at the theatre, one of his servants attending to conduct her hack. By these yneans she was erwibled to pay her debts. Upon her enlargement she went to Bologna, and there, having experienced the miseries of extreme poverty, died. A better fate attended Faustina. She remained in England a short time after Cuzzoni, and in 1728 sang in the operas of Admetus and Siroe ; but, upon the disagreement between Handel and the directors of the opera, which terminated in the dissolution of the Royal Academy, she too left England, and went to Dresden, where she was married to Hasse, a musi- cian of some eminence there, and is now living at Vienna. CHAP. CXC. The singing of Senesino, Cuzzoni, and Faustina had captivated the hearers of them to such a degree, that they forgot the advantages which the human voice derives from its association with instruments, so that they could have been well content vdth mere vocal performance during the whole of the evening's entertainment. The cry was that these persons were very liberally paid, and that the public had not singing enough for their money ; and from a few instances, such as occur in the song ' Lusinghe ' piu care,' in Alexander, ' Luci care,' in Admetus, and some others, in which the song part seems to be overcharged with symphony, it was complained of that compositions thus constructed were not so properly songs as sonatas. In favour of this notion an anonymous pamphlet was published in the year 1728, entitled ' Avviso ai Compositor!, ed ai Can- ' tanti,' with an English translation ; the design of it was to rectify the errors, real or supposed, in the composition of opera songs, but without any such particular instances as might lead to a suspicion that it was written to serve the interests of either of those masters who had for some time divided the opinion of the public ; in the general drift of it it seems calculated to add as much as possible to the importance of the singers, and to banish from the stage those aids of instrumental performance, which serve as reliefs to the vocal, and enable the singer to display his talent to greater advantage. To this purpose the author expresses himself in these words : ' Another irregularity is that of en- ' cumbering and overcharging the composition with ' too many symphonies. This custom has so much ' grown upon us within these late years, that ' if a stop be not put to it, the singer will be made ' to give place to the instruments, and the orchestra ' will be more regarded than the voices. It cannot ' be denied, that if symphonies are well intermixed ' with the songs, it will have a very good effect, ' especially if the composer rightly understands how ' to make use of them, and is a complete master ; but ' then he must take particular care that they do not ' make his composition any ways confused, and must ' guard himself against running into excess in the use ' of them, remembering that most useful saying ' of Terence, " Ne quid nimis." ' At the time when the opera was in its most flourishing state, that is to say, in the year 1727, was brought on the stage the Beggar's Opera, v?ritten by Mr. John Gay. Dean Swift says that this comedy exposeth with great justice that un- natural taste for Italian music among us,* which is wholly unsuitable to our northern climate. But there is nothing to warrant this assertion, unless Macheath's appearing in Newgate in fetters can be supposed a ridicule of the prison scene in Coriolanus, which had been represented at the Haymarket a few years before :f it was in truth a satire, and that so * IntelligenceT, No. 3, in Swift's works, printed by Faulkner, vol. I. page 284. + The truest burlesque of the Italian opera is a mean subject, affording a mock hero, wrought into the form of a drama, in a style of bombast, set in recitative, with airs intermixed, in which long divisions are made on insignificant words. In a book entitled the Touchstone, or Historical, Critical, FoliticaJ, Philosophical, and Theological Essays on the reigning Diversions of the Town, written by Mr. James Ralph ; the Dragon of Wantley, Robinhood and Little John, the London Prentice, Tom Thumb, and Chevy Chase, are proposed as subjects for a mock opera ; the plan recommended by this writer was pursued by the facetious Henry Carey, who wrote the Dragon of Wantley, and got it set by Lampe, a Saxon, who was here some years ago, and composed for Covent Garden theatre : and by the author of Tom Thumb, taken from Fielding's Tragedy a Chap. CXC. AND PEACTICE OF MUSIC. 875 general, as to include in it all stations and characters, and, in short, every class of men whose rank or situation of life was above that of the author. The motive for writing this piece, and for the many- acrimonious expressions and bitter invectives against statesmen, lawyers, priests, and others, contained in it, was the disappointment of Mr. Gay in his appli- cation for preferment at court. He had been brought up to the trade of a mercer, but did not choose to follow it ; for, having a genius for poetry, he became acquainted with Pope and Swift, who might probably tell him that he was a man of genius, and that such men had a right to places and preferments; and that from the time of the Revo- lution it had been a matter of contention between the leaders of the Whig and Tory parties, which should provide best for the writers of verses on either side respectively.* The poor man took their advice, and wrote his Fables for the use and in- struction of the duke of Cumberland, then a child. He also wrote a tragedy called the Captives, which he was permitted to read to queen Caroline, and which was acted at Lincoln's-Inn fields, in 1720, with tolerable success. As a reward of these his merits, and upon the solicitation of some persons of high rank about the court, an offer was made him of the place of gentleman-usher to the princess Louisa, which he rejected with contempt, and, in the great- ness of his soul, preferred to it a life of ease, and servile dependence on the bounty of his friends and the caprice of the town. The Beggar's. Opera had a run of sixty-three nights, during which the operas of Richard I. and Admetus were performing at the Haymarket, and, a9 it is said, but to thin audiences. The malevolence of the people, and the resentment which they had been taught to entertain against that conduct of administration, which they were equally unqualified to approve or condemn, were amply gratified by the representation of it ; but the public were little aware of the injury they were doing to society, by giving countenance to an entertainment, which has been productive of more mischief to this country than any would believe at the time ; for, not to Tragedies, and made into an opera, and set to music, but with less sue cess than the former. The Beggar's Opera is nothing like either of these ; the dialogue is common speech, and the airs are old ballad-tunes and country-dances ; and yet it is said, but without any foundation in truth, that it contributed more to bring the Italian opera into contempt, than the, ini^ctives of the poets and the friends of the drama, and the writings of Dennis, who had been labouring all his life to convince the world of the absurdity of this exotic entertainment. * In the writings of Swift, particularly in his letters, there occur many such sentiments. In consequence of an opinion that men possessed of a talent for poetry were best qualified for public employment, Mr. Addison was made secretary of state. Frier was secretary to the English plenipotentiaries at the Hague, after under-secretary of state, and, lastly, a lord of trade ; and Congreve, Stepney, Steele, and others, had seats at soine of the public boards ; the error of this opinion was evinced in the case of Mr. Addison, who, with all those talents for which he is justly celebrated, not only made a very mean figure in the office of secretary of state, but shewed himself to be as little fit for active life, as an excess of timidity, even to sheepishness, could render a man. Though a minister, he attempted to speak in the house of commons, but was not able to do it, and was very deservedly removed to make room for one that could. Dr. Mandeville, the author of the Fable of the Bees, who, though of very had principle, was a man of understanding, and that knew the world, was very frequently with the lord chief justice Parker, afterwards earl of Macclesfield, whom Mr. Addison visited, and expressed to the chief justice a desire to meet him ; his lordship brought them together, and, after an evening's conversation, asked the doctor what was his opinion of Mr. Addison; 'I think,' answered the Doctor, * he is a parson in a * tye-wig.' mention that the tendency of it, by inculcating that persons in authority are uniformly actuated by the same motives as thieves and robbers, is to destroy all confidence in ministers, and respect for magistrates, and to lessen that reverence, which, even in the worst state of government, is due to the laws and to public authority, a character is exhibited to view, of a libertine endowed with bravery, generosity, and the qualities of a gentleman, subsisting by the pro- fession of highway robbery, which he defends by examples drawn from the practice of men of all professions. In this view Macheath is as much a hero as the principal agent in an epic poem ; but lest this character should not be sufficiently fasci- nating to young minds, he is farther represented as having attained to some degree of wealth, to keep good company, that is to say, gamesters of fashion ; to be a favourite with the women, and so successful in his amours, that one is with child by him, and another he marries. In short, his whole life is represented as an uninterrupted pursuit of criminal gratifications, in which he has the good fortune to succeed, and in the end to escape with impunity. Nevertheless the vox populi was in favour of this immoral drama; and Dr. Herring, the late archbishop of Canterbury, for presuming to censure it in a sermon delivered before the honourable society of Lincoln's-Inn, while he was preaching there, was by Dean Swift stigmatized with the appellation of a stupid, injudicious, and prostitute diviue.f The effects of the Beggar's Opera on the minds of the people have fulfilled the prognostications of many that it would prove injtirious to society. Rapine and violence have been gradually increasing- ever since its first representation : the rights of pro- perty, and the obligation of the laws that guard it, are disputed upon principle. Every man's house i» now become what the law calls it, his castle, or at least it may be said that, like a castle, it requires ta be a place of defence; young men, apprentices, clerks in public, offices, and others, disdaining the arts of honest industry, and captivated with the charms of idleness and criminal pleasure, now betake themselves to the road, affect politeness in the very act of robbery, and in the end become victims to the justice of their country : and men of discernment, who have been at the pains of tracing this evil to its- source, have found that not a few of those, who, during these last fifty years have paid to the law the forfeit of their lives, have in the course of their pur- suits been emulous to imitate the manners and general character of Macheath. It has been already mentioned that the conse- quence of the dispute between the nobility and Mr. Handel, and the determination of the former to sup- port Senesino, was the utter dissolution of the academy ; but the nobility raised a new subscription for an opera to be represented at the theatre in Lin- + Intelligencer, No. 3, Dublin edition of Swift's works, vol. I. page 284. This paper is a laboured defence of the Beggar's Opera, addressed to the people of Ireland ; and the sentiments therein delivered do very well consist with the character of a man, of whom it may with justice bo said, that scarce any one of his profession, whose writings are of an equo. bulk with those of Swift, has, as an author, contributed less than he to the promotion of religion, virtue, or the general interests of mankind. o76 HISTORY OF THE SCIENCE Book XX. coln's-Inn fields, and establiBhed a direction of twelve of their own body, who in the conduct thereof re- Bolyed to act without the control of such as should he retained to assist in it, whether composers or singers, although of these latter Senesino was one, and indeed the chief. Seeing this formidable association, Handel had nothing left but to enter into an agree- ment with Heidegger, who, though old, was yet living, for carrying on an opera in conjunction, for the short term of three years, at the Haymarket. Upon the conclusion of this agreement, Handel found himself under a necessity of going to Italy for the purpose of engaging singers. After a short stay abroad, he returned with Fabri, and another Castrato ; Strada, surnamed del Po, and Sertoli ; the two last were women, and the former of them a very fine singer. He also engaged a German named Eeim- schneider, a hass singer, and some other persons of less account. The winter after his arrival Handel began his contest with the nobility by the represent- ation of his opera of Lotharius, on the sixteenth of November, 1729. This was succeeded by Par- thenope, with which he closed the season. Handel continued at the Haymarket till the ex- piration of the term for which he stood engaged with Heidegger, during which he composed and performed successively the operas of Porus, Sosarmea, Orlando, and ^tius : at the end thereof he, together with old Mr. Smith, went abroad iu quest of singers. In Italy he heard Farinelli, a young man of astonish- ing talents, and also Carestini, and, which is very strange, preferring the latter; he engaged with him, and returned to England. With this assistance he ventured to undertake an opera at the Haymarket on his own bottom. During all this time the adversaries of Handel went on with but little better success ; they performed a variety of operas, composed hy sundry authors whose names are now forgotten, but to audiences that were seldom numerous enough to defray the ordinary ex- penses of the representation. At length they entered into engagements witli Porpora, a musician who had distinguished himself abroad, and Farinelli, and took possession of the Haymarket theatre, which Handel at the end of the season had abandoned. Of the. success of this new association there will be farther occasion to speak : at present it may suffice to say, that, having two such singers as Farinelli and Senesino at their command, the nobility had greatly the advantage, and for one season at least were great gainers. It is true they were losers in the end, for Gibber, who was living at the time, and kept a watchful eye on the theatres, asserts that Farinelli during his stay here had been known to sing to an audience of five and thirty pounds.* Carlo Bhosohi Farinelli (a Portrait), was the nephew of that Farinelli whom we have before men- tioned to have been concert-master or director of the elector's music at Hanover. He was born at Naples, in the year 1705, and derived great advantage from the instructions of Porpora. He had sung at Rome and at Bologna, at the latter of which cities he had » Apology for his Life, page 243. heard Bernacchi ; and also at Venice ; when the fame of his great talents reaching England, he was en- gaged to sing in the opera at London, and in the year 1734 came over hither. His arrival in this country was in the newspapers announced to the public as an event worthy of notoriety. As soon as he was enough recovered from the fatigue of his journey, he was introduced to the king at St. James's, and had the honour to sing to him, the princess royal, afterwards princess of Orange, accompanying him on the harpsichord. At the same time with. Farinelli arrived in England Porpora, who had been his instructor, and was the companion of his fortunes, and Giacomo Amiconi, the painter.t These thrpe persons seem to have been united together in the' bonds of a strict friendship and a communion of interests : at the same time that the nobility under the new subscription engaged with Farinelli, they also agreed with Porpora as a composer for the opera, and with Amiconi to paint the scenes. The operas in which Farinelli sang, were, Ariadne and Polifemo, set by Porpora, and Artaxerxes, by Hasse, who had acquired some reputation in Germany by his compositions for the theatre. He sang also in the oratorio of David, composed by Porpora, and in an opera entitled Demetrius, by Pescetti, both per- formed at the Haymarket. The world had never seen two such singers upon the same stage as Senesino and Farinelli; the former was a just and graceful actor, and in the opinion of very good judges had the: superiority of Farinelli in respect of the tone of his voice ; but the latter had so much the advantage in other respects, that few hesitated to pronounce him the greatest singer in the world; this opinion was grounded on the amazing compass of his voice, ex- ceeding that of women, or any of his own class ; his shake was just, and sweet beyond expression ; and in the management of his voice, and the clear articula- tion of divisions and quick passages, he passed all description. Such perfections as these were enough, for one singer to possess, and indeed they were so evident, and their effects so forcible on the minds of his hearers, that few were disposed to reflect that his person was tall and slender to excess, and by conse- quence his mien and action ungraceful. Upon what terms Farinelli was engaged to sing t' Amiconi fotind employment here as a portrait, and also a history painter. In the former capacity it was the fasliion among the friends of the 'opera and the musical connoisseurs to sit to him ; iu the latter h9' exercised his talent in the painting of halls and staircases ; and this, notwithstanding that Kent, who, because be was a bad painter himself, had, as an architect, in his construction of stair-cases driven that kind of painting out of the kingdom, Amiconi painted the staircase of Powis- huuse ill Ormond'Street wilh the story of Judith and Holofernes, in three compartments ; and tlie hall in the house at More-park in Hertfort- shire, with that of Jupiter and lo. Of this house the following is a brief history : in 1617 it was granted by the crown to the earl of Bedford, and' he by a deed, declaring the uses of a fme, limited the inheritance thereof to himself for life, remainder to Lucy his wife and her' heirs. See Chauncy's Historical Antiquities of Hertfordshire, page 479. This Lucy was the famous countess of Bedford, celebrated by Sir Toby Matthews, Dr. Donne, and other writers of those times ; and she it is said laid out the gardens in such a manner as induced Sir William Temple, in his Essay on Gardening, to say it was the perfectest figure of a garden he ever saw. Many years after the decease of the countess of Bedford, the duke of Onnond became the owner of More-park ; and, after his attainder, Mr. Stiles ; who employed Amiconi to paint the hall : the succeeding proprietor of this mansion was lord Anson, and the present. Sir Laurence Bundas. The fondness of Sir William Temple for this place, induced him to give the name of it to his seat near Parnham in Surrey. Hence has arisen a mistaken notion that the More-park mentioned in his Essay on Gardening was in Surrey. Chap. CXOI. AND PEACTICE OF MUSIC. 877 here, is not known to a degree of certainty ; liis sa- lary however, be it what it might, bore but a small proportion to the annual amount of his profits, which, by a benefit, and rich presents of various kinds, were estimated at five thousand pounds a year. The ex- cessive fondness which the nobility discovered for this person, the caresses they bestowed on, and the presents they made him indicated little less than in- fatuation ; their bounty was prodigality, and their applause adoration.* That unmanly propensity in persons of high rank to promote and encourage this last refinement of modern luxury which they manifested in these and various other instances, was loudly complained of as derogating from the national character. It was urged that the reputation of this country abroad was founded on the disposition of the people to arms, and their love of letters ; and that we were adopting the manners of a people who have long since ceased to be distinguished for either. Indeed it was lidiculous to see a whole people in such a state of fascination as they were in at this time ; many pretended to be charmed with the singing of Farinelli, who had not the least ear for music ; and who could not, if they had been left to themselves, have distinguished be- tween him and an inferior singer. However the experiment of a few years was sufficient to convince the world of this truth at least, that two operas at a time were more than this metropolis could support; and determined Farinelli to try his success in another country. The particulars of his retreat will be men- tioned in a subsequent page. Mr. Martinelli has given the following short character of him, which naturally leads us to give an account of his master Porpora, and also of Hasse, the joint composer with him for the opera, during the residence of Farinelli in London. ' He had a voice proportioned to his ' gigantic stature, extending beyond the ordinary ' compass near an octave, in notes equally clear and ' sonorous. At the same time he possessed such ' a degree of knowledge in the science of music, as ' he might be supposed to have derived from the in- ' structions of the skilful Porpora, bestowed on a ' diligent and favourite pupil : with unexampled ' agility and freedom did he traverse the paths which ' Bernacchi had trod with success, till he became the ' idol of the Italians, and at length of the harmonic ' world.' t * Mr. Hogarth, in his Rake's Progress, has ridiculed this folly with great humour; in the second plate of that work he represents his rake at his levee in a circle, consisting of a bravo, a jockey, a dancing-master, a fencing-master, a gardener, and other dependents. In a corner of the room sits an opera composer at a harpsichord, with a long roll hanging from the back of his chair, on which is the following inscription : * A list * of the rich presents Signor Farinelli the Italian singer condescended to ' accept of the English nobility and gentryfor one night's performance in ' the opera of Artaxerxes. A pair of diamond knee-buckles, presented ' by a diamond ring by A bank-note enclosed ' in a rich gold case by A gold snuff box chased with the ' story of Orpheus charming the brutes, by T. Rakewell, Esq. 100/. ' 200/. 100/.' Many of the above presents were actually made to Farinelli during his stay among us, and were mentioned in the daily papers. On the Hoor lies a picture representing Farinelli seated on a pedestal, with an altar before him, on which are several flaming hearts ; near which stand a number of people with their arms extended, offering him presents : at the foot of the altar is one lady kneeling, tendering her heart, from whose mouth a label issues, inscribed * One God, one Farinelli;' alluding to a lady of distinction, who. being charmed with a particular passage in one of his songs, uttered aloud from the boxes that impious exclamation. t Lettere familiare e critiche, Carte 361. CHAP. CXCI. NicoLO Porpora is celebrated among the modem musicians, not less as the instructor of some of the most applauded singers, than as a musical composer of the dramatic class. In the early part of his life he was in the service of Augustus, king of Poland, but quitting it, he made a temporary residence in sundry of the German courts, and afterwards in the principal cities of Italy. At Naples he became ac- quainted with Farinelli, who was then very young, and having a very promising voice, was endeavouring to acquire that style and manner of singing, which it is said Antonio Bernacchi of Bologna took from Pistocchi, and which gave rise to the denomination of the Bernacchi school. Porpora seeing this, and being desirous of correcting those extravagancies which Bernacchi had introduced into vocal practice, he laboured to form a style of greater simplicity, such as was calculated rather to affect than to astonish the hearers. As to Farinelli in particular, he set himself with all his might to improve those great talents which he had discovered in him, and in the end made him the finest singer that had then or has ever since been heard. A degree of success, alike proportioned to their several abilities, had he in the tuition of Salimbelli, Caffarelli, and Mingotti, all of whom were the pupils of Porpora. The attachments of Porpora to Farinelli were of such a friendly kind, as determined him to become, if not a sharer in his fortunes, at least a witness of that applause which was bestowed on him whither- soever he went : with this view he was the companion of his travels ; and it may well be supposed that the English nobility, when they engaged Farinelli to sing here, considered Porpora as so intimately con- nected with him, that an attempt to separate them would go near to render a treaty for that purpose abortive ; accordingly they were both engaged and arrived in England together. The operas of Porpora, as musical compositions, had little to recommend them: that of Ariadne was looked upon as inferior to the Ariadne of Handel, in which, excepting the minuet at the end of the over- ture, there is scarce a good air. Dr. Arbuthnot however, in a humorous pamphlet written on occa- sion of the disputes about the opera, entitled Harmony in an Uproar, calls that of Handel the Nightingale, the other the Cuckoo.J In the year 1735 Porpora published and dedicated to Frederic, prince of Wales, who had taken part with him in the dispute with Handel, Twelve Italian Cantatas, which at this day are greatly esteemed. He also published Six Sonatas for two violins and a bass ; these compositions are mere symphonies, and, having in them very little of design or contrivance, are now scarcely remembered. Giovanni Adolfo Hassb was born near Hamburg, and received his first instructions in music in that city. At the age of eighteen he composed an opera entitled Antigono ; but, being desirous of farther improvement, he went to Naples, and for a short time t MisceUaneous works of the late Dr. Arbuthnot, vol. II. page 21. 878 HISTORY OF THE SCIENCE Book XX. was under the tuition of . Porpora, but afterwards became a disciple of Alessandrp Scarlatti. Upon his return to Germany he became maestro di cappella to the elector of Saxony, and at Dresden composed operas, some in the German, and others in the Italian language. In the composition of operas he was es- teemed abroad the first of the German masters ; and the fame of his abilities reaching England at the time of the rupture between Handel and the English no- bility, he was employed by them, and composed the opera of Artaxerxes, written by Metastasio, and some others, which were represented here, and received great advantage from the performance of Farinelli. He married Faustina soon after her return from England : it does not appear that he was ever here himself; it seems he was strongly pressed at the time above-mentioned to come to London, but Mr. Handel being then living, he declined the invitation, not choosing to become a competitor with one so greatly his superior. The abilities of Hasse seem to have been greatly over-rated by some of our countrymen who have taken occasion to mention him. Six Cantatas for a voice, with an accompaniment for the harpsichord, a Salve Regina for a single voice with instruments, a single concerto for French horns, and other instru- ments, and a few airs selected from his operas performed here, are all of his compositions that have been published in England ; and these are so far from affording evidence of any extraordinary talent, that they are a full justification of the author of the Remarks on Mr. Avison's Essay on Musical Ex- pression, who has not hesitated to assert that the distinguishing characteristic of Hasse's compositions is effeminacy. The contest between Handel and the nobility was carried on with so much disadvantage to the former, that he found himself under the necessity of quitting the Haymarket theatre at the time when his oppo- nents were wishing to get possession of it ; and in the issue each party shifted its ground by an exchange of situations. The nobility removed with Farinelli, Senesino, and Montagnana, a bass singer, who had sung for Handel in Sosarmes and other of his operas ; and Handel, with Strada, Bertoli, and Waltz, a bass singer, who had been his cook, went to Lincoln's-Inn fields. Here he continued but for a short time; for, finding himself unable singly to continue the oppo- sition, he removed to Oovent Garden, and entered into some engagements with Rich, the particulars of which' are not known ; save that in discharge of a debt that he had contracted with him in consequence thereof, he some years after set to music an English opera entitled Alceste, written by Dr. Smollett, and for which Rich was at great expence in a set of scenes painted by Servandoni ; but it was never performed. Handel afterwards adapted this music to Dryden's Song for St. Cecilia's Day, 1687, printed in the fourth part of his Miscellaneous Poems, and performed it together with Alexander's Feast. Such as are not acquainted with the personal cha- racter of Handel, will wonder at his seeming temerity, in continuing so long an opposition which tended but to impoverish him ; but he was a man of a firm and intrepid spirit, no way a slave to the passion of avarice, and would have gone greater lengths than he did, rather than submit to those whom he had evef looked on as his inferiors : but though his ill success for a series of years had not affected his spirit, there is reason to believe that his genius was in some degree damped by it ; for whereas of his earlier operas, that is to say, those composed by him between the years 1710 and 1728, the merits are so great, that few are able to say which is to be preferred ; those composed after that period have so little to recom- mend them, that few would take them for the work of the same author. In the former class are Rada- mistus, Otho, Tamerlane, Rodelinda, Alexander, and Admetus, in either of which scarcely an indifferent air occurs ; whereas in Parthenope, Porus, Sosarmes, Orlando, .^Etius, Ariadne, and the rest down to 1736, it is a matter of some difficulty to find a good one. The nobility were no sooner settled at the Hay- market, than Farinelli appeared in the meridian of his glory : all the world resorted thither, even aldermen and other citizens, with their wives and daughters, to so great a degree, that in the city it became a proverbial expression, that those who had not heard Farinelli sing and Foster preach, were not qualified to appear in genteel company.* But it fared far otherwise with Handel, who, after his engagement with Rich, performed to almost empty houses ; and, after a contest, which lasted about three years, during which time he was obliged to draw out of the funds almost the whole of what in his prosperous days he had there invested, he gave out ; and discovered to the world that in this dreadful conflict he had not only suffered in his fortune but his health.f To get rid of that dejection * Mr. James Foster was a dissenting minister of the Anabaptist denomination. In the Old Jewry, during the winter season, on Sunday- evenings, he preached a lecture, in which with great clearness and strength of reasoning he enforced the obligations of religion and virtue, chiefly from principles in which all mankind are agreed. The Free- thinkers, as they are called, took him for a Deist, and his audiences were somewhat the larger for them ; but they were greatly mistaken ; on the contrary he was a devout and sincere Christian, as the author of this work can testify, who lived many years with liim on terms of strict friendship ; and gave ample proof of his faith in an excellent answer to a worthless book, Christianity as old as the Creation ; and contributed to put to confusion its more worthless author, Dr. Matthew Tindal. Pope was acquainted with Foster, and, having frequently resorted to the Old Jewry purposely to hear him, complimented him with the following lines : — Let modest Foster, if he will, excel Ten metropolitans in preaching well. Epilogue to the Satires, Dialogue I. Lord Bolingbroke expressed to Mr. Pope a great desire to know Foster, and an appointment was made for a meeting of all the three ; but an ac- cident prevented it. Most of the sermons preached at the Old Jewry lecture are extant in four volumes, published by the author himself: they were also preached to a congregation of which he was pastor, in a place situated between Red-cross street and Barbican ; but such was the fashion of the time, and such were the diflFerent eifects of the same dis- courses at different places, that few but his own congregation resorted to the one, and people, at the risk of their limbs, struggled to get in at the other. In consideration of his great merit, and the estimation in which he was held tliroughout this kingdom, the university of Aberdeen honoured him with the degree of doctor in divinity. In the year 1746 he was requested to assist in preparing lord Kilmarnock for a submission to that sentence, which, for having been active in the rebellion of 1745, he was doomed to suffer. Dr. Foster complied with this request, and was necessitated to be a spectator of his end ; the unspeakable anguish cf mind which he felt upon this occasion, and the frequent reflection on all the circumstances of theexecution, made such a deep impression on him, as could never he effaced ; his mental faculties forsoqk him, and on the fifth day of November, in the year 1753, he died. t Upon occasion of this his distress, Strada and others of the singers were content to accept of bonds for the payment of their arrears, and left the kingdom upon Mr. Handel's assurances that they should he discharged ; and he paid a due regard to his engagement by remitting them the money ~ ' Chap. CXCI. AND PRACTICE OF MUSIC. 879 of mind, whicli his repeated disappointments had brought on him, he was advised to the use of the waters at Tunbridge, and a regimen calculated to assist their operation ; but his disorder was so deeply rooted, that by several particulars in his behaviour, which it would give the reader no pleasure to he informed of, he discovered that his mental powers were affected ; and, to complete his distress, one' of those hands, which had frequently administered such delight to others, was now become useless to himself ; in a word, the palsy had seized his right arm, and the whole of the limb was by a sudden stroke rendered incapable of performing its natural functions. Medicines having been found ineffectual to remove his disorder, he was prevailed on, but with great difficulty, to resort to Aix la Chapelle ; accordingly he went thithei-, and submitted to such sweats, excited by the vapour baths there, as astonished every one. After a few essays of this land, during which his spirits seemed to rise rather than sinlc under an excessive perspiration, his disorder left him ; and in a few hours after the last operation he went to the great church of the city, and got to the organ, on which he played in such a manner that men imputed his cure to a miracle. Having received so much benefit from the baths, he prudently deter- mined to stay at Aix la Chapelle, till the end of six weeks from the time of his arrival there, and at the end thereof returned to London in perfect health. Earinelli, during the interval of a few winters, had accumulated great wealth, but it arose chiefly from presents, and crowded houses at his benefits ; and as he had experienced what it was to sing to an audience of thirty-five pounds, he began to suspect that his harvest in this country, which, as Mattheson terms it, was a golden one, was pretty well over, and began to think of trying his success in another : he had visited France in the year 1736, and inding at his return to London but little encouragement to engage at the opera, he finally quitted England the following summer, and on the ninth of July, 1737, appeared at Versailles, hoping to derive great advan- tages from the solemnities which were expected to attend the approaching birth of the duke of Anjou; but in this he was disappointed. It happened about this time that the king of Spain laboured under a melancholy disorder, for which no relief could be suggested but music ; his queen contrived to entertain him with frequent concerts : to make these as delightful to him as possible, she sent for Farinelli, and upon his arrival at Madrid attached him to the service of that court by a pension of 1400 piastres, or 3150Z. per annum, and a coach and equipage maintained at the king's expense. Over and above his salary, considerable presents were made him ; the king gave him his picture set with diamonds, valued at 5000 dollars ; the queen presented him with a gold snuff-bpx, with two large diamonds on the lid; and the prince of Asturias gave him a diamond button and loop of great value. Upon the death of Philip V., Farinelli was continued in his station by his successor, Ferdinand VI., and in 1750 was honoured with the cross of Calatrava, the badge of an order of knighthood in Spain of great antiquity. He continued, with the assistance of the best composers and singers, and of Metastasio and Amiconi the painter, which latter had followed him into Spain, to conduct the opera till about the year 1761, when he took a resolution to return to Italy; accordingly he went thither, and had an audience of Benedict XIV., to whom, upon his recounting the riches and honours that had been showered down upon him here and in Spain, the pope made this remark : ' In other words you mean ' to say, that you found abroad what you left here.' His pension from the court of Spain being still continued to him, Farinelli chose the neighbourhood of Bologna , for his residence ; and in a house of his own building, near that city, he is now living in ease and great affluence. It is now necessary to recur to a former period, and in an orderly course of narration to relate such other particulars respecting the subject of this history, as were necessarily postponed to make way for the above account of Mr. Handel. Greene, who already has been mentioned as an ingenious young man, was got to be organist of St. Paul's ; and having, upon the decease of Dr. Croft, in 1727, been appointed organist and composer to the royal chapel in his room, was thereby placed at the head of his profession in England. He courted the friendship of Mr. Handel with a degree of assiduity, that, to say the truth, bordered upon servility ; and in his visits to him at Burlington- house, and at the duke of Chandois's, was rather more frequent than welcome. At length Mr. Handel discovering that he was paying the same court to his rival, Bononcini, as to himself, would have nothing more to say to him, and gave orders to be denied whenever Greene came to visit him. Some particulars respecting Greene and his first appearance in the world have been given towards the commencement of Book XVIII. The busy part he acted at this time, his attachment to Bononcini, and his opposition to Mr. Handel, make it necessary in this place to resume his history. In the year 1730 he took the degree of doctor in music in the university of Cambridge : his exercise for it was Mr. Pope's ode for St. Cecilia's day, which he set very finely to music* It was performed with great applause; and, as an additional testimony to « Mr. Pope, to answer Greene's purpose, condescended to make con- siderable alterations in this poem, and at his request to insert in it one entire new stanza, viz., the third. As he thereby rendered l^ greatly different from the ode originally published, and as with the variations it has never yet appeared in print, it is here given as a curiosity : — ODE for St. Cecilia's Day, As altered hy Mr. Pope for Dr. Greene. Descend ye Nine ! descend and sing; The breathing instruments inspire ; Wake into voice each silent string, And sweep the sounding lyre ! In a sadly pleasing strain Let the warbling lute complain : In more lengthen'd notes and slow. The deep, majestic, solemn organs blow. Hark ! the numbers soft and clear. Gently steal upon the ear ; Now louder they sound, 'Till the" roofs all around The shrill echos rebound ; 'Till, by degrees, remote and small, The strains decay, And melt away In a dying, dying fall. 880 HISTORY OP THE SCIENCE. Book XX. hia merit, he was honoured with the title of professor The following duett, taken from the doctor's own of music in the university of Cambridge. manuscript, was part of the performance : — ^m 1^ t^g^^ m ^^3^^ ^; -*-!-^l ^^^^^^^ BY the streams that e - ver By music minds an equal temper know, Nor swell too high, nor sink too low. If in the hreast tumultous joys arise, Music her soft, assuasive voice applies ; Or when the soul is sunk in rares, Exalts her with enlivening airs. Warriors she (ires by sprightly sounds ; Pours balm into the lover's wounds : Passions no more the soul engage, Ev'n factions liear away their rage. III. Amphion thus bade wild dissension cease, And soften'd mortals learn'd the arts of peace. Amphion taught contending kings, From various discords to create The music of a welUtun'd state ; Nor slack nor strain the tender string Those usual touches to impart. That strike the subject's answ'ring heart And the soft silent harmony that springs From sacred union and consent of things. IV. But when our country's cause provokes to arms, How martial music every bosom warms ! When the first vessel dai'd the seas. The Thracian rais'd his strain. And Argo saw her kindred trees Descend from Pelion to the main. Transported demi-gods stood round, And men grew heroes at the sound, Inflam'd with glory's charms ! Each chief his sev'nfold shield display'd, And half unsheath'^d the shining blade : And seas, and rocks, and skies rebound To arms, to arms, to arms ! V. But when thro' all th' infernal bounds, Which flaming Phlegeton surrounds, Sad, Orpheus sought his consort lost : The adamantine gates were barr'd, And nought was seen and nought was heard Around the dreary coast ; But dreadful gleams, Dismal screams, Fires that glow. Shrieks of woe, Sullen moans. Hollow groans, And cries of tortur'd ghosts I But hark 1 he strikes the golden lyre ; And see ! the tortur'd ghosts respire, See, shady forms advance ! And the pale spectres dance! The Furies sink upon their iron beds. And snakes uncurl'd hang list'ning round their heads. VI. By the streams that ever flow, By the fragrant winds that blow O'er th' Elysian flow'rs ; By those happy souls that dwell In yellow meads of Asphodel, Or Amaranthine bow'rs. By the heroes' armed shades, Glitt'ring thro' the gloomy glades, By the youths that dy'd for love, Wand'ring in the myrtle grove, Restore, restore Eurydice to life. Oh take the husband, or return the wife ! VII. He sang, and hell consented To hear the poet's pray'r ; Stern Proserpine relented. And gave him back the fair. Thus song could prevail O'er death and o'er hell, A conquest how hard and how glorious ? Tho' fate had fast hound her With Styx nine times round her Yet music and love were victorious. The earlier writers an music, and even Ktrcker, a modern, have in Ihcir division of music distinguished it into mundane, humane, and poUHcal. And Cicero, de Repub. lib. II. says that what in music is termed harmomj is in the government of a city styled concord: of the latter of these dis- tinctions it may be observed that Shakespeare has shown himself not a little fond of it, as in Henry V. act 1, scene 2. — For government though high and low and lowers Put into parts doth keep in one consent, Congruing in a full and natural.dvse Like mzisic. And again in Troilus and Crcssida, Act I, Scene 3. — Take but degree away, untune that siring. And hark what discord follows. The same fanciful notion we find recognised in the third stwaza of the above ode. Milton also seems to allude to it in this passage :— ' orders and degrees Jar not with liberty, but well consist. Par. Lost, Book V. line 792. It may be thought not unworthy ofremairk, that in the two passages first above cited, and also in Mr. Pope's Ode, the word consent is mistaken for concent, from the Latin concentus, a concert of music. Chap. OXCL AND PEACTICE OF MUSIC. 881 ^ T ^^-=- ^JE^^F^E^E^E^fe ^^gg ^^=£r. ^3 1^33^1 EtaEEI^EESa mm ja^£F=qJ^^=^:-"-F=^=pE p_;p ^^ ^=f^ ^^^^^ flow, By the fra - grant winds that blow O'er th'e-ly - sian flow'rs, o'er th' e-ly-sian flow'rs ^^===^^^^ E£ ^i^^Eg=^^^E^^^% ^^m^m ^^^=i^=E^ ^jJg^^fe -F^ l^^m;-^^ ^l^^wmii^ EH^gS^EEE EEESEEEESEEEEE: ^=^ m= ^^:^=^ ^^ ^ ^^^gsg ^^^gp p ^^ ; By those happy souk who dwell In yellow meads of As-pho -del, Or A-ma-ranthiiia ■^i=^^^^^^=^^m^^^=^f^^^^^^^ By the he-roes' armed shades, Glitt'ring thro' the gloomy ^g^^-^^ g^g^^^=|i glades. Kestore, restore Eu-ry - di-ce to life, Oh ^ ^^ ^ ^^^ ^"^^^^^^^ ^m Bytheyouthsthatdy'dforlove wand'ringin the myrtle grove, Kestore, restore Eu-ry -di-ce to life 882 HISTORY OF THE SCIENCE Book XX. i ^^^^■gEpH5a :=^^ ^gg=^^g^iP^^^^ fe=^E g^F=§^^;gEEa^P=^=p=^= g - F — 1-P=^=F= iI^^^^^^^^eS^eI^ Fj!EEp EE^^^ ^ , take the husband or re-turn, re-turn the wife. By the streams that e - ver ^^^^^^ ^^m^ ^ Oh take the husband or re-turn, re-turn the wife. ^^^^ ^ ^•^r ESEEE ^ -^± ga^^^^P^^lg^gg^^^^agl^^^^^ i^^^ :-E^11=i l^^^l^ :p~5^p=^=^=q^ E^S233 ^^^J^JE ^^^=^^1 i? PP=^-p==^ E^^^ ^ — ^ ^^^^^^m^^^^^^^^^^^ ^ ^^^^ flow. By the fragrant winds that blow O'er th'e-lysian flow'rs, o'er th'e-lysian flow'rs ; m 1 =§= iE ^g^=pi^ ^^m ^gg^^ L^^ g^i^^^^^lE i^^^^E=^^ ^ :p=S^»2=rt?z'=B=^=g=^gr=i ^ 1^3^^^; =EESEE Si t^^=^^^=^^j ===isi:j ^aEgsg^^saa^g^P^^^;=p:^a; By those happy souls who dwell in yellow meadsof As-pho-del or Ama-ran-thine - ^^^^^ ^ ^^^^^^^^ ^s£ ^i^^gEE^|^HEE^^^JE3ES EEE=^i^g^ EE^E ^^a Ei^fe ■^ E^jEgEEEg^-gEJ^^^^jp^Eg^^ li E^E^ -I F- L^^^P By the heroes' armedshadesglitt'ringthro'thegloomy Chap. CXCI. AND PRACTICE OP MUSIC. 883 -£E32^ii=^=^^i^ii j^ EIg ^-I EI^ZE ^SE^ EE^ -^^^^ ^^^^^m Eestore Eu-ry - di-ce to life, Oh take the ^^^ =J^. Bytheyouthsthatdy'dfoi-love Wand'ringin the myrtle grove,EestoreEu-i-y - di-ce to life, Oh. . take the ^^====^^!^ zEESB^ES EE'^^i^ ^E^^E^^EE^-^EE^ \r¥-^±^=^=SE.'^^. m husband or return, re-tura the wife, oh take the husband or return, return the wife, return the wife. husband or re - turn, return the wife, oh take the husband or return, return the wife, return the wife. li^^E^^^Sg^ ^^^^^^^^^ =^: BE ne ^^^ DociOB Matjrioe Greene. 884 HISTORY OF THE SCIENCE Book XX. In the disputes between Handel and Bononcini, Greene had acted with such duplicity, as induced the former to renounce all intercourse with him ; and from that time no one was so industrious as he in decrying the compositions of Handel, or ap- plauding those of his rival. He was a member of the Academy of ancient Music, and, with a view to .iexalt the character of Bononcini, produced in the year 1728 the madrigal 'In una siepe ombrosa,' which gave rise to a dispute that terminated in the disgrace of his friend. li[ot able to endure the slights of those who had marked and remembered his pertinacious behaviour in this business. Dr. Greene left the academy, and drew off with him the boys of St. Paul's cathedral, and some other persons, his imme- diate dependents ; and fixing on the ' great room called the Apollo at the Devil tavern, for the per- formance of a concert, under his sole management, gave occasion to a saying not so witty as sarcastieal, viz., that Dr. Greene was gone to the Devil. Dr. Greene was happy in the friendship of Bishop Hoadley and his family : he set to music sundry elegant pastoral poems, namely, Florimel, Phoebe, and others, written, as it is said, by Dr. John Hoadley, a son of that prelate. He had also an interest with the late duke of Newcastle, probably through the duchess, who had frequent musical parties at Newcastle -house, at wJiich Greene used to assist; and whose mother, Henrietta, duchess of -Marlborough, was the patroness of Bononcini, with whom, as Eas been related, Greene had contracted a close intimacy. With such connexions as these, Greene stood fair for the highest preferments in his profession, and he attained them; for, upon the decease of Dr. Croft, through the interest of the countess of Peterborough, he succeeded to his places of organist and composer to the royal chapel ; and, upon that of Eccles, about 1735, was appointed master of the royal band. Greene had given jome early specimene of his abilities in the composition of a set of lessons for the harpsichord, which he probably meant to publish ; but a copy having been Buireptitiously obtained by one Daniel Wright, a seller of music and musical instruments, near Furnival's Inn, who never printed any thing that he did not steal, they were published by him in so very incorrect a manner, that the doctor was necessitated to declare that they were not his compositions ; and Wright, no less falsely than impudently, asserted in the public papers that they were. Notwithstanding that he was an excel- lent organist, and not only perfectly understood the nature of the instrument, but was a great master of fugue, he affected in his voluntaries that kind of practice on single stops, the cornet and the vox- humana for instance, which puts the instrument almost on a level with the harpsichord ; a voluntary of this kind being in fact little more than a solo for a single instrument, with the accompaniment of a haas ; and in this view Greene may be looked on as the father of modern organists. This kind of performance, as it is calculated to catch the ears of the vulgar, who are ever more delighted with melody, or what is called air, than harmony, was beneath one, whose abilities were such, that Mat- theson, a man but little disposed to flattery, and who was himself one of the first organists in Europe, has not scrupled to rank him among the best of his time. CHAP, oxen. The conduct of Pepusch was very different from that of Greene. Upon Mr. Handel's arrival in England, he acquiesced in the opinion of his superior merit, and chose a track for himself in which he was sure to meet with no obstruction, and in which none could disturb him without going out of their way to do it. He had bden retained by the duke of Chandois, and assisted as composer to his chapel, till he gave place to Handel ; after that he professed the teaching of the principles of musical science, and continued so to do till about the year 1724, when a temptation offered of advancing himself, which he was prevailed on to yield to : few persons conversant in literary history are unacquainted with the character and benevolent spirit of Dr. George Berkeley, the late excellent bishop of Cloyne ; or that this gentleman, upon his promotion to the deanery of Londonderry, formed a plan for the propagation of religion and learning in America, in which was included a scheme for erecting a college in the Summer Islands, otherwise called the Isles of Bermudas. With a view to carry this project into execution. Dr. Berkeley obtained permission to found and endow such a college, and also engaged divers persons of distinguished eminence in the several professions and faculties to accompany him, and become professors in his intended college ; of these Dr. Pepusch was one. He and his associates embarked for the place of the intended settlement, but the ship was wrecked, and the undertaking frustrated ; immediately after which such difficulties arose as put a final end to the design. Being returned to England, Dr. Pepusch married Signora Margarita de I'JEpine, and went to reside in Boswell-court, Carey-street, taking, together with his wife, her mother, a woman as remarkably short as her daughter was tall. The fortune which Margarita had acquired was estimated at ten thousand pounds, and the possession thereof enabled the doctor to live in a style of elegance which till his marriage he had been a stranger to: this change in his circum- stances was no interruption -to his studies; he loved music, and he pursued the knowledge of it with ardour. He, at the instance of Gay and Eich, under- took to compose, or rather correct, the music to the Beggar's Opera. Every one knows that the music to this drama consists solely of ballad tunes and country dances ; it was, nevertheless, necessary to settle the airs for performance, and also to compose basses to such as needed them. This the doctor did, prefixing to the opera an overture, which was printed in the first, and has been continued in every succeeding edition of the work. The reputation of the doctor was now at a great Chap. CXCII. AND PRACTICE OF MUSIC. 885 height; he had perused with great attention those several ancient treatises on harmonics which Mei- tomius had given to the world about the middle of the last century, and that of Ptolemy, published by Dr. Wallis with his own learned appendix. In the perusal of these authors, the diflficulties which oc- curred to him were in a great measure removed by his friend Mr. Abraham de Moivre, an excellent mathematician, who assisted him in mating calcula- tions for demonstrating those principles which are the foundation of harmonic science; and in conse- quence of these his studies, Pepusch was esteemed one of the best theoretic musicians of his time. About the year 1730 he took a house in Fetter- lane, the next door but one to the south corner of the passage leading from thence into Bartlett's- buildings, and fitted up a large room in it for the reception of his books and manuscripts, which were very many, and had been collected by him with great labour and expense. His wife had long quitted the opera stage, and, though rather advanced in years, retained her hand on the harpsichord, and was in truth a fine performer. The doctor had in his li- brary a book which had formerly been queen Eliza- beth's, containing a great number of lessons for the harpsichord, composed by Dr. Bull ; of the merit of these pieces he entertained a very high opinion ; and though they were much more difficult to execute than can be well conceived by those who reflect on their antiquity, yet by a regular course of practice she attained to such perfection in playing them, that great was the resort of persons to hear her. He had one only son, whom he determined to qualify for his own profession, a child of very promising parts ; the doctor laboured incessantly in his education, but he lived not to attain the age of thirteen. Among the many that resorted to him for instruc- tion, lord Paisley, afterwards earl of Abercorn, was one ; and to him the doctor had communicated lessons in writing for his private study, with no other obli- gation not to impart them to the world than is im- plied in the mutual relation of teacher and disciple ; which it seems was so ill imderstood, that in the year 1730 the substance of the doctor's lessons was by his pupil given to the world with the following title : ' A short treatise on harmony, containing tbe chief ' rules for composing in two, three, and four parts, ' dedicated to all lovers of music. By an admirer of ' this noble and agreeable science.' The publisher of this little book had studiously avoided inserting in the book any of those examples in musical notes which the precepts contained in it made it necessary to refer to, for which omission he makes a kind of apology. The doctor affected to speak of the publication of this, book as injurious both to his character and interest ; however it did not long, if at all, interrupt the friendship between lord Paisley and him. For proof of the fact that his lordship and the doctor were upon very good terms after the publishing the short treatise on harmony, recourse has been had to the doctor's papers, among which has been found a diary in his own hand- writing, containing an account of the daily occurrences in his life for a series of years, and, among others, a relation of a visit he made to lord Paisley at his seat at Witham in Essex, in the summer of the year 1733, and of his entertain- ment during a week's stay there ; which may serve to show, either that the surreptitious publication of the book was not the act of his lordship, or that the lapse of less than three years had effaced from his remembrance all sense of injury resulting from it. The book, as published in the manner above re- lated, was of very little use to the world. It wanted the illustration of examples, and was in other respects obscure and most affectedly perplexed; besides all which, it was written in a style the meanest that can be conceived : the motto in the title-page was that trite passage of Horace, ' Si quid novisti rectius istis,' &c., and the sentence intended to supply the omission of the author's name, contains in it the flattest anti- climax that ever disgraced a literary production. The doctor spoke the English language but in- differently, and wrote it worse than many foreigners do that have long resided in this country ; and it may be doubted whether the lessons which he used to give his pupils were ever digested into the form of a treatise ; but seeing that the book could not be recalled, and that he was looked upon by the world as' responsible for the subject matter of it, he thought it prudent to adopt it ; and accordingly in the year 1731 published a genuine edition, retaining the lan- guage of the former, but considerably altered and enlarged, and also illustrated with those examples in notes, which were in truth an essential part of it. The precepts delivered, and the laws of harmonical combination contained in this book, are such only as are warranted by the practice of modern composers ; and the rules of transition from key to key are evidently extracted from the works of Corelli ; but the most valuable part of the book is the chapter treating of solmisation, which practice is explained with the utmost precision and perspicuity.* In forming the diagrams, it is said that the doctor was assisted by Brooke Taylor, LL.D., author of a well- known treatise on Perspective, who, besides being an excellent mathematician, was eminently skilled in the theory of music. It has already been mentioned that Pepusch was one of the founders of the Academy of ancient Music. That society, with his assistance, continued to flourish until the year 1734, when, upon some disgust taken by Mr. Gates, master of the children of the royal chapel, it was deprived of the assistance which it was wont to receive from them, and left without boys to sing the soprano parts.f After trying for one winter what could be done without * That of the hexachords, -with directions for the mutations by the arrows and daggers, is a great stroke of invention. But the table adjoining to it, for reducing a composition in a transposed key to its natu- ral one, by the help of the slider, is a disingenuous artifice, and calculated rather to blind than enlighten those whom the author professes to teach. Had he, as Loulie has done in his Elements ou Frincipes de Musique, given the rule to call the last sharp, in the case of sharp keys, B, and the last ilat in the flat keys F ; and sol-fa upwards and downwards accordingly, the wretched contrivance of a slider to be cut oif, and which being lost, would render the table useless and the book imperfect, would have been imnecessary. See page 59, in note. t Dr. Greene, upon the dispute about the author of the madrigal, ' In ' una siepe ombrosa,' three years before,' had retired, and taken with him the boys of St. Paul's choir 886 HISTOEY OF THE SCIENCE Book XX. treble voices, and finding that their endeavours amounted to nothing, the managers determined to enlarge the plan, and make the Academy a seminary for the instruction of youth in the principles of music and the laws of harmony. Invitations to parents, and offers of such an education for their children as would fit them as well for trades and businesses as the profession of music, were given by advertisements in the public papers ; these brought in a great number of children, and such of them as were likely to be made useful were retained.* Upon this occasion Dr. Pepusch generously under- took the care of their instruction, for a stipend greatly disproportionate to his merit, though the largest the circumstances of the Academy could afford, and succeeded so well in his endeavours, that many of those his pupils became afterwards eminent professors in the science. The above memoir of Dr. Pepusch continues the history of the Academy down to about the year 1735, when the managers had recourse to the expedient of educating boys for their purp6se, and that of admitting auditor members, both which answered their ends; and upon that footing, excepting the difference of an increased subscription, the society subsists at this day. The Academy made it their constant care to keep up a correspondence with the most eminent masters and professors of music in foreign countries ; and Steffani having desired to be admitted a member of their society, and having from time to time presented them with compositions of great value, bearing the name of Gregorio Piua, his secretary or copyist, but which were in truth his own, they unanimously chose him their president ; and, upon occasion of the dispute about the madrigal 'In una siepe ombrosa,' mentioned in the foregoing memoir of Bononcini ; they entered into a correspondence with Signer Antonio Lotti, with which he thought him- self BO honoured, that he presented them with a madrigal and a mass of his composition, and they in return sent him, as a specimen of the English music, two motets, the one ' Domine quis habitabit,' for five * A.mong the children who'were thus taken into the service of the Academy, was one whose promising genius and early attainments in music render him worthy of notice in this place. His name was Isaac Peirson ; his father, a poor man, and master of the charity-school of the parish of St. Giles without Crlpplegate, dwelt in the school-house in Kedcross-street, and heing, as he was used to style himself, a lover of divine music, or, in other words a singer of psalm-tunes after the fashion of those who look upon Flayford as one of the greatest among musicians, he gladly laid hold of the opportunity which then offered, and got his son, about seven years old, admitted into the Academy. A very few months tuition of the doctor enahled him to sing his part ; and In less than a twelvemonth he had attained to great proficiency on the organ, though his lingers were so weak that he was incapable of making a true shake, and instead thereof was necessitated to make use of a tremulous motion of ^two keys at once, which he did so well, that the discord arising from it passed unnoticed. In the instruction of this child th^ doctor took uncommon pains, and shewed great affection, making him the associate of his own son in his studies. He endeavoured to inculcate in him the true organ-style, and succeeded so well, that his pupil, before he was full nine years of age, rejecting the use of set voluntaries, began upon his own stock, and played the full organ extempore, with the learn- ing and judgment of an experienced master. The circumstances of his parents co-operating with his irresistible propensity, determined him to music as a profession ; he was therefore taught the violin, and soon became able to execute the most difficult of Geminiani's concertos with great facility. With these attainments, singularly great for one of his years, and a temper of mind in every respect amiable, he gave to his parents and friends the most promising assurances of his becoming a great musician ; but his death defeated their hopes before he had quite attained the age of twelve years. voices, by Tallis, the other ' Tribulationes Oivi- tatum,-|- also for five voices, by Bird, both which were thankfully accepted. As an institution designed for the improvement of music, the Academy was generally visited by foreigners of the greatest eminence in the faculty. Many of the opera singers and celebrated masters on particular instruments, by the performance of favourite airs in the operas, and solos calculated to display their various excellencies, contributed to the variety of ,the evening's entertainment. Tosi fre- quently sang here ; and Bononcini, who was a member, played solos on the violoncello, on which he ever chose to be accompanied by Waber on the lute. Geminiani was a frequent visitor of the Academy, and would often honour it with the per- formance of his own compositions previous to their publication. And here it may not be improper to mention an anecdote in musical history, which reflects some credit on this institution. In the interval between the secession of Dr. Greene and Mr. Gates, viz., in the month of February, 1732, when the conflict between Mr. Handel and the nobility had rendered the situation of the former almost desperate, the Academy being in possession of a copy of the oratorio of Esther, originally composed for the duke of Ohandois by Mr. Handel, performed it by their own members and the children of the chapel royal ; and the applause with which it was there received, suggested to the author the thought of performing it himself, and of exhibiting in future during the Lent season, that species of musical entertainment. So that to this accident it may be said to be in a great measure owing, that the public for a series of years past have not only been delighted with hearing, but are now in possession of, some of the most valuable compositions of that great master. The advantages that resulted to music from the exercises of the Academy were evident, in that they tended to the establishment of a true and just notion of the science ; they checked the wanderings of fancy, and restrained the love of novelty within due bounds ; they enabled the students and performers to contemplate and compare styles ; to form an idea of classical purity and elegance ; and, in short, to fix the standard of a judicious and rational taste. One of the principal ends of the institution was a retrospect to those excellent compositions of former ages, which its very name implies ; and in the prosecution thereof were brought forth to public view, the works of very many authors, whose names, ^though celebrated with all the applauses of panegyric, had else been consigned to oblivion : nor was this all ; the spirit that directed the pursuits of this society diffused itself, and gave rise to another of which here follows an account. Mr. John Immyns, an attorney by profession, was a member of the Academy, but,, meeting with mis-^ fortunes, he was occasionally a copyist to the society, and amanuensis to Dr. Pepusch; he had a strong t The first of these is not in print j the latter is the twenty-fourth motett in the Sacra: Cantiones of Bird, printed by Tho. Este in 1589. Chap. CXCIII. AND PKACTICE OP MUSIC. 887 counter-tenor voice, which, being not very flexible, served well enough for the performance of madrigals. Of this species of music he iil a short time became so fond, that in the year 1741 he formed the plan of a little club, called the Madrigal Society ; and got together a few persons who had spent their lives in the practice of psalmody; and who, with a little pains, and the help of the ordinary solmisation, which many of them were very expert in, became soon able to sing, almost at sight, a part in an English, or even an Italian madrigal. They were mostly mechanics ; some, weavers from Spitalfields, others of various trades and occupations ; they met at first at the Twelve Bells, an alehouse in Bride- lane, Fleet-street, and Immyns was both their pre- sident and instructor ; their subscription was five shillings and sixpence a quarter, which defrayed their expenses in books and music paper, and afforded them the refreshments of porter and tobacco. After four or five years continuance at the Twelve Bells, the society removed to the Founders' Arms in Lothbury ; and from thence, after a short stay, to the Twelve Bells again, and after that to the Queen's Arms in Newgate-street, a house that had been formerly a tavern, but was now an alehouse. In it was a room large enough for the reception of the society, who were about five-and-twenty in number, with a convenient recess for a large press that contained their library. The meetings of the society were on Wednesday evening in every week ; their performance consisted of Italian and English madrigals in three, four, and five parts ; and, being assisted by three or four boys from the choir of St. Paul's, they sang compositions of this kind, as also catches, rounds, and canons, though not ele- gantly, with a degree of correctness that did justice to the harmony ; and, to vary the entertainment, Immyns would sometimes read, by way of lecture, a chapter of Zarlino translated by himself. The persons that composed this little academy were men not less distinguished by their love of vocal harmony, than the harmless simplicity of their tempers, and their friendly disposition towards each other. Immyns was a man of a very singular character ; and as he was one of the most passionate admirers of music of his time, merits to be taken particular notice of. He had a cracked counter- tenor voice, and played upon the flute, the viol da gamba, the violin, and the harpsichord, but on none of them well : in his younger days he was a great beau, and had been guilty of some indiscretions, which proved an effectual bar to success in his pro- fession, and reduced him to the necessity of becoming a clerk to an attorney in the city. "The change in his circumstances had not the least tendency to damp his spirits ; he wrote all day at the desk, and fre- quently spent most part of the night in copying music, which he did with amazing expedition and correctness. At the age of forty he would needs learn the lute, and by the sole help of Mace's book, acquired a competent knowledge of the instrument ; but, beginning so late, was never able to attain to any great degree of proficiency on it : having a family, he lived for some years in extreme poverty, the reflection on which did not trouble him so much as it did his friends; Mr. George Shelvocke, secretary to the general post office, was one of the number, and, upon the decease of Mr. Serjeant Shore, by his interest obtained for Immyns the place of lutenist of the royal chapel, the salary whereof is about forty pounds a year. The taste of Immyns was altogether for old music, which he had been taught to admire by Dr. Pepusch ; and this he indulged to such a degree, that he looked upon Mr. Handel and Bononcini as the great corrupters of the science. With these prejudices, it is no wonder that he enter- tained a relish for madrigals, and music of the driest style : Vincentio Euffo, Orlando de Lasso, Luca Marenzio, Horatio Vecchi, and, above all, the prince of Venosa, were his great favourites. He was very diligent in collecting their works, and studied them with incredible assiduity ; nevertheless he was but meanly skilled in the theory of the science, considering the opportunities which his intimacy with Dr. Pepusch afforded him. He was the founder, and chief support of the Madrigal Society, and, being a man of great good-humour and pleasantry, was much beloved by those that frequented it. In the latter part of his life he began to feel himself in tolerable circumstances, but the infirmities of old age coming on him apace, he died of an asthma at his house in Cold-Bath-fields on the fifteenth day of April, 1764. Mr. Samuel Jeacocke, another member of this fraternity, was a man not less remarkable for sin- gularities of another kind : this man was a baker by trade, and the brother of Mr. Caleb Jeacocke, now living, and who for many years was president of the Eobin Hood disputing society. The shop of Samuel was at the south-west corner of Berkeley-street, in Ked-lion street, Clerkenwell. He played on several instruments, but mostly the tenor -violin ; and at the Madrigal Society usually sang the bass part. In the choice of his instruments he was very nice, and when a fiddle or a violoncello did not please him, would, to mend the tone of it, bake it for a week in a bed of saw-dust. He was one of the best ringers and the best swimmer of his time ; and, even when advanced in years, was very expert in other manly exercises; he was a plain, honest, good-humoured man, and an inoffensive and cheerful companion, and, to the grief of many, died about the year 1748. The Madrigal Society still subsists, but in a man- ner very different from its original institution ; they meet at a tavern in the city, but under such circum- stances, as render its permanency very precarious. CHAP. CXCIII. The music with which the pablic in general had been formerly entertained, was chiefly that of the theatre, and such as was occasionally performed at concerts ; but, in proportion to the increase of wealth in the metropolis, the manners of the people began to relax ; the places of public entertainment increased in number, and to these music seemed to be 3m 888 HISTOKY OP THE SCIENCE Book XX. essential. It is curious to reflect on the parsimony of our ancestors in all their recreations and amuse- ments ; the playhouses afforded them entertainment during the winter season, and the length of the sum- mer days afforded leisure for a walk in the gardens of the inns of court, the park, or to the adjacent villages. Besides these there were several Mulberry- gardens ahout the town; and places at the extremities of it distinguished by the name of Spring Gardens and the World's End : some of these were frequented by the better sort of persons of both sexes, for pur- poses that may be guessed at. ■ The World's End is mentioned in Oongreve's comedy of Love for Love, in a scene where Mrs. Foresight rallies Mrs. Frail for having been seen with a man in a hackney-coach : there is a place so called between Chelsea and Fulham,* another a little heyond Stepney, and another opposite St. George's Fields, in the road to Newington. The reason of this appellation is, that the houses of this sort were generally the last in the neighbourhood ; the sign was usually a man and a woman walking together, with the following distich underwrote : — I'll go with my friend _ To the Worid's End. A kind of intimation what sort of company were most welcome there.f Barn-Elms and Vauxhall were also places of great resort for water parties ; of the latter of these the history is but little Imown ; all we can learn of it is, that the house so called was formerly the habitation of Sir Samuel Moreland. Aubrey, in his Antiquities of Surrey, gives this account of it : ' At Vauxhall ' Sir Samuel Morelaud built a fine room, anno 1667, 'the inside all of looking-glags, and fountains very 'pleasant to heboid, which is much visited by ' strangers ; it stands in the middle of the garden, ' foot square, high, covered with Cornish ' slate ; on the point whereof he placed a Punchinello, ' very well carved, which held a dial, but the winds have demolished it' Vol. I. page 12. The house seems to have been rebuilt since the time that Sir Samuel Moreland dwelt in it. About the year 1730, Mr. Jonathan Tyers became the occupier of it ; and, there being a large garden belonging to it, planted with a great number of stately trees, and laid out in shady walks, it obtained the name of Spring Gardens ; and the house heing converted into a tavern, or place of entertainment, it was much frequented by the votaries of pleasure. Mr. Tyers opened it with an advertisement of * The sign of the house at this time is the globe of the world in that state of conflagration which is to put an end to its existence ; a pun in painting as singular as the title of a well known song, ' The Cohbler's End.' t Spring Garden, and the Mulberry Garden, are mentioned as places of Intrigue in Sir George Etherege's Comedy of *She would if she could ;' and in a comedy of Sir Charles Sedley's, entitled ' The Mulberry Garden,' thescene is in the Mulberry Garden, near St. James's. At the time when the above were places of public resort, there was an edifice built of tinker a/nd divided into sundry rooms with a platform and balustrade at top, which floated on the Thames above London Bridge, and was called the Folly : a view of it, anchored opposite Somerset House, is given in Slrype's Stow, book IV. page 105; and the humours of it are described by Ward in his London Spy. At first it was resorted to for refreshment by persons of fashion ; and queen Mary with some of her courtiers had once the curiosity to visit it. But it sank into a receptacle for companies of loose and disorderly people, f. In the year 1753 came out Bemarks on Mr. Avison's Essay on Musical Expression, the author whereof first points out sundry errors against the rules of composition in the works of Avison : and, inferring from thence that he was but meanly skilled ' in the subject of his book, he proceeds to examine it, and, to say the truth, seldom fails to prove his ad- versary in the wrong. In the same year Avison re- published his Essay, with a reply to the author of the Remarks, and a letter, containing a number of loose particulars relating to music, collected in a course of various reading, unquestionably written by Dr. Jortin. It has already been mentioned that Avison pro- moted and assisted in the publication of Marcello'a music to the Psalms adapted to English words. Of his own composition there are extant five collections- of Concertos for violins, forty-four in number, and two sets of Sonatas for the harpsichord and two vio- lins, a species of composition little known in England till his time. The music of Avison is light and elegant, but it wants originality, a necessary conse- quence' of his too close attachment to the stj'le of Geminiani, which in a few particulars only he was able to imitate. In the year 1748 an attempt towards the farther improvement of music was made by Robert Smith, master of Trinity college, Cambridge, in a book en- titled Harmonics, or the Philosophy of Sounds, pub- lished in that year, and again in 1758, much im- proved and augmented; the principal end whereof is a temperament of the scale by calculations of those beats or pulses that attend the vibration of a chor^, and which the author gives us to understand are not Chap. CXCVII. AND PBACTICE OF MUSIC. {>15 so minute as to elude the judgment of the ear. It seems that in the second edition of this book the author was assisted hy Mr. Harrison, the cloclcmaker, who by some experiments on the monochord, and certain calculations made by him of the proportion which the circumference of a circle bears to its diameter, had discovered the means of a more cor- rect tuning than at present is known. It is far from being clear that any benefit can result to music from that division of the octave which Dr. Smith recom- mends ; but this is certain, that his book is so ob- scurely written, that few who have read it can be found who will venture to say they understand it. We are told that Mr. Harrison's sentiments on the division of the monochord are digested into a treatise written by him, entitled ' A short but full account of ' the grounds and foundation of music, particularly ■ of the real existence of the natural notes of melody,' and that there is reason to hope for its publication.* In the year 1762, a society for the improvement of vocal harmony was established by a great number of the nobility and gentlemen, met for that purpose at the Thatched-bouse tavern in St. James's-street, Westminster, by the name of the Oatch Club. As an incentive to the students in music, they gave prize medals to such as were adjudged to excel in the compositions of canons and catches ; and rewards of the same kind have with the same view been an- nually dispensed by them ever since.f These en- couragements have contributed greatly to extend the narrow limits of the old harmony ; and it is now only to be wished that the plan of this laudable society were adapted to the encouragement of a species of composition too little esteemed in our days, viz.. Madrigals, which afford ample scope for the exercise of skill, and all the powers of invention ; and for social practice are for many reasons to be preferred to every other kind of vocal harmony. Of those great musicians who flourished in Eng- land at the beginning of this century, Geminiani was the only one living at this time ; and, to resume the account herein before given of him and his works, it must be observed, that as he had never attempted dramatic composition of any kind, he drew to him but a small share of the public attention, that being in general awake only to such entertainments as the theatres afford. The consequence whereof was, that the sense of his merits existed only among those who had attained a competent skill in the practice of in- strumental harmony to judge of them, and to these his publications were ever acceptable. In a life so unsettled as that of Geminiani was, spent in different countries, and employed in pur- suits that had no connection with his art, and only served to divert his attention from it, we must sup- pose the number of his friends to be very great, and that they were equally possessed of inclination and abilities to assist him, to account for the means of his support. That in the former part of his life he ex- * Eiographia Brltannica, Appendix to the Supplement, page 229. t The device is .a tripod with a lyre, an ewer, and a cup thereon, encircled with a chaplet, Apollo and Bacchus as supporters sitting by it. Tne motto, taken from a canon ot Dr. Hayes, is Lhx's DRINK AND LET'S SING TOGETHER. perienced the liberality of some persons of distinc- tion is a fact pretty well ascertained ; but he was not possessed of the art of forming beneficial con- nections, on the contrary, he would sometimes de- cline them ; J so that as he advanced in years he had the mortification to experience the increase of his wants, and a diminution in the means of supplying them. In general his publications did, in respect of pecuniary advantage, in no degree compensate for his many years' labour and study employed in them, for which reason he had recourse to an expedient for obtaining a sum of money which he had never tried before, viz., a performance by way of benefit at one of the theatres; to this end, in the year 1748, he advertised a Concerto Spirituale, to be performed at Drury-lane theatre, chiefly of compositions of Italian masters of great eminence, but whose names were scarcely known in England. Geminiani was an utter stranger to the business of an orchestra, and had no idea of the labour and pains that were necessary in the instruction of singers for the performance of music to which they were strangers, nor of the frequent practices which are required previous to an exhibition of this kind. The consequence whereof was, that the singers whom he had engaged for the Concerto Spirituale not being perfect in their parts, the performance miscarried. The particular circumstances that at- tended this undertaking were these; the advertise- ments had drawn together a number of persons, sufficient to make what is called a very good house ; the curtain drew up, and discovered a numerous band, with Geminiani at their head : by waj' of overture was performed a concerto of his in a key of D with the minor third, printed in a collection of Concertos published by Walsh, with the title of Select Harmony, in which is a fugue in triple time, perhaps one of the finest compositions of the kind ever heard ; then followed a very grand chorus, which, being performed by persons accustomed to sing in Mr. Handel's oratorios, had justice done to it ; but when the women, to whom were given the solo airs and duets, rose to sing, they were not able to go on, and the whole band, after a few bars, were necessitated to stop. The audience, instead of ex- pressing resentment in the usual way, seemed to compassionate the distress of Geminiani, and to con- sider him as a man who had almost survived his faculties, but whose merits were too great to justify their slight of even an endeavour to entertain them : they sat very silent till the books were changed, when the performance was continued with composi- tions of the author's own, that is to say, sundry of the concertos in his second and third operas, and a solo or two, which notwithstanding his advanced age, he performed in a manner that yet lives in the remembrance of many of the auditors. The profits which arose from this entertainment enabled Geminiani to gratify that inclination for rambling which he had ever been a slave to ; he t The late prince of Wales greatly admired the compositions of Geminiani, and at the same time that he retained Martini in his service, would have hefitowed on him a pension of a hundred pounds a year, but the latter affecting an aversion to a life of dependence, declined the offer. 916 HISTOKY OP THE SCIENCE Book XX. ■went to France, and took up his residence at Paris. He had formerly experienced tlie neatness and accuracy of the French artists in the engraving of music; and reflecting that his concertos had never heen printed in a manner agreeahle to his wishes, he determined to puhlish them himself, and also to give to the world what had long been earnestly wished for, a score of them. Accordingly he set himself to revise his second and third operas ; but here the desire of making improvements, and a passion for refinement betrayed him into errors, for, besides the insertion of a variety of new passages, which did but ill sort with the general design of the several com- positions into which they were engrafted, he entirely new modelled some of them, giving in many in- stances those passages to the second violin which had originally been composed for the tenor. Besides this he frequently made repeats of particular move- ments, and those so intricately ordered, as to render them very difficult of performance. He stayed long enough at Paris to get engraven the plates both for the score and the parts of the two operas of concertos ; and about the year 1755 re- turned to England, and took lodgings at the Grange- Inn, in Carey-street,* and advertised them for sale. About the same time he published what he called the Enchanted Forest, an instrumental composition, grounded on a very singular notion, which he had long entertained, namely, that between music and the discursive faculty there is a near and natural re- semblance;! and this he was used to illustrate by a * A person who had the curiosity to see him, and went thither to purchase the book, gives this account of him : * 1 found him in a room ' at the top of the house half filled with pictures, and in his waistcoat. * Upon my telling him that I wanted the score and parts of both operas ' of his concertos, he asked me if I loved pictures ; and upon my answer- 'ing in the affirmative, he said that he loved painting better than music, 'and with great labour drew from among the many that stood upon the * floor round the room, two, the one the story of Tobit cured of his 'blindness, by Michael Angelo Caravaggio; the other a Venus, by 'Correggio. These pictures, said Geminlani, I bought at Paris, the ' latter was in the collection of the duke of Orleans ; they.are inestimable, 'and I mean to leave them to my relations; many men are able to 'bequeath to their relations great sums of money, I shall, leave to mine ' what is more valuable than money, two pictures that are scarcely to ' he matched in the world.' After some farther conversation, in which it was very difficult to get him to say any thing on the subject of music, the vistor withdrew, leaving Geminiani to enjoy that pleasure which seemed to be the result of frenzy. * Lord Bacon means somewhat to this purpose in the following passages : * There be in music certain figures or tropes., almost agreeing * vrith the figures of rhetoric. * * * The reports and fugues have an ' agreement with the figures in rhetoric of repetition and traduction.* Nat. Hist. Cent. II. Sect. 113. Upon this sentiment Martinelli has raised a fanciful hypothesis, which seems to have been the motive with Geminiani to this undertaking, and is here given in his own words ; * Le 'senate d'ogni strumento non fanno che imitare un discorso, rappre- ' sentante qualche passione. U sonatore giudizioso procura sempre di ' scegliere quei tuoni che sono pii!i grati all' orecchio di chi ascolta. Quel ' tuoni delle voci della infanzia acerhi striduli e disgustevoli sono guelli, ' i quali devono maggiormente evitarsi, e i bambini ne i loro vagiti non ' jrappresentano che espressioni di quel dolore, al quale quella tenera et4 ■ per le percussioni troppo violenti dell' aria, o per qualche altro ' dccidente gli tiene continuamente soggetti. I sonatori specialmente di ' Tioliuo, se avvessero in vista questa considerazione, si guarderebbono ' con molta cura da quei tanti sopracuti de i quali per le loro ingrate e 'insigniiicanti bravure continuamente si servono. Per le cose allegre V ' eti della gioventill 6 la pii propria, che vale a dire il moderato soprano 'e il contralto, siccome per le amorose, le quali convengono anco al ' tenore, ma con piii moderazione. Un discorso serio si sa ordinaria- *mente dalle persona pii)L adulte, e questo il tenore, il baritono e il 'basso lo possono esprimere propriamente. In un concerto dove si ' figura che tutte le voci concorrano in un modesimo discorso, gli accuti ' che figurano le voci pii giovanni, devono entrar piii di rado, siccome ' rappresentanti persone, alle quali h dalla modestia permesso di parler 'pill di rado. Di questa filosofia pare che il Corelli piii d' ogni altro si ' sia servito perguida ne' suoi componimenti, avendo fatto suo maggior 'negozio delle voci di mezzo, e quindi usati i bassi come regolatori della ' zinfonia, o sia del suo discorso musicalc' Lettere familiare e critiche di Vindenzio Martinelli, Loudra, 1758, page 379. comparison between those musical compositions in which a certain point is assumed in one part, and answered in the other with frequent iterations, and the form and manner of oral conversation. With a view to reduce this notion to practice, Geminiani has endeavoured to represent to the imagination of his hearers the succession of events in that beautiful episode contained in the thirteenth canto of Tasso's Jerusalem, where, by the arts of Ismeno, a pagan magician, a forest is enchanted, and each tree in- formed with a living spirit, to prevent its being cut down for the purpose of making battering-rams and other engines for carrying on the siege of Jerusalem. The Enchanted Forest was succeeded by the pub- lication of two numbers of a work entitled ' The ' Harmonical Miscellany, containing sundry modula- ' tions on a bass, calculated for the improvement of ' students in music, and the practice of the violin and ' harpsichord.' The author intended to have con- tinued this work by periodical publications, but meeting with little encouragement, he desisted from his purpose. Notwithstanding the fine talents which as a musi- cian Geminiani possessed, it must be remarked that the powers of his fancy seem to have been limited. His melodies were to the last degree elegant, his modulation original and multifarious, and in their general cast his compositions were tender and pathetic; and it is to the want of an active and teeming imagination that we are to attribute the publication of his works in various forms. Perhaps it was this that moved him to compose his first opera of solos into sonatas for two violins and a bass, notwithstanding that the latter six of them had been made into Sonatas by Barsanti many years before ; and also to make into concertos sundry of the solos in his opera quarta. In the same spirit of improvement he employed the latter years of his life in varying and new moulding his former w^orks, particularly he made two books of lessons for the harpsichord, consisting chiefly of airs from his solos ; and it was not always that he altered them for the better. Besides those compositions of his which were published by himself, or under his immediate inspection, there are others of Geminiani in print, of which little notice has ever been taken, particularly the concerto above mentioned; as also two others in a collection published by Walsh, with the title of Select Harmony. And in a collection of solos, published by the same person, with the names of Geminiani and Castrucci, are three solos un- doubtedly of the former, two whereof are nowhere else to be found. In the year 1761 he went over to Ireland, and was kindly entertained there by Mr. Matthew Dubourg, who had been his pupil, and was then master of the king's band in Ireland. This person through the course of his life had ever heen disposed to render him friendly offices; and it was but a short time after the arrival of Geminiani at Dublin that his humanity was called upon to perform for him the last. It seems that Geminiani had spent many years in compiling an elaborate treatise on CONOLTTSION. AND PKACTICE OF MUSIC. 917 music, which he intended for publication; but, soon after his arrival at Dublin, by the treachery of a female servant, who it is said was recommended to him for no other purpose than that she might steal it, it was conveyed out of his chamber, and could never after be recovered. The greatness of this loss, and his inability to repair it, made a deep im- pression on his mind, and, as it is conjectured, pre- cipitated his end ; at least he survived it but a short time, the seventeenth of September, 1762, being the last day of his life, wJiich had been prolonged to the age of 96. The following list comprises the whole of his publications, except two or three articles of small account : — Twelve Solos for a violin. Opera prima; Six Concertos in seven parts. Opera seconda; Six Concertos in seven parts. Opera terza ; Twelve solos for a violin, Opera quarta; Six Solos for a violoncello, Opera quinta ; the same made into Solos for a violin ; Six Concertos from his Opera qnarta ; Six Concertos in eight parts. Opera settima ; Eules for playing in Taste ; a Treatise on good Taste ; the Art of playing the Violin; Twelve Sonatas from his first Solos, Opera undecima ; Eipieno parts to ditto; Lessons for the Harpsichord; Guida Ar- monica; Supplement to ditto; the Art of Accom- paniment, two books ; his two first operas of Con- certos in score ; and the Enchanted Forest. These cursory remarks on the compositions of Geminiani may sufiice for a description of his style and manner. Of his Solos the Opera prima is esteemed the best. Of his Concertos, some are ex- cellent, others of them scarce pass the bound of mediocrity. The sixth of the third opera not only surpasses all the rest, but, in the opinion of the best judges of harmony, is the finest instrumental compo- sition of the kind extant. CONCLUSION. In the original plan of the foregoing work, it was for reasons, which have yet their weight with the author, determined to continue it no farther than to that period at which it is made to end. It never- theless appears necessary, on a transient view of the present state of music, to remark on the degree of perfection at which it is at this time arrived ; and from such appearances as the general manners of the times, and the uniform disposition of mankind in favour of novelty, to point out, as far as effects can be deduced from causes, the probable changes which hereafter it will be made to undergo ; as also those improvements which seem to be but the consequence of that skill in the science to which we have attained. That we are in possession of a more enlarged theory than that of the ancients will hardly be denied, if the arguments contained in this work, and the opinions and testimonies of the gravest authors are allowed to have any weight; and that we should excel them in our practice seems to be but a necessary consequence ; at least the order and course of things, which are ever towards perfection, warrant us in thinking so., Whatever checks are given to the progress of science, or the improvement of manual arts, are accidental and temporary ; they do but resemble those natural obstacles that impede the course of a rivulet, which for a short time may occasion a small deviation of its current, but at length are made to yield to its force. In the comparison of the modem vyith the ancient music it must evidently appear that that of the present day has the advantage, whether we consider it in theory or practice : the system itself as it is founded in nature, will admit of no variation ; con- sonance and dissonance are the subjects of immutable laws, which when investigated become a rule for all succeeding improvements. Whatever difference is to be found between the modem and ancient musical system, has arisen either from the Tejection of those parts of it which the ancients themselves were willing enough to give up, and which as it were by universal consent, have been suffered to grow into disuse ; or such additions to it as reason and ex- perience have at different periods enabled men to make. To instance in a few particulars ; the en- armonic and chromatic genera, with all the species or colours of the latter, are no longer recognized as essential parts of music ; but the diatonic, attempered as it is with a mixture of chromatic intervals, is found to answer the purpose of all three ; and the extension of the scale beyond the limits of the bis- diapason is no more than the extended compass of the modern instruments of all kinds naturally leads to.> As to the philosophy of sound, or the doctrine of phonics, it appears that the ancients were almost strangers to it : this is a branch of speculative music ; and as it results from the modern discoveries in physics, the moderns only are entitled to the merit of jts investigation. With respect to the relations of the marvellous effects of the ancient music, this remark should ever be uppermost in the minds of such as are inclined to credit them, viz., that men are ever disposed to speak of that which administers delight to them in the strongest terms of applause. At this day we extol the excellencies of a favourite singer, or a celebrated performer on an instrument, in all the hyperbolical terms that fancy can suggest ; and these we often think too weak to express those genuine feelings of our own which we mean to com- municate to others. It has been asserted by a set of fanciful reasoners, that there is in the course of things a general and perpetual declination from that state of perfection in which the author of nature originally constituted the world ; and, to instance in a few particulars, that men are neither so virtuous, so wise, so ingenious, so active, so strong, so big in stature, or so long lived, as they were even long after the transgression of our first parents, and the Bubsequent contraction 918 HISTOEY OF THE SCIENCE CONCLDSION. of the period of human life : but no one has ever yet insinuated that the vocal organs have parti- cipated in this general calamity ; or that those mechanic arts to which we owe the invention and perfection of the various kinds of musical instru- ments, are in a less flourishing state than heretofore : till the contrary can be made appear, it may there- fore he fairly presumed that in this respect the moderns have sustained no loss. Farther, if a comparison be made between the instruments of the ancients and those of the moderns, the advantage will be found to be on the side of the latter : the ancient instruments, excepting those of the pulsatile kind, which in strictness are not to be considered as a musical species, as producing no variety of harmonical intervals, are comprehended under two classes, namely, the Lyre and the Tibia ; the former, under all its various modifications, appears to have been extremely deficient in many of those circumstances that contribute to the melioration of sound, and which are common to the meanest instruments of the fidicinal kind ; and, notwithstanding all that is said by Bartholinus and others, of the ancient tibia, and the extravagant elegies which we so frequently meet with of tlie ancient tibicines, we know very well that the tibia was a pipe greatly inferior to the flutes of modern times, which are incapable of being constructed so as not to be out of tune in the judgment of a nice and critical ear; and to these ' no miraculous effects have ever yet been ascribed. To these two classes of instruments of the ancient Greeks, the Komans are said to have added another, viz., the hydraulic organ, for the use whereof we are as much to seek, as we are for a true idea of its structure and constituent parts. It is true that the instruments in use among the moderns, in the general division of them, like those of the ancients, are comprehended under the tensile and inflatile kinds ; but numberless are the species into which these again are severally divided ; to which it may be added, that they have been improving for at least these five hundred years. And now to begin the comparison ; the instruments of the viol kind are so constructed as to reverberate and prolong that sound, which, when produced from the Lyre, must be supposed to have been wasted in the open air ; the modern flutes, as far as can be judged by a comparison of them with the graphical representations of the ancient Tibiae, have greatly the advantage ; and as to pipes of other kinds, such as the Hautboy, the Bassoon, the Ohalumeau, and others, these, as having the adjunct of a reed, con- stitute a species new and original, and are an invention unknown to the ancients. To the hydraulic organ, said to have been in- vented by Ctesibus of Alexandria, we have to oppose the modern pneumatic organ ; not that rude machine of Saxon construction, a representation whereof is given in page 615 of this work, but such as that noble instrument used in divine wor- ship among ns, that of St. Paul's or the Temple church for instance. Upon a view of the ancient and modern practice of music, and a comparison of one with the other, grounded on the above facts, we cannot but wonder at the credulity of those who give the preference to the former, and lament, as Sir William Temple in good earnest does, that the science of music is wholly lost in the world.* £ut this is not the whole of the argument : as far as we can yet learn, it is to the moderns that we owe the invention of music in consonance ; and were it otherwise, and it could be said that we derive it from the Greeks, the multiplication of harmonical combinations must be supposed to be gradual, and is therefore to be ascribed to the moderns ; a cir- cumstance that must necessarily give to the music of any period an advantage over that of the age preceding it. Nor is this kind of improvement any thing more than what necessarily results from practice and experience. In the sciences the ac- cumulated .discoveries of one age are a foundation for improvement in the next : and in the manual arts it may be said, that those who begin to learn them, in their noviciate often attain that degree of perfection at which tlieir teachers stopped.f This is the natural course and order of things : but how far it is liable to be checked and interrupted may deserve consideration. With respect to music it may be observed, that much of its efficacy is by the vulgar admirers of it attributed to mere novelty ; and as these are a very numerous party, it becomes the interest of those who administer to their delight to gratify them, even against the conviction of their own judgments, and to the injury of the art. If novelty will ensure approbation, what artist will labour at intrinsic excellence, or submit his most arduous studies to the censure of those who neither regard, or indeed are able to judge of their merits ? J To this disposition we may impute the gradual declination from the practice and example of the ablest proficients in harmony, discoverable in thp . * In his Essay upou tlie ancient and modern Learning. -f This observation will be found to be true in many and various instances ; as it respects music, it may suffice to say that the young women of this age are finer performers on the harpsichord than the masters of the last ; and that there are now many better proficients on the violin under twenty, than there were of double their age fifty years ago. X Thatsomepersonsdonot love music is a known fact; and Dr. Willis, the great physician and anatomist, has endeavoured to account for it by his observations on the structure of the human ear ; and that the majority of those who frequent musical entertainments have no sense of harmony is no less certain. The want of this sense is no ground for reproach, but the affectation of it in those to whom nature has denied it, is a proper subject for ridicule. If it be asked what is the test of a musical ear, the answer is, a general delight in the harmony of sounds. As to those to whom harmony is offensive, and who yet affect a taste for music, their own declarations are often evidence against them, and in general they will be found to be. Such as having no defect in their vocal organs, are unable to articulate even a short series of musical sounds. Such as at a musical performance express an uneasiness at the variety and seeming intricacy of the harmony, by a wish that all the instruments played the same tune. Such as think the quickest music the best, and call that spirit and fire which is but noise and clamour. Such as by the delight they take in the music of French horns, clarinets, and other noisy instruments, discover that the associated ideas of hunting, and the pleasures of the chase are uppermost in their minds. Such as think a concert a proper concomitant of a feast. Such, as having no scruple to it on the score of their religious profession, complain of cathedral music as being dull And heavy. . And lastly, such as at the hearing an adagio movement, or any composition of the pathetic kind, the eighth concerto of Corelli. for instance, complain of an inclination to sleep. Conclusion. AND PRACTICE OF MUSIC. 919 compositions of the present day, which, as they abound in noise and clamour, are totally void of energy. Music of this kind, constructed without art or elegance, awakens no passion : the general uproar of a niodern symphony or overture neither engages attention, nor interrupts conversation ; and many persons, in the total absence of thought, flatter themselves that they are merry. To assist this pro- pensity, and as much as possible to banish reflection, the composers of music seem now to act against a fundamental precept of their art, which teaches that variety and novelty are ever to be studied, by re- probating, as they uniformly do, the use of all the keys with the minor third, upon k pretence that they tend to excite melancholy ideas ;* and by re- jecting those grave and solemn measures, which, besides that they correspond with the most delightful of our sensations, form a contrast with those of a different kind. Is this to promote variety, or rather is it not contracting the sources of it ? Nor is the structure of their compositions such as can admit of any other than an interchange of little frittered passages and common -place phrases, difficult to execute, and for the most part so rapid in the utterance, that they elude the judgment of the ear ; and, without affecting any one passion, or exciting the least curiosity concerning the composer, leave us to wonder at the art of the performer, and to con- template the languid effects of misapplied industry. There can be no better test of the comparative merits of the music of the present day, and that which it has taken place of, than the different effects of each. The impression of the former was deep and is lasting : the compositions of Corelli, Handel, Geminiani, yet live in our memories ; and those of Purcell, though familiarized by the lapse of near a century, still retain their charms ; but who now remembers, or rather does not affect to forget the music that pleased him last year ? Musical publica- tions no longer find a place in our libraries ; and we are as little solicitous for their fate as for the preservation of almanacs or pamphlets. That music was intended merely to excite that affection of the mind which we understand by the word mirth, is a notion most illiberal, and worthy only of those vulgar hearers who adopt it. On the contrary, that it is an inexhaustible source of enter- tainment, or, as Milton finely expresses it, ' of sacred ' and home-felt delight,' is known to all that are skilled in its precepts or susceptible of its charilis. The passions of grief and joy, and every affection of the human mind, are equally subservient to its call ; but rational admirers of the science experience its effects in that tranquillity and complacency which it * There is nothing more certain than that those who reason in this manner are Ignorant of the structure of the human mind, which is never more delighted than with those images that incline us most to contem- plation. Else why 4o the poets so strenuously lahour to awaken the tender passions ? Why are the ravings of Lear, or the sorrows of Hamlet made the subjects of puhlic speculation ? Such as approve only of mirthful music, to be consistent should proclaim aloud their utter aversion to all theatric representations except comedy, farce, and panto- mime, and leave the nobler works of genius for the entertainment of better Judges. is calculated to superinduce, and in numberless sensations too delicate for expression. It is obvious to men of understanding and re- flection, that at different periods false notions have prevailed, not only in matters of science, where truth can only be investigated by the improved powers of reason, but in those arts wherein that discriminating faculty, that nameless sense, which, for want of a more proper term to define it by, we call taste, is the sole arbiter. In painting, architecture, and gardening, this truth is most apparent : the love of beauty, symmetry, and elegance, has at times given way to a passion for their contraries ; fashion has interposed in subjects with which fashion has nothing to do : nevertheless it may be observed, that while opinion has been veering round to every point, the principles of these arts, as they are founded in nature and experience, have ever remained in a state of permanency. To apply this reasoning to the subject before us : we have seen the time when music of a kind the least intelligible hag been the most approved. Our forefathers of the last century were witnesses to the union of elegance with harmony, and We of this day behold their separation : let us enquire into the reason of this change. The prevalence of a corrupt taste in music seems to be but the necesary result of that state of civil policy which enables, and that disposition which urges men to assume the character of judges of what they do not understand. The love of pleasure is the offspring of affluence, and, in proportion as riches abound, not to be susceptible of fashionable pleasures is to be the subject of reproach ; to avoid which men are led to dissemble, and to affect tastes and propensities that they do not possess ; and when the ignorant become the ma,]'ority, what wonder is it that, instead of borrowing from the judgment of others, they set up opinions of their own ; or that those artists, who live but by the favour of the public, should accommodate their studies to their interests, and endeavour to gratify the many rather than the judicious few ? But, notwithstanding these evils, it does not appear that the science itself has sustained any loss ; on the contrary, it is certain that the art of combining musical sounds is in general better understood at this time than ever. We may therefore indulge a hope that the sober reflection on the nature of harmony, and its immediate reference to those principles on which all our ideas of beauty, symmetry, order and magnificence are founded ; on the infinitely various modifications of which it is capable ; its in- fluence on the human affections ; and, above all, those nameless delights which the imaginative faculty receives from the artful disposition and succession of concordant sounds, will terminate in a thorough con- viction of the vanity and emptiness of that music with which we now are pleased, and produce a change in the public taste, that, whenever it takes place, can hardly fail to be for the better. 3o 920 HISTOKY OF THE SCIENCE Appendix APPENDIX. No. 1. — Verses supposed to be a complaint of Anne Boleyn, from an ancient MS ; the music by Robert Johnson from another* - n n —^—o- un - to my fame a mor -tal wounde, un - to my fame a mor-talwounde, wounde, a mor - tal wounde, un - to my fame a mor wounde, say what ye list it will not be, it will not be. say what ye P=g^-^^=^^ =1=1= -^^^^^^^^^ 3=t=S=3- Y—^ — = — f> — « — '-— — =;- wounde, say what ye list. i^ ^= ^^^^ say what ye list, say what ye list it will not =[^ E^=Jf =1= say what ye list, say what ye list it will . . . not be. say what ye list, say what ye --=!: '-^» =^:gEg g-¥i=^=^ ET^ --t ^=fe3|P_^E - tal wounde. say what ye list it will not be, it will not be. '-' liat if iinll T\r\' ^=r=^= ^^E^^^. ^- E^^g^g:^^^^ =t= =t :t list it will not be, say what ye list it will not be. ye seek for that can -not be fouiide ye seek for that can-not be founde. i^^^^l^ ^^ =1=1= say what ye list it will not be. :|== list it will not be, say what ye list it will not be, ye seek for that cannot be founde, ye for that can %^E^^dE^ \ ^^^^^m 1:=r=a=d=i= :|==P=^=^ say what ye list it will not be, ye seek forthat cannot cannot be founde, ye seek for that can ye seek for that can - not be founde; =t=E3 i,De-fyl ed is mv name. E^EEET^^=g^^3^ E:fe ye seek forthat can -not be founde can not be founde, ^^gE ^^EEEg^^g:^S^^P-=g^^E^-^p±gEgE^=N "~— : ■ not, can-not be founde, ye seek for that can - not be founde, be founde, de - fyl - ed, Robert Johnson. Nq, 2. The Black Sanctus, a song so called, set to music as a canon in the sub-diatessaron ^nd diapason. Concerning which the following account is given in a letter of Sir John Harington to the lord treasurer Burleigh, printed in the Nugae Antiquae, vol. I. page 132. *Jn an old bookeof my ' father's I read a merrie verse, which for lack of my own, I send by Mr. Bellot, to divert your lordshippe, when as yo\i say weighty p^in ?nd weightier 'matters will yield to quips and merriment. This verse is called The Blacke Sauntus, or Menkes Hymn to Saunte Satane, made when kynge Henrie 'had spoylede their synginge. My father was wont to say that kynge Henrie was used in pleasaunte moode to singe this verse ; and myfather, who ' had his good countenance, and a good(ie office in his courte, and also his gooijlie Esther [This Esther was a natmal daughter of the kyng's, to whom ' he g^ve as a dower the lands belonging to the Bathe priory, or a part thereof] to wife, did sometyme leceive the honour of hearing his own songe, ' for be made the tune which my man Combe h^th sent herewith ; having been much skilled in musicke, which was pleasing to the kynge, and which 'he ]e^nt in the followship of good MaiSter Tallis, when a young man." 2. O Tu qui dans o - ra-ou-la, Da nos tra &o. ^^^^ Scin - dis oo-tem no - va-ou - la, O Tu . . qui dans o - ra-ou-la, ScilT"^- dis cotem no-va-cu - la, Da &c. Tu . . qui dans o ■ Scin - - diB cotem no-va-cu - la, Da ifcc John Harington, 922 HISTOEY OF THE SCIENCE ApI'ENDIX. ' O tu qui dans oraoula, scindis cotem novacula, ' Da nostra ut tabernacula, lingna canant vernaoula, ' Opima post jentaoula, hujusmodi miraoula, ' Sit semper plenum poculum, habentes plenum looulum, ' Tu serva nos ut specula, per longa et Iseta seecula, ' Ut clems ut plebecula, nee noete nee de cula, ' Curent de uUa reoula, sed intuentes specula, ' Dura vitemiis apicula, jacentea cum amicula, ' QusB garrit ut cornicula, seu tristis seu ridioula, ' Turn porrigamus oscula, turn colligamus flosoula, ' Omemus ut ccenaculum, et totum habitaculum, ' Turn culy post spiraoulum, spectemus hoc speotaculum.' The foregoing lines are undoubtedly corrupt in 'more than one place, [In the sixth and twelfth lines perhaps we should read depecula instead of de cula, and culo in the place of culy], hut as they are singularly humorous, and nearly resemble the facetious rhymes of Walter de Mapes, archdeacon of Oxford, who lived in the time of Hen. II., and as Camden says, filled England with his merriments, the following transla- tion has heen attempted under all the disadvantages that must arise from the obscurity of an original so difficult to be understood ; — thou who utt'ring mystic notes, The whetstone cut'st with razor. In mother-tongue permit our throats. Henceforth to sing and say. Sir! No. 3. — A song set to music by ■William Bird in the form of a madrigal for three voices. Concerning the words of this song, it has long been a received tradition, among musical people, that they were written on some particular occasion by king Henry VIII; and in the Nug£e Antiquae, vol. II. page 248, is a letter from Sir John Harington to prince Henry, written in 1609, wherein the fact is ascertained by the following passage: * I will now venture to send to your readinge a special verse of king Henrie the eight, when he conceived love for Anna BuUeign. And 'hereof I entertain no doubt of the author, for if I had no better reason than the rhyme, it were sufficient to think that no other than suche a king ' coud write suche a sonnet j but of this my father oft gave me good assurance, who was in his houshold.* If otuiiths landing this assertion it can never be assented to as a fad, for the whole of the song is to be found in the legend of Jane Shore, written by Thomas Churchyard, and forms a complete Stanza of that poem. It is reprinted in Mr. Cooper's Muses' Library, page 18. ' This sonnet was sung to the Lady Anne at his commaundment ; and here foUoweth : — " The eagle's force, &c." ' The music is un(]uestional}ly Bird's, for the song as given in this Appendix stands the first among the songs in a work published by himself in 1611, entitled ' Fsalmes, Songs, and Sonnets: some solemne, others joyful, framed to the life of the words; iit for Voyces or Viols of 3, 4, 5, and 6 parts.' To rich, material breakfasts join These miracles more funny — Fill all our cups with lasting wine, Our bags with lasting money ! To us a guardian tow'r remain, Through ages long and jolly ; Nor give our house a moment's pain From thought's intrusive folly ! Ne'er let our eyes foi' losses mourn, Nor pore on aught but glasses ; And sooth the cares that still return, By toying with our lasses ; Who loud as tatling magpies prate, Alternate laugh and lour ; Then kiss we round each wanton mate, And crop each vernal flow'r. To deck our rooms, and chiefly that Where supper's charms invite ; Then close in chimney-comer squat, To see so blest a sight ! eS;se=e S=^ ^ m eE =1= f ^EiE It No. 3. THE ea-gle's force sub-dues eache byrd that . . flyes ; what me - tal -^ i^ii=^^i^^l^ ^^ ^i t :t:t= EE THE ea-gle's force sub-dues eache byrd that flyes, eache byrd that flyes ; what me - SiE '§EE^0E^^^?=^=^^^^F=f^=^^=^=^^E^ =!t: THE ea-gle's force sub-dues eache byrd that flyes ; what me -tal ■- tal can re-syst the flam - inge fyre ? dothe not the sunne da - zle the clear este fer= ^mm i^^=g= EtEHE^E EE-i rt re syst the flam - - inge fyre ? dothe not the sunne da zle the cfear este zle the clear-este eyes. the oleareste eyes, the clear - este eyes and melte the ice, and make ^^^^^^^^^^^^^^^^^^i^^m este eyes, and melte the ice. the cleareste eyes, the clear and =tz E^gE^Eg E i^ESEaE and melte the eyes. da zle the clear este eyes, loe. and Pi m ■^==^. t^ tyre, re - tyre? who can with - stand a puissant. make the froste re -tyre. make' the froste re - tyre, . tyre? who can withstand a puissant King's de-sire. re - tyre? who can withstand a puissant King's de - sire, Appendix. AND PKACTICE OF MUSIC. 923 f fei^^^p^gM^3^^g^=P=lF^ J^^^=^: ^s^ M King's de -sire, a puissantKing'sde - sire, de - sire ? the hard est stones are pier-ced m=^E3^^E^. l=t== 5Ej^-F3= li3=ii^=^ :=t^=:: a, puissantKing'sde - sire, 1 de aire? the hard est stones w^^^^^^^m^^^ ^^1^ puissantKing'sde - sire a puissantKing'sde -sire, de sire? the hard est stones E^^^H^E^ f^ j!=:^jr=:= thro' with tools, are pierced thro' with trols. are pierced thro' with k^^^^^^^^^^^^^^^=^^m^m^^^^=^ r are pierced tliro' with tools, are pierced thro' with tools, are pierced thro' with ^EE^^Eig^Eg==^E^^ ^^^gi^i^^g^^^^fe g ^g^^| gEglg| are pierced thro' with tools, are pierced thro' with tools, are . . . pierced thro' with '^1 =^^ ^- r e3: ^- tools ; the wis -est are with Prin - ces made but fools, the wis -est ^^^^m^^^m^^^^m^m f=! m tools; the wis-est are with Prin - ceamad ehu t fools, are with Prin ces made butfoola. the :t= tools ; the wis -est are with Prin -ces made but fools, the wis-est are with Prin - ces madebut i^=3E ^ii^^il^^ili^ ;iEE5 E3E=lE ces madebut fools, made but fools, the wis-est are with Prin =t= EE^=S; madebut fools. wis-est are with Prin -ces made but fools. the wisest are with Prin ces made but fools, the wis - l^i^iiii^i^^iii^^l^^^ i the wis -est are with Prin - cea made but fools, made but fools, ■=t ^^^^^^^^^^^^^m the wis-est are withPrinoesmadebut fools; the hard - est stones are pier-oed thro' with ^^^^^^^^M f ^eI^EEe eat are with Princes nia3e. eat stones cSnzzzz m are pier-oed are pierced tools,are pierced thro' with tools, are pier-ced thro' with tools ; m^^^^^ ^- ^^^m '^=^^=m^^^i^ thro' with tools, are'pieroed thro' with tools, are pier-ced thro' with tools ; the wis-est are with ''f^=l=^ ii^m EgEPE?'E; =5=P= thro' with tools, are pierced thro' with tools, are . . , pierced thro' with tools; the wis-est are with 924: HISTORY OF THE SCIENCE. Appendix. the wisest are with Prin - ces made but foolSj -_- , , . _^— —J. Pnnoes made but fools, are with Prin - ces made but fools, the wisest are with Prin - ces made but the wisest are with Prin - ces '^^^M ^ 4= d= ^^. It Princes made but fools, the wisest are with Prin - ces made with fools, the fools, made but fools, the wisest are with Prin - ces made but fools, the wisest are . .withPrincesmadebutfools. ' madebutfools, the wisest are with Prin - ces made but fools, the wisest arewithPrinces made but fuels. mm E^E wisest are with Prin-ces madebutfoolB,madebutfools, made fools. William Bird. No. 4. — ^A Song written by Richard Edwards, a gentleman of queen Elizabetli's chapel, and afterwards master of the children there, printed in the Faradyse of dayuty Devises, and alluded to in the play of Komeo and Juliet ; the music from an ancient manuscript. i E3E ± JtQ^=:f^=d=;j= :|= pp=£==f^^gEp=|^^S^E=^ ES^ ^ i^"^^i WHERE gii - ping grief the hart would wound, and dol-ful domps the mind op - presse. =t ^ No. 4. = :=:t WHERE gri - ping grief the hart would wound, and dol-ful domps the mind op presse. of troa-bled minds, for ev' - ry In joy it maks our mirth abound, In grief it chers our heavy sprights, The carefuU head releaf hath found. By Musick's pleasant swete delights; Our senses, what should I saie more, Are subject imto Musick's lore. The Gods by Musick hath their prayse, The soule therin doth joye ; For as the Eomaine poets sale, sore, swete Mu - sick hath a salve in store. In seas whom pirats would destroye, A dolphin sav'd from death moste sharpe, Arion playing on his harpe. Oh heavenly gift, that tumes the minde. Like as the steme doth rule the ship. Of musick whom the Gods assignde, To comfort man whom cares would nip, Sith thou both man and beast doest move, What wise man then will thee reprove. Appendix. AND PRACTICE OF MUSIC. 925 No. 5. — ^Another written by Francis Kindlemarsh, from the Paradyse of daynty Devises ; the music by the above Richard Edwards from the same MS. E.^=e;^ BY paint -ed wordes the sil ly sim pie to '■^^^^ ^^^^^^^^-.^^EE^^ -^— E^E^ No, 5. BY paint -ed wordeath e sil - ly eim pie man, to trast - lesse trappe to 3=eeeIe =t=rt= paint-ed wordes the eil - ly aim pie man to trustlesse ^EN^^^^jE^^E=g=r=^g="^faz^ - BY paint - ed wordes the sil - ly sim -pie i=^^^^^ss^l^l :t aS^ trustlesse trappe is train - ed and than, and by seyt . of ^^E =t: ^^^^^E^§ i^ mm^ JjtZ ~=i- =1= =:piz =t ^ trust - a — o_ Jesse trappe is train - ed now and than. P^r= and by non - s eyt £=?=&=«= -t zt= trappe is train - ed, is train - ed now and ^f^ ^^^ ^=^ than, and by con ■=-„-=-^=^ ^— ^ man to trust-lesse trappe train . ed now and than, and by ^E =r=^^^^ i=^ii =p: bit - ter bale, his hit sweete al - lur - ing tale he bites the baites that breede his seyt of sweete al - lur - ing tale he bites the baites that breede his - seyt of sweete al - lur - ing tale he bites the baites that breede his bit - ter bale, his ^^ - ter bale : To beawties blaze east not thy rov-ing eye, in plea-sant greene doe sting -ing ' — n — ^ — J=F->--^i. — :r,-^--— I— >, 1 1" s^ Ezr^=E± ^-=r-^ £j-g= To.. beaw -ties blaze oast not thy rov -ing eye, in plea-sant greene doe sting -ing fit-- O - -g- ter bale ; -» — p- -t- ^m bit -ter bale; To beaw - ties blaze cast not thy rov-ing eye, in pleasantgreenedoe sting -ing ser-penta bit-ter bale ; To beaw- ties blaze oast not thy roving eye, in plea-sant ^m^^m -t& — P- i hath ^^^ but a bit - ter - peutslye;the gold -en pill, . . the gold -en pill . ^ serpents, doe serpents lye ; the gold -en pill hath but a bit - ter taste. ^ »^EE=E|3E lye; ;^g= ^j^=:fer=F=-- h^ g^g^F-^?^g^ the gold -en pill hath but a bit - ter, bit - ter taste, hath but a bit - ter taste, *> greene doe sting -ing serpents lye ; the gold - en pill - hath but a bit ter 926 HISTORY OF THE SCIENCE Appendix. taste, in glitt' - ring glass a poy - eon ranck, a poy - s ^ P= son ranck is plaste. ^:^ ^m^^^^ ^^^^ ranck, a poy - son ranck ranck, a poy - son ranok plaste. ^m S|e§=I taste, glitt'-ring glass a, poy So pleasant woordes, without performing deedes, May well be deemed to spring of Darnel seedes. The freendly deede is it, that quickly tryes Where trusty faith and freendly meaning lyes. That state therefore most happy seems to be, Where woordes and deedes most faithfully agree. My freend yf thou wilt keepe thy honest name Fly from the blotte of barking slaunder's blame. Let not in woord thy promise be more large, Then thou in deede are wyUyng to discharge. Abhorred is that false dissembling broode, That seemes to beare two faces in one hoode. To say a thing, and not to meane the same, Wyll tume at length to losse of thy good name. Wherefore, my freend, let double dealing goe. In steade whereof let perfect plaineness flowe. Doo thou no more in idle woordes exceede. Then thou intendes to doo in very deede. - . - son ranck is plaste. ElCHABD EdWAKDES OF THE QdEEN'S ChAPEL. So goode report shall spread thy woorthy prayse For being just in woord and deede alwayes. You worldly wightes, that worldly dooers are. Before you let your woord slip foorth too farre, Consyder well, what inconvenience springes By breach of promise made in lawfull thinges. First God mislikes where such deceit dooth swarme ; Next it redoundeth unto thy neighbour's harme ; And last of all, which is not least of all, For such offence thy conscience suffer shall. As barren groundes bringe foorth but rotten weedes. From barren woordes so fruitlesse chaffe proceedes ; As saverie flowres doo spring in fertill ground. So trusty freendes by tryed freendes are found. To shunne therefore the woorst that may ensue, Let deedes alway approve thy sayinges true. No. 6. — Another from the Paradyse ol daynty Devises, written by William Hunn\s of the queen's chapel, the successor of Edwards as master of the children, and set to music by Thomas Tallis ; from the same MS. branch, ohusing the leve-les tre, where-on wail-inghis channce with bit- ter teares be-sprent, doth with his m^^wm^ -r- zt:: =1= eE branch, chusing the leve-les tre, where-on wail-ing his chaunce with bit - ter teares be-sprent, doth with his E6^3==r^E :=!= ;3=3]: i=ztizrza::^ -::S !=^.=: ■±=±=±. S^^ p--p—fi= branch, chusing the leve-les tre, where-on wail-ing his chaunce with bit - ter teares be-sprent, doth with his S=E ;= EP-^F— dzzb= =l==:oi=:z|: I — c» — --—S'—ei~ i^E ==^= st3^ branch, chusing the leve-les tre, where-on wail-ing his chaunce with bit - ter teares be-sprent, doth with his bill his ten - der brest oft persse and all to rent ; whose gre - vous gro-nings, tho' whose grips of ^a^ 3- ^- ^E^ =E =^^J^^g=jEE^,^^^^p bill his ten - der brest oft persse and all rent; whose gre -vous gro-nings, tho' whose grips of ^^^^^^^m^^^ =i- ^^=^ ^EggEEi= g:=ggaEgEi bill his ten - der brest oft persse and all to rent; whose gre- vous gro-nings, tho' whose grips of i^^^nfe .— F=1- i=^=itz -d Epji^r^i .^-. bill his ten - der brest oft persse and all to rent; whose gre - vous gro-nings, tho' whose grips of Appendix. AND PRACTICE OP MUSIC. 927 i3= ^=^== ^-[.-^-^ ::z: ^= ^ ^ Fz^— ;g ==p --^=p:g :=^==j== ^ , j ^ pi-ning paine, whose gast-ly lookes, whose blood-ly strems out flow-ing from each vaine, whose fall- ing is &i ^- E^g^gE ^^^. ^=-^- W =S=Q=b 3 ^^^i^^^ pi-ning paine, whose gast- ly lookes, whose blood-ly strems out flow-ing from each vaine, whose fall - ing ^^ElgEEg^gi^^^ -H-— I:— 1 =3= ^fc -■S^^gE pi-ning paine, whose gast - ly lookes,whosebloodly strems out flow-ing from each vaine, whose fall - ing ^^^^^^ m -P-'=SF=^: ^i=^^ in=^ia- ii^l^^i pi-ning paine, whose gast - ly lookes,who8e blood-ly strems out flow-ing from each vaine, whose SH^ ing ^EE^EE3^E3E ^ E^^^ E^^i^fes^ PpgElgEgpEl ^i from the treojwhose pan-ting on the ground, ex -am -pies be of mine es - tate tho' there a - pere no wound. ^^^ ^^^^^ ^^^^^^^m ^=. nzzri- from the tree, whose pan-ting on the ground, ex-am-plesbe of mine es- tate tho' there a - pere no wound. ^■ ^^^^^^^^^^^^^^^ ^^ from the tree, whose pan-ting on the ground, ex - am-ples be of mine es - tate iho' there a - pere no wound. ^^ from the tree, whose pan-ting on the ground, ex-am-plesbe of mine es-tate tho' there a -pere no wound. Thomas Tallis. No. 7. — A Tale from the same collection, written by the above Richard Edwards ; the music from the same MS. No. 7 i e3e IN ^3e EE^:^ %m go - ing to my na - ked bedde, d=:j= :tla= ^, IN go - ing to my na - ked bedde, na - ked bedde, = r- _J : as one that 1^ ^m^ ^= d= 3^H^| :»=ii= IN go mg to my na ked bedde, as one that would have m] B^3E dz IN go ing to my ked bedde. E^=i=E3^ii^ E^-Et:^^:==== ~^^^^m^ one tiiat would have slept. I heard a wife sing to m her child that long be - fore had wept. -JE -i.^=4=^: zzzSi^.a—. =i3=r:=; 1 heard a wife sing to her child that long be fore had wept, ^ — , -.y I — I- ^^ — would have slept, m m^^^^ ^^=i m EgE 1=:=l==g ■J »^ ^■ -«" — ^ — ' slept, I heard a wife sing to her child that long be fore . had wept. q:=d- ^rj zrs--^=;^=[=5i= g== r-3^: E^^^- I heard a wife to her child that long be fore had wept. She sigh-ed sore and sang full sweete to bring the babe to rest, She sigh-ed sore and sang full sweete to bring the babe to rest. that would not cease but that would not cease but ^ ^^m^ m^ ■f^—f' jr.— p "S* 1£ > — P F^ 1« — 16» =1— =l==l= ^=d= nt—jtz —& — —&~ She sigh-ed sore and sang full sweete to bring the babe to rest, that would not cease but cri - ed ^==^0^^— -J- 4 = p^^^=^i== e.=|r— «s»— g=:z3— ^rrriz: ^^HEEEE ':=3E ~"~-— *=S="»= She sigh-ed sore and sang full sweete to bring the babe to rest. that would not cease but 928 HISTOEY OP THE SCIENCE Appendix. r ii= r-rt li. — TJ—s— iizi _ — ' cri - ed still in sucking at her brest. She was full wea - rie of her watch, and gre-ved ^-^^■Eg^gsN^ ^^=^ 3g^:^gE^ ^=^- Eg^£EE m cri - ed still in suck-ing at her brest. She was full wea - rie of her wafo.h, and gre-ved ^^^ :C=P g^ =I=C:- =t still in suck-ing at . her brest. She was full wea - rie of her watch, and gre - ved cri - ed still in suck-ing at her brest. She was full wea - rie of her watch, and gre-ved i ^g ^^^^ i g^^Eg^ P=P=I =it=t=:=t zri=ri— ri; "^ with her child. with her child, She rock - ed it and ra - ted it Till that on her it smilde : She rock - ed it and ra - ted it Till that on her it smilde : -fi-^-0 ^ gu trm r with her child. She rock - ed it and ra - ted it Till that on her smilde : Then , zi=:±: ^Eg^E^ :^ -i& 1& j& 1&- :| — r I I--- with her child, She rock - ed it and ra - ted it Till that on her it smilde : Then did she ^: ^ ^^^i^i^ Then did she sale now have I founde This pro-verbe true to prove, The SE^ ^=== E?^:^ ee^e£=! :|==:=in: =±=--=i Then did she - saie now have I founde This pro-verbe true to prove. Ea^EEE did she saie now have I founde This pro-verbe true to prove. The fall - ing i^=^jg=zz have I founde This pro verbe to prove, the fall - ing out of faith -full Then took I paper, penne and ynke. This proverbe for to write. In regester for to remaine Of such a worthie wight : As she proceeded thus in song Unto her little bratte, Muche matter uttered she of waight, In place whereas she satte, And proved plalne there was no beast. Nor creature bearing life, Could well be knowne to live in love, Without discorde and strife : Then kissed shoe her little babe, And Bware by God above. The falling out of faithfull frends Renuiug is of love. She Baled that neither king ne prince, Ne lord could live arightj Untill their puissance they did prove, Their raanhode and their might. When manhode shal be matched so That feare can take no place, Then wearie works makes warrioure Eche other to embrace, And leave their forae that failed them, Which did consume the rout. That might before have lived their tyme, And their fuUe nature out : Then did she sing as one that thought No man could her reprove, The falling out of faithfull frends Benuing is of love. Appendix. AND PRACTICE OF MUSIC. 929 She said she sawe no fiahe ne foule, Nor beast within her haunt, That mett a straunger in their Idnde, But could geve it a taunt : Since fleshe might not indure, But rest must wrathe succede, And forse who fight to fall to play, In pasture where they feede. So noble nature can well ende The works she hath begone, And bridle well that will not cease Her tragedy in some ; Thus in her songe she oft reherst. As did her well behove, The falling out of faithful! frends Eenuing is of love. I marvaile much pardy quoth she, For to beholde the route. To see man, woman, boy and beast To tosse the world about : Some knele, some crouch, some beck, some chek, And some can smothly smile, And some embrace others in arme. And there thinke many a wile. Some Btande aloufe at cap and knee. Some humble and some stoute. Yet are they never frends indeede, Untill they once fall out ; Thus ended she her song and saied Before she did remove. The falling out of faithfull frends Eenuing is of love. No. 8.— An Anthem composed by John Redford, of St. Paul's, temp. Hen. VIII. fe^^^ -1—1= ;^3^jE^_=b =g=: =ri=ri= BEJOYCE in the Lorde '^S===:= al - way, and a-gayne re - Joyce, ^=:t=3z and a - gayne I saye re - Joyce, re No, 8. HE -JOYCE in the Lorde m way. ^^ mi BE JOYCE in the m BE - JOYCE ^^^^il^^i^^ re - Joyce in the Lorde .ft. .a- J3. in the Lorde . . al - way, and agayne I saye rejoyce, re - Joyce in the Lorde al - way, i^^ m -. rQ ^_C8 c =g ^ and a-gayne ^ y=^-^== I saye re Joyce, re - Joyce in the Lorde . al - way, 3=11= =1= ^; =1 — *^ i^ gayne saye rejoyce, re -Joyce in the Lorde al - way, al way. :bi=EEpi=: IIZ| I— n j Jti— P-j Ep — »=«— E izpl - way. and agayne I saye re Joyce, re - Joyce in the Lorde al - way. al way, ^^=S=^^ :^—Pi- in the Lorde al - - w =1= and a-gayne saye re joioe, re - Joyce in the Lorde way. E^^ ^^i==^=[^§^ '=£=•=, 7i'~o =:"= =t=: and agayne I saye re- Joyce, and a - gayne, and agayne I saye re -Joyce : and a - gayne, and a-gayne I saye re - Joyce, a-gayne I saye re - Joyce : i^^^i[^f:^ =1:: zip- Eg and agayne I saye re- jovce. I, a-gayne I saye re - Joyce, I saye Joyce : 930 HISTOKY OF THE SCIENCE Appendix. ^ ^^5 ES^= ^^1 ^E33ii =!= Let your softe-nes bee knowen un to all men, let your softe - nes bee knowen un-to all ^ 1 ^ d= ^^=^13: -^ — jji — o— -o» — ^ — e>- -*» — ^ — Gf- m Let your softe-nes bee knowen un to all men, let your softe - nes bee knowen un-to all -'g — "- =!=!= m r=a a— :: It =^^ri: -^=:f:- it= :j:: EE Let your softe -nes bee knowen un to all men, let your softe nes bee knowen un - to all ^=°^±^^^= g=^|^^gi^ -^^^:^ p ^ ^i^^E^g= g^g^^iigi Let your softe-nes bee knowen un to all men, let your softe - nes bee knowen un-to all m j J=g'=f= pE|E^- ^:J men, the Lorde . . is ev'n at hande, at hande. be i^^^^ :i|= =3^ ■.■.====i=^z=z~, men, the Lorde t= =t=f;^g^pEE^3:i LtE ev'n at hande, — — p — t^ — ^^ — — ^ — p — '"^ — and the peace of God whiche pass eth all un - der - i ^ — + — «g :r!=I- gE£^^^g^g^^i| 1=^ der stand ing, and the peace of God whiohe pass-eth all un - der - stand m ^^ E3^EEE of der - stand ing, ^mm Eg^^ ^^zEEf-E EEgEEE the peace . God, K» F^ — -F ^E^ EEEE^ der -stand - ing, and the peace of God whiche pass - eth -i \ z »5» (12- all un - der - stand - ing. =^glg=^ ~\- stand-ing, and the peace of God whiohe pass - eth all un - der - stand - - ing, and the and the peace of God -«s»- J. a_ whiche pass eth all un - der - stand - ing, -^^'~ shall e3=| Z3i _|._gJ !Z -.ia__" .. jf? jO ^Ff and the peace of God . . wh iche pass - eth all un-der-stand-ing, all un - der - stand - ing. 1^ gg^g peace of God whiche pass eth all un-der- stand -ing, all un der - stand • '^=m l=i§i=ii heartes and mindes thro' Christ Je pr=r=|= :=3= Ei=^=^ keepe your hearts and mindes tliro' Christ Je iP^^P^^ shall keepe your heartes . . . and_ minds thro' Christ Je - su. i ing, shall keepe your heartes . . . and mindes thro' Christ No. 9.— A Meaue compoBed hy William Blitheman, Dr. Bull's master. JoHir Bedford. 932 HISTORY OF THE SCIENCE Appendix. ^^^^^^^^^^^^^^^^> U. JUJ- J. ^_J_ ■rt-r J m — rt- J=4^Jr'?J8^ \sillLj:A^J.^^ A. J Ix j-L,.i«U-J^b ~ «j 1""^ ;^=^=;^ o ^;r=Eo-.g^ ^ ^=^ \ :^^^i»s; 1— ^r-T—r -t-^ -^I^^ T" -1— r r 11 gj jjd^^ ^11 ;g=j°^^^;Ei^^^=p^ ^la^S^^^ ,:^.:.ijvJ--^^^^J-J- J I -g- rt U^. Fg=^ ^^^E^; P^P¥^ i_^ ' — ^ — F" ^ y J -F -^ — :p=s: p-je,^. I I g^SE^^^ig^gg^^^^= .^^^J ^.^.^i^.^^4 ^gL H -.-H ,-d^^ Jj J^J^_4j_^:^JJ._4£4J^^ -^::^M^4^^ ^-jJAi j l-J^J^-^^4^^J-^_ I J J-^^ -ti_g ■IMJ- rT^=^P^ =pr^ William Blitheman. No. 10. — A Poynte. John Shephakd. No. 11. — A Voluntary. ^^=^^^^^^ ^^. ^f-rr-r^ v=s*^ No. 11. Appendix. AJSTD PRACTICE OF MUSIC. J J J .^ J_J_L 933 ■U m^ Master Allwoode. No. 12.— The first stanza of the Hymnus Euchaiisticus of Dr. Nath. Ingelo, set to music by Dr. Benjamin Rogers, of Oxford, and suug by way of grace after dinner in the hall of Magdalen college. h- Qui Cor- pus ci - bo re - fi - - cis coe - les - ti men tern gra - ti - a. m Qui Cor - pus oi bo re - fi - - eis coe - les - ti men - tem gra ti cis coe - les - ti men tem gra tl - a. Qui Cor -pus ci bo re - fi Qui Cor -pus oi - bo re - fi cis coe - les - ti men - tem gra - ti - a. DooTos Benjamin Eooebs. 936 HISTOEY OF THE SCIENCE. Appendix. No. 23. — Bellamira, a favourite Ground. Gio. Batt. Draghi. No. 23. ^^^^^^i ^ ^^^^^^^^ ^^^^^^^■E^ Wo. 24 l^i^^iii^gil=5^^J No, 24. — Farinel's Ground. Solomon Ecoles. EEEEE^^i ®l E^- E^EE^= 3=3i eEe3=3=^ i:±: ^ £^3: 3^E ■ J ~ =:m==e: ^'^^m :^ ^;g=g=ggi^;^ ^^F^H f= ^^^ ^^^.^^^ l ^^E^E^^^ : E^^^fEEEd .:^.=E^= No. 25. — Johnny, cock thy beaver. ^^^^^i'^^^^^'^^^^^^^E^^m^:^^^^^ No, 25, @F-^^agEg^=g^^^g^^=^H^g i[^== #-f^-F= =E=f — s- :-^-iES^=^ — F- :-? — 3=^ — ^ ^J=^-P-a^ — -i-^E= .^' ' ■ ■' ■- m^——- —Z* ^ --^ » J. ' Ol » O '^ JSP » " No.=^. 26. l^E^ No. 26. — Hedge-lane, a dance-tune. EE3=BSEi!^i!E5.3EEE5?a^:E5E5EE^==:^E»EE :3ri7 ^ti7S^«-i— 4- ^^E^^^^ ^fei John Banistek. No. 27. — Mademoiselle Subligny's'Hinuet. This person, wlmie Christian name was ThirSae, was a Dancer in the Opera at Paris in the year 1704» with a pension of 800 livres. Setterion'upon the decline of his company at Lincoln's Inn Theatre, at an extraordinary rate got her over hither, Us alto at different tivies Mons. VAbH, andMons. Baton. She danced for a season or two with great applause, and returned to her own cOfintry. — Vide Histoire du Theatre de L' Academic Royale de Musique en France, page 94. Life of Colley Gibber, page 180. Before the arrival of these persons, French dancing was unknown on the English stage. No.^si-3E33^i=t=t^Efig^=-3 27. ^Igl^Efej^f: EEl ^^^^m ^^m^=^^^^^^^^^M^^^m h^ :c5;: ^^H^ieii^i fEg ^gl=^^^ifeg^fi g Appendix. AND PRACTICE OF MUSIC. 937 %%:Sfe3Ef^^E^-^^gE^gE%E^p:;fEgEp: -^^ iE3E m feg^^g^ggifepi^ g^^g^ ^g^gig^^ ^g^ igj^^^ No. 28. — Ballad of John Dory, with the tune ; a round for three voices. John Dory tought him an ambling nag to Paris for to ride a. And when John Dory to Paris was come, a little before the gate a ; John Dory was fitted, the porter was witted, To let him in thereat a. The first man that John Dory did meet. Was good king John of France a ; John Dory con'd well of his courtesie, but fell down in a trance a. A pardon, a pardon, my liege and my king, For my merie men and for me a ; And all the ohurles in merie England rie bring theiipi all bound to thee a. Sir Nichol was then a Cornish man, a little beside Bohyde a ; And he mann'd forth a good blacke barke, with fiftie good oares on a side a. Run up my boy unto the maine top, and looke what thou canst spy a : Who, ho ; a goodly ship I do see, I trow it be John Dory a. They hoist their sailes both top and top, the mlzen and all was tried a ; And eveiy man stood to his lot, what ever should betide a. The roring canons then were plide, r and dub a dub went the drumme a; The braying trumpets lowdlie cride to 'courage both all and some a. The grapling hooks were brought at length, the browne bill and the sword a ; John Dory at length, for all his strength, was clapt fast under board a. No. 29.— Original tune to the song of Cupes in the Latin cuinedy of Ignoramns, act iii scene x. ; a Round for three voices. No. UX-OEme-a Ux-or pol-la O ei frangat su - a col -la, pol - la col - la, col -la poUa. No. 30.— 'The tune to the old ballad of Cock Lorrel, written by Ben Jonson, and printed in his masque of the Gypsies metamorphosed. mm^^ ^ m^=^^ ^ ^^^^^^^^^^^mm No. 31, — An old ballad tune to which D'Urfey has adapted a song with the words at the end of every stanza, ' Hey boys up go we.'. ^^^^im^m E^E^^ ^^iEi^^=;&y^ ^m ■;-p _P_[ ~J z:s;^zfE^i^^j^ —Zr> rs^-^^!^^i=^^^^[jEi No. 32.— A song, said in an old copy to be written by king Charles II., set by Mr. Pelham Humphrey, master of the children of his chapel. ^^iH^ sha - dy old Grove, but I live not the day when I ^^mmm No, 32. I pass all my hours in a 1^- not my ^si=3i^=^Eig ^^^^ ^^m ^^m^^^^^^^^^^mmm Love: I sur - vey ev' - ry walk now my Phil-lia is gone, and sigh when I think we were there all 938 HISTOEY OF THE SCIENCE Book XX. ^^^^E^E-^^m lone; then 'tis then that I think there's no Hell, like lov =lr i?-E^ES« i^^E^ ing too well. :=Szz EE=i?£ EEEEE But each shade and each conscious bow'r, when I find Where 1 once have been happy, and she has been kind j When I see the print left of her shape in the green, And imagin the pleasure may yet come agen ; O then 'tis I think no joys are above The pleasures of love. While alone to myself I repeat all her charms, She I love may be lookt in another man's arms, She may laugh at my cares, and so false she may be, To say all the kind things she before said to me ; then 'tis O then that I think there's no hell Like loving too well. No, 33. But when I consider the truth of her heart, Such an innocent passion, so kind without art, I fear I have wrong'd her, and hope she may be So full of true love to be jealous of me : And then 'tis I think that no joys are above The pleasures of love. No. 33. — The tune to the Fandango, a favourite dance of the Spaniards. -»- ir- -»- -f - ■g-_M . ^ jF^, -\ 1 1 1 — i 1 ■ — • — ■ — = — rn: r-^ — m — ^ * — M g i£=Ei|^^iP=E=^ ':§::S^. -^- -m- ^ -m- -^ -*+t«-*-^-*- -^-m-^-M'^-M ■^- -•- m -. ^-^ /"^ -^'im '^^^^^^^^^^^^^^^^^^i^ ^^ ^;^^ ^^ -.r.^^^^-^^^d? =^^^ ^=M^==.-^^^==^^^ ^ Mi^=-^P^=^ =«f^EE No. 34. — A tune for a rope-dance in a singular style, by Mr. John Eccles. feaj^ E ^a gajEgE^^ji^g^sig^gi^^^feg^j^EggH Xo a^^iiM^fciii ^^^^^^^^^^^^^^^^^^^^^^^. John Eooles. APPENDIX. A COLLECTION OF FAC-SIMILES, &c., ANCIENT MANUSCRIPTS, APPENDIX, Nos. 35 to 57. Appendix. AND PRACTICE OF MUSIC. 941 COLLECTION OF FAC-SIMILES, &C., FROM ANCIENT MANUSCRIPTS. No. ■^'j, see page i8. (For Appendix 35 & 36, see following page, so placed in order that both may be seen at one view.) -0— » MOlsfOPHOlfIA s: t=5 ? XTTJ- re iT-Tf e i"U"r e imi ^fiUTta, c^opfity^, AyrvXheov (0- t(c^ )o-i!rKoxa-jL(j^v % t^ ^A^ ! ^ -i- A ^ l 3 ^ u (NO y ^ O V) h- o k u r ^ o- u f o U' N ^ ^ u N k -i. <5 < X o CO CQ A -k ^ o tr k y \ o o cr- o d ^ k k ri. kl 1 o- uo % 5 ^ <; ^ z u X IT X cr k V UJ ^ X 1^ H 1^ > CO y ^ ^ o O U 3> X ^ Li X X X ii o c ic Ci o O T m X 3 ^ ii O X X / •^ ro X V ^ ^ X o o o i_ \- S^ ly' m I L_ CD y c ^ I '"-) ^ k V ET o GO fit I ^ ^ CO UJ u X y: k <^-o HI > X, ^ < X ^ oo ■^ u V k ^ ^ k ts^ i "-5 A. I i "19 I & <5 X P r ill i r r I I I ^ s I 1^ I X - i r § <19 1 ?3-j '-^-ri "^J '^ CJ, fi, W fi U Appendix. AND PRACTICE OF MTJSIC. 943 No. 36. see page 18. Table of Greek Musical Characters. '■ill' 1^1 1| -^ ^ ^ A: z ^ ^ CO k 9 n A u \1 J: ^ ^ n 3 ■y 3 T' V S S S; IS': 1 1 ^ L. ^ ci ^ n X ^ 5 ki :3 2 J/ "k ^ ^ < K 7\ 2 K ^ ^ 5 r^ ^ 3 kj DT. '1^ ^ 'n ^ 2 / ^ n X k 7\ Z l- k i_ 1— t 1 a: ^ X t kJ rr k i ^ ^ u NntJ (T 1- k. T ^0 3- 2 ^ ft~^ 1 z N X cr < ?" ^ > / ^ ^ k X ^ tr ^ d 3 1 A X y N|' u rr k T X 1-0 n: 1 0- 1 N X 4 X X n- > k T LL X ■k LU til ■>^ ^ X / < X ■3: < ho > 3; K t; fr X n LI ^ s si X ^ 1:: u u rr t- JJ i_ r- T r 2 3 ■1^ 1 X ^ X ^ ^ u K X ^ u rr t- u r X rn III 1 y y cr < -4 > y CD < t CO k 1^1 n XI u 7^ Z >l ^ y C) 1^ U _1 u H ? 0- si ^ < 3: m 3 u ^ 3 U X NT >• i ■r r r i i vu 1 4 1 1 1 1 1 f ^ <1 1 1 J 1 <1 i 1 1 Appendix No. 37 will be found on the previous page. 941 HISTORY OF THE SCIENCE Appendix. No. 38, see page 144. lICa^fNTH iJt/m \/^oOaxii;;'; € d Vt /- oo r©- H ^y — / ^ r^ < ^ », -'-' >^ *J , =, y-^-' 7 T' y irtJV' T-o^ -n^J A" r-^ 7sv -_ ^_', «ttro\. Greek Musical Notation from a Manuscript of the eleventh century. Appendix. j^^j) PRACTICE OF MUSIC. No. 39) see pagfe 14.6. "i t^<\a.tcif>ia'i^cM^a->!'- -riKfrn v-n^^u ^ofjal, Initial page from a Greek ritual, found in Buda. 945 flax:, _^ 11 ~^.^'-~ -^ — v«^ sLl^ 4st_ 1^0 u o — op «/-' >0 ^O^-r- . /^O " CT-T? No. 40, see page 146. Final page of a Greek ritual found at Buda. Ji -V -&VJ ^^-C>* C«, , ■"y o o p — ^" 4 C A^ i^'»t,-<-' " sJ y (- -t Toy Q^ ( < to 5 -T-i \) "J al CO w ^ V o <3 e o I C3, -I-F ^T» -(^ MO HISTORY OF THE SCIENCE Appbkdix- No. 41, see page i6g in note. :X^ ■ I TT r-n f (1 - r Tv yJi -— -H^ a btebtcVa ^ r^ct ueuevabxte es mrgp. tnari ■J^^ DE f^^F- i: 4-4* JT Kj ■^ t~^ a t]ttr {trig fadu putiQiig liiuea-'ctacf i;;=i ■^^. £ Irr' ;'r^' ^^r r j y y' "f-^ ^~i ^ mater Caluato n$ ?^ ^utrcru ^ c^ o^ o>; f.^H.r --^^^ ^-^> f- E r $ 4^ -^: — *- cv^^^;^ei ymtia^t duetntn n\g) -tioti camt 3E: -^trr -^tr tr tlE3± If — ^ n' ■^ D^cs^ aj9 tis] m.tua Cretan fit urf ca*a E u r niu I 'I a ....a'M„k^ ^ ^^' ■ ^/' ' f 4^ farfitsliOfflo j liMu o« of y,i - - .s ./ r-^J . I l-ieiev/on . From the Library of Bennet College, Cambridge. «<■ ^ No. 43, see page 182. ^J.'t^^.^^ -^ ^^ s'^^ ^-^ -' =v^- "^=^^ 1^=^ Ai?^^ Vy?t5'*-'-' *3 '^ "m i—ii Ci- ' Q-^ Wl Greek Hymn from the Library of Jesus College, Oxon. 848 ' HISTOEY OF THE SCIENCE Appendix. No. 44, see page i8i. 0iiK.n(kiuf dntcoM-rcceTimniimTuam- Fi^ 2.f. ; r /, jf^{/ J J f^' ! ,. i / p /iff .J.J rJi rmfcrere n^bifCTuipatrif mfcUo -) iir'ieleifon- lb irrie^teifcn- T? irneleifon- jf-». /.,- 1 Manuscript by various hands from Bodleian Library, Oxford. Apfemdix AND PRACTICE OP MUSIC. 949 ccmuconrnt- aem Vacu ccavUu' . vacir a/tae See Page 379. ^ _ ^ prnOTvcLe "/*F"~"" 0.t\'JJJ» -S^s,xw, -,!^S.XM -^ SXM i Voci^ attoA yoct^rmdiae Voctd- in/pmae -f- S.XJJ. -£a — sxm. r- -T- :sxiu. -A--SXJJ. ^ . -^ o, XJJ' -^ — S.XJV. Z ISJTJP, fi ± ^ -^^— JJX/K T X p ■.S.XJJJ. ISXJUi. ZSXJP. i ±z SXJU '^^s.xjy. W Musical Cleffs inusefromtiie eleventli to tJie fourteeiLth Genlnry: 950 HISTORY or THE SCIEBTCE Appkxpix. See page 379 o tP.XJ. 3Z=. kP.XJJ. -^ a ^ ^y ■ ^ o tT.xjy. * S.X3J. &.x3n. fS.XJJJ. r p d^XJ. t p J*.XJJ, t p (f.XJJJ. i p ■ - s.xJJX f p a?x/r. - J p - S.XJV. i^ j:jcjk «j^ <>^ SXJ. U Oo J*. XJ *^ ^^ tP.XJM ^ o It tPXJV. if op J*.XJ. il a? ^.XJJ. ^ Q? tT.XJJJ. ^ of' S.JCJJ. f of ^.XJV. 4 ^P .c.rjv ^^ *, 00 S-XJ. •» oo S.XJ ' Musical ClioLracters in use tS-.xjy. V p^ J'^x;. from the elevenbt to the fourfceeMfli Appendix. AND PRACTICE OP MUSIC 951 See page 379. ^ ^^ J'.XJJ. f P^ ci?XJV. rt fj &,XJ. ^tf^-g^ r^ ^.XJJJ. &. XJJJ, Hi ^Jj cCXJ. -^ «>p«j J". jo;. ^^ t-T. XJJJ, y p<> =^ » :;fe ^=f^ Century, with, tlieir ecjuiyaleiits in modenci notatioii, 952 HISTORY OF THE SCIENCE Appendix. N'? 48. seePaLg-e379. &i ti<6 aimt>nuttttb t cog fipm babtuc Otoe ' " •1<»tbc(tmnA ^ '^^^•fM"^t^\(tf:...Ut;',^^^^ ilvf^vivi& utnfa^ubieMiJv avi^'" '•^'■^feU ^U 6t urn- vommms ^gemir att^^^(g?tolumtH(^ pcrCt rr'AuWcrtTt q* tigrbum tc y panrjp fr amtOte? mqiiibu67)i yiflHnu penirqui mtetpduntgDiitftt pgammgrCua^tedn ' omn :^ n^ (yttfaern nimctf dag ., ~f — K — lia.. ^: — : .. .... ' tieimcrtmam aiiftrnlntmit)!^ imcnmg bo m» num inbai ti^n ' nm .r/"/'-''"'»i"'r-^r. r-. r -. ./-a '•■r..crar-..r-..r..r^^^^.//-^ -i^i nmtta\tamiigcc«uCqaciyfet r nTt cC., :I ^itom man(toiu6m maflaTyrmtgueiin TO laiUfli^uocamfi {ttiidamoiiaftmo4 hactetiyofflcUtictia - — £ ^— i ■ ,: ^ ^ U . -" * — Z raaka teet/iiifid iie>-/Han rece^ierant.I/%/e ofiibfte^ aun ^uitiudan PMuruan/i£iu/:^intieifldhf)le Bru/ibiiJe caiiuufejuoidcditei'lacumyTnan^ibiiui uvi/yutaErenc^uuj^ l/Jii/itaiUo-runhiwcaAa- in, lUtorc . Inifutt ifi,^^co7i,fti'udB mmdJieru? ^uodhacieruu^ /i^iderU/iaeihy eia^ a/iauamdiu>a>ri- tuujtt^imamtfCdJii iiUanv, Unaue c^jjjit umruun dtetn. . n^ .■ ,.P ^ oP^?'>oPo^oO?'>aoa?poP ooF oP .po^poo o 0?°^ Ji^cnjorumi. J.audaniL:r 3o vir nam mm a- toatv foo^o a. oofaof.o^ ,09 f^ofpl (^cffoPJo ^^^Po'^^^o cOi,of(>p o^ co?M tyU - M 6 uMer- - ti me rt-usaw ri. o -Jtzsad - :f J P%/ ^ p^ fp J f ^'^'f"^ "ff^ooapj OO.P P o^.p ojocc^fp^^fcc^ fe.puL c/irwn& ■ lu^' atari aey- - lu unt etjancav ' pooopo^^Ooofooo°P?o?'>ofooopf^f'>ofo9opo^^fo^^^Oi,oofoopo o^ opofooo tu/r.^yi& - o?P?J.o^, ,. , oPJ o^-opo.cJ^P oc? ? oPpooPoopp /" c^^P.L^L^ °^-°P P /'^ ^ "'^ V^ oPo^?? 6 ffop OJ 0?. turn SuMertUTn nwracuus coru -Jtctre jd • cis^l/v Je pioL- ,0? ^f?PdcpJ ^JJ ''J -J^ P,ci °P ? /^ J / "^ c/irunv. fflortO' patrt. .yujtiun. deiuuxut'JJOTninus .<.audes. Jeru£^ P oc?'^<^ 00 c:p d ? °P ^<^o°?°i o p o o 00^° bon&et'Ji dms, afua. inypaiccoy/iL oft^ji^ ddLS-jup)r(L?niU/- ta o^ooj.y^ c^PV ^-^ c ,Qo6 J "p.o- ^ooo^ d0.O te. conftoticamy , ui tra. ifv acuidv umLDomcnC' UJe - l tioo- ^e. - luxL - - — The equivalent of the opposite page in modern characters. 953 954 HISTORY OF THE SCIENCE Appendix. No. 50, see page 379. 1 1 J. .sv^^hv^y ^ ^^^^-.A^^^'^ vt^^' iiic iflominr .g tm^ -^ 3 ^t-ir ttT)ei^ mr il) xitcogmme^ ^^^^ t rt^-f tnn- -t-^ tir t^i^tmaa^tti c{?t^ cie ^s^fc^ t ti ,^^<^^^* ::;g; ==3=^=31 tot^dt e coxrfttmer i^atvtr H'nr . -^v-*^, nu ,.v^ _ct ^'^"j. t tu> fioie ftrltnq;ua^ 1jrr r--"->utH u..^^ >^'^ , .>n,t-^k^ J fit g^ftcmjtcrpmtgf" ateviewt 3=3^ >^^ ..-C .t 5L ^ ^^kS Tl: TT tt r-^ -^fK)dT ^^ > ^an.,^^^'H -^ug - ^ M ^~7"^^ ine go umir ^CTumitt ijecca g. ' ^'^-'V ^^ inr^ tortr g^ at)i)ommTDtt:S" tnv Notation said to be of the twelth century. Appesdix. and PEAOTICE OF MUSIC No. 51, see page 379. 955 Crifu ■ me - - 9!)o nu ne - a/^/w- rmne ma/o a.T/ir;o ttvl - mw (i runt t?2alitc as itixur - de tabi 6600^ ^ 00 o^' ^ tj ^ ^ ^ ° ^ <^ - fjfi - e coTi/irM e bcait /?7ue - - Iza ^ ca£ runt Izn^uof fii asji- cut Jit" /lefdes Ti'ticmnn af/u dnm /u/j ia- l/iu e orum (jj^uti. me 2)0 mine. de. Tnanu pec 01 ^^'- J^Jj^k^^'^^'joj^ , y6 6 6 6-j ^^ft torts ac at' /wmmihis in,c The equivalent of the opposite page in modern notation. 956 HI8T0EY OF THE SCIENCE Appendix. No. 52, see page 379. t> A 1'b-v b y timt m: UM ci^guttt tia^xi-^t^TmrnS^falCn/i^irirti ati if :^ r^ T^ ^i Rn >^T--^-^-r ^ -t :^^ "^F-t ^ W:::^ ivd oimi tivcCm^ Ctekint A?t- tti itfe^iiliiut i tH: P^^^^t::^ :«u fiij: ^r^dio-^ CV.00 -^t^ffl ' ^ n' r:;; ;; '^tr-i — n X^:^ ]OHa :fiatl-C J.j ,>j s ^ a g.n|g I pt ^<^ 4"^. ^J o J pJJcj oPtJ^ oPJoJ^JJ A, J J J fa/nct^- p^ite/r omru^ pote^vj actcrn^ -Me - Ud, CliUMy p&r .m- J J Mo rn^ux^/ttutxmy ttui/rn^ iaudant/ a/?i^' - Ll, ado- - TamrdorninacL'-o- ^JJJ <^J o>oF , <^ jpcPo.o o CO Pi^oJ oofoc cjf J i^ O^dtOy Sc-rrv-p/u/iriy/h - cccv eiou^cL- to - o -ilc^ (vtu:!' -M'Tfmt. Lu/nv qico- i/iiti ecno/tn'a^ uacej vt tuv-iiutfi uit/ecun/cpiv- CyCL -mu/rJi^i)-auay(xnuy/-JL-o -ne m, - c&fi -tr.i : Ann - ^ctfu, Jcmduj,J'-f. /■ 960 HISTOEY OF THE SCIENCE Appendix. No. 56, see page 160. 1536 1728 Diagram o^ the Afciei^jt s 194-4^ 2048 2lb7 la I — '■ JSTete- /i^f/ieriola/yn/. 2304 aai- bb^ foi ITdeJynemmawn TrtteJyTiemmen'. 3£efe. la foi fa la, fa > mi tone tone liemitone ria 4& tone ■M tcjne ■:A ■ lieBDit Panmete, /lyper/wC- 23q^ TrUe-kyperioleeorv. 2ffi6 tone M tane iLectnt m^ tone ^ tone tone lieinitone tone tone liemitone tone nowdiaAmod ■ Trite, di£C!ceu^merum/ ^%%0 Farameite, 4op 6 4608 Idfe,- Zickanod Tty^iaAm/ 518 4 dioAmod Biiy/uliB mfbn,- •3^32' ~ Luhar/od ly/iafoTiy 6q12 diatzmM Ft7rrpMie,Aj'p/ifon/--777 6 Fro/)i7m//arwmenM-()2 16 10368 ee Scale gs Guido CC f aa; 8" I" f I" e i- i/fe; bjTi^ U — \ la}\irA re^x- -:U /oRre rrd ^l. foAfit. fit a i — .la. Q^ufm FM dVoA mi. Aire ut lco'-Jbt\ re tdL rei- uir- ut tit- APFBNDIZ. AND PEACTICE OF MUSIC. 961 No. 57, see page 537. A Lesson of Descant of thirtie-eighte Proportions of sundrie kindes, made by Master Giles, Master of the children at Windsor. £x^ ±±^ iritr-i^^frnil^^f^ MISERERE .^i.i' i ^-^ii-i'M-ii-^'iir'i'^-^iiiM^^ i 3 Tripla l.i.i*^^i^UU^ e- iQ (^^ ♦"4%4» » *\g » * 3 2 Sefquialtera 9 2 Quadrupla Sefquialtera i|(,ciilliiit!|t> ^^5^ ^ 5 2 Dupla 5 4 Sefqiii- Sefquialtera. quarta 5 1 Quintupla i . Mii i iiiii | iirrriii iiirtt ±± 15 4 Tripla Supertripartien.v Quartas Proportio Q„^d. equaiLS =«=^ E vi^ ruple by 3 7 3 Dupla Sefqui- tertia ■->j^,U^JiillUTtUlt*i :*:*>: ^ S ♦tap T-f-r- ^^#^ 14 3 Quadrupla Superbipar- tiens tertiens Pro- o* »» »*> ^ S :± portio equalis 3 3 Superbipartiens tertiens uitfitTiiiMtUi^U^t^^rifjj'Ji' 10 3 Tripla Sefquitertia 20 3 Sextupla, Superbi- partiens tertiens i . > K k paruens tertiens E fc 962 HISTORY OP THE SCIENCE Appkndix. ^^^^^^ m 7 1 Septupla 7 2 Tripla Sefquialtera y 4- Supertripartiens 21 4 Quartas i.t.i*r>r'T!rt»t>iMiliiii^^?1=^ ^ E Quintupla S^fquiquarta 21 8 Dupla SuperquintupartienS octavo Proportio equalis fnt|,TtUloL^--') i ^ ka^'l^it^^^^T^I £ 2 3 Sub- 4 3 SefqL;i- 8 3. Dupla Superbi- fefquialtera, tertia partiens tertiens 'riy>oilili|lli|i l !tl«i|T t^ ±i E 10 3 Quintupla Sefquitertia Mi>,;ili l ht|TtrtiL.^.|i.. ,.a..^ ? O 1 Sextupla Proportio equalis 2 5 Subdi^- 4 5 Subfef- 8 5 Supertripar- l6 5 Tripla Superbi. pla fefquialt|. |^ ^^ quiquarta tiens Quintas partiens Quintas ens Quintas Itliat^^ 32 5 Sextupla Sup erbipar tiens Quintas mtriiirtilll^trtT^-iti^M^ ^m SI^^ZS. 8 1 Octupla Proportio equalis Appendix. AND PRACTICE OF MUSIC. 963 t - c.Ui_:_i„ \ *7 C„uJ'. ■^ ^ ^ /" ■ _ — =: : — z t-. — fel^^uYatei" Um^^^r""' 8 7 Sefciuifeptima ^^ 7 Dupla Superbi- ^ \_^ _4_4_4 Quartas ' n r partiens Septimas ♦ V^ _4_4_4 Quartas ' partiens ;Septiinas 32 7 Quadrupla Superquadripartiens Septimas 4 l^Hn-i..>r>i>;>r>l:)^fi>-Mi> s 5 1 Quintupla 6 1 Sextupla after fundri Ui M b^U' . i i .j.U i i-i-n^-i'i-J'i-^' E ♦ "• ♦ maners ^ ^ ^ E :a;-± 4 ♦ ■'♦^IJji^ g 7 1 Septupla M\AAMi\[^i\\i\[\i\\i\'Ui s 8 1 Octupla by 3 ^ SlTripla 3 2 Sef-3 4Sub{ef- n 4 Dupla Sefquiquarta quialtera quitertia _^ ^_ t?ii'^Mi'Uu-t.Ht;j't.i^V'-n'^^ii ^g^ 9 2 Quadrupla „ j Nonupla .Selquialtera ^ ■f ^ U ' ^ ^ ^ L, £ o<^ tf=^ » ^ ^ ^ MISERERE DOCTOR NATHANIEL GILES. GENERAL INDEX. N.B.— Pages 1 to 486 are in Vol. I.— Pages 487 to end are in Vol. II. Page Abacus, or key-board, 395, 612 Abaelard, Peter, - 178 Abbatini, ■ 646 Abbeys, 06fioers in, - 258 Abell, John, - - 725 Aocademia de Filarmonid, 446 AcadSmie Eoyale of Paris, 662 Academy of Ancient Music, 673, 805, 837, 860, 861, 885 Academy, royal, of music in the Hay- market, - 860, 872 Accent - 311 Accents - 175 Acolythists, - 264 Acoustics, - - 719 Act-tunes, 685 Adami, Andrea, - 802 Addison, Mr., 810, 814, 819, 875 Addition of ratios - 116 Adrian, Pope, 138, 139, 383 Adriana of Mantua, 632 Adriano Willaert, - 339 JEliau - 401 .^olian harp, - - 640 Agatho, Pope, - 138 Agobard, - 142 Agostino, Paolo, 590, 657 Agricola, Martinus, 390 Agricola, Rudolphus, 390, 615 Agrippa, Cornelius, 381, 382 Aichinger, Gregory, - 689 Air, - - - 237,703 Airs, - - 589 Akeroyd, Samuel, - 767 Alb, - 385 Albertus Magnus, - - 183 Albinoui, Tomaso, - 678, 808 Albinus, - - 120 Alcuin, - - 140 Aldhelm, St., - 176 Aldrieh, Dr. Henry, 426, 458, 595, 765 Ales, Bride, Church, and Whitson, 702 Alessandro, (alias Julias Csesar), 804 Alfred, King, - 113, 152 AUegri, Gregorio, - - 594 AUemande, - - 332,704 AUeyn, Edward, - - 264 Allison, Richard, - 522 Allouette, - - 594 Allouette, N., - - 778 Allwoode, Master, - - 933 Alpharabius, - - 391 Alphonsine tables, - - 218 Alstedius, - - 726 Alypius, - 17, 18, 83 Amadio, Pippo. ' - 808 Araalarius, - - 141, 142 Amateur-music at Oxford, in Anthony Wood's time, - - 680 Amateur musicians, 806 Amati, the family of, 687 Ambo, or singing-desk, 106 Ambrose, St., - - 107 Ambrosian chant, - - 107 Ambrosian office, and Gregorian office, 139 Amiconi, Giacomo, 876 Page Amner, John, - - 569 Anathemas, - - 240 Anerio, Felice, - - 430 Animals, effect of music upon, 401, 835 Anne Boleyn, 335, 373, 376, 386, 833 Anne, Queen, 718, 761, 795, 796 Anne, consort of James I, - 567 Anthem, .- 455,545 Antiphonal singing, 105, 108, 145, 457, 546 Antiphonarii, - 142, 177, 257 Antiphonary of the Gallicaa Church ,663 Antoniotti, Giorgio, 677, 904 Apotome, 25, 121, 354 Aquinas, Thomas, - 2, 381 Aratus, - - 32 Arbeau, Thoinet, - 215 Arbuthnot, Dr., - 806, 859, 872 Arcadelt, Giacomo, 804 Arcadia, - 66 Arcadians, Academy of - 842 Archioembalo 395, 396, 415, 446 Archimedes - 10, 788 Arch-lute - - 328,418 Arohytas, - 32, 123 Arcimusioo, ~ 446 Aretino, Guido, 165 to 170, 254 Argenti, Bonaventura, 805 Ariosti, Attilio, - 866 Aristides, Quintilianus, 21, 61, 81, 111 Aristonus, 636 Aristophanes, - - 66 AristoxeneansandPythagorians, 24, 121 Aristoxenus, 24, 66, 110 Armonya, 269 Armour, - 247, 254 Amaldo, Daniello, 195 Aron, Pietro, - 290 "Arsinoe," first opera performed in England, - - 810 Artusi Bononiensis, J ohn Maria, 403 , 443 Ashwell, Thomas, 522 Aston, Hugh, - • 522 Astorga, Baron de, 837 Athanasius, St., - 551 Attey, John, - 569 Attilio, Padre, (otherwise Attilio Ariosti), 866 Augmentation 222 Augrim stones - 207 Augustine, St., - - 108, 246 Augustine the monk, - 137 Aura, - 644 Aureiianus, - 153 Austen, St., - - 380 Authentic and Plagal, 46, 129 to 132, 133, 136, 244, 319 Autumnus, - 626 Avison, Charles, - S45, 914 Babell, William, 608, 826 Bach, Charles, Philip Emanuel, 853 Bach, Frederic Wilham, 853 Bach, John Ambrose, - 852 Bach, John Christian, - 853 Bach, John Frederic Christian, 853 Bach, Johann Benihard, 852 Bach, Johann Christopher, - 852 Pago Bach, Johann Michael, - 852 Bach, Johann Nicolaus, 852 Bach, Johann Sebastian, - 852 Bachelor in Music 124, 292 Baochius Senior, - 83, 111 Bacchus, feast of, 66 Bacon, Eoger, 184 Baglivi, - - 639 Bag-pipes, 71, 90, 95, 206, 331, 611 Baif, Jean Antoine de, - 83S Baker, Thomas, 784 Balducci, Francesco, 529 Baldwin, John, 362, 469 Bale, Bishop, - 170 Ballad, - 201, 368, to 379 Ballet, 434, 509, 647, 66S Balthazarini, - 434 Baltzar, Thomas, 681, 701, 767 Baltzarina, (otherwise Beaujoyeux) 833 Bandore, - 492 Banister, John, 701, 702, 714, 763, 790, 824, 936 Baptistin, - 649 Barbarossa, - 195 Barbarucci, Signora, 809 Barberini, Cardinal, - 628 Barbers' shops, - 491, 602, 768 Barbier, Mrs., - 817 Barbiton, - 60S Barnard's Church Music, - 362, 575 Baroness, the, 653, 809, 870 Baroni, Adriana and Leonora, 632 Barre, - 638 Barrett, John, - 825 Bars, - 135, 280, 555 Barsanti, Francesco, 896 Barsanti, Miss, 896 Bartholomseus, 212, 266 Bartlett, John, 56* Barton, 808 Basil, St., 106 Bassani, Gio. Battista 665 Bassi da gamba, - 525 Bassoon, - 610, 830i Bass-viol, 686 Bateson, Thomas, .505, 517 Bathe, William, 497 Batten, Adrian, - 584!- Battuta, or beating of time, - 404- Baumgartner, - 314 Beard, Mr., - 829, 889i Beating time, 223, 310, 404 Bede, the Venerable, - 52, 151 Beggar's Opera, - 874 Beldemandis, Prosdocimus de, 275 Bell, a musician, - 819' Bell, Captain Henry, - 389i Bells, 535, 601, 604, 615, 637 Benelli, Alemanno, - 435, 445 Benevoli, Horatio, 658, 665, 674 Bennet, John, - - 51S Berardi, Angelo, 592, 658 Berenclow, Mr., - 653 Berenstadt, Gaetano, 869 Beriinghieri, Raimondo, 196 Bemier, Nicolas, - 899 Bemabei, Ercole, . 665 GENERAL INDEX. Page Bemacehi, Antonio, - 868, 877 Bernard, St. 177, 180, 246 Bemo, - - 155 Betterton, Thomas, - 684, 707 Beurhusius, Frederic, 492 Bevin, Elway, ' 297, 50S Beyland, Ambrose, - 584 Bcza, Theodore, - 531 ' Bezants, - - - 189 Bi, - - - 160 Bhch, Humphrey Wyrlej', - 796 Birchensha, John, - 645, 716, 725 Bird, William, 298, 466 to 479, 924 Bird, Thomas, 467 Birds, notes of, ■ 2, 636 Bishop of Salisbury, - 171 Bishop, John, - 767 Bitti, Martino, - 808 Blackwell, Isaac, - - 771 Blagrave, Thomas, - 767 Blamont, Francois Colin de, - 900 Blancks, Edwardj - 522 Blathwayt, Col., - 806, 860 Blind musicians, - 436, -596 Blitheman, WiUiam, - 480, 932 Blondel de Nesle, - 188, 189 Blow, Dr. John, - 740 Boccace 205 Boetius - - - 112 Bolles, Sir Robert and Sir John, 708, 732 Boleyn, Anne, 335, 373, 376, 386, 833 Bolton, Prior, - 198 Bombaee, Signora, 331, 610 Bombardt, - - 331, 610 Bona, Valerio, 436 Bongus, Peter, - 6 "Bonny boots,' - - 517 Bononoini, Gio. Maria, - 661, 808 Bononoini, three sons of Gio. Maria, 662 Bononoini, Giovanni, - 775, 812, 860 Bontempi, Gio. Andrea, 13, 654 Boschi, Francesca Vanini, - 809 Eottrigaro, Hercole, 435 Bouchier, Mr. - 754 Bougeant, - - 902 Bouree - - - 705 Bourdelot,Abbe, 833 Bourgeois, Louie, 533 Bow of the Violin, 782 Bowen, Mr. James, . - 754 Bowman, - 771 Boy-bishbp, - - 172 Boyce, Dr. WiUiam, - 786, 910 Bracegirdle, Mrs., - - 754 Brady, Dr. Nicholas, 553 Bradley, Robert, - 766 Braule, 215 Breve, the, - - 422 Brewer, Thomas, - 669 Bride-ale, - - - 702 Bridlington, Gregory of, - 184 Brind, Richard, - 767, 800, 859 Bristan or Biiestan, 152 Britton, Thomas, - 700, 788 Brome, Thomas _ - 907 Brooman, Ludovicus, - 436 Broschi, Carlo, (see Farinelli), - 876 Brossard, Sebastian de, - 655, 674 Brouncker, Lord, - 626 Brown, Robert, - - 546 Brown, Tom - 744,747,766 Browne, Sir Thomas 7, 637, 639 Browne, William, - 521 Brownists, - - 646 Bryennius, - - 83 Bryne, Albertus, - 713 Buocina, 90, 269, 332 Bugle ... 332 Bull, Dr. John, 298, 466, 480 liuUialdus, Ismael, - - 643 Bullimore, Mr., 701 Page Burette, Mens., 81, 902 Ceccarelli, Odoardo, Burgess, Dr. Cornelius, 577 Cecilia, Saint, Burlesque, - 874 Censorinus, Burton, Avery, 522 Cerceau, Butler, Charles, 574 Cereto, Scipione, - Butler, Samuel, - 702 Cerone, Pedro, Buxtehude, Johanuj. - 851 Cervelat, Buxtehude, Dietrich, 645 Cesti, Marc Antonio, - Byfield, - 808 Chacone, C, - 311 Chalumeau - Caccini, Francesca, - 632 Chandois anthems, Caccini, Giulio, - 524 Chandois, James duke oi Ctedmon, - 190 Chauterres, Caslius RhodriginuB, Ludovicus 306 Caerwarden, John, - 584 Cfflsar, Dr., - - 806 Csesar, William, (alias Smegergill) 767 Caesar, Julius, ■- - 767 Caito, Gio. Carlo, - - 808 Calamo, - 269 Calamus pastoralis, - 89 Caldara, Antonio, 775 Calvin, - - 387,530 Calvisius, Sethus, - 442 Cambert, - - 647,703,834 Cambrensis, Giraldus, 150 Cambridge, university of, 795 Camera Obsoura, - 617 ' Camilla,' (opera, by Bononoini) 810 Campion, Thomas, - 479, 569 Campion, Miss, 754, 816 Campra, Andrg, - - 778 Canaries, a dance, - - 705 Canon, 294 to 306, 505, 588 Canon Polymorphus, - 303, 690 Cantadours, - 185 Cantatas, - 530, 565, 594, 678 Cantata spirituale, - - 525 Cantilena, 243, 298 Canto Fermo, - 133, 227 Canto Figurato, 228, 537, 628 Cantone, Gerolamo, - 133, 664 Cantoris, 145 Cantus Ambrosianus, - 107, 129 Cantus Coronatus, - 246 Cantus, double, - - 253 Cantus Ecolesiastious, 136, 628, 664 Cantus Fraotus, - 246 Cantus Gregorianus, 107, 130 to 142, 664 Cantus Mensurabilis, 175, 181, 222, 229, 246, 253, 309 Canzone, - . 431, 508 Canzonet, 431, 804 Capella, 109, 127 Carbonelli, Steffano, - 891 Cardinales chori - 767 Carey, Heniy, - 827 Carillons, - 615 Carissimi, Giacomo, - 594, 835 Carleton, Richard, 522 Carleton, Geo. - - 784 Carols, - - - 899 Carroys, Eustache de, - 833 Cartwright, Thomas, - 457, 645 Caslon, William, - 807 Cassiodorus, - - 126 Castanets, - 92, 216 Castel, Pere Louis Bertrand, 903 Castle Concert, - - 807 Castruoci, Pietro, - - 891 Castruoci. Prospero, - 808 Catch Club, - - 915 Catches, - 303, 568, 736, 766 Cathedral establishments, - 384 Cathedral service, 449, 680, 688, 690 Catherine, consort of Charles II., 717 Catherine de Medicis, - 833 • Catherine of Arragon, - 535 Cavaliere, Emilio, - - 523 CebeJl, - - - 706, 935 Ceoca, Signora, - - 809 Pag* 805 746 87 902 447 303, 587 610 695 704 331,611,651 859 - 832 185 Chanting, - - 640 Chantry-priests, - - ^ 264 Chapel establishments, 272,385, 467, 542, 648, 565, 693, 717, 784 Chapel Royal, 272, 467, 648, 666, 693, 718, 761, 767 Characters, Musical, 134, 218, 253, 279, 379, 423 Charke, Richard, - 892 Charlemagne, 138, 140, 181 Charles I, - 566,674, 678, 714 Charles II, 680, 693, 702, 703, 718, 767, 818 Charles V, - 344, 834 Charles IX, - - 349, 833, 835 Charpentier, Marc Antoine, - 777 Charter of Charles I, - - 695 Charter of Edward IV, - 696 Charter of James I, - 697" Chartier, Alain, - 186 Chateaimeuf, Abbe, - 902 Chaucer, - 198, 206 Chauntries, - - 207 Chelle, William, - 358 Chelys, 329,441 Cherebert, - 833 Chest of viols, - 572,603,685 Child, Dr. William, 713 Children of the chapel, 272, 385, 453, 621, 693, 713 Children, royal, whipped by proxy, 453 Chilmead, Edmund, - 32, 712 Cliilston, . - 248 Chinese instruments, - - 612 Chinnor, . 9i, 606 Chirimia, - - 444 Chitaroni, 525 Chittle, Samuel, 784 Chivalry, - - 210 Choir boys, - 262, 272, 360 Choral service, 149, 176, 246, 262, 272, 324, 367, 384, 436, 449, 535 to 648, 576, 688, 767 Chords, mnacal, - 407, 604 Chords of instruments, 601 Chords of the ancient lyre - 5 Chorister-bishop, - - 172 Chorusses, 889 Christian Church music - 104 Christianity, first conversion of the English to, - 128,137 Christian IV, - - 567 Christina of Sweden, 674 Christ's cross, - - 490 Chromatic genus, 30, 31, 32, 35 Chronometer, - - 777, 840 Chrysostom, St., - 106 Church'-ales, . 702 Churches, as seminaries, > 556 Church music, 335, 535, 575, 634, 802 Church service, - 352, 530, 542 Chytraeus, David, 651 Cibber, Mrs., . 752, 754 Cifra, Antonio, - - 590 Cinque-pace, . 703 Cinyra - - 606 Cionacci, Francesco, - - 664 Cistrum, - 602 GENERAL INDEX. Cithara, 269, 602 Citole, - 206 Citterns, 198, 602 Claricorde, 353 Clarinet, 652 Clarino, 525 Clarion, - 332 Clark, Jeremiah, - 760,784 Claadin, or Claude le Jeune, - 434 Claudio, signor, - - 814, 819 Claveein, - - . 606 Clavioembano, - 525 Clavichord, - 328 Clavicimbalum, - 828, 609 Clavicitherium, - 328, 606 Clayton, Thomas, 794, 810, 814 Clayton, "William, - 810 ClefFs, 134, 158, 379, 392, 397, 618, 715, 841 Clegg, Jolin - - 829 Clemens non Papa, 297, 344, 411 Clepsydra, - - 73 Clerambault, Louis Nicolas, - 900 Clerical singing, - 185, 367 Clifif, John, - - - 696 Clifford, James - 489, 690 Cluer; J., - - 801 Coat armour, 247, 254 Cobb, Kichard, 584 Cochieus, Johannes, - 306 Coclicus, Adrian Petit, - 391 Coffee, - 182 Colachon, - - - 603 Colasse, Pascal, - - 777 ' Cold and Raw," - 562, 564 Coletti, Agostino, - - 843 College discipline, - 392 College youths, 616 Colloquia mensalia, - - 389 Colman, Dr. Charles, 584, 679 Colman, Edward, - - 767 Colonna, Fabio, - 598, 681 Colonna, Gio. Paolo, - - 657 Colours, 247, 354, 398 Colours and sounds, - 788 Colours of lines, - 288 Colours of notes, - 232 Colours, or species of the genera, 29 Colunma, Fabiua, 416 Combinations of notes, 601 Combs, - 725 Comenius, - - 332 Comma, - _ 28, 122, 410 Commissioners, Ecclesiastical, - 536 Common Prayer, 137, 368, 380, 538 Company of Musicians, 481, 695 Composers, English, - 771 Composition, Musical, rules for 710 Compositions, Musical, (See separate Index.) Comus, - - - S80 Concent, 311, 660, 880 Concerto, - 333 Concerto grosso, - 706, 772 Concert, first in London, - 700 Concerts,443,446, 586, 762,789, 792, 806 Concerts, French, - - 703 Concerts at Oxford, - 683 Concert-rooms, - 763 Concert of Viols, - 685 Concerts of Violins^ 603, 702, 703 Concerts, cheap, - - 893 Concord, - 312, 408, 760 Concordance, - 449 Congregational singing, - 324 Conopius, Nathaniel, 182 Conradina, - - - 857 Gonradus, Hirsaugiensis, - 183 Consonances, 12, 29, 82, 99, 233, 236, 626 Constantine, the Emperor, - 147 Constantinople, - 111, 276 Conti, Francesco, 775, 802 Contrabassi de Viola, - 525 Contractus, Hermannus, 172 Contrapuntus diminutus, - 629 Controversy, musical, 392, 401, 435 Cook, Captain Henry, - 693, 909 Cooke, Benjamin, . - 801 Cooper, John, " . 504 Cooper, James, - - 771 Cooper, the copyist, - - 908 Coperario, John, - - 504 Coranto, - 215, 332, 579, 704 Corbett, William, - 822 Corelli, Arcangelo, 674, 755, 847 Corelli's imitators, - 678 Coriat, Thomas, - 586 Corkine, William, . 570 Cornamusa, - 71, 205, 331, 611 Comet, - . 443, 611, 689 Cornish, William, 353 Oomysh, William, 232, 868 Coronation procession, - 767 Corporation of Sons of the Clergy, 745 Corsi, Giacomo, - - 524 Cosyn, Benjamin, - - 522 Cosyn, William, - - 522 Cosyn, John, - 622 Cotton Library manuscript, 149, 230, 252 Cotton, Mr. - 771 Couohers, - 257 Council of Trent, - 853, 367 Counterpoint, 202, 225, 282, 302, 651 Country-dance-tunes 201, 468, 701, 705, 984 Couperin, Francois, - - 779 Couperin, Louis and Charles, 779 Couperin, Louisa, - - 779 Coupillet, - - 778, 886 Courant, 215, 832, 579, 704 Courtaut, - - 610 Courteville, John, - - 768 Courteville, Eaphael, - 701, 768 Cousser, Jolm Sigismund, 848, 850 Cowley, - 481 Cranford, William, - 584 Cranmer, - - 453, 536, 588 Creake, J3enjamin, 801 Creighton, Dr. Robert, - 798 Cremona, ... 382 Cremona-Violins, 687 Crequilon, Thomas, - 344 Cresoimbeni, - - 185 Crew, Dr. Nathaniel, - 806 Crier, Public, - - 763 Cries of London, - 668 Criss-cross-row, - 490 Crivelli, Arcangelo, - 804 Croce, Giovanni, - 442, 695 Croft, Dr. William, - 796 Cromwell, Oliver, 577 Cross, Mrs., - 758, 754 Cross, Thomas, - 800 Cross, Thomas. Jun., - 801 Crotalum, 92, 95 Cmth or Growth, - - 265 Ctesibus, - 69 Cuckoo, - 2, 202 Guper's garden, - - 890 Curious singing, - 587 Cushion- dance, - - 705 Cutting, Thomas, - 566 Cuzzoni, Francesca, - 373 Cymbals, - 91, 270 Dagobert, - - 833 Dallans, Ralph, - 691 Damascene, Alexander, 754, 768 Damascenus, Johannes, - 182 Damianus k Goes - - 325 Damon, William, - 555 Dampers, - - 721 Page Dancers, French, - - 685 Dances, Spanish, - - 588 Dance-tunes, 609, 638, 649, 703 Dancherts, Messer Ghisilino, 392 Dancing, - - 215, 853 Dandrien, Jean Francois, - 899 Daniello, Amaldo, - - 195 Danyel, John, - - 570 Davenant, Sir William, 679, 684 David and Saul, - 97 Davis, Hugh, - - 522 Davis, Mrs. Mary, - 754 Davis, Williaih, - - 771 Dean, Thomas, - - 763 Decani, _ . . 145 Deciphering, - - 739 Decretal of Gratian, - 181 Deeringi Richard, 577, 689 Degrees in music, 291, 292, 465, 517, 572, 739, 795 De la Fond, John Francis, - 841 ' De musica of Boetius, - 115, 117 Denner, Johann Christopher, 651, 652 Denner, the painter, - 652 Dentice, Fabricius, 391 Dentice, Luigi, - - 391 Dentice, Scipio, - - 891 De Prez, Jusquiu, - 823, 335 Descant, 100, 149, 225, 237, 249, 256, 489, 709'j 735 Descanter, - - 150 Des Cartes, - - 600, 626 Desmarets, Henri, 778, 836, 899 Destouches, Andrg, Cardinal, 783, 899 Destruction of books, - 362 Dia, - - 233 Diaoonus, Johannes, - 129 Diagrams, Csee separate Index, J Diamantina, Signora, - - 809 Diapason, 14, 50, 68, 64, 233, 319, 399, 407, 604, 614 Diapente, 26, 49 Diaschisma, - - - 28 Diatessaron, 24, 49, 238, 287, 408 Diatonic genus, 80, 31, 34, 306, 400, 403 Diazeuotic, or Sesquioctave tone, 10, 14 Dicky Jones, - - 892 Dictionaire de musique, - 674 Didymus, - - 25, 32, 68 Diesis,, - 27, 45, 121, 411, 655 Dieterich, Conrad, - 651 Dieupart, Charles, 810, 822 Diminution, - - 222, 236 Diodes, - 10 Diodoms, - 105 Direct, or Guidon, 135 Directory for public worship 576 Diruta, Girolamo, - - 690 Discantus, - - 312 Discipline in Abbeys, - 258 Discipline in Universities, - 292 Discord, ... 408 Discords, 239, 282, 573, 574, 761 Disputations at Oxford, 292 Ditone, - - 25, 233 Ditonio or Pythagorean Diatonic, 35, 306 Divination, 51 Division of music, - - 67 Division on a ground, 294, 708, 710 Division of ratios, - - 117 Doctor in music, - 291, 292 Dodecaohordon, - 316, 324, 886 Dominichino, - 628 Doni, Gio. Battista, - 395, 628 Dorensis, Adamus, - 183 Dory, John, . 701, 937 Dots, Notation by, 737 Double-bass, - 899 Dowland, John, - 481 Dowland, Robert, - 570 Draghi, Gio. Battiste, - 717, 936 GENERAL INDEX. ^ Page Drama, - - 530, 559 Fantino Hieronymo, Page 612 Gallett!, Page 808 Dramatic Music, - 529, 595, 662, 684 Farinelli, Carlo Broschi, 453, 876 Galli, Comelio, 653 Drechsel, Johann, - - 646 Farinelli. of Hanover, - 453, 677 Gallia, signora Maria, 871 Dram, - 215, 229, 246, 332, 626 Farinelli's ground, 453, 677 Galliard, 215, 703 Dryden, - - 523 Farmer, John, - 515 Galliard, John Earnest, 782, , 827, 828 Dubourg, Matthew, 791, 848, 892 Farmer, Thomas, - 768 Gamble, John, 584, 681 Duel, - 819, 852 Farnaby, Giles, - 501 Gardiner, Bishop, 450 Dulcimer, 74, 329, 606 Farrant, Daniel, - - 522, 768 Gargano, Teofilo, 804 Dulwich College, - 264, 825 Farrant, John, 522 Garth, John, 844 Dulzain, or Dulcino, - 444, 614 Farrant, Richard, - . 465 Gasparini, Francesco, 678, 725. 842 Dumont, Henri, - 776, 836 Father Smith, - 691 Gasparini, Michael Angelo, 665 Dump, - 570 Faustina, Signora, 873 Gates, Bernard, 735, 832 Dunstable, Johnof, 176, 202, 274, 567, 651 Female actors, 685 Gatti, Theobaldo, 77S Dunstan, St., - 176, 262, 651 Ferabosco, Alfonso, Sen., . 479 Gaudentius, 83, 111 Durastanti, Signora Margarita, - 872 Ferabosco, Alfonso, Jun., 479 Gauthier, the elder. 776 D'Urfey, Thomas, 818 Ferabosco, John, - - 479 Gauthier, Denis, 776 Dutton, - 191 Ferdinand HI, Emperor, 638 Gauthier, Pierre 776 Dyer, Edward and John, 771 Ferebe, George, - 508 Gavot, 704 Dygon, John, - 356 Ferri, Baldassare, - 66S Gay, John, 874 Ear, - 636, 644 Festing, Michael Christian, - 801, 892 Geig, - 329 Ear for music, - - 918 Ficta, Musica, 308, 411, 444 Geminiani, Francesco, 441 , 847, 902, 915 Earle, Dr. John, (bishop), 481, 702 Fiddle, - - 206 Gems, or Gemsenhom, 331 Earsdeu, John, - 570 Fiddlers, 191, 198, 687, 702, 787 Genera, 19, 29, 31, 75, 411, 435 Eccles, Heniy, - - 701 Fidelio, Signor, 764 Gentlemen musicians. 806 Eccles, John, - 701, 786, 938 Fife 609 Genus, - 411 Eccles, Solomon, - 786, 986 Finch, Honourable Edward, 806 Geoffrey of Bretagne 187, 194 Eccles, Thomas, - 787 Finck, Herman, - 397 George I., - 784 Ecclesiastical style, 663, 688, 693, 774 Finger, Godfrey, - 701, 764, 824 Gerbert (Silvester II.), 154 Echos, - - 639,724 Fiore, - 808 German musicians. 448, 850 Education of children, - 212 Fistulse - 96, 608 Gervais, Charles Hubert, 899 Edwards, Richard, Fitzpatrick, Bamaby, - 453 Gesualdo, Carlo, 437 362, 521, 548, 924, 926, 927 Flajolet, 608, 737 Getron, 206 Edward IV., - 271, 696 Flavianus, - 105 Gheuses, 533 Edward VI., 367, 452, 537, 541 Flemish musicians, 333, 352, , 354, 448 Gibbons, Christopher 713 Effects of music. Flesle, Mens., 606 Gibbons, Edward, - 573 118, 493, 639, 835, 898, 913 Floyd, John, 522 Gibbons, Ellis, 517, 573 Eginhart, Charlemagne's Secretary, Flud, Robert, - 620 Gibbons, Orlando, - 673 140, 141 Flute, 331, 625, 607, 622, 651. 737, Gilbert, John, 522, 807 Ela, - - - 159 826, 893 Giles, Dr. Nathaniel, 673, 574, 961 Elements of Aristoxenus, - 110 Flute a-bec, 331, 608, , 737, 738 Gilimer, king of the Vandals 833 Elford, Eichard, - 718,786,796 Flute-players, 781, , 824, 826 Gilles, Jean, 778 Elfric, - - - 143 Foggia, Francesco, 657 Giorgina, signora. 809 Ellis, William, - - 680 Follia, - 589 Giovanelli, Ruggiero, - 430, 524 Elizabeth, Queen, FoUianus, Lndovicus, 27, , 306, 417 Giovanni, Carlo Cesarini, 813 368, 455, 481, 535, 542, 565, 833 Ford, Thomas, 666, 570 Giraldus Cambrensis, - 150 Emblematical device, - 636 Forks, - 207 ■ Girardeau, signora Isabella 871 Enchiridion, - - 153 Forster, Chapel-master, 646 Girbert, 154 Endowments, - - 262 Fortier, 802 Gittem, 199 English musicians, Fortunatus Amalarius, - 141 Giuffredo Rudello, 194 353, 362, 448, 493, 522, 771 Fougt, Henry, - 802 Glareanus, Henricus Loritus, English church composers, - 691 Foundling Hospital, - 890 315, to 325, , 404, 417 Enharmonic genus, 31, 36, 414 Fox, John, . 460 Glasses, Musical, 638 Eouac, - - 133 Fraguier, the abbg 103, 902 Glastonbury, contention at 171 Epigonium, - - 92 Franc, Guillaume, 632 Gnets Berusim, - 95 Episcopus Pueroram, - 172 Franchinus Gaffurius, - 277 Goes, Damianus h. 325 Erasmus, ... 381 Francis I, 343, 833 Godolphin, Dr., 800 Eratosthenes, - - 32 Franchville, Mr., - 808 Gogavinus, Antonius, 111 Erbach, Christian, - - 592 Franco of Liege, 176, , 217, 253 Gouy, Jacques de. - 535 Erculeo, D. Marzio, 130, 133 664 Frederic I, - - 195 Goldchain, 504 Eredia, Pietro, - 629 Free chapels. - 263, 264 Goldwin, John, 798 Etheridge, George, - 362 Freeman, Mr., - 754 Gong, - Goodgroome, John, 65 Escobedo, Messer Bartholomeo, - 392 Freemen's songs, 518, 569 - 768 Est, Thomas, - - 380,657 French horn, 612 Goodman, John, 522 Est, John, - - 768 French music, - 834 Goodsens, Francisco, 784 Este, Michael, - 517, 570 French musicians, 448, , 776, 899 Goodson, Eichard, 768 Estwick, Sampson, - 767 French Opera, 781 Goodwin, Matthew, 522 Euclid, - 20, 31, 67, 110 Frescobaldi, Girolamo, - 623 Gosson, Stephen, 679 Eunomus, - 636 Frets, - - 418, 686 Gostling, Rev. John, - - 693 Extempore, - 237, 896 Froberger, Johann Jacob, 627, 646 Goudimel, - 421, , 633, 634 Extemporary divisions, - 708, 709 Eroschias, Johannes, - 308 Gouter, Jacques, - 697 Faber, Gregorius, ' - 391 Froud, Charles, - 807 Grabu, Louis, 707 Faber, Henricus, - - 391 Fuggers of Augsburg, - - 334 Graces, vocal, 816 Faber Stapulensis, Jacobus, - 293 Fugue, 293 to 306, 338, 623, , 774, 795 Gradual, or Grail, 257 Faburden, - 246,249,256,277 Fux, Johann Joseph, 773 Grandis, Vincenzo de. 804 Fac-simile Manuscripts 941 to 959 Gabrieli, Giovanni, 591 Grano, John, 832 Fagotto, - 610 Gaetano, 808 Gaasshopper, - 636 Fairfax, Dr. Robert, - 355 Gaffarel, - 631 Grassi, Bartolomeo, 623 Fa las, - 609, 578 Gaffi, Bernardo, - . 808 Grassineau, James, - 80 Falso Bordone, - - 256 Gaffurius, 132, , 277, 416 Gratian, 180 Fandango, • 588, 938 Galilei, Galileo, - - 11 Greber, Giaoomo, - 810 Fantasias, - - 332, 686 Galilei, Vincentio, - 403 Greek ritual. 144, 182 eENERAL INDEX. Greek systems, - - 5 Greene, Dr. Mamice, 800, 859, 862, 879, 909 Gregorian chant, 107, 664 Gregorian office and Ambrosian office, - 139 Gregory, St., 127, 246 Gregory, William, 713 Gregory of Bridlington, 184 Gresham College, - 823 Gresham, Sir Thomas, - 334 Gresham Professors, 355, 465, 907 Grimaldi, Nicolini, 809 Grimbald, - 152 Gromid-bass, 294, 708 Grosse, Severus, 831 Gruppo, - 733 Guicciardini, Lodovico, 333 Guenino, 834 Guido Aretinus, 155 to 170, 254 Guido, Gio. Antonio, 808 Guido minor, - 243, 254 Guidon, the, - 135 Guidonian hand, 161, 233 Guinneth, John, - 358 Guitar, - 602, 648, 693, 834 Habington, Henry, 291 Hackbret, 329 Hale, Sir Matthew, 616 Hale, Mr. - - 517 Haliday, Walter, 696 Hall, William, 768 HaU, Henry, - 768 Hamboys, John, - 234, 291 Hammerschmidt, Andreas, - 626 Handel, George Frederic, 325, 650, 675,790, 806, 814, 852, 856, 870, 910 Handle, Robert de, 176, 221, 230, 252 Hare, John, - 801 Harmony, 62, 99, 227 Harmonic Canon, 84, 89 Harp, 190, 206, 265, 353, 525, 606, 652, 898 Harpof.S;olus, 640 Harper, 207 Harpists, - 889 Harpsichord, 328, 403, 446, 606, 627, 638, 808, 912 Harrington, the family of, - 806 Harrington, Mr. John, 410, 921 Harris, the elder, 691 Harris, Renatus, 691 Harris, Mr. - 754 Hart, Philip, 734, 791, 825 Hart, James, - 772 Hasse, Gio. Adolpho, - 874, 877 Hautbois, 207, 610, 651, 823, 894, 895 Hawkins, James, 772 Hayden, George, - 825 Haym, Niohola Francesco, 678, 810, 819 Hearing, - 636, 644, 721, 918 Heather, Dr. William, - 572 Hebrew instruments, 94, 96, 651 Hebrew music, 662, 884 Hebrew musicians, 96 Heidegger, John James, - 812 Helicon, the, 86, 400, 409 Henry VHI., 362, 373, 384, 535 Henry, prince of Wales, 566 Henry IH., - 833 Henstridge, Daniel, - 800 Herbst, Johann Andreas, 626 Herculaneum, 112 Hermannus Contractus, 172 Hesletine, James, - 800 Hexaohord, ■ 158 Heyd, Andrew Paul Vander, 650 Heyden, Sebaldus, - 314 Heyther, Dr. William, 572 Hill, Aaron, - 814 Hilton, John, - 517, 578 Page Hilton, Walter, - - 522 Hine, WiUiam, - 770, 772 Kingston, John, - - 577 Hingston, Peter, 578 Hirsaugiensis, Conradus, - 183 Hirsaugiensis, Gulielmus, 177 Histoiy of music, proposed, 821 Hobreohth, Jacobus, 338 Hookets, - - 237 Hoffmann, - 431 Hof hainer, Paul, - 329 Hogarth, - 877 Holcombe, Henry, - 828 Holder, Dr. William, 115, 125, 760, 839 Holmes, George, - 772 Holmes, John, - - 517, 689 Homilies, book of, - 636 Honeyman, Samuel, - 191 Hooker, 457, 546 Hooper, Edmund, - 570 Hopkins, John, - 453, 549 Horn, - 90, 331, 612 Hornpipe, 705, 893 Hour-glass, - 73 Howard, Cardinal, - - 742 Howard, Lady Elizabeth, 748 Howes, William, - 584 Howet, Gtegorio, - - 482 Huobald, - - 153 Hudson, George, 679 Hughes, Francis, 839 Hughes, John, 789, 791, 809, 817, 829, 831 Hume, Tobias - 522 Humphrey, Pelham, - 718, 937 Humphries, John, - 893 Hunnis, William, 453, 521, 548, 549 Hunt, Mrs. Arabella, 761 Hunting-horn, - 612 Hurdy-gurdy, or Vielle, 605 Hymns of the Greek Church 144, 182 Idithus, - 96 Ignatius, St., - - 105 Illustrations miscellaneous, (see separate Index.) Illustrations, Musical, (see separate Index.) Immyns, John,; - 733, 886 Impostor, musical, 631 Indian instruments, - - 612 Informacion (a poem), 353 Inglott, William, - - 770 In Nomine, - 465, 504 Inns of Court, 207 Instrumental music, - 333 Instrument-makers, Italian, - 402 Instrument, mundane, - 606, 621 Instruments, 265, 268, 328, 353, 418, 492, 493, 525, 588, 602 to 615, 634, 640, 687, 721 Instruments, ancient, 3, 71, 89, 94, 148, 206 Instruments, Jewish, - 94, 96 Intonation, - 312 lodocus Pratensis, - 323, 335 Irish music, - 564 Iron, - 112 Isaac, Henricus, - - 322 Isagoge of Alypius, - - 111 Isham (or Ismn) John, 759, 799 Isidore, St., - - 146 Italian music, - - 805 Italian musicians, 448, 658, 776 Italian opera, 679, 706, 781, 794, 808, 810 Italian opera, Haymarket, - 860 Italy, Greek music introduced there, 112 Itinerant Musicians, 787 Ives, Simon, ' - - 770 Jachini, Giuseppe, - 808 James, a deacon and famous singer, 138 Page James I. of England, - - 566 James 1. of Scotland, 437, 563 James II., 693, 834 James, John, 896 Jeacock, Caleb, 887 Jeacock, Samuel, - 807 Jefferies, Christopher, - 584 Jefferies, George, - 582, 584, 680 Jeffries, Lord Chief Justice, 691 Jeffries, Matthew, 522 Jeffries, Stephen, - 769 Jenkins, John, 583, 706 Jewish musicians, 277 Jewit, Randal, 584 Jew's harp, - - 332, 721 Jigg, - - 329,704 John, a famous Roman singer, - 138 John of Dunstable, 176, 202, 274 John XX, Pope, - 162 John XXII, Pope, - 184 Johnson, Robert, 921 Jones, Inigo, 517 Jones, Robert, 517, 570 Jones, the harper, - 890 Jongleours, or jugleurs, 185, 206 Jonglerie, - - 186 Jonson, Ben, - 517 Journals, - 257 Jumillao, - . - 664 Jusquin de Prez, - 323, 335 Kapsberger 427, 627 Keenell, Mr. August, 763 Keeper, John, - 522 Keisel-, Reinhard, - 851, 857 Keller, Godfrey, - 822 Kelner, Ephraim, - 907 Kelway, Mr., - 853 Kennedy, a bassoon-player, 829, 870 Kentish singers, - 138 Kepler, John, 616 Kerl, Johann Caspar, 596, 663 Keshe, William, - - 550 Key-board, - - 395 Keys, - 47, 59, 242, 411 King, Charles, 798 King, Robert, 770 King, William, - 770 King's band, 574, 703 Kirbye, George, - • 510 Kircher, Athanasius, 2, 635 Kit, 525, 603 Klemme, Johann, 591 Klingenberg, - 831 Knobeln, - 434 Krieger, Johann Philip, 646 Kropffgantz, Johann, 664 Kropffgantz, Johanna Eleonora, 664 Kmmbhom, Caspar, 434 Krumbhom, Tobias, 434 Krumhom, 331 Kuhnau, Johann, - 663 La Guerre, Eliz. Claude Jacqiiette, 779 La Guerre, Marin de, - 779 La Lande, Michel Richard, 648, 778 Lalouette, Jean Francois, 779 Lamb, Benjamin, - 772 Lambert, - . - §34 Lambert, Michael, - 648, 776 Lamentations of Jeremiah, 391 Lamotta, Martino, - 804 Lampadius, - 314, 398 Lampe, John Frederick, 828, 895 Landi, Stefano, - 805 Lanfranco, Giovanni Maria, - 314 Langa, .Francesco Soto da, 804 Laniere, Nicholas, 607, 574, 676, 697 Laroon, Captain Marcellus, 806 Lasso, Orlando de, 348, 419 Lasus, Charbini, 78 La Tilla, - - 867 Latimer, - 536 GENERAL INDEX. Laudi spiiituale, Lawes, Henry, Lawes, William, lieah, Le Begue, Page - 529 - 578, 679 - 678 - 243,253 151 Le Cene, Michael Charles, - 800 Le Cei?f, Jean Laurent, 783, 784, 902 IjB Clair, Jean Marie, - 900 Lectures, musical, - 181, 572 Legend, or Lectionary, - 257 Legrenzi, Giovanni, - - 665 Leighton, Sir William, - 670 Leipsic Music-school , - 855 Le Jeune, Claude, 434, 534 LeMaire, - - 160 Lenton, John, 701, 770 Leo X., - 803 Leonine verse, - - 185 Leoninus, Magister, - 238 Leopold, Emperor, - 773, 850 L'Epine, Francesca Margarita, 816 Lessons for the harpsichord, 703 L'Estrange, Sir Roger, 578, 708, 790 Le Sueur, - - 835 Le Vacher, - - 609, 652 Leveridge, Bichard, - 827 Lewis XII., - 323 Lewis XIII., - 638, 833 Lewis XIV., 603, 647, 662, 703, 834 Liber Regalis, - 379 Liberal sciences, - 117, 127 Liberati, Antimo, 339, 657 Ligatures, - 222, 231 Limma, 25, 121 Linsey, Mrs., - ' 871 Lira, - 270,447 Listenius, Nicolaus, - 314 Litanv, - 128, 538 Liturg}-, - 538, 542, -576, 688 Loan of books, - - 258 Lock, Matthew, - 706, 714 Loeillet, John, - 823 Loeillet, John Baptist, 823 Long, the, - 422 Loosemore, Henry and George, 771 Iiorente, Ajidreas, 657 Lorenzani, Paolo, 674 Loretus, - - 633 Lossius, Lucas, 387, 397, 581 Eotti, Antonio, 665, 775, 861, 886 Loulig - 776 Louvre, (dance-tune) ' 705 Love, Thomas, - - 907 Low, Edward, - 684, 689 Lucretius, 2 Luigino, - 808 Lully, Ml'., (organist) 691 Lully, Louis, - 777 Lully, Jean Baptiste, 646, 662, 703, 718 Lully, Jean Louis, 777 Lunati, Carlo Ambrosio, 808, 847 Luscinius, Ottomarus, 328 to 332 Lusitanio, Don Vinoenzio, - 392 Lustig, Francis, - - 651 Lute, 206, 328, 354, 367, 404, 418, 602, 706, 729 Lutenists, - - 401,447 Luther, 387, 530, 535 Luther's hjTnn, 388 Lutina, - - 328 Euzzasco, 446 Lyra mendicorum, - 328 Lyra-viol, - - 736 Lyre, - 3, 55, 57, 90, 636, 717 Mace, Thomas, - 686, 726 Machul, - 94 Macrobius, - 199 Madrigals, 335, 449, 492, 509, 517, 628, 861 Madrigal Society, - - 887 Madrigali spirituali, - 427 Mad-songs, - Maestro di cappella, Magnus, Mr., Malcolm, Alexander, Malt-worm, Mancini, Francesco, Mancini, Hortensia, Mandolin, Mandura, Manichordium, Maniera, Manina, Signpra, Manoir, Du, Manual, or ritual. Manuscript, Ashmolean, Page - 825 803 - 826 838 - 374 814 - 794 328 - 602 606 - 244 829 - 833 257 455 Maauscript of Waltham Cross, 132, 230, 240, 252, 623 Manuscript of the Cotton Library, 149, 230, 252 Manuscripts, Fao-simile 941 to 959 Marais, Marin - - 779 Marazzoli, Marco, - 805 Marbeck, John, 362, 380, 449, 538, 544, 571 Marcello, Alessandro, 842 Marcello, Benedetto, 842 Marcellus II., pope, - 421, 802 March, - - 229 Marohand, Jean Louis, 779, 853 Marchesina, Signora," 809 Marohettus, - - 274 Marenzio, Luca, - - 431,482 Margarita de L'Epine, 816 ' Margarita Philosophica,' - 306 Marot, Clement, 531, 549 Marpourg, - - 651 Marsh, Alphonsns, - - 771 Marsh, Dr. Narcissus, 683, 724 Marshall, Samuel, - - 795 Marston, George, - 517 Martin, Jonathan, - - 893 Martini, Giuseppe San, 894 Martyn, Bendall, - - 806 Martyrs, - - 354, 362 Mary Tudor, - - 535 Mary, queen consort of William III., 564 Marzio Krculeo, D., 130, 133, 664 Mason, George, - 571 Mason, John, 356 Masque of the four Inns of court, 579 Masrakitha, 95 Mass, - 152 Mass-priests, - - 143 Master of music, - 354 Master of song, - 453 Master of the grammar school, 453 Mathesou, Johann, - 851 Matteis, Nicola, - 764 Mauduit, Jacques, - 616 Maugars, Mr., 632 Maurice, Landgrave of Hesse Cassel, 442 Maurus, Rabanus, - 152 Maynard, John, - 571 Maynard, Sir John, - 679 Mazarine, Cardinal, 662, 674, 833 Mazarine, Duchess of, - 794 Mazzochi, Domenico, - 44, 396 Meals, music at, 323 Mears, Richard, - 801 Measuring of time, 498, 777, 840 Meibomius, - 110, 642 Melancfhon, - - 630 Meletius, - 182 Meley, - - 664 Mell, Davis, - 681, 701, Mell, Gaudio, - 339, 420 Mell, Rinaldo del, - 421 Melone, Annibale, - 435, 445 Melopceia, - 149, 174 Menalippides, - - 79 Page Mene, - - - 249 Menestrier, Claude Francois, 662 Mengoli, Pictro, - 644 Merchant patrons of music - 333 Merchant Taylors' - - 480 Merci, or Mercy, Lewis, 609, 893 Mercury, - - 3 Meredith, William, 671 Meroilede and Marconefe - 833 Mersennus, Marinus, 600, to 616 Mertz, John Conrad, - 650 Merula, Tarquinio, - - 592 Merulo, Claudio, 400 ' Messiah,' Handel's, - - 890 Metre, - 174, 229, 278 Metronome, 777 Metru, - 160 Meuschel, Hans, 612, 652 Meyer, Joachim, - - 663 Miohaelis, Tobias, 645 Michielli, Romano, - 589 Micrologus of Andreas Omithoparous 247, 308 Micrologus of Guido, 131, 240 Mignatta, Signora, - - 809 Milton, John, 431, 465, 502, 558, 564, 580, 590, 628, 632 Minagnghinim, 95 Minhn, 220, 234 Minnin, 94 Minor canons, - 263 Minoret, Guillaume, - 778 Minstrels, 187, 190, 206, 246, 271, 273, 696 Minuet, - - 704 Miserere of Allegri, - 594 Missal, - 257 Missa Papae Marcelli, - 421 Mobiles and Stabiles, 38 Mobiles and Stantes, - 31 Modes, 46, 53, 56, 130, 223, 231, 235, 309, 318 Modulation, - - 32 Moliere's plays, music in 650 Molinaro, Simone, 437 Monastic life, - - 266 Monochord, 23, 86, 90, 123,163,155, 165, 307, 316, 329, 404, 598 Monro, George, - - 825 Montague, eari of Halifax, 760,817 Monteolair, Michel, - 899 Montenari, Matteo, and Antonio, 808 Monte, Philippus de, . 346 Monteverde, Claudio de, 524, 589 Monticelli, - - 863 Moorish music, 588 Morales, Christopher, 391 Moreau, Jean Baptiste, 777 More, Sir Thomas, - - 324 Moreland, Sir Samuel, 641, 888 Morin, - - 794 Morisco, or Morcsca, 216, 525, 526, 528 Morley, Mr., 784 Moriey, Thomas, 489 to 497 Morley, William, - - 799 Morley's Introduction to music, - 567 Morrice Dance, 216 Moiton, Edward, - 719 Moss, John, - - 772 Motet, - - - 388 Motet in forty parts, - 466 Mother's blessing, (poem of), - 210 Motteux, Thomas, - 815 Mouret, Jean Joseph, - - 895 Mouton, Johannes, 343 Multiplex proportions, - 116 Multiplication of ratios, - 117 Mundv, John, - 499, 571 Mundy, William, - 362, 499, 571, 796 Muris, John De, 149, 175, 217, 246, 263 Muris, Michael Galliculo de, - 808 GENERAL INDEX. Pilge Musars, 185 Muscovita, Signora, 828 Musette, 611 Musioa Transalpina, 431, 509 Musical glasses, 638 Musical illustrations, curious, - 627 Music censured, 253, 265, 300, 457, 536, 679, 683 Music defended, - 382, 457 Music, derivation of the word, 232 Music, effects of, 118, 493, 639, 835, 898, 913 Music, English, - - 291 Music, Feigned, - 244, 411, 444 Music, first used in Christian Church, 105 Music-houses, - 700, 762 Musicians, celebrated, 449, 674 Musicians' company 481, 695 Musicians who were painters, - 676 Music in consonance, 'J9, 103 Music, Italian, - - 586 Music Manual and Tonal, 240 Music-meetings, Oxford, 680, 699 Music of the spheres, 63, 64, 65, 245, 607 Music printing, 379, 423, 469, 675, 687, 735, 800, 804 Music-prize, - 759 Music-school, - 128, 358 Music-sellers, 785, 737 Music, symphoniao, 99, 103 Musurgia, 635, 643 Mutations, - 160, 241 Mysteries and Moralities, 530, 560 Naldino, Santi, - - 804 " Namby Pamby," 828 Nanino, Bernardino, - - 430 Nanino, Giovani Maria, - 421, 429 Nantilde, - - 833 Natural grounds and principles of Har- mony, Dr. Holder's, - 115 Needier, Henry, 791, 806 Neri, St. Philip, - 529 Neuma, 128, 137, 164, 166 Nevel, ■ - 94 Newton, Sir Isaac, 66, 410, 788 Newton, Dr. John, - 771 Nicholas, St., - 172 Nicholson, Richard, - 517, 584 Nichomachus, - 73, 111 Nicola, Margarita San, - 809 Nlcolini, (see Grimaldi), - 808 Nightingale, - - 636 -Nightingale, Koger, ■ - 771 Nivers, Guillaume Gabriel, - 134, 664 Nodus Salomonis, 303 Noel, Henry, - - 522 Noise of Musicians, - - 193 " Non nobis Domine," 298, 468 Norcome, Daniel, - 517 Norman, Barch, 703 Norris, Mr., - - - 772 BTorth, Lord Keeper, 719, 722, 723, 806 North, Sir Dudley, 722 North, the Honourable Eoger, 722, 724 Northumberland, earl of, 384 Norton. Thomas, - 549 Nostradamus, Johannes, - 185 Notation, 127, 134, 155, 157, 218, 736, 941 to 959 Notation, Ancient, , 16, 17, 104, 112, 123, 144, 163, 231 Notation by dots, 737 NotgeruB, or Notker, - 1 51 Nucius, Johannes, 176, 202, 274, 651 Numbers, - 7, 23, 281 Obliquities, - - 231 Ookegem, (or Okenheim) Johannes, 338, 658 Octuples, - - 122 Odingtonus, Gua,lterus, 184, 239 Page Odo, - 158, 164, 181 Officers in Abbeys, - 258 Offices, - 145, 246 Okenheim, Johannes, 338, 658 Oldys, Valentine, 806 Olympus, - - - 76 Opera, 523 to 529, 678, 701, 814, 834, 860, 872, 874 Opera-singers, - - 867 Oratorio 629, 595, 662, 808, 886, 889 Orohesography, - - 215 Orders, ecclesiastical, 264 Ordinal, - - 257 Organ, 138, 147, 154, 207, 225, 238, 262, 277, 329, 446, 564, 577, 590, 612, 689, 692, 740, 748 Organ-blower, - - 456,767 Organ, Hebrew, - - 95 Organ, hydraulic 69, 72, 109, 147, 154 Organists, 264, 386, 448, 456, 590, 623, 627, 657, 663, 727, 748, 771, 851, 856 Organi di legno, - - 525 Organ-makers, 402, 689, 681, 692 Organ-stops, 691 Organo, cymbalum, - 606 Organum, - 239 Oriana, name for Queen Elizabeth, 517 Omithoparcus, Andreas, 308 to 314 Orologio, Alessandro, 482 Orpharion, - - 492 Oi-pheus - 3, 96 Osbem, a monk of Canterbury, - 176 Oscillation of chords, 408, 420 Osmund Bishop of Sarum, 170 Ottoboni, Cardinal, 675 Outroper, or public crier, 763 Oxford, - 679 Oxford Amateurs, - - 680 Oxford, Edward Eari of, - 795 Oxford Music-school, 358, 465, 699 Pachelbel, Johann, 663 Paciani, - - 782 Painting, - 676, 847, 912, 916 Paisible, Mr., 764, 772, 794 Paisley, lord, - 885 Palaces, ancient English, 761 Palestrina, - 389, 420 to 429 Palla, Scipione del, 734 Pallavicino, Benedetto, - 587 Pan, - - 669 Pandects of Justinian, - 180 Pandura, - 73, 86, 602 Pane, Domenico del, - - 805 Pan-pipe, - - 90, 607 Parish clerks, - 558, 561 Parker, archbishop, 458, 644, 550 Parran, Pere Antoine, 902 Parsons, John, ' 465 Parsons, Eobert, - 465, 690 Parts, vocal, - 282 Parvisiis, 292 Pasi, - - 868 Pa.ssacaglio, - 704 Passamezzo, - 417, 509, 703 Paspy, - 705 Pasquin, Bernardi, 646, 674, 808 Pate, Mr. - 754 Patents, 455 Patricio, Francesco, - 435 Paul IV., 421 Paumgartners, - 314 Pauses, - - 231,281 Pavan, - 215, 417, 509, 703 Pavey, Sal, 521 Payne, Gulielmus, 291 Payne, Sir Ambrose, - 291 Peacham, Henry, 430, 469, 483 Pearson, or Pierson, Martin, 571 Pearson, Mrs. - 829 Pecci, Tomaso, - - 632 Pfedals, - 277,665,614,731 Page Fediasimus, Johannes, - 184 Pedrillo, 803 Peirson, Isaac, 88G Pellegrino, Tuono, 184 Pemberlon, Francis, - 603 Pembroke, Lady, 873 Pendulums, 12, 760, 777 Penn, William, - 742 Penna, Lorenzo, - 657 Pepusch, Dr. Christopher, 790, 831, 884, 907 Perfection and imperfectioi;, 222, 281 Performers, instrumental, ■ - 771 Pergolesi, Gio. Battista, 897 Peri, Jacopo, 524 Perrault, Claude, , - 902 Perrin, Abbe, - 647, 662 Perrot, Eobert, - 238 Persapegi, Ovidio, - 657, 658 Pes, - - - 202 Pesenti, Martini, - 436 Peterborough, Countess of, - 871 Peterborough, Earl of, - 871 Petrueci, Ottavio de, - 804 Pewter plates, 801, 802 Pherecrates, 78 Phillips, Ambrose, 874 Phillips, Arthur, 584 Phillips, Peter, - 488, 585 Phillips, a Welchman, - 802 Philolaus, - 8, 9, 123 Phonics, 719 Phrynis, 79 Pica, - - - 257 Pidgeon, Charles, 733 Pie - - _ 257 Pierce Plowman, 143, 191, 518 Pierson, or Pearson, Martin, - 671 Piggbtt, Francis, - 692, 771 Pilkington, Francis, - 522, 571 Pilkington, Thomas, - 493 ' Pills to purge melancholy,' 818 Pindar, - 18, 941 Pipe, _ 4, 607, 622, 720 Pistocchi, Francesco Antonio, 808, 824, 867 Pitch, - 249 Placards, - - 637, 696 Plagal and Authentic, 46, 129 to 132, 183, 136, 244, 319 Plain-chant, - - 278 Plain-song, 255, 294 Planets, - . • - 68, 245 Piatt, Bartholomew, ' 825 Plays, early, - 559 Playford, John, 687, 694, 733, 800 Playford's invention, 687 Playford's sons, John and Henry, 736 Playhouse tunes, 701 Pleasants, Thomas, - 772 Plectrum, 91, 92, 607 Plein-chant, 107, 664 Plica, - - 231,235 Plutarch, 76, 81, 902 Poetry, - 520 Poets, Provencal, 185, 194', 195, 197 Poet laureate, 566 Points (in dress), 207 Poitevin, William, 778 Poliaschi, Gio. Domenico, 804 Poliphant, 535 Politianus, Angelus, 275 Pollacini, Signora, 809 PollaroUi, - - 808 Polybius, 66 Polychronicon, the, 380 Polyodia, lOl Pontifical chapel, 802 Pontio, Pietro, - 430 Pope, Alexander, 814, 872, 879 Pope John XX., . 162 GENERAL INDEX. Page Popular tunes, old, 934 to 936 Porphyrius, 89 Porpora, Nicola, - 877 Porta, Coetanzo, 39, 420 Porter, Walter, 685 PortuasseB, 257 Powels, father and son, - 889 Power of music, 118 Power, Lyonel, 248, 255 Practitioner in music. 517 Pratense, Jacopo, - 804 Pratensis, lodocus, 322, 335 PrsBtorius, Michael, 590 Precentor, 108, 145, 172, 246, 258 Prelleur, Peter, - 807, 896 Price, John, - 331, 608 Prick-song, 255 Priests, 144, 265 Priest, Josias, 745 Primers, - 257 ' Principles and power of Harmony,' a book, - 898 Printing of music, 379, 423, 448, 455, 687, 735, 800, 804 Printz, Wolfgang Caspar, 650 Prizes, musical, 759 Processionals, - 257 Prolation, 223, 309 Properties of singing, - - 234 Proportion, 14, 67, 98, 115, 250, 282, 284, 310, 319, 400, 404, 405 Proportionality, 251, 405 Propriety, - 235 Prosdocimus de Beldemaudis, 275 Prosody, - - 175 Prynne, William, - 679, 683 Psalms, ■ 548, 842, 843 Psalms, translators and versifiers of, 554 Psalmistie, - " 264 Psalmody, - 387, 525, 548, 694 Psalmody, German, - 535 Psalm-singing, 246, 533, 544, 576, 694, 736 Psalter, - 257, 540 Psalterium, 94, 246, 270, 606 Psalterj', - 207 Psalm-tnnes, - 554, 694 Psellus, Michael, - 173 Ptolemy, - 24, 32, 83 Publia, the deaconess, 106 Pulse, human, 402 Puppet-opera, 813 Puroell, Daniel, - 759 Purcell, Edward, - 749,759 Purcell, Henry, 653, 743, 796, 818 Purcell, Thomas, - 743 PuriUns, 467, 545, 576 Puteanus, Erycius, 627 Putta, - 138, 149 Puttenham, Webster, 520 Pye, - 257 Pythagoras, 9, 11, 14, 62, 65 Pythagoreans and Aristoxeneans, 24, 121, 618 <3uadrible, - 249 Quadrivium, 117, 180, 291 Quarles, diaries, 772 Quavers grouped, - 687 Quiolet, - 609, 611, 652 Quinault, - 647 Quintilianus, Aristides, 21, 61, 81 Kaguenet, Ahbg, 783, 902 Kahere, - 198 Eaimondo, - - 196 Kamarinus, Nicolaus, 396 Kameau, Jean Philippe, 900 Kamis, Bartholomeo, - 288 Kamoudon, Lewis, 825 Kampony, Signer, 764 Banelagh, - 888 Easeliiis, Andreas, 434 Page Ratio, superparticular, 25, 28, 123 Ratios, - 115, 446 Raval, Sebastian, - 431 Eavenscroft, John, - 893 Eavenscroft, Thomas, 557, 567, 675 Eayman, Jacob, 703 Bead, Richard, - 522 Reading, John, - 701, 771, 784 Rebec, - - 199, 266 Recitative, 524,589, 695, 629, 633, 898 Record, (bird-singing), 737 Recorder, - 737 Bedford, John, 360, 537, 931 Reformation, - 367 Reformatio Legum Ecclesiasticarum, 536 Regals, 330, 625 Regales de Bois, 330 Reggio, Pietro, - - 718 Reischius, Gregorius, 306, 772 Religious houses, - 258 Relics, - 214 Rests, - - 281 Rhaw, George, 314, 390, 398 Rhodes, Richard, - 683 Rhythmus, - 112, 279, 417 Ribible, - 199, 206 Rioercata, 688 Rich, Mr., 817 .Richard Coenr de Lion, 187 Richardson, Mr. Vaughan, 764, 771 Ricimer, 833 Rinuocini, Ottavio, - 524 Ritomello, - 626, 767 Ritual, - - - 267 Ritual, Greek, 144, 182 Ritualists, Roman, 664, 665 Rizzio, David, 562 Robe, Justice, 791 Robin Hood's Garland, 618 Robinson, John, 665, 827 Robinson, Miss, 857 Robinson, Mrs. Anastasia, - 870 Robinson, Mrs. Turner, 827 Robinson, Thomas, - 567 Roger, Estienne, 675, 800 Rogers, Dr. Benjamin, 582, 733, 933 Rogers, John, - 772 RoUi, Paolo Antonio, - 869 Romances, 185 Romanesoa, 704 Romeo of Provence, 196 Rondeau, - 704 Rore, Cyprian de, - 344, 444 ' Rosamond," an opera by Clayton, 810, 820 Rose, John, - 493, 602 Roseingrave, Daniel, 771 Roseingrave, Ralph and Thomas, 824 Roseingrave, Thomas, - 824 Rosenmuller, Johann, 645 Rosetta, Don Bias, 687 Rosini, Girolamo, - 804 Rosseter, Philip, 571 Rossi, Emilio, 298 Bossi, Lemme, - - 656 Round, 202, 303, 568 Roundelay, 201, 216 Rovetta, - 646 Rowe, Nicholas, 816 Roy, Adrian le, - 418 Royal residences, - 762 Royal Society of London, 724, 739 Royer, Joseph Nicolas Pancrace, 900 Rubrics, 145 Ruckers, the, fharpsichord-makers) 627 Rudello, Giuffredo, ■ 194 Rudhall, Abraham, 616 Budolphine tables, 617 Euifo, Vincenzo, 363 Russian ritual, 146 Rythmopoeia, - 174 Page Eythmus, - - 174,659 Sabbatini of Mirandola, Galeazzo, 395 Sacbut, - - 610, 612 Sadler's Wells, 701 Saggioni, Signer, - 810 Saiutwix, Thomas, 291 Salinas, Francisous, 34, 404 to 417, 628 Salisbury use, - 137,.170, 171, 384 Salmon, Thomas, 715, 839 Salomon, - 779 Sambuca, 269 Sanctuaries, - 261 Sanctus, the Blacke, 535, 921 Sanleques, Jaques de, 380 San Martini, Giuseppe, 894 Santhuns, William de, 807 Sauti. Francesco, 650 Santinella, Marquis, 834 Santini, Signora, 775, 809 Saraband, - 216, 332, 704 Sarisburiensis, Johannes, - 182 Sarri, Petrucoio, and Domenico, - 808 Saul and David, 97 Savioni, Marco, 805 Scacchi, Marco, - 592 Scale of music, - 15,159,160,722 Scarlatti, Alessandro, 678 Scarlatti, Domenico, 678, 824 Scarlattino, - 808 Scheffler, - 645 Schemmem, Heinrich, 663 Schisma, - 28 Schisms, - . 722 Schmidt, Bernard, (Father Smith), 691 Schober, John George, - 650 Schools of Singing, 867 Schrider, Christopher, . 692 Schroder, Johann, 646 Schuchart, - . 664 Schiitterus, Johannes, 651 Schutz, Heinrich, - 591, 645 Sciences, liberal, 117, 127, 180 Score, \. 226 Scorpione, Domenico, - 664 Soots melodies, 437, 509 Scots music, - 562, 838, 896 Scriptorium, . 259 Scrivener, - 502 Sebastianus, Claudius, 399 Sectio Canonis, 20 Secular Music, 198 Sedley, SirCharies, 430 Sellenger's Bound, 408 Semibreve, - 422 Semiditone, - 26 Semitone, 26 Semitone, greater, 27 Semitone, lesser, - , . 26 Semitone, mean, - 26 Senesino, Francesco Bernardo, 870, 872 Serenades, - 447 Serenading, - - 217 Sergeant-trumpeter, office of, 752 Serpent, - - 611 Service-books, 143, 257, 379 Service, Divine, - 143, 176 SesquiaJtera, - - 30' Sesquioctave tone, 10, 14 Seven, g Seven hours, or tide-songs, 143 Severi, Francesco, - - 804 Shake, - . 734,834 Sharp, - 655 Sheeles, John, 826 Shephard, John, 358, 932 Sherard, James, 678, 806 Shore, John, 752, 784 Shore, Matthias, 752 Shore, William, - 752 Shows, Spiritual, - 530, 560 Shuttleworth, Obadiah, 791, 826 GENERAL INDEX. Page Shuttleworth, Thomaf, - 675 Si, - - 159 Siciliana, . 705 Sifaoio, - 653, 808, 867 Sight-playing, 702, 782 Sight^singing, - 335, 448 Signatures, - 619 Silvester II, pope, 154 Silvester, John, 522 Simioum, 92 Simonelli, Matteo, 665 Simplioius, St., - 142 Simpson, Christopher, - 707 Singers famous in 1300, 238 Singers, Female, 809 Singers, Italian, 808 Singers, pontifical, - 802 Singers sent, - 137 Singers, theatrical, their insolence, 633 Singing, 313, 685, 633, 733, 818 Singing, antiphonaj, - 105, 108 Singing-boys, 272, 521, 537, 885 Singing, curious, 537 Singing-masters, - 768 Singing-men, 106, 263, 367, 384, 481 Siuging-women, 108, 265 Sir, (clerical title) 356 Sistine Chapel, - 802 Sistrum, 95, 270 Skelton, - 368, 378 Smegergill, (alias William Caesar) 767 Smeton, Mark, - 833 Smith, Bernard, - 691 Smith, Christopher, (Handel's amanuensis) 801 Smith, Dr. Robert, 914 Smith, Father, 691, 749 Smith, Gerard, 691 Smith, John Christopher, 828 Smith, William, 801 Smoking, - - 766 Snodham, alias Thomas Est, 380, 557 Solmisation, 156, 233, 241, 657, 832 Solo Church-music, 688 Solo-motets, - 665 Sojyman II. 343 Somerset, Earl of, - 441 Sommiero, or Somaiio, - 147, 148 Sonata, 332, 706, 754, 755 Songs, Ancient, 186 to 204, 368 to 379, 707, 754, 785, 797, 799, 812, 820, 830, 864, 880 ' Sons of the Clergy,' music-meeting in St. Paul's, -745 Soriano, Francesco, - 422, 524 Sound, 644, 719, 723, 838 Sounds and colours, 788 Spain, music in, 834 Spandau, - - - 612 Spanish musicians, 391, 431, 448, 587 Spartan decree, 80, 81, 118 Spataro, Giovanni, 44, 288 Speaking-trumpet, 641 Species of the genera, 29 . Speculum Regale, 334 Spheres, music of the, 63, 88 Spinnet, 328, 606 Spiritual shows, 530 Springs, - 721 S. S. collar, or chain, 172 St. Cecilia, Anniversaiy of, 746 St. Evremont, - 661, 794 St. Omer, - 480 St. Paul's cathedral, 577, 800, 852 St. Paul's churchyard, music-shops in, - ■ 801, 852 St. Paul's school, 172 Stabiles and Mobiles, 38 Stage machinery, 782 Staggins, Dr. Nicholas, 739, 764 Stainer, Jacobus, 688 Page Stanesb}', Thomas, - 608, 611 Stantes and Mobiles, - - 31 Stars, - - 63 Stave, (or staff), 129, 151, 157, 169, 239, 242, 379, 384, 627 Steele, Sir Richard, 814, 882 Stefifani, Agostino, - 665, 857 Stefkins, Theodore, Frederick, and Christian, - 725, 771 Stentoro-phonic tube, or speaking- trumpet - - 641 Stephen II., Pope, 138 Stephens, John, - 807 Sternhold and Hopkins, 453, 548 Stemhold, Thomas, 548 Stevenson, Robert, 522 Stifelius, Michael, - - 402 Stiles, Sir Francis H. E., 49, 56, 59 Stoboeus, Johannes, 592 Stockel, Wilhelm, - 650 Stoltzels, Gottfried Heinrich, 658 Stonard, Dr. William, 571, 690 Stoning, Henry, 522 Strabo, Walafridus, 152 Stradella, Alessandro, 652 Straduarius, 688 Striggio, Alessandro, - 286 Strings, - 419, 443, 601, 636, 779 Strogers, Nicholas, 572 Stroud, Charles, 893 Strozzi, Barbara, 594 Strozzi, Laurentia, 594 Strunck, Nicholas Adam, 676 Stubbs, Philip, 702 Style in music, 623 Suarcialupus, Antonio, - 275 Subtraction of ratios, 117 Sulpitius, Johannes, 523 Superparticular proportion, 115 Superpartient proportion. - 116 Surdeline, - 611 Surplices, - 324, 384 Swan concert, 808 Swan, Owen, 747 Swans, - 636 Swayne, William, - 556 SvUables, 156, 161, 436, 443, 633, 657, 658, 660, 690, 832 Symonds, Henry, 791, 826 Symphonia, 269 Symphoniac music, 99, 103, 108, 633, 902 Symphonies, 767 Syncopation, — . - 310 Synemmenon, - 411 Syringa, - - 90, 607 System of the moderns, 45, 394, 655 Systema participato, 401, 626, 655, 839, 841 Svstems, ancient, 5, 110 Tabard, 206 T 3.1)1 3.1jU. r6 404, 418, 447, 686, 729, 734, 736, 941 Table-music, 661 Tabor, - 607 Tactus, - 223, 310, 314 Tailler, Simon, - 184 Tallis, Thomab, 455 to 467 927 Tambouret, - - 29 Tarantula, - 636, 639 Tartaglia, Nicolo, - 403 Tartini, Giuseppe, - - 997 Tate, Mr. Nahum, - 553 Taverner, John, 354 Tavemer, Richard, - 355 Taverns, - - 787 Taylor, Silas, 717 Tea-gardens, 888 Te Deum, 107 Tedeschino of Florence, - 808 Telemann, Geo. Philip, - 855 Page Temperament, 38, 396. 401, 415, 443, 631, 655, 840 Temple, Sir William, - 1 TenehrsB, 650 Tenor, 237, 312 Teosilo, 524 Teipander, 7, 76 Testo, - - 529 Testwood, Robert, 362, 449 Tetrachord diezeugmenon, 14 Tetrachord synemmenon, 15 Teuksbury, Thomas, 234 Tevo, Zaccaria, 772 Thales, the Cretan, 118 Thatcher, William, - 771 Theatres, - - 585,684 Theatres in James I's time, - 684 Theatrical entertainments, 684, 706, 745 Theatrical style, 663, 679, 688, Theed, William, 302 Theil, Andiew, 646 Theil, Benedict Frederick, 646 Theil, Johann, - - 645 Theobald, King of NavaiTe, 186, 198 Theobalde, J., or Theobaldo Gatti, 778 Theodore, 138 Theorbo. 328, 330, 418, 427, 602, 627, 808 Thoph, 95, 97 Thome, John, - - 360, 493 Thorough-bass, 589, 629, 717, 776, 841 Thumpes, - 570 Thurmond, Mr., - 817 Thurstan, Abbot of Glastonbury, - 171 Tibia, - 73, 269, 607, 629 Tibia, Ossea, 89 Tibiffi pares, and others, 90 Til, Salomon Van, - 651 Tillotson, Dr., 740 Time, - - 223 Timotheus, - 76, 80, 118 Tinctor, Johannes de, 275 Tintinabulo, 270 Toccato, 525, 623 Tofts, Mrs. 816 Toies - 570 Toilet; Thomas, 771, 934 Tomkins, Giles, 507 Tomkins, John, 507 Tomkins, Nicholas, 507 Tomkins, Thomas, 507 Tone greater, - 29 Tone lesser, - 25 Tones, or Modes, 46, 129 to 132, 183, 136, 244, 319 Tone, Wandering, - 134 Torelli, Giuseppe, - 675, 706, 772 Torkesey, Maglstrum Johannem, 248 Torn, Pietro, 595, 773 Tosi, Pier-Francisco, 653, 764, 823 Transposition, 59, 776 Travers, John, 907, 910 Traverso, (see Flute), 331 Treban, a Welsh tune, - 769 Trenchmore, - 705, 934 Trent, council of, 353, 382, 590 Trigon, 74, 91 Trill, 733 Tritonus, - - - 14 Triumphs of Oriana, - 489, 517 Trivium, - 117, 180, 291 Tromboni, - - 525 Troparion, 181, 257 Troper, - 257 Tropes, - 131 Trost, John Caspar, 494 Troubadours, 185 Trouverres, - - 185 Trowle the bowl, - 374 Trowthe and Informacion, (a poem), 353 Trumpet, - 332, S53, 612 GENERAL INDEX. Trumpet Marine, Truncation, Tuba, Tubal, - Tucker, William, Page 329, e03, 763 238 90, 246, 612 - 245,247 - 713 Tudway, Dr. Thomas, - 794 Tuning, 38, 680, 685, 760 Tuning-fork, - 752 Turkish music, - 619 Turner, Dr. William, 754, 798 Turner,. Miss, - - 798 Turner, William and Btenry, 798 Tusser, Thomas, - - 537 Tutbury, - - 192 Tycho Brahe, 616 'Tye, Christopher, - - 452 Tympanum, - 92, 94, 246, 269 Types, Musical, - 735, 802 TJdall, Nicholas, - 538 TTghi, Count, 862 ■Unison, - 407 Urban VIII, - 628 Use, Salisbury, &c., 137, 170, 171 Valentini, - 809 Valentini, Pietro Francesco, 303, 590 Valla, Georgius, - 68 Valle, Pietro della, 395 Vanbrugh, Mr. - - 826 Vander Heyd, Andrew Paul, 650 Vanneo, Steffano, - 314 Vareniua Alanius, - 306 Vaudeville, 201, 569 Vauxhall, - - 888 Veochi, Horatio, - - 430 A''elkiers, Esther Elizabeth, 596 Venetian concert, - 686 Venosa, prince of, - - 437 Ventriloqui, 791 Viadana Ludovico, - 589 Vibration, - 720, 760, 839 Vicars choral, - - 2G3 Vicentino, Don, 41, 43, 44, 219, 392, 416 Victoria, Tomasso Lodovico da, 431 Vielle, - - 605 Vienna, music at, 834, 850 Vieuville, Mons. de la, 836, 902 Vigarini, 647 Villanella, 608 Vincent, Thomas, 895 Vincentius, - - - 184 Viol, 233, 329, 416, 441, 628, 779, 793 Violars, 185 Viold'Amore, - - 866 Viol de gamba, 419, 448, 603, 686, 747 Page Vlole da brazze, - - 525 Violin, 436, 603, 647, 680, 687, 701, 736, 782, 823, 897, 900, 903 Violin-bow, - 782 Violin-makers, - 687, 793 Violin-playing, - 767, 770, 808 Violini piocoli, - 525 Violone, - - 603, 899 Violoncello, - 603, 808, 866 Viols, chest of, 572, 603, 685, 732 Viols, concert of, - - 685 Virginal, - 328, 367, 535, 606 Virginal lesson, - 201 Virilay, 201, 518, 569 Vitali, Filippo, - - 805 Vitalianus, Pope, 138, 147 Vitriaco, Philippus de, 184, 221 Vitruvius, - 68 Vittori, Cavalier Loreto, 80S Vittoria of Florence, - 857 Vivaldi, Antonio, 837 Voce di petto, 537 Voce di testa, - 537 Voice, human, - 62 Voluntaries, 623, 884 Vossius, Gerardus Johannes, - 627 Vossius, Isaac, - - 70, 659 Waits, 207, 272, 444, 762, 768, 893 Wakeley, Anthony, - - 772 Wallis, Dr. John, 36, 54, 102, 144, 739 Walsh, John, 801 Walsh, Jun., 801 Walsingham, - - 468 Walsyngham, Thomas de, 218, 248 Walter of Evesham, 184 Walter, John, - - 772 Waltham Cross, MS., 132, 230, 240, 252 Walther, family of, - - 855 Walther, Johannes, Ludolphus, 379 Walther, Johann Gottfried, 855 Wanless, Thomas, 772 Wanley, Mr. Himifrey, 145 Waterhouse, George, - 296 Water Music, - 858 Watson, Thomas, 510, 521 Ward, John, 517, 572 Warwick, Thomas, 585 WeckcT, George Caspar, 663 Weedon, Cavendish, - 762, 765 Weelkes, William, 501 Weelkes, Thomas, - - 499 Weeley, Samuel, - - 784 Weldon, John, - 784 Welsh Music, - 564 Page Werckmeister, Andreas, - 673 Werckmeister, Christian, - 673 Werckmeister, Victor, - - 673 West, Mr., - 132 Whichello, Abiell, - 791, 828 Whipping-boy, 453 Whistle, - 721 White, Matthew, - - 572 White, Robert, - 572 Whitelocke, Bulstrode, 579, 583 Whitson-ales, - - 702 Whittington, Sir Richard, 334 Whittyngham, William, 549 Whythome, Thomas, - 499 Wilbye, John, - 610 Willaert, Adriano, 339 William, duke of Normandy, 833 William III, - 833 Williams, Bishop, and Lord Keeper, 670, 771 Williams, Thomas, - - 772 Wilphlingsederus, Ambrosius, 338, 397 Wilson, Dr. John, - 582, 680 Wisdome, Robert, - 549 Wise, Michael, 719 Wolsey, Cardinal, 384, 386 Woltz, Johann, 589 Wood, Anthony, - - 680 Woodcock, Robert, 608, 826 Woodcock, Thomas, 826 Wood-cuts (see separate Index). Woodson, Mr. - 754 Woolaston, Mr., - - 790, 791 Wren, Sir Christopher, 259 Wyat, Sir Thomas, - 549 Wylde, Johannes, 132, 240, 244 Wymal, John, 494 Yong, Bar., - 521 Yonge, Nicholas, 609, 521 York, contention at, 173 York tune, - 502 Youll, Henry, 517 Young, Charies, - 807 Young, Cecilia, Esther, & Isabella, 807 Young, John, 807 Young, Talbot, 807 Za, - 160 Zacconi, Lodovico, - 436 Zachau, ■ - 645, 646, 856 Zambras, royal feast; of the Spanish Moors, - 523 Zariino, Gioseffo, 399, 403, 628 Ziani, Mark Antonio, 775 Zincke, the, - - 331 LIST OF THE PORTRAITS, &c. IN THE SUPPLEMENTARY VOLUME, WITH THE PAGES THEY SHOULD FACE, IF INTERLEAVED IN THE TEXT. To face page Guido Aretinus present- ing his book to Pope John - Frontispiece. Sir John Hawkins 5 Philippus de Monte 346 Orlando Lassus - 348 Christopher Morales 391 Giovanni Pierluigi da Palestrina - 420 Giovanni Maria Nanino 429 Felice Anerio 430 Euggiero Giovanelli 430 Claude lo Jeune 434 Hercole Bottrigaro 435 Scipione Cerreto 447 John Bull 480 To face page Nicholas Laniere 507 William Heyther 572 Oriando Gibbons 573 John Hilton 678 Henry Lawes 578 John Wilson - 582 Paolo Agostino 590 Gregorio Allegri 594 Marin Mereenne 600 Girolamo Frescobaldi 623 Jean Baptiste LuUy - 646 Francesco Foggia 657 Antimo Liberati 657 Matteo Simonelli 665 Archangelo Corelli 674 A curious Violin 687 To face page Bernard Smith 691 Christopher Simpson 707 Christopher Gibbons - 713 William Child - 713 Mathew Lock - 714 Thomas Mace - 726 John Playford - 733 John Blow 740 Henry Purcell - 743 William Holder 760 Mrs. Arabella Hunt - 761 Henry Aldrich - 765 Thomas Britton 788 William Croft 796 Andrea Adami 802 Interior of Sistine Chapel 803 To face page Henry Needier 806 Thomas D'Urfey 818 John Banister - 824 Henry Carey - 827 J. Christopher Pepusch 831 Antonio Vivaldi - 837 Francesco Geminiani 847 Geo. Fred. Handel 866 Giovanni Bononcini 860 Attilio Ariosti - 866 Mrs. Anastasia Robinson 870 Francesco Bernardo Se- nesino -. 872 Signora Cuzzoni Sandoni 873 Signora Faustina - 873 Cario Brosohi Farinelli 876 INDEX MUSICAL ILLUSTRATIONS. PAGE. Songs of birds ... ... ... ... 2 Ciy of the Sloth ... ... ... ... 3 ■ Vobis Datum;' (Four voice composition, hyCostanzo Porta) ... ... ... ... ... 39 Diatonic, chromatic, and enhannonio fourths and fifths 42 Specimen of the true chromatic (motet, by Vicentino) 43 Example of the enharmonic (madrigal, by Vicentino) 43 Madrigal, by Vicentino, for four voices, which may be sung five ways ... ... ... ... 44 Brossard's scheme of the Octave ... ... 45 Morley's examples of ditto ... ... ... 46 Examples of transposition ... ... ... 60 Gaffmius's exhibition of Ecclesiastical Tones 132, 133 Erculeo's representation of the tones ... ... 133, 134 Tabula tonorum ... ... ... ... 136 Early Latin hymns ... ... 156, 157, 158 Gregorian hymns ... ... ... 163,164,167 Song of Theobald, King of Navarre ... ... 186 ' Summer is i cumen in,' (Canon in the unison) ... 201 Ditto in modern notation ... ... ... 202 Examples of Common and Triple time ... ... 227 Various processes of Hai-mony ... ... 227 Example of Canto Fermo ... ... ... 227 Example of Contrapunctus Simplex ... ... 227 Example of Contrapunctus Diminutus sive Floridus 228 Example of Canto Figm'ato ... ... ... 228 Voluntary and March for tVie dram (time of Charles I.) 229 A Cantilena, said to be fcy Guido Aretinus ... 243 Examples of Faburden ... ... ... ... 256 Morley's citation of a passage from John of Dunstable 274 Specimen of counterpoint ... ... ... 282 Examples of proportion ... ... ... 285,286 Examples of Canon, by Bird, Eossi, Bull, and others 294 to 305 An exercise of Ficta Music ... ... ... 308 'A Furore tuo,' (cantus for four voices, cited by Glareanus as an exemplar of the Dorian) ... 320 ' Conceptio Maria;,' (hymn, by Henricus Isaac) 322 Canon, by lodocns Pratensis ... ... ... 324 PACE. 327 336 338 340 343 344 ' Ne Iffiteris,' (hymn, by Damianus A'Goes) ' Jesu Fili David,' (motet, by lodocns Pratensis) Canon and resolution, by Johannes Okenheim ... ' Quem diount homines,' (motet, by Adrian Willaert) ' Salve Mater,' (hymn, by Johannes Mouton) ' Ancor die col partire,' (madrigal, by Cyprian de Eore) ' Da bei rami scendea,' (madrigal, by Filippo de Monte) 346 ' Oh d'amarissime onde,' (madrigal, by Orlando de Lasso) 349 ' O splendor glorise,' by John Tavemer ... 355 ' Ave summe etemitatis,' by Dr. Fayrfax ... ... 356 ' Ad lapidis posicionem,' (motet, by John Dygon) 358 • Stev'n first after Christ,' by John Shephard ... 358 ' Stella coeli extirpavit,' (motet, by John Thome) 360 ' Quam pulchra es,' by K. Henry VIII. ... ... 363 • Ah, beshrew you,' by Wm. Comyshe, jun. ... 368 ' Hoyday, hoyday,' by Wm. Comyshe, jun. ... 370 Example of false harmony ... ... ... 395 ' Sicut oervns desiderat,' by Palestrina ... ... 423 ' Credo gentil dagli amorosi vermi,' by Palestrina 427 ' Dissi a I'amata,' by Luca Marenzio ... ... 432 ' Baci soavi e cari,' by the Prince of Venosa ... 438 ' A Virgin and Mother,' (hymn, by John Marbeck) 451 ' It chaunced in loonium,' by Dr. Tye ... 454 ' Absterge Domine,' (motet, by Thos. Tallis) ... 458 ' Miserere nostri,' (canon, by Thos. Tallis) ... 463 Sellenger's Bound (an old country-dance tune) ... 468 ' Venite exultemus,' (motet, by "Wm. Bird) . . , 470 ' DiligesDominum,' (canon recte et retro, by Wm. Bird) 476 ' Voi volete,' (madrigal, by Peter Phillips) ... 483 ' Besides a fountaine,' (madrigal, by Thos. Morley) ... 494 ' Aye inee, my wonted joycs,' (madrigal, by Thos. Weelkes) ... ... ... ... 499 ' O had I wings like to a dove,' by John Milton ... 602 Example of plain-song ... ... ... 605 Example of Canon, five parts in two, recte et retro ; et per arsin et thesin ... ... ... ... 605 ' Your shining eyes,' (madrigal, by Thos. Bateson) 506 ' Ladle, when I behold,' (madrigal, by John Wilbye)... 510 ' Yee restlesse thoughts,' (madrigal, by John Bennet) 513 INDEX TO MUSICAL ILLUSTRATIONS. PAGE. ' Ton pretty flowers,' (madrigal, by John Farmer) 515 'Perch's lo sdegno,' (recit.), and 'Saliam cantan,' (duet), by Claudio Monteverde ... ... 526 Moresca, (a dance-tune, by Claudio Monteverde) ... 528 Specimens from the 'Book of Common Prayer noted,' by JohnMarbeck ... ... ... 539,541,541 ' The man is blest ;' ' There is no God;' ' God my strength ;' ' Lord, give thy judgments ;' and ' Now Israel;' five Psalms ... ... ... ... 554 ' There lyes a Pudding,' old song ... ... 568 ' Ora et labora ;' ' Miserere mei ;' ' In te Domine ;' ' Exaudi ;' and ' Quicquid petieritis ;' five rounds 568, 569 ' Wee be souldiers three,' song for three voices ... 569 Coranto, by Bulstrode "VVliitelocke ... ... 597 ' Sweet Echo,' (song, by Henry Lawes) ... ... 580 ' Vobis datum,' (madrigal, by Marco Scacchi ... 592 ' Cara cara 'e dolce,' (duet, by Marco Antonio Cesti), ... 595 Canzona, by Johann Casper Kerl ... ... 597 Turkish Prayer-song ... ... ... ... 619 Canzona, by Girolamo Frescobaldi ... ... 624 ' Tu crois 6 beau soleil,' (an air, by Louis XIII.) ... 638 ' Boland, courez aux armes,' (opera air, by Jean Baptiste Lully) ... ... ... 649 ' Forma un mare' (duet, by Abbate Steffani)... ... 667 AUemand, by Thomas Baltzar... ... ... 682 Division on a Grotjnd, by Christopher Simpson . . . 710 Lesson called ' My Mistress,' by Thomas Mace . . . 730 A Consort-lesson to the former, by Thomas Mace ... 731 ' Parthenia,' a tune so called ... ... ... 735 ' Dite o Cieli,' (duet, by Giacomo Carissimi) 741 ' .ffiolus, you must appear,' (song, by Henry Purcell) 649 Sonata, by Henry Purcell ... 755 ' Some write in the praise of Tobac,' (a snuff catch, by Eobert Bradley) ... ... ... ... 766 Bell melody ... ... ... ... 770 Allemande, by Francois Couperin ... ... ... 780 ' From grave lessons,' (air, by John Weldon) . . . 735 ■ A soldier and a sailor,' (tune, by John Eccles) ... 786 ' Small coal,' notes of Thomas Britton's cry ... 790 ' My time, ye muses,' (air, by Dr. Croft) ... ... 797 ' Bury delights my roving eye,' (song for two voices, by John Isham) ... ... ... 799 Overture, by Thomas Clayton ... ... ... 811 ' Since conjugal passion,' (duet, by Thomas Clayton) 812 ' In vain is delay,' (song, by Gio. Bononcini) ... 8i2 ' Too lovely crael fair,' (air, by Nicolino Haym) . . . 820 ' Ye that in waters glide,' (duet, by John Ernest Galliard) 830 ' Dal Tribunal augusto,' (Psalm, by Benedetto Marcello) 845 Solo, by Francesco Geminiani ... ... ... 848 Aria, by John Sebastian Bach ... ... 853 ' Deh lasoia o cofe,' (air, by Gio. Bononcini) ... 864 ' By the streams,' (duet, by Dr. Greene) ... ... 880 Hornpipe, by John Eavenscroft ... ... 894 Solo, by Corelli ... ... ... ... ... 904 • Defyled is my name,' by Eobert Johnson . . . 920 ' tu qui dans oracula,' (a song called ' The Black Sanotus,' by John Harrington) ... ... 921 ' The eagle's force,' (a song, by William Bird) . . . 922 ' Where griping grief,' (a song, by Eichard Edwards) ... 924 ' By painted wordes,' (song, by Eichard Edwards) 925 ' Like as the dolefull dove,' (song, by Thomas Tallis) 926 'In going to my naked bedde,' (song, by Eichard Edwards) ... ... ... ... 927 ' Eejoyce in the Lord,' (anthem, by John Bedford) . . . 929 A Meane, by William Blitheman ... ... ... 931 A Poynte, by John Shephard ... ... ... 932 A Voluntary, by Master AUwoode ... ... 932 ' Te Deum Patrem,' (a grace, by Dr. Sogers) ... 933 ' The Shaking of the Shetes," an old country-dance tune 934 ' Trenchmore,' an old country-dance tune ... ... 934 ' Paul's Steeple,' an ancient popular tune . . . 934 ' Old Simon the King,' tune to an old song ... ... 934 ' Toilet's Ground' ... ... 934 ' John, come kiss me ' ... .. ... ... 935 'EogerofCoverly' ... ... ... ... 935 ' Cold and raw,' an old tune ... ... ... 935 ' Green Sleeves,' [frequently alluded to in the old Dramatists. — Ed.] ... ... ... 935 ' The Old Cebell,' by Gio. Batt. Draglii ... ... 935 ' Bellamira,' a favorite ground, by Solomon Eccles 936 Farinel's Ground ... ... ... ... 936 ' Johnny, cock thy beaver' ... ... ... 936 ' Hedge-lane,' a dance-tune, by John Banister . . . 936 Mdlle. Subligny's Minuet ... ... ... 936 ' John Dory,' ballad-round for three voices ... ... 937 ' Uxor mea,' a round for three voices ... ... 937 Tune to the old ballad of ' Cock Lorrel ' ... ... 937 An old ballad-tune ... ... ... ... 937 • I pass all my hours,' (song by Pelham Humphrey) ... 937 Tune to the Fandango, a Spanish dance ... 938 Tune for a rope-dance, by John Eccles ... ... 938 Lesson of Descant, by Master Giles ... ... 961 N.B. Pages 1 to 486 are in Vol. I.— Pages 487 to end are in Vol. II. INDEX DIAGRAMS, WOODCUTS, AND MISCELLANEOUS ILLUSTRATIONS. VAGE, Ancient Ljres ... ... ... ... 3, 4 Boetius's Diagram of the Diapason ... ... 5 Diagram of the Strings of Mercury's Lyre ... ... 5 Two Diagrams of the Greek nomenclature of the Strings of the Lyre ... ... ... ... 5 Diagram of Septenary System ... ... ... 6 Three Diagrams of the System of Terpander ... 7, 8 System of Philolaus ... ... ... ... 9 A Diagram from Archimedes ... ... ... 10 Pythagorean Diagram of the Diapason ... ... 10 Diagram of the Tritone ... ... ... 13 Five Diagrams of the System of Pythagoras ... 14, 15 Greek and Latin naming of the Tetrachords (in note) 16 Ancient Method of Notation ... ... ... 16,17 Sectio Canonis of Euclid ... ... 20, 21, 22, 23 Ptolemy's Demonstration ... ... ... 25 Two Demonstrations ty Dr. Wallis ... ... 25 Thi'ee Diagrams by Didymus ... ... ... 26 Diagram by Salinas ... ... ... ... 27 Diagram from Philolaus ... ... ... 28 Demonstration of Pythagorean Comma ... ... 29 Salinas's Demonstration of Consonances ... ... 29 Aristoxenean Synopsis of the Genera ... ... 30 Three Demonstrations of the Genera from Ptolemy 82 Three ditto from Boetius... ... ... ... 33 Mersennus's Scale ... ... ... ... 34 Five Demonstrations of Diatonics ... ... ... 35 Three Demonstrations of Chromatics ... ... 36 Two Demonstrations of Enharmonics ... ... 36 Demonstration by Dr. Pepusch ... ... 38 Ptolemy's Representation of the Modes ... 47, 48 Three Scales of Species ... ... ••■ 49,50 Two Diagrams from Salinas ... ... 50,51 Scale from Dr. Wallis ... ... ... 63 Scale of Tones ... ... ■•■ ••■ ••• 53 Dr. Wallis's Scheme of Keys and Modes ... 56 Sir Francis Stiles's Statement of Modes ... ... 57 Sir F. Stiles's Diagram of the Seven Species of the ison ... ... ••■ ••■ ••• 68 PAGE. Division of Music by Aristides Quintilianus ... 61 Diagram of the Intervals of the Spheres ... ... 65 Hydraulic Organ ... ... ... ... 71 TctrachordSynemmenon... ... ... ... 74 Harmonical Septenary and Planets ... ... 75 Demonstration of the Ratios of the Consonances ... 84 Diagram of ' the Helicon' ... ,,, ... 86 Diagram of the Monochord ... ... ... 86 Porphyry's Delineation of the Harmonic Canon ... 89 Ancient Musical Instruments ... ... 89,90,91,92 Hebrew Instruments ... ... ...94,95,96 Scheme of Tonal Progression ... ... ... 107 Diagrams from Euclid ... ... ... 116 Spartan Decree, in the Original Greek ... ... 118 Diagrams of Intervals ... ... 121,122,123 DiagramsofPlagal, and Authentic Tones ... ... 130 Characters for Plain-Song ... ... ... 134,135 Sommiero of an Organ described by Zarlino ... ... 148 Pneumatic Organ described by Mersennus . . . 148 Hucbald's Method of Punctuation ... ... ... 153 Specimen of Canto Fermo in Letter Notation ... 156 Diagrams ef a Seven Line Stave and of a Ten Line Stave 157 Specimen of a Greek Hymn on a Stave of Eight Lines 158 Form of Interlinear}' Punctuation ... ... ... 158 Hexachords .:. ... ... ... 158 Bontempi's Scheme of Hexachords .. . ... ... 159 Scheme of Hexachords ... ... .j, 160 Solmisation upon the Hand ... ... ... 161 Hymns in Letter Notation ... ... ... 163 Examples from Guido Aretinus ... ... ... 164 Two Diagrams of the Diatessaron and Diapente ... 165,166 Two Schemes of Letter Notation ... ... 166,167 Two Examples of the Diaphonia ... ... 167 Marks of Ancient Notation ... ... ... 169 Characters of Notation ... ... 219,220,221 Two Diagrams of Degrees of Measures ... 221, 225 Specimens of various characters of Notation ... 227 to 236 Solmisation upon the Hand ... ... ... 233 Specimen of a Hocket ... ... ... 238 INDEX TO DIAGRAMS, ATOODCDTS, ETC. PAGE. Diagram of Triangle and Shield ... ... ... 248 Specimens of Quadrangular Notes ... ... 248 FigureofaCruth ... ... ... ... 26S Characters for the Measurement of Time 279, 280, 281 Morley's Tab'le of Proportions ... ... ... 283 Circular form of Canon ... ... ... 297 Two triangular forms of Canon ... ... 299, 300 Five Figures exemplifying the method of using the Monochord... ... ... ... ... 807 Characters of Notation ... ... ... 811 Figure of a Monochord ... ... ... ... 317 Scheme of Glareanus's System of the Twelve Modes 319 Scheme of Plagal, and Authentic Modes Various Instruments in use in 1536 First Musical Characters printed in England Specimens of Cleffs ... Specimens of Cleffs Zarlino's Figure of the Intense Diatonic of Ptolemy Parallelogram of the Ratios of the Consonances Des Cartes' Figure, showing the division of Diapason Diagrams of Proportions ... Salinas's division of the Diapason Salinas's Diagi'am of Harmonic Ratios Harrington's Diagram and Demonstration of ditto Type of the Diatonic Type of the Chromatic and of the Enarmonic Division of the greater Semitone ... The thirty-one Intervals of the Octave ... Figure of a Lute, and of the posture for holding and playing on it Tablature Notation Figures showing a method of asoeitaining the good- ness of Lute-strings ... Representation of Palestiina offering his book to the Pope 422 Figure of Zarlino's Invention for demonstrating the Ratios ... 320 .328 to 332 ... 380 392 397, 398 399 ... 400 the 401 406, 407 409 ... 409 409 ... 413 414 ... 4U 416 418 419 420 of the Consonances 466 Method of Tuning the Lute represented ... 447 Tones and Semitones on each of the Chords 447 Tablature by Figures ... , ... ... 447 Figure of the Orpharion 492 Figure of the Bandore ... .:. ... 493 Notation ... 562 Table of Chords and Intervals ... 598 Division of the Tone ... 599 PAGE. Two Divisions of the Oc.ave ... ... ... 599 Figures of the Cithara or Lute, the Theorbo, the Pan- dara, the Mandura;, the Spanish Guitar, and the Cistmm, or Cittern ... ... ... 602 Figures of the Lesser Barbiton, or Kit, and oi the Viol 603 Figure of a Lyre ... ... ... ... 604 Figure of a TiTimpet Marine ... ... ... 605 Figures of the Pan-pipe, and of several kinds of Tibi» 607 Figure of a small Flute ... ... ... ... 607 Figures of a Flageolet, and of a Flute Abec ... 608 Figures of Roy^l Flutes, and of a. Treble Flute ... 609 Figures of Hautboys, and of Bassoons ... ... 610,611 Figures of the Comet, and of the Serpent .. ... 611 Figures of the Glottides of Organ-pipes . . ... 013 Figure of an Organ in the time of King Stephen ... 615 Charactei-s of Cleffs ...' ... .. ... 619 Uiagram of the Mundane Monochord ... ... 623 Figure of a Pipe .,., ... ... .. 622 Table of the Division of the Octave ... ... 625 Emblematical Device from, an Antique Gem ... 636 Two Figures of Kircher's .Sloliau Harp ... ... 640 Division of the Octave ... ... ... 655 Tablature Notation ... ... .. ... 686 Figure of Carved Violin ... ... ... 687 Tablature Notation ... ... ... 734,735 Figure of a Fine Gentleman of the yeai- 1700, playing on the Flute .-. ... .., ... 738 Diagram from Sir Isaac Newton ... ... ... 788 Two Schemes for Tuning ... ... ... 839 Collection of Fac-similes, ... ix. . . . clxxxix. 872 306 ... ii. ... cxxxvii. 650 246 ... X. . . . cxc. 874 314 ... iii. XV. Cap. cxxxviii. 654 255 Cap. i. Bk. III. . . . cxci. 877 322 ... iv. ... . . . cxxxix. 657 266 ... ii. ... ... cxcii. 884 343 ... V. ... cxi. 665 285 ... iii. ... . . . cxciii. 887 351 ... vi. ... cxli. 673 306 ... iv. ... . . . cxciv. 891 360 . . . vii. ... cxlii. 679 321 ... v. . . . cxcv. 897 374 . . . viii. ... cxliii. 683 333 ... vi. . . . oxcvi. 902 389 ... ix. ... ... cxliv. 685 338 ... vii. ... cxcvii. 907 400 ... X. ... cxIt. 688 347 ... viii. ... Conclusion 917 426 Conclusion . . . cxlvi. 692 357 ... ix. Appeadix 920 431 Appendix ... cxlvii. 695 365 ... X. ludczes 965 481 Index. •?mm im fs^ ^w^^ w^m m wmmmmm SttSi