ng University

Ace. 196685

No

t-

GENERAL HISTORY

OF T H S

SCIENCE and PRACTICE

O F

MUSIC,

B Y

SIR JOHN HAWKINS.

VOLUME THE THIRD.

LONDON,

Printed for T. PAYNE and So n, at the Mews-Gate,

IViDCCLXXVI.

•^'.v

^^m

GENERAL HISTORY

O F

M US I C.

VOLUME THE THIRD.

A

GENERAL HISTORY

O F T H E

SCIENCE and PRACTICE

OP

MUSI C.

B OOK L CHAP. I.

THE foregoing deduaion of the hiftory of mufic in England, and the fpecimens of vocal compofitions above given, refped: chiefly the church- fervice, and bring us nearly to that period when the Romifh ritual ceafed to prefcribe the modf* of divine worOiip, and choral fervice in this country alTumed a new form. The general ha- voc and devaftation, the difperfion of conventual libraries, and the deftrudion of books and manufcripts, which followed the diflblution of monafteries, and the little care taken to preferve that which it was forefeen would (hortly become of no ufe, will account for the diffi- culty of recovering any compofitions of fingular excellence previous to the time of the reformation ; and that any at all are remaining is owing to the zeal of thofe very few perfons, who were prompted to collea them as evidences of the fldll and ingenuity of our ancient churc(;i muficians.

From hence we may perceive that as far as concerns the mufic of the church, we are arrived at the commencement of a new era j and fuch in truth will it appear to be when we come to fpeak of the reformed liturgy, which though it was fo calculated as to be fufcep- tible of all thofe advantages that divine' fervice is fuppofed to derive

Vol. III. B f^o^^

2 HISTORY OFTHE SCIENCE Book I.

from mufic, can neither be faid to be borrowed from that of the Romifli church *, nor to refemble it fo nearl)? as to offend any but fuch «s deny the expediency, and even lawfulnefs of a liturgy in any form whatever.

Thefe reafons render it necelTary to poftpone for a while the profe- cution of the hiftory of church-mufic in this our country, and to re- affume that of fecular mufic; in the improvement whereof it is to be noted that we were at this time fomewhat behind our neighbours ; for till about the commencement of the fixteenth century it does not appear that any one of the Englifh mafters had attempted to emulate the Flemings or the Italians in the compofiiion of madrigals ; for which reafon the account of the introdudtion of that fpecies of mufic into this kingdom mufl alfo be referred to a fubfequcnt page.

In the interim it is to be obferved that fongs and ballads, with eafy tunes adapted to them, mufl at all times have been the enter- tainment, not only of the common people, but of the better fort: Thefe mufl have been of various kinds, as namely, fatirical, humour- ous, moral, and not a few of them of the amorous kind. Hardly any of thefe with the mufic to th^m are at this day to be met with, and thofe few that are yet extant are only to be found in odd part books, written without bars, and with ligatures, in a charader fo obfolete, that all hope of recovering them, or of rendering to any tolerable degree intelligible any of the common popular tunes in ufe before the middle of the fixteenth century muft be given up. The two that follow have neverthelefs been recovered by means of a manu- fcript formerly in the colledtion of Mr. Ralph Thorefby, and men- tioned in the catalogue of his Mufeum, at the end of his Hiftory of Leeds J they both appear to have been fet by William Cornifh of the chapel royal in the reign of Henry VII. The words of the firft fong were written by Skelton, and there is a diredl allufion to them in a poem of his entitled the Crowne of Lawrell, printed among his works. Tlfe latter fong is fuppofed to be a fatire on thofe drunken Flemings who came into England with the princefs Anne of Cleve, upon her marriage with king Hen, VIII.

* That the Book of Common Prayer hath its original from the mafe-book is exprefsly denied by Hamon L'Eftrange, in his Alliance of Divine Offices, pag. 24 ; and the pre- face to queen Elizabeth's Liturgy refers to the ancient fathers for the original and ground; ■t^eieof. ^

Chap. I. AND PRACTICE OF MUSIC.

It.-, ^ V ff

\— H be -1 fhrew yoTi by my j fay tberew'anton

w

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fay

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my Popin - j gj what^il ye d o

tiilly vallv fb'aw

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girp chriftian clowte

HISTORY OF THE SCIENCE Book L

P-Tir

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PAR

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Chap. I. AND PRACTICE OF MUSIC

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mylk and Ale what marerly Margery myik and Ale

HISTORY OF THE SCIENCE Book I.

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now fje

fje

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£=£

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rhat

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what manerly Margery mylX a::d

Chap. I. AND PRACTICE OF MUSIC

Ale itvjrlk and Ale what manerly Margery nvylk and Ale

^

PART

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\ave I

Wallte forthe^ourj wav ye coft me

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found that I have iCiughte thebeftchepej fifcfhthat e—ver I !

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yetforbysj love that! all hath | wrought wed me or

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HISTORY OF THE SCIENCE Book!.

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thought

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M'lLLlAM C08KYSHE JUN

Chap. I. AND PRACTICE OF MUSIC.

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HOYliAYhoy-rday JoUy rutte..Xin hoy-day ho;y

- dwy liVeaml —

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hty-day h(y-day htiy - day hoy-day like anitte-kin hoy - day

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Vol. III. C

10

HISTORY OF THE SCIENCE Book I.

^~~0 ri \

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Ruttfclcin is come \.i.to o-ir | to-An In a

23

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1113

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Chap. I. AND PRACTICE OF MUSIC.

II

# — »

ho^xf^hoy day like

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C z

12

HISTORY OF THE SCIENCE Book I.

Vr ^ '* ■

^-t I' ■ ! ■

cliihe liVe a r utt .Y\i\ hoy-diy. -

i

*!. — abouthis difhe a bout his

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hoy -day hoy-

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m

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day hoy -day hoj-daylike a rutte-kin hoy - day like a

Chap. I. AND PRACTICE OF MUSIC.

13

m

^

m

rutte-.lcin hoy

1 a rxttte -Xiii hoy

^

FF=»

:Sk

1—

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I I i — t—

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J ,.l J .J

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Rutte - Itin Ihall "bring yoii iaU good 1 iick ^ —

ii'i v:f" i!i

hoy-day hoy- day Rutte-kiufhallbringyou all good - —

0\ Q 0 — Ot

g

P\ P >

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fVoop of iBeer up

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luX a ftoop of Beer up at a pink at a pluk at a pluk

JJrrrlTrfi.H|Jni-1|

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pluk till his i Brain be as

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tin his Brain be as

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as

14

HISTORY OF THE SCIENCE Book I.

m

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dulc a duk

du\ a cCxik

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qo c^

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li\esi ri:tt-f-kin hoy-day hoy-day Jolly rnttekin hoy

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day Jioy-day like

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likin hoy-day hoy-day

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m

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t

rTT^TT-

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2r:

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r4:

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I-ki:. h<.^• - d.

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Chap. I. AND PRACTICE OF MUSIC.

^5

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t'^aqi

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h««v-<f<\'hoy-davhov(i<?\ hoY-ci.^ h? \ — — . ri<vy

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and the

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borde^^ill rylc He^iUpifsa Gallon PotftiH at twice and the

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and the; over 4 — pl-iJi i itr>— dtr the

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of the new

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i6

HISTORY OF THE SCIENCE Book I.

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day.

^3E

_i : L| I —\ ™4" — i 5? -1

■**n — r

j-e-

- day hoy-day hoynJay hoy-day htrY^daYh(y -v{y^ h^ y-day lu y - an

^

^^s;i^ ■ I "=1 —--[J

i=?c

-^6 \ q. 3 — c-

""- day hr.y-dav hoy - day h(y-day hf y-day h( .y<{ay hvv-clay h(>y-d .

Chap. 2. AND PRACTICE OF MUSIC. 17

B

C H A P. II.

ETTER fuccefs has attended the attempts to recover the mere words of thofe fongs and ballads which fcem to have been the de- light of paft ages. By thefe whicli follov/ we difcover that with the young people of thofe times the paffion of love operated in much the fame manner as it does now ; that our forefathers loved ftrong ale, and that the efFed:s of it were difcoverable in efFufions of mirth and pleafantry, in a total oblivion of care, and a refolution to take no thought for the morrow.

If the coarfenefs of the raillery, or the profanenefs, or indelicacy of expreffion obfervable in the two preceeding> and in a few of the fubfc- quent poems, (hould need an apology for inferting them, the beft that can be made is, that they prefent to our view a true pidure of the times. Before the ftatute of James I. againft profane curling and fwear- ing, the profanation of the name of God was fo frequent in common difcourfe, that few looked on it as a crime. When Cox, bifliop of Ely, hefitated about alienating a part of the epifcopal eftate in favour of Sir Chriftopher Hatton, queen Elizabeth difdained to expoflulate with him, but fwore by her Maker, in a letter yet extant under her own princely hand, to deprive him if he perfifted in his refufal. In the earlier copies of our old Englifh plays oaths make a part of the dialogue, and are printed at length : in the later editions thefe are expunged ; an evidence that the national manners have in fome refpedts improved in the courfe of a century.

As to the other objedion, the indelicate ftyle of love converfation, it may be imputed to the want of that refinement which the free and innocent intercourfe of the fexes in the view of their elders and fupe- riors neceflarily induces, not to mention the improvements in litera- ture, which furnifli the means of regulating external demeanour, and teach us to diflinguiQi the behaviour of a ruftic from that of a gentleman.

In this refpedt too the manners of the prefent have greatly the ad- vantage over thofe of pad ages, at leaft the ftyle of court(hip, which is all that concerns the prefent queftion, is fo much improved, that

Vol. III. D per-

i8 HISTORY OF THE SCIENCE Bookl.

perhaps there are few gentlemen In this kingdom capable of writing to a miflrefs fuch letters as our king Henry VIIL in the ardour of his affedion fent with prefents of fleih, as he terms it, meaning there- by venifon, to his beloved Anne Boleyn, a beautiful, modeft, and well-bred young woman.

Frorrl the above particulars it may be inferred that the poetical compofitions of the period here alluded to, wanted of that elegance which is now expeded in every thing offered to the public view ; and as a few of the following are deftitute of fuch a recommendation, this circumftance would fupply, were it neceifary, the want of other evidence of their antiquity.

The follov/ing fong appears to have been written in the time of one of the Henries, and feems to be a fruitlefs prayer, tending to avert the confequences of indubitable pregnancy,

I.

Witf^ a\i tge i)att in mp Botip,

^olB jcntiU ficHp tiotonc. !H!ub fiifc ioa^ Core afrapti, tlutJ grieiiouffp tsifmapcti,

Witt) parting on ^pr goijunc. Ipr^t htWn itja.sf fo grctc, ^pt gotDnc tna^ not fete, for forroto tipts fjc ftUftc, $Cnb fange

5^otonc KJeUp tiotunc^

IL €i^f^ game gotljc aH anipfc ; 5( iouiti fo XvtW to ftplTc, 3i tfjoiigljt it jop antr fcipffe

<Zo taiincc in cuerp totone ; $0iit ahTi^ antJ tocH atuap €ttat ciicf 3! ufpti fncfjc pKape, fee not» tuptfj forrot:De map SI ^^V^

XBQConz iJcHp ijoiune,.

IIL

Chap, 2. AND PRACTICE OF MUSIC. 19

III.

cEucirp morning ttlp Sl^p (Icmahe i^ ail qmtic; gjt SurtitSe mc fuM greuoufclp, IBitl) fichncjsf am 3 liounb : <!5oti anb our bictTpb latip, Silnti alfoc goob hing ^ent^ J^mb mc fomc rcmcbp '^o hcpe mp ticllp tiotDne.

^otcne tiotDne> noto jcntil iiellp botDnc.

The fimplicity Is no lefs remarkable than the ftyle, of the following dialogue, which feems to be very ancient.

I. 5J£>ctoarc mp IpttpH fpngcc ^pt $[ pou ticfirc, §c tDrpnge mp l[janD to fore, 51 prap pou tio no more, 3tla^ tjierefor,

§c Ijurt mp KpttpH fpngct^

II.

It^jjp fo bo pou fap ^ He fie a toanton map, i bo Iiut \i)itf^ pou plap,

S^etoare mp IpttpH fpngcr.

III. ^pr no more of fuclje f port, for 3[ ijabe Ipttpi comfort <0f pour liptSer rcfort

iZo l&urt mp Upttpll fpnger.

IV. fforfotl^ gooblp mpllfcri^, 5i am forp for pour bifcaiaf : ^iath tojjat map pou plcaief ^

S^cUjarc mp IpcpU fpngcr.

D 2 V.

20 HISTORY OF THE SCIENCE Book I.

V.

fcrfottj pc tJC to Blame, 25 \vi0 it tuin not frame, ^t i^ to pcuu grcte fjame

Co ifeurt mp IpttpH fpnger.

VI. €f)p^ tDa^ agapn mp irpil ecrtapn, §et tuolti 5[ !jauc tJiat gole agapn, 3por 31 am forp for pour 3?apn,

$5ctparc mp IprtpH fpnger.

VIL feeing for tf;c taute pc fie forp, 3} tDcIb Be slab tDptlj poii for to marp ^0 tgat pe ijuolli not oner Jonge tarrp

Co l)cU mp Jpttpil fpnget?.

VIII. 3 fap tuptrj a jopfuli Ijart agapne, €'t ridat 3i inoib fie fuH fapn, ^[nij for pour fake to tahc fume jjapne

Co i]tU pour Jpttpll fpnget..

IX.

Cfien tue fie fiotfj agrecti

31 prap pou fip our luetJ^ing tucbe,

^nti tgcn pe ftiaH liaue IpttpH netie,

Co i)dt mp Ipttpl fpn0er>

X. Cgat 2i i»ill fip <^otJ^ grace, 31 ffjaU hplTe pour minion face, Cgat pt iliaU 15pJ^^ i» cucrp place,

^ntJ §de pour Ipttpl fpngc^.

XL 25ctoare mp IpttpH fpngcr, %\a^ mp IptfpU fpngcr, ^nb olj mp Jpttpil fpnger,

m Jatip mcvcp 1 pe (jurt mp IpttpiJ fpngcr*

Beaold

Chap. 2. AND PRACTICE OF MUSIC- zi

Behold the fentiments which lloth, corpulence, and rags have a tendency to infpire, in the following ftanzas.

I.

31 cannot rat ^m Ipttpl meat,

<a^p ftomacft p|f not ffoob ; 525ut face 21 tljinfe €f|at 3! f^" tirpnfte

mitfi anp tijiat iuetc a |)otie* ^fjouglj 31 go Jjare, ^ahe pe no care,

31 am not jjing a colti ; 35 (lufB mp lEfftpn J)0 full tDitiJin

<Df jolip gooti ale anti oltt ^ath anb fptic^ go fiate,

^ot|) fote anti 6anti go colbj Slbixt fiellp (^ob fcnb f^cc goob ale pnougft,

31^jiet|)et it 6c nctD oc oiilb,

11. 31 loue no roCf, 25ut a nut-broiun toffc,

5llnb a ctati laib in tf^t 0rc, ^ little Iircab Jytjall bo me iteab,

^iitf^ fircab % not befite ; 1^0 fcolf nor fnotD, l>o tninbc g| trotu

€an ljurte me if 3! UJolbe, g[ am fo tncapt, 3finb tftrotDlp lapt,

<Df Jolp goob ale anb olb. S>aclt anb fibers? go Itare, ^c.

III. 5Cnb €il3 mp Inifc, Cljat ajsf l}cr life,

%tmth tjucll goob ale to fccri,

full

42 HISTORY OF THE SCIENCE Book L

2lr"n oftc trrir.Rf^ ffjet, (^Eiill pc map fee '

€t'C ttatc^ run tioUin S^r cgcefec > '^i[jcn tiotli IJe troitjJe ^D me tl)t liotDle, *

<i?iun Hjsf a mault^luorm -f fjiuKts ; 5llnti fiutfj ftuect fjcait 25 toolt mp part

a?'f tJjijBf jolp 0ooti ale anb ol[ti, 22>acii aiiD ribf ^ go bare, ^c.

IV. li^olD let tldem Drinfe, 'CilJ tljcp noti anti luiiilfe,

(0uen a^ gooti feJIotoiSf (Joulti ^o, (^fjcp fgal not miJTe ^0 Jiauc tl)t iJliiTe

^J?ooti a!e tjotfj liriitg men to : 5Bnb all poor fou!]^, (^Ijat fjaiit fcotDrets l&oulc^,

<Dr IjaVie tljem UiffeJp trolDe, (giotr fane tJ|c iiue^^ oBf tfiem anti tf^tit toiue^,

31^f>etficr rgep fie poiinj or olti. 25ach anb fibe^ 50 liare, ^c. t

In the following the praifes of meek Miilrefs Margaret are cele- brated by her lover.

I. 0^arjjatet mefte, IBJom 5[ noto fehe, €ljerc ijsf none iphe % bare toell fap ;

* Trowle, or Trole the Bowl, was a common phrafe in drinking, for pafling the veflel about, as appears by the following beginning of an old catch : Trole trole the bowl to me, And I will trole the fame again to thee. And in this other in Hiltons's colledlion : Tom Bouls, Tom Bouls,

Seefl: thou not how merrily this good ale trowles ? f Mault-worm is a humourous appellation fora lover of ale or llrong drink. J This fong is to be found in the old comedy of Gammer Gurton's Needle, which was firft printed in 1551, and is even now well known in many parts of England.

^0

Chap.2, AND PRACTICE OF MUISC. 23

^0 manerlp, d8o ci«:tefl|t,

ir.

3CIa^ 31 ittotc not to^^rc

3t go or ftonij,

3f tfipnft mc ]&ontr,

3(11 fc in lonti /^o comfort geir*

III.

ipcc ](u0p cgcre,

^ct cpcisf mo0 dere,

91 fencto no j>ere 3[n Ijcc Dcaute ;

^otS €at0 anti 2S>eiSf,

sa^aUjtie anti 3Cnfisr,

cf>p^ iisf tDitncQs? 45f 6er fetpfnelTe*

IV.

St^p Sl^argarct

31 cannot mctc,

3fn fcelti nc firctc, Eaofull am g[ ;

Kcuc iouc tfjiiSf c|&ance,

four cficrc aiiance,

^nti let n0 tiance • fcrh mp Satip */

A lover fympathlzes with his miftrefs, who is fick and ill at eafe, In thefe lines :

f Probably the name of fome dance-tune noxr forgotten,

I.

44

HISTORY OF THE SCIENCE Book I.

I. ^^me i0 tiht anti i\\ at cafe, 31 am fuil for? foe gifjone'^ tiifeafc; 2\ah goob gi^onc tDfjat map pou pleafe ^ 31 (^alJ Srarc tfie coli fie fUJCte fcnt tZ^enp.^.

II. ^Ijc i^ to pttt^ in cucrp tcgrc, <5j5ooti lorti liJjjo map a gootiUpct 6c 5[n fay30Ufc anb in facion \o. UJiU pc fc, S^m it ItJcrc an angcH of tfjc €rinitc.

aiafe ffoob Sjijonc tofiat map pou picfc ^

31 ft)al ficarc tgc coft 6c fUJctc fcnt 5^cnp^.

III. ^ct cDuntpnamtcc toirfj i&er Ipnpacion, /oro Spm tfiat toolbc of fucD recreation, €|)at <^oti Ifjatfi ocbcnt in (ji^ fitft formation, j^t^pgjt ttjcl 6e tallcb conjuration.

2tlah goob 5[f)onc Vogat map pou ??Icafe ^

3! (Jal 6care ti)c toft 6c fltjctc fcnt 5^cnp^»

IV. ^8c i^ mp Iptcll prctp one, asjjat l?)ulbc 31 fap ^ mp mpnbc i^ gone, tee t|)c anb gi tocrc togctjir alone, % mi^ ii\t toill not 0pbc mc a 6onc, %W goob gilionc fjiaU aU mp mone 2S>c loft fo fone ^ *

V* g[ am a foKe, aic\jc tgi^ arrap, SCnot^cr bap U^c ftiaKl 6ot8 pKap, Jl^licn tuc arc folcf* The three following fhort poems exhibit a pi^urc of the deepeft amorous diftrefs.

* i. e. treat me with contempt. + Together or by ourfelves.

Chap. 2. ^ AND PRACTICE OF MUISC, 25

l^abc 31 not taiitc to inourii, ala.i^ '

€bcr WjiU^ t{5at mp ipfe tio tare ; lamenting tfiujef mp forrotoful cafe 3in fi0f)c^ trccpe toitfjout rccurc ^ IfJotu remcmliirpng mp fyuti ahncmme, Cl^crucIIouilp mahpng mp fjart too : 51HajSf ! i)ct \oUt0 fftiiit pcrfcti me fo !

J.ati i^ Sei: cgere toirli color cijrpltpnc, St^ore faprer of lofte t§an fapcr €fpn, <fEpe>^ grap, cicrct tgaii colmnfipnc, j^cuei* a ftDctcr of nature fempnpnc ; <lBootiIp in port, <0 UJljat a paftpme antr jop ^ane % togcn $[ fiegolti ger !

uaofuUp opprelTcti itjptft forroto ant» papne,

31^ptll fpg^ing mp Ijart anb Iiobp in tJiHrrefi^, ^reuouffp tormenteti tgrougl^ tiifbapne, lachpng tje companp of mp (atip anb mpfirc^, 3BJ)pc][) to atapne i^ pet remeliplc^ ; 25ut <Soti of 8i^ grace furelp me fenli •ar^p forrottJjgr importunate jopfuUp to amentJ.

3!^ it not fure a bcblp papne,

'Zo pou 31 fap tfiat Jouer^ fie, Wi^cn faptriful i^art^ muft meh^ refrapn

€fie one tge otjcr for to fee ^

5( pou afTure pe map trufir me,

<©f all tJje papncisf tliat eucr 3! fenctu,

5jt ij9f a papne tljat mod g| rctoe.

The following trim ftanzas exhibit the portrait of a loyal lover.

I. 0j^5[Iap jefleppnge, 5|n breme^ ffetpnge, (Eucr mp ftoetpng g[isf in mp mpnti ; Vol. III. E Mc

26

HISTORY OF THE SCIENCE Book L

Witt^ iooh0 to loudp, Cljat no man tculp

J>ucji one can fpnti>.

II.

^ct ficiXJtp fd pure, jl[t tiotfi iintier lure, 09p pore jjart full fure '

3[n 0ouernance ; €F)erfor noto tDp!l g[ Unto fipr appip, 311nti euer tDill crp

for rememtiraunce*.

III. i^er faper epe perfpng, a9p pore Ijart i&letipnff, %nti % aliptipng,

3f[n Ijope of mcbe ; %\\x tfjujEf Ijabe gi lonff Cntunpti tJji^ fonje, liaprJj papnciEf ful (tronge^ ,

5llnb cannot fpctic.

IV. 3llla^ tupH not f^c l^oto (t)cto fjpr pptpe, ^ut tfju^ topU tahe me 5[n fucfte bp^bapne ; 0Octlf)pnftct(j % U)p^, ilnftpnbe t^at %t i^, ^Ijat fipnDctf) me i\y\x$, 3[n fuclj (jarti papnc

V.

<^{|ougl() (f)e me bpnbe,

§et ffjaU (Je not fpntie

flt^p pore l^art unhpnti,

^0 tp^at fj)e can 5

3E^»

Chap.2. AND PRACTICE OF MUSIC. 27

for g[ ittpll fjpr prap, Wfii\t0 2i' kue a bap, 219c to tafec for ape, foe fjpc otonc man.

The following is the expoftulation of a lover difdaincd by hh mif- trcfs, in a ftyle of great fimpllcity.

I.

Complapn 3 map, 3IInb rigijt tocH Tap, %o\it gotf) aOcap,

^nti toajretf) toiltie ; for manp a l»ap Hunt toaif mp prap, g[t topll atoap,

3 am Begplbe.

H.

g[ ifjauc tIjanfelejBf ^pcnt mp ferupte, 51 nb can purcfjeiBf

|5o grace at all ; H^liercfore boubtlefiSf, j&ucf| a mpffre^Bf, \Dame f>itcle|f,

5[ map Ijer call.

III. for fifterlp, €lje more tfjat 5t ^n l)er bo trp i On me to tjinfee ;

€!je lefTe mercp gn Ijcr fpnb % ma0 I bpe,

fll^p fjart botfj fpnfef.

E 2 IV.

P

2^ HISTORY OF THE SCIENCE Bookl.

fDitJi Iocfe0 fo loudp, €ljat no man trulp

^ucft one can fpntr^

IL ^cc ficixjtp fo pure, 5[t tiotfi untiec lure, ^It^p pore fjart full fure.

5[n gouernance; €f)erfor noto topll g[ Hnto lipr appip, 51lnti euer iuiil crp

5for rememtiraunce*.

III. !^et faper epe perfpng, a^p pore Ijart liktipng, 5llnt! 51 aBptipng,

3In liope of metie ; 2&ut ti)uj^ Ijabe 5i long Cntunpti tfji^ fonge, 3©ptl[) papnejgf fui (tron0e> ,

5ilnti cannot fptSjc

IVo

31lia^ UjpH not (§e l^oiu fj)cia i^prpptpe, $5ut t§u# lopH tahe me 3[n fucifjc bpi^bapne ; 0Bet{)pnhct{j 3[ Ujp^, Unhpnbe t^at ^e i^, €Sat fipntictl^ me t!)ujsf» gjn fuclj garb papne-

V.

/^fiouglj ff)e me iipntie,

net (f)all (f)e not fpntie

a^p pore Ijart unhpnti,

^0 tD^at fje can ,

Chap. 2. AND PRACTICE OF MUSIC. 27

for % topH Spi* prap, t^ljilei^ 31 !fuc a bap, jH^e to tahe for ape, foe gpr oUJiie main

The following is the expoflulation of a lover difdained by his mif- ;trefs, in a ftyle of great fimpllcity.

1.

Complapn 3 map, ►

%\\tx rigldt tDcll Tap, Houe gotlj a0rap,

311nti iDaitetJ) luilbe ; 3For maiip a tiap Houc toa^f mp 3?rap, St topil atoap,

S am fiegplbc*

H.

% ][iauc tl[)anMe39f ,i§>5ent mp fetupce, iHlnti can jiurcfjcisf

1^0 grace at all ; ai^ljercfore tioulitlefia^, ^i\t\^ a mpfirrejs?, ^ame 3i^itcle^,

% map ^tt calL

III. for fifecrip, €i[|e more tftat % <©n 6^r tio trp

4Dn me to tjinfee 5 ^fje IclTe mercp %n ^cr fpnti S» SlJa^ a tipe,

ift^p jjart tiot j) fpitfte.

E 2 IV.

28 HISTORY OF THE SCIENCE Eookl.

fortune pactjpc, ^fcinet^ mc ^uci) tmdtc,

<|^tX30][)t not to iJc, 51 ttoi>sf pitcc, (D Ifiamc to fee, 51! man fo fpilt.

V,

for mji goot tupU, 3( tJipnhe gret ilj,

^gapnfr aU tpgljti 5[t i^ more ill, ^^e f^jiilb me hplJ, ll^gom gi lone tt^ii,

IBprg aiJ mji mpglit.

VI, 55ut to e):$»rc(re 05 p l^eaupne^, ^ptfj mp ferupce

5[^ tlju^ forfafec I 3n comfortto, ai^ptfj mucl) tspffrei!?, g;n tupJbcrneiS?,

51 me &etahe»

VII, %nt tl^n^ abetue, 5^cr|) tiot^ enfcl25e, ll^ptljout rcfcue,

^ct * * * * g[ troto a SiCtu (©n mc tjolti rcto, ^^notoing f^oto treta

^6at g[ ija^c ]&en^«

The

Chap. 2. AND PRACTICE OF MUSIC. 29

The two following are alfo of the amorous kind, and are of equal antiquity with the reft.

I. %f^ mp ftDcte ntjctpng I <^p Jptpl pcctp ntJctpng, sa^p ftoctpng topi 3 ioue ttj&crcucr 3[ go ;

J>f}c i^ fo propci: anti pure, fuH (tetifanr, nabili anti ticmure, Cjjcrc i^ none fiicJj pc map 6c furc, 2Ci3f mp fixjcte ftoeting.

II.

2f n an t'^i^t^ itjoclti a^ tf^ynftc t|) mt, 51^ none fo plefaunt ro mp epe, /^{lat 0[ am glati foo ofte to fee, 5£.s3f mp ftDcte DJjetpng.

III. ^f^tn g[ fiefiolti mp ftpetpng fUJete, ^er race, Sec fjanJJii, Iftcc minion fete, Ctiep feme to me t^ere i0 none fo mete, 5(1^ mp ftoete fmetpng.

IV. ^ftoue all otlier prapfc mullr % ^ntJ lone mp prettp ppgfnpe for none J fpnli fco Vuomanlp ^^ mp ftuete ftoetpng*

I. W^at meaned tljou mp fortune,

5rrom me fo fall to fipe i Sla^sf tljou art importune

€0 toorlie tj^u^ e ruellp.

II. €^TX

5© HISTORY OF THE SCIENCE Book I.

II. iZ^vi imtit contiimaHp

MjCiW caufc mc call anb crpc ; Woo itJortJ) t(jc tpme tljat 2

€"0 iouc tjpti rpcd app!p»

The following is the dream of a lover, taken from Mr. Tho-

re%'s iMS.

J^citebicitc ! iDfiatc tircmpti 3? tljiis npgljti flr^ctpugljt tijc iuodiic img tunipti up fo tiotunc,

<^fjc Ton iljc niDonc pti ioft rfjcr force anb ipfjc, '^'^c fee alfo ticotuncti &otl) tourc anti tolnne :

f et more nicnicH {joto ttjat 5[ tiarb t(je foimtjx

€)f onpiaf uopce faping bcic in tfjp mpnti,

€6i iatip l^atl) forgorcn to ht ftpnb.

C H A P. III.

THE two following fhort poems appear by the manufcript from which they were taken to have been compofed about the time of Henry VIII. they were communicated by a very judicious antiquary lately deceafed, whofe opinion of them was, that they were written cither by, or in the perfon of Anne Boleyn j a conjedure which her unfortunate hiftory renders very probable.

I.

t^cfilei) i^ mp name fuli fore,

'^lirougl) cruei fppte anb falfe report, €I|at g[ map fap for cucrmore

f arelrell, nip jop ! abetoe, comfort !

II. for Itirongfullp pe jubge of me, Hnto mp fame a mortal! luountie :

^ap

Chap. 3. AND PRACTICE OF MUSIC. 31

^ap tdgat pe IpR it ^s^i\i not 6e, f e fecl^ Cot: tl^at cannot l&e fountr.

I.

^ 5^cat9, tocfte me on titpt,

JlB^ringe mc on quiet tefie, Hct palTeinp ucrpe giltJcfjSf goDie,

<0ut of mp carefuil fireft ; /^o!l on tfie palTinge fiell, iHinge out tje UolcfuH ftnelf, fKet tf^t founte mp tret jje teiJ,

for 3[ mufi tipe,

€fiere i^ no remetip,

f ot noto 31 tipe.

09p papnejef tnfjo can erinre^ f 3llla^ ! tliep ate fo firronge, 5ligp tiolor tnill net fuffer (Irengtfr

Jtt^p Ipfc for to prolonge ; (€on on tge paffiinge bell, Klinge out tifte boiefull Itnell, %tt tf^t fcunti mp bct|)e tell,

foe 5t i^w^ ^P^» /^Ijere i^ no remebpe, for noto 31 tipe.

III.

3IlIone in ^rifon (tronge,

3i iuapie mp Uentenpe ; Wo toottlj t?)ii9f cruei jjap tjiat %'

^ijoulti taac tlji^ mifetpc.

,32 HISTORY OF THE SCIENCE Book I.

(ZoW 011 tjjc pairiii^e Mh Hinge cur tt^t tiolcful hndl, 31 ct tijc fountic mp tJCtgc tcH,

Clici'c i-gf no rcmctip, for notD 3[ upc*

f nrclticn mp picafurcisf pailf, ll^clcuni mp prcfcnt papnc, 5! kit mji torment^ fo incrcCc,

€f^Cit l^fe cannot rcmapne* Ccafc ncttJ tljc palling ticJJ, ilong i.^ mp bolcfui ftncll, foe t|je founb mp tctlj tiotj ttW,

tDct^ liotf) tiraltJ npc,

J>ount! my cnti Dokfudp,

f ot: notu % tjpc

The following not inelegant ftanzas feem to have been occafioned by the marriage of Margaret the daughter of Henry Vlh to James IV. king of Scotland, in 15025 of whom it is related, that having taken arms againfl his own father, he impofed on himfelf the volun- tary penance of continually wearing an iron chain about his waift*.

I.

OD fapcr, faprc(t cf cuccp faprc, ^rincc^ moRc jrlefaunt anti ptuiatty ^f|c Uiftieflr on Ipiic tpt "btnt, mtlaim of ^cotlanti to 6e qucnc.

* Buchanan relates that in the reign of this prince, viz. in the year 1489, was born in Scotland a creature refembling a man-child from the navel downward, but of both fexes upward. By the fpecial order of the king it was educated and inflrudled in languages, and in mufic particularly, in which it arrived to an admirable degree of fkill. ^ This crea- ture, as it had two diftincl bodies upwards, had alfo feveral wills and appetites, the one body often adviilngand confulting, and at other times differing, and even quarrelling, with the other. It lived twenty-eight years. Buchanan's relation is founded on the teftimony of many honeft and credible perfons living in his time, who he fays were eye-witnefles of this proiligy. Rer. Scot. lib. XIII.

11. fonff

Chap»3. AND PRACTICE OF MUSIC. 33

^0110 tttit^tt plant of pulcficitutie, 5^cftcntiir8 of imperial filootr, f rcfj) fragrant ffotocr of faprefjobe t^tne^ ^clriim of ^corlanti to bt (juene,

III. ^Wtt lufip imp of Detotie cicrr, St^oKc wigljtp fting^ totDgfjtcr ticre, 25orne of a prince^ molt fercnc, It^elcum of ^cotJanttto he qmnt*

IBcIcum tge rofe Iiotfi rctr anb tofjpte,. U^cJcum tl^c ffotDcr of our tidpte, <li)ur fpirit rejoicing from tlje fplene, liaelcum of ^cotlanti to lie qntm*

The two following fongs are more fententious -, the firll is a fort of caveat againft idle rumours..

I.

Confitiering tgi.^ tDorlti, anb tfi' increfe of bpce, <i^trichen into tmmp, rigfjt mucfi gi mufcti^

(Orpt no manner of man ht fjc ncuer fo topfe, from ail fort^^ thereof can Dc ejccufet>» u

II. 3ilnti one \i^tt tijcre i^, tl[)c more it i0 ufeti

!ui9o inconuenicn^ (Jail grotu bap lip bap, ^Cnb tliat i^ tgiisf, ict it tic refufeb

(<5cue no fure crcbenjgf to cuerp IJerefap.

III. BTpljt toomcnis^ tljouglbt^ tupU runne at farge,

HDJetljcr tlje taplc lie faife or jutt ; ^ (Cpbpngise of akJjonfe or c^Braucfenb targe,

fDerc^iiaptingiSf or liarticrjJ (fiopeisf t0 not to truft. Vol. IIL F 1^-

32 HISTORY OF THESCIENC^

(ZcW on ti)c parfiuge Mh Jlingc our tge tsolcful hndl, %n tljc foimtie mp tictgc tdi

for 3i muft ti^c,

€!jcrc i^ no rcmcbp,

for notD 31 tjpc,

IV. f nrctecH mp plcafurcisf pafir, il^clcuni mp prcfcnt papnc, g[ fdc nip tormcnt'Sf fo incrcfc,

/<ir^at Ipfc cannot rcmapnc, Ccafc nctn tljc pairing M\, ilong i^ mp bolcfu! hncil, for tge fonnb mp tctf) botf) tr ^

5©c{f5 tiot?) Uraln iipc, ^ountJ mp cnti t»oicfulJp, for notu % tipc

The following not inelegant ftanzas fcm to have b. by the marriage of Margaret the daughtcof Henry VI i king of Scotland, in 1 502 j of whom it is related taken arms againft his own father, he it jofcd on him' tary penance of continually wearing an nn chain aboi

I.

<0 fapcr, faprcft of cucrp fap . J^rincc^ mode pkfaunt anb ; cdarr , €l^c JuftieK on Ipnc tjjat lici aSdcum of ri&f otlanD to tJc f rnc.

* Buchanan relates that in the reign of this prii in Scotland a creature refembling a man-child Th fcxes upward. By the fpecial order of the king it v : and in mufic particularly, in which it arrived to an ture, as it had two dillincl bodies upwards, had ..ll body oi'ten adviiing and confulting,and at other tir.. the other. It lived twenty-eight years. Buchanan' of many honeft and credible perfons living in his ti: this prodigy. P^er. Scot. lib. XIII.

viz. ill ihe ye.

' navel dowi

d and inflr

c degree oi

wills and

ig, and eve

. . a is foundei

who he fays wf

}

I

t

ft

Ir:

ittan

^ AM ftr

nmm iRT^

?5?

rr.

3^

HISTORY OF THE SCIENCE Book L

IV. ^n enemies^ u\n\c i^ fonc bi^ruJ?,

f,ic n^nn pcrccuc it ^avUjali aVm^w Co ail tljc forcfapts rcfiM^n U3C aiul!,

(^0 u^nc face ci'cbcii.is to ciici-p gcrcfv^'^n

V. €|?oi!0!j f|ci*cftVji he v:c\B, a:^ pcrcljaimtc nu^ fall,

fict f^a* not tt)^ crcDrn^ ro fiiglj, I^nt! tfioug^ tljc tdkr fccm riglit fuBrjantial,

^tnti tell hm Ijcrcfap, iBgp map Ijcnot !pc ^

VI, Cfjcn licttuprt !p0fjt crc^cn.i^ anb a tcngc idaKp,

^urclp t^e spJtic]3f i^ caf! aluap, ContJcmpnpn0 tljc a&fciit, tfjat i^ unbJoctfip,

^0 pafTptlj a Ipfc from jicrcfap to Ijcrcfap.

VIL ^oot! Horb ! liottJ fome lupU tepttj a lou^ uopcc,

€:cn a taic afrcc tlje ftcft forte, 5Cnti fome (jcrer^ef ||oU3 tljep tupU tcjopcc, ^0 gerc of tficpt nepbour^ ill rcj^ort !

VIII. ^^ tliougf) it liJcce a matter of comfort,

jpcrein our cfiarite botf) bchap, ^ntJ fome mahetl) it but game anti fport,

(Co tell a Ipe after tfje fterefap.

IX. €eli a goob taKe of 45oti or fome fapnt,

d^t of fome mirahei^ latcip l3onc ; ^ome toJpU tJcieue it Ifiarti antJ 0ent,

%\\ti talftc it after a full Jpgijt facpon:

X, mt ficre fap ^Ttjrift fuffriti paition, 3llnti man ijall reiiert to eartlj anti cKap,

€9e

Chap. 3- AND PRACTICE OF MUSIC. ^5

€fjc rpcficfi or Ofrongcfir hnoto nor Ijohj foone, 25deiic tucll noto tgi^, foe true i^ rljat §crcfap.

This that follows is a dialogue between two lovers, in which there is great fimplicity of llyle and fentiment, and a franknefs difcover- able on the lady's part not warranted by the manners of the prefent time.

I. [He] sr^p Jiart^ lunf ant! aU mri plcfarc,

3^^ gcucn Ujgcrc g[ map not tahc it agapnc. [She] 5^0 pou repent ^ [He] il^ap g[ mafte pou fure, [She] |05at i^ tf^t caufe tgen pou Do coiiiplapne ^

~ II. [He] 5!t picfptfj mp Ijart to tf)ciD part of mp papnc,

[She] €o lufiom ^ [He] to pou [She] plcfc tgat iDpi not mc; $^c ail tl^cfe iDottf^ to me, tl^ep 6c in iJapn,

Compiapn tojjerc pou map l^auc rcmetip.

III. [He] gf tio compiapn an!) frnb no relcilTe.

[She] f ea tio pou fo ^ gj prap pou tcif me Ijoto. [He] a9p Kabp ipfl not mp papnesf tp rebreiTc.

[She] ^ap pe fotl) ^ [He] |;tea; 3! "f^iftc v£5o& a tjotuc,

IV.

[She] naijoi^ pour latip^ [He] gj put Ctife pcu.

[She] mf^o gi i nap Be fure it i^ net fo. [He] In faptli pe &e. [She] lt3!jp tfo pou fluere ndlD f

[He] 3jn 0oot! faptfj % iouc pou anti no mo.

V. [She] ^0 mo But mc ^ [He] |Do fo fap %

[She] ^ap 3 pcu truft ^ [He] |ifa 31 imht pou fiu-c; . [She] gi fere nap. [He] f e-^, gfffjan tcU pou tuf)p.

[She] (^cH on Icr^ f)fre. [He] f e gaucmp iiart in cure.

F Z- Vk [She]

3*

HISTORY OF T:i SCIENCE Book I.

IV.

|ic f^nli pcrccuc it parfiu Co ail tm torctayti fcfrnmi . Co 0CIIC furc crcticiisJ to i:iu i;crcDp.

V.

;nfc uwu fall,

l}n t\}X not t^p crcDfntf i^.j:), 3Cntir(joiiglj tijc teller fccm ii^'u fuOri»nmiaJ, ^lut) tell Dut Ijcrcfap, UJ : not iiJC i

VI. Cfjcn Bcttupvt Ijjgfjr trcbcn onb a tongc ijaHji,

J»urcliJ tfjc gpltlc^ i;G c. Conbcmpnniig tfjc nbfciu. : .iirojoi:

^a pnlTin!) a Ij^fc from > iu .^ ro ijctuui..

VII. Cjoob Jlcrti ! 8ott3 fomr tui Iv !; a loiib uopcc,

CcH a talc afrcc tijc Deft irtc . $Cnb fomc Ijcxct^ !;oUj tljci cdjiU re jonfc, Co Jcrc of tljcur ncui lU-jSi ill report !

VII ^^ tI)ougf> it tdcrc a matt cf comfort,

Jpcrciu our cljaritc both :liaii, ^nb fomc maUctl) it but ( uc anb fport,

Co tell a Ipc after tfje !) efan.

LX Cell a 000b talc of >Oob c tcnic faput,

^r of fomc mirahclo If In Done; j§>omc tDpU tjcleue it Ijarb nb Dent,

5llnb tahc it after a ful vnUt faeaon:

X IBc fjcrc Cap <Cl)rin fuffn parTiou, ainb man fliall teuect i cartl) anb clap,

Cge

.. !

»««•;

t'

■««ii^le&L

-i>

mkmm

%u

m*

Chap. 3. AND PRACTICE OF MUSIC.

€ljc rpc) ^ or fironjcnr hnotu nor ijott) foonc, 25dci} todl nolt) tfii^, foe true i^J tfyu ftcrcdiy.

This that follov is a dialogue between two lovers, in which thei is great fimplicity " ftyle and fentiment, and a franknefs difcovei able on the lady's rt not warranted by the manners of the prelei time.

I.

[He] ^- ijatt^ iuHr anti aU mp plcfurc, 3^ 0C n tDgcrc 5[ map not tahc it agapnc

[She] ;© pou repent ^ [He] if^aii 5[ i^^fte pou fare. [She] ^Ijatiisr tf^t caufe t^cn pou tio coniplapnc ^

II. [He] g[t ilefptl) mp (jart to lf)ctb part of mp papnc,

[She] 0 tui^om ^ [He] ro pou [She] plefe tgat top! notnie; ^t all tl fe tDortf^ ro me, tljep be in Uapn,

Comp pn toljerc pou map Ijaue rcmetip. '

m.

[He] gf • complapn anti finti no relciTe* [She] ea tio pou fo ^ gi prap pou tell me

[He] !0t9)fatip Ipd not mp papne^ tp [She] ap pc fotlj ^ [He] |tea; 3 nia

IV. [She] nao i!Sf pour latjp ^ [He] 5|>;

[She] 3f|o 21?^ nap Be fureiti,^ [He] 3iMptlj pe Ik. [She] ltj!)p tio t-

[He] «n ffoot! faptlj %. loue pou am

V. [She] |5ono iJucmc ^ [He] |Sa

[She] 'Bap 31 pou trull ^ [He' [She] 51 -re nap. [He] ge^,

[She] ell on itt^ Sere. [H

3+

.UB

HISTORY OF THE t

IV.

Kit CMC mirrf M»ilc i^ four t

|ic n^nll pcrcciic if p ' Cc all tlx fc ' " r

Co 0illf fill I i.»vn..

V. \ €f>oi!0l) tcrcfap Uc rrcU). a0 p.

f?cr fia* not r: 3Cnrjrfjou0li tijc *...»*. i.. ..

^InDidl but t:::r.ir U

Vi. Then brttunrr Ii;gfir crcDcr. .ci'.gc i^iu^,

Nardil tt)c giiirlcj3i i;s c. Coiibcmpnimg tfjc abfcnt, t.

4>o patTptlj a li^fc from fjcrcfii i u.

VII. CootJ Herb ! fjoto fomc tDrll tor a Tnnh n^r.-.-

CcU a talc afrcr tijc Deft forrr 5lntJ fomc iKrcrief l;oU) then toii. rr, Co here of tljcnr nfiiUour$ \ icport !

VIII. 13I35 tl}ough it tocrc a matter of e nfcrt,

i^crciii our c^ariteboth beha; ^ntJ fome mahetj) ir but game a 1 iporr,

Co tcH a be after tfjt ijerefan

IX.

Cell a 500b talc of 3ob or feme luiir.

^x of fomc imraKcia latclu u c ^cmc topll Ijcicuc it fjarb anb fu ,

5lnb take it after a full higtjt acpon:

X,

33c {)cre Cap <C]^rin fuffrib patHi , 5lnb man (Jail tcucrt to eartl mb

.la

k

> I 7 • C r r%

S IC.

f^m

COQ^^PtM.

of mp jwpnr,

hejpfffttjattoplnotr

in tapn,

!>'

• i^^i ^^ ? mafec ^ra ijotDe.

ur laii^j ^ [He] 5 put r^ilc pea. ^ : nap it tuxe h ig net fc.

V.

[Hejjgt&apg.

- -^ [He] ^.1 3 i-no^f r^-j r^j^

... ^Hc] fe l^c d^lan ia tare.

Vi.-[SI

i*

f

/

I

% I

I

^ ID PRACTICE OF MUSIC.

V. -^ f or if tidat 35

' -* ^ftoulb t{)uj0f applet. eUc in all gfcan; €rutrj to take place, t^gcre iteucc trutj^ Ujajtf, Jcarc a fooli^ man.

VI. ^ ,^ctt foortli 10 hp fcicnce, declare it tiotfj cxpctiente, Se frutc to hnoto tje tree ; Cftcng^a fainingc batterer, '^ij^^a faitgful loner,

the follow ot deflitui

^

^

34 HISTORY OF THE SCIENCE Book I.

VI.

[She] four Jart ^ nap» [He] fcjef hJitftout mcfure, 31 to pou iouc. [She] 31 prap poii fap not fo.

[He] 3ln fapti) 31 to. [She] ^ap 3! of pou i)t fare ^ [He] If ca in 0oot fapt||. [She] c^cn am 3[ pouci^ alfo*

By what kind of fophiflry a lover may reafon himfelf into a ftate of abfolute indifference the following ballad teaches.

I.

f f tcafon bit rule,

31lnt taitt hept fcoolc, <©ifcrecton ^oulte taftc place,

51lnt l^eaue out l^eauinc.sf,

l^fjicjj lianiCJet quietne^, 55 nt mate fjpm fiite |)i^ face-

IL

rig)itlj time fjatj) triet,

ant trutfi l^atl) fpiet, iCJat fainet faitl^ i^ ffatteric,

H^ljp (Joult tiftaine

(^^n^ oucr me raigne, 3llnt Jjolt mc in taptiuitp ^

III. ll^Jp ifioulte caufe mp t^attt to firafife,

55p fauoring fooUCJe fanta^ie ^ 31^j)p Ifjoult tifpare me all to teare,

WW ^oulte 31 iopnc tuitlj idofic ^

IV.

il^Sp ifioult 3[ trul!,

€6at ncuer to^ juHrc,

4©r Iouc Ijer tljat ioue^^ manpe ;

iBt to lament

'€:imc paft ant fpente.

IS^ljcreof i^ no recoberie ^

V. foe

Chap. 3- AND PRACTICE OF MUSIC. 37

V. foir if tgat 5i

<59pfclfc in al! 3[ can ;

(ttiitl) to tafee place,

I0i)cre ncucr trutfj toaiSf, 5i bjcarc a fooUf§ man.

VI.

^ctt foortD i^ Bp fcicnce,

iS^eclare it tiotlft crpcriencc, 25p tge frute to hnoUJ t jje tree j

/^fjen if a faininge flatterer,

€0 gaine a faitf)ful louer, Jt map in no toife he.

VII.

/^gerfore faretoell flatterie,

f aineti faitfj anti jelofie, (Ztinf^ mp tale ftiaH tell ;

l^eafon nolu fjall rule,

H^itt (Jail feepe tje fcoole, ^nti Beti pou all faretoell.

The arguments in favour of celibacy contained in the following fong are neither new nor very cogent 5 yet they are not deflitute of humour.

I.

€St Baclielor mott jopfullpe, 3[n pleafant pligljt tioti jralte iji^ tiaiCiEf,

45ooti fellotofjipp anti companie i^e iiotl) maintaine anti l^epe altPaie.

II. U^itl) tiamfellisf braue Ije mape toell got, €'{|e marieti man cannot t>oe fo,

-s

HISTORY OF THE SCIENCE SjokL

;lMfir^3sar^

ihc

knifing mozser, whk^ ia

2 3

^^^b ^^^^^^^»- «<^ m^m^ %4'%^^^V^

n.

3W

Ct^

VL

Chap. 3- AND ?!>ACTrCE C? MUSIC. 39

VI.

jD^ pa'^sat aihraiart i^ ^ar rtst hitj naair czmp frm^. Cfntrt 5 £i»rr nri5r.

Vll. 5 feif! ^cpt lap msRte antr fe^e cj^ frrr^.

1 " r - - - - : 1; - >r^ r -f - - -- on!r Or !ac "" ----: --: ^i t-z ?i " I? t 'he enter tcf the: :

year i r : : t therefore m?r to b r ; : ' :-. 'tc 25 eritieTices cf the

gt T :»te of pcecry 2t that ticne, - : : f ^y gireo periovj <yi

the prccri : r : ry ; fcr, net to mer.i.cr. 'v^JiJ-ucrr, who ~ cd lomevv ..:,: . asd wfccib cscdlencies ^rs kiiLCwn to cy-"

of E-r!:;?! "c, the vertcs of Gowcr sbcood wirh br

irr :_ : - 1 moral precepts ; aad th oTe of the cari of Surcy,

Sir T Wyat, 2.nd 2. tew ethers, their cooteciporarics, with

tt : : t elegant lentixncnts- One of the

:.- c .-: :he Engiiih language b the hal-

.-^ ^. :^c ..„:.; '^--: - '^* ^ 1 6nepar»phra^ by Prior,

which, thot^^::; , ;^ been qotilioocd, wis

: ri by Pinion, who lived abcat : - ijcc, ind probably vri^

fnitccn ibme years b-efore.

Many of the longs or popular ballads of this dme appear to hire been written by Skelton, and a few of them have been Gccaiicn;iIIy inferted in the courfe of this work ; as to his poems now extant, they are :b recuHarly his own, k> replete with icarrilicv, and, though r.oar, lb coarle, lb lewd and indciio&.:c, th^tthey ;d with any others of that time, 2.ni conlcqiicntiy fcr : : : - *- : 2gc in which they were written.

X.:.:..:^ - .._;- comical, nor nothing more uncleanly, if

we except c: erfes of Swm, than thit poem cf Skelton ctw

titled the 7 \ j ^ : Eiyccar Rummyng. This woman is laid by

hid

38 HISTORY OF THE SCIENCE Book I.

3if f|c Be mcric nnb top UJitfj anp,

1$i0 Mfc m\i fcotune, anb toortt^ Qtnt manpc ;

jpcr pclIotD ijofc t^t Hmit tuiU pat on,

^0 tijat tj)e marrieti man tiarc not tiifpleaft jjiiES toifc gfoanc.

There is fomevvhat fubtle in the argument ufed by the author of the following fianzas againft lending money, which in fliort is this^. to preferve friendihip, refift the emotions of it«

I, 5[ Jjab &orf| monicanti a frcntic,

«0f nc itljer tj^ougfj no l!orc ; 31 Jcnt mp monie to nip frcntre,

^ntx toofec l&ijef l&onbe tgcr&re.

II. 51 a-sftcb mp montc of mp fi-cntc, ^ut natDgljt fa\)t \Ximh0 3i 0ott ; ' 3[ loll mp monie to hcpc mp frcntie, for feiijc gpm tuoulD gf not»

IIL ^lit tfjf n if monic come,

%\\^ frentJc againe tDcarc fountsg, % tooujtJe Icnb no monie to mp tttnW,

jjgon no RpnSJc of iioui^e,

IV. 55ut after tfji^ for monie eomet!|

311 fricnb luitfi patune to ^^^t, 5^tit tnficn t||e monie f^oui& &e gat^r

O^pf cenbe nCiJti fuefi tsclap,

V. (CJat necbe of monie tiiti me force,.

SH^P frcntse ^i0 patune 10 fell, 0iiti fo 2[ got mp monie, ^\xt

^f fcentje elene from me felL

Chap. 3. AND PRACTICE OP MVSIC. J9

VL Mt"^ Xicntic for monic km m^i fccnbe,

^OL* ^atunc xiiTiu-tiitcc ij@? ^m tljcit mjj nionic cv mp fccu^se,

Ci^r&pe 3[ encc miffc

VII. 5;f \^t^ tcnb nicnic nntJ a frcji^e,

^jS 5[ fiauc ij^h Dcforc, gi tutn hccpc inp monic ant! fa*s?c nni fi'fr;tw.

JEnta pla^c tfjc fcolc no more.

The examples above given are only of fuch fongs and ballads as it is fuppofed vi'ere the entertainment of the common people about the year 1550, they are therefore not* to be confidered as evidences of the general ftate of poetry at that time, nor indeed at any given period of the preceding century ; for, not to mention Chaucer, who flourifh^ cd fomevvhat before, and whofe excellencies are known to every judge of Engli{h literature, the verfes of Gower abound with beautiful images, and excellent moral precepts ; and thofe of the earl of Surrey, Sir Thomas Wyat, and a few others, their contemporaries, with the liveliefl: defcriptlons, and moft elegant fentiments. One of the moft excellent poems of the kind in the Englifh language is the bal- lad of the Nut-brown Maid, publillied with a fine paraphrafe by Prior, which, though the antiquity of it has by a few been queftioned, was printed by Pinfon, who lived about the year 1500, and probably was written fome years before.

Many of the fongs or popular ballads of this time appear to have been written by Skelton, and a few of them have been occafionally inferted in the courfe of this work i as to hi? poems now extant, they are fo peculiarly his own, fo replete with fcurrility, and, though abounding with humour, fo coarfc, fo lewd and indelicate, that they are not to be matched with any others of that time, and confequently refled: no difgrace on the age in which they were written.

Nothing can be more comical, nor nothing more uncleanly, if we except certain verfes of Swift, than that poem cf Skelton en» titled the Tunnyng of Elynour Rummyng. This woman is faid by

him

40 HISTORY OF THE SCIENCE BookL

him to have lived at Letherhead in Surrey, and to have fold ale, the brewing or tunning whereof is the fubjedl of the poem. The humour of this ludicrous narrative confifts in an enumeration of many fluttiih cjrcumftances that attended the brewing, and a defcription of feveral perfons of both fexes, of various charaders, as travellers, tinkers, fer- vant-wenches, farmers' wives, and many others, whom the defire of Elynour's filthy beverage had drawn from different parts of the coun- try ; of her ale they are fo eager to drink, that many for want of money bring their hou£hold furniture, fkillets, pots, meal, fait, gar- ments, working-tools, wheel-barrows, fpinning-wheels, and a hun- dred other things. This numerous refort produces drunkennefs and a quarrel, and thus ends Skelton's poem the Tunnyng of Elynour Rummy ng.

Of his talent for fatire the fame author has given an example in the following verfes, which becaufe they are charaderiftic of an ignorant fmging-man, a contemporary of his, are here inferted at length.

^hclton Haurcatc ngaiiili a comclp CopRrctonc, t\)cit cunotDiTp clinuntptJ anb carrpf!)lp coUintrcti anb matjJp in !ji^ Wiitihc^ moR:: hpiftjp mabf, agapnfl tSc ix JtH^ufi^ of poIitilKc ^otm^ anb ^ocrtp^ marciculat*

d^i all itacpcn^ unbet tftc ^citpn, m)ttc frantpKc foolpjsf 3! !jatc mofr cf alK, for tfiougf) tgf |i Rumlfic in tide t^imt^ fcupn, gjn pnipffincjsf yet tfjcp fnappcc anti fail, Wf^id) mm f^t tiij tcatilp tm^ tail, (Zl)i0 ptnyf^ prouti t!)i^ prnibci* gclr, Wfjcn |)c i^ tDeU im can f}C not rclt*

% f toctc fU0cr lofc anb foturc SapartsjS Iiini ^t fumtjcle Iplic in forme anb (Jap, <C!je one for a tjnhe tl[)cotl]cr for a tiun ; m mannclict for ^oxcii thereon to fnap, t)i^ ftart i^ to Ijp to fjauc anp Sjap, $0ut for in W eamut carp tf^at 80 can, 210 giah tDoIti fee a g(entplman.

Chap. 3- AND PRACTICE OF MUSIC. 41

H^ptf) gcp trolp iolp, fo iuSip fjcrc g[(a&, 5Humli0h fobpitipm fpllcrpm ticn, <riirpotDiTp !jc can totf^ counter anti ftnaft, <t^t ^artin J^toart, anti all f^^^ merp men, %ovt} Ijoto ^crhpn i^ prouti of !ji^ ^poftcn, $5ut a^fe txjgct: fte fpntiptfi among gij^ monacocbif ^n fjolp^tDatcc^cIarli a. ruler of lorbcjsf*

ipc cannot fpnti it in rule nor in fjracc, l}t folfptf) to tjautc, f^i?^ trptJpU ijgi to (jp, 4e JiraggptI) of fit^sf &prtlj tJjat iJornc toa^ fall t^ace, ^p^ mufpl^ hJitljoute mcfurc, to ftjarp i^ Iji^ mp "^^ l^t trpmmptf) in Ijijaf tenor to counter partip, ^i^ bifcant i^ licfp, it i^ tDitliout a mene, eo fat ija? Ijijgf fantfp, liiiSf topt i^ to lene*

^e tumBrptlj on a leixjtie Jctote, ^Hotp IiuJle 9[opfe +, ilumbill botone, tumbil botone, gep go noltj notD, f$c fum&lptli in Ji.^ fpngering an uglp rulie noxfc, gt feemptft tl|c fobbpng of an olb foUi ; ^t ItJolbe fie maSJC moci^ of anb {)e topfl l^otu ; IBele fpeb in fppnbel^a? anb tunpng of tratjcllpist, % bungler, a bratuler, a ppher of quarellpjsf.

Comelp fje clappptli a papre of claupcorbp^s?, f^t tD^pKelptf) fo nuetelp fje mahctfj me to ftuct, ^10 bifcant i^ ba(f)eb full of bifcorbe^, M reb angrp man, but eafp to intrete ; %n uff)er of tlje Ball fapn toolb 5[ get, €0 pointe tl)i0 proube page a place anb a rome, for Jail toolb fie a gjentilman tljat late toa^ a gromc.

giaft tnolb get anb pet 5;ill fapb nap, ^c countetl) in fiijsf countenance to cljech tuitlj tge htVi, 21 malapcrte mcbler tljat pryctij for Iji.^ prap, 5[n a bpfft bare l)e ruf^ to torangill anb to lyccd, J^e finbetfi a proporcpon in iji^ prpcUc fonge, €0 brpnfie at a braugljt a large anb a long.

• 1. e. The fyllable mi ufcd in folmifation. f The initial words offome old fon^.

YoL.Ilu G i^ap

40 HISTORY OF H SCIENCE Bookl.

him to have lived at Letherhead in u icy, and to have fold ale, the brewing or tunning whereof is the J )• ct cf the poem. The humour of this Tudicrous narrative confifts i r enumeration of many nuitiOi circumftances that attended the brc i -. and a defcriplion of fcvcral perfons of both fexes, of various chr ocrs, as travellers, tinkers, fer- vant-wenches, farmers* wives, and i ::,v other?, whom the dcfire of Elynour's filthy beverage had draw f; ::i .aTcrcnt parts of the coun- try ; of her ale they are fo eager iiink, that many for want of money bring their houlhold furnif :, ikillets, pots, meal, fait, gar- ments, working-tools, wheel-barrc s, fpinning-whcels, and a hun- dred other things. This numerou r^fort produces drunkennefs and a quarrel, and thus ends Skelton's ( .m the Tunnyng of Elynour

Rummyng.

Of his talent for fatire the fame r h.^r has given an example in the following verfes, which becaufc th ' -re charadcriftic of an ignorant finging-man, a contemporary of hi are here inlcrted at length.

^.ftdton IlAiirfatc nuainlt a coi h^ vronnictunc, tl%u fiiriorurrri

c|ininitiit> anti carq^fiilp coUintrfb no iii.iDin in liifli in^iinhfa molir

Upiftip matif, agapnJ! tl\c ir Crir .'. rclirilir poems anb pofrt|;sf matriculat.

(Of all nacpoiis nnbt ti r Dnnm, Cljcfe frantTihc foolp.s^ li.uc nioft cf nil, for tfiougli tfifu Hum! m rfic runiifjs fcupn, %\\ pcupniiif jsf prt tl\C} nr.ppcr aiib fall, WWi) men tfjf \jii be fall,

-Cin.flf pcupfl) proiib t!) :r get!.

aiDljni Ijc i!5 tocll jirn rfH.

% ftoctc fiigcr lofc rb folurc {laparbsf tiin 23c fumbdc I|)hf m fi tic anb flinp, iZVit one for a t>\\\\c i\\ Klrr for a bun ; 3il mannelKtfor SlHori ticrrouto fnap, t)i^ ftart i^ to lip to (] if ann Imp, $3iit for in f\i^ jjanmi arp that fjc can, 2lo %til\ U)olb he a ^itplnian.

^mmih

Chap. 3. AND PRACTICE OF MUSIC.

*" - H^ptf) Sep rolp iolp, lo tufiTp Sere g[ah,

.^^ 5llluml)eh fol Itipm fpHcrpm Itcn,

■d|^ ^ tfciSL^ <riirpotDiTp t can tsotg counter anti hnaft,

^^^,/j^^t O^f 93artin . iJDart, anb all fjpjsf mcrp men,

^*»ft Sorti Soto ^ fepn tjsf prouti of Sis? JDoften,

$3ut aj^h tDS Se fpnbptS among Si^sf rnonatorbif ^n Solp^toai :=clarli a. ruler of \ottc0*

^e cannot mb it in rule nor in fj^acc, i^e foIfptS tc autc, Sp,sf trpBpU i^ to Sp, ^e Iiraggptg f St)3? &prtS t^at £iorne toa^ fuH f^ace, ^p^ mufpft itSoute mefure, to ff)arp iisf gi^ mp *, ipe trpmmpt in Si^ tenor to countci: partjp, ^10 tiifcant : liefp, it i^ toitSout a mene, ■F '^0 fat i^ Si fantfp, Si^ ^pr iisf to Iene»

^t tumBriS on a letotie IctDte, JHotp fiuJIe 9Iopfe +, ilumBin tiotie, tumbiJ totune, S^P 0O notn uotD, ^e fumfiiptS 11 Si^ fpngering an iiglp rutie noifc, g[t feemptS 1 e Cobbpng of an oib foiu ; i^e tooltre ht latic tnocS cf anti Sc topfi S^^ ; tBeie fpeti in ppntiel^ anti tunpng of tratJcHpisJ, % Jiungler, ajratcicr, a pplter of rxuareiUpiSf.

Comelp S^^apPptS a papre of claupcorbp^s?, !^e ttJSp^eipt fo ftoetelp S^ mahctS me to ftoct, ^10 bifcant i bal^eb fu!i of bifcorbe^, "M reb angrp lan, Iiut eafp to intrcte; %n uit^tv of te Sali fapn toolb g[ get, €0 point e tS^f proube page a p!ace anb a rome, for Jafe tool fee a gentilman tSat la^|a^ a gromi

* .^ ^^ Ipc countetS i Si^ countenance to J||ec

:^H "k malapcrte icbler tSat prpct^

p 5[n a bp^ bae Se rufS to torai

^c finbetS a yoporcpon in Si^ €0 brpnlie aia braugSr a larj

i 9»« li9iM(.4iai

K^'^ M «M^ BliliBi

iiflRcieffliiitD

tt^ ^^ '"•

»,-^) !l%',:

;rfllUL

mxi.

^ •)

1 ,

I

» ;

I. e. The fyllable Ml "cd in folmifai

42 HISTORY OF THE SCIENCE Book L

|)ap iapc not tDxtl) ][)pm, f)t i0 no fmall folc, 3Jr i^ a folcnipnc t^tc anti a folapne, for lorbc^ an13 iabpcj^ Iccnc at l[)i^ fcolc, i^c tfcfiptli tfjcm fo ti5?fdn to tWant! to fapnc, Cfiat ncitljcr t|iep fing toe! priitc=fong nor plain, '^^i^ ts^octor ^cntajsf coniiucnfpt! in a cart, 511 maRcr, a mjinltrc!, a fpbJcr, a fart»

Wliit ttjcnu^ pc can counter CullodI nos, 2SI^ iDci it bccomiti) poii a parpfj) toit^nc clarhe f^O fpng Supinitati dedit Mgros, f ct hca pc not to 6olb, to braule nc to Barh, %t me rJjat mcbclfti notijing toitlj pourc luarlt, Correct Hrf! tljp fcifc, tualk anti fie nougfjt, vDemc togat pou Ufil tJiou RnoiSJinr not nip tfjou0i)t.

% protierlie cf oltr fap tdelJ or 6e (tin, ^e are to unl^appp occafion to fpnbe, yppon me to clater or clfe to fap pil» ^om Ijabe 51 ftictDpti pou part of pour proub minti, €afee tW in l^o^tf) tfie belt i^ ftc^inti. ^rpten at Croption bp CrotuJantJ in tfje clap, (On €anM\m0 cupn tide 31taIentJai6f of ni9ap>

Mention has already been made of the fervice-books ancient- ly ufed in the churches and chapels of this kingdom, by whom they were generally made, and of the enormous price they bore while copies of them could only be multiplied by writing. This, though a great inconvenience, was not the only one which mufic laboured under, for the characters ufed in mufical notation were for a feries of years ilud:uating, fo that they afTumed a new form in every century, and can hardly be faid to have arrived St any degree of ftability till feme years after the invention of printing i and it will furprize t^^e reader to behold, as he may in the fpecimens of notation here given, the multifold varia- tion of the mufical characters between the eleventh century, when they were invented by Guido, and the fifteenth, when, with a few exceptions in the pradice of the German printers, they were finally^ fettled.

Chap. 3- AND PRACTICE OF MUSIC.

43

iiv? fuVrbcc rugaitvrcgtrAm im

T t JTrTfT '^*. ^*n»r j-

l>baic 111 cr * ' 'loibrraunai Ki^aimcnmB bo

r.1 * . ^ . -^ — ~ rrr, ^^T-mT' p-r . i-c^ ^ rtti

'^ ^^' ^' •'^'^^'^uKracv - num inbed nan ' n(ti{

-» — yy-i — 7—^ — it~ — s z — L — s: — rr. 1 wtH ti-ti inni

"t ^^ ,*«**^A fjiji. ^Jn?1.

— irs L ri n — *^ i./

m^ M^mrem u?emm ''iilMcfr K}0 Cug>iio fgnild^nnnctt

^edCTupaasn

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iKrftrrmioItbcrlno'

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" aiv'AC V

la- V veirmirabili^ ^cnr

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1

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{Bu5Snwuaftmo4>

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44 HISTORY OF THE SCIENCE Bookl.

^ r //< y '< v// vy///// . r //i p^ai/'rHit - fe /^ff - n tiajerfa t'rfs C/irr -/w Jiat

' rrr - t/.'sjajiwr /^t-r rxwi jifii<'tjtft'r t'/tjii pa// - pere m /us

i/ii42e /ur - Jf/m/unfdi - lusatmaiuiti' . H% c^i^ fi .r/m?

/urm if m eiH- /v^ t/uyaana -

-^ nitric - uuiver/uu/ji.^^ywrdi/Siiudisfidi audi c/fs

du'^it^r.nJefum ,r'/>teftdui(Uirfufu -us ill e^ietwi^ /n tint.

*.V- of^9 opo? cP^

^fiait^ih >li/vt/u^m' ludfum reie^iaiint. Ffi^/e an/£>f(£^ C4im ^ui//iudani PuiJimwri/ie&i/i^a inlefyid/ante Brit/Uruddcifniu4fejaii,deditellivutny'iajiaivti^> i/v in^a/ztRremtjiuae' //n^aa i/krum iwcatur m fi/rore . In^ia ifutt: c»JLftf-iu&> nu^hLttfTCt? atu>c/ hticte7Ui^ /w//idefi/ hefe</&f eiu^ a/u7uaf?idiu cvn - itficnti/C-trrut/ni/cjiJil uUain, i/'oJii^ daji^it auOfium diern .

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. Arffw^n/cnmn . MtffdnnjLf lJ)c - ini numaiaea ntm^

P^cf'' c. oifpoop o^ ,cpf^o?P^. Jcfpc,pj,o ^f^fcf^^'ocCo^fpP^J'ccf/cP

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,oP ^^9^^^c9c- J J ''J y^^ ^■■J' ^^^ F n J / ^ cfiJiWi .*tii'7y/i patfT . Jidlafn drdiL lajMrjiufuis .^audes. oer^ue

PccF^J OC C-P ^ P -'f '^Jc^f^'^. Cq fl o ^/"^ 0

bone e/^/i de/is . i/nui ifi paiiui fit ilfi ft ^i^'lis. /ii/jni7n/u - ta

e ciui/iuaain, in tra m aaiuw imiLDoni/Jit He - 1 tin •

k ciui/i'^ifniiftL . Ill tra lit ija, , le - iiiM

Chajp.3. AND PRACTICE OF MUSIC. 45

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tiTiei^ mr d) 111 cofflTaiTr

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ItTTt

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77,/r/r .'

46 HISTORY OF THE SCIENCE Book I.

/^rifLe - nu ----- 3{? - rni rie - - - a/'Ai^ mine nia/c - - amro m - - - aiw - li

Ju: J^of^fy^^^j^Jj ^ J J ^-^T^o^ gc^jojoe^^o^''^?

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7fie Cdc juine %denmjiu pec ca - •

tv7%s i/r /// /w7uinihis ifi/

Chap. 3.

AND PRACTICE OF MUSIC,

47

ill

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Ani&- .»*• .

48

HISTORY OF THE SCIENCE Book I.

/// tiii/em '-0 oo ^—

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Chap. 3- AND PRACTICE OF MUSIC. 49

i ydtdigimm fi liithim cth mm itWm\t .

inrAYmii uh:M aiftgkaim

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50

HISTORY OF THE SCIENCE Book I^

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Chap. 3. AND PRACTICE OF MUSIC.

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Chap. 3. AND PRACTICE OF MUSIC.

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Chap. 3- AND PRACTICE OF iM U S I C. 53

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54 HISTORY OF THE SCIENCE Book I.

Upon the foregoing fpeclmens it is to be remarked, that they ex- hibit a feries of charaders ufed for the purpofe of mufical notation from the eleventh century down to the fourteenth, as they are to be found in miiTals, graduals, antiphonaries, and other books of offices^ adapted to the Romifh fervlce. With regard to the firft, * Paupertate Spiritus,' the mufical charaders appear to be fuch as are faid to have been in ufe previous to the invention of the ftave by Guido, and from the fmallnefs of the intervals it may be queftioned whether the notes are intended to fignify any thing more than certain infledions of the voice, fo nearly approaching to monotony, that the utterance of them may rather be called reading than finging.

The example * Eripe me Domine' is clearly in another method of notation, for the flave of Guido, and alfo the F cliff, are made ufe of in it. With regard to the charad:ers on the lines and fpaces, they are very different from thofe points, from the ufe whereof in mufical compofirion the term Contrapunto took its rife j and fo little do they refemble the charaders proper to theCantusMenfurabilis, as defcribed by Franco, De Handle, and other writers on that fubjed:, that it is not without great difficulty that they can be rendered intelligible. The author from whom this example is taken exhibits it as a fpecimen of the manner of notation in the twelfth century; it neverthelefs appears to have continued in pradice fo low down as the fixteenth, for all the examples in the Margarita Philofophica of Gregory Reifch, printed in 15)7, are in this charader, as are alfo thofe in the Enchiridion of George Rhaw, the Compendium Mufices of Lampadius, and other works of the hke kind, publirhed about the fame time.

The fpecimen * Verbum Patris' is of the thirteenth century, and as- to the form of the charaders, differs in fome refpeds from the former ; and here it may be remarked, that the F and C cliffs have each a place in the ftave, and that the flation of the former is marked by a pricked line. Other diftindions for the places of the cliffs, namely, by giving the lines a different colour or different degrees of thicknefs, were ufual in the earlier times, and are taken notice of in the preceding volume of this work.

The charader in the fpecimen. * Vere dignum et juftum' are fup- pofed to denote the infledions of the voice in reading.

The plate page 51 (hews the different forms of the cliffs, and their gradual deviation from their refpedive roots at different periods.

The.

Chap. 4- AND PRACTICE OF MUSIC. 55

The two next fucceeding plates contain a comprehenfive view of the mufical notes in different ages, with their equivalents in modern charadters.

The fpecimens above exhibited are taken from the Lexicon Diplo- maticum of Johannes Ludolphus Walther, publiflied at Ulra in 1756; they appear to have been extracted from ancient fervice- books in manufcript, of which there are very many yet remaining in the public libraries of univerfjties and other repofitories in Europe *. The explanations in modern charaders are the refult of his own la- bour and learned induftry, and furnifh the means of rendering into modern charaders thofe barbarous marks and fignatures ufed by the mcjiks in the notation of their mufic.

CHAP. IV.

THE invention of printing proved an effedual remedy for all the evils arifing from the inftability of mufical notation, for befides that it eafed the public in the article of expence, it intro- duced fuch a fteady and regular pradice as rendered the mafical, an univerfal charadler.

The firft effays towards mufic-printing were thofe examples which occur in the works of Franchinus, printed at Milan ; but of thefe it may be obferved, that the notes therein contained are not printed from letter-prefs types, with a charader cut on each, but in mafles, or from blocks, with a variety of charaders engraven there- on. The Germans Improved upon this pradtice, and the art of print- ing mufic with letter-prefs types appears to have arrived at great perfejdlion among them by the year 1 500.

Matthefon, in his Volkomenen Capelmeifter, pag. 58, relates that Jaques De Sanleques, a man who had arrived to play exquifitely on all inftruments, without the leaft inftrudion, was the firft who taught the art of making mufic-types, and the method of printing from them, in France; and that he died in the year 1660, at the

* One of the fineft of the kind, perhaps in the world, is the Liber Regalis, containing^ among other things, the religious ceremonial of the coronation of Richard II. and his queen, with the mufical notes to the offices. This curious MS. was originally intended for the ufe of the high-altar in Weflminfler-abbey, and. is now in the library of that church.

a^e

£3

5^

HISTORY OF THE SCIENCE Book I.

age of forty-fix, having precipitated his death by exceffive fludy and application. This account of the introduction of mufical printing types into France can never be true; for the Pfahns and other works of Claude Le Jeune, which were pubhfhed at Paris by Pierre Bal- lard before Sanleques was born, that is to fay in 1603 and 1606, are a demondration to the contrary; and, to judge from the exquifite beauty and elegance of the charaders, and the many elegant orna- ments and ingenious devices for the initial letters, it feems that the French had in this kind of printing greatly the advantage of their neighbours.

In England the progrefs of this art was comparatively flow, for in the Polychronicon * of Ranulph Higden, tranflated by Trevifa, and printed by Wynken de Worde, at Weftminfter in 1495, ^^^ ^^^ ^°^~ lowing mufical charadters, which Mr. Ames with good reafon fup- pofes to be the firfl of the kind printed in England.

H

^

P — ^

a

CS Oh TO >>

Q

4-)

c

CX,

TO

G O

OJ

TO >>

Q

CL, TO

'3-, Q

Grafton improved upon thefe charaders in the book publifhed by him in 1550, entitled. The Book of Common Prayer noted, which v/as compofed by John Marbeck organift of Windfor, and contains the rudiments of our prefent cathedral fervice; thefe, in the opinion of the printer, flood fo much in need of explanation, that he has inferted the following memorandum concerning them.

* Thofe who do not know that the Polychronicon Is a multifarious hiflory of events- without order or connexion, will wonder how thefe charadlers could find a place in it,, but it is thus accounted for : the author relates the difcovery of the confonances by Pytha- goras, and to illuftrate his narration gives a type of them in the form above defcribed.

Chap. 4. AND PRACTICE OF MUSIC. 5>

* gfn tfjiiSf hooht i^ contcpncti fo mucFi of tlje orbcr of Common ©wpcc * a^ i^ to Be fuiig in crjurcfjc^, toScrein are wfcti onlp tgete iiii Cocte^ ' ofnotCiB?,

* €{je firfif note i^ a (Irene note, anti i^ a bretje ; tge feccnb i^ a fguate

* note, anb i^ a fempbrebe ; tje iii a ppche, anti ij5' a mpnpmme. ^T.nti

* itJijen tgere i*!f a prpcftc 6p tfje fqnare note, t{)at prpche ijsf fj^Ife a^ef

* mucje ai9f t§e note tl^at goetfj liefore it. €^t iiii i^ a clofe, anti i^

* onlp ufcb at tfte enti of a berfe/

Thefe charadters were confiderably improved by the induftrious John Day, who in 1560 publithed the church -fervice in four and three parts, to be fung at the morning, communion, and evening prayer, and in 1562 the whole book of Pfalms, colleded into Eng- ]i(h metre by Sternhold, Hopkins, and others, with apt notes to fing them withal, and by Thomas VautroUier, who in 1575 publi(hed the Cantiones of Tallis and Bird under a patent of queen Elizabeth to the authors, the firft of the kind *. The fucceeding mufic-prin- ters to VautroUier and Day were Thomas Efte, who for fome rca- fons not now to be guelFed at, changed his name to Snodham *, John Windet, William Barley, and others, who were the affignees of Bird and Morley, under the patents refpedively granted to them for the fole printing of mufic. Thefe men followed the pradice of the foreign printers, but made no improvement at all in the art, nor was any made till the time of John Playford, who lived in the reign of Charles II.

In what manner, and from what motives mufic was firft intro- duced into the church- fervice has already been mentioned; and in ^he account given of that matter it has been fliewn that the practice of antiphonal finging took its rife in the churches of the Eaft, name- ly, thofe of Antioch, Cefarsea, and Conftantinople ; that the Greek fathers, St. Bafil and St. Chryfoftom, were the original inftitutors of choral fervice in their refped:ive churches j that St. Ambrofe intro- duced it into his church at Milan j that from thence it pafled to Rome, from whence it was propagated and cftablifhed in France, Germany, Britain, and, in fliort, throughout the Weft: and, to fpeak more particularly, that Damafus ordained the alternate finging

* Ames's Typographical Antiquities, pag. 335.

Vol. III. I of

38 HISTORY OF THE SCIENCE Book I.

of the Pfalms, together with the Gloria Patri, and Allelujaj in 384, Siricius, the anthem ; in 507, Syntimachus, the Gloria in Excelfis ; that In 590 Gregory the Great reformed the Cantus Ambro(ianu&, and eftablifhed that known by his name -, and that about the year 660 Vitalianus completed the inftitution by joining to the melody of the voice the harmony of the organ.

From this dedudion of the rife and progrefs of mufic in cathedral worfhip, it may feem that the introduction of mufic Into the church was attended with little difficulty. But the cafe was far otherwife; fortunately for the fcience, the above-mentioned fathers were fkilled in it, and their zeal co-operating with their authority, enabled them to procure it admittance into the church i but there were then, as there have been at all times, men, who either having no ear, were infenfible to the effeds of harmony, or who conceiving that all fuch adventitious aids to devotion were at leaft unneceffary, if not fjnful, laboured with all their might to procure the exclufion of mufic of every kind from the church, and to reftore the fervice to that origi- nal plainnefs and fimplicity, which they conceived to be its per-

fedion.

And firft St. Auftin, whofe fuffrage Is even at this day cited In fa- vour of choral mufic ; although fpeaking of the introdudion of anti- phonal finging Into the church of Milan, at which he was prefent, thus pathetically exprefles himfelf: * How abundantly did I weep

* before God to hear thofe hymns of thine ; being touched to the » quick by the voices of thy fweet church fong ! The voices flowed

* into my ears, and thy truth pleafingly diililled into my hearty « which caufed the aftedions of my devotion to overflow, and my « tears to run over, and happy did I find myfelf therein.'

Yet this very St. Auftin having reafon to fufped that he had miftaken the natural workings of his paffions for the fervent opera- tions of a vigorous devotion, cenfures himfelf fever:rly for being fo moved with fenfual delight in divine worfliip, and heartily blulTes God for being delivered from that fnare. He withal declares that he often wKhed that the melodious fmging of David's Pfalter with, fo much art were moved from his and the churches ears ; and that he thought the method which he had often heard was obferved by Athanafius, bilhop of Alexandria, was the fafefl:, who caufed hitii that red the Pfalm to ufe fo little variation of the voice, that he Teem- ed

Chap. 4. AND PRACTICE OF xMUSIC. 59

ed rather to pronounce than fing *. And elfewhere he declares that the fame manner of finging as was ufed In Alexandria prevailed throughout all Africa -f.

St. Jerome, though a friend to magnificence in divine worship, feems to more than hint a diflike of artificial finging in the church, when he fays, ' That we are not like tragedians to gargle the throat

* with fweet modulation, that our theatrical tunes and fongs may be

* heard in the church, but we are to fing with reverence J.* Ifidore of Sevil, though a writer on mufic, and as fuch mentioned

in the account herein before given of writers on the fcience, fays, that the finging of the primitive Chriftians was attended with fo fmall a variation of the voice, that it differed very little from read- ing ; and as for that pompous manner of finging, which a little be- fore his time had been introduced into the wefi:ern church, he fays it was brought in for the fake of thofe who were carnal, and not on their account who were fpiritual, that thofe who were not affeded by words might be charmed by the fweetnefs of the harmony ^.

Rabanus Maurus, another mufical writer, and a difciple of the fa- mous Alcuin, freely declares himfelf againfi: the ufe of mufical arti- fice and theatrical finging in the worship of God, and is only for fuch mufic as may move compundlion, and be clearly underftood by the hearers ||.

Thomas Aquinas, unlverfally reputed the ableil and moll: judici- ous of the fchoolmen, declares againft the ufe of infiruments in di- vine worfhip, which, together with- the pompous fervice of the choir, he intimates are JudaicaL He fays that • mufical inftruments do

* more ftir up the mind to delight, than frame it to a religious dif-

* pofition,' He indeed allov/s that * under the law fuch feiifitive aids

* might be needful, as they were types or figures of fomething elfe ;

* but that under the golpel difpenfation he fees no reafon or ufe for

* them §.'

And, to come nearer our own times, Cornelius Agrippa, though a fceptic in mod of the fubjedts which he has written on, declaims with great vehemence againft cathedral mufic, which he fays is * fo licentious,

* that the divine offices, holy myfteries, and prayers are chanted by a

• ConfefT. lib. X. cap. 33. f Epift. 119. % Epift. ad Rufticum.

f De Eccl. Off. lib. I. cap 5. |i De Inllitut. Cleric, lib. II. cap. 48.

§ In. 21. Qu. 91. a. 2. 4.

I 2 ~ * com-

6o HISTORY OF THE SCIENCE BoakL

* company of wanton muficians, hired with great fums of money^

* not to edify the underftanding, but to tickle the ears of their au-

* ditory. The church,' he adds, * is filled with noife and clamour,

* the boys whining the defcant, while fome bellow the tenor, and

* others bark the counterpoint ; others again fqueak the treble,

* while others grunt the bafs ; and they all contrive fo, that though

* a great variety of founds is heard, neither fentences, nor even

* words can be underftood */

Erafmus, who, as having been while a boy a chorifter, might be reafonably fuppofed to entertain a prejudice rather in favour of mufic than againft it, has a pafTage to this purpofe : * There is, fays he, a.

* kind of mufic brought into divine worfliip which hinders people

* from diftindly underftanding a word that is faid ; nor have the

* fingers any leifure to mind what they fing ; nor can the vulgar

* hear any thing but an empty found, which delightfully glides into- « their ears. What notions, fays he, have they of Chrift, who think.

* he is pleafed with fuch a noife ?'

And in another place he thus complains : * We have brought s

* tedious and capricious kind of mufic into the houfe of God, a tu-

* multous noife of dififerent voices, fuch as I think was never heard

* in the theatres either of the Greeks or Romans, for the keeping up

* whereof whole flocks of boys are maintained at a great expence, '* whofe time is fpent in learning fuch gibble-gabble, while they are

* taught nothing that is either good or ufeful. Whole troops of lazy ' lubbers are alfo maintained folely for the fame purpofe; at fuch an ■* expence is the church for a thing that is peftiferous.' Whereupon- he exprefTcrs a wifh * that it were exadUy calculated how many poor

* men might be relieved and maintained out of the falaries of tbefe

* fingers :' and concludes with a refledion on the Englifli for their fondnefs of this kind for fervice "f-.

Zuinglius, notwithftanding he was a lover of mufic, fpeaking of the ecclefiaftical chanting, fays, that that * and the roaring in the

* churches, fcarce underftood by the priefts themfelves, are a foolifh-

* and vain abufe, and a mod pernicious hindrance to piety J.'

But left the fuffrage of Zuinglius and Calvin, who fpeaks much in the fame manner, (hould be thought exceptionable, it may not be amifs to produce that of cardinal Cajetan, who, though a great ene-

* De Vanitate et Incertudine Sclentiarum, cap. 17. f Comment, on i Corinth, xlv. 1 9^ t Zuiriglii Ad. Difp. pag. 106.

my

Chap.4- AND PRACTICE OF MUSIC. 6i

my to the reformers, agrees with them in declaring that it may be eafily gathered from i Corinthians xiv. that it is much more agree- able to the apoftle's mind that the facred offices (hould be diftindtly recited and intelligibly performed in the church, without mufical and artificial harmony, than fo managed, as that with the noife of organs and the clamourous divifions, and abfurd repetitions of afFeded fingers, which feem as it were devifed on purpofe to darken the fcnfe, the auditors (hould be fo confounded as that no one (hould be able to underftand what was fung.

Polydore Virgil, though an Italian, and of the Romi(h commu- nion, writes to the fame purpofe: * How, fays he, the chanters make

* a noife in the church, and nothing is heard there but a voice ; and

* others who are prefent reft fatisfied with the confent of the cries,

* no way regarding the meaning of the words. And fo it is, that

* among the multitude all the efteem of divine wor(hip feems to rely

* on the chanters, notwithftanding generally no men are lighter or

* more wicked.' And fpeaking of the choir fervice in general, he adds : ' I may fay that this, and the ceremonies attending it, are for

* the moft part brought into our wor(hip from the old Heathens, who

* were wont to facrifice with fymphony, as Livy, lib. IX, witne(reth*.* Lindanus, bi(hop of Ruremonde, fpeaking of the muficians and

fingers that had poire(red the church after the Reformation, com- plains that their mufic is nothing but a theatrical confufion of founds^ tending rather to avert the minds of the hearers from what is good, than raife them to God ; and declares that he had often been prefent, and as attentive as he could well be to what was fung, yet could he hardly underftand any thing, the whole fervice was fo filled with re- petitions, and a confufion of different voices and tones and rude cla- mours. And thereupon he commends thofe who had expelled this fort of mufic out of their churches as a mere human device, and a profane hindrance of divine vvorfhip -j-.

To thefe cenfures of individuals feme have added that implied in the decree of the council of Trent, made anno 1562, for corred:ing abufes in the celebration of the mafs, not diftinguiflung between the ufe and the abufe of the fubjedt in queftion.

Such are the authorities ufually infixed on againft the prar!tice of antiphonal finging in cathedral churches, againft which it might be

* De Invent. Rerum, lib. VI. cap. ii. f Lindan, Panopliae, lib, V. cap. vli.

objevfl-

62 HISTORY OF THE SCIENCE Book I.

objecled, that the arguments, if fuch they may be called, ofthefe- veral writers above-mentioned, feem lefs calculated to convince the reafon than to inflame the pafllons of thofe who (hould attend to them J that allowing them all their weight, they conclude rather againft the abufe of finging than the pradice itfelf : and that all of thofe writers who have been thus free in their cenfures of church- mufic, were not fo well flvilled in the fcience as to be juftifiable for pretending to give any opinion at all about it. Polydore Virgil has never yet beeji deemed a very refpeflable authority either for fadis or opinions ; and as to Cornelius Agrippa, the author of a book which the world have long ll:ood in doubt whether to approve or condemn, choral finging might well feem confufion to him, who was fo grofs- ly ignorant in the fcience of mufic, as not to know the difference between the harmonical and metrical modes, and who has charged the ancients with confufion in the modes of time, which were not invented till the middle of the eleventh century *.

Againft the objections of thefe men choral fervice has been defend- ed by arguments drawn from the pradice of the primitive church, and its tendency to edification ; thefe are largely infifted on by Du- randus, cardinal Bona, and others of the liturgical writers. As to the cenfure of the council of Trent, it regarded only the abufes of church-mufic ; for it forbids only the ufe of mufic in churches mixed with lafcivious fongs, and certain indecencies in the performance of it which the fingers had given intO"!*) and as it was defigned to bring it back to that ftandard of purity from which it had departed, it juftified the decent and genuine ufe of it, and gave fuch authority to choral or antiphonal finging, that its lawfulnefs and expediency has long ceafed to be a fubjed of controverfy, except in the reformed churches; and in thefe a diverfity of opinion ftill remains. The Calvinifts content themfelves with a plain metrical pfalmody, but the Lutheran and epifcopal churches have a folemn mufical fervice. The original op- pugners of that of the church of England were the primitive Puri- tans ', the force of their objedions to it is contained in the writings of their champion Thomas Cartwright, in the courfc of the difcipli- narian controverfy ; and to thefe Hooker, in his Ecclelkftical Polity,

* Corn. Agrippa in loc. citat.

t ' L' u^o delle inufiche nelle chiefe con miftura di canto, 6 fuono lafcivo, tutte le at- ' tioni fecolari, colloquii profani, {Irepiti, gridori.' Hift. del Concil. Trident, di Pietro Soave^ Londra, 1619, pag. 559.

has

Chap. 4. AND PRACTICE OF MUSIC. 6^

has given what many perfons think a fatisfadory anfwer. The argu- ments of each are referred to a fubfequent part of this work.

However, thefe are merely fpeculative opinions, into which it were to little purpofe to feek either for the caufes that contributed to the eftablifhment of choral mufic, or for the reafons that influenced thofe who oppofed its admiffion, fince in their determinations the bulk of mankind are adluated by confiderations very remote from the reafon- ablenefs or propriety of any. The fa(5l is, that the fathers above- mentioned,, from a^erfuafion of its utility and agreeablenefs to the word of God, laboured to introduce it into the church ; and it is no lefs certain, that chiefly on the fcore of its novelty it met with great oppofition from the common people ; for, not to mention the tu- mults which the introdudion of it occafioned at Conftantinople, and the conceffions which St. Chryfoftom thereupon made, it appears that when Gregory the Great, in 620, fent the Cantus Gregorianus into Bri- tain by Auftin the monk, the clergy were fo little difpofed to receive it, that the endeavours to eftablifh it occafloned the flaughter of no fewer than twelve hundred of them at once ; and it was not till fifty years after, when Vitalianus fent Theodore the Greek to fill up the vacant fee of Canterbury, that the clergy of this ifland could be pre- vailed on either to celebrate the Pafchal folemnity, the precife time for which was then a fubjed: of great controverfy, or to acquiefce in the admiffion of cathedral fervice in the manner required by the Ro- miQi ritual : nor 4i<i ^^ey then do it fo willingly but that the pope about nine years after, found himfelf under the necefTity offending hither the principal finger of the church of St. Peter at Rome, who taught the Britons the Roman method of finging, fo that the true era of cathedral mufic in this'our land is to be fixed at about the year of our Lord 679.-

But in France the bufinefs went on flill lefs fmoothly than in Bri- tain, for which reafon Adrian taking advantage of the obligation he had conferred on Charlemagne, by making him em(Derorof the Weft,,, ftipulated with him for the introduction of the Cantus Gregorianus into the Gallic church : the account of this memorable tranfadlion is thus given by Baronius. * In the year 787 the emperor kept his Eafler with

* pope Adrian at Rome; and in thofe days of feflivity there arofe a ' great contention between the French and Roman fingers. The -* French pretended to fing more gravely and decently, the Romans

* more melodioufly and artificially, and each mightily undervalued the

* other.

64 HISTORY OF THE SCIENCE Book I.

* other. The emperor yielded to the pope, and made his own fer-

* vants fubmit ; and thereupon he took back with him Theodore

* and Benedict, two excellent Roman fingers, to inftrudt his coun-

* trymen. The pope alfo prefented him with the Roman antipho-

* nary, which the emperor promifed him fhould be generally ufed

* throughout his dominions ; and upon his return to France he

* placed one of thefe artifls in the city of Metz, ordering that the

* fingers (hould from all the cities in France refort hither to be taught

* by him the true method of finging and playing on the organ *.' Thus the matter ftood at about the end of the eighth century, by

which time all adlual oppofition to cathedral mufic was pretty well calmed 3 and, faving the objeflions above-cited, which feem rather to apply to the abufe of it than the pradlice itfelf, church-mufic may be faid to have met with no interruption for upwards of feven centu- ries. On the contrary, during all that period the church of Rome, with a fedulous application continued its utmofl: endeavours to culti- vate it. And from the time that Franchinus became a public profefibr of the fcience, the younger clergy betook themfelves with great afli- duity to the ftudy of mufic, for which no adequate caufe can be afllgn- ed other than that it was looked on as the ready road to ecclefiafi:ical preferment.

Nor was it from thofe popes alone who were fkilled in, or entertain- ed a paflion for the fcience, that mufic received protedion ; others of them there were, who, influenced by confiderations merely politi- cal, contributed to encourage it j the dignity, the fplendor, and mag- nificence of the Roman worfhip feemed to demand every afiTifiance that the arts could afford. All the world knows how much of the per- fection which painting has arrived at, is owing to the encouragement given by the church to its profefibrs : Michael Angelo and Raphael were almofi: folely employed in adorning the church of St. Peter and the Vatican with fculptures and fcripture-hiftories ; and from mo- tives of a fimilar nature the greatefi: encouragements were given to muficians to devote their ftudies to that fpecies of compofition which is fuited to the ends of divine worfhip ; and to the perfedion of this kind of mufic the circumfiances of the times were very fortunate : for notwithfianding the extreme licence taken by perfons of rank and opulence at Rome, and indeed throughout all Italy, and that un-

* A circumftantial account of this event, as related by Durandus and cardinal Baro- nius, is given vol, I, book IV. chap, 2. of this work.

bound-

Chap. 4. AND PRACTICE OF MUSIC.

bounded love of pleafure, which even in the fourteenth century had fixed the charadleriftic of Italian manners, it does appear that much of their enjoyment was derived from fuch public fpedlacles as to the other powers of fafcinatlon add mufic ; and that mafquerades, feafl- ing, and gallantry were with them the principal fources of fenfual gra- tification. The mufical drama, or what is now called the opera, was not then known ; the confequcnce whereof was, that the church not having then, as now, the ftage for its competitor, had it in its power to attach the moft eminent profeflbrs of the fcience to its fervice, and to render the (Indies of a whole faculty fubfervient to its purpofes.

To this concurrence of circumftances, and a difpofition in thofc whofe duty led them to attend to the interefts of religion, to which may be added that theoretical {kill in the fcience, which Franchinus had by his public leditures diffeminated throughout Italy, are owing the improvements which we find to have been made in the art of pracflical compofition by the end of the fixteenth century. The pro- digious havoc and deftrudtion which was made in the conventual and other libraries, not only in England, at the diilblution of monaf- teries, but in France and Flanders alfo, inconfequence of thofe com- motions which the reformation of religion occafioned, have left us but few of thofe compofitions from whence a comparifon might be drawn between the church-mufic of the period now fpoken of, and that of the more early ages j but from the few fragments of the latter now remaining in manufcript, it appears to be of a very inartificial con- texture, and totally void of thofe excellencies that diftinguifli the pro* du(5lions of fucceeding times. Nor indeed could it poflibly be other- wife while the precepts of the fcience inculcated nothing more than the dodlrine of counterpoint and the nature of the canto fermo, a kind of harmony fimple and unadorned, and in the performance fcarcely above the capacities of thofe who in finging had no other guide than their ear and memory ; in {hort, a fpecies of mufic that derived not the leaft advantage from any difference among themfelves in refped: of the length or duration of the notes, which all men know is an inexhauflible fource of variety and delight.

But the affigning of different lengths to founds, the invention of paufes or refls, the eflablifhment of metrical laws, and the regulating the motion of a great variety of parts by the taftus or beat, whereby

Vol. III. K an

66 HISTORY OF THE SCIENCE Book I.

an union of harmony and metre was cfFeded, were improvements of great importance ; from thefe fprang the invention of fugue and canon, and thqfe infinitely various combinations of tone and time which diftinguifh the canto figurato from the canto fermo, or eccle- iiailical plain-fong.

The principal motive to thefe Improvements was undoubtedly the great encouragement given to ftudents and profeflbrs of mufic by the court of Rome. Thofe writers, who, to palliate the vices of Leo X. infifl on his love of learning, and the patronage afforded by him to the profefTors of all the finer arts, afcribe the perfedion of mufic among the reft to his munificence ; but in this they are mif- taken ; an emulation to promote mufic prevailed at this time through- out Europe, and the temporal princes were not lefs difpofed to favour its improvement than even the pontiffs themfelves j our own Henry VIII. not only fur.g, but was pofiefi^ed of a degree of fkill in the art of practical compofition equal to that of many of its ableft profefTors, ^s appears by many of his works now extant. Francis the Firft of France reckoned Joannes Mouton, his chapel-mafter, and Crequilon among the chief ornaments of his court ; and the emperor Charles V. by his bounty to muficians had drawn many of the moft celebrated then in Europe to fettle in Germany and the Low Countries.

Such was the general flate of the church-fervice in Europe In the age immediately preceding the Reformation, at the time whereof it is well known choral mufic underwent a very great change j the na- ture of this change, and the precife difference between the Romilh and the other reformed churches in this refped: will befi. appear by a comparifon of their feveral offices ; neverthelefs a very curfory view of the Romifh ritual, particularly of the mifi'al, the gradual, and the antiphonary will ferve to fhew that the greater part of the fervice of that church was fung to mufical notes. In the Antwerp edition of the mifial, printed MDLXXVIII. conformable ^o the decree of the council of Trent, the fufl^'rages and refponfes are printed with notes, which are included within a ftave of four red lines. The offices in ufum Sarifburienfis, as they are termed, con- tained in the Mifi^al, the Manual, the Proceifional, and other books, nay even thole for the confecration of lalt, of water, tapers, and afijes, are in li';e manner printed with mufical notes. Thefe it mufl he fuppofed, as they are for the moft part extremely plain and fimple, were intended for common and ordinary occafionsj in fhort, they are

that

Chap.4. AND PRACTICE OF MUSIC. 67

that kind of plaln-chant which is eafily retained in the memory, and in which the whole of a congregation might without any difTonancc or confufion join.

But the fplendor and magnificence of the Romifli worfhip is only to be judged of by the manner of celebrating divine fervice upon great feftivals, and other folemn occafions, and that too in cathedrals and conventual churches, and in thofe abbies and monafteries where either the munificence of the ftate, or an ample endowment, afforded the means of fuftaining the expence of a choir. In thefe cafes the mafs was fung by a numerous choir, compofed of men and boys, fufficiently fkilled in the pradiceof choral fervice, to mufic of a very elaborate and artificial contexture; in the compofition whereof the ftri(ft rules of the tonal melody were difpenfed with, and the greatefl: latitude was allowed for the exercife of the powers of invention.

However, this mode of folemn fervice was not reftrained to cathe-- dralj collegiate, and conventual churches, it was pradtifed alfo in the royal and univerfity chapels, and in the domeftic chapels of the dig- nitaries of the church, and of the higher orders of nobility. Caven- difli, in his life of cardinal Wolfey, relating the order and offices of his houfe and chapel, gives the following account of the latter :

' Now Iwill declare unto you the officers of his chapel, and fing-

* ing-men of the fame. Firft, he had there a dean, a great divine,

* and a man of excellent learning j and a fubdean, a repeatour of the

* quire, a gofpeller and epiftollerj of finging priefts ten. A m after of

* the children. The feculars of the chapell, being finging-men,

* twelve. Singing children ten, with one fervant to waite upon the

* children. In the veftry a yeoman and two grooms; over and be- ' fides other retainers that came thither at principal feafts. And for

* the furniture of his chapel, it pafi^eth my weak capacity to declare

* the number of the coftly ornaments and rich Jewells that were oc- ' cupied in the fame. For I have feen in procefjion about the hall

* forty-four rich copes, befides the rich candlefticks and other ne-

* ceflary ornaments to the furniture of the fame.'

Befides the higher dignitaries of the church, fuch as the archbifliop of Canterbury, the bifhops of Durham and Winchefier, while thofe bifhopricks were not held in commendam by the cardinal, and perhaps fome others, whofe ftation might require it, there were feveral among the principal nobility who feemed to emulate Wolfey in this par- ticular, and had the folemn choral fervice performed in the chapels of

K 2 their

U HISTORY OF THE SCIENCE BookL

their refpedive palaces and houfes. One of thefe was the earl of Nor- thumberland, whofe great poffeflions and ample jurifdidtion feem to have been adequate to, and to warrant every degree of magnifi- cence under that of a king ; for it appears that at the feat of the earl of Northumberland, contemporary with Wolfey, there was a cha- pel, in which, to judge from the number and qualifications of the perfons retained for that purpofe, it fliould feem that choral fervicc was performed with the fame degree of folemnity as in cathe- dral and conventual churches. The evidence of this fa6l is contained in an ancient manufcript of the Percy family, purporting to be the regulations and eftablilhrnent of the houQiold of Henry Algernon Percy, the fifth earl of Northumberland, at his caftles of Wrefill and Lekingfield in Yorkfliire, begun anno domini MDXII. By this it appears that the earl had his dean and fubdean of the chape), a gof- peller and piftoler, gentlemen and children of the chapel, an organ- ift, and, in (hort, the fame officers and retainers as were employed in the royal and other chapels j and as to their number, it appears by the following entries in the manufcript above referred to.

« Gentyllmen and Childeryn of the Chapell.

* Item. Gentyllmen and childryn of the chapell xiiij, viz. gtn^

* tyllmen of the chapell viii, viz. ij bafiys, ij tenors, and iiij coun-

* tertenours — yoman or grome of the veftry j — childeryn of thecha-.

* pell V, viz. ij tribills and iij meanys — xiiij.

* Gentilmen of the chapel ix, viz. the maifler of the childre j — •

* tenors ij — countertenors iiij — the piftoler j^ — and oone for the or-.

* gayns — childer of the chapell vj.'

The wages of the dean, the gentlemen, and the children of the chapel, are thus afcertained.

* The dean of the chapel iiijl. if he have it in houfholde and not

* by patentt *.

* Gentillmen of the chapel x, as to fay two at x marc a pece —

* three at iiijl. a pece — two at v marc a pece— ^oone at xls. — and « oone at xxs. viz. ij baflys, ij tenors, and vj countertenors — ^childe- 4 ryn of the chapell vj, after xxv s. the pece,

• The wages of the dean, confidering the dignity of his ftation, feena greatly difpropor- tionate to thofe of the gentlemen of the chapel, two of whom are affigned ten marks, or 61. 13s. 4d, a-|)iece: what was the difference between, having the oilice in.houfhold and by pa- tent «Joes not appear j if it could be afcertaiiied it n:jight account for this, feeming inequality.

<.The

Chap. 4- AND PRACTICE OF MUSIC. 69

' The gentlemen ande childrin of my lordis chapell whiche be not ' appointid to attend at no tyme, but oonely in exercifing of Goddis

* fervice in the chappell daily at Mattins, Lady-Mafs, Highe-Mafs, -* Even-fonge, and Complynge.

* Gentlemen of my lordis chappell.

Furft. A bafs.

Item. A feconde bafs.

Item. The thirde bafs.

Item, A maifler of the chllder, a countertenor.

Item. A feconde countertenour.

Item. A thirde countertenour.

Item. A iiljth countertenour.

Item. A ftanding tenour.

Item. A feconde ftanding tenour*

Item. A iijd flandyng tenour.

Item. A fourth (landing tenour*

« Childrin of my lordis chappell. Item. The fyrft child a trible Item. The ijd child a trible. Item. The iijd child a trible. Item. The iiijth child a fecond trible. Item. The vth child a fecond trible. Item. The vjth child a fecond trible. The noumbre of thois parfons as childrin of my lordis chap-

* pel vj.'

The wages or ftipends feverally affigned to the gentlemen and chil- dren of the above eftablifhment have already been mentioned ; pro- vifion was alfo made for their maintenance in this noble family, as appears by the following articles refpeding their diet.

* Braikfail in Lent for ij meas [mefs] of gentilmen o' th' chapeJ,

* and a meas of childeryn, iij loofs of brede, a gallon dimid [half] of

* here, and iij peces of fait fi{h or ells, iiij white herryng to a meas —

And in another place their ordinary breakfaft is directed to be

* iij loif of houfhold bred, a gallon dimid of here, and iij peces of

* heif boy.lid. — j

c Braik--

70 HISTORY OF THE SCIENCE Book I.

* ■ Braikfafts for ij meas of gentilmen o' th' chappel, and a

* meas of childer, iij loifs of houlliold breid, a gallon dimid of here,

* and a pece of falt-fifche.

* Service for iiij meafe of gentyllmen and chlldre of the chapell at

* fuppar upon Tewlfday in the Rogacion days, furfl: x gentylmen and

* vj childre of the chapel iiij meas.

* Service for gentylmen and childer o' th' chapell, to every meas a

* loof of bred, a pottell of here, half a dyfch of buttre, and a pecc of

* faltt-fifche, viij dyfchis *.'

Befides thefe affignments, they had alfo liveries of white or wax- lights, of fagots, and of coals for fewel ; provifion was aUb made for the wafhing of Albes-f-and furplices for the gentlemen and children of

* The regimen of diet prefcrlbcd by the book from which the above extracts are made, was, with a few variations extended to the whole family : the following regulations refpefl the breakfafts of the earl and the countefs and their children during Lent :

' Braikfafl for my lorde and my lady.

* Furfl, a loifof brede in trenchors, ij manchetts, a quart of here, a quart of wyne, ij

* pecys of falt-fifch, vj baconn'd herryng, iiij white herryng, or a difch of fproits — ^j.

< Braikfafie for my lorde Percy and maifter Thomas Percy.

* Item, half a loifof houfehold brede, a manchet, a potell of here, a dyfch of butter,

* and a pece of fak-fifli, a dyfch of fproits, or iij white herrynge — j.

' Braikfafte for the nurcy for my lady Margaret and maifter Ingeram Percy.

* Item, a manchet, a quarte ofbere, a dyfch of butter, a pece of faltfifch, a dyfch of < fproitts, or iij white herryng— j.

And, excepting the feafon of Lent and fifli-days, the ordinary allowance for this part of the family throughout the year was as follows :

* Braikfaftis of flefch days dayly thorowte the yere.

' Braikfaftis for my lorde and my lady.

* Purft, a loof of brede m trenchors, ij manchetts, j quart of here, a quart of wyne,

* half a.chyne of muton, or ells a chyne of beif boiled — -j.

* Braikfaftis for my lorde Percy and Mr. Thomas Percy.*

* Item halfe a loif of houfeholde breide, a manchet, j potell of bere, a chekynge or

* ells iij mutton bonys boiled— j.

< Braikfafts for the nurcy for my lady Margaret and Mr. Yngram Percy. ' Item, a manchet, j quarte ofbere, and iij mutton bonys boiled.'

The fyftem of houfliold ceconomy eftabliflied in this family muft be fuppofed to corref- pond with the pra61ice of the whole kingdom, and enables us to trace the progrefs of re- finement, and in fnort, to form an eftimate of national manners at two remote periods.

f The Alb is a white linen garment, and is frequently miftaken for the furplice, though the rubric at the end of the firft liturgy of Edward VI. and alfo that before morn- ing-prayer in the fecond liturgy of the fame king, has clearly diftinguiftied between then ;

but

Chap. 4. AND PRACTICE OF MUSIC, 71

the chapel, and alfo of altar-cloths ; the times of wafhing them were regulated by the feftivals that occur in the courfe of the year, and the rate of payment to the launderer was a penny for every three far- plices. The whole expence of washing linen for the chapel as thus afcertained, was eftimated at feventeen (liillings and four pence a year, and the amount of the chapel-wages for a year was thirty-five pounds fifteen {hillings.

* The orderynge of my lordes chapell in the queare at mattyngis,

* mafs, and evynfonge. To ftonde in ordure as hereafter followeth,

• fyde for fyde daily.

* The deane fide.

* The Deane.

* The fubdeane. « A bafi^e.

' A tenor.

* A countertenor.

* A countertenor.

* A countertenor.

* The feconde fide.

The Lady-malfe pried.

The gofpeller.

A bafle.

A countertenor.

A countertenor.

A .tenor.

A countertenor.

A tenor.

* The ordurynge of my lordes chappell for the keapinge of our * Ladyes mafle thorowte the weike.

* Sonday.

* Mafter of the Childer a coun- * tertenor.

* A tenour.

* A tenour. « A bafiTe.

* iMonday.

Mafter of the Childer a Coun- ' tertenor.

* A countertenour.

* A counter-tenour. 'A tenor.

but as defcribed by Durandu?, Ration. Divin. Officior. lib. III. cap. iii. De Tunica, it is a garment made fit and clofe to the body, tied round the waift of the wearer with a gir- dle or fafh. In the pidlure of the communion of St. Jerome by Dominichino, of which there is a fine print by Jacomo Frey, is the figure of a young man kneeling, with a book under his arm, having for his outer garment an alb. The Alb was anciently embroidered with various colours, and ornamented with fringe. See Bingham's Antiquities, bookXIH. chap. viii. § 2. Wheatley on the Common Prayer, chap. II. fed 4.

' Twifday.

72

HISTORY OF THE SCIENCE Book L

' Twifday.

* Mafter of the childer a coun- • tertenour. ' A countertenonr.

* A countertenour.

* A tenour.

* Thurfdaie.

' Mafter of the childer a coun- ' tertenor.

* A countertenoure.

* A countertenoure. ' A tenoure,

* Satturday.

' Mafter of the childer a coun- * tertenor.

* A countertenor.

* A countertenour.

* A tenour.

* Wedynfday.

* Mafter of the childer a coun-

* tertenor.

' A countertenour.

* A tenour. « A bafie.

* Fry day.

* Mafter of the childer a coun-

* tertenor. -

* A countertenour.

* A countertenour. *. A bafle.

* Fryday.

* And upon the faidc Friday

* th'ool chapell, and evry day « in the weike when my lord

* ftiall be prefent at the faide

* mafte.

The orduringe for keapinge welkly of the orgayns one after an < outher as the namys of them hereafter foUowith vveikly.

« The maifter of the childer, yf he be a player, the firft weke.

« A countertenor that is a player the ijde weke.

« A tenor that is a player the thirdc weike.

« A baffe that is a player the iiijth weike.

« And every man that is a player to keep his cours weikly.'

CHAP.

V.

IT is probable that Wolfey looked upon this eftabliftiment with a jea- lous eye. The earl might be faid to be his neighbour, at leaft he lived in the cardinal's diocefc of York, and fuch emulation of ponti- fical magnificence in a layman could hardly be brooked -, be that as it

may,

Chap. 5. AND PRACTICE OF MUSIC. y^j

■ may, it Is certain that upon the deceafe of the above-mentioned earl of Northumberland, the cardinal's intention was to deprive his fuc- cefTor of the means of continuing the folemn fervice in the family, by requiring of him the books ufed in the chapel of his father : what pre- text he could frame for fuch a demand, or what reafons, other than the dread of offending him, might induce the young earl to comply with it, it is not eafy to guefs, but the books were delivered to him» and the earl had no other refource than the hope of being able one time or other to fet up a chapel of his own, which he expreffes in a letter to one of his friends, yet extant in the Northumberiajid family, a copy whereof is given below*.

* ' Bedfellowe. ' After my moft harte recomendaclon : thys Monday the iijd off Auguft I refevyd by

< my fervaunt letters, from yowe beryng datt the xxth day off July, deleveryd unto hym the

* fayme day, at the kyng's town of Newcaftell ; wherin I doperfeayffmy lord cardenalls

* pleafour ys to have fuch boks as was in the chapell of my lat lord and fayther, (vvos

* foil Jhefu pardon) to the accomplyfliement off which at your defyer I am confformable,

< notwithftandyng I truft to be abell ons to fet up a chapell off myne owne, but 1 pr^y ' God he may look better upon me than he doth. But methynk I have loft: very moch

* ponderyng yt ys no better regardyd ; the occafion wheroff he flull perfeayff.

' Fyrft, the long lyeng off my trefforer ; with hys very hafty and unkynd words unto

* hym, not on my parte defervyd.

* Alfo the news of Mr. Manyng, the whych ys blon obroud ouer all Yorkfher ; that ney-

* ther by the kyng nor by my lord cardenall I am regardyd ; and that he wyll tell me at my

* metyng with hym, whan 1 com unto Yorkfher ; whych (hall be within thys month, God

* wyliyng j but I ffer my words to Mr. Manyng (hall defpleas my lord, ffor I wyll be no

* ward. ' Alfo, bedfellow, the payns I tayk and have takyn fens my comyng hether are not better

regardyd, but by a fflaterynge byfhopeoffCarell [Carlifle] and that fals worm [William Worme undermentioned] iball be broth [brought] to the meffery and carffuinefs that I am in ; and in fuch {landers, that now and my lord cardenall wold, he can not bryng me howth [out] thereoff.

******

* I fhall with all fped fend up your lettrs with the books unto my lords grace, as to fay,- iiij anteffonars [antiphonars], fuch as I thynk wher nat feen a gret wyll ; v grails [gradualsj an ordeorly [ordinal], a manual, viij proffeffioners [proceffionalsj, and ffor all the reffi- dew, they are not'worth the fending, nor ever was occupyed in my lords chapel. And alfo I {hall wryt at this tyme as ye have wylled me.

' Yff my lords grace wyll be fo i:ood lord unto me as to gyff me lychens [lycencc] to put Wyllm Worme within a caftell of myn off Anwyk in affurty, unto the tyme he have accomptyed ffor more money reed than ever I reed, 1 {hall gyff hys gr;ice ij C.H. and a benyfHs off a C worth unto his colleyg, with fuch other thyngs referved as his [grace] {liall defyre; but unto fuch tyme as myne awdytors hayth takyn accompt off him: wher in, good bedfellow, do your beft, ffor els he fhall put us to fend mylelff, as atowr metyng I (hall {how yow.

* And alfo gyff fecuer credens unto this barer, whom I alfur yow 1 have ffonddon a marvellous honeft: man as ever I ffownd in my lyff. In haft: at my moneftary off Hul- Park the iijd day of Auguft. In the owne hand off" Yours ever affured

* To my bedfellow A rundell. H. Northumberland '

Vol. III. L This

74 HISTORY OF THE SCIENCE Book I;

From the foregoing account of the rife and progrefs of chorafc mufic, it appears, that notwithllanding the abufes that might na- turally be fuppofed to arife from an over zeal to improve and culti- vate it, and in fpite of the arguments and objedlions from time to time, urged againft it, as a pradice tending rather to the injury than the. advanta^^e of religion, it not only was capable of maintaining its ground, but by the middle of the fixteenth century was arrived at great perfedlion. It farther appears that the objections againft it,.. many of which were urged with a view to banifli mufic, or at leafl;> antiphonal (Tnging, from the church-fervice, produced an effed di- redtly the contrary, and w^re the caufe of a reformation that. con-~ duced to its eftablidiment.

For it fee ms the objedions againft choral fervice had acquired fuch; weight, as to be thought a fubjed worthy the deliberation of the council of Trent, in which affembly it was urged as one of the abufes in the celebration of the mafs, that.=hymns, fome of a profane, and others of a lafcivious nature, had crept into the fervice, and hadgiven^ great fcandal to the profeflbrs of religion. The abufes complained of were feverally debated in the council, and were reformed by that decree, under which the form of the mafs as now fettled derives its- authority.

It is eafy to difcern that by this decree choral fervice acquired a- fandion which before it wanted : till the time of paffing it the prac-^ tice of fiDging in churches refted folely on the-arguments drawn from, the ufage of the Jews, and the exhortations contained in thofe paf- fao-es in the epiftles of St. Paul, which are conftantly cited to prove it-, lawful J but this ad of the council, which by profeffing to redify abufes, aliumes and recognizes the pradice, is as ftrong an aflertion of its lawfulnefs and expediency as could have been contained in the . moll: pofitive and explicit declaration.

This refolution of the council of Trent, an afifembly, if we may be- lieve fuch writers as Pallavicini, and others of his communion, the-

Thls earl of Northumberland was Henry Percy, the lover of Anne Boleyn ; the perfon to whom the letter is addrefied was Thomas Arundel, one of the gentlemen of the privy- cbamber to cardinal Wolfey. There is another letter from the earl to the fame perfon re- lating to Fountains Abbey in Yorkfliire, in a curious work now publifhing, Mr. <^rofe's^ Antiquities of England arid Wales, Numb. XIII.

mofl:

Chap. 5- AKD PRACTICE OF MUSIC. 75

moft auguft and awful that ever met for any purpofe whatever^ and adting, as they farther ^{Tert, under the immediate dire<5tion and in- fluence of that fpirit which Chrift has faid fliall remain with his church, could hardly fail of exciting a mod profound veneration for choral mulic in the members of the Romifh church. Nor did it pro- duce in the leaders of the Reformation that general averfion and ab- horrence, which in many other inftances they difcovered againd the determinations of that tribunal, in all human probability the laft of the kind that the world will ever fee : on the contrary, the Lutherans in a great meafure adopted the Romifh ritual, they too re- formed the mafs, and as to the choral fervice, they retained it, with as much of the fplendor and magnificence attending it as their parti- cular circumftances would allow of.

It mufl be confefTed that the difference betw^een the mufic of the Romifh and reformed churches is in general very great ; but it is to be remarked that fome of the reformed churches differ more widely from that of Rome than others. The church of England retains fo much of the ancient antiphonal method of finging, as to afford one pre- tence at leafl for a feparation from it ; and as to the Lutheran and Calviniftic churches, whatever may be their pradice at this day, thofe perfons greatly err who fuppofe that at the time of their efla- blifhment they were both equally averfe to the ceremonies of that of Rome. In fhort, in the feveral hiftories of the Reformation we may <3ifcern a manifefl difference between the condud: of Luther and Cal- vin with refped to the work they were jointly engaged in ; the latter of thefe made not only the dodrine but the difcipline of the church of Rome a ground of his feparation from it, and feemed to make a dired oppofition to popery the meafure of his reformation ; accord- ingly he formed a model of church government fuited to the exi- gence of the times ; rejeded ceremonies, and abolifhed the mafs, an- tiphonal finging, and, in a word, all choral fervice, inflead of which latter he inflituted a plain metrical pfalmody, fuch as is now in ufe in mofl of the reformed churches.

But Luther, though a man of a much more irafcible temper than his fellow-labourer, and who had manifefled through the whole of his oppofition to it a dauntlefs intrepidity, was in many inflances difpofed to temporize with the church of Rome; for upon a review

L 2 of

76 HISTORY OF THE SCIENCE Book I.

of his condud it will appear, firft, that he oppofed with the utmoft vehemence the doctrine of indulgences ; that he afTerted not only the pofTihility of falvation through faith alone, but maintained that good works without faith were mortal fins, and yet that he fubmitted thefe his opinions to the judgment of the Pope, protefling that he never meant to queftion his power or that of the church. In the next place he denied the real prefence of Chrifl: in the eucharlft, but yet he fub- Aituted in its place that mode of exiftence called confubftantiation, which if not tranfubfl;antiation, is not lefs difficult than that to conceive of. Again, although he denied that the mafs is what the church of Rome declares it to be, a propitiatory facrifice, and was fenfible that, according to the primitive ufage, it was to be celebrated in the vulgar tongue, that the people might underftand it > he in a great meafure adopted the Romilli ritual, and with a few variations permitted the celebration of it in the Latin. He allowed alfo of the ufe of cruci- fixes, though without adoration, in devotion, and of auricular confef- fion, and in general was lefs an enemy to the fuperftitious rites and ceremonies of the church of Rome than either Calvin, Zuinglius, or any other of the reformers.

The effc(St of this divernty of opinions and condu(fl: are evident m the different rituals of the Lutheran and Cavinifllc churches in Swit- 7;erland, France, and the Low Countries ; the Pfalms of David were the only part of divine fervice allowed to be fung, and this too in a manner fo fimple and plain, as that the whole congregation might join in it. The Lutherans, on the contrary, affedled in a great mea- fure the pomp and magnificence of the Roman worfhip j they ad- hered to the ufe of the organ and other inftrumentsi they had in niariy of their churches, particularly at Hamburg, Bremen, and Hiffe CafTel, a precentor and choir of fingers j and as to their mufic, it was not much lefs curious and artificial in its contexture than that of the church of Rome, which had fo long been a ground of ob- jedion.

Few or none of the authors who have written the hldory of the Reformation have been fo particular as to exhibit a formulary of tha Lutheran fervice. Dr. Ward, in his Lives of the Grefnam Profefibrs, fays * that the Lutherans feem to have gone much the fame length ' in retaining the folemn fervice as the church of England, though * with more inftruments and variety of harmony.' But the truth of

the

Chap.5. AND PRACTICE OF MUSIC. ^j'j

the matter is, that they went much farther, as appears by a book, which can be confidered no otherwife than as their liturgy, printed ^ about feven years after Luther's deceafe, in foHo, with the following title, * Pfalmodia, hoc eft, Cantica facra veteris ecclefise feleda. Qao ordine, et melodiis per totius anni curriculum cantari ufitate folent in templis de Deo, et de filio ejus Jesu Christo, de regno ipfius, doe- trina, vita, palTione, refurredione, et afcenfione, et de Spiritu Sando. Item de fandis, et eorum in Chriftum fide et cruce. Jam primum ad ccclefiarum, et fcholarum ufum diligenter colleda, et brevibus ac piis fcholiis illuftrata, per LucamLoffiun] Luneburgenfem *. Cum prs;fa- tionePhilippiMelanthonis. NoribergJE Apud Gabriekm Hayn, Johan. Petrei generum, MDLIII.'

From this book it clearly appears that the Lutherans retained the Mafs, and fundry lefs exceptionable parts of the Romifli fer- vice, as namely, the hymns and other ancient offices ; a few of the more modern hymns are faid to have been written by Lu- ther himfelf, the reft are taken from the Roman antiphonary, gra- dual, and other ancient rituals ; as to the mufic, it is by no means fo ftrid as that to which the Romifh offices are fung, nor does it feem in any degree framed according to the tonic laws ; and it is highly probable that in the compofition of it the ableft of the German mu- ficians of the time were employed. Nay, there is reafon to conjec- ture that even the mufical notes to fome of the hymns were compofed by Luther himfelf, for that he was deeply {killed in the fcience is certain. Sleidan alferts that he paraphrafed in the High German language, and fet to a tune of his own compofition, the forty- fixth Pfalm -f , * Deus nofter refugium.' Mr. Richardfon the painter men- tions a pidure in the colledion of the grand duke of Tufcany, paint- ed by Giorgione, which he faw when he was abroad, of Luther play- ing on a harpfichord, his wife by him, and Bucer behind him, fine- ly drawn and coloured J. And the late Mr. Handel was ufed to fpeak of a tradition, which all Germany acquiefced in, that Luther com- pofed that well-known melody, which is given to the hundredth Pfalm in the earlieft editions of our EngliOi verfion, and continues to be fung to it even at this day.

* A particular account of Lucas LofTius is given in a fubfeq.uent page oftliis volume, + Comment, de Statu lUligionis et Reipub. fub CarotoV. Csefarc, lib. XVI. X Account of Statues, Bal's Reliefs, Drawings, and Piduies in Italy, pag. 73.

And

78 HISTORY OF THE SCIENCE Book I,

And though this tune adapted to Plalm cxxxiv. occurs in Claude Le Jeune's book of Pfalm-tunes in four parts, publiflied in 1613 by his filler Cecile Le Jeune, there is not the lead pretence for faying that he compofed the original tenor. Nay the felf- fame melody is alfo the tenor-part of Pfalm cxxxiv. in the Pfalms of Goudimel, pub- lifhed in 1603, both thefe muficians profeffing only to adapt the three auxiliary parts of cantus, alius, and baflus, to the melodies as they found them.

If a judgment be made of the Lutheran fervlce from the book now under confideration, it mufl be deemed to be little lefs folemn than that of the church of Rome; and from the great number of offices contained in it, all of which are required to be fung, and according- ly they are printed with the mufical notes, it feems that the compi- lers of it were well aware of the efficacy of mufic in exciting devout affedtions in the minds of the people. The love which Luther enter- tained for, and his proficiency in mufic, has been already mentioned in the courfe of this work; but his fentiments touching the lawful- nefs of it in divine wor(hip, and the advantages refulting to man- kind, and to youth in particular, from the ufe of mufic both as a recreation and an incentive to piety, are contained in a book, known to the learned by the name of the Colloquia Menfalia of Dr. Martin XvUther, the fixty-eighth chapter whereof is in thefe words :

* Mufick, faid Luther, is one of the faireft and moft glorious

* gifts of God, to which Satan is a bitter enemie ; therewith many

* tribulations and evil cogitations are hunted away. It is one of the ' beft arts ; the notes give life to the text ; it expelleth melancho-

* lie, as we fee on king Saul. Kings and princes ought to preferve and

* maintain mufick, for great potentates and rulers ought to protedt

* good and liberal arts and laws ; and altho private people have luft

* thereunto, and love the fame, yet their ability cannot preferve and

* maintain it. We read in the Bible that the good and godly kings « maintained and paid fingers. Mufick faid Luther is the beft folace

* for a fad and forrowful minde, through which the heart is refrefh-

* ed and fettled again in peace, as is faid by Virgil, ** 7'u calamos *' inflare levest ego dicere verjus :" Sing thou the notes I will fing the

* text. Mufick is an half difcipline and fchool-mifi:refs, that maketh

* people more gentle and meek-minded, more modeft and under- ^ ftanding. The bafe and evil fidlers and minftrels ferve thereto,

6 * that

€hap. 5. AND PRACTICE OF MUSIC. 79

*' that we fee and hear how fine an art mufick is, for white can never

* be better known than when black is held againll: it. Anno 1538,

* the 17th of December, Luther invited the fingers and muficians to

* a fupper, where they fung fair and fweet Motet^e * ; then he faid *' with admiration, feeing our Lord God in this life (which is but a •■ mcer Cloaca) (liaketh out and prefenteth unto us fuch precious gifts,

* what then will be done in the life everlafting, when every thing *■ flidl be made in the moft compleat and delightfulleft manner ! but

* here is only materia primal the beginning. I always loved mufiek *' faid Luther. Who hath fldll in this art, the fame is of good kind,

* fitted for all things. We muft of neceffity maintain mufick in

* fchools J a fchool-mafter ought to have fkill in mufick, othcrwife I

* would not regard him; neither fhould we ordain young fellows to *' the office of preaching, except before they have been well exercifed

* and pradtifed in the fchool of mulick. Mufick is a fair gift of God,,

* and near allied to divinity j I would not for a great matter, faid *• Luther, be defi:itute of the fmall fkill in mufick which I have.-

* The youth ought to be brought up and accuftomed in this art, .

*' for it maketh fine and expert people. Singing, laid Lu-

*''ther> is the beft art and pradice ; it hath nothing, to do with the ** affairs of this world ; it is not for the law, neither are fingers full *■ of cares, but merry, they drive away forrow and cares with

* finging. I am glad, faid Luther, that God hath bereaved the •• countrie clowns of fuch a great gift and comfort in that they neither «' hear nor regard mufic. — Luther once bad a harper play fuch a lef- *^ fon as David played \ I am perfuaded,.faid he, if David now arofe:

* TheMoTET 18 a fpecies of vocal harmony appropriated to the fervice of tbe church. The etymology of the word is notealily to beafcertained ; Menage derives it from Modus, to which it bears not the leaft affinity. Butler, a motu, becaufe, lays he, * the church fongs

* called moteta move the hearts of the hearers, ftriking into them a devout and reverent •■ regard of them for whofe praife they were made.' On Mufick, pag. 5, in notis. Mor- ley feems to acquiefce in this etymology, but underftands motion in a fenfe different from Butler, as appears by thefe his words : ' A motet is properlic a fong m::ide for the church, -

* either upon fome hymne or anthem, or fuch like ; and that name I take to have been •

* given to th^at kinde of muficke in oppofiiion to the other, which they called Ganto fer- *-mo, and we do commonlie call plain-ion g, 'for as nothing is moreoppofit to ftandingand *'firmnefs than motion, fo did they give the motet that name of moving, becaufc it is in *a manner quight contrarie to the other, which after fome fort, and in reipec^ of theother, >

* flandeth ftill.' Introd. part 111. pag. 179.

Du Gange, voce Motetu'm, fays that though this kind of compofition is now con* fined to the church, it was originally of the moft gay and lively nature j an opinion aoj-> MiConfiilenl with the definition "of 4ie woxd..

8o HISTORY OFTHE SCIENCE Book I,

* from the dead, fo would he much admire how this art of mufick

* is come to fo great and an excelling height ; (he never canie higher

* than now (lie is. How is it, faid Luther, that in carnal things we

* liave fo many fine poems, but in fpiritual matters we have fuch cold

* and rotten things ? and then he recited feme German fungs. I hold

* this to be the caufe, as St. Paul faith, I fee another law refilling in my

* members ; thefe fongs, added he, do not run in fuch fort as that of ** Vita ligno 7noritur" which he much commended, and faid that in

* the time of Gregory that and the like were compofed, and were not

* before his time. They were, faid he, fine minirters and fchool-

* mafters that made fuch verfes and poems as thofe I fpake of, and ' afterwards alfo preferved them. — Marie the loving mother of God

* hath more and fairer fongs prefented unto her by the Papifts than

* her childe Jefus; they are ufed in the Advent to fing a fair fequence *' Mitt'itur ad Virginemy Sec." St. Mary was more celebrated in ' grammar, mufic, and rhetoric than her childe Jefus. — Whofo con-

* temneth mufic, as all feducers do, with them faid Luther 1 am ' not content. Next unto theology I give the place and highed ho-

* nour to mufic, for thereby all anger is forgotten, the devil is driven

* away, unchafiity, pride, and other blafphemies by mufic are ex-

* pelled. We fee alfo how David and all the faints brought their di-

* vine cogitations, their rhymes and fongs into veife. ^ia pacts tern-

< pore regnat nmjica, i. e. In the time of peace mufic flouriilies *.'

* The CoHoquia Menfalia, a work curious in its kind, as it exhibits a lively portrait of its author, will hardly now be thought fo excellent either tor matter or form as to jufUfy that veneration which we are told was formerly paid to it : thefubjecl of it is mifcellaneous,and its form that of a common place. In flhort, it anfwers to thofe colleclions which at fundry times have appeared in the world with the titles of Scaligeriani, Menagiani, Parrhafiana, &c. which every one knows are too much in the ftvle of common converfation to meritany great degree of efleem, and in fhort are calculated rather for tranfient amufement than in- ilrutlion. But the publication of this book ^a as attended with feme fuch very fingular cir- cumftances as entitle it in no fmall degree to the attention of the curious.

The fayings of Luther were firfl colleCled by Dr. Anthony Lauterbach, and by bim writ- ten in the German language. Afterwards they were difpofed :nto common places by John Aurifaber, docSlor in divinity. A tranflation of the book was publiflied at London in 1652, in folio, by one Captain Henry Bell j his motives for undertaking the work are contained in a narrative prefixed to it, which is as fojlows :

* I Captain Henrie Bell do hereby declare both to the prefent age and poflerity, that

* being employed beyond the feas in ftate affaires diverfe years together, both by king James

< and alfo by the late king Charles, in Germany, I did hear and underftand in all places

* great bewailing and lamentation made by reafon of the deflroying and burning of above

* fourfcore thoufand of Martin Luther's books, entitled his lall divine difcourfes.

< For

ehap. 5- AND Pi^ACTlCE OF MUSIC. 8i

From the feveral palTages above colleded, which it feems were taken from his own mouth as uttered by him at fundry times, it muft

* For after fuch time as God ftirred up the fpirit of Martin Luther to dete6lthe corruptions

* and abufes of popery, and to preach Chrift, and clearly to fct forth the fimplicity of the gof- '

* pel, many kings, princes, and dates, imperial cities, and Hans-towns fell from the popilh

* "religion and became proteftants, as their poflerities flill are, and remain to this very dale.

'And for the farther advancement of the great work of reformation then begun, the

* forefaid princes and the reft, did then order that the faid divine difcourfes of Luther' *fliould forthwith be printed, and that everie pariOi (hould have and receive one of the

' forefaid printed books into everie church throughout all their principalities and donii- ' 'nions, to be chained up for the common people to read therein.

* Upon which divine work or difcourfes the reformation begun before in Germanic Was ••'wonderfully promoted and encreafed, and fpread both here, in England, and other coun-

* tries befide.

* But afterwards it fo fell out, that the pope then living, viz. Gregory XIII underflnntl- *'ing what great hurt and prejudice he and hispopifti religion had already received by rca- ■

* fon of the faid Luther's divine difcourfes, and alfo fearing that the fame might bring fur- *'ther contempt and mifchief upon himfelf and upon the popifli church, he therefore, to

* prevent the fame, did fiercely fllr up and inftigate the emperor then in being, viz. Ru- ■

* dolphus II. to make an edi£l: thorow the whole empire that all the forefaid printed books

* 'fhould be burned, and alfo that it ihould be death for any perfon to have or keep a copi^

* thereof, but alfo to burn the fame, which edift was fpeedily put in execution accordingly,

' infomuch that not'one of all the faid printed books, nor fo much as any one copie of'ths •' ' fame could be found out nor heard of in any place.

* Yet it pleafed God that anno 1626 a German gentleman, named Cafparus Van Sparr, •

* with whom in the time of my flaying in Germany about king James's bufincfs I became

* very familiarly known and acquainted, having occafion to build upon the old foundation

* of an houfe wherein his grandfather dwelt at that time when the faid editl was publiHied

* in Germany for the burning of the forefaid book, and digging deep into the ground

* under the faid old foundation, one of the faid original printed books was there hLinpily

* found lying in a deep obfcure hole, being wrapped in a ftrong linen cloch, which was •

* waxed all over with bees wax, within and without, whereby the book was pieferved fair

* without any blemifhi

* Andat the fame time Ferdinand IL being emperor in Germany, who was a fevere enc- *'my andperfecutor of theproteftant religion, the forefaid gentleman, and grand childe to

* him that had hidden the faid book in that obfcure hole, fearing that if the fiiiii emperor

* fhould get knowledge that one of the faid books was yet forth comming, and in his cufto-

* My, whereby not only himfelf might be brought into trouble, but alfo the book in danger

* to be deftroyedas all the refl were fo long before : and alfo calling me to minde and know- *'ing that I had the High Dutch tongue very perfed, did fend the faid original book over

* hither into England unto me, and therewith did write unto-me a letter, wherein he re-

* lated thcpafTages of the preferving and finding out of the faid book.

* And alfo he earneflly moved me in his letter that for the advancement of Goo's glcrie

* and of Chrifl's church, 1 would take the pains to tranflate the faid book, to the end that '

* that mod excellent divine work of Luther might be brought again to light.

* Whereupon I took the faid book before me, and many times began to tranflate the " '"fam.e, but alwaics 1 washindred therein, beeing called upon about other bufinefs, info-

* 'much that by no poffible means T could remain by that work. Then about fix weeks '

* after I had received the faid book, it fell out that I being in bed with my wife one night

* between twelve and one of the clock, flie beeing afleep, but myfcll yet awake, there ap-

* pearcd unto mee an ancient man ftanding at my bed fiile, arrayed ali in white, having a

* long and broad white beard hanging down to his girdle-flced, who taking me by my right ' « ear, fpake thefe woids following. unto mee : *' Sirrah, will not youtake- time to tranf-

YoL. ilL M • " bte

H HISTORY OF THE SCIENCE Book I.

neceflarily be concluded, not only that Luther was a pafHonate ad- mirer of mufic, but that he was fkilled in it, all which confidered, there is gre t reafon to believe that the rituil of his church was framed either by himfelf or under his immediate diredion.

It is more than probable that this inftitution of a new form of cho- ral fervice by the Lutherans, co-operating with the cenfure of the council of Trent againfl: fmging, as then pradifed in churches, pro- duced that plain and noble ftyle of choral harmony, of which Paleftrina is generally fuppofed to have been the father. This moft admirable inufician, who was Maeflro di Capella of the church of St Peter at P^ome, with a degree of penetration and fagacity peculiar to himfelf, in the early part of his life difcovered that the mufician^his predecef- fors had in a great rneafure corrupted the fjience, he therefore rejed- ing thofe ftrange proportions which few were able to fing truly, and which when fung excited more of wonder than delight in the hearer, feduloufly applied himfelf to the ftudy of harmony, and by the ufe of fuch combinations as naturally fuggeft themfelves to a nice and un- prejudiced ear, formed a ftyle fo fimple, {o pathetic, and withal fo truly fublime, that his compofitions for the church are even at this day looked on as the models of harmonical perfection.

" late that book which is fdnt you out of Germany ? I will fhortly provide for you both " place and time to do it." And then he vaniflied away out of my fight.

* Whereupon being much thereby affrighted, I fell into. an extreme fweat, infomuch

* that my wife awaking and finding me all over wet, fhe afked me what I ailed, 1 told her

* what I had feen and heard, but I never did heed nor regard vifions nor dreams, and fo the

* fame fell foon out of my minde.

' Then about a fortnight after I had feen that viuon, on a Sundaie I went to Whitehall

* to hear the fermon, after which ended 1 returned to my lodging, which was then in

* King-flreet at Weftminfter, and fitting down to dinner with my wife, two mefTengers

* were fent from the whole council board with a warrant to carry me to the keeper of the » Gatehoufe Weftminfter, there to be fafely kept untiil further order from the lords of the

* council, which Avas done without {hewi»g me anycaufe at all wherefore I was commit-

* ted. Upon which faid warrant I was kept there ten whole years dole prifoner, where I

* fpent five years thereof about the tranflating of the faid book, infomuch as I found the

* words very true which the old man in the forefaid vifion did fay unto me, " I will fhortly *' provide for you both place and time to tranflate it"

The author then proceeds to relate that by the intereft of archbifhop Laud he was dif- charged from his confinement, with aprefent of forty pounds in gold.

By a note in his narrative it appears that the caufe of his commitment was that he was ur- gent with the lord treafurer for the payment of a long arrear of debt due from the govern- ment to him.

His tranflation of the Colloquia Menfalia was printed in purfuance of an order of the houfe of commons, made 24 February, 1646.

CHAP.

Chap.6. AND PRACTICE OF MUSIC. 83

CHAP. VI.

THE foregoing, account of the rife and progrefs of church- mu{ic> or as it is mofl ufually denominated, antiphonal finging, may in a great meafure be faid to include a hiftory of the fcience itfelf fo far downward as to the time of the Reformation ; to what degree, and under what reftraints it was admitted into the fervice of the reformed churches will be the fubjedl of future enquiry ; in the interim, the order and courfe of this hiftory require that the fuccefiion both of theoretic and practical muficians be continued from the period where it flopped, and that an account be given of that fpecies of mufic which had its rife about the middle of the fixteenth century, namely^ the dramatic kind, in which the Opera and Oratorio, as they are im- properly called, are neceflarily included.

Of the writers on mufic, the laft hereinbefore mentioned is Peter Aron, a man more diftinguidied by his attachment to Bartholomew Ramis, the adverfary of Franchinus, than by the merit of his own writings ; he lived about the year 1 545. The next writer of note was

Martinus Agricola, Chanter of the church of Magdeburg, who flouriQied about this period, and was an eminent theoretic and pra<5tical mufician. In the year 1528 he publifhed a treatife, which he intitled Cciltfcl^cSl^Ufit; and in the year following another, intitled Mufica In- flrumentalis; both thefe were written in German verfe,and were printed for George Rhaw of Wittenberg, who though a bookfeller, was himfelf alfo a writer on mufic, and as fuch an account has been given of him iii- the courfe of this work*. In the latter of thefe works are the reprefen- tations of moft of the inftruments in ufe in his time. He was the author alfo qf a tradt on figurate mufic, in twelve chapters, and of a little trea* tife De Proportionibus ; and of another in Latin, intitled Rudimenta ■Mufices, for the ufeo-f fchoolsj but his great work is that intitled Melo- dios Scholaflicse fub Horarum Intervallis decantandae, pubHlhedatMag- deburg in 1612, and mentioned by Draudius in his Bibliotheca Claf- •fica Librorum Germanicorum. He was the author alfo of a tradt in--

* Viz. vol. II. book iv. chap. 2^

M z tided

§4 HISTORY OF THE SCIENCE Eook'i.

titled * Scholia in Muficam Planam Wenceilai Philomatis de Nova Domo exvariis Muficorum Scriptis pro Magdeburgenfis ScholcE Ty- bus colleda,' in the preface to which he fpeaks thus of himfelf-:

* Prsterea, ledor optime, cogitabis, me nequaquam potuifTe fingula

* artificiofiffime tradere, quemadmodun-i alii excellentes mufici, quuni *^ ego nunquam certo aliquo prsceptore in hac arte ufus fim, fed tan-

* quam muiicus aJrisjpwj? occulta quadam naturae vi, qua' me hue per- ' traxit, turn arduo labore atque domeftico fludio, id quod cuilibet < perlto facile eft jcflimare^ Deo denique aufpice, exiguum illud quod ■* intelligo, fun aflecutus, ut non omnino abfolute, veruni tanquam « aliquis vulgariter doftus, tantum fimpliciffime, adeoque rudibus hu-

* ius artis pueris principia prsfcribere, atque utcumque inculcare ' queam, non diffimilis arbori, cui fpontanea contigit e terra pul- '« lulatio, quae nunquam fua bonitate refpondet alteri arbori, quae

* mum ab ipfo hortulano, loco opportune plantatur ac deinceps etiani

* quotidie fovetur ac irrigatur.' In the year 1545 he republiflied his Mufica Inftrumentalis, and dedicated it to George Rhaw, but fo much was it varied from the former edition, that it can fcarce be called the fame vi^ork ; and indeed the firft edition -vvas by the author's own con- fefiion fo difficult to be underflood, that hw could read it to any ad« vantage. In this latter edition, befides explaining the fundamentals of mufic, the author enters very largely into a defcription of the in- ftruments In ufe in his time, as namely, the Flute, Krumhorn, Zink, Bombardt, Sackpipe, SwifTpipe, and the Shalmey, with the ma- nagement of the tongue and the finger in playing on them. He alfo treats of the violin and lute, and fhows how the gripe, as he calls it, of each of thefe inftruments is to be divided or meafured ; he fpeaks alfo of the divifion of the monochord, and of a temperature for the organ and harpfichord. Agricoia died on the tenth day of June, 1556, and in 1561 the heirs of George Rhaw publiihed a work of his intitled * Duo Libri Mufices continentes Compendium Artis, &

* illuflria Exampla; fcripti a Martino Agricoia, Silefio foravienfi, in

* gratiam eorum, qui in Schola Magdeburgenfi primaElementa Artis

* difcere incipiunt.'

The works of Agricoia feem intended for the inflrudtion of young beginners in the ftudy of mufic ; and, though there is fomething vvhimfical in the thought of a fcientific treatife compofed in verfe, it is probable that the author's view in it was the more forcibly to im-

prefs

'Chap.'6. AND PRACTICE OF M tf S I C. 85

/prefs his inftru6lions on the memory of thofe who were to profit by them. His Miifica-Inftrumentalis feems to be a proper fupplement to the Mufurgia of Ottomarus Lufcinius, and is perhaps the firfl: book '"^of diredions for the performance on any mufical inflrument, ever pub < liflied. Martinus Agricola is fometimes confounded with another Agricola, whofe Chriflian-name was Rudolphus, a divine by pro- feflion, but an excellent pradical mufician, and an admirable per- former on the lute and on the organ. Such as know how to dif- tinguiHi between thefe two perfons, call Rudolphus the elder Agri- •cola, and well they may, for he was born in the year 1442, at Caf- •flen, a village in -Friefland, two fiiiles from Groningen, and dying in J 4 85 at Heidelberg, was buried in the Minorite church of that city, where is the following infcription to his memory :

invida clauferunt hoc marmore fata Rodulphum

Agricolam, Frilii fpemque decufque foli. Scilicet hoc uno meruit Germania, laudis

Quicquid habet Latium, Grscia quicquid habet.

Henricus Faber, flouriflied about the year 1540. He wrote •a Compendium Muiicse, which has been printed many times, and 'Compendiolum Muficse pro Incipientibus, printed at Franckfort in 1548, and again at Norimberg in 1579. He was recftor of thb •college or public fchool of Quedlinburg for many years, and died anno 1598: the magiftrates of that place eredled a monument for him, upon which is the following infcription :

ClarilT. & Dodiff. Viro, M. Heinr. Fabro, optlme de hac Schola ^merito monumentum hoc pofuit Reipu. hujus Quedlinburg. Senatus.

Henrici ecce Fabri ora, Ledor, omnis Qui dodtus bene liberalis artis, Linguarumque trium probe peritus Hanc rexit patriam Scholam tot annos> Quot menfis numerat dies fecundus> Fide, dexteritate, laude tanta> Quantam & poflera praedicabit aBtas> Nunc peftis violentia folutus Ifto, quod pedibus teris, fepulcro In Chrifto placidam capit quietem» Vitam pollicito fereniorem.

27. Aug. obiit An. 1598. cum vixilTet annos LV«

86

HISTORY OF THE SCIENCE Book!.

CRISTOFORO MORALES SPAGNLTOLO,

ca:n^tore della. cappella poi^TmciA,

Christopher Morales, a native of SevII, was a finger in the isontifical chapel under Paul III. in or about the year 1544, and an excellent compofer. He was the author of two colledions of mafles^ the one for live voices, publiQied at Lyons in 1545? the other for four voices, publilhed at Venice in 1563, and of a famous Magnificat on the eight tones, printed at Venice in 1562. Mention is alfo made of a motet of his * Lamentabatur Jacob,' ufually fung in the pope's chapel on the fourth Sunday in Lent, which a very good judge * ft vies

* Andrea Adami da Bolfena, nelfe fue Oflervazicni per ben regolare il Coro de i Cantori ^dh Cappella Pontificia. Rom. 1711.

■v

Chap. 6. AND PRACTICE OF M U S I C. S;

« una maraviglia dell' arte *. He compofed alfo the Lamentations of Jeremiah for four, five, and fix voices, printed at V'enice in 1564.

* Chriftopher Morales is the firfl of eminence that occurs in the fcanty lid of Spanitli muficians The flow progrefs of mufic in Spain may in fome degree be accounted for by the prevalence of Moorifh manners and cuftoms for many centuries in that country. The Spanilh guitar is no other than the Arabian Pandura a little improved ; and it is notorious that mofl: of the SpaniOi dances are of Moorifh or Arabian original. With refpcd to tlie theory of mufic, it does not appear to have been at all cultivated in Spain before the time of Salinas, who was born in the year 1 5 1 3, and it is poflible that in this fcience, as well as m thofe of geometry and aftronomy, in phyfics, and other branches of learning, the Ara- bians, and thofe defcended from them might be the teachers of the Spaniards. There is row in the library of the Efcurial an Arabic manufcript with this title, * Abi Nafler Mo- ' hammed Ben Mohammed Alpharabi Aluficcs Elementa, adjedis NotisMuficis et Inltru-

* mentorum Figuris plus triginta. CMVI.'

As the date of this iMS. and the age when theautlior lived are prior to the timeof Guido Aretinus, we are very much at a lofs to form a judgment of any fyflem which could then prevail other than that of the ancients, much lefs can we conceive of the forms of fo great a variety of inflruments as are faid to be contained in it.

The author of this book is however fufhciently known. In theNouveau Didionnaife Hiflorique Portatif is the following article concerning him.

* Alfarabius lived in the tenth century. He did not, like m.of^ learned men of his ' country, employ himfelf in the interpretation of the dreams of the Koran, but penetrate J ' the deepefl: recefies of abftrufe and ufeful fcience, and acquired the charader of the great-

* eft philofopher among the Mufl^jlmans. Nor was he more dillinguiOied for his excellence

* in moft branches of learning, than for his great fkill in mufic, and his proficiency on va*

* rious inftruments. Some idea of the greatnefs of his talents may be formed from 'the fol-

* lowing relation. Having made a pilgrimage to Mecca, and returning through Syria, he

* vifited the court of the fultan Seifeddoulet. At his arrival he found the fultan fur- « rounded by a great number of learned men, who were met to confer on fcientific fubjeas,

* and joining in the converfation, argued with fuch depth of judgment and fo'ce of reafon- « ing, as convinced all that heard him. As foon as the converfation was at an end, the fultan

* ordered in his muficians, and Alfarabius taking an inftrument, joined in the performance.

* Waiting for a feafonable opportunity, he took an inftrument in his hand of the lute or

* pandura kind, and touched it fo delicately, that he drew the eyes and attention of all thnt « were prefent. Being requefted to vary his ftyle, he drew out of his pocket a fong, which < he fung and accompanied with fuch fpirit and vivacity, as provoked the whole company to

* laughter, with another he drew from them a flood of tears, and with a third laid them all

* afleep. After thefe proofs of his extraordinary talents, tbe fultan of Syria requeRcd of

* Alfarabius to take up his refidence in his court, but he excufed himfelr, and departin'-r

* homeward, was flain by robbers in a forcft of Syria, in the year 954. Many of his work's

* in MS. are yet in the public library at Leydcn.'*

It muft be conferred that the foregoing account carries with it much of the appearance of fable: the following, contained in Mr. Ockley's tranflaiion of Abu Jaafar Ebn Tophails Life of Hai Ebn Yokdhan, is of the two peihaps the neareft the truth.

* Alpharabius, without exception the greatcft of all the Mahometan philofophers,

* reckoned by fome very near equal to Ariftotle himfelf. Maimonides in his cpiftle to *. Rabbi Samuel Aben Tybbon, commends him highly ; and though he allows Aviccnna

* a great fhare of learning and acumen, yet he prefers Alpharabius before him. Nav,

* Avicenna himfelf con fefles that when he had read over Ariftotle's Metaphyfics forty limc't^, « and gotten them by heart, that he never under ftood them till he happened upon Al[ha-

* rabius's

88 HI:STORY OF THE SCIENCE Book!..

A Gloria Patii of his is preferved in ths Mufurgia of KIrcher, lib. VII»- cap. vii. fe(fl. ii.

Gregorius Faber, profefTor of mufic in the univerfity of Tu- bingen in the duchy of Wirtemberg, publilhed at Bafil, in 1553,. Mufices Pradicce Erotematam, libri II. a book of merit in its way. In It are contained many compofitlons of Jufquin de Pres,- Anthony Brumel, Okeghem, and other muBcians of that time.

Adrian Petit CoclicuSj who llyles himfelf a difciple of Jufquin ^ de Pres, was the author of a trad: intitled Compendium Mufices, print- ed at Norimberg in 1552, in which the muficians mentioned by Gla* reanus, with many others of that time, are celebrated. Thefubjedls- principally treated of by him are thus enumerated in the title-pagej, De Mode ornato canendi — De Regula Contrapundi — De Compofi- tione. To oblige his readers, this author at the beginning of his book has exhibited his own portrait at full length, his age fifty-two. It would be very difficult to defcribe in words the horrible idea which this reprefentation gives of him. With a head of an enormous big=- nefs, features the coarfefl: that can be imagined, a beard reaching to his knees, and cloathed in a leather jerkin, he refembles a Samoed, , or other human favage- more than a profelTor of the liberal fciences. - But notwithftanding thefe lingularities in the appearance of the au^ thor, his book has great merit.

LuiGi Dentice, a gentleman of Naples, was the author of Due.: Dialoghi della Mufica, publiQied in 1552 ; the fubjeds whereof arc chiefly the proportions and the modes of the ancients ; in difcourfingr on thefe the author feems to have implicitely followed Boetius : there : were two others of his name, muficians, who were alfo of Naples : - the one named Fabricius is celebrated by Galilei in his Dialogue on ancient and modern Mufic, as a moft exquifite performer on the lute. . The other named Scipio is taken notice of in the Mufical Lexicon of - Walther. Adrian LeRoy, a bookfeller of Paris, who in 1578 publifib- •

* rablus's expofitlon of tliern. He wrote bcoks of rhetoric, mufic, logic, and all parts '♦ of philofopiiy ; and his wiicings have been much efteemed not only by Mahometans, butr

* Jews and Chrlftians too. He was a perfon of fingular abflinence and continence, and

* a defpifer of the things of this world. He is called Alpharabius frorn Farab, the place of « his birth, which, according to Abulpheda, (who reckons his longitude, not from the •' Tortunate Iflands, but from the extremity of the weflern continent of Africa) has 88 deg. ' 30 min. of longitude, and 44 deg. of northern latitude. He died at Dam>afcus in the

* year of the Hegira 339, that is about the year of Chiift 950, when, he was about four-

* ftore years old/

cd,

Chap. 6. AND PRACTICE OF MUSIC. 89

ed Briefve et facile Inftrudion pour aprendre la Tablature a blen ac' corder, conduire, & difpofer la Main fur la Guiterne, fpeaks in that book of a certain tuning of the lute, which was pradtifed by Fabrice Dentice the Italian, and others his followers, from whence it is to be inferred that he was a celebrated performer on that inftrument.

But of the many writers of this time, no one feems to have a bet- ter claim to the attention of a curious enquirer than

Don Nicola Vicentino, a writer whom it has already been

found neceflary frequently to take notice of in the preceding pages of

"this work, inafmuch as there are few modern books on mufic in

which he is not for fome purpofe or other mentioned. He, in the

year J 555, publifhed at Rome a book intitled * L'Antica Mufica ri-

* dotta alia moderna prattica, con la dichiaratione et con gli effempi de

* i tre generi, con le loro fpetie. Et con I'inventione di uno nuovo

* ilromcnto, nel quale fi contiene tutta la pcrfetta mufica, con molti

* fegreti muficali.*

In this work of Vicentino is a very circumftantial account of Guido ; and, if we except that contained in the MS. of Waltham Holy Crofs, and a (hort memoir in the Annales Ecclefiaftici of Baro- nius, it is perhaps the moft ancient hiftory of his improvements any where to be found ; it is not however totally free from errors; for he attributes the contrivance of the hand to Guido, the very mention whereof does not once occur either in the Micrologus, the Epiftle to his friend Michael, or in any other of his writings.

In the account he gives of the cliffs or keys he afferts that the cha-

raders now ufed to denote them (£; |Y H (K are but fo many

corruptions of the letters F, C, G*, though he allows that the latter of the three continued in ufe long after the two former, of which

there can be no doubt, fincc we find the letter (9 ufed not only to denote the feries of fuperacutes, but in Fantafies and other inllrumen- tal compofitions it was conftantly the fignature of the treble or upper part, down to the end of the fixteenth century j the charader now ufed

for that purpofe X^ is manifeflly derived from this Aa which ^ig'

* Kepler Is of the fame opinion, and has given an entertaining and probable relation of the gradual corruption of the cliffs in his Harmonices Mundi, the fubftance whereof is in- ferted in the account herein after given of him and his writings.

Vol. III. N nifies

90 HISTORY OF THE SCIENCE Book E

nifies gs, and was intended to fignify the place of G sol re ut. Ht farther conjedures, that in order to diftinguifh the Hexachords, or,, as others call them, the properties in finging, namely, in what cafes b was to be fung by fa, and in what by mi, it was ufual to affix twa- letters at the head of the ftave, in the firft cafe G and F, and in the laft C and G.

The fourth chapter of the firft book contains an account of John De Muris's invention of the eight notes, by which we are to under- ftand thofe charaders faid to have been contrived by him to denote the time or duration of founds, and of the fubfcquent improvements thereof J the whole is curious, but it is egregioufly erroneous, as has been demonflrated.

He then proceeds to declare the nature of the confonances, and, with a confidence not unufual with the writers of that age, to attempt an explanation of that dodtrine which had puzzled Boetius, and does not : appear to have been clearly underflood even by Ptolemy himfelf.

That Vicentino had ftudied mufic with great afliduity is not to be doubted, but it does not appear by his work that he had any know- ledge of the ancients other than what he derived from Boetius, and thofe few of his own countrymen who had written on the fubjeft,. It was perhaps his ignorance of the ancients that led him into thofe. abfurdities with which he is charged by Doni and other writers in his attempts to render that part of the fcience familiar which mufl: ever be confidered as infcrutable 3 and as if the difficulty- attending the dodrine of the genera were not enough, he has not only had the temerity to exhibit compofitions of his own in each of the three feverally, but has conjoined them in the fame compofition -, for firft, in the forty-eighth chapter of the third book is an example of the chromatic for four voices ^ in the fifty-firft chapter of the fame book is an example of the enarmonic for the fame number ; and in the fifty-fourth chapter is a compofition alfo for four voices, in which the diatonic, the chromatic, and the enarmonic are all combined. Thefe examples have a place in the firft volume of tbis work, and are there inferted to fliew the infinite confufion arifing from a commixture of the genera.

In the year 1551 Vicentino became engaged in a mufical contro-.

Verfy, which terminated rather to his difadvant.a^e ; the occafion of it

6 yiU

Chap. 6. AND PRACTICE OF MUSIC. gi

was accidental, but both the fubjedl and the condud of the difpute were curious, as will appear by the following narrative tranflated from the forty-third chapter of the fourth book of the work above-cited.

* I Don Nicola, being at Rome in the year of our Lord 1551, and ' being at a private academy where was finging, in our difcourle on

* the fubjed: of muCic, a difpute arofe between the reverend Don Vin^

* cenzio Lufitanio and myfelf, chiefly to this efFecl. Don Vincenzlo

* aflerted that the mufic now in ufe was of the diatonic genus, and

* I on the contrary maintained that what we now pracftife is a com-

* mixture of all the three genera, namely, the chromatic, the enarmo*

* nic, and the diatonic. I fliall not mention the words that paffed

* between us in the courfe of this difpute, but for brevity's fake pro-

* ceed to tell that we laid a wager of two golden crowns, and chofe

* two judges to determine the queftion, from whofe ientence it was

* agreed between us there fhould be no appeal.

* Of thefe our judges the one was the reverend MefTer Bartholo-

* meo Efcobedo, prieft of the diocefe of Segovia, the other was

* MefTer Ghiiilino Dancherts, a clerk of the diocefe of Liege, both

* fingers in the chapel of his holinefs * j and in the prefence of the

* moil illuftrious and moft reverend lord Hyppolitoda Efte, Cardinal

* ofFerrara, my lord and mafler, and of many learned perfons, and

* in the hearing of all the fingers, this queftion was agitated in the

* chapel of his holinefs, each of us, the parties, offering reafons and ar-

* guments in fupport of his opinion.

* It fortuned that at one fitting, for there were many, when the

* Cardinal of Ferrara was prefent, one of our judges, namely, Ghifilino,

* being prevented by bufmefs of his own, could not attend. I there-

* fore on the fame day fent him a letter, intimating that in the pre-

* fence of the Cardinal I had proved to Don Vincenzio that the mufic '* now in ufe was not fimply the diatonic as he had afferted, but that '* the fame was a mixture of the chromatic and enarmonic with the

* Efcobedo is celebrated by Salinas in thefe words ; * Cum Bartholomaeo Efcobedo viro

* in utraque mufices parte exercitatiflimo.' De Mufica, lib. IV. cap. xxxii. pag 228. And Ghifilino Dancherts is often mentioned in the preface to Andrea Adami's OiTerva- zioni per ben regolare il Coro de i Cantori della Cappella Pontificia, by the name of Ghi- filino d' Ankerts Puntatore, i. e. precentor, of the college of fingers of the pontifical cha- pel. The fame author, in his Oifervazioni above-mentioned, pag. 163, flyles d' Ankerts

* ottimo contrapuntifla di madrigali.'

N 2 * dia-

92 HISTORY OF THE SCIENCE BookL

* diatonic. Whether Don Vincenzio had any information that I had

* wrote thus to Ghifilino I know not, but he alfo wrote to him, and

* after a few days both the judges were unanimous, and gave fen-

* tence againfl me, as every one may fee.

* This fentencc in writing, figned by the above-named judges,

* they fent to the Cardinal of Ferrara, and the fame was delivered to

* him in my prefence by the hand of my adverfary Don Vincenzio.

* My lord having red the fentencc, told me I was condemned, and

* immediately I paid the two golden crowns. I will not rehearfe the

* complaints of the Cardinal to Don Vincenzio of the wrong the

* judges had done me, becaufe I would rather have loft loo crowns than

* that occafion (hould have been given to fuch a prince to utter fuch

* words concerning me as he was neceffitated to ufe in the hearing of

* fuch and fo many witnefles as were then prefent. I will not enu-

* merate the many requefts that my adverfary made to the Cardinal tO:

* deliver back the fentence of my unrighteous judges; I however ob-

* tained his permiffion to print it and publish it to the world, upoa

* which Don Vincenzio redoubled his efforts to get it out of his hands^

* and for that purpofe applied for many days to Monfignor Prepofto de.

* Troti, to whom the Cardinal had committed the care of the fame.

* A few days after my lord and mafter returned to Ferrara, and

* after dwelling there for fometime, was neceffitated to go to Sienna,

* in which country at that time was a war; thither I alfo went, and

* dwelled along time with much inquietude. After fome ftay there " I returned to Ferrara, from whence I went with my lord and mafter

* to Rome, in which city by God's favour we now remain.

* I have faid thus much, to the end that Don Vincenzio Lufitanio;

* may not reprehend me if I have been flow in publiftiing the above ' fentence, which fome time paft I promifed to do. The reafons why I

* have delayed it for four years are above related -, I publifh it now that

* everyone may determine whether our differences were fufficiently

* underftood by our judges, and whether their fentence was juft or

* not. I publifti alfo the reafons fent by me, and alfo thofe of Don.

* Vincenzio, without any fraud, or the lea-ft augmentation or dimi-.

* nution, that all may read them.'

The following is a tranflation of a paper containing the fubftance of Vicentino's argument, intitled * II Tenore dell' Informatione wanda Don Nicola a M, Ghifilino per fua prova.'

Chap.6. AND PRACTICE OF MUSIC. 93

* I have proved to M. Lufitanio, that the mufic which we now

* pradtlfe is not (imply diatonic, as he fays. I have declared to him

* the rules of the three genera, and (hewn that the diatonic fings by

* the degrees of a tone, tone and femitone, which indeed he hascon-

* fefled. Now every one knows that our prefent mufic proceeds by

* the incompofite ditone, as from ut to mi, and by the triheinitone

* UT FA, without any intermediate note, which method of leaping

* is I fay according to the chromatic genus ; and I farther fay that

* the interval fa la is of the enarmonic kind ; and I fay farther that

* the many intervals fignified by thefe characters >^ and b, which oc-

* cur in our prefent mufic, (l»ew it to partake of all the three genera,. « and not to be fimply diatonic as M. Lufitanio aiTerts.'

The arguments on the other fide of the queftion are contained in a paper intitled * II tenore dell' Informatione mando Don Vincentio Lufitanio ^ M. Ghifilino per fua prova,' and tranflated is as follows :

* Signer Ghifilino, I believe I have fufficiently proved before the

* Cardinal of Ferrara, and given him to underftand what kind of mu-

* fie it is that is compofed at this day by three chapters of Boetius,

* that is to fay, the eleventh and the twcnty-firft of the firfl: book *,

* in which are thefe words : ** In his omnibus fecundum diatonum ** cantilene procedit vox per femitonium, tonum, ac tonum in uno «* tetrachordo. Rurfus in alio tetrachordo, per femitonium, tonumj^ ** et tonum, ac deinceps. Ideoque vocatur diatonicum quafi quod *« per tonum ac per tonum progrediatur. Chroma autem quod di- ** citur color, quafi iam ab huiusmodi intentioni prima mutatio can- ** tatur per femitonium et femitonium et tria femitonia. Toto cnim <* diatefleron confonantia eft duorum tonorum ac femitonii, fed non «' pleni. Tradum eft autem hoc voeabulum ut diceretur chroma, a ** fuperficiebus, qua^ cum permutantur in alium tranfeunt colorem. «* Enarmonium vero quod eft maius coaptatum, eft quod cantatur in «' omnibus tetracordis per diefin et diefin, et ditonum, &c."

* Being willing to prove by the above words the nature of the mu- < fie in ufe at this day, it is to me very clear that it is of the diatonic

* kind, in that it proceeds through many tetrachords by femitone,.

* This is a twofold miftake of Lufitanio: he has cited but two chapters of Boetiu?, a.ud, tl\e eleventh of the firfl book contains nothing to his purpofe.

* tone-

94 HISTORY OF THE SCIENCE Book L

tone and tone, whereas In the other genera, that is to fay, the chro- -matic and enarmonic, no examples can be adduced from the mo- dern practice of an intire progreffion by thofe intervals which fe- veraily conftitute the chromatic and enarmonic j and I have (hewn the nature of the diatonic from the fifth chapter of the fourth book of Boetius, beginning ** Nuncigitur diatonic! generis defcriptio fad:a

* eft in CO, fcilicet, modo qui eil iimplicior ac princeps quern Lidium, ' nuncupamus."

* To this Don Nicola has obje(fied that the melody above defcribed is not the charadleriftic of the pure diatonic genus, becaufe it ad- mits of the femiditone and ditone, which are both chromaiic and enarmonic intervals ; to which 1 anfwered, that both thefe never arcfe in one and the fame tetrachord, which is an obfervation rhat Boetius himfelf has made ; and I faid that Don Nicola was deficient in the knowledge of the true chromatic, which confifts in a pro- greflion by femitone and femitone, as alfo of the enarmonic, proceed- ing by diefis and diefis. As to the ditone and femiditone, they are com- mon to all the genera, and are taken into the diatonic, as agreeing with the order of natural progreffion : and though Don Nicola would in- finuate that the ditone and femiditone are not proper to the diato- nic, he does not fcruple neverthelefs to call the genus fo charader- ized the diatonic genus, which I affirm it is. I defire you will com- municate to your companion thefe reafons of mine, and, as you promifed the Cardinal of Ferrara, pronounce fentence on Sunday next. Vincentius Lufitan.'

Vicentino obferves upon this paper, that the two firfl chapters quoted by his adverfary from Boetius make againft him, and prove that opinion to be true which he, Vicentino, is contending for; and, in fhort, that both the chromatic and enarmonic intervals, as defined by Boetius, were ufed in the mulk: in queftion, which confequently could not with propriety be deemed the pure and fim pie diatonic ; he adds, that he will not arraign the fentence of his judges, nor fay that they underfiood not the meaning of Boetius in the feveral chapters above-cited from him, , but proceeds to relate an inflance of his ad- verfary's generofity, which after all that had paiTed mufl feem very extraordinary, his words are thefe :

* The courtefy of Don Vincentio has been fuch, that having gain-

* ed my two golden crowns and a fentence in his favour, and there-

* by overcome me, he has a fecond time overcome me by fpeaking

* againft

ehap.6. AND PRACTICE OF MUSIC. 95

* againft the fentence of my condemnation, and againft the judges ' who have done him this favour ; and in fo doing he has' truly over-

* come and perpetually obliged me to him : and moreover he has

* publifhed to the world, and proved in one chapter of his own, that

* the fentence againft me was unjuftj nay, he has printed and pub-

* liftied the reafons contained in the paper written by me, and fent to

* MefTer Ghifilino our judge ; and this he has done as he fays to dif-

* charge his confcience, and becaufe it feemed to him that he had

* ftolen the two golden Scudi *. — God forgive all, and I forgive him, •^becaufe he has behaved like a good Chriftian j and to the end that

* every one may be convinced of the truth of what I now aiTert, I re-

* fer to a work of his intitled *' Introdudtione faciliffima et noviffima ** di canto fermo et figurato contrapunto femplice, See. Stampata in " Roma in campo di Fiore per Antonio Blado, Impreflbre Apofto. " L'anno del Signore M D.LI II. a li xxv di Settembre." At the end

* of this work he treats of the three genera of mufic in thefe words : ** The genera or modes of mufical progreffion are three, viz. the

" Diatonic, which proceeds by four founds con ftituting the intervals of **^ tone, tone, and femitone minor, the Chromatic, which proceeds by ** femitone, femitone major, and three femitones, making in all five " -femitones, according to the definition of Boetius in his twenty-firft " chapter, and according to his twenty-third chapter, by femitone ** minor, femitone major, and the interval of a minor third, re fa, •* not RE MI FA, becaufe re fa is an incompofite, and re mi fa is a " compofite interval. The Enarmonic proceeds by a diefis, diefis and «* third major in one interval, as ut mi, not ut re mi j the mark " for the femitone minor is this ^, and that for the diefis is " this X."

Vicentino remarks upon this chapter, that his adverfary has admit- ted in it that the leap of the femiditone or minor third, re fa or mi .

* In this controverfy two things occur that muft ftrike an intelligent reader with fur- pfize : the one is that the two judges (hould concur in an opinion To manifcflly erroneous 3s that the fyftem in queftion, which wns in truth no other than that now in ufe, was of the diatonic genus ; the other is the conceffion of Lufitanio that it partook, of all the three genera. The reader will recoiled the fentiment of our countryman Morley on this head who, after diligently enquiring inta the matter, pronounces of the mufic of the moderns that it is not fully, and in every refped, the ancient diatonicum nor right ch»omaticum,but an imperfea commixture of both ; and, to fliew that it does not partake of the enarmonic, he remarks that we have not in our fcale the enarmonic diefis, which is the half of the. Jefler femitone. Morley in the Annotations on the firft part of his Inrocuclion. Vide liroiTardj Di^lionaire de Mufique, Voce System a, to theianxe. purpofe.

96 HISTORYOF THE SCIENCE Book I,

SOL is of the chromatic genus, which pofition he fays he had copied from Vicentino's paper given in to Mefler Ghifihno ; he then cites Vincentio's explanation of the enarnionic genus, where he charadter* izes the leap of a ditone or major third by the fyllables UT mi. * This,' fays Vicentino, * my adverfary learned from the above paper, to which I fay he is alfo beholden in other inftances, for whereas he has boldly faid that I underftand not the chromatic, I fay as boldly that he would not have underftood it but for the above paper of mine ; becaufe whoever (hall confront his printed treatife with that paper, will find that he has defcribed the genera in the very words therein made ufe of; and his faying that he was able before he had feen it to give an example of chromatic mufic is not to be believed. Nay farther, in his paper to Mefler Ghifilino he afferted that the di- tone and femiditone are diatonic intervals, but in this treatife of his he maintains the dired contrary, faying that re fa is not of the diatonic, but of the chromatic genus. Here it is to be obferved that the enarmonic ditone is UT mi, and not ut re mi. In fhort/ continues Vicentino, * it is evident that what my adverfary has print- ed contradidts the reafons contained in his written paper. In (hort, I am aOiamed that this work of Don Vincentio is made public, for befides that it is a condemnation as well of himfelf as our judges, it ftiews that he knows not how to make the harmony upon the enar- monic diefis. Nay he has given examples with falfe fifths and falfe thirds ; and moreover, when he fpeaks of a minor femitone, gives MI FA, and fa mi as an example of it. And again, is of opi- nion that the femitones as we now fing or tune them, are femitones minor, whereas in truth they are femitones major, as fa mi or mi fa/

Vicentino proceeds to make good his charge by producing the fol- lowing example from his adverfary's printed work, of falfe harmony :

5

fl-^-^

^~1> <^ -^-i^

-^-*

i> ■ X h

B=a

Alto con la quinta falfa

foprano con la decima falfa.

I

^r-^^ ^ .1^^-^— x-^^

-e

#

BafTo

-^-^

a

Tenore con le confon. falfe.

It

Chap. 6. AND PRACTICE OF MUSIC. 97

' It much grieves me/ fays Vicentino, * that I am obliged to pro-

* duce this example of falfe harmony, but I am not the author of it, '* and have done it for my own vindication. It now remains to pro-

* duce the fentence given againfl: me, which I fliall here do, truly

* copied from the original, fubfcribed by the judges, and attefted in

* form,

** Sententia.

*' ChriftI nomine invocato, &c. Noi fopradetti Bartholomeo Efgo- *' bedo, & Ghifilino Dancharts, per quefta noflra diffinitiva fententia ** et laude in prefentia della detta congregatlone, et delli fopra detti ** Don Nicola, et Don Vincentio, prefenti intelligent!, audienti, et per la detta fententia inftanti. Pronontiamo fententiamo il predetto Don Nicola non haver in voce, ne in fcritto provato fopra che fia fondata la fua intentione della fua propofta. Immo