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EARLY AND MODERN BRITISH MUSIC.

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only as an accompaniment to poetry, and in union with the services of the Church. Yet no remains, we are informed, are to be found up to the fifteenth century of what can be strictly termed a British musical composition; and it is said that no English dance-tune has been discovered prior to the year 1400, although dancing was prevalent in this country from the remotest times. Early in the fifteenth century, however, and towards its close, English music began to take a form in which, although in the rudest state, something like modern melody and harmony is distinguishable.

How far our numerous warlike expeditions contributed to advance or to influence this art, does not appear. From very early times armies were attended by bands of music, and songs of triumph were composed for the celebration of victories. Of these the musical performance which was used as an accompaniment to the song of triumph after the victory of Agincourt in rude vigorous strains, † is supposed to be the first regular musical composition in this country of which we have any remains.

The Church early afforded ample patronage for this art, and encouraged musicians from foreign nations, more advanced in civilization than the natives of our land, to come over and seek employment here. Music being moreover under the conduct of the priesthood, who were much beyond their age in learning, was not dependent on the general state of civilization in the nation. And it was during these early ages, as in the other arts, that some of the finest and most sublime creations of the art were brought forth. In later times, however, several distinguished artists in this branch have been produced in this country, although for most of our really grand music we have been indebted to foreigners. Indeed, of all the arts, music is probably that which affords the smallest test of, as it is the least dependent upon the general condition of art in any nation, or the degree of cultivation which it has received among the people, as of all the arts it is the most easily imported. Variation even in language is no impediment here, as it is in many cases a fatal one to poetry and eloquence. * Sir J. Hawkins's History of Music.' + Vide ante, Vol. I. Chapter III. Sect. 4.

Perhaps, indeed, most of the music, especially of the highest kind, now in use in this country is either foreign, or was composed for words in a different language to ours.

VII. It is not in reality much more easy to trace accurately the origin of architecture in our land, than that of the other arts, inasmuch as, although certain rude efforts in the art were effected by the earliest inhabitants of this isle, some specimens of which still remain; yet that which formed the real foundation of architecture was imported into this country from others, and from time to time received an impulse from them. The rise and growth of this art may, nevertheless, be traced with the greatest facility and accuracy, on account of the durability of the specimens which are preserved. It is, moreover, ever in a state of progression and mutation, and is affected by every variety of circumstance that may arise.

Representations are still existent of the huts used by the ancient Britons, circular in form with pointed roofs. Of the rude British temples which were erected in this country at the very earliest period of its history, we have the remains in Stonehenge and Amesbury, as also in other parts of the country. In Brittany these relics are still more perfect and more extensive, and serve well to exhibit the nature of those once raised in this country. The introduction of Christianity not only caused the destruction of many of these edifices which were intended for idolatrous worship, but with Christianity was introduced the art of architecture in an advanced state, and churches were erected by its propagators after the style of those at Rome. Some of the Saxon temples constructed for Pagan worship were however, we are told, converted into Christian churches. These buildings were most of them in the first instance made of wood. As the arts of civilization progressed, stone was more generally used; and as the taste of the country improved, or as artists from Rome and other countries where the art was in a more perfect condition visited us, these buildings were erected with greater skill and refinement, and more attention to ornament was bestowed upon them; and thus, in the manner I have described in some of the preceding chapters, various styles were introduced.

EARLY AND MODERN BRITISH ARCHITECTURE.

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In the Anglo-Saxon missals, very accurate representations are preserved of the houses and other domestic buildings; as well as of the churches and castles of this period.

From the twelfth to the sixteenth centuries, Gothic architecture prevailed over the greater part of Europe. It may be seen in a constant state of change and transition and progression, variously affected and modified as to its peculiar features and style by different circumstances. The period of the thirteenth century is that of its nearest approach to general uniformity. It then diverged into various national characteristics, which are nowhere more strongly or more distinctively marked than in England; and finally, when a classical style of building was revived as if by common consent among nations, each arrived at its object by a different path.*

As civilization gradually progressed, architecture, with the other arts, advanced in its career; and in this country towns and cities adorned with churches and public buildings, and castles and halls and mansions, in time uprose. Like the varying scenes in a dissolving view, the whole face of the country became by degrees changed from a wild forest and a dreary morass, to a cultivated district, animate with population, and intent on improvement.

The stupendous magnificence of some of our cathedrals and churches in the early times, bear honourable testimony both to the taste and munificence of those days. In later ages,

however, artists of very extensive genius in this department, have been produced. Inigo Jones and Sir Christopher Wren, whose name must ever live in the admiration of every one who views his sublime and stupendous structure St. Paul's Cathedral,-in its exterior at least far more classical and more picturesque than St. Peter's at Rome,-may be referred to here.

The grand national edifices of any nation cannot, however, be correctly referred to as tests of the condition of architecture among the people, because not their ordinary dwellings, but only certain public buildings are the data from which we here form our opinion. Over the construction of the latter the *Pict. Hist. Eng., book iv. p. 852.

generality have no control; the erection of them is directed by a few, and is perhaps effected by foreign artists, or was attained by those of a preceding age.

From the important and leading nature of the ancient national buildings in this country, such as our cathedrals and abbeys and castles and halls, these edifices may, nevertheless, be fairly referred to as the best samples of the kind; although perhaps from their magnitude, and the wealth expended in their erection, they are less likely to have been executed by native artists.

VIII. The earliest efforts of the English drama are believed to have been either borrowed directly from Continental writers, or to have been composed by the Anglo-Norman clerks in the Gallic idiom. Long anterior to these, however, many of the religious or superstitious rites and ceremonies practised by the ancient Britons on great festal occasions, were of a highly dramatic character; and that both as regards the spectacle exhibited, and the actions of the performers. Religious dramas are supposed to have been regularly established performances in London about the year 1180; and it appears that in the middle of the thirteenth century, itinerant actors were well known in England.

Out of the religious drama sprang the moral plays, which were in a state of considerable advancement early in the reign of Henry VI. They seem to have reached their highest perfection under Henry VII., and their performance was not wholly discontinued until the end of Elizabeth's reign.

The first English dramatic production in which it was attempted to exhibit sketches from actual life, without any Scriptural saintly or allegorical intermixture, belongs to that class which were termed interludes, and appears to have been introduced during the reign of Henry VIII. The earliest English tragedy, properly so called, is supposed to have been written about the year 1561.* In the year 1583, Queen Elizabeth first allowed a public company of players to act under her name and authority.

The compositions of Shakspeare,-the artistic merits of

Pict. Hist. Eng.

EARLY AND MODERN BRITISH ACTING AND COSTUME. 215

which having already been discussed, need not here be adverted to,-not only advanced, but carried at once to perfection dramatic writing. During the reign of Charles I., the fiery zeal of the Puritans prohibited theatrical entertainments. altogether. In the reign of Charles II., when the drama was restored with the monarchy, essential improvements were introduced in the arrangements of the theatre, especially as regards decoration costume and music,* which at the present period have advanced still further with the general progress of art and of science.

The mechanical appliances auxiliary to dramatic representations, more particularly as regards the scenery, have indeed much improved in our day; although with respect to the essential features of the art itself, probably no great advance has been made during the last century. No nearer approach to nature in the representation has been effected; still less in the higher attainments of the art, has any progression been accomplished.

IX. To trace out accurately the original condition, rise, and progress through various stages, of costume in this country, would be a task of some difficulty, and would occupy considerable space. In a rude age this art originated here as in other countries. The ancient Britons painted their bodies with representations of the planets and other figures. The earliest costumes were made of the skins of wild beasts, or of the leaves of plants, which were at once resorted to to form the necessary coverings for the body. The manufacture and dyeing of cloths seem, however, to have been early known among us, which were probably brought from Gaul; and the cloth garments for some time retained the name which had been given to the hide. Ornaments of different kinds were gradually introduced, such as rings and bracelets. The two causes already referred to,—the influence of foreign art, and the progress of this nation in civilization,-would mainly contribute to accelerate the progress of costume. Probably the former of these causes had more direct, and more extensive influence in this country than the latter.

*Pict. Hist. Eng.

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