was known in England long before his time. Of this the catchSumer is icumen in,' is evidence; and it has been said, with some shew of probability, that the English were the inventors of it. Dr. Tudway, formerly music professor in the university of Cambridge, and who for many years was employed in collecting music books for Edward earl of Oxford, has asserted it in positive terms in a letter to a son of his, yet extant in manuscript; and it may with no less degree of certainty be said, that as this kind of music seems to correspond with the native humour and freedom of English manners, there are more examples of it here to be found than in any other country whatsoever. The following specimens of rounds or catches in three, four, and five parts, may suffice to give an idea of the nature of this species of composition: others will hereafter be inserted, as occasion shall require. As touching the first, it may be deemed a matter of some curiosity. In Shakespeare's play of Twelfth Night, Act II. Scene iii. Sir Toby and Sir Andrew agree to sing a catch: Sir Toby proposes that it shall be Thou knave,' upon which follows this dialogue :-*

CLOWN. Hold thy peace thou knave? knight, I shall be constrain'd in't to call thee knave, knight. Sir AND. "Tis not the first time I have constrain'd one to call me knave. Begin, fool; it begins' Hold 'thy peace.'

CLOWN. I shall never begin if I hold my peace. Sir AND. Good I'faith: come begin. [They sing a catch.]

The above conversation has a plain allusion to the first of the catches here inserted, Hold thy peace,' the humour of which consists in this, that each of the three persons that sing calls, and is called, knave in

turn:

CANON IN THE UNISON. A 3 Voc.

HOLD thy peace, and

Thou knave,

Thou knave.

preethee hold thy peace.

Hold thy peace, thou knave.

A 3 Voc.

Of the several examples of fugues and rounds, or to adopt the common mode of speech, of fugues on a plain-song, and canons in the unison, above given, it is necessary to remark that the former are adduced, as being some of the most ancient specimens of that strict kind of composition perhaps any where to be met with farther than this, they are studies, perhaps juvenile ones, of Bird, and are alluded to by Morley in his Introduction. And here it is to be noted, that the plain-song of the fugue in page 295, differs from that of the others, and from its serpentine figure is said to be per naturam synophe.' It seems that Mr. Galliard had some trouble to resolve or render these several compositions in score, for in his manu

BOOK VIII.

HAVING in a regular course of succession traced the several improvements in music, including therein the reformation of the scale by Guido, and the invention of counterpoint, and of the canto figurato, with all the various modifications of fugue and canon, it remains to speak of the succeeding writers in their order.

ALANIUS VARENIUS, of Montaubon, in Tholouse, about the year 1503, wrote Dialogues, some of which treat of the science of harmony and its elements.

LUDOVICUS CELIUS RHODIGINUS flourished about the year 1510; he wrote nothing professedly on the subject of music, yet in his work De Antiquarum Lectionem, in thirty books, are interspersed many things relating thereto, particularly in lib. V. cap. 23, 25, 26. Kircher, in the Musurgia, tom. I. pag. 27, cites from him a relation to the following effect, viz. : That he, Cælius Rhodiginus, being at Rome, saw a parrot, which had been purchased by Cardinal Ascanius, at the price of an hundred golden crowns, which parrot did most articulately, and as a man would, repeat in words the Creed of the Christian faith. Cælius Rhodiginus was tutor to Julius Cæsar Scaliger, and died in 1525, of grief, as it is said, for the fate of the battle of Pavia, in which his patron Francis the First, from whom he had great expectations, was taken prisoner. He is taxed with having borrowed some things from Erasmus, without making the usual acknowledgments.

GREGORIUS REISCHIUS, of Friburg, was the author of a work entitled Margarita Philosophica,* i. e. the Philosophical Pearl, a work comprehending not only a distinct and separate discourse on each of the seven liberal sciences, in which, by the way, judicial astrology is considered as a branch of astronomy, but a treatise on physics, or natural philosophy, metaphysics, and ethics, in all twelve books; that on music is taken chiefly from Boetius, yet it seems to owe some part of its merit to the improvements of Franchinus. The Margarita Philosophica is a thick quarto; it was printed at Basil in 1517, and in France six years after; the latter edition was revised and corrected by Orontius Finæus, of the college of Navarre. †

* This book, the Margarita Philosophica, is frequently mentioned in a work entitled Il Musico Testore, by Zaccaria Tevo, printed at Venice in 1706, in which many passages are cited from it verbatim.

+ Bayle ORONCE FINE.

script he remarks that they are very difficult and curious and it is more than conjectured that many of the grave and acute signatures that occur in some of them, were inserted by him with some degree of hesitation; it was nevertheless thought proper to retain them, even under a doubt of their propriety, rather than attempt to correct the studies of so excellent a judge of harmony. As to the rounds or canons in the unison that follow, they are exemplars of that species of vocal harmony which they are cited to explain they are of the sixteenth century, and we know of no compositions of the kind more ancient, except the canon given in book V. chap. xlv. of the present work.

CHAP. LXVIII.

JOHANNES COCHLEUS, of Nuremberg, was famous about the year 1525, for his Polemical writings. He was the author of Rudimenta Musicæ et Geometria, printed at Nuremberg, and the tutor of Glareanus, as the latter mentions in his Dodecachordon, a doctor in divinity, and dean of the church of Francfort on the Maine. He was born in 1503, but the time of his death is uncertain, some writers making it in 1552, and others sooner. From his great reputation, as a scholar and divine, it is more than probable that he was one of the learned foreigners consulted touching the divorce of Henry the Eighth, for the name of Johannes Cochlæus occurs in the list of them. Peter Aron, in his Toscanello, celebrates him by the title of Phonascus of Nuremberg.

LUDOVICUS FOLIANUS, of Modena, published at Venice, in 1529, in folio, a book intitled Musica Theoretica; it is written in Latin, and divided into three sections, the first contains an investigation of those proportions of greater and lesser inequality necessary to be understood by musicians; the second treats of the consonances, where, by the way, it is to be observed that the author discriminates with remarkable accuracy between the greater and lesser tone; and by insisting, as he does in this section De Utilitate Toni majoris et minoris, plainly discovers that he was not a Pythagorean, which is much to be wondered at, seeing that the substance of his book appears for the most part to have been taken from Boetius, who all men know was a strict adherer to the doctrines of Pythagoras. It is therefore said, and with great appearance of reason, that it is to Folianus that the introduction into practice of the intense or syntonous diatonic, in preference to the ditonic diatonic, is to be attributed. This particular will appear to be more worthy of remark, when it is known, that about the middle of the sixteenth century it became a matter of controversy which of those two species of the diatonic genus was best accommodated to practice. Zarlino contended for the intense or syntonous diatonic of Ptolemy, or rather Didymus, for he it was that first distinguished between the greater and lesser tone. Vincentio Galilei, on the other hand, preferred that division of Aristoxenus, which, though irrational according to the judgment of the ear, gave to the tetrachord two tones and a half. In the course of

the dispute, which was conducted with great warmth on both sides, Galilei takes great pains to inform his reader that Zarlino was not the first that discovered the supposed excellence of that division which he preferred, for that Ludovico Fogliano, sixty or seventy years before, had done the same; and in the table or index to his book, article Lodovico Fogliano, which contains a summary of his arguments on this head, he speaks thus: Lodovico Fogliano fu il primo 'che considerasse che il diatonico che si canta hoggi, 'non era il ditoneo, ma il syntono;' which assertion contains a solution of a doubt which Dr. Wallis enDial. della Musica antica e moderna, pag. 112.

tertained, namely, whether Zarlino or some more ancient writer first introduced the syntonous or intense diatonic into practice. †

The third section of Folianus's book is principally on the division of the Monochord, in which he undertakes to shew the necessity of setting off D, and also of Bb twice.

Many of the divisions, particularly in the first chapter of the second section, are exemplified by cuts, which as they shew the method of using the Monochord, with the ratios of the consonances, and are in other respects curious, are here inserted.

+ Append. de Veter. Harmon. quarto, pag. 318.

JOHANNES FROSCHIUS, a doctor of divinity, and prior of the Carmelites at Augsburg, was the author of Opusculum Rerum Musicalium, printed at Strasburg in 1535, a thin folio, and a very methodical and concise book, but it contains little that can be said to be original.

ANDREAS ORNITHOPARCUS, a master of arts in the university of Meyning, was the author of a very learned and instructive treatise on music, intitled Micrologus, printed at Cologne in 1535, in oblong quarto. It is written in Latin, and was translated into English by our countryman John Douland, the celebrated lutenist, and published by him in 1609. This work contains the substance of a course of lectures which Ornithoparcus had publicly read in the universities of Tubingen, Heidelberg, and Mentz. It is divided into four books, the contents whereof are as follow.

The first book is dedicated to the governors of the state of Lunenburg. The first three chapters contain a general division of music into mundane, humane, and instrumental, according to Boetius, which the author again divides into organical, harmonical, speculative, active, mensural, and plain music, and also the rudiments of singing by the hexachords, according to the introductory or scale of Guido. In his explanation whereof he relates that the Ambrosians distinguished the stations of the cliffs by lines of different colours, that is to say, they gave to F FA UT a red, to C SOL FA UT a blue, and to bb a sky-coloured line; but that the Gregorians, as he calls them, whom the church of Rome follow, mark all the lines with

That the use of the tetrachord synemmenon, or rather of its characteristic b round, was to avoid the tritonus or superfluous fourth between F FA UT and b м1, must appear upon reflection, but this author has made it apparent in the following, which is the fourth of his rules for ficta music.

one colour, and describe each of the keys by its first letter, or some character derived from it.

In the fourth chapter he limits the number of tones to eight; and, speaking of the ambit or compass of each, says there are granted but ten notes wherein each tone may have his course; and for this assertion he cites the authority of St. Bernard, but adds, that the licentious ranging of modern musicians hath added an eleventh to each.

The fifth and sixth chapters contain the rules for solfaing by the hexachords, and for the mutations.

In the seventh chapter he speaks of the consonant and dissonant intervals, and cites Ambrosius Nolanus and Erasmus to shew, that as the disdiapason is the natural compass of man's voice, all music should be confined to that interval.

In the eighth and ninth chapters he teaches to divide, and recommends the use of the Monochord, by the help whereof he says any one may by himself learn any song, though never so weighty.

Chapter X. is intitled De Musica ficta, which he thus defines: Fained musicke is that which the 'Greeks call Synemmenon; a song made beyond the regular compass of the scale; or it is a song which 'is full of conjunctions.'

By these conjunctions are to be understood conjunctions of the natural and molle hexachords by the chord Synemmenon, characterized by b; and in this chapter are discernible the rudiments of transposition, a practice which seems to have been originally suggested by that of substituting the round, in the place of the square b, from which station it was first removed into the place of E LA MI, and has since been made to occupy various other situations; * as has also the acute signature, which although at first invented to perfect the interval between h MI and F FA UT, which is a semidiapente or imperfect fifth, it is well known is now made to occupy the place of G SOL RE UT, C SOL FA UT, and other chords.

The eleventh chapter treats of transposition, which the author says is twofold, that is to say, of the song and of the key, but in truth both are transpositions of the song, which may be transposed either by an actual removal of the notes to some other line or space than that in which they stand, or by the removal of the cliff to some other line, thereby giving by elevation or depression to each note a different power.

The ecclesiastical tones are the subject of the twelfth and thirteenth chapters of the first book: in these are contained rules for the intonation of the Psalms, in which the author takes occasion to cite a treatise of Pontifex, i. e. pope John XXII., who it seems wrote on music, and an author named Michael Galliculo de Muris, a most learned man, author of certain rules of the true order of singing.

In treating of the tones Ornithoparcus follows for 'Marking FA in b FAMI, or in any other place, if the song from 'that shall make an immediate rising to a fourth, a fifth, or an eighth, 'even there FA must necessarily be marked to eschew a tritone, a semidiapente, or a semidiapason, and in usual and forbidden moods, as 'appeareth in the example underwritten :