Part 3

The antiquity of horns, whether natural or of metal, as instruments for sounding is well known. Their employment in some religious services points to customs that were already old when the oldest historical monuments we possess were raised. The Hebrew formulary upon the Dover horn reminds us of the Jewish Shophar, referred to particularly in the Introduction (page xii)--a ram's horn, usually straightened and flattened, which is not only the solitary ancient musical instrument actually preserved in the Mosaic ritual, but is the oldest wind instrument known to be retained in present use in the world. It is still sounded by Jews on the New Year and on the Fast of the Day of Atonement.

In England, horns have been used amongst the various methods of transferring inheritances. They were adopted for instruments of conveyance either in Frank Almoigne, in Fee, or in Serjeantry, and from this cause have been often preserved.

PLATE II.

QUEEN MARY'S HARP.

This venerable instrument, the least impaired Gaelic Harp existing, is known as Queen Mary's Harp, and belongs to C. Durrant Steuart, Esq., of Dalguise, near Dunkeld. Of Gaelic Harps we can only reckon seven that may be dated earlier than the eighteenth century, the oldest being the Queen Mary and Lamont Harps, now in Edinburgh, and the harp named after Brian Boru (Boromha), preserved at Trinity College, Dublin; these three dating anterior, perhaps long anterior, to the fifteenth century. The Queen Mary and Brian Boru Harps are the two most nearly resembling one another. They are small, the Queen Mary Harp being only 31 inches high and 18 inches from back to front. They were played resting upon the left knee and against the left shoulder of the performer, whose left hand touched the upper strings. The comb is from 2-1/2 to 3-1/4 inches high. It is inserted obliquely in the sound chest, and projects about 14 inches. The sound chest, in shape a truncated triangle hollowed out of the solid, is 5 inches wide at the top and 12 at the bottom, the depth being 4-1/2 inches. The bow or forearm measures in a straight line 27-1/2 inches, the chord of the arc of the inner curve being 23 inches. The front of it is expanded so as to form a convenient hold for the hand; it tapers slightly above and below, and ends both ways in boldly carved heads of animals of a symbolical character. The strings were of brass and twenty-nine in number, and were made to sound by the player's finger-nails, which were allowed to grow long for the purpose. The Queen Mary Harp has had another (the lowest) string attached later. This string measured 24 inches, the highest treble string 2-1/2 inches; what compass the harp had it is now impossible to decide, but, following the tradition of Irish harpers, the accordance was based upon the old diatonic scale with the minor seventh, sometimes replaced by the major seventh. We learn by the lectures of the late Dr. Eugene O'Curry that the ancient Irish had three modes in their music, the "Crying," the "Laughing," and the "Sleeping." Whatever these tunings were, and probably the Highland Scotch had the same, their secret is locked up in the wood of the harps that once responded to them. In this, and frequent instances in these Plates, the instruments are not represented as strung. It is impossible to keep old instruments with that strain continually upon them, and to string them only to have them drawn would have been attended with many disadvantages.

The Queen Mary Harp has a history based upon the family tradition of its former owners, the Robertsons of Lude in Perthshire, but in passing through several mediums it has become unreliable. It was long believed to have been Mary Stuart's, and, according to the Lude tradition, it had golden and jewelled ornaments attached to the right upper circle of the bow including her portrait and the Royal Arms of Scotland, which were stolen about 1745. The historical inquiry containing the information respecting this Harp is by John Gunn, F.S.A.E., and was published in 1807, under the auspices of the Highland Society. A paper read before the Society of Antiquaries of Scotland by Mr. Charles D. Bell, F.S.A. Scot., and published in their _Proceedings_ for 1880-81, from which I have made extracts, thoroughly sifts the facts that can be deduced from it, and which may be thus accepted:--Queen Mary of Lorraine, the mother of Mary Queen of Scots, gave this harp to Beatrix Gardyn of Banchory, Aberdeenshire. Beatrix Gardyn was married to Finla Mór, and from this marriage the family of Farquharson of Invercauld, in Braemar, is descended. Finla Mór was killed at the battle of Pinkie in A.D. 1547. John Robertson, the eleventh in succession to Lude, married Margaret Farquharson, the only daughter of the then Laird of Invercauld. He was fifty-six years in possession of Lude, and died in A.D. 1730. The last performer on this ancient harp was his great-grandson, General Robertson, who lent both the Lude harps for examination by the Highland Society in 1805. It appears to have been General Robertson's belief that this harp was acquired for Lude by the marriage of John, the eleventh Laird, with a direct descendant of Beatrix Gardyn, but, following Burke's genealogy of the family, it would appear that it came to Lude with Beatrix Gardyn herself, on her marriage with John, seventh Laird. The Robertsons of Lude are now, in the direct line, extinct, but the family of Gardyn is represented by Francis Garden-Campbell, Esq., of Troup and Glenlyon.

Queen Mary's and the Lamont Harps are on loan (1887) in the Museum of the Scottish Society of Antiquaries, Edinburgh, and it may be mentioned that when exhibited in the Music Loan Collection, South Kensington, the former was insured for £1500 and the latter for £1000.

PLATE III.

THE LAMONT HARP.

The Highland Harp, known as the Clarsach Lumanach, or Lamont Harp, belongs to the owner of the Queen Mary Harp, C. Durrant Steuart, Esq., of Dalguise, Perthshire. Both harps were sent to Edinburgh in 1805 by General Robertson of Lude, who owned them at that time, at the request of the Highland Society, and a book was published in 1807 under the patronage of the Society, entitled _An Historical Enquiry respecting the Performance on the Harp in the Highlands of Scotland from the earliest times until it was discontinued about the year 1734_, by John Gunn, F.A.S.E., in which they were described, and a version of the family tradition of Lude given, compiled from letters written by General Robertson, now unfortunately not forthcoming. Although Mr. Gunn's story of the Queen Mary Harp is coloured in order to attach the gift of it to Mary Queen of Scots, that of the Lamont Harp appears to be according to the simple statement of the original narrator, and may be thus epitomised from a paper published in the _Proceedings of the Society of Antiquaries of Scotland_, 1880-81, by Mr. C.D. Bell, F.S.A. Scot.: "The family tradition of Lude alleges that for several centuries past the larger of these harps has been known as the Clarsach Lumanach or Lamont Harp, and that it was brought from Argyllshire by a daughter of the Lamont family on her marriage with Robertson of Lude in 1464. It is said to be the older of the two. If the probably quiet place in the house of Lude be considered, and that it was likely to be valued and cared for there, also that the repairs appear to be of very old date, then the Clarsach Lumanach may have already, before 1464, been an old broken and mended instrument with a pre-traditional story we can never hope to hear." From Burke's _Landed Gentry_, "Lineage of the Robertsons of Lude," we learn that Charles, fifth Laird of Lude, married Lilias, daughter of Sir John Lamont of Lamont, chief of that clan, and that "it was with this lady, Lilias Lamont, there came one of those very curious old harps which have been in the family for several centuries."

The drawing shows the harp as it is, and may have been for centuries, but Mr. M'Intyre North, in his _Book of the Club of True Highlanders_, London, 1880, proposes, by the substitution of a longer bow or forearm, to bring this harp to the lines of the Queen Mary Harp and that of Brian Boru. It is sufficient here to observe that the present bow agrees in measurement with that of the Queen Mary and Brian Boru Harps, and is certainly very old. Against its originality is the fact that the Lamont Harp appears to have always had thirty-two strings, and for the three extra treble strings a longer bow ought to have been required.

The extreme length of the Lamont Harp is 38 inches, and the extreme width 18-1/2 inches. The sound chest, as with other ancient harps, is hollowed out of one piece of wood, but the back has been in this instrument renewed, although probably a long time ago. The sound chest is 30 inches long, 4 inches in breadth at the top, and 17 at the bottom. The comb projects 15-1/2 inches. The broken parts of the bow are held together by iron clamps.

As to the musical effect of a Gaelic or Irish harp when well played, the impression of such a performance recorded by Evelyn in his Diary is worth quoting. He says: "Came to see me my old acquaintance and the most incomparable player on the Irish harp, Mr. Clarke, after his travells. He was an excellent musitian, a discreete gentleman, borne in Devonshire (as I remember). Such musiq before or since did I never heare, that instrument being neglected for its extraordinary difficulty; but in my judgment it is far superior to the Lute itselfe, or whatever speakes with strings." Elsewhere he speaks of a Mr. Clark (probably the same performer) as being from Northumberland, and says of the instrument, "Pity 'tis that it is not more in use; but indeede to play well takes up the whole man, as Mr. Clark has assur'd me, who, tho' a gent of quality and parts, was yet brought up to that instrument from 5 yeares old, as I remember he told me."

PLATE IV.

CORNEMUSE, CALABRIAN BAGPIPE, MUSETTE.

The Bagpipe (Cornemuse and Musette) and the hurdy-gurdy (Vielle) were, after the thirteenth century, banished to the lower orders, to the blind and to the wandering mendicant class. But polite society in France resumed these instruments again in the modern Arcadia of Louis XIV. and XV.--not the Cornemuse, it is true, for that has ever remained a rustic instrument, as may be observed in the glowing pages of George Sand's _Les Maîtres Sonneurs_. The Cornemuse, as formerly used in France and the Netherlands, is derived from the Roman _tibia utricularis_, and is provided with a bag, inflated by the mouth of the player, while a double reed is attached to the melody pipe or chanter. In recent times it is furnished with two drones--le grand, et le petit bourdon, which are made to sound also by reeds, and an octave apart. The Musette, which has practically displaced the Cornemuse in use, is a softer, sweeter instrument, with a double reed to a very narrow cylindrical pipe, the effect of which is to make it sound like a stopped pipe, an octave lower. This accounts for the short appearance of the instrument. The drones, as it will be seen, are on a more artificial principle than those of the Cornemuse. Another difference is that the bag is always inflated by a small pair of bellows worked by the player's left arm. The Northumbrian and modern Irish bagpipes are also inflated by means of bellows, and have taken the place in northern England and Ireland of the large bagpipe inflated with the mouth which is now regarded as distinctly Highland Scotch. The Musette in the drawing is made of ebony and ivory with keys of silver, and has a bag adorned with needlework. The small bellows are made of walnut inlaid with marqueterie. The melody pipe (le grand chalumeau) is bored with eight finger-holes, and fitted with seven keys for the chromatic notes. To the left of the melody pipe or chanter there is a small flask-shaped pipe furnished with six keys (le petit chalumeau) containing the additional compass upwards. There are four drones contrived in a barrel pierced with thirteen bores in juxtaposition, of from 5 to 35 inches in length. The barrel is furnished with five stops sliding in grooves and regulating the length of the apertures for tuning the drones. Bach's musettes, the alternatives to his gavottes, always imply a drone bass.

It will be observed the Cornemuse here drawn has a chanter and drone fixed parallel in one stock. The former has eight finger-holes, and, like that of the Scotch bagpipe, has a vent-hole not fingered. The bag covered with crimson plush is furnished with a short mouthpiece near the neck for the purpose of inflation.

The Calabrian Bagpipe or Zampogna is a rudely carved instrument of the eighteenth century. It has four drones attached to one stock, hanging downwards from the end of the bag: two of them are furnished with finger-holes. The reeds are double like those of the oboe and bassoon. The bag is large; it is inflated by the mouth and pressed by the left arm against the chest of the performer. The Zampogna is chiefly used as an accompaniment to a small reed melody pipe called by the same name, and played by another performer. The quality of the tone produced is not unpleasing. It has five holes only, and consequently the seventh of the scale is absent, but this can be easily got by octaving the open note of the pipe and covering part of the lower opening of the chanter with the little finger.

The Musette, Zampogna, and Cornemuse here shown are from specimens belonging to Messrs. J. & R. Glen, Edinburgh.

PLATE V.

BAGPIPES.

In continuation of the Bagpipes, this Plate shows, in the instrument with a crimson bag, the modern Northumbrian Bagpipe. The four drones, proceeding from one stock, are mounted with brass and ivory. The chanter, or melody pipe, has seven finger-holes in front and one behind; also, seven brass keys. As there is only one hole open at a time when the instrument is played, this manner of playing is called close fingering. The chanter and drones are furnished with stops at the ends. The instrument with a blue bag is the ancient Northumbrian bagpipe. It has three drones, mounted with silver and ivory, of different sizes; the longest being tuned an octave and the middle one a fourth lower than the shortest. The chanter is of ivory, with seven holes in front and one behind. The large bagpipe with a green bag is the Lowland Scotch. It is of boxwood, with three drones placed in one stock. The two shorter drones sound in unison, the long one an octave lower, the same as in the Highland Bagpipe. They are mounted with carved horn. The chanter has seven finger-holes and a vent-hole, also the same as in the Highland Bagpipe, with which the Lowland agrees in fingering and other particulars, except that it is inflated by bellows attached to the bag by a short blow-pipe, a peculiarity that it has in common with the other Bagpipes in this Plate. The bellows of the modern Northumbrian Bagpipe are also drawn.

The Bagpipe is, as Mr. Henri Lavoix has justly said in his _La Musique au Siècle de Saint Louis_, the organ reduced to its most simple expression. It is of great antiquity, and in the Middle Ages was generally popular in Europe. It was as well known in England as in Scotland, in France as in Italy and Germany. Shakspeare makes out Falstaff in Part I. of Henry IV. to be as melancholy as a lover's lute or the drone of a Lincolnshire Bagpipe. If we may judge by the peculiar scale of the Scotch Bagpipe, it would appear almost certain that the instrument, in its modern forms, has come from the East, and was most likely brought by the Crusaders. This would not of course apply to the ancient principle of a pipe and air reservoir, which is traced back to the Romans, but to the boring of the finger-holes of the chanter, the reed pipe by which the melody is played. By their position and size the intervals are so regulated that the thirds are neither major nor minor, but give a neutral or mean interval that is neither the one nor the other. This mean third, of a tone and three-quarters, has not been elsewhere observed in Europe, but in the East, in Syria and Egypt, and in other parts, it is of common occurrence, and gives a peculiar character to the music, not to be explained, but felt. An historical origin of the mean third is to be found in Mr. A.J. Ellis's paper "On the Musical Scales of Various Nations" (p. 498), published in the _Journal of the Society of Arts_, London, March, 1885. Modern Bagpipes that have keys are, of course, different.

As to the antiquity of existing Bagpipes, Messrs. Glen of Edinburgh own one, carved with the initials R. Mc.D., and the Hebridean galley, that bears the date of 1409. But this is not considered to be the oldest existing, as the M'Intyre pipe, belonging to N. Robertson M'Donald, Esq., of Kinlochmoidart, is reputed to have been played at Bannockburn. Possessing one drone only, it has the peculiarity of two vent-holes, instead of one, on each side of the chanter to accommodate a right or left handed player; in either case one hole is temporarily stopped. Messrs. Glen's pipe has two drones set in one stock. The name M'Intyre, by which Mr. Robertson M'Donald's pipe is distinguished, is derived from the hereditary pipers of the Chiefs of Menzies and Clanranald. Both these ancient Bagpipes are figured in Mr. M'Intyre North's _Book of the Club of True Highlanders_. The Bagpipes here drawn are from specimens belonging to Messrs. J. & R. Glen, Edinburgh.

PLATE VI.

CLAVICYTHERIUM OR UPRIGHT SPINET.

This singularly interesting and rare key-board instrument, now the property of Mr. Donaldson, belonged to the collection of Count Correr of Venice. There is no maker's name or any date upon the instrument, which is of the kind named Clavicytherium by the earliest writer on musical instruments, Virdung (_Musica getutscht und auszgezogen_, Basle, 1511), who gives a drawing of one. It is in fact a spinet, set upright. The internal decoration, as old as the instrument itself, may be North Italian or South German, authorities differ, but a piece of paper pasted over a split in the inside of the wooden back, possibly by the maker, proves to be a fragment of a lease or agreement contracted at Ulm, which is in favour of the Swabian origin. The instrument can hardly be of later date than the first years of the sixteenth century, and is probably the oldest spinet or key-board stringed instrument existing. The earliest date that can be given for the introduction of the Spinet must be within the second half of the fifteenth century.

The key-board is of narrow compass--three octaves and a minor third--from the second E below, to the second G above, middle C, this note being the ledger-line C between the bass and treble clefs [Music]--an extent about the compass of the human voice, which long ruled that of key-board instruments. In Virdung's time their compass was being extended. It is, however, more than likely that the lowest E key was here tuned down to the still lower C, according to the so-called "short octave" arrangement, which altered the lowest E, F[sharp], and G[sharp], to make fourths below F, G, and A, instead of semitones, and thus get deep dominant basses for cadences. Examination of the plectra or "jacks" of this instrument shows they were furnished with little tongues of wire, and not quills or leather, as in later spinet instruments. It is in a painted pine case, the inside being also painted. An unusual feature of the interior is the Calvary below the narrow sound-board, in which the sound holes, judging by the ornament that remains in one, have been Flamboyant windows. There must also have originally been figures, perhaps the Transfiguration or the Crucifixion, but there is no trace of them left. The treatment of the landscape, without other evidence, nearly determines the epoch when the instrument was made.

The stand and the paintings on the door, one of which represents a figure holding a mirror and a serpent, are of later date.

The dimensions of this truly remarkable spinet are--height of instrument, 4 feet 10-1/2 inches, and extreme width, 2 feet 3 inches--the key-board being 2 feet wide. The depth of the case at base, 11 inches, diminishes in ascending to 5-5/8 inches. The table upon which it stands is 2 feet high and 2 feet 11 inches wide.

PLATE VII.

OLIPHANT.

An ivory Hunting Horn belonging to Earl Spencer, called Oliphant because it is of ivory, and bearing in the ornament the arms and badges of Ferdinand and Isabella of Portugal, may be regarded as belonging to the first half of the sixteenth century, the strap and buckle being evidently an addition of later date. The beautiful carving, so conspicuous in this horn, is supposed to have been executed by negroes of the West Coast of Africa, who carved ivory for the Portuguese; the arms of Portugal, with the supporters, two angels, holding the shield upside down, often appearing on their work.

Philip II. of Spain married Mary, daughter of the King of Portugal, in 1543. She died in 1545. The carving of the Horn was probably completed within that interval, and when Philip came to England to marry Mary Tudor, he may have brought the horn with him.

Besides the uses named under Burgmote Horns (Plate I.) horns were blown to give alarm in circumstances of danger, to announce the arrival of visitors of distinction, and, as Mr. M'Intyre North informs us respecting the horn in Drummond Castle, for summoning the household and guests to dinner. But horns were not restricted to winding, there were also drinking and powder horns, often beautifully adorned.

The extreme length of this Horn, measuring along the outside of the curve and including the mouthpiece, is 28-1/4 inches. The greatest circumference is 11-1/2 and the least 2-3/4 inches.

PLATE VIII.

QUEEN ELIZABETH'S VIRGINAL.

This beautiful Spinet is, in the drawing, placed upon a stand, which served for its support in the Tudor Historical Room appertaining to the Music Loan Collection of 1885. I believe this instrument to be Italian, not Flemish or English, and Italian spinets had no stands or legs, but when required for use were withdrawn from an outer case, as this one would be, and placed upon a table, or some other convenient position. They were even taken in Gondolas, as Evelyn records, for pleasure and the performance of serenades.

We may assume 1570 to be approximately the date of this instrument. The green and gold decoration, including a border of gold two and a half inches broad round the inside of the top, is of later date, perhaps by nearly one hundred years. An indistinct number on the back of the case, inside, appears to be 1660. The Royal Arms of Elizabeth are emblazoned on one end to the left of the key-board; to the right a dove is seen rising crowned. The dove holds in its right foot a sceptre; beneath it is an oak tree. This decoration, whether original in 1660 or the copy of a former one, goes far to support the claim for this Spinet having been Queen Elizabeth's. Her musical taste, inherited from Elizabeth of York, and skill as a performer upon the spinet, need no more than a passing reference.

I characterize the instrument as a spinet because a true virginal is a parallelogram, not a trapeze-shaped instrument. The attribution of virginal is, however, not incorrect as a generic term; for all key-board stringed instruments with jacks were known in England as virginals from the Tudor epoch to that of the Commonwealth.