celebrating their general in extemporary verses." And in all their religious services music formed a part. A practice somewhat analogous to what has prevailed in modern times, was enjoined upon the people of Rome, 450 years B.C. "In the laws of the ten tables we find particular mention of musicians; by these laws the number of flute players to be employed at funerals was limited to ten; and it was decreed, 'the praises of honoured men should be displayed in an assembly of the people, and that mournful songs, accompanied with a flute, should attend their praises."

The flute was an instrument often mentioned in ancient history, but of which there were several kinds. There was the equal flute, the unequal flute, the right handed flute, the left handed flute. Of their form, manner of use, and the peculiarity of tone, no correct information remains. A few things, however, may be asserted of them with tolerable certainty. They were all wind instruments; some were curved, and some were straight; some had holes in them, on which, by the motion of the fingers, the various sounds were produced; and on others, the music was originated by the application of the mouth, after the manner in which horns and trumpets are used. But none of them were blown into when held in an horizontal position, as we hold our fifes and German flutes. The number of instruments used by the Romans was considerable, exceeding that of the Grecians.

The Grecian theory of music was adopted by the Romans, but without producing any material discoveries in the science.

A great plague raged in Rome about 360 years B.C., which, strange as it may sound in Christian ears, gave rise to dramatic exhibitions. These institutions made a large draught on musical skill, and gave a new impulse to its popular cultivation. "Music," says Dr. Burney, Dr. Burney, "was in great favour at Rome during the latter end of the republic, and the voluptuous times of the emperors; the stage flourished, the temples were crowded, festivals frequent, banquets splendid; so that we may suppose it to have been very much used, both upon public and private occasions, in so rich, populous, and flourishing a city as Rome, the mistress of the world."

During the time of the emperors, music was much patronised, and by some of them personally cultivated. A remarkable instance we have in the case of the perfidious, tyrannical, and bloody Nero; a name loaded with the execrations of heathens, and saturated with the blood of Christians; a name that conferred no respect on the profession, and only mentioned now to shew his anxiety to obtain its honours, of which he was so unworthy. Nero ascended the throne in the year A.C. 54, in the nineteenth year of his age. After murdering his mother, and many of the courtiers, by whom he deemed his pleasures to have been

obstructed, and revelling for a time in the lowest dens of midnight debauchery, he turned actor at Naples, and appeared as a public singer. The celebration of the Olympian games attracted his notice; he therefore passed over to Greece, and presented himself as a candidate for public honours. He was defeated in his attempt to obtain the prize by merit; but, by his flattery, he corrupted the judges, and obtained the victory. The artful monarch returned to Rome with all the pomp and splendour of an eastern conqueror, drawn in the chariot of Augustus, and attended by a numerous band of musicians. In order to excel in vocal music, and conquer the disadvantages of a hoarse, rough voice, he submitted to many privations, and, among the rest, would often abstain from food for a day together. He not only delighted to perform before the higher classes of his subjects, but he invited the whole population of Rome to hear him. It is said, "he never suffered an audience to depart until he was tired himself, and frequently not only detained them the whole day, but the night also. Spies were set to watch their behaviour, and woe to those who shewed the least signs of dissatisfaction." In a fit of infernal bitterness against Christians, he involved, by a remarkable expedient, the whole population of Rome in desolation. "He had heard of the burning of Troy, and wishing to renew that dreadful scene, he caused Rome, in

different places, to be set on fire. The conflagration soon became universal, and during nine successive days the fire was unextinguished. All was desolation; nothing was heard but the lamentations of mothers, whose children had perished in the flames, the groans of the dying, and the continual fall of buildings." Nero was the only one who enjoyed the scene. He placed himself on the top of a high tower, the better to command a view of the general consternation. He then paraded his musical skill, and sang to his lyre the destruction of Troy, while Rome was burning to ashes.

CHAPTER IV.

Music of the ancient Britons-the difficulty of gaining correct information on it—enquiry into its agreement with other music -influence of the Druids-opinions of various historians— Geoffry of Monmouth referred to-traffick of the Phoenicians &c. with Britain-Herodotus quoted—the sciences very early cultivated—Irish, Scotch, Welsh, and British music compared various authors' opinions quoted-jealousy of Scotch writers over the honour of their music—the Saxons introduced their music with the conquest.

WE shall commence this chapter with a view of music as connected with the character of Britain ; a view especially interesting to her inhabitants, who unite to a love of the science, a glowing attachment to country and home. It will be quite apparent from a cursory inspection of our history, that music has not been slighted by our forefathers, but on the contrary, particularly in some periods, has been encouraged with enthusiasm, and introduced with effect into all the soft and terrific scenes of life. Whether our nation has equally contributed to the improvement of the art with our near, south-easterly neighbours, or our distant and ancient easterly acquaintances, may be a matter of doubt. Another question of greater importance, and one also of more difficult solution, arises here, in regard to the character of British music, and the source from whence it was derived.