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, an eminent musician, was a native of Germany, and a disciple of Sebastian Bach. During nearly ten years he was in the band of the electoral king of Poland at Dresden; but the calamities of war having“reduced that court to a close ceconomy, he left Dresden in 1758, with only three dollars in his pocket, and proceeded to the next little German capital, where his talents procured a temporary supply. In 1759 he made his way to England, where he soon obtained notice and reward. He was first patronized by the dukje of York: and on the formation of her present majesty’s band, was appointed chamber-musician to her majesty, with a salary of o”.200 per annum. In 1763, in conjunction with John Christian Bach, he established a weekly concert by subscription, which was well supported; and he had as many private pupils as he chose to teach. Abel performed on several instruments; but that to which he chiefly attached himself was the viol da gamba, an instrument growing out of fashion, and now very little used. His hand was that of a perfect master.

, an English musician, was celebrated for a fine counter-tenor voice, and for his skill on the lute. Charles II. of whose chapel he was, and who admired his singing, had formed a resolution of sending him to the carnival at Venice, in order to shew the Italians what England could produce in this way; but the scheme was dropped. Abell continued in the chapel till the Revolution, when he was discharged as being a Papist. Upon this he went abroad, and distinguished himself by singing in public in Holland, at Hamburgh, and other places; where, acquiring considerable wealth, he set up a splendid equipage, and affected the man of quality, though at intervals he vyas so reduced, as to be obliged to travel through whole provinces with his lute slung at his back. In rambling he got as far as Poland, and at Warsaw met with a very extraordinary adventure. He was sent for to court; but, evading to go by some slight excuse, was commanded to attend. At the palace he was seated in a chair, in 'the middle of a spacious hall, and suddenly drawn up to a great height, and the king, with his attendants, appeared in a gallery opposite to him. At the same instant a number of wild bears were turned in, when the king bid him choose, whether he would sing, or be let down among the bears Abell chose to sing, and declared afterwards, that he never sung so well in his life.

, an ingenious classical scholar, was born Aug. 12, 1690, at Bolsema in Tuscany. When an infant, he was sent to Rome, to his uncle the abbe Andrea Adami, an excellent musician, in the service of cardinal Ottoboni. At eleven years of age, he was placed by the cardinal in a school at Rome, where he made surprising progress in his studies; but, having taken an active part in some disturbances in that school, he fled to Leghorn to escape punishment, and went on board a French privateer. Having experienced numerous vicissitudes in this service, he became tired of a wandering life, and, after an absence of twenty-six months, was forgiven and received by his uncle. He now resumed his studies, applied to the Hebrew, Arabic, and Syriac, but particularly the Greek, of which he acquired a critical knowledge. Such was his reputation, that cardinal Imperiali made him his librarian in 1717; but he did not enjoy the situation long, as he died of a pulmonary complaint, brought on by incessant study, Jan. 9, 1719. His principal work, “Arcadicorum,” vol. I. was published at Rome, 1716, 4to, dedicated to cardinal Ottoboni, who defrayed the whole expence. This work contains, in four books, the history of Arcadia, from the earliest times to the reign of Aristocrates, the last king; and is replete with valuable quotations from ancient authors, and learned digressions; which occasioned his friend Facciolati to say, that it was like a city in which there were more foreigners than natives. His untimely death prevented the continuation of it. Among his manuscripts, which he bequeathed to cardinal Imperiali, were a history of Peloponnesus: the works of Libanius, with many additions; a collection of inscriptions, for the most part unpublished, &c.

, of Valerano, an eminent musician, was born in 1593, and was the scholar of Bernardo Nanini, and successor to Soriano in the pontifical chapel. Antinio Liberati speaks of him as one of the most scientific and ingenious composers of his time, in every species of music then cultivated; and adds, that when he was master of the chapel of St. Peter’s church at Rome, he astonished the musical world with his productions for four, six, and eight choirs or choruses; some of which might be sung in four or six parts only, without diminishing or enervating the harmony. Father Martini, who bears testimony to the truth of this eulogium, has inserted an Agnus Dei, in eight parts, of this composer, which is truly a curious production, three different canons being carried on at the same time, in so clear and natural a manner, both as to melody and harmony, that this learned father, who had been long exercised in such arduous enterprizes, speaks of it as one of the greatest efforts of genius and learning in this most difficult kind of composition. Agostino died in 1629, in the prime of life.

, an ancient musician, and one of the early cultivators of lyric poetry, was a native of Sardis, and flourished about 670 B. C. Heraclides of Pontus assures us that he was a slave in his youth at Sparta, but that by his good qualities and genius, he acquired his freedom, and a considerable reputation in lyric poetry. He was consequently an excellent performer on the cithara, and, if he was not a flute player, he at least sung verses to that instrument; Clemens AleKandnnus makes him author of music for choral dances; and, according to Archytas Harmoniacus, quoted by Athenseus, Alcman was one of th first and most eminent composers of songs on love and gallantry. If we may credit Suidas, he was the first who excluded hexameters from verses that were to be sung to the Jyre, which afterwards obtained the title of lyric poems. And Ælian tells us, that he was one of the great musician! who were called to Lacedcemon, by the exigencies of the state, and that he sung his airs to the sound of the flute. All the evolutions in the Spartan army were made to the sound of that instrument; and as patriotic songs accompanied by it were found to be excellent incentives to public virtue, Alcman seems to have been invited to Sparta, in order to furnish the troops with such compositions. Alcman was not more remarkable for a musical genius, than for a voracious appetite, and Ælian numbers him among the greatest gluttons of antiquity. This probably brought on the morbus pediculosus, of which he died. His tomb was still to be seen at Lacedæmon, in the time of Pausanias. But nothing, except a few fragments, are now remaining of the many poems attributed to him by antiquity. These have been published by Stephens, among other lyric fragments, at the end of his edition of Pindar, 1560; and have been often reprinted.—There is said to have been another Alcman of Messina, also a lyric poet.

, an eminent scholar and divine, was son of Henry Aldrich of Westminster, gentleman, and born there in 1647. He was educated at Westminster under the celebrated Busby, and admitted of Christ Church, Oxford, in 1662. Having been elected student, he took the degree of M. A. in April 1669; and, entering soon after into orders, he became an eminent tutor in his college. Feb. 1681, he was installed canon of Christ Church; and in May accumulated the degrees of B. and D. D. In the controversy with the papists under James II. he bore a considerable part; and Burnet ranks him among those eminent clergj T men who “examined all the points of popery with a solidity of judgment, a clearness of arguing, a depth of learning, and a vivacity of writing, far beyond any thing which had before that time appeared in our language.” In short, he had rendered himself so conspicuous, that, at the Revolution, when Massey, the popish dean of Christ Church, fled beyond sea, the deanry was conferred upon him, and he was installed in it June 17, 1689. In this station he behaved in a most exemplary manner, zealously promoting learning, religion, and virtue in the college where he presided. In imitation of his predecessor bishop Fell, he published generally every year some Greek classic, or portion of one, as a gift to the students of his house. He wrote also a system of logic, entitled “Artis Logicae compendium;” and many other things. The publication of Clarendon’s History was committed to him and bishop Sprat; and they were charged by Oldmixon with having altered and interpolated that work; but the charge was sufficiently refuted by Atterbury. In the same year that he became dean of Christ Church he was appointed one of the ecclesiastical commissioners who were to prepare matters for introducing an alteration in some parts of the church service, and a comprehension of the dissenters. But he, in conjunction with Dr. Mew, bishop of Winchester, Dr. Sprat, bishop of Rochester, and Dr. Jane, regius professor of divinity in the university of Oxford, either did not appear at the meetings of the committee, or soon withdrew from them. They excepted to the manner of preparing matters by a special commission, as limiting the convocation, and imposing upon it, and they were against all alterations whatever. Besides attainments in polite literature, classical learning, and an elegant turn for Latin poetry, of which some specimens are in the Musae Anghcanae, he possessed also great skill in architecture and music; so great, that, as the connoisseurs say, his excellence in either would alone have made him famous to posterity. The three siues of the quadrangle of Christ Church, Oxford, called Peck water-square, were designed by him; as was also the elegant chapel of Trinity college, and the church of All-Saints in the High-street; to the erection of which Dr. Ratcliff, at his solicitation, was a liberal contributor. He cultivated also music, that branch of it particularly which related both to his profession and his office. To this end he made a noble collection of church music, and formed also a design of writing a history of the science; having collected materials, which are still extant in the library of his own college. His abilities indeed as a musician have caused him to be ranked among the greatest masters of the science: he composed many services for the church, which are well known; as are also his anthems, to the number of near 20. In the “Pleasant Musical Companion,” printed 1726, are two catches of his; the one, “Hark the bonny Christ Church Bells,” the other entitled “A Smoking Catch;” for he himself was, it seems, a great smoaker. Besides the preferments already mentioned, he was rector of Wem in Shropshire. He was elected prolocutor of the convocation in February 1702, on the death of Dr. Woodward, dean of Sarum. He died at Christ Church, December 14, 1710. The tracts he published in the popish controversy were two, “Upon the Adoration of our Saviour in the Eucharist,” in answer to O. Walker’s discourses on the same subject, printed in 1687, and 1688, 4to. We have not been able to get an account of the Greek authors he published, except these following: 1. Xenophontis Memorabilium, lib. 4, 1690, 8vo. 2. Xenophontis Sermo de Agesilao, 1691, 8vo. 3. Aristese Historia 72 Interpretum, 1692, 8vo. 4. Xenophon, de re equestri, 1693, 8vo. 5.Epictetus etTheophrastus, 1707, 8vo. 6. Platonis, Xenopliontis, Plutarchi, Luciani, Symposia, 1711, 8vo. This last was published in Greek only, the rest in Greek and Latin, and all printed at Oxford. His logic is already mentioned. He printed also Elements of Architecture, which was elegantly translated and published in 1789, 8vo. with architectural plates, by the rev. Philip Smyth, LL. B. fellow of New College, and now rector of Worthing, Shropshire. He had a hand in Gregory’s Greek Testament, printed at Oxford in 1703, folio; and some of his notes are printed in Havercamp’s edition of Josephus.

Besides his great work, Mr. Ames printed a “Catalogue vf English Printers, from 1471 to 1700,” 4to, intended to accompany the proposals for the former; “An Index to lord Pembroke’s Coins;” “A Catalogue of English heads, or an account of about 2000 prints, describing what is peculiar on each, as the name, title, or office of the person, the habit, posture, age, or time when done, the name of the painter, graver, scraper, &c. and some remarkable particulars relating to their lives,” 1748, 8vo. This was a kind of index to the ten volumes of English portraits, which had been collected by Mr. John Nickolls, F. R. and A. Ss. of Ware in Hertfordshire, in four volumes folio, and six iii 4to; and which after his death in 1745, were purchased, for 50 guineas, by the late Dr. Fothergill. The last of Mr. Ames’s literary labours was the drawing up the “Parentalia, or Memoirs of the family of Wren,” 1750, in one volume folio, from the papers of Mr. Wren. At his expence two plates were engraved, one of a Greek inscription in honour of Crato, the musician of Pergamos; the other an ancient marble pillar, in his possession, with the Cufic inscription.

, an eminent Italian musician, wa born about the year 1736, and studied his art at Naples under the greatest masters. In 1771, Piccini, who had a friendship for him, procured him an engagement as composer for the theatre della Dame, at Rome. Here his first attempts were not very successful; yet he persisted, and in 1775, established his reputation completely by his “Inconnue persecutee;” “La Finta Giardiniera;” and “II Geloso in cimento;” the merit of all which operas was amply acknowledged. The failure, however, of his “Olympiade,” and some other unpleasant circumstances, determined him to travel. Accordingly, he visited the principal cities of Italy, and came to Paris, with the title of master of the conservatory at Venice. He presented to the royal academy of music his “Inconnue persecutee,” adapted to French words, but it had not the same success as in Italy. In 1782 he came to London, to take the direction of the opera: but, as Dr. Burney observes, he arrived at an unfavourable time; for as Sacchini had preceded him, and as the winter folio wing was only rendered memorable at the opera-house by misfortunes, disgrace, and bankruptcy, his reputation was rather diminished than increased in this kingdom. In 1787, he finally settled at Rome, where his reputation was at its height, and continued unabated to the day of his death in 1795. Besides his operas, he composed some oratorios from words selected by Metastasio.

, a celebrated French musician, was born at Paris, July 4, 1694, where he died June 15, 1772. He was so remarkable for early genius, that at the age of six he performed on the harpsichord before Louis XIV; at eight years old the celebrated Bernier declared he could teach him nothing more; and at twelve he was made organist at the church of Petit St. Antoine. Sometime after, he obtained a triumph highly flattering to a person of his profession, by successfully contending for the place of organist at the church of St. Paul, against Rameau, who at that time wished to be established in Paris. Wonders are told of the powers of execution and taste which Aquino displayed, and it is said that Handel visited France on purpose to hear him. He is celebrated also for his simple and amiable manners, and his attachment to religion. Two only of his works have been engraved, the one a collection of pieces for the harpsichord, and the other some carrols with variations; but he left to his son a considerable number of manuscript performances.

, the most ancient musical writer of whose works any remains are come down to us, flourished in the fourth century B. C. He was born at Tarentum, a city in that part of Italy called Magna Graecia, now Calabria. He was the son of a musician, whom some call Mnesias, others Spintharus. He had his first education at Mantinrea, a city of Arcadia, under his father and Lampyrus of Erythrse; he next studied under Xenophilus, the Pythagorean, and lastly, under Aristotle. Suidas, from whom these particulars are taken, adds, that Aristoxenus took offence at Aristotle’s bequeathing his school to Theophrastus, and traduced him ever after, but this has been contradicted by other writers. His “Harmonics,” the defects of which have been very ably pointed out by Dr. Burney, are all that are come down to us, and together with Ptolemy’s Harmonics, were first published by Gogavinus, but not very correctly, at Venice, 1562, 4to, with a Latin version. John Meursius next translated the three books of Aristoxenus into Latin, from the manuscript of Jos. Scaliger, but, according to Meibomius, very negligently. With these he printed at Leyden, 1616, 4to, Nicomachus and Alypius, two other Greek writers on music. After this Meibomius collected these musical writers together, to which he added Euclid, Bacchius senior, Aristides Quintilianus; and published the whole with a Latin version and notes at the Elzivir press, Amst. 1652, dedicated to Christina queen of Sweden. Aristoxenus is said by Suidas to have written 452 different works, some of which are frequently quoted by ancient authors. The titles of several of them, quoted by Athenaeus and others, have been collected by Meursius in his notes upon this author, and by Tonsius and Menage, all which Fabricius has digested into alphabetical order.

, an eminent English musician, was the son of Thomas Arne, upholsterer, of Kingstreet, Covent-garden, at whose house the Indian kings lodged in the reign of queen Anne, as mentioned in the Spectator, No. 50, and who had been before pleasantly depicted by Addison, in the Tatler, Nos. 155 and 160, as a crazy politician. He sent this son, who was born May 28, 1710, to Eton school, and intended him for the profession of the law; but even at Eton his love for music interrupted his studies and after he left that school, such was his passion for his favourite pursuit, that he used to avail himself of the privilege of a servant, by borrowing a livery, and going into the upper gallei'y of the opera, which was then appropriated to domestics. At home he had contrived to secrete a spinet in his room, upon which, after muffling the strings with a handkerchief, he used to practise in the night while the rest of the family were asleep, His father, who knew nothing of this, bound him to a three years’ clerkship, during which this young votary of Apollo dedicated every moment he could obtain fairly, or otherwise, to the study of music. Besides practising on the spinet, and studying composition, by himself, he contrived to acquire some instructions on the violin, of Festing, a performer of much fame at that time; and upon this instrument he had made so considerable a progress, that soon after he quitted his legal master, his father accidentally calling at a gentleman’s house in the neighbourhood, was astonished to find a large party, and a concert, at which his son played the first fiddle. His father was at first much irritated at this disappointment of his hopes, but was soon prevailed upon to let his son follow the bent of his inclinations; and the young man was no sooner at liberty to play aloud in his father’s house, than he bewitched the whole family. In particular, he cultivated the voice of one of his sisters, who was fond of music, by giving her such instruct tions as enabled her to become a favourite public performer. For her and for a younger brother, who performed the character of the page, he set to music Addison’s opera of Rosamond, which was performed at Lincoln’s Inn Fields, ten nights successively, and with great applause.

The general melody of Arne, if analyzed, would perhaps appear to be neither Italian nor English, but an agreeable mixture of Italian, English, and Hcotch. Many of his ballads, indeed, were professed imitations of the Scotch style, but in his other songs he frequently dropped into it, perhaps without design. Arne was never a dose imitator of Handel, nor thought, by the votaries of that great musician, to be a sound contrapuntist. However, he had an inward and secret reve.renc.e for his abilities, and for those of Geminiani, as vvejl as for the science of Pepusch; but except when he attempted oratorios, theirs was not the merit requisite for him, a popular composer who had different performers and different hearers to write for. In the science of harmony, though he was chiefly self-taught, yet being a man of genius, quick parts, and great penetration, in his art, he betrayed no ignorance or want of study in his scores. The oratorios he produced were so unfortunate, that he was always a loser whenever they were performed. And yet it would be unjust to say that they did not merit a better fate; for though the chorusses were much inferior in force to those of Handel, yet the airs were frequently admirable. None, indeed, of his capital productions had full and unequivocal success but Comus and Artaxerxes, at the distance of twenty-four years from each other. The number of his unfortunate pieces for the stage was prodigious; yet none of them were condemned or neglected for want of merit in the music, but the words, which he too frequently wrote himself. Upon the whole, though Arne had formed a new style of his own, there did not appear that fertility of ideas, original grandeur of thought, or those resources upon all occasions, which are discoverable in the works of his predecessor, Purcell, both for the church and stage; yet in secular music, he must be allowed to have surpassed him in ease, grace, and variety; which is no inconsiderable praise, when it is remembered, that from the death of Purcell to tnat of Arne, a period of more than fourscore years, no candidate for musical fame among our countrymen had appeared, who was equally admired by the nation at large.

, an English musician and composer of considerable eminence, was born in London about 1739, and received his musical education at the chapel royal, St. James’s, under Mr. Gates and Dr. Nares, who discovered in him the most promising talents, which ho afterwards cultivated and strengthened by constant study. In 1760 he became composer to Covent-garden theatre, of which the celebrated Mr. Beard was then one of the managers, and had the advantage of having his compositions introduced to the public through the medium of the vocal abilities of that popular singer and h'is associates. For them he composed the “Maid of the Mill,” which has ever been a favourite with the public. But in 1767 he tried his skill in a higher species of composition, the oratorio, setting to music Dr. Brown’s “Cure of Saul,” in which it was universally confessed, that he was eminently successful. This encouraged him to proceed in the same style; and he produced “Abimelech,” “The Resurrection,” and “The Prodigal Son,” the various merits of which have been justly applauded by the best musical critics. The latter became so much'a favourite, that when, in 1773, it was in contemplation to instal the late lord North chancellor of the university of Oxford, the stewards appointed to conduct the musical department of the ceremony, applied to Mr. Arnold for leave to perform the Prodigal Son. His ready compliance with this request, which, however, it would have been very imprudent to refuse, procured him the offer of an honorary degree, and his refusal of this did him real honour. He was not insensible of the value of a degree, but determined to earn it in the usual academical mode; and conformably to the statutes of the university, received it in the school-room, where he performed, as an exercise, Hughes’ s Poem on the Power of Music. On such occasions, it is usual for the musical professor of the university to examine the exercise of the candidate, but Dr. Wiiliam Hayes, then the professor at Oxford, returned Mr. Arnold his score unopened, saying, “Sir, it is quite unnecessary to scrutinize the exercise of the author of the Prodigal Son.”

, an ingenious English musician, was born probably at Newcastle, where he exercised his profession during the whole of his life. In 1736, July 12, he was appointed organist of St. John’s church in that town, which he resigned for the church of St. Nicholas in October following. In 1748, when the organ of St. John’s required repair, which would amount to 160l. Mr. Avison offered to give 100l. if the parish would raise the other 60l. upon condition that they appointed him organist, with a salary of 20l. and allow him to supply the place by a sufficient deputy. This appears to have been agreed upon, and the place was supplied by his son Charles. In 1752 he published “An essay on Musical Expression,” London, 12mo. In this essay, written with neatness and even elegance of style, he treats of the power and force of music, and the analogies between it and painting of musical composition, as consisting of harmony, air, and expression and of musical expression so far as it relates to the performer. To the second edition, which appeared in 1753^ was added, an ingenious and learned letter to the author, concerning the music of the ancients, now known to be written by Dr. Jortin. Mr. Avison’s treatise was very favourably received, but some were dissatisfied with his sentiments on the excellencies and defects of certain eminent musicians, and particularly his preference of Marcello and Geminiani, or at least, the latter, to Handel. In the same year, therefore, was published, “Remarks on Mr. Avison’s essay, &c. wherein the characters of several great masters, both ancient and modern, are rescued from the misrepresentations of the above author and their real merit ascertained and vindicated. In a letter, from a gentleman to his friend in the country.” In this tract, which was written by Dr. Hayes, professor of music at Oxford, Mr. Avison is treated with very little ceremony, and accused of being ignorant, or neglectful of our ancient English musicians, and of having spoke too coldly of the merits of Handel. It is also insinuated that he was obliged to abler pens for the style and matter of his essay. This last was probably true, as both Dr. Brown and Mr. Mason are supposed to have assisted him, but in what proportions cannot now be ascertained. Mr. Avison wrote a reply to Dr. Hayes, nearly in the same uncourtly style, which was republished in the third edition of his essay in 1775. Avison had been a disciple of Geminiani, who, as well as Giardini, had a great esteem for him, and visited him at Newcastle, where the latter played for his benefit. Whenever Geminiani affected to hold Handel’s compositions cheap, it was usual with him to say, “Charley Avison shall make a better piece of music in a month’s time.” Avison died at Newcastle, May 10, 1770, and was succeeded in the church of St. Nicholas, by his son Edward, who himself died in 1776, and in the church of St. John, by his son Charles, who resigned in 1777. Avison assisted in the. publication of Marcello’s music to the psalms adapted to English words. Of his own composition there are extant five collections of concertos for violins, forty-four in number; and two sets of sonatas for the harpsichord, and two violins, a species of composition little known in England till his time. The music of Avison is light and elegant, but wants originality, a consequence of his too close attachment to the style of Geminiani.

, an eminent French musician and composer, was born at Clermont in Auvergne, Oct. 4, 1713. Instead of giving any extraordinary proofs of voluntary application, or early pregnancy of genius, he merely complied with the desire of his father, who was a musician, in turning his thoughts, or rather employing his time, in that pursuit. About his eighteenth year, however, an entire change appeared to have taken place in his mind, which became suddenly seized with the most violent enthusiasm, and such was his application night and day, that he soon became a capital performer on the violin, and was in 1739 thought worthy of the honour of being admitted into his majesty’s chamber band. With no other help in composition than the works of Rameau, he composed a trio for two violins and a bass, which he presented to that celebrated author, who, flattered by such a mark of respect, offered the young composer his advice and friendship. Auvergne began to compose a number of works for the court and the opera, which were much admired. In 1766, having the direction of the spiritual concert entrusted to him, and being unable to treat with Mondonville, who asked an exorbitant price for his Motets, Auvergne, undismayed by the vast reputation which the Orpheus of Languedoc (as Mondonville was called) had acquired in that species of composition, turned his own talents to it, and with such success, that his “Te Deum,” “De Profundis,” and his “Miserere,” were considered as first-rate works. In 1753, he composed the music of the first comic opera that was exhibited in France, and thus prepared the way for that style in which Monsigny, Gretry, and Daleyrac have since so ably distinguished themselves. Auvergne was director of the opera from 1767 to 1775, and from 1785 to 1790. Although in this time he had not Studied to accumulate a fortune, he lived in very easy circumstances until the revolution, when he lost all his places, and was thrown into a state approaching to indigence. Jn 1796, he went to Lyons, and was consoled in liis age and poverty by his sisters and his second wife, and here he died Feb. 12, 1797, justly regretted hy all who knew him. Besides the music already mentioned, he composed the following operas, “Canente,” “Enee et Lavinie,” and “Hercule mourant,” all in his younger days, but the dates not specified “Les Amours de Tempe,” 1752 “Les Fetes d'Euterpe,” 1758; “Polyxene,” 1763; “La Venitienne.” He also retouched some former operas, and composed the music of several ballets performed at Versailles and.Fontainbieau. It seems remarkable that so popular a composer, and one who had contributed so much to “gladden life” in the gay metropolis of France, should have been left to end his days in obscurity and poverty.

, an eminent German musician, was born at Eisenach in 1685, and made such proficiency in his art that at the age of eighteen, he was appointed organist of the new church of Arnstadt. In 1708, he settled at Weimar, where he was appointed court musician and director of the duke’s concert, and in a trial of skill, he obtained a victory over the celebrated French organist, who had previously challenged and conquered all the organists of France and Italy. This happened at Dresden, to which Bach went on purpose to contend with this musical Goliath. He afterwards became master of the chapel to the prince of Anhalt Cotben, and to the duke of Weissenfels. As a performer on the organ, as well as a composer for that instrument, he long stood unrivalled. He died at Leipsic in 1754, and left four sons all eminent musicians, of whom some account is given by Dr. Burney in his History of Music, vol. IV. and in his Musical Tour in Germany.

, a famous Italian musician, lived in the reign of Henry III. of France. The marechal de Brissac, governor in Piedmont, sent this musician to the king, together with the whole band of violins, of which he was chief. The queen conferred on him the place of her valet-de-chambre and Henry, after her example, gave him the same office in his house. Balthazarini was the delight of the court, as well by his skill on the violin, as by his invention of ballets, of pieces of music, festivities, and representations. It was he who composed in 1581 the ballet of the nuptials of the due de Joyeuse with mademoiselle de Vaudemont, sister of the queen, a ballet that was represented with extraordinarypomp it was printed under the title of “Ballet Comique de la Heine, fait aux Noces de M. le due de Joyeuse et de Mademoiselle de Vaudemont,” Paris, 1582. Dr. Burney thinks this the origin of the heroic and historical ballets in France.

, an English musician and composer, was born in London, 1738. Discovering at a very early age an uncommon genius for music, and having an excellent voice, he was, in 1747, placed in the choir of St. Paul’s, under the tuition of Mr. Savage, then master of the young gentlemen of that cathedral. He was soon qualified to sing at sight, and before he had been in the choir two years, his performances discovered uncommon taste and judgment. On his voice changing at the usual period of life, he became an articled pupil of Mr. Savage, and at the expiration of his engagement, came forth one of the first extempore performers in this country. He had now just arrived at manhood, and having a pleasing, though not powerful voice, a tasteful and masterly style of execution on the harpsichord, a fund of entertaining information acquired by extensive reading, a pleasing manner, and a gay and lively disposition, he possessed, in an eminent degree, the power of rendering himself agreeable in every company; and his society and instruction were courted by persons of the highest ranks. Every encouragement was offered to excite his future efforts, and promote his professional success; and no prospects could be fairer or more nattering than those which he had now before him.

, the natural son of the subject of the next article, was born at Venice in 1532, during his father’s embassy there, and studied under Ronsard, making particular progress in the Greek tongue. He devoted himself afterwards to French poetry, which he disfigured not a little by a mixture of Greek and Latin words. His object was to give to the French the cadence and measure of the Greek and Latin poetry, in which he was very unsuccessful. Cardinal Perron said of him, that he was a good man, but a bad poet. He set his own verses, however, to music; not, says Dr. Burney, to such music as might be expected from a man of letters, or a dilletanti, consisting of a single melody, but to counterpoint, or music in parts. Of this kind he published, in 1561, “Twelve hymns or spiritual songs;” and, in 1578, several books of “Songs,” all in four parts, of which both the words and the music were his own. In all he was allowed to be as good a musician as a poet; but what mostly entitles him to notice, is his having established a musical academy at Paris, the first of the kind; but m this he had to encounter many difficulties. The court was for it, and Charles IX. and Henry III. frequently attended these concerts; but the parliament and the university opposed the scheme as likely to introduce effeminacy and immorality. The civil wars occasioned their being discontinued, but they were long after revived, and proved the origin of the divertissements, the masquerades, and balls, which formed the pleasures of the court until the time of Louis XIV. Bayf died in 1592. His poems were published at Paris in 1573, 2 vols. 8vo, and consist of serious, comic, sacred, and profane pieces; the first volume is entitled “Euvres en rime,” the other “Les Jeux.” His mode of spelling is as singular as his composition, but the whole are now fallen into oblivion.

Among his poetical pieces Wood mentions the following, 1. “Sphinx Theologica, seu Musica Templi, ubi discordia concurs,” Camb. 1626, 8vo. 2. “Honorifica armorurii cessatio, sive pacis et fidei associatio,” Feb. 11, 1643, 8vo. 3. “Theophila, or Love-Sacrifice,” a divine poem, Lond. 1652, folio, with the author’s picture before it. Several parts of this poem were set to music by Mr. John Jenkyns, an eminent musician whom Mr. Bendlowes patronized; and a whole canto of it, consisting of above three hundred verses, was turned into elegant Latin verse, in the space of one day, by Mr. John Hall of Durham. 4. “A summary of Divine Wisdom,” London, 1657, 4to. 5. “A glance at the glories of Sacred Friendship,” London, 1657, printed on one side of a large sheet of paper. 6. “De Sacra Amicitia,” printed with the former in Latin verse and prose. 7. “Threnothriambeuticon, or Latin poems on king Charles II.'s Restoration,” London, 1660, printed on a side of a large sheet of paper. A few were printed on white satin, one copy of which, in a frame suitable to it, he gave to the public library at Oxford. 8. “Oxonii Encomium,” Oxon. 1672 r in four sheets folio, mostly in Latin verse. 9. “Oxonii Elogia,” Oxon. 1673, printed on one side of a large sheet of paper it consists of twelve stanzas, and is followed by I, “Oxonii Elegia” II. “Academicis Serenitas” III. “Academicis Temperantia” IV. “Studiosis Cautela,” and some other pieces. 10. “Magia Caelestis,” Oxon. 1673, a Latin poem, printed on one side of a large sheet of paper. The three last-mentioned pieces were composed at Oxford. 11. “Echo veridica joco-seria,” Oxon. 1673, printed on one side of a large sheet of paper, a Latin poem, chiefly against the pope, the Papists, Jesuits, &c. 12. “Truth’s touch-stone,” consisting of an hundred distichs, printed on one side of a long sheet of paper, and dedicated to his niece Mrs. Phiiippa Blount. 13. “Annotations for the better confirming the several truths in the said poem;” uncertain when printed. 14. Mr. Bendlowes wrote a “Mantissa” to Richard 'Fenn’s “Panegyricon Inaugurale,” entitled, “De celeberrima et florentiss. Trinobantiados Augustoe Civ. Praetori, reg. senatui populoque,” Lond. 1673, 4to; in the title of which piece he styles himself “Turmae Equestris in Com. Essex. Prsefectus.” These writings, according to Wood, acquired Mr. Bendlowes the name of a Divine Author, but we fear the value of that character is considerably suok; although we cannot agree with Pope, that “Bendlowes, propitious to blockheads, bows,” nor with his commentator Warburton, that “Bendlowes was famous for his own bad poetry, and for patronising bad poets.” In his “Theophila” there are many uncommon and excellent thoughts, but it must be allowed that his metaphors are often strained and far-fetched, and he sometimes loses himself in mystic divinity. Granger, who thinks his Latin verses better than his English, quotes a passage from his prayer in “Theophila,” which has been deservedly admired for piety and sense.

, an eminent musician and composer, was born at Mante on the Seine, in 1664. By his merit in his profession he attained to be conductor of the music in the chapel of St. Stephen, and afterwards in that of the king. [The regent duke of Orleans admired his works, and patronized their author. This prince having given him a motet of his own composition to examine, and being impatient for his observations thereon, went to the house of Bernier, and entering his study, found the abbé de la Croix there criticising his piece, while the musician himself was in another room carousing and singing with a company of his friends. The duke broke in upon and interrupted their mirth, with a reprimand of Bernier for his inattention to the task assigned him. This musician died at Paris in 1734. His five books of Cantatas and Songs for one and two voices, the words of which were written by Rousseau and Fuselier, have procured him great reputation. There are besides, of his composition, “Les Nuits de Sceaux,” and many motets, which are still much approved of.

, a musician eminently skilled in the knowledge of practical composition, flourished towards the end of queen Elizabeth’s reign. He was of Welch extraction, and had been educated under Tallis, upon whose recommendation it was that in 1589 he was sworn in gentleman extraordinary of the chapel; from whence he was expelled in 1637, it being discovered that he adhered to the Romish communion. He was also organist of Bristol cathedral, but forfeited that employment at the same time with his place in the chapel. Child, afterwards doctor, was his scholar. He has composed sundry services, and a few anthems. Before Bevin’s time the precepts for the composition of canons was known to few. Tallis, Bird, Waterhouse, and Farmer, were eminently skilled in this most abstruse part of musical practice. Every canon, as given to the public, was a kind of enigma. Compositions of this kind were sometimes exhibited in the form of a cross, sometimes in that of a circle there is now extant one resembling a horizontal sun-dial, and the resolution, (as it was called) of a canon, which was the resolving it into its elements, and reducing it into score, was deemed a work of almost as great difficulty as the original compoition. But Bevin, with a view to the improvement of students, generously communicated the result of many years study and experience in a treatise which is highly commended by all who have taken occasion to speak of it. This book was published in 1631, 4to, and dedicated to Goodman bishop of Gloucester, with the following title: “A briefe and short instruction of the Art of Musicke, to teach how to make discant of all proportions that are in use; very necessary for all such as are desirous to attain to knowledge in the art; and may, by practice, if they sing, soone be able to compose three, four, and five parts, and also to compose all sorts of canons that are usuall, by these directions of two or three parts in one upon the plain song.” The rules contained in this book for composition in general are very brief; but for the composition of canons there are in it a great variety of examples of almost all the possible forms in which it is capable of being constructed, even to the extent of sixty parts.

, an eminent musician and composer, was one of the children of the chapel in the reign of Edward VI. and, as asserted by Wood in the Ashmolean ms. was bred up under Tallis. It appears, that in 1575 Tallis and Bird were both gentlemen and also organists of the royal chapel but the time of their appointment to this latter office cannot now be ascertained with any exactness. The compositions of Bird are many and various those of his younger years were mostly for the service of the church. He composed a work entitled “Sacrarurn Cantionum, quinque vocum, printed in 1589 among which is that noble composition” Civitas sancti tui,“which for many years past has been sung in the church as an anthem, to the words” Bow thine ear, O Lord!“He was also the author of a work entitled” Gradualia, ac Cantiones sacrae, quinis, quaternis, trinisque vocibus conciunatae, lib. primus.“Of this there are two editions, the latter published in 1610. Although it appears by these works, that Bird was in the strictest sense a church musician, he occasionally gave to the world compositions of a secular kind and he seems to be the first among English musicians that ever made an essay in the composition of that elegant species of vocal harmony, the madrigal the” La Verginella“of Ariosto, which he set in that form for five voices, being the most ancient musical composition of the kind to be met with in the works of English authors. Of his compositions for private entertainment, there are extant,” Songs of sundry natures, some of gravitie, and others of myrth, fit for all companies and voyces, printed in 1589;' and two other collections of the same kind, the last of them printed in 1611. But the most permanent memorials of Bird’s excellences are his motets and anthems; to which may be added a fine service in the key of D with the minor third, the first composition in Dr. Boyce’s Cathedral Music, vol. III. and that well-known canon of his, “Non nobis, Dornine.” Besides his salaries and other emoluments of his profession, it is to be supposed that Bird derived some advantages frotn the patent granted by queen Elizabeth to Tallis and him, for the sole printing of music and music-paper Dr. Ward speaks of a book which he had seen with the letters T. E. for Thomas East, Est, or Este, who printed music under that patent. Tallis dying in 1585, the patent, by the terms of it, survived to bird, who, no doubt for a valuable consideration, permitted East to exercise the right of printing under the protection of it and he in the titlepage of most of his publications styles himself the “assignee of William Bird.” Bird died in 1623.

, an English musician of considerable fame, was born in 1648, at North Collingham in Nottinghamshire, and became one of the first set of children of the chapel royal after the restoration. In 1673, he was sworn one of the gentlemen of the chapel, and in 1674, appointed master of the children. In 1685, he was nominated one of the private music to king James II. and in 1687, was likewise appointed almoner and master of the choristers in the cathedral church of St. Paul but, in 1693, he resigned this last place in favour of his scholar Jeremiah Clerk. Blow had his degree of doctor in music conferred on him by the special grace of archbishop Sancroft, without performing an exercise for it at either of the universities. On the death of Purcell, in 1695, he was elected organist of St. Margaret’s, Westminster; and in 1699, appointed composer to the chapel of their majesties king AYilliam and queen Mary, at the salary of 40l. a year, which afterwards was augmented to 73l. A second composer, with the like appointment, was added in 1715, at which time it was required that each should produce a new anthem on the first Sunday of his month in waiting. Dr. Blow died in 1708 and though he did not arrive at great longevity, yet by beginning his course, and mounting to the summit of his profession so early, he enjoyed a prosperous and eventful life. His compositions for the church, and his scholars who arrived at eminence, have rendered his name venerable among the musicians of our country. In his person he was handsome, and remarkable for a gravity and decency in his deportment suited to his station, though he seems by some of his compositions to have been not altogether insensible to the delights of a convivial hour. He was a man of blameless morals, and of a benevolent temper; but was not so insensible to his own worth, as to be totally free from the imputation of pride. Sir John Hawkins furnishes us with an anecdote that shews likewise that he had a rough method of silencing criticism. In the reign of James II. an anthem of some Italian composer had been introduced into the chapel royal, which the king liked very much, and asked Blow if he could make one as good Blow answered in the affirmative, and engaged to do it by the next Sunday when he produced “I beheld and lo a great multitude.” When the service was over, the king sent father Petre to acquaint him that he was much pleased with it: “but,” added Petre, “I myself think it too long.” “That,” answered Blow, “is the opinion of but one fool, and I heed it not.” This provoked the Jesuit so much that he prevailed on the king to suspend Blow, and the consequences might perhaps have been more serious, had not the revolution immediately followed.

, second wife of king Henry VIII. was born in 1507. She was daughter of sir Thomas Bolen, afterwards earl of Wiltshire and Ormonde, by Elizabeth, daughter of Thomas Howard, duke of Norfolk. When she was but seven years of age, she was carried over to France with the king’s sister Mary, who was married to Lewis XII. And though, upon the B'rench king’s death, the queen dowager returned to England, yet Anne Bolen was so highly esteemed at the court of France, that Claude, the wife of Francis I. retained her in her service for some years; and after her death in 1524, the duchess of Alenzon, the king’s sister, kept her in her court during her stay in that kingdom. It is probable, that she returned from thence with her father, from his embassy in 1527; and was soon preferred to the place of maid of honour to the queen. She continued without the least imputation upon her character, till her unfortunate fall gave occasion to some malicious writers to defame her in all the parts of it. Upon her coming to the English court, the lord Percy, eldest son of the earl of Northumberland, being then a domestic of cardinal Wolsey, made his addressee to her, and proceeded so far, as to engage himself to marry her; and her consent shews, that she had then no aspirings to the crown. But the cardinal, upon some private reasons, using threats and other methods, with great difficulty put an end to that nobleman’s design. It was prohably about 1528, that the king began to shew some favour to her, which caused many to believe, that the whole process with regard to his divorce from queen Catherine was moved by the unseen springs of that secret passion. But it is not reasonable to imagine, that the engagement of the king’s affec tion to any other person gave the rise to that affair; for so sagacious a courtier as Wolsey would have infallibly discovered it, and not have projected a marriage with the French king’s sister, as he did not long before, if he had seen his master prepossessed. The supposition is much more reasonable, that his majesty, conceiving himself in a manner discharged of his former marriage, gave a full liberty to his affections, which began to settle upon Mrs. Bolen; who, in September 1532, was created marchioness of Pembroke, in order that she might be raised by degrees to the height for which she was designed; and on the 25th of January following was married to the king, the office being performed by; Rowland Lee, afterwards bishop of Coventry and Lichfield, with great privacy, though in the presence of her uncle the duke of Norfolk, her father, mother, and brother. On the 1st of June, 1533, she was crowned queen of England with such pomp and solemnity, as was answerable to the magnificence of his majesty’s temper; and every one admired her conduct, who had so long managed the spirit of a king so violent, as neither to surfeit him with too much fondness, nor to provoke with too much reserve. Her being so soon with child gave hopes of a numerous issue; and those, who loved the reformation, entertained the greatest hopes from her protection, as they knew she favoured them. On the 13th or 14th of September following, she brought forth a daughter, christened Elizabeth, afterwards the renowned queen of England, Cranmer, archbishop of Canterb ry, being her god-father. But the year 1536 proved fatal to her majesty; and her ruin was in all probability occasioned by those who began to be distinguished by the name of the Romish party. For the king now proceeding both at home and abroad in the point of reformation, they found that the interest which the queen had in him was the grand support of that cause. She had risen, not only in his esteem, but likewise in that of the nation in general; for in the last nine months of her life, she gave above fourteen thousand pounds to the poor, and was engaged in several noble and public designs. But these virtues could not secure her against the artifices of a bigoted party, which received an additional force from several other circumstances, that contributed to her destruction. Soon after queen Catharine’s death in Jan. 1535-6, she was brought to bed of a dead son, which was believed to have made a bad impression on the king’s mind; and as he had concluded from the death of his sons by his former queen, that the marriage was displeasing to God, so he might upon this misfortune begin to have the same opinion of his marriage with queen Anne. It was also considered by some courtiers, that now queen Catharine was dead, his majesty might marry another wife, and be fully reconciled with the pope and the emperor, and the issue by any other marriage would never be questioned; whereas, while queen Anne lived, the ground of the controversy still remained, and her marriage being accounted null from the beginning, would never be allowed by the court of Rome, or any of that party. With these reasons of state the king’s own passions too much concurred; for he now entertained a secret love for the lady Jane Seymour, who had all the charms of youth and beauty, and an humour tempered between the gravity of queen Catharine, and the gaiety of queen Anne. Her majesty therefore perceiving the alienation of the king’s heart, used all possible arts to recover that affection, the decay of which she was sensible of; but the success was quite contrary to what she designed. For he saw her no more with those eyes which she had formerly captivated; but gave way to jealousy, and ascribed her caresses to some other criminal passion, of which he began to suspect her. Her chearful temper indeed was not always limited within the bounds of exact decency and discretion; and her brother the lord Rochford’s wife, a woman of no virtue, being jealous of her husband and her, possessed the king with her own apprehensions. Henry Norris, groom of the stole, William Brereton, and sir Francis W'eston, who were of the king’s privy chamber, and Mark Smeton, a musician, were by the queen’s enemies thought too officious about her; and something was pretended to have been sworn by the lady Wingfield at her death, which determined the king; but the particulars are not known. It is reported likewise, that when the king held a tournament at Greenwich on the 1st of May, 1536, he was displeased at the queen for letting her handkerchief fall to one, who was supposed a favourite, and who wiped his face with it. Whatever the case was, the king returned suddenly from Greenwich to Whitehall, and immediately ordered her to be confined to her chamber, and her brother, with the four persons abovementioned, to be committed to the Tower, and herself to be sent after them the day following. On the river some privy counsellors came to examine her, but she made deep protestations of her innocence; and as she landed at the Tower, she fell down on her knees, and prayed Heaven so to assist her, as she was free from the crimes laid to her charge.“The confusion she was in soon raised a storm of vapours within her; sometimes she laughejj, and at other times wept excessively. She was also devout and light by turns; one while she stood upon her vindication, and at other times confessed some indiscretions, which upon recollection she denied. All about her took advantage from any word, that fell from her, and sent it immediately to court. The duke of Norfolk and others, who came to examine her, the better to make discoveries, told her, that Morris and Smeton had accused her; which, though false, had this effect on her, that it induced her to own some slight acts of indiscretion, which, though no ways essential, totally alienated the king from her. Yet whether even these small acknowledgments were real truths, or the effects of imagination and hysterical emotions, is very uncertain. On the 12th of May, Morris, Brereton, Weston, and Smeton, were tried in Westminster-hall. Smeton is said by Dr. Burnet to have confessed the fact; but the lord Herbert’s silence in this matter imports him to have been of a different opinion; to which may be added, that Cromwell’s letter to the king takes notice, that only some circumstances were confessed by Smeton. However, they were all four found guilty, and executed on the 17th of May. On the 15th of which month, the queen, and her brother the lord Rochford, were tried by their peers in the Tower, and condemned to die. Yet all this did not satisfy the enraged king, who resolved likewise to illegitimate his daughter Elizabeth; and, in order to that, to annul his marriage with the queen, upon pretence of a precontract between her and the lord Percy, now earl of Northumberland, who solemnly denied it; though the queen was prevailed upon to acknowledge, that there were some just and lawful impediments against her marriage with the king; and upon this a sentence of divorce was pronounced by the archbishop, and afterwards confirmed in the convocation and parliament. On the 19th of May, she was brought to a scaffold within the Tower, where she was prevailed upon, out of regard to her daughter, to make no reflections on the hardships she had sustained, nor to say any thing touching the grounds on which sentence passed against her; only she desired, that” all would judge the best." Her head being severed from her body, they were both put into an ordinary chest, and buried in the chapel in the Tower.

, an eminent English musician, chapel-master and organist to George II. and III. was the son of William Boyce, a joiner and cabinet-maker, and housekeeper of Joiners’-hall, where our musician was born, B'eb. 7, 1710. He was at first a singing-boy at St. Paul’s, and afterwards apprenticed to the celebrated Dr. Greene, who bequeathed to him his manuscripts. In 1734 he was a candidate for the place of organist of St. Michael’s church, Cornhill, with Froud, Young, James Worgan, and Kelway; but though unsuccessful in this application, Kelway being elected, he was appointee! the same year to the place of organist of Oxford chapel and in 1736, upon the death of Weltlon, when Kelway being elected organist of St. Martin' sin the Fields, resigned his place at St. Michael’s Cornhill, Boyce was not only elected organist of that church, but organist and composer in the chapel royal. The same year he set David’s “Lamentation over Saul and Jonathan,” which was performed at the Apollo Society. About the year 1743, he produced his serenata of “Solomon,” which was not only long and justly admired as a pleasing and elegant composition, but still affords great delight to the friends of English music whenever it is performed. His next publication was “Twelve Sonatas or Trios for two violins and a base,” which were longer and more generally purchased, performed, and admired, than any productions of the kind in this kingdom, except those of CorelH. They were not only in constant use, as chamber music, in private concerts, for which they were originally designed, but in our theatres, as act-tunes, and public gardens, as favourite pieces, during many years.

, of a noble family of Florence, in the fifteenth century, was surnamed Lippus, on account of the loss of his sight, which did not, however, prevent his becoming a scholar of much reputation, and an orator, musician, and poet. His fame procured him an invitation from Matthias Corvinus, king of Hungary, to teach oratory, which he accepted, and taught at the university of fiada. After returning to Florence, he took the habit of the friars of St. Augustin, was made priest some time after, and preached to numerous auditories. He died of the plague at Rome, in 1497. Wonders are told of his powers of extempore versification, and he is classed among the first of the improvisator!. As to his preaching, Bosso says that those who heard him might fancy they listened to a Plato, an Aristotle, and a Theopfcrastus; he is yet more extravagant in noticing his extempore effusions. The circumstance, says he, which placed him above all other poets, is, that the verses they compose with so much labour, he composed and sang impromptu, displaying all the perfections of memory, style, and genius. At Verona, on one occasion, before a numerous assemblage of persons of rank, he took up his lyre, and handled every subject proposed in verse of every measure, and being asked to exert his improvisitation on the illustrious men of Verona, without a moment’s consideration or hesitation, he sang the praises, in beautiful poetry, of Catullus, Cornelius Nepos, and Pliny the elder; nay, he delivered in the same extempore manner all the subjects in Pliny’s thirty-seven books of natural historj r without omitting any one circumstance worthy of notice. Whatever credit may be given to these prodigies, his works prove him to have been a man of real learning. The principal of these are: 1. “Libri duo paradoxorum Chris ­tianorum,” Basil, 1498, Rome, 1531, Basil, 1543, and Cologn, 157,3. 2. “Dialogus de humanae vitae conditione et toleranda corporis aegritudine,” Basil, 1493, and 1543, and Vienna, 1541. 3. “De ratione scribendi Epistolas,” Basil, 1498, 1549, Cologn, 1573. Among his manuscripts, which are very numerous, Fabricius mentions one “de laudibus musicae.” Julius Niger mentions also some works of his on the laws commentaries on St. Paul’s epistles, and the Bible histories, in heroic verse, but, whether printed, does not appear.

, a very singular personage, known by the name of the Musical Small-coal Man, was born at or near Hignam Ferrers, in Northamptonshire, about the middle of the seventeenth century, and went from thence to London, where he bound himself apprentice to a smallcoal man. He served seven years, and returned to Northamptonshire, his master giving him a sum of money not to set up: but, after this money was spent, he returned again to London, and set up the trade of small-coal, which he continued to the end of his life. Some time after he had been settled in business here, he became acquainted with Dr. Garaniere, his neighbour, an eminent chemist, who, admitting him into his laboratory, Tom, with the doctor’s consent, and his own observation, soon became a notable chemist; contrived and built himself a moving laboratory, in which, according to Hearne, “he performed with little expence and trouble such things as had never been done before.” Besides his great skill in chemistry, he became a practical, and, as was thought, a theoretical musician. Tradition only informs us that he was very fond of music, and taat he was able to perform on the viol da gamba at his own concerts, which he at first established gratis in his miserable house, which was an old mean building, the ground-floor of which was a repository for his small-coal; over this was his concert-room, long, low, and narrow, to which there was no other ascent than by a pair of stairs on the outside, so perpendicular and narrow, as scarcely to be mounted without crawling.

, an eminent French musician, born in 1660, in the former part 'of his life had been prebendary and chapel-master of the cathedral church of Strasburgh, but afterwards became grand chaplain and chapel-master in the cathedral of Meaux. He published a work entitled “Prodromus Musicalis, on elevations et motets a voix seule, avec une Basse continue,” 2 vols. fol. the second edition in 1702; but his most useful book was his “Dictionnaire de Musique,” Amst. 1703, fol. at the end of which is a catalogue of authors, ancient and modern, to the amount of nine hundred, who have written on music, divided into classes, with many curious observations relating to the history of music, which have been of great service to musical writers and historians. Grassineau’s Dictionary, published in 1740, is not much more than a translation of Brossard' s work; it was also of great service to Rousseau, whose eloquence has certainly furnished us with a more ^pleasant book, yet Rousseau is acknowledged to be most correct where he most closely copies Brossard. Brossard died in 1730. He had a numerous library of music, which he presented to Louis XIV. who gave himself a pension of 1200 livres, and the same sum to hfs niece.

Dr. Brown was a man of uncommon ingenuity, but unfortunately tinctured with an undue degree of self-opinion, and perhaps the bias of his mind to insanity will assign this best cause, as well as form the best excuse, for this. genius was extensive; for, besides his being so elegant a prose writer in various kinds of composition, he was a poet, a musician, and a painter. His learning does not, however, appear to have been equal to his genius. His invention was, indeed, inexhaustible; and hence he was led to form magnificent plans, the execution of which required a greater depth of erudition than he was possessed of. In divinity, properly so called, as including an extensive knowledge of the controverted points of theology, and a critical acquaintance with the Scriptures, he was not deeply conversant. All we can gather from his sermons is, that his ideas were liberal, and that he did not lay much stress on the disputed doctrines of Christianity. His temper, we are told, was suspicious, and sometimes threw him into disagreeable altercations with his friends; but this arose, in a great measure, if not entirely, from the constitutional disorder described above, a very suspicious turn of mind being one of the surest prognostics of lunacy. He has been charged with shifting about too speedily, with a view to preferment; and it was thought, that his “Thoughts on Civil Liberty, Licentiousness, and Faction,” seemed to have something of this appearance. He, however, in that performance endeavoured to remove the objection, by observing, that, if he had indirectly censured those whom he had formerly applauded, he never was attached to men, but measures; and that, if he had questioned the conduct of those only who were then out of power, he had heretofore questioned their conduct with the same freedom, when in the fulness of their power. Upon the whole, Dr. Brown’s defects, which chiefly arose from a too sanguine temperament of constitution, were compensated by many excellencies and virtues. With respect to his writings, they are all of them elegant. Even those which are of a more temporary nature may continue to be read with pleasure, as containing a variety of curious observations; and in his Estimate are many of those unanswerable truths that can never be unseasonable or unprofitable.

, a celebrated musician, and doctor in that faculty, was descended from a family of that name in Somersetshire, and born about the year 1563. Having discovered an excellent natural genius for music, he was educated in that science, when very young, under Mr. William Blitheman, an eminent master, and organist of the chapel to queen Elizabeth. On the 9th of July 1586 he was admitted bachelor of music at Oxford, having exercised that art fourteen years; and, we are told, he would have proceeded in that university “had he not met with clowns and rigid puritans there, that could not endure church-music.” Some time after, he was created doctor of music at Cambridge; but in what year is uncertain, there being a deficiency in the register. In 1591 he was appointed organist of the Queen’s chapel, in the room of Mr. Blitheman, deceased; and on the 7th of July, the year following, he was incorporated doctor of music at Oxford. He was greatly admired for his fine hand on the organ, as well as for his compositions; several of which have been long since published in musical collections, besides a large number in manuscript, that made a part of the curious and valuable collection of music lately reposited in the library of Dr. Pepusch. Upon the establishment of Gresham-college, Dr. Bull was chosen the first professor of music there, about the beginning of March 1596, through the recommendation of queen Elizabeth; and not being able to speak in Latin, he was permitted to deliver his lectures altogether in English; which practice, so far as appears, has been ever since continued, though the professors of that science have often been men of learning. In 1601, his health being impaired, so that he was unable to perform the duty of his place, he went to travel, having obtained leave to substitute, as his deputy, Mr. Thomas Birde, son pf Mr. William Birde, one of the gentlemen of her majesty’s chapel. He continued abroad above a year. After the death of queen Elizabeth, our professor became chief organist to king James I. and December the 20th, the same year, he resigned his professorship of Gresham-college; but for what reason is not known. In 1613 he again left England, induced, probably, by the declining reputation of church-music, which at this time had not that regard paid to it, tfrat had been formerly. He went directly into the Netherlands, where, about Michaelmas, the same year, he was received into the service of 'the archduke; and Mr. Wood says he died at Hamburgh, or (as others, who remember him, have said) at Lubeck. His picture is yet preserved in the musicschool at Oxford, among other famous professors of that science, which hang round the room.

, a celebrated sculptor and engraver of Florence, was born in 1500, and intended to be trained to music but, at fifteen years of age, bound himself, contrary to his father’s inclinations, apprentice to a jeweller and goldsmith, under whom he made such a progress, as presently to rival the most skilful in the business. He had also a turn for other arts: and in particular an early taste for drawing and designing, which he afterwards cultivated. Nor did he neglect music, but must have excelled in some degree in it; for, assisting at a concert before Clement VII. that pope took him into his service, in the double capacity of goldsmith and musician. He applied himself also to seal-engraving; learned to make curious damaskeenings of steel and silver on Turkish daggers, &c. and was very ingenious in medals and rings. But Cellini excelled in arms, as well as in arts; and Clement VII. valued him as much for his bravery as for his skill in his profession. When the duke of Bourbon laid siege to Rome, and the city was taken and plundered, the pope committed the castle of St. Angelo to Cellini; who defended it like a man bred to arms, and did not suffer it to surrender but by c?.pitulation. Meanwhile, Cellini was one of those great wits, wh'o may truly be said to have bordered upon madness; he was of a desultory, capricious, unequal humour, which involved him perpetually in adventures that often threatened to prove fatal to him. He travelled among the cities of Italy, but chiefly resided at Rome where he was sometimes in favour with the great, and sometimes out. He consorted with all the first artists in their several ways, with Michael Angelo, Julio Romano, &c. Finding himself at length upon ill terms in Italy, he formed a resolution of going to France; and, passing from Rome through Florence, Bologna, and Venice, he arrived at Padua, where he was most kindly received by, and made some stay with, the famous Pietro Bembo. From Padua he travelled through Swisserland, visited Geneva in his way to Lyons, and, after resting a few days in this last city, arrived safe at Paris. He met with a gracious reception from Francis I. who would have taken him into his service; but, conceiving a dislike to France from a sudden illness he fell into there, he returned to Italy. He was scarcely arrived, when, being accused of having robbed the castle of St. Angelo of a great treasure at the time that Rome was sacked by the Spaniards, he was arrested and sent prisoner thither. When set at liberty, after many hardships and difficulties, he entered into the service of the French king, and set out with the cardinal of Ferrara for Paris: where when they arrived, being highly disgusted at the cardinal’s proposing what he thought an inconsiderable salary, he abruptly undertook a pilgrimage to Jerusalem. He was, however, pursued and brought back to the king, who settled a handsome salary upon him, assigned him a house to work in at Paris, and granted him shortly after a naturalization. But here, getting as usual into scrapes and quarrels, and particularly having offended madame d'Estampes, the king’s mistress, he was exposed to endless troubles and persecutions; with which at length being wearied out, he obtained the king’s permission to return to Italy, and went to Florence; where he was kindly received by Cosmo de Medici, the grand duke, and engaged himself in his service. Here again, disgusted with some of the duke’s servants (for he could not accommodate himself to, or agree with, any body), he took a trip to Venice, where he was greatly caressed by Titian, Sansovino, and other ingenious artists; but, after a short stay, returned to Florence, and resumed his business. He died in 1570. His life was translated into English by Dr. Nugent, and published in 1771, 2 vols. 8vo, with this title: “The Life of Benevenuto Cellini, a Florentine artist; containing a variety of curious and interesting particulars relative to painting, sculpture, and architecture, and the history of his own time.” The original, written in the Tuscan language, lay in manuscript above a century and a half. Though it was read with the greatest pleasure by the learned of Italy, no man was hardy enough, during this long period, to introduce to the world a book, in which the successors of St. Peter were handled so roughly; a narrative, where artists and sovereign princes, cardinals and courtezans, ministers of state and mechanics, are treated with equal impartiality. At length, in 1730, an enterprising Neapolitan, encouraged by Dr. Antonio Cocchi, one of the politest scholars in Europe, published it in one vol. 4to, but it soon was prohibited, and became scarce. According to his own account, Cellini was at once a man of pleasure and a slave to superstition; a despiser of vulgar notions, and a believer in magical incantations; a fighter of duels, and a composer of divine sonnets; an ardent lover of truth, and a retailer of visionary fancies; an admirer of papal power, and a hater of popes; art offender against the laws, with a strong reliance on divine providence. Such heterogeneous mixtures, however, generally form an amusing book, and Cellini’s life is amusing and interesting in a very high degree. It must not, however, be omitted, that Cellini published two treatises on the subject of his art, “Duo trattati, uno intorno alle oito principal! arti dell* oreficiera, Paltro in materia dell* arte della scoltura,” &c. 1568, 4to.

, a French writer of eminence in polite literature, is said to have been born in America, of French parents, in 1730, and died in Paris July 12, 1792, but our only authority does not give his Christian name, nor have we been able to discover it in any of the French catalogues. He was a member of the French academy, and of that of the belles-lettres, a dramatic author, an indifferent poet, but much esteemed for his writings respecting criticism and elegant literature. His principal works are: 1. “Eponine,” a tragedy, 1762, which did not succeed. 2. “Eloge de Rameau,” 1764, 8vo. 3. “Sur le sort de la poesie, en ce siecle philosophe, avec un dissertation sur Homere,” 1764, 8vo. 4. “Euxodie,” a tragedy, 1769, 12mo. 5. “Discours sur Pindar,” with a translation of some of his odes, 1769, 8vo. 6. “Les Odes Pithiques de Pindare,” translated, with notes, 1771, 8vo. This, in the opinion of Voltaire, is an excellent translation. 7. “Vie de Dante,” 1775, 8vo. 8. “Sabinus,” a lyric tragedy, but unsuccessful, 1775. 9. “Epitre sur la manie des jardins Anglois,” 1775, 8vo. The design of this is to modify, or rather to attack the principle that engages many to respect all the caprices of nature, and to shew that this principle, or at least its unrestrained application, may be prejudicial to the arts, but he displays more ingenuity than taste in this discussion. 10. “Idylles de Theocrite,” a new translation, 1777, 8vo. The most valuable part of this volume is a judicious and elegant essay on the Bucolic poets, in which, however, he is thought to treat Fontenelle and madame Deshoulieres with too much severity. 11. “Vers sur Voltaire,” 1778, 8vo. 12. “De la Musique considereé en elle meme, et dans ses rapports avec la parole, les langues, la poesie, et la theatre,” 1788, 2 vols. 8vo. The first volume, if we mistake not, was published in 1735. In this, says Dr. Burney, he discovers a refined taste, nice discernment, much meditation and knowledge of the subject, and an uncommon spirit of investigation; and although Dr. Burney’s sentiments are not always in unison with the opinions and reasoning of M. de Chabanon, yet there are such enlarged views and luminous and elegant observations in analysing the sensations which music excites, in assigning reasons for the pleasures which this art communicates to ears that vibrate true to musical intervals and concordant sounds, that he thinks its perusal will generate reflections on the art, and set the mind of a musician at work, who had never before regarded music but as a mere object of sense. This book was written in the midst of the war of musical opinions between the Gluckists and Piccinists. The author is said to have been not only an excellent judge of instrumental composition and performance, but among dilettanti ranked high as a performer on the violin. 13. The “Discours” he pronounced on his admission into the academy Jan. 20, 1780, 4to. In 1795 was published from his manuscript, “Tableau de quelques circonstances de ma vie,” 8vo, containing a faithful but not very pleasing disclosure of his conduct and sentiments. It appears that in his youth he was a devot, as serious as madame Guyon, but that afterwards he went into the other extreme, no uncommon transition with his countrymen.

, an excellent Greek and Latin scholar and mathematician, was born in 1610 at Slow in the Wold, in Gloucestershire, and became one of the clerks of Magdalen college, Oxford; and in 1632, one of the petty canons or chaplains of Christ church. Being ejected from this by the parliamentary visitors in 1648, he came to London in great necessity, and took lodgings in the house of Thomas Est, a musician and music printer, in Aldersgate street. There being a large room in this house, Chilmead made use of it for a weekly music meeting, from the profits of which he derived a slender subsistence, and probably improved it by being employed as translator. He died in 1653, having for some years received relief from Edward Bysshe, esq. garter king at arms, and sir Henry Hoibrook, the translator of Procopius. He was interred in the church of St. Botolph without Aldersgate. Among his works, our musical historians notice his tract “De musica antiqua Graeca,” printed in 1672, at the end of the Oxford edition of Aratus: he also wrote annotations on three odes of Dionysius, in the same volume, with the ancient Greek musical characters, which Chilmead rendered in the notes of Guide’s scale. His other works are, 1 “Versio Latina et Annotationes in Joan. Malalae Chronographiam,” Oxf. 1691, 8vo. 2. A translation, from the French of Ferrand, of “A Treatise on Love, or Erotic Melancholy,” 1640, 8vo. 3. Gaffarel’s “Unheard-of Curiosities.” 4. Campanella’s “Discourse touching the Spanish monarchy,” which not selling, Prynne prefixed an epistle and a new title, “Thomas Campanella’s advice to the king of Spain, for obtaining the universal monarchy of the world,” Lond. 1659, 4to. 5. Hues’ “Treatise of the Globes,” ibid. 1639 and 1659; and 6. Modena’s “History of the Rites, Customs, &c. of the Jews,” ibid. 1650. He also compiled the “Catalogus Mss. Grsecorum in Bibl. Bodl.” 1636, a manuscript for the use of the Bodleian, and the most complete of its time.

, wife of the preceding, and for several years the best actress in England, was the daughter of an eminent upholsterer in Covent-garden, and sister to Dr. Thomas Augustin Arne, the musician. Her first appearance on the stage was as a singer, in which the sweetness of her voice rendered her very conspicuous, although she had not much judgment, nor a good ear. It was in this situation, that, in April 1734, she married Theoph. Cibber, then a widower for the second time. The first year of their nuptials was attended with as much felicity as could be expected, but the match was by no means agreeable to his father, who had entertained hopes of settling his son in a higher rank in life than the stage; but the amiable deportment of his daughter-in-law, and the seeming reformation of his son, induced him to take the young couple into favour. As he was a manager of Drury-lane play-house at that time, and his son having hinted somewhat respecting Mrs. Cibber’s talents as an actress, he desired to hear a specimen. Upon this her first attempt to declaim in tragedy, he was happy to discover that her speaking voice was perfectly musical, her expression both in voice and feature, strong and pathetic at pleasure, and her figure at that time perfectly in proportion. He therefore assiduously undertook to cultivate those talents, and produced her in 1736, in the character of Zara, in Aaron Hill’s tragedy, being its first representation. The audience were both delighted and astonished. The piece, which was at best an indifferent translation, made its way upon the stage; and Mrs. Cibber’s, reputation as an actress was fully established, with its agreeable concomitants, a rise of salary, &c. The character, however, which she acquired in public, was lost in private life. She was married to a man who was luxurious and prodigal, and rapacious after money to gratify his passions or vanity, and at length he resolved to make a profit of the honour of his wife. With this view, therefore, he cemented the closest friendship with a gentleman, whom he introduced to his wife, recommended to her, gave them frequent interviews, and even saw them put, as if by accident, in the same bed, and had then the impudence to commence a trial for criminal correspondence, which brought to light his nefarious conduct. He laid his damages at 5000l. but the jury discerning the baseness of his conduct, gave only 10l. costs; a sum not sufficient to reimburse him a fortieth part of his expences. From that time Mrs. Cibber discontinued living with her husband, and resided entirely with the gentleman who was the defendant in this abominable trial.

, an eminent musician and composer, was born at Capo di Monte, Naples: he studied music at the couservatorio of Loretto, and was a disciple of the admirable Duronte. He was carefully educated in other respects, and his docility and sweetness of temper, during his youth, gained him the affection of all who knew him. On quitting the conservatorio his talents were soon noticed, and his operas, chiefly comic, became the delight of all Italy. But though he composed for buffo singers, his style was always graceful, never grotesque or capricious. There is an ingenuity in his accompaniments which embellishes the melody of the voice part, without too much occupying the attention of the audience. His operas of “Il Pittore Parigino,” and “L'Italiana in Londra,” were carried to Rome, and thence to the principal cities of Italy, where their success was so great in 1782 and 1783, that he received an order from Paris to compose a cantata for the birth of the dauphin, which was performed by a band of more than 100 voices and instruments. In 1784 he was engaged to compose for the theatres and cities which seldom had operas expressly composed for them; bringing on their stage such as were set for great capitals, such as Rome, Naples, Venice, and Milan. By these means the expences of poet and composer were saved. He composed operas likewise at Petersburgh and Madrid, and his success and fame were more rapid than those of any composer of the last century, except Piccini, and the fame of his comic opera of “L'ltaliana in Londra,” seems to have been as extensive as that of the “Buona Figliuola.”

, Mus.D. an eminent organist and contra-puntist, in the style of our best ecclesiastical composers, whom he had studied, from Tailis to Crofts, Weidon, and Green, a very correct harmonist and good organ player, but with limited powers of invention, was organist of Westminster abbey, and on the dealh of Kelway elected organist of St. Martin’s in the Fields. He long presided at the Crown and Anchor concert, which was originally established for the preservation of the best works of the most eminent masters of old times. It is a curious circumstance, that at this concert of ancient music Handel was regarded as an innovator, and Geminiani thought it an honour to be allowed to dedicate his last concertos to this society. Dr. Pepusch, who established and directed this concert to the time of his death, never allowed Handel any other merit than that of a good practical musician, The irreconcileable enmity between the lovers of old and new music became, from the time of this institution, as violent as the rage between the champions of ancient and modern learning. Dr, Cook, a steady votary of the old masters, died September 1793. He was the son of Benjamin Cook, who kept a music shop in New-street, Covent-garden, and who published by patent, among other things, six concertos for violins, tenor and bass, by Alexander Scarlatti; the chamber symphonies of Porpora, for three instruments; and the two books of lessons by Domenico Scarlatti, in long 4to, of which Rosingrave was the editor. After the decease of Cook, Johnson reprinted Scarlatti’s lessons, with the same title-page and the same errors as had escaped correction in the former edition.

, a famous musician of Italy, was born at Fusignano, a town of Bologna, in 1653. His first instructor in music was Simonelli, a singer in the pope’s chapel; but his genius leading him to prefer secular to ecclesiastical music, he afterwards became a disciple of Bassani, who excelled in that species of composition, in which Corelli always delighted, and made it the business of his life, to cultivate. It is presumed that he was taught the organ: but his chief propensity was for the violin, on which he made so great proficiency, that some did not scruple to pronounce him the first performer on that instrument in the world. About 1672 his curiosity led him to visit Parisand it is said that the jealous temper of Lully not brooking so formidable a rival, he soon returned to Rome; but this Dr. Burney thinks is without foundation. In 1680 he visited Germany, was received by the princes there suitably to his merit; and, after about five years stay abroad, returned and settled at Rome.

While thus intent upon musical pursuits at Kome, he fell under the patronage of cardinal Ottoboni; and is said to have regulated the musical academy held at the cardinal’s palace every Monday afternoon. Here it was that Handel became acquainted with him; and in this academy a serenata of Handel, entitled “II trionfo del tempo,” was performed: the overture to which was in a style so new and singular, that Corelli was much perplexed in his first attempt to play it. This serenata, translated into IJnglish, and called “The Triumph of Time and Truth,” Was performed at London in 1751. The merits of Corelli as a performer were sufficient to attract the patronage of the great, and to silence, as they did, all competition; but the remembrance of these was soon absorbed in the contemplation of his excellencies as a general musician, as the author of new and original harmonies, and the father of a style not less noble and grand than elegant and pathetic. He died at Rome Jan. 18, 1713, aged almost 60; and was buried in the church of the Rotunda, otherwise called the Pantheon; where, for many years after his decease, he was commemorated by a solemn musical performance on the anniversary of that event. He died possessed of about 6000l. which, with a large and valuable collection of pictures, of which he was passionately fond, he bequeathed to his friend and patron cardinal Ottoboni; who, however, while he reserved die pictures to himself, distributed the money among the relations of the testator, an act of justice, in which it may, without breach of charity, be thought that Corelli ought to have anticipated him.

The performance and compositions of this admirable musician, says Dr. Burney, form an sera in instrumental music, particularly for the violin, and its kindred instruments, the tenor and violoncello, which he made respectable, and fixed their use and reputation, in all probability, as long as the present system of music shall continue to delight the ears of mankind. Indeed, this most excellent master had the happiness of enjoying part of his fame during mortality; for scarce a contemporary musical writer, historian, or poet, neglected to celebrate his genius and talents; and his productions have contributed longer to charm the lovers of music by the mere powers of the bow, without the assistance of the human voice, than tho.se of any composer that has yet existed. Haydn, indeed, with more varied abilities, and a much more creative genius, when instruments of all kinds are better understood, has captivated the musical world in perhaps a still higher degree; but whether the duration of his favour will be equal to that of Corelli, who reigned supreme in all concerts, and excited undiminished rapture full half a century, must be left to the determination of time, and the encreased rage of depraved appetites for novelty.

This renowned lady merits some notice as a musician, as well as poetess; as she sung her own verses to simple tunes with a sweet voice, and in good taste. She likewise played on the violin; hut at Florence, in 1770, she was accompanied on the violin by the celebrated and worthy pupil of Tartini, Nardini.

, a musician, was born at NetherEatington in Warwickshire, about 1657. He was educated in the royal chapel under Dr. Blow, and became organist at St. Anne’s, Westminster. In 1700 he was admitted a gentleman-extraordinary of the chapel royal, and in 1704organist of the same. In 1708 he succeeded Dr. Blow as master of the children, and composer to the chapel royal, and also as organist at Westminster-abbey. In 1712 he published, but without his name, “Divine Harmony, or a new collection of select anthems;” to which is prefixed, “A brief account of Church Music.” In 1715 he was created doctor in music at Oxford: his exercise for that degree was an English and also a Latin ode, written by Mr. (afterwards Dr.) Joseph Trapp, which, with the music, were published with the title of “Musicus apparatus Academicus.” In 1724 he published by subscription a noble work of his own, entitled “Musica Sacra, or Select Anthems in score,” in 2 vols, the first containing the burial service, which Purcell had begun, but lived not to complete. He died Aug. 1727, of an illness occasioned by attending upon his duty at the coronation of George II; and there is a monument erected for him in Westminsterabbey, by his friend Humphrey Wyrley Birch, esq. a gentleman of the bar, of a whimsical character, and extremely fond of funeral music. The character of Croft’s musical compositions is given in our authorities.

, another of the name, was an eminent musician of Alexandria, and, according to Suidas, cotemporary in the first century with the emperor Nero, by whom he was much honoured and esteemed. This proves him to have been younger than Aristoxenus, and more ancient than Ptolemy, though some have imagined him to have preceded Aristoxenus. He wrote upon grammar and medicine, as well as music; but his works are all lost, and every thing we know at present of his barmonical doctrines is from Ptolemy, who, by disputing, preserved them. However, this author confesses him to have been well versed in the canon and harmonic divisions; and if we may judge from the testimony, even of his antagonist, he must have been not only an able theorist in music, but a man of considerable learning. As this musician preceded Ptolemy, and was the first who introduced the minor tone into the scale, and, consequently, the practical major 3d -f, which harmonized the whole system, and pointed out the road to counterpoint; an honour that most critics have bestowed on Ptolemy, he seems to have a better title to the invention of modern harmony, or music in parts, than Guido, who appears to have adhered, both in theory and practice, to the old division of the scale into major tones and limmas. “The best species of diapason,” says Doni, “and that which is the most replete with fine harmony, and chiefly in use at present, was invented by Didymus. His method was this: after the major semitone E F T-f, he placed the minor tone in the ratio of V, between F G, and afterwards the major tone between G A; but Ptolemy, for the sake of innovation, placed the major tone where Didymus placed the minor.” Ptolemy, however, in speaking of Didymus and his arrangement, objects to it as contrary to the judgment of the ear, which requires the major tone below the minor. The ear certainly determines so with us, and it is therefore probable, that in Ptolemy’s time the major key was gaining ground. Upon the whole, however, it appears that these authors only differ in the order, not the quality of intervals.

, a Greek poet and musician, was the author of the words and music of three hymns, of which the first is addressed to Calliope, the second to Apollo, and the third to Nemesis. Of these the music has been preserved and published by Dr. Fell, bishop of Oxford, in 1672. This precious manuscript, which was found in Ireland, among the papers of the famous archbishop Usher, was bought, after his decease, by Mr. Bernard, fellow of St. John’s college, who communicated it to the editor, together with remarks and illustrations by the rev. Mr. Edmund Chilmead, of Christ church, who likewise redueed the ancient musical characters to those in common, use. It appears by the notes, that the music of these hymns was composed in the Lydian mode, and diatonic genus. Vincenzo Galilei, father of the great Galileo, first published these hymns with their Greek notes, in his “Dialogues upon Ancient and Modern Music,” printed at Florence, 1581, folio. He assures us, that he had them from a Florentine gentleman, who copied them very accurately from an ancient Greek manuscript, preserved in th library of cardinal St. Angelo, at Rome, which ms. likewise contained the treatises of music by Aristides Quintilianus, and Bryennius, since published by Meibomius and Dr. Wallis. The Florentine edition of these hymns entirely agrees with that printed at Oxford. In 1602, Hercules Bottrigari mentioned the same hymns in his harmonical discourse, called “Melone,” printed at Ferrara, in 4to. But he derived his knowlege of these pieces only from the Dialogues of Galilei; however, he inserted, in the beginning of his book, some fragments of them in common notes; but they were disfigured by a number of typographical errors. At length, in 1720, M. Burette published these three hymns in the “Memoirs of the Academy of Inscriptions,” ton), v. from a copy found at the end of a Greek manuscript in the king of France’s library at Paris, No. 3221, which likewise contained the musical treatises of Aristides Quintilianus, and of Bacchius senior'. But though the words were confused, and confounded one with another, they appeared much more complete in this manuscript than elsewhere, particularly the hymn to Apollo, which had six verses more at the beginning; and that to Nemesis, which, though deficient at the end in all the other editions, was here entire, having fourteen verses, exclusive of the six first.

, a Florentine, first a monk and then a secular priest, died in 1574, at the age of sixtyone. He was member of the academy of the Peregrini, in which he took the academical name of Bizzaro, perfectly suitable to his satirical and humourous character. Some of his works are, 1. “Letters,” in Italian, 8vo. 2. “La Libraria,” 1557, 8vo. 3. “La Zucca,” 1565, 4 parts, 8vo, with plates. 4. “I mondi celesti, terestri ed infernali,” 4to: there is an old French translation of it. 5. “I martiii, cive Raggionamenti fatti a i marmi di Fiorenza,” Venice, 1552, 4to. In all his writings, of which there is a list of more than twenty in Niceron, he aspires at singularity, and the reputation of a comical fellow; in the first he generally succeeds, and if he fail in the second, it is not for want of great and constant efforts to become so. Dr. Burney gives an account of a very rare book of his, entitled “Dialoghi della Musica,” which was published at Venice, 1544, which the doctor never saw, except in the library of Padre Martini. The author was not only a practical musician and composer by profession, but connected, and in correspondence with the principal writers and artists of his time. Dr. Burney also remarks that his “Libraria” must have been an useful publication when it first appeared; as it not only contains a catalogue and character of all the Italian books then in print, but of all the Mss. that he had seen, with a list of the academies then subsisting, their institution, mottos, and employment; but what rendered this little work particularly useful to Dr. Burney in his inquiries after early musical publications, is the catalogue it contains of all the music which had been published at Venice since the invention of printing.

, “an English musician of the fifteenth century, at an early stage of counterpoint, acquired on the continent the reputation of being its inventor, which, however, Dr. Burney has proved could not belong to him. He was the musician whom the Germans, from a similarity of name, have mistaken for saint Dunstan, and to whom, as erroneously, they have ascribed with others the invention of counterpoint in four parts. He was author of the musical treatise” De Mensurabili Musica,“which is cited by Franchinus, Morley, and Ravenscroft. But though this work is lost, there is still extant in the Bodleian library, a Geographical Tract by this author and, if we may believe his epitaph, which is preserved by Weever, he was not only a musician, but a mathematician, and an eminent astrologer. Of his musical compositions nothing remains but two or three fragments in Franchinus, and Morley. He is very unjustly accused by this last writer of separating the syllables of the same words by rests. Stow calls him” a master of astronomy and music," and says he w;;s buried in the church of St. Stephen, Walbrook, in 1458.

, an English musician, was much admired 'for many years for his surprising skill on several instruments, but while in the zenith of his fame, became a quaker, and practised so many follies in this new profession that he was the ridicule of the whole town. He burnt his lute and his violins, and by meditation found out a new expedient for ascertaining the true religion; this was, to collect under one roof the most virtuous men of the several sects that divide Christianity; who should unanimously fall to prayer for seven days without taking any nourishment. “Then,” said he, “those on whom the spirit of God shall manifest itself in a sensible manner, that is to say, by the trembling of the limbs, and interior illuminations, may oblige the rest to subscribe to their decisions.” He found, however, none that would put this strange conceit to the trial; and while he persisted in propagating his folly, his prophecies, his invectives, his pretended miracles, only served to pass him from one prison into another: till at length, by this sort of discipline he was brought to confess the vanity of his prophecies, and he finished his life in tranquillity, but without religion. He died about the close of the seventeenth century.

, one of our ancient English poets, was born in Somersetshire in 1523, and admitted scholar of Corpus Christi college, Oxford, under the tuition of George Etheridge, May 11, 1540, and probationer fellow Aug. 11, 1514. In 1547, when Christ church was founded by Henry VIII. he was admitted student of the upper table, and the same year took his master’s degree. Warton cites a passage from his poems to prove that in his early years, he was employed in some department about the court. In the British Museum there is a small set of manuscript sonnets, signed with his initials, addressed to some of the beauties of the courts of queen Mary and queen Elizabeth. He therefore probably did not remain long at the university. In the beginning of Elizabeth’s reign, he was made one of the gentlemen of her chapel, and master of the children there, having the character of not only being an excellent musician, but an exact poet, as many of his compositions in music and poetry testify. For these he was highly valued, by those who knew him, especially his associates in Lincoln’s- Inn (of which he was a member), and much lamented by them when he died. This event, according to sir John Hawkins, happened Oct. 31, 1556, but others say in 1566. He wrote “Damon and Pythias,” a comedy, acted at court and in the university, first printed in 1570, or perhaps’ in 1565, and “Palamon and Arcyte,” another comedy in two parts, probably never printed, but acted in Christ-church hall, 1566, before queen Elizabeth, of which performance Wood gives a curious account. Warton thinks it probable that he wrote many other dramatic pieces now lost. He is mentioned by Puttenham, as gaining the prize for comedy and interlude. Besides being a writer of regular dramas, he appears to have been a contriver of masques, and a composer of poetry for pageants. In a word, he united all those arts and accomplishments which ministered to popular pleasantry, in an age when the taste of the courtiers was not of a much higher order than that of the vulgar in our time. His English poems, for he wrote also Latin poetry, are for the most part extant in “The Paradise of Dainty Devises,” Lond. 1578, 4to, lately reprinted in the “Bibliographer,” where, as well as in our other authorities, are some farther notices of Edwards. It is justly observed by Warton, that his popularity seems to have altogether arisen from those pleasing talents, of which no specimens could be transmitted to posterity, and which prejudiced his partial contemporaries in favour of his poetry.

, a learned divine of the church of England, was born at Coventry, August 10, O.S. 1729, and was the son of the Rev. Thomas Edwards, M. A. vicar of St. Michael’s in that city, and of Katharine his wife. His grammatical education he received partly under the tuition of Edward Jackson, D. D. master of the free grammar-school in Coventry, but principally under the care of his own father; and such was his eagerness for the acquisition of knowledge, that he seldom engaged in the diversions common to boys. In 1747, at the age of eighteen, he was matriculated at the university of Cambridge, and entered of Clare hall, where he took the degree of B. A. in 1750, and of M. A. in 1754. He was likewise a fellow of his college. In the younger part of his life he was a self-taught musician, and became no mean performer on the spinnet and the bass-viol: but, finding that this amusement encroached too much upon his studies, he entirely relinquished it. On the 22d of September, 1751, he was ordained deacon, and on the 23d of September, 1753, he was ordained priest, both which orders he received from the hands of Dr. Frederick Cornwallis, at that time bishop of Litchfield and Coventry. In the spring of 1755, when Mr. Edwards was not yet twenty-six years of age, he gave a striking proof of the diligence with which he applied himself to the study of the learned languages, and the acquisition of sacred literature. This was his publication of “A new English Translation of the Psalms from the original Hebrew, reduced to metre by the late bishop Hare with notes, critical and explanatory, illustrations of many passages, drawn from the classics, and a preliminary dissertation, in which the truth and certainty of that learned prelate’s happy discovery is stated, and proved at large,” 8vo. It was Mr. Edwards’s design to make Dr. Hare’s system of Hebrew metre better known, and to prove, that, by a judicious application of it, great light might be thrown upon the poetical parts of the Hebrew scriptures. He was of opinion that Dr. Hare’s hypothesis was rejected by many persons, partly from an over-hasty determination, and partly from too scrupulous a veneration for the Hebrew text. The notes, which comprehend more than one third of this book, chiefly contain emendations of the Hebrew text, pointed out by the metre, and illustrations of some passages, drawn from the classics, together with an explanation of the most difficult places. Considerable use is made by our author of Hare and Mudge, but with no servile adherence to their authority. Mr. Edwards’s next publication was only a single sermon, which he had preached at St. Michael’s in Coventry, on the 6th of February, 1756. On the 2d of May, 1758, he was nominated, by the corporation of Coventry, master of the free grammar-school, and presented to the rectory of St. John, the Baptist in that city. This promotion was- followed by his marriage, November 27th, in the same year, to Anne Parrott, daughter of Stony er Parrott, esq. of Hawkesbury, in the parish of Foleshill, in the county of Warwick, by whom he had one son, Dr. Edwards of Cambridge. Early in 1759, Mr. Edwards published one of his principal works, “The doctrine of irresistible Grace proved to have no foundation in the writings of the New Testament.” This was levelled at the opinions of the Calvinists on that subject. Our author’s next publication, which appeared in 1762, was entitled “Prolegomena in Libros Veteris Testamenti Poeticos; sive dissertatio, in qua viri eruditissimi Francisci Harii nuper Episcopi Cicestriensis de antiqua Hebraeorum poesi hypothesin ratione et veritate niti, fuse ostenditur, atque ad objecta quaedam respond etur. Subjicitur Metricae Lowthianae Confutatio, cum indicibus necessariis,” 8vo. This attack upon Dr. Lowth’s “Metricae Harianaj brevis Confutatio,” which had been annexed to the first edition of his admirable “Praelectiones de sacra Poesi Hebraeorum,” did not pass unnoticed by that gentleman. In the second edition of his “Praelectiones” he added a note, in which he strenuously maintained his own opinion, in opposition to that of Mr, Edwards. In reply to this note our author published, in 1765 t “Epistola ad doctissimimi Robertum Lowthium, S. T. P., In qua nonnulla, quae ad nuperae siur de sacra Hebraeorum Poesi Prielectionum editionis calcem habet, expenduntur.” In this he indulged himself in some severity of language, which the subject did not merit, and which ought not to have been used towards such an antagonist as Dr. Loath. The doctor thought the “Epistola” of consequence enough to deserve a reply; and therefore he printed, in 1766, “A larger Confutation of bishop Hare’s System of Hebrew Metre in a letter to the reverend Dr. Edwards in answer to his Latin cpisile,” 8vo. Here the controversy ended and the general opinion of the learned world gave the preference to Dr. Lowth’s arguments.

, a very eminent mathematician, was born at Basil, on the 14th of April, 1707: he was the son of Paul Euler and of Margaret Brucker (of a family illustrious in literature), and spent the first year of his life at the village of Richen, of which place his father was protestant minister. Being intended for the church, his father, who had himself studied under James Bernoulli!, taught him mathematics, as a ground-work of his other studies, or at least a noble and useful secondary occupation. But Euler, assisted and perhaps secretly encouraged by John Bernoulli, who easily discovered that he would be the greatest scholar he should ever educate, soon declared his intention of devoting his life to that pursuit. This intention the wise father did not thwart, but the son did not so blindly adhere to it, as not to connect with it a more than common improvement in every other kind of useful learn-, ing, insomuch that in his latter days men often wondered how with such a superiority in one branch, he could have been so near to eminence in all the rest. Upon the foundation of the academy of sciences at St. Petersburgh, in, 1723, by Catherine I. the two younger Bernouillis, NichoJas and Daniel, had gone thither, promising, when they set out, to endeavour to procure Euler a place in it: they accordingly wrote to him soon after, to apply his mathetics to physiology, which he did, and studied under the best naturalists at Basil, but at the same time, i. e. in 1727, published a dissertation on the nature and propagation of sound; and an answer to the question on the masting of ships, which the academy of sciences at Paris judged worthy of the accessit. Soon after this, he was called to St. Petersburgh, and declared adjutant to the mathematical class in the academy, a class, in which, from the circumstances of the times (Newton, Leibnitz, and so many other eminent scholars being just dead), no easy laurels were to be gathered. Nature, however, who had organized so many mathematical heads at one time, was not yet tired of her miracles and she added Euler to the number. He indeed was much wanted the science of the calculus integralis, hardly come out of the hands of its creators, was still too near the stage of its infancy not to want to be made more perfect. Mechanics, dynamics, and especially hydrodynamics, and the science of the motion of the heavenly bodies, felt the imperfection. The application of the differential calculus, to them, had been sufficiently successful; but there were difficulties whenever it was necessary to go from the fluxional quantity to the fluent. With regard to the nature and properties of numbers, the writings of Fermat (who had been so successful in them), and together with these all his profound researches, were lost. Engineering and navigation were reduced to vague principles, and were founded on a heap of often contradictory observations, rather than a regular theory. The irregularities in the motions of the celestial bodies, and especially the complication of forces whitfh influence that of the moon, were still the disgrace of geometers. Practical astronomy had jet to wrestle with the imperfection of telescopes, insomuch, that it could hardly be said that any rule for making them existed. Euler turned his eyes to all these objects he perfected the calculus integralis he was the inventor of a new kind of calculus, that of sines he simplified analytical operations and, aided by these powerful help-mates, and the astonishing facility with which he knew how to subdue expressions the most intractable, he threw a new light on all the branches of the mathematics. But at Catherine’s death the academy was threatened with extinction, by men who knew not the connection which arts and sciences have with the happiness of a people. Euler was offered and accepted a lieutenancy on board one of the empress’s ships, with the promise of speedy advancement. Luckily things changed, and the learned captain again found his own element, and was named Professor of Natural Philosophy in 1733, in the room of his friend John Bernouilli. The number of memoirs which Euler produced, prior to this period, is astonishing, but what he did in 1735 is almost incredible, An important calculation was to be made, without loss of time; the other academicians had demanded some months to do it. Euler asked three days—in three days he did it; but the fatigne threw him into a fever, and the fever left him not without the loss of an eye, an admonition which would have made an ordinary man more sparing of the other. The great revolution, produced by the discovery of fluxions, had entirely changed the face of mechanics; still, however, there was no complete work on the science of motion, two or three only excepted, of which Euler felt the insufficiency. He saw, with pain, that the best works on the subject, viz. “Newton’s Principia,” and “Herman’s Phoronomia,” concealed the method by which these great men had come at so many wonderful discoveries, under a synthetic veil. In order to lift this up, Euler employed all the resources of that analysis which had served him so well on so many other occasions; and thus uniting his own discoveries to those of other geometers, had them published by the academy in 1736. To say that clearness, precision, and order, are the characters of this work, would be barely to say, that it is, what without these qualities no work can be, classical of its kind. It placed Euler in the rank of the first geometricians then existing, and this at a time when John Bernouilli was still living. Such labours demanded some relaxation; the only one which Euler admitted was music, but even to this he could not go without the spirit of geometry with him. They produced together the essay on a new theory of music, which was published in 1739, but not very well received, probably, because it contains too much geometry for a musician, and too much music for a geometrician. Independently, however, of the theory, which is built on Pythagorean principles, there are many things in it which may be of service, both to composers, and to makers of instruments. The doctrine, likewise, of the genera and the modes of music is here cleared up with all the clearness and precision which mark the works of Euler. Dr. Burney remarks, that upon the whole, Euler seems not to have invented much in this treatise; and to have done little more than arrange and methodize former discoveries in a scientific and geometric manner. He may, indeed, not have known what antecedent writers had discovered before; and though not the first, yet to have imagined himself an inventor. In 1740, his genius was again called forth by the academy of Paris (who, in 1738, had adjudged the prize to his paper on the nature and properties of fire) to discuss the nature of the tides, an important question, which demanded a prodigious extent of calculations, aud an entire new system of the world. This prize Euler did not gain alone; but he divided it with Maclaurin and D. Bernouilli, forming with them a triumvirate of candidates, which the realms of science had not often beheld. The agreement of the several memoirs of Euler and Bernouilli, on this occasion, is very remarkable. Though the one philosopher had set out on the principle of admitting vortices, which the other rejected, they not only arrived at the same end of the journey, but met several times on the road; for instance, in the determination of the tides under the frozen zone. Philosophy, indeed, led these two great men by different paths; Bernouilli, who had more patience than his friend, sanctioned every physical hypothesis he was obliged to make, by painful and laborious experiment. These Euler’s impetuous genius scorned; and, though his natural sagacity did not always supply the loss, he made amends by his superiority in analysis, as often as there was any occasion to simplify expressions, to adapt them to practice, and to recognize, by final formulae, the nature of the result. In 1741, Euler received some very advantageous propositions from Frederic the Second (who had just ascended the Prussian throne), to go and assist him in forming an academy of sciences, out of the wrecks of the Royal Society founded by Leibnitz. With these offers the tottering state of the St. Petersburgh academy, under the regency, made it necessary for the philosopher to comply. He accordingly illumined the last volume of the “Melanges de Berlin,” with five essays, which are, perhaps, the best things in it, and contributed largely to the academical volumes, the first of which was published in 1744. No part of his multifarious labours is, perhaps, a more wonderful proof of the extensiveness and facility of his genius, than what he executed at Berlin, at a time when he contrived also that the Petersburgh acts should not suffer from the loss of him. In 1744, Euler published a complete treatise of isoperimetrical curves. The same year beheld the theory of the motions of tb.e planets and comets; the well-known theory of magnetism, which gained the Paris prize; and the much-amended translation of Robins’ s “Treatise on Gunnery.” In 1746, his “Theory of Light and Colours” overturned Newton’s “System of Emanations;” as did another work, at that time triumphant, the “Monads of Wolfe and Leibnitz.” Navigation was now the only branch of useful knowledge, for which the labours of analysis and geometry had done nothing. The hydrographical part alone, and that which relates to the direction of the course of ships, had been treated by geometricians conjointly with nautical astronomy. Euler was the first who conceived and executed the project of making this a complete science. A memoir on the motion of floating bodies, communicated to the academy of St. Petersburgh, in 1735, by M. le Croix, first gave him this idea. His researches on the equilibrium of ships furnished him with the means of bringing the stability to a determined measure. His success encouraged him to go on, and produced the great work which the academy published in 1749, in which we find, in systematic order, the most sublime notions on the theory of the equilibrium and mo. tion of floating bodies, and on the resistance of fluids. This was followed by a second part, which left nothing to be desired on the subject, except the turning it into a language easy of access, and divesting it of the calculations which prevented its being of general use. Accordingly in 1773, from a conversation with admiral Knowles, and other assistance, out of the “Scientia Navalis,” 2 vols. 4to, was produced, the “Theorie complette de la Construction et de la Manoeuvre des Vaisseaux.” This work was instantly translated into all languages, and the author received a present of 6000 livres from the French king: he had before had 300l. from the English parliament, for the theorems, by the assistance of which Meyer made his lunar tables . And now it was time to collect into one systematical and continued work, all the important discoveries on the infinitesimal analysis, which Euler had been making for thirty years, and which lay dispersed in the memoirs of the different academies. This, accordingly, the professor undertook; but he prepared the way by an elementary work, containing all the previous requisites for this study. This is called “An Introduction to the analysis of Infinitesimals,” and is a work in which the author has exhausted all the doctrine of fractions, whether algebraical or transcendental, by shewing their transformation, their resolution, and their developernent. This introduction was soon, followed by the author’s several lessons on the “calculus integralis, and differentialis.” Having engaged himself to count Orlow, to furnish the academy with papers sufficient to fill their volumes for twenty years after his death, the philosopher is likely to keep his word, having presented seventy papers, through Mr. Golofkin, in the course of his life, and left two hundred and fifty more behind him; nor is there one of these that does not contain a discovery, or something that may lead to one. The most ancient of these memoirs form the collection then published, under the title of “Opuscula Analytica.” Such were Euler’s labours, and these his titles to immortality His memory shall endure till science herself is no more! Few men of letters have written so much as Euler no geometrician, has ever embraced so many objects at one time or has equalled him, either in the variety or magnitude of his discoveries. When we reflect on the good such men do their fellow-creatures, we cannot help indulging a wish (vain, alas as it is) for their illustrious course to be prolonged beyond the term allotted to mankind. Euler’s, though it has had an end, was very long and very honourable; and it affords us some consolation for his loss, to think that he enjoyed it exempt from the ordinary consequences of extraordinary application, and that his last labours abounded in proofs of that vigour of understanding which marked his early days, and which he preserved to his end. Some swimmings in the head, which seized him on the first days of September, 1783, did not prevent his laying hold of a few facts, which reached him through the channel of the public papers, to calculate the motions of the aerostatical globes; and he even compassed a very difficult integration, in which the calculation had engaged him . But the decree was gone forth: on the 7th of September he talked with Mr. Lexell, who had come to dine with him, of the new planet, and discoursed with him upon other subjects, with his usual penetration. He was playing with one of his grand-children at tea-time, when he was seized with an apoplectic fit. “I am dying,” said he, before he lost his senses; and he ended his glorious life a few hours after, aged seventy-six years, five months, and three days. His latter days were tranquil and serene. A few infirmities excepted, which are the inevitable lot of an advanced age, he enjoyed a share of health which allowed him to give little time to repose. Euler possessed to a great degree what is commonly called erudition he had read all the Latin classics was perfect master of ancient mathematical literature and had the history of all ages, and all nations, even to the minutest facts, ever present to his mind. Besides this, he knew much more of physic, botany, and chemistry, than could be expected from any man who had not made these sciences his peculiar occupation. “I have seen,” says his biographer, Mr. Fuss, “strangers go from him with a kind of surprise mixed with admiration; they could not conceive how a man, who for half a century had seemed taken up in making and publishing discoveries in natural philosophy and mathematics, could have found means to preserve so much knowledge that seemed useless to himself, and foreign to the studies in which he was engaged. This was the effect of a happy memory, that lost nothing of what had ever been entrusted to it nor was it a wonder that the man who was able to repeat the whole Æneis, and to point out to his hearers the first and last verses of every page of his own edition of it, should not have lost what he had learned, at an age when the impressions made upon us are the strongest. Nothing can equal the ease with which, without expressing the least degree of ill-humour, he could quit his abstruse meditations, and give himself up to the general amusements of society. The art of not appearing wise above one’s fellows, of descending to the level of those with whom one lives, is too rare in these days not to make it a merit in Euler to have possessed it. A temper ever equal, a natural and easy chearfulness, a species of satirical wit, tempered with urbane humanity, the art of telling a story archly, and with simplicity, made his conversation generally sought. The great fund of vivacity which he had at all times possessed, and without which, indeed, the activity we have just been admiring could not have existed, carried him sometimes away, and he was apt to grow warm, but his anger left him as quickly as it came on, and there never has existed a man to whom he bore malice. He possessed a precious fund of rectitude and probity. The sworn enemy of injustice, whenever or by whomsoever committed, he used to censure and attack it, without the least attention to the rank or riches of the offender. Recent examples of this are in the recollection of all who hear me.” As he was filled with respect for religion, his piety was sincere, and his devotion full of fervour. He went through all his Christian duties with the greatest attention. Euler loved all mankind, and if he ever felt a motion of indignation, it was against the enemy of religion, particularly against the declared apostles of infidelity. He was of a very religious turn of mind. He published a New Demonstration of the Existence of God, and of the Spirituality of the Soul, which last has been admitted into several divinity schools as a standard book. With scrupulous exactness he adhered to the religion of his country, that of Calvinism, and, fortified by its principles, he was a good husband, a good father, a good friend, a good citizen, a good member of private society.

, one of the agents in the French revolution, was born at Carcassane, Dec. 28, 1755, and was educated in polite literature and natural philosophy by his parents, whom he quitted in his youth, and became by turns a painter, musician, engraver, poet, and actor. He performed on the stages of Versailles, Brussels, and Lyons, but with no great success. As a writer for the stage, however, he was allowed considerable merit, and obtained, on one occasion, at the Floral ia, the prize of the Eglantine, the name of which he added to his own. In 1786 he published in a French periodical work, “Les Etrennes du Parnasse,” a little poem called “Chalons sur Marne,” in which he drew a very charming picture of the moral pleasures that were to be found in that place and its neighbourhood. This piece, however, fell very short of the celebrity to which he afterwards attained. In 1789 and 1790 he published two comedies, “Le Philinte,” and “L'Intrigue Epistolaire,” the former of which was reckoned one of the best French pieces of the last century.

, a learned grammarian, was born in London about 1575. His father was a carpenter in that city his grandfather had been mayor of Truro in Cornwall and his great-grandfather was an Italian musician, who had settled in England. After having received a proper grammatical education, he was admitted of Merton-college, Oxford, in the beginning of 1590, where he became servitor to Mr. Thomas French, fellow of that college, and soon distinguished himself as a youth of lively parts and great hopes. Being, however, of an unsettled disposition, he abruptly quitted the university, and, abandoning both his religion and his country, passed over to Spain, and was for some time educated there in a college belonging to the Jesuits. At length, growing weary of the severe discipline of the institution, he found a way to leave it, and went with sir Francis Drake and sir John Hawkins in their last voyage, in 15^5. By the former of these great naval commanders he is said to have been held in some esteem. Mr. Farnabie is afterwards reported to have served as a soldier in the Low Countries. No advantage was gained by him in these expeditions; for, having been reduced to much distress, he landed in Cornwall, and from the urgency of his necessities was obliged to descend to the humble employment of teaching children their horn-book. Whilst he was in this low situation he did not cbuse to go by his own name, but changed it to Thomas Baimafe, the anagram of Farnabie. By degrees he rose to those higher occupations of a school-master for which he was so well qualified, and after some lime, he fixed at Martock in Somersetshire, where he taught a grammarschool with great success. In 1646, when Mr. Charles Darby was called to teach the same school, he found in that town, and the neighbourhood, many persons who had been Mr. Farnahie’s scholars, and who, in their grey hairs, were ingenious men and good grammarians. From Martock Mr. Farnabie removed to London, and opened a school in Goldsmiths’-rents, behind Red-Cross-street, near Cripplegate, where were large gardens and handsome houses, together with all the accommodations proper for the young noblemen and gentlemen committed to his care. So established was his reputation, that at one time the number of his scholars amounted to more than three hundred. Whilst he was at the head of this school, he was created master of arts in the university of Cambridge, and on the 24th of April, 1616, was incorporated to the same degree at Oxford.

Fischer left England in 178G, and in the beginning of the next year had not been heard of. His majesty inquired several times, with some solicitude, whether he had written to any of his friends in England, and was answered in the negative; one of them understood, by report, that he was at Strasburg. He returned, however, at the end of 1787, and continued in England during the rest of his life. About 1777 he had married a daughter of the admirable painter, Gainsborough, an enthusiastic lover of good music and performance, and of none so much as Fischer’s; indeed he enchanted the whole family with his strains, which were beyond measure captivating, and he stood so well at his instrument, that his figure had all the grace of a Tibian at the altar of Apollo, But this marriage was not auspicions; Fischer, with a good person, and superior genius for his art, was extremely deficient in colloquial eloquence, and in all those undefinable charms of conversation which engage the attention and endear the speaker. He had not a grain of sense but what he breathed through his reed; he never spoke more than three words at a time, and those were negatives or affirmatives. Yet, though he had few charms for a friend or companion, he delighted the public at large in a higher degree than is allowed to any but gifted mortals. This admirable musician was seized with an apoplectic fit April 29, 1800, during the performance of a solo at the queen’s house, at his majesty’s concert. Prince William of Gloucester, observing his situation, supported him out of the apartment, whence he was conveyed to his residence in Compton-street, Soho, where he expired about an hour afterwards.

, a fine performer on the violin, and composer for tfctat instrument, was born at Lucca in Italy, about 1666. He received his first instructions in music from Lonati and Scarlatti, but finished his studies under Corelli. In 1714, he came to England; and, two years after, published twelve sonatas, “a Violino, Violone, e Cembalo.” These, together with his exquisite manner of performing, had such an effect, that he was at length introduced to George I. who had expressed a desire to hear some of the pieces, contained in this work performed by himself. Geiuiniani wished, however, that he might be accompanied on the harpsichord by Handel; and both accordingly attended at St. James’s. The earl of Essex, being a lover of music, became a patron of Geminiani: and, in 1727, procured him the offer of the place of master and composer of the state music in Ireland: but this, not being tenable by one of the Romish communion, he declined; saying, that, though he had never made great pretensions to religion, yet the renouncing that faith in which he had been baptized, for the sake of worldly advantage, was what he could not answer to his conscience. He afterwards composed Corelli’s solos into concertos; he published six concertos of his own composition, and many other things. The life of this musician appears to have been very unsettled; spent in different countries, for he was fond of making excursions; and employed in pursuits which had no connection with his art. He was, particularly, a violent enthusiast in painting; and, to gratify this propensity, bought pictures; which, to supply his wants, he afterwards sold. The consequence of this kind of traffic was loss, and its concomitant distress: which distress was so extreme, that he was committed to, and would have remained in prison, if a protection from his patron the earl of Essex had not delivered him. Yet his spirit was such, that when the prince of Wales, who admired his compositions, would have settled upon him a pension of 100l. a year, he declined the offer, affecting an aversion to a life of dependence.

, an eminent musician, and in many respects the greatest performer on the violin during the last century, was a native of Piedmont; and when a boy, was a chorister in the Duomo at Milan, under Paladini, of whom he learned singing, the harpsichord, and composition; but having previously manifested a partiality for the violin, his father recalled him to Turin, in order to receive instructions on that instrument of the famous Somis. He went to Rome early in his life, and afterwards to Naples, where, having obtained a place among ripienos in the opera orchestra, he used to flourish and change passages much more frequently than he ought to have done. “However,” says Giardini, of whom Dr. Burney had this account, “I acquired great reputation among the ignorant for my impertinence yet one night, during the opera, Jomellfc who had composed it, came into the orchestra, and seating himself close by, me, I determined to give the maestro di cappella a touch of my taste and execution; and in the symphony of the next song, which was in a pathetic style, I gave loose to my fingers and fancy; for which I was rewarded by the composer with a violent slap in the face; which,” adds Giardini, “was the best lesson I ever received from a great master in my life.” Jomelli, after this, was however very kind, in a different way, to this young and wonderful musician.

From London he returned to Italy, and composed several operas in the style of the times, and afterwards engaged with the Italian poet Calsabigi, with whom he joined in a conspiracy against the poetry and music of the melo-drama then in vogue in Italy and all over Europe. In 1764, when the late emperor Joseph was crowned king of the Romans, Gluck was the composer, and Guadagni the principal singer. It was in this year that a species of dramatic music, different from that which then reigned in Italy, was attempted by Gluck in his famous opera of “Orfeo,” which succeeded so well, that it was soon after performed in other parts of Europe, particularly at Parma and Paris, Bologna, Naples, and in 1770 at London. In 1769 he produced “Alceste,” a second opera on the reformed plan, which received even more applause than the first; and in 1771 “Paride ed Helena;” but in 1774, his arrival at Paris produced a remarkable era in the annals of French music, by his conforming to the genius of the French language, and flattering the ancient national taste. All his operas proved excellent preparations for a better style of composition than the French had been used to; as the recitative was more rapid, and the airs more marked, than in Lulli and llameau; there were likewise more energy, fire, and variety of movement, in his airs in general, and infinitely more force and effect in his expression of all the violent passions. His music was so truly dramatic, that the airs and scenes, which had the greatest effect on the stage, were cold, or rude, in a concert. The situation, context, and interest, gradually excited in the audience, gave them their force and energy. He seemed indeed so much the national musician of France, that since the best days of Rameau, no dramatic composer had excited so much enthusiasm, or had his pieces so frequently performed, each of them two or three hundred times. The French, who feel very enthusiastically whatever music they like, heard with great rapture the operas of Gluck, which even the enemies of his genre allowed to have great merit of a certain kind; but though there is much real genius and intrinsic worth in the dramatic compositions of this master, the congeniality of his style with that of their old national favourites, Lulli and Rameau, was no small merit with the friends of that music. The almost universal cry at Paris was now, that he had recovered the dramatic music of the ancient Greeks; that there was no other worth hearing; that he was the only musician in Europe who knew how to express the passions: these and other encomiums were uttered and published in the journals and newspapers of Paris, accompanied with constant and contemptuous censures of Italian music, when Piccini arrived, and all the friends of Italian music, of Rousseau’s doctrines, and of the plan, if not the language, of Metastasio’s dramas, enlisted in his service. A furious war broke out at Paris; and these disputes, says Dr. Burney, of musical critics, and rival artists throughout the kingdom, seem to us to have soured and diminished the pleasure arising from music in proportion as the art has advanced to perfection. When every phrase or passage in a musical composition is to be analysed and dissected during performance, all delight and enthusiasm vanish, and the whole becomes a piece of cold mechanism.

, an eminent English musician, was the son of the Rev. Thomas Greene, vicar of St. Clave Jewry, in London, and nephew of John Greene, serjeant at law. He was brought up in the choir of St. Paul, and when his voice broke was bound apprentice to

He likewise wrote two tragedies, “La Merope,” and “La Dernodice,” and edited an edition of Tasso in 2 vols. 4to. In the last years of his arrive life, he published proposals for a History of music, upon an admirable plan; but it was not encouraged, which Dr. Btirney thinks is much to be lamented, as far as Italy was concerned; as he was not only a good practical musician, but a man of extensive learning, and perfectly acquainted with the history of the art in his own country, and its progress in England during his residence there. He had not only knowledge in counterpoint, but genius for composition, as he published at Amsterdam in 1713, two sets of sonatas for two violins and a bass, which are little inferior to the sonatas of Corelli. There is more variety in them, though less grace. He died in March 1730, and his effects were sold by auction soon after his decease.

, an eminent practical and theoretical German musician, was born at Nuremberg. In 1628 he was appointed chapel-master at Francfort on the Maine, and continued in that station till 1641, when he was called to the same office at Nuremberg. However, in 1650 he thought fit to return to Francfort, at the solicitation of the magistrates and others his friends; and being by them re-instated in his former dignity, he continued in that station till the time of his death, in 1660. He was excellently skilled in the theory of music, and in the art of practical composition, and was a sound and judicious organist. In 1643 he published, in the German language, a book entitled “Musica Poetica” and, ten years after, a translation, either from the Latin or the Italian, for it is extant in both languages, of the “Arte prattica e poetica of Giov. Chiodino,” in ten books. Herbst was also the author of a tract entitled “Musica njoderna prattica, overo maniere del buon canto,” printed at Francfort in 1658, in which he recommends the Italian manner of singing. His other works are, a small tract on Thoroughbass, and a discourse on counterpoint, containing directions for composing “a mente non a penna.” Of his musical compositions, all that are extant in print are, “Meletemata sacra Davidis,” and “Suspiria S. Gregorii ad Christum,” for three voices. These were printed in 1619, as was also a nameless composition by him for six voices.

, a learned English philosopher, was born in Nottinghamshire, educated in Pembroke hall, Cambridge, and, in 1642, became rector of Blechingdon, Oxfordshire. In 1660 he proceeded D. D. was afterwards canon of Ely, fellow of the royal society, canon of St. Paul’s, sub-dean of the royal chapel, and sub-almoner to his majesty. He gained particular celebrky by teaching a young gentleman of distinction, who was born deaf and dumb, to speak, an attempt at that time unprecedented. This gentleman’s name was Alexander Popham, son of colonel Edward Popham, uho was some time an admiral in the service of the long parliament. The cure was performed by him in his house at Blechingdon, in 1659; but Popham, losing what he had been taught by Holder, after he was called home to his friends, was sent to Dr. Wallis, who brought him to his speech again. On this subject Holder published a book entitled “The Elements of Speech; an essay of inquiry into the natural production of letters: with an appendix concerning persons that are deaf and dumb,” 1669, 8vo. In the appendix he relates how soon, and by what methods, he brought Popham to speak. In this essay he has analysed, dissected, and classed the letters of our alphabet so minutely and clearly, that it is well worthy the attentive perusal of every lover of philology, but particularly, says Dr. Burney, of lyric poets and composers of vocal music; to whom it will point out such harsh and untunable combinations of letters and syllables as from their difficult utterance impede and corrupt the voice in its passage. In 1678 he published, in 4to, “A Supplement to the Philosophical Transactions of July 1670, with some Reflections on Dr. Wailis’s Letter there inserted.” This was written to claim the glory of having taught Popham to speak, which Wallis in the letter there mentioned had claimed to himself: upon which the doctor soon after published, “A Defence of the Royal Society and the Philosophical Transactions, particularly those of July 1670, in answer to the cavils of Dr. William Holder,” 1678,“4to. Holder was skilled in the theory and practice of music, and composed some anthems, three or four of which are preserved in Dr. Tud way’s collection in the British museum. In 1694 he published” A Discourse concerning Time,“in which, among other things, the deficiency of the Julian Calendar was explained, and the method of reforming it demonstrated, which was afterwards adopted in the change of style. It is to be lamented that in treating this subject with so much clearness and ability, so good a musician did not extend his reflections on the artificial parts of time, to its divisions and proportions in musical measures; a subject upon which the abbate Sacchi has written in Italian,” Del Tempo nella Musica;" but which rhythmically, or metrically considered in common with poetry, has not yet been sufficiently discussed in our own language.

Hubald was not only a musician, but a poet; and an idea may be formed of his patience and perseverance, if not of his genius, from a circumstance related by Sigebert, the author of his life, by which it appears that he vanquished a much greater difficulty in poetry than the lippogrammists of antiquity ever attempted: for they only excommunicated a single letter of the alphabet from a whole poem; but this determined monk composed three hundred verses in praise of baldness, which he addressed to the emperor Charles the Bald, and in which he obliged the letter C to take the lead in every word, as the initial of his patron’s name and infirmity, as thus:

king of Scotland, of the house of Stuart, was born in 1394. In 1405 his father Robert III. sent him to France, in order that he might escape the dangers to which he was exposed from his uncle the duke of Albany, but being taken by an English squadron, he and his whole suite were carried prisoners to the Tower of London. Here the young prince received an excellent education, to which Henry IV. of England was remarkably attentive, thereby making some atonement for his injustice in detaining him. Sir John Pelham, a man of worth and learning was appointed his governor, under whose tuition he made so rapid a progress, that he soon became a prodigy of talents and accomplishments. Robert died in the following year, and James was proclaimed king, but during the remainder of the reign of Henry IV. and the whole of that of Henry V. he was kept in confinement, with a view of preventing the strength of Scotland from being united to that of France against the English arms. At length, under the regency of the duke of Bedford, James was restored to his kingdom, having been full eighteen years a prisoner in this country. James was now thirty years of age, well furnished with learning, and a proficient in the elegant accomplishments of life, and dextrous in the manly exercises, which at that period were in high estimation. He married Joanna Beaufort, daughter of the duchess of Clarence, a lady of distinguished beauty, descended from the royal family of England; and on his return to Scotland, finding that the dujte of Albany and his son had alienated many of the most valuable possessions of the crown, instantly caused the whole of that family and their adherents to be arrested. The latter were chiefly discharged; but the late regent, his two sons, and his father-in-law, he caused to be convicted, executed, and their estates to be confiscated to the crown. Whatever other objections were made to James’s conduct, he procured the enactment of many good laws in his parliaments, which had a tendency to improve the state of society; but at the same time his desire of improving the revenues of the crown led him to many acts of tyranny, which rendered him odious to his nobility. In 1436 he gave his daughter Margaret in marriage to the dauphin of France, and sent with her a splendid train and a vast body of troops. The English, who had in vain attempted to prevent this union by negociation, now endeavoured to intercept the Scotch fleet in its passage, but they missed their object, and the princess arrived in safety at Rochelle. James, exasperated at this act of hostility, declared war against England, and summoned the whole array of his kingdom to assist in the siege of Roxburgh; which, however, he abandoned upon an intimation of a conspiracy being formed against himself by his own people. He now retired to the Carthusian monastery of Perth, which he had himself founded, where he lived in privacy, but this, instead of preventing, facilitated the suecess of the plot formed against his life. The chief actors in this tragedy were Robert Graham, and Walter earl of Athol, the king’s uncle. The former was actuated by revenge for the sufferings of some of his family, the latter by the hope of obtaining the crown for himself. The assassins obtained by bribery admission into the king’s apartments; the alarm was raised, and the ladies attempted to secure the chamber-door; one of them, Catharine Douglas, thrust her arm through a staple, making therewith a sort of bar, in which state she remained till it was dreadfully broken by the force of the assailants. The instant they got admission, they dragged the king from his concealment, and put him to death with a thousand wounds on Feb. 20, 1437, in the forty-fourth year of his age. He is introduced in this work chiefly on account of his literary reputation, for he was a poet as well as a sovereign, and his works, descriptive of the manners and pastimes of the age, were once extremely popular, and are still read with delight by those who can relish the northern dialect. He is said by all the British historians to have been a skilful musician; and it is asserted, that he not only performed admirably on the lute and harp, but was the inventor of many of the most ancient and favourite Scottish melodies, but this Dr. Burney is inclined to doubt. Where this prince acquired his knowledge in music is not ascertained; but it is probable that it was in France, in his passage home from which country he was taken prisoner by the English. Before the reformation we hear of no music being cultivated in Scotland but plain-song, or chanting in the church; nor afterwards, for a long time, except psalmody.

His learned friend, Signer Saverio Mattei, the translator of the Psalms into Italian verse, from whose admirable version Jomelli had taken the “Miserere,” or fifty-first psalm, drew up a very interesting account of the works and public funeral of the great musician, and printed it in his “Saggio di Poesia Latine et Italiane,” published at Naples immediately after his decease.

, an artist of various talents in the seventeenth century, was born in Italy, and appears to have come over to England in the time of James I. He had a great share in the purchases of pictures made for the royal collection. He drew for Charles I. a picture of Mary, Christ, and Joseph; his own portrait done by himself with a pallet and pencils in his hand, and musical notes on a scrip of paper, is in the music-school at Oxford. He also employed himself in etching, but his fame was most considerable as a musician. It is mentioned in the folio edition of Ben Jonson’s works, printed 1640, that in 1617, his whole masque, which was performed at the house of lord Hay, for the entertainment of the French ambassador, was set to music after the Italian manner, stilo recitativo, by Nic. Laniere, who was not only ordered to set the music, but to paint the scenes. This short piece being wholly in rhyme, though without variation in the measure, to distinguish airs from recitation, as it was all in musical declamation, may be safely pronounced the first attempt at an opera in the Italian manner, after the invention of recitative. In the same year, the masque called “The Vision of Delight,” was presented at court during Christmas by the same author; and in it, says Dr. Burney, we have all the characteristics of a genuine opera, or musical drama of modern times complete: splendid scenes and machinery; poetry; musical recitation; air; chorus; and dancing. Though the music of this masque is not to be found, yet of Laniere’s “Musica narrativa” we have several examples, printed by Playford in the collections of the time; particularly the “Ayres and Dialogues,” 1653, and the second part of the “Musical Companion,” which appeared in 1667; and in which his music to the dialogues is infinitely superior to the rest; there is melody, measure, and meaning in it. His recitative is more like that of his countrymen at present, than any contemporary Englishman’s. However, these dialogues were composed before the laws and phraseology of recitative were settled, even in Italy. His cantata of “Hero and Leander” was much celebrated during these times, and the recitative regarded as a model of true Italian musical declamation. Laniere died at the age of seventyeight, and was buried in St. Martin’s in the Fields, Nov. 4, 1646.

, or, as he is called by the Italians, Orlando di Lasso, an eminent musician, was a native of Mons, in Hainault, born in 1520, and not only spent many years of his life in Italy, but had his musical education there, having been carried thither surreptitiously, when a child, on account of his fine voice. The historian Thuanus, who has given Orlando a place among the illustrious men of his time, tells us that it was a common practice for young singers to be forced away from their parents, and detained in the service of princes; and that Orlando was carried to Milan, Naples, and Sicily, by Ferdinand Gonzago. Afterwards, when he was grown up, and had probably lost his voice, he went to Rome, where he taught music during two years; at the expiration of which, he travelled through different parts of Italy and France with Julius Caesar Brancatius, and at length, returning to Flanders, resided many years at Antwerp, till being invited, by the duke of Bavaria, to Munich, he settled at that court, and married. He had afterwards an invitation, accompanied with the promise of great emoluments, from Charles IX. king of France, to take upon him the office of master and director of his band; an honour which he accepted, but was stopped on the road to Paris by the news of that monarach’s death. After this event he returned to Munich, whither he was recalled by William, the son and successor of his patron Albert, to the same office which he had held under his father. Orlando continued at this court till his death, in 1593, at upwards of seventy years of age. His reputation was so great, that it was said of him: “Hic ille Orlandus Lassus, qui recreat orbem.” As he lived to a considerable age, and never seems to have checked the fertility of his genius by indolence, his compositions exceed, in number, even those of Palestrina. There is a complete catalogue of them in Draudius, amounting to upwards of fifty different works, consisting of masses, magnificats, passiones, motets, and psalms: with Latin, Italian, German, and French songs, printed in Italy, Germany, France, and the Netherlands. He excelled in modulation, of which he gave many new specimens, and was a great master of harmony.

, an English musician, was the son of Thomas Lawes, a vicar- choral of the church of Salisbury,

Lawes taught music to the family of the earl of Bridgewater: he was intimate with Milton, as may be conjectured from that sonnet of the latter, “Harry, whose tuneful and well-measured song.” Peck says, that Milton wrote his masque of “Comus” at the request of Lawes, who engaged to set it to music. Most of the songs of Waller are set by Lawes; and Waller has acknowledged his obligation to him for one in particular, which he had set in 1635, in a poem, wherein he celebrates his skill as a musician. Fenton, in a note on this poem, says, that the best poets of that age were ambitious of having their verses set by this incomparable artist; who introduced a softer mixture of Italian airs than before had been practised in our nation. Dr. Burney entertains another kind of suspicion. “Whether,” says this historian, “Milton chose Lawes, or Lawes Milton for a colleague in Comus, it equally manifests the high rank in which he stood with the greatest poets of his time. It would be illiberal to cherish such an idea; but it does sometimes seem as if the twin-sisters. Poetry and Music, were mutually jealous of each other’s glory: * the less interesting my sister’s offspring may be,‘ says Poetry, * the more admiration will my own obtain.’ Upon asking some years ago, why a certain great prince continued to honour with such peculiar marks of favour, an old performer on the flute, when he had so many musicians of superior abilities about him? We were answered, * because he plays worse than himself.' And who knows whether Milton and Waller were not secretly influenced by some such consideration? and were not more pleased with Lawes for not pretending to embellish or enforce the sentiments of their songs, but setting them to sounds less captivating than the sense.”

He continued in the service of Charles I. no longer than till the breaking out of the civil wars; yet retained his place in the royal chapel, and composed the anthem for the coronation of Charles II. He died Oct. 21, 1662, and was buried in Westminster-abbey. “If,” says Hawkins, “we were to judge of the merit of Lawes as a musician from the numerous testimonies of authors in his favour, we should rank him among the first that this country has produced; but, setting these aside, his title to fame will appear to be but ill-grounded. Notwithstanding he was a servant of the church, he contributed nothing to the increase of its stores: his talent lay chiefly in the composition of songs for a single voice, and in these the great and almost only excellence is the exact correspondence between the accent of the music and the quantities of the verse; and, if the poems of Milton and Waller in his commendation be attended to, it will be found that his care in this particular is his chief praise.”

The purity of his harmony, and elegant simplicity of his melody, are no less remarkable in such of these dramas as Dr. Burney examined, than the judicious arrangement of the parts. But the masses and motets, which are carefully preserved by the curious, and still performed in the churches at Naples, have all the choral learning of the sixteenth century. There are likewise extant, trios, for two violins and a base, superior in correctness of counterpoint and elegance of design to any similar productions of the same 'period. This complete musician is equally celebrated as an instructor and composer; and the “Solfeggi,” which he composed for the use of the vocal students, in the conservatorio over which he presided at Naples, are still eagerly sought and studied, not only in Italy, but in every part of Europe, where singing is regularly taught. This great musician died about 1742. His death was unhappily precipitated by an accident which at first was thought trivial; for, having a tumour, commonly called a bur, on his right cheek, which growing, in process of time, to a considerable magnitude, he was advised to have it taken off; but whether from the unskilfulness of the operator, or a bad habit of body, a mortification ensued, which cost him his life.

, an eminent historical painter, was born at Florence, probably about the beginning of the fifteenth century, as he was a scholar of, and of course nearly contemporary with, Massaccio. At the age of sixteen, being entered a noviciate in the convent of Carmelites at Florence, he had there an opportunity of seeing that extraordinary artist at work upon the astonishing frescoes with which he adorned the chapel of Brancacci, in the church there; and being eager to embrace the art, such was his success, that after the death of his master, it was said by common consent, that the soul of Massaccio still abode with Fra. Filippo. He now forsook the habit of his convent, and devoted himself entirely to painting; but his studies were for a time disturbed by his being unfortunately taken, while out on a party of pleasure, by some Moors, and carried prisoner to Barbary; where he remained in slavery eighteen months. But having drawn, with a piece of charcoal, the portrait of his master upon a wall, the latter was so affected by the novelty of the performance, and its exact resemblance, that, after exacting a few more specimens of his art, he generously restored him to his liberty. On his return home he painted some works for Alphonso, king of Calabria. He employed himself also in Padua; but it was in his native city of Florence that his principal works were performed. He was employed by the grand duke Cosmo di Medici, who presented his pictures to his friends; and one to pope Eugenius IV. He was also employed to adorn the palaces of the republic, the churches, and many of the houses of the principal citizens; among whom his talents were held in high estimation. He was the first of the Florentine painters who attempted to design figures as large as life, and the first who remarkably diversified the draperies, and who gave his figures the air of antiques. It is to be lamented that such a man should at last perish by the consequences of a guilty amour he indulged in at Spoleto; where he was employed at the cathedral to paint the chapel of the blessed virgin. This is differently told by different writers, some saying that he seduced a nun who sat to him for a model of the virgin, and others that the object of his passion was a married woman. In either case, it is certain that he was poisoned by the relations of the lady whose favours he was supposed to enjoy. Lorenzo di Medici erected a marble tomb in the cathedral to his memory, which Politian adorned with a Latin epitaph. His son Lippi Filippo, was renowned for excellent imitations of architectural ornaments. He died in 1505, at the age of forty-five. There was also a Florentine painter, Lorenzo Lippi, born in 1606, and likewise a great musician and a poet. In the latter character he published “II Malmantile racquistato,” which is considered as a classical work in the Tuscan language. He died in 1664.

In the third introductory music to the Tempest, which is called a curtain tune, probably from the curtain being first drawn up during the performance of this species of overture, he has, for the first time that is come to one knowledge, introduced the use of crescendo (louder by degrees), with diminuendo and lentando, under the words soft and slow by degrees. No other instruments are mentioned in the score of his opera of Psyche, than violins for the ritornels; and yet, so slow was the progress of that instrument during the last century, that in a general catalogue of music in 1701, scarce any compositions appear to have been printed for its use. This musician was of so irascible a disposition, that he seems never to have been without a quarrel or two on his hands. For his furious attack on Salmon, for proposing to reduce all the clefs in music to one, he had a quarrel with the gentlemen of the chapel royal, early in Charles II.'s reign. Being composer in ordinary to the king, he produced for the chapel royal a morning-service, in which he set the prayer after each of the ten commandments to different music from that to which the singers had been long accustomed, which was deemed an unpardonable innovation, and on the first day of April, 1666, at the performance of it before the king, there was a disturbance and an obstruction for some time to the performance. To convince the public that it was not from the meanness or inaccuracy of the composition that this impediment to its performance happened, Lock thought it necessary to print the whole service; and it came abroad in score on a single sheet, with a long and laboured vindication, by way of preface, under the following title, “Modern church musick pre-accused, censured, and obstructed in its performance before his majesty.” Lock was long suspected of being a Roman catholic, and it is probable that this new service, by leaning a little more towards the mass than the service of the 1 protestant cathedral, may have given offence to some zealous members of the church of England.

The public were indebted to Lock for the first rules that were ever published in England, for a basso continuo, or thorough base; these rules he gave the world, in a book entitled “Melothesia,” London, 1673, oblong 4to. It is dedicated to Roger L‘Estrange, esq. afterwards sir Roger L’Estrange, himself a good musician, and an encourager of its professors. It contains, besides the thorough-bass rules, some lessons for the harpsichord and organ, by Lock himself, and others. He was author likewise of several songs printed in “The Treasury of Music,” “The Theatre of Music,” and other collections of songs. In the 4atter of these is a dialogue, “When death shall part us from these kids,” which, with Dr. Blow’s “Go, perjured man,” was ranked among the best vocal compositions of the time.

, a celebrated Roman poet, was a native of Cordova, in Spain, where he was born Nov. lh> in the year 37. His father Annseus Mela, a Roman knight, a man of distinguished merit and interest in his country, was the youngest brother of Seneca the philosopher; and his mother, Acilia, was daughter of Acilius Lucanus, an eminent orator, from which our author took his name. When only eight months old he was carried to Rome and carefully educated under the ablest masters in grammar and rhetoric, a circumstance which renders it singular that critics have endeavoured to impute the defects in his style to his being a Spaniard; but it is certain that his whole education was Roman. His first masters were Palaemon, the grammarian, and Flavius Virginius, the rhetorician. He then studied under Cornutus, from whom he imbibed the sentiments of the stoic school, and probably derived the lofty and free strain by which he is so much distinguished. It is said he completed his education at Athens. Seneca, then tutor to the emperor Nero, obtained for him the office of quaestor: he was soon after admitted to the college of augurs, and considered to be in the full career of honour and opulence. He gave proofs of poetical talents at a very early age, and acquired reputation by several compositions; a circumstance peculiarly unfortunate for him, as it clashed with the vanity of the emperor, who valued himself on his powers as a poet and musician. On one occasion Lucan was so imprudent as to recite one of his own pieces, in competition with Nero; and as the judges honestly decided in favour of Lucan, Nero forbad him to repeat any more of his verses in public, and treated him with so much indignity that Lucan no more looked up to him with the respect due to a patron and a sovereign, but took a part in the conspiracy of Piso and others against the tyrant; which being discovered, he was apprehended among the other conspirators. Tacitus and other authors have accused him of endeavouring to free himself from punishment by accusing his own mother, and involving her in the crime of which he was guilty. Mr. Hayley has endeavoured to rescue his name from so terrible a charge; and it is more likely that it was a calumny raised by Nero’s party to ruin his reputation. Be this as it may, his confessions were ofno avail, and no favour was granted him but the choice of the death he would die; and he chose the same which had terminated the life of his uncle Seneca. His veins were accordingly opened; and when he found himself growing cold and faint through loss of blood, he repeated some of his own lines, describing a wounded soldier sinking in a similar manner. He died in the year 65, and in the twentyseventh year of his age. Of the various poems of Lucan, none but his Pharsalia remain, which is an account of the civil wars between Caesar and Pompey, but is come down to us in an unfinished state. Its title to the name of an epic poem has been disputed by those critics, who, from the examples of Homer and Virgil, have maintained that machinery, or the intervention of supernatural agency, is essential to that species of composition. Others, however, have thought it rather too fastidious to refuse the epic name to a poem because not exactly conformable to those celebrated examples. Blair objects, tliat although Lucan’s subject is abundantly heroic, he cannot be reckoned happy in the choice of it, because it has two defects, the one its being too near the times in which he lived, which deprived him of the assistance of fiction and machinery; the other that civil wars, especially when as fierce and cruel as those of the Romans, present too many shocking objects to be fit for epic poetry, gallant and honourable achievements being a more proper theme for the epic muse. But Lucan’s genius seems to delight in savage scenes, and he even goes out of his way to introduce a long episode of Marius and Sylla’s proscriptions, which abounds with all the forms of atrocious cruelty. On the merits of the poetry itself there are various opinions. Considered as a school book, Dr. Warton has classed it with Statins, Claudian, and Seneca the tragedian, authors into whose works no youth of genius should ever be suffered to look, because, by their forced conceits, by their violent metaphors, by their swelling epithets, by their want of a just decorum, they have a strong tendency to dazzle and to mislead inexperienced minds, and tastes unformed, from the true relish of possibility, propriety, simplicity and nature. On the other hand it has been said, that although Lucan certainly possesses neither the fire of Homer, nor the melodious numbers of Virgil, yet if he had lived to a maturer age, his judgment as well as his genius would have been improved, and he might have claimed a more exalted rank among the poets of the Augustan age. His expressions are bold and animated; his poetry entertaining; and it has been asserted that he was never perused without the warmest emotions, by any whose minds were in unison with his own.

In 1686, the king was seized with an indisposition which threatened his life; but, recovering from it, Lulli was required to compose a “Te Deum” upon the occasion, and produced one not more remarkable for its excellence, than for the unhappy accident which attended the performance of it. He had neglected nothing in the composition of the music and the preparations for the execution of it; and, the better to demonstrate his zeal, he himself beat the time; but with the care he used for this purpose, he gave himself in the heat of action, a blow upon the end of his foot; and this ending in a gangrene, which baffled all the [efforts of] his surgeons, put an end to his life, March 22, 1687. The following story is related of this musician in his last illness. Some years before, he had been closely engaged in composing for the opera; from which his confessor took occasion to insinuate, that unless, as a testimony of sincere repentance, he would throw the last of his compositions into the fire, he must expect no absolution. He consented: but one of the young princes coming to see him, when he was grown better, and supposed to be out of danger, “What, Baptiste,” says the prince, “have you thrown your opera into the fire? You were a fool for giving credit thus to a dreaming Jansenist, and burning good music.” “Hush, my lord,” answered Lulli, “I knew very well what I was about; I have a fair copy of it.” Unhappily this ill-timed pleasantry was followed by a relapse: the gangrene increased, and the prospect of inevitable death threw him into such pangs of remorse, that he submitted to be laid upon an heap of ashes, with a cord about his neck. In this situation he expressed a deep sense of his late transgression; and, being replaced in his bed, he, further to expiate his offence, sung to an air of his own composing, the following words: Il faut mourir, pecheur, il faut mourir. Lulli is considered as the person who brought French music to perfection, and his great operas and other pieces were long held in the highest estimation. He was no less remarkable for his humourous talents, than for his musical genius; and even Moliere, who was fond of his company, would often say, “Now, Lulli, make us laugh.”

Between the publication of the second and third volumes of his “Storia Musica,” Martini published a work entitled “Essemplare o sia Saggio di Contrappunto,” Bologna, 1774, in two volumes, folio. This excellent treatise, though written in defence of a method of composing for the church upon canto-fermo, now on the decline, yet has given the learned author an opportunity of writing its history, explaining its rules, defending the practice, and of inserting such a number of venerable compositions for the church by the greatest masters of choral harmony in Italy, from the beginning of the sixteenth century to the middle of the last, that we know of no book so full of information concerning learned counterpoint, so rich in ancient and scarce compositions, nor so abundant in instructive and critical remarks, as this. In 1769 Martini drew up and gave to his disciples a very short tract, entitled “Compendio della Theoria de numeri per uso del Musico di F. Giambatista Martini. Minor Conventuale.” In this tract the good father defines the three principal calculations, ratios, and proportions necessary for a musician to know in the division of the monochord and in temperament.

In Feb. 1567, the new king of Scotland was murdered in a very barbarous manner, by the contrivance of the earl of Murray, who was the queen’s illegitimate brother; and, in May following she was married to John Hepburn, earl of Bothwell, a man of an ambitious temper and dissolute manners, and who in reality had been lord Darnly’s murderer. From this time a series of infelicities attended her to the end of her life. The different views and interests of the nobility, clergy, and gentry, in regard to religious and political affairs, had so broken the peace of the kingdom, that all things appeared in the greatest disorder and confusion. The earl of Bothwell was forced to fly into Denmark to save his life; the queen was seized, carried prisoner to Lochleven, and was treated on the road with such scorn and contempt, as her own personal dignity might, one would think, have prevented. She was conveyed to the provost’s lodgiogs, and committed to the care of Murray’s mother; who, “having been James the Fifth’s concubine, insulted much,” says Camden, “over the unfortunate and afflicted =queen, boasting that she was the lawful wife of James the Fifth, and that her son Murray was his lawful issue.” What aggravated Mary’s misfortunes was, that she was believed to have been the cause of lord Darnly’s death, in order to revenge the loss of David Rizzio, an Italian musician, supposed her gallant, and whom lord Darnly had killed on that account. Be this as it will, when queen Elizabeth heard of this treatment of the queen of Scots, she seemed fired with indignation at it; and sent sir Nicholas Throgmorton into Scotland, to expostulate with the conspirators, and to consult by what means she might be restored to her liberty. But Elizabeth, as we have noticed in her article, was by no means in. earnest: she was not the friend to the queen of Scots which she pretended to be; and, if not in some measure the contriver of these troubles, there is great reason to think that she secretly rejoiced at them. When queen Elizabeth was crowned, the queen of Scots had assumed the arms and title of the kingdom of England, 'an indignity Elizabeth could never forget, as not thinking herself quite safe while Mary harboured such pretensions.

dilettante painter and musician; and of York, it is to be feared, be has stript

, an ancient Greek poet, was born either at Colophon, according to Strabo, or according to others at Smyrna, some time in the sixth century B. C. Strabo informs us that he was a musician, as well as a writer of elegies, which was his chief pursuit: and Nanno, the lady who passes for his mistress, is recorded to have got her livelihood by the same profession. There are but few fragments of his poems remaining, yet enough to shew him an accomplished master in his own style. His temper seems to have been as truly poetical as his writings, wholly bent on love and pleasure, and averse to the cares of common business. He appears to have valued life only as it could afford the means of pleasure. By some he is said to have been the inventor of the pentameter, but various specimens of that verse of older date are still extant. Mimnermus’s fragments are printed by Brunck, in his “Analecta,” and in the “Gnomici Poetae.”

, an eminent musician, was the son of Leopold Mozart, vice-chapel-master to the prince archbishop of Salzburg. This Leopold, who was born at Augsburg in 1719, became early in life a musician and composer; and in 1757 published a treatise on the art of playing the violin; but what, according to Dr. Burney, did him most honour was his being father of such an incomparable son as Wolfgang, and educating him with such care. His son was born at Salzburg, Jan. 17, 1756, and at seven years old went with his father and sister to Paris, and the year following to London. In 1769 he went to Italy; and in 1770 he was at Bologna, in which city Dr. Burney first saw him, and to which city he had returned from Rome and Naples, where he had astonished all the great professors by his premature knowledge and talents. At Rome he was honoured by the pope with the order of Speron d'Oro. From Bologna he went to Milan, where he was engaged to compose an opera for the marriage of the princess of Modena with one of the archdukes. Two other composers were employed on this occasion, each of them to set an opera; but that of the little Mozart, young as he was, was most applauded.

Dr. Burney observes, that the operas of this truly great musician are much injured by being printed in half scores, with so busy and constantly loaded a part for the piano forte. Some of the passages we suppose taken from the instrumental parts in the full score; but there is no contrast; the piano forte has a perpetual lesson to play, sometimes difficult, and sometimes vulgar and common, which, however soft it may be performed, disguises the vocal melody, and diverts the attention from it, for what is not worth hearing. A commentary, says the same author, on the works of this gifted musician, would fill a volume. His reputation continued to spread and increase all over Europe to the end of his life, which, unfortunately for the musical world, was allowed to extend only to 36 years, at which period he died, in 1791.

After his decease, when Haydn was asked by Broderip, in his music-shop, whether Mozart had left any ms compositions behind him that were worth purchasing, as his widow had offered his unedited papers at a high price to the principal publishers of music throughout Europe; Haydn eagerly said, “purchase them by all means. He was truly a great musician. I have been often flattered by my friends with having some genius; but he was much my superior.” Though this declaration had more of modesty than truth in it, yet if Mozart’s genius had been granted as many years to expand as that of Haydn, the -assertion might perhaps have been realised in many particulars.

, doctor of music, an eminent composer and teacher in that science, under whom some of the first musicians of the present day received the whole or part of their education, was tfce son of Mr. Nares, who was, for many years, steward to Montague and Willoughby, earl* of Abingdon. He was born, as well as his brother, the late Mr. Justice Nares, at Stanwell in Middlesex; the former in 1715, the latter in 1716. His musical education he commenced under Mr. Gates, then master of the royal choristers; and completed it under the celebrated Dr. Pepusch. Thus prepared, he officiated, for some time, as deputy to Mr. Pigott, organist of Windsor; but, on the resignation of Mr. Salisbury, organist of York, in 1734, was chosen to succeed him, being then only nineteen. It is related, on undoubted authority, that, when the old musician first saw his intended successor, he said, rather angrily, “What! is that child to succeed me?” which being mentioned to the organist-elect, he took an early opportunity, on a difficult service being appointed, to play it throughout half a note below the pitch, which brought it into a key with seven sharps; and went through it without the slightest error. Being asked why he did so, he said, that “he only wished to shew Mr. Salisbury what a child could do.” His knowledge in all branches of his profession was equal to his practical skill in this instance; and, during his residence at York, where he was abundantly employed as a teacher, and where he married, Mr. Nares, by his good conduct, as well as professional merit, obtained many powerful friends. Among the foremost of these was Dr. Fontayne, the late venerable dean of York; who, when Dr. Green died, towards the latter end of 1755, exerted his interest so successfully, that he obtained for him the united places of organist and composer to his majesty. He removed, therefore, to London in the beginning of 1756; and, about the same time, was created doctor in music at Cambridge.

On the resignation of Mr. Gates, in 1757, Dr. Nares obtained also the place of master of the choristers; which having been, for a long time, without increase, notwithstanding the increase of expences attending it, was, by royal favour, augmented about 1775, first with the salary of the violist, and, on the revival of that place for Mr. Crosdill, in 1777, with that of lutanist, which was annexed to it for ever. It was in this situation, that Dr. Nares superintended the education of many pupils, who have since become famous particularly Dr. Arnold, who, though with him only for a short time, was highly distinguished by him for talents and application. The anthems and services which Dr. Nares produced, as composer to the royal chapel, were very numerous; many of them have since been printed, and many which exist only in ms. still continue to be performed in the choirs with much effect. Having been originally a musician rather by accident than choice, with very strong talents and propensities also for literature, Dr. Nares was particularly attentive to express the sense of the words he undertook to set; and was the first who attempted to compose the Te Deum, for the choir- service, in such a manner as to set off the sentiments it contains to advantage. Before his lime, it had been set rather to a regular strain of chaunt than to any expressive melodies. The merits of Dr. Nares were not overlooked by his royal patrons, whom he had occasionally the honour to attend in private, though not a part of his regular duty. To manifest his respect and gratitude for them, he composed his dramatic ode, entitled “The Royal Pastoral,” the words of which were written by Mr. Bellamy, author of a book entitled “Ethic Amusements.” In July 1780, Dr. Nares was obliged, by declining health, to resign the care of the choristers, in which place he was succeeded by Dr. Ayrton, his pupil and valued friend. In his sixty-eighth year, a constitution, never robust, gave way, and he died on Feb. 10, 1783, deeply regretted by his affectionate family, of which the present representative, the rev. Robert Nares, archdeacon of Stafford, is well known in the literary world, and not more known than respected. Testimony has been borne to the merits of Dr. Nares by several writers, but more particularly by Mr. Mason, in his preface to a book of anthems, printed for the use of York-cathedral; and, in his late Essays on Church Music, p. 138. The late lord Mornington, so well known for musical talents, frequently consulted him; and sir John Hawkins derived advantage from his acquaintance, in the progress of his “History of Music.” Throughout life, he was not less respected as a man than admired as a musician; he had a vivacity that rendered his society always pleasing; and a generous contempt for every thing base, that manifested itself on all proper occasions, and very justly commanded esteem.

His printed works are these 1 “Eight sets of Lessons for the Harpsichord dedicated to the right honourable Willoughby earl of Abingdon printed in 1748, reprinted in 1757.” 2. “Five Lessons for the Harpsichord, with a sonata in score for the harpsichord or organ; dedicated to the right honourable the countess of Carlisle;” published in 1758 or 1759. 3. “A set of easy Lessons for the Harpsichord,” three in number; with a dedication to the public, signed J. N. 4. “A Treatise on Singing,” small size. 5. “II Principio” or “.A regular introductionto playing on the Harpsichord or Organ.” This was the first set of progressive lessons published on a regular plan. 6. “The Royal Pastoral, a dramatic ode; dedicated to his royal highness the prince of Wales; printed in score, with an overture and choruses. 7.” Catches, Canons, and Glees; dedicated to the late lord Mornington.“8.” Six Fugues, with introductory voluntaries forMhe Organ or Harpsichord.“9.” A concise and easy treatise on Singing, with a set of English Duets for beginners;“- a different work from the former small treatise. 10.” Twenty Anthems, in score, for one, two, three, four, and rive voices composed for the use of his majesty’s chapels royal,“1778. 11.” Six, easy Anthems, with a favourite Morning and Evening Service,“left for publication at his death, and published in 1738, with a portrait and a concise account of the author. Of these compositions the following short character is given by an eminent musician, to whom they are all well known.” The Lessons are composed in a masterly and pleasing style; free from those tricks and unmeaning successions of semitones, to which a good ear and sound judgment never can be reconciled. The treatises on singing contain duets composed for the use of the children of the royal chapels, superior to any thing yet published and such as every teacher ought to peruse. His catches, canons, and glees, are natural and pleasing especially the glee to all Lovers of Harmony, which gained the prize-medal at the catch-club in 1770. The Royal Pastoral is composed throughout in a very masterly manner; particularly the choruses, with which each part concludes. This ode, containing 108 pages, was written, and all the vocal and instrumental parts transcribed for performing, within twelve days. The six fugues, with introductory voluntaries for the organ, contain the strongest proofs of ingenuity and judgment; few, if any, have ever been written that can be preferred to them. In both sets of the anthems, the same characteristics appear; and the service in the latter very justly acquired the title of favourite; nor can there be any doubt that the works of this author will be admired as long as a taste for music shall subsist."

, brother of the preceding, and sixth son of Dudley lord North, was likewise brought up to the law, and was attorney-general to James II. and steward of the courts to archbishop Sheldon . He published an “Examen into the credit and veracity of a pretended complete History,” viz. Dr. White Kenneths History of England, and also the lives of his three brothers, the lord keeper Guilford, sir Dudley North, and the rev. Dr. John North. In these pieces little ability is displayed, but there is much curious and truly valuable information, and which would have been yet more valuable had not the author’s prejudices led him to defend some of the worst measures and worst men of Charles II. 's reign. He was also, says Dr. Burney, a dilettante musician of considerable taste and knowledge in the art, and watched and recorded its progress during the latter end of the seventeenth, and beginning of the eighteenth century, with judgment and discrimination; leaving behind him at his decease a manuscript, entitled “Memoirs of Music,” which Dr. Burney found of great use in the history of English secular music during the period to which his memoirs are confined. He lived chiefly at Rougham, in Norfolk, where his life was extended to the age of eighty-three. He died in 1733. He had an organ, built by Smith, for a gallery of 60 feet long, which he erected on purpose for its reception. There was not a metal pipe in this instrument, in 1752; yet its tone was as brilliant, and infinitely more sweet, than if the pipes had been all of metal.

, a learned French ecclesiastic, of the seventeenth century, was a native of Chinon in Tourraine, and a canon of Tours, He enjoyed the reputation of an universal scholar; was a poet, mathematician, divine, a controversial writer, and even a musician, although in the latter character he appears to have escaped the very minute researches of Dr. Burney in his valuable history of that art. He had been music- master of the holy chapel at Paris for ten years, before he became a canon of Tours. He wrote a great many works, among which some of his controversial pieces against the protestants, his “History of Music from its origin to the present time,” and his dissertation on Vossius’s treatise “De poematum cantu et viribus rythmi,” remain in manuscript. Those which were published, are, 1. “Secret pour composer en musique par un art nouveau,” Paris, 1660. 2. “Studiosis sanctarum scripturarum Biblia Sacra in lectiones ad singulos dies, per legem, prophetas, et evangelium distributa, et 529 carminibus mnemonicis comprehensa,” ibid. 1668; of this a French edition was published in 1669. 3. “Motifs de reunion a l‘eglise catholique, presentes a ceux de la religion pretendue-reforme*e de France, avec un avertissement sur la reponse d’un ministre a Poffice du saint Sacrement,” ibid. 1668. 4. “Le motifs de la conversion du comte de Lorges Montgommery,” dedicated to Louis XIV. ibid. 1670. 5. “Defense de Tancienne tradition des eglises de France, sur la mission des premiers predicateurs evangeliques dans les Gaules, du temps des apotres ou de leurs disciples immediats, et de Pusage des ecrits des S. S. Severe-Sulpice, et Gregoire de Tours, et de Tabus qu‘on en faiten cette rnatiere et en d’autres pareilles,” ibid. 178. This was addressed to the clergy and people of To'irs by the author, who held the same sentiments as M.de Ma re a, respecting St. Denis. 6. “L‘Art de la science des Nombres, en Francois et en Latin, avec un preface de i’excellence de Farithmetique,” ibid. 1677. 7. “Architecture harmonique, ou application de la doctrine des proportions, de la musique a ^architecture, avec un addition a cet ecrit,” ibid. 1679, 4to. 8. “Calendarium novum, perpetuum, et irrevocable,” 1682; but this work he was induced to suppress by the advice of his friend M. Arnauld, who thought that his ideas in it were too crude to do credit to his character. His last publication was, 9. “Breviarium Turonense, renovatum, et in melius restitutum,” 1685. He died at Tours, July 19, 1694, and the following lines,

He died the 20th of July, 1752, aged eighty-five; and was buried in the chapel of the Charter-house, where a tablet with an inscription is placed over him. ­As a practical musician, though so excellent a harmonist, he was possessed of so little invention, that few of his coinpositions were ever in general use and favour, except one of his twelve cantatas, “Alexis,” and his airs for two flutes or violins, consisting of simple easy themes or grounds with variations, each part echoing the other in common divisions for the improvement of the hand. Indeed, though only one cantata of the two books he published was ever much noticed, there is considerable harmonica! merit in them all; the recitatives are in general good, and the counterpoint perfectly correct and masterly. Among all the publications of Pepusch, the most useful to musical students was, perhaps, his correct edition of Corelli’s sonatas and concertos in score, published in 1732. He treated all other music in which there was fancy or invention with sovereign contempt. Nor is it true, as has been asserted, that “he readily acquiesced in Handel’s superior merit.” Handel despised the pedantry of Pepusch, and Pepusch, in return, constantly refused to join in the general chorus of Handel’s praise.

The sole ambition bf Pepus’ch, during the last years of his life, seems to have been the obtaining the reputation of a profound theorist, perfectly skilled in the music of the ancients; and attaching himself to the mathematician De Moivre and Geo. Lewis Scot, who helped him to calculate ratios, and to construe the Greek writers on music, he bewildered himself and some of his scholars with the Greek genera, scales, diagrams, geometrical, arithmetical, and harmonical proportions, surd quantities, apotomes, lemmas, and every thing concerning ancient harmonics, that was dark, unintelligible, and foreign to common and useful practice. But with all his pedantry and ideal admiration of the music of the ancients, he certainly had read more books on the theory of modern music, and examined more curious compositions, than any of the musicians of his time; and though totally devoid of fancy and invention, he was able to correct the productions of his contemporaries, and to assign reasons for whatever had been done by the greatest masters who preceded him. But when he is called the most learned musician of his time, it should be said, in the music of the sixteenth century. Indeed, he had at last such a partiality for musical mysteries, and a spirit so truly antiquarian, that he allowed no composition to be music but what was old and obscure. Yet, though he fettered the genius of his scholars by antiquated rules, he knew the mechanical laws of harmony so well, that in glancing his eye over a score, he could by a stroke of his pen smooth the wildest and most incoherent notes into melody, and make them submissive to harmony; instantly seeing the superfluous or deficient notes, and suggesting a bass from which there was no appeal. His “Treatise on Harmony” has lately been praised, as it deserves, in Mr. Shield’s valuable “Introduction to Harmony.”

, one of the most excellent of the Italian composers, was born at Casoria in the kingdom of Naples, in 1701; and was educated at Naples under Gaetuno Greco, a very famous musician of that time. The prince of San-Agliano, or Stigiiano, becoming acquainted with the talents of yonng Pergolesi, took him under his protection, and, from 1730 to 1734, procured him employment in the new theatre at Naples, where his operas had prodigious success. He then visited Rome, for which place his “Olympiade” was composed, and there performed, but was by no means applauded as it deserved; after which he returned to Naples, and falling into a consumptive disorder, died in 1737, at the premature age of thirty-three. It is not true, as some authors have asserted, that he was poisoned by some of his rivals, nor indeed was thesuccess of his productions sufficiently great to render him an object of envy. His fame was posthumous. From the style of his composition, the Italians have called him the Domenichino of music. Ease, united with deep knowledge of harmony, and great richness of melody, forms the characteristic of his music. It expresses the passions with the very voice of nature, and speaks to the soul by the natural force of its effects. It has been thought, by some, of too melancholy a cast, which might arise, perhaps, from the depression produced by infirmity of constitution. His principal works are, 1. The “Stabat Mater,” usually considered as his most perfect work, and much better known than any other, in this country. 2. Another famous mass, beginning, “Dixit et laudate,” first heard with rapture at Naples, soon after his return from Rome. 3. The mass called “Salve Regina,” the last of his productions, composed at Torre del Greco, a very short time before his death, but as much admired as any of his compositions. 4. His opera of “Olympiade,” set to the words of Metastasio. 5. “La serva Padrona,” a comic opera. 6. His famous cantata of “Orfeo e Euridice.” The greater part of his other compositions were formed for pieces written in the Neapolitan dialect, and unintelligible to the rest of Italy. Pergolesi’s first and principal instrument was the violin. Dr. Burney says, that “he had, perhaps, more energy of genius, and a finer tact, than any of his predecessors; for though no labour appears in his productions, even for the church, where the parts are thin, and frequently in unison, yet greater and more beautiful effects are often produced in the performance than are promised in the score.” “The church-music of Pergolesi has been censured by his countryman, Padre Martini, as well as by some English musical critics, for too much levity of movement, aud a dramatic cast, even in some of his slow airs; while, on the contrary, Eximeno says, that he never heard, and perhaps never shall hear, sacred music accompanied with instruments, so learned and so divine, as the Stabat Mater.” Dr. Burney thinks it very doubtful whether the sonatas ascribed to this author are genuine; but observes, that the progress since made in instrumental music, ought not, at all events, to diminish the reputation of Pergolesi, “which,” he adds, “was not built on productions of that kind, but on vocal compositions, in which the clearness, simplicity, truth, and sweetness of expression, justly entitle him to supremacy over all his predecessors, and contemporary rivals; and to a niche in the temple of fame, among the great improvers of the art; as, if not the founder, the principal polisher of a style of composition both for the church and stage, which has been constantly cultivated by his successors; and which, at the distance of half a century from the short period in which he flourished, still reigns throughout Europe.” The learned historian, for this reason, justly considers the works of Pergolesi as forming a great sera in modern music.

, an eminent musician and chess-player, born at Dreuxin 1726, was descended from a long line of musical ancestors, who, in different branches of the art, had been attached to the court ever since the time of Louis XIII. The family-name was Danican; and it is pretended that this monarch, himself a dilettante musician, occasioned the surname of Philidor, a famous performer on the hautbois, whom this prince had heard in his progress through France, to be given to Danican, whose instrument being the hautbois, when the king heard him perform, he cried out, “Here’s anotuer Philidor!” Andrew was educated as a page or chorister in the chapelroyal, under Citmpra, and in 1737 he produced his first anthem, which was performed in the chapel, and complimented by the king as an extraordinary production for a child of eleven years old. On his change of voice, and quitting the chapel, he established himselt at Paris, where he subsisted by a few scholars, and by copying music; but every year he went to Versailles with a new motet.

, an eminent musician, born in 1728, at Bari, in the kingdom of Naples, may be ranked among the most fertile, spirited, and original composers that the Neapolitan school has produced. His father designed him for the church, and made him study for that intent; but, for fear of his neglecting serious business for amusement, he would not let him learn music. The young man, however, having an invincible passion for that art, never saw an instrument, especially a harpsichord, without emotion, and practised in secret the opera airs which he had heard, and which he retained with surprising accuracy. His father having carried him, one day, to the bishop of Bari, he amused himself in the room, where he was left alone, with a harpsichord which he found there, thinking he could be heard by no one; but the prelate, in the next apartment, having heard him, condescended to go to the harpsichord, and obliged him to repeat many of the airs which he had been playing; and was so pleased with his performance, that he persuaded his father to send him to the conservatorio of St. Onofrio, at Naples, of which the celebrated Leo was then the principal master.

, was called also Venetiano, from Venice, the place of his birth, which occurred in 1485. He was renowned, in early life, as a musician, and particularly for his skill in playing upon the lute. While he was yet in his youth, he abandoned that science, and was taught the rudiments of the art of painting by Giovanni Bellini; but Giorgione da Castel Franco having just then exhibited his improved mode of colouring and effect, Sebastian became his disciple and most successful imitator. His portraits, in particular, were greatly admired for the strength of resemblance, and the sweetness and fulness of style, which made them be frequently mistaken for the work of Giorgione. His portrait of Julio Gonzaga, the favourite of cardinal Hippolito di Medici, is by many writers mentioned in the highest terms. Being induced to go to Rome, he soon attracted public notice; and in the contest respecting the comparative merits of Raphael and M. Angelo, Sebastian gave the preference to the latter, who in consequence favoured him on all occasions, and even stimulated him to the rash attempt of rivalling Raphael, by painting a picture in competition with that great man’s last great work, the Transfiguration; which had just been placed, with great form, in the church of St. Pietro a Montorio. The subject Sebastian chose was the resurrection of Lazarus; for which Michael Angelo is supposed to have furnished the design, or at least to have considered and retouched it. The picture is of the same size as Raphael’s; and, when completed, was placed in the same consistory, and was very highly applauded. The cardinal di Medici sent it to his bishopric of Narbonno, and it became the property of the Duke of Orleans. It is now in England, and in possession of J. Angerstein esq. who gave 2000 guineas for it to the proprietors of the Orleans collection. Although it is a work of profound skill, and highly preserves the reputation of its author, yet, in our opinion, it is not to be compared with the great work it was intended to rival, either in design, in expression, or effect, whatever may be said of its execution.

, an eminent musician, was son of Henry Purcell, and nephew of Thomas Purcell, both gentlemen of the Royal Chapel at the restoration of Charles II. and born in 1658. Who his first instructors were is not clearly ascertained, as he was only six years old when his father died; but the inscription on Blow’s monument, in which Blow is called his master, gives at least room to suppose that Purcell, upon quitting the chapel, might, for the purpose of completing his studies, becojne the pupil of Blow. Dr. Burney is inclined to think that he might have been qualified for a chorister by Capt. Cook. However this be, Purcell shone early in the science of musical composition; and was able to wrfte correct harmony at an age when to perform choral service is all that can be expected. In 1676, he was appointed organist of Westminster, though then but eighteen; and, in 1682, became one of the organists of the chapel royal.

In 1691, the opera of “Dioclesian” was published by Purcell, with a dedication to Charles duke of Somerset, in which he observes, that “music is yet but in its nonage, a forward child, which gives hopes of what he may be hereafter in England, when the masters of it shall find more encouragement; and that it is now learning Italian, which is its best master, and studying a little of the French air to give it somewhat more of gaiety and fashion.” The unlimited powers, says Dr. Burney, of this musician’s genius embraced every species of composition that was then known, with equal felicity. In writing for the church, whether he adhered to the elaborate and learned style of his great predecessors Tallis, Bird, and Gibbons, in which no instrument is employed but the organ, and the several parts are constantly moving in fugue, imitation, or plain counterpoint; or, giving way to feeling and imagination, adopted the new and more expressive style of which he was himself one of the principal inventors, accompanying the voice-parts with instruments, to enrich the harmony, and enforce the melody and meaning of the words, he manifested equal abilities and resources. In compositions for the theatre, though the colouring and effects of an orchestra were then but little known, yet as he employed them more than his predecessors, and gave to the voice a melody more interesting and impassioned than, during the seventeenth century, had been heard in this country, or perhaps in Italy itself, he soon became the darling and delight of the nation. And in the several pieces of chamber music which he attempted, whether sonatas for instruments, or odes, cantatas, songs, ballads, and catches, for -the voice, he so far surpassed whatever our country had produced or imported before, that all other musical productions seem to have been instantly consigned to contempt or oblivion.

It has been extremely unfortunate, says the same author, for our national taste and our national honour, that Orlando Gibbons, Pelham Humphrey, and Henry Purcell, our three best composers during the seventeenth century, were not blest with sufficient longevity for their genius to expand in all its branches, or to form a school, which would have enabled us to proceed in the cultivation of music without foreign assistance. Orlando Gibbons died 1625, at forty-four. Pelham Humphrey died 1674, at 'twentyseven; and Henry Purcell died 1695, at thirty-seven. If these admirable composers had been blest with long life, we might have had a music of our own, at least as good as that of France or Germany; which, without the assistance of the Italians, has long been admired and preferred to all others by the natives at large, though their princes have usually foreigners in their service. As it is, we have no school for composition, no well-digested method of study, nor, indeed, models of our own. Instrumental music, therefore, has never gained much by our own abilities; for though some natives of England have had hands sufficient to execute the productions of the greatest masters on the continent, they have produced but little of their own that has been much esteemed. Handel’s compositions for the organ and harpsichord, with those of Scarlatti and Alberti, were our chief practice and delight for more than fifty years; while those of Corelli, Geminiani, Albinoni, Vivaldi, Tessarini, Veracini, and Tartini, till the arrival of Giardini, supplied all our wants on the violin, during a still longer period. And as for the hautbois, Martini and Fisher, with their scholars and imitators, are all that we have listened to with pleasure. If a parallel were to be drawn between Purcell and any popular composer of a different country, reasons might be assigned for supposing him superior to every great and favourite contemporary musician in Europe.

The opera of “Castor and Pollux” having been long regarded in France as the master-piece of this composer, Dr. Burney has entered into a strict critical examination of it, for which we refer to his History. He concludes with observing, that, though the several merits of this musician have been too much magnified by partizans and patriots in France, and too much depreciated by the abettors of other systems and other styles, as well as patriots of other countries, yet Rameau was a great man; nor can the professor of any art or science mount to the summit of fame, and be elected by his countrymen supreme dictator in his particular faculty, without a large portion of genius and abilities.

, an active English musician and publisher, who flourished from the beginning of the 17th century to 1635, was the editor and composer of the best collection of psalm tunes in four parts, which had till then appeared in England. He was a bachelor of music, and a professor not only well acquainted with the practice of the art, but seems to have bestowed much time in the perusal of the best authors, and in meditation on the theory. This book published in small octavo, 1621 and 1633, contains a melody for every one of the hundred and fifty psalms, many of them by the editor himself, of which a considerable number is still in use; as Windsor, St. David’s, Southwell, and Canterbury. There are others, likewise, which are sung by the German, Netherlandish, and French Protestants. To these the base, tenor, and counter-tenor parts have been composed by twenty-one English musicians: among whom we find the names of Tallis, Dowlajid, Morley, Bennet, Stubbs, Farnaby, and John Milton, the father of our great poet. The tunes which are peculiar to the measure of the lOOdth psalm, the 113th, and 119th, were originally Lutheran, or perhaps of still higher antiquity. And though Ravenscroft has affixed the name of Dr. John Dowland to the parts which have been st to the lOOdth psalm, yet, in the index, he has ranked the melody itself with the French tunes; perhaps from having seen it among the melodies that were set to the French version of Clement Marot and Theodore Beza’s Psalms, by Goudimel and Claude le Jeune. Ravenscroft, in imitation of these harmonists, always gives the principal melody, or, as he calls it, the playn-song, to the tenor. His publication is, in some measure, historical: for he tells us not only who composed the parts to old melodies, but who increased the common stock, by the addition of new tunes; as well as which of them were originally English, Welch, Scots, German, Dutch, Italian, French, and imitations of these.

, a musician of the sixteenth century, whose misconduct or misfortunes have obtained him a place in the history of Scotland, was born at Turin, but brought up in France. His father was a musician and dancing-master, and the son probably possessed those talents which served to amuse a courtly circle. He appears to have come to Scotland about 1564, when, according to most accounts, he was neither young nor handsome. The count de Merezzo brought him hither in his suite, as ambassador from Savoy to the court of the unfortunate queen Mary. Sir James Melvil, in his “Memoirs,” tells us that “the queen had three valets of her chamber who sung in three parts, and wanted a base to sing the fourth part; therefore, telling her majesty of this man, Rizzio, as one fit to make the fourth in concert, he was drawn in sometimes to sing with the rest.” He quickly, however, crept into the queen’s favour; and her French secretary happening at that time to return to his own country, Rizzio was preferred by her majesty to that office. He began to make a figure at court, and to appear as a man of weight and consequence. Nor was he careful to abate that envy which always attends such an extraordinary and rapid change of fortune. On the contrary, he seems to have done every thing to increase it; yet it was not his exorbitant power alone which exasperated the Scots; they considered him as a dangerous enemy to the protestant religion, and believed that he held for this purpose a constant correspondence with the court of Rome. His prevalence, however, was very short-lived; for, in 1566, certain nobles, with lord Darnly at their head, conspired against him, and dispatched him in the queen’s presence with fifty-six wounds. The consequences of this murder to the queen and to the nation are amply detailed in Scotch history, and have been the subject of a very fertile controversy.

As a musician, Rizzio’s instrument was the lute, which was at that time the general favourite all over Europe; and an opinion has long prevailed that he was the great improver of Scotch music, and that he composed most of the Scotch tunes which have been heard with so much pleasure for two centuries past, and are in their style to be distinguished from all other national airs. This matter, however, has been investigated both by sir John Hawkins, from records, and by Dr. Barney, from personal inquiry at Turin; and the result is, that the opinion has no foundation. Some part of Dr. Burney’s sentiments on the subject xve have already given in our account of king James I. of Scotland. It does riot, in fact, appear that Rizzio was a compeser at all; and his stay in this country not exceeding two years, with the variety of business in which he was, 'fatally for himself and his royal mistress, engaged, could have left him little leisure for study, or for undertaking the improvement of the national music.

, doctor of music, and an ecclesiastical composer, whose works are still contained in our cathedral service, and for whose fame Anthony Wood has manifested great zeal, was born at Windsor, and brought up in that college under Dr. Nath. Giles; being employed there, first as a singing boy, and afterwards in the capacity of lay clerk or singing man. Thence he went to Ireland, and was appointed organist of Christ-church ia Dublin, where he continued till the breaking out of the rebellion, in 1641; at which time, being forced to quit his station, he returned to Windsor, where he was again reinstated as choirman; but being soon after silenced in consequence of the civil wars, he procured a subsistence by teaching in the neighbourhood. And during this time, according to his friend Anthony Wood, having addicted himself much to study, he acquired great credit as a composer, and produced several sets of airs in four parts for violins and an organ, which being then imagined the best that could be composed of that kind, were sent as great rarities to the archduke Leopold, afterwards emperor, and himself a great musician; and, upon their being performed by his band, they were very much admired.

, an eccentric genius of our own times, has enabled us to give an account of him by a publication which himself left behind him, under the title of “Les Confessions de J. J. Rousseau, suivies des Reveries du Promeneur Solitaire,” Geneve, 1783, 2 volumes, 8vo. He was born at Geneva in 1711; his parents were, Isaac Rousseau, an ingenious watch-maker, and Susannah Bernard, the daughter of a clergyman, who was more rich than her husband (he having fifteen brothers and sisters). She had also wisdom and beauty, so that she was no easy prize; but a love, which commenced in their childhood, at length, after many difficulties, produced a happy marriage. And at the same time his mother’s brother, Gabriel, an engineer, married one of his father’s sisters. After the birth of one son, his father went to Constantinople, and was watch-maker to the seraglio; and ten months after his return our author was born, infirm and sickly, and cost his mother her life. The sensibility which was all that his parents left him, constituted (he says) their happiness, but occasioned all his misfortunes. He was “born almost dying,” but was preserved and reared by the tenderness of an aunt (his father’s sister). He remembers not how he learned to read, but only recollects that his first studies were some romances left by his mother, which engaged his father, as well as himself, whole nights, and gave him a very early knowledge of the passions, and also wild and romantic notions of human life. The romances ended with the summer of 1719. Better books succeeded, furnished by the library of his mother’s father, viz. “Le Sueur’s History of the Church and the Empire;” “Bossuet’s Discourses on Universal History;” “Plutarch’s Lives;” ' Nani’s History of Venice;“”Ovid’s Metamorphoses;“”La Bruyere;“ ”Fontenelle’s Worlds, and Dialogues of the Dead“and some volumes of” Moliere.“Of these” Plutarch“were his favourite; and he soon preferred Agesilaus, Brutus, and Aristides, to Oroondates, Artamenes, aud Juba; and to these lives, and the conversations that they occasioned with his father, he imputes that free and republican spirit, that fierce and intractable character, which ever after was his torment. His brother, who was seven years older, and followed his father’s business, being neglected in his education, behaved so ill, and was so incorrigible, that he fled into Germany, and was never heard of afterwards. On the contrary, the utmost attention was bestowed on John James, and he was almost idolized by all. Yet he had (he owns) all the faults of his age he was a prater, a glutton, and sometimes a liar; he stole fruit, sweetmeats, and victuals but he never delighted in being mischievous or wasteful, hi accusing others, or in tormenting poor animals. He re^ Jates, however, an indelicate trick he played one Madame Clot while she was at prayers, which still, he says, diverts him, because” she was the most fretful old woman he ever knew.“His” taste, or rather passion, for music“he owed to his aunt Susan, who sang most sweetly; and he paints her in most pleasing colours. A dispute, which his father had with a French captain obliging him to quit Geneva, our author was left under the care of his uncle Bernard, then employed on the fortifications, who having a son of the same age, these cousins were boarded together at Bossey, at M. Lambercier’s, a clergyman, to learn Latin, and other branches of education. In this village he passed two happy years, and formed an affectionate friendship with his cousin Bernard. A slight offence, the breaking the teeth of a comb, with which he was charged, but denied it, and of which now, fifty years after, he avows his innocence, bub for which he was severely punished, and a like chastisement, which, for a like offence, was also unjustly inflicted on his cousin, gave both at last a distaste for this paradise, and great pleasure in being removed from it. This incident made a deep and lasting impression upon him, as did another about planting a willow and a walnut tree, for which we must refer to his own account. At his return to Geneva he continued two or three years wiih his uncle, losing his time, it not being determined whether he should be a watch-maker, an attorney, or a minister. To the last he was most inclined, but that the small remains of his mother’s fortune would not admit. In the mean time he learned to draw, for which he had a taste, and read” Euclid’s Elements“withes Cousin. Thus they led an idle, but not a vicious life, making cages, flutes, shuttle-cocks, drums, houses, cross-bows, and puppets, imitating Punch, acting plays, and at last makiog sermons. He often visited his father, wlxo was then settled at Nion, a small town in the country of Vaud, and there he recounts two amours (as he calls them) that he had, at the age of eleven, with two grown misses, whom he archly describes. At last he was placed with M. Massiron, register of the city, to learn his business; but, being by him soon dismissed for his stupidity, he was bound apprentice, not, however, to a watch-maker, but to an engraver, a brutal wretch, who not only treated him most inhumanly, but taught him to lie, to be idle, and to steal. Of the latter he gives some instances. In his sixteenth year, having twice on a Sunday been locked out of the city-gates, and being severely threatened by his master if he stayed out a third time, by an unlucky circumstance this event happening, he swore never to return again, sending word privately to his cousin Bernard of what he proposed, and where he might once more see him; which he did, not to dissuade him, but to make him some presents. They then parted with tears, but never met or corresponded more,” which was a pity, as they were made to love each other.“After making some reflections on what would have been his fate if he had fallen into the hands of a better master, he informs us that at Consignon, in Savoy, two leagues from Geneva, he had the curiosity to see the rector, M. de Pontverre, a name famous in their history, and accordingly went to visit him, and was well received, and regaled with such a good dinner as prevented hisreplyingto his host’s arguments in favour of holy mother Church, and against the heresy of Geneva. Instead of sending him back to his family, this devout priest endeavoured to convert him, and recommended him to mad. de Warens, a good charitable lady, lately converted, at Annecy, who had quitted her husband, her family, her country, and her religion, for a pension of 1500 Piedmontese livres, allowed her by the King of Sardinia. He arrived at Annecy on Palm- Sunday, 1728 and saw madam de Warens. This epoch of his life determined his character. He was then in the middle of his 16th year; though not handsome, he was well made, had black hair, and small sparkling eyes, &c. charms, of which, unluckily, he was not unconscious. The lady too, who was then 28, he describes as being highly agreeable and engaging, and having many personal charms, although her size was small, and her stature short. Being told she was just gone to the Cordeliers church, he overtook her at the door, was struck with her appearance, so different from that of the old crabbed devotee which he had imagined, and was instantly proselyted to her religion. He gave her a letter from M. de Pontverre, to which he added one of his own. She glanced at the former, but read the latter, and would have read it again, if her servant had not reminded her of its being church-time. She then bade John James go to her house, ask for some breakfast, and wait her return from mass. Her accomplishments he paints in brilliant colours; considers her as a good Catholic; and, in short, at first sight, was inspired by her with the strongest attachment, and the utmost confidence. She kept him to dinner, and then inquiring his circumstances, urged him to go to Turin, where, in a seminary for the instruction of catechumens, he might be maintained till his conversion was accomplished; and engaged also to prevail on M. de Bernet, the titular bishop of Geneva, to contribute largely to the expence of his journey. This promise she performed. He gave his consent, being desirous of seeing the capital, and of climbing the Alps. She also reinforced his purse, gave him privately ample instructions; and, entrusting him to the care of a countryman and his wife, they parted on AshWednesday. The day after, his father” came in quest of him, accompanied by his friend M. Rixal, a watch-maker, like himself, and a good poet. They visited madam de Warens, but only lamented with her, instead of pursuing and overtaking him, which they might, they being on horseback, and he on foot. His brother had been lost by a like negligence. Having some independent fortune from their mother, it seemed as if their father connived at their flight in order to secure it to himself, an idea which gave our author great uneasiness. After a pleasantjourney with his two companions, he arrived at Turin, but without money, cloaths, or linen. His letters of recommendation admitted him into the seminary; a course of life, and a mode of instruction, with which he was soon disgusted. In two months, however, he made his abjuration, was baptized Ht the cathedral, absolved of h f eresy by the inquisitor^ and then dismissed, with about 20 livres in his pocket; thus, at once, made an apostate and a dupe, with all his hopes in an instant annulled. After traversing the streets, and viewing the buildings, he took at night a mean lodging, where he continued some days. To the king’s chapel, in particular, he was frequently allured by his taste for music, which then began to discover itself. His purse, at last, being almost exhausted, he looked out for employment, and at last found it, as an engraver of plate, by means of a young woman, madame Basile, whose husband, a goldsmith, was abroad, and had left her under the care of a clerk, or an jEgisthus, as Rousseau styles him. Nothing, he declares, but what was innocent, passed betwixt him and this lady, though her charms made great impression on him; and soon after, her husband returning, and finding him at dinner with her confessor, the clerk, &c. immediately dismissed him the house. His landlady, a soldier’s wife, after this procured him the place of footman to the countess dowager of Vercullis, whose livery he wore; but his business was to write the letters which she dictated, a cancer in her breast preventing her writing them herself; letters, he says, equal to those of madam de Sevigne. This service terminated, in three months, with his lady’s death, who left him nothing, though she had great curiosity to know his history, and to read his letters to madam de Warens. He saw her expire with many tears her life having been that of a woman of wit and sense, her death being that of a sage. Her heir and nephew, the count de la Roque, gave him 30 livres and his new cloaths; but, on leaving this service, he committed, he owns, a diabolical action, by falsely accusing Marion, the cook, of giving him a rosecoloured silver ribbon belonging to one of the chambermaids, which was found upon him, and which he himself had stolen. This crime, which was an insupportable load on his conscience, he says, all his life after, and which he never avowed before, not even to Madam de Warens, was one principal inducement to his writing his “Confessions,” and he hopes, “has been expiated by his subsequent misfortunes, and by forty years of rectitude and honour in the most difficult situations.” On leaving this service, he returned to his lodgings, and, among other acquaintances that he had made, often visited M. Gaime, a Savoyard abbé, the original of the “Savoyard Vicar,” to whose virtuous and religious instructions, he professes the highest obligations. The count de la Roque, though he neglected to call upon him, procured him, however, a place with the count de Gouvon, an equerry to the queen, where he lived much at his ease, and out of livery. Though happy in this family, being favoured by all, frequently waiting on the count’s beautiful grand -daughter, honoured with lessons by the abbe“, his younger son, and having reason to expect an establishment in the train of his eldest son, ambassador to Venice, he absurdly relinquished all this by obliging the count to dismiss him for his attachment to one of his countrymen, named Bacle, who inveigled him to accompany him in his way back to Geneva; and an artificial fountain, which the abbe* de Gouvon had given him, helped, as their purse was light, to maintain them till it broke. At Annecy he parted with his companion, and hastened to madam de Warens, who, instead of reproaching, lodged him in her best chamber, and” Little One“(Petit) was his name, and” Mama“hers. There he lived most happily and innocently, he declares, till a relation of” Mama,“a M. d'Aubonne, suggested that John-James was fit for nothing but the priesthood, but first advised his completing his education by learning Latin. To this the bishop not only consented, but gave him a pension. Reluctantly he obeyed, carrying to the seminary of St. Lazarus no book but Clerambault’s cantatas, learning nothing there but one of his airs, and therefore being soon dismissed for his insufficiency. Yet madam de Warens did not abandon him. His taste for music then made them think of his being a musician, and boarding for that purpose with M. le Maitre, the organist of the cathedral, who lived near” Mama,“and presided at her weekly concerts. There he continued for a year, but his passion for her prevented his learning even music. Le Maitre, disgusted with the Chapter, and determined to leave them, was accompanied in his flight, as far as Lyons, by John-James; but, being subject to fits, and attacked by one of them in the streets, he was deserted in distress by his faithless friend, who turned the corner, and left him. This is his third painful” Confession.“He instantly returned to Annecy and” Mama; but she, alas! was gone to Paris. After this, he informs us of the many girls that were enamoured of him: of his journey with one of them, on foot, to Fribourg; of his visiting his father, in his way, at Nion; and of his great distress at Lausanne, which reduced him to the expedient of teaching music, which he knew not, saying he was of Paris, where he had never been, and changing his name to Voussore, the anagram of Rousseau. But here his ignorance and his imprudence exposed him to public shame, by his attempting what he could not execute. Being thus discomfited, and unable to subsist at Lausanne, he removed to Neufchatel, where he passed the winter. There he succeeded better, and, at length, by teaching music, insensibly learned it.

, a very distinguished musician in the last century, was born at Naples May 11, 1735, according to one account, but Dr. Burney says 1727. He was educated in the conservatorio of St. Onofrio, under Durante, and made rapid progress in the science, attaching himself principally to the violin, on which he became a most accomplished performer. He afterwards resided at Rome eight years; and at Venice, where he remained four years, he was appointed master of the conservatorio of the Ospidaletto. It was here where he first composed for the church, but always kept his sacred and secular style of composition separate and distinct. His ecclesiastical compositions are not only learned, solemn, and abounding with fine effects, but clothed in the richest and most pure harmony. His reputation increasing, he visited, by invitation, some of the courts of Germany, and among others those of Brunswick and Wittemberg, where he succeeded the celebrated Jomelli; and after having composed for all the great theatres in Italy and Germany with increasing success, he came to England in 1772, and here supported the high reputation he had acquired on the continent. His operas of the “Cid” and “Tamerlane” were equal, says Dr. Burney, if not superior, to any musical dramas we have heard in any part of Europe. He remained, however, too long in England for his fame and fortune. The first was injured by cabals, and by what ought to have increased it, the number of his works; and the second by inactivity and want of economy.

Though, if we may believe his encomiasts, the genius of Gerbert embraced all the branches of learning, its peculiar bent was to mathematical inquiries. In these, when the barbarism of the age is considered, he may be said to have advanced no inconsiderable way. What was the extent of his astronomical science, does not appear: but what chiefly deserves notice, is the facility with which he aided his own progress, and rendered discovery more palpable, by combining mechanism with theory. He constructed spheres, the arrangements of which he describes observed the stars through tubes invented a clock, which with some accuracy marked the hours, and was esteemed an able musician. He is said to have been as well skilled in the construction of musical instruments as in the use of them, particularly the hydraulic organ. William of Malmsbury speaks with wonder of the perfection to which he had brought this instrument, by means of blowing it with warm water. Dr. Burney thinks that the application of warm water may have been the invention of Gerbert, though, in all probability, he had followed the principles of Vitruvius in constructing the instrument.

, a Grecian poet, wit, and somewhat of a philosopher, uas born in the 35th olympiad, or 558 B.C. and is said to have died in his ninetieth year. He was a native of Ceos, one of the Cyclades, in the neighbourhood of Attica, and became the preceptor of Pindar. Both Plato and Cicero speak of him, not only as a good poet ana musician, but also as a man of wisdom and virtue. His lengthened life gave him an opportunity of knowing a great number of the first characters in antiquity, with whom he was in some measure connected. Fabncius informs us that he was contemporary, and in friendship with Pittacus of Mitylene, Hipparchus, tyrant of Athens, Pausanias, king of Sparta; Hiero, tyrant of Syracuse also with Themistocles, and with Alcuudes, king of Thessaly. X uophon, in his dialogue upon tyranny, makes him one of the interlocutors. His famous answer to Hiero. as recorded by Cicero, has been often quoted as a proof, not only of his wisdom, hut his piety. When Hiero asked of him a definition of God, he requested a day to consider of it; when this was expired, he doubled the time, and thus he did repeatedly, till the monarch desired to know his reason for this proceeding “It is,” said he,“because the longer I reflect on the question, the more difficult it appears to be.”

When he was young, he fell in love with, and married a widow, daughter of Claudius Apollinaris, a musician of Naples. He describes her in his poems, as a very beautiful, learned, ingenious, and virtuous woman, and a great proficient in his own favourite study of poesy. Her society was a solace to him in his heavy hours, and her judgment of no small use in his poem, as he himself has confessed to us in his “Sylvas.” He inscribed several of his verses to her, and as a mark of his affection behaved with singular tenderness to a daughter which she had by a former husband. During his absence at Naples for the space of twenty years, she behaved with the strictest fidelity, and at length followed him, and died there. He had no children by her; and therefore adopted a son, whose death he bewails in a very pathetic manner. It appears that he sold a tragedy called “A<;ave” to Paris, already mentioned, and that what he got by this and Domitian’s bounty had set him above want. He informs us that h'e had a small country seat in Tuscany, where Alba formerly stood. With regard to his moral character, from what we can collect, he appears to have been religious almost to superstition, an affectionate husband, a loyal subject, and good citizen. Some critics, however, have not scrupled to accuse him of gross flattery to Domitian: and that he paid his court to him with a view to interest, cannot be denied, yet his advocates are willing to believe that his patron had not arrived to that pitch of wickedness and impiety at the time he wrote his poem, which he showed afterwards. Envx made no part of his composition. That he acknowledged merit, wherever he found it, his Genethliacon of Lucan, and Encomia on Virgil, bear ample testimony. He carried his reverence for the memory of the latter almost to adoration, constantly visiting his tomb, and celebrating his birthday with great solemnity. His tragedy of “Agave” excepted, we have all his works, consisting of his “Sylvae,” or miscellaneous pieces, in five books, his “Tbebaid” in twelve, and his “Achilleid” in two.

Though it has been commonly said that Tallis was organist to Henry VIII. and the three succeeding princes his descendants, it may well be doubted whether any \-ayman were employed in that office till the beginning of the reign of queen Elizabeth, when Tallis and Bird were severally appointed organists of the royal chapel. Notwithstanding he was a diligent collector of musical antiquities, and a careful peruser of the works of other men, the compositions of Tallis, learned and elegant as they are, are so truly original, that he may justly be said to be the father of the cathedral style; and, though a like appellation is given by the Italians to Palestrina, it is much to be questioned, considering the time when Tallis flourished, whether he could derive the least advantage from the improvements of that great man. Perhaps he laid the foundation of his studies in the works of the old cathedralists of this kingdom, and probably in those of the German musicians, who in his time had the pre-eminence of the Italians; and that he had an emulation to excel even these, may be presumed from the following particular. John Okenheim, a native of the Low Countries, and a disciple of Iodocus Pratensis, had made a composition for no fewer than thirty-six voices, which, Glareanus says, was greatly admired. Tallis composed a motet in forty parts, the history of which stupendous composition, as far as it can now be traced, i< ^iven by sir John Hawkins. Notwithstanding his supposed attachment to the Romish religion, it seems that Tallis accommodated himself and his studies to the alterations introduced at the reformation. With this view, he set to music those several parts of the English liturgy, which at that time were deemed the mojt proper to be sung, namely, the two morning services, the one comprehending the “Veriite Exultemus,” “Te Deum,” and “Benedictus” and the other, which is part of the communion-office, consisting of the “Kyrie Eleison,” “Nicene Creed,” and “Sanctus:” as also the evening service, containing the “Magnificat,” and “Nunc dimittis.” All these are comprehended in that which is called Tallis’s first service, as being the first of two composed by htm. He also set musical notes to the Preces ftnd Responses, and composed that Litany which for its excellence is sung on solemn occasions in all places where the choral service is performed. As to the Preces of Tallis in his first service, they are no other than those of Marbeck in his book of Common-prayer noted: the Responses are somewhat different in the tenor part, which is supposed to contain the melody; but Tallis has improved them by the addition of three parts, and has thus formed a judicious contrast between the supplications of the priest and the suffrages of the people as represented by the choir. The services of Tallis contain also chants for the “Venite Kxultemus,' 1 and the” Creed of St. Athanasius:" these are tunes that divide each verse of the psalm or hymn according to the pointing, to the end that the whole may be sung alternately by the choir, as distinguished by the two sides of the dean and thfe chanter. Two of these chants are published in Dr. Boyce’s Cathedral Music, vol. I. The care of selecting from the Common-prayer the offices most proper to be sung was a matter of some importance, especially as the rubric contains no directions about it; for this reason it is supposed that the musical part of queen Elizabeth’s liturgy was settled by Parker, archbishop of Canterbury, who was not only a great divine, an excellent canonlawyer and ritualist, and a general scholar, but also a skilful musician. Besides the offices above-mentioned, constituting what are now termed the Morning, Communion, and Evening Services, in four parts, with the Preces, Responses, and Litany, Tailis composed many anthems. He died Nov. 23, 1585, and was buried in the parishchurch of Greenwich in Kent; where there is a brass plate for him in the chancel; the inscription on which was repaired by dean Aldrich, and may be seen in Strype’s Stow, but no memorial now remains,

, styled by Dr. Burney, “the admirable,” was born in April 1692, at Pirano in the province of Istria. His father having been a great benefactor to the cathedral at Parenzo, was ennobled for his piety. Joseph was intended for the law, but taking up the study of music, among his other pursuits, it prevailed over all the rest in gaining his attachment. In 1710, he was sent to the university of Padua, to study as a civilian; but, before he was twenty, having married without the consent of his parents, they wholly abandoned him. After wandering for some time in search of an asylum, he was received in a convent at Assissi, by a monk to whom he was related. Here he amused himself by practising the violin, till being accidentally discovered by a Paduan acquaintance, family differences were accommodated, and he settled with his wife at Venice. While he remained there, he heard, ia 1714, the celebrated Veracini, whose performance, excelling every thing he had then heard, excited in his mind a wonderful emulation. He retired the very next day to Ancona, to study the use of the bow with more tranquillity, and attain, if possible, those powers of energy and expression which he had so greatly admired. By diligent study and practice, he acquired such skill and reputation, that iti 1721, he was invited to the place of first violin, and master of the band, in the famous church of St. Antony of Padua. He had also frequent invitations, which he declined, to visit Paris and London By 17i38, he had made many excellent scholars, and formed a school, or method of practice, that was celebrated all over Europe, and increased in fame to the end of his life. In 1744, he is said to have changed his style, from extremely difficult execution, to graceful and expressive; and Pasqualino Bini, one of his besfc scholars, having heard of the change, placed himself afresh under his tuition. This admirable musician, and worthy mail, for such he is represented, died Feb. 26, 1770, to the great regret of the inhabitants of Padua, where he had resided near fifty years; and where he was not only regarded as its chief and most attractive ornament, but as a philosopher, and even a saint, having devoted himself to the service of his patron St Antony of Padua.

, the projector of a French Parnassus, was the son of one of the king’s secretaries, and born at Paris in 1677. He studied at the Jesuits’ college in Paris, where he acquired a taste for the belles lettres that predominated during the whole of his life. Being destined for the military profession, he had in his fifteenth year a company of 100 fuzileers, which bore his name; and was afterwards a captain of dragoons. After the peace of Ryswick, he purchased the place of maitre d‘hotel to the dauphiness, the mother of Louis XV. Losing this situation at her death, he took a trip to Italy, and there improved his taste in painting, of which he was esteemed a connoisseur. On his return he was appointed provincial commissary at war, an office in which he conducted himself with uncommon generosity. His attachment to Louis XIV. and his admiration of the men of genius of that monarch’s time, induced him, in 1708, to project a Parnassus, in bronze, to commemorate the glories of his sovereign, and the genius of the most celebrated poets and musicians. This was no hasty performance, however, for he did not complete his plan before 1713. This Parnassus was nothing else than a mountain, with a good elevation, on which appeared Louis XIV. in the character of Apollo, crowned with laurels, and holding a lyre in his hand. Beneath him were the three French graces, madame de la Suze, madame des Houlieres, and mademoiselle de Scuderi. Round this Parnassus was a grand terras, on which were eight poets and a musician; namely, Peter Corneille, Moliere, Racan, Segrais, La Fontaine, Chapelle, Racine, Boileau, and Lully. Inferior poets were commemorated by medallions. Boileau is said to have been Tillet’s adviser in some part of this scheme, and, his biographer says, it were to be wished that celebrated poet had likewise advised him as to the selection of those on whom he was conferring immortality. His next object was to get this Parnassus erected in some public place or garden. He proposed the scheme therefore to Desforts, the minister then at the head of the ’finances, and asked only, by way of bonus, the place of farmer-general; but Desforts contented himself with praising his disinterestedness. Disappointed in this, he published, in 1727, a description of his work under the title of “Le Parnasse Francois,” 1732, fol. and afterwards three supplements, the last in 1760, containing the lives of the poets down to the last date; but the grand scheme remained unexecuted. Titon, who is represented as a generous patron of literary merit, died Dec. 26, 1762, at the advanced age of eighty- five. Besides the description of his Parnassus, he published an “Essai sur les honneurs accordés aux Savaiis,” 12mo.

, a learned divine, was the only son of an eminent tea-merchant by his first marriage, and born in 1734. He was intended by his father to succeed him in that house, which he had so well established; but the son, feeling an impulse towards literature and science, entreated his father to let him devote himself to study and a classical education; and, being indulged in his wish, he was matriculated at Sidney-college, Cambridge. Mr. T. was contemporary in that university with Gray, Mason, and Bate; and so able a musician, that, besides playing the harpsichord and organ in a masterly manner, he was so excellent a performer on the violin as to lead all the concerts, and even oratorios, that were performed in the university during term-time, in which Bate played the organ and harpsichord. His taste in music was enlarged and confirmed by study as well as practice, as few professors knew more of composition, harmonics, and the history of the art and science of music, than this intelligent and polished Dilettante.

, a musician of the sixteenth cen-, tury, born at Westminster, and brought up in the royal chapel, was musical preceptor to prince Edward, and probably to the other children of Henry VIII. In 1545 he was admitted to the degree of doctor in music at Cambridge and in 1548 was incorporated a member of the university of Oxford; in the reign of queen Elizabeth he was organist oithe royal chapel, and a man of some literature. In music he was excellent; and notwithstanding that Wood, speaking of his compositions, says they are antiquated, and not at all valued, there are very few compositions for the church of equal merit with his anthems.

The “Acts of the Apostles,” set to music by Dr. Tye, were sung in the chapel of Edward VI. and probably in other places where choral service was performed; but the success of them not answering the expectation of their author, he applied himself to another kind of study, the composing of music to words selected from the Psalms of David, in four, five, and more parts; to which species of harmony, for want of a better, the name of Anthem, a corruption of Antiphon, was given. In Dr. Boyce’s collection of cathedral music, lately published, vol. II. is aa anthem of this great musician, “I will exalt thee,” a most perfect model for composition in the church-style, whether we regard the melody or the harmony, the expression or the contrivance, or, in a word, the general effect of the whole. In the Ashmolean ms. fol. 189, is the following note in the hand-writing of Antony Wood “Dr. Tye was a peevish and humoursome man, especially in his latter days and sometimes playing on the organ in the chapel of Qu. Eliz. which contained much music, but little delight to the ear, she would send to the verger to tell him that he played out of tune; whereupon he sent word, that her ears were out of tune.” The same author adds, that Dr. Tye restored church-music after it had been almost ruined by the dissolution of abbeys. What sir John Hawkins, from whom this article appears to have been taken by our predecessors, has said of Tye, is confirmed by Dr. Burney, who says that he was doubtless at the head of all our ecclesiastical composers of that period. This eminent musical historian adds, that Dr. Tye, “if compared with his contemporaries, was perhaps as good a poet as Sternhold, and as great a musician as Europe then could boast; and it is hardly fair to expect marc perfection from him, or to blame an individual for the general defects of the age in which he lived.”

Lionardo da Vinci broke forth with a splendour which eclipsed all his predecessors: made up of all the elements of genius, favoured by form, education, and circumstances, all ear, all eye, all grasp painter, poet, sculptor, anatomist, architect, engineer,chemist, machinist, musician, philosopher, and sometimes empiric he laid hold of every beauty in the enchanted circle, but, without exclusive attachment to one, dismissed in her turn each. Fitter to scatter hints than to teach by example, he wasted life insatiate in experiment. To a capacity which at once penetrated the principle and real aim of the art, he joined an inequality of fancy that at one moment lent him wings for the pursuit of beauty, and the next flung him on the ground to crawl after deformity. We owe to him chiaroscuro with all its magic, but character was his favourite study; character he has often raised from an individual to a species, and as often depressed to a monster from an individual. His notion of the most elaborate finish, and his want of perseverance, were at least equal. Want of perseverance alone could make him abandon his cartoon designed for the great council-chamber at Florence, of which the celebrated contest of horsemen was but one group; for to him who could organize that composition, Michael Angelo himself might be an object of emulation, but could not be one of fear. His line was free from meagreness, and his forms presented beauties; but he appears not to have been very much acquainted with the antique. The strength of his conception lay in the delineation of male heads; those of his females owe nearly all their charms to chiaroscuro; they are seldom more discriminated than the children they follow; they are sisters of one family.