editions.]

[Footnote 4: Antiently, each voice ceased at the end of the _Guida_,
which is here denoted by the sign *. The present custom is for all the
voices to continue until they reach a point at which they may all
conveniently close together, as indicated by the pause.]

[Footnote 5: Abbreviated form of _Christicola_. (Transcriber's Note:
The original lyrics use a Greek chi and a rho with a line over it,
represented above as X[=p].)]

[cross symbol] This sign indicates the bar at which each
successive Part is to make its entrance.

[Illustration: Fig. 20.

SAXON HARP.

(From manuscript in the library of Cambridge University.)]

The harp was the principal instrument of these people, and their songs
and poems contain innumerable references to it. Sir Francis Palgrave
says in his "History of the Anglo-Saxons": "They were great amateurs
of rhythm and harmony. In their festivals the harp passed from hand to
hand, and whoever could not show himself possessed of talent for
music, was counted unworthy of being received in good society. Adhelm,
bishop of Sherbourne, was not able to gain the attention of the
citizens otherwise than by habilitating himself as a minstrel and
taking his stand upon the bridge in the central part of the town and
there singing the ballads he had composed." One of the earliest
representations of the English harp that has come down to us is found
in the Harleian manuscript in the British Museum. It is presumably of
the tenth century.

[Illustration: Fig. 21.

KING DAVID.

(From Saxon Psalter of the tenth century.)]

The harp was three or four feet in height. It had eleven strings. It
was held between the knees, and was played with the right hand. In the
thirteenth century it appears to have been played with both hands.

Two circumstances in this account may well surprise us; nor are there
data available for resolving the questions to which they give rise.
The presence of two such instruments as the harp and the crwth in this
part of Europe is not to be explained by historical facts within our
knowledge. The harp does not appear in musical history after its
career in ancient Egypt until we find it in the hands of these bards,
scalds and minstrels of northern Europe. The Aryans who crossed into
India do not seem to have had it. Nor did the Greeks, nor the Romans.
We find it for a while in Asia, but only in civilizations derived from
that of Egypt, already in their decadence wh