ons, would have been meaningless. From about the eleventh
century the supposed meanings of the various signs of the neumes are
easily to be ascertained, because tables are given by a number of
writers of that period; but the earlier examples are practically
undecipherable. This notation came into use partly through
ecclesiastical influence, and partly owing to its being easy to write,
while at the same time it occupied little space upon the page. The
earlier examples, as already said, were without clefs or any means of
ascertaining the key note. After a while we find them with one line
representing do or fa, and the signs arranged above, below, or upon
the line, at intervals approximately representing the pitch intended.
Still later we find a colored line for fa, a thumb nail line traced on
the parchment, but not colored, for re, and a different one for la.

[Music illustration: Fig. 33.

NEUME NOTATION OF THE ELEVENTH CENTURY, DECIPHERED BY MARTINI IN
"GREGORIAN" NOTATION.

Po-pu-le me-us quid fe-ci aut]

Still later four lines were used. There were many varieties of forms
of the neumes employed by the different copyists and by different
nationalities, the heaviest marks of this kind being those of the
Lombard-Gothic represented in Fig. 35. These marks were afterward
written upon a four-line staff, and the note heads were derived from
them.

[Illustration: Fig. 34.

NEUME NOTATION OF GUIDO OF AREZZO.]

There were no marks whatever for duration or measure in the neumes
notation, and its persistence through so long a time signifies very
plainly that it was not in the line of the musical life of the world,
but was a special hieratic notation made to answer for ecclesiastical
purposes by the help of carefully transmitted traditions.

[Music illustration: Fig. 35.

DECIPHERED NEUME NOTATION OF THE LATEST PERIOD.

Co-ro-nat re-gem om-ni-um]

One of the oldest forms of this notation is that of the lament for the
death of Charlemagne, an extract from which is here presented,
together with its translation as given by Naumann.

Incidentally this illustration gives a fair specimen of mediaeval
melody of the earlier period. It dates from the tenth century.

[Music illustration: "LAMENT FOR CHARLEMAGNE."

A so-lis or-tu us-que ad oc-ci-du-a
Lit-to-ra ma-ris planctus pulsat pec-to-ra.
Ul-tra ma-ri-na ag-mi-na tris-ti-ti-a
Te-ti-git in-gens cum er-ro-re ni-mi-o.
Heu! me do-lens, plan-go!