iptive of the instrument then known under that
name.

"Twelve pair of bellows ranged in stately row
Are joined above, and fourteen more below;
These the full force of seventy men require,
Who ceaseless toil, and plenteously perspire:
Each aiding each, till all the winds be prest
In the close confines of the incumbent chest,
On which four hundred pipes in order rise,
To bellow forth the blast that chest supplies."

It is presumed that the seventy men did not continue to blow throughout
the performance on this monster engine, but laid in a stock of wind,
which was gradually expended as the organist played; the keys were five
or six inches broad, and must have been played upon by blows of the fist;
the compass did not then exceed more than two octaves; half notes were
not introduced until the beginning of the twelfth century, stops, not
until the sixteenth; from which we may infer, that a real genuine organ,
deserving the name, could not have been manufactured many years prior to
the Reformation; but from the date of its first introduction may be
ascribed the first attempts at the invention of harmony.

It is curious, however, in these days of penny concerts and music for the
million, to look back to that time when the only probable entertainments
of a secular character in which music bore a part, were such as could be
furnished by the _hautboys_, sackbuts, and _recorders_ of half-a-dozen
"waytes," as we find to have been the case in this city in the sixteenth
century, when permission was first granted these performers to play
comedies, interludes, plays and tragedies. Will Kempe mentions these
same _waytes_ with great praise, and their renown may be inferred from
the fact of their being solicited by Sir Francis Drake "to accompany him
on his intended voyage" in 1589, upon which occasion the city provided
them with new instruments, new cloaks, and a waggon to convey their
chattels. The inventory of musical instruments in the possession of the
city in 1622, forms a rather striking contrast to a "band" of the
nineteenth century, consisting as it did of only four "sackbuts," four
"hautboys" (one broken), two tenor cornets, one tenor "recorder," two
counter tenor "recorders," five "chaynes," and five "flagges."

In the seventeenth century, when the country was deluged with civil war,
and overrun with Royalist and Puritan soldiers, music declined, and we
read little concerning it, here or