after the Restoration, Lock received the appointment of director of the king's music, with a salary of £200; and in this office he was succeeded by Cambert, a French composer, who produced an English opera, and introduced some improvements in violin music. He was followed by Lewis Grabut, also a French musician, who set Dryden's Albion and Albanius, and in the poet's preface is much complimented. This piece, a satire on Lord Shaftesbury, failed, because, Downes tells us, it was brought out on the very day when the Duke of Monmouth landed in the west.' But an inspection of the printed score of the opera is alone sufficient to account for its ill success.2

Toward the close of Charles's reign whatever was French became unpopular, the music of that nation among other things, and the productions of Italy began to be fashionable. Roger North, in a manuscript Memoir of Music, speaks at large of an Italian, Nicola Matteis, "an excellent musician, who performed wonderfully on the violin," and who seems, by his example and publications, to have much improved the practice of that instrument in this country.

Marsh, bishop of Ferns, and afterward archbishop of Armagh, was one of the first to treat the theory of acoustics methodically. Anthony Wood says that he was well skilled in the practical part of music, and, while principal of Alban Hall, had weekly concerts in his apartments.

The eminent mathematician, John Wallis, D.D., a king's chaplain, and one of the founders of the Royal Society, published, in 1682, an edition of Ptolemy's Harmonics, with notes and a very learned appendix, in which ancient and modern music are compared, and the near resemblance of the modes and scales is clearly demonstrated. He was also the author of many papers, in the Philosophical Transactions on musical subjects. John Birchensha, Thomas Mace, Christopher Simpson, and John Playford," also published practical treatises on the art, which contributed to its improvement in this country.

The popular English songs, ballads, &c., of this period are certainly not inferior to the cotemporary productions of any foreign country, while some few of them possess never-fading beauties; though, from the return of the " Frenchified Charles" up to the Revolution (and indeed long after), the tide of fashion set strong against the productions of British composers. Our national anthem, as it is called, "God save the King," had its birth, there is reason to believe, in the reign of James II.; and the air "Lilliburlero," which Bishop Burnet says "the whole army and all the people, both in city and country, were perpetually singing," is still a favor

Charles II. had some knowledge of music. Sir J. Hawkins tells us that "He understood the notes, and sang-to use the expression of one who had often sung with him—a plump base. In a letter to Bennet, afterward Earl of Arlington, dated Bruges, 1655, he says, Pray get me pricked down as many corrants and sarrabands and other little dances as you can, and bring them down with you, for I have got a small fiddler that does not play ill on the fiddle." From this we are led to conclude that his taste in music was not of a very refined description. But many of the nobility during his reign were skillful in the art, and some very learned in the science. Among these Sir Francis North, chief justice of the Common Pleas, and subsequently lord keeper of the great seal, published "A Philosophical Essay of Music, 1677,” a work which just-ite with the multitude, though the original words ly entitles him to be considered as the father of musical philosophy in England. It would appear that his delineation of the harmonical vibrations of strings was adopted by Euler, in his Tentamen novæ theora Musicæ. His brother, Roger North, above mentioned, says that he had an exquisite hand on the lyra and bass-viol, and sang any thing at sight that he turned composer, and from raw beginnings advanced so far as to complete divers concertos of two and three parts," &c.1

Lord Brouncker, the first president of the Royal Society, translated and published, in 1653, Descartes's Musica Compendium, "with necessary and judicious animadversions thereon," the latter dis

1 Roscius Anglicanus, by Downes.

2 Pepys says, in his Diary, Oct. 1, 1667, "At Whitehall, in boarded gallery, heard M. Grabu's Song upon Peace; but, God forgive me! I never was so little pleased with a concert of music in my life."-i1. 134. 3 Hawkins's Hist., iv. 359, note.

are forgotten, and all political feelings connected with it died away soon after James's abdication.

James II. was too much absorbed in his arbitrary and religious designs to have either leisure or inclination to think of the fine arts; music, therefore, continued stationary during his brief reign, and until the settlement of public affairs after the Revolution restored tranquillity to the public mind.

1 Phil. Trans., 1684, xiv. 471.

2 Athenæ Oxoniensis, ii. 3 Templum Musicum, 1664, a translation of Alstedius. 4 Music's Monument, 1676,

The Division Violist, 1659; and A Compendium of Practical Music, 1665.

6 A Brief Introduction to the Skill of Music, 1670; and Dr. Cam

pion's Art of Descant, enlarged, 1669.

7 In proof of this we need only refer to "A Collection of National English Airs, edited by W. Chappell ;" an elegant and excellent work, in 4to., just completed.

8 The late Duke of Gloucester told Dr. Burney that in the king's library were to be found the words of this song, beginning, “God save great James our king."

9 Burnet's Hist. of His Own Times, iii. 319.-See also Hume, ch. 4Life of the Right Honorable Francis North, &c., &c., by the Hon. lxxi. The air is supposed to be by Purcell, and appears under his Roger North, vol. i. name in Playford's Music's Handmaid, 1678.

CHAPTER VI.

THE HISTORY OF MANNERS AND CUSTOMS.

The Chair from one presented by Charles II. to Sir C. Ashmole, preserved in the Ashmolean Museum, Oxford; the Table and Book-Case from Sir P. Lely's Portrait of Killigrew; and the rest from Specimens in Private Collections.

SOFAS, STOOLS, AND CABINETS. From Specimens in Private Collections, and Pictures by Sir P. Lely. wear the high-crowned hat, the French hood, the laced stomacher, and the yellow-starched neckerchief. In the play of "The Blind Lady," printed in 1661, a serving-man says to a lady's maid, "You had once better opinions of me, though you now wash every day your best handkerchief in yellow

starch." The beauties of the court of Charles II., however, and those whose rank or fortune enables them to follow the fashion of the day, discarded the strait-laced dresses with the strait-laced manners of their puritanical predecessors; and, although the voluptuous paintings of Sir Peter Lely represent

STATE BED, DRESSING-GLASS, &c. From Specimens at Penshurst and in Private Collections.

in general rather more of a fanciful costume than the exact dress of the day, bare necks and arms, and full and flowing draperies, and trains of the richest satins and velvets, form the entirely new and characteristic features of the female habits of VOL. III.-55

this licentious period. A work published at this time by a Non-conformist divine is entitled "A Just and Seasonable Reprehension of the enormity of Naked Breasts and Shoulders," and contains an indignant censure of the long trains of the ladies,