chapter ii

. is concerned with instruments--the gittern and citole--whose tones are alterable in pitch by "stopping," _i.e._, altering the length of the vibrating part of the string. I can only suppose that the author considers that the fact of the gittern and citole being sounded by plucking the strings, brings these instruments into alliance with the harp. I confess that I should like to have seen Class I. (strings unalterable in tone) including the harp, the rote, the psaltery, dulcimer (Plate I.), the aeolian-harp, and the piano. Then would come a class of instruments some at least of whose strings produce a variety of tones by stopping, _i.e._, shortening the vibrating region of the string, and this would include gittern and citole, lute, etc. But doubtless the author has good reason for his arrangement, and I have not knowledge enough to be his critic.

[Picture: Plate I. Psaltery and Dulcimer]

At p. 4 (Galpin) is represented the simple Irish harp or lyre which was known as the cruit or crot; it is essentially a harp, although it seems, in its infancy at any rate, to have had but five or six strings. The name cruit or crot afterwards developed into rotte, and under this name is described a remarkable instrument apparently dating from the fifth to the eighth centuries, which is figured at p. 34 (Galpin). It was found in the Black Forest in the grave of a warrior, together with his sword and bow, and seems to have been clasped in his arms, as though he had especially valued it. The true harp, which in its simplest form (Galpin, p. 8) chiefly differs from the rote in shape, {73a} is characterised by the picturesque triangular outline that is so familiar. It was of Teutonic origin, and Mr Galpin tells an admirable story of a Saxon who disguised himself as a Briton, by playing the rote instead of the harp, which would have revealed his nationality. In spite of its Saxon parentage the Irish adopted the harp, and a beautiful instrument of the early thirteenth century is preserved at Trinity College, Dublin (Galpin, p. 12). The Irish for _harp_ is _Clairsech_, {73b} a word that reminds me of an Irish friend who used to quote--

"Old Tracy and old Darcy Playing all weathers on the Clarsy."

Mr Galpin tells a pleasant story of St Ealdhelm, who was Bishop of Sherborne in the year 705. When he was about to preach he found the church empty; he therefore took his harp, and "standing on a bridge hard by, soon attracted a considerable crowd by his playing. Then he delivered his sermon."

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