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THE IRISH AND THE HIGHLAND HARPS
WIRE STRUNG IRISH HARP
MANUFACTURED BY J EGAN OF DUBLIN FOR THE BELFAST IRISH HARP SOCIETY
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MUSICAL INSTRUMENTS
BY
ROBERT BRUCE ARMSTRONG
AUTHOR OF 'THE HISTORY OF LIDDESDALE,' ETC.
THE IRISH AND
THE HIGHLAND HARPS
' t > *>
"Mute! mute the Harp! and lost the'inagit. aH'' '/> Wliich roused to rapture each Milesian heart ! In cold and rust the lifeless strings deca}', And all their soul of sons; has died awav."
EDINBURGH: DAVID DOUGLAS
1904
IMPRESSION One hundred and eiyhty Copies.
No. A^-'
(yCccq
'H-
« t c • •
TO THE MEMORY OF THE PATRIOTIC IRISHMEN WHO
ENDEAVOURED TO PRESERVE THE NATIONAL INSTRUMENT
BY ESTABLISHING AND SUPPORTING TWO
IRISH HARP SOCIETIES AT BELFAST
THIS VOLUME IS DEDICATED
PREFACE
\
It was the writer's intention that the chapters relating to the Irish, Highland, and Welsh Harps should form the concluding portion of this work, but as the two first-mentioned instruments are of primary importance, it has been decided to issue the chapters relating to them separately, and those treating of the English Guitar, Harp-Guitar, Guitare-Harpe, Apollo-Lyre, Harp-Lute-Guitar, Harp-Lute, Harp-Lyre, British-Lute -Harp, Dital-Harp, Harp- Ventura, and Royal Portable Irish Harp as a second part, each part being complete in itself and separately indexed. The writer had hoped to include the Triple Welsh Harp, but the letters addressed to those who were supposed to be able to give information regarding the tuning of the instrument have remained unanswered ; and as he has not considered it desirable to reprint the vague and unsatisfactory statements that are already before the public, the instrument is unnoticed. It is to be hoped that some person who thoroughly understands the Triple Welsh Harp will put on record the method of tuning any one of these instruments,' that is, the tuning of the outer and centre rows for each major and minor key, and such information as to fingering as may enable the possessor of one of these instruments to tune and play upon it. To Edward Bunting we are indebted for such information as we have as to the tuning of the Irish Harp with thirty strings, but when that Harp is furnished with more than thirty strings we have no definite knowledge as to the tuning of the additional strings. For instance, we do not know for certain whether they all belong to the treble or should be divided between the treble and the bass, and, if so, in what proportion they should be divided ; or to make it still plainer, we do not know the exact position of the thirty strings, as to the tuning of which we have certain knowledge from Bunting, upon a Harp which has a greater number of strings. The harpers
' The arrangement of the strings in the bass keynote string upon diflFerent instruments would upon specimens has been found to vary, so the presumably vary also.
viii MUSICAL INSTRUMENTS
who Instructed Bunting, and even those of a ranch later period, could have given the required information. They must also have known the number of steel strings that should be upon the Harp, and whether there should be two thick steel strings or only one between the thin steel strings and the brass strings. Now unfortunately there is, at least so far as the writer is aware, no person alive who is able to state positively what we so much wish to know. When this is so, may we not hope that some person will do even more for the Triple Welsh Harp, while it is still in use, than Bunting did for the Irish instrument, which has, since he wrote, become obsolete ? '
The writer will be glad to hear of any Irish or Highland Harps of considerable antiquity that are not noticed in this volume. There may be, and it is to be hoped that there are, interesting specimens in country houses that are known and valued, while some that have been put aside, and are forgotten, may yet be brought to light. "^
The photogravure plates, both in this and the succeeding volume, are by the Swan Electric Engraving Company, London, and the Messrs. Annan of Glasgow, and the lithographs by the Messrs. Banks and Co., and Messrs. M'Lagan and Gumming, of Edinburgh. All the plates and blocks marked by the monogram ^ are the writer's own work, and are almost entirely from rubbings and tracings, principally gelatine, taken from the original ornamentation, or from photographs. These, although mere outline drawings, he has endeavoured to make as accurate as possible, and it is hoped they fairly represent the objects referred to in the text. All the illustrations in both volumes are copyright, except such reproductions of engravings as have been previously published and have not been reproduced by hand.
It is, perhaps, the most pleasing duty of an author to acknowledge assistance he has received ; and in the production of this and the suc- ceeding volume assistance has been most generously and ungrudgingly given, not only by personal friends, but by many with whom he had no
' Since this paragraph was written a Tutor for the writer trusts that they will not be removed,
the Triple Welsh Harp, from the Ms. of the late at least before they have been cleaned of rust,
Ellis Roberts, has been published by the Vincent and then properly gauged and measured, and the
Music Co., 9 Beruers Street, London, W. number of each string, counting from the first
- If any such are discovered, and there are treble striug, and the metal, noted, strings or remuants of strings attached to them,
PKEFACE ix
previous acquaintance. His thanks are specially due to Lady and Miss Hodson, Mrs. and Miss Otway-Ruthven , Miss Middleton, the Council of the Society of Antiquaries, Scotland, the Council of the Royal Irish Academy, the Council of the Belfast Natural Historj'^ and Philosophical Society, Lord Walter Fitzgerald, Sir Robert Adair Hodson, Bart., the MacDermot Roe, Lieutenant-Colonel Ryan-Lanegan, Lieutenant-Colonel Plunkett, C.B., Rev. Thomas K. Abbott, Senior Fellow, T.C.D., Rev. F. W. Galpin, Rev. Alen M. Maclean, Rev. Canon Hewson, Joseph Anderson, E.sq., LL.D., T. H. Longfield, Esq., George Coffey, Esq., J. Romilly Allen, Esq., A. B. Skinner, Esq., Richard Langrishe, Esq., G. A. J. Cole, Esq., Walter G. Strickland, Esq., E. W. Hennell, Esq., Archibald Constable, Esq., William Douglas, Esq., Thomas Ross, Esq., George Donaldson, Esq., T. H. Thomas, Esq., W. I. Browne, Esq., William Jackson, Esq., Messrs. Adam and Charles Black, the Messrs. Glen, Mr. A. M'Googan, Mr. G. A. Stuart, Mr. Alexander Ritchie, and all others whose names may unintention- ally be omitted, but who have assisted in the production of this and the succeeding volume.
R. B. A.
Jpril ]90-t.
CONTENTS
FACE
Preface, .......... vii
THE IRISH HARP
Historical Notices. The Bards. Historical Notices (contimted). Representa- tions, Metal, Stone, etc. Description and Construction. Method of Playing. Scale and Tuning, etc Deca}' and Disappearance, . . 1-54
Existing Specimens
The Trinity College Harp. The Cast. Harp Mountings found at Ballinderry. The Fitzgerald or Dalway Harp, The Kildare Harp. The Castle Otway Harp. The O'Ffogerty Harp, Two Harps, the Property of the Royal Irish Academy. The Belfast Museum Harp. The Downhill Harp. The Bunworth Harp. The Hollybrook Harp. A Harp by John Egan. A Harp at South Kensington, The Charlemont Harp. The Belfast Society Harps. A Harp in the National Museum, Edinburgh, . . 65-109
Missing Specimens
A Harp noticed by Mr. Bellew, of Castle Bellew. The Magennis Harp. A Harp by John Kelly. The Hnrp of Arthur O'Neill. The Castle Caldwell Harp, 109-115
Specimens known to have been Destroyed Cardan's Harp. The Bunworth Collection. The Limerick Harp, . . 115-119
Music
Feaghan Geleash, or "Try if it is in tune." Lamentation of Dierdre for the
Sons of Usneach, Bunting, ....-• 121
A Lesson for the Harp, R. B. A., . . . . - • • 122
Coulin, R. B. A., 123
xu
MUSICAL INSTRUMENTS
Scott's Lamentation, R. B. A., .
The Young Man's Dream. Tlie Cavalcade of the Boyne, R. B. A
The Dawning of the Day. The CM Truagh, R. B. A., .
Girls, have you seen George 1 The Summer is coming, R. B. A.,
The Yellow Blanket. Little Molly 0, R. B. A.,
The Black Rosebud. Molly, my Treasure, R. B. A.,
The Groves of Blarney. The Wren, R. B. A., .
The Jolly Ploughman, R, B. A,, .
New Langolee, R. B. A., .
Molly Macalpin. Aileen Aroon, R. B. A.,
Kitty Nowlan. Nora, my Thousand Treasures, R. B. A.
Burn's March, R B. A., .
Cardan's Concerto, R. B. A.,
124 125 126 127 128 129 130 131 132 133 134 135 136
ILLUSTRATIONS (FULL-PAGE PLATES)
Frontispiece — wire-strung Irish Harp, manufactured by J. Egan, of Dublin, for
the Belfast Irish Harp Society. Title-page^arranged and drawn by R. B A. A. Bard and Harper from Derrick's Image of Ireland, ....
Representations of Harpers upon the Shrine of St. Moedoc and upon the Shrine
of St. Patrick's Tooth, Harp upon a Monument at Jerpoint Abbey, Edward Bunting, ....
Programme of Music played by four Harpers before H. M. George iv., at the
Mansion-House, Dublin, August 1821, Ancient Harp, Trinity College, Dublin — Plate I. Perspective and front. Details, R. B. A., ,, 11. Left side, ,, III. Right side. Harp Mountings found at Ballinderry, The Fitzgerald or Dalway Harp — ■
Plate I. Right side. Portion of the Fore-pillar, and a probable Box supplied by R. B. A., II. Left side of Fore-pillar and of the Harmonic Curve, and th front of the Fore-pillar, ....
The Kildare Harp —
Plate I. Perspective, ......
,, 11. Left side, .......
,, III. Details, .......
24 24 38
52
54 56 58 58 62
64
6G
70 70
72
CONTENTS
xiu
The Castle Otway Harp —
Plate I. Perspective, showing portion of the right side, ,, II. Perspective, showing portion of the left side, The O'Ffogerty Harp, Dennis Hempson, . The Bunworth Harp, The HoUybrook Harp, Thurlough Carolan,
74 7G 78 90 92 96 114
BLOCK ILLUSTRATIONS
Sub-title— The Irish Harp, R. B. A., .
Irish Harp, Crown and Shamrocks, R. B. A., .
Harper from Derrick's Image of Ireland. Irish Harp from Pretorius, 1619,
The Castle Otway Harp, showing the construction of the Box, R. B. A.,
"Shoes of the Strings" upon Irish Harps, R. B. A., .
Scale of the Irish Harp, from Pretorius, R. B. A.,
Scale of the Irish Harp, from Bunting, .....
Method of Tuning the Irish Harp, from Bunting,
The Strings of the Harp, R. B. A.,
The Graces, Shakes, Double Notes, Chords, etc., from Bunting, .
Double Notes, Chords, etc., for the right hand, from Bunting,
Scale of Egan's wire-strung Harp, and supposed Tuning, R. B. A.,
The Trinity College Harp. Left and right sides of the Harmonic Curve, K. B. A
Grotesque Animals represented upon the Fore-jiillar, R. B. A.,
Front and side of metal enrichment upon the Harmonic Curve, R. B. A ,
The Harp in its present state. The probable form of the Harp before it passed
through the hands of the restorers, R. B. A., The Harp-mountings from Ballinderry. The left side and lower end, R. B. A., The Fitzgerald or Dalway Harp. The Queen. Section of moulding underneath the Harmonic Curve, R. B. A., .....
The Ornamentation upon the flange of the T-formation, both sides, R. B. A The Kildare Harp. Ornamentation upon the Fore-pillar, R. B. A.,
Sound-hole and incised Ornamentation upon the Sounding-board, R. B. A., The Castle Otway Harp —
Ornamented Metal upon String-band. Side of Cap or enrichment upon the Harmonic Curve, R. B. A.,
Chevron and interlaced ornamentation upon the Harmonic Curve, R. B. A.,
The left side and the front of the Fore-pillar, R. B. A., .
Ornamentation in relief, and Wolf-dog upon the front of the Fore-pillar, R. B. A.,
XVII
xviii 26 28 29 37 38 39 40, 41
42, 43
43, 44 52 55 57 58
60 64
65 66 70 71
74 75 76
XIV
MUSICAL INSTRUMENTS
Sound-holes upon the Downhill and Castle Otway Harps, and incised Numerals
upon the latter, R. B. A., The O'Ffogerty Harp. The right side and back, R. B. A The O'Neill Harp, Dublin Museum, R. B. A., Harp in the Dublin Museum, R. B. A., . .
The Belfast Museum Harp, R. B. A., The Downhill Harp, R. B. A., .
The Bunworth Harp. The right side and the front of the Fore-pillar, R. B. A The Hollybrook Harp —
Diagram and sections, showing the construction of the Box, R. B. A.,
The right side, R. B. A., .
Section of the Fore-pillar, R. B. A., Harp at South Kensington, R. B. A., Harp by John Kelly, R. B. A., Arthur O'Neill, from Bunting,
78 80 82 84 85 89 93
97 98 99
103 110 111
CONTENTS
THE HIGHLAND HAEP (CLARSCHA)
FAQE
Historical Notices, Bards, Story-tellers, Vocalists. Musical Instruments. Excerpt from the Accounts of the Lord High Treasurer of Scotland, relating to the Harp and Clarscha. Representations upon Stone, . 139-158
Existing Specimens The Lamont Harp. The "Queen Mary" Harp, .
158-184
Music
Lude's Supper, E. B. A., .
Highland Laddie, R. B. A,, . . .
Leezie Linsay. The Yellow-haired Laddie, R. B. A.,
The Terror of Death, R. B. A., .
The Fiddler's Content, R. B. A , .
Rorie Dall's Sister's Lament, R. B. A.,
My Ain Kind Dearie. The Land o' the Leal, R. B. A.,
185 186, 187 188 189 190 191 192
ILLUSTRATIONS (FULL-PAGE PLATES)
The Highland Harp as represented upon Stone, at Aldbar, Nigg, Dupplin, Monifieth, St. Oran's Chapel, lona; the Cathedral, loiia ; Keills, and Kilcoy, R. B. A., . . . . . . - .154
The Lamont Harp —
Plate I. Perspective, . . . . . • .158
„ II. The Straps. The side and front of the metal enrichment, E. B. A., 160 ,, III. The upper portion of the box. The lower termination of the string-band. The treble end of the tuning-peg band — left
side. Do.-right side, R. B. A. 162
„ IV. Probable form of the Harp before the fraction of the Fore-pillar,
R. B. A. 166
The " Queen Mary " Harp —
Plate I. Perspective, . . . . . • .168
„ II. The Left side, . . . . . . .170
III. The Right side, . . . . - .172
„ IV. The Fore-pillar. The reptiles' heads, actual size, R. B. A., . 174
XVI
MUSICAL INSTRUMENTS
The "Queen Mary" HsiTp— Continued —
Plate V. Present form of the Harp and the probable form of the Harp ■when it left the hands of the artificer, R. B. A.,
„ vr. The Box No. 1. The front. The right side and shoulder. The left side and shoulder, R. B. A.,
„ VII. The Box No. 2. The upper portion of the back. Remains of ornamentation upon the left and right sides of the back. The right side of the projecting block, with the missing portion restored. The left side of do. The lower front of do., showing the portion worn away. The lower termina- tion of the box, R. B. A., ....
„ VIII. The Harmonic Curve. The front of the bass termination The moulding underneath. Section, showing the moulding, The left side. The right side, R. B. A.,
„ IX. The Fore-pillar. The ornamentation upon the T-formation Do. upon the left and right sides. Do. upon the back Do. upon the upper and lower portions of the front, R, B. A
PAGE
174
176
176
ISO
180
BLOCK ILLUSTRATIONS
Sub-title— The Highland Harp, R. B. A.,
Thistle, R. B. A., .
Diagram showing the probable form of the Box of the ancient Harp, R. B. A.,
The Lamont Harp —
The "Shoes of the Strings," R. B. A., ....
The Ornamentation upon the Tuning-pegs, R. B. A., The "Queen Mary" Harp—
The " Shoes of the Strings," R. B. A., ....
Ornamentation upon the Tuning-pegs, R. B. A., .
Ornamentation upon the Fore-pillar, R. B. A.,
137 138 157
160 162
168 171 176
Index,
195
THE IRISH HARP
In a work such as this it may not be possible to do full justice to au instrument of such importance as the wire-strung Irish Harp ; but the writer has endeavoured to give, in the following notice, such information as the ordinary reader may require.^
That music was cultivated in Ireland at a very remote period, and that the inhabitants of the country had arrived at the highest degree of excellence both as composers and as performers upon the Harp, is undoubted ; but to enable the reader to judge of the estimation in which the Irish Harp, and also the harpers and other musicians, were held, not only by their own countrymen but by those of other nationalities, it has been considered advisable, before proceeding with the description, etc., of the Harp, to reprint — as far as possible in chronological order — some of the notices that are to be found in Irish MSS. of a very early period, and also such statements as are to be met with in works prepared during the twelfth, thirteenth, fourteenth, fifteenth, sixteenth, and seventeenth centuries. This portion of the chapter has been so arranged that the reader not specially interested in the historical notices can pass directly to the description of the Harp.
HISTORICAL NOTICES
The Ollamhs or Doctors, heads of the professions of History, Poetry, Music, etc., as well as their wives, enjoyed valuable privileges.^ Although an accomplished poet may occasionally have been a proficient in history
' The account of the instrument given by Eugene worldly troubles in the prosecution of their
O'Curry, in the third volume of his Lectures, studies, etc. When an eminent Antiquary,
and the notices of Irish MSS. relating to it, or of Physician, Poet, or Harp-player died, his eldest
those in which it is referred to, are extremely son did not succeed him either in his estate or
interesting. Much will also be found in The salary unless he were the most accomplished of
Ancient Music of Ireland, by Edward Bunting, the family in that profession ; otherwise, the most
which will repay perusal. learned member of the tribe to which he belouge<l
2 The Historians, Physicians, Poets, and was appointed bis successor both in office and
Harpers had estates settled upon them that emoluments. — Keating, pp. 137, 138. O'Curry 's
they might not be disturbed by cares and Materials for History, pp. 3, 252. "The Ollamhs
2 MUSICAL IN ST EUMENTS
or music, the pi'ofessions of History, Poetry, and Music, as the following extracts from the ancient Mss. prove, were distinct. In the Annals of the Four Masters, of the twenty historians noticed, one was also a poet. Of the eighty-six poets mentioned, one was also an historian. And of the twelve musicians to be hereafter noticed, one was also skilled in Fenachus Law, while another, a man of unusual culture, was also skilled in history, poetry, and general literature.^
Professor O'Curry, whose vast knowledge of the most ancient poems, historical tales, etc., enabled him to throw much light upon the cultiva- tion of music in Ireland at remote periods, states that the earliest notice of a harp-player occurs c. 541 B.C. This person, Craftine, is mentioned in several legendary tales. One of these, which O'Curry has not noticed, may be briefly referred to. Craftine, whose instrument had been injured, is stated to have gone to a wood in search of a suitable tree for the^ purpose of constructing another Harp, and the tree he selected was a willow.^ This is of value as showing that the Harp, when it most probably was a small and primitive instrument, was constructed of willow wood.
The writer is unable to place Professor O'Curry 's extracts from ancient poems and tales in chronological order, but a certain number are here reprinted for a purpose to be hereafter explained.
In a very ancient poem in which is recorded the tragic death of Curoi MacDaire, who was King of West Munster, at the period of the Incarnation, we have an interesting notice of Ferceirtne, who was that monarch's faithful poet and harper.^
"Make amusement for us, O'Donnbo ! because thou art the best minstrel in Erinn, namely at Cuiseachs, at pipes (or tubes), and at
of Music, or those raised to the highest order of During his time the princiiial liarj^er at Tara was
Musicians of ancient Erinn, -were obliged by the Ahhean, the son of Becelmas. — O'Curry 's Lectures,
rules of the order to be j)erfectly accom|dished \oh iii. p. 42.
in the performance of three peculiar classes or ^ Keating's History of Ireland, p. IC7. In a
pieces of music, namely the Suantraighe, which poem of a much later date (c. 1200), a willow
no one conld hear without falling into a Harp is thus noticed : —
delightful slumber; the Goltraigbe, which no ■■ strings as sweet as his conversation
one could hear without bursting into tears and On a willow harp nn lingers have played ;
lamentations; and the Geantraighe, which no Nor have the youth's wliiie fingers tonched
,,, •. , , , ^- i- i 1 J J An instrument sweeter than his own mouth." one could hear without bursting out into loud and
irrepressible laughter." — O'Curry, Ibid., p. 255. O'Curry's Lectures, voL iii. pp. 270, 271.
^ Lug, perhaps a fictitious person, is stated to have been perfect in all the arts and sciences. ^ Ibid., vol. ii. p. 97.
THEIEISHHAEP 3
harps, and at poems, and at traditions, and at the royal stories of Erinn."— A.D. 718/
In a record or tradition belonging to a very remote period we have a notice of a learned poet called Cir, and of a celebrated cruitire, or harper, named Ona.^
From the account of the " Pot of Avarice " we learn that while the poem was being chanted, the best nine musicians in the company played music around the pot.^
At the triennial meeting at Tara a great banquet was always given. In the History and Antiquities of Tara, Dr. Petrie gives facsimiles from two Mss. showing the positions occupied at this feast by those who were entitled to be present. There were two rows of guests on either side of the hall, and on the first and oldest plan from the Book of Glendalough we find amongst the list of those who were placed along the external division on the left, Horsemen, Harpers, Brehons, Professors of Literature, Tanist-professors, OUamh-poets, Anroth-poets, Augurs, Druids, House-builders, and Carpenters. The Charioteers, Huntsmen, Cli,* Historian, and Eath-builder, occupied seats along the external division to the right, while along the internal division to the left were ranged Pipers, Smiths, Shield-makers, Chariot-makers, Jugglers, Trum- peters and Footmen, Distributers and Fishermen, Shoe-makers ; and to the right were seated Chess-players, Braziers, Physicians, Mariners, and King's fools.
The second plan is somewhat difi'erent : along the external division to the left were seated Horsemen, Charioteers and Stewards, Harpers and Tyrapanists,* Brehons, Professors of Literature, Tanist-professor, Ollamh-poet,^ Anrudh,^ Augurs, Druids, House-builders, Carpenters, Rath-builders, Trumpeters, Engravers and Ring-makers, Shoe-makers
' O'Curry's Lectures, vol. iii. p. 310. way of eomiiensation, if it was off him it (the
2 Ibid., vol. ii. pp. 4, 5. nail) was cut." The term " Timpanach " is not
3 Ibid., vol. ii. p. 56. in the translation, but is from the Irish. It would * A poet of the third order. api>ear there were either two kinds of "timpan " ^ Professor O'Curry, after a searching inquiry, or that the tyrapanist, besides using the bow,
came to the conclusion that a "timpan" was a occasionally pulled the strings with his finger.
species of violin, and that from one kind the sound nails, which was the manner of playing upon
was produced by a bow. The following curious the harp (perhaps at that) certainly at a later
extract is from the Book of Aicill, printed in the period.
Ancient Laws of Ireland, vol. iii. p. 353 : — "And ^ (Feli) Chief poet.
a wing-nail shall be given to the ' Timpanach ' by ' The name of the second order of poets.
4 MUSICAL INSTEUMENTS
and Turners. Along the external division to the right sat Charioteers, Hunters, Cli,^ Historian, Dos,^ Carpenters, Fochloe,' Cooks, Kath-builders. Along the internal division to the left, Pipers, Smiths, Shield-makers, Chariot-makers, Jugglers, Satirists vrere ranged, while along the internal division to the right sat the Chess-players, Drink-bearers, Braziers, Fools, Physicians, Mariners, and Buffoons.*
It may be concluded that each person for whom a seat was provided was highly trained and skilled in his own particular art. The bards (as will presently be shown) had no regular education, so probably on that account were not admitted to the banquets.
The court of the King of Cashel, in accordance with ancient custom and privilege, was supplied by certain ofl&cers from particular territories. Thus "his harpers were furnished by the Corcoiche in the County of Limerick," while bis poets and scholars came from the Muscraighe of Ormond.*
It is recorded that when MacLigg, who succeeded MacLonain as chief poet of Erinn, went on a visit to King Brian Boroihme, he was accompanied by learned men and his pupils, and attended by Ilbrechtach the harper, who had been harper to his predecessor, MacLonain.®
Eochad, or better known as Ollamh Fodhla on account of his learning, " for the encouragement of learning, made a law, that the dignity of an Antiquary, a Physician, a Poet, and a Harp-player should not be conferred but upon persons descended from the most illustrious families in the whole country." ^
In the reign of Cormac Ulfada, a.d. 213, it was established by law that every monarch of the kingdom should be attended by these ten officers. He was obliged to have always in his retinue a lord, a judge, an augur or druid, a physician, a poet, an antiquary, a musician, and three stewards of his household. The poet was to transmit to posterity the heroic and memorable actions of famous men, of whatever quality they were, to compose satires upon debauchery and vice, and
1 A poet of the third order. are behind the Poets. The Flute-players, Horn- "- A poet of the fourth order. blowers, and Jugglers are placed in the south-east
2 A poet of the lower rank. part." — Ancient Laws of Ireland, vol. iv. p. 339. ■• Transactions of the Royal Irish Academy, ^ O'Curry's Lectures, vol. iii. p. 20S.
vol. xviii. See also O'Curry's Lectures, vol. ii. ^ Ibid., vol. ii. p. 99.
pp. 14, 15; vol. iii. pp. 367-509. "The Harpers ' Keating, p. 139.
THEIEISHHAEP 5
to lash the immorality of courtiers and inferior persons without partiality or affection. The musician was to divert the king with his instruments, to sing before him, when he was pleased to throw off public cares, and ease his mind from the business of the state." ^
One MS. quoted by O'Curiy gives a very minute but no doubt exag- gerated account of the court of Conaire Mor, when moving about the country. Ingcel, a British outlaw, obtained admittance to the court for the purpose of seeing whether it was possible to attack and plunder the palace of Daderg. On his return to the outlawed foster-brothers of Conaire Mor he related what he had seen, and described the appearance and dress of the different persons in attendance upon the king. Nine of these were pipe-players and three were poets. The harpers are thus described : —
" I saw nine others in front," said Ingcel, " with nine bushy, curling heads of hair, nine light-blue floating cloaks upon them, and nine brooches of gold in them. Nine crystal rings upon their hands ; a thumb ring of gold upon the thumb of each of them ; ear clasps of gold upon the ears of each ; a torque of silver around the neck of each. Nine shields with golden emblazonments over them on the wall. Nine wands of white silver were in their hands. I know them," said Ferrogain, " they are the king's nine harpers, namely. Side and Dide, Dulothe and Deichrlnni, Caumul, and Cellgen, 01 and Olene, and Olchoi.""
To the foregoing passages from the ancient Irish mss. may be added the following extract, translated by Hardiman from an old historical tale, entitled Kearnagh Ui Donnell. " The Keai-nagh took a loud-toned, sweet-stringed harp ; the train below heard him among the rocks, even they who cast the soothing strains which leave the passions captive ; which cause some to dissolve in tears, some to rise with joy, and others again to sink in sleep. But sweeter than all was the song of Kearnach. The fell woundings, diseases, and persecutions of the world seemed to cease, while its sweet stx'ain lasted. He took the hai-p, and it sent forth soft warbling sounds. Wounded men, and women in travail, and the wily serpent slept while he played. Again he tuned the harp and
1 Keating, pp. 280, 281. These regiilntions - O'Curry's Lectures, vol. iii. pp. 14G, 147.
■were observed from the death of Corniau to the Couaire Mor was killed 33 B.C. death of Brian Boroihme. — Ibid.
6 MUSICAL INSTRUMENTS
roused the note of war, wondrous and terrible. He struck the thick chords of bold and fiery notes ; then the slow and deepening tones of tragic grief, full of melancholy and gloom, intermingled with melodious strains." '
THE BAEDS
The profession of jDoet was of the very highest rank in Ireland, and although the course of study was unusually severe, and extended over a considerable number of years, the qualified poets had such peculiar privileges, and were so richly endowed, that the profession had special attractions for a large number of the inhabitants, so much so that at one time the profession is believed to have numbered one thousand persons ; and as these poets did not work, they became a burden to the state, and their numbers eventually had to be reduced. There were seven grades or orders of the educated poets,^ but so much has been printed regarding the course pursued at a native Irish college, that it is unnecessary to do more than state that " the study of the seventh year was the Brosnach of the Sai (or professor) ; and the Bardesy of the Bards ; for these, says the writer of the tract, the poet is obliged to know, and so they are the study of the seventh year." ^
We have here one of the few early references to those persons who in Ireland were known as bards, and in the following paragraph they are again referred to. During the period Braes usurped the sovereignty, the chronicler says, " The knives of the people were not greased at his table, nor did their breath smell of ale at the banquet. Neither their poets, nor their bards, nor their satirists, nor their harpers, nor their pipers, nor their trumpeters, etc., were ever seen engaged in amusing them at his court." ^
Were it not for the Ancient Laws of Ireland we should be very much in the dark as to what a" bard really was ; but although the term does not appear in the index to these valuable volumes, from an examination of the contents of vol. iv. we find, p. 361, the following most interesting statement : " A hard, now, is one without lawful learning hut his oivn
' Irish Minstrelsy, vol. ii. p. 38(1. ^ O'Curry's Lectnres, vol. ii. p. 172.
- Ancient Laws of Ireland, vol. iv. p. 357. ' O'Curry's Materials, p. 24S.
A BARD AND HARPER PERFORMING BEFORE THE CHIEF OF THE MACSWEYNES
FROM THE REPRINT OF JOHN DERRICKES IMAGE OF IRELAND 1581,- EDITED BY JOHN SMALL.
A. |ioix)to^enmtot^eitfenceDljoH>eiE(,tl)efenaucs(aceentrcli in, ■Co fmite anfi fenocfeetfte cattelIDotone,fte hangmen Doe beginuc. !©ncplucfee^ off tfte€)iccj8 tote, toljic^ ftecuen noto Dtfi tteare: f> Z^'^^^ ^ •atfeinspanneSjtobopletDcflellj ,l)ts;l)iftep?cpatc. « f«5"^^"»«'*atten'>l'Pont^efite,fl)jreruin5bpt^efeaft: » 4inD:fftt>etfmeifeaftaieabtnB m,8otl?p?eaceamon8atftcbeft.
ng>liopiap'tt)inEomtO;tope0tljeApe,b}>tounterfetttns^aull: 3lfoitof)tcl)tl)erlioeatoarD!)imtijcn,tljclji8beftroomeofan. mbo being fet, becanfe tbe cbeere, i${ieeinel> little tvottb: cEi;cepttl)eramebetntermiict,an6iac'Dct»itlj3lri(l)mpjitb. D 23otbBarcie,anl)!^arpet,isiptepatl)e,tofttc!)bptbetttunntngatt, 3©ocai:ifeeanDclje8ret)paUt^egeftcs;,toi^comfo.:tatt^l)att.
THEIEISHHARP 7
intellect." It would appear from this that men capable of producino- poetry of considerable excellence, who were either uneducated or had not gone through the same severe course of study as the professional poets/ occasionally appeared, and that such persons were called bards. The poems produced by some of these may have been of sufficient importance to form part of the course at an Irish College. As a bard did not belong to the profession of poet, his death would pass unnoticed, so in Dr. O'Donovan's translation of the Annals of the Four Masters there is not one mentioned, whereas the demise of a great poet, a national loss, is usually recorded. These bards, as they were not provided for, are more likely to have wandered into the Pale, or that portion of the country inhabited by the English or Anglo-Irish, so we naturally find sixteenth century writers, such as Baron Finglas (c. 1530),- Holinshed (1577),' Spenser (c. 1580),* Derricke (1581), Stanyhurst (c. 1585),'^ and Camden (1586)," noticing them.
As the country came more under the subjection of the English the poets probably declined, for after 1550 only three are mentioned in the Annals. The rimers, bards, etc., whom the Earl of Desmond was directed in 1563 to proceed against,* perhaps in a measure replaced the poets, or at least were better known within the Anglo-Irish district. The term bard may thus have come to be used to some extent amongst the Anglo-Irish in place of poet. Certainly we learn that when an important
' The course was continueil for twelve years. — of people called barJs, which are to them instead
O'Curry's. Lectures, vol. ii. p. 172. of poets."
2 "Irish Mmestralls, Rymers, Shannagha * "Both Barde and Harper is prepared (Genealogists), ne Bards." Which by their cunning art
3 This writer, when contrasting the ordinary Doe strike and cheare up all the gestes, spoken language with the true Irish, says : — " The With comfort at the heart."
toong is sharpe and sententious, and offereth c. -phe Barde and Harper mellodie,
great occasion to quick apophthegms and proper Unto them do beginne.
allusions. Wherefore their common jesters and This Barde he doeth report
rimers, whom they term Bards, are said to delight xhe noble conquestes done.
passinglie these that conceive the grace and j^„^ eke in Rimes shewes forth at large,
propertie of the toong. But the true Irish indeed Their glorie thereby wonne."
differeth so much from that they comraonlie . t, , , r,- • i. »
, ,, ^ ■ 1. , , , .,, " A Bard and a Kiuier 13 all one.
speake, that scarse one in nve hundred can either
read, write, or understand it. Therefore it is " "Their common jesters and rimers, whom
preserved among certeine of their poets and they terme bards, are said to delight passingly."
antiquaries." — Edn. 15S6, p. 12, also p. 44. —Walker, note, p. 107.
"Their rithmours, their bards, their harperis ^ These have "Poets, whom they call Bards,
that feed them with musike," etc.— Ibid., p. 45. and Harpers," etc.
* "There is amongst the Irish a certain kind * Walker's Irish Bards, pp. 137, 138, 139.
8 MUSICAL INSTEUMENTS
controversy was carried on in 1604 by two distinguished poets, the dispute came to be known as the " Contention of the Bards." ^
The writer's object in placing these notices before the reader is to show, firstly, that the professions of poet and musician were quite dis- tinct ; secondly, that the term bard does not occur frequently in Irish MSS. ; thirdly, that when the term bard is used by English and Anglo- Irish writers of the sixteenth century, it is solely with reference to poets, rimers, or reciters ; fourthly, that bard does not appear ever to have been used, and should not be used, to indicate a harper or musician unless the person so designated was also a minor poet or rimer,^ at least when the individual referred to is connected with Ireland ; and perhaps we may say the same of Scotland, for Martin, in his Description of the Islands of Scotland, states that the chieftains in the Isles each retained a " physician, orator, poet, bard, musicians, etc." ^ Apparently, then, a poet, bard, and musician were in Scotland, as in Ireland, distinct.
The term bard seems to have had a fascination for writers. Walker,'' Joy,^ Bunting,^ Lady Morgan,'^ Wilde,* Conran,^ etc., were unaware of the meaning, and actually applied it to harpers. Again, in one of our leading encyclopsedias, a misleading paragraph under that heading will be found, and in an interesting and recently published novel, in which many scenes in Ireland are described, a " bard," one of the last of the harpers, is stated to have played the well-known melody " Coulin " upon his harp. Hardiman and O'Curry, both careful writers, use the term bard, the former freely, but always with reference to poets, the latter occasionally, probably to avoid repetition, and always with reference to poets, except in one case when he quotes his friend Dr. Petrie,'" with
• O'Curry's Lectures on Ms. Materials, p. 141. remarked that both these individuals were
^ On 27th January 1540 a general pardon was harpers, and that the first mentioned was also
granted to Owen Keynan (Keenan) of Capper- a rimer and bard. It appears that the terms
varget, in the county of Kiklare, harper, other- were not interchangealde.
wise called Owen Keynan, servant of Gerald, late ^ Edn. 1716, p. 109.
Earl of Kiklare, otherwise Owen Keynan, (the) i Bards, pp. 58, 137, 156.
Kymour, otherwise Owen Keynan, the poet, 6 i^ Bunting, coll. 1809, p. 3.
otherwise Owen Keynan, Keyeghe Berde (the g ■,,■■, ■■■
blind bard), and for Cornelius Keynan of Capper- , „, ^ . t ■ ■ tt
^ . ,, ,, , V, ■■ t' ' The Lay of an Irish Harp,
avarget, harper, otherwise called Cornelius Key- ''
nan, son of Owen Keynan Keyeghe, otlierwise * ^v. I. Academy Catalogue.
Cornelius, (the) berde (bard). Patent Roll 32. " Irish Minstrelsy, pp. 16-24.
33 Henry viii., quoted by Hardiman. It may be '" Lectures, vol. iii. p. 298.
THEIEISHHAEP 9
whose contribution to his lectures he may not have considered it advisable to interfere.
When prose writers were inaccurate, we need not be surprised that poets were mistaken. One, and by no means an unimportant one, wrote the following graceful lines : — -
"E'en kings themselves have mixed the bards among, Swept the bold Harp, and claimed renown in Song."
Supposing our information to be correct, here we have the ancient kings of Erin, the proudest of the proud,' unintentionally represented as degrading themselves by consorting with a number of uneducated rimers, and playing upon their harps, and singing songs for their enter- tainment. This is not written with any wish to ridicule the work, or with any disrespect for the memory, of an Irish scholar and author. The fine lines quoted, it must be remembered, had a very different but mistaken meaning when they were penned, but to us with our more exact knowledge they represent nothing except what has been stated.
Turlough Carolan, who will be hereafter noticed, was accustomed to pay peiiodical visits to country-houses, and in return for the hospitality he received he occasionally wrote lines in praise of his entertainers. This is exactly what the sixteenth century bards are known to have done, but the bards were paid, whereas Cai-olan, as far as we know, was not. Carolan was much more than a minor poet. The verses he wrote he set to original and beautiful melodies, and sang them and accom- panied himself upon the harp. He was in fact a remarkable musical genius, and far more celebrated as a composer than as a poet. It is possible that this rare combination of poet, singer, composer, and harp- player may have led to the confused ideas regarding the meaning of the term bard, which term was applied to Carolan at a later period, and perhaps during his life. However, unless important contradictory evidence can be produced, it is to be hoped that writers who may in the future treat of the ancient and medifeval periods of Irish history will refrain from using the term bard when referring to poets or harpers.
Knowing as we do the distinguished position held by the professors
1 As already stated, every King of Ireland was entertain him with suitable discourse and ooii- liy law bound always to have with him a lord versation. — Keating, p. 2S0, who was to be a companiou for the king, and to
B
10 -MUSICAL INSTEUMENTS
of poetry in Ireland, we may conclude that an ollamh of poetry during the palmy days of Irish culture would have been as much insulted by being called a bard as the first living surgeon would be were the term bone-setter applied to him, and that an ollamh of music, or an ollamh of harp-playing, would have been equally indignant had the term bard been applied to either of them.
Passing this somewhat long dissertation, we return to the historical notices of the Irish Harp, harpers, and other musicians.
HISTOEICAL NOTICES CONTINUED
In the life of St. Mungo, or Kentigern, it is stated that a King of Ireland sent a joculator or jongleur to the court of Roderic, King of Wales. This musician sang and played upon the Harp and Tambour before the king and his nobles during the Christmas holidays, and so pleased was Roderic that he ordered rich presents to be presented to the musician.^ Kentigern lived a.d. 580.
Fuller, in his account of the Crusade conducted by Godfrey of Boulogne at the close of the eleventh century, says : " Yea, we may well think that all the concert of Christendom in this war would have made no music if the Irish Harp had been wanting." "
Johannes Brompton, Abbot of Jereval in Yorkshire, who wrote during the reign of Henry ii. (1154-1189), states that the Irish had two kinds of Harps, the one bold and rapid, the other soft and soothing ; further, that the Irish taught in secret, and committed their lessons to memory.^ M. Conran gives an extract from this writer of which the following is a translation : " And while Scotland, daughter of this land, uses the Lyra (Harp), Tympano, and Choro, and Wales (uses) the Cithara, Trumpets, and Choro, the Irish make music on two kinds of musical instruments, although headlong and rapid, nevertheless sweet and pleasant, the modulations (moduli) crisp, and the small notes (notuli) intricate.*
Caradoc of Lhancarvan, a Welsh authority (died c. 1147), assures us
' Anthologia Hibernica, in Bunting, coll. 1809, an early authority, it is still of value as showiug
p. 15. the estimation in which the instrument was held
2 Holy War, by Thomas Fuller, Book v. 1639 ; in IG39.
B'Alton's Essaj' on Ancient Ireland, p. 339. ^ Bnnting, coll. 1S09, note, p. 2, and also p. 23.
Even if Fuller's statement was not taken from ^ National Music, note, p. 92.
THE lEISH HAEP 11
(according to Wynne) that the Irish devised all the instrument tunes in use among the Welsh. ^
1168. Amhlaeibh MacMnaighneorach, chief OUamh of Ireland in harp-playing, died."
David Powell, a Welsh histoi'ian (1584) who follows Caradoc, states that " there are three sorts of minstrels in Wales. The second sort are plaiers upon instruments, chiefelye the Harp and Growth, whose musice for the most part came to Wales with Griffyth ap Gonan, who being on one side an Irishman by his mother and grandmother, and also borne in Ireland, brought over with him out of that countrie (c. 1080) divers cunning musicians into Wales, who derived in a manner all the instrumental musike that now is there used, as appeareth as well by the books written of the same, as also by the names of the tunes and measures used amongst them to this dale." ^
Passing these brief notices we find Giraldus Gambrensis, an accom- plished ecclesiastic who unquestionably had a considerable knowledge of music, and who accompanied Prince John to Ireland in 1185, and must have had frequent opportunities of hearing the very finest perfoi'mei's of the period, making the following remarkable statements : — " The attention of this people to musical instruments, I find worthy of commendation, in which their skill is beyond comparison superior to that of any nation I have seen.^ For in these, the modulation is not slow and solemn, as in the instruments of Britain to which we are accustomed, but the sounds are rapid and precipitate, yet, at the same time, sweet and pleasing. It is wonderful how, in such precipitate rapidity of the fingers, the musical proportions are preserved, and by their art faultless throughout ; in the midst of their complicated modulations, and most intricate arrangement of notes, by a rapidity so sweet, a regularity so irregular, a concord so discordant, the melody is rendered harmonious and perfect, whether the chords of the diatessaron (the fourth), or diapente (the fifth) are struck together ; yet they always begin in a soft mood, and end in the same, that all may be perfected in the sweetness of delicious sounds. They enter
' Caradoc of Lhancarvan, The History of Wales, ^ Lloyd's translation, edition 15S4. Bunting
p. 158, W. Wynne's edition, 1697. O'Curry's coll. 1809, p. 5. Lectures, vol. iii. p. 353 ; Bunting, coll. 1809, p. 0. ■'Before writing this account, Giraldus had
2 Annals, travelled through Wales, England, and France.
12 MUSICAL INSTEUMENTS
upon, and again leave, their modulations with so much subtlety ; and the tinkliugs of the small strings sport with so much freedom under the deep notes of the bass, delight with so much delicacy, and soothe so softly, that the excellence of their art seems to lie in concealing it.
' Concealed, it pleases ; but detected, shames.'
"It is to be observed, however, that Scotland and Wales — the latter, in order to disseminate the art ; the former, in consequence of intercourse and affinity — strive with rival skill to emulate Ireland in music. Ireland, indeed, employs and delights in two instruments, the Harp and the Tabor ; Scotland in three, the Harp, Tabor, and Growth ; and Wales in the Harjj, the Pipes, and the Growth. The Irish prefer strings of brass wii-e to those made of thongs. In the opinion of many at this day, Scotland has not only equalled, but even far excels her mistress, Ireland, in musical skill ; wherefore they seek there also the fountain, as it were, of the art."
The writer considers it desirable to reprint hei'e a literal translation of a beautiful poem, which shows in a remarkable manner the value placed upon the Harp by those of the highest rank both in Ireland and in Scotland.
A small but singularly sweet and very beautiful Harp which had belonged to Donnchadh Gairbreach O'Brien, whose father, the last King of Munster, died in 1194, had been by some means removed to Scotland, and MacGonmidhe, poet to the Irish chief, was directed by his master to endeavour to recover it, either as a free gift or in exchange for a flock of Irish sheep.
The envoy proceeded on his mission, but, failing to induce the Scottish king or chief to restore O'Brien's Harp, produced on his return the following beautiful lines, the first portion of which may be his address to the possessor of the harp : —
" Bring unto me the harp of my king. Until upon it I forget my grief — A man's grief is soon banished By the notes of that sweet-sounding tree.^
^ In 1187 Giraldus wrote about the Irish minds ; it clears the clouded couutenance, and instrument : — "It not a little exhilarates dejected removes superciliousness and austerity."
THE IRISH HAEP 13
He to whom this music-tree belonged,
He was a noble youth of sweet performance. Many an inspired song has he sweetly sung To that elegant, sweet-voiced instrument.
Many a splendid jewel has he bestowed From behind this gem-set tree ;
Often has he distributed the spoils of the race of Conn, With its graceful curve placed to his shoulder.
Beloved the hand that struck
The thin slender-side board :
A tall, brave youth was he who played upon it
With dexterous hand, with perfect facility.
Whenever his hand touched
That home of music in perfection, Its prolonged, soft, deep sigh Took away from all of us our grief.
When into the hall would come
The race of Cas of the waving hair, A harp with pathetic strings within Welcomed the comely men of Cashel.
The maiden became known to all men,
Throughout the soft-bordered lands of Banha. ' It is the harp of Donnchadh ! ' cried every one — The slender, thin and fragrant tree.
O'Brien's harp ! sweet its melody
At the head of the banquet of fair Gabhrau ;
Oh ! how the pillar of bright Gahhran called forth
The melting tones of the thrilling chords."
The reply of the Scottish chief is as follows : —
" No son of a bright Gaedhil shall get
The harp of O'Brien of the flowing hair ;
No son of a foreigner shall obtain
The graceful, gem-set, fairy instrument !
Woe ! to have thought of sending to beg thee, Thou harp of the chieftain of fair Limerick — Woe ! to have thought of sending to purchase thee For a rich flock of Erinn's sheep.
Sweet to me is thy melodious soft voice,
0 maid ! who wast once the arch-king'sj Thy sprightly voice to me is sweet. Thou maiden from the island of Erinn.
14 MUSICAL INSTRUMENTS
If to me were permitted in this eastern land The life of the evergreen yew-tree, The noble chief of Brendon's hill, His hand-harp I would keep in repair.
Beloved to me — it is natural for me — Are the beautiful woods of Scotland. Though strange, I love dearer still This tree from the woods of Erinn.''^
In the Annals of Loch Ce it is stated that " Aedh (or Hugh), the son of Donnslebhe O'Sochlachann, vicar of Cunga, a professor of singing and harp-tuning, invented a tuning (or arrangement) for himself that had not been done before him, and he was a proficient in all arts both of poetry and engraving and writing, and of all the arts that man executes," died in 1225.°
1269. Hugh O'Finaghty, a learned minstrel, died.^
John Clynn, a friar of the Convent of Friars Minor of Kilkenny, in his Annals of Ireland (c. 1336), refers to Camus O'Caruill as a "famous performer on the tabor, and a Phoenix in execution on the harp, and so pre-eminently distinguished with his school of about twenty musicians, that, though he could not be called the inventor of stringed musical instruments, he was the master and director of all his own contem- poraries, and superior to all his predecessors." *
1328. The Blind MacCarroll, whose name was Mulrony, the chief of the minstrels of Ireland in his time, was slain."
1357. Donslevy MacCarroll, a noble master of music and melody, the best of his time, died.®
1360. Gilla-na-naev O'Conmhaigh, Chief Professor of Music in
Thomond, died.'^
1361. Magrath O'Finnaghty, Chief Musician and Tympanist to the
Gil-Murray,^ died."
' Professor Eugene O'Curry, to whom we are the Rev. M. Kelly. Of poor O'Caruill and his
indebted for bringing this interesting poem to j^upils the fate was melancholy. They, together
light, says : — " It is impossible in a severe literal with their patron, Lord Bellingham, were cruelly
translation to do anything like justice to the massacred. — Walker, p. 123.
fervour and beautiful pathos of this touching ^ Annals,
poem." — Lectures, vol. iii. pp. 271, 272, 273. ^ Ibid.
'' O'Curry's Lectures, vol. iii. p. 264. ' Ibid.
^ Annals. * O'Connor, O'Curry's Materials, p. 219.
■' Cambieusis Eversus, vol. i. p. 313, edited by ^ Annals.
THE IRISH HARP 15
In the fortieth year of Edward ill., 1367, Lionel, Duke of Clarence, Lord-Deputy, held a famous parliament in Kilkenny when an act was passed, c. 15 of which is as follows: — "Also whereas the Irish Agents who come amongst the English, spy out the secrets, plans, and policies of the English, whereby great evils have often resulted ; it is agreed and forbidden that any Irish Agents, that is to say, pipers,^ story-tellers, babblers, rimers, mowers, nor any other Irish Agent shall come amongst the EngUsh, and that no English shall receive or make gift to such ; and that he that shall do so, and be attainted, shall be taken, and imprisoned, as well the Irish Agents as the English, who receive or give them any- thing, and after that they shall make fine at the King's will ; and the instruments of their agency shall forfeit to our lord the King.""*
1369. John MacEgan and Gilbert O'Bardan, two accomplished young harpers of Conmaicne,' died.''
Although Irish minstrels were excluded from the Pale, an exception was made in the case of one individual during 1376, for, by letters jjatent of 25th October, we learn that as " Dowenald O'Moghane, an Irish minstrel residing among the English, had constantly remained in the fealty, peace, and obedience of the King ; and that he had inflicted divers injuries on the Irish enemies, for which reason he durst not approach near them ; it was concluded that he might continually reside among the English, and that they might receive and entertain him notwithstanding the statute."^
1379. William, the son of Gilla-Ceach MacCarroll, the most eminent of the Irish in music, died.*^
During the fourteenth century Ranulf Higden compiled his Poly- chronicon, which was translated by John Trevisa in 1387. If Higden wrote from personal knowledge, and not after having perused the MS. of Giraldus Cambrensis, the following statement corroborates that writer
' Sir John Davies says, "minstrels." — A Dis- statutes of Kilkenny were revived and confirmed
coverie of the State of Ireland, p. 214. during the tenth year of Henry VII., 1495. — Ibid.,
- The Statute of Kilkenny, by James Hardiman, pp. 216-235.
pp. 55, 5S, commimicated by G. A. G. Cole, Esq. 3 Dunmore, County Galway. — O'Curry's Lec-
During the third year of Henry iv. , 1402, Lord tures, vol i. p. xxix.
Thomas of Lancaster, his second son, was appointed '' Annals.
Lieutenant of Ireland. On his arrival he held a ^ Patent Roll, quoted by Hardiman, Statute of
]iarliament, "wherein he gave new life to the Kilkenny,
statutes of Kilkenny."— Davies, p. 229. The '' Annals.
16 MUSICAL INSTEUMENTS
in a remarkable manner : — " Irishmen be cunning in two manner instru- ments of music, in the Harp and Tymbre, that is armed with wire and strings of brass, in which instruments, tho they play hastily and swiftly, they make right merry harmony and melody with those tunes, and warbles, and notes, and begin with be molle, and play secretly under dim sound under the great strings, and turn again unto the same, so that the greater part of the craft hideth the craft, as it woud seem as though the craft so hid, shoud be ashamed, if it were taken." '
John of Fordun, a Scottish priest who visited Ireland some time during the latter end of the fourteenth century, says that Ireland was the fountain of music in his time, from whence it then began to flow into Scotland and Wales. ^
About the close of the fourteenth century (1395) Eichard ii. spent a considerable time in Ireland. During the stay of this monarch in the Irish capital four native kings submitted to him, and a commodious house in Dublin was set apart for their entertainment. Henry Castide, who was ordered to reside with them and instruct them in the usages of the English, informed Froissart that — " When these kings were seated at table and the first dish served, they would make their minstrels and principal servants sit beside them, and eat from their plates and drink from their cups. They told me, this was a praiseworthy custom of their country, where everything was common but the bed. I permitted this to be done for three days ; but on the fourth I ordered the tables to be laid out and covered properly, placing the four kings at an vipper table, the minstrels at another below, and the servants lower still. They looked at each other, and refused to eat, saying I had deprived them of their old custom in which they had been brought up. I replied with a smile, to appease them, that the custom was not decent nor suit- able to their rank, nor would it be honourable for them to continue it ; for that now they should conform to the manners of the English ; and to instruct them in these particulars was the reason I resided with them, having been so ordered by the King of England and his council. When they heard this they made no further opposition to whatever I proposed, from having placed themselves under the obedience of
1 Bunting, coll. 1809, note, p. i. - This statement is by Walker, p. 121, but is
apparently not in Scotichronicou.
THE lEISH HAEP 17
England, and continued good-humouredlj to persevere in it as long as I staid with them."'
It is stated that in 1395 a harper saved the life of Art MacMun-ogh, an uncompromising opponent of the English, in the following manner. The lords of the Pale invited him to a banquet. All were secretly armed, while MacMurrogh, not suspecting treachery, was only accompanied by his harper and one attendant. After the feast the minstrel, seated near a window, delighted the company with his music ; but suddenly he changed his notes to Rosg Catha, or war-song, for which he was repri- manded by MacMurrogh, and ordered to play only festive airs. But the harper again resumed the war-ode, which surprised MacMurrogh, who, becoming indignant at the disobedience of his harper, arose from the table to remonstrate with him. But perceiving that the house was surrounded by armed men, he brandished his sword, and, cutting his way through the surrounding forces, mounted his steed and escaped with safety.^
1396. Mathew O'Luinin, Erenagh of Arda (Fermanagh), a man of various professions, and skilled in history, poetry, music, and [general] literature, died.^
1399. Boethius MacEgan, a man extensively skilled in the Fenachus law and in music, and who kept a celebrated house of hospitality, died.*
1404. Gilla-Dinvin MacCurtin, Ollamh of Thomond in Music, died.'
By a roll of the thirteenth year of Henry vi., 1435, we learn that the Irish Mimi, Clarsaghours (harpers), Tympanours, Crowthores, Ker- raghers, Bymours, Skelaghes, Bards, and others, contrary to the statute of Kilkenny, went among the English and exercised their arts and minstrelsies (minstrelsias et artes suas), and that they afterwards pro- ceeded to the Irish enemies, and led them upon the king's liege subjects."
1490. Finn O'Haughluinn, Chief Tympanist of Ireland, died.'^
From 1491 we find in the Accounts of the Lord High Treasurer of Scotland a number of interesting entries, showing that the reigning
1 Froissart, Johnes's trans., vol. iv. p. 431. * Ibid.
- Taffe's Ireland, quoted by Conran. "Rot. Pat., Hardiman's Minstrelsy, vol. i.,
3 Annals. note, pp. xviii., xix.
■* Ibid. ' Annala.
18 MUSICAL INSTEUMENTS
sovereign, James iv.', himself a performer, had directed payments to be made to persons who had played upon the Clareschaw or Irish Harp. In April 1501 payments were made to Pate (Peter) Harper on the Clarscha, and also to the Ireland Clarescha. It is more than probable that Pate was also a native of Ireland ; ' he was attached to the court, and is mentioned in December 1501, January 1501-2, March 1502, April and October 1503, January 1503-4, and January 1504-5. Upon the last- mentioned date, his son, who had probably played before the king for the first time, is also referred to. Again in March 1505, Pate received xiiij s., and in December of the same year an " Irland Clarschaar " received v s. In April " Pate harpar Clarscha " and his son are mentioned. Pate is also noticed in July 1505, November 1506, March 1506-7, and April, June, and July 1507. During 1512 O'Donel, an important Irish chief, visited Scotland, and on his departure, July 11th, the king commanded that his harper, who presumably had played before him, should receive vij le.
As only a portion of the record has been printed, the writer is unable to state whether Irish harpers were attached to or played before the Scottish court during the remainder of the sixteenth century, but it is interesting to find that Irish music was appreciated by James, who was, we know, accustomed to hear Italian minstrels, Luterers, Fiddlers, English, Lowland, and Highland harpers, and other skilled musicians.
Polydore Virgil, who resided in England during the first half of the sixteenth century, states " That the Irish practise music, and are eminently skilled in it. Their performance, both vocal and instru- mental, is exquisite ; but so bold and impassioned, that it is amazing how they can observe the rules of their art amidst such rapid evolutions of the fingers and vibrations of the voice ; and yet they do observe them to perfection." ^
In Major's Greater Britain, published in 1521, it is stated that the Irish and the wild Scots were pre-eminent as performers on the Harp.
Before 1534 Patrick Finglas, Chief Baron of the Exchequer in
' It may be remarked that " Pate harper on Clareschaw " is also mentioned, the Harp," and " Pate har|ier on the Clarscha," were both retaineil at Court, and that an "Ersche - Cambrensis Eversus, vol i. p. 311.
THEIRISHHAEP 19
Ireland, wrote a Breviat of the getting of Ireland, and the decline of the same, in which he recommended "That noo Irish Ministralls, Rymers, Shannaghs (Genealogists) ne Bards, be Messingers to desire any Goods of any Man dwelling wythin the English Pale, upon Pain of Forfeiture of all ther Goods, and their Bodys to be imprisoned at the Kino-'s Will." ^
John Good, a Catholic priest who had been educated at Oxford, and was master for many years of a school at Limerick, in 1566 wrote a description of the Irish, in which he says : "They love music mightily, and of all instruments are particularly taken with the Harp, which being strung up with brass wire, and beaten with crooked nails, is very melodious. They use the bag-pipe in their war instead of a trumpet." Camden, who published in 1586, gives the foregoing quotations from Good, and also makes some statements regarding the Irish on his own authority, one being as follows : — " These great men have likewise their particular Historians, to chronicle the famous actions of their lives ; Physitians too, and Poets, whom they call Bards ; and Harpers, who have all of them their several estates and possessions allowed them ; and in each territory there are certain particular families for nothing else but these employments ; for instance, one for Breahans, another for Historians, and so for the rest, who take care to instruct their children and relations in their own respective professions, and by that means leave always one or other of the same race to succeed them." -
Vincentio Galilei, whose work on Music was printed in 1581, writes as follows : — According to Dante (born 1265) the Harp was brought to Italy from Ireland " where they are excellently made, and in great numbers, the inhabitants of that island having practised upon it for many and many ages: nay, they even place it in the arms of the kingdom, and paint it on their public buildings, and stamp it on their coin, givincr as the reason their being descended from the royal prophet David. ^ The Harps which this people use are considerably larger than ours, and have generally the strings of brass, and a few steel for the highest notes, as in the clavichord. The musicians who perform upon it keep
1 Hibernica, by Walter Harris, p. 9S. Finglas Lyon King-ot-Arms, 1542, gives tlie arms of
was Chief Justice of the King's Bench in 1534. David, King of Israel, as " Az. a harp or," and the
— Ibid., Preface. - arms of the King of Ireland " Az. a king seated im
- Camden's Britannia. a throne afronti, holding a sceptre, crowned and
" It may be remarkt-d that Sir David Lyndsay, habited proper.'
20 MUSICAL INSTEUMENTS
the nails of their fingers long, forming them with care in the shape of the quills which strike the strings of the spinnet, etc. I had a few months since (by the civility of an Irish gentleman) an opportunity of seeing one of their Harps, etc."^
From Holinshed, who published in 1585, we learn that "Their noble men, and noblemens tenants, now and then make a set feast, which they call coshering, whereto flock all their reteiners, whom they name followers, their rithmours, their bards, their harpers that feed them with musike : and when the harper twangeth or singeth a song, all the companie must be whist, or else he chafeth like a cutpursse, by reason his harmonie is not had in better praise." ^
So far, all those who are known to have noticed the Irish Harp have praised the instrument, and no fault has been found with the performers. We now, however, meet with a writer — a native of Ireland — who is the first, and indeed the only, author who is not thoroughly appreciative. Richard Stanyhurst, descended from a family who had resided for many generations in the neighbourhood of Dublin, wrote in 1585 as follows : — " The harper uses no plectrum, but scratches the chords with his crooked nails, and never marks the flow of his pieces to musical rhythm, nor the accent and quantity of the notes ; so that, to the refined ears of an adept, it comes almost as offensively as the grating of a saw." ^ The
1 The whole passage is given in Bunting's coll. Dr. Lynch, who contrasts the estimate of
1809, pp 24-25, and a large portion will also be Giraldus of the performance of the harpers with
found in Hunting's coll. 1840, chap. iii. The that of Stanyhurst, saj's : "It is by no means
statements regarding the number of strings are surprising that the same music should be relished
confusiuL', but Sir Samuel Ferguson was evidently by some and disagreeable to others, according to
under the impression that the number, i)resum- their dififereut skill or taste in musical science,"
ably 29, might be an error for ,30. etc. "But perha))s the conflicting opinion of
Giraldus and Stanyhurst can be reconciled if we - P. 45. The reader is requested to contrast . , • . .. .i. ijr .. ..■ • i ■ i,
' take into account the diiierent times in which
this extr.act with the statement in Walker, note, , ,■ j t ii j i /->■ u i i j
they lived. In the days of Giraldus Ireland was
"■ """ not subdued; her Irish kings were in full pos-
3 Giraldus, who, as we have shown, was session of their power, and the tones of joy and
able to appreciate the music and the performance mirth predominated in her music ; but a sad
of the harpers, says that " those very strains which change for the worse had come over her before
afford deep and unspeakable mental delight to the time of Stanyhurst, and the airs which her
those who have skilfully penetrated into the musicians then attuned to the harp inv."irialily
mysteries of the art, fatigue rather than gratify bieathe a certain tone of sadness," etc. "Stany-
the ears of others, who seeing do not perceive and hurst's attack, moreover, is directed against rude
hearing do not understand ; and by whom the harpers, but not against the instrument itself ;
finest music is esteemed no better than a confused and Ireland is not the only country infested by
and disorderly noise, and will be heard with these rude performers." — Cambreusis Eversus,
uuwilliogness and disgust." — Bohn's edition. vol. i. [pp. ;jl3-3l5.
THE IRISH HAEP 21
harpers he so severely criticises were indifferent performers who played during supper/
In Stanyhurst's time harpers of eminence would have been attached to the households of the great nobles and chiefs. He, however, happened to meet with one with whom he was pleased, whom he thus notices : " Crusius, a contemporary of our own, is by far the most eminent harper within the memory of man. fie is entirely opposed to that barbarous din which others elicit from their discordant and badly strung harps. Such is the order of his measures, the elegant com- bination of his notes, and his observance of musical harmony, that his airs strike like a spell on the ears of his audience, and force you to exclaim, not that he is the most perfect merely, but in truth almost the only harper."^ Dr. Lynch, when quoting this author, says there never was a time when Ireland could boast of only one distinguished harper, and many eminent performers may have flourished in parts of Ireland which Stanyhurst did not visit.
Dr. Keating complains that Stanyhurst called the musicians of Ireland a set of blind harpers, and states that if proper inquiries had been made, it would have been found "that for one musician that was blind there were twenty who had their perfect sight." ^
Barnaby Rich, who visited Ireland during the reign of James i., says: "They (the Irish) have Harpers, and those are so reverenced among the Irish, that in the time of rebellion they will forbear to hurt either their persons or their goods."*
Pretorius, who published his work on Musical Instruments in 1619, states : " The Irish Harp has rough thick brass strings, forty- three in number, and is beyond measure sweet in tone."
Bacon, in his Sylva Sylvarum, published in 1627, after his death, refers to the Irish Harp, which, he says, " maketh a more resounding sound than a Bandora, Opharion, or Cittern, which have likewise wire strings, and no instrument hath the sound so melting and prolonged as the Irish Harp."
In a MS. History of Ireland [circa 1636) in the Library of the Royal Irish Academy, it is sta,ted that " the Irish are much addicted to musik
1 Bunting, Coll. 1809, p. 19 ^ History, pp xi., xii.
- Cambrensis Eversus, vol. i. p. 311. * Walljer, p. 144.
22 MUSICAL INSTRUMENTS
generally, and you shall find but very few of their gentry, either man or woman, but can play on the harp ; alsoe you shall not find a house of any account, without one or two of those instruments, and they always keep a harper to play for them at their meales, and all other times, as often as they have a desire to recreate themselves, or others which comes to their houses, therewith." ^
M. de la BouUaye Le Gouz, who travelled in Ireland during 1644, states that the inhabitants " are fond of the harp, upon which nearly all play, as the English do upon the fiddle, the Scotch upon the bagpipe, etc. They march to battle with the bagpipes instead of fifes ; but they have few drums." ^
Dr. Keating, the historian, who is supposed to have died before 1644, wrote some fine lines in praise of his harper. In this poem he asks, Who is it that plays the enchanting music that dispels all the ills that man is heir to ? and thus answers the query :
"Tadhg O'Cobthaigh of the beauteous form, — The chief beguiler of women. The intelligent concordance of all difficult tunes, The thrill of music and of harmony. "^
Nicholas Pierce, who lived previous to 1640, although blind is stated to have been not only the first master of the instrument of his time, but a composer of lamentations, etc.*
The following extracts are of interest as showing that the Irish Harp was occasionally to be heard in England, and how extremely difficult it was to become a master of the instrument. John Evelyn was competent to give an opinion ; he had taken lessons upon the Theorbo and Lute, was fond of music, and notices some of the finest performers on the Welsh Harp, Violin, Lute, etc., of his time ; his statements, therefore, regarding the merits of the Irish Harp, no longer to be heard, are of value : —
" 1653-4, 20th January. — Come to see my old acquaintance and the
' Irish Minstrelsy, by James HardimaD, vol. i. This is stated by T. Moore, in a note to " The
P- '^3- Legacy," to have been written by O'Hallorau.
2 Crofton Croker's translation, Irish Penny The writer has failed to verify the quotation. Journal, p. 5 : " In every house there was one or
two harps free to all travellers, who were the ^ Curry s Lectures, vol. iii. p. 215.
more caressed the more they excelled in music." ^ Ibid., pp. 263-4.
THE IRISH HARP 23
most Incomparable player on the Irish harp, Mr. Clark, after his travels. He was an excellent musician, a discreet gentleman, born in Devonshire (as I remember). Such music before or since did I never hear, that instrument being neglected for its extraordinary difficulty ; but in my judgment far superior to the lute itself, or whatever speaks with strings." ^
"1668, 17th November. — When dining at the Groom Porters, I heard Sir Edward Sutton play excellently on the Irish harp ; he per- forms genteelly, but not approaching my worthy friend, Mr. Clark, a gentleman of Northumberland, who makes it execute lute, viol, and all the harmony an instrument is capable of: pity it is that it is not more in use ; but indeed to play well takes up the whole man, as Mr. Clark has assured me, who, though a gentleman of quality and parts, was yet brought up to that instrument from five years old, as I remember he told me."^
It has been stated that " when lists were made of the effects or property of the proscribed adherents of James ii., it was found that nearly all, even the Anglo-Norman families of the Pale, possessed one Irish harpe."'
As most of the references to " the Irish Harp or Irish harpers, down to the seventeenth century, have now been noticed, and it has not been considered necessary to refer to the interesting account of noted harpers who lived during the seventeenth and eighteenth cen- turies, printed by Bunting in his coll. 1840, further than hereafter to notice such paragraphs as describe their methods of playing, this portion of the chapter may close with the following complimentary statement by Count Hoghenski : " Les Irlandois sont entre tons les peuples ceux qui passent pour jouer le mieux de cet instrument." — Article 'Harp' in the Encyclopedie.''
1 Diary, vol. i. p. 300. but has failed. It is possible there may have
2 Ibid., vol. ii. p. 39. been sume statement in a letter, but no list is ^ Conran's National Music, p 214. The writer likely to have been made
has made every effort to verify this statement, * Walker, note, p. 122. M. Conran, p. 174.
24 MUSICAL INSTKUMENTS
REPRESENTATIONS, METAL, STONE, ETC.
The earliest representation of the Irish Harp in metal appears upon the shrine of St. Moedoc, circa eleventh century, preserved in the Dublin Museum. The Harp, which is of small size, rests upon the knees of the jierformer, and against his left shoulder. The number of strings is of little consequence ; the important point is that it is an instrument (to play upon which both hands are required, the left for the treble, and the right for the bass), and so accurate is the representation, that the manner of playing, that is by pulling the strings by the nails, is clearly represented. The Harp has a curved fore-pillar, which expands on the outer side, at a short distance from the upper termination, and also from the lower end.^ The back of the box is curved inwards,^ and upon the side are indents. As these do not appear upon other portions of the plate, they may be intended to represent the decoration of the instrument.^
Another representation occurs upon the shrine of St. Patrick's Tooth, 1350, also preserved in the Dublin Museum. Here the Harp, which is considerably larger, has twenty-three strings. It is placed against the left arm, and rests neither upon the knees nor upon the ground, but is apparently suspended by a strap, which, however, is not represented. The fingers of the left hand of the performer are shown as pulling the treble strings, those of the right the bass strings. There is no decoration upon the instrument ; the fore-pillar is curved.^
The representations of the Irish Harp upon stone are of interest, but not of the same importance, the coarseness of the material and natural decay rendering them more or less indistinct. They may, however, be seen at Ullard, South East Cross Monasterboice, Durrow, Castle Dermot, Clonmacnois and Kells.*
' This is the earliest representation of what Planche, from a MS. copy of Giraldus Cam- may be termed the T formation of fore-pillar to brensis, illuminated about the end of the twelfth be hereafter referred to. century.
, ™, ... , i^i L J TT r , * Bunting, in coll. 1840, p. 39, gives a woodcut,
'■ The artist no doubt had a Harp so formed , , , , , , , , , ,, ■ • ,
, , ,. _, . ,,, , , ■ but so bad that those who had not seen the original
beiore him. ihis curvature, although unusual, is ,, , , ^ , , i- •
, , frii. ,_ , r\^ , r X, TT would suppose the performer to be kneeling m
not unknown. The back of the box of the Harp , r . ■
in the Belfast Museum, to be hereafter referred . .
to, is slightly curved.
° Communicated by J. Romilly Allen, Esq. : —
" Harps are represented, on the knees of ecclesi-
' It should be noticed that small circles are astics, on several of our ancient stone crosses, of
represented on the Irish Harp, as illustrated in the eighth, ninth, and tenth centuries." — Petrie,
the History of British Costume, by J. R. in Bunting, coll. 1840, p. 42.
A
24
TllUMENTS
ir.
uetal appe;
Tved in the iJuuuu
■" the kuees of the
of strings is rif
instrumerj!
treble, and
that the
^ clearly
oater side, at a the lower end.^ The back i ;side are indents. As these do r. may be intended to represent
\:i ■ill"'- itatiou
' ' . .'i in thf
( -- - .-gcr, has tw, . -
loft arm, and rests neither upon the ki apparently suspended by a strap, vrhn The fingers of the left hand of the perfoi treble strings, those of < "
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ince, the c |
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decay rende |
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seen |
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may hi )ie hereafter |
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UJ X H
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1
HARP JERPOINT ABBEV. KILKENNY.
RECUMBANT EFFIGY OF AN IRISH CHIEF WITH A HARP. JERPOINT ABBEY. KILKENNY
THE lEISH HAEP 25
Perhaps the latest representation of the Harp in stone is that which appears upon a monument in Jerpoint Abbey, Kilkenny.
This piece of sculpture is most interesting. The sculptor unques- tionably had a Harp (probably that which had belonged to the chief) before him which he found it desii'able to reproduce on a much reduced scale,^ as a full size representation would have interfered with the design. The Harp is placed upon the back of the box, as was no doubt usual when not in use, and rests beside the right thigh of the recumbent effigy. The instrument has a somewhat depressed form ; that is, from the back of the box to the upper portion of the fore- arm the measurement is not so great as upon the existing specimens ; the fore-pillar, in fact, scarcely rises above the effigy. The box, which is a truncated triangle in form, has the projecting block at the lower end and the raised string hole band, which terminates upon either side at the upper end in semicircular curves. At the lower extremity this raised portion is carried round the fore-pillar, where it joins the pro- jecting block. The sounding-board is flat, and there are no sound- holes. The fore-pillar is curved and has the T formation, which commences at a greater distance than is usual from either extremity.^ The harmonic curve has no hump, and if it ever projected beyond the junction with the fore-pillar, that portion has been broken off or has decayed. The metal band for the pegs is represented, and forms a single curve. The stone is much decayed, and there is not a vestige of decoration. The Harp, excepting that it has not the hump on the harmonic curve, resembles the Lament Harp in the National Museum at Edinburgh;
The effigies probably belong to the early portion of the fifteenth century. A portion of the inscription remains, and from it we gather that the male figure was intended to represent William O'Banahan. The panels which now support the effigies belong to two periods, late fifteenth and sixteenth centuries.^
In the Image of Ireland, by John Derricke, 1581, there is a plate,
' Measurement: Extreme length, 1 ft. 1| in.; moat obligingly visited Jerpoint for the purpose
from back of box to highest point, 6 inches. of examining the monument and deciphering the
^ This faulty construction is to be found upon inscription, the Lament Harp. The late Mr. George V. Du Noyer, who notices
' For these particulars the writer is indebted the monument and gives an illustration of the
to Richard Langrishe, Esq., F.R.I.A., and the Harp, supposes the name to be O'Habrahan. —
Rev. Canon Hewson, who at considerable trouble Communicated by T. H. Longfield, Esq.
D
26
MUSICAL INSTEUMENTS
representing an Irish Chief, and others, seated upon the ground at meat. A " bard " is reciting, or singing, while a minstrel plays upon a large Harp. The illustration is rude and grotesque, but is interesting. (See p. 6.) The harper is also seated on the ground, and pulls the strings with his finger-nails, which are long and somewhat crooked.^ (See Fig. i.)
Fig. I.
Fig. II.
Pretorius, who published his work on Musical Instruments at Wolffenbilttel in 1619, gives a representation of an Irish Harp. The artist who worked for him neglected to reverse his drawing, but this defect has been remedied in the reproduction. The peculiar peak which is shown upon the upper portion of the harmonic curve, quite unlike the Scotch hump, is exactly similar to that which occurs upon the Castle Otway and the O'Ffogerty Harps. The metal band through which the pegs pass has a double curve, a form which is scarcely traceable upon Irish ^ or Highland Harps. The sounding-board is convex, as described
' This is a conventional drawing. The artist certainly had not a Harp before him, and he did not know that the Harp should be strung upon the left side and held against the left shoulder.
The engraver reversed the drawing, so the artist's work is proper!}* represented.
- On the Kildare Harp there is a very slight downward curve at the treble end of the band.
THE lEISH HAEP 27
by Bacon as occurring upon Irish Harps in his time.^ The curved fore- pillar has the T formation ; the metal bands attaching it to the harmonic curve are shovrn. The Harp has forty-three strings. (See Fig. ii.)
In the Pai'liamentary Gazetteer there is a coloured representation of the Arms of Ireland, with a certificate dated the 5th March 1844, by Sir William Betham, then Ulster King-at-Arms, in which he states that the Arms there shown appear in a manuscript volume in his office of the reign of King Henry viii. or thereabouts. The Harp is of the Celtic form with a lion's head at the junction of the harmonic curve and fore-pillar.^ The Harp may be seen upon the coins of Henry viii., also upon the Arms of Ireland which appear upon a map, 1567,^ and the Seal of the Customs and Port of Carrickfergus, 1605.* It is also represented upon the Arms of the Borough of Belturbet, 1613.*
DJESCRIPTION AND CONSTRUCTION
The Irish are known to have possessed at least two kinds of Harp. The smaller were used by churchmen," the larger by harpers. Some of the Harps are supposed to have had two rows of strings.^ If so, the form was abandoned ; for, with the exception of the Dalway Harp, which has a second row of seven, there is no instrument extant with more than one row of strings. In fact, as the Harp was strung with brass wire in the bass, and thin steel wire in the treble, the tension of two
^ " An Irish Harp hath open air on both sides strument, most probably a Harp, was in use in
of the strings : and it hath the concave or belly Ireland. On one occasion an abbot carried one
not along the strings, but at the end of the of these at his girdle from Clare to Cashel. —
strings." — Sylva Sylvarum, Bacon ; Spedding's O'Curry's Lectures, vol. iii. pp. 2fi2, 263, 333.
ed., vol. ii. pp. 146-2'23. Communicated by E. Some centuries later Harps w ith eight strings were
Alabaster, Esq. represented upon some of the ancient sculptured
^ A representation of the Arms and Crest stones in Scotland. appeared in the E\'ening Telegraph, Bublin, " Bishops and Abbots and holy men in Ireland
23rd September 1S99. were in the habit of carrying their harps with them
' State Papers of Henry viii., vol. ii. lucor- in their peregrinations, and found pious delight
rectly represented in Bunting's coll. 1840. in playing upon them. In consequence of this,
^ Figured in the Ulster Journal of Archaeology, St. Kevin's harp was held in great reverence by
vol. i. p. 42. This is perhaps the only representa- the natives, and to this day is considered a valu-
tion of a Harp in Ireland with a distinct "hump " able relic, possessed of great virtues." — Giraldus
on the harmonic curve. The engraver may have Cambrensis, Bohu's edition, p. 128. St. Kevin
been Scotch, or the matrix may have been engraved (Coemgen) died 3rd June 618, and Giraldus
in Scotland. The form is, as far as we can learn, visited Ireland in 1185, so it is possible that the
peculiar to the Highlands. statement may be correct.
' Ibid., p. 111. 7 This is Bunting's opinion, see coll. 1809, note,
'' As early as 815 a portable eight-stringed in- pp. 3, 23, 24.
28
MUSICAL INSTEUMENTS
1 Ledwich says 33, ranaing from C Tenor to D in Alt. — Antiquities, p. 254.
- The Dalway Harp has this number in a row.
■^ Noticed by Giraldus Cambrensis about 11S8, also in the thirteenth century, in Higden's Poly- chronicon, and by Dante, again in 1566 by Good, in 15S1 by Galilei, In 1585 by Stanyhurst, and by Lynch before 1680.
■* Noticed during the thirteenth century by Dante, and in 1581 by Galilei. Iron, bronze, and silver strings for musical instrumeuts were manu- factured in Ireland at a remote period, and are nieu-
rows of strings would have been such
as to have necessitated an unusual and
\ undesirable thickness of sounding-board,
j^ which would, perhaps, have diminished
the vibration.
The smaller Harp had thirty, or even fewer, strings, the larger, from thirty-four^ to forty-five.^ They were of brass wire ^ in the bass, and of thin steel wire* in the treble.*
The box or trunk of the Ancient Harp was usually in the form of a truncated triangle, and was invariably constructed out of a solid piece of timber, which was hollowed out from the back so as to form the sides, ends, and sounding-board, the cavity being covered at the back by a board (see illustration). "^
The sounding - board, which had generally sound-holes,'^ varied consider- ably in thickness, that of the Harp in Trinity College being rather less than a quarter of an inch, while that of the Castle Otway Harp varies from one-half to three-quarters of an inch.
The sounding-board at an early period was probably perfectly flat, and the sides of the box of the same depth
the tioned in a poem of the early part of the twelfth century, which O'Currj' believed to be several centuries earlier. — Lectures, vol. iii. ]ip. 223-24.
' The writer regrets that the number of steel strings have not been noticed by any writer. They probably varied.
" The illustration shows the back of the Castle Otway Harp. The projecting block has been added by the writer, as that portion of the instrument is inserted in a stand.
' Dr. Lynch says. Through these boles the pegs attached to the strings were passed when
THE IIJISH HAEP
29
throughout. Bacon, who notices the instrument, states that " an Irish harp hath open air (sound-holes) on both sides of the strings, and it hath the concave or belly, not along the strings, but at the end of the strings," i.e., as he says, "across the strings."' This is exactly what is shown in the illustration already noticed, reproduced from Pretorius's work of 1619, and it should be remarked that this representation shows the side of the box much deeper at the upper extremity than at the lower termination, as was then customary. Later on in the seventeenth century, the sounding-board was made to curve both along and across the strings, and the depth of the sides of the box varied, being occa- sionally deepest at the centre, and usually shallowest at the lower termination.
The form of the lower extremity of the sounding-board also varied. Originally it was probably a straight line, but during the seventeenth century the termination at either side of the projecting block took the form of semi-circular curves, more or less varied. There was visually a raised band dividing the sounding-board longitudinally, which was pierced with holes for the strings. Above, or surrounding the string- holes, pieces of metal, more or less ornamented, called the "shoes of the strings," were attached to prevent the wire strings from cutting the sounding-board.^ A number of these are here represented.
Nos. 1, 2, 3, ami 4 on the Harp, Trinity College, Dublin. No. 5 on tlie Kildare Harp.
/ — '^P ' — X Same scale. Nos. 6, 7, and 8 on the Harp in Dublin Museum. No. 9 ou the Downhill Harp.
new strings were required. Some harps have cavities in the back which act as sound-holes, and must also have been used for stringing the instruments.
' Sylva Sylvarum, Bacon ; Spedding's ed.,
vol. ii. pp. 146-223.
^ The strings were attached to small pieces of wood, which jirevented them from being drawn through the string-holes.
30 MUSICAL INSTEUMENTS
A portion of the box projected from the lower extremity several inches ; this had a cavity, into which the lower portion of the curved fore-pillar was inserted. The upper portion of the box had also a cavity, into which one end of the harmonic curve fitted.
The harmonic curve was furnished with metal bands, on either side, of the same curved form as the wood, each with a series of holes, through which the tuning-pegs passed. These bands, which were, no doubt, intended to strengthen this portion of the instrument, were occasionally ornamented, and almost invariably formed single curves. The tuning-pegs, generally of brass, also frequently ornamented, were angular at the right end, and perforated at the left ; these were inserted on the right side,^ and the strings attached to the portions that projected from the left side. There were no nuts or straining-pegs, but when the tuning-pegs were firmly placed and the strings properly adjusted, it is probable that the strings were then very slightly, if at all, ofi" the plane.
The harmonic curve was originally constructed out of one piece of wood. Into a cavity near the end, the upper portion of the fore-pillar was inserted ; the tension of the strings caused the harmonic curve to lean towards the left side, to counteract which metal straps or bands were sometimes attached to the right side of the harmonic curve and to the fore-pillar.^ A similar strengthening may be seen on the Lamont Harp and on the illustration in Pretorius's work. A most remarkable Irish example occurs amongst the brass mountings found at Ballinderry, and will be hereafter described (p. 63). During the seventeenth century the artificers commenced to carry the fore-pillar higher than was originally the practice, the upper portion then forming part of the harmonic curve. The remaining portion of the harmonic curve was mortised into it, both portions being held together by the metal bands on either side through which the tuning-pegs passed.
The fore-pillar was more or less curved, and had for a considerable portion upon either side of the outer curve a projection, the section taking the form of the letter T. When this formation was made to commence a,nd terminate near to either extremity of the fore-pillar, an exceptionally
^ By the right side is meant that which is curve) is coated on both sides with brass plates,
nearest the right hand when the Harp is being which connect it elegantly with the bowliUe
played upon. pillar." — Cambrensis Eversus, Dr. John Lynch.
2 " The end of the curved neck (harmonic
THEIEISHHAEP 31
strong arm, able to withstand the tension of the strings towards the left, was the result. When the fore-pillar is much curved, it may occasionally be found slightly shortened by the direct tension of the strings.
The correct Irish names for the different portions of the Harp are given by O'Curry ^ as follows :—
Crann Gleasta . . . Tuning Key.^
Corr ..... Harmonic Curve.
Lamhchrann .... Front Pillar.
Com ..... Belly, or Sound-Board.
Bunting does not give the Irish for " Tuning Key," but he gives Crunatted, for the shoe of the strings, i.e. the piece of brass on the sound- board, through which the strings pass ; Aufhoirshnadhaim, for the wooden pegs to which the strings are fastened ; Uinaidhin ceangal, for the pin, or jack, that fastens the wire to the Harp.^ O'Curry gives Trom-Theda for the heavy strings, and Goloca for the light strings.'*
That great care was bestowed upon the construction of the Irish Harp is shown from a poem written about 1640 by Pierce Ferriter of Ferriter's Cove, concerning a Harp which was presented to him by a Roscommon friend, the following portion of which, translated by O'Curry, the reader may find of interest.
" The key of music and its gate,
The wealth, and abode of poetry ! The skilful neat Irishwoman, The richly festive moaner.
" Children in dire sickness, men in deep wounds, Sleep at the sounds of its crimson board * ; The merry witch has chased all sorrow, The festive home of music and delight.
' Lectures, vol. iii. p. 256. ^ Bunting, coll. 1840, pp. 20-36. As O'Curry
^ The handle was of wood or horn. — Lynch. has condemned Bunting's Irish terms, and under-
Amongst the Collection of Antiquities on view at taken to correct them (which apparently he
Belfast in 1852 were two Harp keys made of neglected to do), these may not be accurate. —
bronze. One of these was exhibited by T. R. Lectures, vol. iii. p. 302.
Murray, Esq., Edenderry, Co. Meath. The other, 4 ,, . , ^.r.
from a crannog, Monalty Lake, was exhibited by
E. P. Shirley, Esq., Lough Fea, Carrickmacross. — ^ Harps that are extant have considerable traces
Descriptive Catalogue. of painting, staining, and gilding.
32 MUSICAL INSTEUMENTS
" It found a Cor ' in a fruitful wood in [Mugh] Aoi ^ ; And a Lamh-chrann ^ in the fort of Seantraoi, — The rich sonorous disconrser of the musical notes ; And a comely Com''' from Eas dd Ecconn.^
" It found MacSithduill to plan it,
It found Gathal to be its artificer, —
And Beannglan, — great the honour, —
Got [to do] its fastenings of gold ^ and its emblazoning.
" Excellent indeed was its other adorner in gold, Farthalon More MacCathail, The harp of the gold and of the gems. The prince of decorators is Parthalon."'
We find the wood for the instrument was brought from three distinct districts. An artist designed it. A woodworker or carpenter made it. An artificer either made or suppHed the gold fastenings and emblazoned it, and a decorator finished the instrument.
Dr. Lynch, who gives a very accurate and minute description of the Irish Harp of the early portion of the seventeenth century,* states that the neck (harmonic curve) and fore-pillar were ornamented with varied and exquisite sculpture," also that the trunk was generally made of yew or sallow.^" The Harps had frequently the makers' names or inscriptions upon them. Lynch notices one of the latter which a native of Cashel had carved upon his Harp after the country had been overrun by the English, which runs as follows : —
1 Harmonic curve. to be Cromwell's soldiers) in many places vent
- In the plains of Roscommon. their vandal fury on every Harp which they
3 Fore-pillar. meet, and break it to pieces. For Ireland loved
4 Sounding-board (box). ^^^ ^"•'"P' ^"'^ ^^'^" '* ^^^ banished from every s t:. 11 X T> 11 1. T^ 1 "''^^ country she clung to it with a fonder affec- ° Falls of Ballyshannon, Donegal. .. -j. . , ,
tion ; it was quartered on her national arms ; its
<■' These fastenings may have been those for ^^gj^, ^^^ ^^^ delight."— Cambrensis Eversus.
connecting the harmonic curve with the fore- 9 Unfortunately the Dalway Harp is the only
P ■ specimen of the period extant. That this dis-
7 Lectures, vol. iii. pp. 257-8. appearance of the splendidly decorated Ancient
* His reason for his minute description is here Harps cannot altogether be attributed to natural
given : — " It may not be by any means a useless decay is too true. Lynch '3 statement regarding
labour, if I succeed in describing accurately for their destruction has been given in the previous
my readers the form of the Harp, lest it should note.
be involved in that universal ruin, which I fear i' We know that those of a later date were
nothing but the arm of God alone can now avert most commonly made of red sallow, white sallow
from my country. The precaution is the more or black sallow from the bog, but the box of the
necessary, as some barbarous marauders (supposed Kildare Harp is supposed to be of yew.
THEIRISHHAEP 33
" Cur lyra funestos edit percussa sonores 1 Scilicet amissum fors diadema gemit.''^
This writer states that in his own days " Father Robert Nugent made a very considerable improvement in the Harp by an invention of his own. He enclosed the open space between the trunk (sounding-board) and the upper part of the Harp (harmonic curve) with little pieces of wood, and made it like a box ; leaving on the right side of the box a sound-hole, which he covered with a lattice-work of wood, as in the clavichords. On each side he then arranged a row of chords, and thus increased to a great degree the melodious power of the Harp.""
Another improver of the Harp was Nicholas Pierce of Clonmaurice, who lived before 1640. He added more wires to the instrument than it had at any previous period.' Unfortunately, of the number of strings we have no record.
The duration of time during which the Celtic Harp, the box of which was formed out of a solid block, remained a serviceable instrument was limited by the power of the sounding-board to resist the tension of the strings. The harmonic curve and fore-pillar could be replaced if damaged, and although the beauty of the instrument was largely owing to the form of the harmonic curve and fore-pillar, the purity and sweetness of tone was mainly due to the construction of the box,'' which, musically speaking, was the most important portion of the instrument. It might be replaced if worn out or injured, but the tone would not then be the same. That the Irish and Scotch made use of a form of unusual strength is undeniable, but was the tone of an instrument, the box of which was cut out of a solid block, also superior ? If it was not superior, why was it universally so constructed ? It cannot be supposed that the Irish were unaware that the box could be constructed of several pieces, or, imless the use of glue was unknown, that the Irish artificers were incapable of
' Wliicb Kelly, Dr. Lynch's tniuslator and second row of seven strings, to be one of Nugent's
editor, thus renders : — Harps ; but the writer does not think this possible,
"Why breathes my Harp the ever-mournful strain? the harmonic curve shows no appearance of having
It mourns the long-lost gem, the fall of Erin's reign ! " been joined to a box in the manner described.
^ Cambrensis Eversus. There is no known 3 Q'Curry's Lectures, vol. iii. pp. 263-64.
specimen of Nugent's improved Harp. As Lynch * The oldest specimens of the Welsh Harp the
must have been familiar with it, his description writer has seen had sounding-boards, the grain of
may be accepted as accurate, but it is unintel- which ran along, not across, the strings, although
ligiWe. His editor and translator, the Rev. M. the bodies resembled those of the eighteenth
Kelly, supposes the Uahvay Harp, which has a century French Harps.
34 MUSICAL INSTEUMENTS
building up a box. Yet amongst the existing specimens we only find Harps with built-up boxes that belong to a comparatively recent period.
Small Harps, such as that represented upon the monument at Jerpoint, with flat sounding-boards and raised string bands, must have withstood the tension of the strings for a lengthened period, and the Highland specimens give, perhaps, the most reliable clue as to the dura- tion of instruments so formed. An examination of these Highland Harps shows that, although the sounding-boards in both instances have been raised or drawn up by the tension of the strings, were it not for the ravages of the wood-worms, they would now be serviceable as musical instruments, although they may have been strung and occasionally played upon for two centuries or more.^ These Highland Harps are small, the larger Irish instruments of a later period, with thirty, if not more numerous, strings do not appear to have lasted so long. The Downhill Harp was in use for one hundred and ten years, and probably the Kildare Harp and certainly the Castle Otway Harp for a longer period.
When the sounding-board began to yield to the tension of the strings, bands of metal were placed across the sounding-board and attached to the sides of the box, or the " shoes of the strings " were removed and a long strip of metal, pierced with holes the full length of the sounding-board, was placed over the string-holes; these unsightly additions enabled the harper to continue to use the instrument for some time.
It may be stated that the projecting-block, which might be supposed to be a weak portion of the instrument, has not, as far as the writer is aware, been damaged in any case by the downward thrust of the fore-pillar, although the strain in some cases has been so great as to shorten the fore-pillar. This downward thrust was probably neutralised to a large extent by the tension of the strings acting upon the lower portion of the sounding-board ; were it not for this counteracting strain the projecting-block would certainly have been forced downwards, and thrust from the box. It may also be remarked that the three portions of the Harp were not always pegged, or fastened to each other, but were occasionally held together by the tension of the strings alone.
Had these Harps been Irish specimens this countenanced secular music. So these Harps may period might be accepted, but it should be recol- have been unstrung for a considerable portion of ected that the leaders of the Reformation dis- the time specified.
THEIEISHHAEP 35
It would be interesting to know what place the Harp occupied, whether in the ladies' chamber or in the baronial hall ; but upon this point Dr. Lynch is silent. That splendidly decorated instruments, such as he describes, were intended not only to be heard, but to be seen and admired, is certain. In Ireland, either within or without the Pale, purely decorative objects probably were not numerous, and it is reason- able to suppose that a highly ornamented Harp, or even a less ornate instrument, would have its special place in one or other of the apart- ments named. The question naturally follows. Was that place the wall ? If a Celtic Harp was suspended, it would have been most probably suspended by a strap or band, attached for that purpose to the portion of the harmonic curve which is nearest to the box. If the side of the Harp rested against the wall, only one half of the ornamentation would be visible, but if the back of the box was placed against the wall, the ornamentation of both sides would be clearly seen. The Celtic Harp was not a light instrument, and any band or strap placed round the harmonic curve for the purpose of suspension would in time leave a mark, but on the two existing specimens there are no such marks. Both of these Celtic Harps have ornamented fore-pillars. If the reader turns to the illustration of the Dalway Harp (p. 65), and examines it as it would require to be examined if suspended, he will find that the animals represented on the fore-pillar will then appear as if they were moving up the side of a wall, whereas, if the illustration is examined showing the Harp as resting upon the back of the box, the figures will all appear in natural positions. The animals represented upon the fore-pillar of the Trinity College specimen can also be best seen when the instrument is placed upon the back of the box (see p. 57), but are unintelligible when the instrument is suspended. The wolf-dogs represented upon the Castle Otway Harp (p. 73) would appear to rest upon their necks or heads were the instrument suspended. So far as the writer is aware, were it not for Moore's well-known line : —
'Now hangs as mute on Tara's wall,'i there would be nothing to induce any one to suppose that the Celtic Harp was ever suspended. The injury to the decoration of
1 Without serious injury to Moure's beautiful melody the following line might be substituted: —
"Now rests as mute within tliose whUs.'
36 MUSICAL INSTRUMENTS
a cherished object which the friction of a band would certainly have caused, and the trouble of removing and replacing the instrument upon the wall would have prevented the possessor of one of these beautiful Harps from suspending it. Attention has already been directed to a most interesting monument in Jerpoint Abbey, where a genuine Irish Harp is represented as resting upon the back of the box, and it is the writer's opinion that that was the position in which the instrument was placed when not in use. That Irish and Highland Harps were splen- didly decorated and highly prized is undoubted, and it is natural to suppose that they would have special places in the Castle halls or other apartments. They may have been placed upon decorated stands or benches. No such pedestals are extant, but that there were such is extremely probable. A decorated instrument, such as the Dalway Harp, would never have been placed upon the floor of the hall, where it would be almost certain to be injured by some of the numerous guests or retainers Avho occasionally thronged the apartment.
METHOD OF PLAYING
The Irish harper placed the instrument upon his knees or upon the ground, and, resting it either against his left shoulder or against his chest, played the treble with the left hand, and the bass with the right, catching the strings between the finger-nails (which were purposely trimmed, so as to be long and crooked) and the flesh, ^ thus producing a clearer, and perhaps purer, tone than could be otherwise obtained. This method of playing was gradually abandoned, and we find Dr. Lynch thus describing the manner of striking or pulling the strings as practised during the early portion of the seventeenth century. "The more expert and accom- plished performers (who generally bend over the neck of the Harp, but occasionally hold it erect) strike the brass strings with the tips of their fingers, not with their nails, contrary to the custom, as some maintained, which not long since was common in Ireland. That custom is now, if not obsolete, at least adopted by ruder performers only, in their anxiety to elicit thereby louder notes from the strings, and make the whole
' This mauuer of pulling the strings by the Vicentio Galilei in 1581, and by Richard Stauy- Irish is uoticed by John Good in 15(36, also by hurst in loS-i.
THE IRISH HARP
37
house ring with their melody." ^ Hempson, the oldest harper at the Belfast meeting in 1792, played with his finger-nails; he was probably the last who did so, as all the other harpers who attended that meeting pulled the strings with the fleshy part of the fingers alone.
SCALE AND TUNING, ETC.
Of the scale of the Irish Harp at a remote period we have unfor- tunately no knowledge, but it was probably tuned to such gapped scales as were in use. Pretorius, a writer already mentioned, who published in 1619, gives what he calls the scale of the Irish Harp with forty-three strings. As this scale is so singular, the writer thinks it desirable to reproduce it here" and leave it to those who have made a speciality of Irish scale forms to decide whether or not such a scale is likely to have been in use at any period.
;M»J J
W^
^
^
*
0 w — *
ft
p
g
r»r»f,irr"rrYYf"lM
m
^
In the chapter contributed by W. Beauford and published by Edward Ledwich in The Antiquities of Ii-eland in 1790, there is a statement that the Bardic Harp (? sic) from twenty-eight strings was afterwards augmented to thirty-three, "beginning in C in the tenor and extending to D in alt, which seems to have been the last improvement in the Irish Harp, and in which state it still remains." Although Mr. Beauford mentions a Harp with thirty-three strings, he probably in the passage quoted gives the range of a Harp with thirty strings, and as two of the strings were tuned to the same note, a gap would occur in the scale.
'■ A century later Echlin O'Kane, a most accom- plished Irish harper, who, although blind, had travelled through England, Scotland, France, Spain, and Italy, and performed before the King of Spain, the Pope, and the exiled Stewart prince at Rome, played in this manner, and prided him- self upon having his nails specially trimmed for the purpose. This harper was occasionally most offensive to his entertainers, and when his insol-
ence could not be overlooked. Highland gentlemen before sending him from their houses ordered his nails to be cut quite short, a sufficient punish- ment, as he was then unable to play ujjon the Harp until they had grown to their proper length. — Gunn's Historical Enquiry, note, p. 19 ; Bunting, coll. 1840, p. VS.
^ The writer is indebted to Professor Niecks for this scale as it apjiears.
38 MUSICAL INSTEUMENTS
During the fifty following years, as far as the writer is aware, no contrary assertion appeared in print. In 1840 Bunting's third collection was published. In this work it is stated that each of the Harps that were used at the celebrated meeting at Belfast in 1792 to be hereafter referred to had thirty strings.
These Harps were not large^ — we know that two of them were not more than four feet in height ^ — and as they were intended to be carried about the country, they were probably made as portable as possible. Edward Bunting procured all the information obtainable as to the tuning of the instrument as practised by the harpers in 1792; and, as he was a musician of some eminence, and able to verify the state- ments, they are here reproduced.
ANCIENT MUSIC OF IRELAND.
SCALE OF THE IRISH HARP OF THIRTY STRINGS, TUNED IN THE
NATURAL KEY, TERMED,
w
" LeaCh SCeaS," <w hal/mte.
xsi^^i-ter, 6\ 9 jd m
is 5/ s8 M ;
g| 9 JO Jt mnlad^a*- I) m J7 1»19 '," I S3 k si ^ » -^-^r^^
@
i
^
C D E
QABODfifQ GAB O OEEGABCOB FaABOD ■}■
* "The Irish Harp had no string for F sharp, between E and G in the bass, probably because it had no concord in their scale for that tone, either major or minor ; but this E in the bass, called 'Teadlecthae,' or fallen string, in the natural key termed ' Leath Glass,' being altered to F natural, a semitone higher when the melody required it, and the sharp F's, through the instrument being previously lowered a semitone, the key was then called ' Teadleaguidhe,' the falling string, or high bass key."
II II Strings 11 and 12, "Called by the harpers 'The Sisters,' were two strings in unison, which were the first tuned to the proper pitch ; they answered to the tenor G, fourth string on the violin, and nearly divided the instrument into bass and treble." O'Curry states that the name of these strings was " Cobhluighe." — Lectures, vol. iii. p. 256. The Sisters are mentioned at a very remote period in the "Yellow Book of Lecan," compiled in 1391.— Ibid., pp. 250-254.
t " This is the number of strings indicated by the string-holes on the sound-board of the ancient Irish Harp now in Trinity College, Dublin, erroneously called 'Brian Boroiralie's Harp,' and was the usual number of strings found on all the Harps at the Belfast meeting in 1792."
1 Petrie, in O'Curry's Lectures, vol. iii. p. 21)5.
'<r/ I- 1 ■ (tj
:*er IB aware, no
• third collection
' the Harps that
to be hereafter
lem were not
■ 10 be carried
possible.
to the
• and,
I
EBTr. Buis-Tiw-G Esq"!:
•Aii/Ao7- OF THE General Co/ledwn or the Anicicnt Mitislc of IMELANM.
THE lEISH HAEP
39
METHOD OF TUNING USED BY THE OLD HARPERS.
Tuned for high baja key.
*H«=^
Tuned in octaves to the top.
Tuned in octaves to the bottom.t
if!
iJ4L*|f^^
I " It will be observed by the musical critic, that only two major keys, viz., G one sharp, and C natural, were perfect in their diatonic intervals on the Irish Harp ; but the harpers also made use of two ancient diatonic minor keys (neither of them perfect according to the modern scale), viz. E one sharp, and A natural. They sometimes made use of D natural minor, which was still more imperfect, though some of their airs were performed in that key, and were thought extremely agreeable by many persons."
C sharp, §
occasionally tuned to F sharp, (a fifth.)
§ " The harpers said that this single note, C sharp, was sometimes made use of, but the editor seldom met with an instance of it."
As the scale given for the Irish Harp was jjubHshed when the Harp was in use, and when many were alive who must have recollected harpei-s of an earlier school than those educated by the Belfast society, and as this scale was accepted and reprinted by George Farquhar Graham,^ a writer not altogether favourable to Bunting, and does not appear to have been questioned, it may be accepted as correct.
Bunting gives the following names and explanations for the different kinds of Irish Harps and strings of the Harp : —
CLARSECH, . . The common harp.
CINNARD-CRUIT, . The high-headed harp.
CROM-CRUIT, . . The down-bending harp.
PVTR\'T'V i Supposed to be the portable harp used by the priests and
^ -^ I • ■ ■ )^ religious people.
CRAIFTIN CRUIT, . Craftine's harp (a man noted in Irish legends).
LUB, . . . .A poetical name for the harp.
' Introfluction to Songs of Irelaud without Words, J. T. Surenne.
40
MUSICAL INSTEUMENTS
THE NAMES IN IRISH OF THE DIFFERENT STRINGS OF THE HARP, WITH THE TRANSLATIONS AND MUSICAL EXAMPLES
CAOMHLUIGHE,
Lying togetlier/
GILLY CAOMLUIGHE, . . Servant of the sisters, AN DARA TEAD OS CIONNl
CAOMLUIGHE,
.r
Second string over the sisters,
AN TREAS TEAD OS CIONN 1 ^, • , . • , • ,
CAOMLUIGHE, . . . | ilu'd string over the sisters.
TEAD NA FEITHE-0-LACH,
String of the leading sinews,^
GILLY TEAD NA FEITHE-0-| g^^^^^^^ ^^ ^^^ j^^^j ^-^^^^^^
TEAD A LEITH GLASS,
String of the half-note,'
DOFHREGRACH CAOMLUIGHE, Answering,^
FREAGRACH TEAD NA FEITHE-0-LACH, .
CRONAN,
TEAD LEAGUIDH,
i Response to the leading sinews,' . Drone bass,*
Falling string,'
m
G G
^
^
.Ei
E
w
G
m
D
m
G
©fc
1 Called by the harpers " the Sisters," were two strings in unison, wliich were first tuned to the proper pitch ; they answered to tlie tenor G, fourth string on the violin. See note || ||, p. 38.
- Called by the harpers " the String of
5 Next the octave to the "Sisters."
■* Octave above the "Sisters," was next tuned.
° Being octave below the " String of Melody."
^ Octave below the " Sisters."
" Being F natural raised from E natural, a
M-lo'ly," was tuned next to the " Sisters," being semitone, to answer the melody as occasion a fifth above them. required.
THE lEISH HARP
41
TEAD LEACTHEA,
NAMES OF THE STRINGS — continued.
The string fallen,'
CRONAN lOCH-DAR-CHANUS, Lowest note.^
UACH-DAR-CHANUS,
DO FREGRACH,
FREGRACH,
Highest note,^
Answering,*
. Response,'
^
m
E
m
CO
I
D
m
w^
When playing at Belfast in 1792, Bunting states that "the harpers used a great degree of execution, performing such a variety of difficult and novel shakes, and exhibiting such a precision in staccato and legato, as astonished and delighted all the musicians present. Struck with the extraordinary degree of art exhibited in these varieties of their perform- ance, the Editor (Bunting) carefully noted down examples of each, taking pains, at the same time, to learn as many as possible of the technical terms, by which such points of the execution are described in the Irish language." ^ As Bunting not only gives musical examples, but also explains the method of stopping the notes as practised by the harpers, the writer considers it desirable that they should be here reproduced, as they may be found of value by those who may attempt to play upon the instrument.
* The natural tone of the string.
2 Douhle C in the baas, five notes below the cronan.
^ D in alt, the highest note on the Irish Harp.
* Applied to all the octaves in the treble.
^ Applied to all the octaves in the bass, except the cronan.
« Bunting, coll. 1840, p. 19. He also states that he frequently visited Hempson, who was over 100 years of age, and from him he learned his peculiar method of playing and fingering. — Ibid., p. 6.
42
MUSICAL INSTEUMENTS
THE NAMES OF THE GRACES PERFORMED BY THE TREBLE OR LEFT HAND, WITH THE TRANSLATIONS AND MUSICAL EXAMPLES
kc. BRLSIDH, .... A break, ....
Performed by the thumb and first finger ; the string struck by the thumb is stopped by it, the first finger string left sounding.
i+l +
u
^^
^
LEAGADH ANUAS, . . A falling, ....
liy the first finger and thumb ; thumb stops the string sounded l)y the first finger, and thumb string left sounding.
LEATH LEAGUIDH, . A half falling,
By second and third finger ; .string struck by second, stopped by first, and string struck by third, stopped by second finger.
SRUITH-MOR,
A great stream ascending.
First, second, and third fingers of the left hand slide along the strings, which were either stopped or allowed to sound, as the harper pleased ; in general, executed in a most rapid manner.
SRUITH-MOR, ... A great stream descending, .
Fingered in the same manner as last by the right hand, performed as above.
SRUITH-BEG, . . Little stream.
By thumb, first, second, and third fingers of the left hand.
By third, second, and first fingers, ascending one string each time.
^^
.53 !t fe-
SHAKES, ETC. BARLLUITH, . . Activity of the fingers, .
A continued shake, by second, first, and third fingers alternately. The harpers did not finish the shake with a turn, as in the mode adopted at present.
BARLLUITH -BEAL- AN- ^ Activity of finger-ends, striking AIRDHE, . ./ upwards, ....
By second, firai, and third fingers; the string struck by third, briskly stopped by second ; first string still sounding.
SI SI 2 J 3J,
f^
THE IRISH HARP
43
NAMES OF THE GRACES—COntillued.
CASLUITH, . Returning actively,
By third, first, and second fingers ; the strings stopped instan- taneously by each finger when played.
BARLUITH FOSGALTA, . Activity of finger-tops, . . Qij;
By second, first, and third fingers ; second finger string stopped by first ; first finger string still sounding.
CUL-AITHRIS, . . . Half shake, .
By first finger and thumb.
TRIBUILLEACH or CREA- 1 ^ . , , , THADH GOIMHMHEAK,J ^"P'® ^'^'^'^®' By second, first, and third fingers, three times in succession.
CROTHACHAON MHEAR, Shaking,
By first finger, back and forward, on the same string.
DOUBLE NOTES, CHORDS, ETC. FOR THE LEFT HAND
BULSGAN, .... Swelling out, By the first and second fingers ; a third.
n i)t S 2 S S
GLASS, ...
By first and third fingers ; a fourth
A joining,
3 3 3 3
^
FOR THE RIGHT HAND
GLASS, . . . .A joining, By thumb and third finger ; an octave.
+ + + 3 3,
^^m
LAGHAR, .... Spread hand,
With forked fingers, first and third fingers ; an octave.
^
3l31 21
44
MUSICAL INSTRUMENTS
DOUBLE NOTES, ETC. — continued
LAGHARLAIR, . . Middle of hand, . . . (^y. ^ P P 14
By first and second fingers ; a third. '"'^ 1^ I — I—
GLASLUITH,
. Quick locking,
By thumb, first and third fingers ; a chord of a third, with an U|- jr octave.
^
is, +23.
z:
■=i^
m
^^
CENNANCHRUICH, . . Extremity of hand.
By first, second, and third fingers ; a chord of three notes.
TAOBHCROBH, . . Side hand, .
By thumb, second, and third fingers ; a chord of three notes.
LANCHROBH, . . Full hand, .... (^^
By thumb, first, second, and third fingers ; a chord of four notes. ^~-^
*&
3 3
^
MALART PHONOGH, . To reverse the hand, . Or crossing the hands, the right taking the place of the left.
rt
^^m
w
It is worthy of remark that the harpers struck the upper notes of these chords first, instead of beginning with the lowest tone, as the moderns do in their Arpeggios. All these graces, shakes, double notes, chords, etc., had a different sound and expression, according to the method adopted in fingering, and stopping the vibration of the strings.
THE IRISH TERMS USED BY THE HARPERS TO INDICATE THE TIME, MOOD, AND KEY, WITH THE TRANSLATIONS
THE TIME
TREBHUINNEACH, Trebly rapid,
CUIGRATH, . . Dirge time, . CRUDHCHLESACH, Bold, heroic,
rirish jig time, used in the old dancing airs, - etc., which were performed with great [ vivacity and vigour.
("Lamentations for particular families, with \ words.
/Marching time, also the time of the ancient \ melodies in general.
THE IRISH HARP
45
THE TIME — continued
CUMHADTH,
PHURT,
Lamentation,
. Time of the lessons,
("Time of the music composed in compliment to the deceased patrons of the harpers, without words, but by no means slowly played.
' Phurt " frequently consisted of two parts ; first, Na phurt, introductory, and Malart Phonck, changing the position of the hands, the right hand playing the treble, and the left the bass.
THE MOODS
ALHBHAN-TRIRECH, The three moods. Or species of music.
GENANTTRAIDHEACHT, Love, . . Music of a graceful and expressive order.
GOLLTTRAIDHEACHT, Exciting sorrow. Melancholy music.
SUANTTRAIDHEACHT, Soothing, . Sleepy, composing strains.
I UTNNFArH / ^^^''y' Joyf"! \Supposed to apply to the Luingis of the
' " ■ \ music, . j Highlands of Scotland.
THE KEYS
LEATH GLASS,
FUIGHEALL-MOR,
FUIGHEALL-BEG, UAN FUIGHEALL,
Half note, .
Great sound.
Lesser sound, Single sound.
TThe leading, or next note to the " Response " A to the "Sisters," forming the proper key [ of the harp, being G natural, one sharp.
(Formed by raising C natural (a semitone \ higher) to C sharp. Seldom used.
/Supposed to be the high bass or flat key. \ The key of C.
One sharp, another name for the key of G.
The Irish terms given by Bunting were procured from the most distinguished of the harpers who met at Belfast in the year 1792. The harpers whose authority was chiefly reUed upon were Hempson, O'Neill, Higgins, Fanning, and Black,' " who, although educated by different masters (through the medium of the Irish language alone), and in different parts of the country, exhibited a perfect agreement in all their statements, referring to the old traditions of the art as their only authority, and professing themselves quite at a loss to explain their method of playing by any other terms."'- Bunting was assisted by Dr. James M'Donnell, who, on 8th November 1838, wrote as follows : — " As
' All except Fauuing were bliuJ.
2 Buuting, coll. 1S40, pp. 19, 20.
46 MUSICAL INSTRUMENTS
to the character of O'Neill, I found him a man of veracity and integrity, etc. I think, therefore, you may rely with the greatest confidence upon any information he gave you as to the technical names of the strings, and parts of the harp, and names of the different notes, or shakes upon the harp. He was as incapable, as he would have been disinclined, to have invented these terms," ^ etc. Bunting was not an Irish scholar, and he occasionally gives different spellings of the Irish terms ; but that the terms were those used by the harpers of the eighteenth century there can be no reasonable doubt. However, it is necessary to state that O'Curry has pronounced them to be "apocryphal and corrupt," and that " all of them, with few exceptions," as O'Curry undertook to show, were "mere forgeries, or else the most commonplace and vulgar Hibernicisms of English terms." ^
Proof of the accuracy of this statement should have been produced when the lecture was delivered. Bunting had died nearly twenty years previously, and O'Curry passed away shortly after without having exposed the so-called frauds. The terms used by the harpers may have appeared incorrect to an eminent Irish scholar, but were it not for Bunting we should now be deplorably ignorant as to the scale, tuning, and fingering of the wire-strung Irish Harp. Bunting, an accomplished musician, who studied the method of playing as practised by the harpers, could not have mistaken the manner in which the different graces, etc., were executed, and by noting them he made it possible that this instrument, celebrated for almost countless centuries, may again be heard.
DECAY AND DISAPPEARANCE
That the Irish Harp was an instrument of great power and sweetness cannot be doubted,^ and it is equally certain that it was
' Bunting, coll. 1840, p. 61. excellent, Walker, Appendix, p. 91. It was also
2 Lectures vol iii d 302 ^tsei. to some extent in connection with other
instruments. "Manini, our first violin (at Cam-
^ The Irish Harp was a usual accompaniment bridge), often spoke of the performance of O'Kane
of the Mass in the Roman Catholic Churches. with great rapture, assuring me that he could,
— Bunting, coll. 1840, p. 53. Carolan "frequently although blind, play with great accuracy and fine
assisted with his voice and his harp at the effect the first treble and bass parts of many of
elevation of the Host," and composed several Corelli'a Concertos, in concert with other in-
pieces of church music which were considered struments." — Gunn's Enquiry, note, p. (30.
THE IKISH HARP 47
an exceptionally difficult instrument to learn, particularly as the pro- fession was almost entirely reserved for those of either sex who had lost their sight when young. To be a proficient, it was necessary for the pupil to begin at the early age of ten or twelve.^ Then, after studying under several instructors for six or eight years, the young harper commenced playing as a professional. The execution of some of the noted performers, who were to be heard at the close of the eighteenth century, must have been remarkable. A gentleman, who had often heard Mungan play, after stating that he was a most admirable performer, thus describes his delicacy of touch : — " Those janglings of the strings, so general amongst ordinary practitioners, were never heard from the Harp in his hands. But it was in the piano passages he chiefly excelled : these came out with an effect indescrib- ably charming. His ' whispering notes ' commenced in a degree of piano that required the closest approach to the instrument to render them at first audible, but increased, by degrees, to the richest chords. In then- greatest degree of softness, they resembled rather the sympathetic tones than those brought out by the finger." ^ Hempson, who, as already stated, played with long, crooked nails,^ had, even at the great age of ninety-seven, "an admirable method of playing staccato and legato, in which he could run through rapid divisions in an astonishing style. His fingers lay over the strings in such a manner that when he struck them with one finger, the other was instantly ready to stop the vibration ; so the staccato passages were heard in full perfection." The intn'cacy and peculiarity of his playing often amazed the writer of the passage just quoted, " who perceived in it vestiges of a noble system of practice that had existed for many centuries."* Seybold, a celebrated performer on the Pedal Harp, after hearing Arthur O'Neill, " declared his admiration
' Hempsou studied, from twelve to eighteen, devised by the most modern improvers." — Ibid.,
under four instructors. Carolan, who did not p. 73. In another passage he says: — "In his
commence the Harp until upwards of sixteen, performance, the tinkling of the small wires,
never, as we are told, excelled as a performer. — under the deep notes of the bass, was particularly
Bunting, coll. ISiO, p. 72. See Evelyn, p. 23. thrilling." — Ibid., p. 3. Mr. Gunn says: — "I
- Bunting, coll. 1840, p. 78. have frequently heard it related of O'Kane, the
^ Ibid., coll. 1840, p. 73, Bunting, when again celebrated Irish harper, in different places where
referring to Hempson's method of playing, states he had been heard, that he very commonly drew
that his "staccato and legato passages, double tears from his auditors." — Historical Enquiry,
slurs, shakes, turns, graces, etc. etc., comprised note, pp. 59, 60. as great a range of execution as has ever been * Bunting, coll. 1840, p. 73.
48 MUSICAL INSTEUMENTS
of his shake upon the Irish Harp, which was performed, apparently, with the greatest ease and execution ; admitting that he could not do it himself in the same manner on his own instrument, the shake being the greatest difficulty upon every species of Harp."
The harpers taught exactly as they themselves had learned ; ' and at the celebrated meeting in 1792, the performers present, although they had come from different counties, or provinces, and had been taught by separate masters, played the same melodies, " in the same keys, and without variation in any essential passage or note." ^ Of the harpers themselves, particularly those he had known, or of whom he had pretty reliable information. Bunting has left some interesting notes.
Many of these minstrels belonged to respectable families, and travelled from mansion to mansion, some even with retinues, but usually either on horseback, with a guide, or on foot, attended by a harp-bearer. Families of pure Irish descent were most frequently visited, but the harpers were also welcomed and entertained by the descendants of the English and Scotch settlers. Thus they travelled over the greater portion of Ireland, and had an extensive knowledge of a large number of the leading families.
There can be no doubt, at the close of the eighteenth century the Irish Harp was on the decline. No composer for the instrument had appeared after the death of Carolan ; the harpers that remained were not numerous, and of these the larger number were blind. To encourage this class of musician, an Irish gentleman, residing in Copenhagen, con- ceived the idea of offering liberal premiums for competition, and, to attract and interest the resident gentry, a splendid ball was to be part of the entertainment. For this purpose, Mr. James Dungan supplied
1 Dr. M'Donnell, who had been a pupil of educated by different masters (through the medium Arthur O'Neill during the two years he had lived of the Irish language alone), and in different parts in his father's house, states that O'Neill "never of the country, they exhibited a perfect agree- affeeted to compose or alter any tune, but played ment in all their statements, referring to the old it exactly as he had been taught by his master, traditions of their art as their only authority, and Hugh O'Neill, for whom he always exjjressed professing themselves quite at a loss to explain great veneration." — Bunting, coll. 1S40, p. 61. their method of playing by any other terms." —
Ibid., coll. 1840, p. 20. Hempson, when asked
2 Bunting, coll. 1809, p. iii. It was remarked the reason of playing certain parts of a tune, or that their instruments were tuned in one uniform lesson, in that style, would reply, " That is the system, though the performers on them were way I learned it," or, " I cannot play it in any ignorant of the principle. — Ibid.,p.iii. "Although other." — Ibid., coll. 1840, p. 73.
THE lEISH HAEP 49
the means ; and, although he was not able to attend himself, succeeded in bringing about the first meeting, which took place in his native town of Granard in 1781. Only six harpers attended, but the meeting and ball were most successful. The second meeting took place during the following year, at which eight harpers appeared. At the third and last meeting,^ Mr. Dungan was present, and two new performers attended.- The ball, at which at least one thousand persons were present, was most brilliant. The numbers of competitors at the second and third meetings, notwithstanding the success of the first, show how few performers there then were in the country.
In 1791 some gentlemen belonging to Belfast issued a circular, in which it was proposed to assemble the harpers, to whom prizes were to be distributed, and that a person well versed in the language and a competent musician, to transcribe and arrange the most beautiful melodies, should attend. The meeting took place at Belfast on the 11th, 12th, and 13th of July 1792. The following are the names and ages of the ten harpers who were present : — Denis Hempson (blind), from the county of Derry, aged 97. Charles Byrne, from the county of Leitrim, aged 80. Daniel Black (blind), from the county of Derry, aged 75. Arthur O'Neill (blind), from the county of Tyrone, aged 58." Charles Fanning, from the county of Cavan, aged 56. Hugh Higgins (blind), from the county of Mayo, aged 55. Rose Mooney (blind), from the county of Meath, aged 52. Patrick Quin (blind), from the county of Armagh, aged 47- James Duncan, from the county of Down, aged 45, and William Carr, from the county of Armagh, aged 15. The tickets for admission to the three performances were 10s. 6d. each.^
' There is a list of the prizes advertised in the Bacach buidhe na leimne, or The Lame Yellow- Dublin Evening Post of .July 1784; and it is Beggar.
stated that a similar advertisement appeared iu Car a Ueann dilis, or Black-headed Deary.
July 17S5 (Walkers Irish Bards, note, p. 98). Cardan's Cap.
According to Bunting a meeting did not take Carolan's Concerto,
place during the last-mentioned year. Carolan's Devotion.
- Bunting. According to the Belfast News Carrick an evenish, or Pleasant Rooks.
Letter he was 55. Cathal Mhac Aodha, or Charles M'Huyli.
2 The following list of the melodies played Catherine Tyrrell,
by the harpers upon this memorable occasion is C'auher vac Aough.
taken from Bunting, coll. 1840, the Belfast News Cionn Dhu Dielinh.
Letter of July 10-13, 1792, and the Northern Star, CoUough an Tinnic, or The Sleeping Fox.
Belfast, July 14-18, 1792. Those iu italics (from Colonel 0'H.ira.
the Belfast papers) if given by Bunting appear Cooiin.
under different headings : — Cooiin Doon.
50
MUSICAL INSTEUMENTS
Mr. Edward Bunting was the musician selected to attend, and the instructions he received were, as he states himself, exact. He was " cautioned against adding a single note to old melodies, which would seem to have passed, in their present state, through long succession of ages." ^ The meeting was most successful, and all the harpers were handsomely paid and entertained."
These men, Avho had studied under different instructors, who had no other way of acquiring knowledge except from those of a previous age, had received from their masters the beautiful melodies of their country untainted, and the methods of playing upon the national instrument, as practised by their instructors, and, presumably, by many previous generations of harpers. There being no reason to doubt that they were most, if not all, highly accomplished performers,^ it is surprising to find them referred to in a lecture delivered some seventy years later as " the degenerate body of harpers, who held their last synod in Belfast."^ It is to be regretted that Professor O'Curry, by thus referring to the harpers who had appeared at the assembly, should have marred his exceptionally able lectures on Irish Musical Instruments.
Denis Daly.
Doctor Hart.
Eibhlin a Ruin, or Ellen a Eoon.
Fanny Power, or Mrs. Freucli.
Grace Nugent.
Graga-nish, or Love in Secret.
Green Woods of Truagh.
Jig.
Lady Blaney.
Lady Iveagh.
Lady Letitia Burke.
Mabel Kelly.
Madam Cole.
Maiilin bheag aoibhinn, or Soft Mild Morning.
Afitm Feniiing.
Miss Moore, or Tlie Hawli of Ballyshannon.
Molly Bheag 0, or Little Molly O.
Morning Star.
Mrs. Crofton.
Mrs. Judge.
Mrs. Maxwell.
Nancy Cooper.
Oganioge.
Patrick's Day.
Pearla an vroley vaan.
Plnnlsty Reily,
Planxty Kingsland.
Pleararca na Ruarc, or O'Rourke's Feast.
Rose Dillon.
Scara na Gumbanagh, or The Parting of Friends.
Sheela na Conallon.
Sir Charles Coote.
Sir Festus a Burke.
Slieve Gallen.
The Dawning of the Day.
The Fairy Queen.
The Humours of Whisky.
The old Truagha.
The Receipt for Drinking Whisky.
The Rocks of Pleasure.
Thomas a Burke.
Tiarna Mayo, or Lord Mayo.
Ull a condo, wo, or The County of Leitrim.
1 Bunting, coll. 1S09, p. 3.
- At the Musical Loan Exhibition, Dublin, 1899, Exhibits Nos. 17, 29, 3(1, 37, 43, and 44 related to this meeting.
^ Indifferent or bad performers would scared}- have competed for prizes.
^ O'Curry's Lectures, vol. iii. p. 302. If the reader turns to p. 275, same volume, he will find O'Curry referring to one of the "degenerate body " as "the celebrated Arthur O'Neill."
THE IRISH HARP 51
Had he lived to see his lectures through the press, the passage might perhaps have been withdrawn. As it is, the reader may be curious to know what oppoi-tunity O'Curry had of judging of their merits, and how far he was justified in the use of such language. O'Curry was born in 1796, four years after the Belfast meeting ; O'Curry was thirteen in 1809, when only two of the harpers were alive; O'Curry was twenty in 1816, during which year the last of the harpers died. So, even if O'Curry had been, when extremely young, a musical genius and critic, he is not likely to have had an opportunity of forming an opinion, certainly not of comparing the performance of previous generations of harpers with that of the so-called " degenerate body " which met four years before he was born. If the reader turns to Bunting, coll. 1840, he will find, in p. 3,' enough to show that O'Curry was ungenerous and unjust : the power of producing new and original melodies may- have died with Stirling,^ but the power of rendering those already created, in a finished and admirable style, was still alive in 1792.
Perhaps the unsettled state of the country may have prevented any further meetings, but in 1807 the Belfast Harp Society was formed.^ This society, which supplied board and lodging to a number of boys who had lost their sight — whose ages ranged from ten upwards — and a competent teacher, Arthur O'Neill, to instruct them, came to an end in 1813 from want of funds.
In 1819 a new society was instituted by the liberality of some noblemen and gentlemen in India. It was then discovered that there were no harpers living who had not been instructed by Arthur O'Neill,
' After the ten harpers who had appeared at of that tender and impressive instrument, once
Belfast had passed away, Bunting states "that so dear to Irish enthusiasm, is as vividly rapid as
the least able of them had not left his like it is obviously unimpeded by any effort of national
behind" (coll. 1S40, p. 3), but he allows that pride or national affection. "—The Lay of an Irish
Rainey, a pupil of O'Neill, also dead, had been a Harp, note, p. 2.
very good harper (ibid., p. 66). Miss Owenson - Parson Stirling of Lurgan composed a number
(Lady Morgan), who was a performer, visited the of capital airs, which he played upon the Bagpipes,
western part of Connaught in 1805. Concerning They were also played upon the Harp by Catherine
this expedition she writes as follows: — "The Martin. — Bunting, coll. 1840, p. SI. hope I had long cherished of hearing the Irish =• In 1809 an attempt was made to organise
Harp played in perfection was not only far from a Harp .Society in Dublin, jirincipally by .John
being realised, but infinitely disapi)ointed. That Bernard Trotter. Quin was the instructor, and
encouragement so nutritive to genius, so indis- played in public at a Commemoration of Carolan
pensably necessary to perseverance, no longer to promote the object. The society soon collapsed
stimulates the Irish bard to excellence, nor for want of funds.— Petrie, in O'Curry, vol. iii.
rewards him when it is attained ; and the decline p. 294. Bunting, coll. 1840, p. 65.
52
MUSICAL INSTEUMENTS
the master of the original school. Edward MacBride, who was the first teacher, remained until 1822. Valentine Rainey or Reanney/ a nephew of the poet Burns, succeeded him in 1823, and continued master of the school until his death in 1837. James Jackson was appointed teacher in 1838.^ The society, even then in a declining state — for after August 1839 only two boys were receiving instruction — soon afterwards came to an end.^ The harpers, who, some forty years since, were to be heard in the streets of Dublin, were probably instructed by the Belfast Society : * they must all have passed away, as there is now not a performer on the instrument to be found."
" Mute ! mute the Harp ! and lost the magic art Which roused to rapture each Milesian heart ! In cold and rust the lifeless strings decay, And all their soul of song has died away."
1 MacBride and Reanney were two of tlie four harpers who performed before George iv. on the occasion of his dining at the Mansion House, Dublin, August 1821. The other two harpers were James MacMouagal and John MacLoghliu. The last mentioned, one of the Belfast School, was seated before O'Connell upon the triumphal car on which the " Liberator " was drawn through the streets of Dublin after the passing of the Emanci- pation Act in 1829. The harp upon which he jilayed upon that occasion was afterwards iu the possession of Dr. Petrie. A copy of the programme of music performed by these four harpers is in the posses- sion of E. W. Hennell, Esq., who has kindly allowed the writer to have it reproduced in facsimile.
- Ulster Journal of Archseology, vol. vii. part i., Bunting, coll. 1840. Rainey was almost totally
blind and .Jackson slightly so. — Communicated by Mr. T. Smyth.
3 At the Musical Loan Exhibition, Dublin 1899, Exhibits Nos. 21, 22, 23, 24, 25, 26, and 32 related to the first and second Belfast Harp Societies. One of the Harps supplied to the Belfast Society, between 1822 and 1830, by Egan of Dublin, is in the writer's possession. Upon the right-hand side of the sounding-board are deeply scratched letters and marks, indicat- ing the notes to which the strings were tuned — perhaps to be fingered by a blind boy, as an early lesson, while the fingers of his left hand jiulled the string.s. These marks may be seen upon the illustration — see frontispiece. If these letters are correct, the following is the tuning adopted by Rainey for this unusually large instru- ment. There are twenty-one strings with letters ; the first string, iu the treble, is marked B.
^
BUNTING'S SCALE FOR A HAEP WITH THIRTY STRINGS.
±
-* • SCAI
Jrr.iirnmiui'H-rr^^ffc
SCALE OF EGAN'S WIRE-STRUNG HAEP AND SUPPOSED TUNING.
' O'Curry in his lectures refers, in the following words, to the want of kindly encouragement, or even toleration, these last representatives of the ancient harpers received from the Irish of his day : " Why have we banished to contempt, to poverty, and to the pauper's grave, the ever good-humoured and often talented, though in their neglected
state but too ill-instructed, vrandering profes.sors of this, the proudest remnant of our ancient inheritance ? " — Vol. iii. p. 406.
" In 1897, when the first Feis Cevil was about to take place, the writer, understanding that a prize had been offered for the best performance upon the wire-strung harji, requested that a seat
I i
1
JSRr^?^^-
m T«T<i^w f^^iniiT
f=?
^-
52
ENTS
'■ -^ '• •'A-ho was the first
.:_ , - ..-inney,' a nephew
ad continued master of the
n was appointed teacher in
c — t')r after August 1839
c; ; ards came to an
V l^e heard in
^ ■ -f Society :*
urmer on
MacBride ii
iiimunicated
8C
have we baaished to
♦ • ' !■• •' Miper'a gra\ Talented,
to the
;0. by ession.
*' I
I IRISH MELODIES,
•'ii
I UOM
THE WORKS
;^ THOMAS CONNFXLAN, TERVaCE CAROLAN, 1^ ^'
ja CHARLES MAC GAURAN. CARROLL O DALY, » ''^
1 AND OTHERS. • »^
I eminent in IL^iit Coinirosittons, |J[ ■
a ^^
eminent in 2t))rtc Coinirosittons,
HUMBLY OFFKRED TO BE PLAYED BEFORE
HIS MOST GRACIOUS MAJESTY
Iking gkokge the fourth,
AT TpE MAYORALTY-HOUSE,
BY Ills MOST nVMRLE jtyU VSarjIlGHLY HONORED SF.RI'yiVTS,
» VALENTINE REANNEY. AmES MAC MONAGAL. ® Ei>Wf» MAO BRIDE, and JOHN MAC LOlaHLLN,
^
r
mi.
Him'- I
■fili|',iii|riif.|i(j|i|ii
•/'i^i"^ ■'-^^ ,->»->---- /^-ii^ • »' ^'^^^-^^ '-^-S-X!/^,
i'^w
■■■■■■■" "'-■■"•'S|i^ ' . '■w';?^«B»j;^?iw;|-"'"' I...... I '... .....
— ?-|-^
^^aSssas
-^ h
3:8
^li
I r
^;-i
m
IRISH MELODIES,
our King.
Dill/, tier.
3;o ii'lu-4(U)3 'Pia ,itt Tl\% lu Vv?iU^ p^-ir-tiuij ....
6-||iin 30 bjUiC Ivcland for
Viielij . • .S'likiigh.
'^Odjui ni Culpit^' A/fcy Mac Calpln.
Clipaii V-iO) jOOc-V* • Bumper 'S(/>iire Jones.
6lMnO|ia |iO|iiiMi) Eleonora Roan.
UlaCai) t>u'JO Uluciin ilovo.
PU\)CY~U}% Poju|l ....... PUnixtA) la Peer.
JH^iC) tro C|iO|6e '^vJJuUlj . . . Mari/, fhif love!
%\\AX) ^eal wo c\\o\x>e . . ., . . 7V </<'«'• /"i'^ o/" w?v //"<?«?•'.
pUif)CK~-t(j trie )!3)|i Plinixlii Mac Giiire.
rtocruifi lUpc .V . . Doctor Hart.
pUxnoVvTuij CciKOlJu|t ..... Pluiixhj Coumr.
^Jiju'io jun piOJ* • . . , ^^'^■<' '« ^wc^ _ •
pUi>cvcaij Uiuipc O'liorke\ nohlc,fare.
'^OaiV'lU-aV CllOpCOt) i . . . ,,Mrx. Craftoa.
Tif-llM in reuiLiij . Celia ^Ktlhi.
Teuimr Cpopcon. ....... I'aiohin a Coni'erfo.
Cailinoeuvouipce-AifiuiliM'mbO Htc ujj able fair MaiiL
^Xo'^<^^\\e pub S'v Jack.
C^cuihi) reijiMll . A'/V/y 7>Tf//.
pUtK}T*nt ti'ic Oeatiiiio-|iu^6 licHnj Mac Dermol Roe. pl^ncV'Caij TcnrtOl) Plaaxli) Johnston:
Plaiixt}) Pluuhef. l-'iaa.vlj/ Reijiioltls.
pUi(Kvra)^ pi-ainre<it) . . pUticyraij; tiiic ^(u'lnoiU . j;4tiuij eo:j;4in Ga>ioue.^-
Ceun t>uf? t)|i)Of ....;... Vtaini (Juhh dUisli.
Z\%eA\\\)<x \hji\%co% ......
Cu (ls:e ^Liy* ^n rjitiac . . punKfcuij; l*c4^0(iD ....
R.e4lr^"m tr4)6n)e. ...... Tlh- Mamin^ Star.
pUu)r|traj5 ui RulU^a)^ .. ll'viun RcHiy.
C^X^X) 41) crusJjT) ........ 'I'lic luHstihg of the rope.
Lord Mayo.
'I lie ^rcen IVoods of, Tr
Caro/aii's Receipt,
.§»•
'%
liach:
.•-■■^m
THE IRISH HARP 53
The kindly and patriotic effort of the friends in India, and the noblemen and gentlemen of Belfast and the neighbourhood, to keep alive the Irish Harp, and provide a means of living for some of those who had unfortunately been deprived of sight, for many reasons did not succeed. The blind harper had been an institution, as it were, for a lengthened period ; so the school was for the instruction of the blind. But a blind child laboured under great disadvantages : it did not follow, because he had been deprived of sight, that he had any of the necessary qualifications for the calling for which he was selected. The want of sight, and the want of suitable music, even if the performer could see and read, was sufficient to imperil the undertaking. The blind boys had only one teacher to study under ! What a change ! A few years previously, amongst O'Curry's " de- generate body," was one who had acquired over one hundred of Carolan's compositions,' and, no doubt, a large number of ancient melodies besides. To study under several such men was to acquire a large portion of the unwritten music of Ireland, but O'Curry's " degenerate body " had passed away, carrying to the unknown land a wealth of melody ; and the blind boys could only acquire what Rainey and his successor could impart. Dr. Petrie, who writes in the kindest manner of the society and its extinction, notices several reasons for the failure, but to the want of suitable music he scarcely gives sufficient prominence. Had Bunting carried out to the letter the instructions he received in 1792, and continued to note and collect in the same manner, for his own purposes, he could have produced a work with all the melodies in the same keys, and exactly as he had heard them performed by the harpers. He did not do so, but published the melodies for a keyed insti'ument, and, by changing the keys and adding notes, which, even if the melodies were transposed, could not be
from which he could st-e the tiiigeriug of the but it has long cUsa])peared, and the Scotch people performers should be reserved The reply was lament its loss ; but such remains of their ancient that, after diligent inquiry, the Committee were minstrelsy as they possess, they, like true patriots, forced to come to the conclusion that there was cultivate with enthusiasm, and it will be long not a performer living. before Scotland desertM the bagpijies for any In 1S45 the Rev. Thonias Price, an enthusiastic foreign instrument, however melodious." — Liter- admirer of the Welsh Triple Harp, while referring ary Remains, vol. ii., p. 304. to the near extinction of the Irish Harp, wrote as follows: — "In Scotland the Harp once existed; ' Hunting, coll. IS-tO, ji. 71.
54 MUSICAL INSTEUMENTS
produced upon the Harp, rendered the greater portion of his life- work useless for that insti'ument. The writer does not wish to refer in an unkind manner to Bunting : we owe him much, but he lived in what may be called an improving age ; he had a keyed instrument before him, and the temptation to introduce impossible Harp notes was irresistible: so he "improved or polished" the Harp melodies, and perhaps made them more acceptable to the public of the day. Bunting did not kill the Irish Harp, but he could have made it possible for it to live.' He would, no doubt, have done so, in fact would have been compelled to do so, had there been in Ireland, as there is in Scotland, a strong Celtic feeling throughout the country." It was in Ulster, not in Munster or Connaught, that an effort was made to keep the national instrument alive. Had there been that strong Celtic feeling, would Bunting's work have been accepted ? Would he not have been told to " treat as he pleased such tunes as he had received from ladies and gentlemen, pipers, fiddlers, and others, but to produce the Harp music as he had heard it played " ?
Now that the Harp is lost, an effort has been made to restore the Irish melodies to their original purity,' an effort which, it is to be hoped, will meet with the encouragement it so well deserves. If we can no longer hear the wire-strung Irish Harp, let us at least have the beautiful Harp music, as it was played, or could have been played, upon the national instrument. If we cannot drink at the fountain-head, let us endeavour to have the stream, where it is polluted, filtered and cleansed from its impurities.
' In Buuting's early volumes the individuals immeasurably unlike the Scotch ! There is
from whom he obtained the melodies are not scarcely in all Scotland, from the thrifty and
mentioned, but in collection 1840 there are well-taught labourer and mechanic up to the
avowedly sixty-six melodies which were noted lordliest duke, a man in whose house volumes of the
from twelve harpers. Of these sixty-six melodies, noble music of his native country, as well as every
only a comparatively small number, at least as scrap of national poetry or song, both in Gaelic
Bunting published them, could have been pl.iyed and English, that from time to time issues from
upon the instriiment. the press, may not be found." — Lectures, vol. iii.
- O'Curry, when noticing the scant appreciation p. 406. shown by his countrymen for the beautiful music
of Ireland, as shown by Dr. Petrie being com- ^ See The Distinctive Characteristics of Ancient
pelled to abandon (owing to want of support) Irish Melody, a lecture : Ponsonby, Dublin ; also,
the continuance of the publication of his great Nine Irish Melodies for the Harp or Piano, true
collection of Irish Airs, concludes with the follow- to their Scales, both by James C. Culwick.
ins sentences : " How unlike the English! How Mus.D.
^
produced u work u'=' '
1 r. :~f 1 1 1 M 1
was irr.
and
Bur.,
for it. . been cr<' Scot I in I t'} ket;|j
?^>^TRUMENTS
t^lie greater portion of his life-
' - ■• ' r; not wish to refer
oh, but he lived in
keyed instrument
'iiii>"ssible Harp notes
Harp melodies,
>f the day.
• it possible
v^uld have
le is in
It was
9 made
strong
M he
\...A
w.U meet no longer I beautiful Ha , the national ins n endeavour ti cleansed from it
' In Bauting- from whom he < mentioued, l^ut
upon i
;• 0-.
by his cor
land, us »' 1 to abaml
" !l»w uuukv tl"
mmt
ANCIENT HARP. TRINITY COLLEGE, DUBLIN Fia.te I
THE IKISH HARP
55
EXISTING SPECIMENS THE TRINITY COLLEGE HARP
The eai'liest specimen of the wire-strung Harp to be found in Ireland is undoubtedly that preserved in Trinity College, Dublin. The box of this instrument is, as is usual, cut out of a solid block, and is stated to be of black sallow.' The harmonic curve is probably of the same material, but the fore-pillar is evidently of a closer and harder wood.^
It is not the writer's intention to repeat the tradition relating to this important instrument, as those intei'ested will find it fully noticed in Bunting's Ancient Irish Music, coll. 1840, O'Curry's Lectures, vol. iii., and Proceedings of the Society of Antiquaries, Scotland, vol. 1880-81, p. 23. By the kind permission of the Rev. Thomas K. Abbott, Senior Fellow and Librarian of Trinity College, the writer has had a series of photographs specially taken for the purpose of illustrating this work; and subsequently, when he considered it necessary to examine and trace the Celtic orna- mentation, permission was readily granted for that purpose.
If the reader examines the illustrations and diagrams which show the ornamentation on the harmonic curve and fore-pillar, the following state- ments will be more clearly understood. The left side ^ of the harmonic curve was decorated in a series of lines, curves, and circles (Fig. i.), all
of which were apparently drawn by a hot iron. The charring was not deep, and the work was carefully executed. Over the different circles, and in the centre of the spaces between the two parallel lines which end in curves, there were most probably silver bosses, four of which may be seen, and it should be noticed that where x occurs upon the upper portion, one of the eight circles is not complete. The right side of the harmonic curve, the wi'iter believes, was decorated in a similar manner, but
' Petrie says red sallow. — Bunting, coll. 1840, to be of that wood, p. 43; Ibid., coll. 1809, note, p. 24. ^ By the left side is meant the side which
- According to Petrie the pillar is of oak — would be nearest to the left arm of a performer
Bunting, coll. 1840, p. 43 — but it does not appear when the instrument is in use.
56 MUSICAL INSTRUMENTS
no portion of the burnt lines can now be seen. This side was enriched by silver bosses in the centres of the panels and upon the circles, one of which remains, and also by a row of nineteen silver knobs underneath the metal band, through which the tuning-pegs pass (Fig. ii.). The reader may remark that what has been noticed as occurring upon the left side, that is, the appearance of a semicircle, is also found upon this side where the x occurs upon the diagram. It appears that the upper portion of the harmonic curve where these semicircles occur has been injured or removed, which accounts for the non-appearance of a complete circle upon each side.' When the harmonic curve rises from the box, the upper portion is rounded, then slightly flattened. This flattening diminishes and ends above the half circles before mentioned, from which to the termination at the bass it is pointed. The end of the harmonic curve being now covered by a silver enrichment, it cannot be stated whether underneath the metal any of the original ornamenta- tion is preserved or not. The metal bands through which the tuning-pegs pass form single curves, and are ornamented both above and below the pegs by bands or ribbons on which diagonal lines are engraved. Under- neath the harmonic curve there is a boldly executed moulding (Plate, Nos. 5 and 6). Both the sounding-board and sides of the box are ornamented by burnt lines, curves, and circles. Here the ornamenta- tion does not appear to have been geometrically accurate, but the designs are most elaborate and varied (Plate, Nos. 1, 2, and 3). It may be concluded that the sounding-board was flat, as it still is at the lower extremity ; the rise which is now seen in the centre has been caused by the tension of the strings. The raised string band terminates at the upper extremity and upon either side in semicircular curves. The holes for the strings are protected by metal "shoes of the strings," most of which are wrought and of good form and in high relief, but are irregularly placed (see p. 29). At present the two lowest holes in the string band are modern, the last being ^ of an inch lower than it should be. The box and harmonic curve of this Harp are undoubtedly of great antiquity. The fore-pillar is curved ; the terminations of the T formation, like those on the Queen Mary Harp, resemble heads of reptiles or fishes. What may be termed eyes, although prominent, are not so distinctly prominent as those upon the
1 This portion of the liannouic curve has been injudiciously repaired.
HARP
ANCIENT
IRINinr OOLLEQi!., L>Lill.lN.
m-
II
#1^
From gelatine tracings and rubt>ings. 2. Right side of box. 1. Sounding-boaid. 3. Left side of box.
4. Inci*e<i nmunent, inner curve uf fore-pillar. S. Moulding uiKlct harmonic curve. t Secuoi:.
i
M U S 1 0 A
TFTTMKNTS
flatteniii
from which to the ' the ^ curve
be s; -^hfr
tion i:. pass form si pegs by bai; neath the ha in Noe. 5 and ^V).. ornamented by ^
be coiichided that i extremity ; the the tension of t; '^y and ire prof 0 and o; (^st^t p. 29). At , the last being ^ of : curve of this Harp ar.
This side was
:id upon the circles,
jteen silver knobs
pegs pass (Fig. H-)-
is occurring upon
^.le, is also found
Tt appears that
ircles occur
pearance of
rises from
'ned. This
ntioned,
end of
nnot
\t may
I tiie 'i are
fjc fore-pjilai* n the Queen
This portion of li.>
iieon injuii
THE IRISH HARP
ANCIENT HAEP, TRINITY COLLEGE, DUBLIN.
3 O o
2. Right side of box.
From gelatine tracings and rubbings. 1. Sounding-board.
3. Left side of box.
4. Incised ornament, inner curve of fore-pillar.
5. Moulding under harmonic curve. 6. Section.
THE lEISH HARP
57
" Queen Mary " Harp, but the turned-up lips or snouts are even more so. This description of the fore-arm is sufficient for the present. If it is the fore-arm originally supplied, it was probably without decoration. The Harp when it left the maker's and decorator's hands must have been a most beautiful instrument.
Subsequent to, and long after, its construction, this harp passed through the hands of a decorator by whom all, or a large portion of, the ornamentation of the fore-pillar was executed. The inner curve was finely ornamented, the Celtic design (Plate, No. 4) being deeply incised, and the surface at regular intervals enriched by staining or burning. Upon the upper portion of the left side, above the T formation, there are two animals, probably wolf-dogs, both with heads turned backwards ; the tail of that to the right passes between its legs and body (Fig. in.). Upon the lower portion of this side the heads, legs, and clawed feet of two creatures, dogs or wolves, may be seen (Fig. iv.).
Fig, IV.
Fig. III.
Fig. VI.
Fig. v.
Upon the upper portion of the right side, above the T formation, two creatures are represented. One a lion with an enormously bushy tail is shown as seizing a reptile by the claws of its forefeet. The reptile's head is turned upwards, and its snakelike tail is curled over the left hind leg of the lion (Fig. v.). Upon the lower portion of this side are two wild boars or hogs sitting upon their haunches face to face (Fig. vi.).^ These grotesque animals are represented by incised lines, also by engraved lines and dots, and are surrounded by oval lines, almost circles, which are also incised.
Much of the fore-pillar was profusely decorated in interlaced and other patterns of great beauty. It would appear that this ornamenta- tion was an afterthought ; none of it is in relief, the greater portion of
1 The four drawings are from gelatine tracings. harp rests upon the back of the box. The animals are shown as they appear when the
58
MUSICAL INSTEUMENTS
FIG
the patterns are shown by incised lines, and the remainder by what may perhaps be termed engraving upon wood. The artist, in executing this work, carefully avoided the eyes of the reptiles or fishes before noticed.
The silver enrichment which covers the termination of the harmonic curve probably belongs to this period. It is a singularly fine piece of metal-work, and deserves to be specially noticed. The front is in the form of a parallelogram surmounted by a triangle. Within this triangle there is a setting which still contains a crystal cabochon cut ; beneath
this crystal and within the parallelogram there is an oval setting from which the stone has been lost or removed. At each of the three angles there are bosses in the form of blackberries, and where the two settings meet, and at either side, are three similar bosses with a plain boss in the centre of each (Fig. vii.). The battlemented border and sides are well executed (Fig. vni.).
At a later pei'iod this Harp passed through the hands of another decorator, and his work can be easily detected. On the left side of the harmonic curve, where the silver bosses had fallen ofi" or been removed, incised ornamentation will be found. The I. H. C. > and all the other incised ornamentation was then executed. Examining the right side, we find the whole of the ornamentation incised. Pro- bably at the same time a considerable portion of the incised ornamentation was added to the sides of the fore-pillar.'^ In front of the fore-pillar, and in the centre of the T formation, there is a rudely made cavity which was probably intended to contain
> This 13 O'Curry's reading. — Lectures, vol. iii. side is failed with some white composition. It p. 276. is the writer's opinion that this is some of the
plaster that adhered when the cast, to be here- 2 Much of the incised ornament on the right after referred to, was taken.
i
;, and the remainder by what od. The artist, in executing this '■' ':-i - before noticed.
of the harmonic
ly fine piece of
front is in the
hill this triangle
it; beneath
'lelogram
•lich the
At each
isses in
lere the
er side,
lin boas
Ar
Uu
I pre
yiii
In fron' there is a
1 This 18 O'Cur.j . 1). -276.
to ' -• here
o o
a: 'x
l\
I
■i '"I
i
.^jjj^
UJ
a
O U
<
I
u <
THE IRISH HAEP 59
a setting or metal enrichment. The centre of the reptile's head at the lower end is also hollowed out. These cavities were certainly made after the ornamentation of the fore-pillar was completed. The small silver badge with the right hand which has so curious a history ' was attached by nails to the centre of the reptile's head at the upper end after the ornamentation had been completed. The redecorators were content to apply their art to the harmonic curve and the fore- pillar. The box was left intact.
Mr. Edward Bunting employed an artist to make three drawings of the Harp upon a fairly large scale, and these were engraved for the third collection of his Ancient Music of Ireland, 1840. Bunting's illustrator must have had ample opportunity of studyuig the Harp ; in fact, the drawings must have cost much time and labour ; and it would be interesting if they could be traced, as the engravings are not as accurate as could be wished. The ornamentation on the box had at this period not been tampered with, and there is no reason to suppose that Bunting's artist tampered with it in any way.
Some time after Bunting's artist had completed his drawings, the Harp being in a dilapidated state, it was considered desirable to have it repaired. The person employed was unaware that upon some speci- mens, when the fore-pillars are considerably curved, the direct tension of the strings has drawn the harmonic curves downwards and slightly shortened the fore-pillars.- He was also unaware of the object of the T formation ; so he lengthened the lower portion of the fore-pillar some four inches,^ and destroyed the symmetry of the Harp (Figs. ix. and x.)
Were the lengthening of the fore-pillar the only injury done to the Harp, it would be of little consequence ; such injury could be rectified. But unfortunately that is not so, and it is the writer's duty to draw attention to the fact that the Celtic ornamentation of
■ Thi3 badge, which is stated to be bronze other suitable place, covered with silver, is illustrated in the Journal, .> ^j^j^ ^j,j ^^ j^^^^, ^^ j,,^^,^ occurred upon the
Historical and Archaeological Association of Ire- Lament, the "Queen Mary," and the Kildare
land, vol. IS-U-TS, j. 498 ; Journal of Royal ^^^^^^ ^,^g exceptions are the Castle Ffogerty
Society of Antiquaries, Ireland, vol. 1S90, p. 282, ^^^^ ^^^^j^ q^^^^ ^^^^^^^ ^^^^-^^ ^ugt ^ave
where its supposed discovery with chain armour ^^^^u^Hy gt„„g fore-pillars. in the Phcenix Park and its subsequent restora- tion are related. If this ancient badge originally ^ Had the fore-pillar been origin.ally constructed
belonged to the Harp it was probably attached to as it now is, it would undoubtedly have broken
the end of the harmonic curve, there being no at the lower end.
60
MUSICAL INSTRUMENTS
the box has been extensively tampered with. Of this there can be no question: the false lines, etc., can be detected by viewing the right side of the sounding-board obliquely from the lower end. When so examined, slightly indented lines may be seen. These are the true
FIG. TX
The Harp in its present distorted state. The measurements are given in inches.
FIG. X
Probable form of the Harp before it passed through the hands of the restorers.
lines, and when these lines do not correspond with others, the latter have been painted and are false. Again, on the right-hand side of the sounding-board a portion of the angle of the box has been worn away by the friction of the arm or wrist ; here the ornamentation has
THE IRISH HAEP 61
been painted. The person who so tampered with the instrument was apparently dissatisfied at not finding the ornamentation geometrically accurate, and so had the audacity not only to correct the work of the original artist, but to add what pleased himself to the original design.' When making the tracings from which the illustration has been taken, the writer laboured under serious difficulties, so he cannot be certain that all the lines shown on the illustration are genuine, or that no genuine lines have been omitted.^ So seriously has the ornamentation been tampered with, that it would now require a long and careful examination of the ornamentation in varied light, with every possible convenience, before the whole of the genuine lines could be traced.
The left side of the sounding-board is much decayed, and has been badly repaired." Upon the upper portion there is scarcely a vestige of decoration, although there can be no doubt the ornamentation is mainly hid by the dirt of ages. The design which is surrounded by the circle is distinctly different from that within the corresponding circle upon the right side. The lower portion of this side of the sounding-board has been scraped or cleaned, and it is diiEcult to say whether or not it has been tampered with to any great extent.
There are four sound-holes : the two lower ones are not at equal distances from the lower extremity of the box. The edges of these sound-holes are more or less decayed. It has been supposed that they had had metal enrichments ; one small nail may certainly be seen, but, in the absence of a series of nail holes, the writer does not consider that sufficient evidence of any such ornamentation.*
The ornamentation upon the right side of the box has been tampered with to a large extent. Examining the left side of the box, the ornamentation will be found to be as when it left the hands of the original decorator.
' The lines, curves, and circles, if painted in shavings to the back of the sounding-board, dove- water-colour, as they apparently have been, could tailed pieces vifei-e let into the decayed wood, and probably not be removed, putty used without stint, and in the coarsest and
^ That portion of the ornamentation surrounding clumsiest manner, the lower sound-hole has been drawn and redrawn, * Dr. Lynch informs us that it was through the
and so seriously tampered with, that to a large sound-holes the wooden pegs when attached to the
extent the writer had to omit it. It is, however, strings were passed. The string-holes are large,
given by Bunting, coll. 1840. but not sufficiently large to admit of pegs being
^ The state of this portion of the Harp is most jiassed through them ; so, were the sound-holes
dejilorable. lu place of glueing linen bauds or covered, the harp could not easily b'e restrung.
62 MUSICAL INSTEUMENTS
There are thirty peg-holes. Most of the pegs are in their places and are ornamented. The ends of the metal bands through which these pegs pass are under the silver enrichment, but from careful examination it is evident that these bands extend sufficiently to allow of the thirtieth tuning-peg passing through the ends only. If the ornamented ribbons which appear on both bands above and below the tuning-pegs are also carried round the bass terminations, the Harp, as in the case of the Queen Mary Harp, had probably originally twenty-nine strings, and the thirtieth tuning-peg is an addition ; but in consequence of the decay of the lower portion of the raised string band, and the ends of the bands being now covered, no positive statement as to the original number of strings can be made.
As the Harp is at present, the shortest string is 3 inches. Originally, the shortest string was probably 2f inches. As the Harp is at present, the longest string is 27|- inches. Originally, the longest string was probably 25f inches.
The thickness of the sounding-board is rather less than \ of an inch. The thickness of the sides of the box near the lower end, and where the board at the back is fastened to them, is f of an inch, but the sides diminish in thickness, and become much thinner before the sounding- board is reached. The greatest breadth of the T formation is 2| inches. For other measurements of the Harp in its present state, the reader must examine Fig. ix.
This Harp, which was last played upon through the streets of Limerick in 1760 by a celebrated harper, Arthur O'Neill,^ although badly restored and deplorably tampered with, must always be an object of the deepest interest, not only to those of our own time, but to future generations.
Besides the illustrations in Bunting's Irish Music already noticed, engravings have appeared in Walker's Irish Bards, the Encyclopaedia Britannica, Encyclopaedia Londinensis, Rees' Encyclopaedia, Camden's Britannia, ed. 1806,^ Ledwich's Antiquities of Ireland, Dublin Penny Journal,^ the Book of the Club of the True Highlanders, and other works, but they are of scarcely any value or interest. That which appears in Mr. and Mrs. S. C. Hall's Ireland, vol. ii. p. 410, is specially incorrect.
1 Bunting, coll. 1840, p. 4. ^ Vol. i. p. 48. Reversed,
2 This engraving is reversed.
TMENTS
the
Wf mad
■\) is at ; I strini.'
i.e jjegs aie in their places
' ' ' • which these
^LiM.iu I ^:' villi examination
tly to ali<.'w of the thirtieth
If the f^rii'tmented ribbons
pegs are also
, as in the case of the
ty-ninf- and the
decay of
he bands
umber of
aally,
sent,
. was
oti.ii'd at the diminish i;. board i
Fo" -
'f an inch.
vvhere the
sides
nding-
\:>\ C
Bi:
Ml. v.i.>i ;.Ua
■u
!ia
■ i's
in
RIGHTSIDE, FRONT,
BRASS MOUNTINGS FOR A HARP FOUND AT BALLINDERRY, KINGS COUNTY,
THE IRISH HARP 63
THE CAST
If the so-called casts which may be seen in our Museums are examined, the ornamentation upon the box will be found to be incised. The orna- mentation upon both sides of the sounding-board is the same, but upon the Harp the ornamentation upon the sides of the sounding-board is to some extent different. The ornamentation upon the right and left sides of the box is upon the cast the same, that is, the ornamentation of the right side of the box of the Harp, which the writer has already stated has been painted over, has been reproduced upon both sides of the cast, although the ornamentation upon the left side of the Harp is different.' Upon one of these so-called casts the end of the box is covered with spurious orna- mentation ; the absurd addition to the fore-pillar and the sham projecting- block are also covered with spurious ornamentation. The cavities upon the front of the fore-pillars are filled up and covered with spurious ornamentation; and the semicircles marked x (Figs. i. and ii.), which occur upon either side of the harmonic curve, are replaced by small circles ; upon another of these so-called casts the setting from which the crystal is missing is furnished with a gem cut in facets ! To show the mischief which may be caused by these casts, one of these plaster abominations has been engraved for the Proceedings of an important Archaeological Society to illustrate a paper by one of its members, the society being of course unaware that the side of the box so repre- sented showed ornamentation different from that upon the Harp, and that much of the other ornamentation represented is spurious. If a cast of an object of interest is to be of value, it should be absolutely correct ; a drawing may not be so, but a cast, until it is proved to be worthless, is accepted as a facsimile.
HARP MOUNTINGS FOUND AT BALLINDERRY
In the National Museum, Dublin, may be seen in a singularly fine state of preservation the brass mountings for an Irish Harp from the Crannog of Balhnderry near Moat, King's County.
For the termination of the harmonic curve there is an enrichment, the front end of which is triangular in form (see illustration). Upon the front is the monogram I. H. S. surmounted by a cross, and beneath
' The writer thinks it necessary to draw atten- side of the box has not been tampered with, and tinu to the fact that the oruamentatioii of the left that it has not been reproduced upon the cast.
64
MUSICAL INSTEUMENTS
an interlaced cross enclosed in a circle. This triangular front is 6|- inches
long, the lower side of the ti'iangle being 2f inches broad. Attached to the edges of this triangular face by five nails with ornamented heads there is an elaborately wrought border or frame. The sides of this termination without the border are 1-g- inches broad/ each side having differently engraved patterns. Upon the right side there is a brass support for strengthening and retaining in position the harmonic curve and the fore-pillar (see illustration). This support, which is ^\ inches long by 2^ at the widest part, is pierced in the centre in the form of a cross. The upper termination of the support is a dragon- esque head ; the lower portion divides and curves outwardly ; the termination of each end resembles the head of a bird. That nearest to the triangular termination is somewhat shorter, to allow for the com- mencement of the T formation. The bands for strengthening the harmonic curve upon either side, pierced for thii'ty- six tuning-pegs, form single curves and are ornamented, as are also the tuning- pegs. The measurement from the first tuning-peg in the treble to the triangular face is 19 inches.
These brass mountings (the property of the Royal Irish Academy), probably late sixteenth century, were either attached to or intended for a Harp of a large size, perhaps five feet in height. At present they are placed upon a model, and the tuning-pegs, almost all of which are extant, are inserted in the respective holes. These mountings are exceptionally fine, finer than any other known specimens. The border or frame attached to the triangular termination is deserving of special notice.
' The border rises § inch ; the heads of the nails are | inch above the border.
LOWER END
>
\T T' R T
RT^MENTS
an ini
K
This triangular front is 6^ inches
0 lower side of the triangle being ' 1. Attached to the edges
ar face by five nails with- ids there is an elaborately it border or frame. The sides of M W</iow< the border are 1^
1 loh side having differently
Upon the right side
■port for strengthening
'ositiou the harmonic
• illar (see illustration).
h is 8|- inches long by
', is pierced in the
,,c ; ss. The upper
[i o\ L is a dragon-
tl in divides and
A ant' of each
' s That
is
liie iTinoiiIo
ill the
■ I' any aua..' • tr;..nM'nlar ten.:....
mch ; the licvl.i of tl
i.hey are
: uie extant,
itioually
...w,- -jr frame 11 cial notice.
^i above the border.
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THE lEISH HAEP
65
THE FITZGERALD OR DAT.WAY HARP (The Property of the Royal Irish Academy)
Fig. I.
The remains of this splendid instrument, generally known as the Dalway Harp from having been long in the possession of the family of that name in the county of Antrim, is now in the Dublin Museum. It was made in 1621 for Sir John Fitz- Edmond Fitzgerald of Cloyne, County Cork, who married Ellen Barry, daughter of Viscount Buttevant. Of this Harp, the harmonic curve and the greater part of the fore-pillar are the only jjortions that remain. The har- monic curve, according to Bunting, is of yew, and is wonderfully preserved, having escaped the ravages of the desti'uctive worms which have com- pletely riddled the beautiful fore-pillar. The harmonic curve and fore-pillar are elaborately carved in relief, the carvings being tinted probably in oil- colour.
The design is most unusual. Upon either side and within panels extend- ing almost the full length of the harmonic curve, a number of animals and reptiles appear in the act of escaping from, or having issued from, , Fig. II. f////////////A the open jaws of a wolf or
dog, while beneath the extreme end of the harmonic curve a crowned queen with sceptre (Fig. i.) is represented in high relief. Above, but
I
66
MUSICAL INSTEUMENTS
farther back, are side by side two creatures Fig. III. I pv'll ,, ; Fig. iv. with heads, wings, two legs, and long, snake- like tails, also in high relief; that upon the left side has a cock's head, and may have been intended for a cockatrice, tha,t upon the right side is dragonesque, perhaps a wyvern. Along the under side of the harmonic curve there is a 23lain moulding in relief in the form of an elongated panel (Fig. ii.). Upon the right side of the fore-pillar, and at the lower termination, there is also a panel upon which are represented a camel and a goat, above which and extending to the upper termination of the T projection there is a beautiful foliaceous pattern, and towards the upper extremity a panel upon which a number of animals are represented, all ap- parently with cloven hoofs.' Along the flange or back of the T formation there is a fine design |^;p! representing pomegi'anates and leaves alter- nately, worked out by incised work and en- graved lines. This pattern, which is almost entire, is also enriched by colour (Fig. iv.). Upon a panel at the lower extremity of the left side of the curved fore-pillar, two beavers are represented in low relief Above this panel, issuing from the open jaws of a wolf, there is a most elaborate and beautiful foliaceous pattern which is continued to the upper termination of the T projection, above which and within a panel is represented a stag and ape,^ the latter with a band surrounding the body, to which a long chain is attached. Along the flange or back of the T formation there is an ornamental design of flowers and leaves shown by incised and
the Harp rested upon the back of the box. ■ The animals Ujion both sides of the fore- ^ I'jiis panel was completfi when Bunting's
arm could only have been properly seen when illustrator drew the Harp about 1801).
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THE lEISH HAEP 67
engraved lines, and enriched by colour. Only a portion of this pattern now remains (Fig. iii.). Upon the upper portion of the front of the fore-pillar is the date 1621, belowwhich are the Eoyal arms; those of Ireland — a Harp of the form then in use — occupying the fourth quarter, beneath which are the arms of Sir John Fitzgerald of Cloyne impaled with those of his wife, surmounted by a helmet, crest, and manteling, and with the mottoes "Virescit vulnere virtus," and " Boutez en avant," carved underneath. Upon the remainder of the front are three panels enclosing patterns in low relief The T formation terminates in a very delicate interlaced pattern. This pattern extends to the back, and forms the termination of the flange upon either side. The termination of the fore-pillar is also ornamented. The back of the fore-pUlar is almost wholly covered by an inscription. This Harp is rich in inscrip- tions in Irish and Latin. The former, as translated by O'Curry, are here reprinted : —
" These are they who were servitors to John Fitz Edmond [Fitz Gerald], at Cluain [Cloyne], at the time that I was made, viz. the Steward there was James Fitz John, and Maurice Walsh was our Superintendent ; and Dermod Fitz John, Wine Butler ; and John Ruadhan was Beer Butler ; and Philip Fitz Donnel was Cook there. Anno Domini 1621.'
' Theige O'Ruarc was Chamberlain there, and James Russel was House Marshal ; and Maurice Fitz Thomas and Maurice Fitz Edmond ; these were all discreet attendants upon him. Philip Fitzteigh Magrath was Tailor there ; Donnchadh Fitz Teigh was his Carpenter, — it was he that made me."
" GioUapatrick Mac Cridan was my Musician and Harmonist ; and if I could have found a better, him should I have, and Dermot M'^Cridan along with him, two highly accomplished men whom I had to nurse me. And on every one of these may God have mercy on them all." ^
Upon the illustration which may be seen in Bunting's volume of 1809, one side of the fore-pillar is represented, and it appears at that period
1 " Besides the Irish inscriptions there is, in remain ' Plecto vinco rego . . . monstra viros .
large Roman letters, near the figure of a queen, musica Dei donum. distractas solatur musiea
at the end of the harmonic curve — mentes . ut sonus . . . transit sic gloria mundi .
lUE & EB ME FIERI FECERUMT EGO SUM Viocit Veritas.' Upon the inside of the bow in
REGINA CITHARARUM. large letters is inscribed, ' Donatns filius Thadei
"Upon the edge of the bow (fore-pillar) were me fecit, spes mea in Deo.'"— O'Curry's Lectures,
Latin inscriptions (now partially lost): theie vol. iii. pp. 292-93.
68 MUSICAL INSTEUMENTS
to have been of the full length. Besides the upper portion, which has since mouldered away, other portions have also disappeared. The foi-e-pillar passed through the hands of a restorer, and the missing portions were supplied in plaster or gilder's putty. It would have been better had these portions been left plain, however, as the restorer has not altogether successfully covered much of the restored portions with decoration. Upon the negatives that were specially taken for the purpose of illustrating this work, the writer had lines drawn separating the original from the restored jjortions. These lines, which upon the illustrations appear white, are intended to enable the reader to dis- tinguish between the genuine and spurious ornamentation.
This Harp has forty -five strings in one row, and also seven additional strings on the left side, which are supposed to have been tuned in unison with the corresponding strings which occur about the middle of the scale. The metal bands upon either side of the harmonic curve through which the tuning-pegs pass form single curves ; most of the pegs are in their places and are ornamented. The extreme length of the harmonic curve is 35-| inches. The depth measured between the third and fourth pegs in the bass is 6^ inches. The extreme length of the fragment of the fore-pillar is 33 inches. The depth above the T projection is 4^ inches. The depth below the T projection is 4 inches. The length of the T projection is 26f inches ; at its widest part it is 4j inches broad, at the back ]^ inches. The fore-pillar in front both at the upper and lower extremities is 1{-J- inches broad. The width at the back at the upper extremity is lf]r inches, at the lower extremity 1 ^ inches.^
To obtain correct photographs of this Harp, the writer had the existing portions placed side by side, both being at the same distance from the camera as they would had the Harp been in a perfect state. The photographs were then arranged, and the missing portion of the fore-pillar supplied.
When constructing a probable box, the writer discovered that the upper portion of the box, to fit the harmonic curve, required to be formed obliquely (see Plate i.), also that if the sounding-board of the
' A jiortion, probably the harmonic curve, was another portion, perhaps the fore-arm, was iu the exhibited at Belfast in 1S52 by .Marriott Dalway, possession of Mrs. Sherrard of Dublin. — Descrip- Esq., of Bellahill, Uarrickfergus. At this period tive Catalogue, ibid. Appendix.
THE lEISH HAEP 69
original box was not curved along the strings, the lower termination of the fore-pillar would not be parallel with the box. It is true that upon the illustration given by Pretorius (reproduced p. 26) the string-band is shown without a curve, and, as already noticed, Bacon describes it as not being curved. It must however be borne in mind that both these writers may have seen instruments constructed many years previous to the periods at which they wrote ; also that Harps with sounding-boards curved, both along and across the strings, were constructed in Ireland somewhat later than 1621.
In the case of the Dalway Harp, supposing the string-band of the original box to have been perfectly straight, and the fore-pillar to have joined the lower portion of the sounding-board at an angle, the two portions not being parallel ^ would tend to show that the fore- pillar had been shortened by the tension of the strings. But as the fore-pillar of the Dalway Harp is unusually strong, and shows no longitudinal cracks,^ the probability is that it has not been so shortened ; so when constructing the box, the writer considered it advis- able to make the sounding-board curved across the strings, and also to make the box parallel with the termination of the fore-pillar, and con- tinue the junction line, and so give a slight curve along the strings (see Plate I.). On account of the size and weight of the harmonic curve, the writer has also given unusual width and depth to the upper portion of the box, and unusual width to the lower portion of the box, as the harp carved upon the front of the fore-pillar is so represented.^
The engraving Bunting gives of this instrument shows a sounding- board and sides. These additions he, very properly, represents without ornament ; but the sounding-board, sides, termination of the box and
^ XJpoa the Lamout Harp the projecting block the lower portion of the sounding-board, ISi in. slopes towards the termination. The artiticer Length of sounding-board, 37| in. From the in this case may have anticipated the curvature upper portion of the sounding-board to the first along the strings, which he must have known string-hole, 3j in. ; distance between the string- would eventually occur. holes, | in. Extreme length of the box without
2 The cracks that may be seen upon the fore- the projecting block, 39j in. ; length of the pro- pillars of the Queen Alary and the Trinity College jecting block, 4 in. ; width of the projecting block. Harps would account for increased curvature. 3J in. ; width of the raised string-band, H in. •
^ From the scale of the model the following depth of the box at the upper extremity, 5I in.;
measurements of a similar box, if constructed full depth of the box at the lower termination, 44- in. ;
size, have been ascertained. Width of the upper length of the shortest stiing, 3| in. ; length of
portion of the sounding-board, 5^ in. ; width of the longest string, 30J in.
70 MUSICAL INSTEUMENTS
projecting block, as supplied to the casts of the existing portions which may be seen in our museums, are decorated, which is much to be regretted. There is also a considerable amount of spurious orna- mentation upon the back of the restored portions of the T formation which fortunately does not appear upon those portions of the Harp. The upper portion of the fore-pillar, now missing, particularly that of the right side, of which there is no drawing when in a perfect state, has also spurious ornamentation. In fact, the restorer (?) has neglected no part of the fore-pillar except those portions which were once covered with inscriptions ; the missing portions of such inscriptions he was unable to supply.
THE KILDARE HARP
This Harp, remarkable for size, form, and decoration, was apparently made in 1672 for Robert, second son of George, the sixteenth Earl of Kildare, whose initials with the Fitzgerald arms, charged with a crescent in chief surmounted by a helmet and an ape for crest, appear upon the front of the fore- pillar. See Plate in. (Fig. i.).
The decoration of this Harp may be described as early Jacobean. The curved foi'e-pillar has at its lower termination and in front a grotesque human mask or face, above which is an elaborately incised carving surrounded by a circle (Fig. n.). A blank space surrounded by a series of semicircles in colour then occurs ; these semicircles cross
each other on the inner side, the pointed portions of the ornamentation, shaded upon the illustration, being painted deep olive green. Between this panel and the armorial bearings and date, the artist has I'eproduced the ornament of the incised carving in colour. These coloured ornamentations are repeated above the armorial bearings, as is also the incised ornament surrounded by a circle already noticed. The upper portion of the fore-pillar terminates in a head facing upwards, perhaps that of a wolf or dog in very high relief (Figs. iii. and iv.). The T projection extends the entire length of the fore-pillar, and is at the centre 4f inches wide, that poi'tion of the pillar nearest the sounding-board being 1;^ inches wide. The edge of the T projection is ornamented in oblique stripes
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THE KILDARE HARP.
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THE KILOARE HARP_LEFT SIDE, Plate 11,
THE lEISH HAEP
71
painted in black and white. The fore-pillar is not mortised into the harmonic curve as in the older harps, but is carried up and forms the bass termination of the harmonic curve. The fore-pillar has been slightly bent, and shortened by the tension of the strings.
The harmonic curve, which is beautifully formed and richly decorated, has near the treble end and upon the upper side a grotesque mask or face in relief (Fig. v.), and terminates in a scroll. The carvings have been enriched by colour, of which red, black, white, and olive green are still visible. The metal bands through which the pegs pass have a very slight, scarcely perceptible, double curve. These bands are pierced for 36 pegs. The pegs are ornamented ; there are also two additional pegs in the bass. Besides these there were certainly two other holes (one of which has been plugged) which have been intended for pegs.
The box, which is supposed to be of yew, is cut out of a solid block, and varies in depth from 4 inches near the upper extremity, 5^ inches in the middle, to 3i inches at the lower termination. The sounding-board, which is -^s of an inch in thickness, has about the centre two finely ornamented sound-holes (No. 1), above which are two incised decorations enclosed in circles (No. 2) ; and below the sound-holes are other two incised ornaments of difterent design from those above the sound- holes, but enclosed in circles (No. 3). The sounding-board, which was painted or picked out in colours of which red, white, dark brown, or black are still visible, terminates upon either side of the usual projecting block in semicircular endings. At the lower termination, the sounding-board is 1 ft. 2 in. broad. The raised portion or string band, which in this example begins at the upper extremity of the box, terminates in two steps upon either side, and is then carried round the semicircular endings of the sounding- board. Above the tenth string, this raised string band branches to either side in semicircles of somewhat Moorish character, the projection being then carried along the angles formed by the sounding-board and sides. The raised string band, which has a hollow or depression in the centre, is pierced for 39 strings, the greater number of " the shoes of the strings " are still attached ; these are of brass finely wrought,
72 MUSICAL INSTEUMENTS
and are of horse-shoe form, the extremities representing the heads of birds being turned outwai'ds and upwards (see p. 29). The " shoes of the strings " are somewhat narrower in the treble than the bass. This harp is strung with brass wire of different thicknesses. These strings may not be very old, but they are probably of the correct gauge, as the stringing of the Harp was understood in 1849. The shortest string measures 2 inches, the longest 40 inches. The raised bands at the sides of the sounding-board form the angles of the box, and upon the sides of the box nearest to the sounding-board there are also raised bands which end in two semicircles surmounted by flattened arches.
It seems probable that the box of the Harp was at some period considered to be of insufficient length, as it is evident the fore-pillar was removed and a piece of metal in the form of the lower portion of the string band and steps, and considerably longer than the projecting block, was attached to the lower portion of the box. The projecting block was then increased in length by the addition of a block of wood, which added some inches to the height of the Harp. This addition to the projecting block, like the wood to which it is attached, is badly worm-eaten. Five metal bands have been attached to the box at difi'erent periods for the purpose of strengthening it. With the exception of that above the ornament No. 2 they are more or less rude.
The height of the instrument is 4 ft. 8^ in. ; the extreme length of the harmonic curve is 2 ft. 7 in. ; the length from the end of the projecting block to the rise of the harmonic curve is 3 ft. ll:g in.
This really splendid Harp was obtained by the late Dr. George Petrie from a poor woman who had purchased it at an auction in Dublin. Dr. Petrie upon discovering for whom it had been made thought that it should belong to the head of the family, and presented it to the fourth Duke of Leinster in 1849, since which time it has been preserved at Kilkea Castle and has been known as the Kildare Harp.^
' Tbe writer is indebted to Lnrd Walter Fitz- this work, and also for supplying some most in- gerald fur allowing a seiies of photographs to be tereating notes jegarding it. taken of this Harp for the purpose of illustrating
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D ETA I L5 OF TH E
KILDARE HARP
Plate 111.
THE lEISH HARP 73
THE CASTLE OTWAY HARP
Of this Harp we have three very brief notices. The first of these occurs in Bunting's coll. of 1809,^ either by the editor or by Mr. Henry Joy, and is as follows : " A Harp made by Cormack O'Kelly, of Ballynascreen, in the County of Londonderry, about the year 1700," has the figure of wolf-dogs engraved upon the front pillar. The second is undoubtedly by Bunting, who writes : " Quin's Harp was made by the same artist (Cormac O'Kelly, Ballynascreen, Coy. Derry). The editor saw it at Egan's, the late harp-maker's in Dublin. It was a handsome instrument, made, as usual, of red sallow from the bog. It bears date 1707."'" The third is by Dr. Petrie, who states that he saw the Harp, that it " bears the date 1707," and that it was, when he wrote, at Castle Otway.^
At what time it became the possession of the Otway family cannot be stated, for when the late Admiral Otway succeeded to the estate in 1850 the harp was at Castle Otway, and it was not known when or from whom it had been acquired.
This Harp is an extremely interesting and profusely decorated instru- ment. The box is cut out of a solid block; but the projecting block which has been fitted into a cavity in the stand by which the Harp is now supported is scarcely visible. The fore-pillar is slightly curved, and has not been shortened by the tension of the strings. The harmonic curve has the prominent peak which may be seen upon the Irish Harp illustrated by Pretorius, and reproduced p. 26.
The box of this instrument is graceful in form. The sounding- board, which terminates upon either side of the projecting block in straight lines, has four sound-holes. These have hexafoil ornaments enclosed in circles, each of which is surrounded by two concentric circles enclosing chevron oi'namentation (Fig. viii.). The edges of the sounding-board had semicircular decoration similar to that upon the fore-pillar of the Kildare Harp (see p. 70), but little of this orna- mentation remains. The raised string band, which terminates in the treble in semicircular curves and in the bass in steps, is If in. broad,
1 Note, [). 24. 3 O'Curry's Lectures, vol. iii., pp. 294, 295-
2 Coll. 1840, Qote, p. 76. 297.
74
MUSICAL INSTRUMENTS