Saxon Band of Minstrels.
The Saxons were a musical people. We learn from Bede’s anecdote of the poet Cædmon, that it was usual at their feasts to pass the harp round from hand to hand, and every man was supposed to be able to sing in his turn, and accompany himself on the instrument. They had a considerable number of musical instruments. In a MS. in the British Museum, Tiberius C. vi., folios 16 v., 17 v., 18, are a few leaves of a formal treatise on the subject, which give us very carefully drawn pictures of different instruments, with their names and descriptions. There are also illustrations of them in the Add. 11,695, folios 86, 86 v., 164, 170 v., 229, and in Cleopatra E. viii. Among them are the Psaltery of various shapes, the Sambuca or sackbut, the single and double Chorus, &c. Other instruments we find in Saxon MSS. are the lyre, viol, flute, cymbals, organ, &c. A set of hand-bells (carillons) which the player struck with two hammers, was a favourite instrument. We often find different instruments played together. At folio 93 v. of the MS. Claudius B iv. there is a group of twelve female harpists playing together; one has a small instrument, probably a kind of lyre, the rest have great harps of the same pattern. They probably represent Miriam and the women of Israel joining in the triumphal song of Moses over the destruction of the Egyptians in the Red Sea.
Saxon Organ.
The organ, already introduced into divine service, became, under the hands of St. Dunstan, a large and important instrument. William of Malmesbury says that Dunstan gave many to churches which had pipes of brass and were inflated with bellows. In a MS. psalter in Trinity College, Cambridge, is a picture of one of considerable size, which has no less than four bellows played by four men. It is represented in the accompanying wood-cut.
The Northmen who invaded and gave their name to Normandy, took their minstrels with them; and the learned assert that it was from them that the troubadours of Provence learned their art, which ripened in their sunny clime into la joyeuse science, and thence was carried into Italy, France, and Spain. It is quite certain that minstrelsy was in high repute among the Normans at the period of the Conquest. Every one will remember how Taillefer, the minstrel-knight, commenced the great battle of Hastings. Advancing in front of the Norman host, he animated himself and them to a chivalric daring by chanting the heroic tale of Charlemagne and his Paladins, at the same time showing feats of skill in tossing his sword into the air; and then rushed into the Saxon ranks, like a divinely-mad hero of old, giving in his own self-sacrifice an augury of victory to his people.
From the period of the Conquest, authorities on the subject of which we are treating, though still not so numerous as could be desired, become too numerous to be all included within the limits to which our space restricts us. The reader may refer to Wharton’s “History of English Poetry,” to Bishop Percy’s introductory essay to the “Reliques of Early English Poetry,” and to the introductory essay to Ellis’s “Early English Metrical Romances,” for the principal published authorities. For a series of learned essays on mediæval musical instruments he may consult M. Didron’s “Annales Archæologiques,” vol. iii. pp. 76, 142, 260; vol. iv. pp. 25, 94; vol. vi. p. 315; vol. vii. pp. 92, 157, 244, 325; vol. viii. p. 242; vol. ix. pp. 289, 329.[327] We propose only from these and other published and unpublished materials to give a popular sketch of the subject.
Throughout this period minstrelsy was in high estimation with all classes of society. The king himself, like his Saxon[328] predecessors, had a king’s minstrel, or king of the minstrels, who probably from the first was at the head of a band of royal minstrels.[329]
This fashion of the royal court, doubtless, like all its other fashions, obtained also in the courts of the great nobility (several instances will be observed in the sequel), and in their measure in the households of the lesser nobility. Every gentleman of estate had probably his one, two, or more minstrels as a regular part of his household. It is not difficult to discover their duties. In the representations of dinners, which occur plentifully in the mediæval MSS., we constantly find musicians introduced; sometimes we see them preceding the servants, who are bearing the dishes to table—a custom of classic usage, and which still lingers to this day at Queen’s College, Oxford, in the song with which the choristers usher in the boar’s head on Christmas-day, and at our modern public dinners, when the band strikes up “Oh the Roast Beef of Old England,” as that national dish is brought to table.
We give here an illustration of such a scene from a very fine MS. of the early part of the fourteenth century, in the British Museum (marked Royal 2 B vii., f. 184 v. and 185). A very fine representation of a similar scene occurs at the foot of the large Flemish Brass of Robert Braunche and his two wives in St. Margaret’s Church, Lynn; the scene is intended as a delineation of a feast given by the corporation of Lynn to King Edward III. Servants from both sides of the picture are bringing in that famous dish of chivalry, the peacock with his tail displayed; and two bands of minstrels are ushering in the banquet with their strains: the date of the brass is about 1364 A.D. In the fourteenth-century romance of “Richard Cœur de Lion,” we read of some knights who have arrived in presence of the romance king whom they are in quest of; dinner is immediately prepared for them; “trestles,” says Ellis in his abstract of it, “were immediately set; a table covered with a silken cloth was laid; a rich repast, ushered in by the sound of trumpets and shalms, was served up.”[330]