[3] Drayton (James I.'s reign) in his "Battle of Agincourt," l. 1199, has—"The common Souldiers free-mens catches sing"—of the French before the battle (freemen is a corruption of threemen).
[4] The Cittern of the barber's shop had four double strings of wire, tuned thus—1st, E in 4th space of treble staff; 2nd, D a tone lower; 3rd, G on 2nd line; 4th, B on 3rd line. The instrument had a carved head. See L.L.L. V. ii., lines 600-603, of Holofernes' head. Also the [frontispiece], where the treble viol and viol-da-gamba have carved heads, both human, but of different types. Fantastic heads, as of dragons or gargoyles, were often put on these instruments.
[5] [Appendix], Ex. 1.
[6] Rimbault's preface to the Musical Antiquarian Society's reprint of Purcell's opera, "Bonduca," says that Mad Tom was written by Coperario in 1612, for the Masque of the Inner Temple and Gray's Inn, by Beaumont. This was, 'Forth from my sad and darksome sell.'
[7] See [Frontispiece].
[8] Theorbo, a lute with a double neck; so called from Tiorba, a mortar for pounding perfumes, referring to the basin-shaped back of a lute.
[9] See [Frontispiece].
[10] See [Frontispiece].
[11] Plectra of leather were also in use, as well as those of quill.
[12] See [Frontispiece].