As some of the above-mentioned instruments are probably unknown to the majority of readers, I will select for explanation a few that seem least likely to be familiar:—

We have alluded to the possible effect on music of the return of numbers of men from the wars of the Crusades. We pass now to the probable effect on the morals of the people, with special reference to the musicians of the period. One of the first results would be to swell the numbers of itinerant musicians and players who were already a source of trouble not only to the custodians of the law, but to the average law-abiding citizen.

It is not to be supposed that the restless spirit of these wanderers through Europe and the East, with all the concomitant experiences, would permit them to again settle down to the life of quietude and practical isolation of the tiller of the soil, from which, no doubt, many of them had sprung.

No, the roving life of the itinerant "minstrel" or the riotous life of the city roysterer would be more likely to attract them.

Certain it is, from the diseases they acquired in the East and disseminated in Europe, one may justifiably argue that their presence was not likely to raise the moral tone of any company they might be pleased to join.

To whatever cause it may be assigned, it has to be admitted that musicians in those days had a most unenviable reputation, and were looked upon with the greatest contempt.

One qualification of this statement may be made, as there is little doubt that a great distinction was made between the composer and the "musician."

Every rogue and vagabond who scoured the