Figure 85. SPINET.
The rivalry which church music seems to inspire in the breasts of those who render it has long existed, and extends even to those who make the instruments. The following story from "Hawkin's History of Music" bears out this statement.
"Bernard Smith, or more properly Schmidt, a native of Germany, came to England with his nephews Gerard and Bernard, and to distinguish him from them obtained the name of 'Father Smith.' He was the rival of Harris from France and built an organ at Whitehall too precipitately, to gain the start of them, as they had arrived nearly at the same time in England. Emulation was powerfully exerted. Dallans joined Smith, but died in 1672, and Renatus Harris, son of the elder Harris, made great improvements. The contest became still warmer. The citizens of London, profiting by the rivalship of these excellent artists, erected organs in their churches; and the city, the court, and even the lawyers were divided in judgment as to the superiority. In order to decide the matter, the famous contest took place in the Temple Church upon their respective organs, played by eminent performers, before eminent judges, one of whom was the too celebrated Jeffreys. Blow & Purcell played for Smith, and Lully, organist to Queen Catharine, for Harris. In the course of the contest Harris challenged Father Smith to make, by a given time, the additional stops of the vox humana, the cremona or viol stop, the double courtel or bass flute, etc., which was accepted, and each exerted his abilities to the utmost. Jeffreys at length decided in favor of Smith, and Harris's organ was withdrawn. Father Smith maintained his reputation and was appointed organ-builder to Queen Anne. Harris went to Bristol."
In the first half of the eighteenth century the salaries paid to organists were small indeed, and it was customary for them to add to their modest stipend in various ways. In Charleston, S. C., in 1739, the organist taught the art of psalmody. A dozen years before this the organist at King's Chapel, Boston, Mass., taught dancing.
Mr. Drake, in his "History of Boston," says that King's Chapel was enlarged and rebuilt in 1713, and an organ was presented by Mr. Thomas Brattle. In 1756 the King's Chapel Society imported a new organ from London, and the old one was sold to St. Paul's Church, Newburyport. It was used there for eighty years, and then sold to St. John's Church, Portsmouth, N. H. The original pipes and wind-chest remain to-day in perfect condition.
The second church organ in New England was one in a case of English oak, presented by Bishop Berkeley to Trinity Church, Newport, R. I., in 1733. It had twenty-three gilded pipes and was fourteen and a half feet high, eight feet front, and eight feet deep. It was made by Richard Bridge, London. This organ was used for a hundred and eleven years by Trinity Church, till 1844, and after a sojourn of a few years in Brooklyn, N. Y., it was bought for a church in Portsmouth, R. I., where it still is, in excellent condition.
South Carolina, with her riches and her close communication with England, had abundant masters to teach not only the more elementary branches, but accomplishments as well. By 1774 there were two hundred persons in the colony engaged in teaching, and according to advertisements a knowledge of English, Latin, and Greek could be obtained at any time after 1712. French and music were constantly taught after 1733. Lessons on the harpsichord, spinet, violin, violoncello, guitar, and flute were all to be had after 1733, and the boys could be perfected in fencing and the girls in needlework before the middle of the century. By 1734 a dancing-school was opened at Charleston, and in 1760 Nicholas Valois gives notice that he still receives pupils in dancing, and that he has received "40 of the newest country dances, jiggs, rigadoons, etc., from London, which he proposes to teach."
Figure 86. HARPSICHORD.
In 1752 the vestry of St. Phillip's Church, Charleston, sent to London for an organist. The parish guaranteed him £50 sterling. He was to have the privilege of teaching the harpsichord or spinet, which would add 150 guineas more per annum, and also to have "benefits of concerts which his obliging behaviour to the gentlemen and ladies of the place may amount to 300 or 400 guineas more." The years between 1728 and 1763 were a time of unprecedented prosperity in South Carolina. The luxuries of the day were within reach of modest fortunes, and British modes and manners were eagerly followed. Josiah Quincy, in describing his visit to "Charles Town" in 1774, speaks of the famous St. Cecilia Society, which began as a musical club, all the performers being amateurs. He writes: