At p. 4 (Galpin) is represented the simple Irish harp or lyre which was known as the cruit or crot; it is essentially a harp, although it seems, in its infancy at any rate, to have had but five or six strings. The name cruit or crot afterwards developed into rotte, and under this name is described a remarkable instrument apparently dating from the fifth to the eighth centuries, which is figured at p. 34 (Galpin). It was found in the Black Forest in the grave of a warrior, together with his sword and bow, and seems to have been clasped in his arms, as though he had especially valued it. The true harp, which in its simplest form (Galpin, p. 8) chiefly differs from the rote in shape, [73a] is characterised by the picturesque triangular outline that is so familiar. It was of Teutonic origin, and Mr Galpin tells an admirable story of a Saxon who disguised himself as a Briton, by playing the rote instead of the harp, which would have revealed his nationality. In spite of its Saxon parentage the Irish adopted the harp, and a beautiful instrument of the early thirteenth century is preserved at Trinity College, Dublin (Galpin, p. 12). The Irish for harp is Clairsech, [73b] a word
that reminds me of an Irish friend who used to quote—
“Old Tracy and old Darcy
Playing all weathers on the Clarsy.”
Mr Galpin tells a pleasant story of St Ealdhelm, who was Bishop of Sherborne in the year 705. When he was about to preach he found the church empty; he therefore took his harp, and “standing on a bridge hard by, soon attracted a considerable crowd by his playing. Then he delivered his sermon.”
Chapter ii, p. 20, is devoted to the gittern and citole. In the first-named instrument we have the ancestor of the guitar, which it resembled in its flat back, and in the curving inwards of the vertical sides. [74a] It has generally been believed that the “waist” thus produced was an adaptation to the use of the bow, but, as the author points out, this form occurs long before the existence of bowed instruments. [74b] At p. 22 (Galpin) is given an early fourteenth century illustration of a gittern-player, holding in his right hand the plectrum with which he sounds the strings. The most curious point, however, is the depth of the neck of the instrument, which is pierced by a large hole to admit the left thumb; without this curious device it would apparently be impossible to stop the strings. On the same plate is given an illustration of the precious gittern at Warwick Castle, believed to date from about 1330,
in which the thumb-hole is more clearly shown. The guitar, which may be considered a descendant of the gittern, is said to have completely eclipsed its ancestor in the seventeenth century. And at the present time it, together with the mandoline and the banjo, are the only representatives of the type in every-day use.
Mr Galpin places the citole in the same class as the gittern. He says that this instrument has been much misunderstood, and since I do not desire to add my quota to the injustice under which this unfortunate instrument suffers, I shall pass on to the mandore and lute. The essential characteristic of these instruments is that their bodies, instead of having the flat back of the guitar, are rounded. Though the body is now built of strips of wood or ivory, its form is “reminiscent of the time when the body or resonator consisted of a simple gourd or half-gourd covered with skin.” In this they resemble the instruments of Oriental races, and the author traces the form of the rebec and mandoline as well as that of the mandore and lute to Persian, Arabic, and Moorish influence in the Middle Ages.
The European lute had at first only four strings, but in the “elaborate instruments of the seventeenth century there were twenty-six or thirty strings to be carefully tuned and regulated.” No wonder that a lutenist should have been said to spend three-quarters of his existence in tuning his instrument. The mandore was a small form of lute, and is chiefly of interest because in a yet smaller form it still
survives as the mandoline, which, however, usually has both wire and covered strings, and is played with a plectrum. To return to the lute, its most obvious characteristic is that the head (in which are the pegs for tuning the strings) is bent at right-angles to the general plane of the instrument. It is not clear what is the meaning of this curious crook in the instrument, but it is some comfort to the ignorant since it enables us to recognise a lute when we see one. Henry VIII. and his daughters Mary and Elizabeth are said to have been good lutenists. The smaller gut strings, called by the pleasant name of minnikins, were easily broken, and a gift of lute-strings was considered a present fit for a queen, and one which the great Elizabeth did not disdain.
There was also an archlute, which in its largest form—six feet in height—was known as the chitarrone. It had not the rectangular bend in the neck of the ordinary lute; it was also characterised by having four or five free or unstopped strings. A fine reproduction of Lady Mary Sidney and her archlute faces the title-page of the book.