ring fixed to a stake driven into the ground; so that this cord, being about fifteen feet long, the bull is confined to a space of about thirty feet diameter. Several butchers, or other gentlemen, that are desirous to exercise their dogs, stand round about, each holding his own by the ears; and when the sport begins, they let loose one of the dogs. The dog runs at the bull; the bull, immovable, looks down upon the dog with an eye of scorn, and only turns a horn to him, to hinder him from coming near. The dog is not daunted at this, he runs round him, and tries to get beneath his belly. The bull then puts himself into a posture of defence; he beats the ground with his feet, which he joins together as closely as possible, and his chief aim is not to gore the dog with the point of his horn (which, when too sharp, is put into a kind of wooden sheath), but to slide one of them under the dog's belly, who creeps close to the ground to hinder it, and to throw him so high in the air that he may break his neck in the fall. To avoid this danger, the dog's friends are ready beneath him, some with their backs, to give him a soft reception; and others with long poles, which they offer him slantways, to the intent that, sliding down them, it may break the force of his fall. Notwithstanding all this care, a toss generally makes him sing to a very noisy tune, and draw his phiz into a pitiful grimace. unless he is totally stunned with the fall, he is sure to crawl again towards the bull, come on't what will. Sometimes a second frisk into the air disables him for ever; but, sometimes, too, he fastens upon his enemy, and when once he has seized him with his eye-teeth, he sticks to him like a leech, and would sooner die than leave his hold. Then the bull bellows, and bounds, and kicks, all to shake

But

off the dog. In the end, either the dog tears out the piece he has laid hold on, and falls, or else remains fixed to him with an obstinacy that would never end, did they not pull him off. To call him away, would be in vain; to give him a hundred blows, would be as much so; you might cut him to pieces, joint by joint, before he would let him loose. What is to be done then? While some hold the bull, others thrust staves into the dog's mouth, and open it by main force."

THE MUSICIANS.

CHAPTER II.

PROGRESS OF THE ART THE PROTECTORATE-THE RESTORATION-INSTRUMENTAL MUSIC-LOWE-CLIFFORD BIRCHENSHAW-DR. CHILD-HENRY LAWES-DR. WILSON-DR. ROGERS-JOHN JENKINS-DR. COLMAN -MATTHEW LOCK-PELHAM HUMFRY-BANISTER -DR. BLOW-HENRY PURCELL.

A REMARKABLE impulse was given to the progress of music in England, in the latter half of the sixteenth and the early years of the seventeenth centuries, by the production of those musical dramas and masques which "so did take Elizabeth and our James." In these precursors of the modern opera the influence of the Italian composers made itself felt. The "stylo recitativo," which has undergone but little alteration to the present day, was first introduced in 1617, in "The Masque of Lethe," written by Ben Jonson for the Lord Hay. The poet was so pleased with its success that he immediately wrote another masque of the same kind, though with larger opportunities for the composer, "The Vision of Delight," acted at Court in the Christmas of 1617. It consisted of recitative, air ("Break, Phantasie, from thy cave of cloud"), chorus, and ballet. 'The music for both these pieces was composed by Nicholas Laniere.