Harp. 
— 
644 
which are‘reported to have been invented by M. Simon 
at Brussels, between 1750 and 1760. The principal 
object of the pedals is to diminish the number of 
strings; for although the most grateful music certainly 
does not consist in the greatest variety of notes, a con~ 
siderable range becomes necessary to adapt an instru- 
ment to all compositions. Probably the strings of the 
harp were originally very few ; indeed, in this respect 
its structure is altogether arbitrary; and the number 
has been different at different eras and in different coun- 
tries, as is proved by the examples already given. In 
France, a harp is spoken of in the 14th century with 25 
strings: in England, one of the same century, or per- 
haps earlier, is represented with only 14, and one of 
the 16th is described to have had 33. It will be observed, 
that we have hitherto spoken of the strings of a harp 
with a single row: and they have even been greatly 
augmented beyond these numbers ; but some ingenious 
mechanics have adopted a second or third row, for the 
purpose of multiplying the notes. Galileo, in a work 
written about the year 1582, speaks of harps with 54, 
56, or 60 strings used in Ireland, from which island 
the harp of Italy was introduced ; and having obtained 
one from an Irish gentleman with two rows of strings, 
consisting in all of 58, he found they were disposed 
in the same manner as a harp of the same construction 
introduced a few years previously into his native coun- 
try. Mersenne represents a harp with 75 strings, arran- 
ged in three rows. The Welsh are said to have had one 
similar ; and the number has sometimes been increased 
to 100. The introduction of pedals, however, has su« 
perseded the necessity of such a variety of single notes. 
The harp was generally strung with brass or steel 
wire. The Western Islanders or Highlanders of Scot- 
land had a particular kind of harp strung with the 
tendons of animals; and the Welsh sometimes used 
horse hair. We are quite uncertain regarding the real 
compass of the most ancient harps, or the manner in 
which they were tuned. 
Diodorus Siculus says, that the instruments used by 
the Gallic bards resembled lyres; but it is doubtful 
whether or not this was the harp, and there is very little 
certainty regarding its origin in these islands. Its most 
ancient appearance is of very rude and imperfect 
form, though considerably diversified ; but the strings 
seem invariably to be very few. Performers too are 
frequently represented as holding it in one hand while 
they are playing with the other. Mr Ledwich con- 
ceives it was introduced into Ireland in the fourth 
or fifth century, from the close connection of the Irish 
«* with the Saxons and other rovers from the Baltic 
shores, who conjunctly ravaged the coasts of Gaul and 
Britain in those ages.” In Scotland it appears sculp- 
tured on a very ancient monument near the church 
of Nig in Ross-shire, engraved by Mr Cordiner; and an- 
cient sculptures or drawings of it are to be seen in 
England, though frequently with a reference to religi- 
ous matters. Probably the harp was not used in Scot- 
land to any extent, though it was known to individuals ; 
and, subsequent to the date of the instruments before 
alluded to, there is recorded, in a curious account of an 
insurrection in 1594, a prophec regarding the Earl 
of Argyle’s =p being heard in the district of Buchan. 
In Ireland and Wales, the case was different ; for 
the harp seems to have been carefully and extensively 
cultivated ; at least in as far as the rudeness of the 
people would admit. Giraldus Cambrensis bears the 
most unequivocal testimony to their powers, and the 
quality of their music; affirming, that the Irish were 
incomparably the most skilful of any nation in mu- 
HARP. 
_ With those best known to us, they are found the more 
sic, and not of that dull and languid description -to 
which the inhabitants of Britain were accustomed, but 
what required much rapidity in execution. Probably 
their abilities greatly declined ; for we afterwards find 
it observed, that Crusus was to be considered as almost 
the only harper about 1584. In Wales still 
attention was paid to the instrument, and Giraldus is 
alike lavish of his praises on the performers. There 
was even a triennial congress, whither all the most dis« 
tinguished musicians repaired to compete in skill ; and 
there is still preserved a small silver about six, 
inches and a half high, which was confe on the vice 
tor. The privilege of bestowing this badge seems to 
have been vested in the family of Mostyn. The con« 
gress was held by royal authority at some of the royal re« 
sidences in Wales; and, besides others, we read of a man- 
date issued by Henry VIII. in 1523, for the purpose of 
instituting order and government among the professors 
of and music, and re; ing their art and 
fession according to the old statute of Gryffyd ab Cynan, 
Prince of Aberfiraw. Another was assembled by order 
of Queen Elizabeth in 1568 at Caerwys, where degrees 
were to be bestowed according to merit ; but those 
not qualified were enjoined to betake themselves 
to some honest livelihood and profession, under pain of 
being apprehended and punished as vagabonds. At that 
time 55 degrees were conferred, 17 for vocal, and 38 
for ePaper rem er At length the institu< 
tion fell into disrepute, and the harp seems to have 
become obsolete; for a traveller in Wales between 
1780 and 1790 observes, that the only harp he heard 
in all the country was at Conway. An attempt was 
lately made to revive the Eistedfodd, as it was called, 
after several considerable intervals of repose ; and at a 
meeting, one of the last that was held, 12 minstrels at- 
tended, (Gent. Mag. vol. lxii. p. 96.) And, we believe, 
a similar congress was unsuccessfully attempted in Tres 
land during the year 1785, where only indifferent per- 
formers appeared. The art of playing upon the nM & 
however, is at present considered an elegant accomplist 
ment, partieularly in youthful females ; and it has gained 
much ground in Britain within these 20 years. At pre- 
sent it is sometimes to be heard at public concerts ; and 
we have understood, that the combination of a number of 
harps has Jately been introduced into an orchestra in 
Paris. The harp, however, can never be more than a 
chamber instrument: it labours under many defects, 
notwithstanding all the modern mechanical improve- 
ments which it has received ; whence we may reason- 
ably infer, that the excellencies of the ancient Welsh 
and Irish music, as performed upon that instrument, 
are highly exaggerated. Complicated music does not 
belong to an uncivilized people. Their tunes are but 
a kind of whining chant; and the further we ascend 
inharmonious. Yet enthusiasm can figure any thing, 
as at this day we see savages dance in extacy to beat- 
ing on a wooden drum. The minstrels too, who 
in modern times have been regarded with admiration, 
and who held a prominent part in the musical perform- 
ances of old, were nothing but a worthless vagrant 
race, generally proscribed as yagabonds. See Galilee 
Opere, tom. iil. ; Mersennus Harmonicorum, p. 68; Gi- 
raldus Cambrensis, cap. 12; Denon Voyages, tom. i. p. 
237, tom. ii, planche 135; Bruce’s Travels, vol. i. p. 
133; Carter’s Specimens of Sculpture and Painting, vol. 
ii. p..11, 16, 42, 43; Cordiner’s Antiquities of Scotland, 
plate 1; Walker's Memoir of the Irish Bards; Jones’ 
Relics of the Welsh Bards ; Gunn’s Historical Enqui- 
ry; Evans’ Tour in North Wales; Pennant’s Tour in 
