116 CHILDREN OF THE CHAPEL AT BLACKFRIARS 
the nuns at Milan might be compared with him, the travelers felt 
they had not heard his equal in Germany, Italy, or France. 
Training in instrumental music! was also extensive, requiring 
an acquaintance with the principal instruments of the time,—or- 
gan, lute, bandora, manolin, violin, bass-viol, 
cornet. 
’cello, flute, and 
But the plays give necessarily slight indications of the music. 
The Malcontent, for example, as it has reached us, is pretty well 
shorn of this attraction, as the Induction declares. The delight- 
*The Case is Altered (ca. Sept.— 
Oct., 1597).—I, i, “A flourish” pre- 
cedes the opening. I, ii ends with 
“a tucket.” 
Cynthia’s Revels (ca. April, 
ot —(ed. Gifford - Cunningham) 
IV, i, p. 178, Amorphus sings to 
the lyre. Vv, ii, p. 186b, Music. 
Idem, 187a, charge; flourish. Idem, 
189, | charge (twice) ; flourish 
(twice). Idem, 193b, charge; flour- 
ish. Idem, 194b, charge ; flourish. 
V, ili opens with “Music accompa- 
nied. Hesperus sings.” V, iii, p. 
200a, Music. A dance by the two 
masques, &c. Idem, 200b, Music. 
Second dance. Jdem, 201b, Music. 
Third dance. 
Sir Giles Goosecap (ca. fall, 
1600).—(ed. Bullen) I, iv, p. 21, 
Enter Clarence, Musicians. Jdem, 
22, A song to the Violls. Idem, 
23, Exeunt Musicians. 
Poetaster (ca. April, 1601).— 
(ed. Gifford-Cunningham), II, i, p. 
221b, Hermogines sings accompa- 
nied. IV, i, p. 238b, Crispinus plays 
and sings. IV, iii, p. 243a, Music. 
Albius sings. IV, iii, p. 243a, Mu- 
sic. Hermes sings. 
The Gentleman Usher (ca. sum. 
1601).—(ed. Shepherd, 1873), II, i, 
p. 8%a, Music. 
Monsieur D’Olive (ca. Oct— 
Dec., 1601.)—No music indicated. 
May Day (ca. May, 1602).—(ed. 
Shepherd, 1873), III, iv, p. 295b, 
“Tapster, call us in some music.” 
IV, i, p. 295b, Enter... &c., with 
music. Quintiliano—‘Strike up, 
scrapers.” Idem, 2964, Qu— 
“(strike up fiddlers)”; and: farther 
n, “Farewell, scrapers,” &c. 
The Widow's Tears (Sept., ne 
—(ed. Shepherd, 1873), Ill, ii, 
325b, Music. Two lines farther on 
“Music. Hymen descends” &e. 
[See comment supra, 115, col. 1.] 
The Dutch Courtesan (fall-wint., 
1602).—(ed. 1633 and Bullen, 1887), 
I, ii, 1.213, Enter Franceschina with 
her lute; 219, she sings to her lute. 
II, i, Enter Freeviil, pages with 
torches, and gentlemen with music. 
Then at 1.8, a serenade of music 
and song under Beatrice’s window. 
V, i, 1.18 “[Franc.] Cantat saltatque 
cum cithera.” 
The Malcontent (spring, 1603). 
—I, i, The vilest of out-of-tune mu- 
sic being heard, &c. II, iii, Music 
within. III, ii, Cornets like horns 
within. IV, i, Cornets sound with- 
in.—A melia—“We will dance:— 
music!—we will dance.” Amelia 
calls for “music” five times in this 
scene, for the dance of the inter- 
rupted masque. IV, i, Cornets 
flourish. V, li, . Peace! 
.cornets !” Vv, ili, “The. music !’ irae ae 
for the masque. Ibid., “cornets, 
cornets!” V,_ iii, Enter Mercury 
with loud music. Jbid., “Cornets: 
the song to the cornets, which play- 
ing, the mask enters.” Jbid., “the 
cornets sound the measure” (first 
dance). Repeated, in second dance. 
Ibid., “Cornets, a flourish.”  Re- 
peated at close of play. 
*The Malcontent was first played 
at Blackfriars in the spring of 1603. 
During the unsettled state of affairs 
of that year (cf. Children of the 
Queen’s Revels at Blackfriars, 1603- 
1608, in complete work, vol. I) it 
fell into the hands of the Burbage 
230 
