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the parts and defign, in many places, but fomething veiy 

 harfh and unpleafing in the harmony, particularly in the 

 clofes without a fharp feventh, both in the key-note and in 

 the fifth. The motet is in fix parts, foprano, two counter- 

 tenors, tenor, baritono, and bafe. Some of thefe fevenths 

 vpould doubtlefs liave been made fharp in performance by 

 the fingers of thofe times, in obedience to a rule for fiiarpen- 

 ing afcending fevenths in minor keys, and flattening them in 

 defcending. 



The Hit of his works, in Walther's Diftionary, though 

 ample, is far from complete. The motet Verbum bonum, 

 juft mentioned, was publifhed at FofTombrone in 15 19, forty- 

 three years before Zarlino made him an interlocutor in his 

 dialogue (Ragionamente), at Venice ; and it can hardly be 

 imagined that no others of his compofitions appeared till 

 1542, when, we are told, that his motets for fix voices were 

 publifhed. In the Fior de Motetti, lib. i. Venice, 1539, 

 there is a Pater-nofter, in four parts, by Adriano ; and in 

 the fame year the firft book of his motets, for four voices, 

 was republifhed in the fame city by Ant. Gardano, in folio, 

 under the following pompous title : " Famofiffimi Adriani 

 Willaert, Chori Divi Marci illuftriflimse Reipublics Vene- 

 tiarum Magiftri, Mufica Quatuor Vocum (quse vulgo Mo- 

 teftas nuncupatur) noviter omni ftudio, ac diligentia in lu- 

 cem edita." This edition, which, we find by the title, was 

 not the firft, is preferved in the Britifh Mufeum. Indeed, 

 for near fifty years after his name firfl appeared, hardly a 

 coUeAion of motets or madrigals was publifhed to which he 

 did not contribute ; but the moft fplendid and curious work 

 of this author, that we have feen, is preferved in the Britiih 

 Mufeum. It was publifhed at Ferrara, 1558, by his fcho- 

 lar and friend, Francefco Viola, another of the interlocutors 

 in Zarlino's Ragionamente, under the title of Mufica Nova, 

 in three, four, five, fix, and feven parts. In the dedication 

 of this work to Alfonfo d'Efle, duke of Ferrara, the editor, 

 1 his maeflro di capella, calls Adriano (the name by which he 

 1 is always mentioned by the Italians) his mafter, and fays, 

 that he is ftrongly attached to him, not only for his wonder- 

 I ful abilities in mufic, but integrity, learning, and the friend- 

 ! (hip with which he has long honoured him. Zarlino, in like 

 1 manner, omits no opportunity of exalting the charafter of 

 I his mailer. Thefe are honourable teftimonies of regard, 

 j which feem the more worthy of being recorded, as, either 

 ! from the worthlefTnefs of the mafter, or ingratitude of the 

 ; fcholar, they are but feldom beftowed. 

 I In the cantus part there is a wooden cut of the author : 

 I " Adrian WiUaert Flandrii Effigies." And indeed the com- 

 ' pofitions are of that kind for which he was moft renowned, 

 I and fuch as the editor thought would conftitute the moft 

 ■ durable monument of his glory. In the tenor part there are 

 I many canons of very curious conftruftion ; fome with two and 

 ' three clefs, and a different number of flats and fharps for the 

 1 feveral parts, which are moving in different keys at the fame 

 ' time ; and one particularly curious, in feven parts, " Praeter 

 1 rerum feriem," of which three are in ftrift canon of the 

 i fourth and fifth above the guide ; the tenor leading off in 

 I G, the fextus following in C, and the feptima pars in D, 

 • while the reft move in free fugue. 



I Zarlino (P. iii. p. 268.) affigns to Adriano the invention 

 I of pieces for two or more choirs; and Piccitoni (Guida 

 j Armonica) fays, that he was the firft who made the bafes in 

 1 compofitions of eight parts, move in unifons or oftaves ; 

 i particularly when divided into two choirs, and performed at 

 1 a diftance from each other, as then they had occafion for a 

 powerful guide. The dexterity and refources of this author, 

 i in the conllruftion of canons, are truly wonderful, as is, in- 

 j deed, his t»tal want of melody ; for it is fcarcely poflible to 



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arrange mufical founds, diatonically, with lefs air or mean- 

 ing, in the fingle parts. But there are many avenues through 

 which a mufician may travel to the temple of Fame ; and he 

 that purfues the track which the learned have marked out, 

 will perhaps not find it the moft circuitous and tedious ; at 

 leaft theorifts, who are tlie moft likely to record the adven- 

 tures of pafTengers on that road, will be the readieft to give 

 him a caft. A learned and elaborate ftyle conceals the want 

 of genius and invention, more than the free and fanciful 

 productions of the prefent times. 



Adriano lived to a great age, and filled a very high mufi- 

 cal ftation, macftro di capella of St. Mark's church at Venice. 

 His works and fcholars were very numerous ; and among 

 thofe to whom he communicated the principles of his art, 

 there were feveral who afterwards arrived at great eminence ; 

 fuch as Cipriano Rore, Zarlino, and Coftanzo Porta. In 

 the title of a book, publifhed at Venice, 1549, there are 

 " Fantafie," or " Ricercari," compofed dallo excellentiflimo 

 Adrian Vuigliart, and Cipriano Rore, fuo difcepolo. P. 

 Martini, in his Saggio di Contrappunto, P. ii. p. 266. calls 

 Adrian Willaert the mafter of Coftanzo Porta. Burney. 



WILLAFANS, in Geography, a town of France, in 

 the department of the Doubs ; 3 miles S.E. of Ornans. 



WILLAKALA, a town of Sweden, in Finland; 48 

 miles E. of Biorneborg. 



WILLAWAKY, an Indian town on the N.W. coaft 

 of lake Michigan. N. lat. 47° 45'. W. long. 87° 10'. 



WILLDENOVIA, in Botany, received its name from 

 profefTor Thunberg, in honour of Dr. Charles Lewis Will- 

 denow, late profefTor of botany at Berlin, well known as 

 the author of many learned botanical writings, but efpe- 

 cially by his Species Plantanim, of which the immortal work 

 of Linnasus, bearing the fame title, is the bafis. The ad- 

 dition of effential charafters, and of many new fpecies, be- 

 fides thofe accumulated in profufion, with great intelligence 

 and difcrimination, from authors fubfequent to Linnaeus, 

 might entitle this to rank as an original work ; were not 

 the Linnasan part of it too fervile a tranfcript, not only of 

 miftakes, of remarks contradiAing each other, and of evi- 

 dently falfe fynonyms ; but in general of errors of the 

 prefs, and wrong citations of plates and pages, which prove 

 that the refpeftive books, though in every body's hands, 

 were not confulted. The learned editor happily lived to 

 complete the firft part of the fifth volume, comprifing the 

 order of Filices, in which he was well verfed. That he 

 left the reft of the Cryptogamla unattempted, is perhaps ra- 

 ther fortunate than otherwife. The Mufci, Lichenes, and 

 Fungi, each form a ftudy by themfelves, and are treated of 

 feparately by different authors. They would have added 

 enormoufly to Willdenow's work, and could, after all, have 

 proved but a compilation. If the fcience goes on as it has 

 done, an univerfal botanift will be nearly as impoffible a 

 charafter as an univerfal naturalift is at prefent. 



Another genus (fee Schlechtendalia) was dedicated 

 to Willdenow by Cavanilles, which is retained in Lamarck's 

 lUuftrations, t. 685, by the name of Vildenovia. The 

 change of orthography at the conclufion we readily adopt, 

 inftead of the uncouth IVilldenowa, or Willdeno'wia, and it is 

 now likewife followed by Thunberg himfelf, in his Flora 

 Capenfis. — Thunb. in Stockh. Tranf. for 1790, 28. Prodr. 

 14. Fl. Capenf. v. i. 312. Willd. Sp. PI. v. 4. 717. 

 Poiret in Lamarck Dift. v. 6. 177. — Clafs and ordei, Dioe' 

 cia Triandria. (Triandria Monogynia ; Thunb.) — Nat. 

 Ord. Tripetaloidex, Linn. Junci, Juff. Rejliaceie, Brown 

 Prodr. V. i. 243. 



Gen. Ch. Male, Cal. Perianth inferior, of numerous, im- 

 bricated, membranous, pointed, permanent glumes, longer 

 3 L 3 than 



