oDO 
fixty-fourth year of his age. He was author of feveral 
works, which are collected in the 17th volume of the Bibl. 
Moreri. 
Baliol college, Oxford, which, by the 
i mutica ?”” i 
ten by Odo; but are 
Guido himfelf: for, in carefully perufing, and collating it 
with the extracts -we made from the Enchiridion of 
, of St. Amand, and St. Odo, 
abbot of Cluny, fubfift in the library of Bene’t college, 
Cambridge. 
The diagrams and mufical examples are all given in the 
fame characters as thofe of Hubald. His doétrine of the 
tones, or ecclefiaftical modes, is illuftrated by innumerable 
{petimens in this kind of notatien. 
In this treatife, the barbarous and unmeaning words, in 
Gothic letters, occur, which the Greek church ufed during 
the ninth, tenth, and eleventh centuries, to charatterife the 
e nes onanceane ceane, Noioeane, Anoats. 
The terms like thefe are till retained by the modern Greeks 
in their ecclefiattical mufic, as we find by Leo Allatius, and 
I Abate Martini’s papers. 
friends, but difciples of R 
erre; and Qdo, the youngelt of the two, furvived Hubald 
but twelve years. - 
The firft part of this tra& ends thus: “ Praterea et 
grata fymphoniarum commixtio maximam {uavitatem can- 
tilenis adjicet.’’ : 
‘And in the fecond part he proceeds to the explanation of 
this extraordinary fymphonic {weetnefs ; which, he tells his 
difciple, confifts in the pleafing mixture of certain founds, 
{uch as the oftave, sth, 4th, &c. 
Then follow examples of organizing in all his fix con- 
cords, which are only thofe of the ancients, 4th, 5th, 8th, 
sath, r2th, and rsth; and in giving an example in four 
Vou. XXV. 
rman d’Aux- “E 
ODO 
parts, where he doubles the organum and principal part to 
‘thefe words, Nos gui vivimus, they move conftantly in thefe 
h 
intervals, unifon, 4th, 8th, and rrth. 
The author next proceeds to give the ratio of founds, and 
to thew the alliance between mufic and mathematics, cailing 
arithmetic the mother of mufical tones. 
e afterwards treats of the proportions of flutes or mu- 
fical pipes, to which he applies his harmonics. 
The laft chapter is a fummary of the tones or modes of 
canto fermo; and here, as elfewhere, his examples are always 
in the fame hieroglyphic notation: NOJAFNO Jf 
E FAT£ NE— 
This laft chapter is not quite perfe&t; the tranfcriber 
having omitted fome of the mufical examples and diagrams, 
Only fix of the eight modes are finifhed The feventh, 
however, is begun, and not more than one, or two pages at 
moft, can be wanting te complete thefe two fcarce and va- 
luable relics of the firft effays at modern harmony ; which, 
however rude, uncouth, and barbarous, continued in the 
church, without offending Chriftian ears, for more than 
three centuries: for the monk Engelbert, who, in the latter 
end of the thirteenth century, at the inftigation of his 
friends, wrote a treatife on mufic, tells us, that all regular 
difcant confifts of the union of 4ths, 5ths, and 8ths. 
It has already been fhewn that this kind of harmony, mi- 
ferable and naufeous as it would be to our palates, did not 
offend Guido; on the contrary, he recommends the regular 
fucceffion of fourths above all other concords, to excite and 
exprefs pleafure and jubilation. Nor do any advances or at- 
tempts at variety feem to have been made in counterpoint 
from the time of Hubald to that of Guido: a period of more 
than a hundred years. 
Indeed it is hardly poffible to examine the laft fpecimen of 
Hubald’s counterpoint, without being aftonifhed that no ad- 
vances had been made in the art for a whole century; for, 
the propofals of other ingenious men, whofe views are exten- 
five, and who anticipate future difcoveries, they were 
adopted or reduced to praGtice in his life-time. Higidea 
that one voice might wander at pleafure through the feale, 
while the other remains fixed, fhews him to have been a 
ODOACER, firft barbarian king of Italy, was the fon of 
decon, a chieftain of the tribe of the Scyrri, who had been in 
the fervice of Attila, king of the Huns. After the death of his 
father, and the difperfion of his nation, Odoacer for fome 
time led a wandering life among the barbarians of Noricum, 
with a mind and fortune fuited to the moft defperate adven- 
tures; and when he had fixed his choice, he vifited the cell of 
Severinus, the popular faint of the country, to folicit his 
approbation and bleffing. The lownefs of the door would 
not admit the lofty ftature of Odoacer: he was obliged to 
ftoop, but in that attitude the faint could difcern the fymp- 
toms of his future greatnefs, and addreffing him in a pra- 
phetic tone, he faid, “ Purfue your defign; proceed to 
Italy ; you will foon caft “— this coarfe garment of {kins, 
t and 
