Chapter IV: Part 4

[5] _The Explanation of_ Sic vos non vobis, _&c._, _for the Satisfaction of those who do not perfectly remember it_.

_Virgil_ having composed a Distich, containing the Praise of _Augustus_, and a Compliment on his good Fortune, fix'd it on the Palace Gate, without any Name subscrib'd. _Augustus_, making strict Enquiry after the Author, and _Virgil's_ Modesty not suffering him to own the Verses, one _Bathillus_, a Poet of a mean Reputation, owned himself the Author, and received Honour and Reward from the Emperor. _Virgil_, somewhat scandalized at this Accident, fixed an Hemistich in these Words (_Sic vos non vobis_) four times repeated under the other, where he had placed the former Verses. The Emperor was as diligent to have these Hemistichs filled up, but no-body appearing to do it, at length _Virgil_ supplied them thus:

_Hos ego Versiculos feci, tulit alter Honores;
Sic vos non vobis nidificatis aves.
Sic vos non vobis vellera fertis oves.
Sic vos non vobis mellificatis apes.
Sic vos non vobis fertis aratra boves._

i.e. These Verses I made, but another has taken the Applause of them.

_So ye Birds build not your Nests
For yourselves.
So ye Sheep bear not your Wool
For yourselves.
So ye Bees make not your Honey
For yourselves.
So ye Oxen submit to the Plow
Not for yourselves_.

Upon this Discovery, _Bathillus_ became the Ridicule of _Rome_, and _Virgil_ acquired a double Reputation.

The Distich, which _Bathillus_ claim'd for his, was this:

_Nocte plut tota, redeunt spectacula mane,
Divisum Imperium cum Jove Caesar habet._

i.e. It rain'd all Night; in the Morning the publick Shews return: _Jove_ and _Caesar_ divide the Rule of the World. The Compliment is, that _Caesar_ designing to exhibit Sports to the People, though the preceding Night was rainy and unpromising, yet such Weather returned with the Morning, as did not disappoint the Solemnity.

[6] _Alla Capella_, Church-Musick where the Flats and Sharps are not mark'd.

[7] Seven Cliffs necessary to be known. Pl. I. Numb. 1. By the Help of these Cliffs any Line or Space may be what Note you please. Pl. I. Numb. 2.

[8] It is necessary to understand the _Sol-Fa_-ing, and its Rules, which shew where the two Semitones lie in each Octave, Pl. I. Numb. 3. Where Flats or Sharps are marked at the Cliff, the Rule is, if one Flat, That is _Fa_; if more Flats, the last. If one Sharp, That is _Mi_; if more Sharps, the last.

[9] His meaning is, that the _French_ are not in the right.

[10] See Sec. 2, and the following, in Chap. III. where the Difficulty of the _Semitone Major_ and _Minor_ are cleared.

[11] _Voce di Petto_ is a full Voice, which comes from the Breast by Strength, and is the most sonorous and expressive. _Voce di Testa_ comes more from the Throat, than from the Breast, and is capable of more Volubility. _Falsetto_ is a feigned Voice, which is entirely formed in the Throat, has more Volubility than any, but of no Substance.

[12] _Register_; a Term taken from the different Stops of an Organ.

[13] The Pitch of _Lombardy_ or _Venice_, is something more than half a Tone higher than at _Rome_.

[14] A _Messa di Voce_ is the holding out and swelling a Note. Vide Pl. I. Numb. 4. This being a Term of Art, it is necessary to use it, as well as _Piano_ for soft, and _Forte_ for loud. _N.B._ Our Author recommends here to use any Grace sparingly, which he does in several other Places, and with Reason; for the finest Grace too often repeated grows tiresome.

[15] See for _Appoggiatura_ in the next Chapter.

[16] This Chapter contains some Enquiries into Matters of Curiosity, and demands a little Attention. The Reader therefore is desired to postpone it to the last.

[17] _Appoggiatura_ is a Word to which the _English_ Language has not an Equivalent; it is a Note added by the Singer, for the arriving more gracefully to the following Note, either in rising or falling, as is shewn by the Examples in Notes of Musick, Pl. II. Numb. 2. The _French_ express it by two different Terms, _Port de Voix_ and _Appuyer_; as the _English_ do by a _Prepare_ and a _Lead_. The Word _Appoggiatura_ is derived from _Appoggiare_ to lean on. In this Sense, you lean on the first to arrive at the Note intended, rising or falling; and you dwell longer on the Preparation, than the Note for which the Preparation is made, and according to the Value of the Note. The same in a Preparation to a Shake, or a Beat from the Note below. No _Appoggiatura_ can be made at the Beginning of a Piece; there must be a Note preceding, from whence it leads.

[18] Here begins the Examination of the _Semitones Major and Minor_, which he promised in Sec. 15. Ch. 1. It may be of Satisfaction to the Studious, to set this Matter at once in a true Light; by which our Author's Doubts will be cleared, and his Reasoning the easier understood. A _Semitone Major_ changes Name, Line, and Space: _A Semitone_ Minor changes neither. Pl. II. Numb. 1. To a _Semitone Major_ one can go with a Rise or _a_ Fall distinctly; to a _Semitone Minor_ one cannot _N.B._ From a _Tone Minor_ the _Appoggiatura_ is better and easier than from a _Tone Major_.

[19] These are all _Tones Major_ and _Minor_, and _Semitones Major_. Pl. II. Numb. 2.

[20] Because they are _Semitones Major_. Pl. II. Numb. 3.

[21] Because they are _Semitones Major_. Pl. II. Numb. 4.

[22] Because they are all _Semitones Minor_, which may be known by the abovementioned Rule, of their not changing Name, Line, nor Space. Pl. II. Numb. 5. and which makes it manifest, that a _Semitone Minor_ cannot bear an _Appoggiatura_.

[23] For the same Reason, these being _Semitones Minor_. Pl. II. Numb. 6.

[24] Because one is a _Semitone Major_, and the other a _Semitone Minor_. Pl. III. Numb. 7.

[25] Because they are _Semitones Minor_. Pl. III, Numb. 8.

[26] The _Tone_, or _Mood_, you are in, will determine which is a _Tone Major_ or _Minor_; for if you change the _Mood_ or _Tone_, that which was the _Tone Major_ may become the _Tone Minor_, and so _Vice Versa_: Therefore these two Examples from _C_ to _D_, and from _F_ to _G_, do not hold true.

[27] His Perplexity comes from a wrong Notion, in not distinguishing those two _Semitones_.

[28] All Intervals, rising with an _Appoggiatura_, arise to the Note with a sort of _Beat_, more or less: and the same, descending, arrive to the Note with a sort of _Shake_, more or less. Pl. III. Numb. 9, 10. One cannot agreeably ascend or descend the Interval of a third _Major_ or _Minor_, Pl. III. Numb 11. But gradually very well. Pl. III. Numb. 12. Examples of false or deceitful Intervals. Pl. III. Numb. 13.

[29] So in all Cases where the Interval is deceitful. Pl. III. Numb. 14. With a _Messa di Voce_. Pl. III. Numb. 15. See for _Messa di Voce_, Chap. I. Sec. 29, and its Note.

[30] In all the modern _Italian_ Compositions the _Appoggiatura's_ are mark'd, supposing the Singers to be ignorant where to place them. The _French_ use them for their Lessons on the _Harpsichord_, &c., but seldom for the Voice.

[31] See for the several Examples of the _Shakes_, Pl. IV.

[32] The first _Shake_ of a _Tone_, Pl. IV. Numb. 1.

[33] See for the Meaning of superior and inferior _Cadences_, Chap. VIII. Sec. 1. Pl. V. Numb. 3. _N.B._ Prom the inferior or lower Cadences, the first, or full, _Tone Shake_, is not always excluded; for in a sharp Key it is always a _Tone_, and in a flat Key a _Semitone_, Pl. IV. Numb. 3.

[34] The second _Shake_ of a _Semitone Major_, Pl. IV. Numb. 2.

[35] The third the short _Shake_. Pl. IV. Numb. 4.

[36] The fourth the rising _Shake_. Pl. IV. Numb. 5.

[37] The fifth the descending _Shake_. Pl. IV. Numb. 6.

[38] The sixth the slow _Shake_. Pl. IV. Numb. 7.

[39] The seventh the redoubled _Shake_. Pl. IV. Numb. 8.

[40] The eighth the _Trillo-Mordente_, or _Shake_ with a _Beat_. Pl. IV. Numb. 9.

[41] _Shakes_ are generally proper from preceding Notes descending, but not ascending, except on particular Occasions. Never too many, or too near one another; but very bad to begin with them, which is too frequently done. The using so often _Beats_, _Shakes_, and _Prepares_, is owing to Lessons on the Lute, Harpsichord, and other Instruments, whose Sounds discontinue, and therefore have Need of this Help.

[42] The _mark'd Divisions_ should be something like the _Staccato_ on the Violin, but not too much; against which a Caution will presently be given.

[43] The _Gliding Notes_ are like several Notes in one Stroke of the Bow on the Violin.

[44] The pronouncing _Eror_ instead of _Error_; or _Dally_ instead of _Daly_. The not distinguishing; the double Consonants from the single, is an Error but too common at present.

[45] See for the _syncopated_, _Ligatura_, or _binding_ Notes, Pl. IV. Numb. 10.

[46] _Madrigals_ are Pieces in several Parts; the last in Practice were about threescore Years ago; then the Opera's began to be in Vogue, and good Musick and the Knowledge of it began to decline.

[47] _Musica di Camera._ Chamber, or private, Musick; where the Multitude is not courted for Applause, but only the true Judges; and consists chiefly in _Cantata's_, _Duetto's_, &c. In the Recitative of _Cantata's_, our Author excelled in a singular Manner for the pathetick Expression of the Words.

[48] _Cortona_ liv'd above forty Years ago. _Balarini_, in Service at the Court of _Vienna_, much in Favour with the Emperor _Joseph_, who made him a Baron.

[49] See Broken Cadences, Pl. V. Numb. 1.

----Final Cadences, Pl. V. Numb. 2.

[50] _Motets_, or Anthems.

[51] The Proverb is, _Lingua_ Toscana _in bocca_ Romana.--This regards the different Dialects, in _Italy_; as _Neapolitan_, _Venetian_, _&c._ the same, in Comparison, _London_ to _York_, or _Somersetshire_.

[52] The Church-Musick in _Italy_ is all in _Latin_, except _Oratorio's_, which are Entertainments in their Churches. It is therefore necessary to have some Notion of the _Latin_ Tongue.

[53] The first Caution against imitating injudiciously the Instrumental with the Voice.

[54] The _Italians_ have a Saying, _Voce di Compositore_, to denote a bad or an indifferent Voice.

[55] _Cantabile_, the Tender, Passionate, Pathetick; more Singing than _Allegro_, which is Lively, Brisk, Gay, and more in the executive Way.

[56] Suppose the first Part expressed Anger, and the second relented, and was to express Pity or Compassion, he must be angry again in the _Da Capo_. This often happens, and is very ridiculous if not done to a real Purpose, and that the Subject and Poetry require it.

[57] It is supposed, the Scholar is arrived to the Capacity of knowing Harmony and Counterpoint.

[58] The general dividing of _Airs_ described, to which the Author often refers.

[59] With due Deference to our Author, it may be feared, that the Affectation of Singing with Variety has conduced very much to the introducing a bad Taste.

[60] Continuation of the general dividing _Airs_ in Sec. 4. The End of this Section is a seasonable Corrective of the Rule prescribed in the foregoing fifth Section.

[61] _Rivani_, called _Ciecolino_, must have written some Treatise on Time, which is not come to us, therefore no further Account can be given of him.

[62] _Pistochi_ was very famous above fifty Years ago, and refined the Manner of singing in _Italy_, which was then a little crude. His Merit in this is acknowledged by all his Countrymen, contradicted by none. Briefly, what is recounted of him, is, that when he first appeared to the World, and a Youth, he had a very fine treble Voice, admired and encouraged universally, but by a dissolute Life lost it, and his Fortune. Being reduced to the utmost Misery, he entered into the Service of a Composer, as a Copyist, where he made use of the Opportunity of learning the Rules of Composition, and became a good Proficient. After some Years, he recovered a little Glimpse of Voice, which by Time and Practice turned into a fine _Contr'Alto_. Having Experience on his Side, he took Care of it, and as Encouragement came again, he took the Opportunity of travelling all _Europe_ over, where hearing the different Manners and Tastes, he appropriated them to himself, and formed that agreeable Mixture, which he produced in _Italy_, where he was imitated and admired. He at last past many Years, when in an affluent Fortune, at the Court of _Anspach_, where he had a Stipend, and lived an agreeable easy Life; and at last retired to a Convent in _Italy_. It has been remark'd, that though several of his Disciples shewed the Improvement they had from him, yet others made an ill use of it, having not a little contributed to the Introduction of the _modern_ Taste.

[63] _Sifacio_, famous beyond any, for the most singular Beauty of his Voice. His Manner of Singing was remarkably plain, consisting particularly in the _Messa di Voce_, the putting forth his Voice, and the Expression.

There is an _Italian_ Saying, that an hundred Perfections are required in an excellent Singer, and he that hath a fine Voice has ninety-nine of them.

It is also certain, that as much as is allotted to Volubility and Tricks, so much is the Beauty of the Voice sacrificed; for the one cannot be done without Prejudice to the other.

_Sifacio_ got that Name from his acting the Part of _Syphax_ the first time he appeared on the Stage. He was in _England_ when famous, and belonged to King _James_ the Second's Chapel. After which he returned to _Italy_, continuing to be very much admired, but at last was waylaid, and murthered for his Indiscretion.

[64] _Buzzolini_, the Name known, but no Particulars of him.

[65] _Litigino_, in the Service of the Emperor _Joseph_, and a Scholar of _Pistochi_.

[66] _Signora Boschi_ was over in _England_ in Queen _Anne's_ Time; she sung one Season in the Opera's, returned to _Venice_, and left her Husband behind for several Years; he sung the Bass. She was a Mistress of Musick, but her Voice was on the Decay when she came here.

[67] _Santini_, afterwards _Signora Lotti_. She was famous above forty Years ago, and appeared at several Courts in _Germany_, where she was sent for; then retired to _Venice_, where she married _Signor Lotti_, Chapel-Master of St. _Mark_.

All these Singers, though they had a Talent particular to themselves, they could, however, sing in several sorts of Stile; on the contrary, one finds few, but what attempt nothing that is out of their Way. A modern Singer of the good Stile, being asked, whether such and such Compositions would not please at present in _Italy_? No doubt, said he, they would, but where are the Singers that can sing them?

[68] Those tremendous _Airs_ are called in _Italian_, _un Aria di Bravura_; which cannot perhaps be better translated into _English_, than a _Hectoring_ Song.

[69] _Pierre Simone Agostini_ lived about threescore Years ago. Several _Cantata's_ of his Composition are extant, some of them very difficult, not from the Number of _Divisions_ in the vocal Part, but from the Expression, and the surprising Incidents, and also the Execution of the Basses. He seems to be the first that put Basses with so much Vivacity; for _Charissimi_ before him composed with more Simplicity, tho' he is reckoned to be one of the first, who enlivened his Musick in the Movements of his Basses. Of _Pierre-Simone_ nothing more is known but that he loved his Bottle, and when he had run up a Bill in some favourite Place, he composed a _Cantata_, and sent it to a certain Cardinal, who never failed sending him a fixed Sum, with which he paid off his Score.

[70] _Alessandro Stradella_ lived about _Pier. Simone's_ Time, or very little after. He was a most excellent Composer, superior in all Respects to the foregoing, and endowed with distinguishing personal Qualifications. It is reported, that his favourite Instrument was the Harp, with which he sometimes accompanied his Voice, which was agreeable. To hear such a Composer play on the Harp, must have been what we can have no Notion of, by what we now hear. He ended his Life fatally, for he was murthered. The Fact is thus related. Being at _Genoa_, a Place where the Ladies are allowed to live with more Freedom than in any other Part of _Italy_, _Stradella_ had the honour of being admitted into a noble Family, the Lady whereof was a great Lover of Musick. Her Brother, a wrong-headed Man, takes Umbrage at _Stradella's_ frequent Visits there, and forbids him going upon his Peril, which Order _Stradella_ obeys. The Lady's Husband not having seen _Stradella_ at his House for some Days, reproaches him with it. _Stradella_, for his Excuse, tells him his Brother-in-Law's Order, which the Nobleman is angry with, and charges him to continue his Visits as formerly; he had been there scarce three or four Times, but one Evening going Home, attended by a Servant and a Lanthorn, four Ruffians rushed out, the Lady's Brother one among them, and with _Stiletts_ or Daggers stabb'd him, and left him dead upon the Place. The people of _Genoa_ all in a Rage fought for the Murtherer, who was forced to fly, his Quality not being able to protect him. In another Account of him, this Particularity is mentioned; that the Murderers pursued him to _Rome_, and on Enquiry learned, that an _Oratorio_ of his Composition was to be performed that Evening; they went with an Intent to execute their Design, but were so moved with his Composition, that they rather chose to tell him his Danger, advised him to depart, and be upon his Guard. But, being pursued by others, he lost his Life. His Fate has been lamented by every Body, especially by those who knew his Merit, and none have thought him deserving so sad a Catastrophe.

[71] When _Tosi_ writ this, the Composers in Vogue were _Scarlatti_, _Bononcini_, _Gasparini_, _Mancini_, &c. The last and modern Stile has pretty well spread itself all over _Italy_, and begins to have a great Tendency to the same beyond the _Alps_, as he calls it.

[72] The _Moods_, here spoken of, our Author has not well explained. The Foundation he goes upon are the eight Church _Moods_. But his Meaning and Complaint is, that commonly the Compositions are in _C_, or in _A_, with their Transpositions, and that the others are not used or known. But to particularise here what the _Moods_ are, and how to be used, is impossible, for that Branch only would require a large Treatise by itself.

[73] The _Airs_, sung in Unison with the Instruments, were invented in the _Venetian_ Opera's, to please the _Barcaroles_, who are their Watermen: and very often their Applause supports an Opera. The _Roman_ School always distinguished itself, and required Compositions of Study and Care. How it is now at _Rome_ is doubtful; but we do not hear that there are any _Corelli's_.

[74] _Maestro di Capella_, Master of the Chapel, the highest Title belonging to a Master of Musick. Even now the Singers in _Italy_ give the Composers of Opera's the Title of _Signior Maestro_ as a Mark of their Submission.

[75] _Contrapunto_, Counterpoint, or Note against Note, the first Rudiments of Composition.

[76] _Furlana_. A sort of Country Dance, or _Cheshire_-Round.

It is reported, that the Church-Musick in _Italy_, far from keeping that Majesty it ought, is vastly abused the other way; and some Singers have had the Impudence to have other Words put to favourite Opera _Airs_ and sung them in Churches. This Abuse is not new, for St. _Augustine_ complains of it; and _Palestrina_ prevented in his Time Musick from being banished the Churches.

[77] _Tono_, or _Mood_, and sometimes means the Key. Our Author in this Section is fond of a Pun, which cannot well be translated. _Tono_ is sometimes writ _Tuono_ and _Tuono_ signifies Thunder; therefore the Ignorant answers, he knows no other _Tuono_ but that which is preceded by Lightning.

[78] _Cadences_; or, principal Closes in _Airs_.

[79] For superior and inferior _Cadences_, see Pl. V. Numb. 3.

[80] Broken _Cadences_, see Example, Chap. V. Sec. 13, and its Note.

[81] _Cadences_ that fall a Fifth, with and without Words, Pl. V, Numb. 4 and 5.

[82] By the _Final Cadences_ here mentioned, the first is at the End of the first Part of the _Air_; the Second at the End of the second Part: and the Third at the end of the first Part when repeated again, or at the _Da Capo_, as it is always expressed in _Italian_.

[83] For the resolved and unresolved _Cadences_, see Pl. V. Numb. 6 and 7.

[84] See for the Examples, Pl. V. Numb. 8.

[85] See Example, Pl. VI. Numb. 1.

[86] See Example, Pl. VI. Numb. 2.

_N.B._ An _Appoggiatura_ cannot be made on an unaccented Syllable.

[87] See for Examples, Pl. VI. Numb. 3.

[88] See for Examples, Pl. VI. Numb. 4.

[89] Some, after a tender and passionate _Air_, make a lively merry _Cadence_; and, after a brisk _Air_, end it with one that is doleful.

[90] Though this Chapter regards Singers who make it their Profession, and particularly those who sing on the Stage, yet there are many excellent Precepts interspersed, that are of Use to Lovers of Musick.

[91] _Kyrie_, the first Word of the Mass-Musick in the Cathedral Stile, is not so difficult to them as the _Cantata's_; and the _Latin_ in the Service, being familiar to them, saves them the Trouble of attending to the Words.

[92] _Thomas Morley_ (who lived above an hundred Years ago) in the third Part of his Treatise, pag. 179, speaking of _Motetts_ or Anthems, complains thus:--'But I see not what Passions or Motions it can stir up, being as most Men doe commonlie Sing,--leaving out the Ditty--as it were a Musick made onely for Instruments, which will indeed shew the Nature of the Musick, but never carry the Spirit and (as it were) that lively Soule which the Ditty giveth; but of this enough. And to return to the expressing of the Ditty, the Matter is now come to that State, that though a Song be never so wel made, and never so aptly applyed to the Words, yet shall you hardly find Singers to expresse it as it ought to be; for most of our Church-men, (so they crie louder in the Quire then their Fellowes) care for no more; whereas, by the contrarie, they ought to study how to vowel and sing clean expressing their Words with Devotion and Passion, whereby to draw the Hearer as it were in Chaines of Gold by the Eares to the Consideration of holy Things. But this, for the most part, you shall find amongst them, that let them continue never so long in the Church, yea though it were twentie Years, they will never study to sing better than they did the first Day of their Preferment to that Place; so that it seems, that having obtained the Living which they sought for, they have little or no Care at all, either of their own Credit, or well discharging of that Dutie whereby they have their Maintenance.'

[93] In _Italy_, the Courts of _Palma_, _Modena_, _Turin_, &c. and in _Germany_, the Courts of _Vienna_, _Bavaria_, _Hanover_, _Brandenbourg_, _Palatine_, _Saxony_, &c.

[94] There have been such, who valued themselves for shaking a Room, breaking the Windows, and stunning the Auditors with their Voice.

[95] The renowned Abbot _Steffani_, so famous for his _Duetto's_, would never suffer such luxuriant Singers to perform any of them, unless they kept themselves within Bounds.

[96] _Nicolini_, who came the first time into _England_ about the Year 1708, had both Qualities, more than any that have come since. He acted to Perfection, and did not sing much inferior. His Variations in the _Airs_ were excellent; but in his _Cadences_ he had a little of the antiquated Tricks. _Valentini_, (who was here at the same Time) a Scholar of _Pistochi_, though not so powerful in Voice or Action as _Nicolini_, was more chaste in his Singing.

[97] The two Women, he points at, are _Cuzzoni_ and _Faustina_.

[98] The _Carnaval_ is a Festival in _Italy_, particularly celebrated at _Venice_ from _Christmas_ to _Lent_, when all Sorts of Diversions are permitted; and at that Time there are sometimes three different Theatres for Opera's only.

[99] Our Author has often mentioned Time; the Regard to it, the Strictness of it, and how much it is neglected and unobserv'd. In this Place speaking of stealing the Time, it regards particularly the Vocal, or the Performance on a single Instrument in the _Pathetick_ and _Tender_; when the Bass goes an exactly regular Pace, the other Part retards or anticipates in a singular Manner, for the Sake of Expression, but after That returns to its Exactness, to be guided by the Bass. Experience and Taste must teach it. A mechanical Method of going on with the Bass will easily distinguish the Merit of the other Manner.

[100] A farther Animadversion against imitating Instruments with the Voice.

[101] Many Graces may be very good and proper for a Violin, that would be very improper for a Hautboy; and so with every Species of Instruments that have something peculiar. It is a very great Error (too much in Practice) for the Voice, (which should serve as a Standard to be imitated by Instruments,) to copy all the Tricks practised on the several Instruments, to its greatest Detriment.

[102] _Passo_ and _Passagio_. The Difference is, that a _Passo_ is a sudden Grace or Flight, not uniform. See Pl. VI. Numb. 5. A _Passagio_ is a Division, a Continuation, or a Succession of Notes, ascending or descending with Uniformity. See Pl. VI. Numb. 6.

[103] This alludes to the _French_ Manner of Singing, from whence that Defect is copy'd.

[104] The Time he alludes to, is at present between thirty and forty Years ago.

[105] Compare this Section with Section 41 in this Chapter and the Note.

[106] This is a Fault more than once heard of, in _Oratario's_ or _Motetts_.

[107] See Example, Pl. VI. Numb. 7.

[108] _Faustina_ and _Cuzzoni_, they both having within these few Years been in _England_, there needs no other Remark to be made on them, but to inform Futurity, that the _English_ Audience distinguish'd them Both and at the same time, according to their Merit, and as our Author has describ'd them.

It may be worth remarking, that _Castilione_, who lived above two hundred Years ago, in his _Cortegiano_, describes _Bidon_, and _Marchetto Cara_, two famous Singers in his Time, with the same distinguishing Qualifications.

[109] See Examples, Pl. VI. Numb. 8 and 9.