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Rh There is a capital bit of patriotism on page 118, which deserves quoting, first, because at the time it was entirely justifiable; secondly, because it shews us that in 1667, instrumental music had at last decidedly parted company with vocal part-writing, and had an independent existence. 'You need not seek Outlandish Authors, especially for Instrumental Music; no Nation (in my opinion) being equal to the English in that way; as well for their excellent as their various and numerous Consorts, of 3, 4, 5, and 6 Parts, made properly [on purpose] for Instruments, of all which (as I said) Fancies are the chief.' For 'Consort,' see Two Gent. $3⁄2, 83$; and for 'Fancies,' ''Hen. IV. B.'' $3⁄2, 323$.

Hawkins (1776) does not add much of interest to the above account of the Elizabethan dances, except (p. 704) that there is no authority for a Jigg having generally a pointed (i.e., dotted) note at the beginning of every bar. There is, however, a 'Jegge' given in Stainer and Barrett's Dict. of Musical Terms, dated 1678, where the 'pointed' note is quite characteristic. This may be a more modern feature, for an undoubtedly ancient Jig—viz., Dr Bull's 'King's Hunting Jigg,' not only has no dotted note, but is in common time, without even a tendency towards the rhythm