* Walton himself calls this a "Catch"-Hawkins styles it a Songprobably from the nature of the words, although the music is perfectly that of the Madrigal so much in the fashion of the time, and now again revived by persons of the best musical taste. The above version is

harmonised for four voices, the Alto and Tenor being now first added. For the convenience of publication, the four parts are given on two staves instead of a stave for each voice-a double tail being added where two voices sing the same note.

Pet. I marry, sir, this is music indeed! This has cheered my heart, and made me to remember six verses in praise of music, which I will speak to you instantly.

Music! miraculous rhetoric! that speak'st sense
Without a tongue, excelling eloquence;
With what ease might thy errors be excus'd,
Wert thou as truly lov'd as thou'rt abus'd!
But though dull souls neglect,

And some reprove thee,

I cannot hate thee, 'cause the Angels love thee.

Ven. And the repetition of these last verses of music,

in a book, entitled, Select Ayres and Dialogues for one, two, and three Voyces; to the Theorbo-Lute and Basse Viol. By John Wilson and Charles Coleman, doctors in music, Henry Lawes and others. Fol. London, 1659. Lawes will be remembered as the friend of Milton, and composer of the music to his Comus. The verses in praise of Music are taken from the end of the same book of songs, where they are signed W. D., Knight, meaning perhaps Sir William Davenant.

The reader is not to wonder at this motion of Venator's, nor that Piscator so readily accepts it. At the time when Walton wrote, and long before, Music was so generally well understood, that a man who had any voice, or ear, was always supposed to be able to sing his part, in a madrigal or song, at sight. Peacham requires of his gentleman only to be able to sing his part sure, and at the first sight; and, withal, to play the same on the viol or lute." Compl. Gent. 100. And Philomathes, in Morley's excellent