In the early ages of the Church many of the Irish ecclesiastics took delight in playing on the harp; and in order to indulge in this innocent and refining taste they were wont to bring with them, on their missionary journeys, a small portable harp, with which they beguiled many a weary hour after their hard work.

In very early times Irish professors of music were as eagerly sought after on the Continent as those of literature and general learning, so that they were sometimes placed at the head of great music-schools. At a later time it was quite common among the Welsh bards to come over to Ireland to receive instruction from the Irish harpers. In the eleventh century one of the Welsh kings, Griffith ap Conan, brought over to Wales a number of skilled Irish musicians, who, in conference with the native Welsh bards, carried out some great improvements in Welsh music. Ireland was long the school for Scottish harpers also, who regularly came over, like those of Wales, to finish their musical education--a practice which continued down to about 150 years ago.

Giraldus Cambrensis, a Welshman, who visited Ireland in 1185, though very much prejudiced against the Irish, says that Irish harpers were incomparably more skilful than those of any other nation he had ever heard play. From that period, in spite of wars and troubles, music continued to be cultivated, and there was an unbroken succession of great professional harpers, till the end of the eighteenth century, when, for want of encouragement in the miserable condition of the country under the penal laws, the race died out.

The Harp is mentioned in the earliest Irish literature: it is constantly mixed up with our oldest legends; and it was in use from the remotest pagan times. The old Irish harps were of a medium size, or rather small, the average height being about thirty inches: and some were not much more than half that height. They had strings of bra.s.s wire which were tuned by a key, not very different from the present tuning-key. Irish harpers always played with the fingers or with the finger-nails.

The Irish had a small stringed instrument called a Timpan, which had only a few strings. It had a body like a flat drum, to which at one side was attached a short neck: the strings were stretched across the flat face of the drum and along the neck: and were tuned and regulated by pins or keys and a bridge. It was played with a bow or with the finger-nail, or by both together, while the notes were regulated in pitch--or 'stopped' as musicians say--with the fingers of the left hand, like those of a fiddle or guitar. This little instrument was a great favourite, and is constantly mentioned in Irish literature.

Harpers and timpanists were honoured in Ireland beyond all other musicians; and their rights and privileges were even laid down in the law.

Kings had always harpers in their service, who resided in the palaces and were well paid for their services.

The harp and timpan were the chief instruments of the higher cla.s.ses, many of whom played them as an accomplishment, as people now play the piano and guitar. But the bagpipe was the great favourite of the common people. The form in use was what we now call the Highland or Scotch pipes--slung from the shoulder: the bag inflated by the mouth. This form of pipes took its rise in Ireland: and it was brought to Scotland in early ages by those Irish colonists already spoken of (page 11). There is another and a better kind of bagpipes, now common in Ireland, resting on the lap when in use, and having the bag inflated by a bellows: but this is a late invention.

The old Irish had also Whistles and Flageolets, with holes for the fingers and blown by the mouth, much like those of the present day. Some flageolets were double, and some even triple, _i.e._, with two, or with three, pipes, sounded by a single mouthpiece, and having holes which were all stopped by the fingers. On many of the great stone crosses are sculptured harp-players and pipe-players, from which we learn a great deal about the shapes and sizes of the several instruments.

The Irish had curved bronze Trumpets and Horns of various shapes and sizes, which, judging from the numbers found buried in clay and bogs, must have been in very general use. In the National Museum in Dublin is a collection of twenty-six ancient trumpets, varying in length from 8 feet down to 18 inches. The larger ones are of most admirable workmanship, formed by hammering; curved, jointed, ornamented, and riveted with extraordinary skill and perfection of finish.

Among the household of every king and chief there was a band of trumpeters--as there were harpers--who were a.s.signed their proper places at feasts and meetings. Trumpets were used for various purposes:--in war; in hunting; for signals during meetings and banquets; as a mark of honour on the arrival of distinguished visitors; and such like. For war purposes, trumpeters had different calls for directing movements--for battle, for unyoking, for marching, for halting, for retiring to sleep, for going into council, and so forth.

The ancient Irish were very fond of a _Craebh ciuil_ [crave-cule], or 'musical branch,' a little branch on which were suspended a number of diminutive bells, which produced a sweet tinkling when shaken: a custom found also in early times on the Continent. The musical branch figures much in Irish romantic literature.

The music of ancient Ireland consisted wholly of short airs, each with two strains or parts--seldom more. But these, though simple in comparison with modern music, were constructed with such exquisite art that of a large proportion of them it may be truly said no modern composer can produce airs of a similar kind to equal them.

The Irish musicians had various '_Styles_,' three of which are very often mentioned in tales and other ancient Irish writings: of these, numerous specimens have come down to the present day. The style they called 'Mirth-music' (_Ganntree_) consisted of lively airs, which excited to cheerfulness, mirthfulness, and laughter. These are represented by our present dance tunes, such as jigs, reels, hornpipes, and other such spirited pieces, which are known so well in every part of Ireland. The 'Sorrow-music' (_Goltree_) was slow and sad, and was always sung on the occasion of a death. We have many airs belonging to this style, which are now commonly called _Keens_, i.e., laments, or dirges. The 'Sleep-music'

(_Suantree_) was intended to produce sleep; and the tunes belonging to this style were plaintive and soothing. Such airs are now known as lullabies, or nurse-tunes, or cradle-songs, of which numerous examples are preserved in collections of Irish music. They were usually sung to put children to sleep. Though there are many tunes belonging to these three cla.s.ses, they form only a small part of the great body of Irish music.

Music--as already remarked--entered into many of the daily occupations of the people. There were special spinning-wheel songs, which the women sang, with words, in chorus or in dialogue, when employed in spinning. At milking-time the girls were in the habit of chanting a particular sort of air, in a low gentle voice. These Milking-songs were slow and plaintive, something like the nurse-tunes, and had the effect of soothing the cows and of making them submit more gently to be milked. This practice was common down to fifty or sixty years ago; and I well remember seeing cows grow restless when the song was interrupted, and become again quiet and placid when it was resumed. The same custom was common in the Highlands of Scotland. While ploughmen were at their work they whistled a sweet, slow, and sad strain, which had as powerful an effect in soothing the horses at their hard labour as the milking-songs had on the cows: and these Plough-whistles also were quite usual till about half a century ago.

Special airs and songs were used during working time by smiths, by weavers, and by boatmen. There were, besides, hymn-tunes; and young people had simple airs for all sorts of games and sports. In most cases words suitable to the several occasions were sung with lullabies, laments, and occupation-tunes. Examples of all the preceding cla.s.ses of melodies will be found in the collections of Irish airs by Bunting, Petrie, and Joyce.

The Irish had numerous war-marches, which the pipers played at the head of the clansmen when marching to battle, and which inspired them with courage and dash for the fight. This custom is still kept up by the Scotch; and many fine battle-tunes are printed in Irish and Scotch collections of national music.

The man who did most in modern times to draw attention to Irish music was Thomas Moore. He composed his exquisite songs to old Irish airs. They at once became popular, not only in the British Islands, but on the Continent and in America; and Irish music was thenceforward studied and admired where it would have never been heard of but for Moore.

Of the entire body of Irish airs that are preserved, we know the authors of only a very small proportion; and these were composed within the last two hundred years. Most of the remaining airs have come down from old times, scattered fragments of exquisite beauty that remind us of the refined musical culture of our forefathers. No one now can tell who composed "The Coolin," "Savourneen Dheelish," "Shule Aroon," "Molly Asth.o.r.e," "Eileen Aroon," "Garryowen," "The Boyne Water," "Patrick's Day,"

"Langolee," "The Blackbird," or "The Girl I left behind me"; and so of many other well-known and lovely airs.

The national music of Ireland and that of Scotland are very like each other, and many airs are common to both countries: but this is only what might be expected, as we know that the Irish and the Highland Scotch were originally one people, and kept up mutual intercourse down to recent times.

CHAPTER XII.

HOW THE ANCIENT IRISH EXCELLED IN ART.

The old Irish people became wonderfully skilful in some branches of Art; and many specimens of their handiwork still remain--preserved through the wreck of ages--which exceed in beauty of design and in perfection of execution all works of the kind done by the artists of other nations.

While Art was cultivated in several branches, the Irish attained more skill in Ornamental Penwork than in any other. They took special delight, and used their utmost efforts, in ornamenting religious and devotional books, especially the Gospels and other parts of the Holy Scripture; for they justly considered that to beautify the sacred writings was one way of honouring and glorifying G.o.d.

The special Irish style of pen ornamentation was developed by successive generations of artists, who brought it to marvellous perfection. Its most marked feature is interlaced work formed by bands and ribbons, which are curved and twisted and interwoven in the most intricate way, something like basket-work infinitely varied in pattern. Here and there among the complicated designs may be seen strange half-formed faces of animals, and sometimes human faces, or full figures of men or of angels. But vegetable forms are very rare.

What most astonishes a person examining this work is the amazing variety and minuteness of the patterns, and the perfect smoothness and evenness of the curves, as if they had been traced by compa.s.ses or some other fine instruments; though they were all drawn by the unaided hand. The scribes usually made the capital letters very large, so as sometimes to fill almost an entire page; and on these they exerted their utmost skill. They painted the open s.p.a.ces of the letters and ornaments in brilliant colours: and in this art--an art usually designated 'Illumination'--the old Irish scribes also excelled.

Several ma.n.u.script-books, ornamented in this manner, have been preserved, of which it will be sufficient to mention one here--The Book of Kells, now in Trinity College, Dublin, though there are several others almost equally beautiful. It is a copy of the Four Gospels in Latin, written on vellum in the seventh or eighth century. Miss Margaret Stokes, of Dublin, a skilled artist and a great judge of such matters, who has carefully examined this book, thus speaks of it:--"No effort hitherto made to transcribe any one page of this book has the perfection of execution and rich harmony of colour which belongs to this wonderful book. It is no exaggeration to say that, as with the microscopic works of nature, the stronger the magnifying power brought to bear upon it, the more is this perfection seen. No single false interlacement or uneven curve in the spirals, no faint trace of a trembling hand or wandering thought can be detected. This is the very pa.s.sion of labour and devotion, and thus did the Irish scribe work to glorify his book."

Professor Westwood, of Oxford--an English gentleman--who examined the best specimens of penwork all over Europe, speaks even more strongly. "The Book of Kells," he says, "is the most astonishing book of the Four Gospels which exists in the world. How men could have had eyes and tools to work out the designs, I am sure I, with all the skill and knowledge in such kind of work which I have been exercising for the last fifty years, cannot conceive. I know pretty well all the libraries in Europe where such books as this occur, but there is no such book in any of them. There is nothing like it in all the books which were written for Charlemagne and his successors."

There was a book like this, long since lost, in St. Brigit's convent of Kildare, which was shown to the Welshman Giraldus Cambrensis more than seven hundred years ago, and which so astonished him that he has recorded a legend--to which he devotes a separate chapter of his book--that it was written under the direction of an angel. He described it; and his description would now exactly apply to the Book of Kells. But in those times there were many such books. We can hardly be surprised at Giraldus's legend; for whoever looks closely into some of the lovely pages of the Book of Kells--even in the photographic reproductions--will be inclined to wonder how any human head could have designed, or how any human hand could have drawn them.

These beautiful books were all written by Christian artists. We do not know if there was any attempt to ornament books in pagan times. But the pagan Irish, long before the introduction of Christianity, practised art of another kind--Metal-work--and attained great perfection in it. Those old artists exercised their skill in making and ornamenting shields; trumpets; swords with their hilts and scabbards; chariots; bridles; brooches; gold gorgets or circlets for the neck; and so forth.

We can now judge of their handiwork for ourselves; for numerous beautiful specimens are preserved in our museums. The most remarkable are what are now commonly called 'Crescents,' of which we have many in the National Museum, in Dublin. These are broad circlets of pure gold to be worn round the neck, all covered over with ornamental designs. Both the general shape and the designs were produced by hammering with a mallet and punches on shaped solid moulds. The patterns and workmanship are astonishingly fine, showing extraordinary skill in manipulation: they are indeed so complicated and perfect that it is difficult to understand how they could have been produced by mere handwork, with hammers, punches, and moulds.

Yet they could have been made in no other way.

We may see then that when St. Patrick arrived, in the fifth century, he found the art of working in metals already highly developed. We know that he kept, as part of his household, smiths, brasiers, goldsmiths, and other artists, who were constantly employed in making crosses; crosiers; chalices; bells; and such like.

On the score of obtaining skilled workmen there was no difficulty, for he had plenty of pagan artists to choose from, who, on their conversion, turned their skill to Christian work, and found little difficulty in adapting their cunning fingers to new objects and to new forms of ornamentation. So the primitive pagan artistic metal work was continued on and improved in Christian times, and was brought to the highest perfection in the tenth and eleventh centuries. The ornamentation was generally like that used in ma.n.u.scripts (p. 92).

Many of the beautiful objects made by those accomplished artists are now preserved in museums; some of them will bear comparison with the best works of the kind executed by artists of other countries; and a few might be found to bear the palm from all.

The three objects that are usually brought forward as examples of the best workmanship of the Irish Christian artists are the Cross of Cong, the Ardagh Chalice, and the Tara Brooch, all of which may be seen in the National Museum in Dublin: but there are many others in the same museum almost equally beautiful. These three will be found pretty fully described, with ill.u.s.trations, in the two Social Histories of Ancient Ireland. The Tara Brooch was shown some years ago in one of the great London exhibitions, and drew the eyes of all visitors. One English writer, who examined it and wrote an account of it, says that he found a difficulty in conceiving how any fingers could have made it, and that it looked more like the work of fairies than of a human artist.

CHAPTER XIII.

HOW THE ANCIENT IRISH PHYSICIANS WERE SKILLED IN MEDICINE.

Among most nations of old times there were great leeches or physicians, who were considered so skilful that the people believed they could cure wounds and ailments as if by magic. In some countries they became G.o.ds, as among the Greeks.

The ancient Irish people, too, had their mighty leech, a Dedannan named Dianket, who, as they believed, could heal all wounds and cure all diseases; so that he became the Irish G.o.d of Medicine. He had a son, Midac, and a daughter, Airmeda, who were both as good as himself; and at last Midac became so skilful that his father killed him in a fit of jealousy. And after a time there grew up from the young physician's grave 365 herbs from the 365 joints and sinews and members of his body, each herb with mighty virtue to cure diseases of the part it grew from. His sister Airmeda plucked up these herbs, and carefully sorting them, wrapped them up in her mantle. But the jealous old Dianket came and mixed them all up, so that no one could distinguish them: and but for this--according to the legend--every physician would now be able to cure all diseases without delay, by selecting and applying the proper herbs.

Leaving these shadowy old-world stories, let us come down to later times, when we shall, as it were, tread on solid ground. We find in some authorities a tradition that in the second century before the Christian era, Josina, the ninth king of Scotland, was educated in Ireland by the Irish physicians, and that he afterwards wrote a treatise on the virtues and powers of herbs. Though we may not quite believe this tradition, it shows that the Irish medical doctors had a reputation abroad for great skill at a very early period.

Surgeons and doctors figure conspicuously in the old tales of the Red Branch Knights, and indeed in very many others, whether historical or romantic and fict.i.tious: as well as in the strictly historical writings. A medical staff always accompanied armies, each man having, slung from his shoulder, a bag full of herbs, ointments, bandages, and such other medical appliances as were used at the time. They followed in the rear of the army--each company under one head doctor; and at the end of each day's fighting--or during the fighting when possible--they came forward and applied their salves.

We are all now familiar with the humane practice of giving medical aid to the wounded after the battle, without distinction of friend or foe. The same practice was common in Ireland two thousand years ago. We read in one of the Tales, that when Kehern, a famous Ulster hero, returned from fighting, all covered with wounds, the Ulstermen sent a request to the Connaught camp--_i.e._, the camp of the enemy--for physicians, as it happened that none of the Ulster leeches were just then at hand: and physicians were promptly despatched with the messenger.

A king or a great chief had always a physician as part of his household, to attend to the health of his family. The usual remuneration of these men was a residence and a tract of land in the neighbourhood, free of all rent and taxes, together with certain allowances: and the medical man might, if he chose, practise for fee outside the household. Some of those in the service of great kings had castles, and lived in state like princes. Those not so attached lived on their fees, like many doctors of the present day: and the fees for the various operations or attendances were laid down in the Brehon Law.

Though medical doctors were looked up to with great respect, they had to be very careful in exercising their profession. A leech who through carelessness, or wilful neglect, or gross want of skill, failed to cure a wound, might be brought before a brehon or judge, and if the case was proved home against him, he had to pay the same fine to the patient as if he had inflicted the wound with his own hand, besides forfeiting his fee.

Medicine, as a profession, like Law, History, etc., often ran in families in Ireland, descending regularly from father to son; and several Irish families were distinguished leeches for generations, such as the O'Shiels, the O'Ca.s.sidys, the O'Hickeys, and the O'Lees.