Lee's "Timon of Athens," "Œdipus," "The Fairy Queen," altered from the "Midsummer Night's Dream," and Dryden's "Tyrannic Love." He wrote many odes, glees, catches, rounds, many single songs and duets, twelve sonatas for two violins and a bass, &c. The air of "Lillibullero" is attributed to him. His widow published many of these after his death, in two folio volumes called "Orpheus Britannicus." The music of Purcell is national property, and, spite of more recent genius, will long continue to be heard with rapture.
Notwithstanding Charles II.'s restoration of church music, he endeavoured to degrade it by the introduction of French customs, and at one time introduced a band of twenty-four fiddlers into his chapel, in imitation of Louis XIV. Tom D'Urfey ridiculed it in the song, "Four-and-twenty Fiddlers all in a Row;" and Evelyn describes his disgust at witnessing this strange sight, "more fit for a tavern or play-house than a church." The public feeling, indeed, soon caused the king to Withdraw the Gallic innovation.
Amongst the musical productions of this time we may note Blow's "Amphion Anglicus," Roger North's "Memoir of Music," still in manuscript; Sir Francis; North's "Philosophical Essay on Music," Lord Brouncker's translation of Descartes' "Musicæ Compendium." Marsh, archbishop of Armagh, was the first to treat acoustics methodically, in a paper in the "Philosophical Transactions." Dr. Wallis, one of the founders of the Royal Society, and whom we have mentioned as an eminent mathematician, wrote much in the "Philosophical Transactions" on musical subjects, and published an edition of "Ptolemy's Harmonies." Thomas Mace, John Birchensha, Christopher Simpson, and John Playford are musical authors of that age.
DOMESTIC ARTS—FURNITURE.
The furniture of this period had the general characteristics of the last age. Cane backs and seats began to be used in chairs, and the beautiful marquetrie work—so called from its inventor, M. Marquet—adorned tables, cabinets, clock-cases, wardrobes, and other rich pieces of furniture. The Louis Quatorze style, with its rich sweeps and abundance of carving and gliding, began to appear in England, but did not attain to general use till a later period. The floors began to be covered with gay-coloured mats and carpets, but the richest pieces of Turkey carpet were still more frequently used for table-covers. Oil-cloth was now introduced from Germany, and manufactured in London. The Gobelin tapestry manufactory was established in France in 1677, and towards the end of this period began to cover the walls of our great mansions.
COSTUME.
The costume of gentlemen underwent rapid and various metamorphoses in Charles II.'s time From the rich and elegant costume of Charles I. it degenerated first into one with an exceedingly short doublet, without any under waistcoat, loose petticoat breeches, with long drooping lace ruffles at the knee. This costume, however, still retained much of the Vandyke style. It had the high-crowned hat and plume of feathers, the falling lace collar, and the natural hair. But soon came the monstrous peruke, or periwig, as it was corrupted to in England, copied from the fashion of the court of Louis XIV., which superseded the natural hair in both men and women, the women appearing to have adopted it first. Then speedily followed the square, long coat, and monstrous jack-boots, and cocked hat, which became the general dress of the next century. False hair had been worn by both sexes in the times of Elizabeth and James I., but never to the same preposterous extent as at present. Charles II., though adopting the periwig fashion himself, and thus confirming it, yet refused to allow the clergy to use it. He wrote a letter to the university of Cambridge, ordering the clergy neither to wear periwigs, smoke tobacco, nor read their sermons; and, on a fellow of Clare Hall venturing to preach before him in a wig and holland sleeves,he ordered the statutes concerning decency of apparel to be put in force against him and similar offenders. The periwig did not accord well with the high-crowned hat or broad-leafed sombrero of Spain, and the crown was suddenly lowered, the brim turned up, and a drooping feather turned backwards over it. The petticoat breeches came in as early as 1658; and, in the following year, Randal Holmes thus describes a gentleman's dress:—"A short-waisted doublet and petticoat breeches, the lining being lower than the breeches, is tied above the knees; the breeches are ornamented with ribands up to the pocket, and half their breadth upon the thigh. The waistband is set round with ribands, and the shirt hanging out over them."
These petticoat breeches soon grew into actual skirts, and the doublet or jacket, which, at the beginning of the reign scarcely came below the breast, towards the end of it was so elongated that it was an actual coat, and had buttons and button-holes all down the front. In the earlier part of his transformation we see Charles and a courtier represented in a print of Faithorne's; and in the later period we see figures in the print of the funeral of general Monk, with the long, flowing periwigs, and little, flat, narrow-brimmed hats, like our sailors' glazed hats, stuck upon them.
Along with a particular costume described by Evelyn, which Charles adopted in 1666, consisting of a long close vest of black cloth or velvet pinked with white satin; a loose surcoat over it of an oriental character, and instead of shoes and stockings, buskins or brodequins; he also wore small buckles instead of shoestrings. Charles was so proud of this dress that he vowed he would never wear any other; but it did not last long, and buckles did not become the general fashion till the reign of queen Anne.
Long and short Kersey stockings were an article of export in this period, as well as stockings of leather, silk, or woollen, and worsted for men and children. Socks also occur under the name of "the lower end of stockings." Amongst the imports were hose of crewel, called Mantua hose, and stockings of wadmol. Neckcloths or cravats of Brussels and Flanders lace were worn towards the end of the reign, and tied in a knot under the chin, the ends hanging down square.
The costume of knights of the garter assumed its present shape, the cap of estate, with its ostrich and heron plume and the broad blue ribbon worn over the left shoulder and brought under the right arm, where the jewel or lesser George hangs, being introduced just before the publication of Ashmole's "History of the Order." The baron's coronet of the present fashion dates from this reign.
