Affirmabent autem, hanc fuisse summan vel culpæ suæ, vel erroris quod essent soliti stato die ante lucem convenire; carmenque Christo, quasi Deo, dicere secum invicem; seque sacramento non in scelus aliquod obstringere, sed ne furta, ne latrocinia, ne adulteria committerent ne fidem fallerent, ne depositum appellati abnegarent, quibus peractis morem, sibi discedendi fuisse, rursusque coeundi ad capiendum cibum, promiscium tamen et innoxium. [237]Quoted by Fetis, Histoire Gen. d. l. Mus., v. 4, p. 7. [238]Fetis. [239]Marcillac, Histoire de la Mus. Moderne, p. 27. [240]Ambros, Geschichte d. Mus., v. 2, p 13. [241]Fetis, Histoire Gen. de la Mus., v. 4, p. 17. [242]A good explanation of the system is to be found in Fetis, v. 4, pp. 29-56. [243]See Curzon’s “Monasteries of the Levant,” or Proust’s “Voyage on Mt. Athos.” [244]Some excellent German translations of the hymns, have been made by Zingerle, and are to be found in the “Zeitschrift d. Deutschen Morgenl. Gesellschaft.” [245]Fetis, Histoire Gen. T. 4. p 90. [246]Rambosson, Harmonies du Son, p. 21. [247]King’s “Ten Thousand Wonders,” p. 241. [248]Marcillac, Hist. de la Mus. Moderne, p. 28, and Brendel, Gesch. d Mus. p. 9. [249]Confessions, Book IX., Chap. 6. [250]Ambros, Geschicht der Musik, vol. 2, p. 14. Fetis, Biographie Univ. v. 1. p. 85. [251]Confess, IX., 7. [252]Fetis, Hist. Gen de la Mus., v. 4, p. 135. [253]Grove’s Dictionary of Music and Musicians, part 1, vol. 1, article “Ambrosian chant,” by Rev. Thomas Helmore. [254]Ambros, Gesch. d. Mus., v. 2, p. 43. [255]Ambros, v. 2, p. 45. [256]These latter letters may however, only refer to the diagrams, and not to musical notes. [257]Epoch men, by Sam’l Neal, p. 43. [258]Vie de Charlemagne, Guizot, T. 3, p. 151. [259]Ambros Gesch. d. Mus., v. 2, p. 94. We must remind the reader that “Gregorian” music, does not always refer to the compositions of Gregory, but simply means the singing used at Rome, as the “Ambrosian” means the style used at Milan. [260]Monachus Engolismensis (the monk of Angouleme), an anonymous writer of this era, in his _Vita Caroli Magni._ quoted by J. J. Rousseau, in his Dictionnaire de Musique article “Chant,” also by Crowest, Mus. Anecdotes, v. 2, p. 239; Fetis, v. 4, p. 279; Ambros, v. 2, p. 94, etc., etc. [261]It has been suggested by some recent writers on this subject, that even this should be met by forming the notes of various lengths, thus, a whole note ———, a half note ——, a quarter —, etc., but this difficulty can be obviated, in spacing, by any good music engraver, and does not require so radical a change. [262]The semitone falling always between the second and third note, is the only regularity apparent. [263]Stainer’s Dictionary, p. 311.