A different view was entertained in England during Queen Elizabeth's reign, where claviers were in vogue styled virginals, because, as an ancient chronicle explained, "virgins do most commonly play on them." The virginal was usually of oblong shape, often resembling a lady's workbox. With the Virgin Queen it was a prime favorite, although not named expressly for her as the flattering fashion of the time led many to assume. If she actually did justice to some of the airs with variations in the "Queen Elizabeth Virginal Book," she must indeed have been proficient on the instrument. Quaint Dr. Charles Burney (1726-1814) declares, in his "History of Music," that no performer of his day could play them without at least a month's practice. The clavier gave promise of its destined career in the Elizabethan age. Shakespeare immortalized it, and William Byrd (1546-1623) became the first clavier master. He and Dr. John Bull (1563-1628), says Oscar Bie, in his great work on "The Clavier and Its Masters," "represent the two types which run through the entire history of the clavier. Byrd was the more intimate, delicate, spiritual intellect; Bull the untamed genius, the brilliant executant, the less exquisitely refined artist. It is significant that these two types stand together on the threshold of clavier art." Bull had gained his degree at Oxford, the founding of whose chair of music is popularly attributed to Alfred the Great. As early as the year 1400 claviers had appeared whose strings were plucked by quills attached to jacks at the end of the key levers. To this group belonged the virginal, or virginals, the clavicembalo, the harpsichord, or clavecin, and the spinet. Stops were added, as in the organ, that varied effects might be produced, and a second keyboard was often placed above the first. The case was either rectangular, or followed the outlines of the harp, a progenitor of this clavier type. It was often highly ornamented, and handsomely mounted. Each string from the first had its due length and was tuned to its proper note. The secular music principle of the sixteenth century that called into active being the orchestra led also to a desire for richer musical expression in home and social life than the fashionable lute afforded, and the clavier advanced in favor. In France, by 1530, the dance, that promoter of pure instrumental music, was freely transcribed for the clavier. Little more than a century later, Jean Baptiste Lully (1633-1687) extensively employed the instrument in the orchestration of his operas, and wrote solo dances for it.