right-hand chords by the left hand, which appears also in Galliard 11, are here specially characteristic. We seem to see tramping horses and waving flags delineated in ancient technique. He was specially good in such hunting pieces. On the musical side, as his somewhat awkward variations on the fine “Jewel,” though among his best pieces, clearly show, he cannot be compared to the magical Bird; but his sense for characteristic and for technique has aided the advance of the clavier. Both of these superiorities are parts of his nature, which expressed itself most completely in this style. The clavier needed both types. [Illustration: Henry Purcell, 1658-1695.] The most characteristic and notable piece of this school is the third in the Virginal Book, a Fantasia by John Munday, which represents no less a phenomenon than the changes of the weather. Over its sections, which have no thematic connection, but have various distinctions of rhythm--_e.g._, quietly moving semibreves and minims; jerky dotted quavers interspersed with semiquaver rests; extensive runs in semiquavers, etc.--he writes in this succession four times each, “Fine Weather,” “Lightning,” and “Thunder.” Instead of “fine” appears once “warm” weather; and a slow passage, marked “a clear day,” forms the conclusion. The characterisation is of course extremely superficial, and the last time the lightning rolls just like the thunder. But this novelty, as a symptom, ought not to be overlooked. It reveals to us the consciousness of characteristic, and the increasingly intimate character of the clavier. Technically, Bull inaugurated a school. Of the various authors of the Virginal Book, Ferdinand Richardson (who exhibits pure part-writing), Giles Farnaby, Orlando Gibbons, Peter Philips, to a large extent follow his footsteps. Farnaby thus early writes pieces for two virginals; he darts, in the midst of his technique, through a graceful “Spagnioletta,” and often lights on interesting modern passing chords, as, for example, running upwards, b, f sharp, d, a, where a follows b and c d. In the use of chords Peter Philips (who arranges many pieces of Orlando Lassus in the Virginal Book) stands in the first rank. In the Pavan (No. 76), which is dated 1592, he has in the conclusion[30] unheard-of simple alternating triads; in the Galliard he deals with the most beautiful suspended chords; and in the “Galiarda Dolorosa” (No. 81) he introduces chromatic colouring.[31] We can perceive how much he must have learnt on his Italian and Dutch travels from the flourishing art of the Continent. The spirit of Bird does not exert so powerful or so enduring an influence as that of Bull. The anonymous Piece 14 of the Virginal Book is a famous Alman (German dance), which in the severity of its subject reminds us of Bird, and its working-out is done by means of single-note passages of melodious motive.