Massenet, the French composer, wrote a lovely opera called _The Juggler of Notre Dame_, from one of the old miracle tales of a young juggler sheltered by the monks of Notre Dame. Everyone brought rich gifts to place at the feet of the Virgin Mary, but being a pauper, he had nothing but his songs, dances and tricks, which he offered the Virgin by going through them as best he could in front of the shrine. So shocked were the monks by his seeming lack of respect, that they wanted to drive him out! At this moment the miracle took place. The image of the Virgin came to life and stretched forth her arms protectingly to the young juggler, showing that she accepted his offering given in all sincerity and simplicity. As all the countries of Europe took part in the Crusades, the troubadours’ songs were heard by others than the French, and their music spread rapidly. Richard, the Lion-Hearted, King of England, was a famous Crusader and a troubadour of skill. He invited jongleurs over from France, one of whom, Blondel de Nesle, became his devoted companion during the Crusade of 1193, and saved Richard’s life. Richard was taken captive by Leopold, Duke of Austria, and was cast into a dungeon. The English did not know where to look for their monarch, but Blondel undertook the search, going from place to place, singing songs which he and the king had written together. One day as he sang, from the tower of a castle came a voice which he recognized as Richard’s, singing the same song! And soon the royal troubadour was released. THE TROUBADOURS This new art of poetry and song was called “The gay science of chivalry and love-service.” Indeed many of the poems about knightly adventure were addressed to some fair lady, real or imaginary, known or unknown. Curious as it may seem, the names of most of these songs came from the Arabian, because the Europeans met them during the crusades and during the Arabs’ conquests and roamings in Europe. The names tell you what the songs were about. _Chanson_ and _canzo_ both mean song, and we see these names today on our concert programs. There were story telling songs called the _chansons de toile_, songs of linen, which told of the lovely damsels at work weaving, of their beauty, and of their thoughts, for the women of castle and cottage alike wove the cloth out of which the clothes were made. Then, they had dramatic songs and dancing songs called _estampies_ (from which comes our word stamping); the _reverdies_, or spring songs, to celebrate the Spring festivals; the _pastorelles_ in which the heroine was always a charming shepherdess; the _sera_ or _serenade_, an evening song; the _nocturne_, a night song, and love songs were often sung under the beloved ladies’ windows! The _alba_ was a morning song. The _sirvantes_, or songs of service, sung in praise of princes or nobles, or telling of public happenings were important. These were often accompanied by drums, bells, pipes and trumpets.