published in 1683; the first edition appeared in 1655. Christopher Simpson, in his 'Compendium of Practical Musick,' London, 1667, boldly asserts: "You need not seek outlandish authors, especially for instrumental musick; no nation, in my opinion, being equal to the English in that way; as well for their excellent, as their various and numerous Consorts of three, four, five and six parts, made properly for instruments," etc. Thus also Christopher Simpson, at the conclusion of his 'The Division Violist, or an Introduction to the Playing upon a Ground,' London, 1659, says: "And here I might mention (were it not out of the Rode of my Designe,) divers others [besides Mr. John Jenkins]; most eminent men of this our nation, who, for their excellent and various compositions, especially for instruments, have, in my opinion, far outdone those nations, so much cryed up for their excellency in Musick." The preference given by these musicians to their own music does not, however, throw much light upon the question: Of what kind was the music played by the English instrumentalists, who accompanied the comedians on the continent? A satisfactory answer to this question may be obtained from an examination of the secular music popular in England about three hundred years ago, and from the stage directions in the dramas performed by the strolling actors. As regards the diffusion of musical knowledge in England at the time of Queen Elizabeth, the historical records contain contradictory statements, which however may, with some discrimination, be reconciled with each other. It is well known that England possessed at that period some estimable composers of sacred music who would probably have obtained a hearing on the continent, had they not been obscured by the excellent Flemish and Italian church composers. Some intelligent foreigners who made a trip to England, at the time of Queen Elizabeth, praise the music which they heard in the principal churches of the country. Paul Hentzner, a German scholar, who visited England in the year 1598, remarks in his journal: "The English excel in dancing and music, for they are active and lively, though of a thicker make than the French." He subsequently expresses a less favourable opinion of the musical taste of the English: "They are vastly fond of great noises that fill the ear, such as the firing of cannon, drums, and the ringing of bells."[60] This statement accords with a remark of Dr. Burney in his History of Music, Vol. III., p. 143; and likewise with Handel's advice to Gluck, when the latter, after the performance of his opera 'Caduta de' Giganti' in London, anno 1746, complained of want of success: "For the Englishman you must compose something which is powerful, and which acts upon his tympanum."[61] Music was also called noise. For instance, in Shakespeare's Henry IV., Part II., Act 2, Scene 4:-- 'And see if thou canst find Sneak's noise; Mistress Tearsheet would fain hear some music.'