Vocal ornamentation had by this time become a recognized fashion among the singers. Considerable mystery surrounds the origin of the various ornaments and fiorituri which were adopted by the singers at this early period in the history of solo singing. A possible source from which they may have been drawn was mentioned in our remarks on the music of the Temple at Jerusalem. Much of this music was preserved by tradition and was incorporated, with modifications of course, in the ritual of the Greek Catholic church at Constantinople. Highly ornamental in character, it was performed regularly in the Greek church for many centuries. At the dispersal of the cultured Greeks following the capture of Constantinople by the Turks in 1452, many musicians trained in the music of the Greek church found their way into Italy. This gradual exodus continued indeed for many years, and it is probable that the traditions of ornamental music thus came to the knowledge of the Italian singers. Certain it is that the early singers adopted the same type of ornamentation which had been perfected at Jerusalem nearly 2,000 years previously. Exactly the same variety of turns, trills, runs, _gruppetti_, etc., are contained in the following examples of Hebrew and Greek music as were employed by the solo singers at the close of the sixteenth century. [Illustration: Hebrew (_transcribed by Fétis_)] Horuch attoh adonoï elohemi melech hoolom jozer or uvore choscheh sch scholom uvore es haccol or olom h’jotzer chajim oros meofel omar vajehi. [Illustration: Byzantine (_transcribed by Fétis_)] Erra nan myra métadakry on Epitomné masou ai gynaikes kai Eplétheé charas tostoma autou. Entolegein. Anéstéo kyrios. It is not necessary, however, to speculate on the causes which led the first solo singers to adorn their songs with _fiorituri_. Ornamental singing has always been a natural and instinctive form of expression. The fondness of primitive peoples for vocal embellishments has been noted by many observers, prominent among whom is Frederick R. Burton (‘American Primitive Music,’ New York, 1909). In the Orient singing of the florid type has always had its home. Returning Crusaders brought back with them many songs and melodies from Palestine, all characterized by runs, turns, and other ornaments. The fashion was taken up by the Troubadours and Trouvères, who familiarized their hearers with the idea of melodic elaboration by means of florid passages. Even in the church the officiating priests for many centuries had a fondness for introducing ornaments in their singing of the masses. Ornamental singing seems to be prompted by some deep-seated instinct and its universal popular appeal must be attributed to the same instinct.