So common was the lute that lute-strings were much in vogue as new year’s gifts to ladies. Queen Elizabeth, as is well known, was a skilful performer on the lute and virginals, and her “Virginal Book” is frequently referred to in musical works. “Lady Nevill’s Virginal Book” is another famous collection of sixteenth-century airs. Queen Elizabeth gave great encouragement to sacred music, and issued express orders for the retention of the musical portion of the Church Service, and in her own chapel various instruments were used. She gave much offence to the stricter Protestants by her patronage of music. All through the Tudor period England was merry with music, but with the triumph of the Puritans, in the seventeenth century, all this was changed. Music was denounced as corrupting and mischievous, like the other arts, and every effort made to prevent the people’s enjoyment of it, either in their own homes or in the religious services. Under James I. there had been little encouragement given to music, and when the Civil War came, and the Commonwealth, with its austere doctrines, was established, there was no chance for musicians. The fury of the Puritans against church music was shown in acts of violence. The organ of Westminster Abbey was broken down, and the pipes pawned for ale by roistering republicans. Ordinances were passed in 1644 for-- “the speedy demolishing of all organs and all matters of superstitions, monuments in all Cathedral or Collegiate or Parish Churches and Chapels throughout the Kingdom.” And even before then havoc had been made of the church organs. Of the court players no one knows--they disappeared. But after the Restoration the Royal Chapel Choir was re-formed with some difficulty, for both teachers and performers had been scattered to the four winds. Then followed the age of Purcell, Humphrey, Wise, and Blow. Throughout the seventeenth century, and down to the time of the second George, ladies continued to play on the virginals and lute, and to practise reading music at sight. “Part of a gentlewoman’s bringing up is to sing, dance, play on the lute, or some such instrument, before she can say her _Pater Noster_ or ten commandments: ’tis the next way their parents think to get them husbands, they are compelled to learn.” And just as Englishwomen of the present day are apt to lay aside their accomplishments after marriage, so, in the seventeenth century, “they that being maids took so much pains to sing, play, and dance, with such cost and charge to their parents to get these graceful qualities, now being married, will scarce touch an instrument, they care not for it.”