Je

su

Re-demptor om ni um, Quem lu- cis

Je su, Re-deem - er of

the world! Who, ere the

an- te oear - liest

THE preceding illustrations are not facsimiles, but they are given in the notation used for Gregorian music at the present time, in order that they may be more generally understood.

The adaptation of the syllables to the musical text has not been altered from the originals, and this will account for some of the short syllables in the two Antiphons being overcharged with notes, as was frequently the case at the period when the prosody of the Latin language came to be neglected.

The two clefs used are the Do clef -- and the Fa clef the line through the former indicating the position of the note C, and the latter of the note F.

The Long() always bears an accent, and the other notes which require special emphasis in a greater or less degree are marked with the accent (A) over them.

The Breve (), which is the note most commonly used, must not be supposed to possess always one uniform length. In music purely syllabic it is governed by the accent of the poetry, or the words; but its musical accent depends upon the character of the phrase in which it is used; and in the more elaborate passages it requires to be executed with greater rapidity than in those which consist of a few notes only.

The Semibreve () when used singly is invariably short, but when found in a series, especially in cadences, it often requires a retarded movement.

A musical ear will very soon detect and adjust the rhythm of each successive rase, but it is extremely difficult to describe in writing the various modificato which each is liable; and Guido d'Arezzo himself was quite sensible of en, in treating of the same subject in the eleventh century, he used these Sed hæc et hujusmodi melius colloquendo quam conscribendo monstranologus, c. 15.

THE preceding illustrations are not facsimiles, but they are given in the notation used for Gregorian music at the present time, in order that they may be more generally understood.

The adaptation of the syllables to the musical text has not been altered from the originals, and this will account for some of the short syllables in the two Antiphons being overcharged with notes, as was frequently the case at the period when the prosody of the Latin language came to be neglected.

The two clefs used are the Do clef

and the Fa clef the line through

the former indicating the position of the note C, and the latter of the note F. The Long always bears an accent, and the other notes which require special emphasis in a greater or less degree are marked with the accent (A) over them.

The Breve

which is the note most commonly used, must not be supposed to possess always one uniform length. In music purely syllabic it is governed by the accent of the poetry, or the words; but its musical accent depends upon the character of the phrase in which it is used; and in the more elaborate passages it requires to be executed with greater rapidity than in those which consist of a few notes only.

The Semibreve ) when used singly is invariably short, but when found in a series, especially in cadences, it often requires a retarded movement.

A musical ear will very soon detect and adjust the rhythm of each successive phrase, but it is extremely difficult to describe in writing the various modifications to which each is liable; and Guido d'Arezzo himself was quite sensible of this when, in treating of the same subject in the eleventh century, he used these words, "Sed hæc et hujusmodi melius colloquendo quam conscribendo monstrantur."-Micrologus, c. 15.

337

On the Ornithology of Wilts.

No. 6.-FALCONIDE. (Falcons.)

"So when a Falcon skims the airy way,
Stoops from the clouds, and pounces on his prey;
Dash'd on the earth the feather'd victim lies,
Expands its feeble wings, and flutt'ring dies."

P. WHITEHEAD. The Gymnasiad, book 3.

My previous papers on the Ornithology of Wilts having treated of the general structure and the classification of birds, and the particular characteristics of the various orders and tribes, with especial reference to the beaks and feet, which generally point out with sufficient clearness their habits and consequent position, I come now without further preface to describe in order the families into which those orders and tribes are subdivided, and to give some short account of each individual species, which, as a resident, a periodical or an occasional visitant in our county, has come under my observation.1

I have already shewn that the first order, "Birds of Prey," consists of three families, the Vultures, Falcons, and Owls: of the first of these no member has ever occurred in this county, and indeed it is only from the very rare occurrence of a straggler or two on our shores, probably driven out of their course by strong and adverse winds, that the Vultures have of late obtained a place amongst British birds: their habits bespeak them as denizens of tropical climates, for their food consists of carrion and putrid substances, and very useful as scavengers do they prove in their native countries, and very wisely are they protected as such by the inhabitants; for as the storks in Holland, and the dogs in Constantinople and

A reference to the table of classification in vol. I., facing page 114, will w the order in which these families come.