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We loved good poetry at Cambridge as well as at Oxford; and I have some of yours by heart, though I have put on a red coat. . . . 'O qui canoro blandius Orpheo vocale ducis carmen; shall I go on, sir?" says Mr. Esmond, who, indeed, had read and loved the charming Latin poems of Mr. Addison, as every scholar of that time knew and admired them.
William of Malmesbury says that the Norman Thomas, Archbishop of York, the opponent of Anselm wrote religious songs in imitation of those performed by jongleurs; "si quis in auditu ejus arte joculatoria aliquid vocale sonaret, statim illud in divinas laudes effigiabat." These were possibly hymns to the Virgin.
A publishing house has been associated with the School at Paris; and from this we get Reviews, such as the Tribune de Saint-Gervais; publications of old music, such as the Anthologie des maîtres religieux primitifs des XVe, XVIe, et XVIIe siècles, edited by Charles Bordes; the Archives des maîtres de l'orgue des XVIe, XVIIe, et XVIIIe siècles, edited by Alexandre Guilmant and André Pirro; the Concerts spirituels de la Schola, the new editions of Orfeo, and the Incoronazione di Poppea, edited by M. Vincent d'Indy; and publications of modern music, such as the Collection du chant populaire, the Répertoire moderne de musique vocale et d'orgue, and, notably, the Édition mutuelle, published by the composers themselves, whose property it is.
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