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On the whole, as far as I could judge, the females of those Prionidae, in which the sexes differ, are coloured more richly than the males, and this does not accord with the common rule in regard to colour, when acquired through sexual selection. Chalcosoma atlas. Copris isidis. Phanaeus faunus. Dipelicus cantori. Onthophagus rangifer, enlarged.
Digits, supernumerary, more frequent in men than in women; supernumerary, inheritance of; supernumerary, early development of. Dimorphism, in females of water-beetles; in Neurothemis and Agrion. Diodorus, on the absence of beard in the natives of Ceylon. Dipelicus Cantori, sexual differences of. Diplopoda, prehensile limbs of the male. Dipsas cynodon, sexual difference in the colour of. Diptera.
The choir gained, the two branched off right and left, Huntley placing himself at the head of the boys on the left, or cantori side; Tom, assuming his place as acting senior, on the, decani. When they should sit next in that cathedral would their posts be reversed? The dean was present: also three canons Dr. Burrows, who was subdean, Dr. Gardner, and Mr. Mence.
Pye bent his head forward to catch a glimpse of the choristers, five of whom sat on his side of the choir, the decani; five on the opposite, or cantori side. So far as he could see, the boy, Stephen Bywater, who ought to have taken the anthem, was not in his place. There appeared to be only four of them; but the senior boy with his clean, starched surplice, partially hid those below him. Mr.
At this point it is not essential that we should satisfy ourselves that the solo songs of Caccini were descendants of the lyrics of the cantori a liuto, for when the two species are placed in juxtaposition the lineage is almost unmistakable.
They were vocal soloists and often improvisatori, clearly differentiated from the cantori a libro, who were "singers by book and note" and who sang the polyphonic art music of the time. It is pretty well established that the songs of Dante were everywhere known and sung. We have reason to believe that many of those of Boccaccio were also familiar to the people.
Doubtless Casella, who was born in 1300 and set to music Dante's sonnet "Amor che nella mente," was one of the cantori a liuto. Minuccio d'Arezzo, mentioned by Boccaccio, was another. Here again we must recur to the observations of Burney and the examinations of Ambros. The former records that in the Vatican there is a poem by Lemmo of Pistoja, with the note "Casella diede il suono."
Thus Boccaccio in his marvelous portraiture of the social life of his time has casually handed down to us invaluable facts about vocal and instrumental music. There is no question that Ambros is fully justified in his conclusion that the cantori a liuto were a well-marked class of musicians.
The old-fashioned cantori a liuti sank into obscurity as the madrigal grew in general favor in Italy, and in the latter years of the sixteenth century their art seems to have undergone alterations quite in keeping with the growing complexity of madrigal forms.
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