and lines in black ink; the rubrication, pagination, and figures of the thorough-bass in red. The first number in the book is a short "Præludium ex G dur" of seven measures; then come the choral melodies, hymn tunes, and litanies, the majority of them with a figured bass, but also a few of them fully harmonized. Several tunes are given in more than one harmonization and a style prefiguring the more elaborate and daring manner of Bach. The book is in contemporary calf binding with gold tooling. There is no indication of its origin or precise date; but it was evidently used in a church where boys' voices formed part of the choir (see the frequent references to pueri" and "chorus "), and its general character and appearance would place it in the early part of the eighteenth century.

66

The other manuscript is dated 1759 and contains several choral works by Franz Tuma (1704–1774), composed for Holy Week. They are settings of Latin texts for four-part mixed voices with "continuo "; the author's Latin preface offers advice to the performers and ends with the remark that "compositions of this sort are very difficult to perform and therefore require the greatest practice." The manuscript is identical with the Tuma score in the collection of the "Gesellschaft der Musikfreunde" in Vienna, from which Otto Schmid, in 1901, selected and published several numbers.

Of particular value for the history of early American music is a small, insignificant looking manuscript book in much-worn leather covers; it bears on the inside title the inscription: "The property of the Bellamy Band June 1799." These words are written into a circular space in the middle of an engraved decoration-two little angels, one singing from an open book, the other playing a violoncello, seated on clouds; the plate, with the imprint "Sold by Cahusac & Sons, 196 Strand, London," is printed in green. Thomas Cahusac was established at this address since 1784; some time before 1798, the year of Thomas Cahusac's death, his two sons had been taken by him into partnership. The manuscript book, therefore, must have come to America shortly before it was used for the "Bellamy Band."

The Bellamy Band.

If there was in America at that time a bandmaster by the name of Bellamy, the fact has remained unknown. More probably, however, the Bellamy referred to on the title page was the colonel of a regiment which had a military band; to this conclusion points the fact that among the pieces in the book is one entitled "Col. Bellamy's March." In the lists of the Regular Army the name Bellamy does not appear; hence he evidently headed a militia regiment formed by him when in May, 1799, the recruiting went on in preparation of war. Since references of a local nature, such as a "New Haven March," point to Connecticut, the colonel in question was probably Samuel Bellamy of Hamden, Conn., a township 6 miles from New Haven. Samuel Bellamy, son of Joseph B. Bellamy, D. D., was born on March 13, 1756, and died on November 11, 1802. The Hamden tax list for 1791 has him as Capt. Sam. Bellamy. He was selectman of Hamden in 1793 and 1794, and again in 1800 and 1801. He served two terms (May, 1795-May, 1796, and October, 1797-October, 1798) as a member of the Connecticut Legislature. Two advertisements, signed by him, which appeared in the Connecticut Journal of July 22 and August 17, 1795, show that he was not devoid of a sense of humor.

To judge by the writing, the book had several owners before its 82 pages were covered with music of one sort or another. Most of the tunes are marches and popular airs set and not too badly-for two trebles and a bass, in score. There are the characteristic pieces of the period: Washington's march, General Burgoyne's march, The President's march, Washington's grand march, Bonaparte's grand march, Federal march, and two versions of Yankee Doodle, the first of which differs from any hitherto discovered variant of the tune. Then there is a "Freemasons March" and a "Freemasons Farewell," which may owe their existence to the fact that Samuel Bellamy was a member (and at one time master) of the Day Spring Lodge in Hamden. Actuality is suggested by titles such as "Truxton Forever," "Jefferson's Liberty," and "An Elegy on the Death of Genl. Washington."

From material such as this band book, dark spots in our musical past derive a helpful ray of light. With more musicologists, trained in research, we should not have to wait long until we have found at least some clue to the identi of the man who wrote these tunes and was leader of the "Bellamy Band" in Hamden, Conn. Possibly the name "Gould," written in minute letters in one corner of the inside cover, points to a trail worth following.

For the first time in several years the list of early im- Early imprints. prints reaches again more encouraging proportions. Nor is the length of it the only reason for rejoicing; it contains an exceptional number of rare books in exceptionally fine condition. About 30 of them belonged at one time to the library of the late Geheimrat Wagener at Marburg. They are in a state of perfect preservation and still in the bindings or slip cases characteristic of his collection. On the shelves of the music division they have rejoined many of their former mates, previously cast this way by the fates that preside over the strange destinies of books. Even in so select a company of new arrivals, the names of Cabeçon, Lasso, Luzzaschi, and Monteverdi loom up in supereminence. That every one of the sets of part songs and concerted instrumental pieces should stand complete is a grace from heaven for which the collector's heart can not feel grateful enough. Anthonii Codri Urcei rhythmus die divi Martini pronunciatus

. . Wittenberg, in officina Joannis Gronenbergii, 1511. This is a students' drinking song, in Latin, by Codro Urceo, professor of the humanities at the University of Bologna, and one of the lesser gods in the Olympus of the Italian Renaissance. On the first of the eight pages, under the title, is printed a poetic compliment to Urceo by Hermann Trebel, "poeta laureatus," and professor at the universities of Wittenberg and Frankfort on the Oder; the second page contains the music, in four parts for mixed voices, cut in a wood block; then follows the text of the song, with copious marginal pen and ink notes in an unknown contemporary hand. Saint Martin was the patron of innkeepers and valiant drinkers; his day in the calendar was November 11, the day of the Roman Vinalia or feast of Bacchus. The jovial teacher, in his verses, exhorts the students from many lands to unite in emptying their "foaming tankards." It is an antique, manful college song. The connection between Urceo and Trebel,