Visit https://ebookultra.

com to download the full version and

explore more ebooks

Great Theory of Music 1st Edition Chrysanthos Of

Madytos

_____ Click the link below to download _____

https://ebookultra.com/download/great-theory-of-
music-1st-edition-chrysanthos-of-madytos/

Explore and download more ebooks at ebookultra.com

Here are some suggested products you might be interested in.
Click the link to download

The Cambridge History of Western Music Theory The

Cambridge History of Music 1st Edition Thomas Christensen

https://ebookultra.com/download/the-cambridge-history-of-western-
music-theory-the-cambridge-history-of-music-1st-edition-thomas-
christensen/

The Music Theory of Godfrey Winham Leslie David Blasius

https://ebookultra.com/download/the-music-theory-of-godfrey-winham-
leslie-david-blasius/

Everyone Loves Live Music A Theory of Performance

Institutions 1st Edition Fabian Holt

https://ebookultra.com/download/everyone-loves-live-music-a-theory-of-
performance-institutions-1st-edition-fabian-holt/

Towards a Global Music Theory Practical Concepts and

Methods for the Analysis of Music Across Human Cultures
1st Edition Mark Hijleh
https://ebookultra.com/download/towards-a-global-music-theory-
practical-concepts-and-methods-for-the-analysis-of-music-across-human-
cultures-1st-edition-mark-hijleh/
Handbook of Music and Emotion Theory Research Applications
Affective Science 1st Edition Patrik N. Juslin

https://ebookultra.com/download/handbook-of-music-and-emotion-theory-
research-applications-affective-science-1st-edition-patrik-n-juslin/

Proof through the Night Music and the Great War 1st
Edition Glenn Watkins

https://ebookultra.com/download/proof-through-the-night-music-and-the-
great-war-1st-edition-glenn-watkins/

The Great American Symphony Music the Depression and War

1st Edition Nicholas Tawa

https://ebookultra.com/download/the-great-american-symphony-music-the-
depression-and-war-1st-edition-nicholas-tawa/

Foundations of diatonic theory a mathematically based

approach to music fundamentals 1st Edition Timothy A.
Johnson
https://ebookultra.com/download/foundations-of-diatonic-theory-a-
mathematically-based-approach-to-music-fundamentals-1st-edition-
timothy-a-johnson/

Frederick the Great and his Musicians The Viola da Gamba

Music of the Berlin School 1st Edition Michael O’Loghlin

https://ebookultra.com/download/frederick-the-great-and-his-musicians-
the-viola-da-gamba-music-of-the-berlin-school-1st-edition-michael-
ologhlin/
Great Theory of Music 1st Edition Chrysanthos Of
Madytos Digital Instant Download
Author(s): Chrysanthos of Madytos
ISBN(s): 9780615342597, 0615342590
Edition: 1
File Details: PDF, 5.46 MB
Year: 2010
Language: english
 GREAT THEORY
OF MUSIC
BY

CHRYSANTHOS OF MADYTOS

•••
 GREAT THEORY
OF MUSIC
BY

CHRYSANTHOS OF MADYTOS

•••

Translated by Katy Romanou

THE AXION ESTIN FOUNDATION

New Rochelle, New York
his publication was made possible by he Fr. Peter N. Kyriakos
Endowment Fund.

Partial support was provided by the National Forum of Greek Orthodox

Church Musicians (33rd annual meeting, July 8-12, 2009, Detroit, MI)

Published by he Axion Estin Foundation, New Rochelle, New York

Angelo Lampousis, PhD, Publisher and Editor in Chief

Graduate Center and City College of New York, City University of New York
Fr. Peter N. Kyriakos (1925-2006)
Vasileios Marinis, PhD, Reviewer
Yale Institute of Sacred Music, Yale University,
he author of the present publication, Chrysanthos of Madytos (ca. 1770 -
New Haven, Connecticut
ca. 1840), according to Professor Dimitri Conomos, was an “uncommonly
well-educated and highly cultured hierarch,” and a “composer and educa-
Panayotis Mavromatis, PhD, Reviewer
tor,” among many other types of knowledge that he possessed.
Steinhardt School of Culture, Education, and Human Development,
New York University Almost 200 years later, in the United States, another "uncommonly well-
educated and highly cultured" member of the clergy touched our hearts
Tassos Kolydas, PhD, Technical support with his musicianship and compositions using the new notation of Chry-
santhos of Madytos. he Very Reverend Peter N. Kyriakos (1925-2006)
Eie Samios and Ilya Startsev, Book Design shall be remembered for his reverence and faithfulness; riendship and
Istros Media love; his inspirational liturgies and angelic voice; his sense of humor and
personality radiating kindness, gentleness, integrity, and humility.
Copyright © 2010 by he Axion Estin Foundation, Inc. It is for these qualities that we respectfully dedicate this book to Father Pe-
New Rochelle, New York ter's memory.
May it be eternal.
All rights reserved. No part of this publication may be reproduced or
he Axion Estin Foundation Board of Directors
transmitted in any form or by any means, electronic or mechanical, including January 15, 2010
photocopying, recording, or any information storage or retrieval system,
without permission in writing from the publishers.
“You satisfy me more than the richest feast.
ISBN 978-0-615-34259-7 I will praise you with songs of joy”.
Psalm 63:5
greek orthodox
archdiocese of america
Office of the archbishop
Dear Dr. Lampousis and Members of the Axion Estin
Foundation,
It is with particular joy that I greet you as you assem-
ble in the CUNY Graduate Center Ethnomusicology
Department to announce the publishing of the leading
theoretical work of Chrysanthos of Madyte (ca 1770-46)
who along with Gregory the Protopsaltes, and Chour-
mouzios the Archivist were instrumental in the reform of
the notation of Greek ecclesiastical music.
I ofer my congratulations for your eforts to bring
to light the important work of this reformer, to promote
the study of Byzantine music, and to create opportunities
for further understanding and appreciating this music as
it has survived through the centuries.
May this project supported by the Very Reverend Pe-
ter Kyriakou Endowment Fund pay honorable tribute to
the blessed memory of the exemplary priest of the Greek
Orthodox Archdiocese of America, he very Reverend
Peter N. Kyriakos (1925-2006), who in word and deed,
in worship and ministry, ceaselessly gave praise to God
and gloriied His holy name.
With my heartfelt thanks to Presvytera Kay Kyriak-
ou and the members of the Very Reverend Peter Kyriakou
Endowment Fund who supported this worthy initiative
whose fruition we celebrate today, I remain
With paternal love in Christ,

+ DEMETRIOS
Archbishop of America

January 15, 2010

Translator’s Foreword
he English translation of Chrysanthos from Madytos Great heory of
Music was submitted as a prerequisite for the degree Master of Music
to the School of Music, Indiana University in Bloomington in 1974.
his was an annotated translation, aiming at locating the sources
of the work, in order to prove that the main purpose of the writer was
to immerse its readers into the ideology of the Enlightenment and the
conscience of an ancient Greek heritage.
Writing the work, I realised that my wish to track down the sourc-
es of this most patchy work was an utopia, especially since most of the
possible sources have also been written in the same patchy manner.
Sometime ago, I was informed by Angelos Lampousis that my the-
sis circulates in the Internet, and that he would like to try and publish
the work.
His proposal I accepted with joy.
Recently I was able to realize the augmented interest of foreign
scholars on Chrysanthos’ work and concurrently a number of misin-
terpretations of his signiicance, most oten resulting from ignorance
of his cultural environment.
In the new form presented here, various mistakes have been cor-
rected, the ambition of annotating the translation has been abandoned
and the concept of rendering musical terms has been changed. Most
terms are not translated but transliterated, in order to show Chrysan-
thos’ application of ancient Greek in his intention to show the conti-
nuity of Greek culture.
I am convinced that the importance of the book is demonstrated
in this plain translation and the information contained in the intro-
duction.

Katy Romanou

November 13, 2009

9
 was upgraded to an autonomous art; the text – both meaningful and
Introduction meaningless – was then used as a vehicle to pure musical imagination
and vocal virtuosity, for the manifestation of which the notation was
The New Method enriched with a great number of neumes indicating subtle diferences
in voice production, timbre varieties and virtuosic ornaments.
he music notation used today in Greek churches was formulated in he New Method preserved the earlier distinction between quan-
Constantinople by the so called hree Teachers, Chrysanthos from titative (delineating the tune) and qualitative (indicative of vocal pro-
Madytos, the author of this book, Gregorios Protopsaltes and Chour- nunciation or ornamentation) neumes. he former – reduced from
mouzios Chartophylax. heir New Method, oicially adopted by the eleven to six – remained diastematic; they do not indicate frequency
Great Church in 1814, permitted for the irst time in history the print- but the diference of two frequencies; not the pitch, but the interval,
ing of Byzantine1 notation. Music printing – invented in the West little the exact size of which is determined by the use of the martyriæ of the
ater the Fall of Byzantium – enabled the uniform interpretation of echoi, that act as key signatures.
music over the vastly dispersed Greek Orthodox communities during he principle by which the diastematic neumes operated was also
the last two centuries. hus ended the extraordinary diversity of inter- preserved. Only those neumes indicating the interval of the ascending
pretations given to neumes through the four centuries of the Ottoman and descending second, the descending fourth and the ison (which in-
occupation. dicates repetition) may stand by themselves as they denote both quan-
hrough printing, Byzantine music lives up to our own times, as a tity and quality. All the other neumes signify quantity only and have
functional, contemporary music, side by side with Western and other to be combined with those indicating a second (the number of which
‘art’ musics, while preserving its diference, its uniqueness and the char- exceeds all the others) in order to obtain their quality.
acteristics of its deep history. With regard to the qualitative neumes, whose number had reached
he New Method was preceded by various attempts to reform the 40, the reformers appeared to be more radical, preserving eleven only
notation, including proposals to introduce staf notation. Main causes in their method. his severe reduction is reasoned with the presump-
of their failure were their technical defects as well as politics. he lat- tion that starting from the 17th century, the neumes symbolising me-
ter was especially involved in cases where Western inluence was much lismatic formulas had been gradually and successively “explained”, i.e.
pronounced. analysed, and that the notation as applied by Chrysanthos’ teacher,
he New Method adhered to basic aspects of the traditional sys- Petros Byzantios, had reached a state that difers little from the New
tem to a suicient degree, while the elements of Western notation (a Method.
notation developed for instrumental music) absorbed, were disguised his theory expounded for the irst time in the book under trans-
in Greek clothing and were not brought out by its promoters, in con- lation and much supported and disseminated by Constantinos Psa-
trast to previous attempts. chos,2 presents the New Method as the outcome of a gradual process;
Byzantine notation developed during long centuries to symbol- not a reform, but the sealing of a long tradition. Among the qualitative
ise music that remained exclusively vocal, always “supporting” a text. neumes applied, a number is used for the expression of rhythmical sub-
In fact, the cohesion of the notational system collapsed when, in the divisions, corresponding to those in staf notation; thus the poetic con-
14th century, music lost its secondary role (of supporting logos), and cept of rhythm was replaced by a musical concept of it. Bar lines were

1 Greeks apply the adjective “Byzantine” for all manifestations of the tradition inherited from
Byzantium. 2 C. Psachos, Η Παρασημαντική της Βυζαντινής Μουσικής, 2d ed., Athens: Dionysos, 1978

10 11
also introduced but their application has not been vastly adopted. lectuals and teachers and clericals.6
What Chrysanthos’ students and admirers single out as a very ef- Aristocles mentions Chrysanthos as one of Constantios’ main col-
icient innovation is the replacement of the polysyllables by monosyl- laborators and says that Chrysanthos wrote his Great heory of Music
lables3 for the instruction of the melodies (i.e., the solfège). he pA “under the guidance of the ever-memorable Constantios”.7
Bou Ga Di kE Zo nĒ being euphonious syllables out of the irst seven In two letters on the New Method written in 1815 by patriarch
letters of the Greek alphabet. Cyril VI, and widely publicised, it is said that Chrysanthos was helped
It is very interesting the fact that this inept identiication of neumes in his theoretical studies by “European music teachers”.8 G. Papado-
that denote intervals with names that denote pitch has not produced poulos says in both his biographical (1890) and historic (1904) works
neither problems in teaching during the past two centuries, nor polem- that Chrysanthos “visited various libraries”.9 It is not clear when the
ics by adversaries! information that Chrysanthos travelled to Western Europe for his re-
search appears for the irst time, but it does not seem well founded.10
In Greece there existed some very good libraries around 1800. he
Chrysanthos from Madytos
public library of Chios had 30.000 volumes, while Guilford was im-
pressed of some private libraries in Corfú.11
Chrysanthos was born in Madytos, a town opposite the Dardanels on
Another obscure incident in Chrysanthos’ life is his alleged exile
the Chersonesos of hrace, belonging to the Metropolis of Heraclea.
to Madytos sometime before 1814.
he age of his birth in not known, but most writers give c. 1770.4 His
his event, is only mentioned by more recent authors; it is not
only teacher known to us is Petros Byzantios, by whom he was instruct-
mentioned either by Panagiotes Pelopides in his “Introduction” to
ed Byzantine music. He also had a good command of staf notation
the Great heory of Music, or in Chrysanthos’ short biography therein
and played both the Arab and the European lutes. He had a reading
(II/§.63 & fn.) or in heodoros Aristocles’ biography of Constantios.
knowledge of Ancient Greek, Latin, Turkish and French.
he irst to mention Chrysanthos’ exile because of his teaching is Geor-
Chrysanthos has been recognised as an uncommonly cultured
gios Papadopoulos. he most interesting part of it is the description
man (the truth of which relies on the state of education in his times).
of Chrysanthos’ vindication, because it demonstrates the secular and
heodoros Aristocles in his biography of Constantios I (patriarch
popular character of the orthodox church music, and consequently, the
of Constantinople in 1830-1834)5 gives the information that Chry-
great importance of the New Method. Papadopoulos states that young
santhos was around 1811 active in the metochion of Mount Sinai at
masons in Constantinople sung hymns impressively well, while work-
the district of Palatas, where Constantios resided every winter, having
ing on the scafold. he owner of the house, metropolitan of Heraclea
transformed it into a cultural centre of progressive trends, a museum, so
to say, and an academy for Constantinople’s intellectuals. One would 6 Ibidem, p. 6.
see there always gathered patriarchs and archpriests and political lead- 7 Ibidem, p. 61.
8 “Liberal arts”, in: Ερμής ο Λόγιος (1816), p. 10.
ers of every nationality and every party, and the most eminent intel- 9 G. Papadopoulos, Συμβολαί εις την ιστορίαν της παρ’ ημίν εκκλησιαστικής μουσικής, Athens, Kou-
soulinos & Athanasiades, 1890, p. 333. Id., Ιστορική Επισκόπησις της βυζαντινής εκκλησιαστικής
3 Terms used as nouns in Byzantine theories. μουσικής, Athens, no ed., 1904, p. 200.
4 Georgios Constantinou, judging mainly from Chrysanthos’ ecclesiastical ranks during his early 10 Constantinou considers “Chrysanthos staying in Western Europe (possibly France)” a “cer-
life, proposes the years around 1780. See, G. Constantinou, Θεωρητικόν Μέγα της Μουσικής tainty” (ibidem, p. 24). But if that were the case, Fétis, who gives so much information on the
Χρυσάνθου του εκ Μαδύτων. Το ανέκδοτο αυτόγραφο του 1816. Το έντυπο του 1832, Great Vatopae- New Method, would had certainly mentioned it.
dion Monastery, 2007: p.25, fn. 20. 11 Ερμής ο Λόγιος , IX, 1819, pp. 604-08 & H. Angelomati-Tsoungaraki, Η Ιόνιος Ακαδημία. Το
5 h. Aristocles, Κωνσταντίου Α΄του από Σιναίου Αοιδίμου Πατριάρχου Κωνσταντινουπόλεως του χρονικό της ίδρυσης του πρώτου εληνικού πανεπιστημίου (1811-19914), Athens, Ho M. Romios,
Βυζαντίου Βιογραφία, Constantinople, Proodos, 1866. 1997, p. 31.

12 13
Meletios, asked the masons how such young men could sing such dif- signed by both, to Koumas, a young scholar, to teach in Constantino-
icult chants so perfectly. He was told that they were taught them by ple. In the invitation it is noted that they are calling young people “who
Chrysanthos in his new method. Meletios then convinced the patri- have a more essential knowledge, more diverse, based on reason” and
arch of Chrysanthos’ eicacy and Chrysanthos was called back from who, therefore, “will be able to fulil the nation’s desires concerning
exile.12 education”.13 his, as well as other documents and letters by Cyrillos
By Chrysanthos’ time, the most important part of Greek nation- and Meletios have been published in the periodical Hermes ho Logios,
als was outside the borders of today’s Greece. Constantinople was to that promoted Coraes’ ideology and politics, as well as Chrysanthos’
them a cultural metropolis, not an ecclesiastical centre only. Besides, reform.
the antithesis between ecclesiastical and secular music was a concept Reading carefully through the pages of this periodical, one realizes
not yet disseminated in this area. he secular and popular character of that there existed a close friendship and collaboration between those
the Orthodox Church was marked; its music was sung at banquets, at two clergymen, Coraes, Anthimos Gazes (the editor of the periodical
work as well as in church. For their popularity, hymn tunes were used, up to 1815 and thereater an active supporter of the Greek Revolution),
at school to teach geography, rules of the grammar and arithmetic, or Constantinos Nicolopoulos and the Englishman Frederick North, 5th
to tease friends and foes. Earl of Guilford (called simply Guilford by Greeks).14
During the irst two decades of the 19th century, so crucial for the Constantinos Nicolopoulos was the Greek librarian at the Insti-
future of Greece, the political orientation of Constantinople’s patri- tut de France who helped with the Parisian editions of Chrysanthos’
archs was determining the clergy’s relations with the Enlightenment, works; he was a student and collaborator of F.-J. Fétis. While in Paris,
its fractions and their representatives, its attitude to the Greek Revolu- he acquired an important library, which he donated to Andritsena, a
tion and to the philhellenes that assisted it. city in Arcadia, wherefrom he originated.15
he clergymen that helped Chrysanthos with his research were Guilford was the English nobleman Frederick North, 5th Earl
Constantios, in whose environment Chrysanthos initiated his work of Guilford (1766-1827) (simpliied to ‘Guilford’ in Greece) who
(in 1811), Cyrillos VI, during whose patriarchate (1813-1818) the founded, in 1824 in Corfu, the Ionian Academy, the irst Greek Uni-
New Method was oicially recognized and taught, and the metropoli- versity ater the Fall of Constantinople. Desiring to create a genuinely
tan of Heracleia, Meletios, who is credited with having convinced the Greek institution, Guilford travelled to all the places that were known
Church oicials of Chrysanthos’ importance. All three were progres- for their Greek schools and teachers and managed to get feedback on
sive personalities connected to Greeks and Europeans living or travel- every successful Greek school (in Chios, Constantinople, Ioannina,
ling to the West. Athens, Trieste, etc.). He also visited European cities with prosperous
Cyrillos and Meletios were admirers of Adamantios Coraes, the Greek communities (Paris, various Italian, Austrian, as well as Russian
man who worked in order to establish the identity of the new Greek
state on the heredity of ancient Greece, an idea that certain church 13 Ερμής ο Λόγιος, γ΄, 1813: 306-308. Koumas taught in Constantinople in 1814-1815. See,
Tr. Euangelides, Η παιδεία επί τουρκοκρατίας ... Α΄, Athens, A.P. Chalkiopoulos, 1936, p. 18.
circles fought as undermining the ties of the Greek nation to the Or-
1936: 18.
thodox Church. he two men had signed a number of documents fa- 14 Guilford was in Constantinople in 1811. See, H. Angelomati-Tsoungaraki, ibidem, pp. 3, 9.
vourable for Chrysanthos and other young Greeks inluenced by the 15 F.-J. Fétis gives the information that Nicolopoulos let uninished a tranlsation of Aristoxenos’
Harmonic Elements. It is interesting to note that the irst French translation of this work,
Enlightenment. Very telling of their political beliefs is an invitation, written by Charles-Emile Ruelle, was published thirty years ater Nicolopoulos’ death (Paris:
Pottier de la Laine, 1871). See, F.-J. Fétis, “Nicolopoulo (Constantin-Agathophron)”, in: Bi-
ographie universelle des musiciens et bibliographie générale de la musique, Paris, 1872/ Brux-
12 G. Papadopoulos, ibidem. elles, Culture et Civilisation, 1972.

14 15
and Balkan cities). He chose promising youngsters to teach at the acad- sios’ Doxastika transcribed into the reformed notation by Gregorios
emy, which he sent to study in Europe at his own expense. Lampadarios.22 Both books appeared in 1821. Both were introduced
Hilarion Sinaites, the Cretan, was among the opponents of Co- to the readers with a foreword written by hamyris.23 In the former he
raes. Earlier, however he had been Constantios’ close collaborator. In spoke in youthful enthusiasm of the Enlightenment ideas Chrysanthos
1818 he was assigned by Robert (?) Pinkerton, the English Biblical had inspired him with;24 in the latter, he expresses his disillusionment
Society’s representative in Constantinople, to translate the Bible into on his teacher’s sudden change and declares that he will not obey their
modern Greek, which he did, under the inspection of Constantios.16 incomprehensible demand to return to Constantinople.25
In 1819 Hilarion became supervisor of the patriarchal printing house A irst stock of the Introduction containing hamyris’ preface was
in Constantinople. He would publish ofensive comments on Guilford fast recalled and the book circulated again without it and without
and Nicolopoulos17 and invite Greek writers to publish their works in mentioning its editor. he preface was published by Giorgos Ladas in
Constantinople and not abroad.18 1978 from a manuscript copy preserved.26 he text is a fervent praise
One year earlier Cyrilos VI had been succeeded by Gregorios V, for the Enlightenment of which the New Method is a representative
who “returned to the throne from his exile on Mount Athos full of zeal outcome, since it has reduced the thirty years previously required for
for the defence of the faith. he patriarch and the synod implemented the study of music to three, “leaving thus time for studies more advan-
a series of pastoral measures in an attempt to stem the tide of ideologi- tageous to social life”. It has frequent reference to Coraes, Rousseau and
cal change.”19 ancient Greek philosophers. It has a quotation from a text by Rousseau
on rhythm (as, indeed, rhythmical divisions, bar-lines and the use of
the metronome for the measurement of tempo were among the most
The dissemination of the New Method
obvious loans from Western notation). hamyris uses harsh, ironic
and disrespectful expressions against the old music teachers, whom he
In 1819 Chrysanthos’ young student and admirer, A. hamyris,20 ar-
calls “completely ignorant teachers” who have “tortured the children
rived in Paris in order to supervise the construction of typesetting for
of Greece”. He concludes advising his fellow students: “Do not conine
printing music in the New Method.21 his work was done by M. Léger,
yourself to our music; study European as well, if you wish ours to reach
collaborator of the famous publishers family Didot. hen, hamyris,
with the help of Nicolopoulos published Chrysanthos’ Introduction to
20 hamyris’ irst name is mentioned by Fétis. In his Biographie (1873) he calls him Anastase
the theory and practice of Music written for the use of those who study it in in the articles “Lampadarius” and “Chrysante de Madyte”, while in his Histoire général de la
the New Method, a manual for the instruction of the notation, which, musique depuis les temps les plus anciens jusqu’ à nos jours, vol. IV, Paris, 1874, he calls him once
Anastase (p. 29) and twice Αthanase (p. 48, fn. 2 and p. 53).
in his words, was “necessary to students” and then, Petros Peloponne-
21 J.-F. Fétis, ibidem, p. 29.
22 hamyris ambition to publish Petros Peloponnesios’ Anastasimatarion was forestalled by Pet-
16 See, h. Aristocles, ibidem, pp. 6-7. Hilarion’s translation was published by the English Bib- ros Manuel Ephesios, who published the book in Bucharest in 1920. Antagonism between
lical Society in London, in 1828 (See, G. Bokos, Τα πρώτα εληνικά τυπογραφεία, Athens, the French and the Rumanian printers favoured the speed, the quantity and the quality of the
Helleniko Logotechniko kai historiko Archeio, 1998, p. 237). It did not circulate in Con- irst publications in the New Method. See, G. Ladas, Τα πρώτα τυπωμένα βιβλία Βυζαντινής
stantinople, because of serious reactions of the Church. hrough the same society, transla- Μουσικής, Athens, Cultura, 1978, p. 27.
tions of the Bible were also written in Corfu. Cyrillos VI certiied their idelity to the origi- 23 J.-F. “Chrysanthe de Madyte” Biographie (1873) and G. Ladas, ibidem, pp. 19-26.
nal and they “were disseminated in Epeiros, hessaly and Albania”. See, P. Chiotes, Ιστορικά 24 G. Ladas, ibidem, pp. 20-30.
απομνημονεύματα Επτανήσου, vol. 6, Zante, Phoskolos, 1887, p. 239. 25 Πελοποννήσιος 1821: η΄. hamyris died in 1828, in Paris. His death is mentioned by Fétis
17 See, Ερμής ο Λόγιος, IX (1819), pp. 811-820. (1873: “Chrysanthe de Madyte” and “Lampadarius”). Giorgos Constantinou believes that
18 Ibidem, p. 271. hamyris was called back by his teachers because they were disatisied with the typesets
19 P. Kitromilides, “Orthodoxy and the West. Reformation to Enlightenment” in Eastern Chris- 26 Γεώργιος Λαδάς, Τα πρώτα τυπωμένα βιβλία Βυζαντινής Μουσικής [he irst published books
tianity, edited by M. Anglod, Cambridge, Cambridge University Press, 2006, p.209. of Byzantine Music] (Athens, 1978), p. 27.

16 17
its high level”. parallel with the great Western musicians.
So, hamyris’ foreword connects Chrysanthos to the Enlighten- Since the 14th century when Manuel Bryennios and few other
ment, while its retraction shows the efort to conceal this connection. Byzantine writers showed the Greek heritage of Byzantine music,
But Chrysanthos’ second publication, the Great heory of Music gives prompted by the political choice to build the ties of the ailing empire
full evidence of its author’s active involvement in the Enlightenment of on national identity, the low of Greek music was invisible. Chrysan-
the Greeks. his book is not a second, enlarged edition of the Introduc- thos highlighted it again, ater ive centuries.
tion, as it has been considered by various writers,27misled especially by Chrysanthos covers the subject of ancient Greek music in a broad
its much delayed publication. he titles of the two books are eloquent and comprehensive manner. Aristoxenos, Pseudo-Euclid, Nicomachus
of their diference. So is the introduction of the Great heory of Music of Gerasa, Gaudentius, Baccheios the Old, Aristides Quintilianus,
by Chrysanthos’ student Panagiotes Pelopides, who ater speaking of all writers published by Marcus Meibom (Amsterdam 1652), are
the great beneit the New Method ofered to Greek music, he presents frequently quoted or referred to, as well as Plato, Aristotle, Plutarch,
the writing of the Great heory of Music as a second great contribution Athenaeus and a lot more. A special chapter is devoted to Manuel Bry-
of Chrysanthos alone to the progress of the nation, saying: “But besides ennios’ Harmonics, as this is the irst treatise to relate ancient Greek
this superb benefaction of the hree Teachers, Mister Chrysanthos in modes to Byzantine echoi.
particular beneiced the nation still more, writing, with philosophical he Great heory of Music was already written in 1816. In that year
thought this didactic and philological treatise on musical science.” Chrysanthos made a copy (called hereater Ms.)28 of his original au-
With his contribution to the invention of the New Method and tograph for his student, Gregorios, deacon of Chios, who was invited
the writing of the Great heory of Music, Chrysanthos fulilled many in that year to serve as a protopsaltes at Iaşi’s cathedral and as a music
aims of the Enlightenment: New educational methods were employed, teacher at the school founded in that city for the instruction of the
schools were founded, simple teaching treatises were published, young New Method.29 he original autograph, was most probably given to
people were sent abroad to study, the number of music teachers aug- Panagiotes G. Pelopides, in 1820 and has not been located.30
mented, the heredity of ancient Greek culture was pronounced, and Chrysanthos aimed to introduce Western music science to Greek
the study of Western civilisation encouraged. musicians. hamyris must have echoed his teacher when he wrote “Do
not conine yourself to our music; study European as well, if you wish
ours to reach its high level” he Great heory contains a large number
The Great Theory of Music of subjects, as well as passages and quotations, of 18th century litera-
ture on music, many of which, it should be noted, show the immense
For modern Greek culture, Chrysanthos’ publication is signiicant. Of
28 Photocopies of the entire Ms. I was kindly provided by Manolis Chatzeyakoumis, who had
the two parts it contains, the irst deals systematically with the theory found it and had published its description and his view on its importance (M. Chatzeya-
of ancient Greek, Byzantine, Ottoman and European music, giving koumis, “Αυτόγραφο (1816) του ‘Μεγάλου Θεωρητικού’ του Χρυσανθου”, in Eranistes, 11
comparisons of their intervals, modes and rhythms. he second part (1974), pp. 311-322. Georgios Constantinou has recently published this Ms., presenting it in
parallel with the irst edition of the Great heory of Music; this edition is accompanied with a
is the irst Greek general history of music in modern times. herein, digital copy of the Ms. See, G. Constantinou, ibidem.
Byzantine and post Byzantine musicians take their place in history af- 29 See, G. Papadopoulos, Συμβολαί εις την ιστορίαν της παρ’ ημίν εκκλησιαστικής μουσικής, Athens,
Kousoulinos & Athanasiades, 1890, p. 328-329. A letter addressed by Chrysanthos to this
ter ancient Greek musicians and those mentioned in the Bible, and in Gregorios, written on February 1, 1817, and a statement by Peter Ephesios, dating April 1,
1819, that Gregorios helped him to ind a printer in Bucharest, were published in the periodi-
27 See for example, Melpo Merlier, “Un manuel de musique byzantine, le ‘héoreticon’ de cal Ερμής ο Λόγιος (Ερμής ο Λόγιος. ζ΄. 1817: 225-226 and θ΄. 1819: 610-613).
Chrysanthe”,in: Revue des études grecques xxxix, 1926, pp. 241-6. 30 As he states in his prologue to the edition.

18 19
inluence ancient Greek studies had on Western culture. teachers Gregorios Lampadarios and Chrysanthos the Archimandrite,
Borrowings, coming obviously from Western sources are chap- called also the fugitive”. In the third person is also the short biography
ters dealing with Western music. hey are, in part I: Chapter IV “On of Chrysanthos (II/§.63, fn.), missing in the Ms.
musical instruments” (I/§.432-37), chapter V “he dispositions of One among the least worked-out and strangest points in the
the auditors of Music” (I/§.438-44), chapter VI “he use of music” edition is an extract, quoted in French as footnote (in II/§.50). his
(I/§.445-51), chapter VII “On harmony” (I/§.452-62), and in part II footnote that does not exist in the corresponding point of the Ms. (p.
(which consists of a history of music from biblical times and Greek xxviii), is from Guillaume André Villoteau’s De l’ état actuel de l’ art
antiquity to the present, and a chapter entitled “How music should be musical en Égypte, ou relation historique et descriptive des recherches et
approached”31), a few passages that have to do with Western music. observations faites sur la musique en ce pays; there, it is the irst footnote
Of the above chapters of part I, none exists in Chrysanthos’ Ms. (I of Part Two, chapter four, dealing with Greek music. Chrysanthos’ bib-
stress the fact that what is called Ms. here, is a copy of the autograph, liographic reference reads “p. 786, De l’état actuel de l’art musical en
which was given to Pelopides and has not been located). Comparing Egypte par m. Villoteau”.
two points in the Ms. where Chrysanthos has taken a note on what he French, the only modern foreign language that Chrysanthos pos-
let out in his copying,32 it becomes clear that chapters IV-VII of Book sessed,33 is the only language, besides Greek, used in his work – to clar-
Five did not exist in the autograph when its copy (the Ms.) was written ify terms34 and for bibliographic reference.35
(1816), but were added either in 1816-1820 by Chrysanthos, or ater hat his main sources were in French, is obvious from the trans-
1820 by the editor (or at his consent). Even if the latter is the case, it literation of names into Greek: Guido [d’Arezzo] becomes Γούϊ
is still probable that the material published derives from Chrysantos’ (I/§.21, fn.), from the French Guy [Aretin], Boethius becomes Βοέσιος
notes. he possibility that part of the edition derives from Chrysan- (II/§.49), from the French Boëce, and, in one extreme case, Γαληνός is
thos’ notes worked out by the editor, is supported by the use of the written Γάλιος, with the French as explanation in parenthesis: (Galien)
third person when referring to Chrysanthos, whereas in the Ms. the (I/§.447, fn.).36
irst person is used. For instance, on p. xxxvi of the Ms., Petros Byzan- A comparison of the two quotations below ofers some more ob-
tios is referred to as: “our professor, called also the fugitive”. he cor- servations on the transliteration of foreign names, but also on Chry-
responding passage in the published work (II/§.62) is: “teacher of the santhos’ sources. he irst is from he Great heory (II/§.49) and the
second, from the article “Musique” in Jean-Jacques Rousseau’s Diction-
31 An investigation of Western inluences on Chrysanthos’ work, shown mainly on this chapter,
naire de Musique:37
was published by John Plemmenos in an article entitled “he active listener: Greek attitudes
towards music listening in the Age of Enlightenment”, in: British journal of ethnomusicology, 6
(1997), pp. 51-63. 33 As stated in early biographies. See, h. Aristocles, ibidem, p. 61; G. Papadopoulos, ibidem,
32 In p. 122 of the Ms. one reads: “Following comes the chapter on melopoeia, which was not 1890, pp. 332-335, especially: 333; Idem, ibidem, 1904, pp. 200-202, especially: 200.
written here”. he chapter “On melopoeia” is chapter I of the Fith Book (p.174) in the pub- 34 For instance: «Flûte traversière» (§.436), «Violon» (§.437) «Accompagnement» (§.459)
lication, which includes also, as chapters IV-VII, the chapters mentioned above. (Chapters II «Faux-bourdons» (§.462).
and III of the Fith Book are “How psalmodies were chanted” and “Today’s mode of chant- 35 All three are from a footnote to §.447: «Histoire de l’Ac. roy. des sciences. ann. 1707. p.7»,
ing”). «Histoire de la Musique» Chap.11j, pag.48», «afectu Musique § 314». he latter is trans-
In another instance where chapters were not copied out in the Ms. (p. 112), Chrysanthos lated from Latin.
gives the titles of all the chapters missing and not only the irst of a series: “here follow chap- 36 In Latin, in English and in German, the name is transliterated (from its Greek original) with-
ter V: On Rhythm, chapter VI: On Chronoi, chapter VII: On the Genera of the Feet, chapter out the i ater the l (Galenus, Galen).
VIII: On Rhythms, Chapter IX: List of Ottoman Rhythms, chapter X: Rhythmic Agogics, 37 Dictionnaire de musique, Paris, Veuve Duchesne, 1768. he quotation is from the edition
chapter XI: On Rhythms’ Metabole, chapter XII: On Rhythm Poetics, chapter XIII: On of 1824 (P. Dupont, 1824) (R: Art et Culture, Paris, 1977). As its is well known, Rousseau
Cheironomia. hese chapters have not been written in this book, complying with its holder’s wrote his music dictionary, using his articles on music published in L’Encyclopédie (1751-72),
request”. of which he was dissatisied.

20 21
 Από δε τους Λατίνους και τους λοιπούς Ευρωπαίους επί μεν is Alexandre Etienne Choron (1771-1834), the only writer in the list,
Θεοδωρίχου συνέγραψαν Βοέσιος, Κασσιόδωρος, Μαρτινιανός, contemporary to Chrysanthos.
και Αυγουστίνος. νεωστί δε, Ζαρλίνος, Σαλινάς, Ναγούλιος,
Βικέντιος, Γαλιλαίος, Δόνις, Κιρχέρος, Βανχιέρις, Μαρσένος,
Effetti, effets and effects
Παρράς, Περώλτος, Βαλής, Δεσκάρτης, Ὁλδέρος, Μανγόλις,
Μαλκόμος, Βουρέττος, Ραμώ, Δ’Αλαμβέρτος, Ρουσσώ, και
In the chapter entitled “he Use of Music” Chrysanthos treats a favor-
Ὁρόν.
ite subject of 18th century writers: the efects of music on men and
animals, explained on the basis of the nature of sound, the physiology
Parmi les Latins, Boëce a écrit du temps de héodoric; et non
and psychology of hearing. his is a tradition, handed down by Greek
loin du même temps, Martianus, Cassiodore, et saint Augus-
writers and revived during the great lowering of positivism in science
tin. Les modernes sont en grand nombre; les plus connus
in the 17th and the 18th centuries. It was mainly through the work of
sont Zarlin, Salinas, Valgulio, Galilée, Mei, Doni, Kircher,
Marin Mersenne, that events showing the efects of music, reported in
Mersenne, Parran, Perrault, Wallis, Descartes, Holder, Men-
mythology and history, were investigated scientiically, backed by the
goli, Malcolm, Burette, Valloti; enin, M. Tartini [...] et M.
advancements in mechanics, physics, medicine and acoustics.
Rameau [...] M. d’Alembert [...].
he subject is amply discussed in 18th century musical and medi-
cal bibliography.39 Important music histories, music dictionaries and
he names of the “moderns” in the above quotation have the fol-
monographs40 spend many pages on related phenomena described by
lowing correspondence:38 Ζαρλίνος is Giosefo Zarlino (1517-1590);
Chrysanthos. hey are incidents from ancient Greek mythology and
Σαλινάς is Francisco de Salinas (1513-1590); Ναγούλιος is Carlo Val-
history (about Timotheus, Alexander the Great, Amphion, Achilles
gulio (1440-1498); Βικέντιος and Γαλιλαίος are Vincenzo Galilei (little
etc.) and observations of phenomena related to the sound’s sympathetic
before 1530-1591); Δόνις is Giovanni Battista Doni (1595-1647);
resonance and harmonics, the healing by music of insanity, depression
Κιρχέρος, is Athanasius Kircher (1601-1680); Βανχιέρις is Adriano
and other ailments, including the poisoning from tarantula’s bite. Also,
Banchieri (1568-1634); Μαρσένος is Marin Mersenne (1588-1648);
incidents showing the powerful efect of music or sound on animals.
Παρράς is Antoine Parran (1587-1650); Περρώλτος is either Claude Per-
And nearly all the names and the bibliographic references existing
rault (1613-1688) or his brother Charles Perrault (1628-1703); Βαλής
in those studies are to be found in Chrysanthos’ work.41
is John Wallis (1616-1703); Δεσκάρτης is René Descartes (1596-1650);
Oλδέρος is William Holder (1616-1696); Μανγόλις is Pietro Men-
goli (1626-1686); Μαλκόμος, is Alexander Malcolm, (1685-1763);
39 In the same tradition belongs the treatise by Giovanni Francesco Zulatti (1762-1805), a doc-
Βουρέττος is Pierre-Jean Burette (1665-1747); Ραμώ is Jean-Philippe tor from Cefalonia, Della Forza della Musica. Nelle Passioni, nei Costumi, e nelle Malattie, e
Rameau, (1683-1764); Δ’Αλαμβέρτος is Jean le Rond D’Alembert del’uso Medico del’ballo, Venezia: Lorenzo Baseggio, 1787.
40 Such as Giambatista Martini in his Storia della musica (1781), Charles Burney in A General
(1717-1783); Ρουσσώ is Jean-Jacques Rousseau (1712-1778) and Oρόν History of Music, rom the Earliest Ages to the Present Period, to which is preixed a Dissertation
of the Music of the Ancients (1776), John Hawkins in his General History of the Science and
38 On the identity of the early writers there is no doubt; they are Anicius Manlius Torquatus Practice of Music (1776) , J. Bonnet, in Histoire de la Musique et de ses efets depuis son origine
Severinus Boethius, Magnus Aurelius Cassiodorus, Martianus Capella and Aurelius Augusti- jusq’ à present (1715), Pietro Gianelli in his Dizionario della musica sacra e profana “Efetti
nus (Saint Augustine). On the importance of the persons cited, as well as other detailed infor- della Musica” (1801) etc.
mation on Chrysanthos’ Western inluences, see Katy Romanou, “Pitch Symbols for Interval- 41 Most distinguished writers are the English Dr. Mead (Μεάδ, I/§.447, fn.,§.448), Baglivi
lic Neumes: Decoding Western Inluences in Chrysanthos’ Work.”, Acta Musicae Byzantinae, (Βαγλιβί, I/§.448), Wilhelm Albrecht (Βιλχιάμ Αλβρέχτ, §.447, fn.), Bonnet (Βοννέτος, p.
vol. X (forthcoming). §.447, fn.), Bourdelot (Βουρδελότ, §.447, fn. & §.448, fn.).

22 23
 Pa-ra-ga and pa-re-bo sic, including most information on ancient Greek music, derive from
Western music literature. To those might be included some whose deri-
he Western writers mentioned above, and a lot more, deal also with vation is not that obvious, as is the case with the discussion on Arab
the issue of the solfeggio. In France (where the syllables applied today music. Indeed, Sauveur, speaking on Arab intervals calls the tones Ta-
were vastly used in the 18th century)42 and much more so in Italy, nini και Baqya,46 for which Chrysanthos uses the corresponding or-
where as Martini states, “this French method has a certain distaste thography: «τανίνι», «βάκυα» (§.66, fn.).
among Italians”,43 numerous systems were invented to facilitate singing To detect Chrysanthos’ sources is an utopic task; it would require
instruction. research in numerous ields and periods. Possible sources, by West-
Under the term “solier”, Rousseau presents in his dictionary sylla- ern authors, are written in the syllectic mode that Chrysanthos him-
bles proposed by Sauveur (pa, ra, ga, da, so, bo, lo, do) and by Boisgelou self wrote his own treatise. So are also most among the ancient Greek
(ut, de, re, ma, mi, fa, i, sol, be, la, sa, si.). Well known is also at the time works that initiated this long tradition. Similarities exist all over the
the system proposed in 1746 by the marquis Flavio Chigi Zondadari net of this tradition that extends deep in time and broad in geographic
(using the syllables Ut pa Re bo Mi Fa tu Sol de La no Si), which accord- areas. To this, the problem of historiography’s change of focus in suc-
ing to Charles Burney was well known beyond Italy,44 while according cessive periods should be added, hiding from our knowledge a great
to Fétis, it was still in use, at the end of the 19th century, in Italy.45 number of works, or aspects of well known works. For instance, in the
he fact that in the 18th century the solfeggio issue was much dis- second half of the 20th century, when music theory became an autono-
cussed, must have inluenced Chrysanthos in the adoption of a similar mous ield, Zarlino’s Le istitutioni harmoniche was studied only for its
system, albeit it hardly conforms with the concept behind the Greek third and fourth part, dealing with modes and counterpoint. But in
notational system. However, this awkward adaptation (giving names the 18th century, much discussed was the irst part, which is on music
that indicate pitches to signs indicating intervals) was a most essen- in general, including –in chapters 2-4– the subjects discussed by Chry-
tial element of his reform, because it permitted him to relate the New santhos in the chapter “he Use of Music”.47
Method to ancient Greek and Western music theory. He was able to Further historical investigation on Chrysanthos’ Western connec-
introduce musical (instead of poetical) meter and to measure scientii- tions and the persons that might have assisted his or his editor’s work,
cally on strings the size of intervals. He was able to take advantage of providing books and information, is an intriguing task. Chrysanthos
developments in instrumental music and use them to music that was was creative during a period crucial for the future of Greece as a nation
preserved exclusively vocal through the centuries. and of the Great Church as an ecumenical institution. By many those
It is natural that most subjects discussed in Great heory of Mu- two goals were conceived as conlicting. When all reverberation of this
concept will be completely efaced, then scientiic research on Chry-
42 he fact that Chrysanthos demonstrates French solfeggio with those syllables, including the
si (§.73, plate) is one more indication that his Western sources were French.
santhos might be more successful.
43 A. Schnoebelen, Padre Martini’s Collection of letters, New York, Pendragon, 1979, letter no. Katy Romanou
4219.
44 Ch. Burney, ibidem, pp. 102-103.
45 F.-J. Fétis, “Euchero”, in: ibidem, 1873.
46 J. Sauveur, Principes d’acoustique et de musique, ou systême general des intervalles des sons, et
de son application à tous les instruments de musique, Paris, 1709 / R: Geneva, Minkof, 1973,
p.31
47 Capitolo 2 “Delle laudi della Musica»”. Capitolo 3 “A che ine la Musica si debba imparare”.
Capitolo 4 “Dell’ utile, che si hà della Musica, et dello studio, che vi dovemo porre, et in qual
modo usarla”. See, Zarlino 1558: 4-7, 8, 8-10.

24 25
PROLOGUE TO THE FIRST EDITION
At last, look dearest compatriots! A didactic book of musical science
appears as well. he nation would probably be deprived for long of this
valuable treatise, if in our times did not live this man of wide learning
and superb musicianship, the reverent, a saint I may say, of Dirrachion
Mr. Chrysanthos.
If every scientiic treatise is likely to grant mankind with more or
less proit, the present work – dealing with a science, which accord-
ing to the testimonies of the philosophers, contributes to the praise of
God, the dignity of our holy Church and the ennoblement of human-
ity – will certainly be beneicial.
he said Mr. Chrysanthos – a lover of his nation– and his collabo-
rators Mess’rs Gregory and Chourmouzios – the former, protopsaltes,
the latter, chartophylax of the Great Church – met little before the
Revolution and, exchanging their philosophical and scientiic ideas,
discovered time in music and deined in many diferent ways its mea-
surement and divisions, because without time, nothing is achieved in
music. hey deined the intervals of the seven tones in all the genera,
through systematic scales; the intervals of the phthoræ, by which the
transposition and alteration of one echos to another, a genus to an-
other and a scale to another are done. hey transformed the musical
characters from symbols into letters. In an admirable way, in short,
they submitted to rules our music, that was up to then unruly, but very
varied melodically.
Who will deny this when seeing that those who command this
method are able to sing with absolute precision foreign mele, they have
never heard before, seeing them notated in our musical neumes, and
to write down in like manner those mele, just by hearing them? No
one certainly. Deservedly therefore, these respectable men should be
named BENEFACTORS OF THE NATION! 1
But besides this superb benefaction of the hree Teachers, Mis-
ter Chrysanthos in particular beneiced the nation still more, writing,
with philosophical thought this didactic and philological treatise on
musical science.
Accept it now my most musical friends and satisfy the strong desire

27
you had for such a didactic work of your art. Learn from now on what psalmodies distinguished by time.
is Rhythm, what is foot and meter2 in music. Learn what is rhythmic In both the didactic and the historical parts, he introduces by way
emphasis and stop wondering on the meaning of such words. Learn of extensive foot-notes, some standard literal treatises, of great value to
the art of melopœia and the way to compose melodies with scientiic every one –musician or not– and especially to many among our schol-
thought, in order to be able to produce to your listeners joy, sadness, ars, who still today ignore the very origins of our ecclesiastical music
languidness and every other feeling among the passions of the soul, and consequently its continuation up to this time, a thing not little
priding thus that your are perfect musicians, who know music well. strange to them and to the Holy Society. At this point he ends the his-
Many among our musicians consider themselves perfect musicians torical part with a short appendix, where he wisely advises musicians
just because they achieved to master the measurement of time and the how to pursue their profession and what are the indispensable natural
intervals of all the phthoræ (and indeed, he is to be praised any musi- gits they should possess.
cian who achieves to master those two). his has not its cause to ob- I got this treatise twelve years ago, while studying in Constanti-
stinate stubbornness or conceit, but to poor knowledge. heses men, nople, from its learned author and my respected teacher. Desiring since
deprived of a didactic book on their art, are unable to progress beyond then its circulation to the public, by the author himself or by anyone
the point they reached through oral tradition. else, and having failed with this greatest among my aims, I was able in
he author divides his work in two parts, the didactic and the his- the present year only to realize this work of public proit, with no little
toric. In the didactic he speaks with great wisdom about musical theory personal inancial expenses and toil. he printer, speaking a foreign lan-
and practice and gives undeniable and scientiic evidence of all nec- guage and being unaccustomed in the editing of such a wearisome and
essary knowledge on the subject. Speaking extensively on harmony in complex book –owing to the variety of neumes in our music– needed
the last chapter, he closes the didactic part with an example notated in daily, continuous and in many ways tiresome supervision. My eforts
European notes and transcribed by him in our musical characters. He were not similar to other editors. In spite of all that, I did not take this
thus gives an exact idea to Greek musicians how harmony is written, of into consideration, because I did not wish such a proitable and valu-
which the name only is let to us, whereas the thing itself is preserved able treatise to remain hidden any longer, especially at this moment
by the Europeans. that our beloved MOTHERLAND resuscitates.
In the historic part he enumerates the musicians that existed be- So, accept dearest compatriots the humble proofs of my willingness
fore and ater the Flood and up to our days, mentioning many among to serve the common interest. Be grateful to the author (who wishes,
the European musicians also. He divides them in three periods. In the through me to see his eforts to bear fruit of equal value, in order that
irst period he mentions all those that lived before the Flood and up to he might take pride at having been the irst to cause the rivalry among
the time of the wise Solomon. In the second period, he mentions the those who, from now on, will decide to write on music with broader
Greek musicians, and introducing them with Apollo as the irst inven- ideas) because he fulilled his duty to the nation, and love favourably
tor of music among the gods, and Amphion as its irst inventor among your friend, the editor.
humans, he reaches the Christian era mentioning in chronological or- Trieste 6 April 1832.
der their story and whatever they invented or wrote in relation to mu- PANAGIOTES G. PELOPIDES
sic. In the third period he mentions the prominent church musicians. PELOPONNESIOS
Beginning with St. Ioannes of Damascus, the earliest teacher and the
originator of our ecclesiastical music, he reaches our age and names in
chronological and alphabetical order all the teachers and inventors of

28 29
1 When these three Teachers appeared as the inventors of the New Method in 1814, they had not
such ranks. Mr. Chrysanthos was archimandrite and Mr. Gregorios was Lampadarios. In 1819
Chrysanthos reached the rank of the archbishop and Gregorios, conforming with the order
of the Great Church, succeeded the late Manolakes the Protopsaltes and became protopsaltes
himslef. Mr Chourmouzios was given the rank of Chartophylax.
hese men having submitted music to rules, reported subsequently to the Kœnon of the
Great Church. And a Holy Synod was specially held under the patriarch Cyril VII from Andri-
anople, assembling the most distinguished men of the nation, to whom this new invention was
exposed. he Synod being absolutely convinced with the strong logic and deinite evidence of
the art’s regulation by the three teachers (because it was suspected at irst that the teachers were
trying to innovate holy psalmody), decided that Gregorios Lampadarios and Chourmouzios
Chartopfylax deliver the practice of ecclesiastical music, and the archimandrite Chrysanthos,
its theory.
A school was founded to that end, in which many among the poor students were given
free residence. Superintendents were appointed and the teachers’ salaries determined. Cir-
cular letters were sent by the patriarch to high priests in every district calling anyone who
wished to study the New Method free of charge, to go to Constantinople, where he would
learn the method ater two years’ studies. Indeed, students of every class and age rushed from
everywhere. hose that were suiciently successful, went to diferent cities each, where they
founded special schools and communicated with idelity the git they were bestowed.
Passing their examinations, the students that mastered the Method, were given a certii-
cate signed by the three Teachers and the school’s superintendents, which reads as follows:
“he undersigned teachers of this general school of music in Constantinople, announce
to whom it may concern, that Panagiotes Pelopides, Peloponnesian, studying by us, was suf-
iciently successful and is able, wherever he goes, to teach and deliver both the practice of the
new and regulated method of music taught by us, and of the methodical requirements for
the introduction of its theory. herefore, as a certiicate and proof of the above the present
document is edited by us the teachers, conirmed by the superintendents of this music school,
as is the custom.”
Constantinople 28 September 1818
here follow the signatures of the teachers and the superintendents.
he school operated until 1820. hat year Mr Chrysanthos went to the district of Dirra-
chion to pasture the lock consigned to him. Mr Gregorios passed away and was succeeded
by Mr. Costes Byzantios. Mr. Chourmouzios, let alone, turned to other useful occupations.
hrough his eforts, a music printing house was established in the Patriarchate, which pub-
lished a good amount of mele, those absolutely necessary to the chanters, releasing many per-
sons from the tiresome task of copying. Another graduate of the same school, Mr. Petros the
Ephesian, a proicient musician residing now in Bucharest, ofered a similar service.
2 he extremely clear and exact exposition of rhythm, the chronoi, the feet and the meters given
by such a learned musician, will, no doubt, be of special avail to the students of the poetic works
of our ancestors.

30
••••••••••••••••••••••••••

THE THEORY AND

PRACTICE OF MUSIC
FIRST BOOK

CHAPTER I
How Music is Deined and Subdivided

§.1.

Music is a science of melos and of things related to me-

los.1
§.2. Melos is a series of notes succeeding each other, pleasant to
hearing.2
§.3. Note is the musical attack of voice on one tension, that is, note
is the production of sound either by a human mouth or by a pipe or by
a string, that has one tension. Because a sound emitted by a string while
it is stretched, is not called a note, because it occurs on many tensions.
he sound attack, moreover, must be productive of melos since one
single sound emitted by a string with no respect to melos is not called

1 his is how Aristides deines music. Plato gives this deinition: “Music is the imitation of the
behaviour of virtuous or evil men”. Nicephoros Blemmydes deines music thus: Music is knowl-
edge of quantity deined in analogies. Hermes gives this deinition “Music is the order of all
things.”
In early times the nature, the subject, the latitude and the parts of music were greatly debated
upon; because to this name they gave a meaning much broader than we do. By the name of
Music they did not only mean the song, the poetry, the dance, but also, the study of all sci-
ences.; the Athenians, therefore according to Hesychios, gave to all the arts the name of Music.
his is why philomuses are called simply the philologers. he followers of Pythagoras and Plato
said that everything in the world is music. he philosophers also say: Divine music, Cosmic
music, Celestial music, Human music, Energetic music, Mental music, Representative music,
Instrumental music, Vocal music, etc.
2 According to Baccheios, melos is looseness and tension produced by musical notes.

33
note, but sounds emitted in vain. Notes are the subject or matter of sic, articulates the melos designated by the neumes, as taught to do.
music. Regardless of whether they are emitted by the human mouth, by Only the perfect musician, however, chants scientiically.7
wind, by string or percussive instruments, it is possible for good musi- §.8. Perfect is called the musician who is able to chant giving rise
cians to distinguish them precisely and discern them unfailingly. his to pleasure or grief, enthusiasm or languor, or impetus, or courage or
is why Aristides said that music is a science.3 fear or anything else that has the power to move the soul to any pas-
§.4. Melos is distinguished into what is called perfect and into im- sion. Moreover, he is able to compose, knowing precisely everything
perfect or melody. Melody is a rhythmless interweaving of notes dif- connected to melos; that is everything observed theoretically related
fering in height and lowness. Perfect melos though consists of melody, to melos: notes, intervals, tones, echoi, systems rhythms, harmony, text
rhythm and text.4 Sacred melos is called psalmody.5 etc.
§.5. We are aware of the two constituents of melos: the quantity §.9. Music is divided into theory and practice. heory is the knowl-
and the quality. he neumes therefore used to notate the melos are ex- edge of the matter of music; i.e., to know the relation between low and
amined in two ways in order to include all their aspects. high (by which the quantity of melos is learned), the relation between
§.6. Melizein is to invent melos and to adapt it to the words of a fast and slow plus the modes of generating the notes (by which the
troparion or a verse etc. writing it with music characters. quality of melos is learned) and the knowledge of the power bestowed
§.7. One sings or chants unartistically when, although ignoring the upon the neumes to write the melos.8
rules of music, he utters many notes succeeding each other and pleases §.10. Practice is the faculty that puts into application the princi-
the listeners.6 One chants artistically when, knowing the rules of mu- ples of theory; the ability, that is, to chant and notate music with the
neumes, using the matter taught.
3 his is how Euclides deines the note. Baccheios deines it thus: “Note is an attack of sound on
one musical tension”.
4 Aristides, Book I, p. 28. 8 Porphyrios let us another division of music, saying that it is divided into rhythmics, for dance
5 he name psalmody covers all ecclesiastcal mele, the asma, the ode, the kontakion, the tropar- movements; metrics, for the conclusions and the number; instrumentation, for the application
ion, the apolytikion, the hypakoe, the oikos, the sticheron, the ænoi, the makarismoi, the of instruments; poetics, for the harmony and meter of the verses; acting for the settings of the
kœnonikon, the cheroubikon etc. mimes; and harmonics, for singing.
6 When we relect on the satisfaction caused by music to one of the senses, namely to hearing, we One could also divide music into natural and imitative. Natural conines itself to the nature
see that it seldom happens an unartistically chanting person to be better liked than an artisti- of notes alone and does not take into consideration the meanings nor does it produce any
cally chanting one. It is though possible to ind the same melos pleasing to some and to others impressions on the soul; it only gives more or less agreeable feelings. Such is the music of the
not. his is especially true with listeners of diferent countries whose hearing is not accustomed psalmody, that is of the asmata, the odes and of all those which are nothing more than con-
to similar mele. Because indeed, every place has its own music, no matter whether abundant junctions of melodious notes; in general, all melodious music. But imitative music, with vivid
or not, which is liked by its natives only. herefore, the more a musician is occupied with the and intense twisting, or better said, with twisting that speaks, exposes all passions, paints all
knowledge and serious study of these diverse musical practices, the abler will he become to ind pictures, gives all the subjects, teaches the entire nature with its wise imitations and brings into
varied and eicacious mele, since the music of every nation is rich in some eicacy, depending the human heart feelings capable to stir it.
on the natural national inclinations. he actual French dances, for example, are graceful and Aristides divides the entire of music into theory and practice. He then subdivides theory into
light and instil the appetite for dancing with so much vitality as is suicient to give rise to natural and artiicial. He shows that there are two parts in the natural: the arithmetic and the
joy, but not to fatigue. he British dances, on the other hand, are exciting, being somewhat one that is synonymous to each of the genera; and three parts in the artiicial: the harmonic,
impetuous and instigate the dancer to running and dancing until he gets tired. As for the Polish the rhythmic and the metric. Practice, on the other hand, is separated into the application of
dances, they are modest and serious. It is indeed more charming to walk like the Polish do than the above mentioned and into their presentation. Parts of the application are Melopœia, rhyth-
to dance like them. mopœia and poetry; parts of the presentation are instrument playing, singing and acting.
7 Baccheios says: “A musician is one who knows about the concurrences of melodies.” he Europeans use to divide music into melody and harmony. hey call melody the melos
In early times the musician had to be a philosopher, a poet and one among the irst-order sung by one person only, whereas harmony, the melos sung by many persons, who do not all
men, because music had to be able to move the soul of the listeners to such passions as required hold the same ison [tenor] but one holds the deepest, the other holds the higher and another,
by the necessity of the times. his means that it should be able to “mould and modulate the one still higher. As for rhythm, it is considered by them a limited study, which forms a special
souls of the youths towards perfection.” Plut. branch of music.

34 35
 §.11. heory is subdivided into the knowledge of note relation- CHAPTER II
ships and interval sizes, including the practice of the neumes by which
On the Quantity of Melos
these are notated, and in the comprehension of time lowing in the me-
los, including the corresponding practice. he Ancient Greeks named
the irst subdivision harmonics, because it teaches what harmony §.14.
consists of, excavating up its foundations and discovering the ways in
which the notes dispose the ear pleasingly. he second, they named The quantity observed in melos is ascent, descent and equal-
rhythmic because it considers the notes in relation to time and includes ity. In the diapason system of the diatonic genus, ascent is a series of
the exposition of feet and rhythmic species, clearly stating which are notes, chanted with the following syllables in this order:
the long and short, the slow and fast parts of time. pa, bou, ga, di, ke zo, ne Pa.
§.12. Practice is subdivided into melopœia –which does not only
refer to the application of the various mele, but also to the making of §.15. Descent is a series of notes, chanted in the contrary to the
one’s own mele pleasing to the listeners– and rhythmopœia, which ascent’s order, thus:
gives the application of those rules that govern the adjustment of the
meter of beats and the rhythms to the notes of the melody, in order to Pa, ne, zo, ke, di, ga, bou, pa
bring into completion the perfect melos. §.16. Ascent is called also rising and stretching and sharpness; de-
§.13. he Ancient Greeks handed over to us three genera: the scent is also called descending and relaxing and gravity; this series of
diatonic, the chromatic and the enharmonic. he diatonic is the most notes is called a scale.
natural of the three, the oldest and the easiest. he chromatic is more §.17. Equality is called a series of notes, chanted on the same syl-
artful, more recent and more diicult.9 hey also handed over to us lable, neither sharpened or deepened, as,
three systems, the diapason, the trochos and the triphony.
papapa, or dididi, or zozozo

§.18. In order to sketch an example, in the form of a scale, the series

of notes, sharpened and deepened, here is a diagram; we chant on it,
starting by saying pa; ater that we come to bou; from bou we go to ga;
from ga, to di; from di, to ke; from ke, to zo; from zo to ne; and from
ne to Pa. And then from Pa we return to ne: and from ne to zo; and so
on until we reach the initial pa.
he diatonic scale on the Diapason system, where beginners learn
the quantity of melody.
9 “Every melos occurring in the hermosmenon is either diatonic, chromatic or enharmonic. First
and earliest should be considered the diatonic, because it is the one human nature meets irst.
Second is the chromatic. hird and most recent is the enharmonic because this is the last that
hearing gets used to, indeed, ater much efort.” Aristoxenos, Harmonic Elements, I.
“he most natural of the three genera is the diatonic because it may be sung by everybody,
even by the uneducated. Most artful is the chromatic because it is sung by the educated only.
Most precise is the enharmonic because it may only be transmitted among the most distin-
guished in music and is impossible to the many.” Aristides, 19.

36 37
 corresponds to re, then bou will correspond to mi and the rest will
correspond to the respective rest. he irst supposition seems more
convincing considering the instruments and what is more common in
practice.
§.22. When it is required to ascend over the seven notes, then we
chant more ascending notes, represented though with the same sylla-
bles, naming the eighth note Pa, the ninth Bou, and the rest as follows,
Ga, Di, Ke...
MARTYRIA §.23. When it is required to descend below the seven notes, then

NOTES
we chant more descending notes represented though with the same syl-
lables, naming the eighth lower note pa, the ninth ne and the rest as
follows, zo, ke, di, ga, bou, pa.
§.24. he ascent and the descent are called continuous when the
series of notes is constructed by notes that succeed each other directly,
as pabou gadi; or panezoke.
§.25. Overstepping are called the ascent and the descent when the
series of notes is constructed from notes that succeed each other indi-
rectly and the in-between notes are silenced, as pa di ne, or di bou zo.
§.26. Overstepping ascent and descent are diverse, but continuous
are unique. hat means that when two notes are continuous the quan-
tity of their distance is 1; but when two notes are overstepping, the
quantity of their distance might be 2 or 3 or 4 etc. So, the quantity of
§.19. In order that a beginner chants this scale correctly, he must be
the overstepping ascent and descent is calculated in the following way:
taught by a Greek musician, because the musician of a diferent nation
when two notes, pa and di, are given and the quantity of their distance
pronounces the notes diferently, due to his native language’s pronun-
is asked for, we look how many notes pa is away from di, on the scale,
ciation patterns, and is not using the intervals of the tonoi as we do.
and we ind three: pa, bou ga di; therefore the quantity pa di is three.
§.20. he letter a of the syllable pa means that pa is the irst note
Similarly, the quantity of pa zo is ive; and the rest is examined corre-
of the scale; the letter b of the syllable bou mean that bou is the second
spondingly; only the note from which the other notes are counted is
note of the scale; and the rest correspondingly.
not included in the calculation.
§.21. he Europeans represent their scale, that they also call Gam-
ma, with the following syllables:

la, si, ut, re, mi, fa, sol, La ;

and start chanting it from ut, pronouncing some notes like we do and 1 he diferences of notes we elucidate in the third Book. he seven syllables of the notes were
found by Gui from the acrostic of a hymn to St. John the Baptist. He used it in music the year
some diferently.1 If it is supposed that pa corresponds to la, then bou 1024 A.D., that is 268 years ater Ioannes Damascenos. It is however said that Gui used the six
will correspond to si and so on respectively; If it is supposed that pa syllables only and the seventh was added later. his was accepted by all musicians in Europe,
and with various additions made for the better, it is used up to our days.

38 39
 CHAPTER III note descending from the previous; and this what number one stand-
ing ater them denotes.
On the Neumes of the Notes
§.32. he Hyporrhoe shows two continuous notes descending
from the previous; this is what number two standing ater them de-
§.27. notes.
§.33. he Kentema shows the second note ascending from the pre-
The neumes that represent the notes of the melos writ- vious by overstepping; the Elaphron shows the second note descending
ten, that is the neumes by which the quantity of melody is written, are from the previous by overstepping; this is what number two standing
ten; they are written and named as follows: ater them denotes.
§.34. he Hypsele shows the fourth note ascending by overstep-
Ison 0 ping; the Chamele shows the fourth note descending by overstepping;
Oligon
Petaste
Kentemata
Kentema
Hypsele
1
1
1
2
4
} Ascending
this is what number four standing ater them denotes.
§.35. So, when writing a melody, for every equality we use the
Ison; for every continuous ascent, the Oligon, the Kentemata and the
Petaste; for every continuous descent, the Apostrophos and the Hyp-
orrhoe.
§.36. Overstepping ascent and descent because they are done in
Apostrophos
Hyporrhoe
Elaphron
Chamele
1
II
2
4
} Descending
many ways, are written with those same neumes, yet, not simple but
composite; because composition, applied in a speciic way, has the
power to augment the quantity of the neumes.

§.28. hey are divided into ascending, descending and neutral.

here is only one neutral, the Ison. here are ive ascending, the Oli-
gon, the Petaste, the Kentemata, the Kentema and the Hypsele. he
four remaining are descending, the Apostrophos, the Hyporrhoe, the
Elaphron and the Chamele.
§.29. he neumes themselves indicate the notes indeinitely, as
each neume might stand for every note; from the preceding note, how-
ever, they indicate it deinitely as will become clear in the following
§.30. he Ison shows neither ascent nor descent, but equality; this
is what the zero standing ater it denotes. It announces the previous
note.
§.31. he Oligon, the Petaste and the Kentemata reveal the irst
note ascending from the previous. he Apostrophos shows the irst

40 41
 CHAPTER IV hey are subordinated by the Ison and the descending neumes,
when put over them, thus:
On Composition of Neumes

§.37. 0 0 1 1 II II 2 2 4 4
Composition of neumes is to interweave them befitting- §.42. Here is a table, showing how composition augments the
ly, in order that they represent exactly the various quantities of the quantity of the neumes from one up to iteen. You should know that
notes (§.26.). As the grammarians compose letters in varied ways to the Arabic numbers denote overstepping and the Latin, continuity.
make syllables, similarly, the musicians connect the neumes between
them in varied but deinite ways, making up the compositions, by
which the written melos is perfectly notated.
§.38. Certain among the ten neumes may be written uncomposed,
that is by their own, and some cannot. Uncomposed may stand the
Ison, the Oligon, the Petaste and the Chamele. he remaining neumes
cannot be written alone; composed with others, they augment their
quantity, according to the position they happen to get.
For example, the Kentema, composed with the Oligon, if it is ater
it, thus , it shows the second overstepping ascending note; if
its is thus , the third.
§.39. he Oligon and the Petaste are subordinated by all the
neumes, except the Kentemata; a subordinated neume loses its quan-
tity and the quantity considered is that of the subordinating neume ;
for example, when the Hypsele is put on the Oligon, thus , the
quantity of the Oligon is lost and it is the quantity of the Hypsele that
counts.
§.40. When the Elaphron subordinates the Apostrophos, thus
, the two notes are pronounced continuously, and it is assumed
that a Gorgon is over the irst; it thus loses its power to descend by
overstepping.
§.41. he Oligon and the Petaste are subordinated by the Kentema
and the Hypsele in this position:

2 2 4 4

42 43
 CHAPTER V
0 0 01 11 II II 2 2
On the Parallage of the Diatonic Genus

21 3 4 41 5 51 6 61 §.43.

Parallage is to apply the syllables of the notes on the

neumes engraved, in such a way that when we see the neumes com-
7 8 9 10 11 12 13 14 posed, to chant the notes; indeed, as much do the polysyllable notes
diverge from the melos, that much do the monosyllable ones approach
it; because when one learns to pronounce the musical work correctly
in parallage, it suices to change the syllables of the notes with the syl-
15 lables of the words and he will be chanting it as melos.
§.44. For the act of the parallage you should know that before ev-
erything else in every melos stands a martyria, that shows what is the
0 0 1 2 3 4 5 6 7
initial note in order to determine the subsequent notes of the melody,
represented by the neumes. Ater the martyria stand the neumes of the
notes, that indicate equality, or sharpness or gravity, those two, either
8 9 10 11 12 13 14 15 continuous or overstepping. Whatever they denote, you should ob-
serve the quantity that the neumes have by themselves or by composi-
tion, and say the appropriate note. Lets show this in practice, irst in
1 II II 2 II 11 21 II 1 II II 3 continuity.2
§.45. In the parallage of the diatonic genus stands the martyria ,
that shows that the note pa is the beginning; and since the by standing
3 3 III III 4 IV 0 IV 5 6 neume shows equality, pronounce the note pa on the Ison. hen on the
two Apostrophoi, apply the two descending notes ne and zo; ater that,
on the three oliga, apply the three ascending notes ne pa bou; then
again on the two Apostrophoi, the two descending notes pa ne; and so
7 8 9 10 11 12 13 14 15 on do accordingly, until you reach the last note, pa.
he Parallage of the diatonic genus in continuity.

2 Below, we make a more extensive reference on the martyriæ.

44 45
 pa ne zo ne pa bou pa ne pa bou ga bou pa ga bou di ga ke di zo ke ne zo pa pa

pa bou ga di ga bou ga di ke di ga bou

zo ne ke zo di ke ga di bou ga pa pa

ga di ke zo ke di ga di ke zo ne zo
di bou ke ga zo di ne ke pa pa
ke di ke zo ne pa ne zo ke di ke zo

ke zo ga di pa pa ke bou zo ga
ne zo ke di ga bou pa bou ga di ga bou

ga di ke di ga bou pa bou ga di ga bou ne di pa pa di ne ga zo bou ke

pa ne pa bou ga bou pa ne zo ne pa pa pa zo bou ne ga pa pa ga

§.46. Now, in overstepping. Ater saying the ison pa, say ga for the
kentema, and bou for the apostrophos; for the kentema again, say di, ne bou zo pa pa ne bou pa pa bou
and for the apostrophos, ga, etc according to the quantities that match,
which you observe and obey to the end.
he Parallage of the diatonic genus by overstepping ne pa pa pa pa pa

§.47. So, if the composition of neumes shows the second, the third,
or the fourth etc. note, you should ind the corresponding natural note
and pronounce this alone by overstepping. In the pronunciation of the
overstepping notes great attention and enough practice is required, be-
cause the student has to acquire the facility of the following two: to
recognize the fourth, the ith etc. notes from the one given and to be
able to easily pronounce the note found. Both are acquired by continu-
ous exercise and long training.
§.48. Teachers train students in the parallage by writing under
the neumes the syllables of the notes. Since this is done for facilita-

46 47
tion rather perfection of learning, they should erase the syllables of the CHAPTER VI
notes and leave the neumes alone in order for the students to get used
On Intervals
to seeing the neumes and pronouncing the notes.
§.49. Every melos given to a student to study, should be irst learned
to be chanted in parallage with certitude and then, instead of the syl- §.50.
lables of the notes, to say the syllables of the melos’ words.
Interval is that which is contained between two notes
dissimilar in sharpness and gravity;3 meaning, that in the
notes di ke, there is sharpness when chanted di ke, but gravity, when
chanted ke di. hese may be seen empirically as diferent lengths of a
string. Because the string segment pressed on the pandouris4 in order
to give note di is longer that that pressed in order to give ke. here-
fore, if you imagine that you subtract from the longer segment, the one
emitting ke, the shorter segment, the one emitting di, the remainder
will be the interval of the two notes di ke.
§.51. In the continuous series of the eight notes of the diatonic
scale
pa bou ga di ke zo ne Pa,

the musicians distinguish seven intervals: pa bou, bou ga, ga di, di

ke, ke zo, zo ne, ne Pa; we name all these intervals tones; the ancient
Greeks named ive tones and two, the zo ne, bou ga, leimmata. Europe-
ans name two, the ke zo, bou ga, semitones and the rest, tones.
§.52. Tone signiies two things: the position on the string that
emits the note, and one of the seven intervals of the diatonic scale;
regarding its irst meaning it is deined by Euclid thus: tonos is a non

3 his deinition is by Euclid. Aristoxenos deines the interval thus: “Interval is that which is
bounded by two notes that have not the same tension.” Aristides, thus: “Interval is magnitude
of sound circumscribed by two notes.” Gaudentios the philosopher, thus: “Interval is what is
contained between two notes.”
4 Among the melodic instruments the one that seems the most convenient in teaching and is
considered the most suitable for a clear understanding of the tones, the semitones, and sim-
ply, of all the intervals, is the pandouris. It is also called pandoura and phandouros, and by us,
tambura or tambur. It has two parts, the body and the neck. On the neck may be fretted the
tones and semitones. Its is three stringed and the irst string gives the bombus [buzzing] of di;
the second string gives ga below it; and the third, pa below that. he strings are over the neck
without touching it and are stretched and loosened by the pegs. Pressed by the ingers of the
let hand on the frets of the tones, and plucked by the right hand with a plectrum, they emit all
the notes.

48 49
dimensional position of sound, susceptible to a system; regarding the CHAPTER VII
second meaning it is distinguished in three kinds: major tone, minor
On Symphony
tone and minimum tone.
§.53. he major tone’s ratio to the minor tone is as 12 to 9; its ratio
to the minimum tone is as 12 to 7. herefore, the minor tone’s ratio to §.55.
the major is as 9 to 12; its ratio to the minimum tone, as 9 to 7; and
consequently, the minimum tone’s ratio to the major tone is as 7 to 12 Symphony according to Euclid, is the simultaneous attack and
and to the minor tone, as 7 to 9. So, if we suppose that the interval of blending of two notes that difer in sharpness and gravity. his means
the major tone equals 12 lines, the interval of the minor tone will be that symphony is when two notes fall at the same time, and although
found equal to 9 lines and that of the minimum tone will be found one is sharper than the other, they form a unity; that is, when they at-
equal to 7 lines. tack the sense of hearing, although they are distinguished from each
§.54. Among the intervals of the diatonic scale other, they produce a feeling that is satisfactory in itself and pleasant,
that is, a consonance.
pa bou ga di ke zo ne Pa, §.56. he musicians, observing the efect of two notes that fall
simultaneously, distinguish their combinations in four kinds:5 Ho-
the interval pa bou is a minor tone; the interval bou ga is a minimum
mophonous, Symphonous, Paraphonous and Diaphonous. Homoph-
tone; the ga di is a major tone; the di ke is a major tone; the ke zo is a
onous are called two notes that do not difer to each other neither in
minor tone; the zo ne is a minimum tone; and the ne Pa, a major tone.
sharpness nor in gravity when pronounced simultaneously, as pa pa.
So, major tones are three: ga di, di ke, ne Pa; minor tones are two: pa
Symphonous are called two notes, that are pronounced simultane-
bou, ke zo; and minimum tones are two: bou ga and zo ne.
ously and the melos of the deeper is the same with that of the sharper,
and the melos of the sharper is the same with that of the deeper; in
other words, when the pronunciation of two notes implies in a way
their blending and their unity,6 as pa Pa.
Diaphonous are called two notes that are pronounced simultane-
ously and the melos of the deeper does not seem the same with that
of the sharper, nor does the melos of the sharper seems to be the same
with that of the deeper; when, that is, there appears no blending be-

5 One note, therefore, makes no symphony. he symphonies are according to Aristoxenos four:
diatessaron, ne ga; diapente ne di; diapason ne Ne and every symphonous interval added to
diapason.
6 his is what Gaudentios the philosopher says. Nicomachus the Pythagorean says: “the notes in
order to be Symphonous, should, when played together, create for the sense of hearing short
of one note, neither sharpness nor gravity being excessive and prominent; but appearing as if
such a blending occurs, where not one of the elements blended prevails over the other, nor the
power of each seems to prevail over the other, or to be lacking. Because if, when they are played,
hearing perceives the grave note or the sharp note better, this is asymphonous.”
“In symphonies, when the strings are plucked either simultaneously or successively, the sense
grasps the consonance pleasantly.” Plutarch

50 51
tween them when pronounced, like pa bou. CHAPTER VIII
Paraphonous are called two notes lying in between the Sympho-
On the Diapason System
nous and the Diaphonous; when played, they seem Symphonous, like
ne bou.
§.57. From the efect of note combinations, we know today of four §.59.
symphonies:
System according to Euclid is what is contained in more
the Diatrion, bou di 19
than one intervals. here are three systems; the Octachord, the
the Diatessaron, ne ga 28
Pentachord and the Tetrachord. he Octachord, called also Diapa-
the Diapente, ne di 40
son, contains seven intervals, that for us are tones, but for the ancient
and the Diapason, ne Ne7 68
Greeks, ive were tones, and two leimmata. he seven intervals are de-
§.58. hese four symphonies are conirmed with the following
limited by eight notes,
trial. When the thick string of some suiciently long four-stringed in-
strument is plucked, we hear the buzzing8, its octave and more sharper pa bou ga, di ke zo ne Pa.
notes in the following succession:
§.60. When the seven intervals of the diapason are doubled, pa
1 2 3 4 1/5 1/6 1/7 bou ga di ke zo ne Pa Bou Ga Di Ke Zo Ne Pa, the irst seven intervals
ga Ga ne Ga ke Ne bou belong to the diapason system, the seven next belong to the bisdiapa-
son; similarly, when they are tripled, the third group of seven intervals
hose notes, distinguished on the thick and long string, exist on
belongs to the trisdiapason.
every other string, but their symphonies are slightly perceptible.
§.61. Pa is the end of the diapason and the beginning of the bis-
diapason, where it holds the position held by pa in diapason for the
measurement of the interval pa bou. In the diapason, Pa is used for the
measurement of the interval ne Pa.
§.62. Because of the symphony that the notes of the diapason form
with the notes of the bisdiapason and the trisdiapason, and because of
7 he Diatrion was not classiied by the ancients among the symphoniæ. To the remaining sym-
the similarity of the intervals, we represent the notes of the diapason
phoniæ they gave the following numerical ratios, as reported by Gaudentios: “ he numerical
ratios found for the symphoniæ and in every possible way tested, are: of the diatessaron, epitri- and the bisdiapason and the trisdiapason with the same syllables. And
tos, as 24 to 18; of the diapente, sesquialteran, as 24 to 16; of the diapason, double, as 24 to 12; the irst note of the diapason is symphonous with the irst note of the
of the diapason plus diatessaron, diplasiepidimœros, as 24 to 9; of the bisdiapason, quadruple,
as 24 to 6. It is said that it was Pythagoras who initiated those discoveries.” bisdiapason and of the trisdiapason, the second is symphonous to the
Manuel Bryennios reports the following: All the notes that have a double and quadruple ratio, second, and so on.
are generally called symphonous, but speciically, antiphonous. he notes that have a sesquial-
§.63. he intervals of the notes of the diapason have to each other
teran and triple ratio, are generally called symphonous, but speciically, paraphonous. he notes
that have an epitritos and diplasiepiditritos ratio, are, both generally and speciically, called the ratios exposed (§.51 and 53). herefore, the tones of the diapason
symphonous.
8 Buzzing, according to Suidas, is called the sound of bees; it was also called buzzing a note due to 9 Euclid calls canon the instrument named today monochord. his was simply one chord
its gravity; a melos is also called buzzing, the one insisting on deep notes. Gerasenos Nicoma- stretched on a board, whose length was divided in such a way that all the intervals were easily
chus also makes up the word buzzier [bombykesteron]: “On either extreme of the bisdiapason,” shown.
he says, “ the voice is emitted with diiculty, appearing like hiccup at the netoeides [higher Claudios Ptolemaeos and Manuel Byrennios speak extensively on the section of the canon
extreme] and like coughing at the buzzier end.” See also (§.99.) and its division on the three genera and their species.

52 53
system are fretted on the canon or on the pandouris the following 1 8/9 22/27 4 3 11/18 9/16 2
way.9 Di ke zo ne pa bou ga di
As the string is suspended on two bridges, one on the neck, the
other on the body, write Di on the former and 0 on the latter, and di-
vide in nine parts the interval Di 0, and make a fret on the irst part
from Di, and write ke. neck
hen divide into twelve parts the interval from ke to 0 and making
similarly the fret, write zo.

bridge

bridge
hen divide into four the interval Di 0 and making the fret on the
irst part from Di, write ne.10
hen divide into nine parts the interval ne 0 and making the fret
similarly, write pa.
hen divide into twelve parts the interval pa 0, and making the
fret write bou.
Finally, divide into two parts the interval Di 0 and ater you have
made the fret and written di, divide into eight the interval di Di, make
the fret and write ga. his way, you have the tones of the diapason fret-
ted on the pandpouris.
§.64. he intervals of the bisdiapason’s tones are fretted on the
canon, by taking half the intervals of the diapason’s tones. his means
that the tone di ke of the bisdiapason requires an interval equal to half
the tone Di ke of the diapason; accordingly the tone ke zo of the bisdia-
pason requires an interval equal to half the tone ke zo of the diapason;
and accordingly for the remaining tones. he intervals of the trisdipa-
son’s tones are fretted by taking half the intervals of the bisdiapason
tones; and the tetrakis-diapason, in the analogous way.
§.65. he ratios to the entire string of the various lengths of the
string, whereupon the frets of the tones are made and where from is
emitted every note, are expressed numerically thus:

10 It is hereby shown that the intervals di ke, ke zo, zo ne have the ratios 12, 9, 7: as di ke : ke zo ::
1/9 :1/12, this is, 4/36 : 46. Consequently, 4/36 : 12 :: 3/36 : x, and 4: 12 . 36 :: 3 : 36x. herefore, 4.36x
= 12 .36. 3. therefore x = 9.
When it is assumed that the entire string equals 27, the fractions 27/27 which is 1, refers to
Di; the 24/27, which is 8/9, will refer to ke; the 22/27, to zo, and the 4 to ne. herefore, the 7/108 will
refer to the interval zo-ne, because 4 - 5/27 =27/108 – 20/108 = 7/108. Whence, since di-ke : zo-ne :: 1/9
: 7/108, then 1/9 : 12 :: 7/12.9 : x. herefore 1/9x = 12.7/12.9 = 7/9 and x = 7.9/9/1 = 63/9 = 7.

54 55
 CHAPTER IX
On the Trochos [Wheel]

§.66.

The pentachord, which is also called trochos, contains four inter-

vals, that to us are tones; to the ancient Greeks three were tones and
one, leimma. hese four intervals are delimited by ive notes
pa bou ga di Pa, according to us; according to the ancients
te ta tē to Te.
he ecclesiastical musicians represented these four interval, in as-
cent with the following four words annanes, neanes, nana, agia;11 in de-
scent, with the following, which are similar, aanes, necheanes, aneanes,
neagie. hose eight notes are called the notes of trochos.
§.67. he ecclesiastical musicians call trochos a method, by which
they ascend and descend diatonically the intervals of the pentachord, Here is also the melos of those notes:
with the eight words, or polysyllables mentioned.12
§.68. he trochos is constructed if in any circle four diameters in-
tersect each other; and on the end of one is written ; and on the a nna nes ne a nes na
end of the next, ; and on the end of the following, ; and on
the end of the fourth, , and then, on the opposite end of the irst
diameter is written ; of the second, ; of the third, ; of the na a gi a a a nes ne che a nes A
fourth, . 13

ne a nes ne a gi e A nna nes

11 On the polysyllable notes we are precisely informed in the parallage of the maistor Ioannes
Cucuzeles; on the notes te ta tē to Aristides speaks more extensively and explains the choice
of the vowels e a ē o and the preference of t from all the consonants.
he annanes derives from ἄνα ἄνες, that is ἄναξ ἄφες [king let]; the neane, from ναὶ ἄνες;
the nana from ἄνα ἄνα; and the agia from ἅγιε [saint]; the entire, ἄναξ ἄφες, ναὶ ἄφες ἄναξ ἄναξ 13 In the parallage we represent the monosyllable notes with one neume and one neume rep-
ἅγιε, being a wish addressed to God. resents one note. But in polysyllable notes, we do not observe one sharpness or gravity, that
Constantinos Porphyrogennetos says that the nana means Θεέ Θεέ [God God] and the each note emits, by one attack of the voice as deined (§.3.), but many. herefore, they are
agia, σῷσον δή [do save]. He also makes up a word composed from those two, nanaïa. not written with one neume, but many. For this reason, monosyllable notes were considered
he Arabs use as notes the following words: tanini, tanini, bakya, tanini, tanini, tanini more useful than polysyllable notes for the beginners, who should be instructed them and
bakya, that have much resemblance to our notes; so, either they derived their notes from ours, learn them in such a way that they get impressed in their imagination as a irm foundation.
or we from theirs. And ater they are suiciently trained in them, they might thereater be taught the polysyl-
12 he trochos under discussion is illustrated in all the old Anastasimataria; because it was be- lables, that are useful for a lot of things of which we talk later, but also in order to preserve the
fore everything else taught to beginners and they learned on it the ascent and the descent of Greek pronunciation of the monosyllables, and not confuse it with the pronunciation of the
notes and most mele of ecclesiastical music were composed on it, and the eight echoi of the Europeans. If the pronunciation of our monosyllables is bound with that of the polysyllables,
church were organized on it. it becomes more permanent.

56 57
 §.69. We chant those notes on the trochos, starting from and ta fa neanes zo
pronouncing it annanes, with the melos represented by its neumes;
then coming upon we pronounce it neanes with its melos; then
te mi annanes aneanes ke
coming upon we pronounce it nana with its melos; then we come
on , and pronounce it agia with its melos; and turning to the other to re agia neagie di
end, we ind and pronounce it aanes with its melos; then going
to we pronounce it necheanes with its melos; going then to tē ut nana aanes ga
we pronounce it aneanes with its melos; arriving on we pronounce
it neagie with its melos and from this point, we turn to the other end, ta si neanes necheane bou

and inding , we pronounce it annanes as said before. te la ananes aneanes pa

§.70. his way, we chant four notes in ascent and four in descent.
But if we wish to ascend more, then, coming to , we do not turn to to sol agia neagie ne
, but to and advance. And if we wish to descend more, when we
arrive to , we do not turn to , but to and go on to this direc- tē fa aanes zo
tion. If we want to ascend or to descend less than four notes, wherever
we happen to be, we turn to the opposite end. §.74. Annanes ascends a major tone; neanes, a minor tone higher
§.71. If I wish to ascend on the trochos, from or from I go from annanes; nana is higher from neanes a minimum tone and agia is
to , from or from I go to , and from or from I higher from nana a major tone. So the tones of the trochos are fretted
in this way on the canon or the pandpouris.
go to . If I wish to descend on the trochos, from or I go to
Since the string is suspended on two bridges, one on the neck, the
, from or I go to , from or I go to , and from
other on the body, write on the former and 0 on the latter; and
, or I go to . divide into nine parts the interval 0 and make the fret on the irst
§.72. Which of those eight notes of the trochos has the priority? part ater , and write .
Which comes second, and is it expected to receive its onset from the
hen divide into twelve parts the interval 0 and making the fret
irst? Well, generally speaking, no one, because no one exists without
in the same way, write .
an interval, which implies another note or tone; speciically though, all
hen divide into four parts the interval 0, that is the entire
of them because every one of them may become irst and second etc.
length of the string, and making the fret as before, write .
depending on one’s needs.
hen, divide into three parts the above length, 0, and making
§.73. So, pa in ascend is said annanes and in descent aneanes; bou,
in ascent, neanes, in descent, necheanes; ga, in ascent, nana, in descent, the fret as before, write ; this way you have the tones of the trochos
aanes; di, in ascent, agia, in descent, neagie, etc. as seen in this plate. fretted on the pandouris.
§.75. If you wish to have the tones of the second and third penta-
chords, you substitute with , and repeat what is said above, and
so on.

58 59
 §.76. he ratios to the entire string of its various lengths, delimited CHAPTER X
by the frets of the trochos, are expressed numerically thus:
On Certain Peculiarities of the Notes of the Trochos
1 8/9 22/27 4 3
§.77.

In the four intervals of the notes

two are considered major tones, ; one, , mi-

nor, and one, , minimum. So if it is required to descend one
or two major tones, we chant the three notes , annanes, nea-
gie, aanes; and shows one major tone, whereas shows two major
tones. If its required to descend two tones, one major and one mini-
mum, we chant the three notes , agia, aanes, necheanes;
and shows the major tone, shows the minimum. If it is re-
quired to descend three tones, a major, a minimum and a minor, we
chant the four notes , agia, aanes, necheanes, aneanes;
and thus the problem is solved. he same, but inverted, are observed
also in ascent.
§.78. When it is required to ascend one major tone, we chant the
two notes agia, annanes, , and shows the major tone. When
it is required to ascend three or four major tones successively, we chant
as follows:

agia, annanes, annanes, annanes, annanes;

where, the irst annanes is supposedly agia to the second, and so

does the second to the third, and so on. his way, we may ascend as
many major tones we are asked to.
§.79. When it is required to ascend from a given tone two tones, a
major and a minor, then, supposing that the one given is agia, we chant

60 61
 ity of the pentachords’ intervals we represent with the same words the
the three notes ; and gives the major tone, whereas , notes of the pentachords, no matter how many they are; the irst note
the minor. When it is required to ascend one minor tone, then, sup- of the irst pentachord is symphonous to the irst note of the second
posing that the one given is annanes, we chant with its melos and and the third and the fourth pentachords; its second note, to their
the problem is solved. If it is required to ascend two or three successive second notes and so on. So, in the diapason system symphonous to
minor tones, we chant , as follows: the irst note is the eight and the iteenth (§.62); but in the trochos
symphonous to the irst note is the ith and the ninth and the rest cor-
annanes, neanes, neanes, neanes; respondingly.
where, the irst neanes is supposedly annanes to the second; that §.82. When is Mese, then proslambanomenos on the trochos is
means that the syllable ne descends a major tone, a descends a major necheanes, the martyria of which is , while on the diapason, ke, the
tone and nes a minor tone; and the second neanes is supposedly an- martyria of which is . In this case, one note receives two martyriæ,
nanes to the third, and so on. So we are able to ascend as many minor . hese were combined to one, the , used when descending
tones too it is required.
from , supposedly , that is as if from nana.
§.80. When it is required to ascend from a given tone three tones, a
§.83. When mese is , then proslambanomenos on the trochos is
major, a minor and a minimum, we chant the four notes
aneanes, that has the martyria , on the diapason, the di, that has the
and give the solution. When one minimum tone is required, then, in
martyria . So, these were combined into the martyria , used as the
ascent, supposing that the tone given is , we chant with its me-
los; in descent, supposing that the given tone is , we chant one above, that is, when they descend from as if from , so that
with its melos and thus the minimum tone is shown. When it is re- shows the melos of neagie.
quired to ascend two or three successive minimum tones, we chant §.84. When proslambanomenos is , then mese will be on the
, thus: neanes, nana, nana, nana, nana; where the irst nana is trochos nana, that has the martyria ; on the diapason, mese will be
supposedly neanes to the second and so is the second to the third. Ne. So, two notes, ga and Ne have the martyria ; in order to distin-
In the trochos four interval are observed (§.66.). When doubled guish them, ga gets the martyria , and Ne the martyria .
or tripled, like that §.85. When proslambanomenos is , the mese on the trochos is
agia, and on the diapason, Pa. In order to distinuish the martyria of di
from that of Pa, di gets the martyria and Pa, . Conclusively, all
the martyriai of the diatonic genus amount to twelve,
the irst does not represent an interval by itself from some deeper
fore-standing note; it becomes representative of an interval for
; but the second is the end of the irst pentachord and the beginning
of the second; it represents both an interval for itself, from the previ- di ke zo ne pa bou ga Di Ke Zo Ne Pa
ous and, from itself, an interval for . hese peculiarities of the §.86. When the melos descends down to and ascends up to
second have also the third and the fourth . and does not go beyond those limits, it makes no diference whatso-
ever whether the parallage is applied on the trochos or on the diapason
§.81. Because of the diapente symphony (§.57.) and the similar-

62 63
 CHAPTER XI
system. But when it descends beyond or ascends above , then dis-
tinctions should be made. On Triphony
Because in the notes , if the parallage is applied
on the trochos, the irst interval is a major tone, the second minimum
§.87.
and the third, minor. But if its is applied on the diapason system, in
which case the martyriæ are , the irst interval is a The tetrachord, called also triphony14 contains three intervals,
that to us are tones, but to the Ancients the two were tones and the one
minimum tone, the second minor and the third, major. For this reason leimma. hese three intervals are delimited by four notes
the of the trochos was named barys. ne pa bou Ne

§.88. Triphony was chanted in ascent thus: neagie, annanes, ne-

anes, nana, annanes, neanes, nana, annanes and so on repeating the
same words and leaving out agia. In descent, it was chanted with these
words of notes, nana, necheanes, aneanes, neagie, necheanes, aneanes,
neagie and so on repeating the same notes and leaving out aanes. So,
one note representing a major tone in trochos, is let out in triphony
both in ascent and descent. herefore it could be said that annanes is
emitted in ascent and neagie is omitted in descent.
§.89. Descending triphony of is ; of , , not the
barys; of , and of , . Ascending triphony of is , of ,
and so on.
§.90. In this system symphonous to the irst note are the fourth, the
seventh, the tenth and the thirteenth; symphonous to the second note
are [the ith] the eighth, the eleventh and the fourteenth; symphonous
to the third note are the sixth, the ninth, the twelth and the iteenth.
§.91. When we conjoin the pentachord with the tetrachord, in
such a way that the last note of the pentachord is the beginning of the
tetrachord, we derive the diapason system

pa bou ga di, ke zo ne, Ke Zo Ne.

14 he octachord system is called by the Ecclesiastical musicians heptaphony; the pentachord,

tetraphony and trochos; the tetrachord system, triphony.

64 65
 Here, the ith note is symphonous with the eighth, the sixth with parts the interval 0, and make a fret on the irst part from and
the ninth and the seventh with the tenth, in triphony. But since the write .
notes ke zo ne are symphonous with pa bou ga in the Trochos, it fol- hen divide into twelve parts the interval 0 and making a fret as
lows that the Ke Zo Ne are symphonous with pa bou ga; he diapason before, write .
therefore is constructed thus: Ater that, divide into four parts the entire length of the string,
from to 0 and making the fret the same way, write ; thus you
have the tones of the triphony fretted on the pandpouris.
pa bou ga di, ke zo ne Pa Bou Ga §.94. If you wish to fret on the pandpouris the tones of the sec-
If we apply the same in descent, we have as follows : ond and the third tetrachord, you suppose that is and repeat the
above.
§.95. he ratios of the string’s various lengths - where the frets of
ke di ga bou, pa ne zo, Pa Ne Zo. the tones of triphony are made - to the entire string are expressed nu-
§.92. All these were conirmed by Ioannes Plousiadenos, and be- merically thus:
cause he found that they contributed to many aspects of music, he 1 8/9 22/27 4
composed an instructive treatise that he named Trochos of Ioannes
Plousiadenos, which is the source of the most commonly used series of
notes, indicated with these martyriæ: §.96. It is obvious that the tones of all three systems have the
same ratios, the reason being this: he diapason system is composed
of triphony and trochos (§.91.) So when the diapason begins with
di ke zo ne pa bou ga Di Ke Zo Ne triphony, the intervals of its tones are equal with the intervals of the
latter up to the point it extends; that is
ne pa bou ga di ke zo Ne
Pa Bou Ga di ke ne pa bou Ne
Here, ater neagie we ind in descent necheanes and not aanes; be- When it begins with trochos, then the intervals of the tones of the
cause is not barys; also, ater nana we ind in ascent annanes and two systems are equal up to the point that the trochos extents, thus:
pa bou ga di ke zo ne Pa
not agia. his entire series of notes is composed of triphony, from to
pa bou ga di Pa
; of trochos, from to ; of triphony again, from to and of §.97. One and the same note is possible to appear both as higher
and lower than the remaining notes, depending on its relation to them;
another trochos, from to .
thus among the notes , , , and , is lower than ,
§.93. In the notes of triphony, , three intervals are
observed, a major tone, a minor tone and a minimum tone. he tones and ; is lower than and , but higher than ; is lower
of thriphony are fretted on the canon or the pandpouris, in the follow-
than , but higher than and ; is the highest of all.
ing way.
On the neck of the pandpouris, where is the bridge , write and §.98. One and the same note is possible to appear as either higher
on the body, where is the other bridge, write 0; and divided into nine or lower of itself, under a change of system; thus: among the notes,

66 67
 , if we descend on the trochos, it will be found to be low CHAPTER XII
; if we descend on the diapason system, it will be found high On the Martyriæ of the Diatonic Genos
, the diference being one semitone. Similarly, among the notes
, if one ascends on the trochos, the interval is §.101.
found to be a major tone; if one ascends on the diapason, the interval The martyriæ, as has already become obvious in the foregoing
is a minor tone. (§.44, 45, 46.), stand as keys to the neumes by which melody is written,
§.99. A sound emitted by the human mouth or by a string, without because each neume might stand for every note and does not indicate
other higher tones to be predetermined, is called buzzing; it may stand on every point one only note. herefore, we use the martyriæ in order
in the place of every note in any of the systems. For example, in the tet- to uncover the starting point of the melody’s notes: in order to show
rachord system, if one frets on the canon the interval of a major tone, which is the note we start with, and thus determine the notes of the
then of a minor tone followed by a minimum tone, it is obvious that quantitative neumes of the melody.
§.102. he martyriæ are placed at the beginning of every melody,
the buzzing has the place of the note , the next of and the next
at various places in its course, and some times at the end. At the begin-
to this, , and the last, . If the intervals fretted are a minor tone, ning of the melody, the martyria is written in order to determine with
a minimum and then a major, the buzzing has the place of , the next the note it reveals, the notes of the succeeding neumes. For example,
at the beginning of the parallage, the is written, indicating the note
of , the next of and the last of . pa. his shows that the ison is pronounced pa, the apostrophos ne, the
§.100. Among the notes, some are called melodic and some are in other apostrophos zo etc.
prose. Melodic are the ones used by chanters and instrumentalists. In §.103. In the course of the melody the martytria is written for the
prose are the ones used by orators and by us in our speech. reason mentioned but also as a conirmation of one’s accuracy. Because
when a chanter comes across a martyria and inds that the note of the
last neume is the same with that of the martyira, he conirms that his
chanting is accurate and the writer correct. Otherwise, either the chant-
er has erred or the writer. In the mid of the melos “Κύριε ἐκέκραξα” of
the irst echos, for example, lies the martyria . If the chanter pro-
nounces ga on the neume before it, he is correct, if not, he is wrong.
he same purpose has the martyria when written at the end.
§.104. Since it appears that the original mele of psalmody were
four, the original martyriæ were also four:
.
All the rest derive from these, in the following way.
§.105. From are created: irst, the martyria of the neagie, that in
early times was written or , but we write it and represent only
the note ne by it; second, the martyria of the agia, that is of the tetra-

68 69
 §.109. Within the diatonic genus itself, the diferent systems have
phony, a ith higher, which in early times was written but we write diferent martyriæ. For example, the note an octave above the is indi-
and represent note di by it; then, the martyria of the ninth above it,
cated by the martyria when the melos is in the diapason system, but
that we write and represent the note Pa by it; next, the martyria of when it is in the trochos, the same note is indicated by the martyria ,
the twelth above it, which we write representing Di by it; next, of because the requires ascent of a minor tone, though the requires
the note a fourth below, that we write and represent the di by it; ascent of a major tone. he same is understood for the and the .
and inally, of the octave below ne, written . §.110. Within the diatonic genus itself, the phthorai too alter the
§.106. From are created: irst the martyria of the aneanes, that martyriæ. When the phthora of the nana is put upon di for example,
in older times was written or but we write and represent only the martyria of this note becomes . he melos is, nonetheless, always
the note pa by it; next, of the annanes, or else, of the ith above, which indicated by one of the four original martyriæ. he consonant letters
in early times was written but we write and represent the note of the seven syllables of the diapason’s notes indicate the distance from
ke by it; then, the note one octave above it, which we write and the ison. For example, the of the martyria indicates that the me-
los is nana and indicates that the interval is a ith from note ne.
represent the Pa; next, of the twelth above it, which we write and §.111. A melody is called netoeides when it expands in the area
represent the ke by it; next of the note a fourth below, that we write of high notes. It is called hypatoeides when it expands in the area of
low notes. It is called mesoeides when it expands in the area of the in
and represent the ke by it; and inally, of the octave below, written between notes. Consequently, some of the martyriæ are said to be of
and representing the note pa. netoeides melody, some of hypatoeides and some of mesoeides. Here
§.107. From are created, irst the martyria of the necheanes, you have two plates containing the martyriæ.
that in early times was written but we write and represent
only the note bou. hen, the one of the nechanes a ith above it, which
in early times was written but we write and represent the note Octaves below
zo by it; then of the octave above it, that we write and represent
Fourths below
Bou by it; next, of the twelth above it, that we write and represent
Zo by it; then again the one of the fourth below it, that we write Twelths above
and represent the zo by it; and again the one of the octave below, that
we write and by which we represent the bou; inally, the martyria of Octaves above
the eleventh below it, written and indicating the zo, because the
having no peculiar melos to itself, is included in the . Fiths above
§.108. From are created, irst the martyria of the nana, written
in early times , though we write , with which we represent First
only the note ga; then, of the ith above it, that we write , by which
Initial
we represent Ne; next, of the octave above it, that we write and
represent Ga; and inally, of the octave below it, written and rep-
resenting ga.

70 71
72

he martyriæ of the he martyriæ of the he martyriæ of the

Hypatoeides melody Mesoeides melody Netoeides melody
••••••••••••••••••••••••••

SECOND BOOK
CHAPTER I
On the Quality in Melody

§.112.

If musicians were examining melody only regarding

height and lowness, their research would be dealing with the
quantity of melody alone.15 Since, however, they examine melody also
as regards fast and slow, strong and weak, large and small, smooth and
rough and many others as well (because, when a big stroke or blow falls
in the surrounding air and hits it at many parts, a big sound results;
when the blow or stroke is small, the sound too is small. When the
stroke or blow falls evenly, the sound is smooth; when unevenly, it is
rough. When it falls freely, the sound is strong; when it meets obstacles,
it is weak),16 their observation was expanded and included the quality
of melody as well. Quality relates to those occurrences that happen in
the air and is perceived by us as time and the modes of generating the
notes.
§.113. Time and the modes of generating the notes are the ele-
ments that can explain the quality of melos. When the notes repre-
sented by neumes are not linked with time-indications, they resemble
the syllables of the grammarians, which make no sense unless employed
in words. So, time is what links the notes together and brings them to
the status of words. he modes of generating the notes distinguish the
words from each other, in order that each will enunciate its particular
signiicance. Because, as the “writes, come in”, “writes: coming”, “writes
coming”, “rights come in”, “right’s coming” have all the same sound, but

15 It appeared that the diference between lowness and height is a kind of quantity. Claudio
Ptolemaeus Chap. III, 7.
16 See, Gerasenos Nicomachus, Book I, 8.

75
the manner of pronunciation, due to the spelling, the punctuation or CHAPTER II
anything else that distinguishes them, in the same way, the modes of
On the Hypostaseis
generating the notes distinguish the words of notes from each other.
§.114. Time, according to the philosophers, is measurement of an
object’s motion. While a melos is recited, let the hand or the foot of §.116.
the musician move up and down hitting on the knee. Measuring the
hand’s motion, time is rendered. Time spent from one hit to the next is Short note is called the one that spends one chronos;
calculated as one chronos. long note is the one that spends many chronoi. Since it oten happens,
§.115. Each neume revealing one note, spends one chronos. he though, one note to spend many chronoi or one chronos to require
hyporrhoe which indicates two consecutive notes, spends two chronoi many notes, certain signs have been used to determine all this. hese
and each of its notes gets one chronos. signs are written below or above the neumes of the notes. It is these
signs that were named hypostaseis.
§.117. It follows that hypostasis is a soundless musical sign, which
notates the quality of the melos and is written below the neumes of
the notes, that is, it is subscribed to the neumes, though it might be
also super scribed. It is, in other words, a sign used by musicians not to
represent the notes, but in order to discern the neumes of the notes and
perfect their composition, so that they will obtain the power to write
the melos as the quality demands.
§.118. Among the hypostaseis, some are in-time [enchronoi] and
some timeless [achronoi]. he timeless are modal; they write, that is,
the modes of generating the notes. he in time are the following:
Haple
Clasma
Gorgon
Argon
§.119. he haple is written and is worth one chronos. It becomes
diple [double] when two chronoi are required, triple , when
three chronoi are required, tetraple [quadruple] when four chro-
noi are required, pentaple [quintuple] , when ive chronoi are
required and hexaple [sextuple] when six chronoi are required.
To whichever note the haple is subscribed, this note spends two chro-
noi, one for its own neume and one for the haple. he haple is sub-
scribed to the hyporrhoe and causes delay to its second note. It is
also subscribed to the sort of apostrophos that may receive a gorgon
and to the antikenoma . he note of any neume
subscribed by the diple spends three chronoi. he diple is subscribed

76 77
to all the neumes except to the kentemata, since they never spend more . When the irst and the second notes spend a quarter each
than one chronos. he note of any neume subscribed by the triple, the
and the third note, half, it is written . When the three notes
tetraple, the pentaple and the hexaple, spends the analogous chronoi.
hese signs are subscribed to the same neumes as the diple. When writ- divide the chronos equally among them, each receiving one third of
ten apart from the neumes with a bareia, the haple signiies one chro- it, then, number 3 is written ater the digorgon, thus . his
nos of silence, the diple, two chronoi of silence, the triple three chronoi means that the chronos is divided into three instead of into four.
of silence etc. §.124. Such distinctions do not apply on the trigorgon, since it
§.120. he clasma is written and is worth one chronos. It is put is assumed that the chronos is divided into four and that each note
on all the neumes except the hyporrhoe and the kentemata, because the spends a quarter of the chronos. As regards the tetragorgon and the
hyporrhoe receives the haple instead of the clasma, and the kentemata pentagorgon, if they are ever met, their speed does not permit such
are never delaying, as said before. he note of the neumes, which bears distinctions to be made.
the clasma, spends two chronoi and during the delay the voice waves, §.125. Conclusively, the gorgon gives to the note of the neume on
so to say. which it is put, the value mentioned. It deprives the previous neume of
§.121. he gorgon is written and is worth half a chronos. When one quarter of the chronos, when it is hemigorgon; two quarters, when
it is required that two notes spend together one chronos, the gorgon is it is gorgon; and three quarters, when it is trihemigorgon. In the case
put on the second neume, thus . When it is required that three of the digorgon, the one written deprives the previous note of two
notes together spend one chronos, then it becomes digorgon and is put quarters of the chronos, the one written or of three quarters
again on the second neume, thus . When it is required that and the one written of two thirds of the chronos.
four notes together spend one chronos, then it becomes trigorgon and §.126. he argon is written . It is worth one chronos. It is put
is put on the second neume again, like ; and so on. upon the kind of the oligon under which stand the kentemata
§.122. he gorgon is distinguished in a threefold manner: the half,
and it requires that the oligon together with the kentemata will spend
the whole and the sesquialteran. In order to demonstrate this, let us
one chronos and the argon itself one more chronos. A gorgon is also
suppose that the chronos spent by the two notes indicated by these two
implied in this case, since the two neumes together spend one chronos.
neumes , is 4. When it is required that the oligon spends 3
When three chronoi are required, the argon is doubled and written .
and the ison 1, then the is put on the oligon, . When it is
When four chronoi are required, it is tripled and written .
required that the oligon spends 2 and the ison also 2, the is put upon
§.127. When a neume has both a gorgon and an haple, like
the oligon . When it is required that the oligon spends 1
, then the gorgon acts irst and the haple ater. hat means
and the ison 3, then the is put on the oligon . he irst
that since this position requires two chronoi, it is realized in two beats.
of these, the , is called hemigorgon; the second, the
At the irst beat comes the note of the ison, spending half the chronos
, is called gorgon and the third, the , trihemigorgon. and the note of the apostrophos spends the remaining half up to the
§.123. he digorgon is distinguished in a fourfold manner: When second beat. At the second beat, the note of this same apostrophos is
the irst note spends half the chronos and the rest two notes, the other sustained during the second chronos required for the haple. he same
half (that is, the second and the third a quarter each), the digorgon is
happens when the neume has a digorgon and a diple, thus .
written . When the irst note spends a quarter of the chro-
nos, the second note, half and the third note, a quarter, it is written During the irst crhonos the three notes are spent, while during the

78 79
next two chronoi of the diple, the sound of the second note of the hy- CHAPTER III
porrhoe is sustained.
On the Timeless Hypostaseis
§.128. No sign is required to indicate the tempo as long as it is kept
the same in the course of a melos. When, however, it is changed from
fast to slow it is indicated with the , which asks for double the speed. §.129.
When it is changed from slow to fast it is indicated with the , which
shows that the retardation is redoubled. The timeless hypostaseis, by which is not written time, but the
mode of generating the notes, and are for that reason called modal, are
seven.
the Bareia
the Homalon
the Antikenoma
the Psephiston
the Heteron
the Stavros
and the Endophonon

§.130. Wherever one of the seven hypostaseis is written, we dis-

tinguish the mode of recitation hereby described. he bareia calls for
the note of the neume that lies ater it to be pronounced with certain
weight, so that the vitality of this note will be distinguished both from
the previous and the following notes. he bareia is subscribed to all the
neumes except the kentemata.
§.131. he homalon calls for a waving of the voice to occur in he
larynx together with a certain heightening of the note of the neume
to which it is subscribed. It is subscribed to all the neumes except the
kentemata, the petaste and the hyporrhoe.
§.132. When the antikenoma is subscribed to an oligon which
is followed by a descending neume, it calls for the sound to be pro-
nounced with a push. When under the antikenoma is put an haple
, a diple , a triple with a descending neume next to
it, the sound is pronounced in a way suspended and non-separated. he
antikenoma is put under all the neumes, except the kentemata. It is put
before all of them except the hyporrhoe.
§.133. he psephiston calls for a certain power and vitality to be

80 81
given to the notes of the neumes it is subscribed. It is put under the ison CHAPTER IV
and the ascending neumes that stand before descending ones, except
On the Diferences in the Interpretation of the Neumes’ Notes
the kentemata.
§.134 he heteron links ascending with descending neumes, an ison
with an ison, as , an oligon with an ison, as or §.137.
an apostrophos, an elaprhon and a chamele with an ison, as Ancient ecclesiastical musicians, observing with curious eyes
. he notes are pronounced in a way smoothly the interpretation of notes, expanded it to include many modes. hey
and weakly connected. considered, therefore, reasonable to represent the mele with as many
§.135. he stavros calls for the sound of the note ater whose neume modes of interpretation they were able to discover. Otherwise, as the
it lies, to be interrupted, so that the sound of the next neume will be famous writer on ecclesiastical music Gabriel Hieromonachos believed,
taken with a new breath. the seven neumes (the ison, the oligon, the kentema, the hypsele, the
§.136. he endophonon calls for the note of the neumes to which apostrophos, the elaphron and the chamele), were suicient to repre-
it is subscribed, to be pronounced from the nose. When the neume hap- sent any quantity of melody. So, they increased the neumes in order to
pens to have a time-sign as well, the time is similarly spent. During the write some of the quality of melody too. Consequently, a diference
delay, that is, the sound comes out through the nose, as in . in the rendering of the notes is observed among the neumes by which
the quantity of melody is notated, since the note of the oligon, for ex-
he ancients used more timeless hypostases, which did not repre- ample, is rendered in one way and the note of the kentema in another.
sent the modes of generating the notes, but a whole melody. We shall §.138. he oligon calls for the voice to ascend disconnected.
speak about these in connection with melopœia. Whenever, therefore, continuous tone-by-tone ascent of notes which
are susceptive of syllables is required, it is represented in the notation
with the oligon only. When the oligon is subordinated to the ison or
the descending neumes, its note is pronounced more vividly.
§.139. he petaste calls for a rise of the voice a little higher from the
natural pitch of the tone at hand. It preserves this peculiarity when it is
also subordinated by the ison and the descending neumes. he petaste
is put by itself before a descending neume. It is put with a clasma before
many descending neumes.
§.140. he kentemata call for the voice to be continuous and their
note not to be disconnected from the previous or the following note.
When written above or below the oligon, they do not correspond to
a syllable of a meaningful word. If in this position there happens to
be a gorgon, it is understood for the kentemata; on the beat, that is,
is pronounced the note of the oligon and not of the kentemata, as in
. If there happens to be an argon, thus , the ken-
temata are included again in the half chronos of the previous note and

82 83
on the beat is pronounced the oligon, which spends two chronoi. he §.143. he kentemata and the hypsele have no peculiar to them-
analogous is understood when there happens to be a double or triple selves quality. Instead, they receive the quality of the oligon or the
argon, as well as an hemigorgon or a trihemigorgon. It should also be petaste, on which they lean, like on bodies. When it is required that the
known that the kentemata are not put at the beginning nor ater a pet- ison, which is pronounced in one way only, receives a diferent quality,
aste, but between the other neumes, and that the kentemata do not we notate this quality with the hypostaseis.
replace the oligon, although the oligon may replace the kentemata, in
cases that give rise to confusion, such as . Because the
kentemata are here confused with the kentema, they give their place to
the oligon, so that this thesis, is written . he
same happens in other similar situations.
§.141. he apostrophos, the elaphron and the chamele call for the
voice to descend disconnected. hey all correspond to syllables. When
the apostrophos is subordinated to the elaphron, it creates continuity
between its two notes, on the irst of which a gorgon is understood.
he irst note does not correspond to a syllable of a meaningful word,
though the second, which is pronounced on the beat, does correspond
to a syllable.
§.142. he hyporrhoe calls for its two notes, as well as the pre-
vious one, to descend continuously and with one breath. It there
happens to be a gorgon, a hemigorgon or a trihemigorgon, it is un-
derstood for its irst note while on the beat of the chronos is pro-
nounced its second note. Neither the irst or second note correspond
to a syllable of a meaningful word. he hyporrhoe is analyzed thus:

It should be known also that the hyporrhoe, like the kentemata, is not
put at the beginning of a melos, but it comes ater some previous neume.
It may come ater any neume, except the kentemata. It is moreover su-
perscribed to the oligon and the petaste, in which case, it subordinates
them. he apostrophoi do not replace the hyporrhoe, nor does the hy-
porrhoe replaces the two apostrophoi, unless some syllable impedes. In
such a case, the hyporrhoe is analysed into two apostrophoi, on the irst
of which is put the gorgon.

84 85
 CHAPTER V
On rhythm

§.144.

Rhythmics is the science of the application of all said

about rhythms.17 A rhythm is a system composed of chronoi in
certain order. It is characterized as fast and slow. Four elements are ob-
served in rhythm: the thesis, the arsis, the noise and stillness. hesis
is the impetus of a body downwards. Arsis is the impetus of a body
upwards. Noise is the striking of the body. Stillness is the stopping of
the body.18
§.145. Rhythm is created with the occurrence of any motion
which maintains a set order and with the measurement of the chronoi 17 Greeks in old times honoured rhythmics and everything concerning the instrumental dialects
spent during it. For example, the tympanist plays rhythmically when was then more varied. he Greeks are fond of learning nowadays, but then they were fond of
his beats upon the instrument preserve a determined order of the rhythm. (Plutarch)
18 his deinition of rhythm is encountered in Aristides. Some say that he got it from Phaedrus.
chronoi. When the time spent during the beats is measured, whenever According to Leophantos, rhythm is a composition of chronoi which are considered as re-
the rhythm is repeated with the following four: thesis, arsis, noise and gards the analogy and symmetry to each other. According to Baccheios, it is the measurement
of time of any motion that occurs. According to Aristoxenos, it is time divided by any element
stillness, the time of every rhythm is found to be equal and similar.19 which can contribute to rhythm. According to Nicomachus, it is an orderly composition of
Rhythm is observed at tympanists, at hand-clapping and at dancers, chronoi. According to Didymos, it is musical order in accordance with harmony. According
since when the slow and fast arsis and thesis of the feet occurs with to Ioannes Alexandreus, it is time-extension, time-contraction and their symmetry. Rhythm
is understood in three ways: the term is used for motionless objects, like when we say that a
certain order or certain proportion to each other, there is rhythm. It is statue has rhythm; it is also used for everything movable, like when we say that some one is
said that the hammering of the blacksmiths when they drop the ham- marching in good rhythm; it is also used for voice, like when we say that some one’s chanting
has good rhythm. It is this latter that we are going to discuss here.
mers upon the anvil with good order is also rhythmic. he inventors of rhythms were Archilochos, Olympos, Orpheus, and others. It is said
§.146. Rhythm is perceived with three senses: sight, as in dancing; that the invention of rhythmopœia was made at the same time with that of poetry. Some
hearing, as in chanting; and touch as in when feeling the pulsations of say though, that rhythmopœia preceded epic poetry, because, they say, the epic poets irst
observed the fast and slow arsis and thesis of the feet and by conveying these, they made the
the arteries. Musical rhythm however is only perceived with sight and similar combinations of syllables, which we borrow for the creation of the meters. For this
hearing. In music, rhythm applies to the motions of the body, to the reason, these combinations were called feet. In the past, rhythm was by some called masculine
and melody feminine, because melody is passive and formless and stands, in its relation to its
melody and to the text. here are ive parts in rhythmics: one concern- opposite, as matter. Rhythm though, moulds the melody and moves it to set order. It stands
ing the chronoi, one concerning the species of the feet, one concerning as the creator to its creation.
the tempo of the rhythms, one concerning the transformations and one 19 Musical instruments, such as lyres, auloi, phorminges etc., are melodic because on them high
and low notes are distinguished. he guitar, the cembalo and the like are harmonic, because
concerning rhythmopœia. Matter of rhythm are the chronoi, as matter they emit the notes harmonically. he tympana, dumbelekia, teia and the like are rhythmic.
of melody are the notes. We start, therefore, with the chronoi. How is it that the sound emitted by rhythmic instruments is pleasing to hearing, while
it neither rises or falls in pitch? Simply, it is said, because it has a perceptible and ordered
number and moves our soul, through the sense organ, with a determined and comprehensible
order, rhythm expands within an area that permits the mind to comprehend - through hear-
ing - the order of this rhythm.

86 87
 CHAPTER VI other. Among the rhythmic chronoi, we observe three ratios: the equal,
the duple and the sesquialtera.22 One chronos compared to itself gives
On the Chronoi
the ratio of equality, like 0 1. Here, the thesis compared to the arsis,
shows the equality of the chronoi. Two chronoi compared to one give
§.147. the double ratio, like 0 0 1. Here the two theses compared to the one
arsis appear to have double the time. hree chronoi compared to two
We call minimum chronos the one we perceive as atom: give the sesquialteran ratio, like 0 0 0 1 1.
the irst to be perceived by the sense, considered indivisible. In early §.152. Between the beats of the arsis and the thesis we observe
times it was also called short and was notated with the υ. Compound noise and stillness. Noise is emitted simultaneously with the beating
is called the chronos that is divisible. Among the compound chronoi on the tympanum and lasts until a second beat occurs. he duration of
one is double the minimum and was also called long and notated with noise should be as required by the chronos. his duration is the result
the -, one is triple and one is quadruple. he rhythmic chronos goes up of the stopping of the hand and it is what we call stillness. We pro-
to quadruple only. nounce noise as said, with doum and tek. heir pronunciation during
§.148. Some among the chronoi, the ones running faster than the the chronos is equal to the predetermined duration of noise. Stillness
regular, are called circular, others, the ones that use composite notes is not pronounced, but it holds the hand motionless as long as noise
and delay more, are called excessive. Among all the chronoi, some are requires, minus half a minimum chronos; then, the other hand starts
called rhythmic, some arrhythmic and some rhythmoid. Rhythmic are to be lited.
the ones that preserve with each other an order in some ratio. Arrhyth- ∙
§.153. In order to show that with an example, let us beat this foot 0
mic are the completely unordered ones. Rhythmoid are the ones that ∙ ∙
1 0 . he right hand beats the long chronos of the thesis 0 on the right
stand in between. his means that they possess part of the order of the knee and with the pronunciation of the doum, noise starts. hen, the
rhythmic and part of the disorder of the arrhythmic . right hand becomes still until double the chronos is spent and the noise
§.149. he chronoi are measured with the thesis and the arsis. of the thesis stops and the let hand is lited when its chronos is over
When the minimum chronos is on the thesis, it is notated with the 0, ∙
0, in order to beat right away ater the ending of the double chronos
when it is on the arsis, it is notated with the 1. On the thesis we beat ∙
of 0 , by falling on the let knee and to initiate the noise of the arsis 1.
the right knee with the right hand and on the arsis, the let knee with And the let hand is still, and the right hands is lited in order to beat
the let hand.20 As a rhythmic exercise for the beginners, we pronounce the right knee ater the completion of the one chronos of 1; when the
the beat of the thesis doum and that of the arsis tek.21 ∙
right falls also in order to beat the noise of the thesis 0 , then, there is
§.150. he minimum chronos has its sign non-dotted, like 0, 1; the
∙ ∙ stillness.
double is dotted with the haple, like 0 , 1 , the triple with the diple, like
∙∙ ∙∙ ∙∙∙ ∙∙∙ §.154. It follows that when two similar and isochronal signs are
0, 1, and the quadruple with the triple, like 0 , 1 . his way, the length of ∙ ∙∙∙
adjacent, as in 0 0 1 1 , the stillness of the irst thesis is shorter than that
any chronos is shown.
of the second. Because for the irst thesis it is required to lit the hand
§.151. Ratio is the relation of two dissimilar magnitudes to each
in order to beat the second thesis and thus cease the stillness, whereas
20 One might now ask: “Since it is an arsis, why do we beat on the knee?” Indeed, in early times the second thesis lasts during itself and the two next arses. he same
rhythms were practiced in a diferent way, but we, being ater facility, follow the way it is done occurs with the two arses.
today.
21 Doum and tek are Ottoman words. Such syllables are pronounced until the student has prac- 22 By magnitude is here understood the time-lengths of the arsis and the thesis, whence the dis-
ticed the rhythms well. Later, such pronunciations are given up and, instead, the syllables of similarity of the equal ratio is established. he
∙∙ ∙∙∙ sesquitertian ratio is also added by some. his
the song are said. results when the 3 is compared to 4, like in 0 1 .

88 89
Another Random Scribd Document
with Unrelated Content
Le Français de Lalande (see Lalande)
Le Gobbin, i. 55
Legouvé, Gabriel Marie Jean Baptiste, iii. 23
Leibnitz, Gottfried Wilhelm Baron
von, iv. 292
Leiberich (see Mack von Leiberich)
Leigh, Hon. Augusta Ada Byron, Mrs., ii. 136
Le Jay, the bookseller, i. 176
Le Jay, Dame, i. 176
Lelièvre, the boatman, iii. 16
Lemaire (see Cauchois-Lemaire)
Le Maître, M., ii. 191
Lemercier, Louis Jean Népomucène, ii. 187;
iii. 68-69
Le Metel (see Boisrobert)
Lemierre, Antoine Marie, ii. 99
Lemierre, Auguste Jacques, ii. 99, 157
Lemoine, M., v. 319
Lemontey, Pierre Édouard, iv. 44; v. 230
Le Motha, Captain, v. 129
Lemoyne-Saint-Paul, Paul Lemoyne,
known as, iv. 285
Lenclos, Anne, known as Ninon de, ii. 100
Lenglet-Dufresney, Abbé Nicolas, vi. 78
Lenoir-Laroche, Jean Jacques Comte, ii. 195
Lenormant, Charles, iv. 180, 299;
v. 85, 200, 261
Lenormant, Amélie Cyvoct, Dame, i. 5;
iv. 180, 188, 234, 299; v. 85,
197, 261; vi. 237, 258-261
Le Normant, the publisher, ii. 181;
iii. 91, 103, 133; iv. 7, 15-16;
v. 122
Le Nôtre, André, vi. 241-242
Leo I., Pope Saint, ii. 185
Leo III., Pope, ii. 32
Leo IV., Pope Saint, v. 11
Leo X., Pope, iv. 226, 228; v. 14, 58, 273
Leo XII., Pope, ii. 238, 247; iv. 232,
234-235, 238, 287, 290-290, 299-303;
v. 1-5, 7-8, 15, 18, 20, 23, 31, 36-37,
53, 316, 373, 384
Leo XIII., Pope, v. 57
Léon, Bishop of Saint-Pol-de-Léon,
Jean François de La Marche, Comte de, ii. 103
Leonardo da Vinci (see Vinci)
Leonidas I. King of Sparta, i. 216; iv. 298
Leonora of Este, Princess, v. 330; vi.
82-84, 87, 92, 100
Leonora (see also Castellani)
Leopold I. Duke of Austria, v. 377
Leopold I. King of the Belgians, v.
323, 381; vi. 118
Leopold I. the Emperor, iv. 37
Leopold II. the Emperor, ii. 9; vi. 114
Léotaud, the gaoler, v. 252-253
Léotaud, Dame, v. 252
Lepeaux (see La Revellière-Lepeaux)
Lepelletier, the committee-man, v. 126
Lepelletier d'Aulnay (see d'Aulnay)
Lepelletier de Saint-Fargeau (see Saint-Fargeau)
Le Prestre de Vauban (see Vauban)
Leprince, Abbé, i. 44, 57, 63
Lerminier, Jean Louis Eugène, vi. 10
Leroux, Pierre, v. 95, 260
Lerva, Gendarme, ii. 262-263
Le Sage, Alain René, ii. 81, 332
Lescarbot, Marc, i. 232
Lescourt (see Maillard de Lescourt)
Lescure, Louis Marie Marquis de, ii. 107
Lesdiguières, François de Bonne de
Créqui, Maréchal Duc de, vi. 19-20
Lesseps, Ferdinand Vicomte de, vi. 223
L'Estoile, Pierre de, i. 175; ii. 15; v.
104, 187-188, 239
Le Sueur, Eustache, ii. 309
Le Sueur, Dame, ii. 309
L'Étang (see Dupont de L'Étang)
Leuchtenberg, Prince d'Eichstadt,
Viceroy of Italy, Eugène Vicomte de
Beauharnais, Duc de, ii. 261; iii. 17; iv.
165-166, 191; v. 103
l'Eure (see Dupont de L'Eure)
Levasseur, M., v. 96
Lévis, Gaston François Christophe
Victor Duc de Ventadour and de,
iii. 140-141; v. 268
Lévis, Marie Cathérine Amande
d'Aubusson de La Feuillade, Duchesse
de, iii. 141
Lévis, Gaston Marc Pierre Duc de, iii.
136, 139-140, 174
Lévis, Pauline Louise Françoise
Charpentier d'Ennery, Duchesse de, iii.
51, 139-140, 176; iv. 14-15
Lewis, Matthew Gregory, ii. 126
Lewis, the Vicomte de Chateaubriand's
footman, i. 190
L'Herault (see Rio)
L'Hôpital, Michel Chancelier de, ii.
102; v. 49-50, 55
Liancourt (see La Rochefoucauld-Liancourt)
Libba, or Libbe, Armand de Chateaubriand's
mistress, ii. 50
Liberi, Pietro, vi. 103
Lichtenau, Wilhelmina Enke, Frau
Rietz, later Countess von, iv. 38
Licino, Monsignor, vi. 85
Lieven, Khristopher Andreievitch
Count, later Prince de, iv. 74
Lieven, Doroteya Khristoforovna von
Benkendorf, Countess, later Princess
de, iii. 72; iv. 73-74
Ligne, Charles Joseph Field-marshal
Prince de, ii. 58-59
Lille, pseud., Comte de (see Louis
XVIII. King of France and Navarre)
Limoëlan de Clorivière, Joseph Pierre
Picot, i. 65
Lindsay, Mrs., ii. 100, 147, 155, 156,
193; iii. 35
Linnæus, Carolus, i. 180
Lioult de Chênedollé (see Chênedollé)
Lippi, Fra Filippo, iv. 232
Lippold, the poisoner, iv. 37
Lipsius, Joest Lips, known as Justus, v. 62
Live d'Épinay (see d'Épinay)
Live de La Bride (see La Bride)
Liverpool, Charles Jenkinson, Baron
Hawkesbury, first Earl of, iv. 81
Liverpool, Robert Banks Jenkinson,
second Earl of, i. 187; ii. 145-146;
iii. 215; iv. 81-82, 89, 92, 217; vi. 252
Livorel, Robert Lambert, i. 150
Livy, Titus Livius, known as, i. 33; ii.
335; iv. 185, 225; v. 155; vi. 79,
105, 142, 157
Lobau, Georges Mouton, Maréchal
Comte de, v. 113
Lobineau, Dom, i. 5
Lobkowitz (see Hassenstein)
Lodi, Vice-president of the Cisalpine
Republic, Francesco di Mela, Duca
di, ii. 219
Lodin, Mayor of Combourg, i. 108
Lœwenhielm, Gustav Karl Frederik
Count, v. 144, 146
Logan, James, i. 253
Logan, Tah-Gah-Jute, known as John, i. 253
Lointier, the tavern-keeper, v. 137
Loisel de La Villedeneu, Demoiselles,
i. 22; ii. 310
Lomaria, M. de, i. 143
Lombard, Charles, i. 227
Loménie-Brienne (see Brienne)
Londonderry, Robert Stewart, first
Marquess of, i. 188
Londonderry, Robert Stewart, Viscount
Castlereagh, later second Marquess
of, i. xxxi, 188; ii. 79, 93; iii. 49,
163; iv. 65-67, 71, 73, 76, 80-83,
86-90, 92, 190
Londonderry, Amelia Anne Hobart,
Marchioness of, iv. 65, 87
Longuerue (see Hatte-Longuerue)
Longueville, Anne Geneviève de Bourbon-Condé,
Duchesse de, ii. 151-154, 172; vi. 77
Longueville (see also Du Guesclin)
Longueville-Nemours, Marie Duchesse
de, iv. 106-107
Lopez, Fernando, iii. 207
Lorgeril, Comte de, v. 87
Lorges, Comte, later Duc de, v. 245
Lorrain, Claude Gelée, known as
Claude, iv. 242, 258-259; v. 288
Lorraine, Charles de Guise, Cardinal
de, iii. 30, 74
Lothair King of France, iv. 112
Lothon, the Polytechnic scholar, v. 107
Loudoun, John Campbell, fourth Earl
 of, i. 224
Louis I. King of Bavaria, iv. 118, 164;
v. 25, 41
Louis I. Count of Flanders, iii. 138
Louis I. King of France, the Emperor,
v. 11; vi. 195
Louis V. King of France, iii. 137; iv. 112
Louis VI. King of France, i. 9; iv. 209
Louis VII. King of France, iv. 17; vi. 196
Louis VIII. King of France, ii. 256;
v. 225; vi. 196
Louis IX. King of France, Saint, i. 6,
118, 144, 164; ii. 15, 38, 192, 202,
204, 256, 278, 297, 331; iii. 90, 103,
120, 138, 144-145, 177, 228; iv. 5,
11, 22-23, 143, 291; v. 12, 85-86,
142, 155, 175, 188, 212, 225,
229, 239, 268, 273, 296, 302, 336,
356, 372, 379, 396; vi. 27, 36, 96,
117, 139-140, 194, 196, 251
Louis XI. King of France, ii. 32, 53,
105, 201; iii. 153; v. 355; vi. 49,
147, 196
Louis XII. King of France, i. 141,
150, 172; ii. 17; iii. 176; iv. 229;
v. 395; vi. 27, 96; vi. 196, 238
Louis XIII. King of France and
Navarre, i. 25, 114; ii. 151, 205;
iv. 245; vi. 28-29, 33, 196
Louis XIV. King of France and
Navarre, i. 7, 26, 38, 77, 85, 100,
103, 117, 120, 126, 232, 236; ii. 100,
105, 151, 159, 172, 188, 192, 202,
204-205, 207, 309; iii. 25, 27, 58,
94, 177, 194, 197-198, 225, 228;
iv. 22, 34-35, 38, 44, 58-59, 79, 89,
 122, 137, 217, 274; v. 50, 85-86,
101, 137, 143, 215, 230, 272, 330,
332-333, 403; vi. 19-20, 27, 32, 33,
151, 174, 185, 196, 199, 222, 238-242,
246-247, 250
Louis XV. King of France and
Navarre, i. 26, 138, 163, 176-177,
224; ii. 102, 188, 230, 298-299, 301;
iii. 127, 181, 194; iv. 8, 38, 89,
109, 252; v. 51, 137, 215, 333; vi.
69, 78, 80, 151, 174, 199-200, 202,
241-242
Louis XVI. King of France and
Navarre, i. xxi, 6, 18, 51, 111-112,
118-123, 134, 138, 140, 143-144, 146,
156-157, 159-165, 168-169, 176, 178,
187, 216, 247, 261; ii. 4, 5, 12-14,
18, 22, 25, 34, 43, 48, 52, 54, 61-62,
73, 82, 106-107, 119, 142, 156-157,
167, 171, 234, 257, 259, 296, 300-301;
iii. 5, 16-17, 56, 59, 65, 73,
75-76, 79, 94, 99, 102-104, 119,
127, 139, 142-143, 167, 177, 182,
188, 218; iv. 4, 22, 25, 38, 40, 55,
84, 91, 96, 109-111, 124, 189, 198,
252; v. 162, 175, 177-178, 180,
189, 275, 303, 321, 332, 356, 387,
393, 402, 407-409; vi. 30, 32-33,
140, 146, 150, 153, 159, 162,
174, 181, 194-196, 198, 202-203,
242
Louis XVII. King of France and
Navarre, i. 156-157, 160, 163; ii.
216; iii. 94; iv. 109
Louis XVIII. King of France and
Navarre, i. xxi, 32, 37, 59, 71, 107,
 160-161, 163, 176, 178, 184-186,
190; ii. 4, 17, 22, 34, 40, 64, 71,
79, 100-101, 104, 107, 137, 156,
187, 195, 251, 257-259, 279-280,
301; iii. 13, 37, 57, 61, 63, 65, 68,
73, 76, 78-81, 84-85, 87, 89-102,
104, 111-112, 116-124, 126-129,
131-133, 136-139, 141-147, 150, 153, 155
158-159, 161-162, 165, 168-178,
180-184, 188-189, 211; iv. 1, 3, 7-12,
14, 21, 27, 29-30, 43-44, 59, 61-63
65-66, 68-69, 79, 85-86, 90-91,
96-97, 101, 106-107, 109, 111, 138-139,
169-170, 187, 199, 212, 217,
230, 302; v. 18, 44, 78, 81, 97, 106,
108, 119, 146-148, 160, 172, 178,
227, 267, 339, 342, 348, 360, 393,
395, 398-399, 401; vi. 45, 97, 113,
155, 183, 185, 187, 194-195
Louis XIX. King of France and
Navarre, Louis Antoine Duc
d'Angoulême, later, i. 156, 160; ii.
63, 259; iii. 119-120, 122, 129-130,
140; iv. 8, 96, 116, 169, 219, 252,
280, 299; v. 69, 84, 88, 96, 104, 106,
110-111, 129-132, 143, 147-151, 153,
157, 168-169, 191-192, 220, 307,
321, 342, 360-361, 372, 374-375, 378-379,
385-386, 394, 402, 406, 417;
vi. 35, 62, 97, 128, 131-132, 134,
137-138, 140, 193, 197, 243, 245,
253-254
Louis King of Holland, iii. 17; iv.
241; v. 44, 292
Louis II. Duke of Anjou, King of
Naples, ii. 202
Louis of Bavaria, H.R.H. Prince, iv. 251
Louis of Bavaria, de jure Mary IV.
Queen of England, Scotland and
Ireland, Maria Theresa Henrietta
Dorothea of Modena, H.R.H. Princess, iv. 251
Louis Dauphin of France, known as
the Great Dauphin, vi. 241
Louis Duc de Bourgogne, later Dauphin
of France, vi. 241, 246
Louis of Prussia, Prince, iv. 33
Louis, Joseph Dominique Abbé Baron,
i. 177; iii. 100, 127, 129-131, 171-173;
v. 72, 115, 172-173
Louis Ferdinand of Prussia, Prince, ii.
289-290; iv. 34
Louis-Philippe Duc d'Orléans, later
King of the French, i. 37, 134, 177,
185; ii. 26, 100, 163, 168, 222-223,
261, 280, 293; iii. 13, 50-51, 57, 65,
89-90, 95, 99, 111-112, 117, 119,
124-125, 137, 139, 143, 145, 163, 165,
168, 178, 225; iv. 15, 21, 58, 75,
102, 111, 114, 135, 138, 145, 161;
v. 27, 86-87, 94, 101, 103, 105-106,
108, 114, 118, 123, 126-128, 132-143,
147-152, 156-163, 168, 171-174,
178, 193, 211, 218-220, 222, 225,
238, 253, 258, 260-261, 264, 290,
307-308, 325, 327, 366, 368, 396,
398; vi. 26, 33-34, 37, 78, 95, 113-114,
117-118, 130-131, 146-152, 155,
159, 162, 164-166, 170-171, 242,
244, 249, 261
Louisa of Mecklemburg-Strelitz, Queen
of Prussia, ii. 258; iii. 60, 86; iv.
41, 49, 58, 164
Louise of Orleans, Queen of the Belgians, vi. 118
Louise of Stolberg-Godern, Queen of
England, known as Countess of
Albany, ii. 202; iv. 249-250
Louise of France, Duchess of Parma,
v. 174, 321, 324-325, 359, 361-366,
374-378, 383, 388, 390-391, 406-408,
415; vi. 24, 129, 132, 134, 136, 193,
231-232, 243-245, 254-255
Louvel, Louis Pierre, ii. 54; iii. 89,
119; iv. 11, 21-23, 59; v. 303
Louverture (see Toussaint-Louverture)
Louvois, François Michel Letellier,
Marquis de, vi. 19
Louÿs, M. Pierre, i. xiii.
Lovelace, Richard, v, 255
Lowe, Sir Hudson, ii. 286; iii. 88,
192, 210
Lowes, Mrs., ii. 97
Loyola (see Ignatius Loyola)
Luc (see Vintimille du Luc)
Lucan, Marcus Annæus Lucanus,
known as, v. 29
Lucas (see Boisé-Lucas)
Lucchesi-Palli di Campo Franco e
Pignatelli, Duca Della Gracia, Ettore
Conte di, iii. 156; v. 321-323, 366;
vi. 94, 96, 98, 231-232, 234-235
Lucchesi-Palli Demoiselle de, iii. 156
Lucchesi-Palli (see also Campo-Franco)
Lucian, v. 379; vi. 179
Lucretius, Titus Lucretius Carus, known
as, 53, 83; v. 229
Lucrezia Borgia, Duchess of Ferrara, v. 13
Lucrezia de'Medici, Duchess of Ferrara, vi. 84
Lucrezia of Este, Princess, vi. 82
Luke, Saint, v. 300, 307; iv. 240; vi. 90, 220
Luna, Pedro de, v. 13
Lusignan, Hugh of, i. 9
Lussigny (see d'Ancre)
Luther, Martin, iv. 32; v. 16, 273, 332, 388
Lützow, Count von, iv. 236; v. 7, 32, 38
Lützow, Countess von, iv. 236
Luxembourg, François Henri de
Montmorency-Bouteville, Maréchal Duc
de, iii. 162; vi. 19
Luynes, Charles d'Albert Connétable
Duc de, ii. 172; vi. 28-29
Luynes, née de Montmorency-Laval,
Duchesse de, ii. 192
Luynes, Duc de, iv. 178
Luynes, Duchesse de (see also Chevreuse)
Luzerne (see La Luzerne)
Lycurgus, iv. 31
Lydia, the courtezan, v. 285

Macbeth King of Scotland, ii. 122

Mac Carthy, Abbé Nicolas de, v. 367
Mac Carthy, Mr., v. 367
Macchi, Archbishop of Nisibis, Vincento
Cardinal, v. 18, 38-39
Macdonald (see Tarente)
Maceroni, Colonel Francis, iv. 197
Machault d'Arnouville, Jean Baptiste,
iii. 181; vi. 202
Machiavelli, Niccolo, vi. 78
M'Intyre (see Simms and M'Intyre)
Macirone (see Maceroni)
Mack von Leiberich, Karl Baron, ii. 40
Mackenzie, Sir Alexander, i. 136, 215
Mackintosh, Sir James, ii. 139
Macpherson, James, ii. 133
Macrobius, Ambrosius Theodosius, vi. 247
Madrid, Duque de (see Charles VII.
and XI. King of Spain, France and
Navarre)
Madrid, Duquesa de (see Bertha Queen
of Spain and France)
Magnay, Christopher, iv. 71
Magon, Hervine, i. 34
Mahaffy, Dr. John Pentland, v. 56, 229
Mahé de La Bourdonnais (see La Bourdonnais)
Mahis (see Des Mahis)
Mahmud II. Sultan of Turkey, iv. 267-269,
272, 277-279, 283-284, 297, 303;
v. 25-26, 51, 389
Mahomet, iv. 277
Mailhe, Jean Baptiste, iii. 75
Maillard de Lescourt, Major, iii, 62
Mailleville, M., v. 55
Mailly, Louis Marie Duc de, ii. 297
Mailly, Louise Julie de Mailly-Nesle,
Comtesse de, ii. 297-299
Mailly (see also Coislin and Nesle)
Maintenon, later Queen of France,
Françoise d'Aubigné, Dame Scarron,
later Marquise de, i. 14; ii. 172,
192; iii. 27; iv. 79; vi. 238,
240-243, 246-247
Maison, Nicolas Joseph Maréchal
Comte, later Marquis, iii. 89-90; iv.
267; v. 152-153; vi. 244
Maison-Blanche, Sieur, iv. 245-246
Maisonfort (see La Maisonfort)
Maitland, Admiral Sir Frederick Lewis,
 iii. 189-190, 192
Majorian, the Emperor, ii. 45
Malatesta, Francesca da Rimini,
Signora, iv. 229; vi. 57
Malcolm, Admiral Sir Pulteney, iii. 212
Malescot, i. 7
Malesherbes, Guillaume de Lamoignon,
Seigneur de, i. 134
Malesherbes, Chrétien Guillaume de
Lamoignon de, i. xxi, 8, 50, 72, 83,
134-137, 161, 167, 180, 215-216, 227;
ii. 22-23, 27, 32, 49, 60, 81-82, 84,
295; iii. 139; iv, 4; v. 64-65, 304;
vi. 202
Malesherbes, Françoise Thérèse Grimod,
Dame de, ii. 27
Malet, General Claude François de, ii.
262, 269
Malfilatre, Alexandre Henri de, i. 83
Malfilatre, Jacques Charles Louis de
Clinchamp de, i. 83; ii. 176
Malherbe (see Bonnet de Malherbe)
Malibran, Mr., vi. 175
Malibran, later Dame de Bériot,
Maria Felicita Garcia, Dame, ii.
207; vi. 175
Malipieri, Podesta of Padua, Angelo,
vi. 104
Malle (see Bureau de La Malic)
Mallet-Dupan, Jacques, i. 175
Malo Bishop of Aleth, Saint, i. 25
Malouet, Pierre Victor Baron, ii. 100;
iii. 99
Malte-Brun, Conrad, iii. 8
Mame, Auguste, iii. 53
Mandaroux-Vertamy, M., v. 304
Mandelot, François de, ii. 308
Mandini, Signor, i. 173
Mandini, Signora, i. 173
Mandricardo, Silvio Pellico's
messenger, vi. 107, 109, 111
Mangin, Jean Henri Claude, v. 94, 96
Mansfield, David Murray, second Earl of, i. 188
Mansfield, Louisa Cathcart, Countess of, i. 188
Manso (see Della Villa)
Manuel I. Emperor of the East, v. 400
Manuel, Jacques Antoine, iii. 166; iv. 128
Manutius, Aldus, vi. 67
Manutius the Younger, Aldus, vi. 67
Manutius, Paulus, vi. 67
Manzoni, Alessandro Conte, i. xxiii;
iii. 214; v. 229-230; vi. 15, 65, 79
Marat, Jean Paul, i. 132, 161, 164;
ii. 14, 16-19, 21, 159; iv. 189
Marbod (see Maroboduus)
Marceau, General François Séverin
Desgraviers, iii. 67
Marcellus, Marie Louis Jean André
Charles Demartin du Tyrac, Comte
de, i. 5, 185; iv. 139, 215-219; v.
21, 40-41, 153; vi. 14, 260
Marchais, André Louis Augustin, v. 105
Marchal, Pierre François, v. 96, 115
Marchand, Abbé, i. 63
Marchand, Napoleon's valet, iii. 211
Marck, Alexander Count von der, iv. 38
Marcus Aurelius Antoninus, the
Emperor, v. 57-58; vi. 104
Maret (see Bassano)
Mareuil (see Durand de Mareuil)
Margaret of Anjou, Queen of England, ii. 200
Margaret of Lusignan, Queen (?) of
 England, i. 9
Margaret of Provence, Queen of France,
ii. 192
Margaret of Scotland, Dauphiness of
France, ii. 200
Margaret of Valois, Queen of France
and Navarre, ii. 172-173, 206; vi. 173
Margaret of France, Queen of Navarre, vi. 173
Margaret of Valois, mother of Charles
of Blois, i. 141
Margherita di Gonzaga, Duchess of
Ferrara, vi. 84
Maria Christina of Austria, Duchess
of Saxe-Teschen, vi. 58
Maria Christina of Naples, Queen of
Spain, iii. 221; v. 74, 207
Maria Feodorowna (Maria Sophia) of
Wurtemberg-Mümpelgard, Empress
of Russia, iii. 49; iv. 281
Maria Isabella of Spain, Queen of the
Two Sicilies, v. 74-75
Maria Louisa of Spain, Queen of
Etruria, iv. 224
Maria Theresa, Queen of Hungry and
Bohemia, the Empress, v. 410; vi.
78, 202
Maria Wilhelmina of Hesse-Darmstadt,
Queen of Bavaria, v. 345
Marie Leczinska, Queen of France, ii. 299
Marie de Medici, Queen of France, i. 117;
vi. 28
Marie de France, vi. 172
Marie, Sister, iv. 207
Marie-Amélie of Naples, Duchesse
d'Orléans, later Queen of the French,
v. 134, 156-161; vi. 37
Marie-Antoinette of Austria, Queen of
France, i. 32, 100-101, 118-119, 156-157,
160-161, 163, 175, 187, 216-217;
ii. 12; iii. 102-104; iv. 4; v. 144,
307, 309, 356, 407-408; vi. 7, 78,
202
Marie-Antoinette of Naples, Queen of
Spain, iv. 178
Marie-Louise of Austria, Empress of
the French, later Duchess of Parma,
ii. 264; iii. 34, 54-56, 64, 73,
108-109, 144, 154, 156, 194, 217; iv.
187, 224; v. 322; vi. 46
Marie-Thérèse Duchesse d'Angoulême,
later Queen of France, i. 102, 156-157
160; iii. 65, 73, 91, 103, 119-120
139, 176; iv. 91, 96-97, 111,
134; v. 111, 144, 147, 275, 297,
321, 325, 359, 361, 363, 365-366,
372, 374, 391, 405-410, 412-417;
vi. 7, 29-36, 102, 129, 133-134, 140,
193, 243, 245, 253-254
Marie-Thérèse of Modena, Queen of
France, v. 146; vi. 78
Marigny, Jean Joseph Geffelot, Comte
de, i. 53
Marigny, Marie Anne Françoise de
Chateaubriand, Comtesse de, i. 15,
40, 53, 66, 111-112, 150; ii. 175,
319; vi. 255-256
Marin, Chevalier, iv. 162
Marischal (see Keith)
Marius, Caius, iii. 87; iv. 14; v. 40
Mark, Saint, iii. 123; v. 374; vi. 58
Marlborough, John Churchill, first
Duke of, ii. 139; iii. 197; v. 333;
 vi. 20
Marlborough, Sarah Jennings, Duchess
of, v. 333
Marmont (see Raguse)
Marmontel, Jean François, i. 133
Marmora (see Della Marmora)
Marnes, pseud., Comte and Comtesse
de (see Louis XIX. King of France
and Navarre and Marie-Thérèse
Queen of France)
Maroboduus King of the Marcomanni, vi. 127
Marolles, Abbé Michel de, i. 75
Maroncelli, Signor, vi. 56
Marot, Clement, vi. 75, 96, 238
Mars, Marguerite Salvetat, known as
Madame, i. 128
Mars, Anne Françoise Hippolyte
Boutet, known as Mademoiselle, i. 128
Martignac, Jean Baptiste Silvere Gaye,
Vicomte de, iv. 13, 138, 221, 261;
v. 67-69, 120
Martin Bishop of Tours, Saint, vi. 26
Martin, K.C.B., Sir Theodore, iv. 225
Martinez de La Rosa, Francisco, i. xxii
Martinière (see La Martinière)
Mary II. Queen of England, Scotland
and Ireland (see Mary I. Queen of
Scots)
Mary III. Queen of England, Scotland
and Ireland (see Mary Beatrice
Duchess of Modena)
Mary IV. Queen of England, Scotland
and Ireland, H.M. (see Louis of
Bavaria, H. R. H. Princess)
Mary I. Queen of Scots, Queen of
France, de jure Mary II. Queen of
England and Ireland, i. 245; iv.
251; vi. 173
Mary of Saxe-Altenburg, Queen of
Hanover, iv. 47
Mary I. Queen of Portugal, iv. 53
Mary II. Queen of Portugal and the
Algarves, iv. 237
Mary, the Vicomte de Chateaubriand's
house-maid, i. 190
Mary Beatrice of Sardinia, Duchess of
Modena, de jure Mary III. Queen
of England, Scotland and Ireland,
iv. 251; vi. 78
Masinissa King of Massylia and
Numidia, ii. 331
Mason, William, ii. 129
Massa, Claude Ambroise Regnier, Duc
de, ii. 273
Masséna (see Rivoli)
Massias, Nicolas Baron, ii. 280
Massillon, Bishop of Clermont, Jean
Baptiste, i. 54, 84
Massimo (see d'Arsoli)
Masson, M. Frédéric, iv. 189
Matignan, Madame de, iii. 17
Matthew, Saint, iv. 291; v. 374
Mattos (see Teixeira de Mattos)
Maubourg (see Latour-Maubourg)
Maubreuil, Marie Armand, Comte de
Guerri de Maubreuil, Marquis
d'Orvault, known as Marquis de,
iii. 86-87; vi. 181
Maud de jure Queen of England, the
Empress, i. 8
Mauduit, Quarter-master, iii. 15
Mauduit de Larive (see Larive)
Mauguin, François, v. 96, 113, 116
Mauléon (see Causans de Mauléon)
Maulevrier, Comte de, i. 72
Maulevrier, Louis de Brézé, Comte de, ii. 294
Maulevrier (see also Colbert de Maulevrier
and Valentinois)
Maunoir, Père, i. 30
Mauny (see Noury de Mauny)
Maupcou, René Nicolas, i. 138; vi. 202
Maupertuis, Pierre Louis Moreau de, i. 18-26
Maurel, the game-keeper, v. 244
Maurepas, Jean Frédéric Phelippeaux,
Comte de, vi. 202
Maurice, Saint, vi. 190
Mauro, Fra, vi. 54
Maury, Bishop of Montefiascone, later
Archbishop of Paris, Jean Siffrein
Cardinal, iii. 30
Mauvissière (see Castelnau)
Maximian, the Emperor, iii. 206
Maximilian I. Elector of Bavaria, ii. 51
Maximilian I. King of Bavaria, iv. 57,
164; v. 25, 345
Maximilian II. King of Bavaria, v. 25
Maximilian I., the Emperor, i. 141;
iii. 176
Maximus, v. 60
Mayenne, Charles de Lorraine, Duc de,
ii. 15, 21; iii. 74-75
Mazarin, Jules Cardinal, ii. 151, 153;
iv. 9, 245; v. 50; vi. 125
Méchin, Alexandre Edme Baron, v. 138-139
Mecklenburg (see Wallenstein)
Medici (see Sforza)
Megret de Sérilly (see Sérilly)
Mehemet Ali Viceroy of Egypt, i. xxi;
 iv. 264, 278
Melanchthon, Philipp, vi. 142
Melbourne, Peniston Lamb, first
Viscount, iv. 160
Melbourne, Elizabeth Milbanke,
Viscountess, iv. 160
Melchthal, Arnold von, v. 274, 277
Melmoth the Younger, William, v. 60
Melzi (see Lodi)
Mennais (see Lamennais)
Méot, the tavern-keeper, ii. 17
Mercier Dupaty (see Dupaty)
Mercœur, Élisa, vi. 175
Mercy, Franz Field-Marshal Baron von, ii. 510
Méré (see Courier de Méré and Poltrot de Méré)
Merfeld, General, v. 103
Méricourt (see Théroigne de Mencourt)
Mérilhou, Joseph, v. 95, 115, 265
Méritens (see Allart de Méritens)
Merlin, the auctioneer, iv. 11
Merlin de Douay, Philippe Antoine
Comte, ii. 108; iii. 153
Merlin de Thionville, Antoine
Christophe, ii. 108; iii. 153
Mérona, M. de, iv. 103
Merovius (see Merowig)
Merowig King of the Franks, ii. 29
Mesmer, Friedrich Anton, i. 145
Mesnard, Paul, iv. 128
Mesnard, Louis Charles Bonaventure
Pierre Comte de, v. 244; vi. 38
Mesnard, Vicomte de, v. 28
Mesnier, Louis Marthe, iv. 7
Metastasio, Pietro Bonaventura
Trapassi, known as, ii. 78
Metel (see Boisrobert)
Métel, Hugues, ii. 44
Metella, Cæcilia, ii. 244; iv. 236; v.
58, 61; vi. 2
Metternich-Winneburg, Clemens
Wenzel Nepomuk Lothar Prince von, ii.
134, 143; iii. 154; iv. 73-74, 96,
102, 128, 266; v. 38, 91, 123, 181,
339, 341-342, 352-353, 369, 384,
408; vi. 16, 46, 114, 118, 187, 232
Mettrie (see La Mettrie)
Meunier, Captain, v. 110
Mézeray, François Eudes de, i. 55
Mézy, Dame de, ii. 296
Micara, Luigi Cardinal, v. 8
Michael I. King of Portugal and the
Algarves, iv. 237; v. 81
Michael II. King of Portugal and the
Algarves, iv. 237
Michael Pavlowitch of Russia, Grand-duke, iv. 36
Michael Angelo, Michelagnolo Buonarotti,
known as, i. 166; ii. 123,
219; iii. 225; iv. 181, 226, 236, 239,
241-243, 256, 286; v. 2, 29, 36, 59,
61, 316; vi. 17, 59, 103
Michaud, Joseph, ii. 233; iv. 131-132, 204
Migneret, the publisher, ii. 157, 181, 198, 209
Mignet, François Auguste Marie, v. 82-83,
95-96, 105, 127, 206; vi. 189-190
Mila, the Indian girl, i. 231, 236; vi. 66
Milbanke-Noel, Sir Ralph, ii. 136
Milton, John, i. 95, 166; ii. 17, 74, 94,
110, 121-122, 220, 292; iii. 22, 24,
27, 34; iv. 42-43, 93-94, 245, 257;
v. 133; vi. 47, 91, 123, 179
Miniac (see Gouyon de Miniac)
Mionnet, Theodore, v. 53-54
Mirabeau, Victor Riquetti, Marquis de,
i. 167; vi. 42
Mirabeau, Gabriel Honoré Riquetti,
Comte de, i. xxi, 83, 155, 166-171,
175-177, 179, 182; ii. 4, 12, 71, 77,
109; iii. 166; iv. 6, 39, 47, 55-56;
vi. 42, 155
Mirabeau, André Boniface Louis
Riquetti, Vicomte de, i. 170-171,
175-176; ii. 4, 80
Mirabeau, Jean Antoine Joseph Charles
Elzéar de Riquetti, known as the
Bailli de, i. 167
Misson, François Maximilien, iv. 246
Mithridales VI. Eupator King of Pontus, v. 335
Mnata, v. 386
Mocenigo, Doge of Venice, Giovanni, vi. 59
Mocenigo, Doge of Venice, Luigi, vi. 59
Mocenigo, Doge of Venice, Tommaso, vi. 59
Moëlien de Trojolif, Thérèse Josèphe
de, i. 66, 92, 126
Mohl, Julius von, vi. 258
Mohl, Madame, vi. 258
Molé, Matthieu Louis Comte, i. 134;
ii. 168, 192, 319; iv. 26, 118-119
Molé, Édouard, i. 134
Molé, Matthieu, i. 134; ii. 192
Molé, François René Molet, known as,
i. 128, 173
Molé de Champlatreux, Édouard François
Matthieu Président, i. 134; ii. 192
Molet (see Molé)
Molière, Jean Baptiste Poquelin, known
as, ii. 122, 124, 128, 170; iv. 2; v.
15, 19, 70, 345, 353; vi. 74
Moligny, Abbé de, v. 363, 372
Molin, Captain, ii. 262, 267
Monceau (see Duhamel de Monceau)
Moncey (see Conegliano)
Monet, M., i. 179
Monet, Demoiselle, i. 179
Monfeltrio delle Rovere (see Lante
Monfeltrio delle Rovere)
Monge (see Péluse)
Monica, Saint, i. 31
Monmerqué, Louis Jacques Nicolas, iv. 44
Monnier, Marquis de, i. 168
Monnier, Sophie Ruffei, Marquise de,
i. 167-168
Monroe, President of the United States
of America, James, iv. 66, 127
Montaigne, Michel Eyquem, Seigneur
de, i. 52, 71, 79, 231; ii. 22, 73,
124, 126-127, 206, 220; iii. 60, 177;
iv. 149, 231, 243-244, 257; v. 72,
333; vi. 47, 122
Montaigne (see also Gamaches)
Montaigu, M. de, vi. 70
Montalivet, Marthe Camille Bachasson,
Comte de, iv. 114-115, 247-248, 259, 266
Montauban, Arthur de, i. 25
Montbel, Guillaume Isidore Baron,
Comte de, v. 72, 81-82, 379, 422;
vi. 100, 116-118, 229-230, 234-235
Montboissier, Baron de, ii. 32, 49, 60
Montboissier, née de Malesherbes,
Baronne de, ii. 49
Montboissier (see also Colbert de Montboissier)
Montboissier-Beaufort-Canillac, Charles
Philippe Simon Marquis de, i. 72, 135
Montboissier-Beaufort-Canillac,
Françoise Pauline de Malesherbes,
 Marquise de, i. 135
Montbourcher, René François Joseph
Comte de, i. 153
Montcalm, Armande du Plessis de
Vignerot, Marquise de, iii. 51, 97;
iv. 26-27; v. 398
Montcalm de Saint-Véran, Louis Joseph
Marquis de, i. 224; vi. 202
Montchenu, Marquis de, iii. 210-211
Montebello, Jean Lannes, Maréchal
Duc de, iv. 300; v. 28
Montebello, Napoléon Auguste Lannes,
Comte, later Duc de, iv. 300-302; v.
18, 28-29
Montenoy (see Palissot de Montenoy)
Montenuovo, Wilhelm Albert Prince
von, iv. 187, 224; v. 322
Montes, Lola (see Lansfeld)
Montespan, Françoise Athénais de
Rochechouart de Mortemart,
Marquise de, i. 103, 120; v. 215; vi.
246-247
Montesquieu, Charles de Secondat,
Baron de La Brède and de, ii. 220; iii.
10, 22, 33, 129; iv. 122, 127, 253;
vi. 75
Montesquiou-Fézensac, François Xavier
Marc Antoine Abbé Duc de, iii. 73-74,
99-100, 127, 131; iv. 59
Montesquiou-Fézensac, Ambroise Anatole
Augustin Comte, later Marquis
de, v. 134, 156-157
Montesquiou-Fézensac, Élisabeth Pierre
Comte de, vi. 183-184
Montesquiou-Fézensac, Louise Joséphine
de La Live de Briche, Comtesse
 de, ii. 191
Montesson (see d'Orléans)
Montfort, Simon Comte de, ii. 206
Montfort, pseud., Comte de (see Jerome
King of Westphalia)
Montgascon, M. de, v. 131
Montgelas, Max Jose Garnerin, Count
von, iv. 57
Montgomery, Comte de, ii. 192
Montholon-Sémonville, Charles Jean
François Tristan Comte, later Marquis
de, ii. 280; iii. 192, 209, 211, 222-223
Montholon-Sémonville, Albinie Hélène
de Vassal, Comtesse de, iii. 209
Monti, Vincenzo, i. xxiii; vi. 79
Montléart, Prince de, v. 322
Montlosier, François Dominique
Reynaud Comte de, i. 175; ii. 71,
100-102; iv. 123-125
Montlouët, François Jean Raphaël de
Brunes, Comte, later Marquis de, i.
75, 108-109
Montluc, Blaise de Lasseran-Massencome,
Maréchal Seigneur de, i. 109; v. 380
Montluc (see also La Bourdonnaye-Montluc
and La Bourdonnaye de Montluc)
Montmirel, the Vicomte de Chateaubriand's
cook, iv. 98; v. 326; vi. 14
Montmorency, Anne Maréchal Connétable de,
iii. 182
Montmorency, Mathieu I. Connétable
Seigneur de, iv. 209
Montmorency, Aline Dame de, iv. 209
Montmorency, Henry II. Maréchal
Duc de, ii. 105
Montmorency, François Duc de, ii. 121
Montmorency, née de Matignon,
Baronne-Duchesse de, iii. 17
Montmorency, Baronne de, ii. 31
Montmorency, Demoiselle de, i. 117
Montmorency (see also Adelaide,
Laval-Montmorency and Luxembourg)
Montmorency-Laval, Mathieu Jean
Félicité Vicomte, later Duc de, i.
163; ii. 192; iv. 12, 29-30, 62, 65-69
76-77, 83-91, 95, 122, 133, 160,
164-166, 169, 171, 176-177, 180,
207-209, 213, 216-217, 286; vi. 45,
161
Montmorin the Elder, Comte de, ii. 35
Montmorin, Antoine Hugues Calixte
de, ii. 172
Montmorin, Auguste de, ii. 237
Montmorin, Louis Victor Hippolyte
Luce de, ii. 167
Montmorin-Saint-Hérem, Armand Marc
Comte de, i. 140, 145, 156; ii.
167, 213, 230, 237, 241, 251; iv.
183; v. 319
Montmorin-Saint-Hérem, Comtesse de, ii. 167
Montolieu, Baron de, iv. 120
Montolieu, Jeanne Isabelle Pauline
Polier de Bottens, Dame de Crouzas,
later Baronne de, iv. 120
Montor (see Arnaud de Montor)
Montpensier, Antoine Philippe d'Orléans,
Duc de, iv. 161
Montrond, M. de, iii. 143
Monvel, Jacques Marie Boutet, known
as, i. 128; vi. 162
Moore, Thomas, ii. 128
Morandais (see La Morandais)
More, Blessed Sir Thomas, v. 57
Moreau, Marshal Jean Victor, i. xxi,
65, 153; ii. 249, 252; iii. 67, 68,
203; iv. 164-170, 220, 299; v. 246,
330, 332, 387
Moreau, née Hulot, Maréchale, ii. 64;
iv. 166-167, 169
Moreau, Demoiselle, iv. 169
Moreau, Annibal, i. 101, 104-105, 112;
ii. 44; iii. 8
Moreau, Julie Angélique Hyacinthe de
Bedée, Dame, i. 101
Moreau de Saint-Méry, Méderic Louis
Élie, i. 161
Morellet, Abbé André, ii. 51, 163; iii.
21-22, 28; iv. 6
Moréti, Louis, i. 5
Morey, the assassin, v. 101
Morice, Dom, i. 5
Mornay, Demoiselle de, v. 115
Morny, Charles Auguste Louis Joseph
Duc de, iii. 169
Morosini, Doge of Venice, Michele, vi. 59
Mortemart, Casimir Louis Victurnien
de Rochechouart, Prince de Tonnay-Charente,
Duc de, v. 111, 113-114,
116-118, 122-123, 128
Mortemart, Gabriel de Rochechouart,
Marquis de, i. 103, 178
Mortemart, Victurnien Bonaventure
Victor de Rochechouart, Marquis de,
i. 106; ii. 35; vi. 246
Mortemart (see also Fontevrault,
Montespan and Thianges)
Mosbourg, Jean Michel Laurent Agar
Comte de, iv. 190
Mosbourg, née Marat, Comtesse de, iv. 190
Moses, ii. 218; iv. 226, 285; v. 392
Moskowa (see d'Elchingen)
Mosselmann, M., iv. 170
Motha (see Le Motha)
Motier de La Fayette (see La Fayette)
Motteux, Peter Anthony, i. 133; iv. 243
Motteville, Nicolas Langlois, Sieur de,
iv. 245
Motteville, Françoise Bertaud, Dame
de, iv. 245; v. 71
Mouchy, Philippe de Noailles, Maréchal
Duc de, i. 163
Mouchy, Antoine Juste Léon Marie
de Noailles, Prince de Poix, Duc de,
vi. 239
Mouchy, Philippe Louis Marie Antoine
de Noailles, Prince de Poix, Duc de,
iii. 95
Mouchy, Arthur Jean Tristan Charles
Languedoc Comte de Noailles, later
Duc de, ii. 296
Mouchy, Nathalie Luce Léontine
Joséphine de La Borde de Méréville,
Comtesse de Noailles, later Duchesse
de, ii. 296
Mounier, Claude Philibert Édouard
Baron, iii. 131, 171
Mounier, Jean Joseph, iii. 131
Mousette, M., v. 95
"Mousset," M. de, ii. 84
Muiron, Colonel, iii. 210
Müller, Johann von, v. 274
Munich, Christoph Burchard,
Fieldmarshal Count von, i. 13
Muraire, Honoré Comte, iv. 10
Murat, Napoléon Achille Prince, iv. 198
Murat, Napoléon Lucien Charles Prince,
ii. 219; iv. 198
Murat, the inn-keeper, ii. 25; iv. 184
Murat (see also Caroline Queen of
Naples, Joachim King of Naples,
Pepoli and Rasponi)
Murillo, Bartolomé Estéban, iv. 239;
v. 381
Musset, Louis Charles Alfred de, v. 203
Mussy (see Gueneau de Mussy)
Mustapha II. Sultan of Turkey, vi. 101
Mustapha IV. Sultan of Turkey, iv. 267-268
Muther, Dr. Richard, iv. 240

Nacquart, Colonel de, v. 245

Nagault (see Nagot)
Nagot, Abbé François Charles, i. 181, 195, 200
Nangis, Guillaume de, ii. 30
Napoleon, Saint, iii. 209
Napoleon I. Emperor of the French, i.
15, 21-22, 13, 16, 71, 99, 102, 104,
128, 132, 134, 170, 176, 179, 211-214,
217, 235; ii. 17, 25-26, 40, 52,
54, 100, 108, 110, 118, 139, 147,
154, 159, 161, 175, 180-181, 187-188
190, 195, 200, 210-214, 219-220
222-224, 232, 246-247, 249-255,
257-265, 269-275, 278, 280-292, 294,
301, 303, 309; iii. 4-5, 7-9, 12, 15-18,
21-24, 29-30, 34-36, 46-52, 54-91,
93-99, 102-103, 106-124, 127,
129-131, 133-134, 136-137, 139-141,
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

ebookultra.com