The harp was generally strung with brass or steel wire. The western Islanders or Highlanders of Scotland had a particular kind of harp strung with the tendons of animals; and the N.Velsh sometimes used horse hair. We are quite uncertain regarding the real compass of the most ancient harps, or the manner in which they were tuned.
Diodorus Siculus says, that the instruments used by the Gallic bards resembled lyres; but it is doubtful whether or not this was the harp, and there is very little certainty re garding its origin in these islands. Its most ancient ap pearance is of very rude and imperfect form, though con siderably diversified ; but the strings seem invariably to be very few. Performers too are frequently represented as holding it in one hand they are playing with the other. Mr Ledwich conceives it was introduced into Ire land in the fourth or fifth century, from the close connec tion of the Irish " with the Saxons and other rovers from the Baltic shores, who conjunctly ravaged the coasts of Gaul and Britain in those ages." in Scotland it appears sculptured on a very ancient monument near the chut ch of 'Nig in Ross-shire, engraved by Mr Cordiner ; and ancient sculptures or drawings of it are to be seen in England, though frequently with a reference to religious matters. Probably the harp was not used in Scotland to any extent, though it was known to individuals; and, subsequent to the date of the insuurnents before alluded to, there is recorded, in a curious account of an insurrection in 1594, a prophecy regarding the Earl of gyle's harp being heard in the district of Buchan. In Ireland and Wales, the case was different; for the harp scents to have been carefully and extensively cultivated ; at least in as far as the rudeness of the people would admit. Giraldus Cambrensis bears the most unequivocal testimony to their powers, and the quality of their music ; affirming, that the Irish were incompara bly the most skilful of any nation in music, and not of that dull and languid description to which the inhabitants of Bri tain were accustomed, but what required much rapidity in execution. Probably their abilities greatly declined; for we afterwards find it observed, that Crusus was to be con sidered as almost the only harper about 1584. In Wales still greater attention was paid to the instrument, and Gi raldus is alike lavish of his praises on the performers. There was even a triennial congress, whither all the most distinguished musicians repaired to compete in skill ; and there is still preserved a small silver harp, about six inches and a half high, which was conferred on the victor. The privilege of bestowing this badge seems to have been vested in the family of Mostyn. The congress was held by royal authority at some of the royal residences in Wales ; and, besides others, we read of a mandate issued by Henry VIII in 1523, for the purpose of instituting or der and government among the professors of poetry and music, and regulating their art and profession according to the old statute of Gryfydab Cynan, Prince of Aherffral.v.
Another was assembled by order of Queen Elizabeth, in 1568, at Caerwys, where degre'es were to be bestowed ac cording to merit ; but those not qualified were enjoined to betake themselves to sonic honest livelihood and profes sion, tinder pain of being apprehended and punished as vagabonds. At that time 55 degrees were conferred, 17 for vocal, and 38 for instrumental performance. At length the institution fell into total disrepute, and the harp seems to have become obsolete ; for a traveller in 'Wales between 1780 and 1790 obserres, that the only harp he heard in all the country was at Conway. Au attempt was lately made to revive the Eistedfodd, as it was called, after several con siderable intervals of repose ; and at a meeting, one of the last that was held, 12 minstrels attended, (Gent. Mag. vol. lxii. p. 96 ) And, we believe, a similar congress was un successfully attempted in Ireland during the year 1785, where only indifferent performers appeared. The art of playing upon the harp, however, is at present considered an elegant accomplishment, particularly in %outhful fe• males ; and it has gained much ground in Britain within these twenty years. At present it is sometimes to be heard at public concerts ; and we have understood, that the com bination of a number of harps has lately been introduced into an orchestra in Paris. The harp, however, can never be more than a chamber instrument : it labours under many defects, notwithstanding all the modern mechanical im provements which it has received ; whence we may rea sonably infer, that the excellences of the ancient Welsh and Irish music, as performed upon that instrument, are highly exaggerated. Complicated music does not belong to an uncivilized people. Their tunes are but a kind of whining chant ; and the further we ascend with those best known to us, they are found the more inharmonious. Yet enthusiasm can figure any thing, as at this day we see sa vages dance in extacy to beating on a wooden drum. The minstrels too, who in modern times have been regarded with admiration, and who held a prominent part in the mu sical performances of old, were nothing but a worthless va grant race, generally proscribed as vagabonds. See Galileo Opere, tom. iii. ; Merscrthus Harmonicorum, p. 68 ; Gi raldus Cambrensis, cap. 12 ; Demon's Voyages, torn. i. p. 237, tom. ii planche 135 ; Bruce's Travels, vol. i. p. 133 ; Carter's Specimens of Sculpture and Painting, vol. ii. p. 11, 16, 42. 43 ; 'ine,'s .4ntiquities of Scotland. plate 1 ; Walker's Memoir of the Irish Bards ; Jo;.es' Rtlics of the Welsh Bards ; Gunn's Historical Enquiry ; Evan's Tour in North Wales ; Pennant's Tour in Wales ; Strutt's Manners of the People of England, vol. i. p. 50, plate 17, 19 ; Strutt's Dress and Habits of the English, vol. i. plate 57 ; and JE.ol.taN HARP. (c)