Development of the arts in the seventeenth century—Introduction of
women on the stage—Corruption of the period—Character of the
drama—Wearing masks by spectators—The French company at
Blackfriars Theatre—The first English company with women
players—Famous actresses—English female artists in the Stuart
period—Foundation of the Royal Academy of Arts—Angelica
Kaufmann and Mary Moser elected members—Their career—Fanny
Reynolds—Sir Joshua’s opinion of his sister’s work—Mrs.
Cosway—Mrs. Carpenter—Character of eighteenth-century work—Women’s
place in musical art—Musical education in early times—Love
of music in the sixteenth century—Instruments played by
women—Music abolished by the Puritans—Musical maidservants
in the seventeenth century—The first English opera—Purcell’s
early work—Performance at a ladies’ school.
It is in the seventeenth century, remarkable for
political and religious strife, and a general unsettling
of society, that the history of the fine arts, as far as
women are concerned, really begins. There is, in
fact, very little to record of the progress of the arts
in England before this period. Unfavourable as
the age seemed for artistic progress when the public
mind was so largely occupied with momentous
questions affecting the national life, it was signalized
by three notable events, viz. the introduction
of women to the stage, the commencement of
English opera, and the uprising of female painters.
The dramatic revolution, as it may be called, being
the most striking of these events, will be touched
upon first.
The middle of the seventeenth century, when
women first began to appear on the stage in
England, was a period of unexampled laxity. It
was not simply that morality was at a low ebb, and
that the passions reigned uppermost. That was
the case in feudal times when the intellectual side
of humanity was only half awakened, and the range
of interests and ideas, of taste and knowledge, was
limited by physical obstacles. The world was a
sealed book to mediæval men and women. But
the seventeenth century had no such excuse. It
had opened the clasps; it had the power of choice,
but it hugged the sins of past ages to its breast.
Seeing the good, it chose the evil.
It was an unfortunate moment for the introduction
of actresses, and their presence gave rise
to many scandals, but abuses had long been rife
on the stage, and dramatic performances had been
occasionally suspended even in the reign of Elizabeth.
The blame cannot be attributed to the
pernicious example of France as far as the plays
themselves are concerned, for it is agreed that
French comedy in the reign of Charles II. was
not in the least coarse. This was the period
of Molière’s fame. Two or three years after the
accession of Anne, who did not countenance playhouses
by her presence, the Puritan party of that
day earnestly hoped that the Queen might be induced
to interdict stage performances, or at least to
prohibit certain pieces. There is not the slightest
doubt that the complaints made of obscene language
and manners were well founded. The plays remain
as witnesses, and the record of the scenes enacted
in the green-room and the general licence indulged
in by the players furnish condemnatory evidence.
But the purists were not content with trying to
uphold morality and public decency. At that time
natural phenomena were still regarded by many
people with superstitious terror. Sickness, storms,
and other calamities were looked upon as the visitations
of wrathful Providence.
Now it happened that a disastrous tempest had
been raging, a tempest fiercer than any known for
many years. A day of fasting and humiliation had
been appointed, and in the face of that public acknowledgment
of national sin the irreverent players
chose to produce Macbeth and The Tempest, with
as faithful a representation of real storms as they
could contrive.
“Surely,” writes one shocked contemporary, “the
Players have little reason to expect that they shall still
go on in their abominable Outrages; who, ’tis to be
observed with Indignation, did, as we are assured, within
a few days after we felt the late dreadful storm, entertain
their audience with the ridiculous Representation of what
had filled us with so great Horror in their Plays called
Macbeth and The Tempest, as if they designed to Mock
the Almighty Power of God, who alone commands the
Winds and the Seas, and they obey him.”57
Queen Anne did not suspend the plays, but
she issued an edict for the better regulation of
the theatres. With a view to abolishing abuses
and indecencies, it was commanded—
“that no person of what quality soever presume to go
behind the scenes or come upon the stage either before
or during the acting of any play; that no woman be
allowed or presume to wear a vizard mask in either of the
theatres,”58
together with several other regulations.
It was customary in the days of Charles II. for
ladies to go to the theatre masked, the presumption
being that the language of the plays was so coarse
that no woman could sit and hear them in mixed
company with her face uncovered. But it was a
practice that was liable to lead to all sorts of disorders.
Under the disguise of the mask women
of all degrees accosted strangers, and there were
always men ready enough to avail themselves of
the general licence as to behaviour. Ladies then
sat in the pit, which, after the boxes, was the most
aristocratic portion of the house, for which the
prices ranged from 2s. 6d. to 4s. in the money of
that period.
The custom of having women to act was introduced
from the Continent, where it had long
prevailed. At the time when Corneille’s plays were
constantly being acted, about 1633, there were a
good many actresses on the French stage. There
was much dramatic activity in Paris at that time.
The French were very eager playgoers, and when
a tragedy having, for its subject the story of
Henry VIII. and Anne Boleyn was produced, there
was such a rush to see the piece that four doorkeepers
were crushed to death on the first night,
greatly to the pride and delight of the author, Jean
Puget de la Serre, who exclaimed with triumph:
“Voilà ce qu’on appelle de bonnes pièces.” In his
exultation he declared he would not yield the palm
to Corneille, until his great contemporary had caused
five doorkeepers to be killed in one day.
In the prevailing state of easy morals in the
England of the Restoration the appearance of
actresses was an incentive to licence, and every
advantage was taken of the innovation by the
court gallants. The actresses were probably no
worse than many of the ladies in the audience,
but their mere existence gave occasion for evil.
Evelyn, whose code of morals and taste were too
high for that period, says, in 1666, that he hardly
ever goes to the theatres—
“for many reasons now, as they were abused to an atheistical
liberty. Fowle and indecent women now, and never
till now, were permitted to appear and act.”
Thomas Brand, a Puritan, expressed great delight
when he heard that certain actresses had been
hissed and pelted. The first result of bringing
women on to the stage was to give the rein to
more unbridled licence than before in the manners
of the court and of society.
It was the presence of Queen Henrietta which
brought over a French company of players with
women among them to England in 1659. They
established themselves at the celebrated theatre
in Blackfriars. But whether their distinguished
countrywoman was unable or unwilling to do anything
on their behalf, they were very roughly received,
less because of the women in the company
than because they were foreigners. Their advent
gave Prynne an opportunity for venting his indignation.
To the stern Puritan the sight of women
on the boards was a great additional aggravation.
No English company seems to have introduced
women till 1660. Pepys, who, as every one knows,
was an indefatigable playgoer, records that the
first time he saw women act was on January 3,
1660. This was at the Theatre Royal, Clare
Market, the play being The Beggar’s Bush. Three
days later he saw actresses in Ben Jonson’s play,
The Silent Woman. It has been said that Othello
was the play in which women first appeared in
England, at a performance given on December 8,
1660. Mrs. Anne Marshall, Mrs. Sanders (afterwards
to become famous as Mrs. Betterton, a most
successful impersonator of Shakespeare’s female
parts), Mrs. Margaret Hughes, and Mrs. Coleman
were among the first actresses who appeared in
public. Mrs. Betterton, whose character was unexceptionable,
was selected to give lessons in
elocution to the two princesses, Mary and Anne,
daughters of James II.
A sort of precedent for women acting in stage
plays was to be found in the court performances.
It was not till the reign of Charles II. that professional
actresses appeared in public, but Queen
Anne, wife of James I., was accustomed to take
an active part in the masques performed at court,
where she was both actress and manager.59 That
these were not mere impromptus may be gathered
from the fact that the cost of a performance often
exceeded £1000. In the reign of Charles I. the
ladies of the court, headed by the Queen, Henrietta
Maria, played a French pastoral at Hampton Court
to enliven the Christmas season. The French
Queen was very favourably disposed towards the
stage, and when the churchwardens and constables
in 1631 petitioned Archbishop Laud to get Blackfriars
Theatre removed, on the ground that it was
a nuisance to trade and the public generally, and
begged that the council would see to the matter,
the answer was returned that the queen was “well
affected towards plays, and that therefore good
regulation is more to be provided than suppression
decreed.” Various members of the aristocracy also
took to the stage, or rather the actors under their
protection. One of the most constant supporters
of the dramatic art was the Countess of Holland,
daughter of Sir Walter Cope, whose husband had
been executed in 1649. Holland House, Kensington,
was frequently the scene of dramatic entertainments.
Women are now so necessary to stage performances
that it is odd to find arguments gravely set
forth in favour of their presence. The reasons
assigned for introducing women were that men
failed to act women’s parts satisfactorily; that boys
were no more suitable than girls, and some of the
“boys” were middle-aged men, who could not
properly impersonate young maidens. When in
the reign of Charles II. patents were granted to
Killigrew and Davenant for their theatres, the
following regulations appeared—
“And forasmuch as many plays formerly acted do contain
several profane, obscene, and scurrilous passages, and the
women’s parts therein have been acted by men in the
habits of women at which some have taken offence; for
the preventing of these abuses for the future we do strictly
charge, command and enjoin that from henceforth no new
plays shall be acted by either of the said companies containing
any passages offensive to piety and good manners,
nor any old or revived play containing any such offensive
passages as aforesaid, until the same shall be corrected
and purged by the said masters or governors of the said
respective companies from all such offensive and scandalous
passages as aforesaid. And we do likewise permit and
give leave that all the women’s parts to be acted in either
of the said two companies from this time to come may be
performed by women, so long as these recreations which by
reason of the abuses aforesaid were scandalous and offensive
may by such reformation be esteemed not only harmless
delights, but useful and instructive representations
of human life, by such of our good subjects as shall resort
to see the same.”
The character of the plays acted in the seventeenth
century fitted the temper of the times.
Wycherley, Congreve, Mrs. Aphra Behn, and
their brothers and sisters in the craft were not
too outspoken for the taste of that day. Evelyn,
it is true, was a severe censor, but he was a man
of the world who had travelled and seen many
things. “In London,” he says, “there were more
wicked and obscene plays permitted than in all the
world besides.” And this, too, in Lent, which added
much to the offence.
It is said that the audiences give the tone to
the stage, and that a moral and cultured public
would purify the drama. The audiences of the
Restoration period did not certainly perform their
part towards effecting such a consummation. Their
behaviour in the playhouse has often been noted.
They showed plainly that low jests and coarse
allusions were to their taste and what they
expected, and they would have scoffed at or yawned
over more decorous language. If the piece were
not to their liking they treated the performers with
scant ceremony, and hissed and pelted them. Such
demonstrations were the more frequent owing to
the custom of caricaturing living persons. The
actresses, when not playing, moved about in the
front rows of the auditorium among their admirers.
Then, again, the occupants of the pit would make
audible comments on the ladies sitting in the boxes,
who did not disdain to retort, greatly to the amusement
of the rest of the house. The theatre was
the rallying point for adventurers and libertines of
both sexes, and served many purposes besides its
legitimate one of entertainment.
In the eighteenth century, when the custom of
toasting ladies prevailed, plays were given “for the
entertainment of the new Toasts and several Ladies
of Quality.” This always brought a crowded
audience. The auditorium was frequently the
scene of quarrels, and the custom of allowing
spectators to stand about on the stage was the
cause of much disorder. On one occasion, in 1721,
a regular fray occurred, owing to the presence of
some tipsy noblemen; and the king, George I.,
gave orders that thenceforth a guard of soldiers
should protect the actors during the performance.
One could not expect in that age to find any
regard paid to the sentiments of women, and
omissions made from the plays lest their susceptibilities
should be wounded. Yet this was
done in one instance certainly,60 and the passage
left out was not one of peculiar coarseness, but one
which vaunted man’s superiority over woman.
Those were not the days of equal rights between
men and women, and there could hardly have been
many women who would have been offended at
the claims of the male sex to supremacy. Dr.
Trusler, writing of the eighteenth century, says—
“Many of our comedies are improper for a young lady
to be seen at; as, indeed, there are few English comedies
that a modest girl can see without hurting her delicacy.”
The attentions of the audience to a popular
actress were a little overwhelming at times. A
knot of admirers would gather round the door of
a lady’s dressing-room, and insist upon escorting
her home. As late as the middle of the century
the manners of the gallery were so rough that it
was no uncommon thing for an orange to be flung
at a lady in court dress.
Whatever condemnation the stage incurred in
the seventeenth century, it was, whether deservedly
or not, quite as much held up to opprobrium in the
eighteenth. A tract, published in 1726 by William
Law, after describing the playhouse as a “sink of
corruption and debauchery,” goes on to say—
“This is not the state of the Play House through any
accidental abuse, as any innocent or good thing may be
abused; but that corruption and debauchery are the truly
natural and genuine effects of the stage entertainment.”
But in spite of the abuses that existed in
connection with the stage, the fact remains that
all through the eighteenth century there was a
succession of actresses whose celebrity was not
confined to their own age. The mere mention
of the names of Mrs. Oldfield, Mrs. Porter, Peg
Woffington, Mrs. Cibber, Kitty Clive, and, later,
the incomparable Sarah Siddons, Miss Farren, and
Mrs. Jordan, recalls the glories of the playhouse
and the privileges enjoyed by audiences of those
days.
In the last century it would have seemed
scarcely less absurd to question the propriety of
having women to act than it would now. The
difference in the course of little over fifty years
was marvellous. There is no department of the
fine arts in which women have progressed with
so much rapidity as in acting. It is hardly necessary
to record the triumphs won by popular
actresses, or to chronicle the successes which have
marked the career of numbers who are not in the
first rank. Women have entered upon the stage
as upon their natural inheritance. Their presence
has stimulated the talents of their male compeers.
The attempt to represent human nature with only
one half of humanity seems absurdly futile to later
generations, who find it impossible to conceive of
stage performances in which the players were all
men.
It has been seen how the first advent of women
on the stage was productive of increased licence
and freedom of manners—an almost inevitable
result considering what the age was, and the
novelty of the experiment. The influence of the
drama in England, and the important part which
it has played in the development of our social life,
have been very widely discussed. Those who
view the stage as a great educator, and those—a
dwindling number—who regard it as a debaser of
public morals, can both find apt illustrations to
prove their contentions. But whichever standpoint
be taken, the stage, in the seventeenth and
eighteenth centuries, was far more than at the
present day the national recreation. There were
fewer counterbalancing attractions.
The Puritan party as a whole, of course, held
the stage in horror, but more than one actress
whose name has come down to us was descended
from a stern Republican—like Anne and Rebecca
Marshall, who were said to be daughters of a
divine of the Long Parliament. The dissoluteness
of the stage was in part attributable to the Puritan
spirit which kept the soberer members of the community
from countenancing the theatre by their
presence, and deterred some from entering the
dramatic profession. Stage-acting was decried as
a calling to which only the debased would resort,
and there were plentiful exhortations to those who
valued their soul’s welfare to abstain from looking
upon corrupting sights. It was difficult, especially
in the seventeenth century, for women of unblemished
reputation to go on the stage without
being besmirched with the vices of the worst of
their companions. Many of the mistresses of
Charles II. and his courtiers belonged to the
theatrical profession. But the century which delighted
in the fascinations of Nell Gwynn, in the
beauty of Moll Davies, which watched the performances
of Prince Rupert’s mistress, Mrs. Hughes,
saw also the famous Mrs. Betterton, of unquestioned
virtue, and such actresses as Mrs. Bracegirdle and
Elizabeth Barry. There never has been a time
when the stage has been without women of high
repute as well as brilliant talent to uphold its
honour.
It is not until the reign of Charles I. that there
is any record of women artists. The first efforts
of English artists were directed to the illumination
of manuscripts. It was for several centuries the
only kind of art worth mentioning in England.
There were, it is true, clever goldsmiths and workers
in precious stones. It was the custom to have
books, especially religious books, richly bound and
ornamented. Jacquetta, Duchess of Bedford, gave
a missal with gold clasps, which had belonged to
the Duchess of Portland, to her nephew, Henry VI.
But there was little painting of pictures, except of
the rudest kind, up to the seventeenth century.
And, as far as women are concerned, the record is
absolutely bare. They do not even appear among
the illuminators. But with the days of Vandyck’s
residence in England begins our roll of female
artists. Anne Carlisle shared the royal patronage
with the great Flemish painter, whom she outlived.
She was a great favourite at court, and the king’s
fine taste would not have tolerated an inferior artist.
Then followed a period when the fine arts were
forgotten in the turmoil of war, and crushed by the
gloomy, repressive Puritan spirit. But after the
Restoration, matters changed, and from that time
onwards there is a steadily increasing stream of
artists, though the women are few in number, up
to the present century. The only female painters
of any note in the seventeenth century were those
who obtained royal patronage, like Mary Beale, a
painter in both oil and water-colours, and a most
industrious artist, highly commended by the famous
portrait painter, Sir Peter Lely. Anne Killigrew,
maid of honour to Mary of Modena, Duchess of
York, had only twenty-five years in which to make
a name, but she has secured a niche not only through
her pictures, which included portraits of the Duke
and Duchess of York, but also by her verses.
It is anticipating events to proceed to the days
of Angelica Kaufmann and Mary Moser, but, for
the sake of preserving the continuity of the subject,
a rapid review may be taken of the work done by
women in the last century.
In 1768 the Royal Academy was founded, the
first keeper being George Moser, for many years
manager of a private academy for artists in St.
Martin’s Lane, London. He was the father of Mary
Moser, who, like Angelica Kaufmann, was elected a
member of the Royal Academy, these two being the
only women on whom that honour was conferred.
Both had signed a memorial to George III. in favour
of the foundation of an Academy of Arts. When it
was opened in 1769, Angelica Kaufmann sent two
large paintings, and she continued for years to be
an exhibitor. Mary Moser sent a flower piece in
oils, and two years later a figure subject. After
her marriage with Captain Lloyd she ceased to
appear among the ranks of professional painters,
though she continued to exhibit at the Academy
uninterruptedly until 1779, and at intervals to a
later period, her last contribution being in the year
1800.
Angelica Kaufmann and Mary Moser were
both of Swiss parentage. Angelica’s father was a
native of Schwartzenberg, near Lake Constance, and
George Moser was born at Schaffhausen. Angelica
Kaufmann was born about 1741—the exact date
is uncertain—and Mary Moser in 1744. But while
the more celebrated artist spent the years of her
childhood among the beautiful surroundings of
Morbegno, in Lombardy, and on the shores of Lake
Como, and acquired her early training in the
galleries of Milan, Mary Moser was born and
educated in England. Angelica Kaufmann did not
come to this country until 1765, after she had made
a name for herself in Italy, and had helped her
father to decorate the Church of Schwartzenberg
with frescoes, had painted the portraits of several
noble personages, had been warmly praised and
munificently treated by the Bishop of Constance,
and had become the pet of the ladies about the
court of the Governor of Milan, Francis III., Duke
of Modena. It was through Lady Wentworth, the
wife of the English Minister at Venice, Mr. Murray,
that Angelica Kaufmann came to England, where
she was welcomed by artists both English and
foreign, and made much of in the fashionable world.
The painter Fuseli, whom she had already met in
Rome, was desperately in love with her, but she,
unfortunately, fell into the meshes of that arch
adventurer who passed himself off as Count de
Horn, while her fellow-artist, Mary Moser, was
languishing for love of Fuseli, who was indifferent
or blind to her attachment. In 1781 Angelica
Kaufmann married Antonio Zucchi, a Venetian artist,
and left England for Italy never to return. Fuseli
consoled himself with a Miss Sophia Rawlins in
1788, the year in which he was elected Associate
of the Royal Academy, and Miss Moser married
Captain Hugh Lloyd.
Mary Moser, at the time when she and Angelica
Kaufmann joined the ranks of the “Forty,” was
the only flower painter in the Academy, with the
exception of John Baker. If Angelica Kaufmann,
with her brilliant beauty and talents, has eclipsed
her humbler friend, yet Miss Moser contrived to
secure a very fair share of artistic success. She
gained very practical recognition from the royal
family, the Queen commissioning her to paint a
room at Frogmore, for which she was paid £900.
The whole decoration of this room was in flowers,
flower-painting being Miss Moser’s speciality. The
last time she exhibited at the Academy she sent a
figure subject.
Fanny Reynolds, the retiring and unappreciated
sister of Sir Joshua Reynolds, was one of Angelica
Kaufmann’s many friends. Perhaps she did not
object to the romantic devotion paid by her famous
brother to the fascinating young Italian artist who
captivated all hearts. Frances Reynolds had many
difficulties in the way of her artistic studies. She
got no help or even encouragement from her
brother, who, far from tendering her any advice,
disliked to see her paint, and ridiculed her miniatures,
which, he said, “make other people laugh and
me cry.” Perhaps James Northcote, Sir Joshua’s
pupil, was right when he said that Miss Reynolds’s
portraits were an exact imitation of Sir Joshua’s
defects. This would account for the unfavourable
judgment and harsh treatment poor Fanny always
received from her brother.
Mrs. Cosway, another of Angelica Kaufmann’s
friends, and one of a very smart circle, first exhibited
at the Royal Academy in 1780. She was
the daughter of an Englishman, or Irishman, named
Hadfield, who kept an hotel at Florence, and sent
his little girl to a convent to be educated. She
wished to become a nun, but was dissuaded from
that course by her mother desiring her company
when her father died, and the family moved to
England. It was Angelica Kaufmann who eventually
completed the work of converting Maria
Hadfield from a religious to a secular life. Her
husband was an R.A., wealthy, and much admired
as an artist. Mrs. Cosway, like her husband,
painted miniatures, and was very successful. She
also possessed a good deal of musical talent, and
was personally attractive, so that between them
Mr. and Mrs. Cosway made numerous friends and
quantities of money, for Cosway had a keen eye to
business, and could turn everything to account.
Their receptions were noted, and were attended by
artists, men of letters, the most exclusive of the
fashionable world, and also by royalty. But all
this splendour faded away when Cosway took up
the cause of the Revolutionists in France. His
friends turned their backs on him, his wife’s health
failed, their only child died, and the last years of
their married life were spent in a dull house in the
Edgeware Road, London. After her husband’s
death, Mrs. Cosway went back to her native country.
In the closing years of the eighteenth century
there were many landscape painters among women,
but in the early part of the nineteenth century they
declined, very few exhibiting at the Royal Academy.
It was, however, a flourishing period for portrait
painters. “Never before or since have so many
lady artists obtained such honours in a most difficult
branch.”61 Mrs. Carpenter, who lived between
1793 and 1877, was pre-eminent among these, and
was a regular exhibitor at the Academy from 1814
to 1866. Mrs. James Robertson was a clever
miniature painter, and was elected a member of
the Imperial Academy of St. Petersburg. She was
also an exhibitor at the Royal Academy during
the same period as Mrs. Carpenter.
It was not an easy matter at the close of the
last century and the beginning of the present to
obtain instruction in miniature painting, and the
women who excelled did so entirely by their own
laborious efforts. Later on this branch of the art
fell into desuetude. Flower and fruit painting came
much into vogue early in the century. It is a
curious thing that the amateurs of art should
have fallen so much into the background in the
first half of this century. In the last decade of the
eighteenth century the amateurs were rather distinguished.
There were numbers of “honorary
exhibitors” between 1793 and 1800 at the Royal
Academy, who seem to have been so described
because they were amateurs like Miss Spilsbury,
Miss Serres, and other ladies.
It seems strange that in music women have
shown so little creative power. They have proved
first-class executants, but as composers they have
not attempted any great flights. With a few
exceptions their productions have been confined
to the lighter kinds of music, to songs and the
simpler class of pianoforte works. They have
rarely attempted orchestral pieces or the more
elaborate forms of vocal composition. Symphonies,
oratorios, operas, or even cantatas have very
seldom issued from the pen of a woman. It is
not, however, impossible that creative capacity may
have existed in many women without finding direct
expression or acknowledgment. Mendelssohn narrates
how he was summoned to play before the
Queen, who wished that he should accompany her
in one of his compositions. He asked Her Majesty
to select her favourite song, and when the Queen
had chosen what she called quite the best,
Mendelssohn was obliged to confess that the song
was his sister’s work, not his own. The elder
Mendelssohn would probably have seen more
impropriety in his daughter’s name appearing in
print than in his son taking credit for what he had
not composed. Just as Caroline Herschell’s large
share in her brother’s astronomic labours and Fanny
Mendelssohn’s authorship were not acknowledged,
so is it impossible to say that musical genius may
not have been the heritage of some among the
women of famous composers’ families.
But women have always delighted in playing
and singing, even in those early periods of our
history when music in this country was chiefly a
thing of ear and memory, there being hardly any
musical literature and very few professional
instructors. In the middle ages, throughout the
Renaissance period, and down to the last century,
music was part of polite education for both
sexes. At the present day a gentleman may go
comfortably through life with no more, if as much,
knowledge of music as a Board School child, and
not be accused of lack of breeding. For a woman
in the middle and upper ranks, music has remained
an essential feature of education. Indeed, it has
been made far too much of, and many years are
often wasted in attaining a very moderate degree
of executive skill, with little pleasure or profit, by
those who have not sufficient natural ability to make
prolonged study useful.
In the present century the musical education of
women has made great strides. Every opportunity
has been taken for latent talent to develop by
means of the best instruction. The academies and
schools of music have raised the standard of private
teaching, besides directly educating vast numbers of
students. The result is an ever-increasing number
of really able performers and teachers, but very
few composers. To the executive power of women
there is no limit beyond that of the instrument.
With regard to vocalism, there is the barrier of
climate. We are not a nation of vocalists, and
though there is a very large amount of respectable
talent it is seldom that England produces a great
singer.
One proof of the advanced musical education
of women is to be found in their frequent presence
as performers in high-class orchestras. It used to
be a rare thing to see a woman appear on a concert
platform in any capacity but that of vocalist or
pianoforte player. Now she takes her place quite
naturally among the “strings.” To play in concerted
music means a wider training, and one that has only
become possible to women in recent times.
The English have always been a music-loving
nation. The records of early times show in what
esteem music was held. The harp was the favourite
instrument of our forefathers. The possession of
a harp was one of the three things necessary to a
gentleman or a freeman in Wales, and slaves were
not permitted to play on it. A gentleman’s harp
was never seized for debt, because he would then
have been degraded to the rank of a slave. The
minstrel was as essential to English social life in
the middle ages as the cook or the henchman.
A writer in the thirteenth century speaks of the
good singers in England at the court of Henry II.
Erasmus in the sixteenth century remarks of the
English:—
“They challenge the prerogative of having the most handsome
women, of keeping the best table, and being most
accomplished in the skill of music of any people.”
At that time everybody, high or low, delighted
in music. It was as much a part of education as
reading and writing, and there was never a festival
or entertainment of any kind without music.
Curiously enough, ladies then played the bass viol,
thought by some to be an “unmannerly instrument
for a woman.” The virginal, or as it is generally
called the virginals, a sort of pianoforte; the cittern
and the gittern, which were varieties of the lute
and the guitar, were the instruments most in use
by gentlewomen.62 The virginal is said to have
received its name from being played by young
girls, or, according to some authorities, because it
was an instrument used by the nuns in their hymns
to the Virgin. It was expected of every lady that
she must be able—
“to play upon the virginals, lute, and cittern; and to
read prick song (i.e. music written or pricked down) at
first sight.”
So common was the lute that lute-strings were
much in vogue as new year’s gifts to ladies. Queen
Elizabeth, as is well known, was a skilful performer
on the lute and virginals, and her “Virginal Book”
is frequently referred to in musical works. “Lady
Nevill’s Virginal Book” is another famous collection
of sixteenth-century airs.
Queen Elizabeth gave great encouragement to
sacred music, and issued express orders for the
retention of the musical portion of the Church
Service, and in her own chapel various instruments
were used. She gave much offence to the stricter
Protestants by her patronage of music.
All through the Tudor period England was
merry with music, but with the triumph of the
Puritans, in the seventeenth century, all this was
changed. Music was denounced as corrupting and
mischievous, like the other arts, and every effort
made to prevent the people’s enjoyment of it, either
in their own homes or in the religious services.
Under James I. there had been little encouragement
given to music, and when the Civil War came,
and the Commonwealth, with its austere doctrines,
was established, there was no chance for musicians.
The fury of the Puritans against church music was
shown in acts of violence. The organ of Westminster
Abbey was broken down, and the pipes
pawned for ale by roistering republicans. Ordinances
were passed in 1644 for—
“the speedy demolishing of all organs and all matters of
superstitions, monuments in all Cathedral or Collegiate or
Parish Churches and Chapels throughout the Kingdom.”
And even before then havoc had been made of
the church organs. Of the court players no one
knows—they disappeared. But after the Restoration
the Royal Chapel Choir was re-formed with
some difficulty, for both teachers and performers had
been scattered to the four winds. Then followed
the age of Purcell, Humphrey, Wise, and Blow.
Throughout the seventeenth century, and down
to the time of the second George, ladies continued
to play on the virginals and lute, and to practise
reading music at sight.
“Part of a gentlewoman’s bringing up is to sing, dance,
play on the lute, or some such instrument, before she can
say her Pater Noster or ten commandments: ’tis the next
way their parents think to get them husbands, they are
compelled to learn.”
And just as Englishwomen of the present day are
apt to lay aside their accomplishments after marriage,
so, in the seventeenth century,
“they that being maids took so much pains to sing,
play, and dance, with such cost and charge to their parents
to get these graceful qualities, now being married, will
scarce touch an instrument, they care not for it.”
The very maidservants at that period understood
music. Pepys speaks of a servant whom he and
his wife took into their household, a poor, wretched
girl, without proper clothing, but with a decided
talent for singing, apparent even through a voice
described by the diarist as furred for want of use.
This was the fourth maid in the course of less than
ten years whom Pepys praises for musical ability;
and there was also the boy who was in the habit of
playing his lute in bed at four in the morning, a
habit that most employers would object to, but
Pepys saw in it only occasion for praise.
The seventeenth century marks an era in our
musical history, because it witnessed the first attempts
at opera by English composers. Matthew
Lock’s opera, Psyche, produced in 1673, was the
first English composition of this class. Henry
Purcell, when he was only about seventeen, wrote
Dido and Æneas. It was performed in 1677. Now,
as Madame Raymond Ritter has said—
“Woman’s practical career as a musician only began
with the invention of the opera about 1600. It was not
until her superiority as an actress and a singer had been
undeniably and triumphantly established on the stage that
she was allowed to resume her musical participation in
Church services.”63
Purcell’s opera had a very modest introduction
to the world. It was performed at a girl’s boarding-school,
kept in Leicester Fields by Mr. James
Priest, a famous dancing-master, who persuaded
young Purcell to write the music to the libretto of
the drama which had been composed by one Tate
at his suggestion. Mr. Priest desired to have
something for his pupils to perform, and the exhibition
came off with great éclat in the presence
of the pupils’ parents and friends.
It is a little surprising that any one should have
been found daring enough to carry out so startling
an idea at a girls’ school, and it seems odd that
Mr. Priest should have been the proprietor of such
an establishment.
The musical history of England affords little
that is encouraging to dwell upon from the middle
of the seventeenth century. A great many foreign
artists visited this country, but native talent was at
a very low ebb. There were no English composers
of any note after Purcell, who died at thirty-seven
years of age, just when Italian opera was beginning
to take root in England.