and Sentiments. 35 feems preparing to join in the fame exercife. We know little of the Anglo-Saxon mode of dancing, but to judge by the words ufed to exprefs this amufement, hoppan (to ho^) , faltian and Jtellafi (to leap), and tumlian (to tumble), it muft have been accompanied with violent movements. Our cut No. 26 (from the Cottonian MS., Cleopatra, C. viii. fol. 16, v°), reprefents another party of minftrels, one of whom, a female, is dancing, while the other two are playing on a kind of cithara and on the Roman double flute. The Anglo-Saxon names for the different kinds of mufi- No. 26. Anglo-Saxon Mmftreh. cians moft frequently fpoken of were hearpere, the harper 3 hyinere, the trumpeter ; pipere, the player on the pipe or flute 5 Jithelere, the fiddler ; and horn-llawere, the horn-blower. The gligman, or gleeman, was the fame who, at a later period, was called, in Latin, joculator, and, in French, a jougleur ; and another performer, called truth, is interpreted as a fl;age player, but was probably forae performer akin to the gleeman. The harp feems to have fl:ood in the highefl: rank, or, at leaf!:, in the highefl: popularity, of mufical inftruments; it was termed poetically the gled-beam, or the glee-wood. Although it was confidered a very fafliionable accomplilliment among the Anglo-Saxons to be a good finger of verfes and a good player on the harp, yet the profeffed minfiirel, who went about to every fort of joyous aflemblage.
