There is a capital bit of patriotism on page 118, which deserves quoting, first, because at the time it was entirely justifiable; secondly, because it shews us that in 1667, instrumental music had at last decidedly parted company with vocal part-writing, and had an independent existence. 'You need not seek Outlandish Authors, especially for Instrumental Music; no Nation (in my opinion) being equal to the English in that way; as well for their excellent as their various and numerous Consorts, of 3, 4, 5, and 6 Parts, made properly [on purpose] for Instruments, of all which (as I said) Fancies are the chief.' For 'Consort,' see Two Gent. 32, 83; and for 'Fancies,' Hen. IV. B. 32, 323.
Hawkins (1776) does not add much of interest to the above account of the Elizabethan dances, except (p. 704) that there is no authority for a Jigg having generally a pointed (i.e., dotted) note at the beginning of every bar. There is, however, a 'Jegge' given in Stainer and Barrett's Dict. of Musical Terms, dated 1678, where the 'pointed' note is quite characteristic. This may be a more modern feature, for an undoubtedly ancient Jig—viz., Dr Bull's 'King's Hunting Jigg,' not only has no dotted note, but is in common time, without even a tendency towards the rhythm
