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References

^[*] Stephanie Carter (stephanie.carter@newcastle.ac.uk) is an Associate Researcher at Newcastle University, UK, County Editor for the Victoria County History Trust of Northamptonshire, and a trainee archivist. She completed her doctoral thesis at the University of Manchester on late seventeenth-century English music print culture, and has taught at the universities of Manchester and Newcastle. She has published on music ownership and circulation, the role of the publisher as music editor, and the sale of printed music outside London. She is the co-editor (with Kirsten Gibson and Roz Southey) of Music in North-East England, 1500–1800 (Boydell, 2020). Her present research focuses on the archives at Alnwick Castle, the movement of musical goods as recorded in the Exchequer port books, and the music trade in early modern England.

^[1] Musick’s Monument, Or, A Remembrancer Of the Best Practical Musick, Both Divine, and Civil, that has ever been known, to have been in the World. Divided into Three Parts … (London: printed by T. Ratcliffe, and N. Thompson, for the author, and are to be sold by himself, at his house in Cambridge, and by John Carr, at his shop at the Middle-Temple Gate in Fleetstreet, 1676); reprint, New York: Broude, 1966; reprint with commentary by Jean Jacquot, Paris: CNRS, 1966. Available online on the Internet Archive, https://archive.org/details/musicksmonumento00mace/mode/2up, and by institutional subscription to Early English Books Online.

^[2] Philip Brett, review of Thomas Mace, Musick’s Monument, reprint ed. (Paris: CNRS, 1966), Journal of the American Musicological Society 21, no. 1 (1968): 110–12; R.M. Thackeray, “Thomas Mace,” Musical Times 92 (1951): 306–7, at 306.

^[3] For more information on music publication by subscription, see Simon Fleming and Martin Perkins, eds., Music by Subscription: Composers and their Networks in the British Music-Publishing Trade, 1676–1820 (Abingdon: Routledge, 2022).

^[4] Stephanie Carter, “Thomas Mace and the Publication by Subscription of Musick’s Monument (1676),” in Music by Subscription, ed. Fleming and Perkins, chapter 2.

^[5] Thomas Mace, Musick’s Monument (London, 1676), sig. c 1v–d 1. There are actually 300 names listed, with 125 at the university. However, two names are listed twice: Thomas Fairmeadow (died 1711), University Taxor in 1677, and Charles Smithson (died 1714), Junior Proctor 1676–7; both were graduates of Christ’s College in the 1660s.

^[7] For a history of music at the universities, see Nan Cooke Carpenter, Music in the Medieval and Renaissance Universities (Norman: University of Oklahoma, 1958), 153–210; Frida Knight, Cambridge Music from the Middle Ages to Modern Times (Cambridge: Oleander, 1980); David C. Price, Patrons and Musicians of the English Renaissance (Cambridge: Cambridge University Press, 1981), 20–24; Penelope Gouk, “Music and the Sciences,” in The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt (Cambridge: Cambridge University Press, 2005), 132–57, at 133–36.

^[8] Penelope Gouk, “Music,” in The History of the University of Oxford, vol. 4: Seventeenth-Century Oxford, ed. Nicholas Tyacke (Oxford: Oxford University Press, 1997), 621–40, at 638.

^[9] Mace, Musick’s Monument, 45, regarding the lute: “eminent Performances upon that Instrument by divers very Worthy Persons; several such at this present remaining in our University of Cambridge.”

^[10] Ian Payne, “Instrumental Music at Trinity College, Cambridge, c.1594–c.1615: Archival and Biographical Evidence,” Music & Letters 68, no. 2 (1987): 18–140, at 139–40.

^[11] Ian Payne, “George Loosemore at Trinity College, Cambridge, 1660–1682,” Proceedings of the Cambridge Antiquarian Society 77 (1988): 145–50, at 148. College accounts include an entry in 1672 to George Loosemore for “string & stringing of viols in the Common Chamber.” See also Payne, “Instrumental Music at Trinity College,” 128–31.

^[12] Thomas R. Dixon, “ ‘Spirituall Musick’: The Model of Divine Harmony in the Work of Peter Sterry (1613–1672)” (PhD diss., University of Manchester, 2005), 51. Thanks to Sarah Hutton and Penelope Gouk for bringing Thomas Dixon’s thesis to my attention.

^[13] Quotation taken from St. Bene’t’s website, https://www.stbenetschurch.org/st-benets-a-history/famous-17th-amp-18th-century-parishioners (accessed 29 June 2022); I am presently unable to identify the primary source. Also, Mace, Musick’s Monument, 244: “Two of such Organs only … being of my own Contrivance; and which I caus’d to be made In my own House, and for my own Use, as to the maintaining of Publick Consorts, &c.”

^[14] Mace, Musick’s Monument, 235. Mace is undoubtedly referring to Playford’s Cantica Sacra (1674).

^[15] Quoted in William T. Costello, The Scholastic Curriculum at Early Seventeenth Century Cambridge (Harvard: Harvard University Press, 1958), 142. For more on Wallis, see Benjamin Wardhaugh, Music, Experiment and Mathematics in England, 1653–1705 (Abingdon: Routledge, 2008), 156–66.

^[16] Roger North, The Lives of the Right Hon. Francis North, Baron Guildford (London, 1826), 1:12. Peter Holman has suggested that Francis North (1637–85) was probably a pupil of Mace or Lillie; in Peter Holman, Life After Death: The Viola Da Gamba in Britain from Purcell to Dolmetsch (Woodbridge: Boydell Press, 2010), 68. Francis North was presented with a new viol while at Cambridge. See Susan Treacy, “English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture” (PhD diss., North Texas State University, 1986), 130.

^[17] Nicholas Hookes, “To Mr. Lilly, Musick-Master in Cambridge,” Amanda, A Sacrifice To an Unknown Goddesse, Or, A Free-will Offering Of a loving Heart to a Sweet-Heart (London, 1653), 56–58.

^[19] Ian Payne, The Provision and Practice of Sacred Music at Cambridge Colleges and Selected Cathedrals c.1547–c.1646 (New York: Garland Publishing, 1993), 162.

^[23] Mace, Musick’s Monument, 45–46. Mace lists his teaching subjects in his advertisement ca. 1690 in London, GB-Lbl MS Harl. 5936 (384).

^[24] Matthew Spring, “The Reverend Robert Creighton’s Seven Pieces for Twelve-Course Lute in British Library Additional Manuscript 37074,” The Lute 55 (2015): 32–48. On Duport see par. 3.2 below.

^[25] Mace, Musick’s Monument, 235. See also H. Watson, “Thomas Mace: The Man, the Book and the Instruments,” Proceedings of the Musical Association 35 (1908–9): 87–107; Margaret Urquhart, “Sir Robert Bolles Bt. Of Scampton,” Chelys 16 (1987): 16–29.

^[31] Crossley, Diary and Correspondence of Dr. John Worthington, 2:240; Samuel Hibbert, ed., History of the Foundations in Manchester of Christ’s College, Chetham’s Hospital, and The Free Grammar School (London, 1834), 2:7–8.

^[32] Crossley, Diary and Correspondence of Dr. John Worthington, 1:273–74. Letter dated 31 January 1660.

^[33] Richard Ward, The Life of Henry More, Parts 1 and 2, ed. Sarah Hutton et al., Archives internationales d’histoire des idées 167 (Dordrecht: Kluwer Academic Publishers, 2000), 41. Thanks to Benjamin Carter for this reference.

^[34] John Covel, “An Account of the Master’s Lodgings in ye College and of his private Lodge by it self,” GB-Lbl Add. MS 22,911; transcribed in R. Willis and J.W. Clarke, The Architectural History of the University of Cambridge, and of the Colleges of Cambridge and Eton (Cambridge: Cambridge University Press, 1886; reprint, 1988), 2:212–19, at 213–14. Thanks to Sarah Hutton for bringing John Covel to my attention.

^[35] Holman, Life After Death, 68; Andrew Ashbee, “Bodleian Library, Printed Book, Mus. 184.c.8 Revisited,” The Viol 2 (2006): 18–21. For Wilson’s biography, see Carter, “Thomas Mace and the Publication by Subscription of Musick’s Monument (1676).”

^[37] Dixon, “Spirituall Musick,” 50. Smith donated his library to Queen’s College, Cambridge. His posthumous library inventory includes “Mersenni Harmonica,” which may refer to Marin Mersenne’s Harmonie Universelle (1636). The Queen’s College Library Donor’s List has been digitized: https://issuu.com/03776/docs/qunsdonors.

^[38] Thomas Dixon, “ ‘Meditation is the Musick of Souls’: The Silent Music of Peter Sterry (1613–1672),” in Silence, Music, Silent Music, ed. Nicky Losseff and Jenny Doctor (Aldershot: Ashgate, 2007),187–204, at 193. See also The Cambridge Platonism Sourcebook, http://www.cambridge-platonism.divinity.cam.ac.uk.

^[39] Edward Millington, Bibliotheca Cudworthiana, Sive Catalogus Variorum Librorum Plurimis Facultatibus. Insignium Bibliothecae Instructissimae Rev. Doct. Dr. Cudworth, S.T.P. (London, 1690/1), 35, item 44. Mace’s Musick’s Monument is not listed in the catalog; however, Cudworth in his will left his books to his son John, except for any English books that his wife and daughter wanted. See David Pearson, Book Owners Online, last modified July 2021, https://bookowners.online/Ralph_Cudworth_1617-1688.

^[40] Millington, Bibliotheca Cudworthiana, 40, item 99. Thomas Ravenscroft, The Whole Booke of Psalmes: With The Hymnes Evangelicall, And Songs Spirituall (London: Thomas Harper, 1633), digitized at https://archive.org/details/sundpsal00rave.

^[41] Millington, Bibliotheca Cudworthiana, 46, item 97. The last two books are listed together as part of a job lot.

^[42] Mordechai Feingold, “Isaac Barrow’s Library,” in Before Newton: The Life and Times of Isaac Barrow, ed. Mordechai Feingold (Cambridge: Cambridge University Press, 1990), 333–72, at 346 and 357–8; Gouk, “Music,” 638. Barrow’s library catalog of 1677 lists his copy of Musick’s Monument, Butler’s Principles of Musick (1636), and Samuel Morland’s Tuba Stentoro-Phonica (1672 edition).

^[43] Covel, “An Account of the Master’s Lodgings,” transcribed in Willis, Architectural History, 1:214.

^[44] Rosemary O’Day, in Oxford Dictionary of National Biography, s.v. “Duport, James,” available online by institutional subscription, last modified September 2008.

^[45] Mordechai Feingold, “Isaac Barrow: Divine, Scholar, Mathematician,” in Before Newton, ed. Feingold, 1–104, at 33–34.

^[48] Jean Jacquot, “Introduction,” in Thomas Mace, Musick’s Monument, reprint ed. (Paris: Centre National de la Recherche Scientifique, 1966), 1:xxv.

^[49] Mace, Musick’s Monument, 265–72. Penelope Gouk has recently explored Mace’s mysticism in “Thinking with Music: Thomas Mace (1613–1706) and the ‘Unexpressible’ Mystery of the Infinite,” unpublished paper read at the Soundscapes in the Early Modern World Conference, Liverpool John Moores University, July 2021.

^[50] Linda Phyllis Austern, “ ‘Tis Nature’s Voice’: Music, Natural Philosophy, and the Hidden World in Seventeenth-Century England,” in Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, ed. Suzannah Clark and Alexander Rehding (Cambridge: Cambridge University Press, 2001), 30–67, at 39. Thanks to Linda Austern for providing me with a copy of her essay.

^[51] Austern, “Tis Nature’s Voice,” 39; Mace, Musick’s Monument, 264–72.

^[52] Austern, “Tis Nature’s Voice,” 44; Mace, Musick’s Monument, 231.

^[54] Bruce Bellingham, “The Musical Circle of Anthony Wood in Oxford During the Commonwealth and Restoration,” Journal of the Viola da Gamba Society of America 29 (1982): 6–70, at 32. See also Alan Howard, “A Midcentury Musical Friendship: Silas Taylor and Matthew Locke,” in Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Linda Phyllis Austern, Candace Bailey, and Amanda Eubanks Winkler (Bloomington: Indiana University Press, 2017), 127–49.

^[57] Jonathan Smith, “The Preachers of Trinity College, Cambridge, 1552–1860: The Use and Abuse of a College Office,” History of Universities 20, no. 2 (2005): 47–75, at 58.

^[58] John Twigg, The University of Cambridge and the English Revolution, 1625–1688 (Woodbridge: Boydell Press, 1990), 241.

^[59] Benjamin Carter, “The Standing of Ralph Cudworth as a Philosopher,” in Insiders and Outsiders in Seventeenth-Century Philosophy, ed. G.A.J. Rogers, Tom Sorell, and Jill Kraye (Abingdon: Routledge, 2010), 99–121, at 108–9. More was also singled out for attack. Twigg, The University of Cambridge, 256. Gunning supported Widdrington’s attacks, according to Sarah Hutton, private correspondence, February 2021.

^[63] Jamie C. Kassler, The Beginnings of the Modern Philosophy of Music in England (Aldershot: Ashgate, 2004), 2–3.

^[64] Roger North, The Lives of The Right Hon. Francis North, Baron Guildford (London: H. Colburn, 1826), 1:250, digitized at https://www.google.com/books/edition/The_Lives_of_the_Right_Hon_Francis_North/IjowAAAAYAAJ?hl; Wardhaugh, Music, Experiment and Mathematics, 131; Kassler, Beginnings of the Modern Philosophy of Music, 89. Matthews’s copy of Musick’s Monument survives in Durham Cathedral Library.

^[65] Letter from Newton to John North, dated 21 April 1677. Full transcription in Kassler, Beginnings of the Modern Philosophy of Music, 175–8.

^[66] London, Royal Society Library, EL/N1/49, fol. 49r. The letter includes a diagram of Mace’s “Otocousticon.” Full transcription and diagram available online at The Newton Project, https://www.newtonproject.ox.ac.uk/. For more on Newton’s use of music in his studies, see Penelope Gouk, Music, Science and Natural Magic in Seventeenth-Century England (New Haven: Yale University Press, 1999), 230–57.

^[68] Crossley, Diary and Correspondence of Dr. John Worthington, 2:206. This instrument was considered rare by the 1660s. John Evelyn noted in 1661 that he heard the physician Sir Francis Prujean (1593–1666) play a polyphon, an instrument played “by none known in England, nor describ’d by any author, nor us’d, but by this skilfull and learned Doctor.” William Bray, ed., Memoirs of John Evelyn (London: Henry Colburn, 1827), 2:175–6, digitized at https://www.google.com/books/edition/Memoirs_of_John_Evelyn_Comprinsing_His_D/xN1SAAAAcAAJ?hl; Ian Harwood, in Grove Music Online, s.v. “Poliphant,” published 2001; Christopher D.S. Field and Benjamin Wardhaugh, eds., John Birchensha: Writings on Music (Farnham: Ashgate, 2010), 182.

^[69] Leta Miller and Albert Cohen, Music in the Royal Society of London 1660–1806 (Detroit: Information Coordinators, 1987), 21–22.

^[70] For more on music and the early years of the Royal Society, see Gouk, “Music and the Sciences,” 149–54; Carter, “Thomas Mace and the Publication by Subscription of Musick’s Monument (1676)”; Leta E. Miller, “John Birchensha and the Early Royal Society: Grand Scales and Scientific Composition,” Journal of the Royal Musical Association 115, no. 1 (1990): 63–79; Miller and Cohen, Music in the Royal Society of London 1660–1806.

^[71] David McKitterick, A History of Cambridge History Press, vol. 1: Printing and the Book Trade in Cambridge, 1534–1698 (Cambridge: Cambridge University Press, 1992), 19–20.

^[73] Philip Gaskell, Trinity College Library: The First 150 Years (Cambridge: Cambridge University Press, 1980), 138–40.

^[75] A.F. Torry, Founders and Benefactors of St John’s College, Cambridge (Cambridge: Metcalfe, 1888), 50–51.

^[76] Thomas Gibbard has demonstrated various issues with Mace’s design: Thomas Gibbard, “The Music Room of Thomas Mace,” The Viol 43 (2016): 18–20. Incidentally, Anthony A. Olmsted and Amanda Eubanks Winkler have both stated that Mace held the licence to the London York Buildings in 1678. There is no evidence for this, and it appears that Olmsted misread Percy M. Young’s New Grove entry “Concert.” See Anthony A. Olmsted, “The Capitalization of Musical Production: The Conceptual and Spatial Development of London’s Public Concerts, 1660–1750,” in Music and Marx: Ideas, Practice, Politics, ed. R.B. Quershi (New York: Routledge, 2002), 106–38, at 119; Amanda Eubanks Winkler, “English Music in Benefit Concerts: Henry Purcell and the Next Generation,” in Music and the Benefit Performance in Eighteenth-Century Britain, ed. Alison DeSimone and Matthew Gardner (Cambridge: Cambridge University Press, 2019), 145–61, at 148; Percy M. Young, in The New Grove Dictionary of Music and Musicians, 1st ed. (1980), s.v. “Concert.”

^[77] Carter, “Thomas Mace and the Publication by Subscription of Musick’s Monument (1676),” passim.

^[81] David McKitterick, “Books and Other Collections,” in The Making of the Wren Library, Trinity College, Cambridge, ed. David McKitterick (Cambridge: Cambridge University Press, 1995), 50–109, at 74.