became much more melodious and capable of accompanying the human
voice. Malachi O'Morgair, Archbishop of Armagh, introduced other
improvements in it in the twelfth century. Finally, in later times,
its capacity was increased from twenty-eight strings to thirty-three,
in which state it still remains.

As long as the nation retained its autonomy, the harp was a universal
instrument among the inhabitants of Erin. It was found in every house;
it was heard wherever you met a few people gathered together. Studied
so universally, so completely and perfectly, it gave Irish music in
the middle ages a superiority over that of all other nations. It is
Cambrensis who remarks that "the attention of these people to musical
instruments is worthy of praise, in which their skill is, beyond
comparison, superior to any other people; for in these the modulation
is not slow and solemn, as in the instruments of Britain, but the
sounds are rapid and precipitate, yet sweet and pleasing. It is
extraordinary, in such rapidity of the fingers, how the musical
proportions are preserved, and the art everywhere inherent among
their complicated modulations, and the multitude of intricate notes
so sweetly swift, so irregular in their composition, so disorderly
in their concords, yet returning to unison and completing the melody."

Giraldus could not express himself better, never before having
heard any other music than that of the Anglo-Normans; but it is
clear, from the foregoing passage, that Irish art surpassed all
his conceptions.

The universality of song among the Irish Celts grew out of their
nature, and in time brought out all the refinements of art. Long
before Cambrensis's time the whole island resounded with music