chanted, and the gap is filled in by the organ going through astounding musical frolics; or else one verse is chanted in plain-song, and the next in fauxbourdon—that is to say, the tenor holds on to the plain-song, whilst treble and alto gambol at a higher strain a melody different, but harmonious with the plain-song. In Provence at high mass the Gloria and Credo are divided into paragraphs, and in like manner are sung alternately in plain-song and fauxbourdon. The origin of this part-singing is very curious. The congregation, loving to hear their own voices, and not particularly interested in, or knowing the Latin words, broke out into folk-song at intervals, in the same "mode" as that of the tone sung by the clergy. They chirped out some love ballad or dance tune, whilst the officiants in the choir droned the Latin of the liturgy. Even so late as 1645, the Provençals at Christmas were wont to sing in the Magnificat a vulgar song—
"Que ne vous requinquez-vous, Vielle,
Que ne vous requinquez, done?"
which may be rendered
"Why do you trick yourself out, old woman?
O why do you trick yourself so?"
In order to stop this sort of thing the clergy had recourse to "farcing" the canticles, i.e. translating each verse into the vernacular, and interlarding the Latin with the translation, in hopes that the people, if sing they would, would adopt these words; but the farced canticles were not to the popular taste, and they continued to roar out lustily their folk-songs, often indelicate, always unsuitable. This came to such a pass
