the Irish have a few different names for harps: Clarseach for "the common harp", Cinnard-Cruit for "the high-headed harp", Crom-cruit for "the down-bending harp", Ceirnin for "the portable harp, used by the priests and religious people", Craiftin Cruit for "Craftin's harp", and Lub "a poetical name of the harp." Following this is a description with small musical examples of each string on the harp, as well as the proper tuning for the ancient instrument. After this is a table of practices, also with musical examples. Some of these are bualladh suas no suaserigh or "succession of triplets" and sruith-mor or "a great stream, ascending or descending". To conclude the chapter, Bunting gives the reader an idea of some "times", "moods", and "keys" used by the ancient harpers, as well as a vast vocabulary list of other Irish musical terms. An online multimedia edition of these tables has been published at http://www.earlygaelicharp.info/Irish_Terms/. Chapter 3 Bunting opens chapter 3 with an introduction to George Petrie's Memoir of Ancient Irish Harp Preserved in Trinity College. In this introduction Bunting shows the reader two images, which he analyses with respect to the ancient way of playing the harp. Following this can be found a brief account of the Irish harp by Galilei in 1581, from which Bunting concludes that the ancient harp must have had between twenty-nine and thirty strings. Petrie's Memoir begins with the legend of the origins of "Brian Boru's harp", currently housed in the library at Trinity College. In Petrie's words, "we are told that Donogh, the son and successor of the celebrated Brian Boru, who was killed at the battle of Clontarf in 1014, having murdered his brother Teague, in 1023, was deposed by his nephew, in consequence of which he retired to Rome, carrying with him the crown, harp, and other regalia of his father, which he presented to the Pope to obtain absolution […] These regalia were kept in the Vatican till the Pope sent the harp to Henry VIII, with the title of Defender of the Faith, but kept the crown, which was of massive gold. The legend continues, with Henry VIII giving the harp to the "Earl of Clanricarde". The harp subsequently passed through many Irish hands, before Chevalier O'Gorman donated it to Trinity College. Petrie relegates this tale to the realm of invention, quoting Thomas Moore's dismissal of the story. Moore bases his argument on