(K. S.)
1See Michael Praetorius,De organographia(Wolfenbüttel, 1618), tab. viii., where crooks for lowering the key by one tone on trumpet and trombone are pictured.2See Victor Mahillon,Les Éléments d’acoustique musicale et instrumentale(Brussels, 1874), pp. 96, 97, &c.; Friedrich Zamminer,Die Musik und die musikalischen Instrumente(Giessen, 1855), p. 310, where diagrams of the mouthpieces are given.3See Joseph Fröhlich,Vollständige theoretisch-praktische Musikschule(Bonn, 1811), iii. 7, where diagrams of the two mouthpieces for first and second horn are given.4See Gottfried Weber, “Zur Akustik der Blasinstrumente,” inAllgemeine musikalische Zeitung(Leipzig, 1816), p. 38.5Les Instruments de musique au musée du Conservatoire royal de musique de Bruxelles, “Instruments à vent,” ii., “Le Cor, son histoire, sa théorie, sa construction” (Brussels and London, 1907), p. 28.6Die Akustik(Leipzig, 1802), p. 86, § 72.7Op. cit.p. 13, § 20, and p. 15, §§ 24 and 25. This apparent discrepancy between an early and a modern authority on the acoustics of wind instruments is easily explained. Chladni, when speaking of open and closed pipes, refers to the standard cylindrical and rectangular organ-pipes. Mahillon, on the other hand, draws a distinction in favour of the conical pipe, demonstrating in a practical manner how, given a certain calibre, the conical pipe must overblow the harmonics of the open pipe, whatever the method of producing the sound.8See Gottfried Weber,loc. cit.9See Ernst Heinrich and Wilhelm Weber,Wellenlehre(Leipzig, 1825), p. 519, § 281, andA Text-Book of Physics, part. ii., “Sound,” by J. H. Poynting and J. J. Thomson (London, 1906), pp. 104 and 105.10See Sedley Taylor,Sound and Music(1896), p. 21.11Id.pp. 23-25.12See Gottfried Weber,op. cit., pp. 39-41, and Ernst H. and Wilhelm Weber,op. cit.p. 522, end of § 285.13See A. Ganot,Elementary Treatise on Physics, translated by E. Atkinson (16th ed., London, 1902), p. 266, § 282, “In the horn different notes are produced by altering the distance of the lips.” Such a vague and misleading statement is worse than useless. See also Poynting and Thomson,op. cit.p. 113.14“Le Cor,” p. 22; p. 11, § 18; pp. 6 and 7, § 8.15The phraseology alone is here borrowed from Sedley Taylor, (op. cit.p. 55), who does not enter into the practical application of the theory he expounds so clearly.16See Dr Emil Schafhäutl’s article on musical instruments, § iv. ofBericht der Beurtheilungs Commission bei der Allg. Deutschen Industrie Ausstellung, 1854(Munich, 1855), pp. 169-170; also F. Zamminer,op. cit.17The measurements are for the high philharmonic pitch a’=452.4. V. Mahillon, “Le cor” (p. 32), gives a table of the lengths of crooks in metres.18Robert Eitner, editor of the Monatshefte für Musikwissenschaft, published therein an article in 1881, p. 41 seq., “Wer hat die Ventiltrompete erfunden,” in which, after referring to theKlappenwaldhornandTrompete(keyed horn and trumpet) made by Weidinger and played in public in 1802 and 1813 respectively, he goes on to state that Schilling in his Lexicon makes the comical mistake of looking upon the Klappentrompete (keyed trumpet) andVentiltrompete(valve trumpet) as different instruments. He accordingly sets matters right, as he thinks, by according to Weidinger the honour of the invention of valves, hitherto wrongfully attributed to Stölzel; and in theQuellenlexikon(1904) he leaves out Stölzel’s name, and names Weidinger as the inventor of theKlappenorVentil, referring readers for further particulars to his article, just quoted, in theMonatshefte.19See Hector Berlioz,A Treatise on Modern Instrumentation and Orchestration, translated by Mary Cowden Clarke, new edition revised by Joseph Bennett (1882), p. 141.20See Victor Mahillon,Catal. descriptif des instruments de musique, &c., vol. ii. p. 388, No. 1156, where an illustration is given. See also Dr August Hammerich (French translation by E. Beauvais), “Über altnordische Luren” inVierteljährschrift für Musik-Wissenschaftx. (1894).21See Major J. H. L. Archer,The British Army Records(London, 1888), pp. 402, &c.22De re militari, iii. 5 (Basel, 1532). The successive editions and translations of this classic, both manuscript and printed, throughout the middle ages afford useful evidence of the evolution of these three wind instruments.23See Wilhelm Froehner,La Colonne Trajane d’après le surmoulage exécuté à Rome en 1861-1862(Paris, 1872-1874). On pl. 51 is a cornu framing the head of a cornicen or horn-player. See also the fine plates in Conrad Cichorius,Die Reliefs der Traiansäule(Berlin, 1896, &c.).24Ermanno Ferrero,L’Arc d’Auguste à Suse(Segusio, 9-8B.C.) (Turin, 1901).25See the mouthpiece on the Pompeian buccinas preserved in the museum at Naples, reproduced in the article Buccina. The museums of the conservatoires of Paris and Brussels and the Collection Kraus in Florence possess facsimiles of these instruments; see Victor Mahillon,Catalogue, vol. ii. p. 30. Cf. also the pair of bronze Etruscan cornua, No. 2734 in the department of Creek and Roman antiquities at the British Museum, which possess well-preserved cup-shaped mouthpieces.26See Bock, “Gebrauch der Hörner im Mittelalter,” in Gustav Heider’sMittelalterliche Kunstdenkmäler Österreichs(Stuttgart, 1858-1860).27Dictionnaire raisonné du mobilier français(Paris, 1889), ii. p. 246.28Engelbertus Admontensis inDe Musica Scriptores, by Martin Gerbert, Bd. ii. lib. ii. cap. 29; and Edward Buhle,Die Musikalischen Instrumente in den Miniaturen des frühen Mittelalters, pt. i., “Die Blasinstrumente” (Leipzig, 1903), p. 16.29Le Trésor de vénerie par Hardouin, seigneur de Fontaines-Guérin(edited by H. Michelant, Metz, 1856); the first part was edited by Jérome Pichon (Paris, 1855), with an historical introduction by Bottée de Toulmon.30As worked out by Edward Buhle,op. cit., p. 23.31See Turbevile,op. cit., also J. du Fouilloux,La Vénerie(Paris, 1628), p. 70; cf. also editions of 1650 and of 1562, where the horn is calledtrompe, used with the verbcorner; Juliana Bernes,Boke of St Albans(1496), the frontispiece of which is a hunting scene showing a horn of very wide bore, without bell. Only half the instrument is visible.32See “Reliure italienne du xvesiècle en argent niellé. Collection du Baron Nathaniel de Rothschild, Vienne,” inGazette archéologique(Paris, 1880), xiii. p. 295, pl. 38, where other instruments are also represented.33See Jost Amman,Wappen und Stammbuch(1589). A reprint in facsimile has been published by Georg Hirth as vol. iii. ofLiebhaber Bibliothek(Munich, 1881). See arms of Sultzberger aus Tirol (p. 52), “Ein Jägerhörnlin,” and of the Herzog von Wirtenberg; cf. the latter with the arms of Wurthemberch in pl. xxii. vol. ii. of Gelre’sWappenboek ou armorial de 1334 à 1372(miniatures of coats of arms in facsimile), edited by Victor Bouton (Paris, 1883).34For illustrations see autotype facsimile of Utrecht Psalter, 9th century; British Museum, Add. MS. 10,546, Ps. 150, 9th century; Add. MS. 24,199, 10th century; Eadwine Psalter, Trin. Coll. Camb., 11th century, and Cotton MS., Nero, D. IV., 8th century; also Edward Buhle,op. cit., pl. ii. and pp. 12-24.35See John Carter,Specimens of Ancient Sculpture and Paintings(London, 1780-1794), i. p. 53 (plates unnumbered); also reproduced in H. Lavoix,Histoire de la musique(Paris, 1884).36See Jost Amman,op. cit.37Musica getutscht und ausgezogen(Basel, 1511), p. 30. The names are not given under the drawings, but the above is the order in which they occur, which is probably reversed.38Harmonie universelle(Paris, 1636), p. 245.39Syntagma Musicum(Wolfenbüttel, 1618), pl. vii. No. 11, p. 39.40Historisch-biographisches Lexicon derTonkünstler(Leipzig, 1790-1792 and 1812-1814).41De saecularibus Liberalium Artium in Bohemia et Moravia fatis commentarius(Prague, 1784), p. 401.42See Ernest Thoinan,Les Origines de la chapelle musique des souverains de France(Paris, 1864); F. J. Fétis, “Recherches sur la musique des rois de France, et de quelques princes depuis Philippe le Bel jusqu’à la fin du règne de Louis XIV.,”Revue musicale(Paris, 1832), xii. pp. 193, 217, 233, 241, 257; Castil-Blaze,La Chapelle musique des rois de France(Paris, 1882); Michel Brenet, “Deux comptes de la chapelle musique des rois de France,”Intern. Mus. Ges., Smbd. vi., i. pp. 1-32; J. Ecorcheville, “Quelques documents sur la musique de la grande écurie du roi,”Intern. Mus. Ges., Smbd. ii. 4 (Leipzig, 1901), pp. 608-642.43Neue Zeitschrift f. Musik(Leipzig, 1870), p. 309.44SeeDie Sammlung der Musikinstrumente des baierischen Nat. Museumby K. A. Bierdimpfl (Munich, 1883), Nos. 105 and 106.45Communication from Dr Georg Hagen, assistant director.46See Musée du Conservatoire National de Musique.Catalogue des instruments de musique(Paris, 1884), p. 147.47See Captain C. R. Day,Descriptive Catalogue of the Musical Instruments exhibited at the Military Exhibition(London, 1890), p. 147, No. 307.48See V. Mahillon,Catal.vol. i. No. 468.49See Captain C. R. Day,Catal.No. 309, p. 148.50For an illustration seeCatalogue of the Special Exhibition of Ancient Musical Instruments at South Kensington Museum 1872(London, 1873), p. 25, No. 332.51SeeKatalog des musikhistorischen Museums von Paul de Wit(Leipzig, 1904), p. 142, No. 564, where it is classified as a Jägertrompete after Praetorius; it has a trumpet mouthpiece.52For an illustration see F. J. Crowest,English Music, p. 449, No. 12.53See Ignatz and Anton Böck inBaierisches Musik-Lexikonby Felix J. Lipowski (Munich, 1811), p. 26, note.54See, for instance, frontispiece of Walther’sMusikalisches Lexikon(Leipzig, 1732); J. F. B. C. Majer’sMusik-Saal(Nuremberg, 1741, 2nd ed.), p. 54; Joh. Christ. Kolb,Pinacotheca Davidica(Augsburg, 1711); Ps. xci.; “Componimenti Musicali per il cembalo Dr Theofilo Muffat, organista di sua Sacra Maesta Carlo VI. Imp.” (1690), title-page inDenkmäler d. Tonkunst in Oesterreich, Bd. iii.55See Hugo Goldschmidt, “Das Orchester der italienischen Oper im 17 Jahrhundert,”Intern. Mus. Ges., Smbd. ii. 1, p. 73.56See “Le Cor,” pp. 23 and 24, andDictionnaire de l’acad. des beaux arts, vol. iv., art. “Cor.”57Mersenne’s drawings ofcors de chasseare very crude; they have no bell and are all of the large calibre suggestive of the primitive animal horn. He mentions nevertheless that they were not only used for signals and fanfares but also for little concerted pieces in four parts for horns alone, or with oboes, at the conclusion of the hunt.58See William Tans’ur Senior,The Elements of Musick(London, 1772); Br. V. Dictionary under “Horn.” Also Scale of Horn in the hand of Samuel Wesley; in Add. MS. 35011, fol. 166, Brit. Mus.59A horn-player, Johann Theodor Zeddelmayer, was engaged in 1706 at the Saxon court at Weissenfels; seeNeue-Mitteilungen aus dem Gebiete histor. antiqu. Forschungen, Bd. xv. (2) (Halle, 1882), p. 503; also Wilhelm Kleefeld, “Das Orchester der Hamburger Oper, 1678-1738,”Intern. Mus. Ges., Smbd. i. 2, p. 280, where the appearance of the horn in the orchestras of Germany is traced.60Das neu-eröffnete Orchester, i. 267.61See Moritz Fürstenau,Zur Geschichte der Musik und des Theaters zu Dresden(Dresden, 1861-1862), vol. ii. p. 60.62See “Carl Heinrich Graun als Opernkomponist,” by Albert Mayer-Reinach,Intern. Mus. Ges., Smbd. i. 3 (Leipzig, 1900), pp. 516-517 and 523-524, where musical examples are given.63Cf. Chrysander,Haendel, ii. 146.64See Moritz Fürstenau,op. cit.ii. 58.65See Ludwig von Köchel,Die kaiserliche Hofkappelle in Wien(Vienna, 1869), p. 80.66See Victor Mahillon,Catalogue descriptif, vol. ii. No. 1160, p. 389.67Op. cit.ii. 60.68The Department of State Archives for Saxony in Dresden possesses no documents which can throw any light upon this point, but, through the courtesy of the director, the following facts have been communicated. Two documents concerning Anton Joseph Hampel are extant: (1) An application by his son, Johann Michael Hampel, to the elector Friedrich August III. of Saxony, dated Dresden, April 3, 1771, in which he prays that the post of his father as horn-player in the court orchestra—in which he had already served as deputy for his invalid father—may be awarded to him. (2) A petition from the widow, Aloisia Ludevica Hampelin, to the elector, bearing the same date (April 3, 1771), wherein she announces the death of her husband on the 30th of March 1771, who had been in the service of the house of Saxony thirty-four years as horn-player, and prays for the grant of a monthly pension for herself and her three delicate daughters, as she finds herself in the most unfortunate circumstances. There is no allusion in either letter to any musical merit of the deceased.69There is an instrument of this early type, supposed to date from the middle of the 18th century, in Paul de Wit’s fine collection of musical instruments formerly in Leipzig and now transferred to Cologne; seeKatalog, No. 645, p. 148.70SeeDictionnaire de l’acad. des beaux arts, vol. iv. (Paris), article “Cor.”71See Dr Gustav Schilling,Universal Lexikon der Tonkunst(Stuttgart, 1840), Bd. vi., “Trompete”; also Capt. C. R. Day, pp. 139 and 151, where the termInventionis quite misunderstood and misapplied. See Gottfried Weber inCaecilia(Mainz, 1835), Bd. xvii.72Gerber in the first edition of hisLexikondoes not mention Hampel or award him a separate biographical article; we may therefore conclude that he was not personally acquainted with him, although Hampel was still a member of the electoral orchestra in Dresden during Gerber’s short career in Leipzig. In the edition of 1812 Gerber renders him full justice.73Vollständige theoretisch-praktische Musikschule(Bonn, 1811), pt. iii. p. 7.74See Victor Mahillon, “Le Cor,” p. 28; Chladni,op. cit.p. 87.75See Fröhlich,op. cit.7; and Gerber,Lexikon(ed. 1812), p. 493; “Le Cor,” pp. 34 and 53.76See Praetorius and Mersenne,op. cit.; the latter gives an illustration of the trumpet mute.77Methode de premier et de second cor(Paris, c. 1807). The passage in question was discovered and courteously communicated by Hofrat P. E. Richter of the Royal Library, Dresden. There is no copy of Domnich’s work in the British Museum.78See William Tans’ur Senior,op. et loc. cit.79SeeAllgemeine musikalische Zeitung(Leipzig), Nov. 1802, p. 158, and Jan. 1803, p. 245; and E. Hanslick,Geschichte des Concertwesens in Wien(Vienna, 1869), p. 119.80SeeAllgem. mus. Ztg., 1815, p. 844.81“Le Cor,” pp. 34-35.82See the description of the instrument and of other attempts to obtain the same result by Gottfried Weber, “Wichtige Verbesserung des Horns” inAllg. musik. Ztg.(Leipzig, 1812), pp. 758, &c.; also 1815, pp. 637 and 638 (the regent or keyed bugle).83SeeAllg. musik. Ztg., 1815, May, p. 309, the first announcement of the invention in a paragraph by Captain G. B. Bierey.84Ibid., 1817, p. 814, by F. Schneider, and Dec. p. 558; 1818, p. 531. An announcement of the invention and of a patent granted for the same for ten years, in which Blümel is for the first time associated with Stölzel as co-inventor. See alsoCaecilia(Mainz, 1835), Bd. xvii. pp. 73 seq., with illustrations, an excellent article by Gottfried Weber on the valve horn and valve trumpet.85For a very complete exposition of the operation of valves in the horn, and of the mathematical proportions to be observed in construction, see Victor Mahillon’s “Le Cor,” also the article by Gottfried Weber inCaecilia(1835), to which reference was made above. A list of horn-players of note during the 18th century is given by C. Gottlieb Murr inJournal f. Kunstgeschichte(Nuremberg, 1776), vol. ii. p. 27. See also a good description of the style of playing of the virtuoso J. Nisle in 1767 in Schubart,Aesthetik d. Tonkunst, p. 161, andLeben u. Gesinnungen(1791), Bd. ii. p. 92; or in L. Schiedermair, “Die Blütezeit d. Ottingen-Wallensteinschen Hofkapelle,”Intern. Mus. Ges.Smbd. ix. (1), 1907, pp. 83-130.
1See Michael Praetorius,De organographia(Wolfenbüttel, 1618), tab. viii., where crooks for lowering the key by one tone on trumpet and trombone are pictured.
2See Victor Mahillon,Les Éléments d’acoustique musicale et instrumentale(Brussels, 1874), pp. 96, 97, &c.; Friedrich Zamminer,Die Musik und die musikalischen Instrumente(Giessen, 1855), p. 310, where diagrams of the mouthpieces are given.
3See Joseph Fröhlich,Vollständige theoretisch-praktische Musikschule(Bonn, 1811), iii. 7, where diagrams of the two mouthpieces for first and second horn are given.
4See Gottfried Weber, “Zur Akustik der Blasinstrumente,” inAllgemeine musikalische Zeitung(Leipzig, 1816), p. 38.
5Les Instruments de musique au musée du Conservatoire royal de musique de Bruxelles, “Instruments à vent,” ii., “Le Cor, son histoire, sa théorie, sa construction” (Brussels and London, 1907), p. 28.
6Die Akustik(Leipzig, 1802), p. 86, § 72.
7Op. cit.p. 13, § 20, and p. 15, §§ 24 and 25. This apparent discrepancy between an early and a modern authority on the acoustics of wind instruments is easily explained. Chladni, when speaking of open and closed pipes, refers to the standard cylindrical and rectangular organ-pipes. Mahillon, on the other hand, draws a distinction in favour of the conical pipe, demonstrating in a practical manner how, given a certain calibre, the conical pipe must overblow the harmonics of the open pipe, whatever the method of producing the sound.
8See Gottfried Weber,loc. cit.
9See Ernst Heinrich and Wilhelm Weber,Wellenlehre(Leipzig, 1825), p. 519, § 281, andA Text-Book of Physics, part. ii., “Sound,” by J. H. Poynting and J. J. Thomson (London, 1906), pp. 104 and 105.
10See Sedley Taylor,Sound and Music(1896), p. 21.
11Id.pp. 23-25.
12See Gottfried Weber,op. cit., pp. 39-41, and Ernst H. and Wilhelm Weber,op. cit.p. 522, end of § 285.
13See A. Ganot,Elementary Treatise on Physics, translated by E. Atkinson (16th ed., London, 1902), p. 266, § 282, “In the horn different notes are produced by altering the distance of the lips.” Such a vague and misleading statement is worse than useless. See also Poynting and Thomson,op. cit.p. 113.
14“Le Cor,” p. 22; p. 11, § 18; pp. 6 and 7, § 8.
15The phraseology alone is here borrowed from Sedley Taylor, (op. cit.p. 55), who does not enter into the practical application of the theory he expounds so clearly.
16See Dr Emil Schafhäutl’s article on musical instruments, § iv. ofBericht der Beurtheilungs Commission bei der Allg. Deutschen Industrie Ausstellung, 1854(Munich, 1855), pp. 169-170; also F. Zamminer,op. cit.
17The measurements are for the high philharmonic pitch a’=452.4. V. Mahillon, “Le cor” (p. 32), gives a table of the lengths of crooks in metres.
18Robert Eitner, editor of the Monatshefte für Musikwissenschaft, published therein an article in 1881, p. 41 seq., “Wer hat die Ventiltrompete erfunden,” in which, after referring to theKlappenwaldhornandTrompete(keyed horn and trumpet) made by Weidinger and played in public in 1802 and 1813 respectively, he goes on to state that Schilling in his Lexicon makes the comical mistake of looking upon the Klappentrompete (keyed trumpet) andVentiltrompete(valve trumpet) as different instruments. He accordingly sets matters right, as he thinks, by according to Weidinger the honour of the invention of valves, hitherto wrongfully attributed to Stölzel; and in theQuellenlexikon(1904) he leaves out Stölzel’s name, and names Weidinger as the inventor of theKlappenorVentil, referring readers for further particulars to his article, just quoted, in theMonatshefte.
19See Hector Berlioz,A Treatise on Modern Instrumentation and Orchestration, translated by Mary Cowden Clarke, new edition revised by Joseph Bennett (1882), p. 141.
20See Victor Mahillon,Catal. descriptif des instruments de musique, &c., vol. ii. p. 388, No. 1156, where an illustration is given. See also Dr August Hammerich (French translation by E. Beauvais), “Über altnordische Luren” inVierteljährschrift für Musik-Wissenschaftx. (1894).
21See Major J. H. L. Archer,The British Army Records(London, 1888), pp. 402, &c.
22De re militari, iii. 5 (Basel, 1532). The successive editions and translations of this classic, both manuscript and printed, throughout the middle ages afford useful evidence of the evolution of these three wind instruments.
23See Wilhelm Froehner,La Colonne Trajane d’après le surmoulage exécuté à Rome en 1861-1862(Paris, 1872-1874). On pl. 51 is a cornu framing the head of a cornicen or horn-player. See also the fine plates in Conrad Cichorius,Die Reliefs der Traiansäule(Berlin, 1896, &c.).
24Ermanno Ferrero,L’Arc d’Auguste à Suse(Segusio, 9-8B.C.) (Turin, 1901).
25See the mouthpiece on the Pompeian buccinas preserved in the museum at Naples, reproduced in the article Buccina. The museums of the conservatoires of Paris and Brussels and the Collection Kraus in Florence possess facsimiles of these instruments; see Victor Mahillon,Catalogue, vol. ii. p. 30. Cf. also the pair of bronze Etruscan cornua, No. 2734 in the department of Creek and Roman antiquities at the British Museum, which possess well-preserved cup-shaped mouthpieces.
26See Bock, “Gebrauch der Hörner im Mittelalter,” in Gustav Heider’sMittelalterliche Kunstdenkmäler Österreichs(Stuttgart, 1858-1860).
27Dictionnaire raisonné du mobilier français(Paris, 1889), ii. p. 246.
28Engelbertus Admontensis inDe Musica Scriptores, by Martin Gerbert, Bd. ii. lib. ii. cap. 29; and Edward Buhle,Die Musikalischen Instrumente in den Miniaturen des frühen Mittelalters, pt. i., “Die Blasinstrumente” (Leipzig, 1903), p. 16.
29Le Trésor de vénerie par Hardouin, seigneur de Fontaines-Guérin(edited by H. Michelant, Metz, 1856); the first part was edited by Jérome Pichon (Paris, 1855), with an historical introduction by Bottée de Toulmon.
30As worked out by Edward Buhle,op. cit., p. 23.
31See Turbevile,op. cit., also J. du Fouilloux,La Vénerie(Paris, 1628), p. 70; cf. also editions of 1650 and of 1562, where the horn is calledtrompe, used with the verbcorner; Juliana Bernes,Boke of St Albans(1496), the frontispiece of which is a hunting scene showing a horn of very wide bore, without bell. Only half the instrument is visible.
32See “Reliure italienne du xvesiècle en argent niellé. Collection du Baron Nathaniel de Rothschild, Vienne,” inGazette archéologique(Paris, 1880), xiii. p. 295, pl. 38, where other instruments are also represented.
33See Jost Amman,Wappen und Stammbuch(1589). A reprint in facsimile has been published by Georg Hirth as vol. iii. ofLiebhaber Bibliothek(Munich, 1881). See arms of Sultzberger aus Tirol (p. 52), “Ein Jägerhörnlin,” and of the Herzog von Wirtenberg; cf. the latter with the arms of Wurthemberch in pl. xxii. vol. ii. of Gelre’sWappenboek ou armorial de 1334 à 1372(miniatures of coats of arms in facsimile), edited by Victor Bouton (Paris, 1883).
34For illustrations see autotype facsimile of Utrecht Psalter, 9th century; British Museum, Add. MS. 10,546, Ps. 150, 9th century; Add. MS. 24,199, 10th century; Eadwine Psalter, Trin. Coll. Camb., 11th century, and Cotton MS., Nero, D. IV., 8th century; also Edward Buhle,op. cit., pl. ii. and pp. 12-24.
35See John Carter,Specimens of Ancient Sculpture and Paintings(London, 1780-1794), i. p. 53 (plates unnumbered); also reproduced in H. Lavoix,Histoire de la musique(Paris, 1884).
36See Jost Amman,op. cit.
37Musica getutscht und ausgezogen(Basel, 1511), p. 30. The names are not given under the drawings, but the above is the order in which they occur, which is probably reversed.
38Harmonie universelle(Paris, 1636), p. 245.
39Syntagma Musicum(Wolfenbüttel, 1618), pl. vii. No. 11, p. 39.
40Historisch-biographisches Lexicon derTonkünstler(Leipzig, 1790-1792 and 1812-1814).
41De saecularibus Liberalium Artium in Bohemia et Moravia fatis commentarius(Prague, 1784), p. 401.
42See Ernest Thoinan,Les Origines de la chapelle musique des souverains de France(Paris, 1864); F. J. Fétis, “Recherches sur la musique des rois de France, et de quelques princes depuis Philippe le Bel jusqu’à la fin du règne de Louis XIV.,”Revue musicale(Paris, 1832), xii. pp. 193, 217, 233, 241, 257; Castil-Blaze,La Chapelle musique des rois de France(Paris, 1882); Michel Brenet, “Deux comptes de la chapelle musique des rois de France,”Intern. Mus. Ges., Smbd. vi., i. pp. 1-32; J. Ecorcheville, “Quelques documents sur la musique de la grande écurie du roi,”Intern. Mus. Ges., Smbd. ii. 4 (Leipzig, 1901), pp. 608-642.
43Neue Zeitschrift f. Musik(Leipzig, 1870), p. 309.
44SeeDie Sammlung der Musikinstrumente des baierischen Nat. Museumby K. A. Bierdimpfl (Munich, 1883), Nos. 105 and 106.
45Communication from Dr Georg Hagen, assistant director.
46See Musée du Conservatoire National de Musique.Catalogue des instruments de musique(Paris, 1884), p. 147.
47See Captain C. R. Day,Descriptive Catalogue of the Musical Instruments exhibited at the Military Exhibition(London, 1890), p. 147, No. 307.
48See V. Mahillon,Catal.vol. i. No. 468.
49See Captain C. R. Day,Catal.No. 309, p. 148.
50For an illustration seeCatalogue of the Special Exhibition of Ancient Musical Instruments at South Kensington Museum 1872(London, 1873), p. 25, No. 332.
51SeeKatalog des musikhistorischen Museums von Paul de Wit(Leipzig, 1904), p. 142, No. 564, where it is classified as a Jägertrompete after Praetorius; it has a trumpet mouthpiece.
52For an illustration see F. J. Crowest,English Music, p. 449, No. 12.
53See Ignatz and Anton Böck inBaierisches Musik-Lexikonby Felix J. Lipowski (Munich, 1811), p. 26, note.
54See, for instance, frontispiece of Walther’sMusikalisches Lexikon(Leipzig, 1732); J. F. B. C. Majer’sMusik-Saal(Nuremberg, 1741, 2nd ed.), p. 54; Joh. Christ. Kolb,Pinacotheca Davidica(Augsburg, 1711); Ps. xci.; “Componimenti Musicali per il cembalo Dr Theofilo Muffat, organista di sua Sacra Maesta Carlo VI. Imp.” (1690), title-page inDenkmäler d. Tonkunst in Oesterreich, Bd. iii.
55See Hugo Goldschmidt, “Das Orchester der italienischen Oper im 17 Jahrhundert,”Intern. Mus. Ges., Smbd. ii. 1, p. 73.
56See “Le Cor,” pp. 23 and 24, andDictionnaire de l’acad. des beaux arts, vol. iv., art. “Cor.”
57Mersenne’s drawings ofcors de chasseare very crude; they have no bell and are all of the large calibre suggestive of the primitive animal horn. He mentions nevertheless that they were not only used for signals and fanfares but also for little concerted pieces in four parts for horns alone, or with oboes, at the conclusion of the hunt.
58See William Tans’ur Senior,The Elements of Musick(London, 1772); Br. V. Dictionary under “Horn.” Also Scale of Horn in the hand of Samuel Wesley; in Add. MS. 35011, fol. 166, Brit. Mus.
59A horn-player, Johann Theodor Zeddelmayer, was engaged in 1706 at the Saxon court at Weissenfels; seeNeue-Mitteilungen aus dem Gebiete histor. antiqu. Forschungen, Bd. xv. (2) (Halle, 1882), p. 503; also Wilhelm Kleefeld, “Das Orchester der Hamburger Oper, 1678-1738,”Intern. Mus. Ges., Smbd. i. 2, p. 280, where the appearance of the horn in the orchestras of Germany is traced.
60Das neu-eröffnete Orchester, i. 267.
61See Moritz Fürstenau,Zur Geschichte der Musik und des Theaters zu Dresden(Dresden, 1861-1862), vol. ii. p. 60.
62See “Carl Heinrich Graun als Opernkomponist,” by Albert Mayer-Reinach,Intern. Mus. Ges., Smbd. i. 3 (Leipzig, 1900), pp. 516-517 and 523-524, where musical examples are given.
63Cf. Chrysander,Haendel, ii. 146.
64See Moritz Fürstenau,op. cit.ii. 58.
65See Ludwig von Köchel,Die kaiserliche Hofkappelle in Wien(Vienna, 1869), p. 80.
66See Victor Mahillon,Catalogue descriptif, vol. ii. No. 1160, p. 389.
67Op. cit.ii. 60.
68The Department of State Archives for Saxony in Dresden possesses no documents which can throw any light upon this point, but, through the courtesy of the director, the following facts have been communicated. Two documents concerning Anton Joseph Hampel are extant: (1) An application by his son, Johann Michael Hampel, to the elector Friedrich August III. of Saxony, dated Dresden, April 3, 1771, in which he prays that the post of his father as horn-player in the court orchestra—in which he had already served as deputy for his invalid father—may be awarded to him. (2) A petition from the widow, Aloisia Ludevica Hampelin, to the elector, bearing the same date (April 3, 1771), wherein she announces the death of her husband on the 30th of March 1771, who had been in the service of the house of Saxony thirty-four years as horn-player, and prays for the grant of a monthly pension for herself and her three delicate daughters, as she finds herself in the most unfortunate circumstances. There is no allusion in either letter to any musical merit of the deceased.
69There is an instrument of this early type, supposed to date from the middle of the 18th century, in Paul de Wit’s fine collection of musical instruments formerly in Leipzig and now transferred to Cologne; seeKatalog, No. 645, p. 148.
70SeeDictionnaire de l’acad. des beaux arts, vol. iv. (Paris), article “Cor.”
71See Dr Gustav Schilling,Universal Lexikon der Tonkunst(Stuttgart, 1840), Bd. vi., “Trompete”; also Capt. C. R. Day, pp. 139 and 151, where the termInventionis quite misunderstood and misapplied. See Gottfried Weber inCaecilia(Mainz, 1835), Bd. xvii.
72Gerber in the first edition of hisLexikondoes not mention Hampel or award him a separate biographical article; we may therefore conclude that he was not personally acquainted with him, although Hampel was still a member of the electoral orchestra in Dresden during Gerber’s short career in Leipzig. In the edition of 1812 Gerber renders him full justice.
73Vollständige theoretisch-praktische Musikschule(Bonn, 1811), pt. iii. p. 7.
74See Victor Mahillon, “Le Cor,” p. 28; Chladni,op. cit.p. 87.
75See Fröhlich,op. cit.7; and Gerber,Lexikon(ed. 1812), p. 493; “Le Cor,” pp. 34 and 53.
76See Praetorius and Mersenne,op. cit.; the latter gives an illustration of the trumpet mute.
77Methode de premier et de second cor(Paris, c. 1807). The passage in question was discovered and courteously communicated by Hofrat P. E. Richter of the Royal Library, Dresden. There is no copy of Domnich’s work in the British Museum.
78See William Tans’ur Senior,op. et loc. cit.
79SeeAllgemeine musikalische Zeitung(Leipzig), Nov. 1802, p. 158, and Jan. 1803, p. 245; and E. Hanslick,Geschichte des Concertwesens in Wien(Vienna, 1869), p. 119.
80SeeAllgem. mus. Ztg., 1815, p. 844.
81“Le Cor,” pp. 34-35.
82See the description of the instrument and of other attempts to obtain the same result by Gottfried Weber, “Wichtige Verbesserung des Horns” inAllg. musik. Ztg.(Leipzig, 1812), pp. 758, &c.; also 1815, pp. 637 and 638 (the regent or keyed bugle).
83SeeAllg. musik. Ztg., 1815, May, p. 309, the first announcement of the invention in a paragraph by Captain G. B. Bierey.
84Ibid., 1817, p. 814, by F. Schneider, and Dec. p. 558; 1818, p. 531. An announcement of the invention and of a patent granted for the same for ten years, in which Blümel is for the first time associated with Stölzel as co-inventor. See alsoCaecilia(Mainz, 1835), Bd. xvii. pp. 73 seq., with illustrations, an excellent article by Gottfried Weber on the valve horn and valve trumpet.
85For a very complete exposition of the operation of valves in the horn, and of the mathematical proportions to be observed in construction, see Victor Mahillon’s “Le Cor,” also the article by Gottfried Weber inCaecilia(1835), to which reference was made above. A list of horn-players of note during the 18th century is given by C. Gottlieb Murr inJournal f. Kunstgeschichte(Nuremberg, 1776), vol. ii. p. 27. See also a good description of the style of playing of the virtuoso J. Nisle in 1767 in Schubart,Aesthetik d. Tonkunst, p. 161, andLeben u. Gesinnungen(1791), Bd. ii. p. 92; or in L. Schiedermair, “Die Blütezeit d. Ottingen-Wallensteinschen Hofkapelle,”Intern. Mus. Ges.Smbd. ix. (1), 1907, pp. 83-130.
HORNBEAM(Carpinus betulus), a member of a small genus of trees of the natural order Corylaceae. The Latin nameCarpinushas been thought to be derived from the Celticcar, wood, andpinorpen, head, the wood of hornbeams having been used for yokes of cattle (see Loudon,Ency. of Pl.p. 792, new ed. 1855, and Littré, Dict. ii. 556). The common hornbeam, or yoke-elm,Carpinus betulus(Ger.HornbaumandHornbuche, Fr.charme), is indigenous in the temperate parts of western Asia and of Asia Minor, and in Europe, where it ranges as high as 55° and 56° N. lat. It is common in woods and hedges in parts of Wales and of the south of England. The trunk is usually flattened, and twisted as though composed of several stems united; the bark is smooth and light grey; and the leaves are in two rows, 2 to 3 in. long, elliptic-ovate, doubly toothed, pointed, numerously ribbed, hairy below and opaque, and not glossy as in the beech, have short stalks and when young are plaited. The stipules of the leaves act as protecting scale-leaves in the winter-bud and fall when the bud opens in spring. The flowers appear with the leaves in April and May. The male catkins are about 1½ in. long, and have pale-yellow anthers, bearing tufts of hairs at the apex; the female attain a length in the fruiting stage of 2 to 4 in., with bracts 1 to 1½ in. long. The green and angular fruit or “nut” ripens in October; it is about ¼ in. in length, is in shape like a small chestnut, and is enclosed in leafy, 3-lobed bracts. The hornbeam thrives well on stiff, clayey, moist soils, into which its roots penetrate deeply; on chalk or gravel it does not flourish. Raised from seed it may become a tree 40 to as much as 70 ft. in height, greatly resembling the beech, except in its rounder and closer head. It is, however, rarely grown as a timber-tree, its chief employment being for hedges. “In the single row,” says Evelyn (Sylva, p. 29, 1664), “it makes the noblest and the stateliesthedgesfor long Walks in Gardens orParks, of any Tree whatsoever whose leaves aredeciduous.” As it bears clipping well, it was formerly much used in geometric gardening. The branches should not be lopped in spring, on account of their tendency to bleed at that season. The wood of the hornbeam is white and close-grained, and polishes ill, is of considerable tenacity and little flexibility, and is extremely tough and hard to work—whence, according to Gerard, the name of the tree. It has been found to lose about 8% of its weight by drying. As a fuel it is excellent; and its charcoal is much esteemed for making gunpowder. The inner part of the bark of the hornbeam is stated by Linnaeus to afford a yellow dye. In France the leaves serve as fodder. The tree is a favourite with hares and rabbits, and the seedlings are apt to be destroyed by mice. Pliny (Nat. Hist.xxvi. 26), who describes its wood as red and easily split, classes the hornbeam with maples.
The American hornbeam, blue or water beech, isCarpinus americana(also known asC. caroliniana); the common hop-hornbeam, a native of the south of Europe, is a member of a closely allied genus,Ostrya vulgaris, the allied American species,O. virginiana, is also known as ironwood from its very hard, tight, close-grained wood.
HORNBILL,the English name long generally given to all the birds of the familyBucerotidaeof modern ornithologists, from the extraordinary horn-like excrescence (epithema) developed on the bill of most of the species, though to which of them it was first applied seems doubtful. Among classical authors Pliny had heard of such animals, and mentions them (Hist. Nat.lib. x. cap. lxx.) under the name ofTragopan; but he deemed their existence fabulous, comparing them withPegasiandGryphones—in the words of Holland, his translator (vol. i. p. 296)—“I thinke the same of the Tragopanades, which many men affirme to bee greater than the Ægle; having crooked hornes like a Ram on either side of the head, of the colour of yron, and the head onely red.” Yet this is but an exaggerated description of some of the species with which doubtless his informants had an imperfect acquaintance. Medieval writers found Pliny’s bird to be no fable, for specimens of the beak of one species or another seem occasionally to have been brought to Europe, where they were preserved in the cabinets of the curious, and thus Aldrovandus was able to describe pretty fairly and to figure (Ornithologia, lib. xii. cap. xx. tab. x. fig. 7) one of them under the name of “Rhinoceros Avis,” though the rest of the bird was wholly unknown to him. When the exploration of the East Indies had extended farther, more examples reached Europe, and the “Corvus Indicus cornutus” of Bontius became fully recognized by Willughby and Ray, under the title of the “Horned Indian Raven orTopaucalled the Rhinocerot Bird.” Since the time of those excellent ornithologists our knowledge of the hornbills has been steadily increasing, but up to the third quarter of the 19th century there was a great lack of precise information, and the publication of D. G. Elliot’s “Monograph of the Bucerotidae,” then supplied a great want. He divides the family into two sections, theBucerotinaeand theBucorvinae. The former group contains most of the species, which are divided into many genera. Of these, the most remarkable isRhinoplax, which seems properly to contain but one species, theBuceros vigil,B. scutatusorB. geleatusof authors, commonly known as the helmet-hornbill, a native of Sumatra and Borneo. This is easily distinguished by having the front of its nearly vertical and slightly convexepithemacomposed of a solid mass of horn1instead of a thin coating of the lightand cellular structure found in the others. So dense and hard is this portion of the “helmet” that Chinese and Malay artists carve figures on its surface, or cut it transversely into plates, which from their agreeable colouring, bright yellow with a scarlet rim, are worn as brooches or other ornaments. This bird, which is larger than a raven, is also remarkable for its long graduated tail, having the middle two feathers nearly twice the length of the rest. Nothing is known of its habits. Its head was figured by George Edwards in the 18th century, but little else had been seen of it until 1801, when John Latham described the plumage from a specimen in the British Museum, and the first figure of the whole bird, from an example in the Museum at Calcutta, was published by General Hardwicke in 1823 (Trans. Linn. Society, xiv. pl. 23). Yet more than twenty years elapsed before French naturalists became acquainted with it.
In theBucorvinaewe have only the genusBucorvus, orBucoraxas some call it, confined to Africa, and containing at least two and perhaps more species, distinguishable by their longer legs and shorter toes, the ground-hornbills of English writers, in contrast to theBucerotinaewhich are chiefly arboreal in their habits, and when not flying move by short leaps or hops, while the members of this group walk and run with facility. From the days of James Bruce at least there are few African travellers who have not met with and in their narratives more or less fully described one or other of these birds, whose large size and fearless habits render them conspicuous objects.
As a whole the hornbills, of which more than 50 species have been described, form a very natural and in some respects an isolated group, placed by Huxley among hisCoccygomorphae. It has been suggested that they have some affinity with the hoopoes (Upupidae), and this view is now generally accepted. Their supposed alliance to the toucans (Rhamphastidae) rests only on the apparent similarity presented by the enormous beak, and is contradicted by important structural characters. In many of their habits, so far as these are known, all hornbills seem to be much alike, and though the modification in the form of the beak, and the presence or absence of the extraordinary excrescence,2whence their name is derived, causes great diversity of aspect among them, the possession of prominent eyelashes (not a common feature in birds) produces a uniformity of expression which makes it impossible to mistake any member of the family. Hornbills are social birds, keeping in companies, not to say flocks, and living chiefly on fruits and seeds; but the bigger species also capture and devour a large number of snakes, while the smaller are great destroyers of insects. The older writers say that they eat carrion, but further evidence to that effect is required before the statement can be believed. Almost every morsel of food that is picked up is tossed into the air, and then caught in the bill before it is swallowed. They breed in holes of trees, laying large white eggs, and when the hen begins to sit the cock plasters up the entrance with mud or clay, leaving only a small window through which she receives the food he brings her during her incarceration.
This remarkable habit, almost simultaneously noticed by Dr Mason in Burma, S. R. Tickell in India, and Livingstone in Africa, and since confirmed by other observers, especially A. R. Wallace3in the Malay Archipelago, has been connected by A. D. Bartlett (Proc. Zool. Society, 1869, p. 142) with a peculiarity as remarkable, which he was the first to notice. This is the fact that hornbills at intervals of time, whether periodical or irregular is not yet known, cast the epithelial layer of their gizzard, that layer being formed by a secretion derived from the glands of the proventriculus or some other upper part of the alimentary canal. The epithelium is ejected in the form of a sack or bag, the mouth of which is closely folded, and is filled with the fruit that the bird has been eating. The announcement of a circumstance so extraordinary naturally caused some hesitation in its acceptance, but the essential truth of Bartlett’s observations was abundantly confirmed by Sir W. H. Flower and especially by Dr J. Murie. These castings form the hen bird’s food during her confinement.
(A. N.)
1Apparently correlated with this structure is the curious thickening of the “prosencephalic median septum” of the cranium as also of that which divides the “prosencephalic” from the “mesencephalic chamber,” noticed by Sir R. Owen (Cat. Osteol. Ser. Mus. Roy. Coll. Surg. England, i. 287); while the solid horny mass is further strengthened by a backing of bony props, directed forwards and meeting its base at right angles. This last singular arrangement is not perceptible in the skull of any other species examined by the present writer.2Buffon, as was his manner, enlarges on the cruel injustice done to these birds by Nature in encumbering them with this deformity, which he declares must hinder them from getting their food with ease. The only corroboration his perverted view receives is afforded by the observed fact that hornbills, in captivity at any rate, never have any fat about them.3InThe Malay Archipelago(i. 213), Wallace describes a nestling hornbill (B. bicornis) which he obtained as “a most curious object, as large as a pigeon, but without a particle of plumage on any part of it. It was exceedingly plump and soft, and with a semi-transparent skin, so that it looked more like a bag of jelly, with head and feet stuck on, than like a real bird.”
1Apparently correlated with this structure is the curious thickening of the “prosencephalic median septum” of the cranium as also of that which divides the “prosencephalic” from the “mesencephalic chamber,” noticed by Sir R. Owen (Cat. Osteol. Ser. Mus. Roy. Coll. Surg. England, i. 287); while the solid horny mass is further strengthened by a backing of bony props, directed forwards and meeting its base at right angles. This last singular arrangement is not perceptible in the skull of any other species examined by the present writer.
2Buffon, as was his manner, enlarges on the cruel injustice done to these birds by Nature in encumbering them with this deformity, which he declares must hinder them from getting their food with ease. The only corroboration his perverted view receives is afforded by the observed fact that hornbills, in captivity at any rate, never have any fat about them.
3InThe Malay Archipelago(i. 213), Wallace describes a nestling hornbill (B. bicornis) which he obtained as “a most curious object, as large as a pigeon, but without a particle of plumage on any part of it. It was exceedingly plump and soft, and with a semi-transparent skin, so that it looked more like a bag of jelly, with head and feet stuck on, than like a real bird.”
HORNBLENDE,an important member of the amphibole group of rock-forming minerals. The name is an old one of German origin, and was used for any dark-coloured prismatic crystals from which metals could not be extracted. It is now applied to the dark-coloured aluminous members of the monoclinic amphiboles, occupying in this group the same position that augite occupies in the pyroxene group. The monoclinic crystals are prismatic in habit with a six-sided cross-section; the angle between the prism-faces (M), parallel to which there are perfect cleavages, is 55° 49′. The colour (green, brown or black) and the specific gravity (3.0-3.3) vary with the amount of iron present. The pleochroism is always strong, and the angle of optical extinction on the plane of symmetry (x in the figure) varies from 0° to 37°. The chemical composition is expressed by mixtures in varying proportions of the molecules Ca(Mg, Fe)3(SiO3)4, (Mg, Fe)(Al, Fe)2SiO6and NaAl(SiO3)2. Numerous varieties have been distinguished by special names: edenite, from Edenville in New York, is a pale-coloured aluminous amphibole containing little iron; pargasite, from Pargas near Abo in Finland, a green or bluish-green variety; common hornblende includes the greenish-black and black kinds containing more iron. The dark-coloured porphyritic crystals of basalts are known as basaltic hornblende.
Hornblende occurs as an essential constituent of many kindsof igneous rocks, such as hornblende-granite, syenite, diorite, hornblende-andesite, basalt, &c.; and in many crystalline schists, for example, amphibolite and hornblende-schist which are composed almost entirely of this mineral. Well-crystallized specimens are met with at many localities, for example: brilliant black crystals (syntagmatite) with augite and mica in the sanidine bombs of Monte Somma, Vesuvius; large crystals at Arendal in Norway, and at several places in the state of New York; isolated crystals from the basalts of Bohemia.
(L. J. S.)
HORN-BOOK,a name originally applied to a sheet containing the letters of the alphabet, which formed a primer for the use of children. It was mounted on wood and protected with transparent horn. Sometimes the leaf was simply pasted against the slice of horn. The wooden frame had a handle, and it was usually hung at the child’s girdle. The sheet, which in ancient times was of vellum and latterly of paper, contained first a large cross—the criss-crosse—from which the horn-book was called the Christ Cross Row, or criss-cross-row. The alphabet in large and small letters followed. The vowels then formed a line, and their combinations with the consonants were given in a tabular form. The usual exorcism—“in the name of the Father and of the Sonne and of the Holy Ghost, Amen”—followed, then the Lord’s Prayer, the whole concluding with the Roman numerals. The horn-book is mentioned in Shakespeare’sLove’s Labour’s Lost, v. 1, where theba, thea,e,i,o,u, and the horn, are alluded to by Moth. It is also described by Ben Jonson—
“The letters may be read, through the horn,That make the story perfect.”
“The letters may be read, through the horn,
That make the story perfect.”
HORNBY, SIR GEOFFREY THOMAS PHIPPS(1825-1895), British admiral of the fleet, son of Admiral Sir Phipps Hornby, the first cousin and brother-in-law of the 13th earl of Derby, by a daughter of Lieut.-General Burgoyne, commonly distinguished as “Saratoga” Burgoyne, was born on the 20th of February 1825. At the age of twelve he was sent to sea in the flagship of Sir Robert Stopford, with whom he saw the capture of Acre in November 1840. He afterwards served in the flagship of Rear-Admiral Josceline Percy at the Cape of Good Hope, was flag-lieutenant to his father in the Pacific, and came home as a commander. When the Derby ministry fell in December 1852 young Hornby was promoted to be captain. Early in 1853 he married, and as the Derby connexion put him out of favour with the Aberdeen ministry, and especially with Sir James Graham, the first lord of the Admiralty, he settled down in Sussex as manager of his father’s property. He had no appointment in the navy till 1858, when he was sent out to China to take command of the “Tribune” frigate and convey a body of marines to Vancouver Island, where the dispute with the United States about the island of San Juan was threatening to become very bitter. As senior naval officer there Hornby’s moderation, temper and tact did much to smooth over matters, and a temporary arrangement for joint occupation of the island was concluded. He afterwards commanded the “Neptune” in the Mediterranean under Sir William Fanshawe Martin, was flag-captain to Rear-Admiral Dacres in the Channel, was commodore of the squadron on the west coast of Africa, and, being promoted to rear-admiral in January 1869, commanded the training squadron for a couple of years. He then commanded the Channel Fleet, and was for two years a junior lord of the Admiralty. It was early in 1877 that he went out as commander-in-chief in theMediterranean, where his skill in manœuvring the fleet, his power as a disciplinarian, and the tact and determination with which he conducted the foreign relations at the time of the Russian advance on Constantinople, won for him the K. C. B. He returned home in 1880 with the character of being perhaps the most able commander on the active list of the navy. His later appointments were to the Royal Naval College as president, and afterwards to Portsmouth as commander-in-chief. On hauling down his flag he was appointed G. C. B., and in May 1888 was promoted to be admiral of the fleet. From 1886 he was principal naval aide-de-camp to Queen Victoria, and in that capacity, and as an admiral of the fleet, was appointed on the staff of the German emperor during his visits to England in 1889 and 1890. He died, after a short illness, on the 3rd of March 1895. By his wife, who predeceased him, he left several children, daughters and sons, one of whom, a major in the artillery, won the Victoria Cross in South Africa in 1900.