,transcriber's ,note3 ,obvious printer errors have been corrected without note4 ,vowels with macrons are represented in brackets with an equal sign1 e4g41 a1 and those with smooth-breathing marks are represented in brackets with an apostrophe1 e4g41 'a4 ,,musical ,,instruments ,historic1 ,rare and ,unique ,,the ,,selection1 ,,introduction ,,and ,,descriptive ,,notes ,,by ,a4,j4 ,,hipkins1 ,f4,s4,a4 ,,lond4 ,,author ,,of ,,the ,,article ,,pianoforte ,,in ,,the ,,encyclop,,dia ,,britannica ,,illustrated ,,by ,a ,,series ,,of ,,forty-,,eight ,,plates ,,in ,,colours ,,drawn ,,by ,,william ,,gibb ,illustration ,a4 ,,and ,c4 ,,black1 ,,ltd4 #d1 #e ,,and #f ,,soho ,,square1 ,,london1 ,w4#a #aiba ,first published in #ahhh4 ,printed in ,great ,britain ,illustration ,,contents4 ,,introduction ,,page ,,vii4 ,,burgmote ,,horns ,,plate ,i4 ,,queen ,,mary',s ,,harp ,,ii4 ,,the ,,lamont ,,harp ,,iii4 ,,cornemuse4 ,,calabrian ,,bagpipe4 ,,musette ,,iv4 ,,bagpipes ,v4 ,,clavicytherium ,,or ,,upright ,,spinet ,,vi4 ,,oliphant ,,vii4 ,,queen ,,elizabeth',s ,,virginal ,,viii4 ,,queen ,,elizabeth',s ,,lute ,,ix4 ,,the ,,rizzio ,,guitar ,x4 ,,positive ,,organ ,,xi4 ,,regal ,,xii4 ,,portable ,,organ ,,and ,,bible ,,regal ,,xiii4 ,,cetera ,,xiv4 ,,lute ,,xv4 ,,theorbo ,,xvi4 ,,dulcimer ,,xvii4 ,,virginal ,,xviii4 ,,viola ,,da ,,gamba ,,xix4 ,,double ,,spinet ,,or ,,virginal ,,xx4 ,,three ,,chitarroni ,,xxi4 ,,spinet ,,xxii4 ,,quinterna ,,and ,,mandoline ,,xxiii4 ,,welsh ,,crwth4 ,,russian ,,balal,,ika ,,xxiv4 ,,violin--,,the ,,hellier ,,stradivarius1 ,,and ,,two ,,old ,,bows ,,noted ,,for ,,the ,,fluting ,,xxv4 ,,violins--,,the ,,alard ,,stradivarius1 ,,the ,,king ,,joseph ,,guarnerius ,,del ,,ges ,,xxvi4 ,,viola ,d',,amore ,,xxvii4 ,,cetera1 ,,by ,,antonius ,,stradivarius ,,xxviii4 ,,guitar1 ,,by ,,antonius ,,stradivarius ,,xxix4 ,,bell ,,harp ,,and ,,hurdy-,,gurdy ,,xxx4 ,,sordini ,,xxxi4 ,,clavichord ,,xxxii4 ,,the ,,empress ,,harpsichord ,,xxxiii4 ,,pedal ,,harp ,,xxxiv4 ,,state ,,trumpet ,,and ,,kettledrum ,,xxxv4 ,,cavalry ,,bugle4 ,,cavalry ,,trumpet4 ,,trumpets ,,xxxvi4 ,,lituus ,,and ,,buccina4 ,,cornet4 ,,trumpets ,,xxxvii4 ,,two ,,double ,,flageolets1 ,a ,,german ,,flute1 ,,and ,,two ,,fl,,tes ,,douces ,,xxxviii4 ,,dolciano4 ,,oboe4 ,,bassoon4 ,,oboe ,,da ,,caccia4 ,,basset ,,horn ,,xxxix4 ,,sit,,rs ,,and ,v,,na ,,xl4 ,,indian ,,drums ,,xli4 ,,saw ,,duang ,,and ,,bow4 ,,saw ,,tai ,,and ,,bow4 ,,saw ,,oo ,,and ,,bow4 ,,klui4 ,,pee ,,xlii4 ,,ranat ,,ek4 ,,khong ,,yai4 ,,ta',,khay ,,xliii4 ,,hu-,,ch',,in ,,and ,,bow4 ,,sh,,ng4 ,,san-,,hsien4 ,p',i-,p',a ,,xliv4 ,,chinese ,,ti-,,tzu1 ,,so-,,na1 ,,yueh-,,ch',,in4 ,,japanese ,,hiji-,,riki4 ,,chinese ,,la-,,pa ,,xlv4 ,,japanese ,,koto ,,xlvi4 ,,siamisen1 ,,kokiu1 ,,biwa ,,xlvii4 ,,marimba ,,of ,,south ,,africa ,,xlviii4 ,,index ,,page #aag ,the ,woodcuts at the head of this page 7from the ,british ,museum7 represent ,sir ,michael ,mercator1 of ,venloo1 ,musical ,instrument ,maker to ,king ,henry ,,viii4 ,,introduction4 ,it is claimed for this book1 intended to illustrate rare historical and beautiful ,musical ,instruments1 that it is unique4 ,classical1 ,medival1 ,japanese1 and other varieties of ,decorative ,art1 ,weapons1 and ,costumes1 have found worthy illustration and adequate description1 but hitherto no attempt has been made to represent in a like manner the grace and external charm of fine lutes and harps1 of viols1 virginals1 and other instruments4 ,engravings have been produced1 in historical or technical works2 but the greater number of these are mere repetitions continued from one to the other1 and have no specially sthetic interest4 ,beauty of form and fitness of decoration demand more than the commonplace homage paid to simple use1 and while we should never lose sight of the purpose of a musical instrument1 its capacity to produce agreeable and various sounds1 we can take advantage of its form and material1 and1 making it lovely to look upon1 give pleasure to the eye as well as the ear4 ,it is hardly necessary to say that the love of adornment or ornament is an attribute of the human race4 ,it is to be found everywhere and in every epoch when life is1 for the time being1 safe and the means of existence secure4 ,some favourite manner of decoration is the characteristic stamp of a people1 a period1 or a country4 ,the earliest monuments we can point to that represent musical instruments1 show a tendency to adorn them or to place them with decorative surroundings4 ,the ,egyptians1 the ,assyrians1 the ancient ,greeks supply a record that has been continued by the ,persians and ,saracens1 in the ,gothic age and the ,renaissance1 always repeating1 as it were1 in an ineffaceable script1 the precept that the hand should minister to the gratification of the eye1 and satisfy it by alternating excitement with repose4 ,and so it was1 until the marvellous mechanical advance in the present century has not only caused us to forget1 by its overwhelming power1 what our predecessors so steadfastly continued1 but has induced us to regard the ugly as sufficient if the mere practical end is served4 ,by thus chilling the appreciation and pursuit of decorative invention1 that faculty has been numbed for the time being1 and there is danger of its being lost altogether4 ,it may be answered that real artistic work is occasionally done1 and there are examples of it to be found in musical instruments2 a good organ case is sometimes made1 sometimes a fine decoration for a piano case4 ,if there is any hope of an awakening of the love for musical instruments that finds expression in their adornment1 its promise lies in the beautiful designs that have been1 of late years1 so meritoriously carried out for pianos--the invention of ,mr4 ,alma ,tadema1 ,mr4 ,burne ,jones1 ,mr4 ,fox1 and ,miss ,kate ,faulkner4 ,good decoration need not be a privilege of the rich2 the old ,antwerp clavecin-makers1 who were all members of the guild of ,st4 ,luke1 the artists' guild1 knew how to worthily decorate their instruments at little cost1 as may be seen in the ,ruckers ,virginal1 ,plate ,,xviii4 ,they painted their sound-boards with appropriate ornamentation1 and used bright colour to heighten the effect of their instruments when open4 ,the ,italians went even farther in richer details1 and beautified other stringed instruments besides those with key-boards4 ,the persistence of noble traditions is shown in the exquisite ornament of the ,siamese instruments 7,plates ,,xlii4 and ,,xliii47 and of the ,japanese ,koto 7,plate ,,xlvi474 ,it would be grievous if this ,eastern inheritance were lost through the engrafting of ,western ideas and reception of our material civilisation4 ,the incentive to all such work is the pleasure found in it1 and without pleasure in work the life of the worker is aimless and sad4 ,in describing musical instruments we can refer to no beginnings2 those that may be discerned dimly in the glimmering of the historic dawn present a certain completeness that marks an intellectual advance already accomplished4 ,the well-known ,egyptian ,nefer1 a spade-like guitar1 or rather tamboura1 invited by its long neck the stopping of various notes upon its strings4 ,as early as the ,third ,dynasty1 it had already been so long in use as to have become incorporated in the pictorial language of the ,hieroglyphics1 in which its representation presented the concept or symbol of the attribute good4 ,this stringed instrument1 thus complex in its playing1 must have been already grey with age when it was cut in stone in the monument of the beautiful ,princess ,nefer-t1 now in the museum at ,bulaq4 ,we cannot conjecture when it was discovered that more tones than one could be got from a single string by taking advantage of the expedient of a long neck or finger-board1 or from a single pipe by boring lateral holes in it1 and closing those holes to produce different notes with the fingers4 ,even these remote inventions1 certainly prehistoric1 seem to require that there should be yet older inventions--those which placed pipes or strings of different lengths1 or strings of the same length but of different thicknesses and tension1 side by side1 as in the syrinx or ,pan's pipes1 or the harp and lyre4 ,the late ,carl ,engel1 ,music of the ,most ,ancient ,nations 7,london1 #ahfd71 has formed a kind of ,development theory for musical instruments1 giving the earliest place to the drum1 and the latest to the stringed instruments2 those of the latter with key-boards having been invented almost in our own time4 ,this theory has lately been reconstructed upon a more scientific basis by ,mr4 ,rowbotham 7,history of ,music1 vol4 i41 ,london1 #ahhe74 ,the drum and tambourine1 and other clashing and mere time-marking instruments1 as sistrums1 cymbals1 castagnettes1 and triangles1 are on the limit of musical sound and noise1 inclining1 for the most part1 to the latter4 ,the drum is widely used in religious services in different parts of the world1 and to play the sistrum was in ancient ,egypt the prerogative of a high order of priesthood4 ,the various ,buddhist gongs resemble the kettledrums in this respect1 that they have a more definable musical element in them1 and we find these sonorous metal instruments widely used in ,china and the ,indo-,chinese countries1 in ,java1 and the ,indian ,archipelago4 ,the ,indian drums 7,plate ,,xli471 according to the theory just mentioned1 should be aboriginal1 but the most ancient1 the ,m'ridang1 is attributed to the god ,s'iva1 and is therefore ,aryan4 ,her ,majesty the ,queen's ,state ,kettledrum 7,plate ,,xxxv47 here adorned with a richly embroidered silk banneret1 serves to show the highest point the drum has yet attained in estimation and use4 ,on a much higher level is that arrangement of wooden or metal bars in those instruments classed generally as ,harmonicons1 which are especially at home in ,java1 ,siam1 and ,burma1 and are known to be used from the ,hill country of ,india in the one direction1 to ,africa in the other4 ,the beautiful ,siamese ,ranat and ,khong 7,plate ,,xliii47 and the ,zulu ,marimba 7,plate ,,xlviii47 are examples of this wide distribution1 and in the latter the gourd resonators attached to the bars show the simplest form of sound reinforcers1 which1 perfected in various ,eastern instruments1 such as the ,indian ,vnas and ,sitrs 7,plate ,,xl47 has in ,europe attained its crowning artistic development in the beautiful pear-shaped ,resonance bodies of the ,lute and ,mandoline4 ,we find also varieties of this beautiful form in the ,georgian and ,turcoman tambouras1 the ,colascione of ,southern ,italy and similar instruments1 the migrations of which may here and there be traced along the lines of religious movements1 as in ,central ,asia and ,hindostan1 in ,china1 the ,corea1 and ,japan4 ,for instance1 the shorter-necked lutes and guitars1 the rebec1 rebab1 and other precursors of the viols and violins1 which1 borrowed from the ,arabic population of the ,holy ,land1 actually came to ,europe upon the reflex wave of the ,crusades4 ,the ,saracenic occupation of ,spain had1 however1 its share in the transmission of these instruments1 and of a taste for the pizzicato1 and also of an elaboration of vocal and instrumental ornament1 which has remained in the popular airs and dances of that country1 and1 an important characteristic of the music of the ,troubadours and ,trouvres1 has left its mark upon our modern music everywhere4 ,the ,arab blood in ,spain may have tended to preserve the use of the guitar as a national instrument in that country4 ,a ,guitar 7,plate ,,xxix47 and a ,cetera 7,plate ,,xxviii47 made by ,stradivarius1 as he usually signed his name1 are of especial interest as showing that he was not above making more simple instruments than violins4 ,the beautiful tortoiseshell ,guitar 7,plate ,x47 has a tradition that connects it with ,mary of ,scots and the unfortunate ,rizzio4 ,in all these guitar and lute instruments1 the roses in the sound-boards show a wealth of invention in design that is truly astonishing4 ,a work of this kind would not be without interest if it were devoted only to these roses1 and to those of spinets and harpsichords4 ,guitars have flat backs1 and lutes shell or pear-shaped resonance bodies1 and the former are again divided into the guitar proper with catgut strings1 and cithers with wire strings necessitating the employment of a plectrum4 ,the ,cetera is the ,italian name of the cither1 and the one drawn in ,plate ,,xiv4 is of remarkable1 although not unusual1 beauty4 ,the cither to which the name of ,queen ,elizabeth is traditionally attached1 belongs to the ,english family of the ,pandore1 ,orpheoreon1 and ,penorcon2 it is not exactly one of these instruments1 but it most nearly resembles the last named4 ,as a fine specimen of ,english work1 in no way ceding to the ,italian1 this beautiful instrument1 commonly known as ,queen ,elizabeth's ,lute 7,plate ,,ix471 cannot be too highly extolled4 ,the description accompanying this drawing1 and in fact the descriptions of all the drawings1 must be referred to for those special particulars that are more conveniently given separately4 ,the ,lute 7,plate ,,xv47 is one of the finest existing examples of its kind4 ,it bears the label of ,vvendelio ,venere1 ,padua1 dated #afjj1 and marks the culmination of that once most favourite instrument4 ,the large bass lutes--the theorboes and chitarroni--that came into use about that date1 were rendered necessary through the weakness in the bass of the contemporary harpsichord1 which was insufficient as a sub-structure for the ,continuo1 or ,thorough ,bass1 intended to accompany the ,recitativo1 then recently introduced at ,florence1 and forming an essential part of that ,monody that was the latest blooming of the ,renaissance1 as applied to the latest art1 harmonised music4 ,the ,venetian ,theorboes 7or ,tiorbe7 and ,chitarroni 7,plates ,,xvi4 and ,,xxi47 are of great beauty and historical interest4 ,but the lute1 even when diapasons or extra bass strings were added to it1 went out1 being superseded by the more useful1 although less beautifully toned1 spinet4 ,the latest lute instruments are the pleasing ,mandolines to which fashion may possibly grant a new lease of popularity4 ,these instruments are drawn in ,plate ,,xxiii4 ,both ear and eye are equally gratified in that culmination of qualities attained in a violin1 in which the sound and shape are so intimately and inseparably connected that we fail to conceive the one without some mental reference to the other4 ,the form and colour of a fine violin are in themselves so beautiful that it seems scarcely possible to enhance their effect by adding any kind of decoration1 but in ,plate ,,xxv4 it will be seen that ,antonio ,stradivari1 with whom the instrument reached perfection1 has successfully inlaid one of his masterpieces with an appropriate design4 ,another violin by the same illustrious master1 in this instance without adornment1 is drawn in ,plate ,,xxvi4 ,the particular characteristics of another famous ,cremona maker1 ,giuseppe ,guarneri1 who signed himself ,del ,ges1 and is accounted ,stradivari's only rival1 are also illustrated in this plate4 ,with forty-eight plates1 however1 to which this work is limited1 no complete scheme can be offered of the rich varieties of musical instruments that exist1 but the pictorially interesting ,viola d',amore 7,plate ,,xxvii47 and the ,viola da ,gamba 7,plate ,,xix47 have not been overlooked4 ,wind instruments1 although they may be of earlier invention in their rudimentary forms than those with strings1 as in the old-world fable of ,apollo and ,marsyas1 are always placed second4 ,but they have an equal interest intrinsically and historically1 and like drums and gongs1 have an especial connection with the sacred rites of various nations4 ,the ,jewish ,shophar1 a simple ram's horn1 a woodcut of which1 drawn from an interesting example preserved at the great ,synagogue1 ,aldgate1 ,london1 figures at the end of this ,introduction1 is the oldest wind instrument in present use in the world4 ,it is first named in the ,bible as sounding when the ,lord descended upon ,mount ,sinai1 and there seems to be little doubt that it has been continuously used in the ,mosaic ,service from the time it was established until now4 ,it is sounded in the synagogues at the ,new ,year and on the ,fast of the ,day of ,atonement4 ,the ,talmud gives ten reasons for sounding the ,shophar at the ,new ,year1 which may be summed up as reminding those who hear it of the ,creation1 ,penitence1 and the ,law1 of the ,prophets1 who were as watchmen blowing trumpets1 of the ,temple and the ,binding of ,isaac1 of ,humility1 the gathering together of ,israel1 the ,resurrection1 and the day of ,judgment1 when the trumpet shall sound for all4 ,the embouchure of the ,shophar is very difficult1 and but three proper tones are usually obtained from it1 although in some instances higher notes can be got4 ,the short rhythmic flourishes are common1 with unimportant differences1 to both the ,german and ,portuguese ,jews1 and consequently date from before their separation4 ,these flourishes as used in the ,ritual are the ,tekiah 7,t'qi'ah7 ,music ,shebarim 7,sh'bharim7 ,music and ,teruah 7,t'ru'ah7 ,music usually a tongued vibrato of the lower note4 ,the ,gedolah ,music is the great ,tekiah concluding the flourishes4 ,the shophar is usually a ram's horn flattened by heat1 the bore being a cylindrical tube of very small calibre1 which opens into a kind of bell of parabolic form4 ,the notes here given are those usually produced1 but from the empirical formation of the embouchure and a peculiarity of the player's lips1 an octave is occasionally produced instead of the normal fifth4 ,the fundamental1 if obtained1 is not regarded as a true shophar note4 ,through the mediation of a friend1 whose assistance has enabled me to gather this information1 ,i have heard the shophar flourishes played by a competent performer1 and am enabled to give an authoritative notation of these strangely interesting historical phrases1 for the final correction of which ,i have to thank the ,rev4 ,francis ,cohen4 ,bronze horns are also of very ancient use1 and existing specimens1 chiefly of ,celtic or ,scandinavian origin1 are frequently richly ornamented4 ,their employment appears to have been for war1 for hunting1 and the feast4 ,in more recent times1 their possession has been attached to feudal customs1 as the transfer and holding of land1 and at last through the growth of large cities they became associated1 as the interesting ,dover and ,canterbury ,horns 7,plate ,i47 were1 with municipal customs4 ,horns were sounded for the curfew1 and an especially characteristic example of such horn-blowing is a dramatic feature introduced by ,wagner at the close of the second act of his ,shakespearean ,music ,drama1 ,die ,meistersinger von ,nrnberg4 ,earl ,spencer's very beautiful ivory horn or ,oliphant 7,plate ,,vii47 was most likely intended for the chase4 ,of other simple wind instruments depending upon the player's lips1 the ancient ,roman ,lituus and ,buccina 7,plate ,,xxxvii47 are eminently interesting examples4 ,the ,roman horse-soldier bore the ,lituus1 so called from its resemblance to an ,augur's staff1 and the foot-soldier1 the ,tuba and circular ,buccina4 ,they marched to the sound of instruments1 the tones of which were produced exactly as they are in the trumpet and bugle we are familiar with--from the vibration of the lips1 varying with the pressure and force of wind within a cup-like mouthpiece4 ,these tones1 being from natural harmonics1 are not different now from what they were when ,csar first landed in ,britain1 or1 indeed1 the first notes from a horn that were ever produced4 ,of modern brass instruments drawn1 there are two possessing historical interest--the ,cavalry ,bugle in ,plate ,,xxxvi4 which belongs to ,h4,r4,h4 the ,prince of ,wales1 and sounded the moonlight charge of the ,household ,cavalry at ,kassassin in ,egypt1 and a trumpet that sounded the famous charge at ,salamanca4 ,by way of contrast there is the silver ,state ,trumpet 7,plate ,,xxxv471 one of ten that were employed in peaceful service for ,her ,majesty ,queen ,victoria during her long and gracious rule4 ,the ,syrinx1 or ,pan's pipes1 has been already referred to1 and may be described as composed of a certain number of flute-pipes1 the sounds being produced by directing the breath against the sharp edge of each pipe4 ,plato considered the use of the ,syrinx lawful in rural life1 but he condemned the more richly-toned flute4 ,the shepherd's pipe belongs to the ,oboe family1 inasmuch as it is sounded by means of a reed1 an artifice of great antiquity4 ,we do not know anything about its early development1 but ,chaldean shepherds played upon similar instruments nearly #bjjj years ago1 while watching their flocks by night1 and ,neapolitan peasants still play1 in memory of those shepherds1 upon similar rustic reed pipes1 the ,zampogna or ,cennamella1 for nine days preceding the great ,church festivals of the ,madonna ,immaculata and the ,nativity4 ,these primitive oboes must be of very great antiquity4 ,it is probable1 the shepherd's pipe was at first a smaller reed inserted in a larger one1 or the larger one was slit for a reed vibrator1 as boys cut them now4 ,the lowland ,scotch shepherd's pipe is made of horn1 the cover for the reed being also horn4 ,the principle of a reservoir of air to furnish a supply for pipes1 the primitive conception of the organ1 was known to the ,romans and the original form of bagpipe was the ,tibia ,utricularis4 ,in course of time no instrument was more popular throughout ,europe than the bagpipe4 ,varieties of it 7,plates ,,iv4 and ,v471 including specimens of the ,cornemuse and ,musette1 show the modern forms of this now despised instrument4 ,the principle of the drone-bass1 common to the ,bagpipe and ,hurdy-gurdy 7,plate ,,xxx471 must have been of universal acceptance in ,europe before the knowledge of counterpoint became general4 ,the peculiar scale of intervals of the great ,highland bagpipe adds much to what is characteristic in the tones of the instrument4 ,its divergence of intonation may be due to the incompetency of the instrument-maker to determine the true distances for boring the lateral holes4 ,if so1 we must be lenient with him1 for even now1 with our perfection of mechanical appliances1 the boring is not above question4 ,but1 of course1 accuracy is more nearly attained than it has been at any previous time1 even the earlier years of the present century4 ,another and a more attractive hypothesis for the ,highland bagpipe scale1 derives its mean or neuter thirds1 neither major nor minor1 from a ,syrian scale1 still found at ,damascus1 and attributes its presence in ,europe to the pipes having been brought1 like rebecs1 rebabs1 and lutes1 by returning ,crusaders1 whose wondering admiration for ,saracenic ,art is well known4 ,it seems scarcely likely that the music would not also have touched them1 possessed as it was of a special charm due to ages of ,persian and ,arabic cultivation4 ,there is abundant evidence in the present day as to the favour shown in the ,east for those indefinite thirds1 which may originate from an ideally equal scale of seven intervals of the same extent1 such as the ,siamese accept1 instead of five of larger and two of smaller1 such as obtains with us2 or they may be due to an alteration in tuning the lute1 attributed by the ,arabian philosopher ,al ,farabi to a lutenist named ,zalzal1 who changed one of the frets of the lute to obtain it4 ,it is not necessary to do more than refer to the peculiarities of these ,eastern divisions of the scale or the possible survival of one in the ,highland bagpipe2 the inquirer will find information carried to the limits of our present knowledge in ,recherches sur l',histoire de la ,gamme ,arabe1 par ,j4,p4,n4 ,land 7,leyden1 #ahhd71 and ,on the ,musical ,scales of ,various ,nations1 by ,alexander ,j4 ,ellis1 a paper read before the ,london ,society of ,arts1 and published in that ,society's ,journal1 #bgth ,march1 #ahhe4 ,it is sufficient to add that while the neuter third remains a favourite interval in some ,eastern countries1 as far as investigation has been possible it is known in ,europe only among the mountains and in the bagpipe music of the ,scottish ,gael4 ,the latest development of flute and reed pipes is to be found in the flute1 oboe1 clarinet1 and bassoon of the modern orchestra4 ,plates ,,xxxviii4 and ,,xxxix4 represent instruments that have been the immediate precursors of or are identical with the instruments named4 ,one1 the ,dolciano or ,tenoroon with a clarinet reed1 is of unusual importance as possibly anticipating the invention of the ,saxophone4 ,it would require a volume to describe the transformations wind instruments have undergone in the present century1 particularly that of the ,flute by the late ,theobald ,boehm4 ,the clarinet and oboe have been less altered because the completely refashioned instruments that have been intended to replace them1 the saxophone and the sarrusophone1 have not retained those special qualities of tone colour required for the palette of the orchestral composer4 ,but for the brass instruments there has been as yet no halting-place4 ,furnished early in this century with keys1 that important revolution was succeeded by another no less complete--the introduction of the valve or piston system1 the gain of which1 now almost universally acknowledged1 has been largely taken advantage of by ,wagner and other recent composers4 ,the familiar ,organ is shown in the ,positive and ,portable organs 7l'orgue positif et portatif71 small instruments representing reduced front portions of the ,montre1 the visible speaking pipes of the medival church organ1 which was neither more nor less than a large mixture register2 that is to say1 each key when put down sounded the octave1 twelfth1 super-octave1 and other notes simultaneously with the fundamental note4 ,the movement of the ,plain ,song1 or of any melody with this harmonic structure upon it1 was in progressions that no modern musically trained ear could tolerate4 ,not more than one key of the large church organ could1 however1 be put down by either hand1 as the keys were as broad as the palm1 and to press one down required an attack with the player's fist4 ,but the keys of the ,portable organ1 a processional instrument1 were narrow--one hand manipulating the bellows while the player touched the keys with the other4 ,the positive was a chapel or chamber organ1 intended to be stationary1 and also with narrow keys1 admitting of the grasp of an octave4 ,the key-board shown in the ,van ,eyck ,st4 ,cecilia panel of the famous altar-piece at ,ghent--the ,adoration of the ,lamb--has already the complete arrangement of chromatic keys1 exactly as in our modern key-board instruments4 ,the date of this panel could not have been later than ,a4,d4 #adbf4 ,among the numerous portable organs depicted in paintings of earlier date1 the addition of the ficti1 as the chromatic notes were called1 excepting perhaps the ,b flat1 or the ,b flat and ,e flat1 does not appear4 ,the ,b flat1 however1 was not a chromatic1 but an essential note in the ecclesiastical scale4 ,another early instance in a painting by ,hans ,memling1 preserved in the ,hospital of ,st4 ,john at ,bruges1 is subsequent in date to the ,ghent altar-piece1 but is still within the fifteenth century4 ,the chromatic keys are here put farther back than in our usual key-boards1 as they were also in the fourteenth-century ,halberstadt organ4 ,the fourteenth-century portable organ drawn in ,critical and ,bibliographical ,notes on ,early ,spanish ,music1 by ,don ,juan ,f4 ,riao 7,quaritch1 ,london71 #ahhg1 p4 #abg1 shows the ,b flat only1 and figured as an upper key1 apparently not raised1 but level with the natural keys1 which agrees with contemporary representations of the instrument by ,fra ,angelico4 ,the ,portable ,organ 7,plate ,,xiii47 here drawn is of comparatively late date1 these small instruments having remained in use until after the ,reformation4 ,the ,positive ,organ 7,plate ,,xi47 is of earlier date1 and is so far developed as to have registers and drawstops to govern them2 in this example they are an octave apart1 but an unimpeachable authority1 ,praetorius1 speaks of a register in a positive organ a fifth from the fundamental one6 ,our ancestors were evidently not affected by a progression of fifths as we are4 ,the ,regal 7,plate ,,xii41 and as ,bible ,regal1 ,plate ,,xiii471 was equally a part of the old church organ taken out and played by itself4 ,it is the beating-reed register1 so called because the reed overlaps its frame1 and when vibrating produces a more or less jarring or strident quality of tone4 ,as the free reed does not touch its frame it is less harsh in quality4 ,but the latter variety of reed is of very recent introduction into ,europe4 ,strangely enough1 it has been taken from a ,chinese mouth organ of great antiquity1 the ,shng6 ,this ,chinese instrument has seventeen sounding pipes1 each furnished with a small brass or copper free reed1 and is usually sounded by drawing in the wind1 not blowing1 being in this respect followed by the present ,american organ4 ,the adoption in ,europe of the principle of the ,shng was due to an application of it at ,st4 ,petersburg by an organ-builder named ,kirsnick1 about #aghj1 and the enthusiastic advocacy of the ,abb ,vogler4 7,sir ,george ,grove's ,dictionary of ,music and ,musicians1 ,art4 ,vogler1 by the ,rev4 ,j4,h4 ,mee47 ,from it are derived our accordion and concertinas1 harmonium and ,american organ1 as well as sundry musical toys4 ,the ,shng is drawn in ,plate ,,xliv4 ,it is familiar in ,japan1 with some variation1 as the ,sho1 and a larger instrument on the same principle used in the ,lao ,states of ,siam is there called ,phan4 ,in nearly all instances it is retained as a solo instrument4 ,the ,siamese musicians1 whom ,h4,m4 the ,king of ,siam very generously sent at his own expense to the ,london ,inventions ,exhibition1 and who performed there1 in the music room and in the ,royal ,albert ,hall1 had among them a ,phan player1 who always played alone4 ,harp-like instruments1 but with resonance bodies beneath the strings1 appear in their oldest1 but a yet highly developed form1 in the ,chinese ,ch'in1 or ,scholar's ,lute4 ,the ,japanese ,sono ,koto 7,plate ,,xlvi47 is derived from a modification of the ,ch'in1 known in ,china as the ,s1 the difference being that while the ,ch'in has fixed bridges and a system of stopping1 the ,s1 and consequently the ,koto1 have movable bridges and no stops4 ,the ,koto is tuned according to the five notes in the octave system that prevails in ,japan and1 with a difference in the division of the scale1 in ,china1 named1 by the late ,carl ,engel1 pentatonic4 ,the player kneels upon the ground beside the instrument1 and resting or sitting upon his heels1 touches the shorter lengths of the strings1 as divided by the bridges1 with plectra on the thumb and first two fingers1 but1 at the same time1 makes constant use of the longer lengths to press upon or relieve the strings so as to alter the tension and produce intermediate tones4 ,the ,koto drawn is one of great beauty4 ,the four characteristic popular instruments of ,japan are the ,koto1 the ,siamisen1 the ,biwa1 and the ,kokiu 7see ,plates ,,xlvi4 and ,,xlvii47 ,the ,siamisen is allied to the ,chinese ,san-hsien and the ,biwa to the ,chinese ,p'i-p'a 7see ,plate ,,xliv474 ,the very curious ,siamese ,ta'khay1 or crocodile 7,plate ,,xliii471 is of the same genus as the ,koto and ,ch'in1 but has been changed into its present form by ,siamese ingenuity1 which has found a rich field for employment in the decoration of musical instruments1 the ,siamese1 in this respect1 bearing the palm in the ,east1 as the ,italians have done in the ,west4 ,as to the principle of the harp or rather of the psaltery embodied in these parallel strung instruments1 it differs from the ,egyptian and ,assyrian conceptions1 which placed the resonance bodies of their harps in a curved disposition1 the one below1 the other above the strings4 ,greek lyres had their sound bodies directly underneath the strings4 ,the origin of the ,greek lyre is unknown1 the name not being ,hellenic2 it may possibly have been ,asiatic1 but was not originally ,egyptian4 ,it would solve an interesting problem could we know what was the ,hebrew kinnor1 the harp of the ,authorised ,version1 the most prominent stringed instrument occurring in the richest collection of sacred poetry the world has known1 the ,hebrew ,psalms4 ,dr4 ,stainer1 who has made a complete analysis of the text1 has not got beyond conjecture4 ,it is only certain that the kinnor was a stringed instrument4 ,it is recorded that it was made by ,tubal ,cain1 played upon by ,laban the ,syrian and by the shepherd boy ,david4 ,it is mentioned in the ,book of ,job1 and the captive ,hebrews in ,babylon hung their kinnors on the trees4 ,whether with or without finger-board1 whether a lyre1 a trigonon1 or a harp1 its tones had power over the feelings to produce similar effects to those with which music touches us now1 as surely as that the physical law of sympathetic vibration was as active then in ,syria1 or by the waters of ,babylon1 as it is to-day in ,edinburgh or ,london4 ,the forms of ,harp drawn in this work 7,plates ,,ii41 ,,iii41 and ,,xxxiv47 differ from the ancient harps which had no forearm or front pillar1 and could therefore have endured but little strain4 ,yet an old ,celtic monument represents a harp-like instrument with this ,eastern peculiarity4 ,the extremely interesting ,celtic harps here drawn1 the ,queen ,mary and the ,lamont harps1 have forearms or bows of a constructive strength that would1 with the rest of the framing1 bear a considerable draught of wire4 ,the ,celts and ,germanic nations appear to have long cultivated the harp4 ,the word itself is ,german1 but the ,celtic people of these islands have different names for it1 according to whether they are of the ,gaelic or ,cymric branch4 ,the common ,gaelic name was ,cruit 7,crot71 which comes from a root meaning vibration1 but this name has been superseded by ,clarsach1 which is derived from the resounding board4 ,the ,welsh name1 ,telyn1 implies strain or tension4 ,it must be remembered that the triple-strung ,welsh ,harp is a comparatively modern instrument1 and so also is the ,welsh ,crwth 7,plate ,,xxiv471 in the only form in which it has come down to us1 as a bowed instrument with extra strings off the finger-board1 a peculiarity belonging to the theorbo and lyra-viol4 ,the origin of the ,crwth would appear to have been the classical lyre submitted to changes that had come with time1 and1 as the ,continental ,rote or ,rotta1 it was a very common form of instrument in the ,middle ,ages4 ,it had to give way before ,eastern stringed instruments1 such as the rebec and lute4 ,the ,vna 7,plate ,,xl47 is the characteristic ,hindu stringed instrument1 and has a great antiquity attributed to it4 ,the string is theoretically said to be divided into twenty-two small intervals in the octave1 of equal extent1 called s'ruti1 by which the tones and semitones are determined2 but recent observation shows that the ,hindus are satisfied with a division of twelve semitones in the octave--in fact1 our chromatic scale4 ,smaller intervals are only used for grace notes1 and are produced by deflecting the string4 ,gourd resonators have been mentioned as of probably very ancient use1 and the employment of sympathetic strings1 in vogue in ,europe only in the seventeenth and eighteenth centuries1 may be added as also of remote origin in ,india4 ,the ,hindus and ,persians have both used gourds attached to the ,vnas and ,sitrs 7,plate ,,xl47 for resonance4 ,in ,southern ,india1 where the use of the original ,hindu ,vna prevails1 although the scale now used is at least heptatonic1 there is still a leaning towards pentatonic forms of melody4 ,the accordances are in fourths or fifths and octaves4 ,the ,sitr of ,northern ,india and greater use of the interval of the third may be attributed to ,persian introduction2 but throughout ,india1 and more intensely in the south1 music is felt as a poetic art1 and has a development in its own way1 that still remains unrecognised in ,europe1 although we now have scholars from whose researches and zeal this ignorance may be in time1 at least partially1 dispelled4 ,music is acutely felt as a means of expression in ,india unknown in ,china or among the ,indo-,chinese races4 ,the vexed question of the introduction of the bow to stringed instruments1 upon which the most eminent authorities are not yet disposed to agree1 is one that needs only to be mentioned here4 ,whether of ,asiatic or ,european introduction1 it would appear at first to have been only one of the ways by which sounds could be drawn from strings1 and that it gradually became victorious over the plectrum1 with instruments of the viol kind1 which thereby gained a great development4 ,it is even now permitted to use the fingers to a bowed instrument in the pizzicato of the violin and violoncello4 ,the ,psaltery was a plectrum instrument derived from the ,arab ,qanun2 it is rarely absent in paintings of the fourteenth and fifteenth centuries where musical instruments are represented4 ,the same instrument1 increased in the weight of stringing to resist the impact of hammers1 is the familiar dulcimer1 which1 like the hurdy-gurdy and the bagpipe1 has seen better days4 ,what was once thought of the dulcimer is shown by the painting that adorns the one drawn in ,plate ,,xvii4 ,it seems almost vexatious that we do not know who first adjusted a key-board to a psaltery1 and thus constructed a spinet4 ,it was not earlier than the fifteenth century1 but the name of the meritorious inventor has not come down to us1 or where he lived4 ,it seems most likely from the earliest name1 clavicymbalum1 being ,latin1 that the instrument was first contrived in a monastery4 ,but we have1 fortunately1 in ,plate ,,vi41 in an upright ,spinet or ,clavicytherium1 one of the earliest existing specimens of the kind4 ,it is a question not yet decided whether this rare instrument is of ,south ,german or ,north ,italian origin4 ,the reason is given for the former attribution in the description accompanying the drawing4 ,yet the ,mantegnesque feeling is so strong in the decoration of the interior that we pause before accepting the ,swabian origin as conclusively settled4 ,queen ,elizabeth's ,virginal 7,plate ,,viii471 which has at last found a resting-place in the splendid collection of old musical instruments in ,south ,kensington ,museum1 is not a virginal proper1 but apparently an ,italian spinet4 ,it has been gloriously decorated1 and it awakens an intense feeling of interest to reflect upon who may have played upon it and who may have stood by and heard the pleasing tones of an instrument once so much cared for4 ,the ,spinet was at that time beginning to gain upon the ,lute4 ,the power to perform part music with two hands1 which the lute-player1 having only one hand to stop with1 could but imperfectly approach1 was an endowment there was no gainsaying4 ,we may see the contemporary prosperity of the great ,venetian republic in the lutes1 theorboes1 and spinets that are now dispersed throughout ,europe2 and almost at the same time such instruments as the ,ruckers ,virginal 7,plate ,,xviii47 and the ,ruckers double ,spinet 7,plate ,,xx47 bear witness for ,antwerp as to the favour successful commerce has ever shown the ,arts4 ,the great ,english spinet-makers belong to the second half of the seventeenth century1 and the first quarter of the eighteenth4 ,among them1 ,stephen ,keene was in the foremost rank1 and his work will still bear examination in the spinet drawn in ,plate ,,xxii4 ,the eighteenth century was marked by a great advance in making the expressive ,clavichord1 which although perhaps the oldest key-board stringed instrument1 had always had to give way before the louder and more graceful-looking spinet4 ,plate ,,xxxii4 displays the clavichord at its culmination1 and the ,chinese ,lac decoration shows that1 in this specimen at least1 its intimate charm of tone1 capable1 as no other key-board instrument was1 of the vibrato1 was deemed worthy of an elaborate setting4 ,the latest improvements of which the ,spinet genus was capable1 including the ,venetian ,swell1 are founded in the ,double ,harpsichord 7,plate ,,xxxiii47 made by ,burkat ,shudi 7,burkhard ,tschudi7 and ,john ,broadwood in #aggc1 for the ,empress ,maria ,theresa4 ,it is a question whether some musical instruments of special character should not be retained for use or be made again when that character cannot be expressed by any existing instrument4 ,if this were done the ,viola d',amore1 the ,viola da ,gamba1 the ,harpsichord1 the ,clavichord1 and the old ,german flute1 in the last instance with some concession to defective intonation1 would find their places and be sometimes heard with pleasure4 ,with regard to the selection and drawing of the subjects represented in the following ,plates1 it may be mentioned that the present writer had the important advantage of a free use of the remarkable ,loan ,collection of ,musical ,instruments exhibited at the ,royal ,albert ,hall1 ,kensington1 in #ahhe4 ,extraordinary facilities for drawing the selected subject were obtained through his official connection with the ,music ,division of the ,exhibition1 and through the gracious permission of the respective owners of the instruments1 including ,h4,m4 the ,queen1 ,h4,r4,h4 the ,prince of ,wales1 ,h4,r4,h4 the ,siamese ,minister1 and the ,japanese ,commission4 ,he has also utilised some sketches of instruments selected and drawn by ,mr4 ,robert ,glen of ,edinburgh1 to whom belongs the credit of originating the idea of this publication4 ,the pictorial representation of the subjects was undertaken by ,mr4 ,william ,gibb1 and the plates in this volume have been successfully reproduced from his admirable drawings4 ,the book gains1 moreover1 a special and unexpected value from the fact that no illustrated ,catalogue ,raisonn was compiled of the ,music ,loan ,collection of #ahhe1 which combined the most beautiful and valuable ,manuscripts1 ,books1 ,paintings1 etc41 as well as ,musical ,instruments1 which were ever brought together4 ,there were no funds available1 nor was there time to permit of such a work being carried out before the ,collection was dispersed4 ,by those who deplore the loss of that opportunity1 the illustrations of this work may be regarded as a valuable memento of that unrivalled ,collection4 ,a4,j4,h4 ,illustration3 ,,jewish ,,shophar4 ,illustration3 ,i ,,plate ,i4 ,,burgmote ,,horns4 ,beautiful horns of hammered and embossed bronze belonging to the ,corporations of ,canterbury and ,dover4 ,the right-hand one is from ,dover1 where it was formerly used for the calling together of the ,corporation at the order of the mayor4 ,the minutes of the town proceedings were constantly headed ,at a common ,horn blowing 7comyne ,horne ,blowying74 ,this practice continued until the year #afgj1 and is not yet entirely done away with1 as it is still blown on the occasion of certain ,municipal ceremonies4 ,the motto on this horn is3-- ,,johannes ,,de ,,allemaine ,,me ,,fecit preceded by the talismanic letters ,a,g,l,a1 which stand for the ,hebrew ,hebrew3 atah gibor l'olam ,adonai and mean1 ,thou art mighty for ever1 ,o ,lord6 ,the horn1 which is #ca-c_/d inches long1 with a circumference at the larger end of #ae-a_/b inches1 is of brass1 and is deeply chased with a spiral scrollwork of foliage chiefly on a hatched ground4 ,the inscription is on a band that starts four inches from the mouth and continues spirally4 ,the maker's name is now nearly effaced1 but the inscription shows that he was a ,german1 and the date is assigned to the thirteenth century4 ,a paper in the ,antiquary 7vol4 #a4 pp4 #bec-ee71 written by the late ,llewellyn ,jewitt1 ,f4,s4,a41 of which some use has here been made1 states that there are on the obverse of the oldest ,seal of ,dover1 said to have been made in #acje1 two horn-blowers in the stern of a ship1 each blowing a horn similar to this example4 ,the left-hand ,burgmote ,horn belongs to the ,corporation of ,canterbury1 and records of its use for calling meetings of the ,corporation are extant from #acgf1 down to the year #ahce4 ,the chord measurement of the arc of this ,horn is #cf inches4 ,the antiquity of horns1 whether natural or of metal1 as instruments for sounding is well known4 ,their employment in some religious services points to customs that were already old when the oldest historical monuments we possess were raised4 ,the ,hebrew formulary upon the ,dover horn reminds us of the ,jewish ,shophar1 referred to particularly in the ,introduction 7page xii7--a ram's horn1 usually straightened and flattened1 which is not only the solitary ancient musical instrument actually preserved in the ,mosaic ritual1 but is the oldest wind instrument known to be retained in present use in the world4 ,it is still sounded by ,jews on the ,new ,year and on the ,fast of the ,day of ,atonement4 ,in ,england1 horns have been used amongst the various methods of transferring inheritances4 ,they were adopted for instruments of conveyance either in ,frank ,almoigne1 in ,fee1 or in ,serjeantry1 and from this cause have been often preserved4 ,illustration3 ,,ii ,,plate ,,ii4 ,,queen ,,mary',s ,,harp4 ,this venerable instrument1 the least impaired ,gaelic ,harp existing1 is known as ,queen ,mary's ,harp1 and belongs to ,c4 ,durrant ,steuart1 ,esq41 of ,dalguise1 near ,dunkeld4 ,of ,gaelic ,harps we can only reckon seven that may be dated earlier than the eighteenth century1 the oldest being the ,queen ,mary and ,lamont ,harps1 now in ,edinburgh1 and the harp named after ,brian ,boru 7,boromha71 preserved at ,trinity ,college1 ,dublin2 these three dating anterior1 perhaps long anterior1 to the fifteenth century4 ,the ,queen ,mary and ,brian ,boru ,harps are the two most nearly resembling one another4 ,they are small1 the ,queen ,mary ,harp being only #ca inches high and #ah inches from back to front4 ,they were played resting upon the left knee and against the left shoulder of the performer1 whose left hand touched the upper strings4 ,the comb is from #b-a_/b to #c-a_/d inches high4 ,it is inserted obliquely in the sound chest1 and projects about #ad inches4 ,the sound chest1 in shape a truncated triangle hollowed out of the solid1 is #e inches wide at the top and #ab at the bottom1 the depth being #d-a_/b inches4 ,the bow or forearm measures in a straight line #bg-a_/b inches1 the chord of the arc of the inner curve being #bc inches4 ,the front of it is expanded so as to form a convenient hold for the hand2 it tapers slightly above and below1 and ends both ways in boldly carved heads of animals of a symbolical character4 ,the strings were of brass and twenty-nine in number1 and were made to sound by the player's finger-nails1 which were allowed to grow long for the purpose4 ,the ,queen ,mary ,harp has had another 7the lowest7 string attached later4 ,this string measured #bd inches1 the highest treble string #b-a_/b inches2 what compass the harp had it is now impossible to decide1 but1 following the tradition of ,irish harpers1 the accordance was based upon the old diatonic scale with the minor seventh1 sometimes replaced by the major seventh4 ,we learn by the lectures of the late ,dr4 ,eugene ,o',curry that the ancient ,irish had three modes in their music1 the ,crying1 the ,laughing1 and the ,sleeping4 ,whatever these tunings were1 and probably the ,highland ,scotch had the same1 their secret is locked up in the wood of the harps that once responded to them4 ,in this1 and frequent instances in these ,plates1 the instruments are not represented as strung4 ,it is impossible to keep old instruments with that strain continually upon them1 and to string them only to have them drawn would have been attended with many disadvantages4 ,the ,queen ,mary ,harp has a history based upon the family tradition of its former owners1 the ,robertsons of ,lude in ,perthshire1 but in passing through several mediums it has become unreliable4 ,it was long believed to have been ,mary ,stuart's1 and1 according to the ,lude tradition1 it had golden and jewelled ornaments attached to the right upper circle of the bow including her portrait and the ,royal ,arms of ,scotland1 which were stolen about #agde4 ,the historical inquiry containing the information respecting this ,harp is by ,john ,gunn1 ,f4,s4,a4,e41 and was published in #ahjg1 under the auspices of the ,highland ,society4 ,a paper read before the ,society of ,antiquaries of ,scotland by ,mr4 ,charles ,d4 ,bell1 ,f4,s4,a4 ,scot41 and published in their ,proceedings for #ahhj-ha1 from which ,i have made extracts1 thoroughly sifts the facts that can be deduced from it1 and which may be thus accepted3--,queen ,mary of ,lorraine1 the mother of ,mary ,queen of ,scots1 gave this harp to ,beatrix ,gardyn of ,banchory1 ,aberdeenshire4 ,beatrix ,gardyn was married to ,finla ,mr1 and from this marriage the family of ,farquharson of ,invercauld1 in ,braemar1 is descended4 ,finla ,mr was killed at the battle of ,pinkie in ,a4,d4 #aedg4 ,john ,robertson1 the eleventh in succession to ,lude1 married ,margaret ,farquharson1 the only daughter of the then ,laird of ,invercauld4 ,he was fifty-six years in possession of ,lude1 and died in ,a4,d4 #agcj4 ,the last performer on this ancient harp was his great-grandson1 ,general ,robertson1 who lent both the ,lude harps for examination by the ,highland ,society in #ahje4 ,it appears to have been ,general ,robertson's belief that this harp was acquired for ,lude by the marriage of ,john1 the eleventh ,laird1 with a direct descendant of ,beatrix ,gardyn1 but1 following ,burke's genealogy of the family1 it would appear that it came to ,lude with ,beatrix ,gardyn herself1 on her marriage with ,john1 seventh ,laird4 ,the ,robertsons of ,lude are now1 in the direct line1 extinct1 but the family of ,gardyn is represented by ,francis ,garden-,campbell1 ,esq41 of ,troup and ,glenlyon4 ,queen ,mary's and the ,lamont ,harps are on loan 7#ahhg7 in the ,museum of the ,scottish ,society of ,antiquaries1 ,edinburgh1 and it may be mentioned that when exhibited in the ,music ,loan ,collection1 ,south ,kensington1 the former was insured for #aejj and the latter for #ajjj4 ,illustration3 ,,iii ,,plate ,,iii4 ,,the ,,lamont ,,harp4 ,the ,highland ,harp1 known as the ,clarsach ,lumanach1 or ,lamont ,harp1 belongs to the owner of the ,queen ,mary ,harp1 ,c4 ,durrant ,steuart1 ,esq41 of ,dalguise1 ,perthshire4 ,both harps were sent to ,edinburgh in #ahje by ,general ,robertson of ,lude1 who owned them at that time1 at the request of the ,highland ,society1 and a book was published in #ahjg under the patronage of the ,society1 entitled ,an ,historical ,enquiry respecting the ,performance on the ,harp in the ,highlands of ,scotland from the earliest times until it was discontinued about the year #agcd1 by ,john ,gunn1 ,f4,a4,s4,e41 in which they were described1 and a version of the family tradition of ,lude given1 compiled from letters written by ,general ,robertson1 now unfortunately not forthcoming4 ,although ,mr4 ,gunn's story of the ,queen ,mary ,harp is coloured in order to attach the gift of it to ,mary ,queen of ,scots1 that of the ,lamont ,harp appears to be according to the simple statement of the original narrator1 and may be thus epitomised from a paper published in the ,proceedings of the ,society of ,antiquaries of ,scotland1 #ahhj-ha1 by ,mr4 ,c4,d4 ,bell1 ,f4,s4,a4 ,scot43 ,the family tradition of ,lude alleges that for several centuries past the larger of these harps has been known as the ,clarsach ,lumanach or ,lamont ,harp1 and that it was brought from ,argyllshire by a daughter of the ,lamont family on her marriage with ,robertson of ,lude in #adfd4 ,it is said to be the older of the two4 ,if the probably quiet place in the house of ,lude be considered1 and that it was likely to be valued and cared for there1 also that the repairs appear to be of very old date1 then the ,clarsach ,lumanach may have already1 before #adfd1 been an old broken and mended instrument with a pre-traditional story we can never hope to hear4 ,from ,burke's ,landed ,gentry1 ,lineage of the ,robertsons of ,lude1 we learn that ,charles1 fifth ,laird of ,lude1 married ,lilias1 daughter of ,sir ,john ,lamont of ,lamont1 chief of that clan1 and that it was with this lady1 ,lilias ,lamont1 there came one of those very curious old harps which have been in the family for several centuries4 ,the drawing shows the harp as it is1 and may have been for centuries1 but ,mr4 ,m',intyre ,north1 in his ,book of the ,club of ,true ,highlanders1 ,london1 #ahhj1 proposes1 by the substitution of a longer bow or forearm1 to bring this harp to the lines of the ,queen ,mary ,harp and that of ,brian ,boru4 ,it is sufficient here to observe that the present bow agrees in measurement with that of the ,queen ,mary and ,brian ,boru ,harps1 and is certainly very old4 ,against its originality is the fact that the ,lamont ,harp appears to have always had thirty-two strings1 and for the three extra treble strings a longer bow ought to have been required4 ,the extreme length of the ,lamont ,harp is #ch inches1 and the extreme width #ah-a_/b inches4 ,the sound chest1 as with other ancient harps1 is hollowed out of one piece of wood1 but the back has been in this instrument renewed1 although probably a long time ago4 ,the sound chest is #cj inches long1 #d inches in breadth at the top1 and #ag at the bottom4 ,the comb projects #ae-a_/b inches4 ,the broken parts of the bow are held together by iron clamps4 ,as to the musical effect of a ,gaelic or ,irish harp when well played1 the impression of such a performance recorded by ,evelyn in his ,diary is worth quoting4 ,he says3 ,came to see me my old acquaintance and the most incomparable player on the ,irish harp1 ,mr4 ,clarke1 after his travells4 ,he was an excellent musitian1 a discreete gentleman1 borne in ,devonshire 7as ,i remember74 ,such musiq before or since did ,i never heare1 that instrument being neglected for its extraordinary difficulty2 but in my judgment it is far superior to the ,lute itselfe1 or whatever speakes with strings4 ,elsewhere he speaks of a ,mr4 ,clark 7probably the same performer7 as being from ,northumberland1 and says of the instrument1 ,pity 'tis that it is not more in use2 but indeede to play well takes up the whole man1 as ,mr4 ,clark has assur'd me1 who1 tho' a gent of quality and parts1 was yet brought up to that instrument from #e yeares old1 as ,i remember he told me4 ,illustration3 ,,iv ,,plate ,,iv4 ,,cornemuse1 ,,calabrian ,,bagpipe1 ,,musette4 ,the ,bagpipe 7,cornemuse and ,musette7 and the hurdy-gurdy 7,vielle7 were1 after the thirteenth century1 banished to the lower orders1 to the blind and to the wandering mendicant class4 ,but polite society in ,france resumed these instruments again in the modern ,arcadia of ,louis ,,xiv4 and ,,xv4--not the ,cornemuse1 it is true1 for that has ever remained a rustic instrument1 as may be observed in the glowing pages of ,george ,sand's ,les ,matres ,sonneurs4 ,the ,cornemuse1 as formerly used in ,france and the ,netherlands1 is derived from the ,roman tibia utricularis1 and is provided with a bag1 inflated by the mouth of the player1 while a double reed is attached to the melody pipe or chanter4 ,in recent times it is furnished with two drones--le grand1 et le petit bourdon1 which are made to sound also by reeds1 and an octave apart4 ,the ,musette1 which has practically displaced the ,cornemuse in use1 is a softer1 sweeter instrument1 with a double reed to a very narrow cylindrical pipe1 the effect of which is to make it sound like a stopped pipe1 an octave lower4 ,this accounts for the short appearance of the instrument4 ,the drones1 as it will be seen1 are on a more artificial principle than those of the ,cornemuse4 ,another difference is that the bag is always inflated by a small pair of bellows worked by the player's left arm4 ,the ,northumbrian and modern ,irish bagpipes are also inflated by means of bellows1 and have taken the place in northern ,england and ,ireland of the large bagpipe inflated with the mouth which is now regarded as distinctly ,highland ,scotch4 ,the ,musette in the drawing is made of ebony and ivory with keys of silver1 and has a bag adorned with needlework4 ,the small bellows are made of walnut inlaid with marqueterie4 ,the melody pipe 7le grand chalumeau7 is bored with eight finger-holes1 and fitted with seven keys for the chromatic notes4 ,to the left of the melody pipe or chanter there is a small flask-shaped pipe furnished with six keys 7le petit chalumeau7 containing the additional compass upwards4 ,there are four drones contrived in a barrel pierced with thirteen bores in juxtaposition1 of from #e to #ce inches in length4 ,the barrel is furnished with five stops sliding in grooves and regulating the length of the apertures for tuning the drones4 ,bach's musettes1 the alternatives to his gavottes1 always imply a drone bass4 ,it will be observed the ,cornemuse here drawn has a chanter and drone fixed parallel in one stock4 ,the former has eight finger-holes1 and1 like that of the ,scotch bagpipe1 has a vent-hole not fingered4 ,the bag covered with crimson plush is furnished with a short mouthpiece near the neck for the purpose of inflation4 ,the ,calabrian ,bagpipe or ,zampogna is a rudely carved instrument of the eighteenth century4 ,it has four drones attached to one stock1 hanging downwards from the end of the bag3 two of them are furnished with finger-holes4 ,the reeds are double like those of the oboe and bassoon4 ,the bag is large2 it is inflated by the mouth and pressed by the left arm against the chest of the performer4 ,the ,zampogna is chiefly used as an accompaniment to a small reed melody pipe called by the same name1 and played by another performer4 ,the quality of the tone produced is not unpleasing4 ,it has five holes only1 and consequently the seventh of the scale is absent1 but this can be easily got by octaving the open note of the pipe and covering part of the lower opening of the chanter with the little finger4 ,the ,musette1 ,zampogna1 and ,cornemuse here shown are from specimens belonging to ,messrs4 ,j4 ,r4 ,glen1 ,edinburgh4 ,illustration3 ,v ,,plate ,v4 ,,bagpipes4 ,in continuation of the ,bagpipes1 this ,plate shows1 in the instrument with a crimson bag1 the modern ,northumbrian ,bagpipe4 ,the four drones1 proceeding from one stock1 are mounted with brass and ivory4 ,the chanter1 or melody pipe1 has seven finger-holes in front and one behind2 also1 seven brass keys4 ,as there is only one hole open at a time when the instrument is played1 this manner of playing is called close fingering4 ,the chanter and drones are furnished with stops at the ends4 ,the instrument with a blue bag is the ancient ,northumbrian bagpipe4 ,it has three drones1 mounted with silver and ivory1 of different sizes2 the longest being tuned an octave and the middle one a fourth lower than the shortest4 ,the chanter is of ivory1 with seven holes in front and one behind4 ,the large bagpipe with a green bag is the ,lowland ,scotch4 ,it is of boxwood1 with three drones placed in one stock4 ,the two shorter drones sound in unison1 the long one an octave lower1 the same as in the ,highland ,bagpipe4 ,they are mounted with carved horn4 ,the chanter has seven finger-holes and a vent-hole1 also the same as in the ,highland ,bagpipe1 with which the ,lowland agrees in fingering and other particulars1 except that it is inflated by bellows attached to the bag by a short blow-pipe1 a peculiarity that it has in common with the other ,bagpipes in this ,plate4 ,the bellows of the modern ,northumbrian ,bagpipe are also drawn4 ,the ,bagpipe is1 as ,mr4 ,henri ,lavoix has justly said in his ,la ,musique au ,sicle de ,saint ,louis1 the organ reduced to its most simple expression4 ,it is of great antiquity1 and in the ,middle ,ages was generally popular in ,europe4 ,it was as well known in ,england as in ,scotland1 in ,france as in ,italy and ,germany4 ,shakspeare makes out ,falstaff in ,part ,i4 of ,henry ,,iv4 to be as melancholy as a lover's lute or the drone of a ,lincolnshire ,bagpipe4 ,if we may judge by the peculiar scale of the ,scotch ,bagpipe1 it would appear almost certain that the instrument1 in its modern forms1 has come from the ,east1 and was most likely brought by the ,crusaders4 ,this would not of course apply to the ancient principle of a pipe and air reservoir1 which is traced back to the ,romans1 but to the boring of the finger-holes of the chanter1 the reed pipe by which the melody is played4 ,by their position and size the intervals are so regulated that the thirds are neither major nor minor1 but give a neutral or mean interval that is neither the one nor the other4 ,this mean third1 of a tone and three-quarters1 has not been elsewhere observed in ,europe1 but in the ,east1 in ,syria and ,egypt1 and in other parts1 it is of common occurrence1 and gives a peculiar character to the music1 not to be explained1 but felt4 ,an historical origin of the mean third is to be found in ,mr4 ,a4,j4 ,ellis's paper ,on the ,musical ,scales of ,various ,nations 7p4 #dih71 published in the ,journal of the ,society of ,arts1 ,london1 ,march1 #ahhe4 ,modern ,bagpipes that have keys are1 of course1 different4 ,as to the antiquity of existing ,bagpipes1 ,messrs4 ,glen of ,edinburgh own one1 carved with the initials ,r4 ,mc4,d41 and the ,hebridean galley1 that bears the date of #adji4 ,but this is not considered to be the oldest existing1 as the ,m',intyre pipe1 belonging to ,n4 ,robertson ,m',donald1 ,esq41 of ,kinlochmoidart1 is reputed to have been played at ,bannockburn4 ,possessing one drone only1 it has the peculiarity of two vent-holes1 instead of one1 on each side of the chanter to accommodate a right or left handed player2 in either case one hole is temporarily stopped4 ,messrs4 ,glen's pipe has two drones set in one stock4 ,the name ,m',intyre1 by which ,mr4 ,robertson ,m',donald's pipe is distinguished1 is derived from the hereditary pipers of the ,chiefs of ,menzies and ,clanranald4 ,both these ancient ,bagpipes are figured in ,mr4 ,m',intyre ,north's ,book of the ,club of ,true ,highlanders4 ,the ,bagpipes here drawn are from specimens belonging to ,messrs4 ,j4 ,r4 ,glen1 ,edinburgh4 ,illustration3 ,,vi ,,plate ,,vi4 ,,clavicytherium ,,or ,,upright ,,spinet4 ,this singularly interesting and rare key-board instrument1 now the property of ,mr4 ,donaldson1 belonged to the collection of ,count ,correr of ,venice4 ,there is no maker's name or any date upon the instrument1 which is of the kind named ,clavicytherium by the earliest writer on musical instruments1 ,virdung 7,musica getutscht und auszgezogen1 ,basle1 #aeaa71 who gives a drawing of one4 ,it is in fact a spinet1 set upright4 ,the internal decoration1 as old as the instrument itself1 may be ,north ,italian or ,south ,german1 authorities differ1 but a piece of paper pasted over a split in the inside of the wooden back1 possibly by the maker1 proves to be a fragment of a lease or agreement contracted at ,ulm1 which is in favour of the ,swabian origin4 ,the instrument can hardly be of later date than the first years of the sixteenth century1 and is probably the oldest spinet or key-board stringed instrument existing4 ,the earliest date that can be given for the introduction of the ,spinet must be within the second half of the fifteenth century4 ,the key-board is of narrow compass--three octaves and a minor third--from the second ,e below1 to the second ,g above1 middle ,c1 this note being the ledger-line ,c between the bass and treble clefs ,music--an extent about the compass of the human voice1 which long ruled that of key-board instruments4 ,in ,virdung's time their compass was being extended4 ,it is1 however1 more than likely that the lowest ,e key was here tuned down to the still lower ,c1 according to the so-called short octave arrangement1 which altered the lowest ,e1 ,fsharp1 and ,gsharp1 to make fourths below ,f1 ,g1 and ,a1 instead of semitones1 and thus get deep dominant basses for cadences4 ,examination of the plectra or jacks of this instrument shows they were furnished with little tongues of wire1 and not quills or leather1 as in later spinet instruments4 ,it is in a painted pine case1 the inside being also painted4 ,an unusual feature of the interior is the ,calvary below the narrow sound-board1 in which the sound holes1 judging by the ornament that remains in one1 have been ,flamboyant windows4 ,there must also have originally been figures1 perhaps the ,transfiguration or the ,crucifixion1 but there is no trace of them left4 ,the treatment of the landscape1 without other evidence1 nearly determines the epoch when the instrument was made4 ,the stand and the paintings on the door1 one of which represents a figure holding a mirror and a serpent1 are of later date4 ,the dimensions of this truly remarkable spinet are--height of instrument1 #d feet #aj-a_/b inches1 and extreme width1 #b feet #c inches--the key-board being #b feet wide4 ,the depth of the case at base1 #aa inches1 diminishes in ascending to #e-e_/h inches4 ,the table upon which it stands is #b feet high and #b feet #aa inches wide4 ,illustration3 ,,vii ,,plate ,,vii4 ,,oliphant4 ,an ivory ,hunting ,horn belonging to ,earl ,spencer1 called ,oliphant because it is of ivory1 and bearing in the ornament the arms and badges of ,ferdinand and ,isabella of ,portugal1 may be regarded as belonging to the first half of the sixteenth century1 the strap and buckle being evidently an addition of later date4 ,the beautiful carving1 so conspicuous in this horn1 is supposed to have been executed by negroes of the ,west ,coast of ,africa1 who carved ivory for the ,portuguese2 the arms of ,portugal1 with the supporters1 two angels1 holding the shield upside down1 often appearing on their work4 ,philip ,,ii4 of ,spain married ,mary1 daughter of the ,king of ,portugal1 in #aedc4 ,she died in #aede4 ,the carving of the ,horn was probably completed within that interval1 and when ,philip came to ,england to marry ,mary ,tudor1 he may have brought the horn with him4 ,besides the uses named under ,burgmote ,horns 7,plate ,i47 horns were blown to give alarm in circumstances of danger1 to announce the arrival of visitors of distinction1 and1 as ,mr4 ,m',intyre ,north informs us respecting the horn in ,drummond ,castle1 for summoning the household and guests to dinner4 ,but horns were not restricted to winding1 there were also drinking and powder horns1 often beautifully adorned4 ,the extreme length of this ,horn1 measuring along the outside of the curve and including the mouthpiece1 is #bh-a_/d inches4 ,the greatest circumference is #aa-a_/b and the least #b-c_/d inches4 ,illustration3 ,,viii ,,plate ,,viii4 ,,queen ,,elizabeth',s ,,virginal4 ,this beautiful ,spinet is1 in the drawing1 placed upon a stand1 which served for its support in the ,tudor ,historical ,room appertaining to the ,music ,loan ,collection of #ahhe4 ,i believe this instrument to be ,italian1 not ,flemish or ,english1 and ,italian spinets had no stands or legs1 but when required for use were withdrawn from an outer case1 as this one would be1 and placed upon a table1 or some other convenient position4 ,they were even taken in ,gondolas1 as ,evelyn records1 for pleasure and the performance of serenades4 ,we may assume #aegj to be approximately the date of this instrument4 ,the green and gold decoration1 including a border of gold two and a half inches broad round the inside of the top1 is of later date1 perhaps by nearly one hundred years4 ,an indistinct number on the back of the case1 inside1 appears to be #affj4 ,the ,royal ,arms of ,elizabeth are emblazoned on one end to the left of the key-board2 to the right a dove is seen rising crowned4 ,the dove holds in its right foot a sceptre2 beneath it is an oak tree4 ,this decoration1 whether original in #affj or the copy of a former one1 goes far to support the claim for this ,spinet having been ,queen ,elizabeth's4 ,her musical taste1 inherited from ,elizabeth of ,york1 and skill as a performer upon the spinet1 need no more than a passing reference4 ,i characterize the instrument as a spinet because a true virginal is a parallelogram1 not a trapeze-shaped instrument4 ,the attribution of virginal is1 however1 not incorrect as a generic term2 for all key-board stringed instruments with jacks were known in ,england as virginals from the ,tudor epoch to that of the ,commonwealth4 ,there are in this instrument fifty quilled jacks 7plectra74 ,the natural keys1 thirty in number1 are of ebony with gold arcaded fronts1 and the compass is of four octaves and apparently a semitone1 from ,b to ,c4 ,but the lowest natural key was tuned ,g when the instrument was in use4 ,the semitone keys1 twenty in number1 begin apparently as ,csharp1 but this was tuned ,a to continue the short octave arrangement4 ,they are very elaborate1 being inlaid with silver1 ivory1 and different woods1 each consisting1 it is said1 of about two hundred and fifty pieces4 ,the painting of the case of the instrument is done upon gold with carmine and ultramarine1 the metal ornaments being minutely engraved4 ,the outer case is of cedar1 covered with crimson ,genoa velvet1 and lined inside with yellow tabby silk4 ,there are three gilt locks1 finely engraved4 ,the entire case is five feet long1 sixteen inches wide1 and seven inches deep4 ,queen ,elizabeth's ,virginal was bought1 at ,lord ,spencer ,chichester's sale at ,fisherwick in #ahjc1 by ,mr4 ,jonas ,child1 a painter at ,dudley4 ,the ,rev4 ,j4,m4 ,gresley acquired it in #ahdj4 ,it has since 7#ahhg7 been obtained from the ,rev4 ,nigel ,gresley1 for ,south ,kensington ,museum4 ,illustration3 ,,ix ,,plate ,,ix4 ,,queen ,,elizabeth',s ,,lute4 ,stringed instruments with a finger-board1 touched with the fingers or a plectrum1 may be divided1 as stated in the ,introduction1 into two principal types3 the lute and the guitar1 the former with a rounded back1 the latter with a flat back4 ,both are derived from the ,east4 ,according to this division1 the beautiful instrument called ,queen ,elizabeth's ,lute must resign the name of lute and be considered a ,guitar4 ,as a wire-strung instrument it belongs to that species of guitar known as ,cither1 and from the incurvations of the ribs1 but that the bridge is not set obliquely1 ,i should be disposed to specialize the instrument as a ,pandore or ,penorcon4 ,praetorius regarded the ,pandore and its varieties1 the ,orpheoreon and ,penorcon1 as of ,english invention4 ,this instrument1 the property of ,lord ,tollemache1 was made in ,london by ,john ,rose1 as the label bears witness3-- ,johannes ,rosa1 ,londini fecit1 ,in ,bridwell1 the #bgth of ,july1 #aehj4 ,it is infinitely more graceful than any ,pandore1 and is perhaps best described by the maker's designation1 ,cymbalum ,decachordum1 carved on the ribs4 ,it had1 as this name indicates1 ten strings1 which were of wire1 to be tuned in five pairs of unisons1 and played with a plectrum4 ,the carving is surpassingly lovely1 and bears comparison with contemporary ,italian work4 ,the jewelled centre of the rose in the sound-hole is so beautiful that an enlarged drawing of it has been made to show it to advantage4 ,the shell at the back is a characteristic feature deserving attention4 ,the extreme length of this instrument is #b feet #aa inches4 ,the length of the body is #a foot #d inches4 ,the extreme breadth1 beneath the rose and near the string-holder1 is #ab inches4 ,the breadth1 measuring across the centre of the rose1 is #aj inches4 ,the depth of the ribs varies from #a-a_/b to #c inches1 the greatest depth being near the finger-board4 ,the traditions that attach themselves to instruments of this character require to be carefully tested4 ,queen ,mary's ,harp1 for instance1 could not have been the gift to ,beatrix ,gardyn from ,mary ,stuart of ,scots1 although her portrait and coat of arms are said to have1 at one time1 adorned it4 ,the attribution to ,queen ,elizabeth also of a spinet or virginal rests entirely upon such evidence as can be gathered from the instrument itself4 ,this so-called lute has no doubt the support of a family tradition1 and the story is thus told in ,burke's ,peerage 7,lineage of the ,dysart ,family1 #ahhd73 ,sir ,lionel ,tollemache1 of ,helmingham1 high sheriff of ,norfolk and ,suffolk in #aefg4 ,in #aefa ,queen ,elizabeth honoured ,helmingham with her presence1 and remained there from the #adth to the #ahth of ,august inclusive1 being most hospitably and sumptuously entertained4 ,during ,her ,majesty's visit she stood sponsor to ,sir ,lionel's son1 and presented the child's mother with her lute1 which is still preserved at ,helmingham ,hall1 county ,suffolk1 the seat of ,lord ,tollemache of ,helmingham4 ,unfortunately the dates do not fit4 ,john ,rose's ,lute1 made in #aehj1 although it might possibly have belonged to ,queen ,elizabeth1 could not have been the lute given in #aefa4 ,it is the tradition1 however1 that may have gone astray1 and a fault in it does not do away entirely with a plausible attribution4 ,illustration3 ,x ,,plate ,x4 ,,the ,,rizzio ,,guitar4 ,this beautiful ,guitar of tortoiseshell1 combined with ivory1 mother-o'-pearl1 and ebony 7the property of ,mr4 ,george ,donaldson1 ,london71 has ten pegs representing fleur-de-lys1 and the ornament round the rose is formed with the same emblematic flower4 ,to this1 no doubt1 it owes its romantic reputation of having belonged to ,david ,rizzio4 ,the apparent age of the ,guitar would agree with a supposed gift of it from ,mary ,stuart to ,rizzio1 and the fleur-de-lys might connect it with the ,french or ,scotch ,royal ,families2 but this slender suggestion of the fleur-de-lys1 to which the guitar owes its special interest1 unsupported by other evidence1 is scarcely sufficient to uphold the fascinating attribution4 ,mr4 ,donaldson1 however1 informs me that this instrument was bought in ,scotland1 nearly forty years ago1 from an old family that had possessed it for generations with this tradition of its former ownership4 ,this ,guitar had ten strings1 forming five notes1 in pairs of unisons1 instead of six single strings1 as in the modern guitar1 giving six notes4 ,it is the lowest note ,e that is here wanting4 ,the instrument is #c feet #a inch in extreme length2 the body being #ah-c_/d inches in length1 and #aj inches across4 ,the ribs are #c-c_/d inches deep4 ,this ,spanish guitar may have first come to ,england in the reign of ,henry ,,viii41 as there is occasional mention1 at that time1 of the ,spanish viol1 a bowed instrument which may have been accompanied by the true ,spanish guitar4 ,there is no doubt1 however1 about the ,spanish guitar having been here in the reign of ,elizabeth1 and it might have been brought by attendants of ,philip ,,ii4 when he married ,mary ,tudor4 ,in the latter half of the sixteenth century it was already known1 valued1 and highly decorated in ,venice2 and it was also known in ,france1 so that1 as an instrument1 it would not be strange to ,mary ,stuart1 or ,rizzio either4 ,the lute1 however1 was the most in vogue at that time1 excepting perhaps in ,spain4 ,the character of the design of this so-called ,rizzio guitar is undoubtedly ,moorish4 ,illustration3 ,,xi ,,plate ,,xi4 ,,positive ,,organ4 ,a chamber ,organ formerly in the ,tolbecque ,collection1 and belonging to the epoch of ,louis ,,xiii4 ,the ,positive ,organ1 as the name implies1 was intended to remain in a fixed place1 while the smaller portable organ 7orgue portatif7 was made to be carried about4 ,the disposition of the pipes was usually the same in both organs1--what may be called the natural order1--ascending from the longest pipe in the bass to the shortest in the treble1 but some positive organs had the pipes arranged in a circular disposition1 perhaps for a more equal distribution of the weight upon what is known as the sound-board4 ,the instrument admits of more than one register4 ,there are authentic representations of positives in several old pictures1 one of the best known being that in the ,st4 ,cecilia panel1 by ,hubert ,van ,eyck1 in the famous altar-piece of the ,adoration of the ,lamb at ,ghent4 ,the original ,st4 ,cecilia panel1 now at ,berlin1 was not painted later than #adbf1 but the panel at ,ghent is a good copy4 ,another ,st4 ,cecilia panel 7date about #adhd71 with a positive organ1 by an unknown painter1 is not of such universal fame1 but is nevertheless of very great merit4 ,it is in the palace of ,holyrood1 ,edinburgh1 and is of equal value with the ,van ,eyck panel as a faithful representation of the instrument1 and of the chromatic arrangement of the keys1 thus early introduced4 ,the ,positive ,organ drawn in this volume has been intended for chamber1 not choir1 use4 ,it has three registers1 and the drawstops which control them project at the right-hand side of the case the same as in the old ,flemish harpsichords4 ,the principal register1 that of the show pipes of gilt tin1 is called the ,montre2 and the compass of it is from the ,e below1 to the third ,c above1 middle ,c--three octaves and a sixth4 ,the second register1 also of tin1 is an octave higher in pitch1 but extends only from the first ,e below1 to the second ,c above1 middle ,c2 the remainder of the key-board compass is borrowed from the ,montre4 ,the third register is the ,bourdon--wooden pipes stopped at the upper ends1 an octave lower in pitch than the ,montre4 ,the ,bourdon extends in compass from ,e an octave and sixth below1 to the second ,c above1 middle ,c4 ,the three registers in this instrument are consequently at octave distances1 but ,praetorius 7#afai7 describes an old positive in which the registers were in the relation of the fifth and octave to the lowest6--a combination the modern musical ear rejects4 ,the boxwood natural keys with gilded paper fronts1 as seen in this specimen1 were common to the earliest known key-board instruments4 ,the dimensions of this ,positive ,organ1 including the stand1 are--height1 #f feet #d inches2 width1 #b feet #f inches2 and depth1 #a foot #d inches4 ,the paintings inside the doors are1 to the left1 ,st4 ,cecilia playing upon a positive organ1 while three angels sing and a fourth blows the bellows2 to the right1 a warrior crowned with laurel is in the attitude of listening2 outside the doors there are panels with paintings of a woman playing on an instrument of the viol kind1 and another playing a flute4 ,there is a crowing cock upon the apex of the cornice4 ,this ,positive ,organ is the property of the ,conservatoire ,royal1 ,brussels4 ,illustration3 ,,xii ,,plate ,,xii4 ,,regal4 ,the ,regal here drawn is the prototype of the modern harmonium1 but with beating not free reeds4 ,the beating reed is usually employed in the organ1 and it derives its appellation from the reeds touching the sides of their frames4 ,the beating reed was introduced in the fifteenth century1 but whether in the simple regal first1 or as part of an organ1 is not known4 ,in ,england1 the word regal has been also used to denote a portable organ1 as is shown by ,sir ,john ,hawkins's suggestion that the stage direction to the players' scene in ,hamlet1 ,enter a duke and a duchess with regal coronets1 should be with regals and cornets4 ,the oldest ,german authorities1 as ,virdung 7#aeaa7 and ,praetorius 7#afai71 separate them and describe the regal as a reed instrument with key-board exactly like this one1 a kind of positive and not a portable organ4 ,this ,regal1 which was in the ,tolbecque ,collection1 is attributed in date to the end of the sixteenth century4 ,it came from the ,abbey of ,freuenfeld in ,switzerland1 and now belongs to the ,brussels ,conservatoire4 ,mr4 ,victor ,mahillon1 the curator of the museum of that institution1 records another fine specimen of this very rare instrument in the possession of the ,community of ,lady ,canonesses of the order of ,st4 ,augustine1 at ,brussels1 to which body it was presented1 by the founder of the ,order1 in #afbe4 ,the regal is said to have been much used in convents to accompany the singing of the nuns4 ,the ,belgian ,government kindly allowed a selection of the ,conservatoire instruments1 of which the ,regal here drawn was one1 to be played in the ,historic ,concerts given in ,july #ahhe1 in the ,music ,room of the ,inventions ,exhibition4 ,this instrument1 when on its stand1 measures #b feet #h inches in height1 the width is the same1 and the length is #d feet #b inches4 ,the case is of finely-carved walnut4 ,the compass of the key-board is from the second ,e below1 to the second ,a above1 middle ,c--about the extent of the human voice1 and the frequent compass of old organs4 ,the word regal has been derived from the inventor having made a present of the first one to a king1 or to kings having had in their establishments special regal-makers4 ,rigabello1 a now unknown instrument which is said to have preceded the organ in ,venice1 is also quoted as the origin of the name4 ,i have elsewhere 7,encyclopdia ,britannica1 article ,pianoforte7 suggested that regal may have come from regula1 a rule1 the idea of gradation being inherent in a key-board4 ,the wooden harmonicon1 when made to play by a key-board1 was at one time called regal 7rgale en bois74 ,illustration3 ,,xiii ,,plate ,,xiii4 ,,portable ,,organ ,,and ,,bible ,,regal4 ,the ,portable ,organ 7orgue portatif1 also nimfali7 was a processional instrument slung by a strap over the player's shoulder1 so as to allow the bellows at the back of the instrument to be worked by the player's left hand1 while the keys were touched with the fingers of the right hand4 ,from the high pitch of the pipes1 the limited number of keys1 and one hand only being used for touching them1 it is possible that only one voice1 or part1 was played4 ,the same remarks may be made of the early large organs1 except that1 with them1 each key made several pipes of various lengths speak at the same time1 so as to give the octave1 twelfth1 and super-octave1 and still higher accordant intervals1--in point of fact1 the large organ was1 with the exception of the front pipes1 a large mixture stop4 ,the positive and portable organs were smaller editions of the principal or front pipe part of the large organ4 ,from ,orcagna and ,fra ,angelico1 in the fourteenth century1 to ,d4,g4 ,rossetti and ,e4 ,burne ,jones1 in the nineteenth1 the portable organ has been a favourite musical instrument for delineation by the painter of religious subjects1 and from the fourteenth to the seventeenth centuries no musical instrument was more in favour in religious establishments4 ,notwithstanding this fact1 ,i know of only two as now existing1 and they are both of late date1 being of the seventeenth century4 ,the one1 here drawn1 belongs to the ,museum of the ,brussels ,conservatoire1 while the other1 belonging to ,his ,grace the ,duke of ,athole1 is preserved at ,blair ,athole in ,scotland4 ,the ,brussels ,portable ,organ has twenty-six metal pipes arranged in two rows1 and has as many keys1 in a compass extending from the first ,e to the third ,f above middle ,c4 ,on the case are engravings upon wood and ivory1 representing a youth playing upon a harp while three boys dance1 and a woman playing upon a portable organ while a girl and two boys sing4 ,a woodcut of the harp-player is on the title-page of this volume4 ,there is a conventional lion on each key-block4 ,the dimensions are--height1 #b feet #f inches2 width1 #b feet2 and depth1 #h inches4 ,the ,bible ,regal1 drawn in the same ,plate1 is of the same kind as the beating reed ,regal4 ,the pipes which enclose the reeds are so cut down as to practically do little more than cover them4 ,the instrument is so constructed that it can be folded up1 and1 when closed1 looks like a book--whence the name ,bible ,regal4 ,the key-board1 hinged in the middle1 is extended for performance4 ,in the instrument drawn it is of four octaves and a fourth compass4 ,the bellows are found by reversing the book cover4 ,the ,bible ,regal is said to have been invented about the middle of the sixteenth century1 by ,george ,voll1 an organ-builder of ,nuremberg4 ,it is extremely rare2 ,i only know of two1 one belonging to ,mr4 ,wyndham ,portal of ,malshanger1 ,basingstoke1 and this instrument1 the property of ,mrs4 ,frederick ,pagden and her sister ,miss ,ferrari4 ,illustration3 ,,xiv ,,plate ,,xiv4 ,,cetera4 ,the instrument1 in ,italian ,cetera1 is in ,french called ,cistre1 and in ,english ,cither1 sometimes ,english ,guitar4 ,it belongs to the guitar kind because it has a flat back1 but all cithers are strung with wire1 and the sounds are elicited1 like those of the lute-shaped mandoline1 by means of a plectrum4 ,this exquisitely beautiful instrument of the early sixteenth century is attributed to the ,brescian ,school4 ,formerly the property of the ,biblioteca ,estense at ,modena1 it has since been acquired by ,mr4 ,george ,donaldson1 ,london4 ,it will be observed in the drawing that a carving of a woman's head surmounts the peg-box and resolves itself into a lizard1 which serves as a handle wherewith to hold the instrument4 ,a mermaid is seen below the finger-board1 and there are two in the carving of the back4 ,the ribs are also carved4 ,to show this exquisite carving upon a larger scale enlargements are given of the finger-board mermaid and the rose in the sound-hole4 ,the extreme length of the instrument is #c feet2 and that of the body measured to the neck1 #ai-a_/b inches2 the number of strings is thirteen4 ,praetorius gives the tuning of such an instrument as follows3 ,music the highest being the single melody string4 ,this ,cetera should be compared with that of ,mr4 ,alard in ,plate ,,xxviii4--an instrument made by the famous violin-maker1 ,antonio ,stradivari4 ,illustration3 ,,xv ,,plate ,,xv4 ,,lute4 ,a fine old ,italian ,lute1 with the label #afjj1 ,,in ,,padova ,vvendelio ,venere4 ,it is not only rare1 but a special interest is attached to it from its having been the favourite musical instrument of the late ,carl ,engel4 ,when he disposed of his collection he reserved this instrument for his own use1 and probably his last performance upon it was ,handel's ,lascia ch'io pianga1 which he played to the present writer1 who now owns the instrument4 ,it is a large lute1 being #db inches in length4 ,the greatest width of the body is #ad-a_/b inches1 with an extreme depth of #h inches4 ,the body is #ba inches from the base to the shoulders2 from thence to the nut is #aj-c_/d inches1 and it is #ac-a_/b inches from the nut to the extremity of the head1 the angle of the peg-box being obtuse4 ,the mean width of the finger-board is #d inches4 ,it is furnished with twenty strings1 which are divided into six pairs of unisons1 and eight single strings for basses4 ,engel tuned it in the ,d minor tuning1 an accordance introduced according to ,herr ,oscar ,fleischer in the first half of the seventeenth century1 by the great ,french lutenist1 ,denis ,gaultier4 ,this accordance ultimately prevailed not only in ,france and ,england but in ,germany2 the same writer informs us that ,joseph ,haydn used it4 ,this lute1 when so tuned1 is thus arranged-- ,music but the old ,lute tuning was1 in chamber pitch-- ,music ,mersenne 7,harmonie ,universelle1 ,paris1 #afcf7 places this finger-board scale a tone higher1 with the ,chanterelle on ,a4 ,this change really infers the use of a lower pitch4 ,by ,gaultier's tuning the strain is taken off the highest note--a relief of much importance1 when the high chamber pitch then customary1 nearly a whole tone above the normal ,french pitch1 is considered4 ,by the twelve frets upon the finger-board for the highest notes1 the melody strings could be raised chromatically one octave1 thus making the extreme compass of the instrument four octaves and a note1 from the third ,f below1 to the second ,g above1 middle ,c4 ,before the year #afjj the lute was played1 as the old tablatures or lute notations show us1 in single notes with occasional chords1 a practice derived from lute-playing frequently found in modern pianoforte music4 ,there were attempts at counterpoint1 but these were limited1 owing to one hand only being available for stopping4 ,certain graces were used1 especially the vibrato1 but there is reason to believe they were used for some time by the players before the composers thought fit to indicate them4 ,with the growing favour for simple chords1 which were developed into the ,continuo or ,thorough ,bass accompaniment1 the bass strings--diapasons1 as they were called--were added beneath the finger-board accordance to be tuned for basses as the player required4 ,at last they were attached by the contrivance of a double neck to a higher peg-box1 by which the ,lute became a ,theorbo4 ,both varieties were superseded early in the eighteenth century by the guitar1 which was easier to play1 and the immensely popular spinet1 which permitted the performance of a complete counterpoint1 by the freedom it gave to use both hands upon the key-board4 ,a reflection might here be made on the masterly way in which contemporary painters drew hands and lutes4 ,i need only name those masters of the ,dutch school1 ,frans ,hals1 ,jan ,steen1 and ,terburg1 especially ,steen1 whose truthful precision compels admiration4 ,of another school1 there is a lute-player drawn by ,albrecht ,drer1 that is a miracle of skill and accuracy of observation4 ,a considerable literature of the lute exists belonging to the sixteenth1 seventeenth1 and eighteenth centuries4 ,thomas ,mace 7#afgf7 writes very amusingly about it4 ,he accounts ,venice lutes as commonly good1 but gives the highest place to ,laux ,maler of ,bologna4 ,evelyn1 in his ,diary1 also quotes ,bologna as famous for lutes1 especially those of the old masters1 ,mollen1 ,hans ,frey1 and ,nicholas ,sconvelt 7sic71 who were ,germans4 ,the first-named is probably intended for ,maler4 ,in ,evelyn's time1 lutes by these makers were fetching extraordinary prices4 ,the most interesting modern works of information about the lute1 as well as of contemporary music generally1 are ,la ,musique aux ,pays ,bas1 ,edmond ,vander ,straeten 7,brussels1 #ahfg-he71 from a future volume of which a monograph has been published in anticipation1 entitled ,jacques de ,saint-,luc1 ,luthiste ,athois du xviie4 sicle 7,mayence1 #ahhg72 ,musique et ,musiciens au xviie4 sicle1 a publication of the ,socit pour l',histoire ,musicale des ,pays-,bas1 edited by ,w4,j4,a4 ,jonckbloet and ,j4,p4,n4 ,land1 and containing the musical correspondence of the astronomer ,constantin ,huygens 7,leyden1 #ahhb72 and a monograph upon the famous ,parisian lutenist1 ,denis ,gaultier1 by ,oscar ,fleischer1 published in the ,vierteljahrschrift fr ,musikwissenschaft for ,january and ,april #ahhf 7,leipsic1 ,breitkopf and ,hrtel74 ,the first three-quarters of the seventeenth century was a period remarkable for a refined amateur cultivation of instrumental music4 ,shakspeare's appreciation of the lute1 and his graceful tribute of admiration for the performance of his friend1 the lutenist ,dowland1 are well known4 ,illustration3 ,,xvi ,,plate ,,xvi4 ,,the ,,orbo4 ,the instrument here drawn was made by ,giovanni ,krebar of ,padua in #afbi1 and now belongs to ,mr4 ,george ,donaldson1 ,london4 ,the body of this instrument is built up of ivory2 the back of the peg-box and neck is also of ivory1 and is delicately engraved with a view of ,venice1 showing vessels engaged in firing1 and spearmen advancing4 ,incised dancing and fencing figures adorn the lower neck2 there is a garden scene with numerous figures upon the upper neck4 ,by the pegs we find the instrument had eight bass notes or diapasons2 a single string to each note1 and that there were on the finger-board five double strings and one1 the highest1 single--the chanterelle or melody string4 ,in the true theorbo1 the ,paduan according to ,baron 7,untersuchung des ,instruments der ,lauten1 ,nuremberg1 #agbg1 p4 #aca71--the diapasons were single strings4 ,when the diapasons were in pairs of strings the instrument was1 according to ,mersenne 7,harmonie ,universelle1 ,paris1 #afcf71 called 7,french7 ,luth torb or 7,italian7 ,liuto attiorbato1 a theorboed lute4 ,it must1 however1 be admitted that ,mersenne's rule is not of strict application4 ,the single strings introduced1 in the first instance1 for basses1 at last became general throughout1 and banished the double stringing in lutes1 theorboes and guitars4 ,the lutes were1 however1 by this time nearly out of use4 ,the name ,archlute is given by different authorities to both ,theorbo and ,chitarrone 7,plate ,,xxi474 ,the early use of only one string for the highest or melody string may be seen in representations of lutes by ,quattro ,cento painters4 ,the theorbo1 however1 was not introduced until nearly the end of the sixteenth century4 ,a very accurate and beautiful painting of one may be observed in a picture by ,terburg in the ,london ,national ,gallery 7formerly in the ,peel ,collection71 which is erroneously named in the printed catalogue in use in #ahhg ,the ,guitar ,lesson4 ,evelyn was well acquainted with the theorbo1 and took lessons upon it in ,rome and ,padua4 ,there is frequent mention of it in his ,diary4 ,it remained in use until nearly the end of the last century4 ,the extreme length of this specimen is #c feet #e inches2 the body is #a foot #c-a_/b inches by nearly #aa inches4 ,illustration3 ,,xvii ,,plate ,,xvii4 ,,dulcimer4 ,we derive ,dulcimer from the ,spanish ,dulcemele as the only etymology to be offered with any show of certainty4 ,the ,provenal ,lai was in the ,latin of the period ,dulcis ,cantus1--,dulcemele 7,lat4 ,dulce ,melos7 has a kindred ring1 and by the change of a liquid ,dulcimer has become an accepted name4 ,the dulcimer is a variety of the psaltery or qanun1 and bears the same relation to it that the modern pianoforte does to the older spinet or harpsichord4 ,the psaltery was sounded by the fingers1 either with their fleshy ends or by covering them with plectra adjusted like thimbles to produce a sharper sound2 the dulcimer is a louder instrument1 the sounds being produced by hammers held in the player's hands1 and having elastic stems by which the necessary rebound from the strings is facilitated4 ,the hammers have not unfrequently two coverings1 a hard and a soft one1 disposed upon the hammer head so that the player can1 by turning the hammer1 use either at will4 ,the characteristic effect of the dulcimer1 analogous to the mandoline1 bandurria and other stringed instruments played with a plectrum1 is the repetition of notes1 producing by this artifice the impression of almost sustained sound4 ,the ,italians called the dulcimer ,salterio ,tedesco1 or ,german psaltery1 but have now adopted ,zimbalon2 the ,germans call it a ,hackbrett1 or chopping board4 ,it is generally an instrument popular among the humbler classes1 and in modern times it assumes its most important rle as the cimbalon in the ,hungarian gipsy bands4 ,the specimen here drawn belonged to ,mr4 ,kendrick ,pyne of ,manchester1 and is now in the possession of ,mr4 ,h4 ,boddington2 it is elevated upon a stand1 and is in a case1 from which it can be removed for performance4 ,there is a picture inside the lid of a sunset and figures habited in seventeenth-century costumes--soldiers advancing and met by ladies apparently bearing refreshments4 ,on the front board1 which is hinged so as to be let down1 there is painted on the right of the spectator a man fishing in a pond and a woman near him2 while in the centre is a clump of trees1 and1 on the left1 a man and a woman meeting4 ,the instrument itself is decorated with painted flowers in panels1 between which are black and white chequers4 ,it is probably ,italian4 ,the dimensions of it are--in the greatest width1 #c feet #d-a_/b inches1 in the least1 #a foot #aa inches4 ,the angles of the sides measure #a foot #a-a_/b inch each4 ,the depth of the instrument is #c-a_/b inches4 ,the height of the stand is #b feet #b inches4 ,there are seventeen notes of four wire strings tuned in unison for each note in this instrument4 ,there may be more notes in a dulcimer and the number of strings may vary1 groups of three1 and even five unisons being found alternating with four in old dulcimers4 ,the wire was brass in old instruments and is steel in modern ones4 ,owing to increase of tension due to the upward straining of the wire by the bridges on the sound-board1 the places for the bridges cannot be determined by observing the simple ratios of partial tones1 but have to be found empirically4 ,as in all old stringed instruments there are sound-holes in the sound-board1 in old ,italian dulcimers decorated with beautiful arabesques or roses4 ,in old ,italian and also the ,chinese dulcimers 7,yang-ch'in1 or foreign psaltery7 the sound-board bridges are joined in two rows1 the strings passing alternately over1 and through openings made in them4 ,they pass over brass wires on the summits of the bridges1 and at the edges of the dulcimer over other brass wires that form1 on either side1 what may be called nuts4 ,in ,asiatic and modern ,european instruments the bridges are separate studs4 ,the longest stretches of wire pass over the right-hand bridge and through the openings in the left-hand bridge4 ,the shorter stretches are reversed1 passing over the left-hand bridge4 ,in ,european dulcimers the shorter stretches1 struck to the right of the left-hand bridge1 are an octave above the longer stretches struck to the left of the right-hand bridge4 ,the shortest stretches are the remainder of the octave strings1 which1 carried over the left bridge to the left edge of the dulcimer1 are so tuned as to be a fifth above the octave series4 ,the right-hand remainder is not used4 ,there are consequently three series of notes1 a fundamental1 an octave and a twelfth2 thus expressed in notation1 the perpendicular lines representing the nuts1 and the circles the position of the bridges4 ,music ,these are the lowest notes of the three series4 ,the scale usually ascends from them in diatonic succession1 in the lowest series with ,f natural instead of ,f sharp4 ,in the last century attempts were made to tune some part of the scale chromatically1 but1 as far as ,i have met with examples1 on no ascertainable system4 ,the ,chinese substitute sixths1 and in the two lowest sevenths1 for the octave2 by the sevenths the lowest semitone is missed1 otherwise the scale continues1 as in the ,european dulcimer1 in heptatonic order4 ,the brass wire upon the bridges is an old spinet contrivance4 ,the dulcimer is tuned with a hammer or key like a pianoforte1 but1 unlike the piano and other key-board instruments1 has no damping contrivance4 ,we may look for the precursor of both the ,european and ,chinese dulcimers in an ,assyrian ancestor of the ,persian ,santir1 or1 it may be1 in a more remote ,babylonian instrument4 ,dulcimers are represented on ,assyrian monuments4 ,illustration3 ,,xviii ,,plate ,,xviii4 ,,virginal4 ,in this interesting ,virginal1 which belongs to the ,brussels ,conservatoire1 we have a ,ruckers ,vierkante ,clavisingel in the original external decoration just as it left the hands of the younger ,hans ,ruckers1 a master of the ,saint ,luke's ,guild of ,antwerp4 ,the decoration is a covering of paper printed from blocks4 ,the stand is also original4 ,an untouched ,ruckers virginal or harpsichord like this rarely comes under notice1 and1 at this moment1 ,i can only recall one in ,england--a single key-board harpsichord in the possession of ,miss ,elizabeth ,twining1 at the ,dial ,house1 ,twickenham1 made by ,andries1 the brother of the younger ,hans and1 like him1 a son of the elder ,hans ,ruckers4 ,the combination of white naturals and ebony sharps or flats is the oldest contrast between the lower and upper keys1 with the qualification1 that the oldest existing natural keys are not of ivory but of boxwood4 ,as was customary in the ,low ,countries1 ,latin mottoes1 sometimes more than one1 were displayed on clavecins or key-board instruments4 ,the one shown here reads ,,omnis ,,spiritvs ,,lavdet ,,dominvm4 ,these mottoes1 so often occurring in ,flemish instruments of that period1 bear witness to the thoughtfulness and reverence of the men who made and possessed them4 ,besides the one quoted 7,let all that breathe praise the ,lord71 we find ,,lavs ,,deo 7,praise be to ,god71 ,,mvsica ,,donvm ,,dei 7,music is the gift of ,god71 ,,mvsica ,,magnorvm ,,est ,,solamen ,,dvlce ,,laborvm 7,music is the sweet solace to great labours71 ,,concordia ,,res ,,parv ,,crescvnt1 ,,discordia ,,maxim ,,dilabvntvr 7,by ,concord small things grow1 by ,discord great things fall away71 ,,sic ,,transit ,,gloria ,,mvndi 7,so passeth away the glory of the world71 ,,mvsica ,l,,titi ,,comes ,,medicina ,,dolorvm 7,music is the companion of joy and medicine of griefs71 ,,concordia ,,mvsis ,,amica 7,concord is the ,muses' friend71 ,,acta ,,virvm ,,probant 7,deeds prove the man71 ,,scientia ,,non ,,habet ,,inimicvm ,,nisi ,,ignorantem 7,knowledge has no enemy but the ignorant71 ,,mvsica ,,pellit ,,cvras 7,music dispels cares71 and ,,soli ,,deo ,,gloria 7,glory be to ,god alone74 ,the ,italians preferred longer and more poetic quotations1 as the often repeated ,viva fui in sylvis sum dura occisa securi2 ,dum vixi tacui mortua dulce cano 7,i was alive in the woods1 ,i was felled by a cruel axe2 while ,i lived ,i was silent1 now ,i am dead ,i sing sweetly72 or that on the harpsichord which belonged to ,tasso's sister1 and is still in the possession of her descendants in the house she lived in at ,sorrento3 ,tales in altis sentiunt sonos beati spiritus opus 7,such sounds they hear in heaven1 the blessed spirits' work74 ,to return to this ,ruckers ,virginal--the sound-board is painted with floral devices in ,netherlandish fashion1 the usual gilt rose appearing in the round opening of the sound-board1 bearing the maker's trade mark1 which contains his initials1 ,i4,r41 and near it is written with ink1 ,anno #afbb4 ,upon the rail above the jacks 7plectra7 is the inscription1 ,,joannes ,,rvckers ,,fecit ,,antverpi4 ,there is a picture in the ,national ,gallery in ,london1 from the ,peel ,collection1 painted by ,metsu1 wherein is depicted a precisely similar instrument1 possibly his own1 as he has it again in a picture belonging to the collection of ,sir ,francis ,cook1 at ,richmond1 in ,surrey4 ,at first sight it is difficult to believe it is not the same4 ,another occurs at ,windsor ,castle1 in the collection of ,h4,m4 the ,queen1 painted by ,ver ,meer of ,delft4 ,here1 again1 the first impression formed is that the painter has represented the instrument shown in the present drawing4 ,such ,virginals must have been1 at that time1 favourite instruments in polite ,dutch ,society4 ,pepys1 in his ,diary1 under date of ,september #b1 #afff1 has a well-known reference to the popularity of the virginal in ,london at the time of the ,great ,fire4 ,river full of lighters and boats taking in goods1 and ,i observed that hardly one lighter or boat in three1 that had the goods of a house in1 but there was a pair of virginals in it4 ,the word virginals1 here used1 was evidently applied in a general sense1 meaning any key-board plectrum instrument4 ,the special virginal was an oblong spinet1 and appears to have been the spinetta1 in the form invented by the ,venetian ,spinetti1 about the year #aejj4 ,the ,italian oblong spinet was furnished with a lid1 the instrument being a fixture in the case4 ,it presented to the eye the exact appearance of the cassone or wedding coffer1 and was equally an object for decoration4 ,the rich sound of the ,bass of the instrument here drawn1 not soon to be forgotten1 serves to show what the quality of tone throughout the scale must originally have been4 ,it was this supreme excellence which raised the reputation of ,hans ,ruckers and his sons to a level to be rivalled only1 later1 by the great ,cremona violin-makers2 it lasted as long as the spinet and harpsichord remained in vogue4 ,this ,virginal represents ,no4 #ae of my ,catalogue of existing ,ruckers instruments in ,sir ,george ,grove's ,dictionary of ,music and ,musicians1 article ,ruckers4 ,london1 #ahhc4 ,the woodcuts above the ,contents to this work represent ,sir ,michael ,mercator 7#adia-aedd71 a musical instrument maker1 it is said virginal maker1 to ,king ,henry ,,viii4 ,the portrait has been engraved from a medal in the ,british ,museum executed by ,mercator himself1 for he was a goldsmith and medallist as well as instrument maker1 by ,mr4 ,john ,hipkins1 who has also engraved the ,jewish ,shophar and the woodcut on the title-page4 ,the legend upon the medal informs us that ,mercator was the first knight created from ,venloo by the ,king4 ,he gained knighthood and other distinctions by his success in secret diplomatic services4 ,the researches of ,mr4 ,w4,h4 ,james ,weale1 who called the attention of the present writer to ,mercator1 have determined his arrival in this country to have been in #aebg1 when he brought letters of introduction to ,cardinal ,wolsey from ,floris d',egmont1 ,count de ,buren and ,lord of ,isselstein1 and others1 and two musical instruments--as he was an organ-builder1 it is to be presumed virginals4 ,the ,king engaged him at an annual salary4 ,it will be observed in the portrait that ,mercator wears1 attached to his collar1 the ,tudor ,rose4 ,mr4 ,weale has published his discoveries concerning him in ,le ,beffroi1 an artistic and antiquarian periodical printed at ,bruges4 ,mr4 ,weale's ,descriptive ,catalogue of the rare manuscripts and printed books in the ,historical ,music ,loan ,collection of #ahhe1 for the publication of which we are indebted to ,mr4 ,bernard ,quaritch1 may be appropriately mentioned in this connection4 ,illustration3 ,,xix ,,plate ,,xix4 ,,viola ,,da ,,gamba4 ,the old ,bass ,viol 7,french ,basse de ,viole7 derives its name of ,viola da ,gamba 7leg viol7 from its having been held between the knees of the player1 whence the ,german ,kniegeige4 ,shakspeare speaks of it as viol-de-gamboys in ,twelfth ,night--where ,sir ,toby ,belch in his panegyric on ,sir ,andrew ,aguecheek says1 ,he plays o' the viol-de-gamboys1 and speaks three or four languages word for word without book1 and hath all the good gifts of nature4 ,domenichino's famous ,st4 ,cecilia is represented as playing upon a viola da gamba4 ,it was the bass of the chest 7or family7 of viols4 ,a quotation from the recently published autobiography of the ,honourable ,roger ,north1 who was born in #afec1 aptly describes the domestic use of those once admired instruments4 ,he says his grandfather1 ,dudley1 third ,lord ,north1 when at his country seat in ,norfolk1 would convoke his musical family 444 and for important regale of the company the concerts were usually all viols to the organ or harpsichord4 ,the violin came in late and imperfectly4 ,when the hands were well supplied the whole chest went to work1 that is six viols1 music being formed for it which would seem a strange sort of music now1 being an interwoven hum-drum4 ,roger ,north became himself a proficient upon both treble and bass viols4 ,the splendid example here drawn is the work of ,joachim ,tielke1 who made it at ,hamburg in #agja2 it formerly belonged to the famous violoncellist1 ,f4 ,servais4 ,in perfect preservation1 it has a beautifully carved ivory peg-box1 which is surmounted by a woman's head1 with an incised finger-board beneath4 ,there are no frets1 which is unusual with viols1 as they were fretted instruments1 but it would be of course easy to attach them4 ,the back is of rosewood alternated with ivory2 and the ivory tailpiece forms a caduceus4 ,two views are given of the instrument1 and a profile of the head and peg-box are enlarged to half size4 ,it has six strings1 a favourite accordance being-- ,music ,this was called the ,harp-way sharp2 when the fifth string was tuned to ,b flat the tuning was called ,harp-way flat--,harp-way1 indicating the facility thus afforded for arpeggios4 ,bach's solemn cantata1 ,gottes ,zeit ist die allerbeste ,zeit 7,god's time is the best of all times71 opens with the viola da gamba1 but1 early in the eighteenth century1 composers replaced the ,viola da ,gamba with the violoncello4 ,the last noted performer upon it was ,carl ,friedrich ,abel1 who died in #aghg4 ,of late years it has been taken up again for its own special qualities1 which should preserve it for at least occasional use4 ,the late ,henry ,webb1 at the suggestion of ,professor ,ernst ,pauer in #ahfb1 was perhaps the first to adopt it again4 ,he had to obtain instruction in the fingering of the instrument from an old man of eighty-six4 ,the fingering is practically that of the lute1 and1 as ,mr4 ,e4,j4 ,payne has pointed out in ,grove's ,dictionary of ,music and ,musicians 7,art4 ,violin71 it was the command of the six-stringed finger-board which the lutenists had attained by two centuries of incessant practice that was transferred by them to the ,viola da ,gamba1 both instruments being thus common to the same players4 ,owing to this fact the bass viol remained in use much longer than the other members of the viol family4 ,at the present time ,mr4 ,payne1 ,herr ,paul de ,wit of ,leipsic1 and ,mr4 ,e4 ,jacobs of ,brussels1 have reintroduced the ,viola da ,gamba to the notice of the musical public4 ,mr4 ,jacobs played upon one furnished with sympathetic strings1 with great success in the ,historical ,concerts given1 under the direction of ,mr4 ,victor ,mahillon1 in the ,music ,room of the ,london ,international ,inventions ,exhibition of #ahhe4 ,the instrument here represented belongs to the ,museum of the ,brussels ,conservatoire4 ,illustration3 ,,xx ,,plate ,,xx4 ,,double ,,spinet ,,or ,,virginal4 ,this uncommon instrument displays one of the expedients employed to gain a more brilliant effect by the addition of an octave string1 before such a string was permanently attached to the sound-board of the harpsichord itself by means of an additional row of strings placed beneath the ordinary unison strings4 ,octave spinets were1 as ,mersenne 7#afcf7 describes1 made independent of the ordinary spinet1 and there are frequent examples to be met with4 ,these little spinets were placed upon the larger ones for performance1 as ,praetorius 7#afai7 says1 like turrets on a tower4 ,in this double spinet it is a removable part of the instrument1 and constitutes the left-hand key-board1 the right-hand key-board being a fixture4 ,the maker1 as is proved by his initials1 ,,hr1 and his device in the rose of the sound-hole1 is no other than the famous ,hans ,ruckers the elder1 of ,antwerp4 ,this ,spinet is numbered #i of the sixty-six existing instruments by the ,ruckers family catalogued by the present writer in ,sir ,george ,grove's ,dictionary of ,music and ,musicians4 ,it can now be extended to sixty-eight4 ,on the jack rails of both spinets may be read ,joannes ,rvqvers me fecit4 ,there is another double spinet at ,nuremberg made in #aehj by ,martin ,vander ,beest1 which has been figured and is the frontispiece to ,dr4 ,august ,reissmann's ,illustrirte ,geschichte der ,deutschen ,musik 7,leipzig1 #ahha74 ,the ,ruckers double spinet can hardly be much later4 ,the earliest examples known to me of the octave string attached1 as above mentioned1 in the harpsichord itself1 are to be found in a double clavecin 7,french for harpsichord7 by ,hans ,ruckers the elder1 dated #aeij1 and preserved in the ,museum of the ,paris ,conservatoire1 and in a clavicembalo 7,italian for harpsichord71 made at ,pesaro1 and also in #aeij1--lately brought to ,england by ,messrs4 ,hill1 the violin-makers1 and now acquired by the ,south ,kensington ,museum4 ,the latter is an instrument with only two strings to each note4 ,the invention of the octave string1 as well as of double key-board1 has been attributed to ,hans ,ruckers4 ,the latest evidence1 however1 does not favour these attributions1 although both inventions most likely belong to the ,netherlands4 ,ruckers and his sons1 it may be said1 made instruments that were never surpassed for quality of tone4 ,to return to the ,double ,spinet--both key-boards are of four octaves1 the fixed right-hand one being from the second ,c below1 to the second above1 middle ,c1 and the removable left-hand one is an octave higher throughout4 ,the complete instrument rests upon the original arcaded stand4 ,the paintings are of later date than the instrument itself4 ,the subjects are on the lid1 and represent a contest before the gods between ,apollo and ,marsyas--the former divinity playing a viol1 and the latter a pipe4 ,the background is a hilly country with a lake and castle1 and a man in a boat4 ,above and below the removable spinet are painted landscapes with figures1 immediately above it children dancing2 and at the fixed key-board men and women dancing in pairs4 ,this pleasing instrument formerly belonged to ,messrs4 ,chappell of ,london1 but is now the property of ,mr4 ,george ,donaldson4 ,there are seven pierced arches and columns in the stand1 which is #b feet #d inches high4 ,the dimensions are--extreme length1 #e feet #h-a_/b inches2 the length of the left-hand key-board1 #b feet #b-a_/b inches1 and of the right-hand one1 #b feet #a-a_/d inches4 ,the width from back to front is #a foot #g-a_/b inches1 and the depth is #aa-a_/b inches4 ,illustration3 ,,xxi ,,plate ,,xxi4 ,,three ,,chitarroni4 ,the primary meaning of ,chitarrone is a large guitar1 but1 in point of fact1 this imposing yet graceful instrument is a theorbo or bass lute with a very long upper neck to give length for bass strings of deep pitch4 ,the one to the left in the drawing1 which belongs to ,mr4 ,rudolf ,lehmann1 ,london1 is ,venetian1 if we may judge from the beautiful decoration4 ,it has three sound-holes with roses joined together in a fashion that is regarded as ,roman1 and is adorned with mother of pearl4 ,it is strung with six pairs of strings upon the finger-board1 each pair tuned in unison4 ,seven single diapason strings1 or open basses1 are stretched from the upper peg-box clear of the finger-board4 ,it is #e feet in extreme length1 that of the neck being #c feet #e inches4 ,the ,chitarrone in the centre1 which belongs to ,mr4 ,george ,donaldson1 and is richly inlaid with mother of pearl1 has also three connected roses1 six pairs of unisons upon the finger-board and eight diapasons clear of it4 ,the length of it is #f feet2 the neck is #d feet #a inch4 ,it is also ,venetian1 and dated #afjh4 ,the right-hand ,chitarrone1 shown at the ,exhibition of #ahhe by ,mr4 ,edward ,joseph of ,bond ,street1 ,london1 has six pairs of unisons and seven diapasons4 ,the neck is ornamented with chequers1 and the finger-board is bound with thirteen frets for the melody strings1 giving the player a semitone more than the complete chromatic series4 ,the chitarrone is sometimes called the ,roman theorbo4 ,it is of greater length than the ,paduan theorbo1 with which it was introduced towards the end of the sixteenth century1--owing to a necessity having arisen for bass instruments of greater sonorousness than had been used before1 in order to accompany the newly-invented recitative4 ,about the same time there also came into use a larger instrument of the viol family1 known as the violone1 the precursor of the double bass4 ,the heavier basses and simple harmonies1 for which the ,italians had shown a growing preference1 replaced1 to a great extent1 the ingenious interweavings of counterpoint1 and assisted the development of the latest offspring of the ,renaissance1 that of ,monody--the recitativo and aria--introduced in ,florence by ,peri1 ,caccini1 ,cavalieri and ,monteverde1 the foundation of the modern ,italian opera4 ,the chitarrone was used in the orchestra of ,monteverde on the first production of his ,orfeo in #afjg4 ,there is also mention of it in a band of instruments as early as #aehi4 ,illustration3 ,,xxii ,,plate ,,xxii4 ,,spinet4 ,this ,spinet1 with its original six-legged stand1 was made in ,london about the end of the seventeenth century4 ,stephanus ,keene ,londini ,fecit1 is inscribed upon the name-board1 which is characteristically inlaid with birds and foliage4 ,it is a transverse ,spinet1 the ,italian ,spinetta traversa1 an adaptation of the longer bichord or trichord harpsichord within the limitations of size of this instrument1 which1 like the trapeze-shaped and oblong spinets1 had one string only to each note4 ,the tail is extended on the right-hand side2 the key-board is placed somewhat obliquely1 and the wrest-plank1 with the tuning-pins1 is immediately above the key-board1 instead of being1 as in the older spinets1 at the right-hand side4 ,the compass of the key-board is from the second ,b below1 to the second ,d above1 the middle ,c1--in all four octaves and two notes1 being one note more in the treble than occurs in the key-board diagram to ,henry ,purcell's ,lessons for the ,harpsichord or ,spinnet4 ,the lowest key would1 however1 be tuned down to the lowest pianoforte ,g1 the object being to secure a dominant bass for the lowest ,c4 ,purcell's diagram for the spinet gives the lowest key as ,b ,b1 but1 in the lessons1 he here and there writes down to ,g ,g1 also to ,a ,a1 for which the lowest ,csharp key would be similarly accommodated4 ,the two lowest sharps of the spinet here drawn present the peculiarity of being cut or divided1 each division being an independent key4 ,these were not quarter-tones as has been supposed2 the front halves were tuned ,a and ,b for dominant basses like the ,g1 and the back halves ,csharp and ,dsharp1 chromatic semitones to the adjacent natural notes1 thus combining the ,short ,octave principle1 indispensable for the performance of contemporary music1 with the chromatic system then beginning to be recognised4 ,stephen ,keene was a well-known maker of spinets1 equal in reputation to his great rivals1 ,charles ,haward1 and ,thomas and ,john ,hitchcock1 ,the earliest notice known of ,keene occurs in an advertisement at the end of the sixth edition of ,playford's ,introduction 7,london1 #afga71 which announces that ,mr4 ,george ,dalham1 that excellent organ-maker1 dwelleth now in ,purple-,lane1 next door to the ,crooked ,billet1 where such as desire to have new organs1 or old mended1 may be well accommodated4 ,and ,mr4 ,stephen ,keene1 ,maker of ,harpsycons and ,virginals1 dwelleth now in ,threadneedle-,street1 at the sign of the ,virginal1 who maketh them exactly good1 both for sound and substance4 ,it is proved that ,keene was long in business by a name-board which is in my possession dated #agai4 ,indeed1 longer than the period occupied by ,thomas ,hitchcock1 whose autograph occurs in spinets from #affd and #agjc4 ,the principal dimensions of the instrument drawn1 which belongs to ,mr4 ,h4,j4 ,dale1 ,cheltenham1 are--extreme width1 #e feet #f inches1 extreme depth1 without the projection of the key-board1 #a foot #i-a_/d inches4 ,the key-board is #b feet #d-a_/d inches wide1 and #c-g_/h inches deep4 ,illustration3 ,,xxiii ,,plate ,,xxiii4 ,,quinterna ,,and ,,mandoline4 ,the ,quinterna or ,chiterna1 the ,italian guitar1 was formerly used by the humbler order of musicians4 ,according to ,engel1 it had three pairs of catgut strings and two single strings covered with wire1 and was played guitar-lute fashion with the fingers1 and not with a plectrum4 ,but the instrument here drawn1 with its ten wire strings1 must have been played with a plectrum in cither fashion4 ,it was exhibited by ,mr4 ,george ,donaldson in the ,music ,loan ,collection at the ,royal ,albert ,hall as a ,giterna1 an obvious variant of the name4 ,two views of it are here given4 ,it is of tortoiseshell with arabesques of ivory and a carved ebony head1 the back being of ebony and ivory4 ,in length it is #bd-a_/b inches1 and the neck1 measured from the body1 is #ad inches4 ,the words1 ,joachim ,tielke ,hamburg fecit1 #afgf1 are inscribed on the back of the instrument2 the date1 however1 suggests a considerable discrepancy when compared with the ,quinterna in ,south ,kensington ,museum1 by ,joachim ,tielke1 #aeci4 ,engel supposes that this famous maker's name was continued through several generations1 to account for the difference in dates4 ,evelyn1 visiting ,pozzuoli in #afde1 says1 ,the country-people so jovial and addicted to musiq1 that the very husbandmen almost universaly play on the guitarr1 singing and composing songs in praise of their sweet-heartes4 ,this guitar would be the ,quinterna4 ,the ,mandoline drawn1 also ,mr4 ,donaldson's1 is by ,domenico ,vinaccia1 dated ,napoli1 #aghj1 and is of tortoiseshell and mother of pearl1 with a beautiful pear-shaped back or shell4 ,it is #bb inches long1 the neck and head being #aa inches4 ,the ,mandoline 7,italian ,mandolino7 is smaller than the ,mandora1 a kind of alto lute4 ,it is strung with catgut and wire1 the bass strings being of catgut covered with silver wire1 and is played with a plectrum4 ,of several kinds1 including the ,mandore1 ,mandurina1 and ,pandurina1 that have been used in ,italy1 the ,milanese and ,neapolitan ,mandolines are the best known4 ,the ,milanese ,mandoline1 with five or six pairs of strings1 preserves old cither tunings2 the ,neapolitan ,mandoline1 which is really an eighteenth-century instrument1 is evidently of later introduction1 as it is tuned in fifths similar to a violin1 which makes performance upon it easily attainable by violin players4 ,mozart wrote the serenade in ,don ,giovanni with an accompaniment for it1 but beautiful as this composition is1 the accompaniment appears scarcely characteristic of the ,mandoline or of the ,bandurria either--a small kind of ,spanish guitar of deeper pitch than the ,mandoline1 which1 for local colour1 would have been the right instrument4 ,these instruments1 like the ,dulcimer1 make their characteristic effects by means of the reiteration of notes1 analogous to what is called repetition on a pianoforte1 the intention being to convey an impression of sustained sound1 and make the melody prominent when several other instruments are being played4 ,the accordance of the ,neapolitan ,mandoline is-- ,music of the ,milanese ,mandoline of five notes-- ,music of the ,milanese ,mandoline of six notes-- ,music and of the ,bandurria-- ,music the three higher notes being here of catgut--the lower of silk overspun with metal4 ,the ,bandurria1 like the ,mandolines1 is played with a plectrum1 called in ,spanish ,pua1 which is prevented from defacing the wood by the presence of a tortoiseshell plate1 let into the sound-board4 ,the plectrum is usually a small piece of tortoiseshell or quill4 ,illustration3 ,,xxiv ,,plate ,,xxiv4 ,,welsh ,,crwth4 ,,russian ,,balal,,ika4 ,the ,crwth is a rare ,welsh instrument1 supposed to have been the ,chrotta ,brittanna mentioned in one of the odes of ,venantius ,fortunatus1 written about ,a4,d4 #fag1 and published under the title of ,venantii ,fortunati ,poemata2 but following the analogy of the ,gaelic cruith1 and the phonetic crot of the ,book of the ,dean of ,lismore 7a sixteenth-century collection of ,ossianic fragments71 the ,british ,chrotta was more likely to have been an early form of the ,celtic ,harp4 ,of original ,welsh ,crwths known there are three--one from the ,engel collection in the ,south ,kensington ,museum1 another less perfect in the ,warrington ,museum1 and the one here drawn1 which belongs to ,colonel ,wynne-,finch of ,voelas1 ,bettws-y-,coed1 ,north ,wales4 ,they have been hollowed out of single pieces of wood1 the sound-board being glued on--a very primitive manner of structure akin to the old ,celtic ,harps4 ,the dimensions of ,colonel ,wynne-,finch's ,crwth are--length1 #bb-a_/b inches2 width1 between #aj-a_/b and #i inches2 depth1 #b inches4 ,this instrument has six strings1 although nearer examination shows that it had originally only five2 four are on a finger-board played with a bow1 and two are off the finger-board1 intended to be twanged by the player's thumb4 ,these open strings are a comparatively late fancy1 adopted in the theorbo1 lyra1 and baryton viols4 ,it is said there was a three-stringed crwth 7,crwth thrithant7 probably bowed1 and tuned as the first1 fifth1 and octave1 but ,i am disposed to agree with the late ,carl ,engel 7,researches into the ,early ,history of the ,violin ,family3 ,london1 #ahhc7 that this could be no other than the medival ,rebec4 ,from observations made1 more than a hundred years ago1 by the ,hon4 ,daines ,barrington 7published in the ,archologia of the ,society of ,antiquaries1 ,london1 ,vol4 ,,iii4 p4 #bj71 who had the advantage of hearing a performer claiming to be the last upon the instrument1 the accordance of the six-stringed crwth was-- ,music ,the strings were of catgut4 ,another authority1 ,bingley1 heard the crwth played at ,carnarvon as late as #ahja4 ,he gives a different accordance1 in which1 however1 the octave arrangement remains3-- ,music ,it would appear as if the notes forming octaves upon the finger-board were bowed together but not all four strings at once1 as has been sometimes supposed4 ,to effect this there must have been a peculiar knack in using the bow4 ,from the large openings on either side of the finger-board it is possible to trace1 through the intermediate medival ,rotta or ,rote1 a descent from the ,grco-,roman ,cythara or ,lyre4 ,there are two sound-holes in the belly1 and the bridge1 which is placed obliquely1 has the right foot resting upon the belly1 while the left foot1 as in the tromba marina1 passes through the left sound-hole to rest upon the back4 ,the left foot then acts as a sound-post1 and sets the whole instrument in vibration4 ,colonel ,wynne-,finch's ,crwth was found in the ,island of ,anglesey4 ,it has the following inscription upon a label inside3-- ,,maid ,,in ,,the ,,paris ,,of ,,anirhengel ,,by ,,richard ,,evans ,,instruments ,,maker ,,in ,,the ,,year #agdb4 ,but it is supposed to be older1 and only to have been repaired or reconstructed by ,richard ,evans4 ,it was restored very carefully by ,mr4 ,george ,chanot before being shown at ,south ,kensington in the ,loan ,collection of #ahgb4 ,the ,,balal,,ika is the ,russian peasant's guitar4 ,this example was drawn because of the ornament1 but the common instrument is usually quite plain4 ,it came from ,moscow tuned ,music but another in my possession1 sent to me at the same time from ,st4 ,petersburg1 was tuned ,music4 ,the ,balalika has three frets attached to the neck1 for stopping the semitone1 whole tone1 and minor third on each string4 ,the strings are of catgut4 ,the quality of tone is very sympathetic1 almost sad4 ,the dimensions of the specimen drawn are--extreme height from the base1 #cj inches2 the finger-board1 #ac inches2 the width at base is #aa-a_/b inches4 ,the depth of the sound-chest1 which is the half of a duodecagon1 #e-c_/d inches4 ,the corresponding measures of the simple peasant's instruments are--#bf-c_/d1 #ac-c_/d1 #ac1 and #c-a_/b inches4 ,the peculiar triangular shape of the ,balalika is of very primitive character1 the curved form in lutes and guitars being an artistic development4 ,in a delightfully realistic ,russian bronze shown at the ,health ,exhibition1 ,south ,kensington1 #ahhd1 the performer simultaneously holds the neck of the instrument and stops the strings with his left hand1 while he touches them1 guitar fashion1 with his right hand1 the instrument being free from any other support whatever4 ,illustration3 ,,xxv ,,plate ,,xxv4 ,,violin1 ,,the ,,hellier ,,stradivarius1 ,,and ,,two ,,old ,,bows ,,noted ,,for ,,the ,,fluting4 ,this is the beautiful ,hellier ,stradivarius ,violin made in #afgi and bought by ,sir ,samuel ,hellier of ,womborne1 ,staffordshire1 about the year #agcd1 from the maker himself4 ,it remained in the ,hellier family until #ahge1 when it was acquired by ,mr4 ,george ,crompton1 who subsequently disposed of it to ,messrs4 ,w4,e4 ,hill and ,sons of ,new ,bond ,street1 formerly of ,wardour ,street1 ,london1 the experts in the violin section of the ,south ,kensington ,music ,loan ,collection of #ahhe4 ,it now belongs to ,mr4 ,charles ,oldham1 who possesses another inlaid violin dated #afhg1 which was originally made for the ,king of ,spain1 and completes his quartet of ,stradivarius instruments4 ,this ,violin is considered to be one of the perfect earlier works of ,stradivarius1 and is of full proportions4 ,it has greater breadth than the so-called grand pattern of that famous maker1 and is one of his inlaid violins1 of which there are not more than twelve extant4 ,a letter of ,stradivarius1 recording the price 7#dj7 ,sir ,samuel ,hellier paid for it1 was forthcoming until a few years ago1 when it was unfortunately lost4 ,we are not informed why ,stradivarius should have kept this instrument in his own possession for fifty-five years--it seems likely that it had had another owner before ,sir ,samuel ,hellier1 and that ,stradivarius had taken it back4 ,the details of the ornament upon this ,violin have been corrected from an exact tracing taken by ,mrs4 ,huggins of ,upper ,tulse ,hill1 ,london1 an earnest amateur of ,stradivari's violins4 ,the ,hellier ,stradivarius was certainly one of the most remarkable examples that appeared in the unrivalled collection of famous violins exhibited at ,south ,kensington in #ahhe4 ,a quotation from ,mr4 ,george ,hart's well-known book upon ,the ,violin1 its ,famous ,makers and their ,imitators 7,london1 #ahhd1 p4 #aia71 justly sums up the worth of those artificers when ,italian violin-making most excelled4 ,he says3 ,the chief merits of ,stradivari and his contemporary makers were intuitive4 ,their rules1 having their origin in experience1 were applied as dictated by their marvellous sense of touch and cunning1 with results infinitely superior to any obtained with the aid of the most approved mechanical contrivances4 ,when to these considerations we add that devotedness of purpose without which nothing great in art has been accomplished1 we have a catalogue of excellences sufficient to account for the greatness of their achievements4 ,the bows that accompany the ,hellier ,stradivarius are from the collection of ,messrs4 ,arthur and ,alfred ,hill4 ,the violin bow1 the medium by which the performer's personality is transmitted to the instrument and its various powers are brought out1 is not less worthy of admiration than the violin itself4 ,the gradual improvement of the bow has followed the development and improvement of the violin1 and the settlement of its form and materials in the last quarter of the last century by ,franois ,tourte1 in reality made the violin a different instrument from what it had been before4 ,with ,tourte's bow came a power of expression in violin-playing previously unknown4 ,illustration3 ,,xxvi ,,plate ,,xxvi4 ,,violins1 ,,the ,,alard ,,stradivarius1 ,,the ,,king ,,joseph ,,guarnerius ,,del ,,ges4 ,the back and front views of the ,violin to the left of this ,plate are taken from the ,alard ,stradivarius1 so called from the famous violinist who formerly owned it4 ,it is one of the finest violins made by ,stradivarius1 and bears the date #agae1 thus belonging to his great period1 which is considered by connoisseurs to have extended from about #agjj to #agbe4 ,the following is the brief history of the ,alard ,stradivarius4 ,bought in ,florence early in the present century by a banker of ,courtrai in ,belgium1 it passed at his death into the possession of the late ,j4,b4 ,vuillaume of ,paris1 one of the most famous violin-makers and experts of the present century4 ,vuillaume reserved it for his son-in-law1 ,mr4 ,delphin ,alard1 professor of the violin at the ,paris ,conservatoire1 and of ,european reputation as a virtuoso1 in whose possession it remained until he retired from public life in #ahgf4 ,it was then acquired by ,mr4 ,david ,laurie of ,glasgow1 in whose possession this fine instrument still remains4 ,it is a ,stradivarius of the grand form1 and of a very handsome model1 the arching of the belly and back being of exquisite proportions1 neither exaggerated nor weak4 ,the workmanship is between the earlier and later styles of the master4 ,a careful choice of the wood is of course presupposed1 but the fine regular marking of the back may be observed1 and also the beautiful colour and quality of the varnish4 ,the neck is original1 as it left the hands of ,stradivarius2 it has1 however1 been lengthened by a piece added at its junction with the upper block of the body4 ,the letters ,p4,s41 which are sometimes found on ,stradivari violins at the peg-box end of the neck when it is original1 are here very distinct4 ,these enigmatical letters have given rise to some discussion among experts1 but the conclusion appears to be that they are the initials of ,stradivari's youngest son1 ,paolo1 through whose hands the instruments may have passed4 ,paolo was a cloth merchant1 not a violin-maker1 but he succeeded to his father's house after the decease of his brothers4 ,the ,king ,joseph ,guarnerius del ,ges ,violin 7del ,ges on account of his signing his violins with the device ,illustration3 ,i4,h4,s471 of which back and front views appear to the right of the ,plate1 also belongs to ,mr4 ,laurie1 who has allowed this fine instrument to be drawn for comparison with the no less fine specimen of ,stradivarius4 ,the differences in the construction of the instruments of these famous makers are1 to the practised eye1 considerable4 ,in general1 the violins of ,guarneri are smaller than those of ,stradivari4 ,there is a marked difference observable in the outlines of the two makers1 the ,stradivarius being somewhat square in the shoulders1 the ,c's1 or inward curvings of the sides of a violin which resemble that letter1 and in the lower part1 while all those features in the ,guarnerius are more curved4 ,the head of the latter is bolder1 less symmetrical and quaintly original4 ,the f's1 the sound-holes in violins assuming the form of that letter as an italic1 which are beautifully curved by ,stradivarius1 are by ,guarnerius often sharply pointed at top and bottom4 ,it might be expected that this peculiarity of the f's would be detrimental to the artistic effect1 but it is not4 ,the arching of the belly and back is with ,guarnerius less marked than with ,stradivarius4 ,generally speaking1 ,guarnerius left his bellies thicker than those of ,stradivarius4 ,as may be expected1 there is a decided difference in tone between a ,guarnerius del ,ges and a ,stradivarius4 ,i am indebted to ,dr4 ,william ,huggins1 ,f4,r4,s41 for the following interesting comparison4 ,the ,stradivarius possesses1 as a rule1 a brighter tone with unlimited capacity for expressing the most varied accents of feeling1 welling forth like a spring 7says ,dr4 ,joachim in ,mr4 ,payne's ',stradivari1' ,grove's ,dictionary1 vol4 iii41 p4 #gcc7 and capable of infinite modifications under the bow4 ,the tone of ,guarnerius has intense individuality1 it is powerful and somewhat contralto in quality1 with a superb mellow richness strongly tinged with melancholy4 ,the famous ,king ,joseph ,guarnerius del ,ges was formerly in the celebrated collection formed by the late ,james ,goding4 ,it was sold after his decease in #aheg to the ,viscomte de ,janz1 from whom ,mr4 ,laurie obtained it4 ,the ,tourte bow1 mounted with gold1 tortoiseshell and mother of pearl1 shown in the same ,plate1 is also ,mr4 ,laurie's4 ,illustration3 ,,xxvii ,,plate ,,xxvii4 ,,viola ,d',,amore4 ,french ,la ,viole d',amour is the ,love ,viol1 so called from the soft and tender quality of the tone produced from it4 ,beneath the catgut strings there are usually wire strings1 which1 being tuned in accordance1 vibrate sympathetically when the catgut strings are bowed4 ,this is in obedience to a well-known law of physics1 according to which a body set in vibration will cause another body having the same frequency of vibration to sound when within reach of its influence4 ,in the beautifully carved and inlaid instrument here drawn1 a perfect viola d'amore in form1 surmounted by a lovely head with bandaged eyes1 the sympathetic strings are absent1 and if they were ever attached the peg-box has since been altered4 ,but it has the flaming sword sound-holes invariably found in a viola d'amore1 and also the addition1 not unfrequent in that viol1 of a rose immediately under the finger-board4 ,meyerbeer has revived the use of the viola d'amore by writing for it the delicious obbligato to ,raoul's song1 ,ah6 quel spectacle enchanteur1 in ,les ,huguenots4 ,in the present day ,mr4 ,carli ,zoeller has come forward in ,england as the regenerator of the viola d'amore4 ,he has published an instruction-book1 with an historical introduction of value1 and has also composed for the instrument4 ,the following interesting passage occurs in ,john ,playford's ,musick's ,recreation on the ,viol ,lyra-way1 ,london1 #affa3--,the first authors of inventing and setting lessons this way to the ,viol was ,mr4 ,daniel ,farunt1 ,mr4 ,alfonso ,ferabosco1 and ,mr4 ,john ,coperario alias ,cooper4 ,the first of these was a person of much ingenuity for his several rare inventions of instruments1 as the ,poliphant and the ,stump1 which were strung with wire2 and also of his last1 which was a ,lyra ,viol1 strung with ,lute strings and ,wire strings1 the one above the other2 the wire strings were conveyed through a hollow passage made in the neck of the ,viol and so brought to the tail thereof1 and raised a little above the belly of the viol by a bridge of about #a_/b an inch4 ,these were so laid that they were equivalent to those above1 and were tun'd unisons to those above1 so that by striking of those strings above with the bow1 a sound was drawn from those of wire underneath1 which made it very harmonious2 of this sort of ,viols ,i have seen many1 but ,time and ,disuse have set them aside4 ,this description may have referred to the ,viola ,bastarda1 with the invention of which ,praetorius credits ,england4 ,a great authority on this subject1 ,mr4 ,e4,j4 ,payne1 writing in ,sir ,george ,grove's ,dictionary of ,music and ,musicians 7article ,violin71 says the principle of sympathetic vibration was applied to several ,viols1 even the little ,sordino4 ,the ,viola ,bastarda was the ,viola da ,gamba with wire strings added4 ,in the same way the ,tenor ,viol became the usual ,viola d',amore4 ,but the latter has varied in construction1 the name being applied by ,mattheson 7#agac7 to a ,viol with four metal strings and one of catgut1 which he said bore the beautiful name of ,viola d',amore 7,viole d',amour71 in fact1 for it expresses much languishment and tenderness4 ,this must have been similar to the ,viola d',amore of #e wyre strings plaied on with a bow1 described by ,evelyn in #afgi as above all for its sweetnesse and novelty4 ,the tuning of the ,viola d',amore was at first the ordinary viol way of fourths and a third1 but later the major common chord tuning was given to it ,music known as ,harp-way ,sharp 7on account of the facile arpeggio and major third74 ,this tuning was adopted by ,meyerbeer for his graceful obbligato4 ,whether ,bach wrote for a true viola d'amore is doubtful2 the compass employed in the ,johannis-,passion suggests an ordinary viola which might have been partly strung with steel or brass4 ,berlioz1 in his ,treatise on ,instrumentation1 writes of the ,love ,viol with sympathetic strings1 ,the quality of the ,viole d',amour is faint and sweet2 there is something seraphic in its partaking at once of the viola and the harmonics of the violin4 ,it is peculiarly suitable to the legato style1 to dreamy melodies1 and to the expression of sthetic or religious feeling4 ,it will1 ,i think1 be conceded that when an instrument which has gone out of fashion possesses some special quality1 such as is found in this fascinating viol1 there is sufficient justification for bringing it back into use4 ,the ,viola d',amore and other instruments in this work1 that belong to the ,music ,class ,room of ,edinburgh ,university1 have been drawn by permission of ,professor ,sir ,herbert ,oakeley1 ,mus4 ,doc41 and composer to her ,majesty the ,queen for ,scotland4 ,illustration3 ,,xxviii ,,plate ,,xxviii4 ,,cetera1 ,,by ,,antonius ,,stradivarius4 ,an interesting ,italian ,cither1 dated #agjj1 that may be compared for design1 beauty1 and workmanship with ,lord ,tollemache's ,english cither known as ,queen ,elizabeth's ,lute4 ,it belongs to the violinist ,alard1 and found a place in the splendid contribution of violins and other stringed instruments sent from ,paris1 by the mediation of ,mr4 ,e4 ,gand1 to the ,music ,loan ,collection in the ,royal ,albert ,hall1 #ahhe4 ,it had also been lent by ,mr4 ,vuillaume to the ,south ,kensington ,collection of #ahgb4 ,this instrument1 as well as the guitar drawn in the next ,plate1 show ,stradivarius was not averse from making other instruments than violins4 ,as well as cithers and guitars1 he is known to have made a harp4 ,two views are given of this cetera1 and one enlarged profile of the head and peg-box4 ,it is a woman's head1 said to represent ,diana1--a satyr and nymph behind the peg-box serving to form a crook or handle for supporting the instrument1 as the lizard in ,mr4 ,donaldson's cetera already described4 ,it will be seen this ,cetera differs from the ,quinterna in ,plate ,,xxiii42 it is in form one of the oldest existing musical instruments4 ,illustration3 ,,xxix ,,plate ,,xxix4 ,,guitar1 ,,by ,,antonius ,,stradivarius4 ,this ,guitar is inscribed on the back of the peg-box ,,ant',s ,,stradivarivs ,,cremonen',s4 ,f #afhj4 ,it was brought from ,brescia in #ahha1 and was acquired by ,messrs4 ,w4,e4 ,hill and ,sons of ,london4 ,it has been supposed that this might have been the only guitar made by the illustrious violin-maker2 but another1 in the ,museum of the ,paris ,conservatoire1 is also claimed for ,stradivarius4 ,the beautiful arabesque rose of this ,guitar will attract attention4 ,the coat of arms upon the finger-board indicates the noble family to which the instrument formerly belonged4 ,while often made in ,italy1 ,france and ,germany1 the ,guitar is the national ,spanish instrument1 and although fashion may for a time permit its use in other countries1 it is as an exotic1 for the character and traditions of the instrument attach it closely to ,spain1 where it is the universal accompaniment to song and dance4 ,the ,andalusian ,seguidilla and ,fandango with castanet accompaniment are characteristic measures for dances1 with which are combined vocal performances of coplas and estrevillo 7couplets of four short lines and a refrain of three71 partaking more of the character of an improvisation than a set performance4 ,in the north of ,spain1 the ,jota ,aragonesa and ,jota ,navarra are accompanied by a vocal refrain as well as castanets1 hand-clapping and finger-snapping4 ,all these ,spanish dances are in triple time with certain peculiarities of rhythm2 occasionally professed guitar players elaborate them into compositions of special interest and beauty1 astonishing the listener with the capabilities of the ,spanish guitar as a solo instrument4 ,but1 in truth1 the artist will make himself felt1 however limited the range and power of the instrument may be4 ,illustration3 ,,xxx ,,plate ,,xxx4 ,,bell ,,harp ,,and ,,hurdy-,,gurdy4 ,the ,bell ,harp1 although it appears in modern pre-,raphaelite paintings and is a kind of wire-strung psaltery1 cannot be classed as a medival instrument1 as it dates only from about the year #agjj4 ,its invention is attributed to ,john ,simcock1 a soldier1 who1 judging from the label inside1 probably gave the name of his superior officer to the instrument4 ,it reads as follows3--,john ,simcock1 in the ,right ,honourable the ,earl of ,ancram's regiment of ,dragoons1 and in ,captain ,bell's troop1 makes1 mends1 and sells the ,english harp2 also instructs gentlemen in the best mode of playing that instrument4 ,robert1 third ,earl of ,ancram1 afterwards ,marquis of ,lothian1 was appointed ,colonel of the seventh regiment of ,dragoons in #afif4 ,the ,bell ,harp here drawn belongs to ,miss ,e4,a4 ,willmott of ,warley ,place1 ,essex1 as well as the ,hurdy-,gurdy beneath it in the same ,plate4 ,it has four roses and fourteen notes of brass strings of four unisons to each4 ,the extreme length of the sides is #ba inches2 the breadth at the top is #f-e_/h inches1 and at the bottom1 #ac-a_/b inches4 ,simcock constructed bell harps with more notes1 occasionally of three unisons to each1 excepting the deepest note1 which was one string only1 spun over with wire4 ,the scale of another of sixteen notes1 made by ,john ,simcock at ,bath1 as given by ,engel1 was-- ,music ,the bell harp1 like the zither1 is sounded with a plectrum on each thumb1 and the performer1 while twanging the strings rapidly1 holds the harp by wooden projections from the sides of the frame1 and swings it upwards and downwards1 to which action ,grassineau 7,musical ,dictionary1 ,london1 #agdj7 attributes the name4 ,this may have been so1 but it is certain that the swinging motion could have no appreciable effect upon the tone4 ,a few years ago a ,frenchman played the bell harp in the streets of ,london1 attracting audiences by the novelty of the instrument and the grace with which he swung it4 ,,the ,,hurdy-,,gurdy4 ,with dead1 dull1 doleful1 heavy hums1 ,with mournful moans1 with grievous groans1 ,the sober hurdy-gurdy thrums4 ,these lines1 from an ,ode for ,st4 ,cecilia's ,day1 are said to have been set to music for ancient ,british instruments1 by ,arne4 ,but they libel an instrument that has only failed from lack of inventors to attain to the development that has raised some of its former competitors to the consideration they are now held in4 ,while the organistrum of the church became the vielle of the ,jongleurs1 passing into the chifonie and hurdy-gurdy of the common folk in the fifteenth and sixteenth centuries1 the dulcimer has been the precursor of the pianoforte4 ,the hurdy-gurdy1 although at one time transformed to a sostenente key-board instrument described by ,evelyn1 and as the ,geigenwerk exciting the attention of ,j4,s4 ,bach1 has remained what it was4 ,the latest improved vielle or hurdy-gurdy had the following key-board compass and tuning of the open strings-- ,music3 ,tuned in ,c4 ,tuned in ,g4 ,music3 ,the open notes correspond with the long black keys of the instrument2 the black notes with the short white keys4 ,the sound is produced by the vibration of the strings1 maintained by the friction of a wheel with which they are brought into contact1 the function of the rotary movement being analogous to that of the fiddler's bow1 the wheel being also prepared1 like the bow1 with rosin4 ,sympathetic strings are not unfrequently attached4 ,the ,hurdy-,gurdy here drawn has within the sound-body the maker's label1 ,louvet1 ,luthier1 la ,vielle ,royale1 rue de la ,croix des ,petits ,champs1 la ct de la petite porte ,saint ,honor ,paris1 #ageg4 ,the length1 without the head1 is #ai-a_/b inches2 the breadth being respectively #h-a_/h and #aj inches across the belly at the wider measures4 ,the carving of the head in this and many other vielles and viols is a message to us from the past of loving care bestowed4 ,baton1 a luthier of ,versailles1 introduced in the year #agaf improvements in the vielle1 or hurdy-gurdy1 one of which1 by reducing it to the size of a guitar1 made it more convenient for performance4 ,he even went further by adapting it to lute and theorbo bodies1 while he and his successors gradually extended the compass1 the highest ,g being added by ,louvet about #aggc4 ,it became for some time a fashionable instrument1 and representations of the vielle and musette 7a refined bagpipe7 occur in contemporary ,french paintings4 ,but after the ,french ,revolution the hurdy-gurdy was relegated once more to the highways and byeways2 the last popular street player in ,paris was ,barbu1 who1 according to ,mr4 ,louis ,pagnerre1 was to be heard previous to #ahgj1 in the ,champs ,elyses and other open spaces1 and occasionally in the courtyards of the houses of his patrons4 ,he sometimes gave concerts1 for he was an artist1 and had taste as well as executive talent2 he could make the instrument sing1 use it to accompany his own voice1 or to take a part in combination with guitar and violin4 ,he disdained to ask for money1 relying upon the appreciation of his audiences to obtain his reward4 ,barbu had also been heard in ,london1 and is supposed to have been shot during the ,commune4 ,illustration3 ,,xxxi ,,plate ,,xxxi4 ,,sordini4 ,the ,sordino is a pocket fiddle1 the ,pochette of the ,french and the ,taschengeige of the ,germans4 ,in form it is derived from the medival rebec which came from the ,east1 and was also known as gigue4 ,it was distinguished from the viol family by the neck being a prolongation of the body of the instrument1 instead of an attachment to it4 ,a diminutive viol1 the dancing master's kit1 replaced the rebec kit1 or sordino1 at the beginning of the eighteenth century4 ,a sordino1 in the ,museum of the ,paris ,conservatoire1 with the date #agag1 is believed to be unique as the undoubted work of ,stradivarius4 ,tarisio1 a well-known violin collector1 brought it from ,italy to ,france1 and ,louis ,clapisson1 the violinist1 composer1 and collector1 eventually bought it in #aheh1 and employed it in his opera of ,les trois ,nicolas1 writing a gavotte for it4 ,the late ,m4 ,chouquet 7author of ,le ,muse du ,conservatoire ,national de ,musique1 ,paris1 a catalogue raisonn of the musical instruments in that collection7 has described1 in enthusiastic terms1 the effect of this little instrument when a gavotte was played upon it by ,croisilles4 ,it was remembered1 he says1 with pleasure by the old subscribers to the ,opera ,comique--a remark that would seem to imply that the sordino1 or pochette1 had adequate power1 and a special and agreeable quality of tone4 ,the instrument is provided with four catgut strings1 and f holes on either side the bridge4 ,two ,sordini are represented in the three figures of this ,plate1 the one with a negro's head in two views1 the other with a termination in ivory4 ,these ,sordini belong to the ,music ,class ,room1 ,edinburgh ,university4 ,illustration3 ,,xxxii ,,plate ,,xxxii4 ,,clavichord4 ,the claricord hath a tunely kynde ,as the wyre is wrested high and lowe4 ,john ,skelton1 ,poet ,laureate1 who was born at ,oxford in #adhi1 and died in the sanctuary1 ,westminster1 in #aebi1 was the author of a poem entitled ,the ,claricorde1 from which this quotation is taken4 ,the true spelling is ,clavichord1 from the ,latin clavis1 a key1 and chorda1 a string4 ,the wrester was the tuner1 who wrested or strained the wire to the required tension4 ,the words wrest-pin and wrest-plank remain in technical use for the tuning-pin and the wood in which the tuning-pins are inserted4 ,the ,clavichord represented belongs to ,mr4 ,gerald ,wellesley1 of ,london3 its dimensions are--length1 #e feet #h-a_/b inches2 width1 #a foot #i inches2 and depth1 #f-a_/b inches2 width of the key-board1 #b feet #i-a_/b inches4 ,the compass is five octaves and a semitone--from the third ,e below1 to the third ,f above1 middle ,c4 ,chinese decoration1 which was much in vogue in the early part of last century1 was not unfrequently applied to clavichords and harpsichords4 ,as examples of the latter may be mentioned the instrument that belonged to ,queen ,sophia ,dorothea1 until lately preserved in her palace at ,charlottenburg1 near ,berlin1 but now in the ,hohenzollern ,museum1 and the ,ruckers clavecin or harpsichord in the ,turin ,museum4 ,there are two music parties or concerts shown within the lid of ,mr4 ,wellesley's clavichord1 with instruments that are not1 however1 ,chinese1 but conventional representations of ,european fiddles and guitars4 ,the ,clavichord is1 without question1 the earliest key-board stringed instrument1 it having been developed from the ,monochord1 used for teaching singing in monasteries and church schools4 ,it appears to have come into use in the second half of the fourteenth century1 but it was not until the beginning of the eighteenth century that it obtained its full development1 when1 in fact1 its expressive character was brought into notice by improvements in the instrument and the finger technique4 ,it was the ,bachs who took advantage of this quality as the medium to express a characteristic and tender sentiment4 ,its gentle1 intimate tone is produced by brass pins1 called tangents1 fixed in the keys and flattened at the upper ends4 ,raised to the strings in playing1 these tangents set the strings in vibration1 and at the same time form bridges to measure off the lengths required for the notes4 ,the red cloth1 woven in the strings behind the tangents1 damps the sound4 ,as far as we have met with the clavichords1 the instrument has had two1 sometimes three strings of brass wire to each note tuned in unison2 the treble being1 however1 occasionally of steel wire to cause a brighter sound4 ,there were sometimes octave strings to the lowest bass octave1 after the manner of some theorboes1 to make those notes distinct4 ,these groups of unisons served for two1 three1 and even four notes according to the point of contact of the tangent affecting them1 and to clavichords thus made the ,germans applied the word gebunden 7fretted74 ,about the year #agjj each key obtained its own strings2 and the instrument having become larger1 it was more powerful and fitted to produce shades of sound of varying intensity4 ,it had the ,bebung as well1 which is analogous to the violin-player's vibrato1 and obtained by rocking the finger upon the key without quitting it4 ,the clavichord is the only key-board instrument that allows this effect1 but care has to be used to avoid an undue sharpening of the pitch of the note so treated--indeed1 a constant equality of touch has to be maintained in playing the clavichord1 to preserve an accurate intonation4 ,one of the most inspired compositions ever written for the clavichord is the ,fantasia ,cromatica e ,fuga1 by ,johann ,sebastian ,bach4 ,the figuration1 the manner of slurring1 the arpeggios1 and much more in this piece1 are extremely characteristic of the instrument4 ,for a performance intended to reproduce1 as far as may be possible1 the original reading1 the piece should be first studied upon a clavichord1 not a pianoforte4 ,the gentle influence of the instrument soon makes itself felt1 and both player and listener seem to breathe another and a purer atmosphere4 ,but such a performance demands concentration and those quiet surroundings the old composers enjoyed4 ,i'm never merry when ,i hear sweet music2 ,the reason is your spirits are attentive4 ,,shakspeare4 ,music1 which gentlier on the spirit lies1 ,than tired eyelids upon tired eyes4 ,,tennyson4 ,illustration3 ,,xxxiii ,,plate ,,xxxiii4 ,,the ,,empress ,,harpsichord4 ,represents a ,harpsichord of the largest size1 the culmination of an instrument that had remained in use for nearly three hundred years1 but1 at the time this one was made1 was about to be replaced by the pianoforte4 ,this fine ,harpsichord bears the joint names of ,shudi and ,broadwood1 and was made at the house now known as ,no4 #cc ,great ,pulteney ,street1 ,london1 where the pianoforte business of ,messrs4 ,john ,broadwood and ,sons is still carried on4 ,the instrument is numbered #fia1 and the books of the original firm show that it was made for the ,empress ,maria ,theresa1 and shipped on the #bjth of ,august #aggc1 which happened to be the day after ,shudi died4 ,but he had for some time retired from harpsichord-making1 and this instrument is really to be attributed to his son-in-law1 ,john ,broadwood4 ,burkhard ,tschudi1 or ,shudi as he wrote his name in ,england1 was of a noble ,swiss family4 ,he had established his business as a harpsichord-maker1 in ,great ,pulteney ,street1 about #agcb4 ,through ,handel's friendship he became patronised by ,frederick1 ,prince of ,wales1 father of ,george ,,iii41 and was permitted to use the sign of ,the ,plume of ,feathers for his house4 ,he was honoured with a commission from ,maria ,theresa's old enemy1 ,frederick the ,great1 to make two harpsichords for the ,neues ,palais at ,potsdam1 where they are still to be seen4 ,one of them is described1 with ,silbermann's ,forte ,piano1 in ,dr4 ,burney's famous tour4 ,some years previously1 ,shudi had made a harpsichord and presented it to ,frederick on the occasion of his victory at ,prague1 but the present writer could not find the instrument when he made a special visit to ,berlin and ,potsdam1 in #ahha4 ,it may be said of ,shudi and ,jacob ,kirkman1 once fellow-apprentices1 and afterwards competitors1 that they left the harpsichord a more powerful instrument1 and more varied in effect1 by means of stops and registers1 than it had ever been before4 ,shudi was the inventor of the ,venetian ,swell 7patented #agfi71 which he intended for the harpsichord4 ,when the patent expired this contrivance was generally adopted in ,england1 and becoming transferred to the organ1 has remained1 ever since1 an important means of effect in that instrument4 ,the figure in the ,plate shows the ,venetian ,swell open1 as it would be when the right pedal is put down4 ,there are four registers and six stops in this instrument4 ,taking them in their order from left to right1 we find on the left-hand side1 the lute1 the jacks or plectra of which twang the first unison string1 near the wrest-plank bridge1 and give a more reedy sound than is obtained from the usual striking-places2 the octave1 which1 as its name indicates1 acts upon strings tuned an octave higher1 which are of shorter length1 and lie below the others2 and the buff 7sometimes called harp7 stop1 which partly mutes the second unison strings1 throughout1 by the contact of small pads of leather4 ,on the right-hand side are the first and second rows of unison strings4 ,the upper key-board has the first unison and lute only1 while all the registers come under the player's control on the lower key-board4 ,the machine stop1 at the left hand of the key-boards1 permits an agreeable change to lute and buff 7harp7 by using the left pedal and both sets of keys4 ,kirkman appears to have arranged his left-hand stops differently--buff1 lute1 octave4 ,the dimensions of the ,harpsichord here drawn are #h feet #i-c_/d inches in extreme length1 and #c feet #d inches in width at the key-boards4 ,the great width of the key-board of the modern pianoforte renders it impossible1 in designing one1 to reproduce the special grace of the harpsichord4 ,among composers1 those who have best understood the genius of the harpsichord have been ,handel and ,scarlatti4 ,the former1 with his famous ,air with variations in ,d ,minor and the ,presto following it1 summed up the history and technique of the instrument1 as far as it was then known4 ,scarlatti found such new features to display in technical contrivance and effect1 that we are still attracted by an individuality the originality of which is1 as yet1 untouched by time4 ,the only parallel instance1 although resembling it in no other way1 is that of ,frdric ,chopin as a composer and performer on the pianoforte4 ,with the harpsichord went out the figured bass accompaniment1 or thorough bass1 that1 for two hundred years1 had been the foundation of a correct musical education4 ,by degrees the training for technique and memory came to occupy that attention with pianoforte-players1 which had been devoted to developing the fluency of improvisation expected from the harpsichord-player4 ,this harpsichord was lent by ,mr4 ,victor ,mahillon1 of ,brussels1 to the ,south ,kensington ,music ,loan ,collection1 #ahhe4 ,illustration3 ,,xxxiv ,,plate ,,xxxiv4 ,,pedal ,,harp4 ,a green and gold ,harp that once belonged to ,george ,,iv41 and is now in the possession of ,mr4 ,edward ,joseph1 of ,london4 ,it is #e feet #c inches high1 #b feet #f inches in extreme width1 and #a foot #i inches wide at the base4 ,it was included in the characteristic ,louis ,seize ,historic ,room1 in the ,music ,loan ,collection1 ,royal ,albert ,hall1 #ahhe4 ,this room1 one of three1 was so contrived as to display the musical instruments in social use with such surroundings of furniture1 paintings1 etc41 as would be true for the period4 ,these ,historic ,rooms1 suggested by ,mr4 ,alfred ,maskell1 the official superintendent of the ,music ,loan ,collection1 were arranged with great knowledge and taste by ,mr4 ,george ,donaldson4 ,they represented an ,english apartment of the time of ,george ,i41 a ,tudor apartment that included ,queen ,elizabeth's virginal1 and a ,louis ,seize apartment that1 with the ,harp in the accompanying ,plate1 contained also the beautifully painted ,ruckers clavecin or harpsichord 7lent by ,viscount ,powerscourt7 that had belonged to the unfortunate ,marie ,antoinette4 ,there is a photograph of this harpsichord in the ,catalogue of the ,south ,kensington ,collection1 #ahgb1 and a wood engraving of the ,louis ,seize room1 showing both harpsichord and harp1 in the ,art ,journal for ,august #ahhe4 ,the first pedal mechanism was invented by ,hochbrucker1 a ,bavarian1 about #agbj2 by it he rendered the harp fit for changes of key1 possible before1 and that only partially1 by clumsy contrivances4 ,by using a pedal to raise each open string a semitone1 accomplished by pressure upon the strings1 he gave the harp eight major and five complete minor scales--also three descending minor4 ,the ,cousineaus1 who were ,frenchmen1 and father and son1 superseded the contrivance of ,hochbrucker by another that grasped or pinched the strings with pieces of metal on either side1 and also by slides raising or lowering the bridge-pins4 ,by doubling the pedals and mechanism1 and changing the key of the open strings from ,eflat to ,cflat1 they1 about #aghb1 produced the first double-action harp4 ,it was1 however1 left for ,sebastian ,erard to perfect the harp by means of a fork mechanism of most ingenious contrivance4 ,he began with the single-action harp about #aghf1 turning his attention to the double-action in #ahja4 ,it was not1 however1 until #ahaj that he succeeded in producing the culmination of his various improvements in a harp of great beauty of tone1 with seven pedals and two transpositions1 the semitone and the whole tone1 permitting performance in any key without change of fingering4 ,in spite of these important inventions the harp has almost lost position as a solo instrument4 ,it has1 however1 been taken advantage of by modern composers1 who have adopted it1 with charming effect1 as an orchestral instrument4 ,illustration3 ,,xxxv ,,plate ,,xxxv4 ,,state ,,trumpet ,,and ,,kettledrum4 ,this silver state trumpet1 with nine others1 adorned with bannerets of the ,royal ,arms in crimson and gold1 and silver state kettledrums1 similarly adorned1 belong to the collection of ,h4,m4 the ,queen1 in ,st4 ,james's ,palace4 ,they were both probably made in the reign of ,george ,,iii41 one of the trumpets in the collection bearing the maker's name1 ,william ,shaw1 ,red ,lion ,street1 ,holborn4 ,henry ,,viii4 had fourteen trumpets in his ,royal ,band1 while ,queen ,elizabeth1 in #aehg1 had ten4 ,the bending back of the trumpet upon itself1 now a well-known feature in the appearance of the instrument1 was an invention of a ,frenchman towards the end of the fifteenth century4 ,the trumpet is one of the oldest wind instruments used in concert with others4 ,as far back as #afjg a piece for five trumpets1 in the ,orfeo of ,monteverde1 was played at the ,court of ,mantua4 ,it became an instrument much cultivated1 and ,handel's and ,bach's parts for it are of extreme difficulty4 ,the notes of the trumpet are the natural harmonics produced by varying pressure of the lips in the mouthpiece4 ,recently slides and pistons have been employed to augment its compass1 and render its employment easier4 ,the ,state ,trumpets were sounded to announce the arrival of ,her ,majesty the ,queen at ,westminster ,abbey on the occasion of the ,thanksgiving ,service for her ,jubilee on the #bast of ,june1 #ahhg1 as they had been on the #bjth of the same month1 fifty years before1 to proclaim her ,accession4 ,the ,fanfare for four trumpets played at the ,jubilee ,service by the ,state ,trumpeters is here given by the kind permission of the composer1 ,mr4 ,thomas ,harper1 a famous player himself upon the slide trumpet1 an instrument now not much known on the ,continent4 ,music ,the ,state ,kettledrum of silver and draped with the ,royal banner1 represents the only member of the ,drum family capable of being tuned to the pitch of the band with a clearly recognisable note4 ,the head is of vellum stretched upon a ring fitting closely round the kettle of the drum4 ,screws1 working on this ring1 tighten or slacken the head to produce the note required from its compass4 ,the pair of kettledrums are usually tuned to tonic and dominant1 but inequalities of tension in the head1 owing to the membrane not being perfectly homogeneous1 interfere with the notes being strictly accurate4 ,illustration3 ,,xxxvi ,,plate ,,xxxvi4 ,,cavalry ,,bugle1 ,,with ,,tassels4 ,,cavalry ,,trumpet1 ,,embossed4 ,,trumpets1 ,,three ,,instruments--,,with ,,crooks1 ,,gilt1 ,,and ,,silver ,,mounted4 ,the ,cavalry ,bugle1 decorated with tassels and graciously contributed by ,h4,r4,h4 the ,prince of ,wales1 ,president of the ,international ,inventions ,exhibition1 #ahhe1 to the ,music ,loan ,collection1 has an historical interest in having been used by ,trumpeter ,smith to sound the moonlight charge of the ,household ,cavalry and #gth ,dragoon ,guards1 at ,kassassin in ,egypt1 ,august the #bhth1 #ahhb4 ,the ,trumpet with crooks was carried by ,sergeant-,major ,webb of the #eth ,dragoon ,guards1 ,field ,trumpeter to the ,duke of ,wellington1 and with this instrument he sounded the grand charge at the ,battle of ,salamanca1 ,july the #bbnd1 #ahab4 ,it is the property of a descendant of the ,sergeant-,major1 ,mr4 ,joseph ,webb1 who contributes the veteran's description1 often repeated to him1 of the anxious moment when the command was given to sound the charge4 ,i trembled all over as ,i lifted the trumpet to my mouth1 for ,i could see what the boys had before them1 but as soon as my lips touched the mouthpiece fear left me1 and ,i blew such a charge as ,i never had before or could afterwards4 ,the embossed ,cavalry ,trumpet1 with a very heavy mouthpiece1 belonging to ,mr4 ,a4,w4 ,malcolmson1 is ,english1 and was made by ,william ,sandbach in the last century4 ,the remaining trumpets belong to ,mr4 ,thomas ,harper1 the gilt one having been made by ,john ,harris about #agcj1 and the silver-mounted one by ,william ,bull about #afhj4 ,illustration3 ,,xxxvii ,,plate ,,xxxvii4 ,,lituus1 ,,buccina1 ,,cornet1 ,,roman ,,cavalry4 ,,roman ,,infantry4 ,,with ,,two ,,valves4 ,,trumpets4 ,the ,roman ,lituus1 the antique straight instrument with the curved end1 is drawn from a reproduction in bronze of the original1 found in the tomb of a warrior discovered in #ahbg1 at ,cervetri1 the ,etruscan ,caere1 and preserved in the ,museum of the ,vatican4 ,the lituus took its name from the augur's staff1 which it resembled in shape2 it belonged to the cavalry of the ,roman ,empire4 ,it produces the following proper notes or natural harmonics-- ,music the seventh being flatter than the note which occurs in our modern musical scale4 ,the fundamental ,music which the length of this tube--#e feet #d inches--would give1 cannot be produced4 ,it was from a minute description of the original instrument1 by ,signor ,alessandro ,kraus junior of ,florence1 that ,mr4 ,victor ,mahillon was enabled to make this interesting reproduction of an instrument which appears to be the only antique trumpet known4 ,the curved ,buccina is from another reproduction by him of an instrument preserved in the ,museum at ,naples1 and found in excavating ,pompeii4 ,it was passed under the left arm of the executant and over his right shoulder1 in a manner easily adopted by a foot-soldier4 ,this ,buccina is in unison with the horn in ,g1 and has a bugle quality of tone4 ,its notes are-- ,music the seventh and eleventh harmonics not being in tune with the corresponding notes in our received scales1 and the fundamental being again impracticable4 ,to sound the lituus and buccina is to awaken the echoes of the ancient past2 but1 whether blown by ,roman or ,greek or ,egyptian1 we may be sure the harmonic division of a column of air into vibrating sections knows no change1 and was the same then as now4 ,the ,cornet with two valves shows one of the earliest adaptations of the now dominant pistons as introduced by ,c4 ,saxe of ,brussels4 ,one ,trumpet1 by ,johann ,wilhelm ,haas of ,nuremberg1 is of obsolete make2 the other1 also by ,haas1 is curved in half-circles to facilitate the production of stopped notes1 and is curiously engraved4 ,these five instruments belong to the ,brussels ,conservatoire ,royal4 ,illustration3 ,,xxxviii ,,plate ,,xxxviii4 ,,two ,,double ,,flageolets1 ,a ,,german ,,flute1 ,,and ,,two ,,fl,,tes ,,douces4 ,the ,flageolet is the last example in present use of the fltes douces1 or bec 7,german ,blockflten71 bored with reversed cones1 that is to say1 with the embouchure at the larger end4 ,it is referred to by ,pepys in his ,diary 7#ast ,march1 #afff73 ,being returned home ,i find ,greeting1 the flageolet-master1 come1 and teaching my wife1 and ,i do think my wife will take pleasure in it1 and it will be easy for her1 and pleasant2 and again 7#bjth ,january1 #affg73 ,to ,drumbleby's the pipe-maker1 there to advise about the making of a flageolet to go low and soft2 and he do show me a way which do do1 and also a fashion of having two pipes of the same note fastened together1 so as ,i can play in one and then echo it upon the other1 which is mighty pretty4 ,the double flageolets in the ,plate were made by ,w4 ,bainbridge1 ,london1 who had a speciality for such instruments4 ,the fltes douces--in ,shakspeare's ,hamlet the ,recorders--were made in families like viols1 cromornes1 shawms1 and other well-known ,elizabethan instruments1 a fashion that modern instrumentation shows a tendency to return to4 ,evelyn1 in #afgi1 mentions them as now in much request for accompanying the voice4 ,a bass and treble flute is drawn1 also a one-keyed ,german or transverse flute which1 in the last century1 from its beauty and tone1 although defective in intonation1 was a favourite instrument1 and supplanted the flte douce in public favour4 ,in the concerts of ancient music given in ,july1 #ahhe1 by members of the ,brussels ,conservatoire in the ,music ,room of the ,inventions ,exhibition1 ,south ,kensington1 a movement from a ,concerto by ,quanz 7music-master to ,frederick the ,great7 was played by ,mr4 ,dumon on a single-keyed ivory flute4 ,in the same concerts1 ,mr4 ,dumon and his pupils played a ,march of the ,lansquenets1 of the time of the ,peace of ,cambrai 7#aeai71 on eight fltes douces 7flauti dolci71 in parts1 accompanied by a drum4 ,this was the military music of that period4 ,the ,german flute is the second instrument in the ,plate2 the fltes douces are the third and fifth from left to right4 ,these instruments and those drawn in the next ,plate are the property of ,messrs4 ,j4 ,r4 ,glen1 ,edinburgh4 ,illustration3 ,,xxxix ,,plate ,,xxxix4 ,,dolciano4 ,,oboe4 ,,bassoon4 ,,oboe ,,da ,,caccia4 ,,basset ,,horn4 ,the shawm of the ,english ,bible is the schalmey1 the treble instrument of the old ,pommer or ,bombardo family and the origin of the modern oboe4 ,the oboe da caccia1 derived from the alto pommer or ,bombardo piccolo of the sixteenth century1 has gone out of use1 the ,italian corno inglese 7,french cor anglais7 having taken its place4 ,there being some confusion about the description by different writers of the oboe da caccia and oboe d'amore1 ,i fall back upon ,dr4 ,w4,h4 ,stone's authoritative definition that the oboe da caccia is a bassoon raised a fourth in pitch1 while the oboe d'amore is an oboe lowered a fifth4 ,the bassoon1 the centre figure in the ,plate1 has been regarded as a development of the bass pommer or ,bombardone1 and the transformation has been generally attributed to a canon of ,ferrara named ,afranio1 a native of ,pavia4 ,this question has now been definitively settled by ,count ,l4,f4 ,valdrighi1 the librarian of the ,biblioteca ,estense at ,modena4 ,he has proved 7,musurgiana1 ,no4 #e1 ,il ,phagotus d',afranio71 that ,afranio's invention1 ante #aeci1 was of the nature of a corna musa 7cornemuse or bagpipe71 the bag being most likely combined with soft bass melody pipes1 called from their quality of tone ,dolcisuoni1 whence the dolcino bass of church organs4 ,this invention was improved by ,giambattista ,ravilio1 also of ,ferrara1 and thirty years later was perfected by ,sigismund ,scheltzer of ,nuremberg1 who1 rejecting the cornemuse bag1 united the two tubes into the fagotto1 so named from the fascine of beech 7fagus71 or fagots4 ,the fagotto is the same as our bassoon4 ,this clearing up of a disputed invention has been discovered in a very unlikely place--in an ,introduction to the ,chaldee language1 published in #aeci1 written by the nephew of ,afranio1 ,teseo-,ambrogio ,albonesio1 ,professor of ,chaldee and ,syriac at the ,university of ,bologna4 ,the dolciano1 to the extreme left of the ,plate1 will be thus seen to owe the suggestion of its name to the original bassoon4 ,but this instrument has a clarinet or beating reed1 not the double reed of the oboe and bassoon4 ,i state this fact upon the high authority of ,mr4 ,henry ,lazarus1 the clarinet-player1 who names it tenoroon1 but ,dr4 ,stone has accepted this name as a synonym of the oboe da caccia1 and calls this instrument with a clarinet reed1 dolciano4 ,mr4 ,lazarus1 when in the ,band of the ,royal ,military ,asylum1 played upon such an instrument1 as he informs me1 made by ,garrett of ,westminster1 at a date that must have preceded ,sax's invention1 which combined the conical tube and clarinet reed in the ,saxophone4 ,the basset horn1 or corno di bassetto1 to the extreme right of the ,plate1 is the alto clarinet1 a fifth lower in pitch than the clarinet in ,c4 ,it is said to have been invented at ,passau in ,bavaria in #aggj1 but the name of the inventor is not recorded4 ,it was improved by ,lotz of ,presburg in #aghb1 and again by ,iwan ,mller in #ahab4 ,mozart wrote two parts for basset horns in his famous ,requiem4 ,the relative positions in the ,plate of the ,oboe and ,oboe da ,caccia are indicated above4 ,illustration3 ,,xl ,,plate ,,xl4 ,,sit,,rs ,,and ,v,,na4 ,the ,sitr is the favourite instrument of ,upper ,india1 and was reintroduced and perfected by the poet-musician ,amir ,khusru of ,delhi in the thirteenth century4 ,the name is ,persian1 and implies three strings1 although the ,sitr has now usually five1 six1 and sometimes seven strings4 ,sitrs called ,taruffe have sympathetic strings of fine wire attached to the side of the neck and passing underneath the frets and bridge1 to vibrate in unison with the notes of the same pitch that are played4 ,this contrivance1 although of recent date in ,europe1 is of great antiquity in the ,east1 being mentioned in the ,sangta ,ratnkera1 the earliest known work in ,sanscrit upon music4 ,the principal strings of the ,sitr are sounded by a wire plectrum worn upon the forefinger of the player's right hand2 and their accordance1 which was noted when given to ,mr4 ,a4,j4 ,ellis and myself by ,h4,h4 ,the ,rjah ,rm ,pl ,singh1 an ,indian prince residing in ,england1 who played upon a fine ,sitr now in my possession1 is ,music4 ,here the keynote1 or khuruj1 is ,f4 ,this method of tuning1 although not so common as tunings given later1 is employed in the north of ,india and the ,punjab2 and a similar employment of the second and third for open strings may be found in the tuning of the ,sur-s'ringra4 ,the ,f string is the melody string stopped by the frets4 ,the other strings are occasionally struck1 but are rarely fretted1 and never to produce harmony4 ,the brass frets are secured to the neck by catgut ties1 and are movable1 so that by changing their positions different modes are obtained4 ,the classical ,sanscrit name for the ,sitr1 the instrument drawn on the left1 was ,tritantri 7three-stringed7 ,vna4 ,a form of ,sitr1 with a flat body1 was called ,kchapi 7,kacchapa1 a tortoise7 ,vna1 now known as ,kchw ,sitr4 ,the usual tuning of ,sitrs having from three to seven strings is to these intervals3-- ,music ,in these tunings ,c is the khuruj or keynote1 the melody string being mhdyam or ,f4 ,sitrs have usually seventeen to eighteen frets4 ,the five methods of arranging them1 so as to produce different modes1 styled ,tht1 are as follows3-- ,illustration3 ,intervals upon the ,f or melody string4 ,the word ,tht1 employed to signify scale or mode1 should not be confounded with ,rga1 the foundation of all ,indian music4 ,rga has no equivalent in ,european musical language1 but may be described as a melody type founded upon the intervals of a mode1 and having a succession of notes so arranged as to excite a certain feeling of the mind4 ,there may be many melodies in the same rga1 differing distinctly from each other4 ,methods for the ,sitr have been written in ,bengli by the ,rjah ,sir ,s4,m4 ,tagore1 a well-known amateur1 and in ,mahrtti by a ,brahmin musician of ,poona1 ,anna ,ghrpure1 a fine performer now in the service of ,h4,h4 the ,thkore ,sahib of ,wadhwn4 ,besides the ,rjah ,rm ,pl ,singh1 ,i had an opportunity of hearing a player from ,jeypur1 at an exhibition called ,india in ,london1 in #ahhf4 ,the technique and charm of his performance are not easily forgotten4 ,the resonance body of an ordinary ,sitr is a gourd1 but he had one with two gourds1 known as the ,been1 or ,vna ,sitr4 ,the ,sitr in the centre1 with fiddle-shaped body1 is the ,srsanga1 or ,esrar without sympathetic strings1 a bowed instrument combining the ,sitr with the ,srung4 ,it is a modern instrument1 and is intended to accompany women's voices4 ,it has four strings1 tuned1 upon the authority of the ,rjah ,sir ,s4,m4 ,tagore1 as given by ,mr4 ,victor ,mahillon in his admirable ,catalogue of the ,museum of the ,brussels ,conservatoire1 ,music4 ,the third instrument1 upon the right1 attached to two gourds1 is the ,mahati or great ,vna--known now as the ,been4 ,it is the most ancient and finest ,indian instrument1 and is also the most difficult to play4 ,it is composed of a bamboo resting upon two gourds1 and has seven strings--two at the side nearest the ,f or melody string1 four over the frets1 and one at the side away from the melody string4 ,the tuning1 the pitch varying with the size of the instrument1 is as follows3--,music ,the string is tuned ,e or ,a as required in the rga played4 ,in the drawing five strings have been shown over the frets2 the string1 however1 from the peg above and nearest to the nut1 should pass over a small ivory head1 not shown1 but placed on the side of the bamboo1 between the second and third frets1 to the small bridge shown at the farthest end of the instrument at the side1 and not over the main bridge4 ,the frets1 twenty-two in number1 are at semitonic intervals1 and fixed4 ,the instrument is played with two plectra upon the first two fingers of the player's right hand2 the two side strings are struck by the nail of the little finger moved upwards2 the single side string1 upon the other side1 is struck by the little finger of the left hand when required4 ,the instrument is held with the gourd nearest the nut resting upon the left shoulder1 while the right gourd rests beneath the right arm4 ,it should be noted that the disposition of strings is1 in ,vnas1 reversed from that of ,sitrs4 ,there is a peculiarly soft and plaintive quality of tone in the ,vna that is altogether wanting in the ,sitr4 ,there are two systems of music in vogue in ,india at the present day--the ,karntik or southern system1 and the ,hindustni or northern4 ,the latter is chiefly in the hands of ,mahomedan professors1 who have borrowed from the ,arabian and ,persian systems4 ,the ,karntik is more melodious1 and possesses fewer traces of foreign innovation4 ,instruments used by ,karntik professors employ only the intervals of the tonic fourth and fifth 7or their octaves7 upon the open strings4 ,hence we find the southern ,indian ,vna--an instrument with only one resonance gourd1 and a wooden body like a lute--tuned to the following intervals3-- ,music or ,music the first method being known as ,pncham s'ruti1 the latter as ,mhdyam s'ruti1 from the relative intervals between the strings4 ,the illustrations of the ,srsanga1 ,mahati ,vna1 and three-stringed ,sitr1 are from a fine ,indian collection1 divided by the ,rjah ,sir ,sourindro ,mohun ,tagore between the ,brussels ,conservatoire and the ,london ,royal ,college of ,music4 ,for completing this information concerning ,indian stringed instruments1 as well as that of the ,indian ,drums in ,plate ,,xli41 ,i am indebted to one of the highest authorities on the subject1 ,lieutenant ,c4,r4 ,day1 ,oxfordshire ,light ,infantry 7late #dcrd71 whose recent personal experience and searching studies have been generously placed by him at my disposal4 ,illustration3 ,,xli ,,plate ,,xli4 ,,indian ,,drums4 ,painted instruments consisting of a wooden drum1 one of earthenware1 and a ,tam-,tam4 ,the employment of such instruments is necessarily rhythmic1 and they occupy a place on the borderland of music and mere noise4 ,mr4 ,rowbotham1 however 7,history of ,music1 vol4 i41 ,london1 #ahhe71 in formulating the stages through which instrumental music has passed1 according to a development theory as applied to music1 considers the drum first responded to the nascent conception of music in the prehistoric man1 and has since been tenaciously preserved as an adjunct to religious service among partially civilised races4 ,the ,nautch girls1 at ,india in ,london1 ,london1 #ahhf1 performed their soothing gyrations to the gentle ,srung1 a bowed instrument with sympathetic strings1 accompanied by the beating of such drums4 ,there are many varieties of drums to be found in ,india1 the names varying in different parts of the country4 ,the largest of the three ,drums here shown is not used by professional musicians1 but in bands of street music found in all bazaars1 and over the gateways of temples1 etc41 called ,nahabat1 or ,nakkera ,khaneh 7in ,south ,india1 ,perya mla71 and composed of low-class ,mahomedans1 or ,hindus of the barber caste4 ,such bands consist of drums of various shapes and kinds1 and primitive instruments of the oboe kind1 with drones and cymbals4 ,musicians in the ,east are usually placed over the gateways1 nearly all of importance having galleries for that purpose4 ,professional musicians and ,nautch girls generally use the ,m'ridang or ,tabla4 ,the ,drum with the striped body and leather braces is a kind of ,m'ridang4 ,the genuine ,drum bearing this name is longer in proportion to its diameter1 and has one head larger than the other4 ,the two heads are tuned to the tonic and fourth or fifth as required4 ,the pieces of wood between the braces and shell are used to assist in the tuning1 and should be noticed4 ,tabla are small copper kettledrums tuned similarly4 ,drum-playing upon such instruments is a great art1 and can only be learned by years of study4 ,a good ,tabla or ,m'ridang player will earn from #ajj to #aej rupees per month4 ,the wrist1 flat of the hand1 and fingers are employed4 ,such instruments should not be very noisy1 the skill of the player being the first consideration4 ,the ,m'ridang is considered to be the most ancient of ,indian ,drums2 its origin is popularly ascribed to the god ,mahadeo 7,s'iva74 ,the earthenware ,kettledrum or ,tam-,tam1 here shown1 is used by beggars and fakirs to attract attention as they wander from house to house4 ,a similarly shaped kettledrum of copper1 but very much larger--about three or four feet in diameter--is known by the name of ,nagara or ,nakkera1 and is much used in the bands attached to the service of temples1 and found over the gates of forts and palaces of native chiefs4 ,such drums are beaten in a peculiar way with short curved sticks2 and1 although when heard close the sound is anything but pleasing1 yet1 when heard from a distance among the mountains1 in company with shrill oboes and deeper drones1 the sounds rising and falling with the breeze and echoing from hill to hill1 the effect is in character with the wildness of the country1 and the hearer often listens1 rapt1 in spite of himself4 ,the three ,drums1 here represented1 belong to the ,music ,class ,room of the ,university of ,edinburgh1 and have been drawn by the permission of ,professor ,sir ,herbert ,oakeley4 ,illustration3 ,,xlii ,,plate ,,xlii4 ,,saw ,,duang ,,bow4 ,,saw ,,tai ,,bow4 ,,saw ,,oo ,,bow4 ,,klui4 ,,pee4 ,these instruments belong to ,h4,m4 the ,king of ,siam1 and were drawn by the gracious permission of ,h4,r4,h4 ,prince ,nars ,varariddhi1 then ,siamese ,minister in ,england1 and brother of the ,king4 ,the ,saw ,tai1 or ,siamese fiddle 7centre figure71 has the lower part of the neck of carved ivory1 and the upper part of gold enamelled4 ,the back is of cocoa-nut shells1 jewelled4 ,there is a jewelled boss on the sound membrane1 which is of parchment4 ,it is the same instrument as the ,javese ,rabb1 and is of ,persian origin4 ,the strings1 three in number1 of silk cord1 meet at the top beneath the pegs1 and pass under a ligature1 whence they diverge to the bridge4 ,it has no finger-board1 and the length of string to vibrate is not marked off1 as is usual with bowed instruments1 by pressure upon the finger-board1 but by pressing the independent string with the entire width of the finger1 which leaves the intonation a little uncertain4 ,the player squats cross-legged1 and holds the instrument in a sloping position4 ,the ,saw ,chine1 or ,chinese fiddle1 is shown in two varieties1 the ,saw ,duang 7left of centre figure7 with jewels round one of the pegs1 and the ,saw ,oo 7right of centre figure74 ,like the ,saw ,tai1 these fiddles have no finger-boards4 ,the bowstring1 as in the ,chinese ,urh-hsien and ,hu-ch'in1 is inserted between the strings so as to play either4 ,the wind instruments here shown are a ,klui1 or flute 7on the left71 which has a membrane over one hole1 resembling the ,basque galoubet2 and the ,pee 7on the right71 a kind of oboe1 very harsh1 and resembling in tone a very powerful bagpipe1 a resemblance assisted by the peculiar heptatonic scale of the ,siamese1 being not far off the ,syrian scale1 noticed in the ,scotch bagpipe4 7,see ,introduction1 page xv41 and ,plates ,v4 and ,,xliii47 ,the ,pee is considered to be of ,javese origin4 ,there are four kinds of ,bands in ,siam1 the precise details of which are given in ,notes on ,siamese ,musical ,instruments1 a work prepared at the ,siamese ,embassy and published in ,london1 #ahhe4 ,the ,lao ,phan ,band1 peculiar to the north of ,siam1 includes the reed instrument called ,phan1 mentioned in the ,introduction1 page xviii4 ,illustration3 ,,xliii ,,plate ,,xliii4 ,,ranat ,,ek4 ,,khong ,,yai4 ,,ta',,khay4 ,these instruments1 like those drawn in ,plate ,,xlii41 belong to ,h4,m4 the ,king of ,siam1 and were also drawn for this work by the gracious permission of ,h4,r4,h4 ,prince ,nars4 ,harmonicons of wood and of metal1 such as the ,ranat and ,khong1 are the foundation of music in ,siam1 ,burma1 ,java1 and the ,indian ,archipelago generally4 ,they also extend into ,india1 and even1 in another direction1 to ,south ,africa4 ,tuned in ,siam to a heptatonic scale1 not founded upon an harmonic conception of chords1 they present1 at least ideally1 a ladder of seven equal steps1 with which the native ear is satisfied4 ,the performances1 some years ago1 of the ,king of ,siam's band in the ,royal ,albert ,hall1 ,south ,kensington1 allowed this scale to be heard1 and afforded full scope to the remarkable technical skill of the ,ranat players4 ,the instruments drawn are a ,ranat ,ek of twenty-one wooden bars1 in a cradle-like stand beautifully ornamented with ivory2 a ,khong ,yai of eighteen metal kettles1 of a kind of bronze or bell metal known as gongsa1 in an ivory stand painted like tortoiseshell1 with brass edgings2 and the very peculiar ,ta'khay1 or crocodile1 with three strings and twelve bridges1 including the nut1 to fret them4 ,the last-mentioned instrument is played with a plectrum1 and ornamented with a crocodile's head and ivory ornaments4 ,illustration3 ,,xliv ,,plate ,,xliv4 ,,hu-,,ch',,in ,,bow4 ,,sh,,ng4 ,,san-,,hsien4 ,p',i-,p',a4 ,we learn from ,mr4 ,j4,a4 ,van ,aalst's comprehensive treatise on ,chinese ,music1 published1 it may at first sight appear somewhat oddly1 by the ,imperial ,maritime ,customs 7,shanghai1 #ahhd71 that the ,hu-ch'in1 the left-hand figure in the ,plate1 is one of the most popular musical instruments in ,peking4 ,the strings1 four in number1 are of silk1 and are tuned in pairs a fifth apart4 ,this instrument is in fact a double-strung ,erh-hsien or ,urh-hsien 7,van ,aalst and ,dennys2 ,ur-heen1 ,engel71 and has the same peculiar arrangement by which the bow is fixed between the strings for playing4 ,it is of cane and horsehair1 and the rosin for it is stuck upon the body1 a hollow cylinder of bamboo1 wood1 or copper1 through which the long neck of the instrument is thrust4 ,the upper end of the body is covered with snakeskin1 while the lower is left open4 ,the ,erh-hsien1 which has a similar bamboo body but two strings only1 is more generally popular than the ,hu-ch'in1 and is met with all over ,china4 ,the ,ti-ch'in1 according to ,dennys the favourite instrument with blind men1 is also similarly bowed1 and has half a cocoa-nut shell for the body1 covered by a thin board4 ,these bowed instruments1 it is believed1 found their way into ,china with the ,buddhist religion4 ,the name for the next instrument1 the reed mouth-organ1 ,shng1 sounds like shung1 rhyming with sung4 ,from this ancient instrument have come the modern popular developments of the free-reed organ1 first applied about #aghj1 at the instance of ,professor ,kratzenstein1 to organ reed-stops by a ,copenhagen organ-builder named ,kirsnick1 who had settled at ,st4 ,petersburg1 an invention soon afterwards carried to ,germany by the celebrated ,abb ,vogler4 ,the ,french ,harmonium and ,american ,organ1 the concertinas and accordion1 are well-known examples of the free-reed principle1 which differs from the ,church organ beating-reed inasmuch as the reed or vibrator of metal does not overlap any part of its frame4 ,the ,shng is a gourd with its top cut off and a flat cover cemented upon it4 ,twenty-one bamboo pipes are inserted round the cover1 but four1 being intended for convenience in holding the instrument1 do not sound4 ,those intended to sound are provided with small brass reeds4 ,by a peculiar arrangement1 unique in reed instruments1 the wind1 attacking all the reeds simultaneously1 at once escapes by ventages in the pipes1 until stopped by the fingers for the pipes that are to sound4 ,the lengths of the pipes are merely ornamental1 the actual lengths required being determined by slot-like cuttings in the pipes1 not seen in front4 ,there are seventeen sounding pipes1 as already said1 but only eleven notes1 as some notes are repeated in the unison or octave4 ,the scale1 which the peu prs musicians are satisfied with1 may be thus noted-- ,music ,the succession of notes in the first octave resembles that of the ancient ,phrygian mode and that church mode in which ,thomas ,tallis's famous service is composed4 ,the exact measurements of the intervals heard at the ,health ,exhibition are to be found in ,mr4 ,a4,j4 ,ellis's ,paper ,on the ,musical ,scales of ,various ,nations1 published in the ,journal of the ,society of ,arts1 ,london1 #beth ,march1 #ahhe4 ,mr4 ,n4,b4 ,dennys1 in his valuable notes on ,chinese ,musical ,instruments read before the ,north ,china ,branch of the ,asiatic ,society1 #bast ,october1 #ahgc1 gives the name of the three-stringed instrument in the drawing1 with a long neck like a tamboura1 as ,san-hsien1 with which ,mr4 ,van ,aalst agrees4 ,the ,peking musicians called it ,sien-tz 7pronounced like ,shen-zy74 ,like the ,japanese ,siamisen the ,san-hsien has no frets4 ,the drum-like body is covered on the upper side with snakeskin1 the under side being left open as in a tambourine or banjo4 ,the three strings were tuned ascending a minor tone between the first and second1 and a fifth between the second and third strings3 the outer strings being consequently a major sixth apart4 ,the strings were plucked by two bone plectra extended like claws beyond the ends of the fingers1 and the player stopped a ,pentatonic or five-note scale1 thus3 ,music nearly in just intonation4 ,the ,p'i-p'a1 according to ,dennys and ,van ,aalst1 or ,balloon ,guitar 7the ,peking musicians called it ,phi-pe71 has a body nearly a foot in diameter1 from which it takes its ,english name1 and four strings played usually with the fingers and tuned as fourth1 fifth1 and octave from the lowest note4 ,the large semi-elliptical frets above the finger-board were not used by the player at the ,health ,exhibition2 he restricted himself to the twelve frets upon the finger-board4 ,the ,p'i-p'a is usually played by men who1 in the ,south of ,china1 are hired as minstrels or ballad-singers4 ,the stopping of this instrument was pentatonic1 as with the ,san-hsien1 and the scale began upon the same note1 but the tuning of the fretted instrument was less good than that noted of the unfretted one4 ,mr4 ,van ,aalst informs us that the notes are reiterated by rapidly passing the long finger-nail or plectrum backwards and forwards across the string1 to produce an effect of sostenuto similarly sought for in ,europe for the ,mandoline1 ,bandurria1 and ,dulcimer4 ,these instruments belong to the ,music ,class ,room of the ,university of ,edinburgh4 ,illustration3 ,,xlv ,,plate ,,xlv4 ,,chinese ,,ti-,,tzu1 ,,so-,,na1 ,,yueh-,,ch',,in4 ,,japanese ,,hiji-,,riki4 ,,chinese ,,la-,,pa4 ,the ,ti-tzu to the left in the ,plate is the ,chinese flute4 ,it is usually bound round with waxed silk and ornamented with tassels4 ,it has seven holes besides the embouchure1 that nearest to the latter being covered with a thin membrane as in the ,provenal galoubet1 taken from the sap of the bamboo and melted at the moment it is applied1 intended to make the quality of tone more reedy4 ,the remaining six holes are stopped by the fingers4 ,according to ,mr4 ,van ,aalst1 twelve notes in a diatonic succession1 beginning upon the ,a of the violin1 form the compass of this instrument1 but with much uncertainty of intonation1 which may be as much due to the measuring for boring by the instrument-makers as to the peculiarities of an ideal ,chinese scale4 ,the scale played at the ,health ,exhibition1 ,south ,kensington1 in #ahhd1 by a native ti-tzu player1 was a ,b flat scale with the third rather sharper than the minor but less than the major third1 that is1 a neuter third1 which1 as we have seen1 is frequently met with in ,eastern non-harmonic scales4 ,however1 there is great difficulty in determining wind instrument scales accurately1 from the power the player has to alter intonation by blowing differently4 ,the ,chinese ,so-na is a copper wind instrument--a kind of oboe--played with a double reed4 ,on account of the shortness of the reed there is a disk below it to protect the lips of the player4 ,there are two small pierced copper spheres like those in the trumpets in ,fra ,angelico's paintings1 beneath which are the seven finger-holes in the front and two thumb-holes behind the pipe4 ,a loose brass cone of considerable size covers the lower end and is fastened to the upper by a string4 ,this instrument is possibly the ,indian ,soonai4 ,there are nine notes1 as in the ,scotch bagpipe1 which the ,so-na somewhat resembles in quality of tone1 but it is more strident and disagreeable4 ,the scale1 as played by a native at the ,health ,exhibition1 gave intervals of whole and three-quarter tones resembling the bagpipe1 but as the performer succeeded in playing with other instruments that apparently differed in scale1 the accommodation in blowing must be credited with the approximately satisfactory result4 ,the ,yueh-ch'in1 or ,moon ,guitar1 so called from the shape of the sound-board1 has four silk strings tuned as fifths in pairs4 ,the strings are struck with the finger-nails1 which the ,chinese wear long1 or a plectrum4 ,the strings are sometimes of copper instead of silk4 ,the instrument is chiefly used to accompany the voice1 and the repetition of a note1 as in the ,p'i-p'a1 appears to be a favourite effect4 ,the next wind instrument in ,plate ,,xlv4 is the ,japanese ,hiji-riki1 a conical pipe with a double reed inserted in the larger end4 ,from this cause the instrument sounds about an octave lower than a pipe that is cylindrical4 ,the ,hiji-riki is of bamboo1 the interior being covered with a bed of red lacquer4 ,it has seven finger-holes and two thumb-holes at the back4 ,the scale1 as given by ,mr4 ,victor ,mahillon1 from whose ,catalogue ,descriptif et ,analytique du ,muse ,instrumental du ,conservatoire ,royal de ,bruxelles1 ,i have been glad to borrow1 here and elsewhere1 is diatonic1 with the occasional insertion of a sharp fourth4 ,this interval is frequently heard in ,chinese music1 when there are ascending seven-note scales4 ,the disk suspended at the top of the pipe is adjusted1 when the ,hiji-riki is played1 to protect the player's lips--a precaution due to the shortness of the metal reed4 ,the long trumpet is the ,chinese ,la-pa1 with a sliding tube on the trombone principle4 ,it gives four notes1 the octave1 twelfth1 super-octave1 and seventeenth1 but not the prime4 ,as may be imagined1 it is a military instrument1 but ,mr4 ,van ,aalst informs us it is a privilege of itinerant knife-grinders to blow it in the streets to announce their whereabouts4 ,a ,la-pa1 with the bell bent back1 is used at wedding processions4 ,the instruments drawn in this ,plate belong to the ,music ,class ,room of ,edinburgh ,university4 ,illustration3 ,,xlvi ,,plate ,,xlvi4 ,,japanese ,,koto4 ,this is the thirteen-stringed ,sono ,koto of ,japan1 and a very beautifully-ornamented specimen1 lent for drawing by ,mr4 ,george ,wood1 of ,messrs4 ,cramer and ,co41 ,regent ,street1 ,london4 ,the strings of the koto are1 as in all ,japanese stringed instruments1 of silk drawn through wax1 and the accordance follows the pentatonic system already described in connection with the ,siamisen1 and as given by ,mr4 ,isawa1 ,director of the ,institute of ,music at ,tokio1 in twelve different popular pentatonic accordances1 which are the foundations for1 but1 as will be explained1 do not exactly fix the intervals of the koto player's performances4 ,the strings are equally long and thick1 and are strained to one tension1 the notes being obtained by means of movable bridges1 of which there are as many as there are strings4 ,two strings1 the first and third1 are tuned alike1 at the interval of a fifth above the second or lowest note4 ,the tuning is generally done by ear note by note1 the player pitching the instrument to his voice1 which is good if a high voice4 ,the classical ,japanese music is ,chinese1 and may have come to ,japan with ,chinese art1 through the ,corea4 ,it is1 however1 only played in the ,imperial household or the ,shinto temples4 ,both classical and popular music are pentatonic1 but the ,japanese in no way avoid semitones1 which give the ,chinese so much trouble when they endeavour to produce them4 ,the koto player1 in performing1 squats very low upon the ground1 and wears plectra-like wire thimbles on the right hand1 terminating in small projections of ivory1 touching with them only the shorter division of the strings4 ,he has1 however1 the power1 by pressing down the longer unsounded lengths with the ends of the fingers of the left hand1 or pulling them towards the bridges1 to increase and decrease the tension of the strings1 and thus sharpen or flatten the notes and modify the tuning by intermediate tones--a licence not used unsparingly4 ,the ,japanese pictures of koto players invariably show this practice4 ,the dimensions of this ,koto are1 approximately3 length1 #f feet #b-a_/b inches2 width1 #h-c_/d to #i-c_/d inches2 depth1 about #a-c_/d inches at the sides4 ,the instrument is made of strong ,kiri wood1 and has two openings on the under side4 ,the beauty of the ornament of the instrument drawn could hardly be surpassed4 ,the drawing shows enlargements of the two ends1 one half the actual size1 and displays the highly decorative adornment of this remarkable instrument4 ,the favourite popular tuning of the ,koto is called ,hira-dioshi4 ,it is thus given by ,mr4 ,isawa and other authorities3-- ,music ,the music-master at the ,japanese ,village1 ,knightsbridge1 ,london1 tuned the ,koto to a ,siamisen 7,plate ,,xlvii471 with the pentatonic intervals marked on the neck according to a peculiarity of intonation referred to in the description of that instrument4 ,illustration3 ,,xlvii ,,plate ,,xlvii4 ,,siamisen1 ,,kokiu1 ,,biwa4 ,these are ,japanese instruments4 ,the ,siamisen and ,biwa were drawn by permission of the ,japanese ,commission of the ,inventions ,exhibition1 #ahhe4 ,the ,kokiu in the centre of the plate1 and its long fishing-rod bow in four lengths of black wood mounted with silver1 belong to the writer4 ,the ,siamisen is the commonest ,japanese stringed instrument1 and is played by the singing girls 7,gesha72 it has been the characteristic musical instrument at the ,japanese ,village1 ,knightsbridge1 ,london4 ,the name was there pronounced ,samiseng 7the a as in father71 and ,dr4 ,mller1 in an elaborate article on ,japanese musical instruments in the ,mittheilungen der ,deutschen ,gesellschaft fr ,natur und ,vlkerkunde ,ostasien's1 #ftes4 ,heft4 7,berlin1 #ahhd71 invariably writes ,samiseng1 but the spelling ,siamisen is here adopted on the authority of ,mr4 ,shuji ,isawa1 the ,director of the ,school of ,music1 ,tokio4 ,in length it is about #cg inches1 and has a resonance membrane of parchment stretched upon a nearly square wooden body that is #g-a_/b inches high1 #f-a_/b wide1 and #c deep4 ,there is a knob on the under side for a string holder1 and the upper and under sides of it are covered with a selected part of a cat's skin1 on which the bridge also rests4 ,by the little black spots on this skin the value of the instrument is determined4 ,four give the highest value2 two mark ordinary instruments2 while those without spots are cheap4 ,the size of the ,siamisen is determined by the singer's voice4 ,good voices are high voices2 consequently a good singer requires a smaller one4 ,for convenience in moving about1 the body and neck are made to separate4 ,it has three silk strings and in common practice as many accordances1 viz4 ,music1 ,music and ,music4 ,it is without frets1 but the fingered scale which the ,japanese musicians at the ,london village appeared to know only1 was indicated by small marks upon the neck1 and agreed with the tuning of the thirteen-stringed koto4 ,it has thus five intervals in the octave1 that differ1 however1 from the ,chinese pentatonic scale1 and from that known in ,java as ,salendro4 ,the ,japanese1 as heard at the village1 may be described1 when descending1 as a major third1 a semitone1 a neuter or mean third 7neither major nor minor1 but equivalent to a three-quarter tone and a whole tone71 thus ,music--the denoting the mean third4 ,this was accepted as right by natives of various parts of ,japan brought together in the village whose speech dialects were not the same1 although their musical dialect was thus uniform4 ,however1 since ,mr4 ,isawa gives the interval as a minor third1 and in performances which ,i have heard the minor effect certainly predominates1 ,i am disposed to accept the mean third here recorded as only a widening of the normal minor third4 ,great latitude has to be allowed in dealing with scales1 especially those of non-harmonic origin4 ,our own equal temperament narrowing of the same interval is rarely noticed by us1 and passes as a matter of course4 ,the ,siamisen is employed to accompany the dancing and singing women1 and its tones are an important aid to the effect of their performance4 ,the plectrum of the ,siamisen is called in ,japanese ,batsi4 ,it is shown in the plate4 ,the ,kokiu is a kind of fiddle1 in its construction very like the ,siamisen1 only that it is played with a bow 7kiu7 instead of a plectrum or striker 7batsi74 ,it is usually a woman's instrument1 but is now very little played4 ,dr4 ,mller only heard one player in ,tokio1 a blind man1 from whom he took his description of the instrument and the manner of performance4 ,the whole length of the ,kokiu is about #be inches1 the body being #e inches long and broad4 ,it is #b-a_/b inches deep and covered like the ,siamisen4 ,instead of the string-holder of the latter it has a #b-a_/b inch long round metal slip to which the strings are knotted4 ,the bridge is long and very low1 with notches to receive the strings2 three being equally spaced1 while the fourth is very near the third4 ,the strings are tuned ,music1 the two near each other being unisons of the highest note4 ,the bow is #de inches long1 of four lengths as already mentioned4 ,it takes to pieces for transport4 ,it is flat behind and oval in front4 ,it is bent at the top nearly to a right angle1 and the whole rod is very elastic4 ,it is strung with white horsehair about #cb inches long1 the horsehair being imported1 as there is no long horsehair in ,japan4 ,it is fastened with a silken knot into a silver holder4 ,in order to play the ,kokiu the bow is taken with the thumb1 middle1 and little fingers1 the index finger being extended along the back4 ,with stretched-out fourth finger the player strains the slack hair of the bow1 then takes up the instrument1 vertically resting it upon the knees1 between which the metal string-holder is grasped4 ,bringing the hair of the bow to the edge of the resonance body1 the bow is simply moved horizontally backwards and forwards1 the middle part of the bowstring only being employed4 ,the strings are brought into contact with the bow by a rotary movement of the instrument4 ,sometimes only one ,e flat string is used1 sometimes both4 ,double notes are very rarely used4 ,the sound of the ,kokiu is very like that of the ,hurdy-,gurdy1 but much weaker in comparison4 ,the ,biwa is a lute-like instrument in the shape of a divided pear1 becoming narrower upwards4 ,the body is about #cd inches long1 of which #g-a_/b come on to the finger-board4 ,there are four frets on the finger-board4 ,it has four strings in two thicknesses tuned1 according to ,dr4 ,mller1 prime1 quint1 octave1 tenth1 like an infantry bugle1 but ,dr4 ,isawa gives no less than six accordances4 ,the ,biwa is played with a bill-formed batsi #f-a_/b inches long1 made of horn1 wood1 tortoiseshell1 or ivory4 ,illustration3 ,,xlviii ,,plate ,,xlviii4 ,,marimba1 ,,of ,,south ,,africa4 ,a ,zulu harmonicon in two views1 the back and front4 ,there are ten bars1 each with a gourd resonator attached to it4 ,it is played with drumsticks1 one in each hand4 ,this ,marimba was presented to me by ,mr4 ,john ,robertson1 of ,durban1 ,natal1 and he has furnished the following details respecting it4 ,the ,zulu name1 ,marimba1 is varied by ,izambilo2 the former is the better known4 ,this instrument is made by the ,mindonga tribe1 whose country marches with the ,portuguese settlement of ,inhambane on the ,east ,coast4 ,the wood of the bars is called ,intzari4 ,the resonators are the shell of a fruit known as ,strychnos ,m',kenii1 or the ,kafir orange4 ,the balls of the drumsticks are of native rubber4 ,the ,marimba is played either resting upon the ground or suspended from the performer's neck by a cord4 ,native gum is employed to bind the larger and smaller shells forming each resonator4 ,the cord used is the intestine of the aulacodus1 or cane rat4 ,as ,i have remarked in describing the ,siamese instruments1 harmonicons of wood and metal are very widely spread--throughout the ,indian archipelago1 in ,siam and ,burma1 among the hill tribes of ,india and the ,kafirs of ,africa4 ,the natives of the little ,american ,republic of ,costa ,rica regard the ,marimba as their national musical instrument4 ,the tuning follows the equal heptatonic division1 which allows of the mean or neuter thirds1 ruling in ,siam1 and appreciated by many ,eastern ears4 ,in ,java1 however1 it is not so2 and1 as far as could be judged1 by examining the instruments played on by the native ,javese at the ,london ,aquarium in #ahhb 7other instruments apparently gave different results71 there are two distinct ,javese tunings1--the one1 called ,salendro1 an ideally equal pentatonic1 or five interval scale in the octave1 the other1 called ,pelog1 a heptatonic1 or seven interval scale in the octave1 the law of which has not been determined4 ,from the latter are selected sets of five notes to form pentatonic scales1 presenting remarkable differences4 ,,index ,,introduction4 ,,plate4 ,,afranio1 ,inventor xxxix4 ,alard1 ,delphin1 ,violinist xiv4 xxviii4 ,alard ,stradivarius ,violin x4 xxvi4 ,al ,farabi1 on ,arab ,music xv4 ,anna ,ghrpure 7,mahrtti71 on the ,sitr xl4 ,archlute xvi4 xxi4 ,,bach1 ,j4,s4 iv4 xix4 xxx4 xxxii4 ,bach1 ,c4,p4,e4 xxxii4 ,bagpipe1 ,calabrian xv4 iv4 ,bagpipe1 ,highland xvi4 ,bagpipe1 ,irish xv4 v4 ,bagpipe1 ,lowland xv4 v4 ,bagpipe1 ,northumbrian1 ancient xv4 v4 ,bagpipe1 ,northumbrian1 modern xv4 v4 ,bagpipe1 ,bellows v4 ,bagpipe1 ,scale xv4 v4 ,bainbridge1 ,w4 7flageolet-maker7 xxxviii4 ,balalika1 ,russian xxiv4 ,balalika1 ,russian1 tuning xxiv4 ,balloon ,guitar1 ,chinese xlii4 ,bandurria1 tuning xxiii4 ,baron1 ,g41 on ,lutes xvi4 ,barbu1 hurdy-gurdy player xxx4 ,barrington1 ,hon4 ,daines1 on the ,welsh ,crwth xxiv4 ,basse de ,viole xix4 ,basset ,horn xli4 ,bassoon xvi4 xxxix4 ,baton1 improved the hurdy-gurdy xxx4 ,batsi1 ,japanese plectrum xlvii4 ,beating ,reed xviii4 xii4 ,bebung 7,clavichord7 xxxii4 ,been 7,vna ,sitr7 xl4 ,bell1 ,c4,d4 7,f4,s4,a4 ,scot471 on ,gaelic ,harps ii4 ,bell ,harp xxx4 ,bell ,harp1 scale xxx4 ,berlioz1 ,h41 on the ,viola d',amore xxvii4 ,bible ,regal xviii4 xiii4 ,biblioteca ,estense1 ,modena xiv4 ,bingley1 on the ,welsh ,crwth xxiv4 ,biwa1 ,japanese xix4 xlvii4 ,biwa1 ,japanese1 tuning xlvii4 ,boddington1 ,h4 7,dulcimer7 xvii4 ,boehm1 ,t41 improved the flute xvi4 ,bombardone xxxix4 ,bourdon1 ,musette iv4 v4 ,bourdon1 ,organ xi4 ,broadwood1 ,john1 harpsichord and pianoforte maker xxiii4 xxxiii4 ,buccina1 ,roman xiv4 xxxvii4 ,bugle1 ,cavalry xiv4 xxxvi4 ,bull1 ,w41 trumpet-maker xxxvi4 ,burgmote ,horns xiii4 i4 ,burney1 ,dr41 ,musical ,researches in ,germany xxxiii4 ,,celtic ,harps xx4 ii4 iii4 ,cenemella1 ,italian rustic reed pipe xiv4 ,cetera1 ,italian x4 ix4 xiv4 xxvii4 ,cetera1 tuning xiv4 ,chalumeau1 ,musette iv4 ,chanot1 ,george1 violin-maker xxiv4 ,chanterelle1 melody string xv4 xvi4 ,chappell 7,double ,spinet7 xx4 ,ch'in 7,scholar's ,lute71 ,chinese xix4 ,chinese ,instruments xix4 xliv4 xlv4 ,chitarrone xi4 xxi4 ,chiterna xxiii4 ,chopin1 ,f4 xxxiii4 ,chouquet1 ,g41 musicologist xxxi4 ,chromatic ,key-board xvii4 xi4 ,chromatic ,scale xvii4 ,cimbalon1 ,hungarian ,dulcimer xvii4 ,cistre1 ,french ix4 xiv4 xxviii4 ,cither1 ,english x4 ix4 xiv4 xxviii4 ,clarinet1 ,alto xxxix4 ,clarsach1 ,gaelic ,harp xx4 ii4 iii4 ,clavichord xxii4 xxiii4 xxxii4 ,clavicembalo 7,italian71 ,clavicimbalum 7,latin7 xxii4 vi4 ,clavecin 7,french7 xxxiii4 ,clavicytherium1 ,upright ,spinet xxii4 vi4 ,cohen1 ,rev4 ,francis 7,jewish music7 xiii4 ,cornamusa1 ,cornemuse xv4 iv4 ,cornet xxxvii4 ,corno di ,bassetto xxxix4 ,corporation ,canterbury xiii4 i4 ,corporation ,dover xiii4 i4 ,correr1 ,count 7of ,venice71 ,collection of ,musical ,instruments vi4 ,cousineau1 improved the harp xxxii4 ,crocodile1 ,siamese xix4 xliii4 ,crompton1 ,g4 7,hellier ,stradivarius ,violin7 xxv4 ,cruit1 ,crot1 ,gaelic xx4 xxiv4 ,crwth1 ,welsh xx4 xxiv4 ,crwth1 tunings xxiv4 ,cymbalum ,decachordum ix4 ,,dale1 ,h4,j4 7,spinet7 xxii4 ,day1 ,c4,r4 7#dcrd ,light ,infantry71 on ,indian ,music xlii4 xliii4 ,dennys1 ,n4,b4 7,member ,northern ,asiatic ,society71 on ,chinese ,musical ,instruments xliv4 ,divided ,spinet ,keys xxii4 ,dolciano xvi4 xli4 ,donaldson1 ,g4 7,clavicytherium1 ,rizzio ,guitar1 ,cetera1 ,theorbo1 ,double ,spinet1 ,chitarrone1 ,quinterna1 ,mandolines7 vi4 x4 xiv4 xvi4 xx4 xxi4 xxiii4 xxxiv4 ,drones1 ,drone ,bass xv4 iv4 v4 xli4 ,drums1 ,hindu ix4 xli4 ,dulcimer xxi4 xvii4 ,dulcimer1 scale xvii4 ,dumon1 flute-player xxxviii4 ,ellis1 ,a4,j41 7,f4,r4,s41 ,f4,s4,a471 on ,musical ,scales of ,various ,nations1 etc4 xvi4 v4 xl4 xliv4 ,empress ,maria ,theresa's ,harpsichord xxiii4 xxxiii4 ,engel1 ,c41 musicologist ix4 xix4 xv4 xxiii4 xxx4 xxiv4 ,erard1 ,s41 improved the harp xxxiv4 ,erh-hsien1 ,chinese xliv4 ,esrar1 ,hindu xl4 ,evans1 ,r41 ,welsh crwth-maker xxiv4 ,evelyn's ,diary iii4 viii4 xv4 xvi4 xxiii4 ,,fagotto xxxix4 ,fanfare1 ,jubilee xxxv4 ,fantasia ,cromatica xxxii4 ,ferrari1 ,miss 7,bible ,regal7 xiii4 ,flageolet1 ,double xxxviii4 ,fleischer1 ,o41 on the ,lute xv4 ,flte bec xxxviii4 ,flte ,douce xxxviii4 ,flute1 ,german xxiii4 xxxviii4 ,frederick the ,great xxxviii4 ,free ,reed xviii4 xxxiii4 ,,gaelic ,harps ii4 iii4 ,gand1 ,e41 violin-maker xxviii4 ,garrett1 wind-instrument maker xxxix4 ,gaultier1 ,denis1 lute-player xv4 ,giterna xxiii4 ,glen1 ,j4 and ,r41 bagpipe-makers iv4 v4 xxxviii4 xxxix4 ,glen1 ,r4 7,f4,s4,a4 ,scot47 xxiii4 ,gourd ,resonators xx4 xxxviii4 ,gresley1 ,rev4 ,nigel 7,queen ,elizabeth's ,virginal7 viii4 ,grove1 ,sir ,george 7,dictionary of ,music and ,musicians7 xviii4 xviii4 xix4 xx4 xxvii4 ,guarnerius del ,ges xii4 xxvi4 ,guitar1 ,david ,rizzio's x4 x4 ,guitar1 ,stradivarius x4 xxix4 ,gunn1 ,j41 ,highland ,harps ii4 iii4 ,,haas1 ,j4,w41 trumpet-maker xxxvii4 ,hackbrett xvii4 ,handel xxxiii4 ,harmonicons x4 xlv4 ,harp1 ,assyrian xix4 ,harp1 ,egyptian xix4 ,harp1 ,irish 7,brian ,boru7 ii4 iii4 ,harp1 ,lamont xx4 iii4 ,harp1 ,pedal xxxiv4 ,harp1 ,queen ,mary's xx4 ii4 ,harper1 ,t41 trumpeter xxxv4 xxxvi4 ,harpsichord xxiii4 xxxiii4 ,harpsichord1 stops xxxiii4 ,harp-way tuning xix4 xxvii4 ,harris1 ,j41 trumpet-maker xxxiii4 ,hart1 ,george1 ,history of the ,violin xxv4 ,haydn xv4 ,hellier ,stradivarius ,violin xxv4 ,heptatonic ,scale xxi4 xlii4 xlviii4 ,hiji-riki1 ,japanese xlv4 ,hiji-riki1 ,japanese1 scale xlv4 ,hill and ,sons1 ,violin-makers xx4 xxv4 xxix4 ,hill1 ,arthur and ,alfred1 ,collection of ,musical ,instruments xxv4 ,hindustni or ,northern ,indian music xl4 ,hipkins1 ,a4,j4 7,f4,s4,a47 7,lute1 ,balalika1 ,kokiu1 ,marimba7 xv4 xxiv4 xlvii4 xlviii4 ,historic ,concerts 7#ahhe7 xii4 xix4 xxxviii4 ,historic ,rooms 7,music ,loan ,collection1 #ahhe7 viii4 xxxiv4 ,hochbrucker1 improved the harp xxxiv4 ,horns1 ,bronze and ,ivory xiii4 i4 vii4 ,hu-ch'in1 ,chinese xliv4 ,huggins1 ,dr4 ,w4 7,f4,r4,s471 on ,violins xxvi4 ,huggins1 ,mrs41 ,stradivarius violins xxv4 ,hurdy-,gurdy xv4 xxx4 ,hurdy-,gurdy1 scale and tunings xxx4 ,huygens1 ,constantin1 lute and theorbo player xv4 ,,india in ,london 7#ahhf7 xl4 ,indian ,instruments ix4 xl4 xli4 ,inventions ,exhibition 7#ahhe7 xviii4 xii4 xiv4 ,irish scale and modes ii4 ,isawa1 ,s41 on ,japanese ,music xlvi4 xlvii4 ,izambilo1 ,zulu xlviii4 ,,jack 7,harpsichord and ,spinet7 vi4 ,jacobs1 ,e41 viol da gamba player xix4 ,japanese ,commission1 ,inventions ,exhibition xxiii4 ,japanese ,instruments xviii4 xix4 xiv4 xlvi4 xlvii4 ,japanese ,village 7#ahhe-g7 xlvi4 xlvii4 ,javese ,gambang 7#ahhb7 xlviii4 ,javese ,salendro and ,pelog xlviii4 ,jewitt1 ,llewellyn 7,f4,s4,a471 on ,ancient ,horns i4 ,joachim1 ,dr4 ,joseph1 on ,stradivarius xxvi4 ,joseph1 ,e4 7,chitarrone and ,pedal ,harp7 xxi4 xxxiv4 ,,karn,,tik or ,southern ,indian ,music xl4 ,keene1 ,s41 spinet-maker xxii4 xxii4 ,kettledrum1 ,state ix4 xxxv4 ,khong ,yai1 ,siamese x4 xliii4 ,kit xxxi4 ,khuruj 7,hindu keynote7 xl4 ,king ,joseph ,guarnerius ,violin xxvi4 ,kinnor1 ,hebrew xix4 ,kirkman1 ,jacob1 harpsichord-maker xxxiii4 ,kirsnick1 put free reeds in organs xviii4 xlii4 ,klui1 ,siamese xlii4 ,kokiu1 ,japanese xix4 xlvii4 ,kokiu1 ,japanese1 tuning xlvii4 ,koto1 ,japanese viii4 xviii4 xix4 xlvi4 ,koto1 ,japanese1 tuning xlvi4 ,kratzenstein1 ,professor1 inventor of free reed stops in organs xlii4 ,kraus figlio1 ,a41 musicologist xxxvii4 ,krebar1 ,g41 theorbo-maker xvi4 ,,land1 ,j4,p4,n41 on ,arab ,music and ,correspondence of ,huygens xvi4 xv4 ,la-pa1 ,chinese xlv4 ,laurie1 ,david 7,guarnerius del ,ges and ,stradivarius ,violins7 xxvi4 ,lavoix fils1 ,henri1 on ,music of the ,early ,renaissance v4 ,lazarus1 ,h41 clarinet-player xxxix4 ,lehmann1 ,r4 7,chitarrone7 xvi4 ,lituus1 ,roman xiv4 xxxvii4 ,liuto ,attiorbato1 ,theorboed ,lute xvi4 ,lotz1 improved the basset horn xxxix4 ,louvet1 hurdy-gurdy maker xxx4 ,love ,viol 7,viola d',amore7 xxvii4 ,lute xi4 xxii4 xv4 ,lute1 tuning xv4 ,lute1 ,queen ,elizabeth's xi4 ix4 ,lyra ,viol xxvii4 ,lyre1 ,greek xix4 ,,mace1 ,thomas1 on ,lutes xv4 ,mahati ,vna1 ,hindu xl4 ,mhdyam 7melody string71 ,hindu xl4 ,mahillon1 ,victor1 musicologist and writer on acoustics xii4 xix4 xxxiii4 xxxvii4 xl4 xlv4 ,malcolmson1 ,a4,w4 7,trumpet7 xxxvi4 ,mandoline1 ,milanese xi4 xxiii4 xxx4 ,mandoline1 ,neapolitan xi4 xxiii4 ,mandoline1 tunings xxiii4 ,marimba1 ,zulu x4 xlviii4 ,maskell1 ,a4 7,music ,loan ,collection7 xxxiv4 ,mattheson1 on the ,viola d',amore xxvii4 ,mean or ,neuter ,thirds xv4 v4 ,mee1 ,rev4 ,j4,h41 on ,abb ,vogler xviii4 xliv4 ,mercator1 medal of ,sir ,michael1 instrument-maker to ,henry ,,viii4 xviii4 ,mersenne 7,a4,d4 #afcf71 on ,musical ,instruments xv4 xvi4 xx4 ,moon ,guitar1 ,chinese xlv4 ,mozart xxiii4 xxxix4 ,m'ridang1 ,hindu ix4 xli4 ,mueller1 ,ivan1 improved the basset horn xxxix4 ,mueller1 ,dr41 on ,japanese ,musical ,instruments xlvii4 ,musette xv4 iv4 ,museum1 ,brussels ,conservatoire xi4 xii4 xiii4 xviii4 xix4 xxxvii4 xl4 ,museum1 ,paris ,conservatoire xx4 xxx4 ,museum1 ,south ,kensington viii4 xx4 ,music ,class ,room1 ,edinburgh xxvii4 xxxi4 xli4 xliv4 xlv4 ,music ,loan ,collection1 ,south ,kensington 7#ahgb7 xxiv4 xxviii4 ,music ,loan ,collection1 ,royal ,albert ,hall 7#ahhe7 xxiii4 ,,nagara1 ,indian xli4 ,nahabat1 ,indian xli4 ,nakkera ,khaneh1 ,indian xli4 ,nars ,varariddhi1 ,h4,r4,h4 ,prince xxiii4 xlii4 xliii4 ,nautch ,girls1 ,indian xli4 ,nefer1 ,egyptian viii4 ,nimfali 7,portable ,organ7 xiii4 ,north1 ,c4 ,m',intyre1 on ,highland ,musical ,instruments iii4 iv4 v4 vii4 ,north1 ,roger1 treble viol and viol da gamba player xix4 ,,oakeley1 ,professor ,sir ,herbert1 ,mus4 ,doc4 7,viola d',amore1 etc47 xxvii4 ,oboe xiv4 xvi4 xxxix4 ,oboe d',amore xxxix4 ,oboe da ,caccia xxxix4 ,o',curry1 ,eugene1 on ,irish ,musical ,instruments ii4 ,oldham1 ,c4 7,stradivarius ,violins7 xxv4 ,oliphant xiv4 vii4 ,organ1 ,portable xvi4 xvii4 xiii4 ,organ1 ,positive xvi4 xvii4 xi4 ,orpheoreon xi4 ix4 ,,pagden1 ,mrs4 ,f4 7,bible ,regal7 xiii4 ,pagnerre1 ,l41 on ,barbu1 hurdy-gurdy player xxx4 ,pandore xi4 ix4 ,pauer1 ,professor1 suggested re-introduction of viol d'amore xix4 ,payne1 ,e4,j41 on ,violins xix4 xxvi4 xxvii4 ,pedal ,harp xxxiv4 ,pee1 ,siamese xlii4 ,peking ,band 7#ahhd7 xliv4 xiv4 ,penorcon xi4 ix4 ,pentatonic ,scales xix4 xliv4 xlvi4 xlvii4 xlviii4 ,pepys's ,diary xviii4 xxxviii4 ,phan1 ,siamese xviii4 ,pi-p'a1 ,phi-pe1 ,chinese xix4 xliv4 ,pi-p'a1 tuning xliv4 ,playford1 ,john1 on ,viol d',amore xxvii4 ,pochette xxxi4 ,pommer1 precursor of bassoon xxxix4 ,portable ,organ or ,portative xvi4 xvii4 xiii4 ,positive ,organ xvi4 xvii4 xi4 ,praetorius 7,a4,d4 #afai71 on ,musical ,instruments xvii4 ix4 xi4 xii4 xiv4 xx4 xxvii4 ,psaltery xxi4 xvii4 ,pua1 ,spanish plectrum xxiii4 ,purcell1 ,henry xxii4 ,pyne1 ,j4 ,kendrick 7,dulcimer7 xvii4 ,,qan,u,n xxi4 xvii4 ,queen ,victoria xiv4 xxiii4 xxxv4 ,queen ,elizabeth's ,lute xi4 ix4 ,queen ,elizabeth's ,virginal xxii4 viii4 ,queen ,mary's ,harp xx4 ii4 ,quinterna xxiii4 ,r,,ga1 ,hindu xl4 ,rm ,pl ,singh1 ,h4,h4 the ,rjah xl4 ,ranat ,ek1 ,siamese x4 xliii4 ,recorders xxxviii4 ,regal xviii4 xii4 xiii4 ,reissmann1 ,dr4 ,a41 on ,musical ,instruments xx4 ,riao1 ,j4,f41 on ,early ,spanish ,music xvii4 ,rizzio1 ,david x4 x4 ,robertson1 ,john 7,marimba7 xlviii4 ,rose1 ,john1 maker of ,queen ,elizabeth's ,lute ix4 ,roses1 rosettes in sound-boards xiv4 ,rotta1 ,rote1 ,medival xx4 xxiv4 ,rowbotham1 ,j4,f41 ,musical ,history ix4 xli4 ,royal ,college of ,music xl4 ,ruckers1 harpsichord-makers viii4 xxii4 xviii4 xx4 ,,st4 ,,cecilia ,paintings xvii4 xi4 ,sand1 ,george1 ,les ,matres ,sonneurs iv4 ,sandbach1 ,w41 trumpet-maker xxxviii4 ,santir1 ,persian xvii4 ,san-hsien1 ,chinese xliv4 ,san-hsien1 tuning xliv4 ,saw ,duang1 ,siamese xlii4 ,saw ,oo1 ,siamese xlii4 ,saw ,tai1 ,siamese xlii4 ,saxe1 ,c41 cornet-maker xxxvii4 ,scarlatti1 ,d41 composer and harpsichord-player xxxiii4 ,scheltzer1 ,s41 improved the bassoon xxxix4 ,s1 ,chinese xviii4 ,shaw1 ,w41 trumpet-maker xxxv4 ,shawm1 ,schalmey1 precursor of oboe xxxix4 ,shng1 ,chinese xviii4 xliv4 ,shng1 ,chinese1 scale xliv4 ,shepherd's pipe xiv4 ,sho1 ,japanese xvi4 ,shophar1 ,jewish xii4 xiii4 i4 ,shophar1 flourishes xii4 ,short ,octave in organs and spinets vi4 viii4 xxii4 ,shudi1 ,b4 7,tschudi71 harpsichord-maker xxiii4 xxxiii4 ,siam1 ,h4,m4 the ,king of xviii4 ,siamese ,instruments viii4 xlii4 xliii4 ,siamese ,scale xv4 ,siamisen1 ,japanese xix4 xlvii4 ,siamisen1 ,japanese1 tunings xlvii4 ,sien-tz1 ,chinese xliv4 ,silbermann1 ,g41 pianoforte-maker xxxiii4 ,sitr1 ,hindu xxi4 xl4 ,sitr1 ,hindu1 tunings xl4 ,sitr1 ,hindu1 modes xl4 ,skelton1 ,john1 ,poet ,laureate and author of a poem on the ,claricorde xxxii4 ,so-na1 ,chinese xlv4 ,so-na1 ,chinese1 scale xlv4 ,sono ,koto1 ,japanese xlv4 ,sordini xxxi4 ,spanish ,dances xxix4 ,spencer1 ,earl 7,oliphant7 xiv4 vii4 ,spinet xii4 xxii4 viii4 xx4 xvii4 ,spinet1 ,double xxii4 xx4 ,spinet1 ,upright xxii4 vi4 ,spinetta ,traversa1 ,spinetti xviii4 xxii4 ,s'ruti1 ,hindu xx4 ,stainer1 ,dr41 on ,hebrew ,musical ,instruments xix4 ,steuart1 ,c4 ,durrant 7,highland ,harps7 ii4 iii4 ,stone1 ,dr4 ,w4,h41 on ,wind ,instruments xxxix4 ,stradivarius x4 xxv4 xxvi4 xxviii4 xxix4 xxxi4 ,srsanga1 ,hindu xl4 ,sympathetic ,strings xx4 xxvii4 ,synagogue1 ,great 7,london7 xii4 ,syrian ,scale xv4 ,syrinx xiv4 ,,tabla1 ,hindu xli4 ,tagore1 ,rjah ,sir ,s4,m41 on ,indian ,music xl4 xli4 ,ta'khay1 ,siamese xix4 xliii4 ,tam-,tam1 ,indian xli4 ,tangent1 ,clavichord xxxii4 ,taruffe 7,sitr7 xli4 ,taschengeige xxxi4 ,telyn1 ,welsh xx4 ,tenoroon xvi4 xxxix4 ,tht1 ,hindu xl4 ,theorbo xi4 xx4 xvi4 ,thorough ,bass xi4 xv4 xxxiii4 ,ti-ch'in1 ,chinese xlii4 ,tielke1 ,joachim1 stringed-instrument maker xix4 xxiii4 ,ti-tzu1 ,chinese xlv4 ,ti-tzu1 ,chinese1 scale xlv4 ,tollemache1 ,lord 7,queen ,elizabeth's ,lute7 ix4 ,tourte1 ,franois1 violin-bow maker xxv4 xxvi4 ,trumpet xxxv4 xxxvi4 xxxvii4 ,trumpet1 ,cavalry xiv4 xxxvi4 ,trumpet1 ,state xiv4 xxxv4 ,twining1 ,miss ,elizabeth1 ,ruckers ,harpsichord xviii4 ,,urh-,,hsien1 ,ur-heen1 ,chinese xliv4 ,,valdrighi1 ,count ,l4,f4 7,modena71 musicologist xxxix4 ,van ,aalst1 ,j4,a4 7,shanghai7 on ,chinese ,musical ,instruments xliv4 xlv4 ,vander ,straeten1 ,e41 musicologist xv4 ,venetian ,swell1 harpsichord and organ xxiii4 xxxiii4 ,vielle1 ,hurdy-,gurdy iv4 xxx4 ,vna1 ,indian xxi4 xl4 ,vna1 ,indian1 tunings xl4 ,viola ,bastarda xxvii4 ,viola d',amore1 ,viole d',amour xii4 xxiii4 xxvii4 ,viola d',amore1 tuning xxvii4 ,viola da ,gamba xii4 xxiii4 xix4 ,viola da ,gamba1 tuning xix4 ,violin xii4 xxv4 xxvi4 ,violin bow xxi4 xxv4 xxvi4 ,virdung 7,a4,d4 #aeaa71 on ,musical ,instruments vi4 xii4 ,virginal viii4 xxi4 viii4 xviii4 xx4 ,vogler1 ,abb1 advocated free reeds in organs xviii4 xliv4 ,vvendelio1 lute-maker xi4 xv4 ,vuillaume1 ,j4,b41 violin-maker xxvi4 xxviii4 ,,wagner xiii4 xvi4 ,wales1 ,h4,r4,h4 the ,prince of 7,cavalry ,bugle7 xiv4 xxiii4 xxxvi4 ,weale1 ,w4,h4,j41 ,catalogue of rare ,,mss4 and printed books 7,music ,loan ,collection7 xviii4 ,webb1 ,henry1 reintroduced the viol da gamba xix4 ,webb1 ,joseph 7,cavalry ,trumpet7 xxxvi4 ,wellesley1 ,gerald 7,clavichord7 xxxii4 ,welsh ,harp xx4 ,willmott1 ,miss ,e4,a4 7,bell ,harp and ,hurdy-,gurdy7 xxx4 ,wit1 ,paul de1 viol da gamba player xix4 ,wood1 ,george 7,japanese ,koto7 xlvi4 ,wynne-,finch1 ,colonel 7,welsh ,crwth7 xxiv4 ,,yang-,,ch',,in1 ,chinese xvii4 ,yueh-ch'in1 ,chinese xiv4 ,,zalzal1 ,arabic lutenist xv4 ,zampogna1 ,italian xiv4 iv4 ,zimbalon1 ,italian xvii4 ,zoeller1 ,c41 on the ,viola d',amore xxvii4 ,,the ,,end ,printed in ,great ,britain by ,billing and ,sons1 ,ltd41 ,guildford and ,esher4