,4 POPniAR ACCOUNT OF Ancient Musical instruments And their Development, as Illustrated by Typical Exampl&s in THE QALPIN COLLECTION. ! By William Lynd ILLUSTRATED, Price 1/6. London : JAMES CLARki^ .^. CO.. 13 & u, FLEET ST. PULVERMACHER'S ELECTRIC. DRY BELTS '""^'WtF ILLUSTRATED BOOK. BftARY IIVERSITY OF yy ow ^ o CURE oneself. OW GALYANISM RESTORES LOST VOICE AND THROAT TROUBLES. HOW GALVANISM CURES CRAMP IN FINGERS AND WRISTS. HOW GALVANISM CURES RHEUMATISM, NEU- KALGIA, GOUT AND SCIATICA. H HOW GALVANISM CURES ASTHMA AND BRON- CHITIS. HOW GALVANISM CURES CHILDREN IN DELI- CATK HEALTH. TTOW GALVANISM CURES LOCAL WEAKNESS. HOW GALVANISM CURES LIVER & STOMACH TROUBLES. OW GALVANISM CURES LUMBAGO AND PAINS IN THE BACK. H OW GALVANISM CURES BRAIN EXHAUSTION. To be had free ou application to — J. L. PULVEEMACHER & CO., LIMITED, 191, EEGENT STREET, LONDON, W. THE GREATEST MUSICAL MAGAZINE IN THE WORLD. THE Strand Musical Magazine Edited by E. HATZFELD. Each Montlily Xuniber contains, iu nddition to Beautifully- illustrated Articles, Interviews, and Stories, TWELVE SONGS AND PIECES, by the most Eminent Composers. ITS CONTRIBUTORS INCLUDE SULLIVAN, COWEN, TOSTI, VERDI, RUBIN5TE1N, PADEREWSKI, TSCHAIKOWSKY, GOUNOD, DENZA, THOME, GILLET, MOIR, BEHREND, P. BUCALOSSI, ERNEST BUCALOSSI, And many other Famous Musicians. Lovers of Music, through the medium of this Magazine, obtain A GUINEA'S WORTH OF MUSIC FOR SIXPENCE. In consequence of the extraordinary demand for Back Numbers, all the Monthly Parts have been reprinted, and can be obtained at any Newsagent's or Bookstall, price SIX- PENCE (with the exception of the Christmas Double Numbers, published at ONE SHILLINGj. GEORGE NEWNES, Ltd., 8, 9, 10, & 11, Southampton Street, Strand, London, W.C. THE PENNY MUSICAL LIBRARY. A MARVEL IX MUSICAL PUBLIC AT [ON. PUBLISHED EVERY WEEK. Back Numbers may be obtained from Newsagents and from the Bookstalls, or direct from the publishers, post free, lid. each. THE PROTESTANT STANDAKD says: "A MusicalJournal at Id. is one of the latest of Newnes aud Uo.'s novelties. One of the songs which it contiiins is, ' What Are the Wild Waves SHying:'' ' We supply the answer oa behalf of the waves, and without wavering— 'Newnes & Co., yoa are selling this publication fivepence per number too cheap. The price ought to have been 6d.' " iSg Sprrial appointment To H.R.H. the DUKE of EDINBURGH. HART & SON, DEALERS IN Cremona & Other Instruments. MANUFACTURERS OF GUARANTEED ENGLISH-MADE VIOLINS. Artistically Finished. Richly Oil-Varnished. j IMPORTERS OF THE FINEST QUALITY OF TESTED STRINGS prepared expressly for HART & SON. GOOD VIOLINS from Three Guineas. VIOLINS FOR BEGINNERS from One Guinea. BOWS, CASES, GUITARS. ITALIAN MANDOLINES. Violin, Viola, Violoncello, Guitar, Mandoline and Zither Methods. MUSIC FOR VIOLIN, VIOLA AND VIOLONCELLO. REPAIRS Of all kinds carefully executed by experienced and skilful workmen on the premises. Messrs. HART & 50N have at present a unique collectioa of Violins, Violas, Violoncellos, and Bows, by the Old Masters. 28, WARDOUR STREET, LONDON, W. 14 DAY USE RETURN TO DESK FROM WHICH BORROWED MUSIC LIBRARY This book is due on the last date stamped below, or on the date to which renewed. Renewed books are subjea to immediate recall. FEB 10 1972 1 LD21A-5m-2,'71 (P2001sl0)476— A-32 General Library University of California Berkeley /: < Violin Repairs. All iustruments requiring repairs sliovild he sent to Mr. F. W. CHANOT, 73, Beruers-street, London, W.. ■whose experience is Avell known, a pnpil of the celebrated Chanot, of Paris. 1864—1873. and of his late father, George Chanot, London, 1873^ — 1880. He is in every respect to be trusted with the repaii-iug of the finest instruments of Cremona, as the following extracts will fully show. " For four generations the Chanot family have had a European reputation as makers of violins, 'cellos, bows, cV:c. . . . The hovTse has also been always famous for the unerring- judgment of its members in respect to the antique viohns by the great masters in Avhich they have dealt. ... In addition to maintaining the high rejiute of the family as makers of and dealers in violins and cognate instruments. Mr. F. W. CHANOT has made his mark by pubhshing some of the choicest violin music ever produced. The ' EDITION CHANOT ' is familiarly known throughout the professional and amateur world. . . . He also supplies every requisite for the artist in the form of bows, strings, &e. A large amount of business is done in EEPAIEINa INSTRUMENTS. THE WOEK BEING EXECUTED BY AN EFFICIENT STAFF OF HIGHLY SKILLED WOEKMEN. So well known is Mr. CHANOT'S enthusiastic delight in valuable antique violins that the owners of the most cherished instruments; commit them to his care, for the pui-pose of repairing, with the most unbounded confidence." From "ILLUSTRATED LONDON." ESTIMATES FREE. Address: 73, BERNERS ST., LONDON, W. Telegraphic Address: ''Pizzicato, London." A Tromba Marixa Pi,avkk A POPULAR ACCOUNT OF Ancient Musical Instruments And their Development, as Ilhistrafed hy Typical ErniitpJe^ in THE QALPIN COLLECTION, At Hatfield, Broad Oal; Essex. By William ^Lynd, Late Principal of the West London College of Electrical Engineering, Author of " The Practical Telegrajihist," and late Editor of "The Telegraphist," " The Phonogram," S:c., &c. London : JAMES CLARKE & CO., 13 & 14, FLEET ST. 1897. MUSIC U'^v^Y Berkeley University-' '^"fo^"^. Contents. PAGE Introduction 1 The Flute Family 8 The Oboe Family . 16 The Clarinet Family . 23 The Bagpipe Family . 28 The Horn Family . 33 The Cornetfco or Opbioleide Family . 38 The Violin Family . 44 The Lute Family . 57 The Harp Family . 63 The Harpsichord Family . 70 The Piano Family . 82 The Organ Family . 96 228 List of Popular Science Lectures, MR. WILUAM LYND, Late Principal nfthc WestLoiulnn ColhuicofElcctricnl Fyngineering,AHtho,-oj" Tin' P.-actical TfU'i,rai,hi:'t," Edthi-'of ••The Tdei/vavhist,- "The I'hono'jvam," "TlteFamibj Circle of Science," &c., Six., Who has delivered nearly 1,100 Popular Science Lectures, and visited over Coo towns in Great Biitain and Ireland sines March, 1889. THE NEW LECTURES FOR 1897-8. Entitled, MUSIC, ANCIENT AND MODERN. Introilnciiig- tbp latest EDISON - BELL PHONOGRAPH (Drawing-room Type) For the Eeproductioii of the soniifis <.f Ancient Slusipiil Instruments, selected from the extensive collection of the REV. F. W. GALPIK, M.A., F.LS., near of Hatjield, Broad Oal:, Essev. Each Series concluding with the repetition of a brilliant Solo, played on :i modern instrument by one of the leading artistes of the day. This Lecture is also illustrated by the Oxv-Hvdrogen Lantern. THE ROMANCE OF SCIENCE, Embracincf an account of the lates-t electrical discoveries ; the Marvels of S uintl and Light, mtrodnciug some extiaordinary specimens of the work of the Introducing the latest and best Electrical Apparatus. EDI50N AND HIS INVENTIONS. Introducing the New EDISON-BELL COMMERCIAL PHONOGSAPU (by special arrangement with tlie Directors of tlie Edisox-Bell Phonograph CoEPORATiOJr, Limited). This lecture, which has been dKlivered 959 times in the United Kingdom in nearly every imj-ortant Pub ic Hall. Institution, and at many Colleges and Schools, is always received with enthusiasm. The e.xperiinents witli the Phonogiajh are amusing and hiehlv instructive, and the practical value of the trrest inTentim is proved to the audience beyond a shadow of a doubt. No Lantern is required for this Lecture, wliich terminates with a popular account of Edison's remarkable career as Newsboy, Telegraph Operator and Inventor. ^ THE ELECTRIC TELEGRAPH. FROM 1837 TO 1897. A Lantern Lecture which is always a success. Mr. Ltnp's lone association with Telegraphy eEable^ him to tieat this subjpct in his most f Ifective style. Commencing with the fiist pr»ctical Electric Telegraph of Cooke ard WheatstoTie, he describes and illustrates all the principal systems of Tele- gra]'hy down to the rrarvellous Cfntrivnnces of the present day. Mr. Ltnd touches upon the blunders n ade in the tmnsmission of telegrams, love-making by wire, and the thrilling ftory of tlie laying of the fir.'-t Atlantic Cables is told in a graphic and popular manner, illustrated I y excellent Lantern Slides pre- pared specially for this Lecture. The Lectures on this list nre not culled from books or papers written by other persons. They are the result of Mr. Ltnu's actual experience in the ■World of Science, and they aie delivered extemporaneously in popular language. Detailed Programmes and full particulars on application to MR. WILLIAM LYND, 138, Victoria Road, Kilburn, London, N.W. ILLUSTRATIONS. Platk I.— the flute family. 1. Nat (a. 18 inches long-, b. 29 inches), Eg-yptiaii. 2. Pipe and Tabor, English, 18th centm-y. 3. Flageolet, by Tibouville, French, 18th century. 4a. Eecorder (ivory), in G, German, c. 1700. 4b. Eecorder, in F, by Stanesby, London, c. 1730. 4c. Eecorder (Tenor), in B flat, by Stanesby Jiinior, London, c. 1740. 4d. Eecorder (Bass), in F. German, c. 1700. 5. Flageolet or Bird Pipe. English, c. 1800. 6. Double Flageolet, by Simpson, London, c. 1820. 7. Fango-Fango or Nose Flute, Fijian. 8a. Flute (ivory), in D. French, c. 1730. 8b. Flute (Alto), in A, by W. H. Potter. London, 18th century. 8c. Flute (Tenor), in F, by Wigley and Macgi-egor, London, 1810. 8d. Flute (Bass), in D, by Wig-ley and Macgi-egor, London. 1810. Plate II.~THE OBOE FAMILY. 1. AuLOS or Tibia, Greek. 2. Zamr (length, including- reed. 24 inches). PersLau. 3. ScHALMET, German. The old Englisli Shawm. 4. HOBOT or Waight, English, c. 1680. 5a. Oboe, in C, by Fornari, Venice, 18th century. 5b. Oboe (D'amore), in A, by Bizey, French, c. 1730. Illustrations. 5c. Oboe (Tenor), in F, by Milhouse, of Newark, 18tli century. 5d. Oboe (Basset), in C, English, c. 1720. 6a. Oboe Da CAcciAor Cor Anglais (curved form), by Fornari, Venice, 18th century. 6b. Oboe Da Caccia or Cor Anglais (angular form), by Kuss, Vienna, c. 1810. 7a. Dulcian, by J. C. Denner (the inventor of the Clarinet), Nuremberg, c. 1690. 7b. Tenoroon, in F, by Stanesby (?), English, c. 1740. 7c. Bassoon, by Stanesby Junior, London, 1747. 7d. Double Bassoon (length, 78 inches), by Stable, Vienna, c. 1820. Plate III. THE CLARINET FAMILY. 1. Arghoul (length of long pipe 48 inches), Egyptian. 2. Zummarah, Egyptian. 3. PiBGORN or Hornpipe, used from 16th — 18th century. 4. Chalumeau, 16th--18th century. 5. E.EED Horn, South American. 6. Basset Horn, in F, by Grenser, Dresden, early 19th century. 7a. Clarinet, in E flat, by Goulding, London, 18th cen- tury. 7b. Clarinet, in B flat, by Bland, London, 18th cen- tury. 7c. Clarinet (Tenor), in F, liy Key, London, early 19th century. 7d. Clarinet (Bass), in B flat, English, c. 1850. Plate IV.— THE BAGPIPE FAMILY. 1. Pastoral Pipe (ivory), with cap, Irish, 18th century, 2. Krumhorn or Cromorne, 15th --17th century. 3. Kackett or Cervelas, 16th and 17th centuries. 4. Cornamuse (length of longest drone 48 inches), Italian, 18th century. Illustrations. 5. Great Highland Pipes, Scotch, c. 1800. 6. Northumbrian Pipes with bellows, English, early 19th century. 7. Union Pipes with bellows, Irish, c. 1800. Plate V.— THE HOEN FAMILY. ■1. War Horn (elephant ivory), African. 2. Eam"s Horn Trumpet (Shofar), Jewish. 3. Herald"s Trumpet (Tuba), by Sebastian Hain- lein, German, 1460. 4. Clarion (Clarino), by J. W. Haas, Nuremberg-, c. 1650. 5. Hand Trumpet, by Lintner, Augsbourg, 1786. 6. Slide Trumpet, English, c. 1810. 7. Sackbut or Trombone (treble), by Schmied, of Pfaffendorf, 1781. 8. BucciNA, as used by the Roman Infantry ; length of cross-bar 52 inches. 9. Alphorn (length 10ft.), by Almen, of Lauterbrun- nen. Swiss, 19th century. 10a. Hunting Horn, by Friedrich Ehe, Nuremberg, c. 1650. 10b. Hunting Horn, by WilHam Bull, London, 1699. 11. Hand Horn, English, 18th century. Plate VI. -THE COENETTO (OPHICLEIDE) FAMILY. 1. Conch or Shell Trumpet (with one lateral hole), South Sea Islands. 2a. Cornettino Curvo, in D, 14th — 17th century The German Zink ; the old English Cornet. 2b. Cornetto Curvo, in A, German, 17thcentui-y. 3a. Cornettino Diritto (of horn), in D, length 18 inches, English, 17th century. 3b. Cornetto Diritto (muto), in G, length 27^ inches, German. 17th century. Illustbations . 4. CoRNO ToRTO or Bass Corket, in C, Italian, I7th century. 5. Serpent, by Baudouin, French, c. 1700. 6. Bass Horn, English, c. 1800. 7. Keyed Bugle by Metzler, London, c. 1820. 8. Ophicleide, English, c. 1820. Plate VII.— THE VIOLIN FAIVIILY. 1. E.EBAB (a monochord) and Bow, Arabian. 2. Trumpet Marine (with sympathetic strings) and Bow, height 76 inches, French, 17th century. 3. Rebec and Bow, 14th — 16th century. 4. Crwth and Bow, by Owain Tudwr, Dolgellau, Welsh, 19th century. 5. Sordino or Kit, French, 17th century. 6. Viol (5 strings), by Fleury, Paris, 1764. 7. Viol (6 strings), by Henry Jaye, Southwarke, 1632. 8. Tenor Viol (6 strings), Italian, 17th century. 9. Bass Viol (7 strings), French, c. 1700. 10. Viola D'Amore (with sympathetic strings) and Bow, by Giov. Grancino, Milan, 1696. 11. HuKDT-GuRDT or ViELLE, French, 19th centiiry. Plate VIII. -THE LUTE FAMILY. 1. KiSSAR (5-stringed Lyre), Egyjitian. 2. Lute with recvu-ved head, Italian, 17th century. 3. Theorbo, by Mathye Hoffman, Antwerp, 1619. 4. Archlute, by Magnus Tieffenbriicker, Venice, 1589. 5. Chittarone (length 76 inches), by Magnus Steger (r), Venice, c. 1620. 6. Pandubina, by Michael Angelo Bergonzi, Cremona, 1756. 7. Pandore, Italian, 17th century. 8. Cittern, by Peter Wisser, German, 1708. .9. GiTTERN, Italian, 17th century. iLLUSTBA'nONS. Plate IX.-^THE HARP FAMILY. 1. Nanga (5-striiiged Harp), Egyptian. 2. Small Irish Harp (Keirnine), Irish, c. 1700. 3. Large Irish Harp (Clarseth), by John Kelly, Irish, 1734. 4. Minstrel Harp, Flemish, 17th century. 0. Welsh Harp (height of pillar 69 inches), liy Jolm Richards, of Llaurwst, Welsh, c. 1750. Plates X., XI.. and XII. THE HARPSICHORD FAMILY. 1. Psaltery (Kanoon), Arabian. 2. Clavicytherium (height 44 inches), Italian, c. 1620. 3. Virginal, by Giov. Domenico, Venice, c. 1550. 4. Scheitholt (Epinette des Vosges), French, c. 1800. 5. Spinet (leng'th 64 inches), by Marcus Jadra, Italian, 1552. 6. Spinet, by Baker Harris, English, c. 1750. 7. Harpsichord (length 8ft. 6in.), by Josephus Kirch- man, London, 1798. Plate XIH.— THE PIANO FAMILY. 1. Dulcimer, Chinese. 2. Clavichord (fretted, length 46 inches), Italian, 16th century. 3. CL.4.VICHORD (not fretted), by J. C. Jesse, Halber- stadt. 1765. 4. Keyed Cittern, by Preston, English, c. 1800. Plate XIV. -THE ORGAN FAMILY. 1. Syrinx or Pan-Pipes, Ai-abian. 2. Cheng, a reed organ for the mouth, Chinese. 3. Bible Regal (breadth 28 inches), German, 17th century. 4. Portable Organ (Positive), German, 17th cen- tury. ESTABLISHED IN THE REIGN OF KING WILLIAM IV. John Brinsmead & Sons' Pianos AS SUPPLIED TO Her Majesty the QUEEN, 1884 His Royal Highness the PRINCE of WALES, 1891 Her Royal Highness the PRINCESS of WALES, 1889 Her Royal Highness the DUCHESS of EDINBURGH (Duchess of Saxe Coburg=Gotha), 1884 Her Royal Highness the DUCHESS of ALBANY, 1882 Her Royal Highness the PRINCESS BEATRICE, 1885 Their Royal Highnesses the DUKE and DUCHESS of YORK, 1893 His Imperial Majesty the KING of PORTUGAL, 1883 His Majesty the KING of BAVARIA, 1884 His Holiness the POPE, 1891 etc. John Brinsmead & Sons, Pianoforte Manufacturers, (LEGION OF HONOUR: MANY GOLD MEDALS) 18, 20, & 22, Wigmore St., London, W., AND The Brinsmead Works, Grafton Road, Kentish Town, N.W. LISTS FREE. ANCIENT MUSICAL INSTRUMENTS. Introduction. There are few recreative studies more fascinating than the history and develop- ment of musical instruments. To trace the pedigree of a fine old violin, or to work out the stages in the evolution of the organ, or the pianoforte — the former from the Syrinx or Pan Pipes, and the latter from the Dulcimer and Psaltery — is a labom- of delight to many persons whose daily duties are more or less of a mental strain, and whose brain requires a special kind of pacific antidote to neutralise the effects of the high pressure work of this go-ahead age. To me the study of old violins and the IXTKODTJCTIOX. history of the great masters of Brescia and Cremona has been the greatest relief in my hours of relaxation. Rest is not idleness, and music — the most ennobling of all the arts — although its study entails earnest appHcation, yet the overAvi-ought brain can turn to it and find rest from its soothmg influence. I have mentioned the violin as having engrossed nearly all my sj)are time for some years, but although this instrument must always take pre- cedence in point of interest, especially to those persons who wield the bow, there are many other instruments now in use whose ancestry affords much instruction and amusement to all who carefullj^ stud}^ their histor3\ There is, however, more than one obstacle which crosses the path of the would-be student of early musical instnmients. The first is the very high price of the books dealing with the subject: and secondly, the i)roper classification of the instruments in families in a single work. Wiiid instruments are treated by Introduction. one autliorit}', and stringed instrnments by another^ and it seems to me that, through the want of some cheap and rehable guide containing ilhistrations in an evokitionaiy series, the proper study of musical instruments is neglected, save "by the few great authorities whose Avorks are beyond the reach of the majority of students. And it is to endeavour to supply this w^ant that I liave been tempted to compile this little book. Some time ago, I had the good fortune to meet the Eev. F. W. Galpin, M.A., Vicar of Hatfield Broad Oak, Essex, a gentleman who has made a special study of ancient musical instruments, and whose collection of valuable specimens cannot be surpassed in this country. In his vicarage are to be found about 300 early instruments, all in a perfect state of preservation, and, what is still more remarkable, each contriA'ance is in playing ■condition. There is a very good collection of Iktroduction. ancient instruments in the South Kensing- ton Museum ; but the most accomjDlished virtuoso could not make many of the specimens respond to his touch. There are virginals, spinets, clavichords and harpsi- chords, viols d'Amore and viols da Gamba, all capable, ages ago, of discoursing most eloquent music, now unstrung, out of tune,, and harsh. Mr. Galpin's specimens, on the contrary, are strung and in tune, each instrument is in playing condition, and by his own ingenuity and skill they are restored to their original condition and tone. The reader will probably exclaim, " What is the use of having 300 ancient instruments ready for the performer's, touch when there is not likely to be any person or persons within a thousand miles of Hatfield Vicarage able to make them speak ? " Gently, dear reader — do not jump at hasty conclusions ; the reverend student of ancient music has not been sj)ending his leisure moments with those relics of the past for years merely to be Introduction. able to say that thej are in perfect con- dition. Mr. Galpin has learnt their gamut, and he can j)lay a solo on each of his three hundred treasures. Musicians will easily understand the magnitude of the task the enthusiastic collector set himself to 2)erform, for there are few virtuosi able to play even a short solo first on the oboe, then on the trombone, followed by the bagpipes and the hurdy-gurdy, then running through the stringed instruments, starting with the monochord and ending with the viola d'Amore ; sitting down at the harpsichord to give his hearers a taste of Handel on the instrument for Avhich the music was written, then making the organ -peal forth the glorious marches of Mendelssohn. These are only a few of the many treats afforded me when I visited Mr. Galpin, and I was so impressed with the instru- ments and their o"WTier, that I conceived the idea of recording, by means of an Edison-Bell Phonograph, the tones of a C Introduction. large number of ancient instruments. Mr. Galpin seemed pleased witli the idea, and offered to arrange the instruments in families. The records of Mr. Gralpin's performances were successfully made, and then the Vicar of Hatfield Broad Oak, who is a skilful amateur photographer, pro- duced the illustrations which will appear in this book, arranged in the following systematic manner : — - 1. The Flute Family. 2. The Oboe Family. 3. The Clarinet Family. 4. The Bagpipe Family. 5. The Horn Family. 6. The Cornetto (Ophicleide) Family 7. The Violin Family. 8. The Lute Family. 9. The Harp Family. 10. The Harpsichord Family. 11. The Piano Family. 12. The Organ Family. One hundred and eight early musical instruments, arranged in fourteen artistic groups, will be illustrated in these pages. Introduction. There can be no doubt as to theii' accuracy, for tliey have been photographed by Mr. Galpin directly from his vahiable speci- mens, and they now appear for the first tune. In the index of iUustrations, the measurements of prominent members in each group have been given as a scale for the plate in which they appear. William Lynd. London, January, 1897. The Flute Family. The origin of the Flute is lost in anti- quity. The Nay, or Egyptian Flute (Fig. 1), is a very ancient instrument, which is represented on Egyptian monuments. It was played in a curious manner. There was no blow-hole like that of the modern iiute ; it was sounded at one end by the performer blowing through a small aper- ture of his lij)s against the edge of the tube. There being no artificial contriv- ance to assist the player, it was not easy to produce a good tone. Two specimens of the Nay are shown (Fig. 1), the only difference being in the length of the tubes. The Pipe and Tabor (Fig. 2) were the ancestors of the fife and drum. The pipe was blown at the end in whistle fashion and played by the left hand. Though The Flute Family. The Flute Fasiily. 11 liaving only 3 holes, a scale of nearly 2 octaves could be prodncecl by the use of hannonics. The tabor was a small drinn slung by a short string- to the waist, or left arm, and tapped with a small drum-stick. One can imagine the pipe and tabor being- l^layed at rustic dances in the sixteenth centm-y. There is an old print in existence representing- three minstrels, one playing the pipe and tabor^ a second a kind of shawm, and the third a small harp. The pipe and tabor were used in England as late as the early part of the present cen- tmy. The Flageolet (Fig. 3) is a whistle headed flute, and it was played by ladies in the seventeenth centur3^ Pepys, in his diary (March 1, 1660), records: "Being- retui-ned home I find greeting the flageolet master come and teaching- my wife and I do think my wife will take pleasure in it, and it will be easy for her and pleasant." The flageolet was made of various sizes. The smallest size was called the bird pipe 12 The Flute Family. {Fig. 5), and Fig. 6 is the double flageolet. Another reference is made to this instru- ment by Pepjs (r>iary^ January 20, 1667) : '^' To Dumbleby's^ the pipeniaker, there to advise about the making of a flageolet to go low and soft, and he do show me a way which to do, and also a fashion of having two pipes of the same note fastened together so as I can play on one and then echo it upon the other, which is mighty pretty." The Eecoedek. — In Shakesjjeare's tra- gedy of Hamlet, Act III., Scene 3, the Danish Prince calls for music, exclaiming, " Come, some music ! Come the recorders ! " and after a short scene with Eosencrantz and Guildenstern, the players enter with old English beaked flutes. Hamlet takes one, and offering it to Guildenstern, saj^s : " Can you play upon this pipe ? " I have witnessed many representations of Hamlet, but I have never seen a proper recorder, or jiute a bee, used in the scene above men- tioned. It is the custom to give Hamlet a The Flute Family. 13 transverse flute, or fife. The Eecorder (Fig-. 4), or beaked flute of Sliakesx^eare's time, is scarce. Indeed it is difficult to find a g'ood specimen. It was made of various lengths, viz., treble, tenor, alto and bass. The bass flute was so long that a bent tube similiar in appearance to that of the bassoon was fixed to the mouthhole, in order to enable the player to reach the finger-holes. The most common flute a bee was made with seven finger-holes, and it had a com- pass of about two octaves. There was often a key in addition to the holes. The recorder was so great a favourite in England that it was called in France '' La Flute d'Angleterre." It was supplanted by the transverse, or German flute (Fig. 8), which was introduced into the orchestra by LuUi, and it came into general use in the time of Handel. Fig. 8 shows the treble, alto, tenor and bass transverse flutes. The earliest form of Transverse Flute 14 The Flute Family. (Fig- 7) was tlie nose flute of the Fiji Islanders, blown from the nose instead of the mouth. Happily, that instrument was not introduced into civilised countries. The modern flute was invented in 1832 by Theobald Bohm, a Bavarian flautist. He entirely remodelled the instrument, and proved that in order to produce purity of tone the holes must be arranged in their correct theoretical positions. The flute has been modified since Bohm's time by Clinton, Pratten, and Carte. The Piccolo, or Octave Flute, is exactly an octave higher than the flute, excepting the two lowest notes, of which it is deficient. Hipkins, one of the greatest of English authorities on musical instruments, says, "- The piccolo is very shrill and exciting in the over-blo\'\m notes, and Avithout great care may give a vulgar character to the music, and for this reason Sir Arthur Sullivan has rej)laced it in the score of Toanhoe hy a high G flute. The old cylindrical ear-piercing fife is an obsolete The Flute Fasiily. 15 instrmneiit, being* superseded by a small army flute, still, however, called a fife, used with the side drum, in the drum and fife band." The Oboe Family. [Double Reeds.) The Aulos, or Tibia (Fig. 1) of tlie ancient Greeks, unlike the pipes of the Egyptians, had as movithpiece a double vibrating reedj so that it must be classed with the members of the oboe family. There was the Monaulos, or single pijje^ and the Diaulos, or double pipe. The player had a curious contrivance called a Phorbeia, a kind of leather bandage tied over his mouth, with two holes through which the tubes could pass. It is supposed that the phorbeia was contrived to enable the player to blow into the tube with greater force. There is in the British Museum a diaulos wliich was found in a tomb at Athens. The reed employed in instruments of this family was originally made of a flattened oat or The Oboe Family. The Oboe Family. 19 wlieat straw. The diaulos in the British Museum has tubes made of cedar wood, 15 inches in length. Each tube has a separate mouthpiece and six finger holes, five of which are at the upper side and one is imderneath. Mr. Galpin played upon the Aulos a Pythian air, the music of which was found at Delphi. The Persian Zamr (Pig. 2) is supposed to be the parent of the Schalmey, or Shawm (Pig. 3) . The schalmey derived its name from calamus^ the Latin for reed. It is probable that the Romans introduced it into "Western Europe. The Hautbois, or Waight (Pig. 4), is directly descended from the schalmey. It obtained its English name from being used by watchmen, or waights, to proclaim the time of night. After a short solo on the "hoboy," the watchman would sing something like the following : " Past three o'clock, and a cold and frosty morning," "Past tlu-ee o'clock, good morrow masters all." One can hardly fancy a modern pohceman playuig a solo on the oboe in 20 The Oboe Family. the middle of the night and chanting the hour. We are fortunate in haying the waits once a year instead of every night, as in '^^ ye olden tune." The knee-shaped instruments (Fig. 6) were called Hunting Oboes, or Oboi di Caccia ; they differed but slightly from the Cor Anglais, or Enghsh horn, an instrument used in the modern orchestra. To it Rossini has given the beautiful Ranz des Yaclies, imitating the Alpenhorn in the overture to William Tell. Like the flute, there was a complete family of oboes in the sixteenth and early in the seventeenth century (Fig. 5) ; the short tube on the right of Fig. 5 is an extra joint to alter the j)itch. The bassoon (Fig. 7 ; four specimens) is the legitimate bass to the oboe and to the wood wind in general. It was evolved in the sixteenth century from the Pouuners and Bombards, the tenors and basses of the shawm family. The shape may also have been suggested by Afranio, a canon of Ferrara, who in 1539 constructed a " Phao-otmn." Various The Oboe Family. 21 bassoons were in use about two centuries ago and earlier — the treble or dulcian, the tenor or tenoroon, the bass or bassoon, and the double bass or contra-bassoon. The latter is the largest species and sounds an octave lower than the ordinary bassoon. It extends a foui'th lower than the fonr- stringed double bass, and is, therefore, the deepest-toned instrument in the orchestra. The bassoon is turned back ujDon itself to economise length. In Italy and Germany it is called Fagotto, or Fagot, from its slight resemblance to a bundle of sticks. The Modern Oboe is the result of improvements made by M. Barret, a dis- tinguished artist and ingenious mechanic, seconded by M. Triebert, the French instru- ment maker. The instruments of the latter have almost monopolised the trade (Hipkins) . Reed instrmnents fall into two distmct groups, played respectively with a double reed or with a single reed. In double- 22 The Oboe Family. reed pipes (the Oboe Family) the sound is produced by the rapid movement of two thin slips of reed or cane vibrating against one another. In the single-reed pipes (the Clarinet Family) a single slip vibrates against the natural tube of the cane or a wooden mouthpiece. In the Bagpipe Family a -combination of these princij)les is found, the Chanter x^ipe having a double reed, while single reeds are generally found in the di-ones. The Clarinet Family. (Single Reeds.) The first instrument (Fig. 1) of tins interesting family is the Egyptian Arglioul, a double pipe, each tube having a single vibrating tongue of cane. The short tube which has the finger-holes serves for the melody, -svliile the long tube acts as a drone. In this instrument we appear to have the origm of the bagpipes. The arghoul is occasionally plaj^ed by the boat- men on the Nile. The Zununarah (Fig. 2) is contrived with two tubes of equal length, each pipe having six finger-holes. ]\Ir. Flinders Petrie, while excavating, at Fayoum, the tomb of an Egj-ptian lady, found two such reed pipes. Mr. Petrie dates these pipes about 1100 b. c. The zummarah is an EgjT^tian instiiiment, and must not 24 The Clarinet Family. be mistaken for Zamr, the Persian oboe. The horn-pipe, or Pibgorn (Pig*. 3), was formerly popular with the rustics in Wales. It is made of horn, measures about eighteen inches in length, and has seven finger-holes. The reed inside it resembles the reed of the clarinet. The pibgorn was met with in the Island of Anglesey, where it was played by the shepherds. A country dance, termed ^'hornpipe," derived its name from being commonly danced to this instrument, pibgorn signifying hornpipe. The Chalumeau (Fig'. 4) was in use in Europe about the twelfth or thirteenth century. It was sounded by a single reed laid upon the upper side of a beak-like mouthpiece ; the fingering of the instru- ment was the same as that of the double-reed schahney. Johann Christopher Denner, of Nuremberg, while experi- menting in 1700 with the chalumeau, discovered the principle of the clarinet ; but although Denner's discovery led to the construction of the beautiful contrivance The Clarinet Family. The Claeinet Fa^iily. 27 whicli is now considered the most valnable of the wind instrmnents, it was a century and a-hal£ before it reached its present state of perfection. The name clarinet is derived from the high trnmpet, which Avas anciently called clarion or clarino ; and as the tone of the new instrument was of somewhat similar brilliancy, though in size it was smaller, it received the name of clarinetto, or " Little Clarion." Fig. 5 represents the South American reed-hom, a predecessor of the saxophone ; and Fig. 7 four sj)ecimens of the clarinet group — viz., small treble, ordinary clarinet, tenor, and bass. Fig. 6, The Basset Horn, or Corno di Bassetto, is a tenor clarinet with additional low notes. It was invented at Passau, Bavaria, in 1770. The Bagpipe Family. The Bag-j)ipe is one of tlie most ancient instruments in the world. A Syrinx, with, bag or bellows, is represented on one of the ancient terra-cottas excavated in Tarsus, Asia Minor, some years ago. These remains are believed to be 2,000 years old. This is probably the oldest representation of the bagpipes hitherto discovered. The bagpipes were known to the Romans as the Tibia utricularis, said to be a favourite instrument of the Emperor Nero. The bagpipes were played in Persia in the sixth century. In Scot- land and Ireland it is regarded as an old national instrument. Some centuries ago it appears to have been also very popular in England. Shakespeare alludes to the Lincolnshire bagpipe in Henry IV"., Part I. The Northumbrian, or English bagpipe The Bagpipe Family. The Bagpipe Family. 31 ■vvas supplied with bellows and 4 drones of ivoiy, the chanter of ebony, and provided with silver 'kejs. The earKest Irish pipes were played from the mouth, but dm-iiig- the last century bellows were added, and also kej's to the 8 drones, which, when pressed by the left elbow, supj)Hed a rude sort of accompaniment. Fig. 1 represents a pastoral pipe, with the reed under a cap, through which it is played. No. 2 the Krimihorn, or Cromorne, which is sounded in the same way, and is supposed to have been the origin of the organ " Cremona " stoj). No. 3, The Racket, or Sausage Bassoon, a little mstrument only 5 mches long, but possessing a compass of two octaves from the lowest C of the Bassoon or Violoncello. Fig. 4, Italian bagpipe (cor- namusa). Fig. 5, the Northumbrian bag- pipe. Fig. 6, the Highland Scottish pipes ; and Fig. 7, Irish pipes with bellows. The Irish had formerly two kinds, a large one for war pui'poses, and a smaller one for peace. The drones of the bagpipes produce always 32 The Bagpipe Family. the same sound, and serve as a perpetual "bass for every tune. Hipkins describes the bagpii^es as the organ reduced to its most simple expression. The Horn Family. The African War Horn (Fig. 1) is a popular instrument in Senegambia ancl Guinea, in Central and Eastern Africa. It is carved out of an elephant's tusk, which is carefully hollowed, and a mouth-hole is cut in the inner side towards the narrow end. Some of these trumpets are of enormous size and have a powerful tone. In Ashantee and some other districts every chief has liis trumpeter, who announces the approach of his master by a special signal, which has a meaning well known to the people. The signal of one chief means, " I am the great King's son " ; that of another, "JSTo one dares trouble me," and so on. Wlien Bowdich "vdsited Ashantee the flourish blown by the king's trumpeter was interpreted to him as pro- claiming the sentence, " I pass all kings in the world." (Engel.) The Horn Family. The Shofar (Fig. 2), or rani's horn trumpet^ is the only Hebrew musical instrument which has been preserved to the present day in the religious service of the Jews, It is still blown in the syna- gogue, as in times of old, at the Jewish New Year's festival, according to the com- mand of Moses (Numbers xxix. 1) : "^ And in the seventh month, on the first day of the month, ye shall have an holy convoca- tion ; ye shall do no servile work : it is a day of blowing the trumpets unto you." The Roman lituus had the same shape as the shofar. The Straight Trumpet or Tuba (Fig. 3), in the Galpin collection is dated 1460. Fig. 4 is a trumpet of the seventeenth century ; Fig. 5, a hand trumpet ; and Fig. 6, a slide trumpet. The trumpet has a very brilliant tone ; it is still used in oratorio, and as an instrument of court and state functions. The Sackbut (Fig. 7) resembled a trombone, and being provided with a slide, could be drawn out to give extra notes and a complete scale. The The Horn Family. The Horn Family. 37 Cornu, or Buccina of the Romans (Fig. 8), as -well as the straight trumpet^, or Tuba, were employed iu war to convey signals. The Alp Horn (Fig. 9), ten feet long, is made of red willow, neatly covered with white willow bark. It is used by the Swiss for calling the goats. Fig. 10 illus- trates two hunting horns of the seven- teenth century, and Fig. 11 an early form of French Horn, in which the pitch of the natui-al notes was altered by the insertion of the hand into the bell as in the hand Trumpet (No. o). These devices, and those of the next section, have now been in a great measui-e superseded by the invention of valves in the early part of this century, which has given us the Cornets and Saxhorns of the modern Brass Band. The Cornetto or Ophicleide Family. The Conch (Fig. 1) is a Shell trumpet, and tlie most ancient instrument with a mouthpiece. It was used originally for war calls, and later for religious and civil ceremonies. The Buddhists employ the conch in their temples. The oldest and most universally known trumpets are those which are made of a large shell, or the horn of an animal. The former is, as might be expected, more generally found on islands and in those districts of a continent which have a sea coast (Grove). The conch is usually blown through a small hole, which has been made for the purpose through the spiral end. In some instances, the hole is provided with an artificial projec- tion, made of wood or some other suitable substance, or a tube is inserted to facili- The Coenetto Family. -39 tate bloAviiig', and sometimes by a hole bored in the side an additional note is obtained. The Cornetto, or Zink, is a very old instrument. It consists of a wooden tube slightly conical, covered with leather, having six holes for the fingers, and one hole for the thumb on the other side^ while the tone is produced through a cup mouthpiece similar to that of a trumpet. About the fifteenth and six- teenth centuries cornetti, or zinken, were most important instruments in the wind bands. Their powerful tone combined well with that of trombones, and bands consist- ing mainly of these two kinds of instru- ments were great favourites both at public and religious ceremonials. Many ancient writers mention the cornetto in terms of great j)raise. These instruments were made of various lengths and shapes so as to form a complete choir of themselves. Fig. 2 shows the Curved Zinken, Fig. 3 Straight Cornetti, and Fig. 4 the Bass Zink. The Serpent (Fig. 5) is the invention of Edme 40 The Coknetto Family. Guillaiime, a canon of Auxerre in France, A.D. 1590. It was, however, no new invention, properly speaking, but merely an improvement upon the old bass zuiken, the management of which was rendered more convenient by giving a serpentine winding to the tube. This instrument subsequently became popular. It was used in militar}'- bands and in processions until about the middle of the present cen- tm-y. The French made use of it, also, in churches to support the voices. In course of time hejs were added to the serpent, and when changed into the bassoon shape its name changed to the Russian bass horn, or Basson Eusse. Fig. 6 is the Bass Horn, and Fig. 7 is the Keyed Bugle, Fig. 8 the Ophicleide. A Parisian instrument- maker, Halary, in 1817 made the Bass Horn a more perfect instrument, and called his improvement the ophicleide, from two Greek words meaning " serpent " and "keys"— "Keyed Serpent," although it more was like a bass keyed bugle (Grove). The Cobnetto Family The Coknetto Family. 43 The ophicleide has been superseded by the development of the valved tubas. The Euphonium and Bombardon, the basses of the important family of Saxhorns, now completely cover the groimd of bass wmd instrument music. One objection to the Cornetto family was that though the notes were good when the soimd issued from the bell of the in- strument, the intermediate notes, issuing' through the holes, were weak and husky. In the valved instruments the valve, which acts as a tap when turned or depressed by a lever, directs the wind into additional lengths of tubing, and allows it to return into the instrument : in this way ever}- sound issues from the bell. The Cor- nopsean or Coniet-a-piston, invented about 1815, has therefore little affinity with the old Cornetto ; even its mouthpiece, though of the same kind, being of a very different shape. The Violin Family. This group will doubtless be the most interesting family to the majority of the readers of these articles. . There is a strange fascination about the king of musical instruments. All persons who have studied the violin, and who love that wonderful contrivance, must feel an in- terest in tracing its gradual development. The violin has been evolved from the ancient monochord, and Fig. 1, the Rebab or Ai-abian one-stringed fiddle, is indeed a monochord played with the bow. The Tromba Marina, or Marine Trumpet, Fig. 2, is a direct descendant of the monochord. It will not be out of place here to describe briefly the first stringed instrument, said to have been invented by Pythagoras, 600 B.C. It consists of a long box of thin wood, with a bridge fixed at each end, The Violin Family. The Violin Family. 47 over wliich is stretched a wire or catgut string ; a moveable bridge is placed on the box, and serves to stop off different lengths of string in order to compare the relative sounds thej produce. The prin- ciple of dividing a string to obtain different sounds "was applied in the Egyptian lute earlier than 3000 b.c. To return to the troinba marina, this development of the monochord is played with the bow, and by some authorities is considered to be the oldest bowed instrument known, and the archetype of all the others. The country of its origm is unknown (Grove) . It was once extensively used in Germany and France as a popular insti'ument, and it was employed in the service of the Chui-ch. It was almost disused early in the last century. The total length of the tromba marina is usually about six feet. The string is a very thick violoncello string stretched over a cm-ious bridge. The marine trumpet is j^layed with a heavy 'cello bow. Played by stopj)ing in the ordinary way. 48 The Violin Family. this instrument produces tones of a most distressing nature. It is properly played wlioUy in natural harmonics. Grove, in his Dictionary of Music, says : "The facil- ity with which the marine trumpet yields the natural harmonics is due to its single string and lopsided bridge. Paganini's extraordinary effects in harmonics on a single string were, in fact, produced by temporarily converting his violin into a small marine trumpet. That a great player placed his single fourth string on the treble side of the bridge, and, leaving the bass foot of the bridge comparatively loose, he then produced a powerful reedy tone, and obtained unlimited command over the harmonics. The marine trumpet was anciently used as a street instrument by mendicant musicians, and those who have heard it will agree with an ancient author that it sounds best at a distance. The name of marine trumpet was probably given to it on its introduction to Italy on account of its external resemblance to the The Violix Family. 49 large speaking-trumpet used on board Italian vessels, which is of the same length and tapering shape." Another authority believes that, considering this instrument was used by nuns, there is greater reason to suppose that troniba marma is a corruption of troinba Mariana, implying a trumpet played in honour of the Virgin Mary. It was played by nuns to replace the real trumpet during musical performances in the cloisters. Trumpeters Avere not j)erniitted to visit the nvinneries ; the nuns had therefore to use this instru- ment as the best substitute for a trumpet which could be devised. The Rebec, or three-stringed fiddle (Fig. 3), is a descendant of the rebab, an arab instrument of the violin class (Fig. 1). The rebec was in use throughout Western Europe in the Middle Ages. In shape it resembles the mandoline. Its tone is loud and harsh, and it was used in the state bands of Henry VIII. Shakespeare's musicians in Romeo and Juliet, named by 50 The Violin Family. the great poet, Hugli Eelbec, Simon Catline^ and James Soundj)ost must have been rebec players. The rebec became a street instrument after the introduction of the viol and violin. When played at village festivals it was accompanied by the drum and tambourine. Some curious laws relating to the rebec were in vogue in France, even as late as the last centuiy. In 1742 Guignon, who was styled Roi des Violons (King of Violins), issued an order prohibiting street musicians from using- the violin. The notice was as follows :— "II leur sera permis d'y jouer d'une espece d'instrument a trois cordes seule- ment et connu sous le nom de Rebec sans quils j)^iissent se servir d'un violon a quatre cordes sous quelque pretexte que ce soit^" which means in English that street musicians were only allowed to play upon a three-stringed instrument called a rebec, and upon no pretext whatever were they to use a violin with four strings. As far back as 1628 the instruments of the ' The Violin Family. 51 violin family were not allowed to be played in low taverns ; but there was no restric- tions relating to the rebec, which was certainly the street musician's instrument of that period. The rebec was extinct in Eng-land earlier than in France. It is now only seen represented in sculpture^ paint- ing, and old manuscripts. The successor of the rebec was the kit (Fig-. 5) . The Crwth (Fig. 4), or ancient British fiddle, is something like the small Roman lyre, which was introduced by the Romans into ancient Britain. The lyre was shghtly modified, played with the bow, and called a crwth. This instrvmient is fii-st mentioned by Venantius Fortunatus, Bishop of Poitiers, a.d. 609, and pictures of a cr^vth with three strings are found in MSS. of the eleventh centuiy. The crwth in its latest form was mounted with six stiings, four stretched over the finger-board and played with the bow, and two lying at the side of the finger-board plucked with the thumb of the left hand. The sound-holes 52 The Yiolin Family. are circular, and the bridge does not stand straight, but inclines to the right, and its left foots, which is 2^ inches in length (while the right foot measures only three quarters of an inch) passes through the sound-hole and rests on the back of the instrument, thus acting the part of the sound-post. The crwth is mentioned by Davies Barrington, a Welsh Judge^ who relates that he knew one John Morgan_, born 1711, in the Island of Angelsey, who still played the crwth. It was also heard at Carnarvon as late as 1801, but it is now entirely out of use. The Viols (Figs. 6, 7, 8, and 9).— The viol was invented in the fifteenth century and passed out of use in the eighteenth. It succeeded the mediaeval fiddle and preceded the violin. The treble viol (Fig. 7) was also called Viola da Braccio, or arm viol. The large bass viol (Fig. 9) was known as the Viola da Gamba, or leg viol, and was the predecessor of the The YiOLiN Family. 53 violoncello. The viol differs from the violin ill having deeper ribs and a flat back which is sloped off at the top. The instru- ment Avas made in four sizes, treble, tenor, bass, and double bass. The last indeed is still in use, for as the double bass of the violin it is often seen in the modern orchestra. The viols are tuned in thirds and fom-ths instead of fifths. They lack the brilliancj of tone of the violins. The viola da braccio, or tenor viol, had originally six strings. The sixth string- was di'opped in the last century. The viols were at first used to assist the vocalists. They had frets made of catgut so that the player's art was restricted and cramped by those clumsy devices. The fine gradations of tone and emphasis of the violinist and 'cello player of to-day were unknown to the performer on the viol. Quite recently Mr. Ai-nold Dolmetsch, a musician of distinction, has revived the use of the viols, and he has given several concerts at which the viola da gamba and 64 The Violin Family. the viola d'amore were played with much technical skill and expression. The Yiola d'Amore (Fig. 10) is a tenor viol with sympathetic strings. It usually had seven gut-strings. The sj^mpathetic strings of fine steel pass through small holes drilled in the lower part of the bridge ; the number varies from seven to fourteen ; they were tuned in unison with the gut- string. The Eev. H. E. Haweis, in his delightful book, " Music and Morals," in his chapter on the predecessors of the violin, says that a player on the viola d'amore, when he drew the bow across the gut strings, must have " produced a kind of mixture, as when a piano is played without dampers or with a loud j)edal down. Some sensuous effects unknown to us were doubtless produced in this way ; but everything which tends to promote an unregulated echo is destructive of music proper just as much as a sound board which keeps echoing a speaker's voice is to that extent destructive of speech The Violin Family. proper. Such devices invariably dis- appear from musical instruments and orchestras as sounds grow more and more out of noise through the discipline of art into music." The Huedy-Gurdy (Fig. 11) ■was originally an ecclesiastical instrument, when it was called Organistrium, and it may be said to be a combination of the monochord and organ. It was played like the organ, by divided labour ; the performer being solely concerned with the keyboard while an assistant supplied the rotary or grinding motion which pro- duced the tone. The principle of the hurdy-gurdy is a viol sounded by a wheel instead of a bow. The keys are simply slides pushed back by the player, with projections to stop the strings. As the instrument is held with the keys dowTi- wards, these slides, when released, fall back by their own weight. About thirty- five years ago hurdy-gurdy players were often met with in the streets of London and Paris. I have a lively recollection of 56 The Violin Family. an old Spaniard who used to play in the City, while his two children danced the cachuca, and I frequently heard the hurdy-gurdy well played hy an Italian who used to frequent Lang-ham Place and the neighbouring" streets in the evening. The French call the hurdy-gurdy Vielle. A Player on the Aechltjte (Chittarone). The Lute Family. Ax instrument called El Oud, descended tliroag'h the ancient " Nofre " from the lyre (Fig*. 1), was brought by the Moors to Spain, where it is still known as the Laud. From Spain it was in- troduced into other European countries, and experienced varioiis modifications. The French called it Luth, the Italians Liuto, the Germans Laute, and the Engiish Lute. The lute of Shakespeare's time (Fig. 2) has its neck bent back at a sharp angle ; this characteristic was derived from its Arab ancestor. The object of this sharp angle was to give bearing upon the nut or chief fret. The double- necked bass lute called Theorbo (Fig. 3) was invented about a.d. 1600. The name of this instrument is, accordino- to some accounts, derived from 58 The Lute Family. the name of its inventor, a Signor Tiorba. According to others, it was invented by Bardella, an Itahan, about the year 1600 ; others, again, attribute its invention to Hottemann, a German, who excelled as a performer on this instrument in France about 1650. Engel thinks that all these persons merely introduced some improve- ments in this species of Lute which is of older date than has generally been sup- posed. The Theorbo differs from the Lute chiefly in having two sets of timing-pegs, the uppermost of which contains the pegs for eight bass strings, which are of con- siderable length and power. The Archlute (Fig. 4) is in shape similar to the Theorbo, but it had a different arrangement of strings. Several of the strings were doubled, the additional string being tuned an octave higher than the other. The Chitarrone (Fig. 5) is a Theorbo Avitli an extra- ordinarily long neck, by which the length of the eight bass strings is considerably increased. The laro-est instruments of The Lute Family. The Lute Family. 61 tliis kind were made some centuries ago in Eome. Tliej were used in the theatre for accompanying the voice before the Harjisi- chord was introduced for this purpose. The finest instruments of the Lute kind were made in Italy, especially at Bologna, Rome, Venice, and Padua (Engel) . The Paxdukina (Fig. 6) is the smallest lute, and the Pandora (Fig. 7), with mre strings and a flat back was very popular m England 300 years ago. The Cittern (Fig. 8), which has been called the English guitar, was strung with wire instead of gut, and the Gitteen (Fig. 9) was an early form of guitar derived from Spain, but originally introduced, like the lute, into Southern Europe by the Moors. The gittern had five double strings of wire or catgut. The Mandoline is the last remaining descendent of the lute family. It is very popular at the present time. It is, in its present form, a later develop- ment of the soprano of the mandora, as the pandurina was the soprano of 62 The Lute Family. the lute. The present mandolme is a Neapolitan instrument. It is tuned in fifths, like the violin, and has a fretted finsrer-board. The Harp Family. A LEGE^'D of great aiitiquity ascribes the first idea of the lyre to the god Hermes or Thoth, who, while wandering" on the banks of the Nile, is said to have found the shell of a tortoise dried in the sun, and to have used it as the framework of the first musical instrument that was ever constructed, fitting it with three cords formed from the dessicated tendons of the animal. Hipkins remarks that, although the outline of the harp has varied at different epochs and in different countries, the relation of its proportions to the musical scale — a condition of sym- metry in musical instruments— is in the harp very close, so that, whether it be Egyptian, Persian, mediaeval, or Celtic, it is always fashioned in beauty of line and characteristically adorned. Engel infers, from the shape of the harp in 64 The Harp Family. its most primitive condition, that it originally consisted of nothing more than an elastic stick bent by a string. " The Damaras, a native tribe of South- Western Africa, actually use their bow occasionally as an instrument when they are not engaged in war or in the chase. They tighten the string nearly in the middle by means of a leathern thong, whereby they obtain two distinct sounds, which, for want of a soimd-board, are, of coui'se, very weak, and scarcely audible to any one but the performer. Some neigh- bouring tribes, however, possess a musical instrument very similar in appearance to the bow, to which they attach a gourd, hollowed, and open at the top, which acts as a sound-board. Again, other African tribes have a similar instrument, superior in construction, only inasmuch as it contains more than one string and is provided with a somid-board consisting of a suitable piece of sonorous wood. In short, the more improved we find these The Harp Family. The Hakp Family. contrivances, the closer they approacli oiu- harp. And it could be shown that much the same g^radual jjrogress towards l^erfection, -svliich we observe in the African harp, is traceable in the harps of several nations in diiferent parts of the world." The oldest monuments of the harp are Egyptian. Bruce, the traveller, on entering- a burial place at Thebes, discovei-ed hai-ps painted on the wall, supposed to be as old as the thirteenth century u.c. The Eg-yptian and Assyrian harps varied greatly in size, in the nmnbei- of string's and in ornament. The shape of the ancient harp differed from the modern in having- no pillar (Fig-. 1). Dante speaks of the harp being- impoi-ted intt) Italy from Ireland. Vincentio GaHlei, in the sixteenth century, alludes to the continued excel- lence of the Irish in making- and plajong- on the harp, and also ascribes the invention of the triangadar harj) to the Irish, and from a figure upon a coin of Cunobeline it is supposed to have been in use at least (>8 The Harp Family. twenty-four years before the Cliristian era. Fig. 1 represents the Egyptian harp. Fig. 2, the small Irish harp, was a simple diatonic instrument. In order to produce a semitone the player had to place his finger upon a string, which deprived him, for the time being, of the use of one hand. A Tyrolese conceived the idea of fixing a series of Httle hooks into the curve of the harp, and when an "accidental" was required the player turned the hook against the string and produced the semitone. By this device he was also deprived of the use of one hand while tui-ning and replacing the hook. In 1720 a great improvement in the harj) was made by a Bavarian named Hochbrucker, who contrived the fii'st pedal mechanism, so that the jjlayer had both hands free, while he raised the string a senntone by using his foot. The j)edals in Hochbrucker's harp caused little hooks to act upon the strings. A French- man named Cousineau fixed each string between two pieces of metal placed beneath The Hakp Family. 69 the bridge-pin, and b}^ means of the pedal mechanism the metal pieces were made to grasp the string and shorten it. The perfected double-action harp was invented by Sebastian Erard in 1801, and jjatented in 1809. Erard's great improvement was in contriving a system of discs to act upon the strings successively with a partial revolution, the first movement of the pedal serving to shorten the strings to produce the first rise of a half-tone, and the second movement to attain the whole tone. Fig. 3 called the large Irish harp. Fig. 4 a minstrel harp, and Fig. 5 a Welsh harp with three rows of strings (two rows tmied diatonic- ally in unisons, the third or inner row to supply the sharps and flats) are excellent specimens of ancient harps in the Galj)in collection. The Harpsichord Family. In tracing the develoj)iiient of the harpsi- chord and pianoforte we must consider the construction and method of playing of three very ancient instruments bearing a strong family resemblance. The Dulcimer (Plate XI. Fig. 1) is stiU in use, and is a triangular box strung with wires, which are struck with small hammers. The Psaltery (Fig. 1) is a species of Dulcimer pla} ed with a plectrum, and the Citole, or little chest, is a similar contrivance twanged with the fingers. In each of these primitive musical instru- ments we have the resonant box, the prototype of the pianoforte sounding- board and the metal strings. The idea of the application of the key-board to the psalter}' was undoubtedly borrowed from the organ, Avliich was the first instrument The Harpsichord Family. The Harpsichokd Family. 73 with this device. The keyed psaltery was called Clavicytherimn (Fig. 2) from clavis, a key, and cithara, a harp, and it was introduced by the Italians about a.d. 1400. Attached to a lever at the end of each key is a sKp of wood called a jack, and the strings are plucl-ed by means of small portions of hard leather fitted to the jacks. At about the same period was invented a kindi'ed application of the keyboard to the dulcimer, which, called the Clavichord, had metal strings, struck from below by metal pins or tangents. But as the clavi- chord is the direct descendant of the dulcimer and parent of the modern pianoforte, a detailed description of its construction and use will follow the members of the harpsichord family. The ViEGiNAL (Fig. 3), or Clavicymbal, was much in vogue in the sixteenth and seventeenth centuries. The Virginal is said to have obtained its name from having been intended especially to be played by young ladies. According to 74 The Harpsichord Family. Engel, "The statement of some writers, that it was called virginal in compliment to Queen Elizabeth, is refuted bj the fact of its being first mentioned among the musical instruments of King Henry VIII., in the beginning of the sixteenth century. Probably the name was originally given to it in honour of the Virgin Mary, since the virginal was used by the nuns for accompanying their hymns addressed to the Holy Virgin." It was made in various sizes, but always small in comparison with our present square pianoforte, which it resembled in shape. Queen Elizabeth was said to be a skilful performer on the virginal. In Shake- speare's time a virginal generally stood in the barber's shops for the amusement of their customers. The virginal is a decided improvement upon the clavicytherium. When a key is depressed, a piece of crow quill or prepared leather attached to a small block centred in the wooden jack plucks the string and sets it in vibration. When the The Harpsichord Family, The Harpsichord Family. 77 key is allowed to fall, a small piece of cloth fixed in the top of the jack checks the vibrations of the string. The Spinet (Figs. 5 and 6) is merely a modification of the virginal. It has one row of kej'S and one string of thin brass or steel wire to each note, and was made either in a pentagonal form (Fig. 5) , or, at the end of the seventeenth centiuy, wing- shaped (Fig. 6) . " The oldest known spinet," says Hipkins, in his treatise on the pianoforte, "is dated 1490 and was shown at the Bologna Exhibition in 1888. Existing records show how much this instrument came into favour about that epoch. When, in 1509, the Chevalier Bayard, the famous knight without fear or reproach, was severely Avounded at the Siege of Brescia he was carried to the house of a nobleman, whose wife and daughter nursed him and entei-tained him during his convalescence by playing to him upon the lute and espinette, as the French called the spinet. The sound was excited 78 The Harpsichokd Family. by a little point of quill projecting at a right angle, as described above. The name spinet is derived from spina, the Latin for thorn. Fig. 5 is an Italian and Fig. 6 an English spinet. Fig. 4 is the Scheitholt, a rustic sonnet played mth a quill held between the fingers, and parent of the zither. The Harpsichord (Fig. 7), upon Avhich I have heard tin* Rev. F. W. Galpin play Handel's music written for that instru- ment, is a specimen in a fine state of preservation. It has two keyboards or manuals . The lower keyboard, actin g upon two sets of strings in unison and one set an octave higher, is the louder in tone ; the upper keyboard, which acts on one set of strings onl}', is tlie softer. But the lower keyboard can be made to act on either set of strings separately by means of stops pressed by the hand of the performer. Tlie strings are plucked by cpiills, and the jirinciple of the harpsichord is the same as that of the virginal and spinet. M. Fetis, in his The Harpsichord Family. The Harpsichord Family. 81 sketch of the " History of the Pianoforte," refers to the numberless attempts to make the harpsichord capable of expression in playing. He says : " Harpsichords Avere constructed with more than twenty different modifications to imitate the sound of the harp, the lute, the mandoline, the oboe, bassoon, flageolet, violin, and other instruments. In order to produce these different effects new rows of jacks were added, which were furnished with materials of the softest kind and most conducive to expression ; and yet with all the complications of stops, springs, exti'a rows of kej's, and Venetian swells over the strings, the grand secret — the real shading of the ;piano and forte were still wanting. Nothing better was devised for augmenting or diminishing the sound than to put in motion different rows of jacks, so as to with- draw them from or approximate them to the strings at pleasui'e." A harpsichord, which exactly resembled a grand pianoforte in outward form, cost one hundred guineas. The Piano Family. The Clavichord, which iiiiist be con- sidered as the direct ancestor of the piano- forte, derived its name from clavis — key, and chorda — a string. Its form is that of a small square piano. It has no quills, jacks, or falling hammers ; the tone is produced bj little brass wedges placed at the ends of the keys, which, when put down or struck, press against the strings acting both as hammer and bridge to each. The clavichord when played by a good musician was capable of some expression, described by an old -writer as "^of a melancholy kind, something like the eifect of the close shakes on the violin." The same writer says that he had the extreme pleasm*e of hearing Emanual Bach touch the "favom-ite clavichord, in 1772, at Hamburg, when he threw away such The Piano Family. Ho tlioughts and execution in liis preludes as alone would have set up a young professor and have estabhshed the character of a great musician. In pathetic and slow passages on this instrument wlienever hf» had a long note to colour he absolutely produced the effect of a cry of sorrow and complaint such as could onl}' be effected on the clavichord, and perhaps by himself." The antiquity of this instrument is very great among modern musical inventions. There is a description and a representation of it cut in wood in the Musica getutscht, l.and <>«. fill. All rh^ aliove Outfits Carriage Paid. TESTIMONIAL.— The Author of " The Violin : How to Master It," says : " Cremona Villa, August. " Denr Sir,— I have received the old Italian Violin in safety, and I must compliment .vou on the success with which you have accomplished this diffi- cult restoration. The work displays skill and patience of the hisjhest order, equal to the best of the kind that I have t-een. No one need hesitate to entrust you with the most valuable Violin for adjustment or restoration. — Faithfully yours, " W. C. Honeyjian." 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