Popular Ballads (vol. i., 1882), with an introductory note on similar legends See also H L Ward, Catalogue of Romances, vol. i., where the relation between Havelok and Horn is discussed; H-1st lztt. de la France (vol. xxn, 1852), W. Soderhjelm, Sur Vzdentzté du Thomas auteur de T rzstan et du Thomas auteur de Horn (Romanza, xv., 1886); T Wissmann, “ King Horn ” (1876) and “ Das Lied von King Horn " (1881) in Nos 16 and 45 of Quellen und Forschungen zur Spr. und C1/lturgesch. d german. Volker (Strassburg and London); Reznfrul von Braunschwe-Lg, a version of the legend of Henry the Lion, edited by K Bartsch (Stuttgart, 1871), and a further bibliography in O Hartenstein, Stud-Len zur Hornsage (Heidelberg, 1902). HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Képas). The Weapons which project from the heads of various species of animals, constituting what are known as horns, embrace substances which are, in their anatomical structure and chemical composition, quite distinct from each other; and although in commerce also they are known indiscriminately as horn, their uses are altogether dissimilar. These differences in structure and properties were thus indicated by Sir R. Owen:- “ The weapons to which the term horn is properly or technically applied consist of very different substances, and belong to two organic systems, as distinct from each other as both are from the teeth. Thus the horns of deer consist of bone, and are processes of the frontal bone; those of the giraffe are independent bones or 'epiphyses' covered by hairy skin; those of oxen, sheep and antelopes are ' apophyses' of the frontal bone, covered by the cor1um and by a sheath of true horny material; those of the prong-horned antelope consist at their basis of bony processes covered by hairy skin, and are covered by horny sheaths in the rest of their extent. They thus combine the character of those of the giraffe and ordinary antelope, together with the expanded and branched form of the antlers of deer. Only the horns of the rhinoceros are composed wholly of horny matter, and this is disposed in longitudinal fibres, so that the horns seem rather to consist of coarse bristles compactly matted together in the form of a more or less elongated sub-compressed cone." True horny matter is really a modified form of epidermic tissue, and consists of the albuminoid “ keratin.” It forms, not only the horns of the ox tribe, but also the hoofs, claws or nails of animals generally, the carapace of the tortoises and the armadillo es, the scales of the pangolin, porcupine quills, and birds' feathers, &c.

Horn is employed in the manufacture of combs, buttons, the handles of walking-sticks, umbrellas, and knives, drinking-cups, spoons of various kinds, snuff-boxes, &c. In former times it was applied to several uses for which it is no longer required, although such applications have left their traces in the language. Thus the musical instruments and fog signals known as horns indicate their descent from earlier and simpler forms of apparatus made from horn. In the same way powder-horns were spoken of long after they ceased to be made of that substance; to a small extent lanterns still continue to be “ glazed ” with thin transparent plates of horn.

HORN (Lat. cornu; corresponding terms being Fr. cor, lrompe, Ger. Horn; Ital. coruo), a class of wind instruments primarily derived from natural animal horns (see above), and haw ing the common characteristics of a conical bore and the absence of lateral holes. The word “ horn ” when used by modern English musicians always refers to the French horn. Modern horns may be dndded into three classes: (1) the short horns with wide bore, such as the bugles (q 11.) and the post-horn. (2) The saxhorns (q 'v.), a family of hybrid instruments designed by Adolphe Sax, and resulting from the adapta tion of valves and of a cup-shaped mouthpiece to instruments of the calibre of the bugle. The Flugelhorn family is the German equivalent of the saxhorns. The natural scale of instruments of this class comprises the harmonic from the second to the eighth only. (3) The French horn (fi. cor de chasse or Irompe de chasse, cor d pistons; Ger. Waldhorn, Veutzlhorn; Ital. como or corno di caccia), one of the most valuable and difficult wind instruments of the orchestra, having a very slender conical tube wound round in coils upon itself. It consists of four principal parts-the body, the crooks, the slide and the mouthpiece.

RN 697

(a) The body is the main tube, having a bore of the form known as trunco-conica, measuring approximate y 7 ft. 4 in in length, in which the increase in the diameter of the bore is very radual in proportion to the length, the cone becoming accentuated only near the bell In the valve horn the bore is only theoretically conical, the extra lengths of tubinig attached to the valy es being practically cylindrical. The body is col ed spirally, and has at one end a wide-mouthed bell from II to 12 in. in diameter having a parabolic curve, and at the other a conical ferrule into which ht the crooks (b) The crooks (Fr. corps or tons de rechange; Ger. Krummbogen, Stzmmbogen, Etnsetzbogen) are interchangeable, spiral tubes, ta ering to a diameter of a quarter of an inch at the mouthpiece end andpvarying in length from 16 in. for the Bb alto crook to 125 in for the Bb basso. Each crook is named according to the fundamental tone which it produces on being added to the body. By lengthening the tube at will the crook lowers the pitch of the instrument, and consequently changes the key in which it stands. Although the harmonic series remains the same for all the crooks, the actual sounds produced by over blowing are lower, the tube being lon er, and they now belong to the key of the crook. The principle of the crook was known early in the 17th century; it had been applied to the trumpet, trombone and Jagertrummct 1 before being adapted to the horn. Crooks are merely transposing agents; they are powerless to fill up the gaps in the scale of the horn in order to make it a chromatic or even a diatonic instrument, for they require time for adjustment. The principle of the crook doubtless suggested to Stolzel the system of valves, which is but an instantaneous application of the general principle to the individual notes of the harmonic series, each of which is thereby lowered a semitone, a tone or a tone and a half, as long as the valve remains in operation. The body of the horn without crooks is of the length to produce 8 ft. C, and forms the standard, being known as the alto horn in C, which is the highest key 1n which the horn is pitched. The notes are sounded as written. (c) The mouthpiece of the horn differs substantially from that of the trumpet.” There is, strictly speaking, no cup, the inside of the mouthpiece being, like the bore of the instrument itself, in the form of a truncated cone or funnel. Like the other pai ts of this difficult and complex instrument, the proportions of the mouthpiece must bear a certain undefined relation to the length and diameter of the column of air. The choice of a suitable mouthpiece is in fact a test of skill; the shape of the hp of the performer and the more special use he may wish to make of either the higher or the lower harmonics have to be taken into consideration. In orchestral music the part for first horns naturally calls for the use of the higher harmonics, which are more easily obtained by means of a somewhat smaller and shallower mouthpiece 3 than that used upon the second horn which is called upon to dwell more on the lower harmonics.

(d) The tunzng sl-Ldes (F r. eoultsses; Ger Stzmmbogen) consist of a pair of sliding U-shaped tubes fitting tightly into each other, by means of which the instrument can be brought strictly into tune, and which also act as compensator's with the crooks. On these tuning shdes, placed across the ring formed by the coils of the valve-horn, are fixed the pistons with their extra lengths of tubing; as the connexion of the pistons with the body of the horn is made through the slides, the value of the latter as compensator's will be readily understood. Those accustomed to deal with instruments having fixed notes, such as the piano and harp, hardly realize the extreme dithculties which confront both maker and performer in intricate wind instruments such as the horn, on which no sounds can be produced without conscious adjustment of hps and breath, and but few without the additional use of some such contrivance as slide, crook, piston or of the hand 111 the bell, in the case of the natural or hand horn. The production of sound in wind instruments has a fourfold object: (1) pitch; (2) range or scale of available notes; (3) quality of tone or timbre; (4) dynamic variation, or Am, , s, ,¢s crescendo and diminuendo. The pitch of the horn, as of other wind instruments, depends almost exclusively on the length of the air-column set in vibration, and remains practically uninfluenced by the diameter of the bore. In the case of conical tubes in which the difference in diameter at the two extremities, mouthpiece and bell, is very great, as in the horn, the pitch of the tube will be slightly higher than its theoretical length would warrant! When, for instance, three tubes of the same length are souuded-No. 1, conical diverging; No. 2, l§ ee Michael Praetorius, De organograph-ia (/Volfenbuttel, 1618), tab in, where crooks for lowering the key by one tone on trumpet and trombone are pictured

2 See Victor Mahillon, Les Elements d'ac0ustzq'ue mustcale et instrumenlale (Brussels, 1874), pp 96, 97, &c; Friedrich Zamminer, Dza Musik und dze mustkalzschen Instrumente (Giessen, 1855), p. 310, where diagrams of the mouthpieces are giy en

3 'See Joseph Frohlich, Vollstandtge theorettsch-praktzsche Muszkschule (Bonn, 1811), iii. 7, where diagrams of the two mouthpieces for first and second horn are given.

4 Qee Gottfried Weber, “Zur Akustik der Blasinstrumente, " in

P Allgemeine m-uszkalzsche Ze-Ltung (Leipzig, 1816), p 38.