century was provided with a mouthpiece, ' judging from a carved specimen on an ivory capsa or pyxzs dating from the period 1mmed1ately preceding the fall of the Roman Empire, preserved among the recious relics at Xanten.

Ailer the fall of the Roman Empire, when instrumental music had fallen 1nto disrepute and had been placed under a ban by the church,

From Conrad Cichorius, Die Relze/4 der Trazunsaule, by permission of Georg Reimer I IG. 1.-Roman Cornua and Buccina.

the art of play ing upon such highly-developed instruments gradually dled out 1n western Europe W'1th the disappearance of thec1v1l1zation and culture of the Romans, the skilled crafts also gradually vanished, and the art of making metal pipes of delicate calibre and ol bending them was completely for otten, and had to be reacquired step by step during the middle agesirom the more enlightened East. The names of the instruments and representations of them survived in MSS and monuments of art, and as long as the West was content to turn to late Roman and Romano-Chr1st1an art for 1tS models, no difficulties were created for the future archaeologist. By the time the Western races had begun to express themselves and to develop their 0

character1st1cs, 1n the 11th century, the arts of Persia,

Arabia and the Byzantine Empire had la1d their mark upon the West, and confusion of models, and more especially of names, ensued Tl1e greatest confusion of all was created by the numerous translations and glosses of the Bible and by the attempts of miniaturists to illustrate the principal scenes. In Revelat1o11, for instance (ch lll), the seven angels with their trumpets are diversely represented th long tubas, with cun/ed horns of various lengths, and th the buisine, busaun or posaune, the descendant of the buccina. We know from the colouring used 1n illuminated MSS., gold and pale blue, that horns were made of metal early in the middle ages. The metal as not cast 1n moulds but hammered into shape. Viollct le-Ducz reproduces a miniature from a MS of the end of the 13th centurv (Paris, Bibliothèque du corps législatif), in which to metal- orkers are shown hammering two large horns. l'ne early medieval horns had no mouthpieces, the narrow end being merely linished with a rim on which the lips rested. The tone suffered in conse-CU

lirl I I W V quence, being Un

|| g | -3 -33 -33 certain, rough and

lr, ~~ 1 (jj-I) |33 tremulous, where

forel E: “Las 1nd1c-

ate y t n

5 % % known as iuzlgirzncié

a ., :§ i'{4 és » H Est vox tremula; '§§ /, ,, ., . Y /' X77 ' Y ' sicut est sonus M'//' I; 1 /V 9/ liatus tubae vel

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m' ~ V €“% vocatur quzlzsmafg

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"JL 5 '15 - 5' bugle-horn ozr bull'; horn was extensively

used as a

signal instrument

on land and sea (see BUGLE), by the night-watchmen in cities, in the watch tower of the feudal castle and by foresters and FIG 2 -Medieval Hunting-Horn with the

Tablature in use in the 14th Century.

See Bock, ” Gebrauch der Horner im Mittelalter, " in Gustav Heider's M zttelalterlzche Kunstdenkmaler Ostenezchs (Stuttgart, 18581860 2 lgwlzonnaire razsonne du mobzlzer frangazs (Paris, 1889), ii p. 246. 3 Engelbertus Admontensls in De Musica Scriptures, by Martin Gerbert, Bd. ii. lib. 11. cap 29; and Edward Buhle, D1e Muszkalzsrhen Instruments zn den Mmzaturen des fruhen Mzttelalters, pt. i., “ Die Blasmstrumente ” (Leipzig, 1903), p 16. huntsmen. The hunting-horn was generally represented as small 1n the hunting scenes which abound 1n illuminated MSS. and early printed books; it was crescent-shaped and was worn slung by a leather strap over one shoulder and resting on the opposite h1p. When played it was held with the wide end curving u wards in front of the huntsman's head. A kind of tablature i)or the horn was in use in France in the 14th century; an example of It is here reproduced (fig 2) from a 1 th-century French MS. treatise on venery 4 Only one note is 1n<il1cated, the various calls and signals being based chiefly on rhythm, and the notes being left to the taste and skill of the huntsman. The 1ntertprfitation 5 of the Cornure de chasse de veue seen in the figure is as o ows:

ri-'St liDC= J: J J J J J J J

Second lm== J 0 0 J J ac J J JI

Th1r<11m@= J oc J J: 0 J-J J JI

In the first poem is given a list of these signs with the names by which they were known in venery.

In the 16th century in England the hunting-horn sometimes had a s iral turn in the centre, half-way between mouthpiece and beli end? the extra length was apparently added solely in order to lower the pitch, the higher harmonics not being used for the hunting calls. In George Turbevile's Noble Arte of Venene (1576, facsimile reprint, Oxford, 1908) the “ measures of blowing according to the order which is observed at these dayes in this Realme of Englande " are given for the horn in D. One of these, given in fig. 3, is the English I6th-century hunting call, corresponding to the 14th-century French Cornure de chasse de veue given above. Illlhmfbvwamznorh kmuzmoum. with tourzminnn. gliiiilniiilaiiilaillsiiiiniiiiuuiiinuiln Euuxuxxxxxxxlllxxxxxxxxxxxxxxl

""' HQ! Adqi 0 ~$¢, DC 1 1 n !=!|||||l||||||n|nuuuinulniuliiulln

From Turbevile's N able Arte /If Venene (1576), by permission of the Clarendon Press. FIG 3.-Hunting Call.

The hunting-horn, whether in its simplest form or with the one spiral, was held with the bell upwards on a level with the huntsman's head or Just above it.°

A horn of the same line calibre as the French horn, 3 or 4 ft in length, slightly bent to take the curve of the body, was in use 1n Italy, it would seem, in the 15th century." It was held slanting across the body w1th the bell already slightly parabolic, at arm's length to the left side.

The hunting- and post-horns were favourite emblems on medieval coats of arms, more especially in Germany 8 and Bohem1a. It is necessary at this point to draw attention to the fact that the French horn is a hybrid having aliinit1es with both trumget and primitive animal horn, or with buccma and cornu, and t at both types, although frequently misnamed and confused by medieval writers and miniaturists, subsisted side by s1de, evolving independently until they merged in the so-called French horn. Both buccina and cornu after the fall of the Roman Empire, while Western arts and Le Trésor de vénene par Hardouzn, sezgneur de Fontaznes-Guénn (edited by H. Michelant, Metz, 1856); the first part was edited by ]érome Pichon (Par1s, 1855), w1th an historical introduction by Bottée de Toulmon.

5 As worked out by Edward Buhle, op. at, p. 23. 6 See Turbevile, op. czt, also du Fouilloux, La Vénene (Paris, 1628), p. 70; cf. also editions o 1650 and of 1562, where the horn is called trompe, used with the verb corner; Illuliana Bernes, Boke of St Albans (1496), the frontispiece of whic is a hunting scene showing a horn of very wide bore, without bell. Only half the instrument is visible.

7 See “ Reliure italienne du xv” siécle en argent n1ellé. Collection du Baron Nathaniel de Rothschild, Vienne, " 1n Gazette archéologzque (Paris, 1880), xiii. p. 295, pl. 38, where other instruments are also represented.

8 See ]ost Amman, Wappen und Stammbuch (1589). A reprint 1n facsimile has been published by Georg H1rth as vol. 111. of Lwbhazber Bzblwthek (Munich, 1881). See arms of Sultzberger aus T1rol (p 52), “ Ein jagerhornlin, " and of the Herzog von Wirtenberg; cf. the latter with the arms of Wurthemberch 1n pl. zgxn. vol. 11. of Gelre's Wappenboek on armonal de 1334 d 1372 (mi matures of

coats of arms 1n facsimile) edited by Victor Bouton (Paris, 1883).