NEW-YORK TRIBUNE ILLUSTRATED SUPPLEMENT. 7

HORNS ANDHORN BLOWERS ieum it K-w . iardens i British Museum. A w.rh which sii a . THE FRENCH of tho i>riuoco. T HORN IN the MODERN ' ' ¦ • ¦ ¦ -i AND :if -ANTIQUITY 6ANC- Ifrom seeing ...... TITVOF INSTRUMENTS OF THE Mown. "P TRUMPET KIND. an 1 intos iting drink a.i th: trumpet," Of the multitudinous voices of the modern will of the I; eal Si it is made known orchestra there is nnnt- that calls up such re- by the Spirit himself • . freshing and invigorating pictures in the fancy :::¦¦. ting th nt priest so to do." In as a. flourish on the . It is a sadly he ¦n< h trump t is sounded ta named instrument '.n English, but in the mu- nials, and in Polynesia it is bl sical nomenclatures of other peoples its name is ¦ esston walks I mple, wan characteristic and iittimr. It is •'. *\Yald- m in h to battle, a 3 klj horn"— f.m-st horn—of the Germans; and. ver- irshipped En the ioral - im- ily,itspeaks most eloquently of the deep green- poued in their name. In China and J wood and its tiered denizens, of the merry- nch is found 0 1 md chase, and in its tender, dreamy moods of ham- .• :w atchmen.

¦ adryads and the dainty folk who hid.? in hol- Magical \u0084 lows and lurk in knotted boughs and under phai.t," vvhi me A I gnarled roots. The French have never been f elepl flattered by the tribute which we have paid iiive 1 he mouth h then in assigning to them the most poetical c near 1 pex. and • instrument in all the harmonious company. though they have returned the compliment by the Dahon it Ibe W r!Va F tli of 185V! railing an Instrument which is neither a horn ¦¦'. ill rem mber. The a

¦ ¦ < ¦ nor English 'Cor anglais." To the French com- Roland' Horn in Ellope 1:. I t'¦ poser when he speaks the prosaic speech of the orchestral class it is simply "the horn," but Inde< >i. [( [ otenl when he thinks back to the instrument of which it is the latest evolution and remembers its d him to 1 ¦ ¦ in I characteristic language it is the "Cor de Chasse" its — hunting So, Italian, tae feet ofhis the horn. too. the who. ' Mozart's when he says "corno." thinks "corno di caccia." *- :. 1 1 : Tb.> orchestral instrument is. indeed, nothing n m; n horns In the Meti T ¦ more than the horn which once rang: jocund Etrusi an born, almost through the woods and glades and over the hills '• . : Of mediaeval Europe. Th< R music t,(i;an the hr>rn ha? b»en associ- Since ¦ • it ated with the hunt. In its more recent form • • Ind mouthpiece; thi ... 1 has led the hunt for game, but as a bugle or . man a.= it did trumpet it still leads the hunt for ; it became the brass its before coiled tube with ..... ,. gracefully bill which it is now. In those rt.iring ¦ R.i.i >v\ i \< nil sin 1 hoars,* . vn . earlier days its voice was emitted by ¦ and wilder conches, the bones of wild animals ¦ - ... . . men. the horns of oxen, buffaloes, rains or :inte- 1..J.-S, the tusks r>f the elephant. Th^r= sir a Brown in classifying and cataloguing the in- multitude of Tv.ms ..f a multitude of varieties in struments ;.t the Metropolitan Museum of *.- the Crosby Brown collection "fmusical instru- in a lecture on •'The Gentle Art of Horn -rrt ments in the Metropolitan Museum of Art- iii-r." delivere-l at the International Loan Ex- horns of conch shells, horns of horn, horns of hibition in London- last year, says of the \on- bone, horns of Ivory, horns of w 1. horns of eration felt fo. the Shofar: "'Jewish tradition m-tal. It would be gratifying to one's love of has aui-i-juted to ilur Uam's-horn Trumjift, or study ifhe could believe that by looking at them Hhofar, the p »wer of frightening away Satari. in the order hen- set down he might observe so and so carefully are these horns preserved many progressive steps in musical culture. But u:at ...... -li'-s without a son this will nut do. Nature provided a rude in- it is expected among the strict Jews lhat the strument all but ready made in th.- conch shell. instrument should be buried with him." which ne.;d:d only the drillingof a mouth hole: But the reverence in which the Shofar is held i; with the -\\s is rothing compared production of sounds: hut so she did in the horns ' superstitious av.e inspired by th sacred trumpet of animals like the ram. ox, buffalo ami ante- of the Indians who live on he inks of the Rio lope, and the dwellers on the coast and islands j Haupes. a tributary of til" Rio Negro, in South may to < ailed the of "ur own Csulf of Mexico dance the America. Thi instrument is 'Juru- mv.-i. of , flutes, and all their paris." and i; kept hidden from pi fane eyes fellows in New-Orleans, then go back to their in the bed of a. stream flowing through a dense plantations and be summoned to dinner l>y the forest. [ts presence n,iv'.i ev-n the waters of hoars ¦ bellowings of a conch shell. A tribe of the stream sacrosanct;' itis taboo to drink them Indians dwelling on the banks of the Rio or bat in Mn:. vVomen may !:"t look upon death, may Haupes. in South America, may look w ith su- the instruroent <>n pain of nor youths perstitious fear and awe at their wooden trum- until they have undergone initiatory fastings .-cojrj;.:^'n. "juruparis" p.-i. which is so sacred that it must never be and At feasts the is seen by the profane eye of a woman, liut y«.ur brought out ?.t night and blown outside th- !\<; 11..|:\ (OILED IMMIN.; S-Ai.-s nnan will wake the Alnine echoes houses of entertainment] Specimens an p:-: WITH TUBE. HORN WITH sriKAL TIBK himself, 1 with his wooden trumpet, fashioned by and regarded, perhaps, with affection, but never md ll , wity of com v.kh veneration. Largely the distribution is a that has brought aboul the spiral convo matter of geographical locati< Coast peoples of the French horn. Few people looking U will use conches; inland peop. iin a stage of . »met or horn, Imagine savagery horn. U.ne and wood (by which we do would they are. The trumpet, if str tig] to Stt down the gentle Swiss as sav- r.oi mean "- ¦ ¦ '•! 1 : ighl feet long, the age?, however), and metal workers, metal. The nd th.- hor nteen feet T\ f culture attained byeach people degn musical for bringing I ruly length within th.- easy will the degree of artistic perfection ' determine ihow -i in ill But here the ob- the . reached by its instruments. Ith Both important ele- • server must bear another highly •-¦ horns. In one the . . ,in i in mind, namely, power ment the conservative : ¦ea •-1 ig linat the (luring pai I religious custom. of .! is wound in spiral onvolutions. Th the time of Moses the J-w^ had ' . Already ¦ at done Ihunter 1 flutes, lyre.-:, instruments of rhythm and trum- w ith i-as«> It was slung o\ er his shoul I- r, m 1 silver, you may go into any ortho- pets of but h Id hold the mouthpiece to his ¦ synagogue, and many reformed temples. dox : i. \ ¦¦ right free of the New . his to 1 too. for that matter, on the feast his hoi Atonement, Year ¦ r the Day of and hear the The hunting antiquity. horn has disapp* ire«l fron voice of a trumpet of unshakable orchestra, than symphony but not from modern "Shofar," which is nothing else •¦ It is the ¦ The cavalry bands of Germany v apex cut off. -so -- to a ram's horn with the md kettledrums, and fanfare! and possibly tipped with sil- gain an opening, ghtful inter! idea In the dance music New Year has ver. The feast of the assimilated of some "i the blowing of this feature from the ••memorial of able • harm In the ¦ by Israels great lawgiver, *' instituted the hunting horn, a ¦ harm quite distini 1 fron th wrote a little ard I>r. I-evin Saalschutz. who Itone of the Fren< h ho; n Th< history Hebrew music in the bok or the of ¦s of the bunting horn in New-York us century nd a big early part of the nineteenth well, though the instrument is ignored, I! metrical forms of book on the rhythmical and it professional organization kr was to the belief that Hebrew fcoetry. inclined Horn Club, which gives I which i' »-..,. the d;iys in t th calls blown un uu-stion .1- fortj instruments or more. The calls prescribed are to-day identical with the Yoik devotees of the hunting horn .m- Numbers, chapter x. ama- by Moses ir. the book of chiefly professional men, who meet foi ye alarm, then the %.•-. . ."-7: "'When blow an prai tii >¦ In the studio of Mr. Bitter, th.- sculptor, shall go earn:..- ;hat lie on the east parts for- on Hoboken Heights. Mr. Hitt.-r la himself a vnri. When ye blow an alarm the second skilful player, and Dr. Kiliani, Bayard Taylor's time, then the campa that lie on in. south side son i:.-l.i\v. Is another. There are about thirty congre- shci; take their journey. But when the members of the club, whk-h is ¦ .illh^i Hallall. together ye shall blow, gation is to be gathered and th>' novii ¦•> .ir>- |Jul through ,t course "1 but ye shall not sound an alarm." Whether or gprouts at every meeting by a profesakmal horn not I>r SaalschQtz's belief is correct, and it player. H. X K. may >v.-ll be, there is no question that the calls as he has noted them, or the calls very like them noted in 'History of Music.** Xaumann's From The < "hi< i?o P v~..i th- synagogues all over the' have been in ¦ Rev. Mr F. W. Gal- "Is th< re .1 rasy?" Hid for centuries. The f'AUVED IVOItY li >It\. IVORY UnltN WITH s!l.\li: Mni \Tl\i." Yes." pin. an English collector of musical Instruments. •Whatr 1 1 who has been very helpful to Mrs. John Crosoy 'The fa.ith cure.'