Part 12

This interesting relic of Handel is also worthy of notice from having been one of the best-constructed instruments of the celebrated harpsichord makers, the Ruckers family of Antwerp. It is not remarkable for any beauty of decoration beyond the conventional ornamentation of the period; but the structure shows great skill in the manufacture, and that the harpsichord had become nearly perfected in the middle of the seventeenth century.

The two key-boards were used for variety of tone. The lower key-board, the _jacks_ of which acted upon two sets of strings in unison, and one set an octave higher, was the louder in tone; the upper key-board, acting on one set of strings only, was the softer. But the lower key-board could be made to act upon one set of strings only, by means of stops drawn out by the hand of the performer. In touching the keys, a distinctive quality of tone may still be recognised, particularly in the higher notes, a reedy but soft and delicate _timbre_ testifying to the former beauty of the instrument. It may be assumed as certain that the keys are not of Handel’s time. We do not know when the present key-boards were put, or by whom, but the style of the white and black keys is undoubtedly modern. Neither can it be doubted that there were originally keys in keeping with the fashion of the harpsichord, which we may suppose to have been worn out, to account for the substitution of those existing. The case of deal, black japanned, the brass hinges, the ornamentation, and the mottoes are original. Inside the top is inscribed:――

_Sic transit Gloria Mundi_;

on the flap or folding of the top――

_Musica Donum Dei_;

and on the slip of wood above the upper keys――

_Andreas Ruckers me fecit, Antwerpiæ, 1651_.

There is a date on the sounding-board “1651,” and in the ornamental sound-hole are the initials “A. R.” Among the flowers represented on the sounding-board may be seen a concert of monkeys, one beating time, another playing the viol da gamba, etc. A third motto existed until about fifteen years ago――_Acta Virum Probant_. This was rubbed off by a workman engaged in mending the lock-board (upon which this motto was), which had been split.

As a musical instrument, this harpsichord has lived its life. It is not now capable of being tuned, and any attempt to improve the accord of it might prove disastrous by the sounding-board giving way altogether. It is, therefore, of consequence to the preservation of the woodwork that tuning should not be attempted.

JOHN BROADWOOD & SONS.

Letter to the Rev. G. Coxe, Twyford, Rector of St. Michael’s, Winchester:――

MY DEAR SIR,――Will you oblige me by certifying (if I am correct) the following:――

The celebrated Mr. Smith (or Schmidt) was Handel’s private friend, and amanuensis. This said Mr. Smith was presented by Handel with his favourite fine double-keyed harpsichord, made by the best makers of the day, Andreas Ruckers of Antwerpia, 1651. This said instrument you have heard repeatedly Mr. Smith play on. Mr. Smith was father-in-law to you as well as your sister, the late Dowager Lady Rivers; and at his death, the said harpsichord, together with a large collection of Handel’s oratorios, etc., etc., MSS., came into the hands of the Dowager Lady Rivers. This instrument was parted with to a Mr. Wickham, surgeon, who parted with it to the Rev. W. Hawtrey, Prebendary of Winchester Cathedral, upon the death of whom I purchased it at the sale of his effects; and in my possession it still remains. Is not this the identical instrument now spoken of? Your early answer to these queries, as the only living witness, will oblige.

Dear Sir, Yours faithfully, G. W. CHARD.

_P.S._――Will you oblige me by certifying on this sheet of paper, and returning it?

_Answer._

I certify that the above statement is correct, as far as my knowledge goes.

GEORGE COXE.

Twyford, _May 13th, 1842_. Witness to the above signature, SUSANNA GREGG. JAMES HARRIS.

[1] Figured and described in Lartet & Christy’s _Reliquiæ Aquitanicæ_, London, 1865-75, Pl. B. v., p. 48.

[2] The best instance is to be found in Lepsius’ _Denkmäler_, III. 106a., where a music-school of the Akhenaten period (about 1400 B.C.) is depicted.

[3] For coloured plate after this painting see Wilkinson’s _Ancient Egyptians_, Vol. I., Pl. xii. (facing page 480).

[4] See _Transactions of the Royal Society of Edinburgh_, Vol. xx., Part I (1850).

[5] _See_ E. Aldis, _Carvings and Sculptures of Worcester Cathedral_ (IV).

[6] _See_ illustration in _Ann. Arch._, IV., p. 37.

[7] _See_ illustration in _Ann. Arch._, iv., p. 98.

[8] For a more complete list of lute-makers see Von Lütgendorff, _Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart_, Frankfort, 1904.

INDEX

Abyssinian instruments, 20. Acocotl, 67. Adair, quoted, 81. Adufe, 25. Æolian harp, 4. African instruments in America, 82. Ajacaxtli, 72. Al-Farabi, lutist, 55-57. American Indian instruments, 58 _seq._ American Indians, metrical psalms of, 81. American Indians, musical performances of, 75. American Indians, North, musical talent of, 81. Anglo-Saxon instruments, 84, 86, 90, 94. Arab instruments, 3, 36, 48, 53 _seq._, 108. Arabs in Spain, 36, 56. Archlute, 101, 105. Ashantee, trumpet from, 2. Ash-shakandi, 55. Asor, 20. Assyrian instruments, 16 _seq._ Aulos, 31. Aztecs, instruments of the, 58, 59.

Bach, 115. Bacon, quoted, 125. Bagpipe, Celtic, 130. ” Greek, 130. ” Hebrew, 23. ” Irish, 130. ” mediæval, 102. ” Persian, 53. ” Polish, 130. ” Roman, 35. Bainbridge, inventor, 126. Banduria, 110. Bansi, 47. Barbitos, 27, 30, 33. Baryton, 116. Bassoon, 127, 128. Bass-viol, 114, 119. Basszinken, 128. Bells, Assyrian, 18. ” Buddhist, 80. ” Chinese, 39, 40. ” Egyptian, 14, 15. ” English, 131. ” Etruscan, 132. ” Hebrew, 25. ” Japanese, 46. ” Mexican, 73. ” Peruvian, 73, 80. ” Roman, 36, 132. ” hanging of, 131. ” ringing of, 131, 132. Bene, 11. Beni Hassan, painting at, 21. Bernhard, inventor of the pedal, 96. Beverley Minster, sculpture at, 97. Bîn, 49. Bird Organ, 129. Biwa, 44. Blasius, St., manuscript at, 89, 90. Bombardino, 127. Bombardo, 127. Bombulom, 97. Bone instruments, 58. Boscherville, St. Georges de, sculpture from, 99. Botuto, 68. Bow, 50, 55, 88, 90, 113, 119. Bridges, movable, 44. Bruce, his discovery of harps on frescoes, 11. Buccina, 35. Bûche, 118, 119. Budbudika, 47. Buddhism, 39, 43, 52. Buddhist Temples, bas-reliefs on, 43, 44. Bunibulum, 97. Bunting, quoted, 88. Burmese instruments, 2, 3, 42. Burney, Dr., quoted, 128.

Cachua, Peruvian dance, 79. Calamus, 34. Cambodia, temples in, 43. Capistrum, 34. Carians, pipes of the, 28. Carillon, 131, 133. Caroados, trumpet of the, 67. Castanets, Egyptian, 14. ” Greek, 32. ” Roman, 36. Cembalo, 122. Ceylon, instruments of, 51. Chalil, 23. Chalumeau, 127. Chang, 53. Chanrares, 73. Chatzozerah, 24. Chayna, 62, 79. Chelys, 28, 29, 33, 47. Chên, 40. Cheng, 6. Chhilchiles, 72. Ch’ih, 42. Chimes, 133. Ch’in, 43, 44. Chinese “Board of Music,” 78. ” instruments, 2, 3, 4, 6, 37 _seq._, 43. Ch’ing, 37, 38, 39. Chin-ku, 41. Chiriqui Indians, pipe of, 60, 79. Chiterna, 109. Chitarrone, 106. Ch’iu (wood), 41. Ch’un-tu, 40. Chorus, or choron, 93. Chu, 41. Chung, 39. Cionar cruit, 89. Cithara, 33, 84, 85, 94. ” Anglica, 89. ” Teutonica, 89. Cither, 109, 119. Cithern, or cittern, 102, 109. Citole, 86. Cittern, 102, 109. Clarin, 67. Clarinet, 127. Clarion, mediæval, 102. Clarseth, 110-112. Clavecin, 124. Clavicembalo, 6, 122, 124. Clavichords, 121. ” makers of, 122. ” prices of, 122. Clavicordo, 124. Claviorganum, 124. Conch trumpets, Hindu, 47. ” ” Mexican, 80. Confucius, 37, 39, 40, 43. Congo, instrument of the, 2. Constantinople, obelisk at, 95. Cor anglais, 127. Corno inglese, 127. Cornu, Etruscan, 32. ” Roman, 33, 35. Corthol, 128. Courtaut, 128. “Chronicon picturatum Brunswicense,” quoted, 91. Crotala, 36. Crowd, _see_ Crwth. Crusaders, 36. Crusmata, 36. Crwth, 89, 90, 113. Cuddos nut, instrument made of, 52. “Curtail,” A, 128. Cymbals, Assyrian, 18. ” Egyptian, 14, 15. ” Greek, 32. ” Hebrew, 25. ” mediæval, 103. ” Roman, 36. Cymbalum, 36, 97. Cythera (cithara), 109.

Dalyell, Sir J. G., quoted, 116. Damaras, 6. Damaru, 47. Darabuka, 14, 24. Darius, 19. David, King, 19. Day, Major C. R., 49, 52. Diaulos, 31. Diff, 25. Doff, 25. Dōhachi, 45. Dolciano, 128. Dora, 45. Dordogne, 9. Double-bass, 117. ” flageolet, 126. ” pipe, in Anglo-Saxon MS., 84. Double-pipe, Egyptian, 13. ” ” Greek, 31. ” ” Phœnician, 36. ” ” Roman 34, 35. Dragonetti, Signor, 117, 118. Drums, American Indian, 82. ” Assyrian, 17, 18. ” Chinese, 41. ” Egyptian, 14. ” Fiji, 80. ” Greek, 32. ” Hebrew, 24. ” Hindu, 47. ” Japanese, 45. ” mediæval, 56, 97. ” Mexican, 70. ” New Guinea, 2. ” Persian, 53. ” Peruvian, 72. ” of Tonga, 80. ” of Torres Strait Islands, 80. Dublin Museum, harps in, 111. Dulcimer, 6. ” Anglo-Saxon, 86. ” Assyrian, 17. ” Greek, 30. ” Hebrew, 19. ” Persian, 54, 55.

Egyptian instruments, 8, 10 _seq._, 27, 98. Elizabeth, Queen, 119, 120. El-ood, 54, 56. English instruments, 104. Etruscan ” , 32 _seq._ Europe, introduction of instruments in, 36. European instruments, 83 _seq._ Evelyn, quoted, 106, 116. Exeter Cathedral, minstrel gallery in, 102.

Fagott, 127. Fagotto piccolo, 128. Fang-hsiang, 40. Fiddle, Anglo-Saxon, 90. ” Bengalese, 50. ” Chinese, 51. ” German, 90. ” Hindu and Indian, 50, 88. ” Moorish, 90. Fidis or Fides, 33. Fidla, 113. Finnish instrument, 47, 88. Fistula, 35. Fithele (fiddle), 114. Flageolet, English, 125, 126. ” Japanese, 45. Flauto dolce, 125. Flutes, American Indian, 82. ” Arab, 55. ” Aztec, 60. ” Chinese, 42. ” Egyptian, 12. Flutes, Etruscan, 32. ” German, 126. ” Greek, 31. ” of Guiana Indians, 62. ” Hebrew, 23, 26. ” Hindu, 47. ” Japanese, 45. ” Mexican, 58 _seq._ ” Peruvian, 58 _seq._ ” Phrygian, 28. ” Roman, 34. Flûte à bec, 125. ” d’Angleterre, 125, 126. ” traversière, 126. Forkel, quoted, 23. Fortunatus, quoted, 89, 90. Franz, Karl, 115. Free reed, 5. French instruments, 112, 125, 126, 128, 129. Frestele, Fretel or Fretiau, 94. Fuye, 45.

Gage, John, quoted, 128. Gaspard di Salo, 118. Gerbert, Abbot, mentioned, 84, 89, 90. Gittern, 56, 102, 108. Gittith, 25, 26. Gizeh, 13. Gongs, Chinese, 45. ” Egyptian, 14. ” Japanese, 45. ” Mexican, 80. ” Tezcucan, 73. Greek instruments, 27 _seq._ Guatemala, instrument of, 82. Guitar, instruction books for, 108, 109. Guitar, Japanese, 44. ” mediæval, 102. ” post-mediæval, 108, 109. ” Spanish, 110. Gut-komm, 43. Gythorn, 108.

Handel’s harpsichord, 135. Harmonica, 97. Harmonicon, Chinese, 2, 37, 40.

_Harmonicon, The_, quoted, 126. Harps, Anglo-Saxon, 87. ” Arabian, 53. ” Assyrian, 16, 28. ” Burmese, 16. ” Celtic, 87. ” Egyptian, 11. ” Finnish, 88. ” French, 112. ” German, 87. ” Greek, 28, 29. ” Hebrew, 19. ” Hindu, 50. ” Irish, 88, 110-112. ” mediæval, 89, 100-102. ” Persian, 53. ” Scandinavian, 87. Harp-guitar, 110. ” lute, 110. Harpsichord, 116, 121, 123. ” Handel’s, authenticity of, 135 _seq._ Harpsichord-makers, 123, 136. Harp-theorbo, 110. Harpu, 88. Harp-ventura, 110. Hautboy, 126. Haydn, 116. Hebrew instruments, 19 _seq._ Hentzner, Paul, quoted, 131. Hichiriki, 45. Hindu instruments, 3, 46, 52, 88, 89, 93. Hindus, musical scale of, 50. Holmos or mouth-piece, 35. Horn, English, 127. ” Greek, 32. ” Hebrew, 24. Hsiao, 42. Hsüan, 42. Hsüan-chung, 39. Huanca, 72. Huayllaca, 62. Huayra-puhura, 63, 79. Huehuetl, 71, 80. Hydraulis, 32.

Icelandic instrument, 114. Ikuta-goto, 44, 45. Instrument makers, 106, 111, 114-116, 118, 122-126, 128, 129, 136, 137. Instruments, decoration of, 2, 8, 11, 16, 39, 41, 42, 109, 112, 113, 115, 116, 123, 136. Intervals, diatonic, 112. ” in American Indian instruments, 79. Intervals in Chinese instruments, 39. Intervals in Persian instruments, 53. Irish bards, meetings of, 111. ” instruments, 89. Isis, worship of, 36. Italian instruments, 106-109, 113, 120, 123, 130.

Japanese instruments, 3, 4, 44 _seq._ Jars, musical, 69. Javanese instruments, 2, 3. Jerusalem, Temple of, 19, 23. Jew’s harp, 102. Jinagovi, 52. Jobel, 25. Jones, Edward, quoted, 90. Junk, 53. Juruparis, 66.

Kach’-hapi, 47. Kalmuks, trumpet of the, 80. Kane, 46. Kantele, 47, 88. Kei, 45. Kemángeh, 55. Ken, 42. Keras, 32. Keren, 24. Keyboards, instruments with, 120-125. Khorsabad, 16. Kinnor, 20. Kiōto, bell at, 46. Kithara, Asiatic, 27. ” Greek, 28, 29. K’iu (wood), 41. Ko-kiū, 44. Kosà, 130. Koto, 44. Kouyunjik, 16. Kratzenstein, 6. Krotala, 32. Ku, 41. Kuan-tzŭ, 42. K’uei, musician, 37. Kuitra, 56, 108. Kymbala, 32.

Langspiel, 114. Laos, instruments of, 4, 42. Launedda, 36. Lay, T., quoted, 43. Lei-ku, 41. Leighton, Sir W., quoted, 130. Lidl, Anton, 115. Lionedda, 36. Lira di braccio, 101. Lituus, 35. Lombrive, 10. Lute, 104, 105, 116. ” Arab, 54. ” Hindu, 89. ” Japanese, 44. ” mediæval, 102. ” Moorish, 56. ” Tibetan, 43. Lute-makers, principal, 106, 116. Lutists, Arabian, 54, 55, 56. Lydians, Kithara of, 28. Lyra, German, 90. ” Greek, 28. ” Roman, 33. Lyre, 84. ” Assyrian, 18. ” Greek, 27 _seq._ ” Hebrew, 20. ” Roman, 33.

Mace, Thomas, quoted, 104, 105, 119. Machalath, 22, 25, 26. Machol, 26. Magadis, 27, 30, 52. Magoudi, 52. Magrepha, 23, 24. Mam, 13. Mandoline, 107, 108. Mandora, 108. Mandorina, 108. Marimba, 82. Martin, instrument-maker, 118. Mattheson, quoted, 105. Melozzo da Forlì, painting by, 97. Melrose Abbey, sculpture at, 97. Melville, Sir James, quoted, 120. Menaaneim, 25. Metzilloth, 25. Metzilthaim, 25. Mexican instruments, 59, 80 _seq._ Miao-tsze, 43. Middle Ages, instruments of the, 83. Minnim, 22, 23. Miriam, 25. Mishrokitha, 23. Monaulos, 31. Monochord, 31, 92. Moorish instruments, 56, 108. Mosul, bas-relief from, 16. Mozart, 107. Munich Museum, vase in, 28. Music, ancient books on, 48, 84. ” supposed origin of, 47.

Nabla, 30. Nablas, 27. Nablia, 34. Nablum, 86, 100. Naker, 56. Naḳḳárah, 56. Nakrys, 56. Nara, bell near, 46. Nebuchadnezzar, 18. Nechiloth, 25, 26. Nefer, 12. Nekeb, 23. Nevel, 19, 22, 30. New Guinea, instruments of, 2. New Zealand, instruments of, 2. “Nibelungenlied,” The, 90. Nimroud, 16, 18. Nineveh, 16. Nootka Sound, instrument of, 2. Norwegian instruments, 113. Nuy, 55.

Oboe da caccia, 127. ” d’amore, 127. ” Hindu, 79. ” lungo, 127. ” Persian, 55. ” piccolo, 127. Ocarina, Chinese, 42. Octave, Arabian, 54. ” Chinese, 39. Octavina (Ottavino), 120. Oliphant, 94. Organ, Burmese, 42. ” Chinese, 42. ” English, 129. ” French, 129. ” Gamba stop in, 115. ” German, 129. ” Hebrew, 24. ” hydraulic, 32. ” pneumatic, 94. ” portative, 129, 130. ” positive, 129. ” Siamese, 42. Organ-builders, German, 129. Organ-harpsichord, 124. Organistrum, 92, 99, 101. Orchestras, mediæval, 99. Orpheus, Chinese, 37. Ottavino, or Octavina, 120. Ovalle, Alonso de, quoted, 62.

P’ai-hsiao, 42. Palenque, instruments from, 62. Pandean pipes, 23, 31, 35, 42, 53, 80. Pandoura, 30. Pandurina, 108. Pasquali, Signor, 117. Passerini, Signor, 117. Pedal, invention of, 96. ” in harpsichord, 124. Pektis, 30. Pepys, quoted, 120, 126. Persian instruments, 3, 48, 52 _seq._ Peruvian instruments, 58, 59. Peruvians, songs of the, 80, 81. Phaamon, 25. Phœnicians, 36. Phorbeia, 34. Phorminx, 28, 29. Pianoforte, 123, 125, 134. Piao, 39. Pien-ch’ing, 38, 39. Pien-chung, 39. Piffero pastorale, 127. Pincullu, 62. P’i-p’a, 43, 44. Pipe of the Aztecs, 60. ” Berecynthian, 27. ” Carian, 28. ” of Chiriqui Indians, 60, 79. ” Egyptian, 12. ” Greek, 31. ” Hebrew, 23. ” Japanese, 45. ” Mexican, 58 _seq._ ” Peruvian, 58 _seq._ ” Phrygian, 27. Pitch of Chinese instruments, 39. ” the oboe, 127. ” the ottavino, 120. ” whistle sounds, 59. Pito, 60. Plectrum, 30, 40, 44, 45, 109, 110. Plektron, _see_ Plectrum. Po-fu, 41. Poitiers, 10. Post-mediæval instruments, 104 _seq._ Pottery, instruments of, 58 _seq._ Prætorius, quoted, 111. Pre-historic relics, 9. Psalms, musical directions in, 26. Psalterion, 20. Psalterium, 33, 85, 86. Psaltery, 102, 116, 117. Psanterin, 20. Pungi, 52, 93.

Quanūn, 54, 55. Quartfagott, 128. Quills for twanging strings, 107, 109, 119. Quills in virginal, 120. Quinterna, 109. Quintfagott, 128. Quyvi, 62.

Rabôb, 55, 56. Ranking, J., quoted, 75. Rattles, 80. ” American Indian, 72, 82. ” Indian, 2. Ravanastra, 50. Rebec, 56, 102, 113. Rébek, 90. Recorder, 125. Regal, or regals, 96, 102, 129. Rigabello, 130. Rin, 46. Roman instruments, 32 _seq._ Rote, 88. Rotta, 88, 89.

Sârangi, 50. Sackbut, 94, 102. Sainprae, Jaques, 115. Salpinx, 32. Salterio, 102. Sambuca, 34, 94. Sambyke, 27, 30. Samisen, 44. Sang, 43. San-hsien, 44. Sankha, 47. Santiago de Compostella, sculpture at, 101. Santir, 6, 20, 55. Sardinia, 36. Sârinda, 50. Scabellum, 35. Scale, Chinese, 37, 39. ” diatonic, 132. ” pentatonic, 42, 79. Scandinavian harp, 87. Schalmei, 127. Scheitholz, 118, 119. Schnitzer, instrument maker, 128. Sê, 43. Sebȧ, 12. Serinette, 129. Serpent, 128. Seshesh, 15. Shakespeare, quoted, 114. Shakuhachi, 45. Shalisbim, 25. Shalm, or shawm, 102, 103, 127. Shehna, 79. Shêng, 42, 43, 45. Shime-daiko, 45. Shō, 45. Shophar, 24. Shwan-che, 43. Siam, instruments used in, 3, 4, 42. Simikon, 30. Sistrum, Egyptian, 14, 98. ” Hebrew, 25. ” Roman, 36. Sitar, 110. Sitâra, 55. Solomon, 19. Sordino, 118. Spain, Arabs in, 36, 56. Spanish instruments, 36, 110. Spinet, 121. Stones, sonorous, 39, 73. Stops of the clavicembalo, 123. Stop in organ-harpsichord, 124. Strabo, quoted, 27. Stradivarius, 118. Strings, catgut, 1, 30, 108-110, 115. Strings, silk, 1, 43, 44, 54, 109. Strings, sympathetic, 115, 116. ” wire, 55, 108-110, 115-117, 120, 121. Sultana, 116. Sumphonia, 23. Sung-ch’ing, 39. Surnai, 55. Suroda, 88, 89. Syrinx, Greek, 31. ” Hebrew, 23. ” mediæval, 94, 99. ” Peruvian, 63. ” Roman, 35.

Tabret, 24. Taiko, 45. Talmud, The, 23. Tamboura, Arabian, 54. ” Egyptian, 27. ” Hebrew, 22. Tambourine, Assyrian, 18. ” Egyptian, 14. ” Hebrew, 24. ” Peruvian, 72. ” Roman, 35. Tangents in the clavichord, 121. T’ê-ch’ing, 39. T’ê-chung, 39, 40. Tenor (violin), 113. Tenor-bassoon, 128. Tenor-viol, 119. Teponaztli, 70, 80. Testudo, 33. Tezcucans, instruments of the, 73. Thebes, 11, 12, 14. Theorbo, 101, 104, 105. Ti, 42. Tibetan instruments, 43, 80. Tibia, 34. ” curva, 34. ” dextra, 34. ” gingrina, 34. ” ligula, 34. ” longa, 34. ” obliqua, 34. ” sinistra, 34. ” utricularis, 34. ” vasca, 35. Tibiæ impares, 34. ” pares, 34. Timbrel, 24, 102. Timotheus, flutist, 57. Tintinnabula, 36. Tintinnabulum, 100. Tinya, 75. Titus, arch of, 24. Tone of instruments, 112, 113. Toph, 24, 25. Toumrie, 52. Treble-viol, 119. Triangle, Hebrew, 25. Triangle, Roman, 36. Triangulum, 36. Trigonon, 17, 28, 30, 53. Trigonum, 34. Triple Flageolet, 126. Trombone, 94. Trumpets of South American Indians, 65. Trumpets, Anglo-Saxon, 94. ” Ashantee, 2. ” Assyrian, 18. ” of the Caroados, 67. ” Egyptian, 14. ” Greek, 32. ” Hebrew, 24 _seq._ ” Hindu, 47, 79. ” of the Kalmuks, 80. ” Mexican, 80. ” New Zealand, 2. ” Persian, 53. ” Thibetan, 80. Tschenk (Chang), 53. Tsu-ku, 41. Tsudzumi, 45. Tsuri-gane, 46. Tuba, 35. Tuckey, Captain, 2. Turé, 67, 79. “Tuner of the Regals,” 130. Tuning of the spinet, 121. Tympanon, 32. Tympanum, 35. Tyrolean harp-makers, 112. Tzeltzelim, 25.

Ugab, 23. Ur-heen, 51, 52.

Ventura, Signor, 110. Vielle, 101. Vihuela, 102, 110. Vina, 46, 47, 49. ” mahati, 49. ” rudra, 49. Vinavah, 51. Viol, mediæval, 99, 100. ” post-mediæval, 113, 119. ” Spanish, 102, 118. Viola da gamba, 114, 115. ” d’amore, 116. ” di bardone, 115. Violin, 91, 113, 114, 116. ” Japanese, 44. ” Persian, 55. Violoncello, 114, 115. Virginal, 119-121, 130.

Wait, the instrument, 103. Walther, quoted, 121. Welsh instruments, 89, 90. Whistles, American Indian, 82. ” Mexican, 59, 60. Wilkinson, Sir G., quoted, 21.

Ying-ku, 41. Yotl, 73. Yü, 40, 41. ” stone made into the ch’ing, 38. Yüeh, 42. Yüeh-ch’in, 43.

Zampogna, 23. Zante, belfries in, 131. Zither, or Zitter, 109.

Transcriber’s Note

Words and phrases in italics are surrounded by underscores, _like this_. Footnotes were renumbered sequentially and were moved to the end of the book, preceding the Index. Dialect, obsolete and alternative spellings were left unchanged. Inconsistent hyphenation was not changed. Misspelled words were not changed. Descriptions of snippets of music were added to illustrations identified as [Music:].

Obvious printing errors, such as partially printed letters, were corrected. Final stops missing at the end of sentences and abbreviations were added. Duplicate words and syllables at line endings or page breaks were removed. Two unnecessary commas in the Index were deleted.

Fig. 53 was moved to appear in numerical sequence; Figs. 65, 69 and 70, referenced in the List of Illustrations, were omitted from the book.