CROSS, — MUSICAL PITCH. 463 



far below the high pitch then habitually used in this country. No. 47 

 is a small fork, the standard for "International Pitch" of the M. 

 Steinert and Sons Co., Boston. Nos. 1, 54, 55, 63, 71, 73, are forks 

 belonging to Mr. F. W. Hale of the New England Conservatory of 

 Music. No. 57 is an old C3 fork belonging to Princeton University, and 

 probably dating from the time of Prof. Joseph Henry. It is considerably 

 rusted. No. 59 is a flue pipe giving the high pitch used by Hook and 

 Hastings in 1884. No. 64 is the former standard fork of the Chickerings, 

 made in 1865, and giving the high concert pitch then in vogue. It is a 

 large C3 fork, marked " 1865, Standard Pitch," with its prongs inclined 

 towards one another. No. 67 is a copy of the Chickering fork made by 

 E. S. Ritchie and Sons for their own use in 1870. It has sharpened 

 somewhat after tuning. No. 69, the Mason and Hamlin Co.'s former 

 standard, is a large fork, almost a counterpart of the Chickering fork. 

 It is marked " Standard Pitch, 1866." No. 76 is a small fork furnished 

 by Mr. Robert Spice of Brooklyn, in 1879, and giving the pitch then 

 used in the Covent Garden Theatre. No. 82 is a bell metal fork made 

 in 1878 by Mr. Spice, and giving the highest pitch then used in New 

 York. No. 83 is a small fork at the high " Philharmonic Pitch " of the 

 Steinert and Sons Co. 



Among the A3 forks. No. 84 is a very old and low-pitched fork, pro- 

 cured by Mr. Levi K. Fuller in England, and purporting to have been 

 made in 1715 by John Shore, the inventor of the tuning-fork, and to be 

 the oldest fork in existence. No. 85, which also belonged to Mr. Fuller, 

 is supposed at one time to have been used by Handel. No. 86 is a pipe 

 giving the pitch settled upon by Hook and Hastings in 1889. Nos. 88, 

 109, 111 are small forks imported by Prof Joseph Levering for Harvard 

 University, between 1845 and 1850. No. 90 is one of a number of 

 small forks made for Mr. Georg Henschel in 1883 as a basis for the 

 pitch of instruments to be made for the Boston Symphony Orchestra. 

 It was tuned from tlie forks of a Valentine and Carr tonometer (see No. 

 3, Table V.), and owing to the extreme flatness of the ''A,432" and 

 "A, 436" used in the comparison, it is considerably below French pitch. 

 No. 96 is a standard A3 '• French Pitch," by Koenig, imported by the 

 Massachusetts Institute of Technology in 1883. It is correct at 15° C, 

 and hence at 20° C, the present standard temperature, is slightly flat. 

 Nos. 98, 99, 100, lOl are large Koenig standard forks, mounted on boxes. 

 No. 102 is the same pitch pipe as No. 24 when adjusted to give the Note 

 A3. Nos. 105, 106 are small forks giving the medium pitch proposed and 

 used by Theodore Thomas in 1883. No. 106 was given to Mr. Henschel 



