HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 49 



the shape of a bassoon, and in 1880 a very similar instrument, but 

 in metal, was introduced in England and called the English bass 

 horn. In 1817 additional keys were added to the bass horn, its 

 bore was enlarged, its length increased, and the resultant instrument 

 was the ophicleide, the last of this interesting group of instruments 

 which has been abandoned for many years. An ophicleide is ex- 

 hibited (292226) which has a tubing length of 1093,4 inches. All 

 its lateral openings are opened or closed by finger keys. This in- 

 strument was the property of George Warren, who bought it for 

 $35 in 1842, and played it in the Unitarian Church and the town 

 band of Weston, Middlesex County, Mass., until about the year 

 1850. It was presented to the Museum by his daughters in 1916. 



The keyed bugle represented another endeavor to increase the 

 number of tones obtainable in a horn. When Joseph Halliday, 

 the bandmaster of the Cavan Militia in England, was experimenting 

 with an old field trumpet he discovered accidentally that by mak- 

 ing holes in the horn he could produce additional tones. This took 

 place in 1810. Later he patented an invention bj' which keys con- 

 trolling the side holes were added to the bugle, so that the chromatic 

 degrees between the second and third harmonics could be obtained. 

 This instrument was called the keyed bugle, and became the leading 

 instrument in the military and town bands of England as well as 

 the popular accompaniment of the old stage coach. Thus the 

 trumpet, which is the traditional instrument of the cavalry, and the 

 bugle, which is the corresponding instrument of the infantry, be- 

 came keyed instruments. 



Two instruments listed as "Key bugle in E flat" are 95580, 

 said to belong to the period 1828-1840, and 237755, which was 

 obtained in 1905. An instrument made of tortoise shell with nine 

 brass keys (251395) was transferred from the Patent Office in 

 1908. 



We will now trace the development of another type of horn, a 

 development which took place during the same period as that of the 

 keyed trumpet and bugle. The French, during the seventeenth 

 century, carefully studied the horn for use in the chase. Early in the 

 eighteenth century it was recognized as a true instrument of music 

 and found its place in the orchestra. The difficulty to be overcome 

 was, of course, the imperfect character of -its natural scale. Various 

 lengths of tubing were added by which it could be set in any desired 

 key, but even then the scale could only be perfected by the insertion 

 of the hand into the bell, thereby raising the natural tone a half tone 

 or a whole tone, as desired. This device was first suggested by 

 Hampl, of Dresden, about 1770, who discovered it when attempting 

 to produce a softer tone by putting a pad of cotton wool into the 

 bell. The tones thus produced were called "hand notes," and in 



