THE MUSICAL INSTRUMENTS OF THE INCAS. 25 



is so badly corroded that the scale of the instrument cannot 

 be ascertained. Fig. 2, on the same plate, is of a trumpet of 

 terra cotta, and is one of several in the collection in which the 

 shell form has been reproduced in clay. It would seem that 

 this was frequently done when shells could not be ol)tained. 

 This specimen is in perfect condition. Its scale is as follows: 



i 



-t 



i^ 



The lowest or fundamental tone is produced on the open 

 instrument ; the next step abo\-e in the scale, by introducing 

 the hand a short distance into the opening of the "shell." For 

 the next higher note the hand is pushed still farther into the 

 cavity, and so on until the highest tone of the instrument is 

 reached. In the older natural or French horn, the so-called 

 stopped tones are obtained in much the same way. 



Fig. 9 of Plate IV represents a clay trumpet similar to that 

 represented on the gold ornament from lea figured on page 24; 

 the only difference is the shape of the "bell," which in the latter 

 takes the form of an animal's head. Besides its fundamental 

 tone (B), only its octave can be produced. The other har- 

 monics or overtones, on account of the material and its faulty 

 construction, are absent. Nos. 5 and 6, on the same plate, are 

 trumpets of wood. The mouth-pieces are shallow and cup- 

 shaped, as in Xo. g, just described. No. 6 is badly cracked; but 

 No. 5 is entire, and the following tones can be produced from it : 



^-=^-J--^ 



The trumpet is frecjuently mentioned in the early accounts 

 of Peru, (iarcilasso, giving an account of the battle between 

 the army of the Inca Viracocha and the Chancas, says: 



"Both armies remained tlie whole night upon their guard with 



