HUNTING THE FOX 77 



sometimes hear the horn when they cannot hear 

 the cry of the other Hounds. When the Huntsman 

 has his Fox in his hand or has run to ground, the 

 same call may be used as in breaking covert. 



When a covert is drawn blank, the appropriate 

 call on the horn can best be described as a long- 

 drawn wail. The same call can be used for going 

 home, or for calling on stray Hounds. When all 

 the Hounds are on, the Staff should be informed 

 by two short, sharp notes sounded in quick suc- 

 cession. 



The above are only general indications, as the 

 method of sounding of the English hunting-horn 

 cannot be expressed in terms of music, as is possible 

 with the more elaborate French instrument. Yet 

 our Huntsmen can, if they cultivate the art, make 

 the short horn speak quite as humanly and clearly 

 as the French Huntsmen can the long one, and 

 can even put more individual character into it, 

 not being tied and bound by an exact musical 

 phrase. The horn recommended is the rather deep- 

 noted " Goodall," which seems to give forth a finer 

 resonance and to be audible at a longer distance 

 than any other horn. Its sound might be called a 

 " twang " rather than a " tweet," to use Mr. Surtees' 

 description that appears in most of his works. 

 A description, however, on paper of the tones of 

 the horn and voice is naturally imperfect, because 

 the thrill that can be afforded by their melody is 



