KEY 



Tdnple of Viilory" is tlie next objcft, executed in 17,9, 



in commemoration of a viftory obtained by prince Fer- 



(' ill and of Brunfuick, in that year. The Alhandia is 



t.itive of a morefquc building ; and the great Pagoda is 



■. I in imitation of the Chinefe Taa. The bafc is a 

 :!ar oftagon of 49 feet in diameter, and the elevation is 



• pofed of 10 prifnis, or 10 Itories, and is 16; feet in 



:.t. The other buildings are called the Mofque, tlie 



'-ry of Antiques, the Temple of Arethufa, and the 



,, ..:i. The Gardens at Kew are opened every Monday 



uMing the fummer. Lyfons's Environs of London. 



KEWAN, a town of Hindooftan, in the circar of 

 Kitchwara ; 10 miles W. of Sheergur. 



KEWEH, a town of Natolia, on the Sakaria ; 24 miles 

 E. of Ifnik. 



KEXHOLM, a town of RiifTia, in the government of 

 Viborg, built on two iilands at the mouth of a river, on the 

 fide of lake Ladoga. The houfes are conftrufted of wood, 

 but the town is well fortiiied, and defended by a citadel; 

 40 miles E.N.E. of Viborg. N. lat. 6i\ E. long. 29^ 

 50'. 



KEXLEBODA, a town of Sweden, in the province of 

 Smaland ; 36 miles S.S.W. of We.xio. 



KEY, Great, a fmall ifland in the Eail Indian fea, 

 about 50 miles long, and from 5 to 12 broad. S. lat. j 

 24'. E. long. 133' 28'. 



Key, Little, an iiland in the Eaft Indian fea, about 60 

 miles in circumference. S. lat. 5 ^2'. E. long. 133 12'. 



Key, a little iron inftrument for the opening of locks. 



L. Moliuus has a ticatife of keys, " De Clavibus Ve- 

 terum," printed at Upfal. He derives the Latin name 

 €!avh from the Greek xXu-x, ckudo, IJhut ; or from the ad- 

 verb c/am, pr'fvalcly ; and adds that the ufe of keys is yet 

 unknown in fome parts of Sweden. 



The invention of keys is owing to one Theodore of Samos, 

 according to Pliny and Polydore Virgil; but this mull be 

 a miftake, the ufe of keys having been known before the 

 fiege of Troy : mention even feems to be made of them in 

 the nineteenth chapter of Genefis. 



Molinus is of opinion, that keys, at firft, only fencd for 

 the untying certain knots, wherewith they anciently fecured 

 their doors; but the Laconic keys, he maintains, were 

 nearly akin in ufe to our own : they confiHed of three iingle 

 teeth, and made the figure of an E ; of which form there are 

 ilill fome to be feen in the cabinets of the curious. 



There was alfo another key, called ,5x>,av;'.-/;z, made in 

 the manner of a male fcrew, which had its corrcfponding fe- 

 male in a bolt affixed to the door. 



Key is hence become a general name for fevcrai things 

 ferving to fhut up or clofe others. 



Key, or Keyjlone, of an Arch, or Vault, is the laft 

 fione placed atop thereof; which, being wider and fuller at 

 the t(jp than the bottom, wedges as it were, and binds in all 

 the reft. 



The key is different in the different orders ; in the Tufcan 

 and Doric, it is a plain ftonc, only projecting ; in the Ionic, 

 it is cut, and waved fomewhat after the manner of confoles ; 

 in the Corinthian and Compofite, it is a coiifole enriched 

 with fculpturc, foliages, &c. 



M. Belidor makes the thicknefs of the arch-ftones of a 

 bridge, one twenty-fourth part of the width of the arch; 

 but Mr. Gautier, another experienced engineer, makes their 

 length, in an arch twenty-four feet wide, two feet; in 

 arches, forty-five, fixty, icventy-five, ninety wide, tliree, 

 four, five, fix feet, rcfpcfkivcly : and it is obferved by Mr. 

 Muller, that the thicknefs allowed by Belidor is not fuffi- 



K E Y 



cient to prevent the weight of the arches from cruthing ilic 

 kev-ftones to pieces by tlieir piefTure againft one another. 

 Midler's Praa. Fortif. p. 253. 



Tiie name key-ftones, or arch-Hones, is fomctimes alfo 

 given to all the ftones which form the fweep of an arch, or 

 vault, anfwcring to what the French more diftinctly call 

 voujfoirs. 



Key i.' alfo ufed for the ecclefiadical jurifdiclion ; parti- 

 cularly for the power of excommuniaating, and abfolving. 

 The Romanics fay, the pope has the power of the keys, 

 and can open and fhut paradife as he pleafcs ; grounding 

 their opinion on that exprtffion of Jcfus Chrift, " I will give 

 thee the keys of the kingdom of heaven '' 



In St. Gregory we read, that it was the cuftom hereto- 

 fore, for the popes to fend a golden key to princes, wherein 

 they always enclofed a little of the filings of St. Peter's 

 chains, kept with great devotion at Rome ; and that thcfe 

 keys were worn in the bofoni, as being fuppofed to contain 

 fome wonderful virtues. 



Key, in Mujic, is a certain fundamental found, or tore, 

 to which the whole piece, be it concerto, fonata, cantata, 

 &c. is accommodated ; and with which it ufually begins, 

 but always ends. 



To get an idea of the ufe of the key, it may be obferved, 

 that as m an oration there is a fiibjctl, ix'z. fome principal 

 perfon or thing, to which the difcourfe is referred, and 

 which is always to be kept in view, that nothing unnatural 

 and foreign to the fubjetft may be brouglit in ; fo in every 

 regular piece of mufic, there is one note, ■viz.. the key, 

 which regulates all the reft. The piece begins and ends in 

 this ; and this is, as it were, the niulical fubjeft, to which 

 a regard muft be had in all the other founds of the piece. 

 Aigain, as in an oration there are feveral diftinft articles, 

 which refer to different fubjeds, yet fo as they have a'l a 

 vifible connexion with the principal fubjeft, which regulates 

 and influences the whole ; fo in muiic there may be various 

 fubaltern fubjefts, that is, various keys, to which the dif- 

 ferent parts of the piece may belong : but then, they mull 

 be all under the influence of the firll and principal key, and 

 have a fenlible connection with it. 



To give a more diilinft notion of the key, we muft ob- 

 ferve, that the oclave contains in it the whole principles of 

 mufic, both with refpeft to confonance or harmony, and 

 fneceffion or melody ; and if either fcale be continued to a 

 double oftave, there will, in that cafe, be feven- different 

 orders of tlie degrees of an oflave, proceeding from the 

 feven different letters, with which the terms of the fcale are 

 marked. Any given found, therefore, i e. a found of any 

 determinate pitch or tune, may be made the key of the 

 piece, by applying it to the feven natural founds arifing 

 from the divifion of an odlave, and repeating the odlave 

 above or below, at pleafure. The given found is applied 

 as the principal note or key of the piece, by making fre- 

 quent clofcs or cadences upon it ; and, in the progrefs of 

 the melodyj no other but thofe feven natural founds can 

 be admitted, while the piece continues in that key, every 

 other found being foreign to the fundamental, or key. 



For inftance, fuppofe a fong begun in any found, and 

 carried on upwards, or downwards, by degrees and har- 

 monical diftances, fo as never to touch any founds, but 

 what are referrible to that firll found as a fundamental, ;. e. 

 arc the true founds of the natural fcale proceeding from the 

 fundamental ; and let the melody be fo condufted through 

 thofe natural founds, as to clofc and terminate in the funda- 

 mental, or any of its oftnvcs above or below ; that found is 

 called the key of the melv.dy, bec:iufc it governs all the veil, 

 limiting tJiem fo fdr, as that they mull be to it, in the rela- 



