a 
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 obtained. 
This specimen is in perfect condition. Its scale is as follows: 
The lowest or fundamental tone is produced on the open 
instrument; the next step above 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 Ica 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 No. g, just described. No. 6 is badly cracked; but 
No. 5 is entire, and the following tones can be produced from it: 
The trumpet is frequently mentioned in the early accounts 
of Peru. Garcilasso, giving an account of the battle between 
the army of the Inca Viracocha and the Chancas, says: 
“Both armies remained the whole night upon their guard with 
