80S 
H A R 
H A R 
“ Instead of the finger, I have applied 
moistened ieatherto the edge of the glass, in 
order to bring out the tone: but, for want of 
a proper elasticity, this did not succeed. I 
tried cork, and this answered every purpose 
of the finger; but made the tone much louder 
than the finger could do. Instead, therefore, 
of the finger, if a number of corks were so 
contrived as to fall with a proper degree of 
pressure on the edge of the glass, by means 
of keys like the jacks of an organ, it is evi- 
dent, that in such a case a new and tolerably 
perfect instrument would be produced ; not 
so loud indeed as some, but infinitely more 
melodious than any.” 
HARMON IC AL Arithmetic, that part 
of arithmetic which considers musical inter- 
vals, expressed by numbers, in order to our 
finding their mutual relations, compositions, 
and resolutions. 
Harmonical Proportion. See Pro- 
portion. 
PIarmonical Series, a series of many 
numbers in continual harmonical proportion. 
Thus if there are four or more numbers, of 
which every three immediate terms are har- 
monical, the whole will make an harmonical 
series: such is 30: 20: 15: 12: 10. Or, if 
every four terms immediately next each 
other are harmonical, it is also a continual 
harmonical series, but of another species, as 
3, 4, 6, 9, 18, 36, &e. 
HARMONY, in music (from the Greek), 
the agreement or consonance of two or more 
united sounds. Harmony is either natural or 
artificial. Natural harmony, properly so 
called, consists of the harmonic triad, or com- 
mon chord. Artificial harmony is a mixture 
of concords and discords, bearing relation to 
the harmonic triad of the fundam ntal note. 
The word harmony being originally a proper 
Hame, it is not easy to determine the exact 
sense in which it Was used by the Greeks; 
but from the treatises they have left us on 
the subject, we have great reason to conclude 
that they limited its -signification to that 1 
agreeable succession of sounds which we call i 
air, or melody. The moderns, however, do 
not dignify a mere succession of angle sounds 
with the appellation of harmony: for the 
formation of harmony they require an u .ion 
of melodies, a succ ssion of combined sounds 
Composed of consonant intervals, and moving 
according to the stated laws oi modulation. 
But as the laws of harmony were not estab- 
lished into a code but by very slow degrees, 
its principles for a long time consisted of no 
other than almost arbitrary rules, founded, 
indeed, on the approb tion of the ear, but 
unsanctioned by that science which accounts 
for effects rationally, and deduces its conclu- i 
sionsfrom minute, profound, and satisfactory 
investigation. At length, however, writers 
arose, to whose patience, talents, and learn- 
ing, the present age is indebted for a com- 
plete system of harmony and modulation, 
and to whose labours we only have to resort, 
to be informed on every point requisite botli 
to its theory and practice. 
H aRmon y, Figured. Figured harmony 
is that in which, for the purpose of melody, 
one or more of the parts of a composition, 
move during the continuance of a chord, 
through certain notes which do not form any 
of the constituent parts of that chord. These 
intermediate notes not being reckoned in the 
harmony, considerable judgment and skill 
are necessary so to dispose them that while 
the ear is gratified with their succession, it 
may not be offended at their dissonance with 
respect to the harmonic notes. See Sounds. 
HARP, a stringed instrument, consisting 
of a triangular frame, and the chords of which 
are distended in parallel directions from the 
upper part to one of its sides. Its scale ex- 
tends through the common compass, and the 
strings are tuned by semitonic intervals. It 
stands erect, and when used, is placed at the 
feet of the performer, who produces its tones 
by the action of the thumb and fingers of both 
hands on the strings. That the harp is among 
the most ancient of musical instruments, the 
frequent mention of it in scripture, and the 
splendid account transmitted to us of the 
'I heban harp, both as to the beauty of its de- 
corations and extent of scale, are sufficient 
evidences. The Irish and Welsh practised 
the harp long before the gammut of Guido 
was invented, and it is, indeed, their national 
instrument. In England also it was earlv in- 
troduced to general use, and the most ancient 
j poems were sung to it on Sundays and all 
1 public festivals. 
IlARPiNG-IRON, or Harpoon, a large 
spear or javelin, made of lorgi d iron, and five 
or six feet long; it is fastened to a line, and 
used in the whale-fishery. 
IiARPINGS, in a ship, properly denote 
her breadth at tne bow. Some also give the 
same name to the ends ot the bends that are 
fastened into the stern. 
HARPOON-Gun, a sort of fire-arm for 
discharging harpoons at whales, and thereby 
killing them more exped.tiously than when 
harpoons are thrown by the hand. See Trans- 
actions of the Sonets for the Encouragement 
of Arts, &c. 1786, 1789 Ac. 
HARPSICHORD, a- sir ngt d instrument, 
consisting of a case formed oi numomuiv or 
walnut-tree wood, and contaimng the b‘ ll\ 
or sounding-board, over which tne wire..; are 
distended, supported by bridges. In the 
front the keys are disposed, the long ones ol 
which are the naturals, and tae short ones the 1 
slurps and Hats. 71 he.se keys being pressed I 
by the lingers, their inclosed extremities raise 
little upright oblong slips of wood called 
jacks, furnished with crow-quill plectrums, 
v hich Strike the wires. The great adv ntage 
of the harpsichord beyond most other string- 
ed instruments, consists in its capacity of 
sounding many notes at once, and forming 
those combinations, and performing those 
evolutions of harmony, which a single instru- 
ment cannot command. This instrument, 
called by the Italians clave cymbala, by the 
French clavecin, and in Latin grave cvmba- 
lum, is an improvement upon the clarichord, 
which was borrowed from the harp, and lias 
for more than a century been in the highest 
esteem, and in the most general use, both 
public and private, throughout Europe ; but 
since the invention of that line instrument the 
grand piano-forte, its practice has consider- 
ably declined. 
IIARQUE3USS, apiece of fire-arms, of 
the length of a musquet, usually cocked with 
a wheel. It carried a ball that weighed one 
ounce seven eighths.. 
HARRIER. See Canis. 
HARROW. See Husbandry. 
HART. See Cervus. 
HARTOGIA, a genus of the pentandria 
H A T 
| order, in the monoecia class of plants ; and in 
the natural method ranking under the 4Rth 
; order, aggregate. The male calyx is penta- 
phvllous, the petals five; the female ealvx 
tnphvllous, with live petals, and five barren 
and live castrated stamina. There are three 
capsules; and the seeds are ariilated, or in- 
closed in a deciduous case. There is one 
species, a tree of the Cape. 
HARTSHORN, in chemistry. See Am- 
monia. 
Hart s Horns, in pharmacy, the whole 
horns of the common male deer, as separated 
from the head, without farther preparation. 
See Horns. 
HASSELQUISTA, a genus of the class 
and order pentandria digynia. The cal. is ra- 
diated, in the disk male. Seeds in the dr- 
cunifeience double, in the disk solitary. 
'I here are two species, herbs of Egypt. * 
, HAT, a covering for the head,' worn by 
the men in most parts of Europe. Those 
most in esteem are made of the pure hair of 
the castor or beaver; for they are also made 
ol the hair or wool of divers other animals, 
and that by much the same process. 
Hats are made either of wool, or hair 
of various animals, particularly of the castor 
hare, rabbit, camel, &c. The process is 
much the same in all ; for which reason we 
sha 1 content ourselves with instancing that 
ot the beaver. The skin of this animal 
is covered with two kinds of hair; the one 
long, still, glossy, and rather thin-set; this is 
what renders the skin or fur of so much va- 
lue: the other is short, thick, and soft, which 
alone is used in hats, i o tear off one of these 
kinds of hair, and cut the other, the hatters 
° r ratlier the women employed for that pur- 
pose, make use of tu'o knives, a large one 
nke a shoemaker’s knife for the long | ia j r 
.nd a smaller, not unlike a vine-knife, where- 
with they shave or scrape off the shorter 
mur. 
Vv hen the hair is off, they mix the stuff; to 
one-third of dry castor putting two-thirds of 
old coat, i. t. oi ' hair winch has been worn 
some tune by the savages, and card the whole 
w.tii cards, like those used in the woollen-ma- 
nufactory, only finer; this done, they we fob 
.t, and take moie or less according to the 
size or thickness of the hat intended. The 
stuff is now Lid on the hurdle, which is a' 
square table, parallel to the horizon, bavin*- 
longitudinal chinks cut through it; on this 
hurdle, w.th an instrument called a bow 
much like that of a violin, but larger, whose 
string is worked with a little bow-stick, and 
thus made to play on the furs, they fly and 
mix together, the dust and filth at the same 
tune passing through the chinks. This they 
reckon one of the most difficult operations in 
the whole, on account of the justness required 
in the hand to make the stuff fall precisely to- 
gether, and that it may be every where of the " 
same thickness. In lieu of a bow, some hat- 
ters make use of a sieve or searee of hair 
through which they pass the stuff. 
After this manner they form gores, or two 
capades, of an oval form, ending in an acute 
angle at top; and with what stuff remains’ 
they supply and strengthen them in places 
where they happen to be slenderer than ordi- 
nary; though it is to be remembered, that 
they designedly make them thicker in the 
brim, near tire crown, than toward the cir- 
cumference, or in the crown itself. 
