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Northallerton church in 182o. The origin of the barrel-organ is now clearly established, and many will doubtless be surprised to find that it must be sought in the See also:

NETHERLANDS

Netherlands as early as the See also:

MIDDLE

middle of the 15th See also:

CENTURY (from Lat. centuria, a division of a hundred men)

century, and that accurate and detailed diagrams of every See also:

PART

part of the mechanism for a large stationary barrel-organ worked by See also:

HYDRAULIC

hydraulic See also:

POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power were published in 1615. There are letters patent preserved in the archives of See also:

Belgium appointing a certain organ-builder, Jehan See also:

van Steenken, dit Aren, " See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

Master of See also:

ORGANS

organs which See also:

PLAY

play of themselves "; in the See also:

ORIGINAL

original Flemish Meester van ergelen spelende bij See also:

hen selven.9 This organ was not a portable one like See also:

ENGLISH

English See also:

street-organs, but a more imposing instrument, as we learn from other documents giving a detailed See also:

account of the moneys paid to See also:

Maistre Jehan for conveying the organs from See also:

BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges to See also:

BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels.1 Steenken was, by virtue of the same letters patent, awarded an See also:

ANNUAL

annual See also:

PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension of fifty Rhenish florins in See also:

CONSIDERATION (from Lat. considerare, to look at closely, examine, generally taken to be from con-, and the base seen in sidus, sideris, a star, the word being supposed to be originally an astrological or astronomical term)

consideration of the services rendered to the See also:

DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

BURGUNDY

Burgundy, and on See also:

CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition of his submitting to his See also:

liege See also:

Philip the See also:

GOOD, JOHN MASON (1764-1827)

Good all other instruments he might make in the future. There is nothing singular in the early date of this invention, for the 15th century was distinguished for the extraordinary impulse which the patronage and appreciation of the See also:

dukes of Burgundy ' This practice had evidently not been adopted in See also:

Germany, as the following instance will show. The use of barrel-organs (Drehorgeln) in See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country churches was seriously recommended by an See also:

ANONYMOUS

anonymous writer in two See also:

German papers at the beginning of the 19th century (Beobachter an der See also:

SPREE

Spree, See also:

Berlin, 22nd See also:

OCTOBER

October 1821, and in Mdrkische Bolen, Nos. 138 and 139, 1821). The organist Wilke of See also:

LEIPZIG

Leipzig published in reply an See also:

ARTICLE (from Lat. articulus, a joint)

article in the Allgem. musik. Zeitung (1822, pp. 777 et seq.) in which " he very properly repudiated such a laughable recommendation." 9 Archives generales du royaume de Belgique, Chambre See also:

des See also:

CAM (CAO), DIOGO (fl. 1480-1486)

Cam pies, No.

2, 449 r°. cf. 52 r°. ; and See also:

Edmund van der Straeten, La Musique aux Pays-Bas, vol. vii. pp. 230-232. 9 Van der Straeten, op. cit. p. 299.gave to automatic contrivances of all kinds, carillons, clocks, speaking animals and other curiosities due to Flemish See also:

GENIUS (from Lat. genere, gignere)

genius., No contemporary See also:

ILLUSTRATION

illustration is forthcoming, but in 1615 See also:

Solomon de Caus, who avowedly owed his See also:

INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration to See also:

Hero and See also:

VITRUVIUS (MARCUS VITRUVIUS POLLIO)

Vitruvius, describes a number of hydraulic See also:

MACHINES

machines, amongst which is the barrel-organ,' illustrating his description by means of several large drawings and diagrams very carefully carried out. De Caus' organ, entitled " See also:

Machine See also:

PAR (Lat. par, equal)

par laquelle l'on fera sonner un jeu d'orgues par le moyen de 1'eau," was built up on a See also:

wall a See also:

FOOT

foot thick. In the illustrations the barrel is shown to be divided into bars, and each See also:

bar into eight beats for the quavers. The whole See also:

DRUM (early forms drome or dromme, a word common to many Teut. languages, cf. Dan. tromme, Ger. Trommel: the word is ultimately the same as " trumpet," and is probably onomatopoeic in origin; it appears late in Eng. about the middle of the 16th century)

drum is pierced with holes at the intersecting points, the pins being movable, so that when the performer See also:

GREW, NEHEMIAH (1641-1712)

grew tired of one tune, he could re-arrange the pins to See also:

FORM (Lat. forma)

form another. The four See also:

bellows are set in See also:

motion by means of See also:

ROPES, JOHN CODMAN (1836–1899)

ropes strained over pulleys and attached to four cranks on the rotating See also:

shaft. Solomon de Caus See also:

LAYS

lays no claim to the invention of this organ, but only to the See also:

ADAPTATION (from Lat. adaptare. to fit to)

adaptation of hydraulic power for revolving the drum; on the contrary, in a dissertation on the invention of hydraulic machines dnd organs, he states that there was evidently some difference between the organs of the ancients and those of his See also:

day, since there is no mention in the See also:

CLASSICS

classics of any musical See also:

wheel by means of which tunes could be played in several parts—the ancients, indeed, seem to have used their fingers on the See also:

KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard to See also:

sound their organs. The eighteen keys See also:

DRAWN

drawn in one See also:

DIAGRAM

diagram See also:

bear names, beginning at the See also:

LEFT

left, D, C, B, A, G, F, F$f, E, D, C, B, A, G, F, E, D, C, B; De Caus states that only See also:

HALF

half the keyboard is given for want of space; the See also:

COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass, therefore, prob- ably was as shown, with a few accidentals.

A barrel-organ, also worked by hydraulic power, is somewhat fantastically drawn by See also:

Robert See also:

FLUDD, or FLUD, ROBERT [ROBERTUS DE FLUCTIBUS] (1574-1637)

Fludd in a work° published two years after that of Solomon de Caus. This diagram is of no value except as a curiosity, for the author betrays a very imperfect knowledge of the See also:

MECHANICAL

mechanical principles involved. The piece of See also:

MUSIC

music actually set on de Caus' barrel-organ, six bars of which can be made out,' consists of a See also:

MADRIGAL (Ital. madrigale)

madrigal, " Chi fara fed' al ciel," by Alessandro Striggio, written in organ tablature by See also:

Peter See also:

Philips, organist of the See also:

CHAPEL

Chapel Royal, Brussels, at the end of the 16th century.° A French barrelorgan9 in the collection of the Brussels See also:

CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire, bearing the date " 5 See also:

Mars 1797," has the following compass with flats, beginning at the left: 4 t A Other evidences of the origin of the barrel-organ are not wanting. The See also:

INVENTORY (post-class. Lat. inventarium, a list or repertory, from invenire to find)

inventory of the organs and other keyboard instruments were also known as " Dutch organs," and the name clung to the instrument even in its diminutive form of See also:

hand-organ of the itinerant musician. In Jedediah See also:

MORSE, SAMUEL FINLEY BREESE (1791—1872)

Morse's description of the 9 Van der Straeten, op. cit. p. 231. ' Solomon de Caus, See also:

Les Raisons des forces mouvantes (See also:

FRANKFORT

Frankfort, 1615), problems 25, 28, 29, 30. 6 Historia utriusque cosmi (See also:

OPPENHEIM

Oppenheim, 1617), t. i.,experimentum viii. p. 483. 7 Op. cit. problem 29 shows the arrangement of the bellows for the See also:

wind-See also:

SUPPLY (through Fr. from Lat. supplere, to fill up)

supply. In problem 30 is drawn a large See also:

section of the barrel, showing six bars of music represented by the See also:

PIN (a doublet with " pen " from Lat. pinna, feather, pinnacle, which is said to contain the same root as irirvs, pine tree, and properly to mean a sharp point or end)

pin tablature, which can be actually deciphered by the help of the keyboard included in the See also:

DRAWING

drawing. These diagrams are admirably clear and of real technical value.

A copy of this See also:

WORK

work is in the library of the British Museum. 8 See also E. van der Straeten, who has translated Philips' setting into See also:

MODERN

modern notation, op. cit. t. vi. pp. 5o6 and 510. ° See V. C. Mahillon, Cataloguedescriptif (Brussels, 1896), No.

End of Article: BARRE, ISAAC (1726-1802)

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