[51] See Katalog des musikhistorischen Museums von Paul de Wit (Leipzig, 1904), p. 142, No. 564, where it is classified as a Jägertrompete after Praetorius; it has a trumpet mouthpiece.
[52] For an illustration see F. J. Crowest, English Music, p. 449, No. 12.
[53] See Ignatz and Anton Böck in Baierisches Musik-Lexikon by Felix J. Lipowski (Munich, 1811), p. 26, note.
[54] See, for instance, frontispiece of Walther’s Musikalisches Lexikon (Leipzig, 1732); J. F. B. C. Majer’s Musik-Saal (Nuremberg, 1741, 2nd ed.), p. 54; Joh. Christ. Kolb, Pinacotheca Davidica (Augsburg, 1711); Ps. xci.; “Componimenti Musicali per il cembalo Dr Theofilo Muffat, organista di sua Sacra Maesta Carlo VI. Imp.” (1690), title-page in Denkmäler d. Tonkunst in Oesterreich, Bd. iii.
[55] See Hugo Goldschmidt, “Das Orchester der italienischen Oper im 17 Jahrhundert,” Intern. Mus. Ges., Smbd. ii. 1, p. 73.
[56] See “Le Cor,” pp. 23 and 24, and Dictionnaire de l’acad. des beaux arts, vol. iv., art. “Cor.”
[57] Mersenne’s drawings of cors de chasse are very crude; they have no bell and are all of the large calibre suggestive of the primitive animal horn. He mentions nevertheless that they were not only used for signals and fanfares but also for little concerted pieces in four parts for horns alone, or with oboes, at the conclusion of the hunt.
[58] See William Tans’ur Senior, The Elements of Musick (London, 1772); Br. V. Dictionary under “Horn.” Also Scale of Horn in the hand of Samuel Wesley; in Add. MS. 35011, fol. 166, Brit. Mus.
[59] A horn-player, Johann Theodor Zeddelmayer, was engaged in 1706 at the Saxon court at Weissenfels; see Neue-Mitteilungen aus dem Gebiete histor. antiqu. Forschungen, Bd. xv. (2) (Halle, 1882), p. 503; also Wilhelm Kleefeld, “Das Orchester der Hamburger Oper, 1678-1738,” Intern. Mus. Ges., Smbd. i. 2, p. 280, where the appearance of the horn in the orchestras of Germany is traced.
[60] Das neu-eröffnete Orchester, i. 267.