the great Tekiah concluding the flourishes. The shophar is usually a ram's horn flattened by heat, the bore being a cylindrical tube of very small calibre, which opens into a kind of bell of parabolic form. The notes here given are those usually produced, but from the empirical formation of the embouchure and a peculiarity of the player's lips, an octave is occasionally produced instead of the normal fifth. The fundamental, if obtained, is not regarded as a true shophar note. Through the mediation of a friend, whose assistance has enabled me to gather this information, I have heard the shophar flourishes played by a competent performer, and am enabled to give an authoritative notation of these strangely interesting historical phrases, for the final correction of which I have to thank the Rev. Francis Cohen. Bronze horns are also of very ancient use, and existing specimens, chiefly of Celtic or Scandinavian origin, are frequently richly ornamented. Their employment appears to have been for war, for hunting, and the feast. In more recent times, their possession has been attached to feudal customs, as the transfer and holding of land, and at last through the growth of large cities they became associated, as the interesting Dover and Canterbury Horns (Plate I.) were, with municipal customs. Horns were sounded for the curfew, and an especially characteristic example of such horn-blowing is a dramatic feature introduced by Wagner at the close of the second act of his Shakespearean Music Drama, _Die Meistersinger von Nürnberg_. Earl Spencer's very beautiful ivory horn or Oliphant (Plate VII.) was most likely intended for the chase. Of other simple wind instruments depending upon the player's lips, the ancient Roman Lituus and Buccina (Plate XXXVII.) are eminently interesting examples. The Roman horse-soldier bore the Lituus, so called from its resemblance to an Augur's staff, and the foot-soldier, the Tuba and circular Buccina. They marched to the sound of instruments, the tones of which were produced exactly as they are in the trumpet and bugle we are familiar with--from the vibration of the lips, varying with the pressure and force of wind within a cup-like mouthpiece. These tones, being from natural harmonics, are not different now from what they were when Cæsar first landed in Britain, or, indeed, the first notes from a horn that were ever produced. Of modern brass instruments drawn, there are two possessing historical interest--the Cavalry Bugle in Plate XXXVI. which belongs to H.R.H. the Prince of Wales, and sounded the moonlight charge of the Household Cavalry at Kassassin in Egypt, and a trumpet that sounded the famous charge at Salamanca. By way of contrast there is the silver State Trumpet (Plate XXXV.), one of ten that were employed in peaceful service for Her Majesty Queen Victoria during her long and gracious rule.