The two trumpets here illustrated, called _Hwangteih_ by some authorities, but by Van Aalst (that of the pattern we should in a modern house take to be a hearth broom) is named _Haot’ung_; but really Chinese names have such a never changing likeness that they are as difficult to distinguish as Chinese faces; and as for remembering them, my advice is, Do not try. These trumpets are on the sliding tube system. The _Hwangteih_ is in three parts, and the _Haot’ung_ in two parts, the first named being of very slender dimensions; the latter is often made of wood covered with copper, but when for military use it is of copper only. And here we should notice the feature peculiar to all trumpets in these Eastern lands, the extremely shallow disc like mouthpiece, with only the faintest indication of a cup,—throughout India, Burmah, Siam, and in fact the whole Asian regions contiguous. The effect of a shallow cup is the easier production of high, shrill notes; and it may be that the lip muscles are in these races thin and tense, the expanse of the disc merely exercising pressure, leaving only a minute portion of the lips for vibration equal to the diameter of the very narrow aperture entered by the stream of wind. The actual force and vigour of the breath would thus have a more predominant influence than any calculated variation of the lip muscles by will. The whole character of the music which satisfies these semi-civilized people seems to corroborate such a view. Shrillness and ear piercing intensity were the effects aimed at. These trumpets are made in several sizes; but as the proportions differ from those which we find necessary for full harmonic development, it does not appear that more than three or four notes are obtained by ordinary playing. The globular ornaments upon the tubes serve the same purpose as they do in European instruments, they enable the player to press the tube to his lips with strength; and evidently the notion is a very old one,—showing us how little is really modern. It is curious too that years ago in the British Museum I found a little bronze statue of a trumpeter of the Roman period, the trumpet being shaped at the end like the _Hao-t’ung_. At the time I wondered at the singularity, trying to find out some meaning and purpose in such configuration, but was baffled; and it is only in the presence of the Chinese instrument that one sees in it a survival of an Asian original type brought by Greek or Roman into Europe after far Eastern incursions. The _Hwang-teih_ and the _Hao-t’ung_ are reserved for marriage and funeral ceremonies, in which they have a formal part assigned to them; but it is chiefly for the marking of time or progress in the ceremony. Some authors say that the _Hao-t’ung_ is only used in funeral functions, and that it gives a grave befitting note, prolonged and wailing.