KETTLEDRUM 1 (Fr. timbales; Ger. Pauken; Ital. timpani; Sp. timbal)  , the only See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of 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 (q.v.) having a definite musical See also:

• PITCH
• PITCH, MUSICAL

pitch . The kettledrum consists of a hemispherical See also:

• PAN (" pasturer ")
• PAN (common in various forms to many Teutonic languages, cf. Ger. Pfanne; it is generally taken to be an early adaptation in a shortened form of Lat. patina, shallow bowl or dish, from patere, to lie open)

pan of See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper, See also:

• BRASS
• BRASS (O. Eng. braes)

brass or See also:

• SILVER

silver, over which a piece of vellum is stretched tightly by means of screws working on an See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring, which fits closely See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the drum . In the bottom of the pan is a small vent-hole, which prevents the head being See also:

• RENT

rent by the concussion of See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air . The vellum head may thus be slackened or tightened at will to produce any one of the notes within its See also:

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

compass of See also:

• HALF

half an See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave . Each kettledrum gives but one See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note at a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, and as it takes some little time to alter all the screws, two or three kettledrums, sometimes more, each tuned to a different note, are used in an See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra or See also:

• BAND

band . For centuries kettledrums have been made and used in See also:

• EUROPE

Europe in pairs, one large and one small; the relative proportions of the two See also:

• INSTRUMENTS

instruments being well defined and invariable . Even when eight pairs of drums, all tuned to different notes, are used, as by See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz in his " See also:

• GRAND

Grand See also:

• REQUIEM

Requiem," there are still but the two sizes of drums to produce all the notes . Various mechanisms have been tried with the See also:

• OBJECT

object of facilitating the See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of pitch, but the See also:

• SIMPLE

simple old-fashioned See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model is still the most frequently used in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . Two sticks, of which there are several kinds, are employed to See also:

• PLAY

play the kettledrum; the best of these are made of See also:

• WHALEBONE

whalebone for See also:

• ELASTICITY

elasticity, and have a small wooden knob at one end, covered with a thin piece of See also:

• FINE

fine sponge . Others have the See also:

• BUTTON (Fr. bouton, O. Fr. boton, apparently from the same root as bouter, to push)

button covered with See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt or See also:

• INDIA
• INDIA, FRENCH

india-See also:

• RUBBER, INDIARUBBER

rubber . The kettledrum is struck at about a See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the See also:

• DIAMETER (from the Cr. &a, through, µErpov, measure)

diameter from the ring . The compass of kettledrums collectively is not much more than an octave, between ----sna _ the larger instruments, —Th .

which it is inadvisable to tune below F, take any one of the following notes: and the smaller are tuned to one of the notes completing the See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic and enharmonic See also:

• SCALE
• SCALE (1) A

scale from = E@7--- These limits comprise all the notes of See also:

• ARTISTIC

artistic value that can be obtained from kettledrums . When there are but two drums—the See also:

• TERM

term " drum " used by musicians always denotes the kettledrum—they are generally tuned to the tonic and dominant or to the tonic and subdominant, these notes entering into the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of most of the harmonies of the See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key . Formerly the kettledrums used to be treated as transposing instruments, the notation, as for the See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn, being in C, the key to which the kettledrums were to be tuned being indicated in the See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score . Now composers write the real notes . The See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of a See also:

• GOOD, JOHN MASON (1764-1827)

good kettledrum is sonorous, See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich, and of See also:

• GREAT

great See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power . When See also:

• NOISE (a word of doubtful origin; O. Fr. nogse or nose; Prov. nausa, which points to Lat. nausea, sickness, as the origin; others take Lat. noxia, harm, as the source)

noise rather than See also:

• MUSIC

music is required uncovered sticks are used . The drums may be muffled or covered by placing a' piece of See also:

• CLOTH

cloth or See also:

• SILK

silk over the vellum to See also:

• DAMP

damp the See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound, a See also:

• DEVICE

device which produces a lugubrious, mysterious effect and is indicated in the score by the words timpani coperti, timpani See also:

• CON

con sordini, timbales couvertes, gedampfte Pauken . Besides the beautiful effects obtained by means of delicate gradations of tone, numerous rhythmical figures may be executed on one, two or more notes . See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German drummers who were 1 From "drum " and " See also:

• KETTLE, SIR RUPERT ALFRED (1817-1894)

kettle," a covered See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel for boiling See also:

• WATER

water or other liquid;• the O . E. word is cetel, cf . Du. ketel, Ger . Kessel, borrowed from See also:

• LAT

Lat. catillus, dim. of catinus, bowl .

764 renowned during the 17th and 18th centuries, borrowing the terms from the trumpets with which the kettledrums were See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long associated, recognized the following beats: Single tonguing (Einfache Zungen) etc= See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

Double tonguing (Doppel See also:

• ODER (Lat. Viadua; Slavonic, Vjodr)

oder gerissene Zungen) r ~ — Legato tonguing (Tragende Zungen) Whole double-tonguing (Ganze Doppel-Zungen) Double See also:

• CROSS

cross-See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat 1 (Doppel Kreuzschkige) The See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll (Wirbel) . etc= The double roll (Doppel Wirbel) _, _ It is generally stated that See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven was the first to treat the kettledrum as a See also:

• SOLO, OR SOLO WHIST

solo See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument, but in See also:

• DIDO, or ELISSA

Dido, an See also:

• OPERA (Italian for " work ")

opera by C . Graupner performed at the See also:

• HAMBURG

Hamburg Opera See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House in 1707, there is a See also:

• SHORT, FRANCIS JOB (1857– )

short solo for the kettledrum ? The tuning of the kettledrum is an operation requiring time, even when the See also:

• SCREW (O.E. scrue, from O. Fr. escroue, mod. ecrou; ultimate origin uncertain; the word, or a similar one, appears in Teutonic languages, cf. Ger. Schraube, Dan. skrue, but Skeat, following Diaz, finds the origin in Lat. scrobs, a ditch, hole, particularl

screw-heads, as is now usual, are T-shaped; to expedite the change, therefore, efforts have been made in all countries to invent some mechanism which would enable the performer to tune the drum to a fixed ,cote by a single See also:

• MOVEMENT

movement . The first See also:

• MECHANICAL

mechanical kettledrums date from the beginning of the 19th See also:

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

century . In See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland a See also:

• SYSTEM

system was invented by J . C . N . Stumpff 3; in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France by Labbaye in 1827; in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany Einbigler patented a system in 1 This rhythmical use of kettledrums was characteristic of the military instrument of percussion, rather than the musical member of the orchestra . During the See also:

• MIDDLE

middle ages and until the end of the 18th century, the two different notes obtainable from the pair of kettledrums were probably used more as a means of marking and varying the See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm than as musical notes entering into the composition of the harmonies . The kettledrums, in fact, approximated to the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side drums in technique . The contrast between the purely rhythmical use of kettledrums, given above, and the more See also:

• MODERN

modern musical use is well exemplified by the well-known solo for four kettledrums in See also:

• MEYERBEER, GIACOMO (1791-1863)

Meyerbeer's See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert le Diable, beginning thus i,p 2 See Wilhelm Kleefeld, Das Orchester der Hamburger Oper (1678—1738); Internationale Musikgesellschaft, Sammelband i . 2, p .

278 (See also:

• LEIPZIG

Leipzig, 1899) . ' See J . Georges Kastner, Methode See also:

• COMPLETE

complete et raisonnee de timbales (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris), p . 19, where several of the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early mechanical kettledrums are described and illustrated . See also:

• FRANKFORT

Frankfort-on-See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

Main in 1836*; in England See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius See also:

• WARD
• WARD, ADOLPHUS WILLIAM (1837- )
• WARD, ARTEMUS
• WARD, EDWARD MATTHEW (1816-1879)
• WARD, ELIZABETH STUART PHELPS (1844-1911)
• WARD, JAMES (1769--1859)
• WARD, JAMES (1843– )
• WARD, JOHN QUINCY ADAMS (1830-1910)
• WARD, LESTER FRANK (1841– )
• WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
• WARD, WILLIAM (1766-1826)
• WARD, WILLIAM GEORGE (1812-1882)

Ward in 1837; in See also:

• ITALY
• ITALY (Italia)

Italy C . A . Boracchi of See also:

• MONZA (locally Monscia)

Monza in 1839.6 The See also:

• DRAWBACK

drawback in most of these systems is the complicated nature of the mechanism, which soon gets out of See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, and, being very cumbersome and heavy, it renders the instrument more or less of a fixture . See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

Potter's kettledrum with instantaneous system of tuning, the best known at the See also:

• PRESENT

present See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day in England, and used in some military bands with entire success, is a complete contrast to the above . There is practically no mechanism; the system is simple, ingenious, and neither adds to the See also:

• WEIGHT

weight nor to the bulk of the instrument . There are no screws round the head of Potter's kettle-drum; an invisible system of cords in the interior, regulated by screws and rods in the See also:

• FORM (Lat. forma)

form of a Maltese cross, is worked from the outside by a small handle connected to a See also:

• DIAL

dial, on the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face of which are twenty-eight numbered notches . By means of these the performer is able to tune the drum instantly to any note within the compass by remembering the See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers which correspond to each note and pointing the See also:

• INDICATOR (from Lat. indicare, to point out)

indicator to it on the face of the dial . Should the cords become slightly stretched, flattening the pitch, causing the representative numbers to change, the performer need only give his indicator an extra turn to bring his instrument back to pitch, each note having several notches at its service .

The See also:

• INTERNAL

internal mechanism, being of an elastic nature, has no detrimental effect on the tone but tends to increase its See also:

• VOLUME

volume and improve its quality . The origin of the kettledrum is remote and must be sought in the See also:

• EAST
• EAST, ALFRED (1849- )

East . Its distinctive characteristic is a hemispherical or See also:

• CONVEX

convex vessel, closed by means of a single See also:

• PARCHMENT

parchment or skin See also:

• DRAWN

drawn tightly over the See also:

• APERTURE (from Lat. aperire, to open)

aperture, whereas other drums consist of a See also:

• CYLINDER (Gr. KvAwSpos, from KvXivaety, to roll)

cylinder, having one end or both covered by the parchment, as in the side-drum and See also:

• TAMBOURINE (Fr. tambour de Basque; Ger. baskische Trommel, Tambourin, or Schellen-trommel)

tambourine respectively . The See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans were acquainted with the kettledrum, including it among the tympana; the tympanum leve, like a See also:

• SIEVE (O.E. sife, older sibi, cf. Dutch zeef, Ger. Sieb; from the subst. comes O.E. siftan, to sift)

sieve, was the tambourine used in the See also:

• RITES

rites of Bacchus and See also:

• CYBELE, or CYBEBE (Gr. Ku/3X, Ku,(3i7sn)

Cybele.6 The comparatively heavy tympanum of See also:

• BRONZE

bronze mentioned by See also:

• CATULLUS, GAIUS VALERIUS (?84-J4 B.C.)

Catullus was probably the small kettledrum which appears in pairs on monuments of the middle ages .7 Pliny8 states that half pearls having one side round and the other See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat were called tympania . If the name tympania (Gr. ruµ1ravov, from zb7rrety, to strike) was given to pearls of a certain shape because they resembled the kettledrum, this argues that the instrument was well known among the Romans . It is doubtful, however, if it was adopted by them as a military instrument, since it is not mentioned by See also:

• VEGETIUS (FLAvjUS VEGETIUS RENATUS)

Vegetius,9 who defines very clearly the duties of the service instruments See also:

• BUCCINA (more correctly Buclna, Gr. l3VKavr7, connected with bucca, cheek, and Gr. /% CL)

buccina, See also:

• TUBA

tuba, See also:

• CORNU, MARIE

cornu and See also:

• LITUUS

lituus . The Greeks also knew the kettledrum, but as a warlike instrument of barbarians . See also:

• PLUTARCH
• PLUTARCH (Gr. llXoi rapxos) (c. A.D. 46–120)

Plutarch '° mentions that the Parthians, in order to frighten their enemies, in offering See also:

• BATTLE

battle used not the horn or tuba, but hollow vessels covered with a skin, on which they beat, making a terrifying noise with these tympana . Whether the kettledrum penetrated into western Europe before the fall of the See also:

• ROMAN

Roman See also:

• EMPIRE

Empire and continued to be included during the middle ages among the tympana has not been definitely ascertained . Isidore of See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville gives a some-what vague description of tympanum, conveying the impression that his See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information has been obtained second-See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand: "Tympanum est pellis vel corium ligno ex una parte extentum . Est enim pars See also:

• MEDIA

media symphoniae in similitudinem cribri . Tympanum autem dictum quod See also:

• MEDIUM

medium est .

Unde, et margaritum medium tympanum dicitur, et ipsum ut See also:

• SYMPHONIA (Gr. o-vµcfrmvla)

symphonia ad virgulam percutitur." 11 It is clear that in this passage Isidore is referring to See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny . The names given during the middle ages to the kettledrum are derived from the East . We have attambal or attabal in See also:

• SPAIN
• SPAIN (Espana)

Spain, ' See Gustav Schilling's Encyklopddie der gesammten musikal . Wissenschaften (See also:

• STUTTGART

Stuttgart, 1840), vol. v., See also:

• ART

art . " Pauke." See Manuale pel Timpanista (See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, 1842), where Boracchi describes and illustrates his invention . 6 Catullus, lxiii . 8—to; Claud . De cons . Stilich. iii . 365; Lucret. ii . 618; Virg . Aen. ix .

619, &c . 7 See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• CARTER, ELIZABETH (1717-1806)

Carter, Specimens of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

Ancient See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

Sculpture, bas-See also:

• RELIEF

relief from seats of See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of See also:

• WORCESTER
• WORCESTER, EARLS AND MARQUESSES OF
• WORCESTER, JOHN TIPTOFT, EARL OF (1427—1470)
• WORCESTER, WILLIAM (c. 1415-c. 1482)

Worcester See also:

• CATHEDRAL

cathedral and of collegiate See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of St Katherine near the See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower of See also:

• LONDON

London (plates, vol. i. following p . 53 and vol. ii. following p . 22) . 8 Nat . Hist. ix . 3.5, 23 . o De re militari, ii . 22 ; iii . 5, &c . io See also:

• CRASSUS (literally " dense," " thick," " fat ")

Crassus, See also:

• XXIII

xxiii . 10 .

See also See also:

• JUSTIN (JUNIANUS JUSTINUS)

Justin xli . 2, and Polydorus, See also:

• LIB

lib . I, cap. xv . ii See Isidore of Seville, Etymologiarum, Iib. iii. cap . 2I, 141; See also:

• MIGNE, JACQUES PAUL (1800-1875)

Migne, Pair. curs. completus, lxxxii, 167 . from the See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian tambal, whence is derived the modern See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French timbales; See also:

• NACAIRE, NAKEB, NAQUAIRE (Arab. naqdra)

nacaire, naquaire or nakeres (See also:

• ENGLISH

English spelling), from the Arabic nakkarah or noggarich (See also:

• BENGALI

Bengali, nagard), and the German Pauke, M.H.G . Bike or Puke, which is probably derived from byk, the See also:

• ASSYRIAN

Assyrian name of the instrument . A See also:

• LINE

line in the See also:

• CHRONICLES, BOOKS OF

chronicles of See also:

• JOINVILLE
• JOINVILLE, FRANCOIS FERDINAND PHILIPPE LOUIS MARIE, PRINCE DE (1818-1900)
• JOINVILLE, JEAN, SIRE DE (1224-1319)

Joinville definitely establishes the identity of the nakeres as a kind of drum: " Lor it fist sonner (Geo . Potter & Co. of See also:

• ALDERSHOT

Aldershot.) of cords inside the head . This See also:

• REGIMENT (from Late Latin regimentum, rule, regere, to rule, govern, direct)

regiment is now the 21st (Empress of India) Lancers . See also:

• LES

les tabours que l'on appelle nacaires." The nacaire is among the instruments mentioned by See also:

• FROISSART, JEAN (1338-1410?)

Froissart as having been used on the occasion of See also:

• EDWARD

Edward III.'s triumphal entry into See also:

• CALAIS

Calais in 1347: " trompes, tambours, nacaires, chalemies, See also:

• MUSES, THE (Gr. Mo6o-at, the thinkers)

muses." 1 See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer mentions them in the description of the See also:

• TOURNAMENT, or TOURNEY (Fr. tournement, tournoi, Med. Lat. torneamentum, from tourner, to turn)

tournament in the See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight's See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

Tale (line 2514): " Pipes, trompes, nakeres and clarionnes The earliest See also:

• EUROPEAN

European See also:

• ILLUSTRATION

illustration showing kettledrums is the See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene depicting See also:

• PHARAOH (Par'oh)

Pharaoh's banquet in the fine illuminated MS. See also:

• BOOK

book of See also:

• GENESIS
• GENESIS (Gr. 'ybeo-es, becoming; the term being used in English as a synonym for origin or process of coming into being)

Genesis of the 5th or 6th century, preserved in See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna . There are two pairs of shallow metal See also:

• BOWLS

bowls on a table, on which a woman is performing with two sticks, as an See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment to the double pipes.2 As a See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion See also:

• ILLUMINATION

illumination may be cited the picture of an Eastern banquet given in a 14th century MS. at the See also:

• BRITISH

British Museum (Add .

MS . 27,695), illuminated by a skilled Genoese . The potentate is enjoying the music of various instruments, among which are two kettledrums strapped to the back of a Nubian slave . This was the earlier manner of usingthe instrument before it became inseparably associated with the See also:

• TRUMPET (Fr. trompette, clairon; Ger. ,Trompete, Klarino, Trummet; Ital. tromba, trombetta, clarino)
• TRUMPET, SPEAKING AND HEARING

trumpet, sharing its position as the service instrument of the See also:

• CAVALRY (Fr. cavalerie, Ger. Kavallerie or Reiterei, derived ultimately from late Lat. caballus, horse)

cavalry . See also:

• JOST, ISAAK MARKUS (1793–1860)

Jost See also:

• AMMAN, JOHANN CONRAD (1669-c.773o)
• AMMAN, JOST (1539-1591)
• AMMAN, PAUL (1634-1691)

Amman 3 gives a picture of a pair of kettledrums with See also:

• BANNERS, FEAST OF (Jap. Nobori-no-Sekku)

banners being played by an armed knight on horseback . (From Hertel u . Wickhoff's "See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die all ienerhGen esms"hahrbuch der kunsthistorischen Fig . 2.—Kettledrums in an early See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian MS . As in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of the trumpet, the use of the kettledrum was placed under great restrictions in Germany and France and to some extent in England, but it was used in churches with the trumpet.' No French or German regiment was allowed Fig . 3.—See also:

• MEDIEVAL

Medieval Kettledrums, 14th century . (Brit . Museum.) kettledrums unless they had been captured from the enemy, and the timbalier or the Heerpauker on See also:

• PARADE (Fr. parade, an adaptation from Ital. parada; cf. Span. parada, from Lat. parade, to prepare, equip, furnish)

parade, in reviews and See also:

• MARCHES, THE (It. Le Marche)

marches generally, rode at the head of the See also:

• SQUADRON

squadron; in battle his position was in the wings .

In England, before the Restoration, only the See also:

• GUARDS, AND HOUSEHOLD TROOPS

Guards were allowed kettledrums, but after the See also:

• ACCESSION (from Lat. accedere, to go to, to approach)

accession of See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James II. every regiment of See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse was provided with them.5 Before the Royal Regiment of See also:

• ARTILLERY (the O. Fr. artiller, to equip with engines of war, probably comes from Late Lat. articulum, dim. of ars, art, cf. " engine " from ingenium, or of artus, joint)

Artillery was established, the 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-See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general of See also:

• ORDNANCE (a syncopated form of " ordinance " or " ordonnance," so spelt in this sense since the 17th century)

ordnance was responsible for the raising of trains of artillery . Among his See also:

• RETINUE (O. Fr. retenue, from retenir, Lat. retenere, hold back, retain)

retinue in time of See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war were a See also:

• TRUMPETER

trumpeter and kettledrummer . The kettledrums were mounted on a See also:

• CHARIOT (derived from an O. Fr. word, formed from char, a car)

chariot drawn by six See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white horses . They appeared in the See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field for the first time in a See also:

• TRAIN (M. Eng. trayn or trayne, derived through Fr. from Late Lat. trahinare, to drag, draw, Lat. trahere, cf. trail, trace, ultimately from the same source)

train of artillery during the Irish See also:

• REBELLION

rebellion of 1689, and the charges for ordnance That in the bataille blowen blody sonnes.,, 'A 1 See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon litteraire (Paris, 1837), J . A . See also:

• BUCHON, JEAN ALEXANDRE (1791-1849)

Buchon, vol. i . cap . 322, 3 Artliche u. kunstreiche Figuren zu der Reutterey (Frankfort-on-Main, 1584) . ' See See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael See also:

• PRAETORIUS, MICHAEL (1571_1621)

Praetorius, Syntagma Musicum and Monatshefte f. p . 273 . Musikgeschichte, Jahrgang x . 51 .

2 Reproduced by See also:

• FRANZ, ROBERT (1815-1892)

Franz Wickhoff, " Die Wiener Genesis," supple- 5 See Georges Kastner, op. cit., pp. lo and I I ; Johann See also:

• ERNST, HEINRICH WILHELM (1814–1865)

Ernst Altenment to the 15th and 16th volumes of the Jahrb. d. kunsthistorischen See also:

• BURG

burg, Versuch einer Anleitung z. heroisch-musikalischen Trompeter u . Sammlungen d allerhochsten Kaiserhauses (Vienna, 1895); see frontis- Paukerkunst (See also:

• HALLE (known as HALLE-AN-DER-SAALE, t0 distinguish it from the small town of Halle in Westphalia)
• HALLE, SIR CHARLES (originally KARL HALLE) (1819-1895)

Halle, 1795), p . 128; and H . G . See also:

• FARMER, RICHARD (1735–1787)

Farmer, See also:

• MEMOIRS

Memoirs of piece in See also:

• COLOURS, MILITARY

colours and See also:

• PLATE

plate illustration XXXIV. the Royal Artillery Band p . 23, note I (London, 1904) . include the See also:

• ITEM (a Latin adverb meaning " also," " likewise ")

item, " large kettledrums mounted on a See also:

• CARRIAGE

carriage with cloaths marked I.R. and cost £158, 9s." 1 A model of the kettledrums with their carriage which accompanied the See also:

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

duke of See also:

• MARLBOROUGH
• MARLBOROUGH, EARLS AND DUKES OF
• MARLBOROUGH, JOHN CHURCHILL, 1ST DUKE OF (1650-1722)

Marlborough to Holland in 1702 is preserved in the Rotunda Museum at See also:

• WOOLWICH

Woolwich . The kettledrums accompanied the Royal Artillery train in the See also:

• VIGO

Vigo expedition and during the See also:

• CAMPAIGN

campaign in See also:

• FLANDERS (Flem. Vlaanderen)

Flanders in 1748 . Macbean2 states that they were mounted on a triumphal See also:

• CAR (Late Lat. carra)

car ornamented and gilt, bearing the ordnance See also:

• FLAG (or " FLAGGE," a common Teutonic word in this sense, but apparently first recorded in English)

flag and drawn by six white horses . The position of the car on See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

march was in front of the flag See also:

• GUN

gun, and in See also:

• CAMP (from Lat. campus, field)

camp in front of the quarters of the duke of See also:

• CUMBERLAND
• CUMBERLAND, DUKES AND EARLS OF
• CUMBERLAND, RICHARD (1632-1718)
• CUMBERLAND, RICHARD (1732-1811)
• CUMBERLAND, WILLIAM AUGUSTUS

Cumberland with the artillery guns packed round them . The kettledrummer had by order " to See also:

• MOUNT, WILLIAM SIDNEY (1807-1868)

mount the kettledrum carriage every See also:

• NIGHT

night half an See also:

• HOUR

hour before the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

sun sett and beat till gun fireing." In 1759 the kettledrums ceased to form See also:

• PART

part of the See also:

• ESTABLISHMENT (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment of the Royal Artillery, and they were deposited, together with their carriage, in the Tower, at the same time as a pair captured at See also:

• MALPLAQUET

Malplaquet in 1709 . These Tower drums were frequently borrowed by See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel for performances of his oratorios .

The kettledrums still form part of the bands of the See also:

• LIFE

Life Guards and other cavalry regiments . (K .