Height (Perpendicular to bell): 12 1/2 in. (31.8 cm)
Diameter (Of bell): 9 1/2 in. (24.1 cm)
The Crosby Brown Collection of Musical Instruments, 1889
Not on view
In France, large circular horns became fashionable for the aristocratic hunt after the mid-seventeenth century. Around 1700, smaller, handier forms entered the court and municipal orchestras where they were often used to conjure up the atmosphere of the hunt, forest, and upper class festive life. During this period, horns began to be fitted with terminal crooks. Then at the end of the eighteenth century invention horns with internal crooks began to be used. These horns together with the extensive use of hand stopping (a technique to manipulate pitch and tone colour by opening and closing the hand within the bell) expanded the horn's orchestral role. In France, after 1818, a particularly sophisticated version, the "cor omnitonique" was used by some performers for a number of years. After valves were introduced, from 1814 to 1818, the horn became a fully chromatic instrument. The valve horns superseded the invention horns after 1835 but both types were sometimes used together as late as the 1840s.
A type of the "Maricourt" horn, which was used only for the "small hunt" of rabbits, squirrels, etc.
Marking: (On garland) Fait a Paris par Raoux Ordinair du Roy Rue Ticquetonne
Mary Elizabeth Adams Brown
Pleasing Eye and Ear Alike. The Metropolitan Museum of Art. 1971, Vol. XXX, No. 2, pg. 68, ill.
Musical Instruments of the Western World. McGraw Hill Book Company. New York, Toronto, 1967, pg. 246-247, fig. 99, ill.
Catalogue of the Crosby Brown Collection of Musical Instruments: Europe. The Metropolitan Museum of Art. New York, 1904, vol. I, pg. 178.
Catalogue of the Crosby Brown Collection of Musical Instruments of All Nations: I. Europe, Galleries 25 and 26, Central Cases of Galleries 27 and 28. Catalogue., The Metropolitan Museum of Art. New York, vol. 13, pg. 178.