books, so called because the Macedonian empire founded by | woollen and metal wares are exported. An active trade in corn Philip is the central theme of the narrative. This was a general for the Ural gold mines is carried on. The place has ironworks history of the world, or rather of those portions of it which came and tanneries. under the sway of Alexander and his successors. It began with Ninus, the founder of Nineveh, and ended at about the same point as Livy (A.D. 9). The last event recorded by the epitomator Justin (q.v.) is the recovery of the Roman standards captured by the Parthians (20 B.C.). He left untouched Roman history up to the time when Greece and the East came into contact with Rome, possibly because Livy had sufficiently treated it. The work was based upon the writings of Greek historians, such as Theopompus (also the author of a Philippica), Ephorus, Timaeus, Polybius. Chiefly on the ground that such a work was beyond the powers of a Roman, it is generally agreed that Trogus did not gather together the information from the leading Greek historians for himself, but that it was already combined into a single book by some Greek (very probably Timagenes of Alexandria). His idea of history was more severe and less rhetorical than that of Sallust and Livy, whom he blamed for putting elaborate speeches into the mouths of the characters of whom they wrote. Of his great work, we possess only the epitome by Justin, the prologi or summaries of the 44 books, and fragments in Vopiscus, Jerome, Augustine and other writers. But even in its present mutilated state it is often an important authority for the ancient history of the East. Ethnographical and geographical excursuses are a special feature of the work. Fragments edited by A. Bielowski (1853); see also, A. H.L. Heeren, De Trogi P. fontibus et auctoritate (prefixed to C. H. Frotscher's edition of Justin): A. Enmann on the authorities used by Trogus for Greek and Sicilian history (1880); A. von Gutschmid, Über die Fragmente des Pompeius Trogus (1857); M. Schanz, Geschichte der römischen Litteratur (2nd ed., 1899), ii., where all that is known of Timagenes is given; Teuffel-Schwabe, Hist. of Roman Literature, §258; and article JUSTIN. TROLLE, HERLUF (1516-1565), Danish naval hero, was born on the 14th of January 1516 at Lillö. At the age of nineteen Trolle went to Vor Frue Skole at Copenhagen, subsequently completing his studies at Wittenberg, where he adopted the views of Melanchthon, with whom he was in intimate correspondence for some years. His marriage with Brigitte, the daughter of Lord Treasurer Mogens Gjöe, brought him a rich inheritance, and in 1557 he took his seat in the senate. Both Christian III. and Frederick II. had a very high opinion of Trolle's trustworthiness and ability and employed him in various diplomatic missions. Trolle was, indeed, richly endowed by nature, and his handsome face and lively manners made him popular everywhere. His one enemy was his wife's nephew Peder Oxe, the subsequently distinguished finance minister, whose narrow grasping ways, especially as the two men were near neighbours, did not contribute towards family harmony. It was Trolle whom Frederick II. appointed to investigate the charges of malversation brought against Oxe. Both Trolle and his wife were far renowned for their piety and good works, and their whole household had to conform to their example or seek service elsewhere. A man of culture, moreover, he translated David's 31st Psalm into Danish verse. He also promoted literature and learning by educating poor students both at home and abroad, endowing Latin schools and encouraging historical research. In 1559 Trolle was appointed admiral and inspector of the fleet, a task which occupied all his time and energy. In 1563 he superseded the aged Peder Skram as admiral in chief. On the 10th of May he put to sea with twentyone ships of the line and five smaller vessels and, after uniting with a Lübeck squadron of six liners, encountered, off the isle of Öland, a superior Swedish fleet of thirty-eight ships under Jacob Bagge. Supported by two other Danish ships Trolle attacked the Swedish flagship "Makalös" (Matchless), then the largest battleship in northern waters, but was beaten off at nightfall. The fight was renewed at six o'clock the following morning, when the "Makalös" was again attacked and forced to surrender, but blew up immediately afterwards, no fewer than 300 Lübeck and Danish sailors perishing with her. But the Swedish admiral was captured and the remnant of the Swedish fleet took refuge at Stockholm. Despite the damage done to his own fleet and flagship "Fortuna " by this great victory, Trolle, on the 14th of August, fought another but indecisive action with a second Swedish fleet under the famous Swedish admiral Klas Horn, and kept the sea till the 13th of October. Trolle spent the winter partly at his castle of Herlufsholm completing his long cherished plan of establishing a school for all classes, and partly at Copenhagen equipping a new fleet for the ensuing campaign. On the 1st of June 1565 he set sail with twenty-eight liners, which were reinforced off Femern by five Lübeck vessels. Klas Horn had put to sea still earlier with a superior fleet and the two admirals encountered off Fehmarn on the 4th of June. The fight was severe but indecisive, and both commanders finally separated to repair their ships. Trolle had been severely wounded in the thigh and shoulder, but he would not let the ship's surgeon see to his injuries till every one else had been attended to. This characteristic act of unselfishness was his undoing, for he died at Copenhagen on the 25th of June, seventeen days after they had put him ashore. TROIA, a town and episcopal see of Apulia, Italy, in the province of Foggia, situated 1440 ft. above sea-level, 7 m. N.W. of the station of Giardinetto-Troia, which is 16 m. S. W. of Foggia. Pop. (1901), 6674. Troia occupies the site of the ancient Aecae, 12 m. S. of Luceria, on the Via Traiana, a town which fell to Hannibal after the victory of Cannae, but was won back by the Romans in 214. Under the empire it appears to have become a colony. Troia was itself founded in 1017 by the Greek prefect❘ Basilius Bugianus. The cathedral dates from 1107, but the upper part of the façade with its curious sculptures, fine rosewindow and polychromatic decoration, the choir apse and the interior were restored early in the 13th century. The latter has been somewhat spoilt by recent decorations. The bronze doors, partly in relief and partly in niello, of 1119 and 1127 respectively, were cast in Beneventum by Oderisius Berardus. The small domed church of S. Basilio has an ambo of 1158. TROÏLUS, in Greek legend, son of Priam (or Apollo) and Hecuba. His father, when upbraiding his surviving sons for their cowardice, speaks in the Iliad (xxiy. 257) of Troilus as already slain before the action of the poem commences. According to a tradition drawn from other sources and adopted by Virgil (Aen. i. 474), when a mere boy he fell by the hand of Achilles. In another account, he was dragged to death by his own horses. His death formed the subject of a lost tragedy by Sophocles. There is no trace in classical writers of the story of Shakespeare's Troilus and Cressida, the materials for which were derived from Chaucer's poem of the same name, Lydgate's History, Sege, and Destruccion of Troy, Caxton's Recuyell of the Historyes of Troy (trans. from Norman French of Raoul le Fevre), Chapman's translation of Homer, and perhaps a play on the subject by Dekker and Chattle. TROITSK, a town of eastern Russia, in the government of in a fertile steppe, 315 m. N.E. of Orenburg, and 77 m. on the Siberian highway. Pop. (1885), 18,497; (1900), 23,293. It has grown rapidly in modern times. The Troitskiy fort, erected in 1743, became a centre for trade with the Kirghiz steppe and Turkestan, and in that trade Troitsk is now second only to Orenburg. Cotton, silk, and especially horses and cattle are imported, while leather, cotton, Orenburg, situate Chelyabinsk, TROLLHÄTTAN, a town of Sweden in the district (län) of Elfsborg, 45 m. by rail N. by E. of Gothenburg. Pop. 6000. It lies on the left (east) bank of the Göta at the point where that river descends 108 ft. in the course of nearly a mile by the famous falls of Trollhättan (six in number) and several rapids. The scenic setting of the falls is not striking, but the great volume of water, nearly 18,000 cub. ft. per second, renders them most imposing. The narrowed river here surrounds several islands, on either side of one of which (Toppö) are the first falls of the series, Toppö and Tjuf. These are 42 ft. in height. The waterpower is used in rolling-mills, a cellulose factory and other works. Several "giant's caldrons" are seen in the exposed bed of a former channel. Below the falls are valuable salmon fisheries. To the east of the river the Berg canal, part of the Göta canal system, ascends in a series of eleven new locks (Akersvass) completed in 1844. An old series of locks (1800) is in use for small vessels. There are also ruins of an abortive attempt made to lock the falls in 1755. (See GOTA.) TROLLOPE, ANTHONY (1815-1882), English novelist, was born in London, on the 24th of April 1815. His father, Thomas Anthony Trollope (1780-1835), a barrister who had been fellow of New College, Oxford, was reduced to poverty by unbusinesslike habits and injudicious speculation, and in 1829 Anthony's mother, FRANCES MILTON TROLLOPE (1780–1863), went with her husband to the United States to open a small fancy-goods shop in Cincinnati. The enterprise was a failure, but her three years' stay in that country resulted in a book on the Domestic Manners of the Americans (1832), of which she gave an unflattering account that aroused keen resentment. Returning to England her husband was compelled to flee the country in order to escape his creditors, and Mrs Trollope thereafter supported him in Bruges until his death by her incessant literary work. She published some books of travel, most of which are coloured by prejudice, and many novels, among the best known of which are The Vicar of Wrexhill (1837) and the Widow Barnaby (1839), studies in that vein of broad comedy in which lay her peculiar gift. She wrote steadily for more than twenty years, until her death, at Florence, on the 6th of October 1863. (See Frances Trollope, her Life and Literary Work, by her daughter-in-law 1895.) Her eldest son THOMAS ADOLPHUS TROLLOPE (18101892), was educated at Winchester and Oxford, and spent most of his life in Italy. He wrote a number of works on Italian subjects, among them Homes and Haunts of Italian Poets (1881), in collaboration with his second wife, Frances Eleanor Trollope, herself a novelist of no mean ability. He was a voluminous author, and perhaps the quantity of his work has obscured its real merit. Among his novels are La Beata (1861) Gemma (1866), and The Garstangs of Garstang Grange (1869). (See his autobiography, What I Remember 1887.) Anthony Trollope was the third son. By his own account few English men of letters have had an unhappier childhood and youth. He puts down his own misfortunes, at Harrow, at Winchester, at Harrow again, and elsewhere, to his father's pecuniary circumstances, which made his own appearance dirty and shabby, and subjected him to various humiliations. But it is permissible to suspect that this was not quite the truth, and that some peculiarities of temper, of which in after life he had many, contributed to his unpopularity. At any rate he seems to have reached the verge of manhood as ignorant as if he had had no education at all. After an experience as usher in a private school at Brussels he obtained, at the age of nineteen, by favour (for he could not pass even the ridiculous examination then usual) a position in the London post office. Even then his troubles were not over. He got into debt; he got into ridiculous entanglements of love affairs, which he has very candidly avowed; he was in constant hot water with the authorities; and he seems to have kept some very queer company, which long afterwards stood him in good stead as models for some of his novels. At last in August 1841 he obtained the appointment of clerk to one of the post office surveyors in a remote part of Ireland with a very small salary. This, however, was practically quadrupled by allowances; living was cheap; and the life suited Trollope exactly, being not office work, which he always hated, but a kind of travelling inspectorship. In the discharge of his duties he evinced a business capacity quite unsuspected by his former superiors. Here he began that habit of hunting which, after a manner hardly possible in later conditions of official work, he kept up for many years even in England. Within three years of his appointment he became engaged to Rose Heseltine, whom he had met in Ireland but who was of English birth. They were married in June 1844. His headquarters had previously been at Banagher; he was now transferred to Clonmel. Trollope had always dreamt of novel-writing, and his Irish XXVII 6 experiences seemed to supply him with promising subjects. With some assistance from his mother he got published his first two books, The Macdermots of Ballycloran (1847) and The Kellys and the O'Kellys (1848). Neither was in the least a success, though the second perhaps deserved to be, and a third, La Vendée (1850), besides being a much worse book than either, was equally a failure. Trollope made various literary attempts, but for a time ill fortune attended all of them. Meanwhile he was set on a new kind of post office work, which suited him even better than his former employment-a sort of roving commission to inspect rural deliveries and devise their extension, first in Ireland, then throughout the west of England and South Wales. That he did good work is undeniable; but his curious conception of official duty, on his discharge of which he prided himself immensely, is exhibited by his confessions that he "got his hunting out of it," and that he felt “the necessity of travelling niles enough "-he was paid by the mileage-" to keep his horses." It was during this work that he struck the vein which gave him fortune and fame. A visit to Salisbury Close inspired him with the idea of The Warden (1855). It brought him little immediate profit, nor was even Barchester Towers, which followed in 1857, very profitable, though it contains his freshest, his most original, and, with the exception of The Last Chronicle of Barsel, his best work. The two made him a reputation, however, and in 1858 he was able for the first time to sell a novel, The Three Clerks, for a substantial sum, £250. A journey on post office business to the West Indies gave him material for a book of travel, The West Indies and the Spanish Main (1859), which he frankly and quite truly acknowledges to be much better than some subsequent work of his in the same line. From this time his production, mainly of novels, was incessant, and the sums which he received were very large, amounting in one case to as much as £3525 for a single book, and to nearly £70,000 in the twenty years between 1859 and 1879. All these particulars are given with great minuteness by himself, and are characteristic. The full high tide of his fortunes began when the Cornhill Magazine was established. He was asked at short notice to contribute a novel, and wrote in 1861 Framley Parsonage, which was extremely popular; two novels immediately preceding it, The Bertrams (1859) and Castle Richmond (1860) had been much less successful. As it will be possible to notice few of his other works, the list of them, a sufficiently astonishing one, may be given here: Doctor Thorne (1858); Tales of All Countries (3rd series 1863); Orley Farm; North America (1862): Rachael Ray (1863); The Small House at Allington, Can You Forgive Her? (1864); Miss Mackenzie (1865); The Belton Estate (1866); The Claverings, Nina Balatka, The Last Chronicle of Barset (1867); Linda Tressel (1868); Phineas Finn, He Knew He Was Right (1869); The Struggles of Brown, Jones and mentaries of Caesar (1870); Sir Harry Hotspur of Humblethwaite, Robinson, the Vicar of Bullhampton, An Editor's Tales, The ComRalph the Heir (1871): The Golden Lion of Granpere (1872); The Eustace Diamonds, Australia and New Zealand (1873); Phineas Redux, Harry Heathcote of Gangoil, Lady Anna (1874); The Way We Live Now (1875): The Prime Minister (1876): The American Senator (1877): Is He Popenjoy? South Africa (1878); John Caldigate, An Eye for an Eye, Cousin Henry, Thackeray (1879): The Duke's Children, Cicero (1880); Ayala's Angel, Dr Wortle's School (1881); Frau Frohmann, Lord Palmerston, The Fixed Period, Kept in the Dark, Marion Fay (1882); Mr Scarborough's Family, The Land Leaguers (1883); and An Old Man's Love (1884), and several volumes of short stories. How this enormous total was achieved in spite of official work (of which, lightly as he took it, he did a good deal, and which he did not give up for many years), of hunting three times a week in the season, of whist-playing, of not a little going into general society, he has explained with his usual curious minuteness. He reduced novel-writing to the conditions of regular mechanical work-so much so that latterly he turned out 250 words every quarter of an hour, and wrote at this rate three hours a day. He divided every book beforehand into so many days' work and checked off the amount as he wrote. A life thus spent could not be very eventful, and its events may be summed up rapidly. In 1858 he went to Egypt on post office business, and at the end of 1859 he got himself 2a transferred from Ireland to the eastern district of England. Here he took a house, at Waltham. He took an active part in the establishment of the Fortnightly Review in 1865; he was editor of St Paul's for some time after 1867; and at the end of that year he resigned his position in the post office. He stood as a parliamentary candidate for Beverley and was defeated; he received from his old department special missions to America and elsewhere he had already gone to America during the Civil War. He went to Australia in 1871, and before going broke up his household at Waltham. When he returned he established himself in London, and lived there until 1880, when he removed to Harting, on the confines of Sussex and Hampshire. He had visited South Africa in 1877 and travelled elsewhere. He died of paralysis on the 6th of December 1882. Of Trollope's personal character it is not necessary to say much. Strange as his conception of official duty may seem, it was evidently quite honest and sincere, and, though he is said to have been as an official popular neither with superiors nor inferiors, he no doubt did much good work. Privately he was much liked and much disliked-a great deal of real kindness being accompanied by a blustering and overbearing manner, and an egotism, not perhaps more deep than other men's, but more vociferous. None of his literary work except the novels is remarkable for merit. His Caesar and Cicero are curious examples of a man's undertaking work for which he was not in the least fitted. Thackeray exhibits, though Trollope appears to have both admired Thackeray as an artist and liked him as a man, grave faults of taste and judgment, and a complete lack of real criticism. The books of travel are not good, and of a kind not good. Nina Balatka and Linda Tressel-stories dealing with Prague and Nuremberg respectively-were published anonymously and as experiments in the romantic style. They have been better thought of by the author and by some competent judges than by the public or the publishers. The Struggles of Brown, Jones and Robinson was still more disliked, and is certainly very bad as a whole, but has touches of curious originality in parts. Trollope seldom creates a character of the first merit; at the same time his characters are always alive. Dr Thorne, Mr Harding, who has the courage to resign his sinecure in The Warden, Mr Crawley, Archdeacon Grantley, and Mrs Proudie in the same ecclesiastical series, are distinct additions to the personae of English fiction. After his first failures he never produced anything that was not a faithful and sometimes a very amusing transcript of the possible men and women. marionettes, much less sayings and doings of His characters are never sticks. He has some irritating mannerisms, notably a trick of repetition of the same form of words. He is sometimes absolutely vulgar- | that is to say, he does not deal with low life, but shows, though always robust and pure in morality, a certain coarseness of taste. He is constantly rather trivial, and perhaps nowhere out of the Barset series (which, however, is of itself no inconsiderable work) has he produced books that will live. The very faithfulness of his representation of a certain phase of thought, of cultivation, of society, uninformed as it is by any higher spirit, in the long run damaged, as it had first helped, the popularity of his work. But, allowing for all this it may and must still be said that he held up his mirror steadily to nature, and that the mirror itself was fashioned with no inconsiderable art. Trollope wrote an Autobiography, edited by his son Henry M. Trollope in 1883. explaining his literary methods with amusing frankness. See also Sir L. Stephen's Studies of a Biographer (1898), James Bryce's Studies in Contemporary Biography (1903), and Henry James's Partial Portrails (1888). TROMBA MARINA, or MARINE TRUMPET (Fr. trompelle marine; Ger. Marine Trompele, Trompetengeige, Nonnengeige, Tympanischisa or Trummscheit), a triangular bowed instrument about 6 ft. in length, which owes its characteristic timbre to the peculiar construction of the bridge. The tromba marina consists of a body and neck in the shape of a truncated cone resting on a triangular base. In the days of Michael Praetorius (1618), the length of the Trummscheit was 7 ft. 3 in. and the three sides at the base measured 7 in., tapering to 2 in. at the neck. These measurements varied considerably, as did also the shape of the body and the number of strings. In some cases the base of the body was left open, and in others there were sound-holes. The bridge, from its curiously irregular shape, was known as the " shoe "; it was thick and high at the one side on which rested the string, and low and narrow at the other which was left loose so that it vibrated against the belly with every movement of the bow, producing a trumpetlike timbre. It is to this feature, in conjunction with its general resemblance in contour to the marine speaking-trumpet of the middle ages, that the name of the instrument is doubtless due. There was at first but one string, generally a D violoncello string, which was not stopped by the fingers in the usual way, but played only in harmonics by lightly touching it with the thumb at the nodal points. The heavy blow, similar to that of the violoncello, is used between the highest positions of the left hand at the nodal points and the nut of the head. In a Trummscheit in the collection of the Kgl. Hochschule, at Charlottenburg (No. 772 in catalogue) the frets are lettered A,D,F,A,D,F,G,A,B,C,D. Sometimes an octave string, half the length of the melody string, and even two more, respectively the twelfth and the double octave, not resting on the bridge but acting as sympathetic strings, were added to improve the timbre by strengthening the pure harmonic tones without increasing the blare due to the action of the bridge. In Germany, at the time when the trumpet was extensively used in the churches, nuns often substituted the Grande Écurie du Roi comprised five trumpets-marine and the tromba marina, whence the name Nonnengeige. In France, cromornes among the band in 1662, when the charge was mentioned for the first time in the accounts; and in 1666 the number was increased to six. The instrument fell into disuse during the first half of the 18th century, and was only to be seen in the hands of itinerant and street musicians. (K. S.) TROMBONE (Fr. trombone, Ger. Posaune, Ital. trombone), an important member of the brass wind family of musical instruments formerly known as sackbut. The trombone is characterized by the slide, consisting of two parallel cylindrical tubes, over which two other cylindrical tubes, communicating at their lower extremities by means of a short semicircular FIG. 1.-Tenor Trombone (Besson & Co.). pipe, slip without loss of air. The outer tube, therefore, slides upon the inner, and as it is drawn downwards by the right hand opens a greater length of tube proportional to the depth of pitch required. When the slide is closed the instrument is at its highest pitch. To the upper end of one of the inner tubes is fastened the cup-shaped mouthpiece and to the end of the other tube is fixed the bell-joint. This joint, on the proper proportions of which depend in a greater measure the acoustic properties of the trombone, consists of a length of tubing with conical bore widening out into a large bell and doubled back once upon itself in a plane at right angles to that of the slide. The bell-joint is strengthened by two or three stays, and the slide also has two, one between the inner immovable tubes and the other on the outer sliding tubes, by means of which the slide is drawn out and pushed in. Sound is produced on the trombone, as on the horn, by means of the lips stretched like a vibrating reed across the cup mouthpiece from rim to rim; the acoustic principles involved are the same for both instruments. By overblowing, ie. by the varying tension of the lips and pressure of breath, the harmonic series is obtained, which is effective between the second and the tenth harmonics, the fundamental being but rarely of practical use. There are seven positions of the slide on the trombone, each ments. giving a theoretical fundamental tone and its upper partials a semitone lower than the last, and corresponding to the seven shifts on the violin and to the seven positions on valve instruThese seven positions are found by drawing out the slide a little more for each one, the first position being that in which the slide remains closed. The performer on the trombone is just as dependent on an accurate ear for finding the correct positions as a violinist. The table of harmonics for the seven positions of the tenor trombone in Bb is appended; they furnish a complete chromatic compass of two octaves and a sixth. Position I. (with closed slide). II. ba 2 8va bassa The compass given above is extreme and includes the notes clitained by means of the slide; the notes in brackets are very difficult; the fundamental notes, even when they can be played, are not of much practical use. The contra-bass trombone, although not much in request in the concert hall, is required for the Nibelungen Ring, in which Wagner has scored effectively for it. The quality of tone varies greatly in the different instruments and registers. The alto trombone has neither power nor richness of tone, but sounds hard and has a timbre between that of a trumpet and a French horn. The tenor and bass have a full rich quality suitable for heroic, majestic music, but the tone depends greatly on the performer's method of playing; the modern tendency to produce a harsh, noisy blare is greatly to be deplored. are made in the same keys as the instruments given above and are constructed in the same manner, except that the slide is replaced by three pistons, which enable the performer to obtain a greater technical execution; as the tone suffers thereby and loses its characteristic timbre, the instruments have never become popular in England. FIG. 2. The double-slide trombone (fig. 2)-patented by Messrs Rudall Carte & Co. but said to have been originally invented by Halary in 1830is made in Bb, G bass and Eb contrabass. In these instruments each of the branches of the slide is made half the usual length. There are four branches instead of two and the two pairs lie one over the other, each pair being connected at the bottom by a semicircular tube and the second pair similarly at the top as well. The usual bar or stay suffices for drawing out both pairs of slides simultaneously, but as the lengthening of the air column is now doubled in proportion to the shift of the slide, the extension of arm for the lower positions is lessened by half, which increases the facility of execution but calls for greater nicety in the adjustment of the slide, more especially in the higher positions. The history of the evolution of the trombone from the buccina is given in the article on the Sackbut (q.v.), the name by which the earliest draw or slide trumpets were known in England. The Germans call the trombone Posaune, formerly buzaun, busine, pusin or pusun in the poems and romances of the 12th and 13th century, words all clearly derived from the Latin buccina. The modern designation "large trumpet " comes from the Italian, in which tromba means not only trumpet, but also pump and elephant's trunk. It is difficult to say where or at what epoch the instrument was invented. In a psalter (No. 20) of the 11th century, preserved at Boulogne, there is a drawing of an instrument which bears a great resemblance to a trombone deprived of its bell. Sebastian Virdung, Ottmar Luscinius, and Martin Agricola say little about the trombone, but they give illustrations of it under the name of busaun which show that early in the 16th century it was almost the same as that employed in our day. It would not be correct to assume from this that the trombone was not well known at that date in Germany, and for the following reasons. First, the art of trombone playing was in the 15th century in Germany mostly in the hands of the members of the town bands, whose duties included playing on the watch towers, in churches, at pageants, banquets and festivals, and they, being jealous of their privileges, kept the secrets of their art closely, so that writers, such as the above, although acquainted with the appearance, tone and action of the instrument would have but little opportunity of learning much about the method of producing the sound. Secondly, German and Dutch trombone players are known to have been in request during the 15th century at the courts of Italian princes. Thirdly, Hans Neuschel of Nuremberg, the most celebrated performer and maker of his day, had already won a name at the end of the 15th century for the excellence of his "Posaunen," and it is recorded that he made great improvements in the construction of the instrument in 1498,2 a date which probably marks the transition from sackbut to trombone, by enlarging the bore and turning the bell-joint round at right angles to the slide. Finally in early German translations of Vegetius's De re militari (1470) the buccina is described (bk. III., 5) as the trumpet or posaun which is drawn in and out, showing that the instrument was not only well known, but that it had been identified as the descendant of the buccina. By the 16th century the trombone had come into vogue in England, and from the name it bore at first, not sackbut, but shakbusshe, it 1 E. Van der Straeten, Les Musiciens néerlandais p. 26. See G. von Retberg "Zur Gesch. d. Musik-instrumente in Anzeiger für Kunde der deutschen Vorzeit p. 241. (Nuremberg, 1860), See also letters from Jorg Neuschell 1540-1545 in Monatshefte f. Besides the slide trombone, which is most largely used, there are the valve trombones, and the double-slide trombones. The former | Musikwissenschaft, ix. p. 149 seq. is evident that the instrument had been introduced from Spain and Bucin--a term borrowed from the French in this instance-was The gemeine rechte Posaunen, or ordinary trombones, were in A. form, in fashion for a little while about 1830, was not long adhered Without using the slide they gave the subjoined sounds: to, and the trombone reassumed its primitive form, which is still maintained. As appears from a patent deposited by Stölzel and act Blümel at Berlin on the 12th of April 1818 the application of ventils or pistons was then made for the first time. The ventils, at first two in number, effected a definite lengthening of the instrument. The first augmented the length of the tube by a tone, lowering by as much the natural harmonics. The second produced a similar effect for a semitone, and the simultaneous employment of the two pistons resulted in the depression of a tone and a half. The principle, therefore, of the employment of ventils or pistons is the same as that which governs the use of slides (see VALVES). Notwithstanding the increased facility obtained by the use of pistons, they are very far from having gained the suffrage of all players: many prefer the slide, believing that it gives a facility of emission that they cannot obtain with a piston trombone. The flat tonalities having been preferred for military music since the beginning of the 19th century the pitch of each variety of trombones has been raised a semitone. At present six trombones are more or less in use, viz. the alto trombone in F, the alto in Eb (formerly in D), the tenor in Bb (formerly in A), the bass in G, the bass in F (formerly in E), the bass in Eb (formerly in D), and the contrabass in Bb. This transposition has no reference to the number of vibrations that may be officially or tacitly adopted as the standard pitch of any country or locality. A trombone an octave lower than the tenor has recently been reintroduced into the orchestra, principally by Wagner. The different varieties just cited are constructed with pistons or case may be. 1212 Intelope ga na watons or slides, as the Further information on the trombone will be found in the monographs by the Rev. F. W. Galpin, "The Sackbut: its Evolution and History," Proc. Mus. Assoc. (1906-1907); by Victor Mahillon, Le Trombone, son histoire, sa théorie, sa construction (Brussels, London, 1907). Before his recent death Professor George Case had in preparation an important work on the trombone. (V. M.; K. S.) TROMP, the name of two famous Dutch admirals. 1. MARTIN HARPERTZOON TROMP (1597-1653) was born at Brielle, South Holland, in 1597. At the age of eight he made a voyage to the East Indies in a merchantman, but was made prisoner and spent several years on board an English cruiser. On making his escape to Holland he entered the navy in 1624, and in 1637 was made lieutenant-admiral. In February 1639 he surprised, off the Flemish coast near Gravelines, a large Spanish fleet, which he completely destroyed, and in the following September he defeated the combined fleets of Spain and Portugal off the English coast-achievements which placed him in the first rank of Dutch naval commanders. On the outbreak of war with England Tromp appeared in the Downs in command of a large fleet and anchored off Dover. On the approach of Blake he weighed anchor and stood over towards France, but suddenly altered his course and bore down on the English fleet, which was much inferior to his in numbers. In the engagement which followed (May 19, 1652) he had rather the worst of it and drew off with the loss of two ships. In November he again appeared in command of eighty ships of war, and a convoy of 300 merchantmen, which he had undertaken to guard past the English coast. Blake resolved to attack him, and, the two fleets coming to close quarters near Dungeness on the 30th of November, the English, after severe losses, drew off in the darkness and anchored off Dover, retiring next day to the Downs, while Tromp anchored off Boulogne This was mentioned in the Leipzig Allg. musik. Zig. (1815), the merit of the invention being assigned to Heinrich Stölzel of Pless in Silesia.s |