His son JONATHAN (1740-1809) graduated at Harvard in 1759, served in the War of Independence as paymaster-general of the northern department in 1775-1778 and as a military secretary of Washington in 1778-1783, and was a member of the national House of Representatives in 1789-1795, serving as Speaker in 1791-1793, and of the United States Senate in 17951796; he was lieutenant-governor of Connecticut in 1796-1798, and governor in 1798-1809. Another son, JOSEPH (1737-1778), was a member of the first Continental Congress (1774-1775), became commissary-general of stores of the Continental army in July 1775 and commissary-general of purchases in June 1777, resigned in August 1777, and from November 1777 to April 1778 was commissioner for the board of war. A grandson of the first Jonathan, JOSEPH (1782-1861), was a Whig representative in Congress in 1834-1835 and in 1839-1843, and was governor of Connecticut in 1849-1850. TRUMBULL, LYMAN (1813-1896), American jurist and political leader, was born at Colchester, Connecticut, on the 12th of October 1813, and was a grandson of Benjamin Trumbull (1735-1820), a Congregational preacher and the author of a useful Complete History of Connecticut (2 vols., 1818). He taught in Georgia, studied law, and was admitted to the bar in 1837. Removing to Belleville, Illinois, in the same year, he was elected to the state House of Representatives as a Democrat in 1840, and in 1841-1843 was secretary of state of Illinois. In 1848-1853 he was a justice of the state Supreme Court, and in 1855-1873 was a member of the United States Senate. Elected as an Anti-Nebraska Democrat, he naturally joined the Republicans, and when this party secured control in the Senate he was made chairman of the important judiciary committee, from which he reported the Thirteenth Amendment to the Constitution of the United States abolishing slavery. Throughout the Civil War he was a trusted counsellor of the president. In the impeachment trial of President Andrew Johnson he was one of the seven Republicans who voted to acquit, and he afterwards returned to the Democratic party. After 1873 he practised law in Chicago, was the Democratic candidate for governor of Illinois in 1880, became a Populist in 1894, and defended the railway strikers in Chicago in the same year. He died in Chicago on the 25th of June 1896. TRUMP (1) (0 Fr. trompe), originally the name of a musical instrument, of which trumpet is a diminutive; the term is now chiefly used in the sense of the sound of a trumpet, or a sound resembling it, such as is made by an elephant It has been usually accepted that the Romanic forms (cf. Span, and Port. trompa) represent a corruption of Latin tuba, tube On the other hand a distinct imitative or echoic origin is sometimes assigned. (2) In the sense of a playing card belonging to the suit which beats all other cards of other suits for the period during which its rank lasts, "trump" is a corruption of "triumph." The name was first used of a game of cards, also known as "ruff," which was the parent of the modern game of whist. There are traces in English of an early confusion with a term meaning to deceive or trick, cf. "trumpery." properly deceit, imposture, hence idle talk, gossip, now chiefly used as an adjective, worthless, trivial. This is an adaptation of French tromper, to deceive, which, according to the generally received explanation, meant "to play on the trumpet," se tromper de quelqu'un being equivalent to play with a person, hence to cheat. TRUMPET (Fr. trompetle, clairon; Ger. Trompete, Klarino, Trummet, Ital. tromba, trombetta, clarino), in music, a brass wind instrument with cup-shaped mouthpiece and a very characteristic tone. It consists of a brass or silver tube with a narrow cylindrical bore except for the bell joint, forming from to of the whole length, which is conical and terminates in a bell of moderate diameter The tube of the trumpet is doubled round upon itself to form a long irregular rectangle with rounded corners. A tuning slide consisting of two U-shaped cylindrical tubes fitting into each other is interpolated between the bell joint and the long cylindrical joint to which the mouthpiece is attached. The mouthpiece consists of a hemispherical cup with a rim across which the lips stretch. The shape of the cup, and more especially of the bottom, in which is pierced a hole communicating with the main bore, is of the greatest importance on account of its influence on the tone quality and on the production of the higher harmonics (see MOUTHPIECE). The shallower and smaller the cup the more easily are the higher harmonics produced; the sharper the angle at the bottom of the cup the more brilliant and incisive is the timbre, given, of course, the correct style of blowing. The diameter of the cup varies according to the pitch and to the lip-power of the player who chooses one to suit him. See HORN for the laws governing the acoustic properties of brass tubes and the production of sound by means of the lips stretched like a vibrating membrane across the mouthpiece. There are three principal kinds of trumpets: (1) the natural trumpet, mainly used in cavalry regiments, in which the length of the tube and pitch are varied by means of crooks; (2) the slide and double-slide trumpets, in which a chromatic compass is obtained, as in the trombone, by double tubes sliding upon one another without loss of 1999 FIG. 1.-Military Trumpet in F (Besson). air: (3) the valve trumpet, similar in its working to all other valve instruments. The first and second of these alone give the true trumpet timbrẻ; the tone of the valve trumpet approximates to that of the cornet, nevertheless, it is now almost universally used. In the trumpet the notes of the harmonic series from the 3rd to the Toth or 16th upper partials are produced by the varied tension of the lips and pressure of breath called overblowing. The funda mental and the second harmonic are rarely obtainable, and are therefore left out of consideration; the next octave from the 4th to the 8th harmonics contains only the 3rd, 5th and minor 7th, and is therefore mainly suitable for fanfare figures based on the common chord. The diatonic octave is the highest and its upper notes are Enly reached by very good players on trumpets of medium pitch. the scoring for the trumpet before any satisfactory means of bridging over the gaps in the compass had been found, shows how little the composers, and especially Bach, allowed them. selves to be daunted by the limited resources at their disposal. A curious phenomenon has been observed in connexion with the harmonic series of the trumpet, when the instrument is played by means of a special clarino mouthpiece (a shallow one enabling the performer to reach the higher harmonics), in which the passage at the bottom of the cup inaugurated by the sharp angle (known as bore for a distance of about 10 cm. (4 in.) right into the main the grain in French) is prolonged in cylindrical instead of conical tube. This peculiar construction of the mouthpiece, which might be considered insignificant, so upsets the acoustic properties of the tube that extra notes can be interpolated between the legitimate notes of the harmonic series thus: The black notes represent the extra notes, which in the next octave transform the diatonic into a chromatic scale. This phenomenon may perhaps furnish an explanation of some peculiarities in the scoring of Bach and other composers of his day, and also in accounts of certain performances on the trumpet It is probable that the clarino which have read as fairy tales. mouthpiece was one of the secrets of the gilds which has remained undiscovered till now D. J Blaikley writes: "I had an oppor tunity yesterday of trying the trumpet mouthpiece as described by Mahillon with the grain or throat,' as we would call it, extended for about 10 cm and terminating abruptly. With such a mouthpiece, used by itself without any trumpet, I could easily get trumpet, we have a resonator whose proper tones are disturbed notes in the same way.' (bo) kinds of mouthpiece instruments-the Felttrumel, the Clarela, and the Thurner Horn; unfortunately he does not mention their distinctive characters, and it is impossible to make them out by examination of his engravings. Probably the Felttrumet and the Clareta closely resembled each other; but the compass of the former, destined for military signals, hardly went beyond the eighth proper tone, while the latter, reserved for high parts, was like the clarino (see below). The Thurner Horn was probably a kind of clarino or clarion used by watchmen on the towers. The Trummet and the Jäger Trommet are the only two mouthpiece For the slide or double-slide trumpet with all chromatic semitones instruments of the trumpet kind cited by Praetorius. The first The material of which the tube is made has nothing to do with the production of that brilliant quality of tone by which the trumpet | is so easily distinguished from every other mouthpiece instrument; the difference is partly due to the distinct form given to the basin of the mouthpiece, as stated above, but principally to the proportions of the column of air determined by the bore. The difference in timbre between trumpet and trombone is accounted for by the wider bore and differently shaped mouthpiece of the latter instrument. Tonguing, both double and triple, is used with great effect on the trumpet: this device consists in the articulation with the tongue of the syllables te-ke or ti-ke repeated in rapid succession for groups of two or four notes and of te-kc-ti for triplets. We have no precise information as to the form which the lituus, one of the ancestors of the modern trumpet, assumed during the middle ages, and it is practically unrepresented in the miniatures and other antiquities, though there is a miniature in the Bible, presented in 850 to Charles the Bald, which places the lituus in the hands of one of the companions of King David. We are not, however, warranted in concluding from this that the Etruscan instrument was in use in the 9th century. The lituus or cavalry trumpet of the Romans seems to have vanished with the fall of the Roman Empire, for although the name occasionally finds a place in Latin vocabularies, the instrument and name are both unrepresented in the development of musical instruments of western Europe: its successor, the cavalry trumpet of the 15th and succeeding centuries, was evolved from the straight busine, an instrument traced, by means of its name no less than by the delicate proportions of its tube and the shape of the bell, to the Roman buccina (q.v.). The straight busines, if we may judge from the presentments made by various artists, were not all made with bores of the same calibre, some having the wider bore of the trombone, others that of the trumpet. They abound in the illuminated MSS. of the 11th to the 14th centuries. The uses to which they are put, as the instruments of angels, of heralds, of trumpeters on horseback and on foot, at court banquets and functions of state, form additional proof of their identity. Fra Angelico (d. 1455) painted angels with trumpets having either straight or zigzag tubes, the shortest being about 5 ft. long. The perfect representation of the details, the exactness of the proportions, the natural pose of the angel players, suggest that the artist painted the instrument from real models. The credit of having bent the tube of the trumpet in three parallel branches, thus creating its modern form, has usually been claimed for a Frenchman named Maurin (1498-1515). But the transformation was really made much earlier, probably in the Low Countries or north Italy; in any case it had already been accomplished in the bas-reliefs of Luca della Robbia intended to ornament the organ chamber of the cathedral of Florence where a trumpet having the tube bent back as just described is very distinctly figured. From the beginning of the 16th century we have numerous sources of information. Virdung cites three In the Bibliothèque Nationale at Paris, reproduced in facsimile by Count Auguste de Bastard (Paris, 1883). Musica gelutscht und aussgezogen (Basel, 1511). was tuned in D at the chamber pitch or "Cammerton," but with 2 9 .bete 4 6 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Praetorius exceeds the limits of this compass in the higher range, Playing the clarino differed essentially from playing the military trumpet, which corresponded in compass to that called principal. Compelled to employ very small mouthpieces to facilitate the emission of very high sounds, clarino players could not fail to alter the timbre of the instrument, and instead of getting the brilliant and energetic quality of tone of the mean register they were only able to produce more or less sonorous notes without power and splendour. Apart from this inconvenience, the clarino presented numerous deviations from just intonation. Hence the players of that time failed to obviate the bad effects inevitably resulting from the natural imperfection of the harmonic scale of the trumpet in that extreme part of its compass; in the execution, for instance, of the works of Bach, where the trumpet should give sometimes and sometimes LL the instrumentalist could these. Further, the thirteenth proper tone, for which Organographia (Wolfenbüttel, 1619). Musicus aurosidaros oder der sich selbst informirende Musicus (Eisel, Erfurt, 1738). Since the abandonment of the clarino (about the middle of the 18th century) our orchestras have been enriched with trumpets that permit the execution of the old clarino parts, not only with perfect justness of intonation, but with a quality of tone that is not deficient in character when compared with the mean register of the old principal instrument. The introduction of the clarinet or the so-called little clarino, although it is a wood wind instrument played with a reed, is one of the causes which led to the abandonment of the older instrument and may explain the preference given by the composers of that epoch to the mean register of the trumpet. The clarino having disappeared before Mozart's day, he had to change the trumpet parts of Handel and Bach to allow of their execution by the performers of his own time. It was now that crooks began to be frequently used. Trumpets were made in F instead of in D, furnished with a series of shanks of increasing length for the tonalities of E, E, D, Db, C, B, Bb, and sometimes even A. The first attempts to extend the limited resources of the instru ment in its new employment arose out of Hampel's InventionsHora, in which, instead of fixing the shanks between the mouthpiece and the upper extremity, they were adapted to the body of the instrument itself by a double slide, upon the two branches of which tubes were inserted bent in the form of a circle and gradually lengthened as required. This system was applied to the trumpet by Michael Woegel (born at Rastatt in 1748), whose "invention trumpet "had a great success, notwithstanding the unavoidable imperfection of a too great disparity in quality of tone between the open and closed sounds. It is a curious fact that the sackbut or early trombone was merely a trumpet with a slide, or a draw trumpet, and that it was known as such in England, Scotland, Spain, Holland and Italy. Yet as soon as the powerful family of tenor and bass trombones had been created, the slide trumpet seems to have lost its identity and to have become merged in the alto trombone from which it differed mainly in the form of the bent tube. The slide trumpet appears to have been re-invented in the 18th century according to Johann Ernst Altenburg, or as some The number of keys was applied to fill up the gaps between the extreme sounds of the interval of a fifth; and a like result was arrived at more easily for the intervals of the fourth, the major third, &c., furnished by the proper tones of 3, 4, 5. &c. But, though the keyed trumpet was a the sounds obtained by means of the lateral notable improvement on the invention trumpet, openings of the tube did not possess the qualities of the air-column vibrating in its entirety. But which distinguish sounds caused by the resonance in 1815 Stölzel made a genuine chromatic trumpet by the invention of the Ventile or piston. The in cavalry regiments. It is usually in Eb. The natural-trumpet is now no longer employed except sometimes, but rarely, used. bass trumpet in Eb, which is an octave lower, is Trumpets with pistons are generally constructed in F, with crooks high Bb with a crook in A are very often In Germany trumpets in the FIG. 4-Keyed Trumpet. cornet à piston players than the trumpet in F. A quick change They are easier for trumpet in Bb with combined tuning and transposing slides, for changing into the key of A, known as the "Proteano in E and Eb. used in the orchestra. trumpet, FIG 2-Modern Slide Trumpet F to C (Besson) writers put it, "the slide was adapted to it from the trombone." It was mentioned in 1700 by Kuhnau. Any one wishing to be convinced of this re-incarnation may compare the modern slide. trumpet with the original slide-trumpet or alto sackbut in the Grimiani Breviary, a MS. of the 15th century, and with E. van der Straeten's reproduction of an old engraving by Galle and Stradan from the Encomium Musices in which the forms are identical except that in the modern slide-trumpet the bell reaches the level of the U-shaped bottom of the slide. (From the Encomium Musices.) FIG. 3-Slide Trumpet 16th century. This The slide trumpet is still used in England in a somewhat modified form. The slide is a short one allowing of four positions In 1889 a trumpet was constructed by Mr W Wyatt with a double slide which gave the trumpet a complete chromatic compass. instrument, which has the true brilliant trumpet tone, requires delicate manipulation, for the shifts are necessarily very short About 1760 Kölbel, a Bohemian musician, applied a key to the bugle, and soon afterwards the trumpet received a similar addition By opening this key, which is placed near the bell, the instrument was raised a diatonic semitone, and by correcting errors of intonation by the tension of the lips in the mouthpiece the following diatonic succession was obtained court at Vienna, who increased the number This invention was improved in 1801 by Weidinger, trum peter to the imperial of keys and thus made 1 Der musikalische Quacksalber, p. 83. Brit Mus. Facsimile, 61, pl 9. *La Musique aux Pays-Bas, vi 252. Versuch einer Anleitung zur heroisch-musikalischen Trompeterund Pauker-Kunst, 12 (Halle, 1795). *See Allg. musikal. Zig. (November 1802), p. 158; (January 1803) P. 245; and E. Hanslicks, Gesch. des Concertwesens in Wien (1869), P. 119. FIG. 5.-Proteano Trumpet in Bb and A (Besson). has been patented by Messrs Besson & Co. The transposing slide always remains at the correct length, and change of the tuning slide does not necessitate readjustment of the former. This combination slide is fitted to the ordinary valve trumpet as well as to the trumpet with "enharmonic " valves. Mahillon constructed for the concerts of the Conservatoire at Brussels trumpets in the high D. an octave above the old trumpet in the same key. They permit the execution of the high trumpet parts of Handel and J. S. Bach. The bass trumpet with pistons used for Wagner's tetralogy is in Eb, in unison with the ordinary trumpet with crooks of D and C; but, when constructed so as to allow of the production of the second proper tone as written by this master, this instrument belongs rather to the trombones than to the trumpets. (V. M.; K. S.) TRUMPET, SPEAKING AND HEARING. The speaking trumpet, though some instrument of the kind appears to have been in earlier use, is connected in its modern form with the name of Athanasius Kircher and that of Sir Samuel Morland, who in 1670 proposed to the Royal Society of London the question of Robert Eitner made a curious confusion between the keyed and valve trumpets (Klappen- und Ventil-Trompete). In an article entitled Wer hat die Ventil-Trompete erfunden? (Monatshefte fur Musikwissenschaft, p. 41. Berlin. 1881) he deprives Stolzel of the credit of the invention of the valve in favour of Weidinger, ridiculing the notion that the keyed and the valve trumpets were not one and the same thing. Following up the idea in his Tonkunstler Lexikon, he leaves out Stolzel's name and ascribes to Weidinger the invention of the valve, with a reference to his article. For this ingenious mechanism, see VALVE; also Gottfried Weber, Ober Ventilhorn und Trompete mit 3 Ventilen, Caecilia xvii 73-104 (Mainz, 1835); and Alle musikal. Ztg. xxiii. 411 (Leipzig, 1821); also A. Ung. "Verbesserung der Trompete und ähnlicher Instrumente." ibid. (1815), xviii 633. For accounts of the carly use of the trumpet as a signalling and cavalry instrument in the British army, see Sir Roger Williams, A Brief Discourse of War, p. 9. &c. (London, 1590); Grose, Military Antiquities, ii. 41: Sir S. D. Scott, The British Army, ii, 389-400 (London, 1868); and H. G. Farmer, Memoirs of the Royal Artillery Band (London, 1904). In the hearing trumpet, the disturbance is propagated along the converging tube much in the same way as the tide-wave is propagated up the estuary of a tidal river. In speaking and hearing trumpets alike all reverberation of the instrument should be avoided by making it thick and of the least elastic materials, and by covering it externally with cloth. (See SOUND.) the best form for a speaking trumpet. Lambert, in the Berlin | the original "Oiseau trompette of De la Condamine); (3) P. Memoirs for 1763, seems to have been the first to give a theory ochroptera from the right bank of the Rio Negro; (4) P. leucoptera from the right bank of the upper Amazons; (5) P. viridis from the of the action of this instrument, based on an altogether imaginary right bank of the Madeira: and (6) P. obscura from the right bank analogy with the behaviour of light. In this theory, which is of the lower Amazons near Para. And they have remarked in the still commonly put forward, it is assumed that sound, like light, Zoological Proceedings (1867, p. 592) on the curious fact that the can be propagated in rays. This, however, is possible only when range of the several species appears to be separated by rivers, a statement confirmed by A. R. Wallace (Geogr. Distr. Animals, ii. the aperture through which the wave-disturbance passes into 358); and in connexion therewith it may be observed that these free air is large compared with the wave-length. If the fusiform Birds have short wings and seldom fly, but run, though with a mouth of the speaking trumpet were half a mile or so in radius, peculiar gait, very quickly. A seventh species P. cantatrix, from Lambert's theory might give an approximation to the truth. Bolivia, has since been indicated by W. Blasius (Journ. f. Ornith But with trumpets whose aperture is only a foot in diameter at whole group very worthy of attention. The chief distinctions 1884. pp. 203-210), who has given a monographic summary of the the most the problem is one of diffraction. between the species lie in colour and size, and it will be here enough to describe briefly the best known of them, P. crepitans. This is about the size of a large barndoor fowl; but its neck and legs are with short velvety feathers: the whole plumage is black, except longer, so that it is a taller bird. The head and neck are clothed that on the lower front of the neck the feathers are tipped with golden green, changing according to the light into violet, and that a patch of dull rusty brown extends across the middle of the back hang over and conceal the tail. The legs are bright pea-green. and wing-coverts, passing into ash-colour lower down, where they The habits of this bird are very wonderful, and it is much to be wished that fuller accounts of them had appeared. The curious sound it utters, noticed by the earliest observers, has been already towards man described; but the information supplied to Buffon mentioned, and by them also was its singularly social disposition (Oiseaux, iv. 496-501) by Manoncour and De la Borde, which has been repeated in many works, is still the best we have of the curious way in which it becomes semi-domesticated by the Indians and colonists and shows strong affection for its owners as well as for their living property-poultry or sheep-though in this reclaimed condition it seems never to breed. Indeed nothing can be positively asserted as to its mode of nidification; but its eggs, according to C. E. Bartlett, are of a creamy white, rather round, and about the size of bantams'. C. Waterton in his Wanderings (Second Journey, chap. iii.) speaks of falling in with flocks of 200 or 300 "Waracabas," as he called them, in Demerara, but added nothing to our knowledge of the species; while the contributions of Trail (Mem. Wern. Society, v. 523-532) and as Dr Hancock (Mag. Nat. History, 2nd series, vol. ii. pp. 490-492) as regards its habits only touch upon them in captivity. TRUMPETER, or TRUMPET-BIRD, the literal rendering in 1747, by the anonymous English translator of De la Condamine's travels in South America (p. 87), of that writer's "Oiseau trompette" (Mém. de l'Acad. des Sciences, 1745, p. 473), a bird, which he says was called "Trompetero" by the Spaniards of Maynas on the upper Amazons, from the peculiar sound it utters. He added that it was the "Agami " of the inhabitants of Para and Cayenne,' wherein he was not wholly accurate, since those (After Mitchell) White-winged Trumpeter (Psophia leucoptera). birds are specifically distinct, though, as they are generically united, the statement may pass. But he was also wrong, as had been P. Barrère (France equinoxiale, p. 132) in 1741, in identifying the " Agami " with the "Macucagua " of Marcgrav, for that is a Tinamou (..); and both still more wrongly accounted for the origin of the peculiar sound just mentioned, whereby Barrère was soon after led (Ornith. Spec. Novum, pp. 62, 63) to apply to the bird the generic and vulgar names of Psophia and Petteuse," the former of which, being unfortunately adopted by Linnaeus, has ever since been used, though in 1766 and 1767 Pallas (Miscellanes, p. 67, and Spicilegia, iv. 6), and in 1768 Vosmaer (Descr. du Trompette Américain, p. 5), showed that the notion it conveys is erroneous. Among English writers the name "Trumpeter" was carried on by Latham and others so as to be generally accepted, though an author may occasionally be found willing to resort to the native "Agami," which is that almost always used by the French. P. L. Sclater and O. Salvin in their Nomenclator (p. 141) admit 6 species of Trumpet-Birds: (1) the onginal Prophin creperans of Guiana; (2) P. mapensis of eastern Ecuador (which is very likely Not to be confounded with the "Heron Agami" of Buffon (Oisočus, ii. 332), which is the Arúna agami of other writers. To the trumpeters must undoubtedly be accorded the rank of a distinct family, Psophiidae; but like so many other South-American birds they seem to be the less specialized descendants of an ancient generalized group-perhaps the common ancestors of the Rallidae and Gruidae. The structure of the trachea, though different from that described in any Crane (q.v.), suggests an carly form of the structure which in some of the Gruidae is so marvellously developed, for in Psophia the windpipe runs down the breast and belly immediately under the skin to within about an inch of the anus, whence it returns in a similar way to the front of the sternum, and then enters the thorax. Analogous instances of this forma tion occur in several other groups of birds not at all allied to the Psophiidae. (A. N.) TRUNK (Fr. tronc, Lat. truncus, cut off, maimed), properly the main stem of a tree from which the branches spring, especially the stem when stripped of the branches; hence, in a transferred sense, the main part of a human or animal body without the head, arms or legs. It is from this last sense that the term "trunk-hose" is derived. These were part of the typical male costume of the 16th century, consisting of a pair of large puffed and slashed over-hose, reaching from the waist to the middle of the thigh, the legs clad in the long hose being thrust through them; the upper part of the body was covered by the jerkin or jacket reaching to the thigh (see CoSTUME). The word "trunk" as applied to the elongated proboscis of the elephant is due to a mistaken confusion of French trompe, trump, with "trunk" meaning the hollow stem of a tree. A somewhat obscure meaning of French tronc, ix. an alms-box, has given rise to the general use of "trunk" for a form of travellers' luggage. TRURO, THOMAS WILDE, 1ST BARON (1:87-1855), lord chancellor of England, was born in London on the 7th of july * In connexion herewith may be mentioned the singular story told by Montaga (Orn Dut, Suppl. Art. “ Grosbeak, White-winged ), on the authority of the then Land Stanley, afterwards president of the Zoological Society, of one of these birds, which, having apparenity escaped from confinement, formed the habit of attenuang a poetryyard. On the occasion of a park of hounds running through the yard, the trumpeter joined and kept up with them for nearly three miles! 1782, being the second son of Thomas Wilde, an attorney. | He was educated at St Paul's School and was admitted an attorney in 1805. He subsequently entered the Inner Temple and was called to the bar in 1817, having practised for two years before as a special pleader. Retained for the defence of Queen Caroline in 1820 he distinguished himself by his crossexamination and laid the foundation of an extensive common law practice. He first entered parliament in the Whig interest as member for Newark (1831-1832 and 1835-1841), afterwards representing Worcester (1841-1846). He was appointed solicitorgeneral in 1839, and became attorney-general in succession to Sir John (afterwards Baron) Campbell in 1841. In 1846 he was appointed chief justice of the common pleas, an office he held until 1850, when he became lord chancellor, and was created Baron Truro of Bowes, Middlesex. He held this latter office until the fall of the ministry in 1852. He died in London on the 11th of November 1855. His son Charles (1816-1891) succeeded as 2nd baron, but on the death of his nephew the 3rd baron in 1899 the title became extinct. Lord Truro was the uncle of JAMES PLAISTED WILDE, BARON PENZANCE (1816-1899), who was appointed a baron of the court of exchequer in 1860, and was judge of the court of probate and divorce from 1863 to 1872. In 1875 he was appointed dean of the court of arches, retiring in 1899. He was created a peer in 1869, but died without issue, and the title became extinct. TRURO, the chief town of Colchester county, Nova Scotia, on the Salmon river, near the head of Cobequid Bay, 61 m. from Halifax by rail. Pop. (1901), 5993. It is an important junction on the Intercolonial and Midland railways, and the thriving centre of a lumbering and agricultural district. There are numerous local industries, such as engine and boiler works, carriage factory and milk-condensing factory. It also contains the county buildings and the provincial normal school. The Victoria (or Joseph Howe) Park in the vicinity is of great natural beauty. TRURO, an episcopal city and municipal borough in the Truro parliamentary division of Cornwall, England, 11 m. N. of Falmouth, on the Great Western railway. Pop. (1901), 11,562. It lies in a shallow valley at the junction of the small rivers Kenwyn and Allen in Truro river, a branch creek of the great estuary of the Fal. It is built chiefly of granite, with broad streets, through the chief of which there flows a stream of water. The episcopal see was founded in 1876, covering the former archdeaconry of Cornwall in the diocese of Exeter; the area including the whole of the county of Cornwall, with a small portion of Devonshire. The cathedral church of St Mary was begun in 1880 from the designs of John Loughborough Pearson, and is among the most important modern ecclesiastical buildings in England. The architect adopted the Early English style, making great use of the dog-tooth ornament. The form of the church is cruciform, but it is made irregular by the incorporation, on the south side of the choir, of the south aisle of the parish church, this portion retaining, by Act of Parliament of 1887, all its legal parochial rights. The design of the cathedral includes a lofty central and two western towers with spires, and a rich west front and south porch; with a cloister court and octagonal chapter-house on the north. Among other noteworthy modern institutions may be mentioned the theological library presented by Bishop Phillpotts in 1856, housed in a Gothic building (1871). The grammar school possesses exhibitions to Exeter College, Oxford. Truro has considerable trade in connexion with the tin mines of the neighbourhood. There are tin-smelting works, potteries, and manufactures of boots, biscuits, jam and clothing. Small vessels can lie at the quays, though the harbour is dry at low water; but large vessels can approach within three miles of the city. The borough is under a mayor, 6 aldermen and 18 councillors. Area, 1127 acres. At the time of the Domesday Survey Truro (Trueret, Treurok, Treueru) was a comparatively small manor held by Jovin of Count Robert of Mortain. Its municipal charter dates from Richard Lucy the chief justiciar who held the demesne lands and under whom the free burgesses had apparently a grant of sake and soke, toll and team and infangenethef. Reginald earl of Cornwall, by an undated charter, added to these privileges exemption from the jurisdiction of the hundred and county courts and from toll throughout the county. Henry II. confirmed the grant of his uncle the said Reginald. In 1304 Truro was constituted a coinage town for tin. In 1378 the sheriff reported that the town was so impoverished by pestilence, hostile invasions and intolerable payments made to the king's progenitors that it was almost uninhabited and wholly wasted. A similar complaint was preferred in 1401 in consequence of which the fifteenth and tenth amounting to £12 was for the three years ensuing reduced to 50s. The charter of incorporation granted in 1589 provided for a mayor, recorder and steward and a council of twenty capital burgesses and four aldermen. Under it the mayor and burgesses were to enjoy the liberties of infangenethef, utfangenethef, sake, soke, toll, team, thefbote, backberindthef and ordelf; also freedom from toll passage, pontage, murage, fletage, picage, anchorage, stallage, lastage and tollage of Horngeld throughout England except in London; they were, moreover, to be entitled in respect of their markets to pontage, keyage, &c. The assize of bread and ale and wine and view of frankpledge were also granted and a court of piepowder was to regulate certain specified fairs. In 1835 the number of aldermen was increased to six. From 1295 to 1885 Truro enjoyed separate parliamentary representation, returning two members. The charter of 1589 provided that the burgesses should have power by means of the common council to elect them. Such was the procedure from 1589 to 1832 when the burgesses recovered the privilege. Under the Redistribution of Seats Act of 1885 the representation of Truro was merged in the county. No fairs or markets are mentioned prior to 1589 when two markets, on Saturdays and Wednesdays, were provided, also three fairs. Both markets and two of the three fairs are held. See Victoria County History: Cornwall; Canon Donaldson, Bishopric of Truro (1902). TRUSS (from O. Fr. trusser, trosser, lorser, trousser, to pack, bind, gird up, Low Lat. tortiare, formed from tortus, twisted, torquere, to twist; cf. "torch" and "trousers," also trousseau, a bride's outfit, literally a small pack or bundle), a pack or bundle, applied specifically to a quantity of hay or straw tied together in a bundle. A truss of straw contains 36 lb, of old hay 56 lb, of new hay 60 lb. A load contains 36 trusses. The term is also used generally of a supporting frame or structure, especially in the construction of a roof or a bridge. It is thus used as the name of a surgical appliance, a belt with an elastic spring keeping in place a pad used as a support in cases of hernia (q.v.). TRUST COMPANY, the name given to a form of fiduciary corporation, originally adopted in the United States under state laws to accomplish financial objects not specially provided for under the national banking system. The function which gives a trust company its name is to execute trusts for individuals, estates and corporations. In the United States, however, these functions have been extended to include many of those of commercial banks receiving deposits payable on demand and subject to check. The relations between trust companies and their depositors are based, however, upon different principles from those between the bank and its client (sce BANKS AND BANKING). The larger trust companies prefer deposit accounts which, even when subject to check, are not actively drawn upon. The fact that they pay interest on such deposits absolves them from the obligation to extend accommodation by way of loans, except upon collateral security. Hence out of the difference in their relations with depositors grows a difference in the character of their investments, which are usually in loans on stock exchange securities and not on commercial paper discounted. In New York they are prohibited from directly discounting commercial paper, but not from buying it. The rate of interest paid on demand deposits is usually |