818 HORN are to be made, such as are used for lanterns, a heavy pressure is required, and if the horn is light-colored this increases its transparency. Such plates, when separated, are scraped with a wiry-edged knife till sufficiently thin, and are then rubbed with a woollen cloth dipped in charcoal dust and water, then with rotten stone, and lastly polished with horn shavings. The horn may be dyed by boiling it in infusions of various colored ingredients. A rich red brown color is given to it by a mixture of quicklime, pearlash, and litharge which has been boiled half an hour in water with the ad- dition of a little pulverized dragon's blood. The compound is applied hot wherever the color is wanted, and a deeper tinge is given by renewing the application. HORN, a musical wind instrument, originally formed, as its name denotes, from the horn of an animal. The name includes a large family of instruments, many of which have fallen into disuse. The hunting horn, a brass or copper tube gradually expanding into a bell-shaped mouth, and bent into a semicircle, was long the chief form. The instrument has been so greatly improved as to rank among the first in the orchestra. The French horn consists of a metallic tube, about ten feet in length, bent into several circular folds, and gradually widen- ing toward the end whence the sound issues, called by the French the pavilion. It is blown through a cup-shaped mouthpiece, and the sounds are regulated by the motion of the play- er's lips, the pressure of his breath, and by in- serting a hand or a pasteboard cone in the pa- vilion. Horns are generally used in pairs, and are blown in different manners, the first horn in the orchestra generally making use of two octaves, and the second of three. For the purpose of adapting them to different keys, shifting pieces, called crooks or shanks, are add- ed to the lower part of the tube. Music for the horn is always written in the key of 0, an octave higher than it is played. In order to procure clear and distinct sounds of all the notes, the piston was added to the horn by Stoelzel. (See CORNET-A-PISTONS.) Great im- provements have been made in the instrument by Sax of Paris, whose horn, modelled after the antique, affords a far greater volume of sound than the old instrument. The basset horn and the English horn are not properly horns, the former belonging to the clarinets and the latter to the hautboys. The Russian horn is a straight brass tube of various size, expanding toward the lower end. HORN, Cape. See CAPE HORN. HORN, Gnstaf, count, a Swedish general, born in Upland, Oct. 23, 1592, died at Skara, May 16, 1657. He studied in Rostock, Jena, and Tubingen, served for a time in Holland under Prince Maurice, was afterward employed in the Swedish diplomatic service, and became sena- tor in 1 624. Receiving a command in the army of Gustavus Adolphus, he conquered Dorpat in 1625 and Kolberg in 1630, and commanded the left wing at the battle of Leipsic in 1631. He subsequently fought in the battles on the Lech and at Ltitzen (1632). After the death of Gustavus Adolphus, who called him his right arm, he joined the duke of Weimar. He was made a prisoner in the battle of Nordlingen (1634), which was fought against his advice, and remained in captivity seven years. Ob- taining his freedom by exchange for three other generals, in 1642, he fought against the Danes in Scania, was made minister of war in 1652, and died as field marshal and governor of Livonia and Scania. HORN, or Hoorne, Philip II. de Montmoreney- Niyelle, count of, a Flemish statesman, born in 1522, executed at Brussels, June 5, 1568. His father was descended from the noble French family of Montmorency, and on his mother's side he was related to Lamoral Egmont, with whose fate his own was destined to be unhap- pily linked. His mother, becoming a widow when he was about eight years of age, was married again to John, count of Horn, one of the wealthiest nobles of the Netherlands, who, having no children of his own, left his estates to his wife's children, on the condition that they should assume his name. Philip count of Horn thus at the outset of his career became one of the most powerful of his order, and subsequently received from the emperor Charles Y. and from Philip II. the appointments of governor of Geldern and Zutphen, admiral of the Flemish fleet, and councillor of state. He fought with reputation in the battles of St. Quentin and Gravelines, and in 1559 accompa- nied Philip II. to Spain, where during a resi- dence of two years he is supposed to have re- ceived information of the designs of the Span- ish court against the Netherlands, and to have communicated them to the prince of Orange. Returning to the Netherlands, he joined Orange and Egmont in resisting the aggressive policy of Philip, and in urging him to recall Cardinal Granvelle ; and with them he retired from the state councils until the departure of the ob- noxious minister. Like Egmont and William of Orange, he also declined to sign the com- promise of Breda against the introduction of the Spanish inquisition into the Netherlands, in which the greater part of the lesser Flem- ish nobility were interested ; but his accidental presence with his friends at a banquet at which the signers of the compromise first took the name of gueux or "beggars" (April, 1566), proved afterward a serious charge against him. After the excesses committed by the iconoclasts in the same year, he was instrumental in pre- venting a general massacre of Catholics at Tour- nay ; but his permission to Protestants to wor- ship in the clothiers' hall, within the city, sub- jected him to a severe reprimand from the regent Margaret, in consequence of which he offered to resign all his offices, and wrote a let- ter to the king complaining of the policy pur- sued by the regent, and protesting that he would no longer treat of affairs of business with wo-
