He was elected chamberlain of the city in January 1319–20, and continued in that office till his death. Horn was present at a meeting of the mayor and aldermen in 1327 (ib. p. 169). He died in 1328, and his will, dated 9 Oct. of that year, is enrolled in the Court of Husting (Sharpe, Calendar of Husting Wills, i. 344–5). His accounts as chamberlain, up to 18 Oct. 1328, were rendered by his executors, and passed in August of the following year (ib. i. 344). He leaves to the chamber of the Guildhall of London several valuable books: ‘De gestis Anglorum,’ ‘De veteribus legibus Angliæ,’ and other manuscripts, some of which have been identified as still in the possession of the corporation. He was unmarried, and left his property to be divided among his brother, William Horn, rector of the church of Rotherhithe, William and Simon Doggett, his nephews, and Cristina his niece. Besides his residence in Bridge Street, he possessed a house in Eastcheap.
Horn is chiefly known by a valuable compilation of city laws and customs preserved among the records at Guildhall, and entitled ‘Liber Horn,’ which is composed of two or more distinct treatises. It contains an early copy of the laws of Oleron (Black Book of the Admiralty, ed. Sir Travers Twiss, Introd. pp. lix–lx); on folio ccvi, where a fresh compilation of charters, statutes, &c., commences, there is an illuminated frontispiece containing a rubricated note briefly describing the contents of the volume (‘Quem fieri fecit anno Domini mcccxi’). Horn was also the author (or perhaps editor) of the well-known legal treatise ‘La Somme appelle Mirroir des Justices, vel Speculum Justiciariorum, factum per A. H.,’ of which a sixteenth-century manuscript copy is in the British Museum (Addit. MS. 25033). Printed editions of the book appeared in 1624, London, 12mo; 1642, London, 16mo; in 1776, in Hoüard's ‘Traité sur les coutumes Anglo-Normandes,’ tome 4, 4to; and an English translation by W[illiam] H[ughes] in 1646, London, 8vo, 1649, 12mo, 1659, 8vo, and 1768, 8vo. A new edition, edited from MS. in Corpus Christi College, Cambridge, by W. J. Whittaker, with translation and introduction by F. W. Maitland, was issued by the Selden Society in 1895.
[Authorities above cited.]
HORN, CHARLES EDWARD (1786–1849), vocalist and composer, was the second son of Karl Friedrich Horn (1762–1830), musician, who came to England from Saxony as a valet (Papendiek) in 1782, and was appointed music-master to Princesses Augusta and Elizabeth about 1789, and organist to St. George's Chapel, Windsor, in 1823. Charles Edward Horn was born in London in 1786. He was taught music by his father, and had a few lessons at Bath from Rauzzini in 1808. He made his début at the English Opera House in King's ‘Up all Night,’ but after composing an unsuccessful melodrama, ‘The Magic Bride,’ he took lessons from Thomas Welch in 1809, and did not again appear on the stage until 1814. He then took the part of the Seraskier in Storace's ‘Siege of Belgrade’ with success; but it was his performance as Caspar in ‘Der Freischütz’ at Drury Lane, 1824, that established his reputation, and made him for many seasons a favourite singer. The compass of his voice enabled him to take tenor or baritone parts at will, and he was a good actor. In 1835, however, the loss of his voice through illness obliged him to quit the stage. He subsequently removed to New York, where he had sung with success in 1827, and entered into a music publisher's business with Mr. Davis as partner. During one of his visits to England, 1843–7, Horn was appointed director of music at the Princess's Theatre, but in 1848 he became conductor of the Haydn and Handel Society at Boston, and died there on 21 Oct. 1849. Horn was twice married; his first wife was Miss Ray, an actress, and his second, Miss Horton, who died in 1887.
Horn's music pleased the public by its simplicity and brightness. Like James Hook [q. v.], he composed one or two airs which may claim a place among national ballads, e.g. ‘Cherry Ripe’ (1825?), and the duet, ‘I know a bank.’ Other of Horn's most popular songs are ‘Child of Earth’ and ‘Through the Wood,’ 1830?; ‘I've been roaming,’ 1835; ‘All things love thee,’ 1844; and ‘The Mermaid's Cave,’ 1855. Of his more elaborate productions the best known were the operas, ‘Magic Bride’ and ‘Tricks upon Travellers’ (with Reeve), 1810; ‘The Beehive’ and ‘The Boarding House,’ 1811; ‘Rich and Poor’ and ‘The Devil's Bridge’ (with Braham), 1812; ‘Godolphin,’ 1813; ‘The Statue’ and ‘The Woodman's Hut,’ 1814; ‘Charles the Bold,’ 1815; ‘The Persian Hunters,’ 1816; ‘Election’ and the ‘Wizard,’ 1817; ‘Dirce,’ 1821; ‘Actors al fresco’ (with Cooke and Blewitt) and ‘Merry Wives of Windsor’ (with S. Webbe, jun., Parry, &c., ‘I know a bank’ introduced), 1823; ‘Philandering,’ 1824; ‘The Death Fetch’ and ‘Peveril of the Peak’ (comic), 1826; ‘Pay to my Order,’ 1827; ‘Honest Frauds’ (with ‘Deep, deep Sea,’ sung by Malibran), 1830; ‘Christmas Bells,’ performed in America. ‘Ahmed al Kamel, the Pilgrim of Love,’ Horn's last opera, was brought out under his direction at the New
