FOR CIVIL SERVICE MEN AND WOMEN AND STUDENTS PREPARING FOR SERVICE
EXAMINATIONS
Federal, state and municipal civil service includes so many specialized
branches that a number of the chapters in Part 1 of this Guide, devoted
to courses of reading adapted to various occupations (such as _For
Teachers_, _For Engineers_, _For Builders and Contractors_) will supply
useful indications. Part 2 of the Guide, containing classified courses
of educational reading, will point to articles especially serviceable to
those who are preparing for examinations and, for that reason, desire to
review the ground they covered at school or college.
Part 4 of the Guide, with its special references to the subjects to
which administration and legislation are chiefly directed, should be
carefully examined. There the reader will find lists of articles dealing
with schools and institutions; the defective classes; crime and alcohol;
revenue and finance; ballot representation and suffrage; trusts,
competition, co-operation and socialism; labour and immigration;
legislation and the administration of justice; foreign relations and the
expansion of the United States.
[Sidenote: International Comparisons]
The present chapter, in order that repetition may be avoided, deals only
with the aspects of federal, state and municipal government which are
most closely related to civil service organization. The article CIVIL
SERVICE (Vol. 6, p. 412) devotes nearly as much space to the British as
to the American service, and its information as to British organization,
examinations, salaries and pensions will greatly interest those to whom
the details needed for an international comparison have not been
elsewhere accessible. Until 1855 all British appointments were by
nomination; and although the service was quite free from the abominable
system of secretly taxing salaries in order to support party funds, that
was about all that can be said for it. There was hardly a pretense of
selection for merit. Influential families and the relatives and personal
friends of ministers of state and of ladies whom kings delighted to
honor monopolized the appointments. Many posts were pure sinecures, and
in many others the work was done by a substitute to whom the nominee
paid less than half the salary or fees he received. Under George III the
system was at its worst, and the discontent that was aroused in the
American colonies by the maladministration of colonial affairs was “one
of the efficient causes of the American revolution.” The reforms begun
in 1855 had by 1870 been so successful that since then open competition
has been the general rule; and where nomination is still required, as in
the Foreign Office and the Education Department, searching examinations
must be passed. Women are employed in the post-office, board of
agriculture, customs, India office, department of agriculture, local
government board and home office (factory inspectors, etc.). The age for
compulsory retirement is 65, but the commissioners may prolong this five
years in exceptional cases. Subjects of examinations, salaries and
pensions are described in the article. Since 1859 there has been a
superannuation pension of ¹⁰⁄₆₀ of the annual salary and emoluments to
any one serving 10 years and less than 11, and an additional sixtieth
for each year’s service more than ten.
[Sidenote: Civil Service in the United States]
In the same article there is an historical treatment of civil service in
the United States and of its gradual reform and extension since 1883.
This may well be supplemented by a study of the American party system of
government and of the “spoils system” under which party loyalty and
personal service to a party machine became the test of a candidate’s
fitness for office. For this the student should refer to the section
(Vol. 27, p. 646) on _Constitution and Government_, of the article
UNITED STATES, written by James Bryce, author of _The American
Commonwealth_ and formerly British ambassador to the United States; see
p. 658–659, especially. There is also much information in the section
_History_ of the same article, especially paragraphs 168, 169 (p. 697)
on the beginnings of the spoils system in Jackson’s time, paragraph 333
(p. 722) on the beginnings of reform under Hayes, and paragraph 343 (p.
724) on Cleveland and civil service reform, etc.; and biographies of
Andrew Jackson, W. L. Marcy and Martin Van Buren (for the spoils system)
and of George William Curtis, E. L. Godkin, Carl Schurz, R. B. Hayes,
Grover Cleveland, Benjamin Harrison, William McKinley and Theodore
Roosevelt.
Information in regard to the civil service systems of states and cities
may be found in separate state and city articles,—in addition to the
material on state and city systems in the articles already mentioned.
[Sidenote: “General Information” Papers]
The wide-awake student who has read this far in this chapter and has
referred to the articles mentioned in the Britannica, will now be saying
to himself: “There is evidently much valuable information in the
encyclopaedia about the history and status of civil service reform, and
this seems as full and complete for the United States as for Great
Britain. If other topics are as fully treated in the Britannica, it will
be invaluable to me in preparation for general information papers for
civil service examinations.” And he will be right. For instance, the
government employe must know more about the government and its machinery
and history than does the average “man in the street”,—and he can learn
this from the Britannica.
As has already been pointed out, the main treatment of the government of
the United States in the Britannica is by James Bryce. This means that
it is authoritative and that it is interesting and that in both these
qualities it is far superior to the usual text book of “civics” or
“civil government.” It occupies pp. 646–661 of volume 27, and is
equivalent to about 50 pages of this Guide—so that it is more than a
bare outline. And it is followed by a valuable bibliography of the
subject to guide the student to the best books on any special topic
which he may wish to pursue further.
But this is far from being all the information in the Britannica on the
subject. The contribution of Mr. Bryce is only a part of the article
UNITED STATES. The entire article would take up nearly 400 pages if
printed in the style of this Guide. It treats the physical geography,
geology, climate, fauna and flora, population, industries and commerce,
government, finance, army and history of the country—the equivalent of
225 pages of this Guide is devoted to _History_ alone. All parts of this
article contain valuable information about the country; and this article
is supplemented by hundreds of others:—
(a) Articles on each of the states, arranged much as in the article
UNITED STATES with sections on history and government serving as an
authoritative summary of the salient facts, and making up a complete
course on state “civics,” government and history;
(b) Articles on cities and towns with similar treatment of the
distinctive elements in the government of each, and of the main points
in their history;
(c) Separate articles on the important rivers, lakes, mountains and
other topics in physical geography;
(d) Separate articles on topics in American history and government: such
as NULLIFICATION, STATE RIGHTS, FUGITIVE SLAVE LAWS, ELECTORAL
COMMISSION; and
(e) Biographies of great Americans, famous in war, politics,
administration, business, science, art, religion,—in short all fields of
activity.
In brief, whether for an examination on general information, on civics,
on history, or on the special branch of the civil service to which the
student wishes to be appointed, no book will give as valuable and
complete information as the Britannica.
CHAPTER XXIX
FOR ARMY OFFICERS
[Sidenote: A New Departure]
It is often said of an article in the Britannica that it is “_the last
word_ on the subject,” so thoroughly has the authority of the book been
recognized. This is quite as true of military articles as of those in
any other field; but of the military articles it may also be said that
they are the _first word_. Of course, there have been, in previous
editions of the Britannica and, to a less degree in minor works of
general reference, articles on military history and biography. But in
the new Britannica, for the first time, all branches of military
knowledge are included, and the spirit of the entire treatment is
comparative and critical. The military student will find a discussion
not merely of Napoleon’s influence on army organization or Frederick’s
influence on cavalry (in the articles on these two leaders), but also of
the influence of army organization on Napoleon (in the articles on the
French Revolutionary Wars and the Napoleonic Campaigns), and of cavalry
drill on the peculiar generalship of Frederick (in such articles as
Seven Years’ War, on Hohenfriedberg, and on Rossbach). Put more
concretely, the novelty consists in the inclusion of articles on wars,
campaigns and battles, chosen because of their importance in military as
well as in political history, and treated from the point of view of the
military critic and with particular attention to the lessons they
contain for the modern army officer. The care with which the battles and
campaigns of the American Civil War are analyzed and criticized will be
of singularly great interest to the American soldier, who will
immediately notice among the contributors to the military department of
the Britannica such names as those of Capt. C. F. Atkinson, author of
_The Wilderness and Cold Harbour_, Major G. W. Redway, author of
_Fredericksburg: A Study in War_, Col. G. F. R. Henderson, author of
_Stonewall Jackson and the American Civil War_, and Col. F. N. Maude,
lecturer in military history, University of Manchester.
[Sidenote: Army]
The best starting point for a study of military affairs in the
Britannica is the article ARMY (Vol. 2, p. 592; equivalent to more than
100 pages of this Guide). This “key” article may be outlined as follows:
_General History_
Early Armies—_Egypt_ (chariots, infantry, archers). _Babylon_ and
_Assyria_ (horsemen, charioteers, etc.). _Persian_, largely cavalry;
the first “organized” army. _Greece_,—compulsory service; citizen
militia; heavy infantry the strong arm; phalanx, the Greek formation.
_Sparta_,—a nation in arms. _Greek_ mercenaries. _Epaminondas_ and
_Thebes_—new phalanx tactics, “oblique order”; development of
cavalry. _Alexander_ and _Macedon_—a modified Theban system.
_Carthage_—mercenary troops led by great generals, with modification
of phalanx for greater elasticity. _Rome_—army under the Republic; its
characteristics; under the Empire; see also separate article ROMAN
ARMY (Vol. 23, p. 471), by Professor F. J. Haverfield of Oxford. _The
Dark Ages_, the Byzantines, and the development of Feudalism. Medieval
Mercenaries. Infantry in Feudal Times. _The Crusades_. _The Period of
Transition_ (1290–1490), development of English archers and of
professional soldiery,—_condottieri_, _Swiss_, _Landsknechts_. _The
Spanish army_: “at the disposal of its sovereign, trained to the due
professional standard and organized in the best way found by
experience.” _The Sixteenth Century_—rise of the heavy cavalry armed
with pistols, and fall of the pikemen. _Dutch System_—attention to
minute detail; William the Silent and Maurice of Nassau. _Thirty
Years’ War_—the _Werbe-system_, small standing army to be increased by
levy at time of need. _The Swedish Army_—conscription and feudal
_indelta_; Gustavus. _The English Civil War_—real national armies;
Cromwell and the “New Model” only an incident without influence on
army organization. _Standing Armies_. French pre-eminence after
Rocroi. Small field armies, well-fed and sheltered for economy’s sake.
_18th Century organization_: “linear” formation and its negative
results. _Frederick the Great_: the art of war a formal science. _The
French Revolution_: a “nation in arms,” a war-machine more powerful
than Frederick’s. The conscription in France. _Napoleon_—his attempt
to make a dynastic army out of the “nation in arms.” _The Grande
Armée_ of 1805–1806; development of artillery; the army corps. The
Wars of Liberation: new Prussian army; excellent Austrian
organization. _Armies of 1815–1870_. _American Civil War_,—its slow
decision. Contrast between French and Prussian staff systems in 1870.
_Modern Developments_: German model followed slavishly except in Great
Britain and the United States.
_Present Day Armies_: The general accounts of existing armies, and of
the past organizations of each country, are supplemented by detailed
information in the articles on different countries. Especial attention
should be given to the military information in the article on Japan.
Army Systems: _Compulsory Service_; _Conscription_; _Voluntary
Service_; _Militia_.
_Army Organization_
The three chief arms—their relative importance: proportion on peace
footing—5 or 6 guns per 1000 men, 16 cavalry soldiers to 1000 men of
other arms; proportion in war—Russian (1905) 3½ guns per 1000 men of
other arms, 60 cavalry to 1000 infantry; Japanese (1905), 2½ field
guns per 1000 men, 37 cavalry to 1000 infantry. _Command_: _Brigade_;
_Division_; _Army Corps_, its constitution; _Army_; _Chief Command_ of
group of armies; chief of general staff and his relations to
commander-in-chief—for example, von Moltke and King William. _Branches
of Administration_—war office and general staff.
_Table_: Comparative strength of Various Armies.
_British Army_, _Indian Army_, _Canadian Forces_.
_Austrian Army_.
_French Army_.
_German Army_.
_Italian Army_.
_Russian Army_.
_Spanish Army_.
_Turkish Army_.
_United States Army_.
_Armies of minor countries_.
_Bibliography_ (2000 words)
[Sidenote: Theory and Practice]
Next in order the student should turn to the article WAR (Vol. 28, p.
305; equivalent to 40 pages of this Guide), by Col. G. F. R. Henderson,
well known for his books on the American Civil War (_Fredericksburg_,
_Stonewall Jackson_, etc.), with a section on _Laws of War_, by Sir
Thomas Barclay. Col. Henderson’s article lays down important general
principles. An analysis of modern conditions shows that improved methods
of communication have made war a much speedier process, in which the
victorious general cannot make mistakes at the outset. That intellect
and education count for more than stamina and courage was the lesson of
the Franco-Prussian War—a lesson learned by the Prussians before that
war. Modern war is a science and the amateur has little chance; in this
respect things have changed. “It is impossible to doubt that had the
Boers of 1899 possessed a staff of trained strategists, they would have
shaken the British Empire to its foundations.” There must be a concert
between diplomacy and strategy. Civilian war ministers cannot solve
strategic problems. The greater deadliness of modern warfare, and the
greater moral effect of being under fire call for better foresight,
strategy and _morale_. The relation of army and navy is discussed and
the new doctrine of “sea-power” explained. (See the chapter _For Naval
Officers_ in this Guide). The remaining topics in the article are:
weakness of allied armies; railways and sea as lines of operation;
amphibious power; value of unprofessional troops and the need of
professional leaders.
[Sidenote: Arms of Service]
In the articles INFANTRY (Vol. 14, p. 517; 2 plates; equivalent to 35
pages of this Guide) and ARTILLERY (Vol. 2, p. 685; 2 plates; equivalent
to 30 pages of this Guide), both by Capt. Atkinson, and in the article
CAVALRY (Vol. 5, p. 563; illustrated with 2 plates and 1 cut; in length
equivalent to 30 pages of this Guide), by Col. F. N. Maude, the student
will find an elaborate treatment of the history, organization and
tactics (especially since 1870) of each of these arms. For details of
their organization and equipment he should read the articles ENGINEERS,
STAFF, MOUNTED INFANTRY, SUPPLY AND TRANSPORT (MILITARY), OFFICERS,
AMBULANCE, FORTIFICATION, MACHINE GUNS, COAST DEFENCE, ORDNANCE,
BALLISTICS, SIGHTS, RIFLE, GUN, PISTOL, EXPLOSIVE, GUNPOWDER, GUNCOTTON,
CORDITE and NITRO-GLYCERINE. In many geographical articles there are
descriptions of the world’s great fortifications, e. g., _Paris_,
_Antwerp_, and _Verdun_. Other topics of a more miscellaneous character
are covered by the articles ARMY SIGNALLING, PIGEON POST, SIGNALS, WAR
GAME, MANOEUVRES, KITE, etc.
The military use of aeroplanes and balloons is very fully shown in the
articles FLIGHT and AERONAUTICS.
[Sidenote: Strategy and Tactics]
Before taking up a systematic course in military history, there are two
general articles that the military student should read: TACTICS (Vol.
26, p. 347; equivalent in length to 20 pages of this Guide), by Maj.
Neill Malcolm, editor of the _Science of War_; and STRATEGY (Vol. 25, p.
986; equivalent to 35 pages of this Guide), by Col. F. N. Maude. The
former article should be compared with the sections on tactics in the
articles INFANTRY, CAVALRY and ARTILLERY. Major Malcolm makes much of
the continuity of military history, comparing Metaurus and Ramillies
with the fighting in Manchuria, and Wellington at Maya with Oyama in his
contest with Kuropatkin. The mistakes that have been made once should
not be made again; at least the careful student of tactical history may
see to it that if they are repeated, it is done by his opponent and not
by himself. Modern tactics are different from ancient because of greater
fire-power and improved methods of transportation. Cavalry tactics are
in an uncertain condition; there is no recent practice to serve as a
guide, since neither in South Africa in the Boer war nor in Manchuria
during the Russo-Japanese conflict was cavalry much used. Infantry must
co-operate to make artillery bombardment effective. An interesting
discussion of offensive and defensive fighting is summed up in the words
“To the true general the purely defensive battle is unknown” and as
evidence are adduced Wellington at Salamanca and Oyama at Sha-ho.
Oyama’s victory in the latter battle, it is pointed out, shows the
increased ease of the process of envelopment, which has resulted in
discarding corps artillery in favour of divisional artillery. The
importance—and the possibility—of the counter stroke; the danger of
using for the relief of one’s own troops forces which might better be
launched at the enemy’s weakest spot; and the similar unwisdom of any
negative tactics, adopted to avoid loss, as in “holding attacks”—are the
other principal points made in the article.
The article STRATEGY should be read in conjunction with the articles
ARMY and WAR. It is impossible to summarize or outline it here, but it
is worth noting that the article closes with a definition and discussion
of the following terms: _Base_; _Line of Communication_; _Line of
Operations_; _Exterior Lines_; _Obstacles_.
[Sidenote: Military History and Criticism]
For a reasoned history of warfare in more detail than has been given in
the general articles already alluded to, the reader will find some
outline like the following valuable, the arrangement being roughly
chronological and all words in _Italics_ being titles of articles in the
Britannica.
_Marathon_; _Darius_; _Miltiades_; _Herodotus_.
_Thermopylae_; _Leonidas_; _Salamis_.
_Peloponnesian War_; _Pericles_; _Cleon_; _Pylos_; _Brasidas_;
_Alcibiades_; _Critias_; _Thucydides_; _Xenophon_.
_Epaminondas_; _Mantineia_.
_Philip II of Macedon_; _Olynthus_; _Chaeroneia_; _Alexander the
Great_; _Arrian_.
_Pyrrhus_.
_Roman Army_; _Caudine Forks_; _Punic Wars_; _Carthage_; _Hanno_;
_Hannibal_; _Hasdrubal_; _Mago_; _Trasimene_; _Fabius_ (Cunctator);
_Cannae_; _Scipio Africanus_; _Scipio Aemilianus_; _Aemilius Paulus_;
_Perseus_; _Marius_; _Jugurtha_; _Sulla_; _Sertorius_; _Pompey_;
_Caesar_; _Antonius_ (Mark Antony).
_Charles Martel_.
_Charlemagne_.
_William I_ (of England); _Hastings_; _Standard, Battle of_.
_Crusades_ (equivalent to 90 pages of this Guide); _Godfrey of
Bouillon_; _Raymund of Toulouse_; _Richard I_ (of England); _Philip
II_ (of France); _Saladin_; _Henry VI_ (Roman Emperor); _Baldwin I_;
_Frederick II_; _Louis IX_ (of France).
_Bouvines._
_Bannockburn_; _Robert Bruce_.
_Hundred Years’ War_; _Philip VI_; _Edward III_; _Crécy_; _John of
Bohemia_; _Edward_ (the Black Prince); _Calais_; _Poitiers_; _John II_
(of France); _Lancaster, House of_ (for John of Gaunt); _Bertrand Du
Guesclin_; _Henry V_ (of England); _Agincourt_; _Joan of Arc_; _1st
Duke of Bedford_ (John Plantagenet); Count of _Dunois_.
_Wars of the Roses_; _St. Albans_; _Towton_; _Earl of Warwick_
(Richard Neville); _Edward IV_.
_Ravenna_, battle of; _Bayard_ (the chevalier); _Gaston de Foix_;
_Pescara_; _Navarro_; _Marignan_; _Francis_ I (of France).
_Flodden_; _James IV_ (of Scotland); _Norfolk, 3rd Duke_.
_St. Quentin_ (1557); _Coligny_; _Montmorency_ (constable); _Emmanuel
Philibert_.
_Alva_; _William the Silent_ (Vol. 28, p. 672); _Maurice of Nassau_;
_Farnese_ (duke of Parma).
_Thirty Years’ War_; _Maximilian I_ (of Bavaria); _Frederick V_
(elector palatinate; Vol. 11, p. 59); _Mansfeld_; _Tilly_;
_Wallenstein_; _Gustavus Adolphus_; _Breitenfeld_; _Lützen_; _Bernhard
of Saxe-Weimar_; duc de _Rohan_; _Frederick Henry_; _Gallas_; _Banér_;
_Piccolomini_; _Turenne_; _Torstensson_; _Condé_; _Freiburg_; _Mercy_;
_Nördlingen_; _Wrangel_ (1613–1676); _Fronde_.
_Great Rebellion_ (English Civil Wars of 1642–52); _Charles I_ (of
England); _Prince Rupert_; _Essex_ (2nd Earl, Vol. 9, p. 782);
_Edgehill_; _John Hotham_; _Baron Hopton_; _Sir William Waller_; _Duke
of Newcastle_ (1592–1676); _Fairfax of Cameron_ (2nd and 3rd Barons);
_Sir Bevil Grenville_; _Oliver Cromwell_; _Manchester_, 2nd Earl of
(Vol. 17, p. 543); _Marston Moor_; _Leven_; _Skippon_; _Argyll, 8th
Earl_; _Montrose_; _Lord Newark_; _Goring_; _Naseby_; _John Lambert_;
_Charles Fleetwood_; _Dunbar_; _Thomas Harrison_.
_Dutch Wars_; _Louis XIV_; _Condé_; _Frederick William of
Brandenburg_; _Turenne_; _Montecucculi_; _William III_ (of England);
_Duke of Luxembourg_; _Charles of Lorraine_ (Vol. 17, p. 11).
_Vauban._
_Grand Alliance, War of_; _Catinat_; _Luxembourg_; _Vauban_;
_Fleurus_; _Louvois_; _Duc de Boufflers_; _Coehoorn_; _William III of
England_; _Steenkirk_; _Neerwinden_; _Villeroi_.
_Spanish Succession_; _Marlborough_; _Eugene of Savoy_; _Villars_;
_Peterborough_; _Ruvigny_; _Catinat_; _Vendôme_; _Blenheim_;
_Ramillies_; _Oudenarde_; _Malplaquet_; _Berwick_.
_Polish Succession War._
_Austrian Succession_; _Frederick the Great_; _Count von Schwerin_;
_L. A. Khevenhüller_; _Duc de Broglie_; _Traun_; _Charles_ (of
Lorraine; Vol. 5, p. 936); _Seckendorf_; _George II_ (of England);
_Noailles_; _Conti_ (Vol. 7, p. 28); _Hohenfriedberg_; _Fontenoy_;
comte de _Saxe_ (marshal); Duke of _Cumberland_; _Ligonier_;
_Belle-Isle_.
_Seven Years’ War_ (with 5 diagrams): _Frederick the Great_; _Clive_;
_Amherst_; _Wolfe_; comte de _Lally_; _Montcalm_; Count von _Browne_;
_Ferdinand_ (of Brunswick); _Daun_; _Zieten_; _F. E. J. Keith_;
_Seydlitz_; _Rossbach_; _Soubise_ (1715–1787); _Leuthen_; _Loudon_;
_Kunersdorf_; _Finck_; _Minden_; _Sackville_, 1st Viscount; _Granby_.
_American War of Independence_; _Lexington_; _Concord_; _Bunker Hill_;
_Joseph Warren_; _Israel Putnam_; _Thomas Gage_; _William Howe_;
_Ethan Allen_; _Ticonderoga_; _George Washington_; _Benedict Arnold_;
_Richard Montgomery_; _Long Island_; _Rufus Putnam_; _William
Alexander_; _Trenton and Princeton_; _Henry Knox_; _Brandywine_;
_Germantown_; _Burgoyne_; _Bennington_; _John Stark_; _Saratoga_;
_George Rogers Clark_; _Sir Henry Clinton_; _Monmouth_; _John
Sullivan_; _Anthony Wayne_; _William Moultrie_; _Charleston_ (S. C.);
_Francis Marion_; _Thomas Sumter_; _Andrew Pickens_; _Horatio Gates_;
_Nathanael Greene_; _Cornwallis_; _Kalb_; _Camden_; _King’s Mountain_;
_Daniel Morgan_; _Henry Lee_; _Tarleton_; _Eutawville_; _Lafayette_;
_Yorktown_.
_French Revolutionary Wars_ (with 6 diagrams); _Dumouriez_;
_Kellerman_ (1735–1820); _Custine_; _Jemappes_; _Gribeauval_;
_Neerwinden_ (1793); _Clerfayt_; _Vendée_; _L. N. M. Carnot_;
_Jourdan_; _Wattignies_; _Joubert_; _Frederick Augustus, Duke of
York_; _Souham_; _Moreau_; _Kray von Krajova_; _Vandamme_; _Pichegru_;
_Marceau_; _Charles_, archduke of Austria (Vol. 5, p. 935); _Masséna_;
_Napoleon_; _Augereau_; _Serurier_; _Joubert_; _Sir W. Sidney Smith_;
_Kléber_; _Alexandria_; _Oudinot_; _Suvarov_; _Borodino_; _Macdonald_;
_Marengo_; _Murat_; _Lannes_; _Berthier_; _Bautzen_.
_Napoleonic Campaigns_ (9 diagrams; and see, on p. 233 of Vol. 19,
“The Military Character of Napoleon”); _Napoleon_; _Wrede_; _Murat_;
_Charles XIV_ (Bernadotte); _Marmont_; _Davout_; _Ney_; _Lannes_;
_Soult_; _Berthier_; _Angereau_; _Dupont de l’Etang_; _Austerlitz_;
_Kutusov_; _Hohenlohe_ (Vol. 13, p. 572); _Blücher_; _Lasalle_;
_Massenbach_; _Kalckreuth_; _Scharnhorst_; _Lefebvre-Desnoëttes_;
_Count von Bennigsen_; _Eylau_; _Friedland_; _Grouchy_; _Mortier_;
_Senarmont_; _Oudinot_; _Massena_; _Aspern-Essling_; _Charles_,
archduke of Austria; _Bellegarde_; _Wagram_; _Beauharnais_;
_Macdonald_; Jerome _Bonaparte_ (Vol. 4, p. 195); _Barclay de Tolly_;
_Bagration_; _Victor-Perrin_; _Yorck von Wartenburg_; _Lauriston_;
_Wittgenstein_; _Bautzen_; _Schwarzenberg_; _Gouvion St. Cyr_;
_Dresden_ (battle).
_Peninsular War_; _Junot_; _Murat_; _Dupont de l’Etang_; _Moncey_;
_Palafox y Melzi_; _Wellington_; _Sir John Moore_; Sir David _Baird_;
_Talavera_; _Suchet_; _Sebastiani_; _Foy_; _Lord Hill_; _Lord
Lynedoch_; W. C. _Beresford_; _Salamanca_; _Clausel_; _O’Donnell_;
_Vitoria_; _Sir William Napier_.
_American War_ of 1812; Isaac _Brock_; _Dearborn_; _Baltimore_;
_Washington_; _New Orleans_; Andrew _Jackson_; Jacob _Brown_; James
_Wilkinson_; and for sea-fighting the titles in the chapter of this
Guide: _For Naval Officers_.
_Waterloo Campaign_ (with 3 maps); _Napoleon_; _Murat_;
_Schwarzenberg_; _Barclay de Tolly_; _Wellington_; _Blücher_; _Lord
Hill_; _Anglesey_; _D’Erlon_; _Gneisenau_; _Gérard_; _Grouchy_;
_Vandamme_; _Thielmann_; _Bülow_ (1755–1816); _Ney_; _Exelmans_;
_Pajol_; _Picton_.
_Greek Independence_; _Ypsilanti_; _Mavrocordato_; _Coraës_;
_Dundonald_; _Sir Richard Church_.
_Russo-Turkish Wars_ (1828–29); _Paskevich_; _Diebitsch_ (1877–78);
_Osman_; _Skobelev_; _Plevna_ (with diagram); _Todleben_; _Shipka
Pass_.
_Crimean War_ (with 2 diagrams): _Gorchakov_; _Hess_; _Raglan_; _Saint
Arnaud_; _Canrobert_; _Pelissier_; _Menshikov_ (1787–1869); _Bosquet_;
_Todleben_; _Alma_; _Balaklava_; _Scarlett_; _Cardigan_; _Inkerman_;
_Sir George Brown_; _Sir George Cathcart_; _Kinglake_.
_Italian Wars_ (1848–1870); _Radetzky_; _Charles Albert_ of Sardinia
(Vol. 5, p. 938); _Durando_; _Pepe_; _Victor Emmanuel_; _Pelissier_;
_Canrobert_; _La Marmora_; _Napoleon III_; _Forey_; _MacMahon_;
_Bazaine_; _Wimpffen_; _Benedek_; _Niel_; _Custozza_; _Cialdini_.
_American Civil War_; _Bull Run_; _McDowell_; _Beauregard_; _J. E.
Johnston_; _R. E. Lee_; _Rosecrans_; _Lexington, Mo._; _Fremont_;
_Nathaniel Lyon_; _F. P. Blair, Jr._; _Pope_; _Burnside_; _B. F.
Butler_; _McClellan_; _A. S. Johnston_; _G. H. Thomas_; _U. S. Grant_;
_C. F. Smith_; _Lew Wallace_; _McClernand_; _Halleck_; _O. M.
Mitchel_; _Shiloh_; _N. P. Banks_; _T. J. (Stonewall) Jackson_;
_Shenandoah_; _Fair Oaks_; _Seven Days_; _A. P. Hill_; _D. H. Hill_;
_J. E. B. Stuart_; _Braxton Bragg_; _Longstreet_; _Bull Run (second
battle)_; _Ewell_; _Sigel_; _Hooker_; _Kearny_; _Fitz-John Porter_;
_Antietam_; _E. V. Sumner_; _Hood_; _Burnside_; _Van Dorn_;
_Fredericksburg_; _W. B. Franklin_; _John F. Reynolds_; _D. N. Couch_;
_Stone River_; _Hardee_; _A. McD. McCook_; _T. L. Crittenden_; _G. H.
Thomas_; _J. C. Breckinridge_; _McPherson_; _Chancellorsville_; _T. F.
Meagher_; _Meade_; _Gettysburg_; _O. O. Howard_; _Doubleday_; _Early_;
_Hancock_; _Sickles_; _Vicksburg_; _J. H. Morgan_; _Chickamauga_; _N.
B. Forrest_; _Chattanooga_; _Sheridan_; _Wilderness_ (4 diagrams);
_Fitz-Hugh Lee_; _J. H. Wilson_; _G. K. Warren_; _John Sedgwick_;
_Merritt_; _R. H. Anderson_; _Spottsylvania_; _Cold Harbor_;
_Petersburg_; _Shenandoah Valley_; _Cedar Creek_; _W. T. Sherman_;
_Marietta_; _Atlanta_; _Slocum_; _Schofield_; _Joseph Wheeler_; _J. A.
Logan_; _Nashville_; _Richmond_; _Appomatox Court-House_; _Durham, N.
C._
_Seven Weeks’ War_ (with 2 diagrams): _William I_ (of Germany);
_Moltke_; _Benedek_; _Frederick III_ (of Germany); _Frederick Charles_
(of Prussia; Vol. 11, p. 61); _Steinmetz_; _Blumenthal_;
_Hohenlohe-Ingelfingen_ (Vol. 13, p. 573b); _Goeben_; and see _Italian
Wars_ above.
_Franco-German War_; _Napoleon III_; _Niel_; _Moltke_; _William I_ (of
Germany); _Steinmetz_; _Frossard_; _MacMahon_; _Wörth_ (with plan);
_Bazaine_; _Metz_ (2 plans); _Alvensleben_; _Canrobert_; _Bourbaki_;
_Leboeuf_; _Manteuffel_; _Caprivi_; _Prince Frederick Charles_;
_Sedan_ (with plan); _Vinoy_; _Wimpffen_; _Gallifet_; _Werder_;
_Gambetta_; _Freycinet_; _Aurelle de Paladines_; _Orleans_;
_Bourbaki_; _Le Mans_; _Chanzy_; _Faidherbe_; _Belfort_; _Clinchant_;
_Paris_.
_Servo-Bulgarian War_; _Alexander of Bulgaria_ (Vol. 1, p. 544);
_Milan of Servia_.
_Greco-Turkish War_; _Edhem Pasha_.
_Spanish-American War_; _Joseph Wheeler_; _F. V. Greene_; _Roosevelt_;
_Miles_.
_Transvaal_ (Vol. 27, pp. 203 sqq. for Boer War of 1899–1902);
_Kruger_; _Cronje_; _P. J. Joubert_; _Sir George White_; _Buller_;
_Lord Roberts_; _Lord Kitchener_; _J. H. De la Rey_; _Christian
DeWet_; _Louis Botha_.
_Russo-Japanese War_ (with 4 diagrams); _Kuroki_; _Kuropatkin_;
_Inouye_; _Oku_; _Nozu_; _Oyama_.
[Sidenote: A Military Encyclopaedia]
The military student will see from what has already been said that the
Britannica is not merely a general work of reference but a valuable aid
in the study of military history, biography, theory, practice and
phraseology. The following alphabetical list names only the chief of the
articles in the Britannica which make it a military cyclopaedia. As has
been noticed above, many articles are special treatises in themselves
dealing with many related topics, and—for instance—articles on wars or
campaigns contain elaborate descriptions of separate battles. Many
topics are treated in the Britannica, even if they are not in the
following list, and their whereabouts may be readily learned by turning
to the Index volume.
Abatis
Accoutrement
Acinaces
Adjutant
Adjutant-general
Adye, Sir John Miller
Aelian (Aelianus Tacticus)
Aemilius, Paulus
Aeneas Tacticus
Aeronautics
Agincourt, Battle of
Aide-de-camp
Albert, Charles, of Sardinia
Alcibiades
Alexander
Alexander the Great
Alexander, William
Alexander of Bulgaria
Alexandria
Alignment
Allan, Ethan
Alma
Alva
Alvensleben
Ambush
Ammunition
American Civil War
American War of 1812
American War of Independence
Amherst
Anderson, R. H.
Anglesey
Antietam
Antonius (Mark Antony)
Antwerp
Archery
Argyll, 8th Earl
Armet
Arms and Armour
Army
Army Corps
Army Signalling
Arnold, Benedict
Arquebus
Arrian
Arsenal
Artillery
Asclepiodotus
Aspern-Essling
Assegai
Atlanta
Augereau
Augsburg, War of the League of
Augustus, Frederick, Duke of York
Aurelle de Paladines
Austerlitz
Austrian Succession, War of the
Aventail or Avantaille
Bagration
Bailey
Baird, Sir David
Balaklava
Baldwin I
Ballistics
Bandolier
Banér
Banks, N. P.
Bannockburn
Barbette
Barclay de Tolly
Barracks
Barricade
Basinet
Bastion
Batta
Battalion
Battering Ram
Battle
Bautzen
Bayonet
Bazaine
Bayard (the Chevalier)
Beauharnais
Beauregard
Bedford, 1st Duke of
Belfort
Bellegarde
Belle-Isle
Benedek
Bennigsen, Count von
Bennington
Beresford, W. C.
Bernhard of Saxe-Weimar
Berthier
Berwick
Bivouac
Blair, F. P., Jr.
Blenheim
Blockhouse
Blücher
Blumenthal
Blunderbuss
Bomb
Bombardier
Bombardment
Bonaparte, Jerome
Borodino
Bosquet
Botha
Boufflers, Duc de
Boulevard
Bourbaki
Bouvines
Bragg, Braxton
Brandywine
Brasidas
Breckinridge, J. C.
Breitenfeld
Brevet
Brialmont, H. A.
Brigade
Brigandine
Benedetto Brin
Bronsart von Schellendorf, Paul
Brown, Sir George
Brown, Jacob
Brown Bess
Browne, Count von
Bruce, Robert
Bullet
Buller
Bull Run
Bull Run (second battle)
Bülow, Dietrich Heinrich
Bunker Hill
Burgonet, or Burganet
Burgoyne
Burnside
Busby
Butler, B. F.
Cadet
Cadre
Caesar
Calais
Caliver
Caltrop
Camden
Camp
Campaign
Canadian Forces
Cannac
Cannon
Canrobert
Canteen
Cantonment
Capitulation
Caponier
Caprivi
Captain
Carabiniers
Carbine
Cardigan
Carnot, L. N. M.
Carronade
Carthage
Cartridge
Carrington, H. B.
Casemate
Case-Shot
Cashier
Castle
Catapult
Cathcart, Sir George
Catinat
Caudine Forks
Cavalry
Cedar Creek, Va.
Chaeroneia
Chancellorsville
Chanzy
Chaplain
Charlemagne
Charles, Archduke of Austria
Charles I (of England)
Charles XIV (Bernadotte)
Charles Martel
Charleston, S. C.
Chassepot
Chattanooga, Tenn.
Chesney, C. C.
Chesney, Sir G. T.
Chevaux-de-frise
Church, Sir Richard
Chickamauga Creek
Cialdini
Circumvallation, Lines of
Clark, George Rogers
Clausel
Clausewitz, Karl von
Claymore
Cleon
Clerfayt
Clinchant
Clinton, Sir Henry
Clive
Coast Defence
Coastguard
Coehoorn
Cold Harbor
Coligny
Colonel
Colours, Military
Colour-sergeant
Commander
Commandeer
Commando
Commissariat
Concord
Condé
Condottiere
Conscription
Conti
Coraés
Cordite
Cormontaingne, Louis de
Cornwallis
Corporal
Corps
Couch, D. N.
Counterscarp
Countersign
Court Marshal
Cox, J. D.
Crécy
Crimean War
Crilias
Crittenden, T. L.
Cromwell, Oliver
Cronje
Crusades
Cuirass
Cuirassiers
Cumberland, Duke of
Custine
Custozza
Cutlass
Dagger
Dannewerk
Darius
Daun
Davout
Dearborn
Defile
Depot
D’Erlon
De la Rey
Devolution, War of
De Wet
Diebitsch
Dirk
Division
Dodge, Theodore A.
Donelson, Fort
Doubleday
Dragoon
Dresden
Du Guesclin, Bertrand
Dumouriez
Dunbar
Dundonald
Dunes
Dunois, Count of
Dupont de l’Etang
Düppel
Durando
Dutch Wars
Early
Echelon
Edgehill
Edhem Pasha
Edward (the Black Prince)
Edward III
Edward IV
Emmanuel Philibert
Emmanuel, Victor
Enceinte
Enfilade
Engineers, Military
Ensign
Epaminondas
Epaulette
Essex
Eugene of Savoy
Eutawville
Ewell
Exelmans
Explosives
Eylau
Fabius (Cunctator)
Faidherbe
Fairfax of Cameron
Fair Oaks, Va.
Farnese (Duke of Parma)
Fascine
Ferdinand (of Brunswick)
Filibuster
Finck
Fleetwood, Charles
Fleurus
Flodden
Flying
Flying Column
Foix, Gaston de
Folard, Jean Charles
Fontenoy
Forey
Forlorn Hope
Forrest, N. B.
Fortification and Siegecraft
Foy
Francis I (of France)
Franco-German War
Franklin, W. B.
Frederick II
Frederick III (of Germany)
Frederick V
Frederick Charles (of Prussia)
Frederick Henry
Frederick the Great
Frederick William of Brandenburg
Fredericksburg, Va.
Freiburg im Breisgau
Fremont, J. C.
French Revolutionary Wars
Freycinet
Friedland
Frigate
Fronde
Frossard
Fugleman
Fusilier
Gabion
Gage, Thomas
Gallas
Galliffet
Gambetta
Garrison
Gates, Horatio
Gauntlet
General
George II of England
Gerard
Germantown
Gettysburg
Gingall or Jingal
Glacis
Gneisenau
Godfrey of Bouillon
Goeben
Gorchakov
Gorget
Goring
Gouvion St. Cyr
Granby
Grand Alliance, War of the
Grant, U. S.
Grape
Great Rebellion
Greco-Turkish War
Greek Fire
Greek Independence, War of
Greene, F. V.
Greene, Nathanael
Grenade
Grenadier
Grenville, Sir Bevil
Gribeauval
Grouchy
Guards and Household Troops
Guardship
Guibert, Comte de
Guichard, Karl Gottlieb
Gun
Guncotton
Gunner
Gunpowder
Gun-Room
Gustavus Adolphus
Halbert
Halleck, H. W.
Hamley, Sir Edward
Hancock
Hannibal
Hanno
Hardee
Harper’s Ferry, W. Va.
Harrison, Thomas
Hasdrubal
Hastings
Haversack
Heliograph
Helmet
Henderson, G. F. R.
Henry V (of England)
Henry VI (Roman Emperor)
Herodotus
Herrings, Battle of the
Hess
Hill, A. P.
Hill, D. H.
Hill, Lord Rowland
Hohenfriedberg
Hohenlohe-Ingelfingen
Holster
Hood
Hooker
Hopton, Baron
Hostage
Hotham, John
Howard, O. O.
Howe, William
Howitzer
Hull, William
Hundred Years’ War
Hussar
Infantry
Inkerman
Inouye
Isly
Italian Wars
Jackson, Andrew
Jackson, T. J. (“Stonewall”)
James IV (of Scotland)
Japan, _Army_
Jemappes
Joan of Arc
John of Bohemia
John II of France
Johnston, A. S.
Johnston, J. E.
Jomini, Baron A. H.
Joubert, P. J.
Jourdan
Jugurtha
Junot
Kalb
Kalckreuth
Kearny
Keith, F. E. J.
Kellermann
Khaki
Khevenhüller, L. A.
Kinglake
King’s Mountain
Kitchener, Lord
Kite
Kléber
Knobkerrie
Knox, Henry
Kray von Krajova
Kriegspiel
Kruger
Kunersdorf
Kuroki
Kuropatkin
Kutusov
Laager
Lafayette
Lally, Comte de
Lambert, John
La Marmora
Lancaster, House of
Lance
Landsknecht
Landsturm
Landwehr
Langlois, H.
Lannes
Lasalle
Lauriston
Leboeuf
Lee, Fitz-Hugh
Lee, Henry
Lee, R. E.
Lefebvre-Desnoëttes
Legion
Leipzig
Le Mans
Leonidas
Leuthen
Leven
Lexington
Ligonier
Linstock
Logan, J. A.
Long Island, N. Y.
Longstreet
Lorraine, Charles of
Loudon
Louis IX (of France)
Louis XIV
Louvois
Lützen
Luxembourg
Luxembourg, Duke of
Lord Lynedoch
Lyon, Nathaniel
McClellan
McClernand
McCook, A. McD.
Macdonald
McDowell
McPherson
Macedon
Machine Gun
MacMahon
Mago
Major
Malleson, George Bruce
Malplaquet
Mameluke
Manchester, 2d Earl of
Military Manoeuvres
Mansfeld
Manteuffel
Mantineia
Marathon
Marceau
March
Marengo
Marietta, Ga.
Marignan
Marion, Francis
Marius
Marlborough
Marmont
Marston Moor
Martello Tower
Martial Law
Martinet
Masséna
Massenbach
Massinissa
Matross
Maurice of Nassau
Mavrocordato
Maximilian I (of Bavaria)
Meade
Meagher, T. F.
Menshikov
Mercenary
Mercy
Merritt
Metz
Meuse Line
Milan of Servia
Miles
Military Law
Militia
Miltiades
Minden
Minute Men
Mitchel, O. M.
Moat
Moltke
Moncey
Monmouth
Montalembert
Montcalm
Montecucculi
Montgomery, Richard
Montmorency (constable)
Montrose
Moore, Sir John
Moreau
Morgan, Daniel
Morgan, J. H.
Morion
Mortier
Moselle Line
Moultrie, William
Mounted Infantry
Murat
Musket
Muster
Mutiny
Napier, Sir William
Napoleon
Napoleonic Campaigns
Napoleon III
Naseby
Nashville
Navarro
Needle-gun
Neerwinden
Newark, Lord
Newcastle, Duke of
New Orleans
Ney
Niel
Nitro-glycerine
Noailles
Nördlingen
Norfolk, 3rd Duke
Nozu
O’Donnell, H. J.
Officers
Oku
Olynthus
Onosander
Ordnance
Orleans
Osman
Oudenarde
Oudinot
Oyama
Pajol
Palafox y Melzi
Panoply
Parade
Parados
Parallels
Paris
Parole
Partisan
Paskevich
Pasley, Sir C. W.
Patrol
Pavis, or Pavise
Pelissier
Peloponnesian War
Peninsular War
Pericles
Perseus
Pescara
Petard
Peterborough
Petersburg Campaign
Petronel
Petty-Officer
Phalanx
Philip II (of Macedon)
Philip II (of France)
Philip VI
Piccolomini
Pichegru
Pickens, Andrew
Picket
Picton
Pigeon Post
Pike
Pistol
Platoon
Pneumatic Gun
Poitiers
Polish Succession, War of the
Polyaenus
Pompey
Poniard
Pontoon
Pope
Porter, Fitz-John
Press Gang
Propellants
Punic Wars
Purser
Putnam, Israel
Putnam, Rufus
Pylos
Pyrrhus
Quadrilateral
Quiver
Radetzky
Raglan
Ramillies
Range-finder, Telemeter or Position-finder
Rapier
Rapparee
Ravenna
Raymund of Toulouse
Razzia
Reconnaissance
Redan
Redoubt
Regiment
Retrenchment
Réveillé
Reynolds, John F.
Richard I (of England)
Ricochet
Richmond
Rifle
Roberts, Lord
Rocket
Rohan, duc de
Roosevelt
Ropes, J. C.
Rosecrans
Roses, Wars of the
Rossbach
Rupert, Prince
Russo-Japanese War
Russo-Turkish Wars
Rüstow, Friedrich W.
Ruvigny
Sackville, 1st Viscount
Saint Arnaud
St. Quentin
Salade, Sallet or Salet
Saladin
Salamanca
Salamis
Saratoga, Battles of
Saxe, Comte de (marshal)
Scabbard
Scarlett
Scharnhorst
Schiavone
Schofield
Schwarzenberg
Schwerin, Count von
Scimitar
Scipio Aemilianus
Scipio Africanus
Scout
Sebastiani
Seckendorf
Sedan
Sedgwick, John
Senarmont
Sentinel or Sentry
Sepoy
Serjeant
Sertorius
Servo-Bulgarian War
Sérurier
Seven Days’ Battle
Seven Weeks’ War
Seven Years’ War
Seydlitz
Shenandoah Valley Campaign
Sheridan
Sherman, W. T.
Shield
Shiloh
Shipka Pass
Sickles
Siege
Sigel
Sights
Signal
Silesian Wars
Sirdar
Skippon
Skobelev
Sling
Slocum
Smith, C. F.
Smith, Sir W. Sidney
Soubise
Souham
Soult
Sowar
Spahis
Spanish-American War
Spanish Succession, War of The
Spear
Spontoon
Spottsylvania
Spur
Spy
Squadron
Staff, military
Standard, Battle of
Stark, John
Steenkirk
Steinmetz
Stiletto
Stone River
Stony Point
Strategy
Strelitz
Stuart, J. E. B.
Suchet
Sulla
Sullivan, John
Sumner, E. V.
Sumter, Thomas
Supply and Transport (Military)
Sutler
Suvarov
Swold
Sword
Tactics
Talavera de la Reina
Target
Tarleton
Tattoo
Thermopylae
Thielmann
Thirty Years’ War
Thomas, G. H.
Thucydides
Ticonderoga, N. Y.
Tilly
Todleben
Torstensson
Towton
Transvaal
Trasimene
Traun
Traverse
Trébuchet
Trenton and Princeton
Troop
Turenne
Ulan
Uniforms
Vandamme
Van Dorn
Vauban
Vedette
Vegetius
Vendée
Vendôme
Verdun
Verdy du Vernois
Veteran
Vexillum
Vicksburg
Victor-Perrin
Villars
Villeroi
Vinoy
Visor
Vitoria
Volunteers
Wagram
Wallace, Lewis
Waller, Sir William
Wallenstein
Ward Room
War Game
Warrant Officer
Warren, G. K.
Warren, Joseph
Warwick, Earl of
Washington, George
Waterloo Campaign
Wattignies
Wayne, Anthony
Weapon
Wellington
Werder
Wheeler, Joseph
White, Sir George
Wilderness, Va.
Wilkinson, James
William the Silent
William I (of England)
William III (of England)
William I (of Germany)
Wilson, J. H.
Wimpffen
Wittgenstein
Wolfe
Wood, Sir H. E.
Worth
Wrangel
Wrede
Xenophon
Yataghan
Yeomanry
Yorck von Wartenburg
Yorktown, Va.
Ypsilanti
Zieten
Zouave
CHAPTER XXX
FOR NAVAL OFFICERS
The scope of a naval officer’s professional interests is so broad that
the present chapter of this Guide could not, without duplicating other
chapters, indicate all the aspects of the Britannica with which he is
directly concerned. And he will find that his use of the Britannica is
simplified by the subdivisions about to be specified, which virtually
present his subjects under four different heads. Of course he may be
called upon, in the exercise of his duties, simultaneously to think and
to act in all his capacities, to concentrate upon the swift solution of
one problem his knowledge of warfare, of shipbuilding, of navigation and
of mechanical engineering; but his reading upon these topics naturally
divides itself into these four parts.
[Sidenote: Three Other Relevant Chapters]
Inasmuch as army officers, even when they are at sea, are passengers,
and, save in relation to the discipline of their troops, have nothing to
do with the ship’s management, it could not be assumed that the present
chapter would appeal to them. But naval officers, when co-operating in a
land expedition, need to employ every kind of knowledge that is of use
to army officers, and as the chapter _For Army Officers_ in this Guide
would therefore in any case be read by them, it has seemed convenient to
include in it the description of those articles in the Britannica which
deal with war in general.
The chapter _For Marine Transportation Men_ in this Guide is also one to
which the naval officer should refer, as it deals with ships and
navigation in general. The articles SHIP and SHIPBUILDING mentioned in
that chapter are (except for the historical section of the former) by
Sir Philip Watts, designer of the British “Dreadnoughts” and
“Super-Dreadnoughts;” and the article SHIPPING is by Douglas Owen, of
the Royal Naval War College at Portsmouth. Obviously these and many
other articles described in that chapter are of the greatest importance
to naval officers.
The chapter _For Engineers_ in this Guide describes the articles dealing
with steam engines, internal combustion engines, electrical machinery
and fuels of all kinds; and it would be a waste of space to repeat in
this chapter a summary of the Britannica treatment of these subjects.
All three of the chapters mentioned should therefore be treated as
forming constituent parts of the general plan of this present chapter,
in which the naval officer will find no repetition of their contents.
[Sidenote: The Key Article]
The article to which he will naturally first turn is NAVY AND NAVIES
(Vol. 19, p. 299), by David Hannay, author of _A Short History of the
Royal Navy_. This article is equivalent to 60 pages of this Guide in
length. It contains:
_Naval Personnel._
Sketches of the _Administrative History of navies_: _Athenian_;
_Roman_; _Byzantine_; _Medieval_; _British_, with special attention to
the period since the Restoration, and the reforms under James II when
Samuel Pepys was secretary;
_French_—modern navy dating from the time of Richelieu;
_Spanish_—a great navy without an organization before the 18th
century;
_Dutch_—good seamen and well-fed, led by able admirals, but
unorganized, and unimportant after the 17th century;
_United States_—the first great extra-European power on the sea;
_Russian_—dating from the reign of Peter the Great, when it was
organized and led by foreigners.
_The Balance of Navies in History_: influence of sea-power—“when
Napoleon fell, the navy of Great Britain was not merely the first in
the world; it was the only powerful navy in existence.” _Modern
Rivalry_ between Italy and Germany (1871), United States (1890),
Japan; England and the Dual Alliance—“naval scares” since 1874;
British Naval Defence Act of 1889; Russia’s navy crushed (1904); new
navies rivalling Great Britain and France,—Italy, Germany, United
States, Japan.
_Latest developments_: “Dreadnoughts”; Building Programmes.
_Bibliography_ (about 1800 words).
_Naval Strategy and Tactics_.
_Historical evolution_: inter-relation of the ship’s capacity and
armament.
_Early history_: ramming demanded oars for propulsion; small warships,
large fighting crews,—no blockade, short cruises;
_Greek and Roman methods_: boarding introduced by Romans; “bearding,”
that is, fortifying with iron bands across the bows, an early form of
armor plate.
_Sailing ships_: ramming discarded; “line ahead” formation displaces
“line abreast”; principles of fighting tactics—order at beginning to
be kept throughout, thus no advantage taken of enemy’s disorder;
Clerk’s theories (1790–97)—not maximum safety but immediate mêlée the
_desideratum_; Suffren, Rodney and Howe and their disregard of
accepted tactics.
_Improved shipbuilding and modern times_: New problems—steam
propulsion, its gain in speed, but its dependence on fuel; fleet in
being; risk of transporting troops while enemy is unbeaten; ramming
and pell-mell battles forbidden by torpedoes; searchlight as check to
torpedoes; failure of attempts to “bottle up” harbours; gun-fire still
the great factor; position; speed; submarines still an unknown factor.
_Bibliography_.
[Sidenote: Naval Administration]
The first part of this article NAVY AND NAVIES should be supplemented by
the article ADMIRALTY ADMINISTRATION (Vol. 1, p. 195), by Admiral Sir R.
Vesey Hamilton, and, for the United States, the late Admiral W. T.
Sampson. The American part of this article describes the divisions and
the working of the Navy Department, its bureaus, judge advocate-general,
office of naval intelligence, boards etc.; and there is additional
information on the subject in such articles as DOCKYARDS, and UNITED
STATES NAVAL ACADEMY.
For the legal side of naval administration the reader should study the
article ADMIRALTY JURISDICTION (Vol. 1, p. 205), by Sir Walter
Phillimore, former president of the International Law Association (and
author of the Britannica article ADMIRALTY, HIGH COURT OF), and, for the
United States, by J. Arthur Barrett; and also the general articles
INTERNATIONAL LAW (Vol. 14, p. 694), by Sir Thomas Barclay, author of
_Problems of International Practice and Diplomacy_, and INTERNATIONAL
LAW, PRIVATE (Vol. 14, p. 701), by Dr. John Westlake, formerly professor
of international law, Cambridge University, and member for the United
Kingdom of the International (Hague) Court of Arbitration; as well as
such special articles as SEARCH (Vol. 24, p. 560), by Sir Thomas
Barclay, and SEA LAWS (Vol. 24, p. 535), by Sir Travers Twiss.
[Sidenote: Policy, Strategy, Tactics]
It has already been noticed that the closing part of the article NAVY
AND NAVIES dealt with strategy and tactics in a general way. This
subject is treated in fuller detail by Admiral Sir Cyprian Bridge,
G.C.B. (former Director of Naval Intelligence, British Navy, author of
_Sea-Power and other Studies_) in two articles SEA-POWER (Vol. 24, p.
548) and SEA, COMMAND OF THE (Vol. 24, p. 529). Each of these articles
will be of great value and interest to the naval officer as a summary
and criticism of the theories of Captain A. T. Mahan and Vice-Admiral P.
H. Colomb; and this will be made evident by the brief outline of the two
articles which follows.
Article, SEA-POWER—Use of the term to mean (1) a state pre-eminently
strong at sea; and (2)—as in this article—the various factors in a
state’s naval strength. Thucydides as a forerunner of Mahan; he makes
Pericles in comparing Athenian resources with those of her enemies
comment on the importance of “sea-power.”
The meaning of sea-power can only be learned historically. Although
there have been more land-wars, “the course of history has been
profoundly changed more often by contests on the water.” Salamis saved
Greece and held back Oriental invasion. The loss of the Peloponnesian
War by Athens was due to her weakening sea-power. The First Punic War,
Roman rather than Carthaginian control of the Mediterranean, was won
by Roman naval predominance. Mahommedan conquest spread west in Africa
only with the creation of a navy. The crusades could not have
continued had not Mahommedan naval power sunk as the Venetian, Pisan,
and Genoese grew. The defeat of Genoa by Venice gave the latter a
right to perform the ceremony of “wedding the sea” with a ring as
token of “perpetual sway.” Lepanto (1571) the end of Turkish
sea-power.
Spanish and Portuguese sea-power crushed by English growth and the
loss of the Armada. Early English naval history: the importance of the
battle of Dover in 1217. Appearance of standing navies. The New World
and its influence on sea-power. The sea-power of the Dutch; its sudden
rise; its basis in foreign trade; the Dutch wars with England resulted
in England’s becoming the first great naval power, but did not crush
the United Provinces because of their sea-power. Torrington and the
“Fleet in Being” in 1690. Change in naval operations in 17th
century—the scene thereafter in the enemy’s waters, not near the coast
of England.
The 18th century. Rise of Russia’s sea-power—an artificial creation.
Seven Years’ War and its gains to Great Britain. War of American
Independence: British mistakes—the enemy’s coast _not_ considered the
frontier. Wars of the French Revolution and Empire: Great Britain’s
advantage not in organization, discipline or “science,” but in
sea-experience.
The War of 1812. “The British had now to meet the _élite_ of one of
the finest communities of seamen ever known.... In any future war
British sea-power, great as it may be, should not receive shocks like
those that it unquestionably did suffer in 1812.”
Later Manifestations of Sea-Power. American Civil War—“By dominating
the rivers the Federals cut the Confederacy asunder; and, by the power
they possessed of moving troops by sea at will, perplexed and harassed
the defence, and facilitated the occupation of important points.”
Russo-Turkish War of 1877–78—Turkish control of Black Sea forced
Russians to invade by land through the difficult Balkans. Chilean
Civil War of 1891—an army defeated by a navy. Chino-Japanese War of
1894–95—Japanese navy in transport work and in crushing last
resistance. Spanish-American War: “Spaniards were defeated by the
superiority of the American sea-power.”
Article, SEA, COMMAND OF THE—Sketch of Sovereignty of the Sea; Command
different from Sovereignty or Dominion.
Attempts to gain Command: Dutch Wars.
Strategic Command or Control—largely the power of carrying out
considerable over-sea expeditions at will. Seeking the enemy’s fleet.
Temporary command in smaller operations.
[Sidenote: Special Historical Articles]
As for the army officer, so the Britannica has for the naval officer
many separate articles on wars, campaigns, battles, generals,
commanders. The following list of articles will serve as a guide to a
course of reading constituting a history of naval warfare, furnishing
the concrete separate facts on which are based the articles already
described.
_Ancient History._
_Greece_: articles _Salamis_, _Themistocles_, _Xerxes I_,
_Peloponnesian War_, _Pericles_.
_Rome_: articles _Punic Wars_, _Carthage_, _Pompey_, _Actium_.
_Medieval History._
_Crusades_; _Swold_; _Dover, Battle of_; _Sluys, Battle of_;
_Espagnols sur Mer_ (and article _Edward III_), _Chioggia_ (and
articles _Venice_ and _Genoa_).
_16th Century._
_Lepanto_ (and article _Don John of Austria_).
_Armada_ (and articles on _Howard_, _Hawkins_, _Drake_, _Frobisher_,
_Raleigh_, _Richard Grenville_, and the other heroes of this first
bright glow of England’s naval glory).
_The Era of Sailing Vessels._
_Dutch Wars_ (and articles _Tromp_, _Robert Blake_, _Ayscue_, _De
Ruyter_, _Cornelius De Witt_, _William Penn_, _George Monk_, _Sir John
Lawson_, _James II_, _Prince Rupert_, _First Earl of Sandwich_,
_Abraham Duquesne_).
_Grand Alliance, Naval Operations_ (and articles _Earl of Torrington_,
and _Beachy Head, Battle of_; _La Hogue_, _Earl of Oxford_ [Edward
Russell] and _Tourville_).
_Spanish Succession, Naval Operations_ (and _Château-Renault_,
_Benbow_, _Rooke_, _Cloudesley Shovel_, _Duguay-Trouin_, _Forbin_).
_Austrian Succession, Naval Operations_ (and the articles _Edward
Vernon_, _Lord Anson_, _Toulon, Battle of_, and _Thomas Mathews_,
marking the official sanction in England of an absurd formal system of
tactics).
_Seven Years’ War, Naval Operations_ (and _Boscawen_, _Byng_, _Hawke_,
_Pocock_, _Quiberon_).
_American War of Independence, Naval Operations_ (and _Esek Hopkins_,
_John Paul Jones_, _Comte d’Estaing_, _Suffren St. Tropez_, _Thomas
Truxtun_, _Lord Howe_, _John Byron_, _Hotham_, _Hyde Parker_,
_Rodney_, _Guichen_, _Comte de Grasse_).
_French Revolutionary Wars, Naval Operations_ (and _First of June,
Battle of_, _Howe_, _Villaret de Joyeuse_, _Lord Bridport_, _Lord
Hood_, _Earl of St. Vincent_ [John Jervis], _St. Vincent, Battle of_,
_Lord Keith_, _Lord Duncan_, _Nile_, _Nelson_, _Sir Thomas
Troubridge_).
_Napoleonic Campaigns, Naval Operations_ (and _Baron de Saumarez_,
_Copenhagen, Battle of_, _Sir Hyde Parker_, _Sir Robert Calder_,
_Villeneuve_, _Trafalgar_, _Lord Collingwood_).
_American War of_ 1812 (and _John Rodgers_, _Isaac Hull_, _William
Bainbridge_, _Stephen Decatur_, _David Porter_, _Oliver Hazard Perry_,
_Sir Philip Broke_, _Thomas Macdonough_).
And _Lissa_ (1811), closely resembling Trafalgar, and _Navarino_,
decisive for Greek Independence.
_The Era of Steam._
_American Civil War_ (and _Hampton Roads_, _Andrew Hull Foote_, _New
Madrid_, _D. G. Farragut_, _D. D. Porter_, _W. B. Cushing_).
_Chile-Peruvian War._
_Chilean Civil War._
_Chino-Japanese War_ (and see _Ito_).
_Spanish-American War_ (and see the articles _W. T. Sampson_, _W. S.
Schley_, _George Dewey_, _Pascual Cervera y Topete Cervera_).
_Russo-Japanese War_ (and _Togo_, _Dogger Bank_, _Tsushima_).
[Sidenote: Armaments]
The subject of _armaments_ is treated in the articles SHIP and
SHIPBUILDING (see chapter _For Marine Transportation Men_), ARMOUR
PLATES, with illustrations, by Major William Egerton Edwards, late
lecturer at the Royal Naval War College, Greenwich, ORDNANCE,
AMMUNITION, TORPEDO, etc.
The following is an alphabetical list of articles in the Britannica of
especial interest to naval officers or other students of naval warfare.
Actium
Admiral
Admiralty Administration
Admiralty Jurisdiction
American Civil War
American War of Independence
American War of 1812
Ammunition
Anson, Lord
Armada
Armour Plates
Arms and Armour
Ayscue
Bainbridge, William
Beachy Head
Benbow
Beresford
Blake, Robert
Boscawen
Bridport, Lord
Broke, Sir Philip
Byng
Byron, John
Calder, Sir Robert
Camperdown
Carthage
Casemate
Case-shot
Cervera
Château-Renault
Chile-Peruvian War
Chilean Civil War
Chino-Japanese War
Chioggia
Coaling Stations
Coast Defence
Coast Guard
Codrington
Coligny
Collingwood, Lord
Colomb
Commodore
Copenhagen, Battle of
Crusades
Cushing, W. B.
Decatur, Stephen
d’Estaing
De Ruyter
De Saumarez, Baron
Dewey, George
De Witt, Cornelius
Dockyards
Dogger Bank
Dover, Battle of (1217)
Drake
Duguay-Trouin
Duilius
Duncan, Lord
Duquesne, Abraham
Dutch Wars
Edward III
Espagnols sur Mer
Farragut, D. G.
Fireship
First of June
Flagship
Fleet
Flying Column
Foote, Andrew Hull
Forbin
French Revolutionary Wars
Frigate
Frobisher
Genoa
Grand Alliance
Grasse, Comte de
Grenville, Richard
Greek Independence
Guardship Perry,
Guichen
Hampton Roads
Hawke
Hawkins
Hood, Lord
Hopkins, Esek
Hotham
Howard
Howe, Lord
Hull, Isaac
International Law
James II
Jones, John Paul
Keith, Lord
La Hogue
Lawson, Sir John
Lepanto
Liner
Lissa (1811, 1866)
Macdonough, Thomas
Madrid, New
Mahan
Marines
Mathews, Thomas
Meloria
Miaoulis
Midshipman
Monk, George
Napoleonic Campaigns
Nauarchia
Naucrary
Naval Operations
Navarino
Navy and Navies
Nelson
Nile, Battle of the
Ordnance
Oxford, Earl of
Parker, Hyde
Parker, Sir Hyde
Peloponnesian War
Penn, William
Pepys
Pericles
Perry, Oliver Hazard
Piracy
Pocock
Pompey
Porter, David
Porter, D. D.
Privateer
Punic Wars
Quiberon, Battle of
Raleigh
Range-finder
Rodgers, John
Rodney
Rooke
Rupert, Prince
Russo-Japanese War
Saint-Bon
Saint Vincent
Saints, Battle of the
Salamis
Sampson, W. T.
Sandwich, 1st Earl of
Schley, W. S.
Sea, Command of the
Sea Laws
Seamanship
Sea-Power
Search
Seven Years’ War
Ship, Shipbuilding
Shovel, Cloudesley
Sluys
Spanish-American War
Spanish Succession
Squadron
Submarine Mines
Suffren, St. Tropez
Swold
Themistocles
Togo
Torpedo
Torrington
Toulon, Battle of
Tourville
Trafalgar
Tromp
Troubridge, Sir Thomas
Truxtun, Thomas
Tsushima
U. S. Naval Academy
Venice
Vernon, Edward
Villaret de Joyeuse
Villeneuve
Xerxes I
PART II
COURSES OF EDUCATIONAL READING TO SUPPLEMENT OR TAKE THE PLACE OF SCHOOL
OR UNIVERSITY STUDIES
CHAPTER XXXI
MUSIC
The general articles on music in the Encyclopaedia Britannica provide an
illuminative discussion of broad artistic principles which cannot fail
to stimulate the musical sense and perception of the professional or the
amateur. The technical and critical treatment of the subject was
directed by Donald F. Tovey, composer, pianist, and author of _Essays in
Musical Analysis_; and no one could be better fitted for the work of
organizing this department of the Britannica. He was assisted by W. H.
Hadow, the well-known musical writer and composer, J. A. Fuller
Maitland, musical critic of _The Times_ (London), E. J. Dent, author of
_Alessandro Scarlatti and His Works_, R. H. Legge, principal musical
critic on the _Daily Telegraph_ (London), and others; and the section
treating of musical instruments was organized and contributed by Miss
Kathleen Schlesinger, the greatest living authority on the subject.
In mapping out courses of reading the subject is divided into sections
as follows: (1) Evolution, (2) Theory, (3) Musical Forms, (4) Musical
Instruments.
The article MUSIC (Vol. 19, p. 72), by Donald Tovey, which contains a
masterly account of the development of the art from the earliest time
down to the present day, provides the reader with just that general
survey which enables him to see the whole picture in perspective. This
he will naturally turn to first, but to fill out the picture there are a
number of other articles which he will wish to read. In the following
scheme the evolution of the art has been sketched in skeleton, so that
the student may have before him a guide to the study of any period in
which he is specially interested. This outline serves to show how very
thoroughly the ground is covered in the new Encyclopaedia Britannica.
(1) EVOLUTION OF MUSIC
_Subject for Reading_ _Article_
_PRE-HARMONIC STAGE_
Primitive Music. MUSIC (Vol. 19, p. 72).
SONG (Vol. 25, p. 406).
Musical sense first awakened by the DANCE (Vol. 7, p. 795); see also
rhythm of the dance. RHYTHM (Vol. 23, p. 278).
Legendary account of the invention DAVID (Vol. 7, p. 859).
of music by a Judean.
Hebrew music: setting of the PSALMS, BOOK OF (Vol. 22, p. 539
Psalms. and p. 536).
Suggested Jewish origin of some PLAIN SONG (Vol. 21, p. 706).
Gregorian Tunes.
Dawn of modern music in Greece. GREEK LITERATURE (Vol. 12, p. 509).
Connection of music with lyric
poetry. Terpander of Lesbos (660
B.C.) adds 3 strings to the
4–stringed lyre, giving compass
of octave.
Characteristics of Greek music. MUSIC (Vol. 19, p. 73); see also
Pythagoras (6th century, B.C.) PYTHAGORAS (Vol. 22, p. 699).
fixes the intervals of the
harmonic series and of the
diatonic scale.
The Greek scale shows a latent LYRE (Vol. 17, p. 178); see also
harmonic sense, though octaves ORCHESTRA (Vol. 20, p. 168);
only allowed. AULOS (Vol. 2, p. 917); CITHARA
(Vol. 6, p. 395).
HARMONY (Vol. 13, p. 1).
Pitch in Greek music. PITCH, MUSICAL (Vol. 21, p. 661).
Other primitive systems without CHINA, _Literature_ (Vol. 6, p. 228
influence on modern music. and p. 215).
Chinese adopted Pythagorean system;
a lost art recovered in 3rd
century, A.D.
Indian music—Scale of 22 intervals. SANSKRIT (Vol. 24, p. 181).
Siamese music: 7 tone scale; SIAM (Vol. 25, p. 5).
orchestras perform in unison.
The music of the North American INDIANS, NORTH AMERICAN (Vol. 14,
Indian. p. 470).
Biographies of musicians of the primitive, non-harmonic, period in the
Britannica are: TERPANDER, 7th century B.C.; PYTHAGORAS, 6th century
B.C.; ARISTOXENUS, 4th century; ALYPIUS, 3rd century B.C.; ARISTIDES,
QUINTILIANUS, 3rd century.
_HARMONIC ORIGINS_
The Greeks found that by doubling the melody at the octave a greater
sonority resulted. It was a great step from this to the discovery that
two separate tunes could be combined which should be satisfying to the
ear. With this discovery modern harmony may be said to have begun.
_Subject_ _Article_
Awakening of the harmonic sense. MUSIC (Vol. 19, p. 74); HARMONY
(Vol. 13, p. 1).
The Grecian modes modified into the PLAIN SONG (Vol. 21, p. 705); see
ecclesiastical by Ambrose in the also AMBROSE (Vol. 1, p. 798),
4th century. and GREGORY (Vol. 12, p. 567).
Following Hucbald, “beatus Guido GUIDO OF AREZZO (Vol. 12, p. 687);
inventor musicae” in the 11th see also HUCBALD (Vol. 13, p.
century, invents names for the 847).
notes and improves system of
notation.
The Troubadour becomes a learned ADAM DE LA HALE, 13th century (Vol.
musician in the 13th century. 1, p. 171); MACHAUT (Vol. 17, p.
233).
After Dunstable of England and DES PRÉS, JOSQUIN (Vol. 8, p. 103);
Dufay of the Netherlands had see also BINCHOIS, EGIDIUS (Vol.
invented counterpoint comes the 3, p. 948).
first great composer, heralding
the advent of the “Golden Age.”
_THE GOLDEN AGE_
[Sidenote: The First Great Climax]
Composers were not long content with the simple combination of two
tunes. They soon found that three tunes so treated afforded a yet richer
texture, and the extension to the elaborate polyphony of 16th century
choral music was an inevitable step. An elaborate system of
prohibitions, based on the limitations of the human voice, and the
difficulty of attacking certain intervals, shackled the composer at
every turn and formed the basis of theories of counterpoint which
endured almost to our time. Despite the restrictions imposed by their
rules, the structure raised by the great composers of the first half of
the 16th century was of amazing richness and complexity.
_Subject of Reading_ _Article_
The Riot of Choral Polyphony in the MUSIC, _The Golden Age_ (Vol. 19,
16th century. p. 75); see also HARMONY (Vol.
13, p. 2); INSTRUMENTATION,
_Vocal Styles of 16th Century_
(Vol. 14, p. 651).
Musical forms brought to great CONTRAPUNTAL FORMS, _Canonic Forms
perfection in this period those and Devices_, _Counterpoint on a
in which texture holds first Canto Fermo_ (Vol. 7, p. 42); see
place. also MASS, _Polyphonic Masses_
(Vol. 17, p. 849); MADRIGAL (Vol.
17, p. 295); MOTET (Vol. 18, p.
905).
Leaders of musical thought in the LASSO, Orlando (Vol. 16, p. 237);
“Golden Age.” TALLIS, T. (Vol. 26, p. 377);
PALESTRINA (Vol. 20, p. 627).
[Sidenote: Composer of the Golden Age]
Composers of the “Golden Age,” following the polyphonic tradition of
the early 16th century, biographies of whom appear in the Britannica,
are: _Netherlandish_: ARCADELT, JACOB, 1514–1556; LASSO, ORLANDO, c.
1530–1594; _German_: FINCK, HERMANN, 1527–1558; ECCARD, JOHANN,
1553–1611; AICHINGER, GREGOR, leader of Reformation church music, c.
1565–1628; _French_: GOUDIMEL, C., c. 1510–1572; _English_: WILBYE,
JOHN, 16th century, famous for his madrigals; MERBECK, JOHN, d. 1585;
BENNETT, JOHN, d.c. 1614; BATESON, T., d. 1630, a composer of
madrigals; TALLIS, T., c. 1515–1585, “father of English cathedral
music”; FARRANT, R., c. 1530–1581; BYRD, WM., 1543–1623; MORLEY, T.,
1557–1603; GIBBONS, ORLANDO, 1583–1625; _Italian_: ANIMUCCIA,
GIOVANNI, c. 1490–1571; ZARLINO, GIOSEFFO, 1517–1590, fixed the
diatonic scale as now accepted; PALESTRINA, GIOVANNI PIERLUIGI DA,
1526–1594; BANCHIERE, ADRIANO, c. 1557–1634, fought against monodist
revolt—see below; ANERIO (brothers), c. 1560–1620; ARTUSI, G. M., 16th
century, opposed Monteverdi’s innovations—see below; _Spanish_:
VICTORIA, TOMMASSO L. DA, c. 1540–1613.
_THE FIRST ROMANTIC MOVEMENT_
The last word in polyphony seemed to have been said by such masters as
Orlando Lasso, and Palestrina, and a change into new paths was
inevitable. Moreover, men’s minds were craving something more directly
stimulating than the passionless web of ecclesiastical polyphony, which
was the glory of the 16th century. Freedom was sought from the
conventions of modal counterpoint. The monodist revolt was the result.
_Subject_ _Article_
Revolt against the overelaboration MUSIC, _The Monodic Revolution_
of texture. (Vol. 19, p. 76); HARMONY,
_Modern Harmony_ (Vol. 13, p. 4).
Prominence given to solo part SONG (Vol. 25, p. 406); ARIA (Vol.
rather than to choral effect 2, p. 489).
leads to development of the aria.
The leader in the new paths, the MONTEVERDE, CLAUDIO (Vol. 18, p.
pioneer of modern harmony. 778).
The first oratorio (1600). ORATORIO (Vol. 20, p. 161); see
also CAVALIERE, EMILIO DEL (Vol.
5, p. 563).
The first opera (1600). OPERA (Vol. 20, p. 121); see also
PERI, JACOPO (Vol. 21, p. 144).
The monodic impulse synchronizes VIOLIN (Vol. 28, p. 103); see also
with the startling development of AMATI (Vol. 1, p. 783); GUARNIERI
the violin family by the Cremona (Vol. 12, p. 660); STRADIVARI
makers. (Vol. 25, p. 977).
[Sidenote: Famous Monodists]
Among distinguished composers of this period and school are:
_English_: BULL, JOHN, c. 1562–1628; FORD, THOMAS, b. 1580; LAWES,
HENRY, 1595–1662; _Italian_: CAVALIERE, E. DEL, c. 1550–1602; PERI,
JACOPO, b. 1561; GABRIELE, GIOVANNI, 1557–c. 1612, early experimenter
in chromatic harmony; CACCINI, GIULIO, 1558–1615; MONTEVERDE, CLAUDIO,
1567–1643; ALLEGRI, GREGORIO, c. 1570–1652; FRESCOBALDI, GIROLAMO,
1583–1644, famous also as a teacher; AGOSTINO, P., 1593–1639; CAVALLI,
F., 1596–1676, popularized opera; CARISSIMI, G., c. 1604–1674,
popularized oratorio; ROSSI, LUIGI DE. All the above have separate
articles assigned to them in the Britannica.
_THE 17th CENTURY AND AFTER_
[Sidenote: The Second Great Climax]
Those who revolted from the traditions of the polyphonic school went, as
was inevitable, too far. A reaction was equally inevitable, for the
language of the new music was unformed and was in danger of being
stereotyped into the emptiest of formulas. The welding of the old and
new ideas was all that was needed to prepare the way for the colossal
achievement of a Bach or a Beethoven. It was a busy period when the
rules of counterpoint were reviewed and revised, when theories of
harmony as a distinct science took shape. But, save for the work of such
men as Purcell, the Englishman (Vol. 22, p. 658), born 100 years before
his time, the 17th century was mainly one of preparation. The next great
climax came in the first half of the 18th century.
_Subject_ _Article_
The renascence of texture, the MUSIC (Vol. 19, p. 77); HARMONY
welding of polyphony and monody. (Vol. 13, p. 4).
Publication in 1715 of the famous FUX, JOHANN JOSEPH (Vol. 11, p.
_Gradus ad Parnassum_, the first 375).
complete theory of counterpoint.
The first systematic theory of RAMEAU, J. P. (Vol. 22, p. 874).
harmony published in 1722.
The second great climax in music. MUSIC, _Bach and Handel_ (Vol. 19,
p. 78).
The achievement of Johann Sebastian BACH, J. S. (Vol. 3, p. 124); see
Bach. also CONTRAPUNTAL FORMS (Vol. 7,
p. 41); CONCERTO (Vol. 6, p.
825); OVERTURE (Vol. 20, p. 384);
SUITE (Vol. 26, p. 51); ORATORIO
(Vol. 20, p. 161); CANTATA (Vol.
5, p. 209); MASS, _Lutheran
Masses_ (Vol. 17, p. 850);
VARIATIONS (Vol. 27, p. 912);
INSTRUMENTATION, _Decoration_ and
_Orchestral Schemes_ (Vol. 14, p.
651 and p. 655).
[Sidenote: 17th and 18th Century Composers]
Composers of the period who have separate notices in the Britannica
are: _Italian_: CESTI, M. A., c. 1620–1669; COLONNA, GIOVANNI P., c.
1637–1695; PASQUINI, B., 1637–1710; STRADELLA, ALESSANDRO, 1645–1682;
CORELLI, ARCANGELO, 1653–1713, first classic of the violin; STEFFANI,
A., 1653–1728; SCARLATTI, ALESSANDRO, 1659–1725, largely created
language of modern music; PITONI, G. O., 1657–1743; LOTTI, ANTONIO, c.
1667–1740; CLARI, G. C. M., c. 1669–1745; BONONCINI, G. B., c.
1672–1750; ALBINONI, T., c. 1674–1745; ASTORGA, EMANUELE D’,
1681–1736; DURANTE, FRANCESCO, 1684–1755; MARCELLO, B., 1686–1739;
VINCI, LEONARDO, 1690–1730; LEO, LEONARDO, 1694–1744; LOGROSCINO,
NICOLA, c. 1700–1763; PERGOLESI, GIOVANNI BATTISTA, 1710–1736;
ALBERTI, DOMENICO, c. 1710–1740; _French_: CAMBERT, R., 1628–1677;
LULLY, JEAN-BAPTISTE, c. 1623–1687, inventor of the classical French
opera style; _English_: LOCKE, MATTHEW, c. 1630–1677; BLOW, JOHN,
1648–1708; PURCELL, HENRY, 1658–1695; CROFT, WILLIAM, 1678–1727;
HANDEL, GEORGE FREDERICK, 1685–1759; GREENE, MAURICE, 1695–1755;
_German_: BACH, JOHANN SEBASTIAN, 1685–1750; HASSE, JOHANN A.,
1699–1783; EBERLIN, J. E., 1702–1762.
_THE RISE OF THE SONATA_
[Sidenote: The Third Great Climax]
Bach, like Palestrina, seemed to have closed a period; and for nearly a
hundred years after his death his influence on the course of musical
development was astonishingly small. Again men sought new channels of
expression and found them in instrumental music. But a structure less
loosely knit than the suite form was needed if the new ideas were to be
adequately stated, and the sonata grew into being, a form which has
sufficed to this day as a medium for the noblest thoughts of the great
composers. The 18th century saw, too, the reform of the opera by Gluck,
a great development of orchestral resources, and the rise of the string
quartette in chamber music.
_Subject_ _Article_
The new language: evolution of the MUSIC (Vol. 19, p. 79); SONATA,
sonata from the suite. _Sonata Style_ (Vol. 25, p. 394);
see also SCARLETTI, DOMINICO
(Vol. 24, p. 302); and BACH, K.
P. E. (Vol. 3, p. 130).
Reform of the opera. OPERA (Vol. 20, p. 123); see also
GLUCK (Vol. 12, p. 138); PICCINNI
(Vol. 21, p. 579); MOZART (Vol.
18, p. 951).
The rise of the symphony and the MUSIC, _The Symphonic Classes_
string quartette, development of (Vol. 19, p. 78); SONATA FORMS
the sonata. (Vol. 25, p. 395); SYMPHONY (Vol.
26, p. 290); see also HAYDN (Vol.
13, p. 110).
The growth of the orchestra. INSTRUMENTATION, _Symphonic_ (Vol.
14, p. 652); see also HAYDN (Vol.
13, p. 110).
The third great climax. The BEETHOVEN, L. VON (Vol. 3, p. 644);
perfection of the sonata form. see also SONATA FORMS (Vol. 25,
p. 397); INSTRUMENTATION (Vol.
14, p. 653); VARIATIONS (Vol. 27,
p. 913); MASS (Vol. 17, p. 850).
Biographies of the following composers of the period appear in the
Britannica: _German and Austrian_: BACH, KARL PHILIPP EMANUEL,
1714–1788; GLUCK, C. W., 1714–1787; HILLER, J. A., 1728–1804; HAYDN,
FRANZ JOSEPH, 1732–1809; DITTERSDORF, KARL DITTERS VON, 1739–1799;
WINTER, P., c. 1755–1825; MOZART, WOLFGANG AMADEUS, 1756–1791; HIMMEL,
F. H., 1765–1814; BEETHOVEN, LUDWIG VAN, 1770–1827; _French_: GOSSEC,
F. J., 1734–1829; GRETRY, A. E. M., 1741–1813; MEHUL, ETIENNE H.,
1763–1817; LESUEUR, JEAN FRANÇOIS, c. 1763–1837; BOIELDIEU, F. A.,
1775–1834; _English_: ARNE, T. A., 1710–1778, preserved English
tradition in face of Handelian obsession; BOYCE, WILLIAM, 1710–1779;
JACKSON, W., 1730–1803; BATTISHILL, J., 1738–1801; ARNOLD, S.,
1740–1802; DIBDIN, C., 1745–1814; SHIELD, W., 1748–1829; STORACE, S.,
1763–1796; ATTWOOD, T., 1765–1838; WESLEY, SAMUEL, 1766–1837, father
of modern organ playing; _Italian_: SCARLATTI, DOMENICO, 1685–1757;
MARTINI, G. B., 1706–1784; GALUPPI, BALDASSARE, 1706–1785; JOMMELLI,
N., 1714–1774; GUGLIELMI, P., 1727–1804; PICCINNI, N., 1728–1800;
SARTI, GIUSEPPE, 1729–1802; SACCHINI, A. M. G., 1734–1786; PAISIELLO,
G., 1741–1816; BOCCHERINI, LUIGI, 1743–1805, last real master of suite
form; CIMAROSA, D., 1749–1801; SALIERI, A., 1750–1825; CHERUBINI,
1760–1842; PAER, F., 1771–1839.
_NEW PATHS_
Early in the 19th century the wave of romanticism broke over Europe. The
effect on music was not nearly so violent as was the monodic revolt of
the 16th–17th centuries, since the resources and technique of the art
had now been developed; but it was nevertheless striking and showed
itself in several directions, but mainly in two: lyrical and dramatic.
The short compositions of Field, Schumann, and Chopin, and the
development of the art song are instances of the former; the whole range
of programme music, of which the symphonic poem is the prototype, is
evidence of the latter; while in opera the reforms started by Gluck were
carried to their logical conclusion by Wagner. Two other movements are
also significant; the return to Bach and a recognition of his amazing
modernity, and the pronounced revival of national characteristics in
music, as shown particularly in the new English, Russian, and Bohemian
Schools.
_Subject_ _Article_
The Romantic Period. MUSIC, _From Beethoven to Wagner_
(Vol. 19, p. 79).
The Romantic in opera. WEBER, CARL MARIA F. E. VON (Vol.
28, p. 455); SONG (Vol. 25, p.
409).
The first great lyrical song SCHUBERT, FRANZ PETER (Vol. 24, p.
writer. 379); SONG (Vol. 25, p. 409).
The Romantic in the symphony. PROGRAMME MUSIC (Vol. 22, p. 424);
see also BERLIOZ, HECTOR (Vol. 3,
p. 791).
The rediscovery of Bach. BACH, J. S. (Vol. 2, p. 124);
MENDELSSOHN (Vol. 18, pp.
121–124).
Development of song forms. SONG (Vol. 25, p. 410); see also
SCHUMANN, ROBERT (Vol. 24, p.
384); WOLF, HUGO (Vol. 28, p.
771); BRAHMS, J. (Vol. 4, p.
390).
Discontent with the sonata form. SYMPHONIC POEM (Vol. 26, p. 289);
LISZT, F. (Vol. 16, p. 780).
Gluck’s idea realised; union of MUSIC (Vol. 19, p. 80); OPERAS,
music _Leit-Motif_ with drama.
(Vol. 20, p.
125); WAGNER, W. RICHARD (Vol.
28, p. 236).
The last of the royal line of BRAHMS, JOHANNES (Vol. 4, p. 389);
German composers shows vitality SONATA FORMS, _Sonata since
of the sonata form. Beethoven_ (Vol. 25, p. 398).
Modern Tendencies. MUSIC (Vol. 19, p. 82); see also
STRAUSS, RICHARD (Vol. 25, p.
1003); DEBUSSY, ACHILLE (Vol. 7,
p. 906).
Composers of this period, who have had separate articles assigned to
them in the Britannica, follow: the growth of national schools will be
noted.
[Sidenote: 19th Century Composers]
_German and Austrian_: GANSBACHER, J. B., 1778–1844; KREUTZER, K.,
1780–1849; SPOHR, LUDWIG, 1784–1859; WEBER, CARL MARIA F. E. VON,
1786–1886; MEYERBEER, G., 1791–1863; HAUPTMANN, M., 1792–1868; LÖWE,
J. K. G., 1796–1869; SCHUBERT, FRANZ PETER, 1797–1828; LORTZING, G.
A., 1801–1851; STRAUSS, JOHANN, 1804–1849, king of valse composers;
MENDELSSOHN-BARTHOLDY, J. L. F., 1809–1847; NICOLAI, OTTO, 1810–1849;
SCHUMANN, ROBERT ALEXANDER, 1810–1856; HILLER, F., 1811–1885; WAGNER,
RICHARD, 1813–1883; HELLER, STEPHEN, 1815–1888; FRANZ, ROBERT,
1815–1892, song composer; ABT, FRANZ, 1819–1885, art folk-song; SUPPE,
F. VON, 1820–1895; RAFF, J. J., 1822–1882; CORNELIUS, CARL AUGUST
PETER, 1824–1874, song writer; BRUCKNER, ANTON, 1824–1896, Wagnerian
symphonist; REINECKE, C. H. C., 1824–1910; LASSEN, EDUARD, 1830–1904;
JOACHIM, JOSEPH, 1831–1907; BRAHMS, JOHANNES, 1833–1897; BRUCH, MAX,
b. 1838; RHEINBERGER, J. G., 1839–1901; GOETZ, HERMANN, 1840–1876;
NESZLER, V., 1841–1890: HUMPERDINCK, E., b. 1854; WOLF, HUGO,
1860–1903; STRAUSS, RICHARD, b. 1864.
_French_: AUBER, D. F. E., 1782–1871; HEROLD, L. J. F., 1791–1833;
HALEVY, J. F. F. E., 1799–1862; BERLIOZ, HECTOR, 1803–1869; DAVID, F.,
1810–1876; THOMAS, C. L. AMBROISE, 1811–1896; GOUNOD, C. F.,
1818–1893; OFFENBACH, J., 1819–1880; FRANCK, CESAR, 1822–1890, founder
of Modern French School; LALO, E., 1823–1892; REYER, E., b. 1823;
LECOCQ, A. C., b. 1832; BENOIT, P. L. L., 1834–1901; SAINT-SAËNS,
CHARLES CAMILLE, b. 1835; DUBOIS, F. C. T., b. 1837; BIZET, GEORGES,
1838–1875; JONCIERES, V., 1839–1903; CHABRIER, A. E., 1841–1894;
AUDRAN, E., 1842–1901; MASSENET, J. E. F., 1842–1912; FAURE, GABRIEL,
b., 1845; WIDOR, CHARLES MARIE, b. 1845; GODARD, BENJAMIN L. P.,
1849–1895; PLANQUETTE, R., b. 1850; D’INDY,. P. M. T. V., b. 1851;
MESSAGER, A. C. P., b. 1853; BRUNEAU, ALFRED, b. 1857; CHAMINADE,
CÉCILE, b. 1861; BEMBERG, HERMAN, b. 1861; DEBUSSY, CLAUDE ACHILLES,
b. 1862.
_Belgian_: The violinist YSAYE, b. 1858.
_Italian_: SPONTANI, G. L. P., 1774–1851; ROSSINI, G. A., 1792–1868;
DONIZETTI, G., 1798–1848; BELLINI, V., 1801–1835; VERDI, GIUSEPPE,
1813–1901; PONCHIELLI, AMILCARE, 1834–1886, on whom have modelled
themselves, Mascagni, Leoncavallo, etc.; BOITO, ARRIGO, b. 1842;
SGAMBATI, G., b. 1843; LEONCAVALLO, R., b. 1858; PUCCINI, G., b. 1858;
MASCAGNI, P., b. 1863.
_British_: HORSLEY, WM., 1774–1858; SMART, SIR GEORGE T., 1776–1867;
BISHOP, SIR H. R., 1786–1855; PEARSALL, R. L. DE, 1795–1856; FIELD,
JOHN, 1782–1837, inventor of the nocturne; GOSS, SIR JOHN, 1800–1880;
HATTON, J. L., 1800–1886; BARNETT, J., 1802–1890; BENEDICT, SIR
JULIUS, 1804–1885; BALFE, M. W., 1808–1870; WESLEY, S. S., 1810–1876;
HULLAH, JOHN P., 1812–1884; MACFARREN, SIR G. A., 1813–1887; WALLACE,
WM. V., 1814–1865; PIERSON, H. H., 1815–1873; BENNETT, SIR WM.
STERNDALE, 1816–1875; OUSELEY, SIR F. A. G., 1825–1889; BACHE, F. E.,
1833–1858; CLAY, F., 1838–1889; BARNBY, SIR J., 1838–1896; STAINER,
SIR JOHN, 1840–1901; SULLIVAN, SIR ARTHUR S., 1842–1900; CELLIER,
ALFRED, 1844–1891; MACKENZIE, SIR A. C., b. 1847; PARRY, SIR C. HUBERT
H., b. 1848, on whom fell the mantle of Purcell; THOMAS, ARTHUR
GORING, 1850–1892; COWEN, F. J., b. 1852; STANFORD, SIR CHARLES
VILLIERS, b. 1852; ELGAR, SIR EDWARD, b. 1857; MACCUNN, HAMISH, b.
1868.
_Bohemian_: SMETANA, F., 1824–1884, founder of modern Bohemian School;
DVOŘÁK, ANTON, 1841–1904.
_Hungarian_: GUNG’L, JOSEF, 1810–1889; LISZT, FRANZ, 1811–1886;
GOLDMARK, KARL, b. 1832; PADEREWSKI, I. J., b. 1860.
_Polish_: CHOPIN, FREDERIC FRANÇOIS, 1810–1849; MOSZKOWSKI, MORITZ, b.
1854.
_Russian_: GLINKA, M. IVANOVICH, 1803–1857, founder of national
school; DARGOMIJSKY, A. SERGEIVICH, 1813–1869; RUBINSTEIN, ANTON,
1829–1894; BORODIN, A. PORFYRIEVICH, 1834–1887; MOUSSORGSKY, M.
PETROVICH, 1835–1881; BALAKIREV, M. ALEXEIVICH, b. 1836; TSCHAIKOVSKY,
PETER ILICH, 1840–1893; RIMSKY-KORSAKOV, N. ANDREIEVICH, 1844–1908;
GLAZUNOV, A. CONSTANTINOVICH, b. 1865.
_Norwegian_: The violinist BULL, OLE, 1810–1880; KJERULF, HALFDAN,
1815–1868; SVENDSEN, J. S., b. 1840; GRIEG, EDVARD HAGERUP, 1843–1907.
_Danish_: GADE, NIELS W., 1817–1890.
_Sweden_: WENNERBERT, G., 1817–1901, song writer.
_American_: EMMETT, D. D., started “negro minstrels,” 1815–1904;
FOSTER, STEPHEN C., 1826–1864, song writer; EICHBERG, JULIUS,
1824–1893, founded Boston Conservatory of Music; BUCK, DUDLEY,
1839–1909; MACDOWELL, EDWARD ALEXANDER, 1861–1908. For notices of
other modern composers and their tendencies—see MUSIC, _Recent Music_
(Vol. 19, p. 82).
[Sidenote: Musical Historians]
Famous musical historians and writers on music, whose biographies are
in the Encyclopaedia Britannica, are: ARISTOXENUS, 4th century B.C.;
PRAETORIUS, M., 1571–1621; PERUSCH, J. C., 1667–1752; BARNARD, JOHN,
17th century; HAWKINS, SIR JOHN, 1710–1789; GERBERT, M., 1720–1793;
BURNEY, CH., 1726–1814; GERBER, 1746–1819; FORKEL, J. N., 1749–1818;
BAINI, G., 1775–1844; NOVELLO, V., 1781–1861; CALLCOTT, J. W.,
1766–1821; FETIS, F. J., 1784–1871; CHORLEY, H. F., 1808–1872;
CHAPPELL, WM., 1809–1888; DWIGHT, JOHN S., 1813–1893; AMBROS, A. W.,
1816–1876; GROVE, SIR GEORGE, 1820–1900.
(2) THEORETICAL ARTICLES
“In the beginning,” said Hans von Bülow, “was rhythm,” and as RHYTHM
(Vol. 23, p. 277) is the skeleton of every musical phrase and formula,
the interesting article by Donald Tovey on rhythm in music may well
serve as an introduction to the other subjects in this section. Passing
to the elements, the articles SOUND, _Diatonic Scale_ (Vol. 25, p. 448)
and PLAIN SONG (Vol. 21, p. 705) should be read. In the former article
the physical basis of the modern scale is determined, while in the
latter an account is given of the modes which for centuries were the
vehicles of musical expression. In the article MUSICAL NOTATION (Vol.
19, p. 86) the steps by which the present system of recording music was
reached are noted, and in PITCH, MUSICAL (Vol. 21, p. 660), the whole of
this interesting and vexed subject is reviewed by Alfred J. Hipkins, a
high authority, formerly hon. curator of the Royal College of Music. The
article MELODY (Vol. 18, p. 96) contains in addition to a discussion of
the terms a series of useful definitions (e.g., conjunct and disjunct
motion) and several musical examples. This brings us to the main
articles of this section—COUNTERPOINT (Vol. 7, p. 315), HARMONY (Vol.
13, p. 1) and INSTRUMENTATION (Vol. 14, p. 651). All are by Donald Tovey
and all are brilliant. In particular the article HARMONY deserves the
most careful study, especially interesting being the sections _Tonality_
and _Key-relationship_. The article on counterpoint is mainly a
definition of the principles involved and is introductory both to
Harmony and to Contrapuntal Forms. In INSTRUMENTATION the question of
colour is discussed from the historical and aesthetic aspects,
accompanied by valuable analysis of the colour schemes of various
composers from the choral writers of the “Golden Age” down to Wagner and
Richard Strauss.
[Sidenote: Theorists]
Famous theorists who have helped to establish the grammar of music are
the following: TERPANDER, 7th century B.C., founder of Greek music
(Vol. 26, p. 647); PYTHAGORAS, 6th century, B.C., said to have
discovered numerical relation governing the harmonic series (Vol. 22,
p. 699); ALYPIUS, 3rd century B.C. (Vol. 1, p. 776); ARISTIDES,
QUINTILIANUS, 3rd century A.D.; HUCBALD, c. 840–930, inventor of new
notation (Vol. 13, p. 847); GUIDO OF AREZZO, c. 995–1050, “Beatus
Guido, inventor musicae,” (Vol. 12, p. 687); AGRICOLA, MARTIN, c.
1500–1556; ZARLINO, G., 1517–1590, fixed the diatonic scale; ARTUSI,
G. M., 16th century, opposed monodist revolt; FUX, J. J., wrote the
famous _Gradus ad Parnassum_, RAMEAU, J. P., 1683–1764, to whom the
first systematic theory of harmony is due; ALBRECHTSBERGER, J. G.,
1736–1809, the teacher of Beethoven; REICHA, A. J., 1770–1836;
RICHTER, E. F. E., 1808–1879; CURWEN, J., 1817–1880, inventor of tonic
sol-fa system; BERLIOZ HECTOR, whose text book on instrumentation is
classic. On all these separate articles will be found in the
Britannica.
(3) MUSICAL FORMS
[Sidenote: Contrapuntal Forms]
In making a detailed study of any particular form, reference should be
made to the critical sections of the biographies of those masters who
have done most towards its development. As has been seen in the
historical section of this chapter, the CONTRAPUNTAL FORMS (Vol. 7, p.
41) were the first to attain to a high standard of organization in the
hands of such masters as ORLANDO LASSO (Vol. 16, p. 237) and PALESTRINA
(Vol. 20, p. 627). The articles MASS (Vol. 17, p. 849), MOTET (Vol. 18,
p. 905), MADRIGAL (Vol. 17, p. 295), CANON (Vol. 5, p. 190), CHORALE
(Vol. 6, p. 269), cover the ground of early choral music. In tracing
their development reference should be made to the articles on BACH, J.
S. (Vol. 3, p. 127), BEETHOVEN (Vol. 3, p. 649), BRAHMS (Vol. 4, p.
390). ORATORIO (Vol. 20, p. 161) and CANTATA (Vol. 5, p. 209) had their
beginning in the work of the followers of Monteverde in the early 17th
century, and their development may be traced in the work of CAVALIERE
(Vol. 5, p. 563), CARISSIMI (Vol. 5, p. 338), PURCELL (Vol. 22, p. 658),
BACH (Vol. 3, p. 127), HANDEL (Vol. 2, p. 912), BRAHMS (Vol. 4 p. 390),
CÉSAR FRANCK (Vol. 11, p. 3), and SIR C. HUBERT PARRY (Vol. 20, p. 865).
[Sidenote: Suite and Sonata]
In instrumental music, the SUITE (Vol. 26, p. 51), of which BOCCHERINI
(Vol. 4, p. 105) was the last master, most nearly foreshadowed the
Sonata (SONATA FORMS, Vol. 25, p. 394), and together they tell the tale
of the development of absolute music up to modern experiments in the
more elastic SYMPHONIC POEM (Vol. 26, p. 289) of which LISZT (Vol. 16,
p. 780) was the first to see the possibilities. In addition to the
articles SONATA and SONATA FORMS the reader should carefully study that
part of the article BEETHOVEN beginning on page 647 of Vol. 3; also the
article HARMONY, _Key Relationships_ (Vol. 13, p. 5) which contains
analyses of several striking key systems, and further reference should
also be made to the articles VARIATIONS (Vol. 27, p. 912), SYMPHONY
(Vol. 26, p. 290).
[Sidenote: Programme Music]
To the Romantic movement of the early part of the 19th century may be
traced the attempt to escape from the apparent restrictions of the
Sonata Form, and SCHUMANN’S (Vol. 24, p. 384) many _Fantasie-Stücke_ and
CHOPIN’S lyrical compositions (Vol. 6, p. 268) are prototypes in little
of the tendencies of the time. On a larger canvas are the Ton-dramen of
Liszt and the symphonic poems and the elaborate programme music of
modern composers such as RICHARD STRAUSS (Vol. 25, p. 1003); and though
BRAHMS (Vol. 4, p. 389) showed clearly enough that the classical sonata
form was a framework sufficiently elastic to hold the most elaborate and
modern ideas, the direction in which music has tended is towards the
Symphonic Poem in which, by such devices as the transformation of themes
and the _Leitmotif_ (OPERA, Vol. 20, p. 125) a still greater elasticity
is sought in form with a greater continuity of idea in substance. See
PROGRAMME MUSIC (Vol. 22, p. 424).
[Sidenote: Opera]
Supplementing the article OPERA (Vol. 20, p. 121) are several which
should be consulted. ARIA (Vol. 2, p. 489), OVERTURE (Vol. 20, p. 384),
and especially GLUCK (Vol. 12, p. 139), MOZART (Vol. 18, p. 951), WEBER
(Vol. 28, p. 457), and WAGNER (Vol. 28, p. 237). These, with the
biographical notices of operatic composers, which include almost every
Italian composer from the days of PERI (Vol. 21, p. 144), and French
composers from LULLY (Vol. 17, p. 121), give a mass of information
bearing on the development of this popular form.
[Sidenote: Song]
SONG (Vol. 25, p. 400), the oldest of art forms, and almost the last to
be rescued from the too narrow formalism of which the classical ARIA
(Vol. 2, p. 489) is the beautiful example, is so much the most generally
popular that the article on it in the Britannica will probably be more
widely read than any other on musical subjects. Written by W. A. J.
Ford, a scholarly musician and teacher of singing at the Royal College
of Music (London), it provides a brilliant survey of the evolution of
the song from its earliest beginnings. In connection with it the reader
will find much to interest him in the biographical notices of two famous
troubadours of the 13th and 14th centuries, ADAM DE LA HALE (Vol. 1, p.
171) and MACHAUT, G. DE (Vol. 17, p. 233); of MONTEVERDE (Vol. 18, p.
778), the pioneer of the monodist revolt at the end of the 16th century,
of SCARLATTI, ALESSANDRO (Vol. 24, p. 302), 17th century, who perfected
the aria form, of PURCELL, HENRY (Vol. 22, p. 658), the great English
composer of the 17th century, of JOHANN SEBASTIAN BACH (Vol. 3, p. 126)
18th century, of SCHUBERT (Vol. 24, p. 380), the creator of the modern
song, of SCHUMANN (Vol. 24, p. 384) who brought a yet greater intimacy
into the form, of HUGO WOLF (Vol. 28, p. 771), the most clairvoyant of
song writers, of SIR HUBERT PARRY (Vol. 20, p. 865), and SIR CHARLES
VILLIERS STANFORD (Vol. 25, p. 773), who have respectively done the best
modern work in the English and Irish tradition, and of the American
MACDOWELL (Vol. 17, p. 214). Reference should also be made to the
articles MELODY (Vol. 18, p. 96), ACCOMPANIMENT (Vol. 1, p. 122), RHYTHM
(Vol. 23, p. 277). Suggestive also are the articles BALLADS (Vol. 3, p.
264), POETRY (Vol. 21, p. 889). On the technique of singing the article
VOICE (Vol. 28, p. 172) by Dr. J. G. McKendrick, will be found very
helpful, especially the section on the _Physiology of Voice Production_.
(4) MUSICAL INSTRUMENTS
One branch of the subject yet remains, that of musical instruments. Here
the editor of the Britannica had the advantage of the assistance of Miss
Kathleen Schlesinger (author of _The Instruments of the Orchestra_, and
the greatest authority on the subject), who contributed practically all
of the articles in the book on musical instruments. A list of them is
given below, classified under their most convenient groupings. From
these articles in the Encyclopaedia Britannica the reader will get a
full account of every known musical instrument whether modern or
ancient, with its compass, and scale, and of its connection with other
instruments of the same class; so that the evolution of every type is
clearly brought out. As a preliminary to a general study of the subject,
the articles ORCHESTRA (Vol. 20, p. 168), and INSTRUMENTATION (Vol. 14,
p. 651) may conveniently be read. In the former Miss Schlesinger gives a
summary of the development of the various classes of instruments and of
their concerted use. In the article INSTRUMENTATION, on the other hand,
Donald Tovey illustrates the _principles_ which govern their use. This
article closes with an interesting survey of the orchestral schemes at
different periods in the history of the art. The following classified
list of separate articles on musical instruments in the Britannica,
shows how very completely this work covers the field:
=Stringed Instruments= (Vol. 25, p. 1038).
_Strings Plucked by Fingers or Plectrum_: ASOR; BALALAIKA; BANJO;
BARBITON; CHELYS; CITHARA; CITOLE; CITTERN; EPIGONION; GUITAR; HARP;
HARP-LUTE; KINNOR; KISSAR; LUTE; LYRE; MANDOLINE; NANGA; PANDURA;
PSALTERY; REBAB; ROTTA; SAMBUCA; THEORBO; TRIGONON; ZITHER. _Strings
Set in Vibration by Friction of the Bow_: CROWD; DOUBLE BASS; FIDDLE;
GEIGE; GUITAR-FIDDLE; GUSLA; NAIL VIOLIN; PHILOMEL; RAVANASTRON;
REBAB; REBEC; TROMBA MARINA; VIELLE; VIOL; VIOLA; VIOLIN; VIOLONCELLO.
_Strings Struck by Hammers or Tangents_: CLAVECIN; CLAVICEMBALO;
CLAVICHORD; CLAVICYTHERIUM; DULCIMER; HARMONICHORD; HARPSICHORD;
PIANOFORTE; SPINET; VIRGINAL. _Strings Set in Vibration by Friction of
a Wheel_: HURDY-GURDY; ORGANISTRUM. _Strings Set in Vibration by the
Wind_: AEOLIAN HARP. _Appliances_: BOW; MONOCHORD; MUTE; MOUTHPIECE;
KEYBOARD; SORDINO.
=Wind Instruments= (mouth blown) (Vol. 28, p. 709.)
_Wood Wind._
_The Pipe Class_: EUNUCH FLUTE; FIFE; FLAGEOLET; FLUTE; NAY; PICCOLO;
PIPE AND TABOR; RECORDER; SYRINX. _Single Reed Class_ (cylindrical
bore): REED INSTRUMENTS; ARGHOUL; AULOS; BASS CLARINET; BASSET HORN;
BATYPHONE; CLARINET; PEDAL CLARINET. _Double Reed Class_ (conical
bore): REED INSTRUMENTS; AULOS; BASSOON; BOMBARD; CONTRAFAGOTTO; COR
ANGLAIS; OBOE; POMMER; SHAWM; CLARINA; HOLZTROMPETE; CROMORNE;
RACKETT; SAXOPHONE; SORDINO; TIBIA. To reed instruments also belong
the _Bagpipe Class_: ASKAULES; BAGPIPE; BINIOU; CHORUS; DRONE;
PLATERSPIEL; SYMPHONIA.
_Brass Wind._
BOMBARDON; BUCCINA; BUGLE; CORNET; EUPHONIUM; HELICON; HORN; LITUUS;
OPHICLEIDE; SACKBUT; SAXHORN; SERPENT; TROMBONE; TRUMPET; TUBA; to
which may be added, though not of brass or metal: ALPENHORN; OLIPHANT;
SHOFAR; see also MOUTHPIECE; MUTE; VALVES.
=Wind Instruments= (mechanically blown).
ACCORDION; BARREL-ORGAN; CONCERTINA; HARMONIUM; ORCHESTRION; ORGAN;
PHYSHARMONICA; PORTATIVE ORGAN; POSITIVE ORGAN; REGAL; to which,
though mouth blown, may be added CHENG. See also FREE REED VIBRATION;
KEYBOARD.
=Instruments of Percussion.=
_Sounding a Sensible Note_: BELL; BUMBULUM; CARILLON; GLOCKENSPIEL;
GONG; HARMONICA; JEWS’ HARP; MUSICAL BOX; PARSIFAL BELL-INSTRUMENT;
XYLOPHONE. _Not Sounding a Sensible Note_: CASTANETS; CYMBALS; CHINESE
PAVILLON; DRUM; KETTLE DRUM; NACAIRE; SISTRUM; TAMBOURINE; TIMBREL;
TOM-TOM; TRIANGLE; TYMPANON.
CHAPTER XXXII
THE FINE ARTS: GENERAL AND INTRODUCTORY
The art-student and every other reader interested in the fine arts will
find in the Britannica the material for courses of reading of very great
range and of the utmost interest and value—whether he wishes to study
theory, practice or history.
[Sidenote: Theory of Art]
Of course no adequate treatment of the arts, or of any one of them,
could logically, much less advantageously, separate theory, practice and
history. But the theory of art, though it may be inferred or deduced
from many other articles in the book, including those the most devoted
to the practical or historical, may best and most directly be studied in
three articles, AESTHETICS, ART, and FINE ARTS. Of these, the first,
AESTHETICS (Vol. 1, p. 277), equivalent to nearly 40 pages of this
Guide, is written by Professor James Sully, late of University College,
London, and author of _The Human Mind_ and other psychological studies.
It discusses the meaning of beauty and the problem of the nature of
pleasure, especially “higher” pleasure, its relation to play, etc. And
the article closes with a history of Aesthetic Theories, including those
of the following philosophers, on all of whom the student will find
separate and elaborate critical biographies in the Britannica: PLATO,
who set beauty high, but thought art a mere trick of imitation and
wished it be censored rather than encouraged in his model republic;
ARISTOTLE, who sets beauty above the useful and necessary, but whose
aesthetic seems to be applied to poetry rather than to any other art;
the German philosophers, KANT, SCHELLING, HEGEL, SCHOPENHAUER, who so
deeply impressed their theories on the literature of their times, etc.
The articles ART (Vol. 2, p. 657) and FINE ARTS are both by Sir Sidney
Colvin, formerly keeper of prints and drawings, British Museum. The
former begins with a contrast between art and nature—the contrast made
famous by Pope, by Chaucer, repeatedly by Shakespeare and by Dr. Johnson
in his definition of Art as “the power of doing something which is not
taught by Nature or by instinct.” This definition is in itself an
excellent text for a discourse on the importance in the study of the
fine arts of the best literature on the subject. But Sir Sidney Colvin
points out that the definition is incomplete, since Art
is a name not only for the power of doing something, but for the
exercise of the power; and not only for the exercise of the power, but
for the rules according to which it is exercised; and not only for the
rules, but for the result. Painting, for instance, is an art, and the
word connotes not only the power to paint, but the act of painting;
and not only the act, but the laws for performing the act rightly; and
not only all these, but the material consequences of the act or the
thing painted.
Art is then “_Every regulated_ operation or dexterity by which organized
beings pursue ends which they know beforehand, together with the rules
and the result of every such operation or dexterity.”
And a consideration of the etymology of the words “Art” and “Kunst” is
the basis of a discussion of the relation of Science and Art, which is
summed up in these words:
Science consists in knowing, Art consists in doing. What I must do in
order to know, is Art subservient to Science: what I must know in
order to do, is Science subservient to Art.
After speaking of dancing, music, drawing, painting, sculpture,
architecture, poetry, the author says:
Of all these arts, the end is not use, but pleasure, or pleasure
before use, or at least pleasure and use conjointly. In modern
language, there has grown up a usage which has put them into a class
by themselves under the name of the Fine Arts, as distinguished from
the Useful or Mechanical Arts. (See AESTHETICS and FINE ARTS.) Nay,
more, to them alone is often appropriated the use of the generic word
Art.... And further yet, custom has reduced the number which the
class-word is meant to include. When Art and the works of Art are now
currently spoken of in this sense, not even music or poetry is
frequently denoted, but only architecture, sculpture and painting by
themselves, or with their subordinate and decorative branches.
[Sidenote: Fine Arts]
The article FINE ARTS (Vol. 10, p. 355; equivalent to 70 pages of
this Guide) is divided into the following parts: _General
Definition_, with particular attention to the theory that makes the
arts a form of play and to the definitions of Plato and Schiller;
_Classification_—architecture, sculpture, painting, music and poetry
classified as “shaping” and “speaking” or as imitative and
“non-imitative,” with definitions from the aesthetic or philosophic
point of view of sculpture and of painting; and _Historical
Development_, with a criticism of Spencer’s theory of the evolution
and gradual separation of the arts and of Taine’s natural history,
as well as a critical and illuminating outline history of the arts.
Whether we include under the fine arts music and poetry, or with the
more popular usage make the fine arts not five but three, architecture,
painting and sculpture, the arts may be studied in the Britannica and
there is the basis for this study in this Guide.
Music is the subject of a separate chapter.
Poetry is treated in the chapters on Literature, but it will be well to
remind the student of the philosophy of art of the remarkable article
POETRY (Vol. 21, p. 877; equivalent to 45 pages in this Guide) by
Theodore Watts-Dunton, and of the articles on the different poetic
forms, mostly by Edmund Gosse.
Architecture in the Britannica is outlined in this Guide in the chapter
_For Architects_.
The two chapters immediately following this are devoted respectively to
Painting, Engraving and Drawing and to Sculpture and the Subsidiary
Arts. Of practical value to the art student as an introduction to these
two chapters are the articles ART SOCIETIES, by A. C. Robinson Carter,
editor of _The Year’s Art_, and ART TEACHING, by Walter Crane, the
English illustrator, who also contributed the article ARTS AND CRAFTS.
For an alphabetical list of articles on the fine arts see the end of the
chapter on _Sculpture_.
CHAPTER XXXIII
PAINTING, DRAWING, ETC.
The article PAINTING (Vol. 20, p. 459; equivalent to 190 pages of this
Guide) is an elaborate “key” article which may well be the starting
point for more definite study. The art student who actually wishes to
paint or draw—as distinct from the student of the history of art—will do
well to read first in this great article its third section, _The
Technique of Painting_ (pp. 482–497), by Gerard Baldwin Brown, professor
of fine art, Edinburgh, and author of _The Fine Arts_. The main topics
in this part of the article are:
The Materials of Painting; The Surfaces Covered by the Painter;
Binding Materials or Media; The Processes of Painting, and their
Historical Uses; Painting with Coloured Vitreous Pastes (with
bibliography)—on this method and on similar processes see the separate
articles CERAMICS, with remarkably valuable and beautiful coloured
illustrations; MOSAIC; ENAMEL; GLASS, STAINED. The following sections
are Fresco Painting (with bibliography)—see Fig. 34, Plate X (facing
p. 477); Fresco-Secco (with bibliography); Stereochromy or Water-Glass
Painting (with bibliography); Spirit Fresco or the “Gambier Parry”
Process, as improved by Professor Church (with bibliography); Oil
Processes of Wall Painting; Tempera Painting on Walls; Encaustic
Painting on Walls (with bibliography); Encaustic Painting in General
(with bibliography); Tempera Painting (with bibliography); Water
Colour Painting (with bibliography).
[Sidenote: Drawing and Engraving]
In connection with this part of the article—theoretically before it,
perhaps,—the student should read the articles DRAWING and ENGRAVING.
DRAWING (Vol. 8, p. 552), by John R. Fothergill, editor of _The Slade_,
is a peculiarly interesting article in its denial of the possibility of
conveying colour by drawing or monochrome, in its tracing the
development of drawing from the “papery” and flat first attempts on
early Greek vases to the depth, length and breadth of the later Greeks
or of a Michelangelo, for its criticism of the definition of artistic
drawing as a process of selection and elimination from the forms of
nature, and for its discussion of style or personality in drawing. See
also the articles CARICATURE, CARTOON, ILLUSTRATION, POSTER, PLUMBAGO
DRAWINGS.
ENGRAVING (Vol. 9, p. 645) is a short outline article to be supplemented
by: LINE-ENGRAVING (Vol. 16, p. 721), by Philip Gilbert Hamerton, author
of _Drawing and Engraving_, and more popularly known as the author of
_The Intellectual Life_, _Human Intercourse_ and other essays, and by M.
H. Spielmann, formerly editor of the _Magazine of Art_; WOOD ENGRAVING,
by the same authors; MEZZOTINT, by Gerald Philip Robinson, president of
the Society of Mezzotint Engravers; and Etching.
Supplementing the section in the article PAINTING on _The Technique of
Painting_ are the separate articles: CRAYON, PASTEL, PALETTE; AQUATINT,
AQUARELLE, ENCAUSTIC PAINTING, FRESCO, GOUACHE, ILLUMINATED MANUSCRIPTS
(with 5 plates), by Sir E. Maunde Thompson, late director British Museum
and author of _English Illuminated Manuscripts_; MINIATURE (with 19
illustrations in halftone), by the same author, and by G. C. Williamson,
author of _History of Portrait Miniatures_, whose articles on the
miniature painters the CLOUETS, COSWAY, the HILLIARDS, GEORGE MORLAND,
PETER OLIVER, the PETITOTS, PIERRE PRIEUR, JOHN SMART, etc., should also
be read; PANORAMA, PASTEL, by M. H. Spielmann, PORTRAITURE, by Sir
George Reid, the Scotch artist and late president of the Royal Scottish
Academy, PREDELLA, TEMPERA and TRIPTYCH.
[Sidenote: History of Painting]
Although the articles enumerated in the last paragraph have primarily to
do with technique, there is in them—especially in such articles as
MINIATURE and PORTRAITURE—much historical and critical information. And
from them the student may well turn back to the article PAINTING to
pursue there those topics which he has not yet covered. These are: _Part
I.—A Sketch of the Development of the Art_ (pp. 460–478); _Part
II.—Schools of Painting_, a tabular scheme (pp. 479–481), and _Recent
Schools of Painting_ (pp. 497–518), by M. H. Spielmann, for British;
Léonce Bénédite, keeper of the Luxembourg Museum, for French; Fernand
Khnopff, painter and etcher, for Belgian; Prof. J. C. Van Dyck, Rutgers
College, author of _History of American Art_, for the United States; and
Prof. Richard Muther, Breslau University, author of _The History of
Modern Painting_, on Dutch, German, Austrian, Italian, Spanish, Danish,
Swedish, Norwegian, Russian and Balkan States.
These parts of the article are illustrated with ten plates containing 36
figures, including four prehistoric incised drawings of animals found in
French caves and remarkable for their technical accuracy and life; two
paintings, a boar and a bison, reproduced in colours, from the
palaeolithic cave of Altamira—see also Plates II and III in the article
ARCHAEOLOGY (between pp. 348 and 349, Vol. 2), Figs. 6, 7 and 8 in Plate
accompanying ANTHROPOLOGY (opposite p. 118, Vol. 2), and the plates of
American antiques in the article AMERICA (Vol. 1, pp. 808–816); an
excellent Egyptian drawing of birds; the François vase (Greek); a
Pompeian wall painting—see also the reproduction in colours of a
wall-painting from a Roman villa in the article MURAL DECORATION (Vol.
20, p. 22); a wall painting from Brunswick cathedral; and typical
examples of the work of Hubert van Eyck, Giotto, Lorenzetti, Masaccio,
Uccello, Pollaiuolo, Piero della Francesca, Ghirlandajo, Mantegna,
Bellini, Giorgione, Michelangelo, Botticelli, Titian, Holbein, Watteau,
Gainsborough, Rembrandt, Quintin Matsys, Brouwer, Ruysdael, Turner,
Chardin.
“A rough division of the whole history of art into four main periods”
gives “first ... the efforts of the older Oriental peoples, best
represented by the painting of the Egyptians; the second includes the
classical and medieval epochs up to the beginning of the 15th century;
the third the 15th and 16th centuries, and the fourth the time from the
beginning of the 17th century onward. In the first period the endeavour
is after truth of contour, in the second and third after truth of form,
in the fourth after truth of space.”
The Egyptian artist was satisfied if he could render with accuracy,
and with proper emphasis on what is characteristic, the silhouettes of
things in nature regarded as little more than flat objects cut out
against a light background. The Greek and the medieval artist realized
that objects had three dimensions, and that it was possible on a flat
surface to give an indication of the thickness of anything, that is,
of its depth away from the spectator, as well as its length and
breadth, but they cannot be said to have fully succeeded in the
difficult task they set themselves. For this there was needful an
efficient knowledge of perspective, and this the 15th century brought
with it. During the 15th century the painter fully succeeds in
mastering the representation of the third dimension, and during the
next he exercises the power thus acquired in perfect freedom,
producing some of the most convincing and masterly presentments of
solid forms upon a flat surface that the art has to show. During this
period, however, and to a more partial extent even in the earlier
classical epoch, efforts were being made to widen the horizon of the
art and to embrace within the scope of its representations not only
solid objects in themselves, but such objects as a whole in space, in
due relation to each other and to the universe at large. It was
reserved, however, for the masters of the 17th century perfectly to
realize this ideal of the art, and in their hands painting as an art
of representation is widened out to its fullest possible limits, and
the whole of nature in all its aspects becomes for the first time the
subject of the picture.
[Sidenote: Early Painting]
Following this classification, the article PAINTING, after commenting on
primitive art among bushmen, Eskimo and Australians and on the
remarkable cave drawings and paintings of Altamira, Gourdan and
Lortet,—even the paintings are thought to be 50,000 years old,—discusses
the painting of contour in Egypt and Babylonia, in prehistoric Greece,
in ancient Greece and Italy, and in the early Christian and early
medieval periods. Of particular interest is the criticism of Greek
drawing.
It may be admitted that in many artistic qualities it was beyond
praise. In beauty, in grace of line, in composition, we can imagine
works of Apelles, of Zeuxis, of Protogenes, excelling even the efforts
of the Italian painters, or only matched by the finest designs of a
Raphael or a Leonardo.... The facts, however, remain, first, that the
Greek pictures about which we chiefly read were of single figures, or
subjects of a very limited and compact order, with little variety of
planes; and second, that the existing remains of ancient painting are
so full of mistakes in perspective that the representation of distance
cannot have been a matter to which the artists had really set
themselves.... The problem of representing correctly the third
dimension of space ... had certainly not been solved.... It is an
additional confirmation of this view to find early Christian and early
medieval painting confined to the representation of the few near
objects which the older Oriental artists had all along envisaged.
For more detailed treatment of this period see the articles: EGYPT, _Art
and Archaeology_ (Vol. 9, pp. 65–77), with many illustrations both of
painting and sculpture, by Dr. W. M. Flinders Petrie, the eminent
Egyptologist; BABYLONIA AND ASSYRIA, particularly the two plates of
illustrations (opposite pp. 104 and 105, Vol. 3); AEGEAN CIVILIZATION,
especially the illustrations (Vol. 1, pp. 246–251); GREEK ART (Vol. 12,
pp. 470–492), by Percy Gardner, author of _Grammar of Greek Art_,—and,
mostly by the same author, the articles AGATHARCHUS, PANAENUS, MICON,
POLYGNOTUS, PROTOGENES, APELLES, ARISTIDES OF THEBES, PAUSIAS, THEON,
ZEUXIS; ROMAN ART (Vol. 23, pp. 474–486), especially Plates V (p. 481)
and VI (p. 484); and for the early Christian and early medieval periods
such articles as ILLUMINATED MANUSCRIPTS, with illustrations, by Sir E.
Maunde Thompson, late director British Museum, and MINIATURE. The reader
should also consult the articles CHINA and JAPAN for the section on the
art of each of these countries (Vol. 6, pp. 213–216, with two plates, 17
figures; and Vol. 15, pp. 172–190, with eight plates, 30
figures—especially Plates I-IV, pp. 172–177), as Oriental art in general
may be said to belong to this phase of effort after truth of contour and
of form. See also the separate articles on Japanese artists, mostly by
E. F. Strange, author of _Japanese Illustration_, _Hokusai_,
etc.,—particularly KORIN, UTAMARO, HOKUSAI, HIROSHIGE, and YOSAI.
The first important individual names after those of the Greek painters
mentioned above are those of the Proto-Renaissance of the 13th and 14th
century.
For Italy see PIETRO CAVALLINI; in Florence, CIMABUE, by W. M. Rossetti,
author of _Fine Art, Chiefly Contemporary_; GIOTTO, by Sir Sidney
Colvin, late keeper prints and drawings, British Museum; GADDI, by W. M.
Rossetti; ORCAGNA, by the late John Henry Middleton, Slade professor of
fine arts, Cambridge, art director South Kensington Museum; SPINELLO
ARETINO (Vol. 25, p. 685), and ANGELICO, by W. M. Rossetti; in Siena,
SIMONE MARTINI; and for Flanders, the VAN EYCKS (Vol. 10, p. 90), by Sir
Joseph Archer Crowe, author with G. B. Cavalcaselle, of _Early Flemish
Painters_, etc.
[Sidenote: 15th Century: Florence]
With the 15th century, and particularly at Florence, begins the third of
the four periods in the evolution of painting. “The father of modern
painting is the Florentine Masaccio”: see the article on him (Vol. 17,
p. 833), by W. M. Rossetti, who says “he led the way in representing the
objects of nature correctly, with action, liveliness and relief.... All
the greatest artists of Italy, through studying the Brancacci chapel,
became his champions and disciples.” For the other great Florentine
names of the century see the articles: MASOLINO DA PANICALE, by
Rossetti; BRUNELLESCHI, architect, student of perspective, and, with
Masolino, master of Masaccio; the two earlier LIPPI, by Rossetti;
BOTTICELLI, by Sir Sidney Colvin; GOZZOLI, by Rossetti; ROSSELLI; PIERO
DI COSIMO (Vol. 21, p. 950); CASTAGNO; BALDOVINETTI, by Sir Sidney
Colvin; POLLAIUOLO; GHIRLANDAJO, father and son, by W. M. Rossetti; and,
marking the perfection of art on the formal side, BARTOLOMMEO, and
Rossetti’s article, ANDREA DEL SARTO (Vol. 1, p. 969).
[Sidenote: 15th Century: Other Parts of Italy]
As for the remainder of Italy, Sienese art declines in this century, but
there is an advance in Northern Italy and in Umbria. See the articles:
FRANCESCHI, by Rossetti, MELOZZO, “the first who practised
foreshortening with much success,” and SIGNORELLI; Raphael’s master,
PERUGINO, by Rossetti; MANTEGNA, by the same author; LORENZO COSTA;
FRANCIA, by Rossetti; and at Venice, GENTILE, the VIVARINI, ANTONELLO DA
MESSINA, CARPACCIO, the BELLINI (Vol. 3, p. 700), by Sir Sidney Colvin.
[Sidenote: 15th and 16th Centuries: Northern Europe]
In Germany and the Low Countries the art of the 15th and 16th centuries
may be traced in the articles: for Germany—SCHONGAUER; DÜRER, by Sir
Sidney Colvin; GRÜN; the HOLBEINS and CRANACH, by Sir Joseph Archer
Crowe; BURGKMAIR; GRÜNEWALD; and for the Low Countries—ROGER VAN DER
WEYDEN; his greater pupil MEMLINC, by Sir J. A. Crowe and P. G. Konody,
art critic of the _Observer_ and _Daily Mail_; GOES; GERARD DAVID, by P.
G. Konody; LUCAS VAN LEYDEN (Vol. 17, p. 93); HEEMSKERK; MATSYS;
BREUGHEL; MABUSE, by Sir J. A. Crowe; FLORIS; MORO; and BRIL.
[Sidenote: 16th Century: Italian Masters]
Roughly contemporary with Dürer and Holbein the younger were the even
greater masters of Italian painting. See the articles: for
Florence—LEONARDO DA VINCI (Vol. 16, p. 444, equivalent to 35 pages of
this Guide), and MICHELANGELO (Vol. 18, p. 362), both by Sir Sidney
Colvin, and VASARI, painter and biographer of painters; for Rome—RAPHAEL
SANZIO (Vol. 22, p. 900, with 7 cuts), by the late Prof. John Henry
Middleton, and GIULIO ROMANO, by W. M. Rossetti; for North Italy—LUINI,
CORREGGIO, PARMIGIANO, and MORONI, all by Rossetti, and MORETTO; and for
Venice—GIORGIONE, by Sir Sidney Colvin; LOTTO and PALMA, TITIAN,
TINTORETTO, and PAUL VERONESE (Vol. 20, p. 965), all by W. M. Rossetti.
We have now come to modern times so far as painting is concerned. The
article PAINTING says:
[Sidenote: The Fourth Period: 17th Century and After]