PRICE ONE SHIUUINQ.

AN ILLUSTRATED HISTORY OF THE

And Sketch
rUiTE
of the SncoeiBiveImprovemeuts made in the Flute, and a Statement of the

m atuT
Principlee upon which Flutea are oonstructed, with a Description of the New or !

Correct Position for Holding the Flute

BY A. G. BADGER,
MANUFACrURER OF FIRST QUALITY FLUTES,
181 bkoauyvay, new yokk.
 AS

IllustriittiJ IJiistffrg

OF TUB

FLUTE,
AND SKETCH OF THE SUCCESSIVE IMPROVEMENTS MADE IN THE
FLUTE, AND A STATEMENT OF THE PRINCIPLES UPON WHICH
FLUTES ARE CONSTRUCTED

a 33cscrii)tfoii of tDe or

B (E H M FLUTE.
•'
Crovern these ventatres with your fingers and thumbs, give it breath with your mouth
and it will ui-roursr mo.*t eloquent music.”

BY

A. G. BADGER,
Manufacturer of First Quality Flutes.

181 BROADWAY, NEW YORK.

Flrlh,Pond A Co., ShafTonburg A T./Owia, and C. Bnicoing, New York Oliver Ditaon and
:
Oforge P. Reed, Boston Lee A Walker, Philadelphia; ICnabe, Gae.hlo A Co., Baltimore;
;

Petem «t Son, Dunlon A Thurston, Cinrinnali; N. Philips, SL Louis G. A. Prinee,

;

Buffalo; Christman A Son, New Orleans; Wm. Atwell, San Francisco, Calif. Augustus
;
Robinson. PortIan«l, Maine.

1861.
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 ^ ti t r n iiu r t i n IT

The tones of the Flute have always been considered superior to any
other instrument conveying but a single part, being exceedingly rich
and musical, affording a beautiful accompaniment to the human voice,
and an indispensable auxiliary to the orchestra. The
piano, guitar, etc.,
tones of the Flute, of all instruments, have the nearest approach to the
human voice, and the inventor of a new musical instrument considers
the relative value of the invention elevated as it approaches this sUind-

ard. But notwithstanding the exceeding sweetness of its tones, the

Flute has always held a subordinate rank its former want of reliability
;

in tone and tune, and the extreme difliiculty attending the execution of
intricate passages of music, rendered the Flute rather the follower than
the leader, or companion, in all good musical performances; and ns
such immense strides toward perfection had been attained in almost all
other musical instruments, the great faults in the Flute bade fair to con-
sign it to oblivion, had not Boehm stepped forward to the rescue. He
has brought the Flute out of this slough of difficulties, and it now takes
its stand beside its fellows in all the essentials of a good musical insti'u-
ment.
In coming before the American professor and amateurs as the
maker of the new Flute, a word or two, by way of defining my posi-
tion, would, perhaps, not be out of place. In England, and on the Con-
tinent, the business of manufacturing first quality Flutes has always held
from that of the lower grades. The elevation of Ameri-
a position apart
can musical taste seemed to render such a distinction necessary also in
this country.

Eight yeai’s since I commenced the manufacture of first quality

Flutes at 181 Broadway, New York. mechanical education, My
and long experience ns a Flute-maker. I felt confident, had pre-
pared me to occupy this position, having been bred in all I)rnnches
of the profession. About the time of my commencement, the first
B{ehm Flute made
appearance its in this country. It was in the
possession of a gentleman tourist. Mr. W. J. Davis, an eminent
IV INTRODUCTION.
Flute professor of New York, examined the peculiarities of its

construction, at once perceived its merits, and predicted that its ulti-

mate destiny would bo its general adoption. He immediately engaged

in its manufacture, but the undertaking proved far from profitable.
He found an abundance of opposing interests. The manuCicturers of
the old Flute did not see the way clear for the profitable investment of
iheir labor and capital in the new. It wanted mechanical ability they
did not possess. Professors of the Flute found they must unlearn
their b,id habits, and consequently discouraged its adoption. All proved
too much ; and struggling awhile in public concerts and private exhibi-
tions to lay the matter in its true light before the musical public he
gave up in despair, and has since relinquished both the [trofession and
the manufacture altogether. Such is usually the destiny of the leader
of a great reform. Harvey, the immortal discoverer of the circulation
of the blood, came near losing his life at the hands of his brothers in

the medical profession. Galileo was compelled to publicly recant his

heretical assertion, that the world turns on its axis. That Bcehm’s in-

vention will exert ns great an influence on the world’s great destiny as

the cases referred to, I do not assert ;
yet still it is the work of a mas-
ter mind, who stood a head and shoulders above his fellows, and the
musical world will some day, by acclamation, award to him the tribute
which is his due. Philip Ernst, of this city, a professor of the Flute,
of high standing, and thirty years’ experience, was the next to adopt
the Bcehm Flute. His position was more commanding, and his influ-

ence among amateurs great. Many followed in his wake, and it was
through the assurances of his patronage, and of its ultimate success,
that I commenced the manufacture of the Bwhm Fiute. From that
time may be dated the commencement of the reform in this depart-
ment of musical science in this country. Tho success of the Boehm
Flute, so far, has been greater than, under the circumstances, we
should expect. very large proportion of the amateurs in New
A
York, New Haven, Boston, and many more of the principal cities, now
use this Flute, and it is the intention of this |)amphlet to make more
t^enerally known the existence of an instrument which, if known,
must be generally adopted.

181 Bboadwat, Nbw Tobk, Jan. 17, 1863.

 THE

of tljc Jflttfc.

THE B(EHM FLUTE.

The Flute of M. Boelim has not only taken a powerful
hold upon the admiration of the musical world, but has
been the means of making the imperfections of the ordi-
nary Flute so obvious, as to urge upon the most attached
to that instrument to confess that its days are numbered.
I propose to enter somewhat minutely, though as briefly
as may be, into the history of the Flute, and give an ex-
planation of the successive improvements effected in this
instrument, in order that those who have not an oj^por-
tunity of examining the different instruments may possess
the means of judging of and be
their respective merits,
enabled to estimate the relative advantages afforded by the
ordinary Flute and the Boehm Flute.
In answering the questions proposed, it will be neces-
sary to give an outline of the early history of the ordinary
Flute ; tracing it from its simplest beginnings througli
various stages of improvement, up to the present time;
and then to point out the superior princii^lcs iqjon which
the Bcehm Flute is constructed, so that the causes of the
defects in the ordinary Flute may be seen, and the im-
portant revolutions lately brought about, not only in per-
fection of tone and intonation, but a greatly increased
 :

6 badger’s illustrated
facility of oxecution- — the want of this facility having
been one of the drawbacks to the old system.
For the sake of perspicuity, what has to be advanced
may be arranged under the following distinct heads
1. A
brief historical sketch of the steps by which the
ordinary Flute has reached its jiresent state.
2. An examination into the causes of the imperfections

of the ordinary Flute, and a statement of the principles

upon which Flutes are constructed.
3. What has been effected by the Boehm Flute in Eu-

rope, and what in this country.

4:. Miscellaneous extracts letter from Professor Ernst,
;

letter from Professor Kyle, letter from Professor

Ainsworth.
5. Hints as to the proper stud}'- of the Flute.

1. A brief Historical Sketch of the Steps by which

the Ordinary Flute has reached its present State.

The Flute, under different forms and names, may

be traced to the remotest periods of antiquity.
Most of the ancient poets ascribe its invention to
no less personages than gods and goddesses. Even
S the grave Plutarch, in his Dialogue, “ Hepi Mosi-
i kes,” attributesit to Apollo. Lucretius, however,
t contents himself by deriving its origin from the
I
breathing of western winds over certain reeds, and
thus, he tells us, was suggested to man the rui-al
pijie, the simple tube, which the ingenuities of later
ages have imjn-oved into one of the most fascinating
instruments of which art can boast. The word is
said to bo derived from the Latinj^aMjfo (Lamprey),
a kind of eel, which has seven holes lengthwise in
its side,and when extended resembles a very nar-
row The ancient Flute had some sort of
Flute.
mouth-piece. It was double as well as single that —
is, was often composed of two
tubes, both played
together, and hence it has not unreasonably been
 HISTORY OF THE FLUTE. 7

inferred that tlie enlightened nations of antiquity pos-

sessed some knowledge of harmony. The Flute was
almost universally employed by the Greeks and Romans
in keeping the voice up to its proper pitch. But I do not
propose to enter minutely into the subject of the Flute of
the ancients. The extraordinary popularity of the Greek
Flutes, the numerous varieties of this instrument in use
among them, and capabilities, and the various
their forms
and singular uses which they were applied, would form
to
a highly interesting topic, were this the fitting opjiortu-
nity. At present I intend to speak more iiarticularly
only of the more modern Flute.
The ordinary Flute, originally known as the German
Flute, is mentioned by Mersenne in his great work pub-
lished in Paris in 1636 ;
but it is evident, from the man-
ner in which he introduces and describes the instrument,
that it was then but
little employed. The Flute in gen-
was the Flute-a-hec, termed also the
eral use at that time
English Flute, and by the French la Flute deuce. The
Flute-a-bec was held perpendicularly (to the mouth) like
the clarionet.
At the commencement of the last century the German
Flute, which, in allusion to the position in it was which
held, was also termed the Flauto tranierso, or Transverse
Flute, began to divide the public favor with the Flute-a-
bec. The superiority of the German Flute over the
Flute-a-bec consisted in its improved quality of tone and
somewhat better intonation. On the Flute-a-bec no skill
of the performer enabled him to vary, to any extent, the
quantity and quality of its tone, or the pitch of the notes,
owing to its being voiced with a tongue, like the pipe of
an organ, or like a common whistle but on the German ;

Flute the notes were produced by the immediate agency

of the lips comparatively a greater variety of tone, and
;

certain improvements, even as to intonation, were conse-

quently obtained.
At that time the German^Flute had but six holes, which
were stopped by the first three fingers of each hand.
ft BADGKK ’
S I L LU ST K AT E D

From combiued with the note given by tiie

tfiese holes,

entire tube— when all tlie holes were closed—

tliat is,
scale of one key or mode— that ol D
w^
produced the diatonic
additional hole was add-
major. Shortly after, however, an
ed by Phillibert, a Frenchman, stopped by a key (D sharp
one-keyed 1' lute, or
or E flat). This, which constituted the
Flute with seven holes, as seen in the
one-keyed Flute ol
the Flute-a-hec. It
the present day, was a death-blow to
and extended
improved the quality of some of its tones,_

its compass upward. Many a kindly prejudice, many a

grateful recollection of past enjoyment, was enlisted in
favor of an old servant, and lingered to the last, hut in
vain! Tlie Flute-a-bec is now among the things that
were, or is to he met with only in the hands of the

antiquary.
The Flute remained in this state until the time ol

Quanz, who flourished from about the year 1720 to 1 70, 1

and
and was celebrated as a performer upon the Flute,
as a composer for that instrument. He was also cele-
brated as a manufacturer of Flutes. He added
another

D sharp or E fiat key, and contrived a method of length-

or
ening and shortening the head-joint, so as to raise
The discovery ol this addi-
lower the pitch half a tone.
tional key was made in 1726, and the new head-joint in
1752. The use of the latter is obvious, but it has puzzled
the critics to divine what could possibly have been the
object of this additional D sharp key, which, in conjunction
with the new tuning-head, were said at the time to have
corrected “ all the imperfections of this instrument in point
of had notes and false tuning.” They could not suppose it
intended to make the inharmonic difference between D
sharp and E flat. This would have been attributing a roline-
nient of perception to Quanz utterly inconsistent with the
obtuseness of ear which could endure the extreme imper-
fection, not only of the chromatic, hut of the diatonic in-
tervals of his instrument. Wo know by the Flute music
of his time, that several of tjio scales nearest related to
that ofD major were then employed, as well as the chro-
 II IS TOUT OF THE FLUTE. 9

niatic scale but wc know also, by a reference to the one-

;

keyed Flute of the present day, how grossly defective all

these were —
all the notes not belonging to D major having

been produced by what may be termed artificial finger-

ings, and the scale of D major itself having been also, as
will shortly be shown, very imperfect. That it aflbrded
no great advantage, may be concluded from the fact that
the application of it was ultimately discontinued.
The next great improvement was the addition of throe
other holes, stopped by three additional keys, constituting
the four-keyed Flute —
that is, the Flute with ten holes.
Some difficulty has been experienced in ascertaining the
exact time of the introduction, and the name of the orig-
inator of these keys ;
but the most approved authorities
among the Germans give the honor of this contrivance to
Joseph Tacet, an Englishman, who Avas popular both as
a performer on and as a manufacturer of the Flute, in
London, about seventy years since. This Avas really a great
step in the progress of the Flute. The notes G sharp or A
flat, A sharp or B
and F natural, Avere, by means of
flat,

these keys, produced upon the same principle as the D sharji

or E flat, Avhich had been obtained by the first key and the
notes of the original six holes and thus all the notes of the
;

chromatic scale in the fundamental octave, excepting the

C natural, Avere each produced by opening its legitimate
hole, and the artificial fingerings for these notes, Avhich pro-
duced tones of AATCtched quality and intonation, Avere no
longer necessary. This improvement, great as it Avas, made
its Avay at first but
sloAA’ly. It Avas not until the beginning
ot the present century that the four-keyed Flute began tci
be generally adojited in the English orchestras.
Alter this the attempt Avas to obtain a C natural
made
by means of a key, the artificial C
of the four-keyed Flute
fingered thus, 0 2 0 1 2 3, being very imperfect. For
|

thispurpose a long key, acted upon by the first finger of

the right hand, knoAA'n as the C shake key, Avas added
;

but although a good note AA'as thus produced, it has been

of little use, excepting in the shake Avith B, oAving tO' the
1*
 10 BADGE k’s illustrated
necessity, it, of moving the right liaiul
when using
About same time the tube was lengthened, and two
tlie

long keys were added at the foot of the instrument, giving

the two additional low notes, C sharp and C natural.
This was the seven-keyed Flute.
Tlie duplicate long F key, acted upon by the little
finger of the left hand, Avas next added, to facilitate the
execution of the notes D
natural or E flat, in connection
with F natural and thus was completed the ordinary
;

eight-keyed Flute. As many as seventeen keys have been

added to some Flutes, but the standard number has long
been eight. Attempts Avere also made, from time to
by enlarging
time, to impi'ove the tone of the instrument,
the holes, and by variations in the bore. Joseph Facet,
before mentioned as the originator of the four-keyed
Flute, made experiments Avith large holes, as also did the
late Mr. Nicholson. These Avill be further referred to in
another place. But these etibrts, both as to the size of
the holes and the variations in the bore, could only bo
partially successful,owing to the radically incorrect po-
sition of the holesand the erroneous princijile upon Avhich
the keys Avere constructed. We have noAv to consider
the grounds and proofs of these imperfections, Avhich con-
stitute the main causes of all the defects in the ordinary
Flute.

2, An Examination into the Causes of the Imperfections of

the Ordinary Flute, and a Statement of the Principles
upon Avhich Flutes are Constructed.

From the preceding brief sketch it Avill be seen that

the ordinary Flute has made great progress during the
last tAvo hundred years. Originally an instrument of six
holes, stopped by six fingers, and producing but one dia-
tonic scale, it has now fourteen holes, tlie additional
eight being stopped by keys, thus affording the moans of
playing tlic twelve diatonic scales, major and minor, as
perfectly, to say the least, as the original scale of D
 HISTOKT OF THE FLUTE. 11

major. This great advance as to the resources of the in-

strument was necessary, in order to meet the increasing
demands of modern scientific music. The successive
steps by which the Flute thus advanced correspiond in
some measure to the progress made in the musical art
itself. Modern instrumental music was in its infancy two
hundred years since. The first instruments, after the
organ, which felt the influence of modern science, were
those of the violin class. At the time when these instru-
ments combined considerable facility of execution with
perfection of tone and intonation, the Avind instruments
were still to be found chiefly in the hands of itinerant
musicians and the subsequent improvements as to tone
;

and intonation upon them, did not keep pace with their
development in other respects. It is on this account that
the great classical composers have neglected them.
The chamber music of Haydn, Mozart, and Beethoven
for tlie violin and other stringed instruments, forms, per-
haps, the largest portion of their Avorks ;
Avhilo scarcely
one piece of this class, for the Flute and other Avind in-
Btruments, can, be found among them. This can have
arisen from no other cause than the imperfections of tlie
latter, especially from the inequality of their tones and
flie incorrectness of their intonation. These defects are
proverbial and the Flute being the most conspicuous in
;

the orchestra, as Avell as the most popular of these instru-

ments, notwitlistanding the charm peculiar to its tone,
has ahvays received the gi-eatest share of this odium.
As early as the year 1725 Quanz, the eminent flutist
before mentioned, being on a A'isit to Naples, entreated
his countryman, Hasse, to introduce him to the celebrated
Scarlatti, under Avhom Hasse Avas studying. His friend
was anxious to do so, but upon mentioning him to the old
composer he said, “ My son, you know I hate AA'ind in-
struments ;
they are never in tune.” To the same pur-
port, nearly a century later,
a leader being much concerned
chat he had but one Flute in his band, on an
occasion
when the celebrated Cherubini Avas to be the conductor,
 —

12 badgee’s illusteated

observed to him, ‘‘ AVliat, sir, is worse tlian one Flute?”

“Two,” was composer’s laconic reply.
tlio Although
this witticism was uttered when the Flute probably had
still but one key, yet the reproach involved in it applies
with equal force to the ordinary Flute of the present day.
Let the performer upon the ordinary Flute attempt to
sound each note of a Flute of this class (where no extra-
ordinary care has been taken in its construction) in unison
with those of the violin, or of the piano-forte, and the foree
of this last remark will bo at once apparent. Tlie smoth-
ered and inferior quality of the majority of the tones will
also by this method be clearly perceptible.
This Flute has two great defects ;
it is out of tune
some of its notes being too and some too sharp and
flat, ;

it varies in quality of tone —

some of its notes being free
and clear, and others feeble and muffled. The two prin-
cipal causes of these defects are, the unequal disty'ibu-
tion of the holes, some being above and others below
their correct position,and the existence of closed or shut
keys. That these are the causes of the imperfections of
this instrument will be demonstrated by a very brief ex-
amination of the principles upon which the Angered
wind instruments are, or obviously should be, constructed.
Let us first suppose a tube without any finger-holes,
which, when sounded, will give the note C natural, the
lowest note of the Flute. be now shortened
If this tube
by cutting off about an inch and a quarter from the open
end the sound given will be C sharp, which is half a tone
still higher. If another piece of the same length be cut
off the sound produced will bo D natural, which is half a
tone still higher. Proceeding in this maimer, with a
slight diminution of distance as the tube is shortened,
fourteen or more semitones will bo elicited. Now, the
same eflbct is produced, if, instead of cutting sections off
the tube, so as to form so many different tubes, holes, oi
apertures, are bored in a single tube, at distances corre
spending to the sections cut off. The annexed diagram
will illustrate this.
HISTOKY OF THE FLUTE. 13

^ Fig. 3. I
li badger’s illustrated
cessively uncovered from the open end, will give the same
scale of sixteen half tones.
These notes constitute the fundamental series of the in-
strument, each note being the representative of a separate
tube. The next series of notes obtained from the instru-
ment, which are the oetaves of these, are really the first
series of harmonics arising from the fundamentals, being
produced by dividing the column of air into two by the
action of the lips. In a similar manner that is, by a—
fiirther division of the column of air —the third octave is

produced. The notes, therefore, of the second and third

octaves are obtained from the fundamental series. Tlie
thirty-seven notes included in the three entire octaves of
the Flute are not the representatives of thirty-seven dilfer-
ent tubes, as has been erroneously supposed, but are nat-
urally generated by the tubes or holes of the fundamental
series only.
From this statement it will be seen that the notes of
the fundamental series and these harmonics are high in
pitch as the uncovered holes approach the head or closed
end of the tube, and are low in pitch as they approach
the foot or open end it consecpiently follows, that if a
;

hole be placed above its correct position, the note will be

too high in pitch, or sharp, and if below it, that it will be
too low or flat. It is also clear that the nearer the holes
are in size to the diameter of the tube, the freer and finer
must be the tones.
Tlie most perfect intonation that can be obtained upon
an instrument, the sounds of which are fixed by the man-
ulacturer, is that produced by tuning them according to
what is termed “ equal temperament,” agreeable to which
the holes of the Flute should be placed at equal relative
distances apart. Equality of tone also can only bo ob-
tained by means of equal-sized holes. Bearing this in
mind, the following diagram will show one of the causes
of the unequal tones and incorrect intonation of the ordi-
nary Flute. K
represents the holes as they are bored on
the most perfect of the ordinary eight-keyed Flute,
com-
 II I S TO 11 V OF THE FLUTE. 15

inonly called tlie large-lioled Mute. The holes are placed

ill a straight line, and without the keys, in order to show
their relative sizeand position. It is obvious that K
ecpial tone and temperament can not be possessed
by this instrument, there being scarcely two holes
placed together under these requisite conditions. It
is true that by making those holes which are placed

above tlieir correct positions smaller, the pitch of

the notes is somewhat lowered but in the applica- ;
O
tion of this means of avoiding the difficulty, the
manufacturers were limited, being met by another
O
of not less consequence, viz., the muffled or smoth-
ered quality of tone yielded by the small holes thus
O
jilaced. o
The second great defect
ordinary Mute
in the construction of the O
is connected with the first, and
partly the cause of it, as will presently be explained. o
This is, the use of keys which are closed by their
own springs, termed closed or shut keys. To de-
monstrate nature of this defect it is only neces-
tlie
o
sary to observe, that if the hole immediately below
another which is opened to produce a note be

closed, the note becomes weaker in tone, and lower

O
in pitch, constituting what is termed a veiled
note.
o
If two holes be opened to produce a note, and the hole o
immediately below be closed, the note will be slightly
veiled if the holes are small —that is, the tone M’iil
be somewhat enfeebled, although the intonation
will not be injured but if the holes are large the
;
o
note will not in this case be perceptibly
affected.
On the ordinary Mute there is but one hole o]ien o
between the holes which give the notes F sharp,
natural, B
A c
natural, and C sharp, and the closed
keys, F natural, G sharp, B flat, and C natural.
Flj. 8.
These are therefore veiled notes of the
worst character.
Between tlie F natural and G sharp closed
keys, and the
notes G
natural and B flat, there are two
holes open ;
these open holes being all small excepting
one, these notes
16 BADGKB S ILLUSTRATED
In the two first octaves of this
also arc slightly veiled.
FIntc there are no less than twelve notes out of the
twenty-four rendered imperfect by these four closed or
shut keys ;
and when added that
to this imperfection is
which arises exclusively from the smallness of some of
the holes, it will bo found that twenty of the twenty-four
notes are more or less defective in regard to quality of
tone. Tlie only really pure, full, and perfect notes being
the lowest C natural, C shaiq), D natural, and D sharp.
In the highest octave the disarrangement of the holes is

such, owing chiefly to the closed keys, that the correct

vent holes can not be employed. These being placed too
high, the notes are found to be much too sharp. The
vent holes of the half tone lower are therefore used, and
these make them too flat. The bad effect of closed keys
may be illustrated by reference to the diagram, page 13.
Suppose a person were to place his liand near the open
end of one of the tubes represented by II, while sounding
the note yielded by it, the effect would be to deaden the
tone and lower its pitch by altering and checking the
volume of air, and this in proportion to the nearness of
the hand. on this principle that the closed notes of
It is
the French horn are produced, and this is the cause of
their muftled quality. Any Flute-player may satisfy him-
self upon this point by sounding the note A upon his Flute,
at the same time opening and closing the G sharp key.
In order to seehow these defects originated and were
perjietuatod, we must refer to the Flute as made at the
early period, when it had merely six finger holes. The
opening successively of these six holes, as before observed,
combined with the note produced when they were all
closed, gave, though incorrectly, the scale of D major.
The reason why even this scale was incorrect is, that the
lioles were placed so as to come within the reach of the
Angers. As the fingers do not happen to vary in length
corresponding to the half and whole tones required (the
idea of keys to give artifleial length to the fingers not
occurring to our forefathers at that early stage of music’s
 ; '

HISTORY OF THE FLHTE . 17

progress), some of these original notes were -

*
necessarily too flat, and others too sharji

and as, when keys were successively added,

in order to obtain the chromatic scale, this
p
faulty arrangement of the original holes still

remained, the ordinary Flute, as to intona-

tion, is nearly as incorrect as it was two hun-
dred years ago. Fig. 4 shows the incorrect
position of the holes of the ordinary Flute = —
more fully by placing it by the side of the i

tube as explained in ISlo. 1. Fig. 4 will

illustratemore fully the real difference in
the positionsand size of the holes between
the ordinary and the Bcehm Flute, hfo. 2
© e

represents the medium-sized hole ordinary

Flute. h7o. 1, the tube of the Boehm Flute
without the keys the dotted lines show
; i 1
where the holes slioidd be on the ordinary
© 0
1* lute to be correct. Tlie tone received
some improvement when the D sharp key @
was added. By keeping open this key
with the little Anger of the right hand it
acted virtually like one of the open keys
lately introduced, rendering some of the
\j
notes near it much fuller and clearer. Those
in the highest octave were also improved.
In the same manner, when the F natural key
was added, those desirous of an improved
cpiality of tone were enabled to
keep this key
also open for the notes above it,
thus using it
0 -

as an oj?en key whenever practicable,

and ©•
admitting, in fact, the principle and
advant- 0
age of open keys. It was not possible to use
,

the &siiarp and B flat as open keysrw thcNo.

,
'

To. i.
1. ho
I'Jo.
'
2,
same manner, because the notes A natural and
B natural,
being produced by the holes next above
these keys, would
have been too sharp in pitch.
IS badger’s illostbated
On tliis subject we can only regret that it never oc
currcd to any one before Boehm’s time, that a key is more
easily kej^t 02)en by a spiring than closed; and that thus
the holes under the keys might have been acted ujmn like
the other holes. To regret this, however, is akin to
lamenting, if we may coinj^are small matters to great,
that although numbers before Newton’s day had seen
ajjjjles fall to the ground, it never occurred to any to fol-

low U2> the train of thought suggested from this circum-

stance, until he discovered by it the laws of gi-avitation,
or tliat, although water had often been seen to boil, the
wonderful })ower of steam had not sooner been aj^j^hed to
more important jDurposes.

3. V/hat the Btehm Principle has effected in Europe and

what in this Country.

I have endeavored briefly to show tlie nature and

causes of the impierfections in the ordinary Flute. From
what has been stated, the means by which these imper-
fections were to be removed may now be apparent. If
holes of unequal size and distance, and closed keys, pro-
duced these imperfections, they were to be corrected by
holes relatively eqiaidistant, and of equal size, combined
with open keys. This, accordingly, has been tlie line
jjursned.
It is not necessary here to cuter into the question
whether Cajit. Gordon or M. Bmhm first conceived the
idea of adopting these princi]3les, further than to observe
that, “if it could be shown that Capt. Gordon was tlio
first to experiment in that direction, it is certain that it
was Btehm who first produced .an instrument upon
these principles, which arrested the attention of the mu-
sical world, and ])rovcd the efficient cause of the reforma-
tion which the Flute has since undergone.
Btehm contrived this Flute as early as 1833, but it
attracted little notice until, at a session of the Academj^
 :

niSTORT OF THE FLUTE. 19

of Sciences at Paris, a commission was instituted to enter

into a examination ot its merits.
tull The members
api^ointed for this purpose were Mil. De Prouy, Dulong,
Savart, Paer, and Auber. The result of this examination
was, that the commissioners gave it their full approbation,
and recommended it to be used in the Conservatoire de
Musique of Paris. It was not, however, until the year
1843 that it attracted much notice in the European coun-
tries.

Its auspicious introduction into the French

capital, and
successful progress in France, induced Mr. John Clinton,
President of the Eoyal Academy of Music of London,
and
Professor of the Flute, to examine its merits, and to
con-
sider how far it might be acceptable to the English Flute-
player. This examination proved highly satisfactory in all
the essentials of a perfect Flute.He immediately entered
into an arrangement with Messrs. Eudall and Eose,
of
London, to obtain the English Eoyal Letters Patent,
and
commenced its manufacture. Its success was greater than
its most sanguine friends had dared
hope for, and notwith-
standing its high price, they numbered six
hundred the
liist year, and it was adoj^ted in the Eoyal
Academy of
Music by the pupils.
After Bcehm had learned the English Flute-makerg
to
niake the egg stand on its end, the old Flute
immediately
fell into disuse its smothered and unequal tones
;
coidd
no longer be endured they were in want
; of employment,
and they soon commenced inventing Flutes
and ap]Jying
to them these new principles,
and probably no less than
twenty of these modifications
have successively made
their appearance in London
But the Boehm Flute
alone.
has stetahly been growing in
public favor. In France it
IS the Flute for the
orchestra, for the concert-room, and
t le social circle.
In short, the Flute now takes its stand
among its
heretofore more perfect brethren.
I subjoin a few extracts from
the English press relative
to Mr. Carte’s public
lectures and performances in that
country
 ; — —

20 BADGE li’s ILLUSTRATED

The tone of Flute resembles a mellow soj>rano
this
voice, so liquid and pleasant is it the gradations from
;

soft to loud, and the extremes of each, seem producible

in a manner I never remarked in a Flute before. The
purity of the tone is remarkable, and it retains the same
quality throughout the register. Mr. Carte and his Flute
made a decided hit on this, their deJ>ut a more hearty
and genuine encore than that which followed his piece (a
very long one) could not have been desired by artist.
Musical Wmid.

and intonation of this instrument appeared

Tlie tone
to be and correct, and as we know ourselves that de-
fine
fective intonation and difficulty of fingering in our Flute
playing days were serious objections, and no very great
improvement has been made in their manufactm-e, we
hope this invention, as explained by Mr. Carte, will turn
out to be a valuable one. The lectures were well
attended, and appeared to excite much interest. Atlas.

Our great musical conductors may at length rejoice

that a perfect Flute is now made, and that their ears will
be no longer tortured by the weak C and A
natural, and
the incorrect E, nor by the imperfect execution of certain
Flute passages in some of the best overtures, which were
refdly impossible of finished execution and correct intona-
tion on the old concert Flute . —
Sunday Times.

To illustrate this quality (that of allowing the tone to

be attenuated to the merest whisper without losing the
quality of sound that belonged to the fullest tones, and
without changing in the slightest degree the pitch), Mr.
Carte played a finniliar French air, slightly varied for the
purpose. The effect was thrilling. 'VYc never saw an
audience moBe intensely spoil-bound by musical sounds,
whether vocal or instrumental. Mr. Carte’s plajdng is
indeed of the most masterly and finished character, and
no one, on hearing him. could hesitate to admit tliat the
 — — —

niSTOEY OF THE FLUTE. 21

acm6 of excellence must have been obtained in the con-

struction of the Flute. Liverj)ool Courier.

Lectuees at the Royal Institution. Mr. Carte played

with remarkably good effect, both as to fullness of
tone and brilliancy of execution, a fantasia upon bis new
Flute. His closing was “Rule Britannia,”
illustration
with Drouet’s variations, wbicb was brilbantly given and
loudly applauded. The lecturer, who excels both in bis
prelections and in bis instrumental illustrations, was
repeatedly and loudly applauded by the numerous audit-
ory —
Manchester Oua/t'dian.
.

ilr. Carte’s lectures on the present state of instru-

mental music, commenced on Tuesday evening, have
proved, as was expected, a rich treat bis illustrations on
;

the Flute being a class of musical performances such as

the public of Liverpool have seldom an opportunity of
listening to. His facility of execution is something truly
wonderful but bis command over the instrument is not
;

more remarkable than is the expressive character of bis

tones, and the depth of feeling wbicb be infuses into bis
softer passages. Tlie instrument wbicb be uses is pro-
digiously in advance of the ordinary eight-keyed Flute.
Liverpool Albion.

From what has been advanced, it will be apparent that

in Europe the Boehm Flute, although at first strenuously
opposed, has been steadily gaining ground in the public
—
estimation that it is the Flute most used in public and
private jicrformances. The introduction of the Boehm
I lute has exerted an influence different in this country,
because less general. In Europe “ the master” is the one
whose opinion is consulted by the musical amateur in all
matters pertaining to bis study; in this country, the music-
sellar. Tlie large dealer in musical merchandise also freely
imparts bis opinion to bis country customers. Should tlie
introduction of a so-called imjirovement be adverse to bis
 ;

22 BADGERS ILLUSTRATED
interest, it is with difficulty that it is generally intro-
duced. Li the city of ISTew York the Bcehm Flute is now
used by all of the first class of professors and amateurs,
who, with very few exceptions, once used the ordinary
Flute. Messrs. Ernst and Kyle have been mainly instru-
mental in introducing Kew York. The Bcehm
it into
Flute is Yale College, New Haven,
also a great favorite at
among the students, where it is performed upon and taught
in the most efficient manner by Professor Ainsworth. The
same success has attended it in many other of the prin-
cipal cities and towns throughout the country. Where the
Boehm principle has been introduced the effect, as a natural
consecpience, has been to create a great dislike to the old and
imjierfect system. One other obstacle also which stands in
the way of the general introduction of the Bcehm into this
country is the difficulty of manufacturing ; recpiiriug, as it

most masterly mechanical skill, and at the same

does, the
time a thorough knowledge of the principles on which
Flutes are constructed. In the manufacture of the old
Flute this high order of talent is by no means essential

being naturally so very faulty, a little deviation from the

prescribed rule is not perceptible. Water and steam
power are made available to produce them on the most
extensive scale, and the operatives seldom know any
thing of the scienee of music. From the foregoing re-
marks the reader can draw the inference that the school
has not been of a character to 2iroduce a very high order
of Flute-making ability consequently it has been for the
;

interest of the old establishments to prevent, as fiir as pos-

sible, the introduction of an instrument which is found
so difficult for them to jiroduce.

Miscellaneous Extracts,

From Clinlon's School for the Bcehm Flute.

Tlio first Flute of the new construction was com|)leted

by M. Bujhm, of Munich, in Gcnnany, December, 1S32,
and he jdayod upon it in jniblic, both in Paris and
 :

JI I S TOEY OF THE FLUTE. 23

London, the following year. The Boshm Mute offers the

following advantages
—
Perfection of Tune. Because every aperture is in its
proper and natural position.
—
Equality of Tone. Because the holes are equal in size

and distance, relatively, to the conical form of the instru-

ment.
—
SuPEEioE Quality of Tone. Because the bore of the
instrument is not sacrificed (as in the ordinary flute) to a
false arrangement and size of the finger-holes.
Greater Susceptibility of Sweetness. Because every —
note can be produced without e.xertion or difficulty.
—
Increase of Power. Because every hole is enlarged
to the most available extent consistently Avith purity of

sound.
The late ilr. ISlicholson (the celebrated Flutist) may be
quoted as an authority that large holes yield much better
tones than small ones. It is true, that every hole in
Nicholson’s Flute Avas necessarily of a different size, some
being about one-fourth smaller than others, and all of
them at unequal distances ;
and therefore it must be ad-
mitted that this instrument Avas exceedingly imperfect,
still he Avas enabled, by means of his consummate skill, to

almost conceal its defects, not only by command of lips,

but by selecting those keys and passages in which the im-
perfections were avoided, AAdiile at the same time he
brouglit prominently fonvard the great advantage of his
larger lioles, in the superiority of tone they Avere capable
of producing. It was the exquisite and full body of tone
which Mr. Nicholson produced from the large holes, that
induced M. Boehm to construct his ncAV Flute but ;

altliough he perceived that large holes were the best, he

was fully aAvare that, while some notes Avere A'ery full,
others Avere miserably Aveak and out of tune and he ;

therefore resolved to make for himself a Flute, Avith large

holes, but all of them alike. It was, then, to this circum-
stance that Ave are indebted for the present jicrfcct instru-
ment, AA'hich, in adition to the advantages I have already
2i badgee’s illusteated
enumerated, as to tone and tune, oflers others of equal
importance, viz. Much less extension of the fingers, afaoil-
:

ity of playing in tune, and with a gmre tone in every hey,

because the mechanism enables us to pass with ease from
one note to another. This renders “ all the shakes and
turns perfect.” The instrument is also perfectly in tune
in every key with oi\q fingering for each note.
With these decided advantages, which a slight acquaint-
ance with the instrument will render manifest, the Boehm
Flute must surely recommend itself to beginners, and
especiall}' asmore can be learned upon it in twelve months
than can be acquired upon the ordinary Flute in three
years, and that, too, with infinitely greater ease and satis-
faction to the player, and pleasure to the auditors. Many
persons who have already learned the old Flute, hesitate
to adopt the Boshm system, under an apprehension that
it would involve the necessity of an entire recommence-
ment.
This impression, however, I can assure them, is an erro-
neous one. The Boehm Flute may be substituted with
but very little trouble, many of the notes being fingered
as on the ordinary Flute and when a fingering is altered,
;

ithas the effect of removing former difficulties, instead of

continuing them while from the general simplicity and
;

completeness of the arrangement, it is very much easier

to learn the altered fingeringthan to remember the con-
stant changes of fingering which the old Flute indispen-
sably requires.
Some
persons entertain the idea that the Boehm Flute
iscomplicated and liable to get out of order, because its
appearance is so different to the ordinary instrument but
;

if trouble be taken to examine the mechanism minutely,

it will be found that it is not only free from complication
and from liability to derangement, but that it is sufficiently
strong and lasting for all puiqioses of a musical instru-
ment.
I have now played upon and taught the B(Ehm Flute
constantly for about seven years, and I can assure tlie
 niSTOET OF THE FLUTE. 25

public that the more I play upon it the better I like it,

and the more confidently can recommend its adoption to

others. I may add, that my pujjils, whether professors or
ameteurs, are equally warm in their admiration of it.

Perhaps no better proof can be given of the caj)ability

of the instrument than the fact of its being adopted in the
Eoyal Academy of Music in London, and after a few
weeks’ practice upon it, not one of the pupils has again
played upon the ordinary Flute, although they have had
their orchestral duties to perform, as well as solos, etc.

From Clinton’s Essays on the Flute.

Tliose who have already adopted it, feel its superiority

in a much greater degree than would be experienced in
playing upon an eight-keyed Flute, after an instrument
with but one key, because the addition of keys only im-
proved, but the system of Boehm perfects the instrument.
I myself practiced on the old Flute from boyhood, yet
when I became acquainted with Boehm’s system I was so
struck with its advantages, that I eagerly adopted it, and
as I am neither the inventor nor maker of the new Flute,
I trust I shall notbe considered as actuated by any selfish
motive in recommending its trial, which I feel persuaded
will lead to its adoj)tion as eagerly by others. As a
sincere lover of the art of which I am a Professor, I con-
ceive it to be a dutjq to make known publicly a system
that tends so materially to the advancement of that art,
and thereby to dispense to others the means of a pleasure
and gratification similar to that which I have derived
from the study of it.
JOHN CLINTON,
Professor of the Flute of the Royal Jlcadetny of Musicy London

Tlie undersigned. Professors of the Boehm Flute in this

city, heartily concur in the sentintents professed above.
PHILIP ERNST, 395 Broadtvay
EDWARD HUSCII, Jlstor House.
J. HALLARD, A^eio York.
o
 ^

26 badgke’s illustkated

The fuLlowing Report was rendered hy the Musical Commillee of the

Massachusetts State Fair, held at Boston^ in September 1846 :

ISTo. Of the three Mutes offered, the Committee

808 .

two Boehm Flutes, and recommend unanimously

select tlio
the award to Mr. A. G. Badger, of New York, the maker,
of a silver medal and diploma.
The instruments are in true tune, and of beautiful
workmanship.
As a class, the Boehm is an improvement on the com-
mon Flute, and is of modern invention. The Flute itself
is undoubtedly one of the most ancient instruments used,

and its use has never been discontinued, and yet it is an

imperfect instrument. Its defects are to be attributed to
the inexact position of the holes, w'hich have always been
pierced to suit the physical capabilities of the human fin-

gers, and do not correspond to the fractional parts of the

column of air, which will give acoustic proportions.
The consequence is, that in attempting to remedy this
defect, by increasing the size and distance of the holes,
an imperfect and unequal intonation is produced, and the
instrument requires too much of the player to keep it in
tune with itself, and with other instruments when jilaying
concerted music.
In the Flute of Gordon, modified by Bcchm, after whom
it named, an attempt has been successfully made to
is

remedy the inconveniences of the old instrument, by a

construction in accordance with philosophical principles.
The piercing of the holes, or, in other words, the regula-
tion of the column of air within the Flute, is in accordance
with the exact proportion to the size and length of the
column, which will produce the true sound required. Tlie
holes have tliat size and that distance which arc calculated
to prod\ico the right result —
but the body which the iiistru-
meut thus modified attains, renders the ordinary mode of
lingering impracticable, and a mechanism of keys is aj)-
plied, ingeniously adapted to )uoet the physical organiza-
tion ol the fingers, and to produce the required effect on
 ; :

niSTOKY OF TUE FLUTE. 27

the iiistrumeut. Its mechanism is simple and elegant.

The scale is as easily acquired by the beginner as is that
of the old Flnte. The effort required of the lungs to fill
it is and rapid passages are rendered more
less difficult,
manageable, the tone is equal, pure, clear, and sonorous
shakes are made with great evenness and precision and, ;

in line, its advantages over the ancient instrument are so

many and so important, as to render it altogether probable
that it will eventually supercede its use.

From the Buffalo Commercial Adverliser.

A few days since we received, through the kindness

of a friend, three Flutes —one a common eight-keyed
Flute, improved another, a Diatonic Flute ;
and a
third, a Boehm Flute, from Mr. A. G. Badgee, of 181
Broadway, New York. The improved common Flute
is a good instrument, and in workmanshijr, accuracy

and perfection of tone, superior to those usually in market.

Tlie Diatonic Flute is an instrument so altered in size and
position of holes as to give A and E, which on the com-
mon Flute are extremely weak and imperfect, full and
nerfect tones. This is done by making the holes large
and equal distant, and the third linger of both hands of
the player to operate on keys instead of holes, causing no
change in the manipulation for those notes from that of
the old Flute, and so little varying in others, and these on
the third octave, as to render the changes of lingering so
slight, that an examination of the scale for one or two
hours, with a good memory, is sufficient for one who is a
on tlie old Flute, to do justiee with it to music.
proficient
These arrangements, by rendering its notes so full and
nearly perfect, make it vastly superior to tlie common
Flute, however improved.
Tlie Boehm Flute is an instrument in the construction
of whicli the principle of equality in size and distance,
that is, the natural order of tlie size and situation of the
holes, is preserved inviolate, thereby rendering its every
28 BADGERS IL DUST BATED

note and mellow in tone, so perfectly so, as to

full, rich,

fit it accompanying the most perfect stringed instru-

for
ments and the best trained voices, being in this respect
suj^erior even to the Diatonic. The machinery used by
the fingers, instead of the keys of the Diatonic and com-
mon Flute, gives facilities, resources, and varieties of per-
formance and execution impossible in either of the other
Flutes. Difficulties which on the common Flute are
almost insurmountable, are on the Boehm removed, and
no new ones created in them places. It is truly a most
perfect wind instrument. One who is by nature a musician
and a good manipulator, and used to the old Fhrte, can in
one or two weeks, taking only the time usually devoted
to jmactice by learners, become so familiar with its pecu-
liarities as to use it without much risk of mistake and

embarrassment in the character of music to which he is

accustomed in fact, the trouble of learning its use is a
;

trifle, when compared with the satisfaction and delight of

making music. “The system of Aamwifc fingering,”

in the language of Clinton, “ in the Boehm Flute, oilers
resources for the execution of passages in the third octave
hitherto unknown.” Tlie benefits of the perfect tone of
each note are also clearly perceived in its hannonies, the
use of which is in so many We say
cases indispensable.
to amateurs of the Flute, examine the Boehm with oare
and without prejudice.*

* The Boehm Flute has been much noticed by the press throughout the
country. Many of these articles were valuable, showing that the writers
were fully capable of forming a correct estimate of the manifohl advantages
secured by the Boehm, or perfect system. Some of these articles I have
unfortunately lost, but I have many still in my possession, which I would
republish did the limits of this pamphlet permit. I have also many auto-
graph letters from individual purchasers of the Bcehm and other Flutes
of my manufacture, which may be seen at the manufactory, by those
interested.
 I :

niSTOKY OF THE FLUTE. 29

On Jan. 17th I addressed in substance to Messrs. Ernst,

Kyle, and Ainsworth, the annexed note :

GentleiMKiS — am now collecting matter, and am about publishing

a work, the subject to be “The History of tho Flute, and an account
of the successive improvements upon the instrument, with a description
of the new or Boehm Flute.” My
experience in such matters is, of
course, worth something, but my book would by no means be comjtlete
without the asseverations and experiences of the practical man. You,
sir, have been long and favorably known to the American musical public

in the character of Professor of the instrument on which ray little work

will treat, and your opinions will carry with them great weight. By
favoring me with a communication on the subject you will confer a last-

ing favor on
Your most obedient servant,
A. G. BADGER.
The following are tlieir replies

Letter from Professor Ernst.

New York, Janvary 22, 1S53.
Dear Sir —In reply to your polite request, Mr. Ernst takes
pleasui’e in adding his testimony to the excellence of Boehm’s inven-
tion, and although much attached to the old Flute, as a faithful com-
panion more than thirty years of his artistical career in Europe and
for.

in this country, ho does not hesitate to acknowledge the new one ns

superior to all that have appeared till now. Mr. Ernst feels it also due
to state that his opinion has been based upon much experience and

under circumstances unusually favorable to a correct test. Having

enjoyed for a series of years an influential position in London and
Paris as Flutist to the Court, he has had many opportunities of inves-
tigating the diverse constructions which have been introduced, and after

mature consideration he has found nothing to shake his confidence in

the instrument he now uses. He would also add, that ho has strong
reasons to believe that Boehm’s improvements are tacitly appreciated
by most people, but that the patent which debara their free uso has
been the greatest drawback to a general adoption. This notion is
much strengthened by the very fact that recently the main endeavors
of European makera have been to produce a Flute as nearly like

Bcehm’s as without palpably infringing upon his privileges.

possible,
As such hindrance does not obtain here, it is to be hoped that we will
derive fully tho advantages of so valuable a discovery, and ns such Mr.
Ernst would recommend it moat cordially.
I remain, dear sir, youre respectfully,
PHILIP ERNST,
Professor of the Flutc^ 397 Broadway^ New York City,
To A. G. Badger, Esi^.
«

30 badger’s ieliist rated

Letter from Professor Kyle.

Mr. Badger: Sir —

A few days since I received a letter from you,
informing me you were about publishing a work on the Flute,
that
addressed to amateurs throughout the United States, and requesting my
opinion of the Boehm Flute.
About six years since I attended a mnsical party, where I met
gentleman from South America, who had jturchased, while in Europe,
a Flute invented by B®hm, the celebrated composer' and performer,
which was being generally introduced there. Upon attempting to
play upon it, I found I could not execute the scale, owing to its ])eculiar
constrnction. The ne.xt day, being desirous to see it again, I called on
Mr. Brix, accompanied by a brother Flutist. After hearing him play
on it again, I took the liberty of asking the loan of it to take the pattern,
which he kindly granted. Mr. Larribee’s, the
I then proceeded to
Flute manufacturer, and having examined it, he was so much pleased
that he made from it the first Bmhm Flute made in the United .States.
The first opportunity I liad of testing the advantages of the Bmhm
Flute over the old, satisfied me
was an immense improvement on
that it

the latter. The question then be asked, “ Why, if you thought

may
it so superior to the old Flute, did you not adopt it?” That question
is easily answered. I was the first Flutist of the Italian Opera and
Philharmonic Society, and could not spare time to study it sufficiently

well to test its qualities and give me that confidence so indispensable to

a public performer. When I had a cessation from these dnties I im-
mediately commenced practicing, and had made considerable progress,
when I was obliged to relinquish it in consequence of being engaged to
accompany Jenny Lind in her tour through the United States. After
having finished my engagement with her 1 was called on to accompany
Catharine Ha}'es on her tour, and on my return, to play at the Sontag
concerts. I have therefore had no opportunity of giving tho Bmhm
Flute a fair trial, except in the way of teaching. That tlie principles
on which the old or ordinary Flute is constructed and fingered is en-
tirely founded in error, no one who has given the subject an examina-
tion will for a moment deny ;
and neither can it be denied that Bcehm’s

invention is founded upon principles which make the Flute as i>crfoct

as any one can desire. I have found that tho main objection to its
adoption by the more advanced i)erfurmer, is tho change in the habit
of fingering, which this system indispensably requires yet nineteen ;

twontieths of thoso who have adopted it within tho circle of my ac-

quaintance have been of and have soon acquired remarkablo
this class,
lacility. One of my best scholars commenced it, and is now ono of tho
most efficient performers in tho city. Many ])rofessors also, of my ac-
qnaintanco, whoso dnties do not call them to appear as public p(>rform-
ers, have adopted it, and speak of it in tho highest terms. Profossors oi
 HISTOET OF THE FLUTE. 31

the Flute are much indebted to Boehm for his invention, as it has been
the means of numerous improvements being made on the old or Ger-
man Flute, the most successful of which is the Diatonic, patented by
if. Siccama, of London, on which I now play the bore of which, and —
the alteration of the distances and size of the holes, were doubtless
suggested by Boehm’s invention, although the fingering, with three or
four exceptions, is the same ns the old Flute. A short time siuce I
saw a Bcchm Flute purcliased by Charles L. Mather, Esq., one of my
pupils. The bore of this Flute is dilferent from anj- I have heretofore
seen, and carries out an idea I had in regard to the bore in the early
part of my musical career, and experimented by cutting out the lower
end of my it would
Flute, thinking improve the tone. The quantity
and quality of tone of these more recent Flutes is certainl}’’ far superior
to an}- 1 have heretofore tried, and as you inform mo you are making

other Flutes from this pattern, I would recommend to amateurs, before

purchasing, to give you a call, and I am sure they will find the Boehm
Flute, and others, manufactured by yourself, equal, if not superior to
allothers. This I feel bound to say from the excellent manner in
which you have made Flutes purchased by me at different times for
my scholars.
Wishing you every success in your endeavors to call the attention of
gentlemen throughout the country to cultivate a taste for studying this
beautiful instrument,
I am, sir, yours truly,
JOHN A KYLE,
Professor of the Flute, 184 East Fifteenth Street. New York.

Letter Jrom Professor Ainsioorth, New Haven, Conn.

Mr. B.\dgkr : Dear Sir — I received the package safe Saturday

evening. The new Flute is a very fine instrument, and I think will
please. You write me that you are about to publish a pamphlet illus-
trating the history of the Flute, and wish me to give you my experi-
ence in the use of the different Flutes now claiming the attention of
Flute- players. I will cheerfully comply with your request. The
pleasure which the use of the new Flute has alforded me would of
itself be a sufficient inducement to be the means of extending that
which 1 enjoy. I have been a lover of the Flute
gratification to others
from my childhood,
and after becoming somewhat familiar with its use,
I found mysolf much dissatisfied with it on account of its imperfection
of tune, and the great inequality of its tones indeed, its defects hove ;

hitherto been so glaring that but fow persons, comparatively, have ever
been able to overcome its difficulties sufficiently to arrive at eminence
upon the instrument. 1 supposed at first that the fault was with the
32 BADGE It’s ILEUS TEA TED
piirticuliir nmkor wliom I employed, and in the hope of getting some-
thing that would please me better, I tried this and that celebrated
maker, but the same difficulty, like “ Banquo’s ghost,” was ever pres-
ent. While laboring under these disadvantages, and little thinking that
any change would ever be brought about in its construction, my
radical
attention was directed to the Bcehm system, and I confess I was at first
inclined to give it the grave title of humbug, which, notwithstanding
the progressive tendencies of the age, must be applied to every thing
new. On giving it a trial, however, I soon began to think there was
something in it worthy of attention. I purchased my first Bcehm

Flute of you about three yeiu's since, and had used it but a short time
before I entirely laid aside all my old Flutes, and I can assure you that
I have had no inclination to return to them. The philosophy of the
new Flute must, I think, commend itself to every rational mind. It is

folly to speak of it as being so very scientific that its difficulties can not
be mastered. I can only say that a few weeks’ practice upon it fully
convinced me that my laborswould be amply rewarded and so I have ;

found it. I use it in giving my lessons, as well ns orchestral and solo

playing, and with far greater satisfaction to myself than I ever could
on the old Flute. I can not too strongly recommend the new Flute to
all who love this much-admired instrument, and especially to new be-
ginners, for 1 conceive that time and money, and some grievons annoy-
ances would be saved by lading it at the comrrrencement.
With my best wishes for the ultimate success of the Boehm Flute,
I remain yours, etc.,

N. D. W. AINSWORTH.

Coacluding Remarks.

From what has been advanced it must, I think, be evi-

dent that the Flute has been undergoing, for a number
of years, a very iniiiortant develoimient, and that this
reformation extends not only to the Flute, hut to all the
fingeredwind instruments. "We have seen that the Flute
and these instruments went hand in hand through similar
progressive steps of improvement for a period of two
hundred years, led on by the necessity of keeping pace
in some measure with the march of modern scientific
music; hut that, owing to the very imperfect foundation
upon which these improvements were built, such gross
imperfections of tone and intonation still adliered to them
 •

niSTOET OF THE FLUTE. 33

that theywere neglected by the great masters of compo-

sition,while the folios of their more fortunate brethren
of the violin class were enriched by them with mines of
musical wealth. We have seen that when the increasing
musical intelligence of the times arrived to such a pitch
that these defects could no longer be countenanced, a suc-
cessful eflort to remedy them was made by Boehm.
Wo
one will attemjjt to deny that Boehm has been the great
agent of this important movement and when we consider
;

how much courage must have been required in an indi-

vidual to oppose himself to the prejudices and interests
of two hundred years’ growth, we must conclude that
nothing but an enthusiasm inspired by the conviction
that in thus exerting himself
he was effecting a great and
useful object, could have carried him on. Tlie great
points gained have been, we have seen, perfection of
tone
and intonation ; the removal of these imperfections in
these respects, which, notwithstanding the charm
which
always made the Flute pojjular had become proverbial —
the changing it, in fact, from an instrument formed
upon
no principle, but as chance or empirical experiment sug-
gested, to one constructed upon highly scientific
princi
pies. The old reproach of unequal tones and incorrect
intonation can no longer be urged against the Flute
by
the most fastidious. Added to this, the quality
of the
tones, which always rendered the Flute popular,
is also
greatly improved. Tliey are sweet and clear, rich and
sonorous, liquid, powerful, and free. Like a beautiful
soprano voice, their volume may be increased to the ut-
most stretch of their power, or may be decreased
to a
mere whisper, without affecting the intonation, in
a man-
ner never before attempted. This latter capability is, of
all, the most desirable,
as affording the means of embody-
ing and conveying, at the will of the
performer, every
variety and every shade, even the most
delicate, of mu-
sical expression. Connected with this is the faeility with
which the sounds are produced. They are elicited
witli
the greatest ease, a very little breath being
sufficient so
’

2*
34 BADGE It ’s ILLDSTKATED
that those with weak lungs, who might hesitate to prac
tice on a Flute of the old shape, may use one constructed
according to this principle. So little exertion does it re-
quire, that it may be played by the most delicate person.
In summing up what Beshm has effected for the Flute,
M'e can scarcely estimate this eminent man’s services too
highly. We see by the sketch before given, the successive
steps by which the ordinary Flute has progressed from its

primitive single diatonic scale to its present capacity of

giving all the diatonic scales. It was Boehm who stood
forward to oppose the deeply-rooted prejudices engen-
dered by this long continuance in a wrong course. It
was the enduring j^atience and perseverance of Bcehm
that opened the eyes as well as the ears of those most
blinded by former prejudices, to the value and importance
of equidistant holes and open keys. He convinced their
senses as well as their udgment. Many who at first op-
j
posed the movement from interested motives, as well as
from prejudice, have at length yielded to the force of the
truth. His senses must he indeed obtuse who can not
hear the superiority of the free tones gained by the open
over the muffled tones of the closed system, and has dis-
cernment enough to see that various sized holes must
produce notes of various quality. It was Boehm who
rendered these principles palpable and if what I have
;

advanced has interested the reader, or been the means of

throwing light upon the subject, and thereby elevating
the taste and convincing the judgment of the lovers of
this instrument, I shall consider myself amply rojiaid for
tills, my first edition of the '•'Illustrated History of the

Flutel

Hints as to the Proper Method of Studying the Flute.

Philip Ernst, one of the oldest and most experienced

professors of the Flute in this country, says that very few
of all the pupils to whom ho has imparted instruction
 HISTOEY OF THE FLUTE 35

seemed, on the start, to be at all aware of the importance

of a correct position for holding the Flute, and that per-
sons who persevere in a wrong course in this respect
rarely, if ever, make creditable performers. My own ex-
perience would sustain these conclusions, and so, I suppose,
would that ot my readers. This habit is caused mainly
by an habitual stooping position of the body, and much
physical injury often results from this cause. An erect
position ot the body is as necessary to the free action of
the chest and lungs as is the j^hysical strength and where
;

injury results from this cause, the playing or the singing

is not in fault, but the chaining the action of the
respira-
tory organs. Tlie Germans are, of all, the most musical
people. Music forms a main part of their education.
The greatest composers and performers originated among
the Germans and who does not know, that although
; the
Germans have a very rigorous and changeable climate,
pulmonary difEcirlties are seldom known among them.
Mow, I wish to set the amateur right in respect to a cor-
rect position, and show him, if he will follow
my directions, that he can not only acquire a
pleasing accomplishment, but a healthy and
well-developed chest in the use of the Flute.
In the first place, study the position of
Fig. 5. Observe with what ease and grace
it stands how well developed the chest how
;
;

easily the head is balanced on the

shoulders,
lie is not afraid to look you in the face
;
he
stands erect, like a man. A
person of this
figure will get through the world
much easier
than one of your round-shouldered,
sneaking
kind. Mow, before you again take up your
Flute, place yourself in the
attitude of this
figure at the same time inhale your
;
lungs
full of and retain it, allowing it to pass
air,

off gradually; jerk your elbows back

until
the shoulder blades lie flat
with the back;
36 BADGERS ILLUSTRATED
make frof|uent use of this exorcise until it becomes natu-
ral. Fig. 6 is a wrong position for bolding tlie Flute, but
a little observation will convince tbe reader that nine
tenths of the Flute amateurs hold the Flute in this posi-
tion. I have drawn it in a sitting posture, as it is thus
that bad habits are mainly accpiired. As far as practica-
ble, a standing posture is the best while playing the
Flute. If accompanying the piano, or other musical iu-
Fig. 6.
 HISTORY OF THE FLbTE 37

strumcnt, do not stoop o%"cr the copy of another, but have

your music elevated nearly to a level with your face.
Fig. 7 is the correct position for holding the Flute while
sitting, and if frequent resortis had to studying tlie posi-

tion of Fig. 5, this will become the most natural one, and
a finely-formed and well-developed chest will be the
result. No injury can result from giving the lungs suita-
Fig. T.
 ;

38 badgek’s illusteated
ble exercise when they are not shackled i)i

their action by the chest bone and shoul-

ders resting upon them. The above hints
will prove acceptable to many they —
should he observed by all.
My advice to those who are predisposed
to weakness of the chest or lunm is, not to
discontinue or refrain from the use of an
easy-toned wind instrument, from fear of
injury, for its action upon the chest is

precisely similar to the inhaling tube,

which is now made the main remedy in
the ti-eatment of pulmonary affections
regard must be had, however, to stated
times, and practice should not be so far
protracted as to cause fatigue.

Scale of Prices of the Bcehm, Diatonic, and

Ordinary Flutes.

Tlie price of theEojhm Flute is neces-

sarily higher than the ordinary one, as the
amount of time necessary to comjjlete a
first-rateinstrument of the Boehm kind is
about three times that required for a $45
eight-keyed Flute. I have reduced the
in-ice of the Boehm to the lowest mark, in
order to remove, as far as possible, the
high-price objection to its adoption, and
k my present price for the instrument is
* lower than in England or Paris. I have
been frequently solicited to make the keys
and mountings of brass or German silver,
but 1 have thus far induced such to pay
the extra difference and have the sterling
silver, which I use perfectly pure and un-
alloyed. 1 have never yet positively refused to make tlie
 HIS TORY OF THE FLTTE. 39

Bcehm with other than silver mountings, but would much

prefer to not thus disgrace so beautiful an instrument.

Bcrhm Flute, of best Jamaica cocoa wood, cork joints, in case com-
plete, German silverkeys §45
Same as above, with silver keys 55
Same as last, with keys for shakes, and exceptional fingerings,
witli furniture complete 70
Same as Inst, with English pattern keys 75
“ “ “ with silver sockets and banded tenons 80
“ “ “ with silver mouth-piece 85
“ “ “ with metal stops, C keys 90
“ * '• with silver engraved top and foot 95
“ “ “ with silver grease box and silver-mounted furniture,
with first quality case 100
Fig. 9.

Fig. 8 is a cut of the Boehm Flute, with the

head joint detaehed, showing the arrangement
of its holes and keys, with the keys for shakes
and exceptional fingerings, which keys are all
included in the higher-priced instruments.
The Diatonic Flute (so called) is one of the
many modifications of the old Flute suggested
by Boehm’s invention. Tlie object of this in-
vention is to give to the professor of the old
Flute a better instrument than the ordinary
one, and retain his old habits of fingering.
The design of the inventor is in many respects
realized. Tlie smothered and incorrect E and
A of the old Flute are in this instrument ren-
dered clear and full by placing the holes for
these notes in thesame position they occupy
on the Bmhin, and the physical inability of the
fingers toreach these holes is obviated by
stopping them with open standing keys. The
accompanying cut will fully illustrate this.
Fig. 9 is the middle section of the Diatonic
Flute,showing the arrangement of the open
standing keys of the E and A, which is the
only striking peculiarity and dilference be-
 :

40 BADOEE'S ILLUST BATED

tween this Flute and the ordinary one, in the arrange-
ment of its keys. The finger holes are all much enlarged,
and much the same, compared in size and distance, to the
Boehm. The bore of the Diatonic is also much improved,
consecjuently the tones are full, and the tone and tune of
the entire instrument is very much in advance of the old
Flute ;
but as
previous attempts to reconcile a false
all
system of fingering with a correct position and size of the
holes have heretofore proved abortive, so, comj)arativoly,
is this one also. I will mention a few of the objections to
this arrangement. The old fingering is retained only in
the first two octaves ;
in the third a change takes ]5lace in
four instances. C natural of the old Flute
Tlie fingered
is a tolerably good note, and is a convenient fingering for
that note in many passages but in the Diatonic this note
;

is much injured, caused by the change made in the size

and position of the A finger hole ;

this renders it neces-
sary to resort to the B shake key in all cases where a clear,
full note is recpiired. The open standing keys of the E
and A, as ordinarily constructed,^^ are an embarrassment
to smooth execution. The' inventor has not given us a
better fingering for F natural, which has always been con-
sidered one of the grand defects of the old fingering. He
has not given ns the open keys for the shut system, and,
in short, his Flute lacks in many essentials the advantages
secured by the Boehm system. Shortly after this Flute
made its appearance I sent direct to the patentee, Mr.
Siccama, of London, for one of his best, and I have made,
and make still from this pattern, of the best material, in
every respect ecpial to the original, as follows

Diatonic Flute with silver keys, C key metal stop, liung in wood. ?45
Same as tlie above, keys hung in silver studs, cork joints, En-
glish pattern keys, in case, with furniture complete 65
Same as the above, with silver mouth-piece 70
Same us the above, with engraved top and lower end cap fiitish.. 75

*have made an improvement in the arrangement and construction of

I
the open keys of the Diatonic Flute, which renders the execution smooth,
and docs away with the noise, which is a necessary accompaniment when
constructed in the usual way.
 HISTORY OF THE FLUTE. 41

Fig. 10.
Mr. Kyle, the emiuent Flutist, in connection
with myself, have much improved the scale and
arrangement of the kej'S of the ordinary eight-
keyed Flute. We have brought up the holes of
the lower key notes, and arranged the C keys
to work across the joint instead of horizontally.
Fig. 10 is a cut of the improved eight-keyed
Flute, with the lower joint turned a little
inward, showing the arrangement of the C keys.
By this arrangement the lower notes are not so
usual with most eight-keyed Flutes, and
flat as is

these keys work and stop much easier than the old
method. Tliis Flute is a pattern of Mi'. Kyles’ old
eight-keyed Flute, with which he won so much
renown.
I make this Flute, with either large or small holes, of
best Jamaica cocoa wood, ke 3's hung in German
silver studs, and German silver keys in case. . $25
Same as the above, with silver keys and mountings, cork
joints, morocco case, with furniture comjilete . 35
Same as last, with metal stops, C keys 40
“ “ “ with silver mouth-piece 45
“ “ “ with silver engraved top and foot-piece. . 50
“ “ “ with silver sockets, English pattern keys,
jewel in screw center C5
“ “ “ with the addition of G sharp and B flat

shako keys 70

Superior Flutes of every description manufac-

tured to order in the most elegant manner, of the
best seasoned and prepared Jamaica cocoa wood,
fine sterling silver mountings, and each instru-
ment will be inspected by a competent professor,
and a certificate given, if rccpiired. Persons
ordering Flutes from a distance can exchange
within a limited period, should not their first
selection fully meet their approbation.
Common Flutes from §1 50 upward constantly
on hand at wholesale and retail.
 tmi nf Snstrurtintr ®nob, Mmu, Etr.

Price.

CLINTON’S SCHOOL FOE THE BCEHM FLUTE §!4 00

This is a work of seventy-five pages, by John Clinton, Professor
of Music, of the Royal Academy of Music, London. It is in-

tended for the beginner upon the instrument, and is the most
tliorough and complete work for the Bcchm Flute yet published.

CLINTON’S ESSAYS ON THE BtEHM FLUTE 2 50

This work, by the same author as the above, is intended for the
amateurs of the old Flute on adopting the new. It is very
thorough and complete, and contains a large number of popular
airs and exercises, suitable alike for the young or more advanced

Flutist.

STEAUSS’ WALTZES,
Arranged for Flute and Piano

PHILIP EENST’S ALBUM DE FLUTIST,

Containing six numbers of popular aim, arranged as solos for
liia Flute, each 25

BCEHM’S SOLOS,
With variations, and piano accompaniment, “ Thou Reign’st
in this Bosom,” “Swiss Boy,” etc., etc

FOEDE’S 13 OPEEATIC AIES,

Arranged for Flute and Piano

NICHOLSON’S SCHOOL FOE THE OEDINAEY FLUTE,

Being a new Practical Instruction Book, in two volumes, each 3 00
This is the most complete Flute Preceptor ever published. It
takes the learner from the very first rudiments of Fluto-jilaying
to the finished artist. The difficulties are overcome gi-adually,
and to each lesson is attached an explanatory note. The two
volumes bound 5 00
 CATALOGUE OP FLUTE MUSIC. 43

FLUTE DUETTS.
Arrangers. Price.

Overture to Ainilie (Rooke). Pons SO 50

Overture to La Dieu et Bayadere (Auber) Pons 50
Overture to Caravan 38
Overture to Cinderella (Rossini) 30
Overture to Italiana in Algeria (Rossini) 38
Overture to Gazza Ladra (Rossini) 30
Overture to Otello (Rossini) 30
Berbiguier’s Easy Opus, 59 Berhiguier 1 25
La Bayadere Airs, No. 1 (Auber) Walchier 1 00

La Bayadere Airs, No. 2 (Auber) Walchier 1 00

Weiss Studio on Modulation Weiss 1 00

FLUTE MUSIC.
Strauss’ Waltzes, No. 1 and 2, each 50
Downes’ Waltzes Downes 50
Massaniello Airs (Auber) - C. Nicholson 75

TriE DAKCER’S COMPANION,

A collection of Airs arranged as Cotillions (with figures), for
the Flute or Violin. Each No 38

CONTENTS OF NO. I.

Trip to Boston. ’Tis the Scottish Drum.

Evening Song of the Tyrolean Peasants. Lord of the Manor.
Alaric Quadrille. Saxon Dance.
Away to the Mountain’s Brow. Mistletoe Bough.
Barcarole from Fra Diavola. Rose of Allendale.
Alpine Maid. Gaily the Troubadour.
II Pirata Quadrilles. La Cornelia Quadrilles.
Gazza Ladra Air. The Bower.
William Tell. Oh ! it was not for me.
Green Hills of Tyrol. La Flora. Ernani Quadrilles.

CONTENTS OF NO. II.

Love Breathes in wert oy my Side.

every Plant. If thou
Bonnie Dell. Now isn’t it a Pity. Evenasthe Sun. Surprise. Bride.
Let the Toast bo Dear Woman, La ci darum. Poachers.
March in Moses in Egypt. Mellow Horn.
Statuse, or Quick Waltz. On yonder Rock Reclining.
La Josephine Cotillion. La Vendome Cotillion.

La Moise Cotillion. La Victor Cotillion. Zampa Quadril

4r4 CATALOGUE OF FLUTE MUSIC.
CONTENTS OK NO. III.

La Bayadere Quadrilles. The Challenge.

False one, I Love Thee Still. Wood Up.
La Petite Soiree Quadrilles. The Carbineers.
Hark! ’tis the Signal for Meeting. Rose of Peace
Young Agnes. Mariner's Bride. Social Gallop.
A Barque flew o’er the Waters. Highland Minstrel Boy.

CONTENTS OF NO. IV.

La Bayadere Quadrilles, No. 2. Jim Crow. Clare de Kitchen.

Sitting on a Rail.Back Side of Albany. Long time ago.
Sambo’s Address. Zip Coon. Jim Brown. Gumbo Chaff.
My Long Tailed Blue. Bone Squash Diavola. Coal Black Rose.
•John Nott. Silver Moon. Omnibus Quadrilles. Post Chaise.
Bridal Fete. The Disappointment. Wedding Song. Billy Barlow.
Sweet Birds are Singing. Am I not fondly thine own ?

THE CABINET,
A collection of choice melodies — arranged with variations for
the Flute, by C. Nicholson and others. Each No $0 50

CONTENTS OF NO. I.

Arrangers.
Yon Weber’s Last Waltz (Variations).... Berbiguier.
Tyrolese Peasant’s Song (Variations) Forde.
Savourneen Deelish Nicholsim.
Sprig of Shillelagh (Variations) Nicholson.
Tu Vedria Huntley.
My Love she’s but a Lassie yet B. Lee.
Yellow-haired Laddie (Variations) Drouet.

CONTENTS OF NO. II

Beethoven’s Last Waltz (Variations) Berbiguier.

Aria ri Braccio mio conquise T. Bucher.
Deh non Costringere Forde.
Sounds so Joyful Krakamp.
Portuguese Air Nicholson.
Non Giova il Sospiran Forde
We part to meet no more C. Sausl.

CONTENTS OF NO. III.

II est trop trad (Variations) Clinton.

O earn memoria (Variations) JJiabelli.
Ranz des Vnehes N. IFeiss.
La Retour de la Tyrolean Clinton.
Los Souvenir des Pays (Variations) .. .Clinton,
Air from Nina Clinton.
 CATALOGUE OF FLUTE MUSIC. 45

THE FLUTIST’S REPERTOIRE,

A. Marches, Waltzes, Polkas, and Mazur-
collection of Songs,

kas, arranged as Solos, Duetts, and Trios, for the Flute or

Violin, in numbers, each
SO 00

COKTK.NTS OF NO. 1.

Mi pizzica mi stiraola. Isle of Beauty, fare thee well.

Hark 'tis the Signal of Meeting. Walch’s Military Waltz.
!

Bonaparte Crossing the Rhine. Evening Song to the Virgin (Duet).

Von Weber’s Last Waltz. Minstrel Savoyard. Gift (a Cotillion).

Green Hills of Tyrol. Marseilles Hymn (Trio).

Behold how Brightly breaks the Morning (Trio).

Poor little Love. Wilt thou meet me there, Love 1
No, I will sigh no more. Leonore. Plelen Trevor.
Lightly Here (Duet). Yes, I will leave my Father’s Halls.
Brigade Quadrilles,
No. 1. Red Coats. 2. L’Amore. 3. Est un Garcon inconstant.
4. Love’s Ritornella. 5. Bavarian Girl’s Song.
Merry Mountain Boy. Herr Cline’s Dance. Trio, by Staunton.
Buona Notte. La Parisienne. Centennial March
Auld Robin Gray. Le Sylph de Braddock.

CONTENTS OF NO. It.

Light Bark. We
Met. Sailor’s Tear.
Once a King there chanced to be. Morning its Sweets is flinging.
Beautiful War. Strike for Tyrol and Liberty.
Captain Winthrop’s March. Otis’ Quick Step.
Sigh not for Summer Flowers. As it Fell upon a Day (Duet).
Challoner’s Sett of Gallopades, Nos. 1, 2, 3, 4, and 5. Opera Waltz.
Maid ofLangollen. See our Bark (Trio). Here do we meet (Duet).
La Dame Blanche Waltz. Steamboat Quick Step
\

CONTENTS OF PfO. III.

New Vienna Waltz. Alaric Quadrilles, by Herz.

He passed as if he knew me Rondoletti by Diabelli.
not.
Scottish Drum. Rose will cense to blow. They tell thee, perchance.
Post Horn Waltz. Trip to New
York. Admiral Franklin.
Faithless Isabel. Corsair’s Bride. My
Heart’s True Blue.
Hunter, let thy Bugle blow (Duet).
March in Cataract of the Ganges (Trio).
Tyrolese Peasant’s Song (Duel). Foresters Sound the Cheerful Horn.
Marca on for the Lad. Moon is up. Lord of the Manor.
Leipsic Gallopade. Saxon Dance. Almack’s Waltz.
Round my own pretty Rose. Mazurka. Meet me at Sunset.
La Vesbile Waltz. Navarino March.
Look from thy Lattice, love (Duet). Spring Quadrilles, by Herz.

J
46 CATALOGUE OF FLUTE MUbIC.
CONTENTS OF NO. IV.

Away to Brow. Hunter’s Signal Horn.

the Mountain’s
Gondolier’s Song. Are you angry, Mother?
Fare thee well, since we must part. Hours there were (Trio).
Wintertown Waltz. Miss Clark’s Hornpipe.
Quick Step, by Hewitt. Go, forget me (Duet).
Tompkins Blues’ Quick Step.
Nahant March. Italian Quick Step.
Isabella Waltz. Spanish Dance. Music Floats in the Air.
In Light Tripping Measures. Softly, Softly, in a Whisper.
Hark! the Vesper Hymn is Stealing (Duet).
Captain Vincent’s Quick Step.
Massaniello Quadrilles —
No. 1, Market Chorus.
No. 2. Barcarole. No. 3. Fisherman’s Chorus.
No. 4. From the Overture.
He’s Coming from the Mountains.
Bonnie Lad. I never can love thee more.
Philadelphia Hop Waltz.
Waltz, as performed by the Boston Brass Band

CONTENTS OF NO. V.

My Sister Dear. All by the Shady Greenwood Tree.

Trio, from Maid of Judah. When the Trump of Fame
Oh, they Marched through the Town.
Lauriette (Duet). Come where the Aspens Quiver.
Waltz, by Gilbert. Quadrilles, by Paganini, 1, 2, 3, 4, and 5.
Oh Mount thy bright. Cease, busy Fancy. Message.
!

One word with me. Spanish Dance.

Scots whs hae. Spanish Dance, No. 2.
Hasten by Starlight. Udite tutti Redite.
Oh Nanny (Duett). Mazurka.
!

Gli Arab Gallop. List, Llermit ! list

Why hast thou taught me to Love thee ?

Kathleen O’ More. Captain Paige’s Quick Step.

Little Mountaineer. Prince Leopold's March.

CONTENTS OF NO. VI.

Alpine Maid. Adieu, my Native Land.

Garde A vous (Trio). Brave Mountaineer.
Lightly my Heart. Grenadier.
Meet mo by Moonlight (Duet). Trumpet pas re double
Airs from Lo Dame Blanche, 1, 2, 3, 4, and 5.

Rose of the Desert. Oh Sing from the Spray.

!

La Flora (Duet). Waltz (Duet).

 CATALOGUE OF FLUTE MUSIC. 47

We Met. Snu(TBo.\ Waltz. Bower.

British Grenadier March (Trio). Air in Nina.
Come dolco (Tancredi). Non pin Blesta.
Quick March Variations (Duet).
Minuet in Don Juan (Trio). Tivolian Waltz. Sentinel.

COSTENTS OF NO. VII.

Postillion of Longuemeau. With your little Wife. New Cachuca.

Mazurka. I have Riches, thou hast Beauty.
Cracovienne. Are there tidings. Oh, leave me to my Sorrow.
Kind, kind and gentle is she. We soon shall meet again.
Jim along Josey. Peter’s Highland March.
Kentucky Riflemen’s Quick Step. Cincinnati Hop Waltz.
New York Bmss Band Quick Step.
Fra Diavola Quadrilles. No. 1. Lorenzo.
No. ‘J. Lord Allcash. No. 3. Fra Diavola
No. 4. Zerlina. No. 5. Lady Allcash.
Old House at Home. We
can love no more.
Oh, would I were a Boy again. Oh, how lovelj', how dear to me.
Hewitt’s Quick Step. Oh, my love’s bonnie.
Blaid of Florence. lo Ludia.
Wrecker’s Daughter’s Quick Step.
Village Chorister (Trio). Come, play me that simple Air again.
All must yield to my voice. Comair’s Song, from Zampa.

CONTENTS OF NO. VIII.

Spot where I was Born. Pulaski Guard’s Quick Step.

There is an Isle, a bonnie Isle. Rose that blooms in yonder Vale.
Oh, take me back to Switzerland.
Johnny Boker. Air from Lucia di Lammermoor.
Waltz. Rose that opes at Morn.
Scotch Grand March. Old Tare River.
My Bonnie Highland Lass. She never told her Love.
Gayly now the hours employing.
Ambassadrice Quadrilles, Nos. 1, 2, 3, and 4.
Waltz by Auber. My homo is there.
There is no land like Scotland.
Bronze Horse Quick Step. Brewer of Preston Gallop.
There Protects, there Defends me.
Ah ! Dearest, once more returning.
Pray with thee. See, O
Norma. Norma Grand Blarch.
Yes, to the latest hour (Duet). Rory O’Moro.
Duke of Reichstadt’s Grand March.
The Serenaders (Trio). Miss Flora MacDonald’s Reel.
Pas Styrien. Tippecanoe Hornpipe Portrait Charmant (Trio).
48 CATALOGUE OF FLUTE MUSIC.
CONTENTS OF NO. IX.

My Soldier wears a Tartan Plaid.

Mary, of Argyle. Swiss Peasant’s Song.
Bui-dett’s Quick Step. Fanny Blister’s Waltz in Nathalie.
Woodland Call (Duet). Taglioni Gallopade.
Vive I’Amore. Miss Lucy Long.
Light Guard’s Gallop. City Guard’a Gallop
Love Sjjell Quadrilles, Nos. 1, 2, 3, and 4.

Kate Anderson, my Kate.

Lochlin and Eveline. Bonnie Bessie Green.
Time was thy Locks were Brown. Dream is past (Trio).
Oh, speak to her Bonnie Charley. Evil Eye Waltz.
in kindness.
El Sapatio de Cadiz. Come, dwell with me.
Hewitt’s Quick Step (Trio). Col. Peers’ Parade March.
Grand March of the Rainor Family.
Let me rest in the Land of my Birth.
Poveno Signora. Col. Doyle’s Quick Step. Waltz, from la Fiance.

EGAN’S SCALE FOB THE FLUTE,

FLUTE AND PIANO.

Arrangers. Price.

Casta Diva (Norma) - Forde ^0 38

Fall of Paris Cuddy 50
Home, Sweet Home F. Lee 50
Tu Vedria - Forde 50
Opera of Cinderella, in four books, each Mazzinghi 75
This sett contains all the favorite melodies from this popular Opera, beautlAilly arranged for
the Pluto, with Piano accompaniment.

I have made arrangements by which I can supply any piece of music

ever published, at the usual rates.
Orders from a distance should be accompanied by a remittance.
Particular attention will be paid to repairing, tuning, and regulating
old instruments.
 ;

FPREFACE TO THE SECONDJ EDITION.

Time rolls on, and with it the march of inteUeot. Old ideas are
giving place to more enlarged views. Men may, from interested
motives, do much to retard, yet can not wholly prevent the world’.s
progress.

Scarcely one year has elapsed, and am

I called upon to issue another
edition, of one thousand copies, of my “ Blustrated History of the
Flute.” This is the only work in which the peculiar merits of the
various kinds of flutes now claiming the attention of flute-players, are
fairlyand philosophically stated and the modus
; operandi is so clearly
pointed out, that no one need err
therein. Men do nowadays think
for themselves; when told that black is white, or white
black, or that
the instrument known as the old, or German flute, contrived in a
primitive age of the world, is superior to the modern article, as im-
proved by Boehm, he will at least stop
and consider the matter ;
and if
his reflective faculties are
developed to the extent usually vouchsafed to
humanity, he will very soon perceive
that the principles involved in the
construction of the Boehm flute are as lasting as the Galilean
system of
astronomy, and must just as surely come
into general acceptation.
Truth flnds its way through strong
barriers. The professor or
amateur who adopts the Boehm, or
perfect system, soon finds his tune,
tone, and execution vastly
improved and he will inform his amateur
;

friend of the much greater satisfaction he experiences, and

pleasure lie
imparts to his listeners.
And .so the truth spreads.

“Traill, cruslicil to earlli, shall

rise again,
The eternal years of Clod are hers
While error Ungers, wrillics in pain.

And dies amid her fforshipers.’’

 : :

APPENDIX.

Tiffi following, from William M. Pray, a distinguislied

professor of the Boehm flute, of Boston, will explain

itself
“ Boston, May 3, 1853.
“A. G. Badgei!, Esq.
“ Dear Sir Some few days since
: I received a copy of your “ Illus-

trated History of the Flute,” for which I thank you. Also your note,
in which you allude to a letter you addressed to me while collecting
matter for the same, and your disappointment in not having a testi-
monial from mo respecting the “ superior excellence of the Boehm
flute.” I regret your disappointment, but must exonerate myself, as I
did not receive your letter. As you are about to issue another edition
of your work, I most cheerfully add my testimony in favor of the now
or Boehm flute, which I have carefully studied for more than three
years. For accurate intonation, equality, purity, and freedom of tone
in alt the key.s, I regard it as superior to any other flute with which I

am acquainted.
“ In conclusion, permit mo you on your success in
to congratulate
the manufacture of instruments requiring such masterly skill, and to

acknowledge the prompt and workmanlike manner with which 3'ou

have executed all orders for myself and pupils.
“ Tours very truly,
“ Wm. M. Pray.”

The sheet known as The Musical World and 'limes,

published in ISTew-York, which advertises extensively for
several of our large music-warehouses and makers of the
old flute, has seen lit on various occasions to inisre]irc-
no APPENDIX.
sent me in the instruments I manufacture. Heretofore I
have taken no notice of these animadversions. The eaunt-
O
let was, however, taken up by a customer, Mr. Samuel

Schoider, Professor of Mathematics in the University of

Yii'g’inia. Read him :

‘‘ Tayloesvili.e, Va., Oct. 12, 1863.

“Dear May
not a subscriber and constant reader endeavor to
Sib:
correct a misapprehension into which you seem to have fallen, in your
reply to the inquiries of C. F. H., of Salem, N. Y.,’ in regard to the
‘

Boehm flute ? (See your paper of 8th current.) I would not presume
to intrude my poor experience on the attention of yourself and your
correspondent, but that I have been from my boyhood a warm admirer
of the flute ;
and, therefore, feel particularly interested in any thing re-
lating to its improvement. Moreover, I have observed that you endea-
vor to obtain the most reliable information for your friends on whatever
topic, connected with music, may come up. In the present case, I

think that experience is certainly worth something, and with your per-
mission, I will briefly detail my own. After practicing many years on
flutes of the ordinary construction, with from one to six keys, I pur-
chased a very fine eight-keyed flute of London make. It is certainly
the best flute of the kind I have ever seen being made on Nicholson’s ;

plan, with large holes. This instrument cost $T6 in London. After
using it and having attained some facility of execution, I
several years,
saw the Boehm advertised, and made inquiries in every direction con-
cerning it. Many advised me against purchasing cither that or the di.a-

tonic, saying that the scale was so entirely different, that I should be
compelled to commence anew. I determined to try it, however, and
about six months since ordered my present Bcehm, which is made in

the most superb style. I practiced it no more than a common one, but
at the present time I can play, at sight, much more difficult music than

I could on my old flute. You inform your correspondent that not one
in fifty has the patience to learn the Bcehm, and that its difficulties arc

veiy numerous. Now I know of many performers who have exchanged

the old for the Boehm, and not one has over regretted it, or returned to
the ancient method. I can conscientiously say, as to the difficulties,

that I consider the Boehm scale much easier than the other. The only
notes changed in the first two octaves are C and F, and B flat; and the
new fingering is decidedly^ easier in every respect. Moreover, the instru-
ment is perfectly in tune in every hey, which the old one is not. Jhe
tones, also, are so full and produced with so much case, that
and clear,

no one having heard them can well endure the smothered and incorrect
 APPENDIX, 51

tones of the German flute. As to diatonic flutes, I know very little,

except that there ax^four changes of Angering in the third octave and
;

that, while some of the notes are improved, others are injured and made
very difficult of smooth execution. My old flute was from one half to
a whole tone above every other instrument I ever saw, whether flute or
piano, and consequently would not perform well when lowered
by the
slide. On the contrary, my Boehm is perfectly true to the tuning-fork,
and exactly at concert-pitch. I think you mistake in regard to the
price of the Boehm. Mine was made by Mr. A. 6. Badger, of 381
Broadway. I gave him carte hlanche to make me the best flute he could,
and he made me a splendid one. It is lined with silver has sockets
.
;

and tenons, cork tip, rings, mouth-piece, top, and bottom, all of silver,
beautifully engraved. It has silver holes, silver cleaner, pomatum-box,
etc., and a splendid silver-mounted morocco
case. The whole cost $125.
The lowest-priced Boehm cost $45. The lowest-priced diatonic
costs
about $40. If your correspondent will drop a line to Mr. Badger,
at
181 Broadway, he will receive the fullest information, and
may be cer-
tain that, should he order of him, he will get a capital instrument.
my long note. I could not see so much misapprehen-
Please excuse
sion about the most perfect of wind-instruments without
endeavoring to
coiTect it. The Boehm has certainly the most mellow,
round tone, so to
speak, that I have ever heard, and it is nearly perfect
in the harmonies.
In concerted music it is unequalled the sweet, harmonious
; grandeur of
its tones standing out in bold relief
on the background of the other
instruments. I ani, my dear sir,
“ Yours very truly,
“ Samuel SonooLEii.”

“ [We willingly defer to the evidently

better knowledge of flutes on
the part of our correspondent. The information we gave, by the way,
wa.s ba.sed upon the opinion of a friend
conversant with the flute ; we
having ourselves no experimental knowledge of the
instrument.— Ed.]”
 ; : ;

52 APPENDIX.

The following certificate was voluntarily offered to the

manufacturer from the author of the preceding
“ IIanov'er Adademy, near Ta'

“This is to certify that about one year since, I commissioned Mr. A.

G. Badger, 181 Broad^vay, New-York, to furnish me the best Boehm
flute that he could make. The instrument was completed in about six
weeks, and I have played on it ever since. Desiring to advance as much
as possible the use of the flute among amateurs and professors, I take
pleasure in stating the results of my^experienca in the Boehm system.
From boyhood had played on the eight-keyed flute, made after
I

Nicholson’s plan and while my instrument was a very fine one of the
;

kind, I was constantly led to remark its imperfections, which are inhe-
rent in all flutes having holes of different diameter and placed at un-
equal intervals. The prominent defects of the old system, in its most
improved state, are in the quality and whme of tone; in the variatione

of fingering ; ax\tX m t\\^ imperfect hannonics. All perfomiers on the

flute have observed these faults in the insUument constructed on the
old plan. I am happy to state, after a careful and entirely disinterested
trial, that Mr. Badger’s instrument completely removes all of the diffi-

culties alluded to above.The tone is exceedingly powerful, and equal

through the entire scale. The semi-tones are perfect the scale is true ;

in every key the harmonics are easily produced, and much more full
and true than on the old system ;
and in addition to these advantages,
the fingering has but few variations, making it easj' to play in any key.
I have heard that it is supposed that the fingering is very difficult, es-
pecially to one who has learned that of the common flute. There is
certainly some little difficulty, in the beginning, to the latter class of
performers, but I am happ}' to say that they vanish almost immediately
in fact, so soon as the learner becomes accustomed to the at first novel
form of keys. I am very certain that more can be learnt in one year on

the Boehm flute, than in three years on the old system. Many passages
in the works of Ribas, Briccialdi, Drouet, Clinton, Nicholson, Fordo,
Saust, Kohler, and others, which require unremitting practice on the
ordinary flute, arc rendered at once easy and smooth on Boehm’s S3'Stcm,
as applied by Mr. Badger.
“Please observe that I bike pleasure in increasing your fame, so far
as 1 can, for several reasons, namely : First, I want every bodj' to jilaj'
on the Boehm. Secondh’, I want to do my any body who has
best for
 : ;

APPENDIX. 53

done his best for me. And lastly, but by no means least, I have found
you a gentleman your 2)romises and performances, and also in the
in
little intercourse I have had with you.

“ Hoping that the Boehm flute may

sound from Maine to Mexico
that each one of them may have stamped thereon, ‘A. G. Badger, 181
Broadway ;
and that every one of your customers may be as well
’

satisfied as myself, I am, etc., Samuel ScnooLER.”

The annexed extract from a private letter from a long-

celebrated and distinguished amateur, Cashier of a Bank
in Albany, 1ST. Y., seems satisfied with the diange he has
made
“Your flutes on the Boehm principle are so far superior to any others
of that or any other kind, that I hope you null meet with the
success
you honorably deserve, in manufacturing them. I am confident that no
person who becomes familiar with the fingering of the Boehm flute
will
refuse to acknowledge its great merits, and vast superiority
over any
other instrument of the kind. J, B. Williamson.”

The following testimonial from a Yale College student,

who was formerly an amateur of the old flute, became
finally disgusted with it, and procured a Boehm, but had
the misfortune to get it in tlie wrong place. See what he
says after receiving one of Badger’s. Mr. is a
whole-hearted Southerner, and knows when he is well
used. lie sarcastically alludes to the maker of Ids first
Boehm in tlie words italicized:
“New-IIaven, June 14, 1854.
“ Ml!. Badoek :

“Dear Sir: The flute came to hand this morning. The bill was
settled with the express agent. If you ever have hit the right
nail
square on the head, you have done it this time. I expected great
things, but did not expect enough. To say that I am saiL^cd is not
enough ; nm pleased may be a little better; but the only
to .say that I
way that can give you an idea of my elevation is to tell you
I ‘ ’
that
for about three hours after I opened the case, I
was half-crazy and ;

-r-,.
54 APPENDIX.
you will doubtless perceive, by the tenor of this letter, that I have not
yet fully recovered. Mr. A ,
and every body else that I have shown
it to, think as highly of it as I do. The tone is as good as the exterior,
and they both are mperh. Well I don’t know what else, to say only,
!
;

that if any of my friends ever want Boehm flutes, you shall make them
;

but as for myself, I think it very probable that I shall, after this, employ
a bloelc and pump-maTcer^ or a sTiiphearpenter, to make my flutes. May
your shadow never be less ! Yours most truly,
u n

M. Eeiehardt,
the first solo fiutist brought out by M.
Jullien,whose performances exceeded, in brilliancy of tone
and execution, any thing heretofore heard in this country,
adopted the Boehm flute in the early party of his musical
career, and uses no other.
«Ctezzi .1
FLUTE-A-BEC; OR, ENGLISH COMMON FLUTE,
jn| :

OLD GERMAN FLUTE, AS IMPROVED BY PHILLIBERT.

(See piige 3.)
 i

Flute.

Boehm

Parabolic

MANUFACTURERS

Improved

Badger’s

3.—

No.
 -

Since the puiilicmion ol' UndHer's * Illuslnileii History

of the Flute" ^\e have now- effectedarrangenieiits for the manufacture of these flutes
several very itiiportaiu improvements liave lieen
mmle iii tlie constrttctii'n in tlie tnost perfect and
substantial manner, and all parties, who order
of the mstiiiment. These liave removed difficulties, which hitherto cxisi- our
instruments, may re.st a.ssiircd that no pains will
cd, mid have ix-tidcred the “ Uo-htn us he spared to .satisfv them
complete im instrument as the most in even* pnrticular.
lastnltoti.s performer can desire,
li flat can now he iirodueed hv
the same A. G. Badger, the original inamtfaeturer of
motion the left-liand thiiinh, as on the ordinary flute,
of tlie liohm I'lute, in this
tliti.s ohviatin cc untry
ol Mic orcatest of'jections to a change
after tvvem.v-live years of steady success
from the old to the new instnmient. in the various depart
m ents of flute making, can now .say that the B.clim system,
with all its hue
iriprovemenls, has become a fixed fact in the
'fhe entire ntecliaiiisni of the Flute has great world of music, and
lieen vastiv improved, and the tllat. Ill such, It has secured the
charge that o I, I, able to get out of order," can not now
admiration of all lovers of tiiat instrumeni
he hroimlit wjiich approaches nearest to the human
against It hv any one capable of estimating its voice in sweetness and iniritv of
merits. \Ve also make The Idnc. fins admiration shows itself, especially in
lime with the cy inder or straight hore, with keys the desire of man v,
to stop the holes instead hitherto cureless of the flute, to possess
of the fingers which renders it almost themselves of one which shall real-
impossihle for a |icrforitier to fail of Uc their ideas of what such an instrument should he. Hence,
closing each hole as soon as his finger the demand
touches the iilatc Iving t- so con-
" fpi this perfect flute has greatly
veniently under it. i .
increased, so much so. in fact that uddi-
tipnal assistance has been found necessarv. ’

1 he above rneiitioned style of hore rentiers plaving in the tliinl octave

We h.we nowexiieuded over two thoiisTind dollars,
in tools and inachin-
vastly easier, us all the tones are en lor the more perfect construction of ourdtites, and
produced with verv little exertion. This we are .satisfied ifiai
last fact, all performers on the tne\ are as coniplete an science ami art can
old flute will he glatl to hear, for nothin- make them.
can he more torturing to a refined
ear than what Count D'Orsav called
h shall he our eDdeavor to render the instruments we
mamilacture luWs
’*
tlift whfpzinc'i of it t!vs«|» C(|nal If not siiiierior to any others,
0 ])f tc linfp." and lo execute all orilcrs for theili
With despatch.

OUR riruf^s^ and our aj6coMt of trem.

Cut Ho. 1— Kepreseats our Cylindrical or
Straight-hore Badim flute.
1 he vvalls of the tube are perfectly parallel and >'!“<:l‘i''cvy, as to make it far superior to iliose in.i.le
nil the holes are closed hv I'wcv’in'.lf
keys which are placed ipiite near each other, " 'S'l’iired in making tliem than Hie
and music can he executed •v?h!,T bore, they can
lyfinder ‘‘“''V’’ L®**
upon them with as much lacility as upon the Finno he afinrded at a lower price.
Forte. All tlie tones
are produced with the greatest ease ihronglioiit
tlie entire register, in per- 'lie largest experience who
lecl tune, and wiili a tone remarkably differ as lo the best tone-
iiio!wn
tod tic ng mater, al
sweet, brilliant and powerful. for the flute. We
Itave many customers, liotli profe.ss-
2— Is onr cylindrical
Bodiiii tiutc, made entirelv of Sterling “'® "*"'1'’ S'raight-borc flutes of silver, and give
Silver
and very easy to fill.
IS It can lie playetl verv soft, aiui
can he increa.sed tci '|
Iitheimn,-
“ '“''"I'’ >l‘ose m"(io of wood aiiil
;dmo.st the iiovver of the cornet. The tone does not at all partake of the ’’’
'
i

insist that cocoa or

metallic i|nalitv that might he 5ii|iposed to
,i
hard ri W
belong fo a metal intsriimcnt. ''O'- ns onr experience goes, we are
It IS exceeding and pure, and sntFncl flT
ln|iiid is much admired hv tlie pmfessn,-s and
fhe lieirer cIh'js of amatoiir.-^. in-iilinnt tone, and wlien there is so
0 . ;{-Is onr Improved B.chm flute, with much
miVl 'h
labor
ho^^^ expended i‘
as there upon
,\
taper or parabolic bore as
il.c " is the Brchm flute, is of the -rcatesi
'rnicr \ nijulo them, with the exception ®
fliat. wn have ,‘;o chaufjed the ^

gZTrsVlim-n-^ -<> ,he''con,h,

Persons desiring copies of Buimm-s li.u .stu.vtko Hi.stouv or-Titr: Fj,t; rr:, will ])Ic.i.se atldress

A. G. BADGER & CO., 181 Brofidwtiy.

,„.y

A. G. livDt.KR & Co , American Pnldishers of Clinton's Complele ,‘ichool for the Brclim FIntc. Iflf) pages, folio.
All one Flares arc pm up in elegmii .Mta-oco Cns,:.s, with the usual fnrniinre.

away in tlic case i 'never .Vilmr'h' Mm c,nV‘ all' effian^^^ l.i,ciy,I,lwt7.s eiffimed' hvMlm sli<!r''"'‘'’

A. a. ISA m; BOH A: C O..

|)ractical ^^lalicrs of |irst-o,^ualilii |l«(cs onlit.

181 BROADWAY. New York.

The following are a few of onr custoiiers who may lie referred to:

I'fllf.N’ I’.RNST. ST West ‘-‘ath St., New York. *v "3 It. HAY, Es-u, ol liwtiin. Itav * t:..,, Hankers, ft Wall W.M.
j
Street, New York.'
1-. LEM, M.D., Colniulms, Gei).
•lOlINA KVt.K, ISt fast I.MI 1 St.. New York. S, I

SAMU'KL tJENNlNOS, Owbitr

<-lJAS. L. MATilMR, Edf)., C.-»sh:tT Astor i[..ii»e, N >
I'.DWAmi IIA3I.AM, .l".l NVw v.,rk If. lltiniiton Iron Work'*
•
f i

New Jeisej'- (»Ko, .MACLMM, E-sej., Biuikor, Oreenwieh St., N. Y

AfftfSTUS <i. KI.MIIKIII.Y. N. V.' A
TH03. DKVKRIU, Wl. ft. MiliUoy A.S..1. X.V.-
.1,
| ITERUE IfUTLKIJ, i:sq., I'hilu. l‘i. A. II, PHILLIPS, Jr., Attorney nt Livk,
[..evicH, 'Pt-v;*'
o
Wir.UA.M 1). FKAZEt; Cllic..|.ee, M.sss J. H.PLUMB, PrcH. Ikniik of the Interior, Albnnv. N Y M. PRINGLE, i*^q.. Bank N. Y.
)•
J THUS. MAKSTON, St. Lon’s, Mo. T. GONZALICS, Esq G.nlvcKtoj), Te.\;<s.
Wlt.I.IA.M M. I'1,,VY, Itostiin. .Ma.ss. ,

|
^ H. T. TOMLINSON, St. Lcuis, Mo
,

’ .1. rOWLER Prlncipil Vounir U-1 .V S,m,iinirv.

A,
•lim.X .S. COOKS, f’9 Canton St.. PITs .la. ^
| n.^nSEY CARR, Esq St. Louis, Mo. LnpIowooM, N. j.
W.M 1 ;. llAI.invi.N-, .New Haven, ft 5 ,
DR. O. SITES, New I/>ndou,
ROBT. WE.5COTT, Esq., M.D.,^j:mntoii, ]\*.
N l>, W AIN.awilFiTII. He|..il. Wl,
|

I
5 J. R HRANIIAM, Principal Fen.ulc
WE.*COM HUOOIN, Ksq,, M.I>.,ffowllng Orp"n, Va flominai v.
•
Maroii ’
(ti'orsfin.
.1, Mir.TON .«?ANni:R.«5, M.I>, Nn' v-.rk,-
Tho«t« viari fd • tine ottr .Vi/ivr Fhit'’n.