used a reiterated instrumental note as an accompaniment above the melody. These primitive devices, though harmonic in the true modern sense of the word, are out of the line of harmonic development, and did not help it in any definite way.

27. The fundamental bass of a harmonic passage is an imaginary bass consisting of the roots of the chords.

28. A figured bass, or continuo, is the bass of a composition supplied with numerals indicating the chords to be filled in by the accompanist. Thorough-bass (Ger. Generalbass) is the art of interpreting such figures. (D. F. T.)

HARMOTOME, a mineral of the zeolite group, consisting of hydrous barium and aluminium silicate, H2BaAl2(SiO3)+5H2O. Usually a small amount of potassium is present replacing part of the barium. The system of crystallization is monoclinic; only complex twinned crystals are known. A common and characteristic form of twinned crystal, such as is represented in the figure, consists of four intercrossing individuals twinned together according to two twin-laws; the compound group resembles a tetragonal crystal with prism and pyramid, but may be distinguished from this by the grooves along the edges of the pseudo-prism. The faces of the crystals are marked by characteristic striations, as indicated in the figure. Twinned crystals of exactly the same kind are also frequent in phillipsite (q.v.). Crystals are usually white and translucent, with a vitreous lustre. The hardness is 4, and the specific gravity 2.5.

«

The name harmotome (from ȧpuós, "a joint," and réuvew, to cut ") was given by R. J. Haüy in 1801, and has a crystallographic signification. Earlier names are cross-stone (Ger. Kreuzstein), ercinite, andreasbergolite and andreolite, the two last being derived from the locality, Andreasberg in the Harz. Morvenite (from Morven in Argyllshire) is the name given to small transparent crystals formerly referred to phillipsite.

Like other zeolites, harmotome occurs with calcite in the amygdaloidal cavities of volcanic rocks, for example, in the dolerites of Dumbartonshire, and as fine crystals in the agateI lined cavities in the melaphyre of Oberstein in Germany. It also occurs in gneiss, and sometimes in metalliferous veins. At Andreasberg in the Harz it is found in the lead and silver veins; and at Strontian in Argyllshire in lead veins, associated with brewsterite (a strontium and barium zeolite), barytes and calcite. (L. J. S.)

HARMS, CLAUS (1778-1855), German divine, was born at Fahrstedt in Schleswig-Holstein on the 25th of May 1778, and in his youth worked in his father's mill. At the university of Kiel he repudiated the prevailing rationalism and under the influence of Schleiermacher became a fervent Evangelical preacher, first at Lunden (1806), and then at Kiel (1816). His trenchant style made him very popular, and he did great service for his cause especially in 1817, when, on the 300th anniversary of the Reformation, he published side by side with Luther's theses, ninety-five of his own, attacking reason as "the pope of our time" who "dismisses Christ from the altar and throws God's word from the pulpit." He also had some fame as a hymnwriter, and besides volumes of sermons published a good book on Pastoraltheologie (1830). He resigned his pastorate on account of blindness in 1849, and died on the 1st of February 1855. See Autobiography (2nd ed., Kiel, 1852); M. Baumgarten, Ein Denkmal für C. Harms (Brunswick, 1855).

HARNACK, ADOLF (1851- ), German theologian, was born on the 7th of May 1851 at Dorpat, in Russia, where his father, Theodosius Harnack (1817-1889), held a professorship of pastoral theology.

Theodosius Harmack was a staunch Lutheran and a prolific writer on theological subjects; his chief field of work was, practical theology, and his important book on that subject, summing up his long experience and teaching, appeared at

Erlangen (1877-1878, 2 vols.). The liturgy of the Lutheran church of Russia has, since 1898, been based on his Liturgische Formulare (1872).

The son pursued his studies at Dorpat (1869-1872) and at Leipzig, where he took his degree; and soon afterwards (1874) began lecturing as a Privatdozent. These lectures, which dealt with such special subjects as Gnosticism and the Apocalypse, attracted considerable attention, and in 1876 he was appointed professor extraordinarius. In the same year he began the publication, in conjunction with O. L. von Gebhardt and T. Zahn, of an edition of the works of the Apostolic Fathers, Patrum apostolicorum opera, a smaller edition of which appeared in 1877 Three years later he was called to Giessen as professor ordinarius of church history. There he collaborated with Oscar Leopold von Gebhardt in Texte und Untersuchungen zur Geschichte der altchristlichen Litteratur (1882 sqq.), an irregular periodical, containing only essays in New Testament and patristic fields. In 1881 he published a work on monasticism, Das Mönchtum, seine Ideale und seine Geschichte (5th ed., 1900; English translation, 1901), and became joint-editor with Emil Schürer of the Theologische Literaturzeitung. In 1885 he published the first volume of his epoch-making work, Lehrbuch der Dogmengeschichte (3rd ed. in three volumes, 1894-1898; English translation in seven volumes, 1894-1899). In this work Harnack traces the rise of dogma, by which he understands the authoritative doctrinal system of the 4th century and its development down to the Reformation. He considers that in its earliest origins Christian faith and the methods of Greek thought were so closely intermingled that much that is not essential to Christianity found its way into the resultant system. Therefore Protestants are not only free, but bound, to criticize it; indeed, for a Protestant Christian, dogma cannot be said to exist. An abridgment of this appeared in 1889 with the title Grundriss der Dogmengeschichte (3rd ed., 1898). In 1886 Harnack was called to Marburg; and in 1888, in spite of violent opposition from the conservative section of the church authorities, to Berlin. In 1890 he became a member of the Academy of Sciences. At Berlin, somewhat against his will, he was drawn into a controversy on the Apostles' Creed, in which the party antagonisms within the Prussian Church had found expression. Harnack's view is that the creed contains both too much and too little to be a satisfactory test for candidates for ordination, and he would prefer a briefer symbol which could be rigorously exacted from all (cf. his Das apostolische Glaubensbekenntnis. Ein geschichtlicher Bericht nebst einem Nachworte, 1892; 27th ed., 1896). At Berlin Harnack continued his literary labours. In 1893 he published a history of early Christian literature down to Eusebius, Geschichte der altchristl. Litteratur bis Eusebius (part 2 of vol. i., 1897); and in 1900 appeared his popular lectures, Das Wesen des Christentums (5th ed., 1901; English translation, What is Christianity? 1901; 3rd ed., 1904). One of his more recent historical works is Die Mission und Ausbreitung des Christentums in den ersten drei Jahrhunderten (1902; English translation in two volumes, 1904-1905). It has been followed by some very interesting and important New Testament studies (Beiträge zur Einleitung in das neue Testament, 1906 sqq.; Engl. trans.: Luke the Physician, 1907; The Sayings of Jesus, 1908). Harnack, both as lecturer and writer, was one of the most prolific and most stimulating of modern critical scholars, and trained up in his Seminar" a whole generation of teachers, who carried his ideas and methods throughout the whole of Germany and even beyond its borders. His distinctive characteriştics are his claim for absolute freedom in the study of church history and the New Testament; his distrust of speculative theology, whether orthodox or liberal; his interest in practical Christianity as a religious life and not a system of theology. Some of his addresses on social matters have been published under the heading "Essays on the Social Gospel" (1997).

HARNESS (from O. Fr. harneis or harnois; the ultimate origin is obscure; the Celtic origin which connects it with the Welsh haiarn, iron, has phonetic and other difficulties; the French is the origin of the Span. arnes, and Ger. Harnisch), probably, in

origin, gear, tackle, equipment in general, but early applied | of the West-Saxons. He was now the chief man in the kingdom, particularly to the body armour of a soldier, including the trappings of the horse; now the general term for the gear of an animal used for draft purposes, traces, collar, bridle, girth, breeching, &c. It is usually not applied to the saddle or bridle of a riding animal. The word, in its original meaning of tackle or working apparatus, is still found in weaving, for the mechanism which shifts the warp-threads to form the "shed," and in bell-hanging, for the apparatus by which a large bell is hung. The New English Dictionary quotes an early use of the word for the lines, rod and hooks of an angler (Fysshing with an Angle, c. 1450). HARO, CLAMEUR DE, the ancient Norman custom of " crying for justice," still surviving in the Channel Islands. The wronged party must on his knees and before witnesses cry: "Haro! Haro! Haro! à l'aide, mon prince, on me fait tort." This appeal has to be respected, and the alleged trespass or tort must cease till the matter has been thrashed out in the courts. The "cry" thus acts as an interim injunction, and no inhabitant of the Channel Islands would think of resisting it. The custom is undoubtedly very ancient, dating from times when there were no courts and no justice except such as was meted out by princes personally. The popular derivation for the name is that which explains "Haro" as an abbreviation of "Ha! Rollo," a direct appeal to Rollo, first duke of Normandy. It is far more probable that haro is simply an exclamation to call attention (O.H.G. hera, hara, "here"!). Indeed it is clear that the "cry for justice" was in no sense an institution of Rollo, but was a method of appeal recognized in many countries. It is said to be identical with the "Legatro of the Bavarians and the Thuringians," and the first mention of it in France is to be found in the "Grand coutumier de Normandie." A similar custom, only observed in criminal charges, was recognized by the Saxon laws under the name of "Clamor Violentiae." Thus there is reason to think that William the Conqueror on his arrival in England found the "cry " fully established as far as criminal matters were concerned. Later the "cry" was made applicable to civil wrongs, and, when the administration of justice became systematized, disappeared altogether in criminal cases. It naturally tended to become obsolete as the administration of justice became systematized, but it was long retained in north-western France in cases of disputed possession, and was not actually repealed until the close of the 18th century. A survival of the English form of haro is possibly to be found in the "Ara," a cry at fairs when "settling time", arrived.

HAROLD I. (d. 1040), surnamed Harefoot, the illegitimate son of Canute, king of England, and Ælfgifu of Northampton. On the death of his father in 1035, he claimed the crown of England in opposition to Canute's legitimate son, Hardicanute. His claims were supported by Leofric, earl of Mercia, and the north; those of Hardicanute by his mother, Queen Emma, Godwine, earl of the West-Saxons and the south. Eventually Harold was temporarily elected regent, pending a final settlement on Hardicanute's return from Denmark. Hardicanute, however, tarried, and meanwhile Harold's party increased rapidly. In 1037 he was definitely elected king, and banished Emma from the kingdom. The only events of his brief reign are ineffectual inroads of the Welsh and Scots. Hardicanute was preparing to invade England in support of his claims when Harold died at Oxford on the 10th of March 1040.

HAROLD II. (c. 1022-1066), king of the English, the second son of Earl Godwine, was born about 1022. While still very young (before 1045) he was appointed to the earldom of the East-Angles. He shared his father's outlawry and banishment in 1051; but while Godwine went to Flanders, Harold with his brother Leofwine took refuge in Ireland. In 1052 Harold and Leofwine returned. Having plundered in the west of England, they joined their father, and were with him at the assembly which decreed the restoration of the whole family. Harold was now restored to his carldom of the East-Angles, and on his father's death in 1053 he succeeded him in the greater earldom

and when the older earls Leofric and Siward died his power increased yet more, and the latter part of Edward's reign was virtually the reign of Harold. In 1055 he drove back the Welsh, who had burned Hereford. In 1063 came the great Welsh war, in which Harold, with the help of his brother Tostig, crushed the power of Gruffyd, who was killed by his own people. But in spite of his power and his prowess, Harold was the minister of the king rather than his personal favourite. This latter position rather belonged to Tostig, who on the death of Siward in 1055 received the earldom of Northumberland. Here, however, his harshness soon provoked enmity, and in 1065 the Northumbrians revolted against him, choosing Morkere in his place. Harold acted as mediator between the king and the insurgents, and at length agreed to the choice of Morkere, and the banishment of his brother. At the beginning of 1066 Edward died, with his last breath recommending Harold as his successor. He was accordingly elected at once and crowned. The men of Northumberland at first refused to acknowledge him, but Harold won them over. The rest of his brief reign was taken up with preparations against the attacks which threatened him on both sides at once. William challenged the crown, alleging both a bequest of Edward in his favour and a personal engagement which Harold had contracted towards him— probably in 1064; and prepared for the invasion of England. Meanwhile Tostig was trying all means to bring about his own restoration. He first attacked the Isle of Wight, then Lindesey, but was compelled to take shelter in Scotland. From May to September the king kept the coast with a great force by sea and land, but at last provisions failed and the land army was dispersed. Harold then came to London, ready to meet whichever enemy came first. By this time Tostig had engaged Harold Hardrada of Norway to invade England. Together they sailed up the Humber, defeated Edwin and Morkere, and received the submission of York. Harold hurried northwards; and on the 25th of September he came on the Northmen at Stamford Bridge and won a complete victory, in which Tostig and Harold Hardrada were slain. But two days later William landed at Pevensey. Harold marched southward as fast as possible. He gathered his army in London from all southern and eastern England, but Edwin and Morkere kept back the forces of the north. The king then marched into Sussex and engaged the Normans on the hill of Senlac near Battle (see HASTINGS). After a fight which lasted from morning till evening, the Normans had the victory, and Harold and his two brothers lay dead on the field (14th of October 1066).

HARP (Fr. harpe; Ger. Harfe; Ital. arpa), a member of the class of stringed instruments of which the strings are twanged or vibrated by the fingers. The harp is an instrument of beautiful proportions, approximating to a triangular form, the strings diminishing in length as they ascend in pitch. The mechanism is concealed within the different parts of which the instrument is composed, (1) the pedestal or pedal-box, on which rest (2) the vertical pillar, and (3) the inclined convex body in which the soundboard is fixed, (4) the curved neck, with (5) the comb concealing the mechanism for stopping the strings, supported by the pillar and the body.

(1) The pedestal or pedal-box forms the base of the harp and contains seven pedals both in single and double action harps, the difference being that in the single action the pedals are only capable of raising the strings one semitone by means of a drop into a notch, whereas with the double action the pedals, after a first drop, can by a further drop into a second and lower notch shorten the string a second semitone, whereby each string is made to serve in turn for flat, natural and sharp. The harp is normally in the key of C flat major, and each of the seven pedals acts upon one of the notes of this diatonic scale throughout the compass. The choice of this method of tuning was imposed by the construction of the harp with double action. The pedals remain in the notches until released by the foot, when the pedal returns to its normal position through the action of a spiral spring, which may be seen under each of the pedals by turning the harp up.

(2) The vertical pillar is a kind of tunnel in which are placed the seven rods worked by the pedals, which set in motion the mechanism situated in the neck of the instrument. Although the pillar apparently

rests on the pedestal, it is really supported by a brass shoulder firmly
screwed to the beam which forms the lowest part of the body, a
connexion which remains undisturbed when the pedal box and its
cover are removed.
(3) The body or sound-chest of the harp is in shape like the longi-
tudinal section of a cone. It was formerly composed of staves joined
together as in the lute and mandoline. Erard was the first to make
it in two pieces of wood, generally sycamore, with the addition of a
flat soundboard of Swiss pine. The body is strengthened on the
inside, in order to resist the tension of the strings, by means of ribs;
there are five soundholes in the back, which in the older models were
furnished with swell shutters opened at will by the swell pedal, the
fourth from the left worked by the left foot. As the increase of
sound obtained by means of the swell was infinitesimal, the device
has now been discarded. The harp is strung by knotting the end of
the string and passing it through its hole in the centre of the sound-
board, where it is kept in position by means of a grooved peg which
grips the string..
(4) The neck consists of a curved piece of wood resting on the body
at the treble end of the instrument and joining the pillar at the bass
end. In the neck are set the tuning pins round which are wound the
strings.
(5) The comb is the name given to two brass plates or covers
which fit over both sides of the neck, concealing part of the mechan-
ism for shortening the strings and raising their pitch a semitone
when actuated by the pedals. On the front plate of the comb, to the
left of the player, is a row of brass bridges against which the strings
rest below the tuning pins, and which determine the vibrating length
of the string reckoned from the peg in the soundboard. Below the
bridges are two rows of brass disks, known as forks, connected by
steel levers; each disk is equipped with two studs for grasping the
string and shortening it. The mechanism is ingenious. When a
pedal is depressed to the first notch, the corresponding lower disk
turns a little way on a mandrel keeping the studs clear of the string.
The upper disk, set in motion by the steel levers connecting the disks,
revolves simultaneously till the string is caught by the two studs
which thus form a new bridge, shortening the vibrating length of
the string by just the length necessary to raise the pitch a semitone.
If the same pedal be depressed to the second notch, another move-
ment causes the lower disk to revolve again till the string is a second
time seized and shortened, the upper disk remaining stationary:
The hidden mechanism meanwhile has gone through a series of
movements; the pedal is really a lever set upon a spring, and when
depressed it draws down the connecting rod in the pillar which sets
in motion chains governing the mandrels of the disks.
The harp usually has forty-six strings, of gut in the middle and
upper registers, and of covered steel wire in the bass; the C strings
are red and the F strings blue. The compass thus has a range of

bass and the back of the finger in the treble. (3) Guitar or pizzicato notes are obtained by twanging the strings sharply at the lower end near the soundboard with the nails. (4) The glissando effect is produced, as on the pianoforte, by sliding the thumb or finger along the strings in quick succession; this does not necessarily give the diatonic scale, for by means of the pedals the harp can be tuned beforehand to chords. It is possible to play on the harp all kinds of diatonic and arpeggio passages, but no chromatic, except in very slow tempo, on account of the time required by the mechanism of the pedals; and chords of three or four notes in each hand, shakes, turns, successions of double notes can be easily acquired. The same note can also be repeated slowly or quickly, the next string being tuned to a duplicate note, and the two strings plucked alternately in order to give the string time to vibrate.

1

Pleyel's chromatic harp, patented in 1894 and improved in 1903 by Gustave Lyon, manager of the firm of Pleyel, Wolff & Co., is an instrument practically without mechanism which has already, won great favour in France and Belgium, notably in the orchestra. It has been constructed on the familiar lines of the pianoforte. Henry, Pape, a piano manufacturer, had in 1845 conceived the idea of a chromatic harp of which the strings crossed in the centre as in the piano, and a report on the construction was published at the time; the instrument, however, was not considered successful, and was relegated to oblivion until Mr Lyon revised the matter and brought out a successful and practical instrument. The advantages claimed for this harp are the abandonment of the whole pedal mechanism, a metal framing which insures the strings keeping in tune as long as those of a piano, and an easily acquired technique. The chromatic harp consists of (1) a pedestal on castors, (2) a steel pillar without internal mechanism, (3) a wide neck containing two brass wrest-planks in which are fixed two rows of tuning pins, and (4) a soundchest in which is firmly riveted the steel plate to which the strings are fastened, and the soundboard pierced with eyelet holes through which the strings are drawn to the string plate. There is a string for every chromatic semitone of the scale of C major, the white strings representing the white keys of the piano keyboard, and the black strings corresponding to the black keys. The tuning pins for the black strings are set in the left side of the neck in alternate groups of twos and threes, and those for the white in the right side in alternate groups of threes and fours. The strings cross half-way between neck and soundboard, this being the point where they are plucked; the left hand finds the black notes above, and the right hand below the crossing. There is besides in the neck a set of twelve tuning buttons, each one of which on being pressed gives out one note of the chromatic scale tuned to the pitch of the diapason normal. It is obvious that the répertoire for this harp is very extensive, including many compositions written for the piano, which however cannot be played with any legato effects, these being still impossible on this chromatic harp.

History. While the instrument is of great antiquity, it is yet The double stave is from northern Europe that the modern harp and its name are derived. The Greeks and Romans preferred to it the lyre in its different varieties, and a Latin writer, Venantius Fortunatus,' describes it in the 7th century of our era as an instrument of the barbariansRomanusque lyra, plaudat tibi barbarus harpa." This is believed to be the earliest mention of the name, which is clearly Teutonic,OH.Ger. harapha, A.-S. hearpe, Old Norse harpa. The modern Fr. harpe retains the aspirate; in the Spanish and Italian arpa it is dropped.

a parchment or skin.
soundboard, down the
centre of which one end

used as for the pianoforte: The single action harp used to be tuned to the key of Eb major. The modern harp with double action is the only instrument with fixed tones, not determined by the ear or touch of the performer, which has separate notes for naturals, sharps and flats, giving it an enharmonic compass. On the harp the appreciable interval between that it had not existed long before. There are, indeed, representaThe earliest delineations of the harp in Egypt give no indication D# and Eb can be played. The harp in its normal condition is tuned to Cb major; it rests with the performer to transpose it at will in a tions in Egyptian paintings of stringed instruments of a bow-form few seconds into any other key by means of the pedals. Each of the having affinities with both primitive harp and nefer (a kind of oval pedals influences one note of the scale throughout the compass, guitar) that support the idea of the invention of the harp from beginning at the left with D, C, and B worked by the left foot. the tense string of the warrior's or hunter's Missing the fourth or forte pedal, and continuing towards the right we get the E, F, G and A pedals worked by the right foot. By bow. This primitivelooking instrument, lowering the D pedal into the first notch the Db becomes D, and into the second notch D#, and so on for all the pedals. If, for called nanga, had a boatexample, a piece be written in the key of E major, the harp is trans-shaped sound-chest with posed into that key by depressing the E, A, and B pedals to the first notch, and those for F, G, C and D to the second or sharp notch and so on through all the keys. Accidentals and modulations are readily played by means of the pedals, provided the transitions be not too rapid. The harp is the instrument upon which transposition presents the least difficulty, for the fingering is the same for all The strings are twanged with the thumbs and the first three fingers. The quality of tone does not vary much in the different registers, but it has the greatest brilliancy in keys with many flats, for the strings are then open and not shortened by the forks. Various effects can be obtained on the harp: (1) by harmonics, (2) by damping, (3) by guitar tones, (4) by the glissando. (1) Harmonics are produced by resting the ball of the hand on the middle of the string and setting it in vibration by the thumb or the first two fingers of the same hand, whereby a mysterious and beautiful tone is obtained. Two or three harmonics can be played together with the left hand, and by using both hands at once as many as four are possible. (2) Damping is effected by laying the palm against the string in the

of the string was fas
tened to a strip of wood,

whilst the other was
wound round pegs in
the upper part of the'
bow.

The nanga was

FIG. I.

played horizontally, being borne upon the performer's shoulder.
Between it and the grand vertical harps in the frescos of the time of
Bruce (fig. 1), there are varieties that permit us to bind the whole,
Rameses III., more than 3000 years old, discovered by the traveller

1 Poemata, lib. vii. cap. 8, p. 245, Migne's Patrologiae cursus completus (Paris, 1857-1866, vol. 88).

2 A few nangas (c. 1500 B.C.) are preserved among the Egyptian antiquities at the British Museum, fourth Egyptian room. 'Bruce's harps are reproduced by Champollion, tome iii. p. 261.