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Title: The coach horn (7th edition)
what to blow and how to blow it
Author: Old Guard
Release date: June 29, 2026 [eBook #78978]
Language: English
Original publication: London: Köhler and son, 1907
Other information and formats: www.gutenberg.org/ebooks/78978
Credits: Richard Tonsing, MWS, Bryan Ness, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK THE COACH HORN (7TH EDITION) ***
THE
COACH-HORN
WHAT TO BLOW AND HOW TO BLOW IT.
BY AN OLD GUARD
[Illustration: A vintage, stylized silhouette illustration of a
horse-drawn mail coach. Several passengers sit atop the roof while a
driver holds a long whip, a guard sits at the rear, and a figure stands
at the front holding the leading horses.]
SEVENTH EDITION.
LONDON:
KÖHLER & SON
_Sole Proprietors SWAINE ADENEY BRIGG & SONS LTD._
185 PICCADILLY, W.1.
Telegrams: Phone:
Swadeneyne, Piccy, London. Regent 4277–8–9
“For more than a century the name of ‘KÖHLER’ has been associated
with the trade of Musical Instrument making; indeed, for four
generations fathers and sons have been practical and _bona fide_
manufacturers.”—_Vide Sir George Grove’s “Dictionary of Music and
Musicians,”_ Part VII, page 68.
BY APPOINTMENT
[Illustration: An heraldic emblem featuring the Prince of Wales's
feathers—three white ostrich feathers emerging from a gold coronet—above
a ribbon banner with the German motto 'ICH DIEN'.]
1801.
ESTABLISHED IN 1780.
H.R.H. THE PRINCE OF WALES was pleased to appoint MR. KÖHLER a Juror at
the International Inventions Exhibition, 1885, Military Band Instrument
Section, Jury R.
THE COACH-HORN:
WHAT TO BLOW
and
HOW TO BLOW IT
Some time ago I rather thoughtlessly remarked to a subaltern in the
Guards that I had a notion of writing some instructions about blowing a
Coach-horn, together with a few proper sounds appropriate to the road.
The said officer mentioned this to his friends, who in turn told theirs;
and since then I have been besieged with inquiries as to when the work
would appear; and therefore, although immersed in far more important
business, still from a desire to be as good as my word—to say nothing of
promised subscriptions, and anticipated profits—I have at last made up
my mind to “appear in print.”
A very worthy friend of mine, of no particular talent (although he can
sound a Coach-horn right well, and drives his own four-in-hand), once
asked me to play something on the violin, and when I had done so, he
observed, “Ah, I learnt the fiddle when I was young, and should have
played very nicely indeed, if I had taken the trouble.”
This sagacious remark applies not only to fiddle-playing, but to every
other undertaking in this world, including even the proper sounding of a
Coach-horn.
Some persons can sound a horn almost by instinct from early childhood,
others experience an insurmountable difficulty; and fabulous sums have
been offered to me by certain persons, whose names I suppress for
obvious reasons, if I could only make them blow as well as myself. The
truth is, _they won’t take the trouble_.
Now I could sound a Horn at the early age of seven, and so can my son at
a similar time of life (much to the annoyance of his mother,
by-the-bye); but this precocity of talent may, perhaps, be accounted for
by the fact that my father, my grandfather, and even my grandfather’s
uncle were _bona fide_ makers of Coach-horns, and I am, further, a
practical disciple of Hiram of Tyre, who, I may remark, without
incurring any penalties, was the first artificer in metals in the days
of King Solomon (1 Kings vii. 14).
My principal object is to teach my readers—my gentle readers, I believe
is the correct term—how to sound a Horn; but I have added a number of
preludes in which I have been obliged to use musical notes, and I
believe they will be found a useful addition to these remarks, inasmuch
as they comprise easy calls, or soundings, familiar even to horses as
well as to coachmen, and therefore especially appropriate to the road.
[Illustration: A vintage illustration of 'The Beaufort' hunting horn,
showing it fully extended into a long, straight, conical brass
instrument.]
Before proceeding with my instructions, a description of a Coach-horn,
and the difference between that and a Post-horn, may not be out of
place, the former being nowadays used exclusively for a four-in-hand;
although it should be borne in mind that the latter was really the
recognised signal Horn used by all the guards on the fast Coaches which
carried the mails fifty years ago. Hence the name “Post-horn.”
A Coach-horn should always be straight and made of copper, with
German-silver or real silver mouthpiece and mountings, and the bell
should be funnel-shaped, and not curved outwards like an ordinary
trumpet-bell.
[Illustration: A vintage illustration of 'The Beaufort' hunting horn,
showing it in a telescoped or shortened state with a straight, conical
brass body.]
Although a strictly legitimate Coach-horn should be made in one entire
piece of metal, still there has recently been introduced a “Telescope”
Coach-horn, made with a joint ferrule in the middle, which allows the
top half to slide inside the lower portion of the Horn, without actually
falling out—something after the style of the portable metal drinking
cups. From actual experience, I can safely say that the tone and ease in
blowing are not in the least affected by this innovation—which, indeed,
I consider an improvement—for Coach-horns when thus “telescoped” are not
nearly so liable to get bent or injured, and are more easily packed and
carried about.
[Illustration: A vintage line drawing of a long, straight coach horn
labeled 'The Heavy Mail', featuring a slender, segmented body that
flares out slightly at the bell.]
A Coach-horn ought really not to exceed thirty-six inches in length, or
else the peculiar ring or note (musicians would call it the _timbre_) of
the true Coach-horn becomes lost, and merges into that more resembling
the field-bugle used in the army.
I am, however, aware that in the present age, when so much is done for
the sake of show and appearance, even to the sacrifice of utility and
comfort, many fairly good Coach-horns are used measuring forty-six
inches, and even more; and I can further account for such long Horns
being adopted, not merely for show, but because more can be done upon
them, as we say; that is, it is easier to blow, not the same notes, but
the same number of notes upon them. There is no accounting for taste,
and as some people like to hear the Coach-horn sounded as William
Simmons played his little bugle in “Martin Chuzzlewit,” “who, whenever
the conversation flagged, played the first half of a great many tunes,
and regularly broke down in the second,” then I will admit that for
playing “Buy a Broom” and other airs _very imperfectly_, a four-foot
Coach-horn will answer the purpose; although for all the old-fashioned
coaching calls, I still maintain that a shorter Horn is to be preferred.
My opinion has been confirmed by all the authorities whom I have
consulted upon the subject; gentlemen, I may remark, belonging to a
generation now almost gone by, who remember the days before the
iron-horse made its appearance and wrought such changes amongst us; when
nothing longer than the “yard of tin” was used on a Mail Coach, although
the old key-bugle was reserved, by such few guards as could play it, for
occasionally playing the simple and popular airs of the day.
[Illustration: A vintage line drawing of a long, straight, and slender
brass horn or trumpet with multiple joined segments, flaring out
significantly at the bell.]
Now the Post, or, as it is now so often called, the Tandem-horn, differs
from the above, inasmuch as it is of a much smaller calibre or bore,
being only twenty-eight or thirty-two inches in length, and made always
of brass instead of copper. The bell, unlike that of the Coach-horn,
should be trumpet-shaped, for the tone is materially affected thereby;
and a well-curved bell will yield a sound far more appropriate to a pair
of horses, tandem fashion, than a funnel-shaped bell.
[Illustration: A vintage illustration of a compact, looped brass bugle
horn with a coiled tube and a flared bell.]
A proper Post-horn ought also to be made with a slide, to elongate it if
necessary, for tuning purposes; for it is often effectively used in the
orchestra as a musical instrument; for instance, in Kœnig’s unrivalled
“Post-horn” gallop, also in the more modern “Down the Road” and the “New
Derby” gallops, etc. It need not necessarily be straight, but may be
coiled up so as to be carried in the pocket, in which shape it is
handier for use in a dog-cart or gig.
Having thus described the two kinds of Horns used for coaching purposes,
I will now proceed with my
INSTRUCTIONS TO LEARNERS.
Grasp the Horn firmly with the right hand about six inches from the
mouthpiece, holding it out straight and in a line with the mouth, so as
not to cause the body to assume a stooping position. Then press the
mouthpiece about the centre of the mouth, a shade more on the top lip
than on the lower. Then almost close the lips, but draw them tightly
across the teeth as if in the act of spitting something unpleasant out
of the mouth. Then, as it were, spit into the mouthpiece, but without
discharging more saliva than can possibly be helped; thus blowing
sharply into the Horn, being, at the same time, careful _not to puff out
the cheeks_. Try to produce the sound “tpff” with the tip of the tongue,
drawing it back again quickly, so as to be ready, as it were, for
another note.
The sound at first will probably be but a short one, but after a little
practice it can be prolonged by degrees. After doing this repeatedly,
try then to hold or prolong the note, and not let it break or
involuntarily subside into another sound.
Practise the same note repeatedly at first without trying to sound
different ones; remembering that, before attempting to run it is
necessary to know how to walk properly.
Beginners will find their top lip become swollen and numbed, after
blowing a little time, in which case I would advise them to leave off
entirely for at least half-an-hour, for it is of no use harassing the
lip; and it is as futile to try to blow with a numbed lip as to try to
win a race with a tired horse.
Five good, clear and natural notes can be produced on the Coach-horn,
viz.,
[Illustration]
which, for the benefit of my non-musical readers, I have marked C, G*,
C, E, and top G.
Upon the Post-horn four notes are about all that can be sounded with
ease and comfort; indeed, it is seldom that more than the first three
notes are used.
Nine persons out of ten will produce the note G* first, then, after a
little practice, the upper notes will come by compressing the lips a
_little_ more tightly, and blowing, as it were, rather more against the
top part of the interior or cup of the mouthpiece. A very little will do
this, in fact, the extra pressure is almost imperceptible. On the
contrary, to produce the bottom note C, the lowest note of all, it is
necessary to relax the lips so as to cause them to slacken a _very
little_, and then blow as straight and direct into the mouthpiece as
possible.
These are about all the instructions it is possible to give, and I
really believe that this is the first time the theory of Horn-blowing
has been so minutely described. I only hope that I have succeeded in
making myself intelligible, and, in conclusion, I can only urge my
readers, as I said before, to take the trouble and to practise.
I quite agree with them that it is not exactly a treat to hear a novice
trying to blow a Coach-horn in a house or in quiet lodgings, and
therefore I would recommend learners always to carry a mouthpiece in
their pockets. An ordinary cornet mouthpiece will do, and blowing on
this occasionally in the manner I have described, whenever they feel
inclined or have the opportunity, will harden the lip and accustom it to
the mouthpiece, whilst the noise produced will not even “wake the baby”
or cause any other more serious domestic disturbance.
A gallant Colonel, an eminent cornet player, whose name I am scarcely at
liberty to mention, told me of a capital hint to persons learning to
blow, which is to place a hair inside the mouth and then try to spit it
out cleanly. This strikes me as an excellent suggestion, for the action
of blowing a Horn is very similar and a hair is a very difficult thing
to spit out of the mouth _cleanly_, as I observed. It is important to
mention that when sounding a Horn on a coach, it is always advisable for
the performer to turn his head aside a little, so as to avoid blowing
right into the teeth of the wind. Attention to this little point will
make a great difference in the ease of blowing.
Again, when driving through London or any other large cities, the Horn
should be used only when necessary to clear the road of the innumerable
’buses and cabs, both “growlers” and “hansoms,” which block the way,
rendering it almost impossible to “tool a team” through the crowded
streets without the aid of a Coach-horn.
Most coachmen will admit that at present the sound of the Horn is always
promptly and civilly attended to by drivers of the above-mentioned
public conveyances; but this would not be the case if the “cry of wolf”
were made too common, and the Horn sounded without occasion.
On a country road the case is very different, for there the performer
can give vent to his wind and lungs to his heart’s content; his sounds,
if musical, tending to cheer the spirits and enliven the journey; whilst
if by chance discordant notes and queer noises are produced, the effect
will be the same, inasmuch as the risible faculties and sympathies of
his fellow-passengers are sure to be aroused.
I hope it will not be thought out of place for me here to acknowledge
the kindness and hospitality of the many proprietors of crack Coaches
travelling out of London in the season, who have so often offered me a
seat when they have had one to spare. Such little outings have always
afforded me much pleasure, tending, as they do, to grease the wheels of
life, and make the journey more pleasant; and, although my fare has
often been good-naturedly but positively refused, I have in such cases
always made it a rule not to forget the old-fashioned claims of the
“professional,” who is generally present, and the Guard attached to the
Coach, thus leaving those worthies even more deeply impressed with my
performance on the Coach-horn than perhaps they otherwise might have
been.
During these trips it has been my good fortune to meet with some
extraordinary fellow-passengers, and if I were free to narrate the
various scenes I have witnessed, this modest pamphlet would be increased
to a good sized volume.
One incident which happened to me as a pedestrian may, however, be told
without divulging any secrets of the road.
In the Autumn of 1875 I was spending my holidays at the very quiet
seaside village of Felixstowe, near Ipswich, where the Carabiniers were
at that time stationed. Strolling along the beach, watching the shipping
and the ever-restless waves, I heard a noise not unlike the distant
bellowing of a cow in the last stages of pulmonary consumption or
pleuro-pneumonia. Slightly alarmed, I cast my eyes along the high road
which runs parallel to the shore, where I saw an elegantly appointed
Coach, with four horses and grooms in livery, pulled up by the roadside
whilst a gentleman on the box seat was endeavouring to sound a
Coach-horn, and so to assemble the passengers who had alighted for
luncheon.
Having nothing whatever to do, I was seized with a sudden fit of
compassion for the gentleman who was blowing the Horn—for he was getting
black in the face, and it was a smoking hot day. I took the liberty to
address him, saying that, if he would allow me to make an attempt, I
thought I might be able to produce more musical sounds. With a “Ah, ah,
thank you, er,” he politely handed me the Horn. First glancing at the
maker’s name and Prize Medals which are conspicuously stamped on all
genuine Coach-horns, I remarked, “Ah, this is a good Horn, and no
mistake, for it came from the only man in London who knows how to make a
Coach-horn;” and then proceeding to blow it in my usual inimitable
style, I may say that I made “the welkin ring again.”
The company immediately made their appearance, and so delighted were
they that I was even offered a ride back to Ipswich, which a previous
appointment obliged me to decline with thanks, whilst the lady
passengers even applauded my performance by enthusiastically clapping
their hands.
This is not all, for I had almost forgotten the occurrence, when about a
month afterwards a gentleman walked into the shop of the maker of the
Coach-horn, whom I at once recognised as my acquaintance of the
Felixstowe Coach. “Fine weather,” remarked he. “Yes!” I replied, “just
the sort of day for a drive over to Felixstowe.” Staring at me for a
moment, he exclaimed, “By Jove, why you’re the fellow who blew that Horn
so well and praised the maker so highly. Dear me, what a capital joke.”
I modestly replied something to the effect that it was necessary in
these days to be able to sound one’s own trumpet, and that I seldom
missed the opportunity of doing so.
I believe this tale was told over the mess-table, and I should like to
have been present at the time.
Of course, there are Coach-horns and _Coach-horns_; some easy to blow
and of proper tone, others just the reverse, and the difference is to be
accounted for not only in the model, but also in the workmanship, gauge
of metal, and mode of their construction. With these particulars I will
not weary my readers, and it being an admitted fact that there is only
one firm of musical instrument makers in London—I may say in the
world—who know how to make really good Coach-horns, and that being the
one with which I happen to be connected, I hardly like mentioning their
name and address.
For very many years their old-fashioned workshop stood near Covent
Garden, but the exigencies of the times, to say nothing about the
increased rent of 50 per cent. demanded by the Ducal landlord at the
termination of the lease, rendered a removal to Victoria Street,
Westminster, advisable, if not compulsory(!) Circumstances further
compelled Messrs. KÖHLER & SON to move first to Ebury Street, S.W., and
then to Bromley, Kent. On taking over the concern in 1907, the present
proprietors, Messrs. SWAINE AND ADENEY, transferred the entire business
to their own premises at 185 Piccadilly, W., and to this establishment
gentlemen requiring good, easy-sounding Coach-horns, possessing the true
Coaching tones, are confidently recommended.
ADDENDA TO THE THIRD EDITION.
Since I wrote this little book, ten years have elapsed—ten eventful
years to many of us; but the precepts and principles of sounding the
Horn remain still unchanged from what they were even ten times ten years
ago. I have read the book through again, and I see nothing to alter,
nothing to correct, and nothing to regret, except the fact that the
book, although copyright, entered at Stationers’ Hall and registered at
the British Museum in proper form, has been copied by another “author,”
some of my paragraphs literally quoted word for word, and then published
by an eminent firm who certainly ought to have known better. Imitation,
however, being the sincerest form of flattery, although not always the
pleasantest, I have not yet made this piracy a subject for Her Majesty’s
High Court of Justice.
I have, however, often been reproached, perhaps not altogether unjustly,
for the small amount of printed matter contained in the first edition;
and I have, therefore, ventured to add a few more remarks upon Coaching
affairs generally, in the hope that they will prove interesting, and
meet with the same kind approval from my readers.
I have also been asked to add to what I may call the music portion, by
putting underneath the corresponding tones or sounds which can be played
on the pianoforte; my object being that such of my readers as are not
acquainted with music sufficiently to transpose, may get their sisters,
or their cousins, or their aunts, or someone even dearer (in
prospective) to strum them over for them on the pianoforte, thereby
enabling them to pick up the various calls correctly by ear. This will
not be found such an uninteresting occupation in agreeable society on a
pouring wet day, or when locked up in the house by frost and snow; and
the result, I hope, will prove in very many cases satisfactory to all
the parties concerned. Assuming the pianoforte to be pretty well up to
concert pitch, the notes played will be found to harmonize exactly with
those which can be sounded on either of the celebrated Coach-horns, the
“Beaufort” or the “Heavy Mail,” made by KÖHLER & SON, the firm already
alluded to.
And now I will preface the following remarks by stating that I have
recently returned from a trip—a most enjoyable trip—to America, and I
was surprised, as well as delighted, to see the splendid array of
Coaches in connection with the New York Coaching Club. The horses, too,
are fine, well bred and powerful animals; and I was particularly struck
with a team of fine bays, driven, I believe, by Mr. Bronson, which went
up town from the Brunswick Hotel at a spanking rate.
May I be allowed to express the opinion that we owe a great deal of the
revival of four-in-hand driving to our transatlantic cousins; for in
1851 there were few, very few, what I may call “swell” Stage Coaches, to
be seen, at any rate, anywhere in the neighbourhood of London or the
Parks.
Years ago, poor Alf Teddar drove the Brighton Coach in conjunction with
Cracknell, as servant to the Duke of Beaufort, the noble President of
the Coaching Club, and Mr. Cherry Angell, I think. But the late Mr.
Edward Sacheverell Chandos Pole, of Radbourn, in 1866, revived the Derby
and Brighton Coaches, and did much to make the art of driving
Four-in-hand popular. Both in appearance and reality that gentleman was
my beau-ideal of a thorough coachman. Cool, calm, and decided, it was a
treat to see how cleverly he tooled his gallopers along the road; all
the time chatting pleasantly with his companions on the box seat, or
over his shoulder to his passengers. He could blow the Horn, too, and
drive at the same time; rather a dangerous feat, which requires
practice; and I would not recommend my readers to try it, although I
have seen him do it.
Other gentlemen also identified themselves with “the Road” out of
London, amongst whom are to be mentioned General Tyrwhitt, Colonel
Clitherow, Captain Cooper, Mr. Freeman, and Mr. Challoner Smith, who
were all accomplished “Whips” and thorough Coachmen, studying their
passengers as well as the horses they drove.
This brings me down to about the time when Mr. Tiffany, a New York
gentleman, and a pupil of Charles Ward, came to England and worked the
Brighton Coach with his celebrated skewbald team, and Tom Tims as Guard,
scenes carried down to posterity by the three pictures so cleverly
painted by Mr. Sturgis.
I remember this gentleman (Mr. Tiffany, not Mr. Sturgis) calling when
our old workshops were in Covent Garden, and after sounding several
Coach-horns (and hearing me blow them), he startled me by saying, “Well,
now, I want a Guard for my Coach, and I guess you’re just the man I
want. Now tell me what would you ask for the season, say three months,
till the end of September?” I said this offer would require some
consideration, but as he still pressed me for an answer, I replied that
I thought perhaps £600 would about compensate me for my absence from
business and its inevitable consequences. He burst out laughing, and for
once in my life I had the satisfaction of hearing an American say (not
that he meant it) that “he couldn’t afford it!” Another American
gentleman, too, Mr. Kane, took over the Virginia Water Coach, previously
horsed by the then Lord Macduff, Captain Dickson, and Mr. Williams,
three well-known Coachmen.
It may be a vulgar expression, but I have often heard it remarked that
Americans make money like dirt, and that they spend it likewise, and
certainly Mr. Kane spent his with great liberality, his stud at that
time consisting of a horse a mile, besides reserves.
In connection with this subject, I ought to mention with respect Mr.
Charles Hoare and his Beckenham Coach, and the one associated with Lord
Bective, Colonel Fletcher Hathorne, and Mr. Chaplin, driven through the
Garden of England to Tunbridge Wells. There was also the Epsom and
Dorking Coach, regularly worked from the White Horse Cellars by Captain
Blythe, Sir Henry de Bathe, and Mr. Hankey, another banker, through most
pleasant country.
A series of wet, very wet, summers then ensued, and although none of the
well-known gentlemen I have mentioned ever worked a Coach with any idea
of profit, still the paucity of passengers, combined with torrents of
rain, not only diminished the receipts, but cast what I may truly call
such a damper upon Coaching enterprise that it was a wonder to me that
it did not collapse altogether.
The season of 1887, however, has been a Jubilee one for Coaching as well
as for Her most Gracious Majesty; and from inquiries I have made at
Hatchett’s I find that the number of passengers have been unusually
heavy, all the Coaches being well loaded up.
In the foregoing statements I have endeavoured to trace the continuation
of Coaching, when it languished in London and its neighbourhood, at any
rate, as a fashionable amusement; although, no doubt, many private
Coaches existed and were driven in various country places and provincial
towns; and if I have given more credit than is fairly due to our
American friends for the re-establishment of the art, it must be
attributed to the remembrances connected with the trip already alluded
to, and to the kindness and hospitality I experienced when travelling in
their country.
This little book having reached that pinnacle of eminence known in the
literary profession as a “standard work,” I hope that none of the
gentlemen I have mentioned will object to see their names in print, but
should they do so, I herewith offer my humble apologies. Some of them,
alas! are no more; others have changed their names by inheriting their
titles and estates; but many of them are acquainted with the Old Guard,
and know his name very well, although I still prefer my _nom de plume_
in this instance to the one given to me by “my godfathers and godmothers
in my baptism, wherein,” etc.
With these remarks I conclude a third edition of my work, leaving it to
my readers to decide by their appreciation of my efforts whether I shall
ever be called upon to issue a fourth. In the meantime, I would ask them
to remember the old toast,
“THE QUEEN AND THE ROAD!”
BROMLEY, KENT,
_February 2nd, 1907_.
SIR,
We beg to announce that we have disposed of our entire business to
Messrs. SWAINE & ADENEY of 185, PICCADILLY, LONDON, W., the well-known
Whip Manufacturers.
We should like to thank our numerous customers for their kind patronage
for so many years, and trust that the same will be extended to our
successors who will keep a large stock of all our specialities.
Yours faithfully,
KÖHLER & SON.
185, PICCADILLY, LONDON, W.
_February 2nd, 1907_.
SIR,
We beg to announce that as stated on the opposite side we have purchased
the old-established business of Messrs. J. KÖHLER & SON, BROMLEY, KENT,
Hunting, Coaching, and Signal-Horn Manufacturers.
The factory will be retained as before, and customers can therefore rely
on obtaining the unique tone and excellent qualities that have made
their specialities so famous for over a century.
All orders and communications should be addressed to 185, Piccadilly,
London, W., where customers wishing to choose a Horn personally will
find a great variety of all the well-known patterns; also of all other
of Messrs. Köhler & Son’s specialities.
We are,
Your obedient Servants,
SWAINE & ADENY.
COACH-HORN CALLS.
N.B.—When Köhler’s “Heavy Mail” Coach-horn (46 inches) is used, the
pianoforte should play the _top line_; but when the “Beaufort”
Coach-horn (36 inches) is used, the Pianoforte should play the
_bottom line_.
* * * * *
These Calls can be repeated; and all those marked * can be sounded on
Post-horns as well as Coach-horns.
* * * * *
No. I.*—THE START.
[Illustration: ]
No. II.*—CLEAR THE ROAD.
[Illustration: PIANOFORTE.]
No. III.—OFF SIDE.
[Illustration: PIANOFORTE.]
No. IV.—NEAR SIDE.
[Illustration: PIANOFORTE.]
No. V.—SLACKEN PACE.
[Illustration: _A little slower._ PIANOFORTE. A little slower._]
No. VI.*—PULL UP.
[Illustration: PIANOFORTE.]
No. VII.*—CHANGE HORSES.
[Illustration: PIANOFORTE.]
No. VIII.*—THE POST-HORN CALL.
[Illustration: PIANOFORTE.]
No. IX.—“HIGHER UP.”
[Illustration: PIANOFORTE.]
No. X.—A RUSTIC CALL.
[Illustration: PIANOFORTE.]
No. XI.—“STEADY.”
[Illustration: PIANOFORTE.]
No. XII.—HOME.
[Illustration: PIANOFORTE.]
The Old English Air—“BUY A BROOM.”
[Illustration]
[Illustration: A vintage, stylized silhouette illustration of a
four-horse mail coach. Several passengers sit atop the roof while a
driver holds a long whip, a guard sits at the rear, and an ostler or
stableman stands at the front holding the leading horses.]
COACH-HORNS
48″ Brass “Four-in-Hand”
44″ Copper “Beaufort”
TANDEM-HORN
36″ Copper “Beaufort”
[Illustration:
BY APPOINTMENT TO H. M. THE QUEEN
UMBRELLA MAKERS
]
[Illustration:
BY APPOINTMENT TO H. M. THE KING
WHIP & GLOVE MAKERS
]
[Illustration:
BY APPOINTMENT TO H. M. QUEEN MARY
GLOVE & UMBRELLA MAKERS
]
SWAINE ADENEY BRIGG & SONS
LIMITED
(Sole Proprietors of Köhler & Son’s Horns)
WHIP MAKERS
UMBRELLA MAKERS
Make a speciality of all
HUNTING REQUISITES
Hunting Whips Hunt Servants Whips
Flasks & Sandwich Cases Hound Couples
Hunting Spurs Second Horseman Canteens
Hunting Whistles Wire Nippers
Otter-Hunting Poles Gloves
ESTABLISHED 1750
185 PICCADILLY, LONDON, W.1.
Telegrams: Swadeneyne, Piccy, London. Phone: Regent 4277–8–9
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
● Fixed typos; non-standard spelling and dialect retained.
● Enclosed italics font in _underscores_.
● Images without captions use HTML alt text provided by transcriber.
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