book iii
. chap. i.).
3. _The 16th Century._--In the Italian wars waged by Charles VIII., Louis XII. and Francis I. of France, artillery played a most conspicuous part, both in siege and field warfare. Indeed, cannon did excellent service in the field before hand firearms attained any considerable importance. At Ravenna (1512) and Marignan (1515) field artillery did great execution, and at the latter battle "the French artillery played a new and distinguished part, not only by protecting the centre of the army from the charges of the Swiss phalanxes, and causing them excessive loss, but also by rapidly taking up such positions from time to time ... as enabled the guns to play upon the flanks of the attacking columns" (Chesney, _Observations on Firearms_, 1852). In this connexion it must, however, be observed that, when the arquebus and other small arms became really efficient (about 1525), less is heard of this small and handy field artillery, which had hitherto been the only means of breaking up the heavy masses of the hostile pikemen. We have seen that artillery was not ignored in England; but, in view of the splendid and unique efficiency of the archers, there was no great opportunity of developing the new arm. In the time of Henry VIII., the ordnance in use in the field consisted in the main of heavy _culverins_ and other guns of position, and of lighter field pieces, termed _sakers, falcons_, &c. It is to be noticed that already the lightest pieces had disappeared, the smallest of the above being a 2-pounder. In the earlier days of field artillery, the artillery train was a miscellaneous congeries of pontoon, supply, baggage and tool wagons, heavy ordnance and light guns in carts. With the development of infantry fire the use of the last-named weapons died out, and it is largely due to this fact that "artillery" came to imply cumbrous and immobile guns of position. Little is, therefore, heard of smart manoeuvring, such as that at Marignan, during the latter part of the 16th century. The guns now usually come into action in advance of the troops, but, from their want of mobility, could neither accompany a farther advance nor protect a retreat, and they were generally captured and recaptured with every changing phase of the fight. Great progress was in the meanwhile made in the adaptation of ordnance to the attack and defence of fortresses and, in particular, vertical fire came into vogue. A great Turkish gun, carrying a 600-lb. stone shot, was used in the siege of Constantinople, apparently in this way, since Gibbon records that at the range of a mile the shot buried itself a fathom deep in earth, a fact which implies that a high angle of elevation was given. In the celebrated siege of Malta in 1565 artillery played a conspicuous part.
4. _The Thirty Years' War._--Such, in its broadest outlines, is the history of artillery work during the first three centuries of its existence. Whilst the material had undergone a very considerable improvement, the organization remained almost unchanged, and the tactical employment of guns had become restricted, owing to their slowness and difficulty of movement on the march and immobility in
## action. In wars of the type of the War of Dutch Independence and the
earlier part of the Thirty Years' War, this heavy artillery naturally remained useful enough, and the _Wagenburg_ had given place to the musketry initiated by the Spaniards at Bicocca and Pavia, which since 1525 had steadily improved and developed. It is not, therefore, until the appearance of a captain whose secret of success was vigour and mobility that the first serious attempt was made to produce field artillery in the proper sense of the word, that is, a gun of good power, and at the same time so mounted as to be capable of rapid movement. The "carte with gonnes" had been, as is the modern machine gun, a mechanical concentration of musketry rather than a piece of artillery. Maurice of Nassau, indeed, helped to develop the field gun, and the French had invented the limber, but Gustavus Adolphus was the first to give artillery its true position on the battlefield. At the first battle of Breitenfeld (1631) Gustavus had twelve heavy and forty-two light guns engaged, as against Tilly's heavy 24-pounders, which were naturally far too cumbrous for field work. At the Lech (1632) Gustavus seems to have obtained a local superiority over his opponent owing to the handiness of his field artillery even more than by its fire-power. At Lutzen (1632) he had sixty guns to Wallenstein's twenty-one. His field pieces were not the celebrated "leather" guns (which were indeed a mere makeshift used in Gustavus' Polish wars) but iron 4-pounders. These were distributed amongst the infantry units, and thus began the system of "battalion guns" which survived in the armies of Europe long after the conditions requiring it had vanished. The object of thus dispersing the guns was doubtless to ensure in the first place more certain co-operation between the two arms, and in the second to exercise a military supervision over the lighter and more useful field pieces which it was as yet impossible to exercise over the _personnel_ of the heavy artillery.
5. _Personnel and Classification._--More than 300 years after the first employment of ordnance, the men working the guns and the transport drivers were still civilians. The actual commander of the artillery was indeed, both in Germany and in England, usually a soldier, and Lennart Torstensson, the commander of Gustavus' artillery, became a brilliant and successful general. But the transport and the drivers were still hired, and even the gunners were chiefly concerned for the safety of their pieces, the latter being often the property, not of the king waging war, but of some "master gunner" whose services he had secured, and the latter's apprentices were usually in entire charge of the material. These civilian "artists," as they were termed, owed no more duty to the prince than any other employes, and even Gustavus, it would appear, made no great improvement in the matter of the reorganization of artillery trains. Soldiers as drivers do not appear until 150 years later, and in the meanwhile companies of "firelocks" and "fusiliers" (q.v.) came into existence, as much to prevent the gunners and drivers from running away as to protect them from the enemy. A further cause of difficulties, in England at any rate, was the age of the "gunners." In the reign of Elizabeth, some of the Tower gunners were over ninety years of age. Complaints as to the inefficiency of these men are frequent in the years preceding the English Civil War. Gustavus, however, has the merit of being the first to make the broad classification of artillery, as mobile or non-mobile, which has since been almost universally in force. In his time the 12-pounder was the heaviest gun classed as mobile, and the "feildpeece" _par excellence_ was the 9-pounder or _demi-culverin_. After the death of Gustavus at Lutzen (1632), his principles came universally into practice, and amongst them were those of the employment of field artillery.
6. _The English Civil War._--Even in the English Civil War (Great Rebellion), in which artillery was hampered by the previous neglect of a century, its field work was not often contemptible, and on occasion the arm did excellent service. But in the campaigns of this war, fought out by men whose most ardent desire was to decide the quarrel swiftly, the marching and manoeuvring were unusually rapid. The consequence of this was that the guns were sometimes either late in arriving, as at Edgehill, or absent altogether, as at Preston. The _role_ of guns was further reduced by the fact that there were few fortresses to be reduced, and country houses, however strong, rarely required to be battered by a siege train. The New Model army usually sent for siege guns only when they were needed for particular service. On such occasions, indeed, the heavy ordnance did its work so quickly and effectually that the assault often took place one or two days after the guns had opened fire. Cromwell in his sieges made great use of shells, 12-inch and even larger mortars being employed. The castle of Devizes, which had successfully resisted the Parliamentary battering guns, succumbed at once to vertical fire. It does not, however, appear certain that there was any separation of field from siege ordnance, although the Swedish system was followed in almost all military matters.
7. _Artillery Progress, 1660-1740._--Cromwell's practice of relegating heavy guns to the rear, except when a serious siege operation was in view, and in very rapid movements leaving even the field pieces far behind, was followed to some extent in the campaigns of the age of Louis XIV. The number of ammunition wagons, and above all of horses, required for each gun was four or five times as great as that required even for a modern quick-firer. In the days of Turenne heavy guns were much employed, as the campaigns of the French were directed as a rule to the methodical conquest of territory and fortified towns. Similarly, Marlborough, working amidst the fortresses of the Netherlands in 1706, had over 100 pieces of artillery (of which 60 were mortars) to a force of some 11,000 men, or about 9 pieces per 1000 men. On the other hand, in his celebrated march to the Danube in 1704, he had but few guns, and the allied armies at Blenheim brought into the field only 1 piece per 1000 men. At Oudenarde "from the _rapidity of the march_ ... the battle was fought with little aid from artillery on either side" (Coxe, _Marlborough_). There was less need now than ever before for rapid manoeuvres of mobile artillery, since the pike finally disappeared from the scene about 1700, and infantry fire-power had become the decisive factor in battles. In the meantime, artillery was gradually ceasing to be the province of the skilled workman, and assuming its position as an arm of the military service. In the 17th century, when armies were as a rule raised only "for the war" and disbanded at the conclusion of hostilities, there had been no very pressing need for the maintenance in peace of an expensive _personnel_ and material. Gunners therefore remained, as civilians, outside the regular administration of the forces, until the general adoption of the "standing army" principle in the last years of the century (see ARMY). From this time steps were taken, in all countries, to organize the artillery as a military force. After various attempts had been made, the "Royal Regiment of Artillery" came into existence in England in 1716. It is, however, stated that the English artillery did not "begin to assume a military appearance until the Flanders campaigns" of the War of the Austrian Succession. Even in the War of American Independence a dispute arose as to whether a general officer, whose regimental service had been in the Royal Artillery, was entitled to command troops of all arms, and the artillery drivers were not actually soldiers until 1793 at the earliest. French artillery officers received military rank only in 1732.
8. _Artillery in the Wars of Frederick the Great._--By the time of Frederick the Great's first wars, artillery had thus been divided into (a) those guns moving with an army in the field, and (b) those which were either wholly stationary or were called upon only when a siege was expected. The _personnel_ was gradually becoming more efficient and more amenable to discipline; the transport arrangements, however, remained in a backward state. Siege and fortress artillery was now organized and employed in accordance with the system of the "formal attack" as finally developed by Vauban. For details of this, as involving the tactical procedure of artillery in the attack and defence of fortresses, the reader is referred to FORTIFICATION AND SIEGECRAFT. We are concerned here more especially with the progress of field artillery. The part played by this arm began now to vary according to the circumstances of each action, and the "moral" support of guns was calculated as a factor in the dispositions. In the early Silesian wars, heavy or reserve guns protected the deployment of the army and endeavoured to prepare for the subsequent advance by firing upon the hostile troops; the battalion guns remained close to the infantry, accompanied its movements and assisted in the fire fight. Their support was not without value, and the heavy guns often provoked the enemy into a premature advance, as at Mollwitz. But the infantry or the cavalry forced the decision. It has been mentioned that with the final disappearance of the pike, about 1700, infantry fire-power ruled the battlefield. Throughout the 18th century, it will be found, when the infantry is equal to its work the guns have only a subordinate part in the fighting of pitched battles. At Kunersdorf (1759) the first dashing charge of the Prussian grenadiers captured 72 guns from the Russian army. Later the total of captured ordnance reached 180, yet the Russians, then almost wholly in flight, were not cut to pieces, for only a few light guns of the Prussian army could get to the front; their heavy pieces, though twelve horses were harnessed to each, never came into action. This example will serve to illustrate the difference between the artillery of 1760 and that of fifty years later. According to Tempelhof, who was present, Kunersdorf was the finest opportunity for field artillery that he had ever seen. Yet the field artillery of the 18th century was, if anything, more powerful than that of Napoleon's time; it was the want of mobility alone which prevented the Prussians from turning to good account an opportunity fully as favourable as that of the German artillery at Sedan. That Frederick made more use of his guns in the later campaigns of the Seven Years' War is accounted for by the fact that his infantry and cavalry were no longer capable of forcing a decision, and also by changes in the general character of the operations. These were fought in and about broken country and entrenched positions, and the mobility of the other arms sank to that of the artillery. Thus power came to the front again, and the heavier weapons regained their former supremacy. In a _bataille rangee_ in the open field the proportion of guns to men had been, in 1741, 2 per 1000. At Leuthen (1757) heavy fortress guns were brought to the front for a special purpose. At Kunersdorf the proportion was 4 and 5 per 1000 men, with what degree of effectiveness we have seen. In the later campaigns the Austrian artillery, which was, throughout the Seven Years' War, the best in Europe, placed its numerous and powerful ordnance (an "amphitheatre of 400 guns," as Frederick said) in long lines of field works. The combination of guns and obstacles was almost invariably too formidable to offer the slightest chance of a successful assault. It was at this stage that Frederick, in 1759, introduced horse artillery to keep pace with the movements of cavalry, a proof, if proof were needed, of the inability of the field artillery to manoeuvre. The field howitzer, the weapon _par excellence_ for the attack of field works, has never perhaps been more extensively employed than it was by the Prussians at that time. At Burkersdorf (1762) Frederick placed 45 howitzers in one battery. In those days the mobile artillery was always formed in groups or "batteries" of from 10 to 20 pieces. England too was certainly abreast of other countries in the organization of the field artillery arm. About the middle of the 18th century the guns in use consisted of 24-pounders, 12-pounders, 6-pounders and 3-pounders. The guns were divided into "brigades" of four, five and six guns respectively, and began to be separated into "heavy" and "light" brigades. Each field gun was drawn by four horses, the two leaders being ridden by artillerymen, and had 100 rounds of shot and 30 rounds of grape. The British artillery distinguished itself in the latter part of the Seven Years' War. Foreign critics praised its lightness, its elegance and the good quality of its materials. At Marburg (1760) "the English artillery could not have been better served; it followed the enemy with such vivacity, and maintained its fire so well, that it was impossible for the latter to re-form," says Tempelhof, the Prussian artillery officer who records the lost opportunity of Kunersdorf. The merits and the faults of the artillery had been made clear, and nowhere was the lesson taken to heart more than in France, where General Gribeauval, a French officer who had served in the war with the Austrian artillery, initiated reforms which in the end led to the artillery triumphs of the Napoleonic era. While Frederick had endeavoured to employ, as profitably as possible, the existing heavy equipments, Gribeauval sought improvement in other directions.
9. _Gribeauval's Reforms._--At the commencement of the 18th century, French artillery had made but little progress. The carriages and wagons were driven by wagoners on foot, and on the field of battle the guns were dragged about by ropes or remained stationary. Towards the middle of the century some improvements were made. Field guns and carriages were lightened, and the guns separated into brigades. Siege carriages were introduced. From 1765 onwards, however, Gribeauval strove to build up a complete system both of _personnel_ and _materiel_, creating a distinct _materiel_ for field, siege, garrison and coast artillery. Alive to the vital importance of mobility for field artillery, he dismissed to other branches all pieces of greater calibre than 12-pounders, and reduced the weight of those retained. His reforms were resisted, and for a time successfully; but in 1776 he became first inspector-general of artillery, and was able to put his ideas into force. The field artillery of the new system included 4-pounder regimental guns, and for the reserve 8- and 12-pounders, with 6-inch howitzers. For siege and garrison service Gribeauval adopted the 16-pounder and 12-pounder guns, 8-inch howitzer and 10-inch mortar, 12-, 10- and 8-inch mortars being introduced in 1785.
The carriages were constructed on a uniform model and technically improved. The horses were harnessed in pairs, instead of in file as formerly, but the manner in which the teams were driven remained much the same. The _prolong_ (a sort of tow-rope) was introduced, to unite the trail of the gun and the limber in slow retiring movements. Siege carriages differed from those of field artillery only in details. Gribeauval also introduced new carriages for garrison and coast service. The great step made was in a uniform construction being adopted for all _materiel_, and in making the parts interchangeable so far as possible. In 1765 the _personnel_ of the French artillery was reorganized. The corps or reserve artillery was organized in divisions of eight guns. The battery or division was thus made a unit, with guns, munitions and gunners complete, the horses and drivers being added at a later date. Horse artillery was introduced into the French army in 1791. The last step was made in 1800, when the establishment of a driver corps of soldiers put an end to the old system of horsing by contract.
10. _British Artillery, 1793-1815._--Meanwhile the numbers of the English artillery had increased to nearly 4000 men. For some five centuries the word "artillery" in England meant entirely garrison artillery; the field artillery only existed in time of war. When war broke out, a train of artillery was organized, consisting of a certain number of field (or siege) guns, manned by garrison gunners; and when peace was proclaimed the train was disbanded, the _materiel_ being returned into store, and the gunners reverting to some fort or stronghold. In 1793 the British artillery was anything but efficient. Guns were still dispersed among the infantry, mobility had declined again since the Seven Years' War, and the American war had been fought out by the other arms. The drivers were mere carters on foot with long whips, and the whole field equipment was scarcely able to break from a foot-pace. Prior to the Peninsular War, however, the exertions of an able officer, Major Spearman, had done much to bring about improvement. Horse artillery had been introduced in 1793, and the driver corps established in 1794. Battalion guns were abolished in 1802, and field "brigades of six guns" were formed, horse artillery batteries being styled "troops." Military drivers were introduced, and the horses teamed in pairs. The drivers were mounted on the near horses, the gunners either rode the off horses or were carried on the limbers and wagons. The equipment was lightened, and a new system of manoeuvres introduced. A troop of horse artillery and a field brigade each had five guns and one howitzer. The "driver corps," raised in 1794, was divided into troops, the addition of one of which to a company of foot artillery converted it into a field brigade. The horse artillery possessed both drivers and horses, and required very limited assistance from the driver corps.
11. _French Revolutionary Wars._--During the long wars of the French Revolution and Empire the artillery of the field army by degrees became field artillery as we know it to-day. The development of musketry in the 16th century had taken the work of preparing an assault out of the hands of the gunners. _Per contra_, the decadence of infantry fire-power in the latter part of the Seven Years' War had reinstated the artillery arm. A similar decadence of the infantry arm was destined to produce, in 1807, artillery predominance, but this time with an important difference, viz. _mobility_, and when mobility is thus achieved we have the first modern field artillery. The new tactics of the French in the Revolutionary wars, forced upon them by circumstances, involved an almost complete abandonment of the fire-tactics of Frederick's day, and the need for artillery was, from the first fight at Valmy onwards, so obvious that its moral support was demanded even in the outpost line of the new French armies. St Cyr (_Armies of the Rhine_, p. 112) quotes a case in which "right in the very farthest outpost line" the original 4-pounder guns were replaced by 8-, 16-, and in the end by 24-pounders. The cardinal principle of massing batteries was not, indeed, forgotten, notwithstanding the weakness of raw levies. But though, as we have seen, the _materiel_ had already been greatly improved, and the artillery was less affected by the Revolution than other arms of the service, circumstances were against it, and we rarely find examples of artillery work in the Revolutionary wars which show any great improvement upon older methods. The field guns were however, at last organized in batteries each complete in itself, as mentioned above. The battalion gun disappeared; it was a relic of days in which it was thought advisable, both for other reasons and also because the short range of guns forbade any attempt at concentration of fire from several positions at one target, to have some force of artillery at any point that might be threatened. Though it was officially retained in the regulations of the French army, "officers and men combined to reject it" (Rouquerol, _Q.F. Field Artillery_, p. 121), and its last appearances, in 1809 and in 1813, were due merely to an endeavour on the part of Napoleon to give cohesion thereby to the battalions of raw soldiers which then constituted his army. But, with the development of mobility, it was probably found that sufficient guns could be taken to any threatened point, and no one had ever denied the principle of massed batteries, although, in practice, dispersion had been thought to be unavoidable.
12. _Napoleon's Artillery Tactics._--During the war the French artillery steadily improved in manoeuvring power. But many years elapsed before perfection was attained. Meanwhile, the infantry, handled without regard to losses in every fight, had in consequence deteriorated. The final production of the field artillery battle, usually dated as from the battle of Friedland (June 14, 1807), therefore saved the situation for the French. Henceforward Napoleon's battles depend for their success on an "artillery preparation," the like of which had never been seen. Napoleon's own maxim illustrates the typical tactics of 1807-1815. "When once the _melee_ has begun," he says, "the man who is clever enough to bring up an unexpected force of artillery, without the enemy knowing it, is sure to carry the day." The guns no longer "prepared" the infantry advance by slowly disintegrating the hostile forces. Still less was it their business merely to cover a deployment. On the contrary, they now went in to the closest ranges and, by actually _annihilating_ a portion of the enemy's line with case-shot fire, "covered" the assault so effectively that columns of cavalry and infantry reached the gap thus created without striking a blow. It is unnecessary to give examples. Every one of Napoleon's later battles illustrates the principle. The most famous case is that of the great battery of 100 guns at Wagram (q.v.) which preceded the final attack of the centre. When Napoleon at Leipzig saw the allied guns forming up in long lines to prepare the assault, he exclaimed, "At last they have learned something." This "case-shot preparation," of course, involved a high degree of efficiency in manoeuvre, as the guns had to gallop forward far in front of the infantry. The want of this quality had retarded the development of field artillery for 300 years, during which it had only been important relatively to the occasional inferiority of other troops. After Napoleon's time the art of tactics became the art of _combining the three arms_.
[Illustration: PLATE I.
FIGS. 1 and 2.--15th Century Field Artillery (Napoleon III).
FIG. 3.--Field Artillery. 1525 (Napoleon III).
FIG. 4.--French Artillery 1735 (_Journal d'Armee_,1835).
FIG. 5.--French Field Artillery,1835 (_Journal d'Armee_,1835).
FIG. 6.--Artillery in Action, Roveredo, 1796 (C. Vernet).]
[Illustration: PLATE II.
BREACH LOADING FIELD BATTERY (15-PR. B.L.). _Photo, Gale & Polden._
QUICK-FIRING HORSE ARTILLERY (ROYAL HORSE ARTILLERY, 13-PR. Q.F.). _Photo, Gale & Polden._
Q.F. FIELD ARTILLERY (18-PR. Q.F., R.F.A.). _Photo, Gale & Polden._
FRENCH (75-MM. Q.F.) FIELD ARTILLERY MANOEUVRING. _Photo, Topical Press._]
13. _Artillery, 1815-1865._--Henceforward, therefore, the history of artillery becomes the history of its technical effectiveness,
## particularly in relation to infantry fire, and of improvements or
modifications in the method of putting well-recognized principles into
## action. Infantry fire, however, being more variable in its effectiveness
than that of artillery, the period 1815-1870 saw many changes in the relations of the two arms. In the time of Napoleon, infantry fire never equalled that of the Seven Years' War, and after the period of the great wars the musket was less and less effectively used. Economy was, however, practised to excess in every army of Europe during the period 1815-1850, and even if there had been great battles at this time, the artillery, which was maintained on a minimum strength of guns, men and horses, would not have repeated the exploits of Senarmont and Drouot in the Napoleonic wars. The principle was well understood, but under such conditions the practice was impossible. It was at this stage that the general introduction of the rifled musket put an end, once for all, to the artillery tactics of the smooth-bore days. Infantry, armed with a far-ranging rifle, as in the American Civil War, kept the guns beyond case-shot range, compelling them to use only round shot or common shell. In that war, therefore, attacking infantry met, on reaching close quarters, not regiments already broken by a _feu d'enfer_, but the full force of the defenders' artillery and infantry, both arms fresh and unshaken, and the full volume of their case shot and musketry. At Fredericksburg the Federal infantry attacked, unsupported by a single field piece; at Gettysburg the Federal artillery general Hunt was able to reserve his ammunition to meet Lee's assault, although the infantry of his own side was meanwhile subjected to the fire of 137 Confederate guns. Thus, in both these cases the assault became one of infantry against unshaken infantry and artillery. On many occasions, indeed, the batteries on either side went into close ranges, as the traditions of the old United States army dictated, but their losses were then totally out of proportion to their effectiveness. Indeed, the increased range at which battles were now fought, and the ineffectiveness of the projectiles necessarily used by the artillery at these ranges, so far neutralized even rifled guns that artillery generals could speak of "idle cannonades" as the "besetting sin" of some commanders.
14. _The Franco-German War, 1870-71._--In the next great war, that of 1866 (Bohemia), guns were present on both sides in great numbers, the average for both sides being three guns per 1000 men. Artillery, however, played but a small part in the Prussian attacks, this being due to the inadequate training then afforded, and also to the mixture of rifled guns and smooth-bores in their armament. In Prussia, however, the exertions of General v. Hindersin, the improvement of the _materiel_, and above all the better tactical training of the batteries, were rewarded four years later by success on the battlefield almost as decisive as Napoleon's. In 1870 the French artillery was invariably defeated by that of the Germans, who were then free to turn their attention to the hostile infantry. At first, indeed, the German infantry was too impatient to wait until the victorious artillery had prepared the way for them by disintegrating the opposing line of riflemen. Thus the attack of the Prussian Guards at St Privat (August 18, 1870) melted away before the unbroken fire-power of the French, as had that of the Federals at Fredericksburg and that of the Confederates at Gettysburg. But such experiences taught the German infantry commanders the necessity of patience, and at Sedan the French army was enveloped by the fire of nearly 600 guns, which did their work so thoroughly that the Germans annihilated the Imperial army at the cost of only 5% of casualties.
15. _Results of the War._--The tactical lessons of the war, so far as field artillery is concerned, may be briefly summarized as (a) employment of great masses of guns; (b) forward position of guns in the order of march, in order to bring them into action as quickly as possible; (c) the so-called "artillery duel," in which the assailant subdues the enemy's artillery fire; and (d) when this is achieved, and not before, the thorough preparation of all infantry attacks by artillery bombardment. This theory of field artillery action has not, even with the almost revolutionary improvements of the present period, entirely lost its value, and it may be studied in detail in the well-known work of von Schell, _Taktik der Feldartillerie_ (1877), later translated into English by Major-General Sir A.E. Turner (_Tactics of Field Artillery_, 1900). In one important matter, however, the precepts of Schell and his contemporaries no longer hold good. "It is absolutely necessary that the object of the infantry's attack should be cannonaded before it advances. To accomplish this, sufficient time should be given to the artillery, and on no account should the infantry be ordered to advance until the fire of the guns has produced the desired effect." This, the direct outcome of the slaughter at St Privat, represents the best possibilities of breech-loading guns with common shell--no more than a slow disintegration of the enemy's power of resistance by a thorough and lengthy "artillery preparation." Against troops sheltered behind works (as in the Russo-Turkish War of 1877-78) the common shell usually failed to give satisfactory results, if for no other reason, because the "preparation" consumed an inordinate time, and in any case the hostile artillery had first of all to be subdued in the artillery duel.
16. _Quick-firing Field Guns._--In 1891, a work by General Wille of the German army (_The Field Gun of the Future_) and in 1892 another by Colonel Langlois of the French service (_Field Artillery with the other Arms_) foreshadowed many revolutionary changes in _materiel_ and tactics which have now taken place. The new ideas spread rapidly, and the quick-firing gun came by degrees to be used in every army. The original designs have been greatly improved upon (see ORDNANCE: _Field artillery equipments_), but the principles of these designs have not undergone serious modification. These are, briefly, the mechanical absorption of the recoil, by means of brakes or buffers, and the development of "time shrapnel" as the projectile of field artillery. The absorption of recoil of itself permits of a higher rate of fire, since the gun does not require to be run up and relaid after every shot. Formerly such an advantage was illusory (since aim could not be taken through the thick bank of smoke produced by rapid fire), but the introduction of smokeless powder removed this objection. Artillerists, no longer handicapped, at once turned their attention to the increase of the rate of fire. At the same time a shield was applied to the gun, for the protection of the detachment. This advantage is solely the result of the non-recoiling carriage. The gunners had formerly to stand clear of the recoiling gun, and a shield was therefore of but slight value.
17. _Time Shrapnel._--The power of modern artillery owes even more to the improvement of the projectile than to that of the gun (see AMMUNITION). The French, always in the forefront of artillery progress, were the first nation to realize the new significance of the time-fuze and the shrapnel shell. These had been in existence for many years; to the British army are due both the invention and the development of the shrapnel, which made its first appearance in European warfare at Vimeira in 1808. But, up to the introduction of rifled pieces, the Napoleonic case-shot attack was universally and justly considered the best method of fighting, and in the transition stage of the _materiel_ many soldiers continued to put faith in the old method,--hence the Prussian artillery in 1866 had many smooth-bore batteries in the field,--and between 1860 and 1870 gunners, now convinced of the superiority of the new equipments, undoubtedly sought to turn to account the minute accuracy of the rifled weapons in unnecessarily fine shooting. Thus, in 1870 the French time-fuze was only graduated for two ranges, and the Germans used percussion fuzes only. But this phase has passed, and General Langlois has summarized the tactics of the newest field artillery in one phrase: "It results in transferring to 3000 yds. the point-blank and case-shot fire of the smooth-bore." The meaning of this will be discussed later; here it will be sufficient to say that it is claimed for the modern gun and the modern shell that the Napoleonic method[1] of annihilating by a rain of bullets has been revived, with the distinction that the shell, and not the gun, fires the bullets close up to the enemy. In the Boer War, Pieter's Hill furnished a notable example of this "covering," as distinct from "preparation," of an assault by artillery fire.
18. _Heavy Field, Siege and Garrison Artillery._--Amongst other results of this war was a recrudescence of the idea of "dispersion." This will be noticed later; the more material result of the Boer War, and of the generally increasing specialization in the various functions of the artillery arm, has been the reintroduction of heavy ordnance into field armies. The field howitzer reappeared some time before the outbreak of that war, and the British howitzers had illustrated their shell-power in the Sudan campaign of 1898. During the latter part of the 19th century, siege and fortress artillery underwent a development hardly less remarkable than that of field artillery in the same time. Rifled guns, "long" and "short" for direct and curved fire, formed the siege artillery of the Germans in 1870-71, and with the reduction of the old-fashioned fortresses of France began a new era in siegecraft (see FORTIFICATION AND SIEGECRAFT). At the present time howitzers[2] (B.L. rifled) are the principal siege weapons, while heavy direct-fire guns (see ORDNANCE _passim_) still retain a part of the work formerly assigned to the artillery of the attack. For an account of a siege with modern artillery see Macalik and Langer, _Kampf um eine Festung_, which describes an imaginary siege of Koniggratz. On the whole, it may be said that modern artillery has caused a revolution in methods of fortification and siegecraft, which is little less far-reaching than the original change from the trebuchet to the bombard.
ORGANIZATION
19. _Field Artillery Organization._--A _battery_ of field artillery comprises three elements, viz. _materiel_,--guns, carriages, ammunition and stores; _personnel_,--officers, non-commissioned officers, gunners, drivers and artificers; and _transport_,--almost invariably horses, though other animals, and also motor and mechanical transport, are used under special circumstances. As for the _materiel_, the guns used by field artillery in almost all countries are quick-firers, throwing shells of 13 to 18 pounds; details of these will be found in the article ORDNANCE. The number of guns in a battery varies in different countries between four and eight; by far the most usual number is six. With the introduction of the quick-firing gun, the tendency towards small batteries (of four guns) has become very pronounced, the ruling motives being (a) better control of fire in action, and (b) more horses available to draw the increased number of ammunition wagons required. "Mixed" batteries of guns and howitzers were formerly employed on occasion, and were supposed to be adapted to every kind of work. However, the difference between the gun and the howitzer was so great that at all times one part of the armament was idle, while the general increase in the artillery arm has permitted batteries and brigades of howitzers to be formed, separately, as required. Machine guns (q.v.) are not treated in Great Britain as being artillery weapons, though abroad they are often organized in batteries. During, and subsequent to the Boer War, heavier machine guns, called pompoms, came into use. The rocket (q.v.), formerly a common weapon of the artillery, is now used, if at all, only for mountain and forest warfare against savages.
20. _Ammunition._--The vehicles of a battery include (besides guns and limbers) ammunition wagons, store and provision carts or wagons and forage wagons. On the amount of ammunition that should be carried with a field battery there was formerly a considerable diversity of opinion. The greater the amount a battery carries with it, the more independent it is; on the other hand, every additional wagon makes the battery more cumbrous and, by lengthening out the column, keeps back the combatant troops marching in rear. But since the introduction of the Q.F. gun it has been universally recognized that the gun must have a very liberal supply of ammunition present with it in action, and the old standard allowance of one wagon per gun has been increased to that of two and even three. Formerly batteries were further hampered by having to carry the reserve of small-arm ammunition for infantry and cavalry. But the greater distances of modern warfare accentuate the difficulties of such a system, and the reserve ammunition for all arms is now carried in special "ammunition columns" (see AMMUNITION), the _personnel_ and transport of which is furnished by the artillery.
21. _Interior Economy._--The organization and interior economy of a battery is much the same in all field artillery. In England the command is held by a major, the second in command is a captain. The battery is divided into three "sections" of two guns each, each under a subaltern officer, who is responsible for everything connected with his section--men, horses, guns, carriages, ammunition and stores. Each section again consists of two sub-sections, each comprising one gun and its wagons, men and horses, and at the head of each is the "No. 1" of the gun detachment--usually a sergeant--who is immediately responsible to the section commander for his sub-section.
The No. 1 rides with the gun, there is also another mounted non-commissioned officer who rides with the first wagon, and the gunners are seated on the gun-carriage, wagon and limbers. The increased number of wagons now accompanying the gun has, however, given more seating accommodation to the detachment, and this distribution has in some cases been altered. The three drivers ride the near horses of their respective pairs, each gun and each wagon being drawn by six horses. On the march, the gun is attached to the limber, a two-wheeled carriage drawn by the gun team; the wagon consists likewise of a "body" and a limber. A battery has also a number of non-combatant carriages, such as forge and baggage wagons. In addition to the gunners and drivers, there are men specially trained in range-taking, signalling, &c., in all batteries.
22. _Special Natures of Field Artillery._--_Horse Artillery_ differs from field in that the whole gun detachment is mounted, and the gun and wagon therefore are freed from the load of men and their equipment. The organization of a battery of horse artillery differs but slightly from that of a field battery; it is somewhat stronger in rank and file, as horse-holders have to be provided for the gunners in action. Horse artillery is often lightened, moreover, by sacrificing power (see ORDNANCE). The essential feature of _Mountain Artillery_ in general is the carrying of the whole equipment on the backs of mules or other animals. The total weight is usually distributed in four or five mule-loads. For action the loads are lifted off the saddles and "assembled," and the time required to do this is, in well-trained batteries, only one minute. For the technical questions connected with the gun and its carriage, see ORDNANCE. The weight of a shell in a mountain gun rarely exceeds 12 lb., and is usually less. In most armies the _field howitzer_ has, after an eclipse of many years, reasserted its place. The weapons used are B.L. or Q.F. howitzers on field carriages; the calibre varies from about 4 to 5 in. In Great Britain the field howitzer batteries are organized as, and form part of, the Royal Field Artillery, two batteries of six howitzers each forming a brigade.
23. _Heavy Ordnance._--_Heavy Field Artillery_, officially defined as "all artillery equipped with mobile guns of 4-in. calibre and upwards," is usually composed, in Great Britain, of 5-in. or 4.7-in. Q.F. guns on field carriages. 6-in. Q.F. guns have also been used. A battery (4 guns) is attached to the divisional artillery of each division, a company of the Royal Garrison Artillery furnishing the _personnel_. The four guns are divided into two sections, each section under an officer and each subsection under a non-commissioned officer, as in the horse and field batteries. _Siege_ and _garrison artillery_ have not usually the complete and permanent organization that distinguishes field artillery. For siege trains the _materiel_ is usually kept in store, and the _personnel_ and transport are supplied from other sources according to requirement. In garrison artillery, the guns mounted in fortresses and batteries, or stored in arsenals for the purpose, furnish the _materiel_, and the companies of garrison artillery the _personnel_. In Great Britain, the Royal Garrison Artillery finds the mountain batteries and the heavy field artillery in addition to its own units. The siege trains are, as has been said, organized _ad hoc_ on each particular occasion (see FORTIFICATION AND SIEGECRAFT). In Great Britain, the guns and howitzers manned by the R.G.A. would be 6-in. and 8-in. howitzers, 4.7-in. and 6-in. guns, and still heavier howitzers, as well as the field and heavy batteries belonging to the divisions making the siege.
24. _Higher Organization of Artillery._--The higher units, in almost every country except Great Britain, are the regiment, and, sometimes, the brigade of two or more regiments. These units are distributed to army corps, divisions and districts, in the same way as units of other arms (see ARMY). In Great Britain the Royal Regiment of Artillery still comprises the whole _personnel_ of the arm, being divided into the Royal Horse, Royal Field and Royal Garrison Artillery; to each branch Special Reserve and Territorial artillery are affiliated. Over and above the military command of these higher units, provision is usually made for technical control of the _materiel_, and a variety of training and experimental establishments, such as schools of gunnery, are maintained in all countries. The more special unit of organization in mobile artillery is the _brigade_, formerly called brigade-division (German, _Abteilung_; French _groupe_). The brigade is in Great Britain the administrative and tactical unit. Mountain artillery is not organized in brigades in the British empire. The unit consists, in the case of guns, of three batteries (18 guns, heavy artillery 12), in the case of field howitzers of two batteries (12 howitzers), and in the horse artillery of two batteries (12 guns), and is commanded by a lieutenant-colonel. To each brigade is allotted an ammunition column. The necessity for such a grouping of batteries will be apparent if the reader notes that 54 field guns, 12 howitzers and 4 heavy field guns form the artillery of a single British division of about 15,000 combatants.
25. _Grouping of the Artillery._--The "corps artillery" (formerly the "reserve artillery") now consists only of the howitzer and heavy brigades, with a brigade of horse artillery. The latter is held at the disposal of the corps commander for the swift reinforcement of a threatened point; the howitzers and the heavy guns have, of course, functions widely different from those of the mass of guns. As the field artillery is required to come into action at the earliest possible moment, it has now been distributed amongst the infantry divisions, and marches almost at the head of the various combatant columns, instead of being relegated perhaps to the tail of the centre column. The redistribution of the British army (1907) on a divisional basis is a remarkable example of this; even the special natures of artillery (except horse artillery) are distributed amongst the divisions. In Germany two "regiments" (each of 2 _Abteilungen_ = 6 batteries) form a brigade, under an artillery general in each division who thus disposes of 72 field guns, and the howitzers, with such horse artillery batteries as remain over after the cavalry has been supplied, still form a corps or reserve artillery. In 1903 the French, after long hesitation, assigned the whole of the field artillery to the various divisions, but later (for reasons stated in the article TACTICS) arranged to reconstitute the old-fashioned corps artillery in war. (See also ARMY, S 49).
TACTICAL WORK
26. _General Characteristics of Field Artillery Action._--The duty of field artillery in action is to fire with the greatest effect on the target which is for the moment of the greatest tactical importance. This definition of field artillery tactics brings the student at once to questions of combined tactics, for which consult the article TACTICS. The purpose of the present article is to indicate the methods employed by the gunners to give effect to their fire at the targets mentioned. For this purpose the artillery has at its disposal two types of projectile, common (or rather, high explosive) shell and shrapnel, and two fuzes, "time" and "percussion" (see AMMUNITION). The actual process of coming into action may be described in a few words. The gun is, at or near its position in action, "unlimbered" and the gun limber and team sent back under cover. Ammunition for the gun is first taken from the wagon that accompanies it, as it is very desirable to keep the limbers full as long as possible, in case of emergencies such as that of a temporary separation from the wagon. Limber supply is, however, allowed in certain circumstances. The wagon is now placed as a rule by the side of the gun, an arrangement which immensely simplifies the supply of ammunition, this being done under cover of the armour on the wagon and of the gun-shield and also without fatigue to the men. The older method of placing the wagon at some distance behind the gun is still occasionally used, especially in the case of unshielded equipments. No horses are allowed, in any case, to be actually with the line of guns. According to the British _Field Artillery Training_ of 1906, a battery in action would be thus distributed: first, the "fighting battery" consisting of the six guns, each with its wagon alongside, and the limbers of the two flank guns; then, under cover in rear, the "first line of wagons" comprising the teams of the fighting battery, the four remaining gun limbers, and six more wagons. The non-combatant vehicles form the "second line of wagons."
27. _Occupation of a Position._--This depends primarily upon considerations of tactics, for the accurate co-operation of the guns is the first essential to success in the general task. In details, however, the choice of position varies to some extent with the nature of the equipment: for instance, an elevated position is better adapted than a low one for high velocity guns firing over the heads of their own infantry, and again, the "spade" with which nearly all equipments are furnished (see ORDNANCE) should have soil in which it can find a hold. Cover for the gun and its detachment cannot well be obtained from the configuration of the ground, because, if the gun can shoot over the covering mass of earth, the hostile shells can of course do likewise. Sufficient protection is given by the shield, and thus "cover" for field-guns simply means concealment. Cover for the "first line of wagons" is, however, a very serious consideration. As to concealment, it is stated that "the broad white flash from a gun firing smokeless powder is visible" to an enemy "unless the muzzle is at least 10 ft. below the covering crest" (Bethell, _Modern Guns and Gunnery_, 1907, p. 147). Concealment therefore, means only the skilful use of ground in such a way as to make the enemy's ranging difficult. This frequently involves the use of retired positions, on reverse slopes, in low ground, &c., and in all modern artillery the greatest stress is laid on practice in firing by indirect means. Controversy has, however, arisen as to whether inability to see the foreground is not a drawback so serious that direct fire from a crest position, in spite of its exposure, must be taken as the normal method. The latter is of course immensely facilitated by the introduction of the shield. A great advantage of retired positions is that, provided unity of direction is kept, an overwhelming artillery surprise (see _F.A. Training_, 1906, p. 225) is carried out more easily than from a visible position. The extent of _front_ of a battery in
## action is governed by the rule that no two gun detachments should be
exposed to being hit by the bullets of one shell, and also by the necessity of having as many guns as possible at work. These two conditions are met by the adoption of a 20-yards interval between the muzzles of the guns. At the present time the gun and its wagon are placed as close together as possible, to obtain the full advantage of the armoured equipment. The _shield_, behind which the detachments remain at all times covered from rifle (except at very short range) and shrapnel bullets,[3] enables the artillery commander to handle his batteries far more boldly than formerly was the case. General Langlois says "the shield-protected carriage is the corollary to the quick-firing gun." Armour on the wagon, enabling ammunition supply as well as the service of the gun, to be carried on under cover, soon followed the introduction of the shield. The disadvantage of extra weight and consequently increased difficulty of "man-handling" the equipment is held to be of far less importance than the advantages obtained by the use of armour.
28. _Laying._--"Elevation" may be defined as the vertical inclination of the gun, "direction" as the horizontal inclination to the right or left, necessary to direct the path of the projectile to the object aimed at. "Laying" the gun, in the case of most modern equipments, is divided, by means of the device called the independent line of sight (see ORDNANCE), into two processes, performed simultaneously by different men, the adjustment of the sights and that of the gun. The first is the act of finding the "line of sight," or line joining the sights and the point aimed at; for this the equipment has to be "traversed" right or left so as to point in the proper direction, and also adjusted in the vertical plane. The simplest form of laying for direction, or "line," is called the "direct" method. If the point aimed at is the target, and it can be seen by the layer, he has merely to look over the "open" sights. But the point aimed at is rarely the target itself. In war, the target, even if visible, is often indistinct, and in this case, as also when the guns are under cover or engaging a target under cover, an "aiming point" or "auxiliary mark," a conspicuous point quite apart and distinct from the target, has to be employed ("indirect" method). In the Russo-Japanese War the sun was sometimes used as an aiming point. When the guns are behind cover and the foreground cannot be seen, an artificial aiming point is often made by placing a line of "aiming posts" in the ground. If an aiming point can be found which is in line with the target, as would be the case when aiming posts are laid out, the laying is simple, but it is as often as not out of the line. Finding the "line" in this case involves the calculation, from a distant observing point, of the angle at which the guns must be laid in order that, when the sights are directed upon the aiming point, the shell will strike the target. It is further necessary to find the "angle of sight" or inclination of the line of sight to the horizontal plane. If aim be taken over the open sights at the target, the line of sight naturally passes through the target, but in any other case it may be above or below it. Then the point where the projectile will meet the line of sight, which should coincide with the target, is beyond it if the line of sight is below or angle of sight is too small, and short of it if the line of sight is too high--that is, range and fuze will be wrong. The process of indirect laying for elevation therefore is, first, the measurement of the angle of sight, and secondly, the setting of the sights to that angle by means of a clinometer; this is called clinometer laying. In all cases the actual elevation of the gun to enable the shell to strike the target is a purely mechanical adjustment, performed independently; the gun is moved relatively to the sights, which have been previously set as described. Frequently the battery commander directs the guns from a point at some distance, communication being maintained by signallers or by field telephone. This is the normal procedure when the guns are firing from cover. Instruments of precision and careful calculations are, of course, required to fight a battery in this manner, many allowances having to be made for the differences in height, distance and angle between the position of the battery commander and that of the guns.
29. _Ranging_[4] (except on the French system alluded to below) is, first, finding the range (i.e. elevation required), and secondly, correcting the standard length of fuze for that range in accordance with the circumstances of each case. To find the elevation required, it is necessary to observe the bursts of shells "on graze" with reference to the target. The battery commander orders two elevations differing by 300 yds., e.g. "2500, 2800," and tells off a "ranging section" of two guns. These proceed to fire percussion shrapnel at the two different elevations, in order to obtain bursts "over" (+) and "short" (-). When it is certain that this "long bracket" is obtained, the "100 yds. bracket" is found, the elevations in the given case being, perhaps, 2600 and 2700 yds. "Verifying" rounds are then fired, to make certain of the 100 yds. bracket. The old "short bracket" (50 yds.) is not now required except at standing targets. Circumstances may, of course, shorten the process; for instance, a hit upon the target itself could be "verified" at once. The determination of the fuze (by time shrapnel) follows. The fuze has a standard length for the ascertained range, but the proper correction of this standard length to suit the atmospheric conditions has to be made. The commander has therefore already given out a series of corrector[5] lengths, his object being to secure bursts both in air and on graze. When he is finally satisfied he opens fire "for effect."
30. An example of the ordinary method of ranging, adapted from _Field Artillery Training_, 1906, is given below.
Battery commander gives target, &c., and orders: "Right section ranging section; remainder corrector 150 increase 10, 4400-4700," for the long bracket.
No. 1 gun fires, elevation 4400 yds., P.S., round observed - No. 2 " " " 4700 " " " " + B.C. orders "4500-4600." No. 1 gun fires, elevation 4500 yds., P.S., round observed - No. 2 " " " 4600 " " " " +
The 100 yds. bracket appears to be 4500-4600. B.C. orders: "Remainder 4500 time shrapnel," and gives the ranging section 4500-4600 to "verify." Guns 3, 4, 5, 6 set fuzes for 4500 with correctors 150, 160, 170, 180.
No. 1 gun fires, elevation 4500 yds., P.S., round observed - No. 2 " " " 4600 " " " " + B.C. orders: "Remainder 4500, one round gun fire, 3 seconds." No. 3 elevation 4500 yds. T.S. corrector 150 air No. 4 " " " " " 160 air No. 5 " " " " " 160 graze No. 6 " " " " " 180 "
B.C. selects corrector 160 and goes to "section fire."
The battery now begins to fire "for effect."
No. 1 elevation 4500 yds. T.S. corrector 160 air No. 3 " " " " " "
followed by Nos. 5, 2, 4 and 6.
There is another method of ranging, viz. with time shrapnel only. In this the principle is that several shells, fired with the same corrector setting, but at different elevations, will burst in air at different points along one line. Bursts high in the air cannot be judged, and it is therefore necessary to bring down the line of bursts to the target, so that the bursts in air appear directly in front or directly in rear of it. Rounds are therefore fired (in pairs owing to possible imperfections in the fuzes) to ascertain the corrector which gives the best line of observation. This found, the target is bracketed by bursts low in the air observed + and -, as in the ordinary method with percussion shrapnel.
The operations of finding the "line of fire" and the proper elevation may be combined, as the shells in ranging can be made to "bracket" for direction as well as for elevation. The line can be changed towards a new target in any kind of direct and indirect laying, in the latter case by observing the angle made with it by the original line of fire and giving deflection to the guns accordingly. Further, the fire of several dispersed batteries may be concentrated, distributed, or "switched" from one target to another on a wide front, at the will of the commander.
31. _Observation of Fire_, on the accuracy of which depends the success of ranging, may be done either by the battery commander himself or by a special "observing" party. In either case the shooting is carefully observed throughout, and corrections ordered at any time, whether during the process of ranging or during fire for effect. The difficulties of observation vary considerably with the ground, &c., for instance, the light may be so bad that the target can hardly be seen, or again, if there be a hollow in front of the target, a shell may burst in it so far below that the smoke appears thin, the round being then judged "over" instead of "short." On the other hand, a hollow behind the target may cause a round to be lost altogether. Ranging with time shrapnel has the merit of avoiding most of these "traps." The "French system of fire discipline," referred to below, has this method as the usual procedure.
32. _Fire._--Field Artillery ranges are classed in the British service as: "distant," 6000 to 4500 yds.; "long," 4500 to 3500; "effective," 3500 to 2000: and "decisive," 2000 and under. The actual methods of fire employed are matters of detail; it will be sufficient to say that "section fire," in which the two guns of a section are fired alternately at a named interval, usually 30 seconds, and "rapid fire," in which two, three or more rounds as ordered are fired by each gun as quickly as possible, are the normal methods. Each battery usually engages a portion of the objective equal in length to its own front, owing to the spread of the cone of shrapnel bullets (see below). The fire is, of course, almost always frontal, though enfilade and oblique fire, when opportunities occur for their employment, are more deadly than ever, because of the depth of the cone. As for the general conduct of an artillery action, accurate fire for effect, at a medium rate, is used in most armies, but in the French and, since 1906, in the British services a new method has arisen, in consequence of the introduction of the modern quick-firer and the perfection of the time shrapnel. The French battery (1900 Q.F. equipment) consists of four guns and twelve wagons. The gun is shielded, as also are the wagons; the high velocity and flat trajectory give a maximum depth to the cone of shrapnel bullets. In the hope of obtaining a rapid and overwhelming fire, the French artillery ranges only for a long bracket, and once this bracket is found, the ground within its limits is swept from end to end in a burst of rapid fire. This is termed a _rafale_ (squall or gust), and technically signifies "a series of eight rounds per gun, each two rounds being laid with 100 metres more elevation than the last pair, the whole fired off as rapidly as possible." The cone of time shrapnel being assumed as 300 yds. (or metres), it is clear that four pairs of rounds, bursting, say, at 1000, 1100, 1200 and 1300 yds. (adding, for the last, 300 yds. for its forward effect), sweep the whole ground between 1000 and 1600 yds. from the guns. The maximum depth would, of course, be obtained with four elevations differing by the depth of the cone; in such a case the space from 1000 to 2200 yds. would be covered, though much less effectively, since the same number of bullets are distributed over a larger area. On the other hand, the _rafale_, at a minimum, covers 300 yds., all the guns in this case being laid at the same elevation throughout. Here the maximum number of bullets is obtained for every square yard attacked. Between these extremes, a skilful artillery officer can vary the _rafale_ to the needs of each several case almost indefinitely. "Sweeping" fire is a series of three rounds per gun, one in the original line, one to the right and one to the left of it; this is significantly called "mowing" (_tir fauchant_). A further refinement in both services is the combined "search and sweep." Forty-eight rounds, constituting in the French army a series of this last kind, can, it is said, be fired in 1 minute and 15 seconds, without setting fuzes beforehand, to cover an area of 600 X 200 metres. The result of such a series, worked out mathematically, is that 19% of all men and 75% of all horses, in the area and not under cover, should be hit by separate bullets (Bethell, _Modern Guns and Gunnery_, 1907). Even allowing a liberal deduction for imperfect distribution of bullets, we may feel certain that nothing but shielded guns could live long in the fire-swept zone. This is, of course, a rate of fire which could not be kept up for any length of time by the same battery. A French battery, firing at the maximum rate, would expend every available round in 13 minutes.
33. _Projectiles Employed._--"Time shrapnel," say the German Field Artillery regulations, "is the projectile _par excellence_ ... against all animate targets which are not under cover." It achieves its purpose, as has been said, by sending a shower of bullets over an area of ground in such quantity that this is swept from end to end. These bullets are propelled, in a cone, forward from the point of burst of the shell, and the effective depth of this cone at medium ranges with a fairly high velocity gun may be taken at 300 yds. Further, the corrector enables the artillery commander to burst his shells at any desired point; for example, a long fuze may be given, to burst them close up when firing upon a deep target (such as troops in several lines, one behind the other), and thereby to obtain the maximum searching effect, or to obtain direct hits on shielded guns, while a short corrector, bursting the shell well in front of the enemy, allows the maximum lateral spread of the bullets, and therefore sweeps the greatest front. The number of bullets in the shell is such that troops in the open under effective shrapnel fire must suffer very heavily, and may be almost annihilated. If the enemy is close behind good cover, the bullets, indeed, pass harmlessly overhead. This, however, leads to a very important fact, viz. that artillery can keep down the fire of hostile infantry, "blind" the enemy, in Langlois' phrase, by _pinning it down_ to cover. Under cover the men are safe, but if they raise their heads to take careful aim, they will almost certainly be hit. Their fire under such conditions is therefore unaimed and wild at the best, and may be wholly ineffective. _Common_ shell and _high-explosive_ shell (see AMMUNITION) belong to another class of projectile. The former is now not often used, but a certain proportion of H.E. shell is carried by the field artillery in many armies (see table in ORDNANCE: _Field Equipments_). This has a very violent local effect within a radius of 20 to 25 yds. of the point of burst (see AMMUNITION, fig. 10). It therefore covers far less ground than shrapnel, and is naturally used either (a) against troops under substantial cover or (b) to wreck cover and buildings. In the former case the shell is supposed to send a rain of splinters vertically downwards. This it will do, provided the fuze is minutely accurate, and a burst is thus obtained exactly over the heads of the enemy, but this is now generally held to be unlikely, and in so far as effect against _personnel_ is concerned the H.E. shell is not thought to be of much value. Indeed, in the British and several other services, no H.E. shells at all are carried by field batteries, reliance being placed upon percussion shrapnel in attacking localities, buildings, &c., and for ranging. Experiments have been made towards producing a "H.E. shrapnel," which combines the characteristics of both types (see, for a description, AMMUNITION). For the projectiles used in attacking shielded guns, see section on "field howitzers" below. _Case shot_ is now rarely employed. In the war of 1870-71 Prince Kraft von Hohenlohe-Ingelfingen, who commanded the Prussian Guard artillery, reported the expenditure of only one round of case, and even that was merely "broken in transport." The close-quarters projectile of to-day is more usually shrapnel with the fuze set at zero. Langlois, however, calls case shot "the true projectile for critical moments, which nothing can replace."
34. _Tactics of Field Artillery._--On the march, the position and movement of the guns are regulated by the necessity of coming quickly into action; the usual place for the arm is at or near the heads of the combatant columns, i.e. as far forward as is consistent with safety. Safety is further provided for by an "escort," or, if such be not detailed, by the nearest infantry or cavalry. In attack, the role of the field artillery is usually (1) to assist if necessary the advanced guard in the preliminary fighting--for this purpose a battery is usually assigned to that corps of troops, other batteries also being sent up to the front as required, (2) to prepare, and (3) to support or cover the infantry attack. "Preparation" consists chiefly in engaging and subduing the hostile artillery. This is often spoken of as the "artillery duel," and is not a meaningless bombardment, but an essential preliminary to the advance. Massed guns with modern shrapnel would, if allowed to play freely upon the attack, infallibly stop, and probably annihilate, the troops making it. The task of the guns, then, is to destroy the opposing guns and artillerymen, a task which will engage almost all the resources of the assailant's artillery in the struggle for artillery superiority. Shielded guns, enhanced rate of fire, perfection in indirect laying apparatus, and many other factors, have modified the lessons of 1870, and complicated the work of achieving victory in the artillery duel so far that the simple "hard pounding" of former days has given way to a variety of expedients for inflicting the desired loss and damage, as to which opinions differ in and within every army. One point is, however, clear and meets with universal acceptance. "The whole object of the duel is to enable the artillery subsequently to devote all available resources to its principal task, which is the material and moral support of the infantry during each succeeding stage of the fight" (French regulations). One side must be victorious in the end, and when, and not until, the hostile artillery is beaten out of action, the victor has acquired the power of pressing home the attack. The British regulations (1906), indeed, deal with the steps to be taken when, though the artillery of the attack is beaten, the infantry advance is continued, but only so as to order the guns to "reopen at all costs," in other words, as a forlorn hope. The second part of the preparation, the gradual disintegration of the opposing line of infantry, has practically disappeared from the drill books. The next task of the guns, and that in which modern artillery asserts its power to the utmost, is the _support_ of the infantry attack. The artillery and infantry co-operate, "the former by firing rapidly when they see their own infantry ... press forward, and the latter by making full use of the periods of intense artillery fire to gain ground" (British _F.A. Training_, 1906). Thus aided, the infantry closes in to decisive ranges, and as it gains ground to the front, every gun "must be at once turned upon the points selected ... the most effective support afforded to the attacking infantry by the concentrated fire of guns and field howitzers. The former tie the defenders to their entrenchments (for retreat is practically impossible over ground swept by shrapnel bullets), distract their attention and tend to make them keep their heads down, while the shell from the field howitzers searches out the interior of the trenches, the reverse slopes of the position, and checks the movement of reinforcements towards the threatened point." In these words the British Field Artillery drill-book of 1902 summarizes the act of "covering" the infantry advance. Unofficial publications are still more emphatic. The advance of the infantry to decisive range would often be covered by a mass of one hundred or more field guns, firing shrapnel at the rate of ten rounds per gun per minute at the critical moment. Against such a storm of fire the defending infantry, even supposing that its own guns had refitted and were again in action, would be powerless. It is in recognition of the appalling power of field artillery (which has increased in a ratio out of all proportion to the improvements of modern rifles) that the French system has been elaborated to the perfection which it has now attained.
With modern guns and modern tactics artillery almost invariably fires over the heads of its own infantry. The German regulations indeed say that it should be avoided as far as possible, but, as a matter of fact, if the numerous guns of a modern army (at Koniggratz there were 1550 guns on the field, at Gravelotte 1252, at Mukden 3000) were to be given a clear front, there would be no room for deploying the infantry. Consequently the French regulations, in which the power of the artillery is given the greatest possible scope, say that "it almost always fires over the heads of its own infantry." With field guns and on level ground it is considered dangerous that infantry in front of the guns should be less than 600 yds. distant--not for fear of the shells striking the infantry, but because the fragments resulting from a "premature" burst are dangerous up to that distance. The question of distance is more important in connexion with the "covering" of the assault. Up to a point, the artillery enables the attacking infantry to advance with a minimum of loss and exhaustion, and thus to close with the enemy at least on equal terms, if not with a serious advantage, for the fire of the guns may shake, perhaps almost destroy the enemy's power of resistance. But when the infantry approaches the enemy the guns can no longer fire upon the latter's front line without risk of injuring their friends. All that they can do, when the opposing infantries can see the whites of each other's eyes, is to lengthen the fuze, raise the trajectory and sweep the ground where the enemy's supports are posted. Under these circumstances it is practically agreed that the risk should be taken without hesitation at so critical a moment as that of a decisive infantry assault which must be pushed home at whatever cost. "It will be better for the infantry to chance a few friendly shells than to be received at short range with a fresh outburst of hostile rifle fire" (Rouquerol, _Tactical Employment of Quick-firing Field Artillery_). Thus, the distance at which direct support ceases, formerly 600 yds., has been diminished to 100, and even to 50 yds. Howitzers can, of course, maintain their fire almost up to the very last stage, and, in general, high-explosive shell, owing to its purely local effect, may be employed for some time after it has become unsafe to use shrapnel.
35. Field artillery in _defence_, which would presumably be inferior to that of the attack, must, of course, act according to circumstances. We are here concerned not with the absolute strength or weakness of the passive defensive, which is a matter of tactics (q.v.), but with the tactical procedure of artillery, which, relatively to other methods, is held to offer the best chance of success, so far as success is attainable. On the defensive in a prepared position, which in European warfare at any rate will be an unusually favourable case for the defender--the guns have two functions, that of engaging and holding the hostile artillery, and that of meeting the infantry assault. The dilemma is this, that on the one hand a position in rear of the line of battle, with modern improvements in communicating and indirect laying apparatus, is well suited for engaging the hostile guns, but not for meeting the assault; and on the other, guns on the forward slope of the defender's ridge or hill can fire direct, but are quickly located and overwhelmed, for they can hardly remain silent while their own infantry bears the fire of the assailant's shrapnel. Thus the defender's guns would, as a rule, have to be divided. One portion would seek to fight from rearward concealed positions, and use every device to delay the victory of the enemy's guns and the development of the battle until it is too late in the day for a serious infantry attack. Further, the enemy's mistakes and the "fortune of war" may give opportunities of inflicting severe losses; such opportunities have always occurred and will do so again. In the possible (though very far from probable) case of the defender not merely baffling, but crushing his opponent in the artillery duel, he may, if he so desires, himself assume the role of assailant, and at any rate he places a veto on the enemy's attack.
The portion told off to meet the infantry assault would be entrenched on the forward slope and would take no part in the artillery duel. Very exceptionally, this advanced artillery might fire upon favourable targets, but its paramount duty is to remain intact for the decisive moment. Here again the defender is confronted with grave difficulties. It is true that his advanced batteries may be of the greatest possible assistance at the crisis of the infantry assault, yet even so the covering fire of the hostile guns, as soon as the hostile infantry had found them their target, may be absolutely overwhelming; moreover, once the fight has begun, the guns cannot be withdrawn, nor can their positions easily be modified to meet unexpected developments. The proportion of the whole artillery force which should be committed to the forward position is disputed. Colonel Bethell (_Journal Royal Artillery_, vol. xxxiii. p. 67) holds that all the mountain guns, and two-thirds of the field guns, should be in the forward, all the howitzers and heavy guns and one-third of the field guns in the retired position. But in view of the facts that if once the advanced guns are submerged in the tide of the enemy's assault, they will be irrecoverable, and that a modern Q.F. gun, with plenty of ammunition at hand, may use "rapid fire" freely, artillery opinion, as a whole, is in favour of having fewer guns and an abnormal ammunition supply in the forward entrenchments, and the bulk of the artillery (with the ammunition columns at hand) in rear. But the purely passive defensive is usually but a preliminary to an active counter-stroke. This counter-attack would naturally be supported to the utmost by the offensive tactics of the artillery, which might thus at the end of a battle achieve far greater results than it could have done at the beginning of the day. In _pursuit_, it is universally agreed that the
## action of the artillery may be bold to the verge of rashness. The
employment of field artillery in _advanced_ and _rear guard actions_ varies almost indefinitely according to circumstances; with _outposts_, guns would only be employed exceptionally.
36. _Marches._--The importance of having the artillery well up at the front of a marching column is perhaps best expressed in the phrase of Prince Kraft von Hohenlohe-Ingelfingen, "save hours and not minutes." The Germans in 1870 so far acted up to the principle that Prince Hohenlohe, when asked, at the beginning of the battle of Sedan, for a couple of guns, was able to reply, "You shall have ninety" (see, for details of the march of the Guard artillery, his _Letters on Artillery_, 6th letter). The German regulations for field service say, very plainly, "the horses have not done their work until they have got the guns into
## action, even at the cost of utter exhaustion." A notable march was made
by the 62nd battery, R.F.A., in the South African War. On the day of the battle of Modder River, the battery marched 32 m. (mostly through deep sand) arriving in time to take part in the action. Such forced marches, if rare, are nowadays expected to be within the power of field artillery to accomplish. Horse artillery is capable of more than this, and as to pace, manoeuvring at the cavalry rate. Heavy guns are the least mobile, and would rarely be able to keep pace with infantry in a forced march. Field artillery walks 4, trots 9, and gallops at the rate of 15 m. an hour. A fair marching pace (trot and walk) is 4 m. an hour for field, 5 for horse batteries. A march of 14 m. would, according to the German regulations, be performed by
a field battery in 5 hours, a horse battery in 4 hours,
under favourable circumstances (Bronsart von Schellendorf).
37. _Power and Mobility._--It will have been made clear that every gun represents a compromise between these two requirements, and that each type of artillery has been evolved in accordance with the relative requirements of these conditions in respect of the work to be performed. The classification which has been followed in this article represents the practically unanimous decision of every important military state. Still, there has always been controversy between the individual adherents of each side, and the Boer War experiences raised the question as to whether field artillery, as the term is usually understood, should not be abolished, with a view to having only heavy guns and horse artillery with a field army.
38. _Concentration and Dispersion._--The use of their artillery made by the Boers in the South African War led to the revival of the idea of "dispersing" guns instead of "concentrating" them. It would be more accurate to say that military thinkers had, after the introduction of the quick-firing gun, challenged every received principle, and amongst others the employment of artillery in masses, which, as a result of the war of 1870, "had become almost an article of faith." The idea was to make use of the increased power of the guns to gain equally great results with the employment of less material than formerly. Thus the dispersion of guns is bound up with the passive defensive. The first editions of the British _Field Artillery Training_ and _Combined Training_, strongly influenced as they were by South African experience, did not legislate, even in dealing with defence, for "dispersion" in the Boer manner, but only for adaptability (see _Field Artillery Training_, 1902, p. 15). In the Boer War, whilst the Boers nearly always scattered their guns, almost the only occasion upon which their artillery played a decisive part was at Spion Kop, where its fire was concentrated upon the point of assault. At Pieter's Hill, the fire of seventy guns covered the British infantry assault in the Napoleonic manner. On the whole it may be accepted as a general truth that guns are safe, and may be locally effective, when dispersed, but that they cannot produce decisive effect except when used in masses. It must, however, be clearly understood that a "mass" in this sense means a large number of guns, under one command, and susceptible of being handled as a unit, so far as the direction and effectiveness of their fire is concerned. _This being secured_, and on that condition only, it does not matter whether the actual gun positions are scattered over a few square miles, or are closed in one long line and using direct fire--they are still a mass, and capable of acting effectively as such. While there are undoubtedly grave dangers in using the indirect method too freely, technical improvements in laying, telephones, &c., have had much to do with the possibility, at any rate under favourable circumstances, of a concentration which may be described as one of shells rather than of guns, and the reader is reminded in this connexion that the work formerly done by the gun is now performed by the shell.
39. _Horse Artillery_ is to be regarded as field artillery of great mobility and manoeuvring power. Its value may be said, in general terms, to lie in augmenting the weak fire-power of the mounted troops, and in facilitating their work as much as possible. Thus, when cavalry meets serious opposition in reconnoitring, the guns may be able to break down the enemy's resistance without calling for assistance from the main body of the cavalry, and, in the action of cavalry _versus_ cavalry, the "paramount duty of the horse artillery is to shatter the enemy's cavalry" (_Field Artillery Training_, 1906), i.e. to "prepare" the success of the cavalry charge by breaking up as far as possible the enemy's power of meeting it. In the cavalry battle, covering fire is practically impossible, owing both to the short distances separating the combatants and to the rapidity of their movements, but steps are taken "to enable all the guns to bear on the enemy's cavalry at the points of collision." The ideal position for the horse artillery is out to a flank, the cavalry manoeuvring so as to draw the enemy's cavalry under enfilade fire, and at the same time to force them to mask the fire of their own horse artillery. Another and a most important function of the horse batteries is to reinforce, with the greatest possible speed, any point in the general line of battle which is in need of artillery support. For this reason the corps artillery generally includes horse batteries.
40. _Field Howitzers_ are somewhat less mobile than field guns; they have, however, far greater shell power. The special features of the weapon are, of course, the product of the special requirements which have called it into existence. These are, briefly (a) the necessity of being able to "search" the interior of earthworks, a task which, as has been said, is beyond the power of high-velocity field guns, and (b) demolition work, which is equally beyond the power of even a H.E. shell of field-gun calibre. The first of these conditions implies a steep "angle of descent," which again implies a high angle of elevation. The second requires great shell power but does not call for high velocity. The howitzer, therefore, is a short gun, firing a heavy shell at high angles of elevation. Howitzers almost always are laid by the indirect method of fire from under cover, since it is clear that, with high angles of elevation, the gun may be brought close up to the covering mass, and still fire over it. Ranging must be done very accurately and yet economically, as but few of their heavy shells can be carried in the wagons and limbers, and the shells descending upon an enemy almost vertically lose the long sweeping effect of the field shrapnel which neutralizes minor errors of ranging. The projectiles employed are high explosive and shrapnel, the latter for use against _personnel_ under cover, the former for demolition of field works, casemates or buildings. It is very generally held that howitzer time shrapnel is the best form of projectile for the attack of shielded guns. Here it may be said that no completely satisfactory method of dealing with these has yet been discovered. The best procedure with field guns is said to be lengthening the fuze to obtain a high percentage of bursts on graze. A shell striking the face of the shield will penetrate it, and should kill some at least of the gun detachment behind. The high-explosive shrapnel alluded to above is designed primarily for the attack of shielded guns.
41. _Heavy Field Artillery_, alternatively called _Artillery of Position_, as has been said, includes all guns of 4-in. calibre and upwards, mounted on travelling carriages. In South Africa, where firm soil was usually to be found, 6-in. guns were employed as heavy field guns, but in Europe even the 5-in. (British Service) is liable to sink into the ground. In Great Britain, guns only are used by this branch; abroad, the "heavy artillery of the field army," the "light siege train," &c., as it is variously called, is as a rule composed of howitzers of a heavier calibre than the field howitzer, the 15-cm. (6-in.) howitzer being most commonly met with. This artillery has, however, a different tactical role from the heavy field artillery of the British service; and it is always with a view to the attack of permanent or semi-permanent fortifications that the _materiel_ is organized. In Great Britain, heavy batteries armed with the 5-in. gun are considered as "an auxiliary to the horse and field artillery" (_Heavy Artillery Training_). Ranging is conducted with greater deliberation than ranging with the lighter guns, though upon the same general lines. Parts of the process may, however, be omitted in certain circumstances. Heavy guns use high-explosive (lyddite) shells and time shrapnel, the former for ranging and for demolishing cover, the latter against _personnel_. Laying is usually indirect. The tactical principles upon which heavy artillery does its work are based, in the main, on the long range (up to 10,000 yds.) and great shell-power of the guns. This power enables the artillery to reach with effect targets which are beyond the range of lighter ordnance, and it is, therefore, considered possible to disperse the guns in batteries, and even in sections of two guns, along the front of the army, without forfeiting the power of concentrating their fire on any point--a power which otherwise they would not possess owing to their want of mobility. At the same time it is not forbidden to bring them into line with the rest of the artillery, in order to achieve a decisive result. In the _attack_, beside the general task of supplementing the effect of other natures of ordnance, heavy artillery may demolish cover, buildings, &c., held by the enemy, and during the infantry assault they may do excellent service in sweeping a great depth of ground, their smaller angle of descent, and the greater remaining velocity and heavier driving charge of their shrapnel, as compared with field guns, enabling them to do this effectively. In the _defence_, long-range fire has great value, especially in sweeping approaches which the enemy must use. In _pursuit_, the heavy artillery may be able to shell the main body of the enemy during its retreat, even if it has left a rearguard. In _retreat_, the want of mobility of these guns militates against their employment in exposed positions, such as rearguards usually have to take up.
BIBLIOGRAPHY.[6]--Amongst general historical works may be mentioned Napoleon III. and Col. Fave, _Etudes sur le passe et l'avenir de l'artillerie_ (Paris. 1846-1871); C. von Decker, _Geschichte des Geschutzwesens_ (Berlin, 1822); H.W.L. Hime, _Stray Military Papers_ (London, 1901); _Die Beziehung Friedrichs des Grossen zu seiner Artillerie_ (Berlin, 1865); H. von Muller, _Die Entwickelung der Feldartillerie, 1815-1892_ (Berlin, 1893-1894); J. Campana, _L'Artillerie de campagne, 1792-1901_ (Paris, 1901); v. Reitzenstein, _Das Geschutzwesen, &c. in Hannover und Braunschweig 1365 bis zur Gegenwart_ (Leipzig, 1900); Kretschmar, _Gesch. d. sachsischen Feldart. 1620-1878_ (1879); Schoning, _Gesch. des brandenbg.-preuss. Art._ (1844-1845); Schneller, _Litteratur d. Artillerie_ (1768); v. Tempelhof, _Gesch. d. Artillerie_ (1797); Duncan, _Hist. of the Royal Artillery_. A complete bibliography and criticism of the artillery works of the 14th, 15th and 16th centuries will be found in Max Jahns, _Geschichte der Kriegswissenschaften_, pp. 221-236, 382-424, 621, 658 and 747-752. For the early 17th century, Diego Ufano, _Tratado de la Artilleria_ (1613) is a standard treatise of the time, but the mystery preserved by artillerists in regard to their arm is responsible for an astonishing dearth of artillery literature even in the time of the Thirty Years' War. In 1650 appeared Casimir Simienowicz' _Ars magnae artilleriae_, an English translation of which was published in London in 1729, and in 1683 Michael Mieth published _Artilleriae Recentior Praxis_. The first edition of Surirey de S. Remy, _Memoires d'Artillerie_, appeared in Paris in 1697. With the reorganization of the arm in the early 18th century came many manuals and other works (see Jahns, _op. cit._ pp. 1607-1621 and 1692-1698), amongst which may be mentioned the marquis de Quincy's _Art de la guerre_ (1726). From 1740 onwards numerous manuals appeared, mostly official _reglements_--see French General Staff, _L'Artillerie francaise au XVIII^e siecle_ (1908); and the tactical handling of the arm is treated in general works, such as Guibert's, on war. See also de Morla, _Tratado de la Artilleria_ (1784), translated into German by Hoyer (_Lehrbuch der Art.-Wissenschaft_, Leipzig, 1821-1826); _Du Service de l'artillerie a la guerre_ (Paris, 1780, German translation, Dresden, 1782, and English, by Capt. Thomson, R.A., London, 1789), Bardet de Villeneuve's _Traite de l'artillerie_ (Hague, 1741), and Hennebert, _Gribeauval, Lieut.-General des armees du Roy_ (Paris, 1896). Important works of the period 1800-1850 are Scharnhorst, _Handbuch der Artillerie_ (Hanover, 1804-1806, French translation by Fourcy, _Traite sur l'artillerie_, Paris, 1840-1841); Rouvroy, _Vorlesungen uber die Artillerie_ (Dresden, 1821-1825); Timmerhans, _Essai d'un traite d'artillerie_ (Brussels, 1839-1846); C. v. Decker, _Die Artillerie fur alle Waffen_ (1826); Griffiths, _The Artillerist's Manual_ (Woolwich, 1840); Piobert, _Traite d'artillerie_ (Paris, 1845-1847); Taubert (translated by Maxwell), _Use of Field Artillery on Service_ (London, 1856); Capt. Simmonds, R.A., _Application of Artillery in the Field_ (London, 1819); Gassendi, _Aide-memoire a l'usage des officiers d'artillerie_ (Paris, 1819). See also Girod de l'Ain, _Grands artilleurs, Drouot, Senarmont, Eble_ (Paris, 1894). Among the numerous works on modern field artillery may be mentioned Prince Hohenlohe-Ingelfingen, _Briefe uber Artillerie_ (Berlin, 1887, 2nd ed., English translation by Col. Walford, _Letters on Artillery_, Woolwich, 1887); Hoffbauer, _Taktik der Feldartillerie, 1866 und 1870-1871_ (Berlin, 1876), and _Applikatorische Studie uber Verwendung der Artillerie_ (Berlin, 1884); Erb, _L'Artillerie dans les batailles de Metz_ (Paris, 1906); Leurs, _L'Art. de campagne prussienne 1864-1870_ (Brussels, 1874); v. Schell, _Studie uber Taktik der Feldartillerie_ (quoted above); Hennebert, _Artillerie moderne_ (Paris, 1889); and for quick-firing artillery, Langlois, _Artillerie de campagne en liaison avec les autres armes_ (Paris, 1892 and 1907); Wille, _Feldgeschutz der Zukunft_ (Berlin, 1891); _Waffenlehre_ (2nd ed., 1901); and _Zur Feldgeschutzfrage_ (Berlin, 1896); Rohne, _Die Taktik der Feldartillerie_ (Berlin, 1900), _Studie uber d. Schnellfeuergeschutze in Rohrrucklauflafette_ (Berlin, 1901), _Die franzosische Feldartillerie_ (Berlin, 1902); _Entwicklung des Massengebrauchs der Feldartillerie_ (Berlin, 1900); and articles in _Jahrbucher f. d. Deutsche Armee und Marine_ (October 1901 and January 1905); Hoffbauer, _Die Frage des Schnellfeuerfeldgeschutzes_ (Berlin, 1902), and _Verwendung der Feldhaubitzen_ (Berlin, 1901); Wangemann, _Fur die leichte Feldhaubitze_ (Berlin, 1904); von Reichenau, _Studie uber ... Ausbildung der Feldart_. (Berlin, 1896), _Einfluss der Schilde auf die Entwicklung des F.-A. Materials_, and _Neue Studien uber die Entwicklung der Feldart._ (Berlin, 1902 and 1903); Smekal, _Fuhrung und Verwendung der Divisions-Artillerie_ (Vienna, 1901); Korzen and Kuhn, _Waffenlehre_ (Vienna, 1906); G. Rouquerol, _Emploi de l'artillerie de campagne a tir rapide_ (Paris, 1901), and _Organisation de l'artillerie de campagne_ (Paris, 1903); Girardon-Lagabbe, _Organisation du materiel de l'artillerie de campagne_ (Paris, 1903); and in English, Capt. P. de B. Radcliffe's translation of Rouquerol's work (_The Tactical Employment of Quick-firing Field Artillery_, London, 1903), and especially Lt.-Col. H.A. Bethell, _Modern Guns and Gunnery_ (Woolwich, 1907). See also the current drill manuals of the British, French and German artillery. (C. F. A.)
FOOTNOTES:
[1] Napoleon's maxim, quoted above, reappears in spirit in the British F.A. Training of 1906 (p. 225).
[2] The old smooth-bore mortar for high-angle fire has of course disappeared, but the name "mortar" is still applied in some countries to short rifled howitzers.
[3] Though not of course against the direct impact of shrapnel or H.E. shells.
[4] Finding the line is also an integral part of ranging. When an aiming point is used, the angle at which the guns must be laid with reference to it is calculated and given out by the battery commander. The modern goniometric sight permits of a wide angle (in England 180 deg. right or left) being given. "Deflection" is a small angular correction applied to individual guns.
[5] The "corrector" is an adjustment on the sights of the gun used to determine the correct fuze. In the British Q.F. equipment, a graduated dial or drum shows the elevation of the gun above the line of sight. The fuze lengths are marked on a movable scale opposite the range graduations to which they apply, and the "corrector" moves this fuze scale so as to bring different fuze lengths opposite the range graduation. For example, a certain corrector setting gives 11-1/2 on the fuze scale opposite 4000 yds. on the range scale, and if the shells set to 11-1/2 burst too high, a new corrector setting is taken, the fuze length 12 is now opposite to the 4000 range graduation, and this length gives bursts closer up and lower. In the German service a corrector (_Aufsatzschieber_) alters the real elevation given to the gun, so that while throughout the battery all guns have the same (nominal or ordered) elevation shown on the sights, the real elevations of individual guns vary according to the different corrector settings. Thus bursts at different heights and distances from the target are obtained by shifting the trajectory of the shell. The fuze, being set for the nominal elevation common to all the guns, burns for the same time in each case, and thus the burst will be lower and closer to the target with a less (real) elevation, and higher and farther from it with a greater.
[6] Most of the works named deal with technical questions of equipment, ammunition, ballistics, &c.
ARTIODACTYLA (from Gr. [Greek: artios], even, and [Greek: daktylos], a finger or toe, "even-toed"), the suborder of ungulate mammals in which the central (and in some cases the only) pair of toes in each foot are arranged symmetrically on each side of a vertical line running through the axes of the limbs. As contrasted with the Perissodactyla living, and in a great degree extinct, Artiodactyla are characterized by the following structural features. The upper premolar and molar teeth are not alike, the former being single and the latter two-lobed; and the last lower molar of both first and second dentition is almost invariably three-lobed. Nasal bones not expanded posteriorly. No alisphenoid canal. Dorsal and lumbar vertebrae together always nineteen, though the former may vary from twelve to fifteen. Femur without third trochanter. Third and fourth digits of both feet almost equally developed, and their terminal phalanges flattened on their inner or contiguous surfaces, so that each is not symmetrical in itself, but when the two are placed together they form a figure symmetrically disposed to a line drawn between them. Or, in other words, the axis or median line of the whole foot is a line drawn between the third and fourth digits (fig. 1). Lower articular surface of the astragalus divided into two nearly equal facets, one for the navicular and a second for the cuboid bone. The calcaneum with an articular facet for the lower end of the fibula. Stomach almost always more or less complex. Colon convoluted. Caecum small. Placenta diffused or cotyledonary. Teats either few and inguinal, or numerous and abdominal.
Artiodactyla date from the Eocene period, when they appear to have been less numerous than the Perissodactyla, although at the present day they are immeasurably ahead of that group, and form indeed the dominant ungulates. As regards the gradual specialization and development of the modern types, the following features are noteworthy.
1. As regards the teeth, we have the passage of a simply tubercular, or bunodont ([Greek: bounos], a hillock) type of molar into one in which the four main tubercles, or columns, have assumed a crescentic form, whence this type is termed selenodont ([Greek: selaenae], the new moon). Further, there is the modification of the latter from a short-crowned, or brachyodont type, to one in which the columns are tall, constituting the hypsodont, or hypsiselenodont, type. It is noteworthy, however, that in some instances there appears to have been a retrograde modification from the selenodont towards the bunodont type, the hippopotamus being a case in point. Other modifications are the loss of the upper incisors; the development of the canines into projecting tusks; and the loss of the anterior premolars.
2. As regards the limbs. Reduction of the ulna from a complete and distinct bone to a comparatively rudimentary state in which it coalesces more or less firmly with the radius. Reduction of the fibula till nothing but its lower extremity remains. Reduction and final loss of outer pair of digits (second and fifth), with coalescence of the metacarpal and metatarsal bones of the two middle digits to form a cannon-bone. Union of the navicular and cuboid, and sometimes the ectocuneiform bone, of the tarsus.
3. Change of form of the odontoid process of the second or axis vertebrae from a cone to a hollow half-cylinder.
4. Development of horns or antlers on the frontal bones, and gradual complication of form of antlers.
5. By inference only, increasing complication of stomach with ruminating function superadded. Modification of placenta from simple diffused to cotyledonary form.
[Illustration: FIG. 1.--Bones of Right Fore Feet of existing Artiodactyla.
A, Pig (_Sus scrofa_). l, Lunar. B, Red deer (_Cervus elaphus_). s, Scaphoid. C, Camel (_Camelus bactrianus_). u, Unciform. U, Ulna. m, Magnum. R, Radius. td, Trapezoid.] c, Cuneiform.
In the Sheep and the Camel the long compound bone, supporting the two main (or only) toes is the cannon-bone.
The primitive Artiodactyla thus probably had the typical number (44) of incisor, canine and molar teeth, brachyodont molars, conical odontoid process, four distinct toes on each foot, with metacarpal, metatarsal and all the tarsal bones distinct, and no frontal appendages.
Pecora.
As regards classification, the first group is that of the Pecora, or Cotylophora, in which the cheek-teeth are selenodont, but there are no upper incisors or canine-like premolars, while upper canines are generally absent, though sometimes largely developed. Inferior incisors, three on each side with an incisiform canine in contact with them. Cheek-teeth consisting of p.3/3, m.3/3, in continuous series. Auditory bulla simple and hollow within. Odontoid process of second vertebra in the form of a crescent, hollow above. Lower extremity of the fibula represented by a distinct malleolar bone articulating with the outer surface of the lower end of the tibia. Third and fourth metacarpals and metatarsals confluent into cannon-bones (fig. 1 B), and the toes enclosed in hoofs. Outer toes small and rudimentary, or in some cases entirely suppressed; their metacarpal or metatarsal bones never complete. Navicular and cuboid bones of tarsus united. The skull generally lacks a sagittal crest; and the condyle of the lower jaw is transversely elongated. Horns or antlers usually present, at least in the male sex. Left brachial artery arising from a common innominate trunk, instead of coming off separately from the aortic arch. Stomach with four complete cavities. Placenta cotyledonous. Teats 2 or 4.
The group at the present day is divided into _Giraffidae_ (giraffe and okapi), _Cervidae_ (deer), _Antilocapridae_ (prongbuck), and _Bovidae_ (oxen, sheep, goats, antelopes, &c.). (See PECORA.)
Tylopoda.
The second group is represented at the present day by the camels (_Camelus_) of the Old, and the llamas (_Lama_) of the New World, collectively constituting the family _Camelidae_. They derive their name of Tylopoda ("boss-footed") from the circumstance that the feet form large cushion-like pads, supporting the weight of the body, while the toes have broad nails on their upper surface only, instead of being encased in hoofs. The cheek-teeth are selenodont, and one pair of upper incisors is retained, while some of the anterior premolars assume a canine-like shape, and are separated from the rest of the cheek-series. Auditory bulla filled with honeycombed bony tissue. Odontoid process of second vertebra semi-cylindrical; skull with a sagittal crest; and the condyle of the lower jaw rounded. Third and fourth metacarpals and metatarsals (which are alone present) fused into cannon-bones for the greater part of their length, but diverging inferiorly (fig. 1, C) and with their articular surfaces for the toes smooth, instead of ridged as in the Pecora. Navicular and cuboid bones of tarsus distinct. No horns or antlers. Stomach, although complex, differing essentially from that of the Pecora. Placenta diffuse, without cotyledons. Teats few. (See TYLOPODA.)
In the same sectional group is included the North American family of oreodonts (_Oreodontidae_), which are much more primitive ruminants, with shorter necks and limbs, the full series of 44 teeth, all in apposition, and the metacarpal and metatarsal bones separate, and the toes generally of more normal type, although sometimes claw-like. (See OREODON.) The Eocene American genus _Homacodon_ is regarded as representing a third family group, the _Homacodontidae (= Pantolestidae_), in which the molars were of a bunodont type, and approximate to those of the Condylarthra from which this family appears to have sprung, and to have given origin on the one hand to the _Oreodontidae_, and on the other to the _Camelidae_. The family is represented in the Lower, or Wasatch, Eocene by _Trigonolestes_, in the Middle (Bridger) Eocene by _Homacodon_ (Pantolestes), and in the Upper (Uinta) Eocene by _Bunomeryx_.
Tragulina.
The third group is that represented by the chevrotains or mouse-deer, forming the family _Tragulidae_, with _Tragulus_ in south-eastern Asia and _Dorcatherium_ (or _Hyomoschus_) in equatorial Africa. The cheek-teeth are selenodont, as in the two preceding groups; there are no upper incisors, but there are long, narrow and pointed upper canines, which attain a large size in the males; the lower canines are incisor-like, as in the Pecora, and there are no caniniform premolars in either jaw. Cheek-teeth in a continuous series consisting of p. 3/3, m. 3/3. Odontoid process of axis conical. Fibula complete. Four complete toes on each foot. The middle metacarpals and metatarsals generally confluent, the outer ones (second and fifth) slender but complete, i.e. extending from the carpus or tarsus to the digit. Navicular, cuboid and ectocuneiform bones of tarsus united. Auditory bulla of skull filled with cancellar tissue. No frontal appendages. Ruminating, but the stomach with only three distinct compartments, the maniplies or third cavity of the stomach of the Pecora being rudimentary. Placenta diffused. (See CHEVROTAIN.)
Anoplotherina.
In this place must be mentioned the extinct Oligocene European group typified by the well-known genus _Anoplotherium_ of the Paris gypsum-quarries, and hence termed Anoplotherina, although the alternative title Dichobunoidea has been suggested. It includes the two families _Anoplotheriidae_ and _Dichobunidae_, of which the first died out with the Oligocene, while the second may have given origin to the Tragulina and perhaps the Pecora. There is the full series of 44 teeth, generally without any gaps, and most of the bones of the skeleton are separate and complete; while, in many instances at any rate, the tail was much longer than in any existing ungulates, and the whole bodily form approximated to that of a carnivore. The upper molars, which may be either selenodont or buno-selenodont, carry five cusps each, instead of the four characteristic of all the preceding groups; and they are all very low-crowned, so as to expose the whole of the valleys between the cusps. In _Anoplotherium_, some of the species of which were larger than tapirs, there were either two or three toes, the latter number being almost unique among the Artiodactyla. Allied genera are _Diplobune_ and _Dacrytherium_.
The _Dichobunidae_ include the genus _Dichobune_, of which the species were small animals with buno-selenodont molars. _Xiphodon_ and _Dichodon_ represent another type with cutting premolars and selenodont molars; while _Caenotherium_ and _Plesiomeryx_ form yet another branch, with resemblances to the ruminants. The most interesting genera are however, the Upper Oligocene and Lower Miocene _Gelocus_ and _Prodremotherium_, which have perfectly selenodont teeth, and the third and fourth metacarpal and metatarsal bones respectively fused into an imperfect cannon-bone, with the reduction of the lateral metacarpals and metatarsals to mere remnants of their upper and lower extremities. While _Gelocus_ exhibits a marked approximation to the _Tragulidae, Prodremotherium_ comes nearer to the _Cervidae_, of which it not improbably indicates the ancestral type. The _Dichobunidae_ may be regarded as occupying a position analogous to that of the _Homacodontidae_ in the Tylopoda, and like the latter, are probably the direct descendants of Condylarthra.
[Illustration: FIG 2.--Restoration of _Anoplotherium commune._]
Suina.
The last section of the Artiodactyla is that of the Suina, represented at the present day by the pigs (_Suidae_), and the hippopotamuses (_Hippopotamidae_), and in past times by the _Anthracotheriidae_, in which may probably be included the _Elotheriidae._ In the existing members of the group the cheek-teeth approximate to the bunodont type, although showing signs of being degenerate modifications of the selenodont modification. There is at least one pair of upper incisors, while the full series of 44 teeth may be present. The metacarpals and metatarsals are generally distinct (fig. 1 A), and never fuse into a complete cannon-bone; and the navicular and cuboid bones of the tarsus are separate. The odontoid process of the second vertebra is pig-like: and the tibia and fibula and radius and ulna are severally distinct. The stomach is simple or somewhat complex, and the placenta diffused. The _Suidae_ include the Old World pigs (_Suinae_) and the American peccaries (_Dicotylinae_), and are characterized by the snout terminating in a fleshy disk-like expansion, in the midst of which are perforated the nostrils; while the toes are enclosed in sharp hoofs, of which the lateral ones do not touch the ground. There is a caecum. The _Dicotylinae_ differ from the _Suinae_ in that the upper canines are directed downwards (instead of curving upwards) and have sharp cutting-edges, while the toes are four in front and three behind (instead of four on each foot), and the stomach is complex instead of simple. In the Old World a large number of fossil forms are known, of which the earliest is the Egyptian Eocene _Geniohyus._ Originally the family was an Old World type, but in the Miocene it gained access into North America, where the earliest form is _Bothriolabis_, an ancestral peccary showing signs of affinity with the European Miocene genus _Palaeochoerus._ (See SWINE and PECCARY.)
The _Hippopotamidae_ are an exclusively Old World group, in which the muzzle is broad and rounded and quite unlike that of the _Suidae_, while the crowns of the cheek-teeth form a distinctly trefoil pattern, when
## partially worn, which is only foreshadowed in those of the latter. The
short and broad teeth terminate in four subequal toes, protected by short rounded hoofs, and all reaching the ground. The hinder end of the lower jaw is provided with a deep descending flange. Both incisors and canines are devoid of roots and grow throughout life, the canines, and in the typical species one pair of lower incisors, growing to an immense size. The stomach is complex; but there is no caecum. Although now exclusively African, the family (of which all the representatives may be included in the single genus _Hippopotamus_, with several subgeneric groups) is represented in the Pliocene of Europe and the Lower Pliocene of northern India. Its place of origin cannot yet be determined.
The extinct _Anthracotheriidae_ were evidently nearly allied to the _Hippopotamidae_, of which they are in all probability the ancestral stock. They agree, for instance, with that family in the presence of a descending flange at the hinder end of each side of the lower jaw; but their dentition is of a more generalized type, comprising the full series of 44 teeth, among which the incisors and canines are of normal form, but specially enlarged, and developing roots in the usual manner. The molars are partially selenodont in the typical genus _Anthracotherium_, with five cusps, or columns, on the crowns of those of the upper jaw, which are nearly square. The genus has a very wide distribution, extending from Europe through Asia to North America, and occurring in strata which are of Oligocene and Miocene age. In _Ancodon_ (_Hyopotamus_) the cusps on the molars are taller, so that the dentition is more decidedly selenodont; the distribution of this genus includes not only Europe, Asia and North Africa, but also Egypt where it occurs in Upper Eocene beds in company with the European genus _Rhagatherium_, which is nearer _Anthracotherium._ On the other hand, in _Merycopotamus_, of the Lower Pliocene of India and Burma, the upper molars have lost the fifth intermediate cusp of _Ancodon_; and thus, although highly selenodont, might be easily modified, by a kind of retrograde development, into the trefoil-columned molars of _Hippopotamus._ In the above genera, so far as is known, the feet were four-toed, although with the lateral digits relatively small; but in _Elotherium_ (or _Entelodon_), from the Lower Miocene of Europe and the Oligocene of North America, the two lateral digits in each foot had disappeared. This is the more remarkable seeing that _Elotherium_ may be regarded as a kind of bunodont _Anthracotherium._ It shows the characteristic hippopotamus-flange to the lower jaw, but has also a large descending process from the jugal bone of the zygomatic arch of the skull. Finally, we have in the Pliocene of India the genus _Tetraconodon_, remarkable for the enormous size attained by the bluntly conical premolars; as the molars are purely bunodont, this genus seems to be a late and specialized survivor of a primitive type. (R. L.*)
ARTISAN, or ARTIZAN, a mechanic; a handicraftsman in distinction to an artist. The English word (from Late Lat. _artitianus_, instructed in arts) at one time meant "artist," but has been restricted to signify the operative workman only.
ARTOIS, an ancient province of the north of France, corresponding to the present department of Pas de Calais, with the exclusion of the arrondissements of Boulogne and Montreuil, which belonged to Picardy. It is a rich and well-watered country, producing abundance of grain and hops, and yielding excellent pasture for cattle. The capital of the province was Arras, and the other important places were Saint-Omer, Bethune, Aire, Hesdin, Bapaume, Lens, Lillers, Saint-Pol and Saint-Venant. The name Artois (still more corrupted in "Arras") is derived from the Atrebates, who possessed the district in the time of Caesar. From the 9th to the 12th century Artois belonged to the counts of Flanders. It was bestowed in 1180 on Philip Augustus of France by Philip of Alsace, as the dowry of his niece Isabella of Hainaut. At her death in 1190, Baldwin IX., count of Flanders (d. 1206), and then his son-in-law, Ferrand (Ferdinand) of Portugal, count of Flanders, disputed the possession of the country with the king of France, Ferrand being in the coalition which was overthrown by Philip Augustus at Bouvines (1214). In 1237 Artois, which was raised to a countship the following year, was conferred as an appanage by Saint Louis on his brother Robert, who died on crusade in 1250. His son, Robert II., took part in the wars in Navarre, Sicily, Guienne and Flanders, and was killed at the battle of Courtrai in 1302. After his death, his son Philip having predeceased him (1298), Artois was adjudged to his daughter Mahaut, or Matilda, as against her nephew Robert, son of Philip, who attempted to support his claim to the countship by forged titles. Banished from France for this crime (1322), Robert of Artois took refuge in England, where he became earl of Richmond, and incited Edward III. to make war upon Philip of Valois. His descendants, the counts of Eu (q.v.), continued to style themselves counts of Artois. By the marriage of Mahaut (d. 1329) with Otto IV., Artois passed to the house of Burgundy, in whose possession it remained till the marriage of Mary, the daughter of Charles the Bold, to the archduke Maximilian brought it to the house of Austria. Louis XI., however, occupied portions of Artois, and the claims of Austria were contested by France until the treaty of Senlis (1493). The emperor Charles V. established the council of Artois, with sovereign authority. At the end of the Thirty Years' War Artois was again conquered by the French, and the conquest was ratified in the treaty of the Pyrenees (1659) by Spain, to whom the province had fallen in 1634. During the war between France and Holland (1672-77) and that of the Spanish Succession. Artois was invaded again, but the treaties of Nijmwegen (1678) and of Utrecht (1713) confirmed the sovereignty of France. The title of count of Artois was borne by Charles X. of France before his accession to the throne. This new creation became extinct on the death of the comte de Chambord in 1883.
ART SALES. The practice of selling objects of art by auction in England dates from the latter part of the 17th century, when in most cases the names of the auctioneers were suppressed. Evelyn (under date June 21, 1693) mentions a "great auction of pictures (_Lord Melford's_) in the Banquetting House, Whitehall," and the practice is frequently referred to by other contemporary and later writers. Before the introduction of regular auctions the practice was, as in the case of the famous collection formed by Charles I., to price each object and invite purchasers, just as in other departments of commerce. But this was a slow process, especially in the case of pictures, and lacked the incentive of excitement. The first really important art collection to come under the hammer was that of Edward, earl of Oxford, dispersed by Cock, under the Piazza, Covent Garden, on 8th March 1741/2 and the five following days, six more days being required by the coins. Nearly all the leading men of the day, including Horace Walpole, attended or were represented at this sale, and the prices varied from five shillings for an anonymous bishop's "head" to 165 guineas for Vandyck's group of "Sir Kenelm Digby, lady, and son." The next great dispersal was Dr Richard Mead's extensive collection, of which the pictures, coins and gems, &c., were sold by Langford in February and March 1754, the sale realizing the total, unprecedented up to that time, of L16,069. The thirty-eight days' sale (1786) of the Duchess of Portland's collection is very noteworthy, from the fact that it included the celebrated Portland vase, now in the British Museum. Many other interesting and important 18th-century sales might be mentioned. High prices did not become general until the Calonne, Trumbull (both 1795) and Bryan (1798) sales. As to the quality of the pictures which had been sold by auction up to the latter part of the 18th century, it may be assumed that this was not high. The importation of pictures and other objects of art had assumed extensive proportions by the end of the 18th century, but the genuine examples of the Old Masters probably fell far short of 1%. England was felt to be the only safe asylum for valuable articles, but the home which was intended to be temporary often became permanent. Had it not been for the political convulsions on the continent, England, instead of being one of the richest countries in the world in art treasures, would have been one of the poorest. This fortuitous circumstance had, moreover, another effect, in that it greatly raised the critical knowledge of pictures. Genuine works realized high prices, as, for example, at Sir William Hamilton's sale (1801), when Beckford paid 1300 guineas for the little picture of "A Laughing Boy" by Leonardo da Vinci; and when at the Lafontaine sales (1807 and 1811) two Rembrandts each realized 5000 guineas, "The Woman taken in Adultery," now in the National Gallery, and "The Master Shipbuilder," now at Buckingham Palace. The Beckford sale of 1823 (41 days, L43,869) was the forerunner of the great art dispersal of the 19th century; Horace Walpole's accumulation at Strawberry Hill, 1842 (24 days, L33,450), and the Stowe collection, 1848 (41 days, L75,562), were also celebrated. They comprised every phase of art work, and in all the quality was of a very high order. They acted as a most healthy stimulus to art collecting, a stimulus which was further nourished by the sales of the superb collection of Ralph Bernal in 1855 (32 days, L62,690), and of the almost equally fine but not so comprehensive collection of Samuel Rogers, 1856 (18 days, L42,367). Three years later came the dispersal of the 1500 pictures which formed Lord Northwick's gallery at Cheltenham (pictures and works of art, 18 days, L94,722).
Towards the latter part of the first half of the 19th century an entirely new race of collectors gradually came into existence; they were for the most part men who had made, or were making, large fortunes in the various industries of the midlands and north of England and other centres. They were untrammelled by "collecting" traditions, and their patronage was almost exclusively extended to the artists of the day. The dispersals of these collections began in 1863 with the Bicknell Gallery, and continued at irregular intervals for many years, e.g. Gillott (1872), Mendel (1875), Wynn Ellis and Albert Levy (1876), Albert Grant (1877) and Munro of Novar (1878). These patrons purchased at munificent prices either direct from the easel or from the exhibitions not only pictures in oils but also water-colour drawings. As a matter of investment their purchases frequently realized far more than the original outlay; sometimes, however, the reverse happened, as, for instance, in the case of Landseer's "Otter Hunt," for which Baron Grant is said to have paid L10,000 and which realized shortly afterwards only 5650 guineas. One of the features of the sales of the 'seventies was the high appreciation of water-colour drawings. At the Gillott sale (1872) 160 examples realized L27,423, Turner's "Bamborough Castle" fetching 3150 gns.; at the Quilter sale (1875) David Cox's "Hayfield," for which a dealer paid him 50 gns. in 1850, brought 2810 gns. The following are the most remarkable prices of later years. In 1895 Cox's "Welsh Funeral" (which cost about L20) sold for 2400 gns., and Burne-Jones's "Hesperides" for 2460 gns. In 1908, 13 Turner drawings fetched L12,415 (Acland-Hood sale) and 7 brought L11,077 (Holland sale), the "Heidelberg" reaching 4200 gns. For Fred Walker's "Harbour of Refuge" 2580 gns. were paid (Tatham sale) and 2700 gns. for his "Marlow Ferry" (Holland). The demand for pictures by modern artists, whose works sold at almost fabulous prices in the 'seventies, has somewhat declined; but during all its _furore_ there was still a small band of collectors to whom the works of the Old Masters more especially appealed. The dispersal of such collections as the Bredel (1875), Watts Russell (1875), Foster of Clewer Manor (1876), the Hamilton Palace (17 days, L397,562)--the greatest art sale in the annals of Great Britain--Bale (1882), Leigh Court (1884), and Dudley (1892) resulted, as did the sale of many minor collections each season, in many very fine works of the Old Masters finding eager purchasers at high prices. A striking example of the high prices given was the L24,250 realized by the pair of Vandyck portraits of a Genoese senator and his wife in the Peel sale, 1900.
Since the last quarter of the 19th century the chief feature in art sales has been the demand for works, particularly female portraits, by Reynolds, his contemporaries and successors. This may be traced to the South Kensington Exhibitions of 1867 and 1868 and the annual winter exhibitions at Burlington House, which revealed an unsuspected wealth and charm in the works of many English artists who had almost fallen into oblivion. A few of the most remarkable prices for such pictures may be quoted: Reynolds's "Lady Betty Delme" (1894), 11,000 gns.; Romney's "The Ladies Spencer" (1896), 10,500 gns.; Gainsborough's "Duchess of Devonshire" (1876), 10,100 gns. (for the history of its disappearance see GAINSBOROUGH, THOMAS), "Maria Walpole," 12,100 gns. (Duke of Cambridge's sale, 1904); Constable's "Stratford Mill" (1895), 8500 gns.; Hoppner's "Lady Waldegrave" (1906), 6000 gns.; Lawrence's "Childhood's Innocence" (1907), 8000 gns.; Raeburn's "Lady Raeburn" (1905), 8500 gns. Here may also be mentioned the 12,600 gns. paid for Turner's "Mortlake Terrace" in 1908 (Holland sale).
The "appreciation" of the modern continental schools, particularly the French, has been marked since 1880; of high prices paid may be mentioned Corot's "Danse des Amours" (1898), L7200; Rosa Bonheur's "Denizens of the Highlands" (1888), 5550 gns.; Jules Breton's "First Communion," L9100 in New York (1886); Meissonier's "Napoleon I. in the Campaign of Paris," 12-1/4 in. by 9-1/4 in. (1882), 5800 gns., and "The Sign Painter" (1891), 6450 gns. High prices are also fetched by pictures of Daubigny, Fortuny, Gallait, Gerome, Troyon and Israels. The most marked feature of late has been the demand for the 18th-century painters Watteau, Boucher, Fragonard, Pater and Lancret; thus "La Ronde Champetre" of the last named brought L11,200 at the Say Sale in 1908, and Fragonard's "Le Reveil de Venus" L5520 at the Sedelmeyer sale, 1907.
"Specialism" is the one important development in art collecting which has manifested itself since the middle of the 19th century. This accounts for and explains the high average quality of the Wellesley (1866), the Buccleuch (1888) and the Holford (1893) collections of drawings by the Old Masters; for the Sibson Wedgwood (1877), the Duc de Forli Dresden (1877), the Shuldham blue and white porcelain (1880), the Benson collection of antique coins (1909), and for the objects of art at the Massey-Mainwaring and Lewis-Hill sales of 1907. Very many other illustrations in nearly every department of art collecting might be quoted--the superb series of Marlborough gems (1875 and 1899) might be included in this category but for the fact that it was formed chiefly in the 18th century. The appreciation--commercially at all events--of mezzotint portraits and of portraits printed in colours, after masters of the early English school, was one of the most remarkable features in art sales during the last years of the 19th century. The shillings of fifty years before were then represented by pounds. The Fraser collection (December 4 to 6, 1900) realized about ten times the original outlay, the mezzotint of the "Sisters Frankland," after Hoppner, by W. Ward, selling for 290 guineas as against 10 guineas paid for it about thirty years previously. The H.A. Blyth sale (March 11 to 13, 1901, 346 lots, L21,717: 10s.) of mezzotint portraits was even more remarkable, and as a collection it was the choicest sold within recent times, the engravings being mostly in the first state. The record prices were numerous, and, in many cases, far surpassed the prices which Sir Joshua Reynolds received for the original pictures; e.g. the exceptionally fine example of the first state of the "Duchess of Rutland," after Reynolds, by V. Green, realized 1000 guineas, whereas the artist received only L150 for the painting itself. Even this unprecedented price for a mezzotint portrait was exceeded on the 30th of April 1901, when an example of the first published state of "Mrs Carnac," after Reynolds, by J.R. Smith, sold for 1160 guineas. At the Louis Huth sale (1905) 83 lots brought nearly L10,000, Reynolds's "Lady Bampfylde" by T. Watson, first state before letters, unpublished, fetching 1200 guineas. Such prices as these and many others which might be quoted are exceptional, but they were paid for objects of exceptional rarity or quality.
It is not necessary to pursue the chronicle of recent sales, which have become a feature of every season. It is worth mentioning, however, that the Holland sale, in June 1908, realized L138,118 (432 lots), a "record" sum for a collection of pictures mainly by modern artists; and that for the Rodolphe Kann collection (Paris) of pictures and objects of art, including 11 magnificent Rembrandts, Messrs Duveen paid L1,000,000 in 1907. In every direction there has been a tendency to increase prices for really great artistic pieces, even to a sensational extent. The competition has become acute, largely owing to American and German acquisitiveness. The demand for the finest works of art of all descriptions is much greater than the supply. As an illustration of the magnitude of the art sale business it may be mentioned that the "turnover" of one firm in London alone has occasionally exceeded L1,000,000 annually.
BIBLIOGRAPHY.--The chief compilations dealing with art sales in Great Britain are: G. Redford, _Art Sales_ (1888); and W. Roberts, _Memorials of Christie's_ (1897); whilst other books containing much important matter are W. Buchanan, _Memoirs of Painting_; _The Year's Art_ (1880 and each succeeding year); F.S. Robinson, _The Connoisseur_; and L. Soullie, _Les Ventes de tableaux, dessins et objets d'art au XIX^e siecle_ (chiefly French).
ARTS AND CRAFTS, a comprehensive title for the arts of decorative design and handicraft--all those which, in association with the mother-craft of building (or architecture), go to the making of the house beautiful. Accounts of these will be found under separate headings. "Arts and crafts" are also associated with the movement generally understood as the English revival of decorative art, which began about 1875. The title itself only came into general use when the Arts and Crafts Exhibition Society was founded, and held its first exhibition at the New Gallery, London, in the autumn of 1888, since which time arts and crafts exhibitions have been common all over Great Britain. The idea of forming a society for the purpose of showing contemporary work in design and handicraft really arose out of a movement of revolt or protest against the exclusive view of art encouraged by the Royal Academy exhibitions, in which oil paintings in gilt frames claimed almost exclusive attention--sculpture, architecture and the arts of decorative design being relegated to quite subordinate positions. In 1886, out of a feeling of discontent among artists as to the inadequacy of the Royal Academy exhibitions, considered as representing the art of Great Britain, a demand arose for a national exhibition to include all the arts of design. One of the points of this demand was for the annual election of the hanging committee by the whole body of artists. After many meetings the group representing the arts and crafts (who belonged to a larger body of artists and craftsmen called the Art-workers' Guild, founded in 1884),[1] perceiving that the painters, especially the leading group of a school not hitherto well represented in the Academy exhibitions, only cherished the hope of forcing certain reforms on the Academy, and were by no means prepared to lose their chances of admission to its privileges, still less to run any risk in the establishment of a really comprehensive national exhibition of art, decided to organize an exhibition themselves in which artists and craftsmen might show their productions, so that contemporary work in decorative art should be displayed to the public on the same footing, and with the same advantages as had hitherto been monopolized by pictorial art. For many years previously there had been great activity in the study and revival in the practice of many of the neglected decorative handicrafts. Amateur societies and classes were in existence, like the Home Arts and Industries Association, which had established village classes in wood-carving, metal work, spinning and weaving, needlework, pottery and basket-work, and the public interest in handicraft was steadily growing. The machine production of an industrial century had laid its iron hands upon what had formerly been the exclusive province of the handicraftsman, who only lingered on in a few obscure trades and in forgotten corners of England for the most part. The ideal of mechanical perfection dominated British workmen, and the factory system, first by extreme division of labour, and then by the further specialization of the workman under machine production, left no room for individual artistic feeling among craftsmen trained and working under such conditions. The demand of the world-market ruled the character and quality of production, and to the few who would seek some humanity, simplicity of construction or artistic feeling in their domestic decorations and furniture, the only choice was that of the tradesman or salesman, or a plunge into costly and doubtful experiments in original design. From the 'forties onward there had been much research and study of medieval art in England; there had been many able designers, architects and antiquaries, such as the Pugins and Henry Shaw (1800-1873) and later William Burges (1827-1881), William Butterfield (1814-1900) and G.E. Street and others. The school of pre-Raphaelite painters, by their careful and thorough methods, and their sympathy with medieval design, were among the first to turn attention to beauty of design, colour and significance in the accessories of daily life, and artists like D.G. Rossetti, Ford Madox Brown, and W. Holman Hunt themselves designed and painted furniture. The most successful and most practical effort indeed towards the revival of sounder ideas of construction and workmanship may be said to have arisen out of the work of this group of artists, and may be traced to the workshop of William Morris and his associates in Queen Square, London. William Morris, whose name covers so large a field of artistic as well as literary and social work, came well equipped to his task of raising the arts of design and handicraft, of changing the taste of his countrymen from the corrupt and vulgar ostentation of the Second Empire, and its cheap imitations, which prevailed in the 'fifties and 'sixties, and of winning them back, for a time at least, to the massive simplicity of plain oak furniture, or the delicate beauty of inlays of choice woods, or the charm of painted work, the richness and frank colour of formal floral and heraldic pattern in silk textiles and wall-hangings and carpets, the gaiety and freshness of printed cotton, or the romantic splendour of arras tapestry. Both William Morris and his artistic comrade and lifelong friend, Edward Burne-Jones, were no doubt much influenced at the outset by the imaginative insight, the passionate artistic feeling, and the love of medieval romance and colour of Dante Gabriel Rossetti, who remains so remarkable a figure in the great artistic and poetic revival of the latter half of the 19th century. To William Morris himself, in his artistic career, it was no small advantage to gain the ear of the English public first by his poetry. His verse-craft helped his handicraft, but both lived side by side. The secret of Morris's great influence in the revival was no doubt to be attributed to his way of personally mastering the working details and handling of each craft he took up in turn, as well as to his power of inspiring his helpers and followers. He was painter, designer, scribe, illuminator, wood-engraver, dyer, weaver and finally printer and papermaker, and having mastered these crafts he could effectively direct and criticize the work of others. His own work and that of Burne-Jones were well known to the public, and in high favour long before the Arts and Crafts Exhibition Society was formed, and though largely helped and inspired by the work of these two artists, the aims and objects of the society rather represented those of a younger generation, and were in some measure a fresh development both of the social and the artistic ideas which were represented by Ruskin, Rossetti and Morris, though the society includes men of different schools. Other sources of influence might be named, such as the work of Norman Shaw and Philip Webb in architecture and decoration, of Lewis Day in surface pattern, and William de Morgan in pottery. The demand for the acknowledgment of the personality of each responsible craftsman in a co-operative work was new, and it had direct bearing upon the social and economic conditions of artistic production. The principle, too, of regarding the material, object, method and purpose of a work as essential conditions of its artistic expression, the form and character of which must always be controlled by such conditions, had never before been so emphatically stated, though it practically endorsed the somewhat vague aspirations current for the unity of beauty with utility. Again, a very notable return to extreme simplicity of design in furniture and surface decoration may be remarked; and a certain reserve in the use of colour and ornament, and a love of abstract forms in decoration generally, which are characteristic of later taste. Not less remarkable has been the new development in the design and workmanship of jewelry, gold- and silversmiths' work, and enamels, with which the names of Alexander Fisher, Henry Wilson, Nelson Dawson and C.R. Ashbee are associated. Among the arts and crafts of design which have blossomed into new life in recent years-and there is hardly one which has not been touched by the new spirit--book-binding must be named as having attained a fresh and tasteful development through the work of Mr Cobden-Sanderson and his pupils. The art and craft of the needle also must not be forgotten, and its progress is a good criterion of taste in design, choice of colour and treatment. The work of Mrs Morris, of Miss Burden (sometime instructress at the Royal School of Art Needlework, which has carried on its work from 1875), of Miss May Morris, of Miss Una Taylor, of Miss Buckle, of Mrs Walter Crane, of Mrs Newbery, besides many other skilled needlewomen, has been frequently exhibited. Good work is often seen in the national competition works of the students of the English art schools, shown at South Kensington in July. The increase of late years in these exhibitions of designs worked out in the actual material for which they were intended is very remarkable, and is an evidence of the spread of the arts and crafts movement (fostered no doubt by the increase of technical schools, especially of the type of the Central School of Arts and Crafts under the Technical Education Board of the London County Council), of which it may be said that if it has not turned all British craftsmen into artists or all British artists into craftsmen, it had done not a little to expand and socialize the idea of art, and (perhaps it is not too much to say) has made the tasteful English house with its furniture and decorations a model for the civilized world. (W. Cr.)
FOOTNOTE:
[1] Whose members, comprehending as they do the principal living designers, architects, painters and craftsmen of all kinds, have played no inconsiderable part in the English revival.
ART SOCIETIES. In banding themselves into societies and associations artists have always been especially remarkable. The fundamental motive of such leaguing together is apparent, for, by the establishment of societies, it becomes possible for the working members of these to hold exhibitions and thereby to obtain some compensation or reward for their labours. With the growth of artistic practice and public interest, however, art societies have been instituted where this primary object is either absent or is allied to others of more general scope. The furtherance of a cult and the specializing of work have also given rise to many new associations in Great Britain, besides the Royal Academy (see ACADEMY, ROYAL). At the outset, therefore, it will be well to mention the leading art societies thus described. The (now Royal) Society of Painters in Water Colours, founded in 1804, and the (now Royal) Society of British Artists (1823), are typical of those societies which exist merely for purposes of holding exhibitions and conferring diplomas of membership. The British Institution (for the encouragement of British artists) was started in 1806 on a plan formed by Sir Thomas Bernard; and in the gallery, erected by Alderman Boydell to exhibit the paintings executed for his edition of Shakespeare, were from time to time exhibited pictures by the old masters, deceased British artists and others, till 1867, when the lease of the premises expired. A fund of L16,200, then in the hands of trustees, had accumulated to L24,610 in 1884. The Artists' Society, formed in 1830, has for its object the providing of facilities to enable its members to perfect themselves in their art. To this end there is a good library of works on art, and abundant opportunities are afforded for general study from the life. In the furtherance of a cult the Japan Society, devoted to the encouragement of the study of the arts and industries of Japan, is a typical example; and the Society of Mezzotint Engravers is representative of those bodies formed in the interests of particular groups of workers. One of the remarkable features in the history of art in Great Britain has been the rapid increase of the artistic rank and file. Taking the number of exhibitors at the principal London and provincial exhibitions, it is found that in the period 1885-1900 the ranks were doubled. At the end of the 19th century it was estimated that there were quite 7000 practising artists. Coincident with this astonishing development there has been a corresponding addition of new art societies and the enlargement of older bodies. For instance, the membership of the Royal Society of British Artists advanced in the period mentioned from 80 to 150. Similar extensions can be noted in other societies, or in such a case as that of the Royal Institute of Painters in Water Colours, where the membership is limited to 100, it is to be noticed that more space is given to the works of outsiders. But the expansion of older exhibiting societies has not proved sufficient. Portrait painters, pastellists, designers, miniaturists and women artists have felt the necessity of forming separate coteries. Interesting though these movements from within may be, the growth of societies originating in the spirit of altruism associated with such names as Ruskin and Kyrle is equally instructive. Nearly all these are the products of the last quarter of the 19th century, and include the Sunday Society, which in 1896 secured the Sunday opening of the national museums and galleries in the metropolis.
The specializing of study and work has also given rise to much artistic endeavour. For a long time archaeology--British and Egyptian--claimed almost exclusive attention. Latterly the arts of India and Japan have engaged much notice, and societies have been organized to further their study. Finally, bands of workers in particular branches of art have felt the need of clubbing together in order to protect their special interests. A slight suspicion of trade-unionism is attached to some of these; but on the whole the establishment of such bodies as the Society of Illustrators, the Society of Designers, and the Society of Mezzotint Engravers has been with a view to advancing the public knowledge of the merits of these branches of artistic enterprise.
EXHIBITING SOCIETIES.--(a) Old Established. These in London are: The Royal Academy, the Royal Water Colour Society, the Royal Institute of Painters in Water Colours, the Society of Oil Painters, and the Royal Society of British Artists. In the provinces, the Birmingham Royal Society of Artists has been in existence since 1825, and has a life academy with professors attached. (b) Modern.--In this category are many which reflect the new spirit which came into artistic life in the last quarter of the 19th century. The New English Art Club, founded in 1885 as a protest against academic art, achieves its purpose by exhibition only. The International Society of Painters and Engravers, again, represents the wider ideas of the 20th century. The Royal Society of Painter-Etchers and Engravers, consisting of fellows and associates, not exceeding 150 in all, conserves the interests of a numerous body of workers, and, in addition to holding exhibitions, confers diplomas (R.E. and A.R.E.) on the exhibitors of meritorious etchings or engravings. The Society of Women Artists (formerly the Society of Lady Artists) is wholly devoted to the display of works by female artists, and in 1891 the Society of Portrait Painters was formed to carry out the object conveyed in its title. Two associations advance the art of the miniature-painter, and the Pastel Society, formed in 1898, holds displays of members' work at the Royal Institute Galleries. In Scotland there is the Royal Scottish Academy. The Royal Scottish Society of Painters in Water Colours (Glasgow) grants the title R.S.W. to its members, and the Society of Scottish Artists (Edinburgh), founded in 1891, has a membership of nearly 500 young artists. Other exhibiting societies which call for mention are: The Yorkshire Union of Artists (Leeds), which consolidates many local societies; the Nottingham Society of Artists, which also encourages drawing from the living model; and the Liverpool Sketching Club, founded in 1870, which holds an annual exhibition.
SOCIETIES OF INSTRUCTION AND POPULAR ENCOURAGEMENT.--It is under this head that the chief evidence of the modern art revival will be found. First it should be noted that there are very few societies designed for the artistic improvement of artists. The Artists' Society has already been mentioned; and the Art Workers' Guild, which meets at Clifford's Inn Hall, provides meetings, from which the public is excluded, where profitable discussions take place on questions of craft and design. But, as a rule, the art society, of which only artists are members, is organized for exhibition purposes or for the protection of interests. With regard to those societies of popular and educational intention the old Society of Arts in the Adelphi, founded in 1754, enjoys a good record. Numerous lectures on art subjects have from time to time been given, and in 1887 a scheme was devised by which awards are made to student-workers in design. The Society for the Encouragement of the Fine Arts (Conduit Street) has also laboured since its foundation in 1858 to increase a technical knowledge, its members holding conversazioni at various picture galleries. The Artists' and Amateurs' Conversazione, instituted in 1831, which used to meet at the Piccadilly Galleries and is now defunct, carried out a similar plan. Two other societies, now obsolete, should be mentioned whose method were directly educational. The Arundel Society, which for many years promoted the knowledge of art by copying and publishing important works of ancient masters, issued to its members on payment of annual subscriptions, was eventually wound up on the last day of 1897. The Arundel Club, founded in 1904, continues the aim, but with a wider scope, reproducing works of art rendered somewhat inaccessible by being in private collections. The International Chalcographical Society, formed for the study of the early history of engraving, also did useful work. Another association of painters, sculptors, architects and engravers, the Graphic Society, ceased on the 29th of October 1890. This was one of the most interesting of societies, rare works of art being exhibited and discussed at its meetings. A very
## active educational body, originated in 1888, namely the Royal Drawing
Society, has for its definite object the teaching of drawing as a means of education. The methods of instruction are based on the facts that very young children try to draw before they can write, and that they have very keen perception and retentive memory. The society aims, therefore, at using drawing as a means of developing these innate characteristics of the young, and already nearly 300 important schools follow out its system. Lord Leighton, Sir John Millais, and Sir Edward Burne-Jones took an active part in the society's labours. The Art for Schools Association, founded in 1883, has also done steady work in endeavouring to provide schools with works of art. These are chiefly reproductions of standard works of art or of historical and natural subjects. The wave of enthusiasm aroused by Mr Ruskin's teachings caused Societies of the Rose to be founded in London, Manchester, Sheffield, Birmingham, Aberdeen and Glasgow; but some of these eventually ceased
## active work, to be revived again, however, by the Ruskin Union, formed
in the year of the great writer's death (1900). Most of these societies were formed in 1879; but it should not be forgotten that two years earlier the Kyrle Society was started with the object of bringing the refining and cheering influences of natural and artistic beauty to the homes of the people. Under the presidency of Earl Brownlow, the Home Arts and Industries Association continues a work which was started in 1884, and anticipated much of the present system of technical education. Voluntary teachers organize classes for working people, at which a practical knowledge of art handiwork is taught. Training classes for voluntary teachers are held at the studios at the Albert Hall, as well as an annual exhibition. An interesting type of society has been established in Bolton, Lancashire. Under the title of an Arts Guild the members, numbering over 200, devote themselves to the advancement of taste in municipal improvements.
SOCIETIES OF SPECIAL STUDY, PRACTICE AND PROTECTION.--Under this head should be placed those associations which affect a cult, or are composed of particular workers, or which protect public or private interests. Perhaps the chief of the first kind is the Japan Society, which, since its inception in 1892, has been joined by over 1350 members interested in matters relating to Japanese art and industries. The Durer Society, formed in 1897, has for its main object the reproduction of works by Albrecht Durer, and his German and Italian contemporaries. The Vasari Society, founded in 1905, works in harmony with the Arundel Club and the Durer Society, reproducing drawings by the Old Masters. In this category of special study may also be placed the Society for the Encouragement and Preservation of Indian Art, the Egypt Exploration Fund, and the Society for the Promotion of Hellenic Studies. Of the societies of special practice it has already been noticed that some are purely exhibiting associations, such as the Portrait Painters, the Pastel Society, and the two miniature bodies. The formation of the Society of Mezzotint Engravers in 1898 is an example of the leaguing together of
## particular workers to call attention to their interests. Original and
translator engravers, together with collectors and connoisseurs, comprise the membership. The decaying art of wood engraving is also fostered by the International Society of Wood Engravers, and the Society of Designers, founded in 1896, safeguards the interests of professional designers for applied art, without holding exhibitions. Special practice and protection are also considered by the Society of Illustrators, composed of artists who work in black and white for the illustrated press. This society was inaugurated in 1894, and fifteen of the members of the committee must be active workers in illustration. As an instance of the tendency of art workers to combine, the Society of Art Masters is a good illustration. This is an association of teachers of art schools, controlled by the art branch of the Board of Education, and has a membership of over 300. Good work of another kind occupies the National Trust for Places of Historic Interest or Natural Beauty. The council of the Trust includes representatives of such bodies as the National Gallery, the Royal Academy, the Royal Society of Painters in Water Colours, the Society of Antiquaries, the Royal Institute of British Architects, the Universities, Kyrle Society, Society for the Protection of Ancient Buildings and the Selborne Society.
FOREIGN ART SOCIETIES.--The following are brief particulars of the chief art societies elsewhere than in Great Britain:--
AUSTRIA.--Vienna, _Vereinigung bildender Kunstler Osterreichs_ (Society of Austrian Painters) and the _Wiener Kunstlergenossenschaft_ (Association of Viennese Artists).
BELGIUM.--Brussels, _Societe des beaux-arts_, the _Libre Esthetique_, _Societe des aquarellistes et pastellistes_, _Societe royale beige des aquarellistes_, and numerous private societies (_cercles_) in Brussels, Antwerp, Liege, Ghent and other cities.
FRANCE.--Paris, the _Societe des artistes francais_ (The Salon), _Societe nationale des beaux-arts_ (The New Salon), _Societe des aquarellistes_. Exhibiting societies are the _Societe des artistes independants_, _Societe des orientalistes_, and _Salon des pastellistes_.
GERMANY.--The small local societies are affiliated to one large parent body, the _Deutsche Kunstlergenossenschaft_, in Berlin under the presidency of Anton von Werner. The _Deutsche Illustratoren-verband_ watches over the interests of illustrators and designers. In Munich there are two bodies--the _Kunstlergenossenschaft_ (old society of artists), holding its exhibitions in the Glaspalast, and the _Verein bildender Kunstler_, the Secessionists.
ITALY.--Four exhibiting societies: Rome, _Societa in Arte Libertas_, _Scuola degli Aquarellisti_; Milan, _Famiglia Artistica_, _Societa degli Artiste_; Florence, _Circolo Artistico_; Naples, _Instituti di Belli Arti._
PORTUGAL.--_Sociedade promotora das Bellas-Artes_ and _Gremio Artistico_.
RUSSIA.--There is no exclusively art society of importance, but there is at St Petersburg the _Societe litteraire et artistique_.
SPAIN.--Madrid, _L'Association des artistes espagnols_.
SWEDEN.--Stockholm, _Svenska Konstuareruas Forening_.
SWITZERLAND.--Berne, _La Societe des peintres et sculpteurs suisses_.
UNITED STATES.--New York, National Academy of Design, American Water Color Society, and National Sculpture Society. (A. C. R. C.)
ART TEACHING. It is the tendency of all departments of the human mind to outgrow their original limits. Traditions of teaching are long-lived, especially in art, and new ideas only slowly displace the old, so that art teaching as a whole is seldom abreast of the ideas and practice of the more advanced artists. The old academic system adapted to the methods and aims in art in the 18th century, which has been carried on in the principal art schools of Great Britain with but slight changes of method, consisted chiefly of a course of drawing from casts of antique statues in outline, and in light and shade without backgrounds, of anatomical drawings, perspective, and drawing and painting from the living model. Such a training seems to be more or less a response to Lessing's definition of painting as "the imitation of solid bodies upon a plane surface." It seems to have been influenced more by the sculptor's art than any other. Indeed, the academic teaching from the time of the Italian Renaissance was no doubt principally derived from the study of antique sculpture; the proportions of the figure, the style, pose, and sentiment being all taken from Graeco-Roman and Roman sculptures, discovered so abundantly in Italy from the 16th century onwards. As British ideas of art were principally derived from Italy, British academics endeavoured to follow the methods of teaching in vogue there in later times, and so the art student in Great Britain has had his intention and efforts directed almost exclusively to the representations of the abstract human form in abstract relief. Traditions in art, however, may sometimes prove helpful and beneficial, and preservative of beauty and character, as in the case of certain decorative and constructive arts and handicrafts in common use, such as those of the rural waggon-maker and wheelwright, and horse-harness maker.
Some schools of painting, sculpture and architecture have preserved fine and noble traditions which yet allowed for individuality. Such traditions may be said to have been characteristic of the art of the middle ages. It often happens, too, when many streams of artistic influence meet, there may be a certain domination or ascendancy of the traditions of one art over the others, which is injurious in its effects on those arts and diverts them from their true path. The domination of individualistic painting and sculpture over the arts of design during the last century or two is a case in point.
With the awakening of interest in industrial art--sharply separated by pedantic classification from fine art--which began in England about the middle of the 19th century, schools of design were established which included more varied studies. Even as early as 1836 a government grant was made towards the opening of public galleries and the establishment of a normal school of design with a museum and lectures, and in 1837 the first school of design was opened at Somerset House. In 1840 grants were made to establish schools of the same kind in provincial towns, such as Manchester, Birmingham, Glasgow, Leeds and Paisley. The names of G. Wallis in 1847, and Ambrose Poynter in 1850, are associated with schemes of art instruction adopted in the government art schools, and the year 1851, the year of the Great Exhibition, was also marked by the first public exhibition of students' works, and the first institution of prizes and scholarships. In 1852 "the Department of Practical Art" was constituted, and a museum of objects collected at Marlborough House which afterwards formed the nucleus of the future museum at South Kensington. In 1853 "the Department of Science and Art" was established, and in 1857, under the auspices of Henry Cole, the offices of the department and the National Art Training School were removed from Marlborough House to South Kensington. Classes for instruction in various crafts had been carried on both at Somerset House and Marlborough House, and the whole object of the government schools of design was to give an artistic training to the designer and craftsman, so that he could carry back to his trade or craft improved taste and skill. The schools, however, became largely filled by students of another type--leisured amateurs who sought to acquire some artistic accomplishment, and even in the case of genuine designers and craftsmen who developed pictorial skill in their studies, the attraction and superior social distinction and possibility of superior commercial value accruing to the career of a painter of easel pictures diverted the schools from their original purpose.
For some time after the removal to South Kensington, during the progress of the new buildings, and under the direction of Godfrey Sykes and F.W. Moody, practical decorative work both in modelling and painting was carried out in the National Art Training School; but on the completion of these works, the school relapsed into a more or less academic school on the ordinary lines, and was regarded chiefly as a school for the training of art teachers and masters who were required to pass through certain stereotyped courses and execute a certain series of drawings in order to obtain their certificates. Thus model-drawing, freehand outline, plant-drawing in outline, outline from the cast, light and shade from the cast, drawing of the antique figure, still life, anatomical drawings, drawing and painting from the life, ornamental design, historic studies of ornament, perspective and geometry, were all taken up in a cut-and-dried way, as isolated studies, and with a view solely to obtaining the certificate or passing an examination. This theoretic kind of training, though still in force, and though it enabled the department to turn out certificated teachers for the schools of the country of a certain standard, and to give to students a general theoretic idea of art, has been found wanting, since, in practice, when the student in design leaves his school and desires to take up practical work as a designer or craftsman, he requires _special_ knowledge, and specialized skill in design for his work to be of use; and though he may be able to impart to others what he himself has laboriously acquired, the theoretic and general character of his training proves of little or no use, face to face with the ever shifting and changing demands of the modern manufacturer and the modern market.
A growing conviction of the inadequacy of the schools of the Science and Art Department (now the Board of Education), considered as training grounds for practical designers and craftsmen, led to the establishment of new technical schools in the principal towns of Great Britain. The circumstance of certain large sums, diverted from their original purpose of compensation to brewers, being available for educational purposes and at the disposal of the county councils and municipal bodies, provided the means for the building and equipment of these new technical schools, which in many cases are under the same roof as the art school in the provincial towns, and, since the Education Act of 1902, are generally rate-supported. The art schools formerly managed by private committees and supported by private donors, assisted by the government grants, are now, in the principal industrial towns of Great Britain, taken over by the municipality. Birmingham is singularly well organized in this respect, and its art school has long held a leading position. The school is well housed in a new building with class-rooms with every appliance, not only for the drawing, designing and modelling side, but also for the practice of artistic handicrafts such as metal repousse, enamelling, wood-carving, embroidery, &c. The municipality have also established a jewelry school, so as to associate the practical study of art with local industry. Manchester and other cities are also equipped with well-organized art schools.
The important change involved in the incorporation of the Science and Art Department with the Board of Education also led to a reorganization of the Royal College of Art. A special council of advice on art matters was appointed, consisting of representatives of painting, sculpture, architecture and design, who deal with the Royal College of Art, and appoint the professors who control the teaching in the classes for architecture, design and handicraft, decorative painting and sculpture, modelling and carving. The council decide upon the curriculum, and examine and criticize the work of the college from time to time. They also advise the board in regard to the syllabus issued to the art schools of the country, and act as referees in regard to purchases for the museum.
Of other institutions for the teaching of art, the following may be named: The Royal Drawing Society of Great Britain and Ireland, which was formed principally to promote the teaching of drawing in schools as a means of education. The system therein adopted differs from the ordinary drawing courses, and favours the use of the brush. Brushwork has generally been adopted for elementary work, too, by London County Council teachers, drawing being now a compulsory subject. Remarkable results have been obtained by the Alma Road Council schools in the teaching of boys from eight to twelve by giving them spaces to fill with given forms--leaf shapes--from which patterns are constructed to fill the spaces, brush and water-colour being the means employed. At the Royal Female School of Art in Queen Square, London, classes in drawing and painting from life are held, and decorative design is also studied. There are also the Royal School of Art Needlework and the School of Art Wood-carving, all aided by the London County Council. The City and Guilds of London Institute has two departments for what is termed "applied" art, one at the South London School of Technical Art, and the other at the Art Department in the Technical College, Finsbury. The Slade School of Drawing, Painting and Sculpture, University College, Gower Street, confines itself to drawing and painting from the antique and life, and exercise in pictorial composition. There are also lectures on anatomy and perspective. The Slade professorships at Oxford and Cambridge universities are concerned with the teaching and literature of art, but they do not concern themselves with the practice. There are also, in addition to the schools of art named and those in connexion with the Board of Education and the London County Council in the various districts of London, many and various private clubs and schools, such as the Langham and "Heatherley's," chiefly concerned in encouraging drawing and painting from the life, and for the study of art from the pictorial point of view, or for the preparation of candidates for the Royal Academy or other schools. The polytechnics and technical institutes also provide instruction in a great variety of artistic crafts.
A general survey, therefore, of the various institutions which are established for the teaching of art in Great Britain gives the impression that the study of art is not neglected, although, perhaps, further inquiry might show that, compared with the great educational establishments, the proportion is not excessive. Now that the Education
## Act 1902 has given the county councils control of elementary and
secondary education and charged them with the task of promoting the co-ordination of all forms of education in consultation with the Board of Education, it is probable that an elementary scholar who shows artistic ability will be enabled to pass on from the elementary classes in one school to the higher art and technical schools, secondary and advanced, without retracing his steps, thus escaping the depression of going over old ground.
The general movement of revival of interest in the arts of decorative design and the allied handicrafts, with the desire to re-establish their influence in art-teaching, has been due to many causes, among which the work of the Arts and Crafts Exhibition Society may count as important. From the leading members of this body the London County Council Technical Educational Board, when it was face to face with the problem of organizing its new schools and its technical classes, sought advice and aid. Success has attended their schools, especially the Central School of Arts and Crafts at Morley Hall, Regent Street. The object of the school is to provide the craftsman in the various branches of decorative design with such means of improving his taste and skill as the workshop does not afford. It does not concern itself with the amateur or with theoretic drawing. The main difference in principle adopted in this school in the teaching of design is the absence of teaching design _apart from handicraft._ It is considered that a craftsman thoroughly acquainted with the natural capacities of his material and strictly understanding the conditions of his work, would be able, if he had any feeling or invention, to design appropriately in that material, and no designing can be good apart from a knowledge of the material in which it is intended to be carried out. It should be remembered, too, that graphic skill in representing the appearances of natural objects is one sort of skill, and the executive skill of the craftsman in working out his design, say in wood or metal, is quite another. It follows that the works of drawing or design made by the craftsman would be of quite a different character from a pictorial drawing, and might be quite simple and abstract, while clear and accurate. The training for the pictorial artist and for the craftsman would, therefore, naturally be different.
The character of the art-teaching adopted in any country must of course depend upon the dominant conception of art and its function and purpose. If we regard it as an idle accomplishment for the leisured few, its methods will be amateurish and superficial. If we regard art as an important factor in education, as a language of the intelligence, as an indispensable companion to literature, we shall favour systematic study and a training in the power of direct expression by means of line. We shall value the symbolic drawing of early civilizations like the Egyptian, and symbolic art generally, and in the history of decorative art we shall find the true accompaniment and illustration of human history itself. From this point of view we shall value the acquisition of the power of drawing for the purpose of presenting and explaining the facts and forms of nature. Drawing will be the most direct means at the command of the teacher to explain, to expound, to demonstrate where mere words are not sufficiently definite or explicit. Drawing in this sense is taking a more important place in education, especially in primary education, though there is no need for it to stop there, and one feels it may be destined to take a more important position both as a training for the eye and hand and an aid to the teacher. Then, again, we may regard art more from its social aspect as an essential accompaniment of human life, not only for its illustrative and depicting powers, but also and no less for its pleasure-giving properties, its power of awakening and stimulating the observation and sympathy with the moods of nature, its power of touching the emotions, and above all of appealing to our sense of beauty. We shall regard the study of art from this point of view as the greatest civilizer, the most permeating of social and human forces. Such ideas as these, shared no doubt by all who take pleasure and interest in art, or feel it to be an important element in their lives, are crossed and often obscured by a multitude of mundane considerations, and it is probably out of the struggle for ascendancy between these that our systems of art teaching are evolved. There is the demand of the right to live on the part of the artist and the teacher of art. There is the demand on the part of the manufacturer and salesman for such art as will help him to dispose of his goods. In the present commercial rivalry between nations this latter demand is brought into prominent relief, and art is apt to be made a minister, or perhaps a slave to the market. These are but accidental relationships with art. All who care for art value it as a means of expression, and for the pleasure and beauty it infuses into all it touches, or as essential and inseparable from life itself. Seeing then the importance of art from any point of view, individual, social, commercial, intellectual, emotional, economic, it should be important to us in our systems of art-teaching not to lose sight of the end in arranging the means--not to allow our teaching to be dominated by either dilettantism or commercialism, neither to be feeble for want of technical skill, nor to sacrifice everything to technique. The true object of art-teaching is very much like that of all education--to inform the mind, while you give skill to the hand--not to impose certain rigid rules, or fixed recipes and methods of work, but while giving instruction in definite methods and the use of materials, to allow for the individual development of the student and enable him to acquire the power to express himself through different media without forgetting the grammar and alphabet of design. Practice may vary, but principles remain, and there is a certain logic in art, as well as in reasoning. All art is conditioned in the mode of its expression by its material, and even the most individual kind of art has a convention of its own by the very necessities and means of its existence. Methods of expression, conventions alter as each artist, each age seeks some new interpretation of nature and the imagination--the well-springs of artistic life, and from these reviving streams continually flow new harmonies, new inventions and recombinations, taking form and colour according to the temperaments which give them birth. (W. Cr.)
ARTUSI, GIOVANNI MARIA, Italian composer and musical theorist, was born in Bologna, and died on the 18th of August 1613. He was _canonico regulare_ at the church of San Salvatore in his native city. He is chiefly famous in the history of music for his attacks upon Monteverde (q.v.) embodied in his _L'Artusi overo d. imp._ (1600). For an exhaustive explanation and a translation of excerpts from these the studies of Dr G. Vogel and O. Riemann should be consulted. These will be found in the _Vierteljahrsschrift fur Musikwissenschaft_, Leipzig, vol. 3, pp. 326, 380 and 426.
ARU ISLANDS (Dutch _Aroe_), a group in the residency of Amboyna, Dutch East Indies; between 5 deg. 18' and 7 deg. 5' S., and 134 deg. and 135 deg. E.; the member nearest to the south-west coast of New Guinea lying about 70 m. from it. The larger islands (Wokan, Kobrur, Maikor and Trangan), and certain of the lesser ones, are regarded by the Malays as one land mass which they call _tana besar_ ("great land"). This is justified inasmuch as its parts are only isolated by narrow creeks of curious form, having the character of rivers. The smaller islands number some eighty; the total land area is 3244 sq. m.; and the population about 22,000. The islands are low, but it is only on the coast that the ground is swampy. The principal formation is coralline limestone; the eastern coast is defended by coral reefs, and the neighbouring sea (extending as far as New Guinea, and thus demonstrating a physical connexion with that land) is shallow, and abounds in coral in full growth. A large part of the surface is covered with virgin forest, consisting of screw-pines, palm trees, tree ferns, canariums, &c. The fauna is altogether Papuan. The natives are also Papuans, but of mixed blood. They are divided into two confederations, the Uli-luna and the Uli-sawa, which are hostile to each other. The houses are remarkable as being built on piles sunk in the solid rock and having two rooms, the one surrounding the other. The people are in manners complete savages. The natives are governed by rajas (_orang kajas_), the Dutch government being represented by a _posthouder._ In the interior is said to exist a tribe--the Korongoeis--with white skins and fair hair, but it has never been seen by travellers. A few villages are nominally Christian, and the Malays have introduced Mahommedanism, but most of the natives have no religion. Dobbo, on a small western island, is the chief place; its resident population is reinforced annually, at the time of the west monsoon, by traders from that quarter, who deal in the tripang, pearl shell, tortoise-shell, and other produce of the islands.
ARUNDEL, EARLDOM OF. This historic dignity, the premier earldom of England, is popularly but erroneously supposed to be annexed to the possession of Arundel Castle. Norman earls were earls of counties, though sometimes styled from their chief residence or from the county town, and Mr J.H. Round has shown that the earldom of "Arundel" was really that of Sussex. Its origin was the grant by Henry I. to his second wife, in dower, of the forfeited "honour" of Arundel, of which the castle was the head, and which comprised a large portion of Sussex. After his death she married William "de Albini" (i.e. d'Aubigny), who from about the year 1141 is variously styled earl of Sussex, of Chichester, or of Arundel, or even Earl William "de Albini." His first known appearance as earl is at Christmas 1141, and it has been ascertained that, after acquiring the castle by marriage, he had not thereby become an earl. Henry II., on his accession, "gave" him the castle and honour of Arundel, in fee, together with "the third penny of the pleas of Sussex, of which he is earl." His male line of heirs became extinct on the death of Hugh "de Albini," earl of Arundel, in 1243, who had four sisters and co-heirs. In the partition of his estates, the castle and honour of Arundel were assigned to his second sister's son, John Fitzalan of a Breton house, from which sprang also the royal house of Stuart. It is proved, however, by record evidence, that neither John nor his son and successor were ever earls; but from about the end of 1289, when his grandson Richard came of age, he is styled earl of Arundel. Richard's son Edmund was forfeited and beheaded in 1326, and Arundel was out of possession of the family till 1331, when his son was restored, and regained the castle and also the earldom by separate grants. Both were again lost in 1397 on his son being beheaded and attainted. But the latter's son was restored to both the earldom and the estates by Henry IV. in 1400. He died without issue in 1415.
The castle and estates now passed to the late earl's cousin and heir-male under a family entail, but the representation in blood of the late earl passed to his sisters and co-heirs, of whom the eldest had married Thomas Mowbray, duke of Norfolk. The descent of the earldom remained in doubt, till the heir-male's son and heir successfully claimed it in 1433, in virtue of his tenure of the castle, alleging that it was "a dignity or name united and annexed to the castle and lordship of Arundel for time whereof memory of man was not to the contrary." His claim was opposed on behalf of the Mowbrays, and the allegation on which it was based is discussed and refuted at great length in the _Lords' Reports on the Dignity of a Peer_ (i. 404-429). In the descendants of his brother the earldom remained vested till 1580, when the last Fitzalan earl died, leaving as his sole heir his daughter's son Philip Howard, whose father Thomas, duke of Norfolk, had been beheaded and attainted in 1572.
Philip, who was through his father senior representative of the earls of Arundel down to 1415, and through his mother sole representative of the subsequent earls, was summoned to parliament as earl in January 1581, but was attainted in 1589. His son Thomas was restored to the earldom and certain other honours in 1604, and, in 1627, obtained an act of parliament "concerning the title, name and dignity of Earl of Arundel, and for the annexing of the Castle, Honour, Manor and Lordship of Arundel ... with the titles and dignities of the Baronies of Fitzalan, Clun and Oswaldestre, and Maltravers, ... to the same title, name and dignity of Earl of Arundel." This act, which was based on the earl's allegation that the title had been "invariably used and enjoyed" by the owners of the castle, "and by reason of the said inheritance and seisin," has been much discussed, especially in the _Lords' Reports_ (i. 430-434). There is no doubt that the earl's object was to entail the earldom and the castle strictly on a certain line of heirs, and this was effected by elaborate remainders (passing over the Howards, earls of Suffolk). It is under this act of parliament that the earldom has been held ever since, and that it passed with the castle in 1777 to the heir-male of the Howards, although the representation in blood then passed to heirs general. Thus the castle and the earldom cannot be alienated from the line of heirs on whom it is entailed by the act of 1627; while the heirship in blood of the earlier earls (to 1415) is vested in Lords Mowbray and Petre and the Baroness Berkeley, and that of the later earls (to 1777) in Lords Mowbray and Petre.
The precedence of the earldom was challenged in 1446 by Thomas Courtenay, earl of Devon, owing to the question as to its descent spoken of above, but the king in council confirmed to the earl the precedence of his ancestors "by reason of the Castle, Honour and Lordship of Arundel." In the act of 1627 the "places" and "pre-eminences" belonging to the earldom were secured to it. It would appear, however, that the decision of the dispute with the earl of Devon in 1446 restricts that precedency to such as the earl's ancestors had enjoyed, if indeed it goes farther than to guarantee his precedence over the earl of Devon. But as there is no other existing earldom older than that of Shrewsbury (1442), the present position of Arundel as the premier earldom is beyond dispute.
See _Lords' Reports on the Dignity of a Peer_; Dugdale's _Baronage_; Tierney's _History of Arundel_; G.E. C[okayne]'s _Complete Peerage_; Round's _Geoffrey de Mandeville_; Pike's _Constitutional History of the House of Lords_. (J. H. R.)
ARUNDEL, EARLS OF. According to Cokayne (_Complete Peerage_, i. p. 138, note a) there is an old Sussex tradition to the effect that
"Since William rose and Harold fell There have been earls of Arundel."
This, he adds, "is the case if for 'of' we read 'at.'" The questions involved in this distinction are discussed in the preceding article on the earldom of Arundel, now held by the duke of Norfolk. The present article is confined to a biographical sketch of the more conspicuous earls of Arundel, first in the Fitzalan line, and then in the Howard line.
RICHARD FITZALAN (1267-1302), earl of Arundel, was a son of John, lord of Arundel (1246-1272), and a grandson of another John, lord of Arundel, Clun and Oswaldestre (Oswestry), who took a prominent, if somewhat wavering, part in the troubles during the reign of Henry III., and who died in November 1267. Richard, who was called earl of Arundel about 1289, fought for Edward I. in France and in Scotland, and died on the 9th of March 1302.
He was succeeded by his son, EDMUND (1285-1326), who married Alice, sister of John, earl de Warenne. A bitter enemy of Piers Gaveston, Arundel was one of the ordainers appointed in 1310; he declined to march with Edward II. to Bannockburn, and after the king's humiliation he was closely associated with Thomas, earl of Lancaster, until about 1321, when he became connected with the Despensers and sided with the king. He was faithful to Edward to the last, and was executed at Hereford by the
## partisans of Queen Isabella on the 17th of November 1326.
His son, RICHARD (c. 1307-1376), who obtained his father's earldom and lands in 1331, was a soldier of renown and a faithful servant of Edward III. He was present at the battle of Sluys and at the siege of Tournai in 1340; he led one of the divisions of the English army at Crecy and took part in the siege of Calais; and he fought in the naval battle with the Spaniards off Winchelsea in August 1350. Moreover, he was often employed by Edward on diplomatic business. Soon after 1347 Arundel inherited the estates of his uncle John, earl de Warenne, and in 1361 he assumed the title of earl de Warenne or earl of Surrey. He was regent of England in 1355, and died on the 24th of January 1376, leaving three sons, the youngest of whom, Thomas, became archbishop of Canterbury.
Richard's eldest son, RICHARD, earl of Arundel and Surrey (c. 1346-1397), was a member of the royal council during the minority of Richard II., and about 1381 was made one of the young king's governors. As admiral of the west and south he saw a good deal of service on the sea, but without earning any marked distinction except in 1387 when he gained a victory over the French and their allies off Margate. About 1385 the earl joined the baronial party led by the king's uncle, Thomas of Woodstock, duke of Gloucester, and in 1386 was a member of the commission appointed to regulate the kingdom and the royal household. Then came Richard's rash but futile attempt to arrest Arundel, which was the signal for the outbreak of hostilities. The Gloucester faction quickly gained the upper hand, and the earl was one, and perhaps the most bitter, of the lords appellant. He was again a member of the royal council, and was involved in a quarrel with John of Gaunt, duke of Lancaster, whom he accused in the parliament of 1394. After a personal altercation with the king at Westminster in the same year Arundel underwent a short imprisonment, and in 1397 came the final episode of his life. Suspicious of Richard he refused the royal invitation to a banquet, but his party had broken up, and he was persuaded by his brother, Thomas Arundel, archbishop of Canterbury, to surrender himself and to trust to the king's clemency. At once he was tried, was attainted and sentenced to death, and, bearing himself with great intrepidity, was beheaded on the 21st of September 1397. He was twice married and had three sons and four daughters. The earl founded a hospital at Arundel, and his tomb in the church of the Augustinian Friars, Broad Street, London, was long a place of pilgrimage.
His only surviving son, THOMAS (1381-1415), was a ward of John Holand, duke of Exeter, from whose keeping he escaped about 1398 and joined his uncle, Archbishop Thomas Arundel, at Utrecht, returning to England with Henry of Lancaster, afterwards King Henry IV., in 1399. After Henry's coronation he was restored to his father's titles and estates, and was employed in fighting against various rebels in Wales and in the north of England. Having left the side of his uncle, the archbishop, Arundel joined the party of the Beauforts, and was one of the leaders of the English army which went to France in 1411; then after a period of retirement he became lord treasurer on the accession of Henry V. From the siege of Harfleur he returned ill to England and died on the 13th of October 1415. His wife was Beatrix (d. 1439), a natural daughter of John I., king of Portugal, but he left no children, and the lordship of Arundel passed to a kinsman, JOHN FITZALAN, Lord Maltravers (1385-1421), who was summoned as earl of Arundel in 1416.
John's son, JOHN (1408-1435), did not secure the earldom until 1433, when as the "English Achilles" he had already won great distinction in the French wars. He was created duke of Touraine, and continued to serve Henry VI. in the field until his death at Beauvais from the effects of a wound on the 12th of June 1435. The earl's only son, Humphrey, died in April 1438, when the earldom passed to John's brother, WILLIAM (1417-1488).
HENRY FITZALAN, 12th earl of Arundel (c. 1517-1580), son of William, 11th earl, by Anne, daughter of Henry Percy, 4th earl of Northumberland, was born about 1517. He entered King Henry's household, attending the latter to Calais in 1532. In 1533 he was summoned to parliament in his father's barony of Maltravers, and in 1540 he was made deputy of Calais, where his vigorous administration was much praised. He returned to England in April 1544 after the death of his father, and was made a knight of the Garter. In July of the same year he commanded with Suffolk the English expedition to France as lord marshal, and besieged and took Boulogne. On his return to England he was made lord chamberlain, an office which he retained after the accession in 1547 of Edward VI., at whose coronation he acted as high constable. He was one of the twelve counsellors nominated in Henry VIII.'s will to assist the executors, but he had little power during the protectorship of Somerset or the ascendancy of Warwick (afterwards duke of Northumberland), and in 1550 by the latter's device he was accused of embezzlement, removed from the council, confined to his house, and fined L12,000--L8000 of this sum being afterwards remitted and the charges never being proved. Subsequently he allied himself with Somerset, and was implicated in 1551 in the latter's plot against Northumberland, being imprisoned in the Tower in November. On the 3rd of December 1552, though he had never been brought to trial, he signed a submission and confession before the privy council, and was liberated after having been again heavily fined. As Edward's reign drew to its close, Arundel's support was desired by Northumberland to further his designs on the throne for his family, and he was accordingly reinstated in the council and discharged of his fine. In June 1553 he opposed Edward's "device" for the succession, which passed over his sisters Mary and Elizabeth as illegitimate, and left the crown to the children of the duchess of Suffolk, and alone of the council refused the "engagement" to support it, though he signed the letters patent. On the death of Edward (July 6, 1553) he ostensibly joined in furthering the duke's plans, but secretly took measures to destroy them, and according to some accounts sent a letter to Mary the same evening informing her of Edward's death and advising her to retreat to a place of security. Meanwhile he continued to attend the meetings of the council, signed the letter to Mary declaring her illegitimacy and Lady Jane Grey's right to the throne, accompanied Northumberland to announce to Jane her accession, and urged Northumberland to leave London and place himself at the head of the forces to attack Mary, wishing him God-speed on his departure. In Northumberland's absence, he gained over his fellow-councillors, and having succeeded with them in getting out of the Tower, called an assembly of the corporation and chief men of the city, denounced Northumberland, and had Mary proclaimed queen, subsequently riding off to join her with the Great Seal at Framlingham. On the 20th of July he secured Northumberland at Cambridge, and returned in triumph with Mary to London on the 3rd of August, riding before her with the sword of state. He was now made a privy councillor and lord steward, and was granted several favours and privileges, acting as high constable at the coronation, and obtaining the right to create sixty knights. He took a prominent part in various public acts of the reign, was a commissioner to treat for the queen's marriage, presided at the trial of the duke of Suffolk, assisted in suppressing Wyatt's rebellion in 1554, was despatched on foreign missions, and in September 1555 accompanied Philip to Brussels. The same year he received, together with other persons, a charter under the name of the Merchant Adventurers of England, for the discovery of unknown lands, and was made high steward of Oxford University, being chosen chancellor in 1559, but resigning his office in the same year. In 1557, on the prospect of the war with France, he was appointed lieutenant-general of the forces for the defence of the country, and in 1558 attended the conference at the abbey of Cercamp for the negotiation of a peace. He returned to England on the death of Mary in November 1558, and is described to Philip II. at that time as "going about in high glee, very smart" and with hopes of marrying the queen, but as "flighty" and of "small ability." He was reinstated in all his offices by Elizabeth, served as high constable at her coronation, and was visited several times by the queen at Nonsuch in Surrey. As a Roman Catholic he violently opposed the arrest of his co-religionists and the war with Scotland, and in 1560 came to blows with Lord Clinton in the queen's presence on a dispute arising on those questions. He incurred the queen's displeasure in 1562 by holding a meeting at his house during her illness to consider the question of the succession and promote the claims of Lady Catherine Grey. In 1564, being suspected of intrigues against the government, he was dismissed from the lord-stewardship and confined to his house, but was restored to favour in December. In March 1566 he went to Padua, but being summoned back by the queen he returned to London accompanied by a large cavalcade on the 17th of April 1567. Next year he served on the commission of inquiry into the charges against Mary, queen of Scots. Subsequently he furthered the marriage of Mary with the duke of Norfolk, his son-in-law, together with the restoration of the Roman Catholic religion and government, and deposition of Elizabeth, in collusion with Spain. He made use of the incident in 1568, of the seizure of treasure at Southampton intended for Philip, as a means of effecting Cecil's overthrow, and urged upon the Spanish government the stoppage of trade. He is described in 1569 to Philip as having "good intentions," "whilst benefiting himself as he was very needy." In January he alarmed Elizabeth by communicating to her a supposed Spanish project for aiding Mary and replacing her on her throne, and put before the queen in writing his own objections to the adoption of extreme measures against her. In June he received with Norfolk and Lumley 6000 crowns from Philip. In September, on the discovery of Norfolk's plot, he was arrested, but not having committed himself sufficiently to incur the charge of treason in the northern rebellion he escaped punishment, was released in March 1570, and was recalled by Leicester to the council with the aim of embarrassing Cecil. He again renewed his treasonable intrigues, which were at length to some extent exposed by the discovery of the Ridolfi plot in September 1571. He was once more arrested, and not liberated till December 1572 after Norfolk's execution. He died on the 24th of February 1580, and was buried in the chapel at Arundel, where a monument was erected to his memory.
He married (1) Catherine, daughter of Thomas Grey, 2nd marquess of Dorset, by whom he had Henry, who predeceased him, and two daughters, of whom Mary married Thomas Howard, 4th duke of Norfolk; and (2) Mary, daughter of Sir John Arundell and dowager countess of Sussex, by whom he had no children. Arundel was the last earl of his family, the title at his death passing through his daughter Mary to the Howards.
AUTHORITIES.--MS. Life by a contemporary in _Royal MSS._, British Museum, 17 A ix., printed with notes in _Gent. Mag._ (1833)(ii.), pp. 11, 118, 210, 490; M.A. Tierney, _Hist. of Arundel_, p. 319; _Chronicle of Queen Jane_ (Camden Soc. 1850); _Literary Remains of Edward VI._ (Roxburghe Club, 1857); J. Nichols, _Progresses of Queen Elizabeth_ (1823), i. 74; Wood, _Fasti Oxon._ (Bliss), i. 153, 156; _Cal. State Papers, Simancas_, i. 18, ii. 152, &c., _Notes and Queries_, 2 Ser. iv. 84, &c.
PHILIP HOWARD, 1st earl[1] of Arundel (1557-1595), eldest son of Thomas Howard, 4th duke of Norfolk, executed for high treason in 1572, and of Lady Mary, daughter and heiress of Henry Fitzalan, 12th earl of Arundel, was born on the 28th of June 1557. He was married in 1571 to Anne, daughter and co-heiress of Thomas Dacre, Lord Dacre (1566), and was educated at Cambridge, being accorded the degree of M.A. in 1576. Subsequently Lord Surrey, as he was styled, came to court, partook in its extravagant gaieties and dissipations, and kept his wife in the background; but he nevertheless failed to secure the favour of Elizabeth, who suspected the Howards generally. On the death of his maternal grandfather in February 1580 he became earl of Arundel and retired from the court. In 1582 his wife joined the church of Rome, and was committed to the charge of Sir Thomas Shirley by the queen. He was himself suspected of disloyalty, and was regarded by the discontented Roman Catholics as the centre of the plots against the queen's government, and even as a possible successor. In 1583 he was with some reason suspected of complicity in Throgmorton's plot and prepared to escape to Flanders, but his plans were interrupted by a visit from Elizabeth at his house in London, and by her order subsequently to confine himself there. In September 1584 he became a Roman Catholic, dissembling his conversion and attempting next year once more to escape abroad; but having been brought back he was placed in the Tower on the 25th of April 1585, and charged before the Star Chamber with being a Romanist, with quitting England without leave, sharing in Jesuit plots, and claiming the dukedom of Norfolk. He was sentenced to pay L10,000 and to be imprisoned during the queen's pleasure. In July 1586 his liberty was offered to him if he would carry the sword of state before the queen to church. In 1588 he was accused of praying, together with other Romanists, for the success of the Spanish Armada. He was tried for high treason on the 14th of April 1589, found guilty and condemned to death; but lingered in confinement under his sentence, which was never executed, till his death on the 19th of October 1595. He was buried in the Tower, whence his remains were removed in 1624 to Arundel. His career, his later religious constancy and his tragic end have evoked general sympathy, but his conduct gave rise to grave suspicions, and the punishment inflicted upon him was not unwarranted; while the account of the severity of his imprisonment given by his anonymous and contemporary biographer should be compared with his own letters expressing gratitude for favours allowed.[2] There appears no foundation for the belief that he was poisoned, and according to Camden his death was caused by his religious austerities.[3] He was the author of a translation of _An Epistle of Jesus Christ to the Faithful Soule_ by Johann Justus (1595, reprinted 1871) and of three MS. treatises _On the Excellence and Utility of Virtue_. Inscriptions carved by his hand are still to be seen in the Tower. He had two children, Elizabeth, who died young, and Thomas, who (restored in blood) succeeded him as 2nd earl of Arundel, and was created earl of Norfolk in 1644.
AUTHORITIES.--Article in the _Dict. of Nat. Biography_ and authorities there collected; the contemporary _Lives of Philip Howard, Earl of Arundel and of Anne Dacre his Wife_, ed. by the duke of Norfolk (1857); M. Tierney, _History of Arundel_ (1834), p. 357; C.H. Cooper, _Athenae Cantabrigenses_ (1861), with bibliography, ii. 187 and 547; H. Howard, _Memoirs of the Howard Family_ (1824).
THOMAS HOWARD, 2nd earl of Arundel, and earl of Surrey and of Norfolk (c. 1585-1646), son of Philip, 1st earl of Arundel and of Lady Anne Dacre, was born in 1585 or 1586 and educated at Westminster school and at Trinity College, Cambridge. Owing to the attainder of his father he was styled Lord Maltravers, but at the accession of James I. he was restored to his father's earldoms of Arundel and Surrey, and to the baronies of his grandfather, Thomas, 4th duke of Norfolk. He came to court, travelled subsequently abroad, acquiring a taste for art, and was created K. G. on his return in May 1611. In 1613 he escorted Elizabeth, the electress palatine, to Heidelberg, and again visited Italy. On Christmas day 1615 Arundel joined the Church of England, and took office, being appointed a privy councillor in 1616. He supported Raleigh's expedition in 1617, became a member of the New England Plantations Committee in 1620 and planned the colonization of Madagascar. He presided over the House of Lords Committee in April 1621 for investigating the charges against Bacon, whom he defended from degradation from the peerage, and at whose fall he was appointed a commissioner of the great seal. On the 16th of May he was sent to the Tower by the Lords on account of violent and insulting language used by him to Lord Spencer. He incurred Prince Charles's and Buckingham's anger by his opposition to the war with Spain in 1624, and by his share in the duke's impeachment, and on the occasion of his son's marriage to Lady Elizabeth Stewart without the king's approval he was imprisoned in the Tower by Charles I., shortly after his accession, but was released at the instance of the Lords in June 1626, being again confined to his house till March 1628, when he was once more liberated by the Lords. In the debates on the Petition of Right, while approving its essential demands, he supported the retention of some discretionary power by the king in committing to prison. The same year he was reconciled to the king and again made a privy councillor. On the 29th of August 1621 he had been appointed earl marshal, and in 1623 constable of England, in 1630 reviving the earl marshal's court. In 1625 he was made lord-lieutenant of Sussex and in 1635 of Surrey. He was sent to the Hague in 1632 on a mission of condolence to the queen of Bohemia on her husband's death. In 1634 he was made chief justice in eyre of the forests north of the Trent; he accompanied Charles the same year to Scotland on the occasion of his coronation, and in 1636 undertook an unsuccessful mission to the emperor to procure the restitution of the Palatinate to the young elector. In 1638 he supported the king's exactions from the vintners, was entrusted with the charge of the Border forts, and, supporting alone amongst the peers the war against the Scots, was made general of the king's forces in the first Bishops' War, though according to Clarendon "he had nothing martial about him but his presence and looks." He was not employed in the second Bishops' War, but in August 1640 was nominated captain-general south of the Trent. In April he was appointed lord steward of the royal household, and in 1641 as lord high steward presided at the trial of Strafford. This closed his public career. He became again estranged from the court, and in 1641 he escorted home Marie de' Medici, remaining abroad, with the exception of a short visit to England in 1642, for the rest of his life, and taking up permanent residence at Padua. He contributed a sum of L34,000 to the king's cause, and suffered severe losses in the war. On the 6th of June 1644 he was created earl of Norfolk. He died at Padua, when on the point of returning home, on the 14th of September 1646, and was buried at Arundel.
Lord Arundel was a man of high character, an exemplary husband and parent, but reserved and unpopular, and Clarendon ridicules his family pride. His claim to fame rests upon his patronage of arts and learning and his magnificent collections. He employed Hollar, Oughtred, Francis Junius and Inigo Jones; included among his friends Sir Robert Cotton, Spelman, Camden, Selden and John Evelyn, and his portrait was painted by Rubens and Vandyck. He is called the "Father of vertu in England," and was admired by a contemporary as the person to whom "this angle of the world oweth the first sight of Greek and Roman statues."[4] He was the first to form any considerable collection of art in Great Britain. His acquisitions, obtained while on his travels or through agents, and including inscribed marbles, statues, fragments, pictures, gems, coins, books and manuscripts, were deposited at Arundel House, and suffered considerable damage during the Civil War; and, owing to the carelessness and want of appreciation of his successors, nearly half of the marbles were destroyed. After his death the treasures were dispersed. The marbles and many of the statues were given by his grandson, Henry, 6th duke of Norfolk, to the university of Oxford in 1667, became known as the _Arundel_ (or Oxford) _Marbles_, and included the famous _Parian Chronicle_, or _Marmor Chronicon_, a marble slab on which are recorded in Greek events in Grecian history from 1582 B.C. to 354 B.C., said to have been executed in the island of Paros about 263 B.C. Its narration of events differs in some respects from the most trustworthy historical accounts, but its genuineness, challenged by some writers, has been strongly supported by Porson and others, and is considered fairly established. Other statues were presented to the university by Henrietta Louisa, countess of Pomfret, in 1755. The cabinets and gems were removed by the wife of Henry, 7th duke of Norfolk, in 1685, and after her death found their way into the Marlborough collection. The pictures and drawings were sold in 1685 and 1691, and Lord Stafford's moiety of the collection in 1720. The coins and medals were, bought by Heneage Finch, 2nd earl of Winchelsea, and dispersed in 1696; the library, at the instance of John Evelyn, who feared its total loss, was given to the Royal Society, and a part, consisting of genealogical and heraldic collections, to the College of Heralds, the manuscript portion of the Royal Society's moiety being transferred to the British Museum in 1831 and forming the present Arundel Collection. The famous bust of Homer reached the British Museum after passing through various hands.
Lord Arundel married in 1606 Lady Alethea, daughter and heir of Gilbert Talbot, 7th earl of Shrewsbury, by whom, besides three sons who died young and one daughter, he had John, who predeceased him, Henry Frederick, who succeeded him as 3rd earl of Arundel and earl of Surrey and of Norfolk, and William, Viscount Stafford, executed in 1680. In 1849 the Arundel Society for promoting artistic knowledge was founded in his memory. Henry Frederick's grandson Thomas, by the reversal (1660) of the attainder of 1572, succeeded to the dukedom of Norfolk, in which the earldom has since then been merged.
AUTHORITIES.--See the article in the _Dict, of Nat. Biography_, and authorities there collected; D. Lloyd, _Memoires_ (1668), p. 284; Sir E. Walker, _Historical Discourses_ (1705), p. 209 (MS. in Harleian, 6272 f. 152); M. Tierney, _History of Arundel_ (1834), p. 414; Sir Thomas Roe's _Negotiations_ (1740: letters relating to his collections), 334, 444, 495; W. Crowne, _A True Relation of all the Remarkable Places ... in the Travels of ... Thomas, Earl of Arundell: A.D. 1636_ (1637); _Die englische Mission des Grafen v. Arundel in Nurnberg_ (_archivalische Zeitschrift_: neue Folge, Bd. xi., 1904); H. Howard, _Memorials of the Howard Family_ (1834), p. 31; H.K.S. Causton, _The Howard Papers_ (1862); _Preface to Catalogue of Arundel MSS_., Brit. Museum (1840), &c. For publications relating to the Parian Chronicle see _Marmora Arundelliana_, publ. J. Selden (1628); Prideaux's _Marmora Oxoniensia_ (1676); Maittaire's variorum edition (1732); Chandler's _Marmora Oxoniensia_ (1763 and 1791), G. Roberts; J. Robertson, _The Parian Chronicle_ (1788); J. Hewlett, _A Vindication_ (1789); R. Porson, "The Parian Chronicle," in _Tracts_, ed. by T. Kidd (1815); _Chronicon Parium_, ed. by C.F.C. Wagner (1832-1833); C. Muller's _Fragmenta Historicorum Graecorum_ (1841), i. 533; F. Jacoby, _Das Marmor Parium_ (1904).
FOOTNOTES:
[1] i.e. in the Howard line.
[2] See _Cal. of St. Pap. Dom. 1581-1590_. 611; and _Hist. MSS. Comm. Marq. of Salisbury's MSS._ iii. 253, 414.
[3] Camden's _Elizabeth_ in _Hist. of England_ (1706), 587.
[4] Peacham in _Compleat Gentleman_ (1634), p. 107, and _Secret Hist. of James I._ (1811), i. 199.