Part 20
KEWANEE, a city of Henry county, Illinois, U.S.A., in the N. W. part of the state, about 55 m. N. by W. of Peoria. Pop. (1900), 8382, of whom 2006 were foreign-born; (1910 census), 9307. It is served by the Chicago Burlington & Quincy railroad and by the Galesburg & Kewanee Electric railway. Among its manufactures are foundry and machine-shop products, boilers, carriages and wagons, agricultural implements, pipe and fittings, working-men's gloves, &c. In 1905 the total factory product was valued at $6,729,381, or 61.5% more than in 1900. Kewanee was settled in 1836 by people from Wethersfield, Connecticut, and was first chartered as a city in 1897.
KEY, SIR ASTLEY COOPER (1821-1888), English admiral, was born in London in 1821, and entered the navy in 1833. His father was Charles Aston Key (1793-1849), a well-known surgeon, the pupil of Sir Astley Cooper, and his mother was the latter's niece. After distinguishing himself in
## active service abroad, on the South American station (1844-1846), in the
Baltic during the Crimean War (C.B. 1855) and China (1857), Key was appointed in 1858 a member of the royal commission on national defence, in 1860 captain of the steam reserve at Devonport, and in 1863 captain of H.M.S. "Excellent" and superintendent of the Royal Naval College. He had a considerable share in advising as to the reorganization of administration, and in 1866, having become rear-admiral, was made director of naval ordnance. Between 1869 and 1872 he held the offices of superintendent of Portsmouth dockyard, superintendent of Malta dockyard, and second in command in the Mediterranean. In 1872 he was made president of the projected Royal Naval College at Greenwich, which was organized by him, and after its opening in 1873 he was made a K.C.B, and a vice-admiral. In 1876 he was appointed commander-in-chief on the North American and West Indian station. Having become full admiral in 1878, he was appointed in 1879 principal A.D.C., and soon afterwards first naval lord of the admiralty, retaining this post till 1885. In 1882 he was made G.C.B. He died at Maidenhead on the 3rd of March, 1888.
See _Memoirs of Sir Astley Cooper Key_, by Vice-Admiral Colomb (1898).
KEY, THOMAS HEWITT (1799-1875), English classical scholar, was born in London on the 20th of March, 1799. He was educated at St John's and Trinity Colleges, Cambridge, and graduated 19th wrangler in 1821. From 1825 to 1827 he was professor of mathematics in the university of Virginia, and after his return to England was appointed (1828) professor of Latin in the newly founded university of London. In 1832 he became joint headmaster of the school founded in connexion with that institution; in 1842 he resigned the professorship of Latin, and took up that of comparative grammar together with the undivided headmastership of the school. These two posts he held till his death on the 29th of November 1875. Key is best known for his introduction of the crude-form (the uninflected form or stem of words) system, in general use among Sanskrit grammarians, into the teaching of the classical languages. This system was embodied in his _Latin Grammar_ (1846). In _Language, its Origin and Development_ (1874), he upholds the onomatopoeic theory. Key was prejudiced against the German "Sanskritists," and the etymological portion of his _Latin Dictionary_, published in 1888, was severely criticized on this account. He was a member of the Royal Society and president of the Philological Society, to the _Transactions_ of which he contributed largely.
See _Proceedings of the Royal Society_, vol. xxiv. (1876); R. Ellis in the _Academy_ (Dec. 4, 1875); J. P. Hicks, _T. Hewitt Key_ (1893), where a full list of his works and contributions is given.
KEY (in O. Eng. _caég_; the ultimate origin of the word is unknown; it appears only in Old Frisian _kei_ of other Teutonic languages; until the end of the 17th century the pronunciation was _kay_, as in other words in O. Eng. ending in _aég_; cf. _daég_, day; _claég_, clay; the _New English Dictionary_ takes the change to kee to be due to northern influence), an instrument of metal used for the opening and closing of a lock (see LOCK). Until the 14th century bronze and not iron was most commonly used. The terminals of the stem of the keys were frequently decorated, the "bow" or loop taking the form sometimes of a trefoil, with figures inscribed within it; this decoration increased in the 16th century, the terminals being made in the shape of animals and other figures. Still more elaborate ceremonial keys were used by court officials; a series of chamberlains' keys used during the 18th and 19th centuries in several courts in Europe is in the British Museum. The terminals are decorated with crowns, royal monograms and ciphers. The word "key" is by analogy applied to things regarded as means for the opening or closing of anything, for the making clear that which is hidden. Thus it is used of an interpretation as to the arrangement of the letters or words of a cipher, of a solution of mathematical or other problems, or of a translation of exercises or books, &c., from a foreign language. The term is also used figuratively of a place of commanding strategic position. Thus Gibraltar, the "Key of the Mediterranean," was granted in 1462 by Henry IV. of Castile, the arms, _gules_, a castle proper, with key pendant to the gate, _or_; these arms form the badge of the 50th regiment of foot (now 2nd Batt. Essex Regiment) in the British army, in memory of the part which it took in the siege of 1782. The word is also frequently applied to many mechanical contrivances for unfastening or loosening a valve, nut, bolt, &c., such as a spanner or wrench, and to the instruments used in tuning a pianoforte or harp or in winding clocks or watches. A farther extension of the word is to appliances or devices which serve to lock or fasten together distinct parts of a structure, as the "key-stone" of an arch, the wedge or piece of wood, metal, &c., which fixes a joint, or a small metal instrument, shaped like a U, used to secure the bands in the process of sewing in bookbinding.
In musical instruments the term "key" is applied in certain wind instruments, particularly of the wood-wind type, to the levers which open and close valves in order to produce various notes, and in keyboard instruments, such as the organ or the pianoforte, to the exterior white or black parts of the levers which either open or shut the valves to admit the wind from the bellows to the pipes or to release the hammers against the strings (see KEYBOARD). It is from this application of the word to these levers in musical instruments that the term is also used of the parts pressed by the finger in typewriters and in telegraphic instruments.
A key is the insignia of the office of chamberlain in a royal household (see CHAMBERLAIN and LORD CHAMBERLAIN). The "power of the keys" (_clavium potestas_) in ecclesiastical usage represents the authority given by Christ to Peter by the words, "I will give unto thee the keys of the kingdom of heaven" (Matt. xvi. 19). This is claimed by the Roman Church to have been transmitted to the popes as the successors of St Peter.
"Key" was formerly the common spelling of "quay," a wharf, and is still found in America for "cay," an island reef or sandbank off the coast of Florida (see QUAY).
The origin of the name Keys or House of Keys, the lower branch of the legislature, the court of Tynwald, of the Isle of Man, has been much discussed, but it is generally accepted that it is a particular application of the word "key" by English- and not Manx-speaking people. According to A. W. Moore, _History of the Isle of Man_, i. 160 sqq. (1900), in the Manx statutes and records the name of the house was in 1417 _Claves Manniae et Claves legis_, Keys of Man and Keys of the Law; but the popular and also the documentary name till 1585 seems to have been "the 24," in Manx _Kiare as feed_. From 1585 to 1734 the name was in the statutes, &c., "the 24 Keys," or simply "the Keys." Moore suggests that the name was possibly originally due to an English "clerk of the rolls," the members of the house being called in to "unlock or solve the difficulties of the law." There is no evidence for the suggestion that Keys is an English corruption of _Kiare-as_, the first part of _Kiare as feed_. Another suggestion is that it is from a Scandinavian word _keise_, chosen.
KEYBOARD, or MANUAL (Fr. _clavier_; Ger. _Klaviatur_; Ital. _tastatura_), a succession of keys for unlocking sound in stringed, wind or percussion musical instruments, together with the case or board on which they are arranged. The two principal types of keyboard instruments are the organ and the piano; their keyboards, although similarly constructed, differ widely in scope and capabilities. The keyboard of the organ, a purely mechanical contrivance, is the external means of communicating with the valves or pallets that open and close the entrances to the pipes. As its action is incapable of variation at the will of the performer, the keyboard of the organ remains without influence on the quality and intensity of the sound. The keyboard of the piano, on the contrary, besides its purely mechanical function, also forms a sympathetic vehicle of transmission for the performer's rhythmical and emotional feeling, in consequence of the faithfulness with which it passes on the impulses communicated by the fingers. The keyboard proper does not, in instruments of the organ and piano types, contain the complete mechanical apparatus for directly unlocking the sound, but only that external part of it which is accessible to the performer.
The first instrument provided with a keyboard was the organ; we must therefore seek for the prototype of the modern keyboard in connexion with the primitive instrument which marks the transition between the mere syrinx provided with bellows, in which all the pipes sounded at once unless stopped by the fingers, and the first organ in which sound was elicited from a pipe only when unlocked by means of some mechanical contrivance. The earliest contrivance was the simple slider, unprovided with a key or touch-piece and working in a groove like the lid of a box, which was merely pushed in or drawn out to open or close the hole that formed the communication between the wind chest and the hole in the foot of the pipe. These sliders fulfilled in a simple manner the function of the modern keys, and preceded the groove and pallet system of the modern organ. We have no clear or trustworthy information concerning the primitive organ with sliders. Athanasius Kircher[1] gives a drawing of a small mouth-blown instrument under the name of _Magraketha_ (_Mashroqitha'_, Dan. iii. 5), and Ugolini[2] describes a similar one, but with a pair of bellows, as the magrephah of the treatise _'Arakhin_.[3] By analogy with the evolution of the organ in central and western Europe from the 8th to the 15th century, of which we are able to study the various stages, we may conclude that in principle both drawings were probably fairly representative, even if nothing better than efforts of the imagination to illustrate a text.
The invention of the keyboard with balanced keys has been placed by some writers as late as the 13th or 14th century, in spite of its having been described by both Hero of Alexandria and Vitruvius and mentioned by poets and writers. The misconception probably arose from the easy assumption that the organ was the product of Western skill and that the primitive instruments with sliders found in 11th century documents[4] represent the sum of the progress made in the evolution; in reality they were the result of a laborious effort to reconquer a lost art. The earliest trace of a balanced keyboard we possess is contained in Hero's description of the hydraulic organ said to have been invented by Ctesibius of Alexandria in the 2nd century B.C. After describing the other parts (see ORGAN), Hero passes on to the sliders with perforations corresponding with the open feet of the speaking pipes which, when drawn forward, traverse and block the pipes. He describes the following contrivances: attached to the slider is a three-limbed, pivoted elbow-key, which, when depressed, pushes the slider inwards; in order to provide for its automatic return when the finger is lifted from the key, a slip of horn is attached by a gut string to each elbow-key. When the key is depressed and the slider pushed home, the gut string pulls the slip of horn and straightens it. As soon as the key is released, the piece of horn, regaining its natural bent by its own elasticity, pulls the slider out so that the perforation of the slider overlaps and the pipe is silenced.[5] The description of the keyboard by Vitruvius Pollio, a variant of that of Hero, is less accurate and less complete.[6] From evidence discussed in the article ORGAN, it is clear that the principle of a balanced keyboard was well understood both in the 2nd and in the 5th century A.D. After this all trace of this important development disappears, sliders of all kinds with and without handles doing duty for keys until the 12th or 13th century, when we find the small portative organs furnished with narrow keys which appear to be balanced; the single bellows were manipulated by one hand while the other fingered the keys. As this little instrument was mainly used to accompany the voice in simple chaunts, it needed few keys, at most nine or twelve. The pipes were flue-pipes. A similar little instrument, having tiny invisible pipes furnished with beating reeds and a pair of bellows (therefore requiring two performers) was known as the regal. There are representations of these medieval balanced keyboards with keys of various shapes, the most common being the rectangular with or without rounded corners and the T-shaped. Until the 14th century all the keys were in one row and of the same level, and although the B flat was used for modulation, it was merely placed between A and B natural in the sequence of notes. During the 14th century small square additional keys made their appearance, one or two to the octave, inserted between the others in the position of our black keys but not raised. An example of this keyboard is reproduced by J. F. Riaño[7] from a fresco in the Cistercian monastery of Nuestra Señora de Piedra in Aragon, dated 1390.
So far the history of the keyboard is that of the organ. The only stringed instruments with keys before this date were the _organistrum_ and the _hurdy-gurdy_, in which little tongues of wood manipulated by handles or keys performed the function of the fingers in stopping the strings on the neck of the instruments, but they did not influence the development of the keyboard. The advent of the immediate precursors of the pianoforte was at hand. In the _Wunderbuch_[8] (1440), preserved in the Grand Ducal Library at Weimar, are represented a number of musical instruments, all named. Among them are a _clavichordium_ and a _clavicymbalum_ with narrow additional keys let in between the wider ones, one to every group of two large keys. The same arrangement prevailed in a _clavicymbalum_ figured in an anonymous MS. attributed to the 14th century, preserved in the public library at Ghent[9]; from the lettering over the jacks and strings, of which there are but eight, it would seem as though the draughtsman had left the accidentals out of the scheme of notation. These are the earliest known representations of instruments with keyboards. The exact date at which our chromatic keyboard came into use has not been discovered, but it existed in the 15th century and may be studied in the picture of St Cecilia playing the organ on the Ghent altarpiece painted by the brothers Hubert and Jan van Eyck. Praetorius distinctly states that the large Halberstadt organ had the keyboard which he figures (plates xxiv. and xxv.) from the outset, and reproduces the inscription asserting that the organ was built in 1361 by the priest Nicolas Fabri and was renovated in 1495 by Gregorius Kleng. The keyboard of this organ has the arrangement of the present day with raised black notes; it is not improbable that Praetorius's statement was correct, for Germany and the Netherlands led the van in organ-building during the middle ages.
At the beginning of the 16th century, to facilitate the playing of contrapuntal music having a drone bass or _point d'orgue_, the arrangement of the pipes of organs and of the strings of spinets and harpsichords was altered, with the result that the lowest octave of the keyboard was made in what is known as short measure, or mi, ré, ut, i.e. a diatonic with B flat included, but grouped in the space of a sixth instead of appearing as a full octave. In order to carry out this device, the note below F was C, instead of E, the missing D and E and the B flat being substituted for the three sharps of F, G and A, and appearing as black notes, thus:--
D E B[flat] C F G A B C,
or if the lowest note appeared to be B, it sounded as G and the arrangement was as follows:--
A B G C D E F G.
This was the most common scheme for the short octave during the 16th and 17th centuries, although others are occasionally found. Praetorius also gives examples in which the black notes of the short octave were divided into two halves, or separate keys, the forward half for the drone note, the back half for the chromatic semitone, thus:--
F[sharp] G[sharp] | | D E B[flat] C F G A B C
This arrangement, which accomplishes its object without sacrifice, was to be found early in the 17th century in the organs of the monasteries of Riddageshausen and of Bayreuth in Vogtland.
See A. J. Hipkins, _History of the Pianoforte_ (London, 1896), and the older works of Girolamo Diruta (1597), Praetorius (1618), and Mersenne (1636). (K. S.)
FOOTNOTES:
[1] See _Musurgia_, bk. II., iv. § 3.
[2] _Thes. Antiq. Sacra._ (Venice, 1744-1769), xxxii. 477.
[3] II. 3 and fol. 10, 2. _'Arakhin_ ("Valuations") is a treatise in the Babylonian Talmud. The word _Magrephah_ occurs in the _Mishna_, the description of the instrument in the _gemara_.
[4] See the Cividale Prayer Book of St Elizabeth in Arthur Haseloff's _Eine Sächs.-thüring. Malerschule_, pl. 26, No. 57, also Bible of St Etienne Harding at Dijon (see ORGAN: _History_).
[5] See the original Greek with translation by Charles Maclean in "The Principle of the Hydraulic Organ," _Intern. Musikges._ vi. 2, 219-220 (Leipzig 1905).
[6] See Clément Loret's account in _Revue archéologique_, pp. 76-102 (Paris, 1890).
[7] _Early Hist. of Spanish Music_ (London, 1807).
[8] Reproduced by Dr Alwin Schulz in _Deutsches Leben im XIV. u. XV. Jhdt._, figs. 522 seq. (Vienna, 1892).
[9] "De diversis monocordis, pentacordis, etc., ex quibus diversa formantur instrumenta musica," reproduced by Edm. van der Straeten in _Hist. de la musique aux Pays-Bas_, i. 278.
KEYSTONE, the central voussoir of an arch (q.v.). The Etruscans and the Romans emphasized its importance by decorating it with figures and busts, and, in their triumphal arches, projected it forward and utilized it as an additional support to the architrave above. Throughout the Italian period it forms an important element in the design, and serves to connect the arch with the horizontal mouldings running above it. In Gothic architecture there is no keystone, but the junction of pointed ribs at their summit is sometimes decorated with a boss to mask the intersection.
KEY WEST (from the Spanish _Cayo Hueso_, "Bone Reef"), a city, port of entry, and the county-seat of Monroe county, Florida, U.S.A., situated on a small coral island (4½ m. long and about 1 m. wide) of the same name, 60 m. S. W. of Cape Sable, the most southerly point of the mainland. It is connected by lines of steamers with Miami and Port Tampa, with Galveston, Texas, with Mobile, Alabama, with Philadelphia and New York City, and with West Indian ports, and by regular schooner lines with New York City, the Bahamas, British Honduras, &c. There is now an extension of the Florida East Coast railway from Miami to Key West (155 m.). Pop. (1880), 9890; (1890), 18,080; (1900), 17,114, of whom 7266 were foreign-born and 5562 were negroes; (1910 census), 19,945. The island is notable for its tropical vegetation and climate. The jasmine, almond, banana, cork and coco-nut palm are among the trees. The oleander grows here to be a tree, and there is a banyan tree, said to be the only one growing out of doors in the United States. There are many species of plants in Key West not found elsewhere in North America. The mean annual temperature is 76° F., and the mean of the hottest months is 82.2° F.; that of the coldest months is 69° F.; thus the mean range of temperature is only 13°. The precipitation is 35 in.; most of the rain falls in the "rainy season" from May to November, and is preserved in cisterns by the inhabitants as the only supply of drinking water. The number of cloudy days per annum averages 60. The city occupies the highest portion of the island. The harbour accommodates vessels drawing 27 ft.; vessels of 27-30 ft. draft can enter by either the "Main Ship" channel or the south-west channel; the south-east channel admits vessels of 25 ft. draft or less; and four other channels may be used by vessels of 15-19 ft. draft. The harbour is defended by Fort Taylor, built on the island of Key West in 1846, and greatly improved and modernized after the Spanish-American War of 1898. Among the buildings are the United States custom house, the city hall, a convent, and a public library.
In 1869 the insignificant population of Key West was greatly increased by Cubans who left their native island after an attempt at revolution; they engaged in the manufacture of tobacco, and Key West cigars were soon widely known. Towards the close of the 19th century this industry suffered from labour troubles, from the competition of Tampa, Florida, and from the commercial improvement of Havana, Cuba; but soon after 1900 the tobacco business of Key West began to recover. Immigrants from the Bahama Islands form another important element in the population. They are known as "Conchs," and engage in sponge fishing. In 1905 the value of factory products was $4,254,024 (an increase of 37.7% over the value in 1900); the exports in 1907 were valued at $852,457; the imports were valued at $994,472, the excess over the exports being due to the fact that the food supply of the city is derived from other Florida ports and from the West Indies.
According to tradition the native Indian tribes of Key West, after being almost annihilated by the Caloosas, fled to Cuba. There are relics of early European occupation of the island which suggest that it was once the resort of pirates. The city was settled about 1822. The Seminole War and the war of the United States with Mexico gave it some military importance. In 1861 Confederate forces attempted to seize Fort Taylor, but they were successfully resisted by General William H. French.