NEW INVENTED APPARATUS, CONSISTING OF AN OBLONG SQUARE Box, WHICH, WHEN OPENED, PRESENTS Two FACES OR TABLES, AND OF VARIOUS DICE, PINS, COUNTERS, &C. CONTAINED WITHIN THE SAME, BY MEANS OF WHICH SIX DIPPERENT GAMES MAY BE PLAYED, WHICH BESIDES BEING AMUSING AND INTERESTING, AND SUCH AS CHILDREN OF EIGHT YEARS OLD MAY BE TAUGHT TO PLAY, ARE AT THE SAME TIME AN IMPROVING EXERCISE UPON, AND SERVE TO RENDER FAMILIAR, AND TO IMPRESS UPON THE MEMORY, THE FUNDAMENTAL PRINCIPLES OF THE SCIENCE OF MUSIC, PARTICULARLY ALL THE KEYS OR MODULATIONS, MAJOR AND MINOR, BOTH WITH COMMON AND UNCOMMON SIGNATURES, MUSICAL INTERVALS, CORDS, DISCORDS WITH THEIR RESOLUTIONS, AND THE MOST USEFUL RULES OF THOROUGH BASS
Year: 1801

page_text: TO ALL TO WHOM THESE PRESENTS SHALL COME, ANN YOUNG,
of Saint James Square, in the City of Edinburgh, sendeth greeting.
WHEREAS His present Majesty King George the Third, by His
Letters Patent under the Great Seal of the United Kingdom of Great
Britain and Ireland, bearing date the Sixteenth day of March, in the forty-
first year of His reign, did give and grant unto the said Ann Young,
His special licence that she, the said Ann Young, should and lawfully might
during the term of fourteen years therein expressed, make, use, exercise,
and vend, within England, Wales, and Town of Berwick-upon-Tweed, her
"NEW INVENTED APPARATUS, CONSISTING OF AN OBLONG SQUARE Box, WHICH, WHEN
OPENED, PRESENTS Two FACES OR TABLES, AND OF VARIOUS DICE, PINS, COUNTERS, &C.
CONTAINED WITHIN THE SAME, BY MEANS OF WHICH SIX DIPPERENT GAMES MAY BE
PLAYED, WHICH BESIDES BEING AMUSING AND INTERESTING, AND SUCH AS CHILDREN OF
EIGHT YEARS OLD MAY BE TAUGHT TO PLAY, ARE AT THE SAME TIME AN IMPROVING
EXERCISE UPON, AND SERVE TO RENDER FAMILIAR, AND TO IMPRESS UPON THE MEMORY,
THE FUNDAMENTAL PRINCIPLES OF THE SCIENCE OF MUSIC, PARTICULARLY ALL THE
KEYS OR MODULATIONS, MAJOR AND MINOR, BOTH WITH COMMON AND UNCOMMON
SIGNATURES, MUSICAL INTERVALS, CORDS, DISCORDS WITH THEIR RESOLUTIONS, AND
THE MOST USEFUL RULES OF THOROUGH BASS;" in which said Letters' Patent there
is contained a clause or proviso, that she, the said Ann Young, should within
one calendar month next after the date of the said Letters Patent, cause a par
ticular description of her said Invention under her hand and seal, to be inrolled

page_text: in His Majesty's High Court of Chancery, as in and by the same Letters
Patent, relation being thereunto had, may more fully and at large appear.
NOW KNOW YE, that in compliance with the said in part recited clause
or proviso, in the said Letters Patent contained, she, the said Ann Young, by
Benjamin Nind, her attorney, duly authorised by letter of attorney in that
behalf, doth hereby declare that her said new invented apparatus consisting of
an oblong square box, which, when opened, presents two faces or tables, and of
various dice, pins, counters, &c. contained within the same, by means of which
six different games may be played, which besides being amusing and interest-
ing, and such as children of eight years old may be taught to play, are at the
same time an improving exercise upon, and serve to render familiar, and to
impress upon the memory the fundamental principles of the science of music,
particularly all the keys or modulations, major and minor, both with common
and uncommon signatures, musical intervals, chords, discords with their resolu-
tions, and the most useful rules of thorough bass, is described in the manner
following, that is to say.:-
The box is composed of two equal pieces or frames of cabinet work, united
by hinges like backgammon tables; when it is opened or spread out the two
picces exhibit different faces, the one presents at each end two musical staves
or systems of five lines. In each line and space of those staves a number of
small holes are drilled, in which are occasionally stuck the pieces of turned
ivory and wood, which are designed to represent the sharps and flats that
severally belong to the different keys or modulations of music. Under each
of these staves there is a drawer, in one of which are contained the dice, pins,
&c. which are used in playing with sharps, and in the other the corresponding
dice, pins, &c. used in playing with flats. These drawers are pulled out from
the ends of the frame, and, when in their places, are kept firm by brass pins
running through the edge. In the middle space between them are contained
two dice boxes; when these are taken out and the game is to be played, this
vacant space is covered by a moveable lid, which at other times rests upon one
of the ends. The surface of the table is by that means rendered compleat and
uniform. Upon the outer part of the border round it are written the funda--
mental letters of all the twelve major keys, according to the order of succession
by flats, and immediately below or within each of these the fundamental of
their relative minor keys.. At each letter there is a small hole for receiving a
pin. The other face or table is of one piece; at each end is a delineation of
the clavier or finger touches of a piano-forte, in every one of which there is a
small hole; above these are two musical staves, on which are written in
crotchets the whole scale of natural notes. In the round head of each crotchet

page_text: there is a small hole for receiving pins or moveable notes, and also imme-
diately below each of them there is another small hole for receiving the pins, on
the heads of which are the characters of sharp, double sharp, flat, double flat,
and natural. Around this table there is a border, similar to that which sur-
rounds the other table, on which are marked the fundamental letters of the
twelve major keys, according to the order of succession by sharps, with their
relative minors below or within each. In the drawer which contains the appa-
ratus for sharps, there is at one end in front a square compartment, in which
is an uncovered box or moveable frame, divided by a partition in the middle
into two cells, in one of which are contained fourteen pieces of turned ivory,
and in the other ten such pieces of a different shape; the former intended to
represent single sharps, and the latter to represent double sharps, and designed.
to be stuck into the holes in the lines and spaces of the staves upon the table
first described, for the purpose of exhibiting the signatures of all the keys of
music with sharps. Behind this compartment are two small square cells,
in each of which is a cylindrical box, the one containing twelve larger,
and the other twelve smaller ivory counters; the remaining part of the front
of the drawer is a range, divided into four small square .compartments,
marked 1, 2, 3, 4, in each of which are four dice, and a smaller one at
the end marked 5, in which lie two ivory pins. The first pair of dice
in the. compartment 1 have upon their faces, the one the capital letters
G, D, A, E, B, F#, being the fundamentals of six major keys, with signatures
in sharps, the other the small letters e, b, f, c, d, being the fun-
damentals of six relative minor keys with signatures in sharps. The
second pair in the compartment 1 have upon their faces the one the capitals
C, G, D, A, E, B, being the fundamentals of the six remaining major
keys with uncommon signatures, or according to the order by sharps, con-
tinued from six to twelve; the other, the small letters a, b,
fx, cx, gx, the fundamentals of the six remaining minor keys, with
uncommon signatures. The four dice in the compartment 2, have each upon
their faces respectively in order, the very same-fundamentals of the keys major
and minor, with the former represented in musical notes upon bass staves,
with the signatures proper to each. In the compartment 3, there is, first, a
die, having upon its faces C, the same note on a musical stave, A, the same
on a musical stave, and two bass staves without signatures; 2dly, a lie,
having on its faces bass staves with signatures of 1, 2, 3, 4, 5, and 6 sharps,
but without any notes; 3dly, a die, having upon three of its faces the letter T;
and upon the other three the letter 'S; 4thly, a die, having upon its faces the
characters of treble, bass, and tenor cliffs. In the fourth compartment are

page_text: dice with various numerial figures. The space behind this range is divided
into two compartments; in one of these, upon a raised surface, are stuck
fourteen ivory pins with small flat heads, on seven of which are marked the
musical character or sharp, on five the character X or double sharp, and on
two the character or natural. Upon the sunk surface, besides these, are
stuck three ivory plates, bearing the marks of the treble, tenor, and bass
cliffs. In the other compartment are stuck eight black and two white pins
with small round heads, which are used as musical notes. The other drawer,
which contains the apparatus for flats, is in its divisions and compartments
exactly similar to the one now described. The fourteen and the ten pieces of
turned work contained in the divided box or moveable compartiment, which
represent single and double flats, are exactly of the same form with
those for sharps, but for the sake of distinction are made of dark coloured
wood; the counters are of ivory stained red. The first pair of dice in the
compartment 1, have the one, the capitals F, Bb, Eb, Ab, Db, Gb, the
fundamentals of six major keys, according to the order by flats, and the other,
the small letters d, g, c, f, bb, cb, the fundamentals of the respective minor.
keys. The 2d pair have the one C, Fo, Bob, Ebb, Abb, Dob, the funda-
mentals of the other six keys with uncommon signatures, or according to the
order by flats, continued up to 12, the other ab, do, gb, cb, fb, libb, their
respective minors. The four dice in the compartment 2 have the very same
fundamentals represented in musical notes upon bass staves, with their proper
signatures. In compartment 3, there is, first, a dice having bass staves, with
the signatures of one, two, three, four, five, and six flats, but without notes;
2dly, a die, having upon its faces one line, one line and a half, two lines, two
lines and a half, 3 and 4 lines; 3dly and 4thly, a pair, having upon their faces
various thorough bass cyphers and cords upon musical slaves. In the compart-
ment 4, there is, first, a dic, having upon one of its faces the character, upon
two the character, and upon the other three numeral figures; 2dly, a die,
having upon one of its faces the character, upon two the character b, and
-upon-the-remaining_three_numeral figures; lastly, a pair bearing upon their
faces the fundamental letters of all the keys, major and minor, of the first
circular system. The games to be played by the above apparatus and the
directions for playing them, are as follow:-
Game 1, Circular System. The object of the first game or exercise is to
impress upon the memory and to render easy and familiar the signatures of
all the major and minor keys of music. To facilitate this exercise to those
who may not have been fully instructed in this branch of musical knowledge,
two circular systems are given; in each of these, the signatures and the funda-

page_text: mental notes of the twelve major keys, are written in musical characters upon
the outer stave, with the corresponding letters below them, and the signatures
and fundamentals of the twelve minor keys are written in a similar manner
upon the inner stave. In the first system, beginning at No. 1 or major key of
C, without sharp or flat, and proceeding along the outer stave towards the right
hand, the major keys succeed each other according to the order of succession
by 5ths, in other words, the fundamental of each key or scale is always the
5th of that immediately preceding; in this succession, one sharp is gained or
one flat is dropt at every step. The seventh key is that of F, with six
sharps. The scale of this key is played upon the instrument by touching the
very same finger keys with that of G2, with six flats. From this, the succes-
sion by fifths is continued with signatures of flats, one flat being dropt at each
step till it comes round at C. Again beginning at No. 1, and proceeding
along the outer stave towards the left hand, the major keys succeed cach
other according to the order of succession by fourths, the fundamental of
cach key or scale being always the fourth of that immediately preceding. In
this succession, one flat is gained or one sharp is dropt at every step.
As the
succession by fifths is that by which regular music most frequently proceeds,
and as it is generally the first that is taught, the keys are numbered from one
to twelve according to that order. In the inner stave, beginning at No. 1,
the minor key of natural notes, the fundamental of which is A, and pro-
ceeding towards the right hand, the several minor scales succeed each other;
also, according to the order of succession by fifths, one sharp being added or
one flat thrown off at every step, and proceeding towards the left hand, they
succeed each other according to to the order by fourths, one flat being added
or one sharp being thrown off at every step. By this arrangement, all the
major keys and their relative minor keys (those, namely, which have the same
signature,) are found in the same division of the scheme, or betwixt the
same rays of the circles. In carrying on the succession of keys towards
the one hand by fifths, and towards the other hand by fourths, the signatures
of flats and of sharps, may be continued beyond the number six. Keys or
signatures of more than six sharps or flats, appear in the works of the
most eminent composers, particularly in the progress of modulation through
an extended piece of music, and double sharps and double flats which neces-
sarily result from such numerous signatures, frequently occur to render these
signatures familiar, and to remove the embarrassment which they occasion to
young performers; the exercise of the game is in its second part extended to
them, and with that view is given the second circular system, entitled " with
uncommon signatures." In this system, setting out from the keys No. 7,

page_text: which must obviously be the same in both systems, and proceeding towards the
right hand, the succession by fifths is carried on in signatures of sharps, and
from the same point, proceeding towards the left hand, the succession by
fourths is continued in signatures of flats, the number of cach gradually
increasing from six to twelve, where they meet in the key No. 1; in reckoning
the numbers of these signatures, every double sharp and every double flat is
accounted two. The several keys of this system are respectively the very same
upon the instrument with those in the first system which appear under the
same numbers. A piece of music written in the major key of F#, or minor
of D, with six sharps, will be played by the same finger touches as if it had
been written in the major of Gb, or minor of of Eb, with six flats;
six sharps and six flats are therefore corresponding signatures. In the
same manner seven sharps and five flats, eight sharps and four flats,
nine sharps and three flats, ten sharps and two flats, cleven sharps and one flat,
twelve sharps and nothing, as also seven flats and five sharps, eight. flats and
four sharps, nine flats and three sharps, ten flats and two sharps, eleven flats
and one sharp, twelve flats and nothing, are corresponding signatures. In
order that all the keys with the numbers of both signatures may appear
distinctly at one view, two small circular systems are exhibited, in one of
which all the major keys are shown in both denominations, and in the other,
all the minor keys. It thus appears that a piece of music, the key note of
which upon the instrument is any one of the twelve finger touches compre-
lended within the octave, may be written either with a signature of sharps, or
with a signature of flats, that the number of the sharps in the one signature,
and of the flats in the other signature, when added together, always amount to
twelve, and therefore that when the number of the one species is deducted
from twelve, the remainder will give the number of the other species. It
farther appears from the schemes that the fundamental of the signature in
flats is always one letter advanced in the musical alphabet, or one degree
higher in the stave than the fundamental of the correspending signature in
sharps. As for the sake of simplicity and ease, the signature of the smallest
number, whether of sharps or of flats, is commonly preferred, signatures of
more than six may be called uncommon signatures. In tracing the signatures.
of the several keys, according to the order by fifths, through the two schemes,
from the natural key upwards, it will be found that the sharps enter the
system upon the following notes in order, viz, F, C, G, D, A, E, B, and that
the double sharps enter upon the same notes, and in the same order. Again,
in tracing the signatures according to the order by fourths, it will be found
that the flats and the double flats enter the system upon the following notes in

page_text: order, viz. B, E, A, D, G, C, F, or that the order of flats is exactly the order
of sharps reversed. By comparing the two systems, it appears that when any
fundamental is sharpened or raised a semitone, the number of sharps in its
signature is increased by seven, and that when any fundamental letter is
flatened or lowered a semitone, the number of flats in its signature is also
increased by seven. Thus the major key of C has no signature, that of C#
has seven sharps, the major of 1 two sharps, that of D two and seven, or
nine sharps, the major of F has three sharps, that of F has three and
seven or ten sharps. Again, the major of Co has seven flats, the major of B
has two flats, that of Bbb has two.and seven or nine flats, &c. As all additional
sharps or flats above seven are obtained by doubling those which are first in
order, it follows that the number and places of the double sharps or double
flats in the signature of any letter in the second system will be the same, with
the number and places of the single sharps or single flats belonging to the
same letter in the first system.
Game 1, Part 1-To play this game, there must be taken from the two
drawers, 1st, the pairs of dice No. 1 in the first compartment; 2ndly, the move-
able compartments containing the pins, which represent, sharps and flats;
gilly, the ivory plates bearing the characters of the treble and bass cliff's;
4thly, the boxes containing the twelve large counters; each player then throws
one dic, and whoever turns up the key with the greatest number of sharps or
flats plays first, and has the choice of playing with sharps or flats. The
clitt's being properly placed upon the great staves, the first player 'takes
his pair of dice (of which that marked with capital' letters bears the
fundamentals of the major, and that with small letters the fundamentals of
the minor keys), and having thrown them, must first tell the number of sharp's
or flats belonging to the keys which are turned up. He must then arrange
those sharps or flats upon the staves on his side of the board, by placing the
pins in the holes which are made for that purpose, naming them, and setting
them up in the exact order in which they enter the musical system, or in
which they are arranged upon the circle. The signatures of the major keys
may be arranged upon the treble staves, and those of the minor keys upon the
bass staves, or this, at the pleasure of the players, may be occasionally reversed.
It is hardly necessary to remark that when the signatures are to be arranged
upon treble staves, the characters of sharp and flat must be respectively placed
one line or one space higher than when they are arranged upon bass staves
upon which they appear in the circles. The second player next throws names
and arranges the signatures of the keys which he has turned up in the same
manner; they then count the number of flats or sharps which each has set up,

page_text: and for every three which the one player has more than the other, he gains a
point of the game, which is to be marked by putting up a counter; this com-
parative reckoning is to be repeated after each throw of the second player, so
long as the game lasts. Advantageous chances: relatives.-When the dice turn
up a major key and its minor relative, that is, when the major and the minor
presented have the same signature, the player who obtained the throw is entitled
to two points, to be marked by putting up two counters. Pairs.-When both
dice present the same letter as E, e, F.f, that is, when the keys turned up are
major and minor of the same fundamental, the thrower is also entitled to two
points. Sequences:-When the two letters presented are next to each other in
the order of the musical alphabet, as B, c, g, A, &c., one point. Counterparts.
When either of the players obtains a throw which gives the same numbers upon
each of his staves respectively as are already arranged upon those of the
adversary, a counterpart of sixes upon each stave, six points; a counterpart of
threes upon each stave, three points; every other counterpart two points.
Disadvantageous chances.-When either of the dice turns up the same key
which had been presented at the last preceding throw, and which therefore is
already arranged upon the stave, the sharps or flats upon that stave must all
be taken off, and of course cannot be counted at the comparative reckoning.
False pairs. When the same letter is presented by the two dice, but the one
has the character of sharp or flat annexed to it, and the other has not, as
D, d, g, Gb, the adversary is entitled to one point. Cross counterparts.―
When upon the sharps or flats indicated by a throw being set up, the number
upon the treble stave is the same with that upon the adversary's bass stave,
and the number upon the bass stave is the same with that upon the adversary's
treble stave, the adversary is intitled to one point. Forfeitures.-If either of
the players from ignorance or inadvertency makes a mistake in naming and
setting up the sharps or flats of the keys presented by his dice, the adversary,
if he can correct the mistake, is entitled to one point. When relatives, pairs,
or sequences are thrown, the player who has obtained the throw must mark
the points of the game to which it entitles_him_before_he-begins-to-arrange
the sharps or flats, otherwise he. forfeits the advantage, and to this advantage
the adversary is entitled if he points out the omission before throwing his dicc.
When false pairs are thrown, or cross counterparts are set up, the adversary
must mark the advantage to which he is entitled before he proceed to throw
his dice, etherwise he forfeits the advantage. The player who first gains
twelve points or puts up all his twelve counters wins the game.
Part 2d. This is intended to afford the same exercise upon the signatures of
the second system which the first part gives upon those of the first system.

page_text: In playing it, the pairs of dice No. 2 in 1 compartment are to be used.
The sharps or flats, double and single, which belong to the keys that are turned
up are to be numbered and named, and the pins representing them are to be
arranged upon the staves agreeably to the 2d circular system, the pins with
coloured heads being employed to represent the double sharps and double flats,
and the others, as in the first part, to represent the single. A counterpart of
sevens entitles the thrower to seven points; a counterpart of twelves to twelve
points; in all other respects this part is played in the same manner as the
first part. Considerable assistance in playing this game will be obtained by
attending to the observations which are subjoined to the explanation of the..
circular systems.
The 94 game is an exercise upon the intervals of music

page_text: the major and minor 3ds, and the major and minor 6ths, are concordant, all
the rest are discordant:
Game 2, Part 1st.
Intervals upon the clavier or key board.-This game
is played by means of the pairs of dice No. 3, in 2d compartment, or those
with common signatures, the one player taking the pair with sharps, and the
other the pair with flats; the first throw and the choice of playing with sharps
or with flats are determined by throwing single dics. The person who plays
with sharps places one of the pins, which are found in 5th compartment upon
the key A of the double bass octave or third long key, and his object is to
ascend to the highest. The other player places one of his pins upon the
highest key F, and his object is to get down to the lowest; the player who
first attains his object wins the game. When the dice are thrown the player by
attending to the signatures and the notes which they present, and by comparing
them together, must toll the names of the two keys, and which of them is
major and which minor; he must also tell the exact musical interval betwixt
them, and whether that interval be concordant or discordant; if then the
interval is concordant, he moves his pin the exact extent of it forward, or
according to the proper direction of his game; if it is discordant, he moves his
pin the extent of it backwards, or in the contrary direction. If a discordant
interval cast up at the beginning of the game before any movement has been
made, the throw is lost. If the station of the player be not sufficiently advanced
to allow a discordant interval to be taken backwards its whole extent, he
returns to his original station. Relatives.-When the signatures are the same,
that is, when the keys presented are major and minor relative, the pin is first
to he advanced; the concordant interval presented, and afterwards a perfect
5th in addition. Pairs.-When the dice present a pair, that is, when the
notes are unison or perfect primes, the pin is to be carried forward an
octave. Before moving, the thrower must call upon the adversary to
give the unison, which he must do by placing a pin in the same key of
his clavier, in which the pin of the thrower stands, at the same time
-telling-its-name_and_the_particular_octave_of_the_instrument_in_which
it is. (The several octaves of the instrument, or of the great scale of
music proceeding upwards from F to F, may be thus named in order.
Double bass octave, bass 8ve, tenor 8vc, treble 8ve, bigh treble Sve.) If the
adversary performs this without mistake, he gains a major 3d, or is entitled to
take that interval forward upon his clavier; if he fails or makes any mistake,
he must go backwards a 5th. When the dice present a false pair, or the notes
are imperfect primes, the thrower, before he move backward the discordant

page_text: interval or semitone, must give a similar challenge to the adversary, who must
place a pin in the key, which is imperfect prime to that in which in the pin of
the thrower stands, at the same time telling the names of both, and the par-
ticular octave of the instrument in which they are. If he executes this
accurately, he gains a 5th; if he fails, he must go back a major 3d. Coin-
cidences. When the internal to be moved upon the clavier happens to be the
same, not only in extent but in the names of its two terms with that presented
by the dice; in orther words, when the pin is upon a key of the same name
with the note presented by one of the dice, and proceeding forward or
backward according to the rules of the game, it is to be carried to a key
of the same name with the note presented by the other; the thrower after
having moved his interval, is entitled to advance an octave. Forfeitures.
If a player upon throwing his dice shall make a mistake in reporting the
signatures, keys, and interval presented by thein, and shall have taken hold
of his pin, for the purpose of moving it or making the interval, and if the
mistake shall be challenged by the adversary, he shall forfeit any advantage
which he might have gained by the throw. If, again, a player in performing
his interval shall place his pin upon a wrong key, or that is not distant from
the former station the exact extent of the interval presented by the dice, and
shall have withdrawn his hand from it, if the interval was concordant, he shall
lose the advantage of the throw, or be obliged to bring back his pin to the
former station; if the interval was discordant, he shall be obliged to carry
back bis pin a major 3d beyond the exact extent of it.
The adversary
must challenge such mistakes before he throws his dicc, otherwise he loses
the privilege. To prevent disputes which may arise upon occasion of these
challenges, and in order that the interval taken may be distinctly per-
ceived, it may be adviseable through the whole course of the game to
employ two pins, and instead of moving the pin which is at the station to
keep it in its place, and to mark the interval presented by the dice by the
other pin; in this way both terms of the interval will appear upon the board'
at the same time. The pin which was last set up, if no objection is made,
becoines the station pin of the game; the other must remain in its place till
the adversary has thrown, when it should be immediately removed, for the
purpose of marking the interval which shall be next presented.
Game II., Part 2d-Intervals upon the Stave.-This part affords the same
exercise upon the musical stave or scale of notes which the former part gives
upon the clavier.
When it is played, it will be proper that the claviers be
covered. The player with sharps places in the double bass A one of the
moveable notes or small pins with round heads found in 9th compartment,

page_text: and his object, as before, is to ascend to the highest note; the other places a
note in the highest F, and his object is to get down to the lowest. The
intervals of the same extent with those presented by the dice are to be marked
by carrying the pin along the scale of notes, or rather by placing another pin
of the same kind in the note, which is the other term of the interval, annexing
or placing in the hole under the note the moveable characters of sharp,
double sharp, flat, double flat, according as these may be necessary for exhibit-
ing the exact intervals. If, when the station note is affected with double sharp
or double flat, an interval should cast up, to represent which truly would require
an additional sharp or flat, the player is then allowed to change the deno-
mination and of course the place of the station note to that which would be
sounded by the same key of the clavier; thus, if the station note being
Da major 3ª should be presented, which must be
the note
D may be changed to the corresponding note upon the clavier E natural,
when the major 3 will be G#. As the player with sharps is understood to
have the custody of the characters of sharp and double sharp, and the player
with flats to have the custody of those of flats and double flat, if either of
them in the course of the game find it necessary for truly exhibiting his
interval to employ a character of the opposite species, he must borrow it of
the adversary, who, in consideration of having given him this accommodation, is
entitled to advance a major gd. He is allowed to retain the borrowed character
so long as it is necessary for representing his interval, without the lender being
entitled to any additional advantage; but so soon as he throws an interval for
which that character is not necessary, he must return it to the adversary. In
all other respects the method of playing the advantageous chances and the
forfeitures in this part of the game are the same as they are in the 1st part.
Game 3d Of Cadences or Preludes.-The natural prelude to any key of
music consists of the following cords, in order, viz, cord of key, of 4th, of 5th,
and of key; the proper discording notes being added to the cords of 4th and
of 5th. The cord of the 4th always follows the mode of the key, that is, its
3d must be major or minor, according as the 3d of the cord of key is major
or minor. The cord of the 5th must in every case have its 3d major. To
practise these preludes in the way of game, the person who plays first throws
his pair of dice No. 3, or those bearing upon staves the fundamentals and
signatures of the first circle, and has the choice of either of the notes pre-
sented for the key note of his prelude. He then sets up the common cord of
that note upon his clavier, by placing his moveable notes in the proper keys,
and employing a white one for his bass note, taking particular care that the
third of his cord be major or minor, according as the key note which he had

page_text: chosen was a fundamental of the major or minor mode; the other player does
the same. The first player then puts into his box the die of the same mode
(major or minor) with his key, and also the dic of signatures without notes.
(This die is intended as a further exercise upon fundamentals and signatures,
and whenever it is thrown the player must name the fundamental note, both
of the major and minor key which has the signature presented.) If upon
throwing either, the fourth to his key note is presented by the one die or
signature of that fundamental note, according to the required mode is presented
by the other die, he sets up the cord of his fourth with its sixth added. If.
neither of these are presented le marks his disappointment by putting up a
counter, which he also does at each of the two next throws, which he makes in
his turn, if neither of the faces wanted are cast up; after that he is allowed by
way of help along with his two dies, to put also into his box one of his letter
dies, No. 1, that, namely, which bears the fundamentals of the mode required,
and he is to continue to throw in his turn until he obtain his fourth, either in
letter, note, or signature. He then proceeds to throw for his fifth. If his
prelude is in the major mode, he uses the same two dies which he used for
his fourth. If his prelude is in the minor mode in place of his <lic of
fundamentals and signatures, he must take the die of major fundamentals and
signatures, which lias the note wanted, borrowing it if necessary from the
adversary. If the note or signature wanted do not occur in three successive
throws in turn to be marked as before by counters, he is allowed a similar help
to what was allowed for the cord of fourth, that is, to join with his two dies the
die of major fundamental letters, which has upon one of its faces the letter.
wanted. When he obtains his fundamental he must set up his cord of dominant
or cord of the fifth to his key, with its seventh added, making the several notes
of his cord of fourth proceed into it according to the rules of music. Lastly, to
get home, he throws for his key note, using at first only his die of note and
signatures, and if he does not succeed in three throws, taking for help a letter
die as before; when he obtains it he sets up the cord of his key, or marks the
several notes of his cord of fifth, pass into it according to rule. His first
prelude is then compleated. The player next proceeds to perform his second
prelude, which must be in the minor mode if the former was in the major mode,
and contrary wise; he determines his key note by throwing a die, and proceeds
as before.
When this is finished, he executes his third prelude, in the mode
which is directed by the adversary. In every succeeding prelude the positions
of the cords, or the arrangement of their notes, must be changed. As the
natural keys C and A do not appear upon any of the dice in the two first
compartments, when these may be wanted as the fundamentals of a cord; the
:

page_text: player may use the die in the third compartment of the sharp drawer, which
bears upon its faces these keys, both in letters and in notes, upon staves. If a
player shall commit an error in placing or arranging the notes of his cords, he
shall lose the benefit of the next advantageous throw, or shall be subjected
to such other penalty, or give such other advantage to the adversary, as may be
previously agreed upon by the parties. He who shall have first completed
three preludes wins the
game.
Part 2 The same exercise performed upon the keys with uncommon signa-
tures, by using the dice of the second circle.-When the dies of signatures without
notes are to be thrown, the player with sharps may take the die of flats, and the
player with flats the die of sharps, and if the signature of the corresponding key
to that which is wanted shall be cast up, he may proceed to set up his cord.
Game IV. Rule of the Octave.-The cords or proper accompaniments of
the several notes of the bass scale ascending and descending, these cords may be
exhibited upon the claviers, by placing the moveable notes in the keys as in the
last game. The dice to be used are the four in the 4th compartment of the
sharp drawer, having upon their faces numeral figures. These four dice are
to be thrown by each of the players in turn, and whenever among the figures
presented are those which express the intervals, to the bass note of the several
notes of the cord which is to be performed, in other words which constitute the
complete thorough bass cypher of that cord, the player may proceed to set it
up. As the figures expressing all the intervals of a cord may frequently not
appear together in a considerable number of throws, if this does not take place
in three successive throws in turn (to be marked by putting up counters), a
smaller number, or even one of the intervals, being afterwards presented, may
be a sufficient warrant to the player to proceed with his cord. This may be
regulated in the following manner :-When the cord to be set up is that of
the key, the player is not entitled to take it by his first three throws, unless
the numbers 3, 5, and 8 appear together; after that if any one of them is cast
up, he may proceed. When the concordant harmony, or perfect cord of the 5th
is wanted for the three first throws, -3,-5,-afterwards-either-of-them. When.
a concordant cord of 6th is to be played for, the three first throws 3, 6:
afterwards 6. When the cord is that of 3d, 5th, and 6th, to the 4th of
the ascending scale, for the three first throws 3, 5, 6, afterwards 5, 6.
When the cord is that of 3d, 4th, and greater 6th, commonly called cord
of greater 6th, 3rd false, 5th and 6th called cord false 5th, 2d tritone, and
6th called cord of tritone for the three first throws, all the Figures of which
they cousist, afterwards the characteristic intervals greater 6th, false 5th, tritone
respectively. As the cyphers of greater 6th, false 5th, and tritone, are all upon

page_text: The
one die, it need not be thrown unless when those intervals are wanted.
player who in this manner shall first set up in order the several cords of the
ascending and of the descending scale wins the
ganie.
Part 2nd: The same exercise upon the rule of octave in the minor mode.-
When for proceeding correctly from the 7th to the 6th of the descending scale,
the suspending 7th may be necessary for the cord of the 6th, the player is not to
take that cord for the three first throws, unless the figures 3 and 7 are cast up,
afterwards 7 may be sufficient. If in either case a 6th shall appear at the
same time, he may immediately make his 7th pass into the 6th, if not he
must throw for a 6th. When either of these exercises is repeated, the cord of
key ought to be set up in a different position, which will lead to different
positions of the other successive cords. The penalties or forfeitures for
mistakes arising from ignorance or inadvertency may be settled as in the last
game..
Game V. Of the resolution of discords.-This game is played with the same
set of dice as the second game, and the same attention is to be paid to, and the
same account to be given of, the musical intervals which are cast up. Each of
the players takes his twelve larger and twelve smaller counters. In reckoning
the game, the 12 smaller counters are held to be equivalent to one of the larger,
and the party is gained by the player who has first set up all his 12 large
counters. When the interval presented is concordant, the player who has
obtained the throw must tell how many semitones the interval consists of, and
is intitled to put.up the same number of small counters. When the interval
presented is discordant the player who has thrown it must first set up the
same interval upon the clavier or upon the stave by means of the moveable
notes; he must then duly resolve the discord according to the rules of music:
When in making the resolution, one of the terms only moves; if a tone, the
thrower is intitled to 6 small counters, if a semitone he is entitled to 12 small
or 1 large counter. If one of the terms nove a semitone and the other a tone,
he will be intitled to 1 large and 6 small counters.
simitones he will be intitled to 2 large counters.
the discord may be obtained by moving one of the terms, either a tone or a
semitone, the player must determine in which of the two modes he is to
procced by throwing the die upon which are the letters T and S.
If both the terms move
When a due resolution of
Game V., Part 2d. If, instead of using the pairs of dice No. 3, as in the
last part, the player with sharps takes the minor die of No. 3, and the minor
die of No. 4, and the player with flats takes the minor die of No. 3 and the
major die of No. 4, a variety of intervals may be obtained which do not
appear in the pairs No. 3, by means of which the exercise of the game-may

page_text: be extended to some of the more interesting harmonical combinations of the
modern music. In order that compleat practice may be obtained upon two
of these combinations that are of most frequent occurrence, viz, the cords of
superfluous 6th, and that species of cords which are sometimes called cords
of substitution, or of borrowed harmony (the cord of superfluous 6th is the
accompaniment given by the modern musicians to the minor 6th of a scale
leading to a medial close upon the perfect cord of the 5th. The cords of
substitution may be considered as derived from the cord of dominant, or of the
5th of the scale, accompanied with greater 3d, 5th, 7th, and 8ve by substi-
tuting for the 8ve the 9th to the fundamental or 6th of the scale; the
fundamental cannot exist in this cord, but as the bass or lowest note. Most
commonly, however, it is suppressed altogether, and then the several notes of
the cord are the major 7th, or sensible note, the 2d, 4th, and 6th of the scale,
any one of which may be inverted into the bass, except the 6th. When the
mode is major, or when it is a tone above the 5th, the two dies, No. 5, in
compartment 3d of the flat drawer, are provided the one with thorough bass
cyphers upon three of its faces and staves, with cords upon the other three for
the cord of superfluous 6th, and the other, which has thorough bass cyphers
upon all its faces but one for the cords of substitution. As the dice used in
this game may sometimes present two notes which are incompatible, or which
cannot exist together in music, as the discordant intervals which they may at
other times present, may be considered as arising from approggiaturas or
notes of grace and expression, rather than as indicating any distinct species
of cord, and as some of the intervals which may enter into this game the
number in the sharp dice is not equal to that in the flat dice; with a view to
simplify and equalise the party, the winning throws for the sharps, and for
the flats may be restricted to those which follow, and all the other throws
which may occur may be considered as lost.
SHARPS.
1.Minor 9th.
1 Major 7th.
1 Diminished 7th.
2 Diminished 3ds.
1 Superfluous 5th.
1 Diminished 4th, viz., BE.
3 False 5ths.
2 Superfluous 2ds.
.
FLATS.
1 Superfluous 9th.
1 Major 7th.
1 Diminished 7th.
2-Superfluous-6ths.-
1 Superfluous 5th, viz., Bob, F.
1 Diminished 4th.
3 Tritones.
2 Superfluous 2ds, Cb, D; Bbb, C.

page_text: When a superfluous 6th is presented, the player must set up the same
interval by moveable notes upon his clavier, and must tell the key note or the
fundamental of the scale in which the two notes which he has set up would be
superfluous 6th, and also what degrees of that scale the two notes are, being
allowed, if he chuses it, to change the denomination of the notes from sharp to
flat, or from flat to corresponding sharp. He then resolves the discord,
according to rule, and is intitled to the several advantages stated in the first
part. After this, if required by the adversary, he must throw a die of
signatures, and also the proper subsidiary die, and must set up the compleat
cord of superfluous 6th belonging to the key indicated by the signature
presented, according to the model, or the cypher cast up by the subsidiary die,
distinguishing his bass note, which must be minor 6th of the scale by a white
pin, and must then resolve the cord, or make the several notes of it pass
properly into those of the perfect cord of 5th. If he perform this correctly be
shall be entitled, over and above the advantage which he has obtained from the
resolution of the discord of superfluous 6th, to such other advantages as may
correspond to the other movements which he shall have made. If he make
any mistake, the adversary, if he shall have challenged the mistake before
throwing, shall be intitled to the whole additional advantage. If the player
with sharps shall cast up a diminished 3d, he shall be allowed to invert it into
a superfluous 6th, and then to proceed as above. The intervals, diminished
7th, superfluous 2d, minor 9th, and superfluous 9th, are all to be considered
in this game as indications of cords of substitution, or borrowed harmony,
in the minor mode. When any of these is turned up, the same interval
or one of equal extent, the adversary being allowed to name the lower
term, is to be set upon the clavier, it being understood that when the
minor 9th is thrown the player may join with these the major 3d or 5th
to the lower term the declaration of the key note, and of the degree of
the scale which each note is upon being made, the discord being resolved,
and the corresponding advantages being taken as in the cord of superfluous
6th. After this, upon the requisition of the adversary a signature die, and also
the subsidiary die for substitution cords are to be thrown, and the compleat
minor substitution cord belonging to the key presented must be set up, the
position of the cord and the bass note being determined by the cypher cast
up by the subsidiary die, and must be duly resolved. The same additional
advantages, corresponding to the movements made, accruing to the thrower if
he succeeds, or to the adversary if he shall fail, as are above stated. Falso,
5ths and tritones are to be treated in this game as indications of substitution
R

page_text: or borrowed harmony cords in the major mode. When any of these are cast up,
the player must throw a signature die, and also the subsidary die, and must set.
up the complete major substitution cord for the key presented in its proper
position to the bass note indicated by the cypher of the subsidary die. If the
cyphers 2, 4, 6, shall be cast up, the player may throw again till he obtain
something else. When the stave and cord upon one of the faces of that. die
is presented, the player, after having set up and resolved the discord which he
had previously thrown, must give. an account of the derivation of substitution
cords, and exhibit them in their different positions; and inversions upon his
clavier. If he performs this tasks correctly, he shall be entitled to an
additional counter; if he fails, and the adversary can perform it, he may claim
that advantage. When a major 7th is. presented, the player may be required
to set up the compleat cord of major 7th, considered as leading or to be
resolved into the perfect cord of the lower note, and upon his doing so.correctly
will be entitled to the additional. advantages. corresponding to the other
movements which he makes in resolving. the discords, otherwise the adversary..
When the dice present a superfluous. 5th or diminished 4th, the thrower, after
having set up the interval, may be required to. insert or to join with. it. oue
other note. If he does this properly, and if that. note also moves in. the
resolution, he will be entitled to additional: advantage, if. not; the adversary.
Game VI. Of modulations. Part 1st.-An exercise upon regular modu..
lation in the major mode, or the method of passing from any key to the key,
of its 5th towards the one hand, or to the key of its 4th towards the other
hand. This is to be played. upon the circles of major fundamentals, which are
upon the outer rim of the borders that surround the two. tables, the: one
player going along that which. has signatures of sharps, and. the other going.
along that which has signatures of flats. The object of the former is to
proceed successively by regular cords through all the keys, according to the.
order by 5ths, and the object of the latter is to proceed in a similar manner
through all the. keys, according to the order, by 4ths. The player who first
compleats his round wins the game. The dice used in this game are the
-pair-No.-6,-in-the 4th compartment of the. flat drawer, which bear upon their
faces. thorough bass cyphers, and, the characters of sharp, flat, and natural, of
which the one which has the character #upon two of its faces is to be used
by the player, who is to proceed by 5ths through the keys with sharp sig-
nintures, and the one which has upon two of its faces the character b is.to be:
used by the other player, as also the die of lines, or incomplete staves. Each
player sets one of the travelling-pins, which lie in the 5th compartment in C,

page_text: upon the border, and at the same time puts up the common cord of that key
upon his clavier, and whenever another key is gained or passed into upon the
clavier, the pin is moved into its fundamental. A new key is gained when
such a figure is presented by the die as directs to play, or set up the leading
cord of a regular cadence upon that key or what is sometimes called its cord
of dominant. This cord is that of major 3d, perfect 5th, and minor 7th to
the 5th note of the scale. It may exist in four different states, and may be
called the cord of major 3d, and 7th cord of false 5th cord of major 6th, ōr
cord of tritone, according as the bass note is the fundamental, the 3d, the 5th,
or the 7th. When the dies present ab 7 or 7, the minor 7th to the bass
note of the perfect cord which is then upon the clavier, is to be added or
inserted amongst the notes of that cord. It thus becomes a cord of dominant
or the leading of a regular cadence upon the 4th of the former key or the
next key, according to the order by 4ths, and is accordingly to pass or to be
resolved into that key, and the pin is to be moved into its fundamental.
When a tritone is cast up, the cord of tritone to the bass note of the present
key is to be played, or the notes of the cord must pass into those which are at
the interval of major 3d, perfect 5th, and 8ve to that note which is second
to the bass note. This being duly resolved, leads into the next key, according
to the order of succession, by 5ths, into which accordingly it is to pass, and the
pin is to be moved into its fundamental. A being cast up, is an indication
that a sharp is to be added to the signature of the key, which is then upon
the clavier, or that a modulation is to be made into the next key of the order
by 5ths. On the other hand ab being cast up is an indication that a flat is to
be added to the signature of the key which is then upon the clavier, or that
a modulation is to be made into the next key, according. to the order by 4ths.
In executing these modulations, the leading cord may be. played or set up in
any one of its four states or inversions. To determine which of them is to be
used, or in some degree to limit the choice, the die of lines or broken staves
may be thrown, which will shew the range of movement to be allowed to the
bass note.
Of the faces of this die that with one line is intended to represent
no interval or unison, one line and a half represent a 2d; two lines, a, 3d;
two lines and a half, a 4th; three lines, a 5th; and four lines, a 6th or 7th.
When one line is cast up, the bass is not allowed to move, and in that case
modulation into the key 5th can only be made by the cord of tritone and into
the key 4th can only be made by b 7. When one line and a half is turned up
the bass note may move a 2d, and the modulation into the key 5th may then
be also made by the fundamental cord of greater 3d, 5th, and 7th to the 2d

page_text: of the scale. When two lines are presented, modulation into the key 4th
may be made by the cord of false 5th to the 3d of the present scale.
When two lines and a half are presented, modulation into the key 5th
may be made by the cord of false 5th to the sharpened 4th of the present
scale. When three lines occur, modulation into the key 4th may be made
by the cord of greater 6th to the 5th of the present scale. Lastly, when
four lines are presented, modulation into key 5th may be made by the cord
of greater 6th to the 6th of the present scale, and into key 4th by the
cord of tritone to the flattened 7th of the present scale.
When the range
presented by the die affords a choice, it may be given to the adversary,
or he may direct the player by what particular inversion of the leading cord he
is to make his modulation; or he may be obliged to move his bass note, the
greatest interval presented by the die, by which the proposed modulation,
whether into key 5th or into key 4th can be effected.
When the player upon
the signatures of sharps turns up he must take off a sharp from his
signature, or modulate back to the key 4th. When the player upon the
signatures of flats turn up a 4, he must take off a flat from his signature, or go
back to the key 5th. The particular inversions of the leading cord, by which
these modulations are to be made must be determined as before by the die of
broken staves. When the one player cast up the Figure 5, he may move the
notes on his clavier into the perfect cord of his 5th, and when the other player
casts up the Figure 4, he may move into the perfect cord of his 4th. If the
same Figure respectively shall occur at the next throw, that key may be con-
sidered as established, and the pin may be moved into its fundamental.
If any
thing else shall be cast up he must return to his former or key cord, and proceed
as directed by the die. The player upon the sharp signatures advances in his
game, or gains a step forward when he casts up a tritone or #, and has a
chance for doing so when he casts up 5, but he is carried backwards, or loses
ground when he turns up 47, or 4. Again the player upon the flat signatures
advances or gains a step forward when he throws b 7 or b, and has a chance
for that when he throws 4, but is carried backwards when he throws a tritone
or These chances-of-being-carried backwards are put upon the dies for the
In order,
purpose of affording exercise in proceeding in both directions.
however, that the game may not be drawn out to too great a length, these
turns or retrograde movements may be regulated in the following manner :-A
player is not to be turned back from his outset or first station, and all throws
which would have that effect are to be considered as lost. Each quarter of the
circle is likewise to be considered as a station from which, when he has gained

page_text: it, he cannot be turned back, namely, the keys of 3 sharps and 3 flats, 6 sharps
and 6 flats, 9 sharps and 9 flats. In proceeding from his outset to the first
quarter of the circle he may be turned back four times, but not oftener; from
the first to the second quarter three times, and no more; from the second
to the third quarter only twice; and from the third quarter to the outset
only once. The number of turns in all these cases is to be marked by
putting up counters.
Part 2nd A similar exercise upon regular modulation in the minor mode.
Each player sets out from A the fundamental of the minor scale of natural notes,
and they proceed through the 12 keys, the one according to the order by 5ths,
and the other according to the order by 4ths, using the same dies, and observing
the same rules as in the former part.
Part 3d: The modulations practised in the two first parts, by which music
passes from any key, major or minor, to the next key in the system of the
same species upon either hand, being those which most frequently occur in
music, may be called natural and regular music, may also pass easily
and naturally by means of proper leading cords from any major key to
its relative minor, and from any minor key to its relative major. In the
works of the modern composers, however, the music is often carried
suddenly and unexpectedly, or by few steps into a key, which is con-
siderably removed in the system from that in which it had formerly been.
These sudden or distant transitions are effected by various means, of which
some of the most usual are changing the mode, or going at once from the
major to the minor, or from the minor to the major of the same fundamental,
proceeding to the key of the minor 6th to the fundamental of a major as well
as of a minor scale, and changing the denomination or the name of one or
more of the notes of certain cords, particularly the cords of substitution or
borrowed harmony in the minor mode, and the cord of superfluous 6th. To
afford exercise upon this kind of modulation to those who have made some
progress in the study of music, the two dies No. 7 have been provided, upon
one of these, which may be called the first die, are the fundamental letters of
all the major and minor keys, which have for signatures from one to three
flats, each face presenting two fundamentals, the one with a signature of sharps,
and the other with a signature of the same number of flats, and the funda-
mentals of major keys being distinguished by capital letters, and those of minor
keys by small letters upon the other, which may be called the second die, are
exhibited in the same manner, the fundamentals of all the keys, major and
minor, which have for signatures from three to six sharps, and from three to

page_text: six flats. The general plan of the game may be as follows:-The first player
throws the first die, and may chuse either the fundamental with sharps or
with flints for the key from which he is to set out, and having made his election
he puts a pin into the same key letter in the border. The other player then
throws the same die, and must take for his outset key the one presented,
which is of the opposite species to that which had been chosen by the first player;
in other words, he must take the key with a flat signature if the first player
had chosen that with a sharp signature, and contrariwise, and he puts a pin
into the same letter in the border. The first player then throws again. If
his object is to modulate into the key, minor or major relative, or into a key
which is at no great distance from his outset, he throws the first die; if his
object is to modulate, into some distant key he throws the second die; he
must take for the key into which he is to modulate the one presented, whether
major or minor, which is of the same species with his first key, and put a pin
into the corresponding letter in the border. The other player does the same,
and must take for the key into which he is to modulate the one presented of
the same species with his first key, and also mark it in the border. The first
player then sets up the cord of his first key upon his clavier, and modulates or
makes the notes of it pass progressively into the other key by whatever steps
he may think proper, provided they be consistent either with the strict rules of
music, or with the practice of classical composers, and for every sharp and for
every flat which is thereby added to or taken from the signature of his first
key he sets up a counter. The second player then proceeds to work his
modulation in the same manner. When a player throws next in turn, the
key into which he has passed, and which is now upon his clavier, becomes his
outset key, and he must modulate from that into the key of the same species
presented by the die. If his key is one of the second die he may either throw
the same for relatives or near keys, or the other die for more distant keys.
When the die presents a minor or major relative to the one upon the clavier,
and the modulation into that key has been made, the player may be entitled
to a counter.
When the outset key happens to be one of three sharps or
three flats, the player may along with the other die throw the die, upon which are
the keys of C and A, and if either of these keys is turned up he may at his
option proceed into it, or into the key presented by the other die. The player
who first sets up twelve counters. wins the game. When this party is played
by a master and an advanced pupil, the different keys which are presented by
the dies to be modulated into may afford various subjects of instruction and
practice, as each throw may be considered as proposing an harmonical

page_text: problem, in the solution of which knowledge and ingenuity may be displayed.
A piano-forte ought to be at hand, and every progression made upon the
lavier to be proved upon it.
In witness whereof, she, the said Ann Young, by her said Attorney,
bath hereunto set her hand and seal, the Sixteenth day of April,
in the year of our Lord One thousand eight hundred and one.
AND BE IT REMEMBERED, that on the same Sixteenth day of April, in
the year above mentioned the aforesaid Ann Young, by the said Benjamin
Nind, her attorney, came before our Lord the King in His Chancery, and
acknowledged the Specification aforesaid, and all and every thing therein
contained, in form above written. And also the Specification aforesaid was
stamped according to the tenor of the Statute in that case made and provided.
Inrolled the same Sixteenth day of April, in the year above written.