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 The making of dictionaries was now taken up by several hands, as by Thomas Balthasar Janowka, organist at Prague, with his Clavis ad thesaurum (1701, 324 pp.), containing terms only; by Sébastien de Brossard (d. 1730), a musical priest, from 1687 at Strassburg and from 1698 at Meaux, with a Dictionnaire (1703, 300 pp.), terms only; by J.G. Walther (d. 1748), the Weimar organist, with a Lexicon (1728-32, 659 pp.), including biographies, terms and bibliography; by an unknown editor (possibly the publishers C. and J. D. Stössel of Chemnitz), a Lexicon (1737, 430 pp.), names, terms, history, etc.; and by Rousseau (d. 1778), with a Dictionnaire (1768, 548 pp.), being his articles in the Encyclopédie revised and increased.

In the field of history only minor works are to be noted. Nominally comprehensive, but really fragmentary, were those of Jacques Bonnet (d.c. 1724), using material by Pierre Bourdelot (d. 1685), both of Paris, (1715, increased to 4 vols., 1721); and of Philippe Joseph Caffiaux (d. 1777), also of Paris (MS., 1754). On ancient music there are valuable data in the bibliographical collections (1705-34) by Johann Albert Fabricius (d. 1736) of Hamburg; in essays (from 1705) by Pierre Jean Burette (d. 1747), professor at the University of Paris; in many dissertations on Hebrew music by various authors, collected (1744-69) by Blasio Ugolini of Venice; in an essay on the Greek genera (1746) by Pepusch (d. 1752); and in one of the works (1759) of Marpurg (d. 1795). Andrea Adami da Bolsena (d. 1742) wrote on the methods of the Papal Chapel (1711); Pierre François Godard de Beauchamps (d. 1761), two works on the French theatre and opera (1735, '46); Francesco Saverio Quadrio (d. 1756) on poetry, including the opera and oratorio (1738-59); Bonnet on dancing (1723); Jean Georges Noverre (d. 1810) on the same (1760); John Parry (d. 1782), a blind Welsh harper, made collections, with notes, of British, Welsh and Scottish songs (1742-81); and Scheibe (d. 1774) contended for the origin of harmonized song among Northern peoples (1754).

The famous firm of Breitkopf & Härtel in Leipsic (see sec. 193) was started in 1719 by Bernhard Christoph Breitkopf (d. 1777) as a general printing business, which undertook music-printing also from 1754 by the aid of new methods of making type invented by his son, J. G. Immanuel Breitkopf (d. 1794), whose scholarship brought forth several books on printing (from 1779). Gottfried Christian Härtel (d. 1827) did not enter the business till 1795. It may be noted that Pierre Simon Fournier of Paris (d. 1768) introduced round-headed notes into music-type in 1756, later issuing a history of music-type (1765).

142. Summary of the Half-Century.—The early 18th century, taken as a whole, presents many of the contradictory features of a transitional epoch. Even more than the 17th century, it was the meeting-point of tendencies old and new, so that it was characterized by qualities that were intricately mixed. A just summary must try to take account of all of these.

On the whole, the greatest feature of the age was the second