Page:The New International Encyclopædia 1st ed. v. 12.djvu/55

* LEAD. 43 LEADING OF VOICES. ic inilamruation of the peripheral nerves, muscu- lar paralysis, and more rarel.y certain forms of epilepsy and insanity. A well-known symptom consists in the formation of a characteristic dark-blue line on the gums, due to the precipita- tion of black sulphide of lead, the sulphur coming from the food or from tartar on the teeth. An- other common symptom is known as "painter's colic' The treatment of chronic lead-poisoning consists in tlie administration of opium, ca- thartics, sour lemonade, soluble sulphates (Glau- ber's salt or Epsom salt), and potassium iodide. Of course, care must be taken to remove the cause and thus prevent further poisoning. Consult : Putnam, "Toxic Affections from Ar- senic and Lead," in Keating's Cyclopwdia (Phila- delphia, 1S90) ; Oliver, Lead Poisoning in Its Acute and Chronic Forms (Edinburgh and Lon- don, 1891). LEAD, SouxDiXG. A device for obtaining soundings. It almost invariably consists of a six times its diameter, having a cup-shaped recess in the larger (which is the lower) end. and a hole for the lead-line in the other. The recess in the bottom of a lead is for the armiiifi. which usually consists of tallow; this strikes the bot- tom when the lead is cast, and some sand or mud or whatever the bottom is composed of adheres to the arming and may be examined. If the bottom is clean and rocky this may also be determined by the effect on the arming. Sounding leads are of different sizes; hand leads ■weigh from 5 to 1-t pounds; coasting leads from 25 to 50 pounds, and deep-sea ( pronounced 4ipsy) leads from 75 to 120 pounds. For sound- ings greater than 20 fathoms soundinsr machines are now largely used. See Sou.xd, Soundixg. LE.iD-LiNE. The lead-lines are made of white line, wetted and carefully stretched before mark- ing and frequently examined and measured to see that they have not stretched or shrunk. The marking on hand lead-lines is as follows: At 1 fathom, a toggle or piece of leather; at 2 fathoms, two strips of leather: at 3 fathoms, three strips of leather; at 5 fathoms, a white rag; at 7 fathoms, a red rag; at 10 fathoms, a piece of leather with a hole in it; at 1.3, 15, and 17 fathoms, the same as at 3, 5, and 7; and at 20 fathoms, 2 knots. The other fathoms are not marked and are called deeps, the lead-line being said to be divided into marks and deeps. For hydrographic work hand leadlines are marked at every fathom, the deeps being shown by a small rag'at 8, 9, IG, 18, and 19 fathoms; at 4 fathoms a piepe of leather with 4 tails, and at 11 and 12 the same as 1 and 2 (omitting the toggle). In addition, every foot up to 5 fathoms is shown by a very small piece of white rag worked into the lay of the rope and every half- fathom by a piece of twine. Deep-sea lend-lines are marked at 20 fathoms with a piece of twine having two knots: at 30, with three knots; at 40, with four knots, and so on ; while at every intermediate 5 fathoms there is a small piece of twine with one knot. LEAD, or LEADE, Mrs. Jaste (1623-1704). An English mystic. She was born Ward in the ■county nf Xorfolk. Her first call to mysticism was in 1630. In 1654 she married a relative, William Lead, who died in 1670, and thence- forth Mrs. Lead lived quietly in London. Infln- •enccd by the writings of Jacob Boehme (q.v.). Vol. XII.-4. which had appeared in English, she began, in 1070, to have visions. These she recorded in suc- cessive volumes. One of them, in 1693, fell into the hands of Fischer of Rotterdam, and was translated by him into Dutch. Other volumes and translations followed, and Mrs. Lead be- came a recognized leader among the mystics of England, Holland, and Germany. Her followers called themselves 'The Philadelphia Society.' and believed her to be a true prophet. About 1093 she made the acquaintance of Francis Lee. a 3-oung Oxford scholar (because of his Oriental learning called Rabbi Lee), who became her amanuensis and adopted son, and married her daughter. She died in an almshouse at Stepney. London, August 19, 1704. Her writings number 16 titles and were once popular, but now are scarce. A few have been lithographed in the Manuscript Library (Glasgow, 1884 sqq. ), e.g. The Heavenly Cloud XoiP Breaking: The Lord Christ's Ascension Ladder Sent Down (1681), treating of death and resurrection; The Revela- tion of Revelations (1683), recounting her vis- ions; and The Wonders of God's Creation Mani- fested in the Variety of Eight Worlds, as They Were Made Known Experimentally Vnto the Author (ICOol. LEADENHALL MARKET, A great Lon- don market for the sale of poultry, game, and hides. Its name is derived from the lead-roofed manor of Sir Hugh Xeville which anciently oc- cupied the site. LEADENHALL STREET. A well-known London street, the continuation of Cornhill. On it formerly stood the East India House, re- moved in 1862. LEADER, The name given to the performer in an orchestra who plays the principal first violin. He is also called concert-master. It is his duty to attend to a uniform bowing of the violins, as it would look awkward if some per- formers used the up stroke, while others used the down stroke. He is supposed to be able to take the conductor's place in case of emergency. In small orchestras the leader is generally also the conductor (q.v.) and uses his bow as a baton in passages that offer rhythmic difficulties, LEADING OF VOICES, A term applied to the progression of the individual parts or voices in a musical composition, whether vocal or in- strumental. Miat constitutes good or bad writ- ing depends chiefly upon the skill with which the various voices are led. The fundamental prin- ciple of securing a masterly leading of the voices is the progression by seconds or steps whether they be whole or half steps, diatonic or chromatic. Another important principle is the retention in the same part of the same note if it is common to two or more chords. The leading of the bass, how- ever, is an exception to these rules, since the tendency of the bass part is to proceed from the fundamental tone of one chord to the fundamental of the next. Although progression by steps is generally desirable, it is not always practicable in modern music. This is especially true in the case of the (generally highest) part having the melody, which frequently proceeds in harmonic skips." The leading of the voices is far more free in modern music than it was formerly, and hence a distinction is made between strict and free style. Tlie former avoids in the progression of voices all difficult intervals (augumented second,
 * lead bar of prismatic shape, in length five or