;4i6INDEX.KnCpffer, in. 28.Koch, J. S., I. 343.Köhler, J. F., III. 11.König,;. U., II. 494 f.KoRTTE, G., II. 627.Kramer, cantor of Dondorf, II. 479, III. 235.Krause, G. T., III. 4, 309 f.Krause, J. G., III. 3-9; his Coffee cantata,II. 641.Krebs, J. C, III. 24T, 250.Krebs, J. L., III. 7, 241 f., 269, 287-2S9, 309.Krebs, J. T., 1.523, III. 41.Krebs, J. T., junr.. III. 241.Kriegel, Abraham, III. 5, 276.Krieger, J., suites, II. 91 f.Kuhnau, J.,I. 237-240, II. 181, 332-336; connection\rith Leipzig opera, II. 20S f. ; withthe Collegium musicum, III. 17 ; his memorialto the town of Leipzig, III. 302-305 ; hisChristmas cantata, 11. 676 f.; hisWhitsundaycantata, II. 677 his Passion music, II. 491 f.,;499; his short mass. III. 28; his hymn forWhitsuntide, III. 34; his Bible sonatas,1. 236, 243 ff. ; his influence on <strong>Bach</strong>, 1. 243-245, 320, II. 371, III. 155.KtJHNEL, A., I. 514.Kunstpfeiffer, see Stadtpfeiffer.Küttler (Kittler), S., II. 240, III. 6 f.Lämmerhirt, T., I. 339, II. 153.Langula, state of music at, I. 343.Lautenclaviere, I. 140.Lautenclavicymbel, II. 46 f.Legrenzi, G., I. 423-425.Leiding, G. D., I. 260.Leipzig, schools, II. 189, 193, 200, 204; musicat, II. 673; cantors at, II. 181-1S5 ; musicalsocieties at. III. 276 ; opera at, II. 203 ff.organs at, II. 675 f.; III. 305-307; hymnbooks at, II. 27S ; concerts at, III. 18 f.Leo, Leonardo, II. 639.Librettists for Cantatas, II. 339.LiNIKE, C. B., II. 4.Linke, of Schneeberg, III. 242.LippE, Count von, III. 270.Lorbeer, J. C, I. 392.Lotti, a., I. 585 f.. III. 28, 236, 263 his;influenceon <strong>Bach</strong>, II. 638, III. 28.Low, J. J., I. 192, 194.Lübeck, Vincentius, I. 200, 260, III. 155 ;his son, II. 19.LtJBECK, organ in Marienkirche at, I. 257-259,III. 298 f.LULLY, J. B., I. 124.LtjNEBURG, music at, in 17th and i8th centuries,I. 1S9 ff.; organ at, I. 217; St.Michael's schools, I. 217.Lustig, J. W., III. 228 f.Luther, III. 266 note.Lutheran Service i Leipzig, II. 263-281.LuTHERANiSM, attitude towards Catholicism,III. 44.Machold, J.,II. 481.Madrigal, verse-form, I. 469-479.Mancinus, T., II. 478.Manieren, II. 297 f., 312, 317, 320-323.Marchand, J. L., I. 583-585, 644-647; hissuites, II. 86, 9;.Marcus, M. F., II. 4.Marpurg, F. W., III. 117, 126, 159 note, 204.Mass, the, in Protestant service. III. 26-29.Mattheson, J.,I. 261, 4S1-4S3 ; II. 16 f., 21,23, 27, 79f., 82-84, III. 204, 228 f., 234, 255,257-Meiningen, residence of the <strong>Bach</strong> family, I.10 ; state of music at, I. 581 f.Merulo, C, I. 97.Meyer, J.,I. 480.Minor Scale, the modern. III. 130 f.Minuet, II. 75.Mizler, L. C, II. 104; III. 22-25, 125.Modes, the ecclesiastical, I. 80, 84; III. 12g-134-Möller, G., I. 378.Müller, A. F., 624-626.Müller, K., I. 514.MoNjou, Demoiselles de, II. 4.Monochord, Neidhardt's, I. 137 f.MoTETT-, history of, I. 53-59, 73 f. ; Schütz's, I.54 ; anon., I. 55-5S ; Gabrieli's, 1. 82 ; Michael<strong>Bach</strong>'s, 1. 59-73 the form as treated by <strong>Bach</strong>,;II. 604-612; accompaniment of, II. 607-612 ;its use in the German service, II. 596 f.Motz, G., I. 480.Muff AT, G., I. 109, 117, II. 95.Muhlhausen, state of music at, 1. 340 ff. ; theconstitution, I. 344 ff., 357, restoration ofthe Blasiuskirche organ, I. 354-358, 370.Müller, A. F., II. 624 ff.Müller, H., III. 266.Müller, J. J.,II. 3.Musical societies in Leipzig, III. 16-25, 219,258, 276.Musicians' Guild, 1. 143-153.Musicians' Salaries, I. 20, 24, 29 f., 33, 39,108, 185, 188, 191 f., 223, 337, 380, 516, 518,III. 19, 299.Musikvereine, students'. III. 17, 19.MuTHEL, <strong>Bach</strong>'s pupil. III. 246-248, 274.Mysteries, or Miracle-plays, II. 500-503, 567,5/0-572-Nageli, editor of the Wohlt. Clav., II. 668.Neidhardt, J. G., I. 137; II. 41.Neukirch, B., II. 494.Neumeister, E., I. 470-478, 630 f., II. 339,493, III. 267.Nichelmann, Chr., III. 231, 248.Niedt, F. E., III. 120.NiKOLAiKiRCHE, Organ, II. 286.Oboe d'amore, II. 682.Olearius, J.C, I. 166.Olearius, J. G., I. 30, 166, 313 £
f'Scarlatti,[Scheibe,I298, Scheibe,j255,IScheidt,1 ScHEMELLi,INDF-X. 417Open-air performances, II. 621 f.Opera, in Germany, I. 199, 466-469, II. sjS ;in Leipzig, II. 202-306.Opus-numbers, III. 156.Oratorio, history of, I. 43, II. 306, 499, 570Orchestra, organisation of, II. 303 fiT.Orchestral Suites (Orchesterpartien),139-146.Organ-playing, history of, I. 96 f., 102, 126,II.11.35 fr.; organ employed in services, II.278-281 ; its use in the chorale cantatas, III.104 f.; organs in Leipzig (specification), II.281-290, 675 f.. III. 305-307.Overtures, 1. 124.Pachelbel, HiERONyMt;s, his toccata for twnclaviers, III. 144.Pachelbel, J.,I. 38, 94, 107-109 ; his worksI. 110-125, 127; his organ chorales, I. 247,III. 100 f., 213 f., 217, 220; his influence on<strong>Bach</strong>, I. 111-123, 255 f.; compared withBöhm, I. 205-209; with Buxtehude, I.284f.,2Sq, 297.Paduana, II. 72.Palestrina, III. 29.Partie, partita, I. 127, II. 74 f.. III. 219 f.Passacaglio, I. 279-282, II. 405, III. 170.Passepied, II. 75, gi.Passion music, its origin and history. II.477 ff. ; at Meissen, II. 478; passion plays,II. 500-503, 567 ; settings before <strong>Bach</strong>'s, II.538-539-Paurbach, composer of a Passion setting, II.301.Performances, sacred, at Christmas, Easter,&c., II. 570 f.Pestel, J. E., II. 94.Petri, Samuel, II. 301-309, III. 234.Petzold, C, I. 583.Pfeiffer, A., III. 266.Pianoforte, suited to <strong>Bach</strong>'s works, II. 45.PicANDER (Henrici), II. 340-347,505-508, III.43. 94 f-Pietism, I. 30 f., 166-168; at Mühlhausen, I.358-370 ; its influence on music, I. 362 f.,479-486.Pisendel, J. G., I. 583, II. 205 f., III. 227.Pitch (see Tuning) of the Leipzig organs, II.676-678.PlTSCHEL, T. L., III. 262 f.PoNiCKAU, J. C, von, II. 411 f.Pr.\etorius, M., II. 34.Preamble, the, I. 105.Preludes, for organ, II. 291."Programme Music,'' I. 236-245, 246 f., 494,549-Protestantism, its effect on music, I. 112 f.Protestant element in German masses. III.26-29, 34 f.QuANTZ, flute player. III. 231.Quodlibets, I. 154, III. 172, 174-176.Rambach, J. J.,11. 346, III. 2G7.Rameau, J.P., III. 124 fr.Realism in music, I. 553.Recitative, I. 494-498, II. 311-320.Refor-mation Festival, II. 271.Reiche, G., II. 248.Reimann, J. B., III. 114, 236.Reineccius, G. T., I. 38g f.Reinken, J.A., 1. 195-200, 42g-43i, II. 15, 18;his suites, II. 87, f. ; his sonata. III. 36C-384.Rese, J. L., II. 4.Richter, J.C, II. 52.RiGAUDON, II. 75.RiNGK, J., II. 633.Ritter, C, II. 93.RiviNus, J.F., II. 621.ROCHLITZ, III. 277.Rockhausen, residence of the <strong>Bach</strong>s, I. 2 f.Rolle, C. C, II. 29g, 307.Rolle, C. E., II. 2.Rolle, C. F. (of Quedlinburg), I. 520, II.181 f.Romanesca, II. 72.RÖMHILD, J. T., I. 10, III. 235.Rothe, J. C., II. 491.Ruhla, residence of the <strong>Bach</strong>s, I. 10 f.Salaries of musicians, I. 20, 24, 29 f., 33, 39,108, 185, i83, 191 f., 223, 337,380,516,518,III. 19, 29g.Sarabande, II. 75, 91.Sax-Merseburg, Duke of. III. 228, 235.Scandelli, author of a Passion setting,II. 588.Dom., II. 77, III. 160 note, 182.J., organ builder, II. 282 f., 290, 292,f., 317. 334-J.A., 11.645-647,675, III. 21,252-109-114, 242.Schieferdecker, J. C, I. 311 ; II. 346.Schiff, C, I. 480 note, 17g.Schmidt, Balthasar, III. 219- 238, 250, 269,2go, 294.Schmidt, Joh., III. 238, 248.Schmidt, J. C, of Zella, I. 434 note, 135, II.305-307-Scheidemann, H., II. 16.S., I. 97-g9, 126.G. C. and C. F., I. 367-370, III.633-Schmidt, J. M., III. 258 f., 275.Schneider, J.,II. 5, 262, III. 242Schnitker, Arp., II. 18.Scholars' Choir, at Eeisenach, I 183.Schott, G. B., II. 183, 206, 673.Schröter, C. G., II. 301, III. 257 f.Schcbart, J. M., I, 343,522.SchCbler, J. G., III. 2ig, 238.Schüler, Hans, I. 2.Schultz, Chr., II. 478-481,Schulz, A. P., III. 129.
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BOOK VI.THE FINAL PERIOD OF BACH'S
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musicum,oderGriindl.Gedrucktdenenwo
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BACHS INCREASING CELEBRITY 21that h
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—bach'-s connection with mizler.
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THE SHORTENED MASS. 27certainty. Du
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EARLY ITALIAN MASSES. 2gback than L
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ach's masses in g major and minor.
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BACH S SHORT MASSES. 37by the bass,
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B MINOR MASS—ITS PROTESTANT FEELI
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—THE PROTESTANT MASS. 45with the
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—THE STRUCTURE OF THE B MINOR MAS
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THE B MINOR MASS— ITS SYMBOLISM.
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THE B MINOR MASS—GENERAL CHARACTE
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—Vnere stillTHE B MINOR MASS AND
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"war GOTT NICHT MIT UNS." 67chorale
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— ——TWO WHITSUNTIDE CANTATAS.
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CANTATAS FOR 1735. 71The similar ar
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ADAPTATIONS OF INSTRUMENTAL WORKS.y
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CANTATAS FOR SOLO VOICES. 83church
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CANTATAS FOR SOLO VOICES. 85of infi
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—CHORALE CANTATAS. 8?but its char
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—CHORALE CANTATAS. 89nature of th
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CHORALE CANTATAS.QIas to their date
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CHORALE CANTATAS—TRANSITION FORMS
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;CHORALE CANTATAS—TRANSITION FORM
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—I06JOHANN SEBASTIAN BACH.middle
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efindlichLiederCopiesGesang-Buch,Vo
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114 JOHANN SEBASTIAN BACH." Meines
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Il6JOHANN SEBASTIAN BACH.but he had
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128 JOHANN SEBASTIAN BACH.it is pre
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136 JOHANN SEBASTIAN BACH.Society.
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fitted142 JOHANN SEBASTIAN BACH.and
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154 JOHANN SEBASTIAN BACH.deck out
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156 JOHANN SEBASTIAN BACH.At that t
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158 JOHANN SEBASTIAN BACH.of Bach's
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102 JOHANN SEBASTIAN BACH.intensifi
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l66JOHANN SEBASTIAN BACH.easiest to
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170 JOHANN SEBASTIAN BACH.Setting a
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172 JOHANN SEBASTIAN BACH.requireme
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JOHANNl82,SEBASTIAN BACH.The bold i
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184 JOHANN SEBASTIAN BACH.The C maj
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204 JOHANN SEBASTIAN BACH.tion, but
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226 JOHANN SEBASTIAN BACH.In 1731 t
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228 JOHANN SEBASTIAN BACH.meister t
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230 JOHANN SEBASTIAN BACH."Was mir
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232 JOHANN SEBASTIAN BACH.Silberman
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234 JOHANN SEBASTIAN BACH.it has no
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238 JOHANN SEBASTIAN BACH.It is a c
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240 JOHANN SEBASTIAN BACH.came also
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242 JOHANN SEBASTIAN BACH.who has d
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244 JOHANN SEBASTIAN BACH.Capellmei
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246 JOHANN SEBASTIAN BACH.Johann Th
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248 JOHANN SEBASTIAN BACH.in June,
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250 JOHANN SEBASTIAN BACH.members o
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254 JOHANN SEBASTIAN BACH.oratory a
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256 JOHANN SEBASTIAN BACH.matters,
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258 JOHANN SEBASTIAN BACH.before ve
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200 JOHANN SEBASTIAN BACH.name of B
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202 JOHANN SEBASTIAN BACH,the choir
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264 JOHANN SEBASTIAN BACH.If a fugu
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266 JOHANN SEBASTIAN BACH.as Bach s
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268 JOHANN SEBASTIAN BACH.with him
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270 JOHANN SEBASTIAN BACH.his place
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272 JOHANN SEBASTIAN BACH.give me n
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28oAPPENDIX.t Brii-der-lein^j^ u g
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282 APPENDIX.the sheet. These eight
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284 APPENDIX.With regard to No. 4,
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286 APPENDIX.i8. Ich bin ein guter
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288 APPENDIX.five melodies are not
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290 APPENDIX.made. The writing is t
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292 APPENDIX.auf W. Friedemann Bach
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294 APPENDIX.These were exhausted b
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APPENDIX B.[In the German edition o
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29^APPENDIX.Berlin has two church c
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300 APPENDIX.Bach's emoluments were
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302 Appendix.2. And bring the music
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304 APPENDIX.that the small sum of
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306 APPENDIX.that the dust and dirt
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308 APPENDIX.Magnifici.Most Noble,
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310 APPENDIX.he had himself owned t
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312 APPENDIX.and perhaps irreparabl
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3^4APPENDIX.Cantor, as it would be
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3i6APPENDIX.Short Instructions for
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3l8APPENDIX,Cap.II.DEFINITION OF TH
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, Regula320 APPENDIX.Cap. vi.SUNDRY
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324 APPENDIX.called passing-notes b
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-326 APPENDIX.EXEMPLUM II.When the
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328 APPENDIX.EXEMPLUM VI.When |, or
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I ^342 APPENDIX.The 5 may be taken
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346 APPENDIX.Instead of the perfect
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34^APPENDIX.3. A borrowed chord is
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350 APPENDIX.major sixth, and A wit
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352 APPENDIX.ICap. V.In silver plat
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o354 APPENDIX.Cap.House furniture.
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356 APPENDIX.Brought forwardFol. 2
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358 APPENDIX.4.The coins enumerated
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360 APPENDIX.Mevi.—Whereas Herr G
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364Supplement II. (Vol. I. p. 427).
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