here, like a clarinet, and not transversely as the German flute which has taken its place.

Like the viols, the recorders were made in sets, and a unique English set of four, belonging to the Chester Archæological Society, was exhibited and described by Dr. J. C. Bridge at the Society of Antiquaries in 1912. On this occasion Dr. Bridge quoted a highly interesting incident narrated in the "Metrical records of the House of Stanley," which should appeal specially to the patriotic and musical instincts of Lancastrians. It describes the entertainment of the king and queen of Castile, who, seeking shelter from a storm on their way home from the Netherlands, landed at Falmouth and were invited to Court by Henry VII.

When the King of Castell was driven hether

By force and violence of wyndie wether,

He brought with him that were thought good musitions,
There was none better in their opinions ;

The King of Castell saide their actes were so able;
They were gentlemen of howses notable.

'I have,' quothe Henerie the Seventh, a Knyght my servant,

One of the greatest earles sonnes in all my land,
He playeth on all instruments none comes amisse
Called Sir Edward Stanley; Lo! there he is . . .'
This second sonne Edward (Stanley) was married to an
heire

Of a thousand markes a yeare, of good land and faire.
His playing on instruments was a good noyse,"

His singing as excellent with a sweete voice.
His countenance comelie, with visage demure,
Not moving, ne streininge, but stedfast and sure.
He would showe in a single recorder pype

As many partes as any in a bagpype.

1 See Proceedings, xxiv., 117.

. ་་ Noise," an old musical expression indicating the effect produced by several instruments playing together. The Biblical use of the word is familiar: e.g., "the noise of thy viols" (Ps. xiv., 11); "When He saw the minstrels and the people making a noise "’ (Matt., ix., 23).

He showed much conning those two Kings before
That the others had no luste to play any more.
He played on all instruments notable well:
But of all things mused the King of Castell
To heare two partes in a single recorder,
That was beyond their estimations far!

"

"It is evident," says Dr. Bridge, commenting upon this remarkable episode, "that Sir Edward Stanley was able to imitate the chanter and drone of a bagpipe, but I cannot explain how he did it." We suspect, however, that, like many another entertainer, he had " something up his sleeve." Possibly his instrument was a cunningly contrived double recorder (Pl. III.1).

3.-BAGPIPE (IRISH).

The bagpipe, according to William Lynd,' is one of the most ancient instruments in the world. Hipkins describes it as the organ reduced to its

most simple expression. A syrinx, or panpipe, with bag or bellows, is represented on an ancient terra-cotta excavated at Tarsus and believed to be two thousand years old. The instrument was known to the Romans as the tibia utricularis, and a bronze figure of a bagpiper was found during the excavations at Richborough. The Emperor

Nero, whose musical proclivities are generally associated with the fiddle, is said to have regarded the bagpipe with special favour.

There were various kinds of bagpipe. Shakespeare puts an allusion to the drone of a 1 Ancient Musical Instruments, p. 28.

2 Galpin, p. 174.

Lincolnshire bagpipe " into the mouth of Falstaff. Lancashire and Northumbrian pipes are also met with. The two main classes, however, are those known to us as the Irish and Scotch, the essential difference between these two varieties being that in the old Irish form the wind is supplied by a small bellows under the arm of the player, whence the instrument is known in Erse as uilleann, or the elbow-pipes; whereas in the Scottish the performer fills his wind-bag by blowing through a short pipe held in the mouth.

It will be noticed that the example before us has neither mouthpiece nor drone, but simply the windbag and "chanter" pipe. Hence we assume that it belongs to the Irish class. It may be added that an illustration of a bagpipe with bellows attached to the windbag occurs in the Syntagma Musicum by Michael Prætorius (1619). 4.-BAGPIPE (SCOTTISH).

The differences between this and the preceding example are evident. Here the windbag is held

1 Henry IV., pt. I, act 1, sc. 2.

under the right arm, and its blow-pipe fixed in the player's mouth; also in addition to the "" chanter, a single drone-pipe appears. Often in later instruments three or more drones are found, and Lynd describes a Northumbrian bagpipe with as many as four drones made of ivory.

2 See The Carvings of Musical Instruments in Exeter Cathedral Church, by Edith K. Prideaux, p. 14.

Ill. in The History of Music, by Emil Naumann, ed. Ouseley, i., 263.