112 THE PIPE AND TABOR 



The most careful representation of our instru- 

 ment is that by Luca della Robbia, figured at 

 p. 1 02, in which what I call the correct grip is given. 



In Pierpoint Morgan's Catalogue of Early Printed 

 Books, Vol II., p. 118, are some illustrations from 

 Gafori, 1492. The pipe is quite incorrectly held, 

 more than two fingers being employed while the 

 thumb is free. 



Ibid., Vol III., p. 82. In a figure from Pierre 

 Michaud's Dance des Aveugles, 1485, the pipe has 

 four instead of two holes on the upper surface. 



Ibid., Vol III., p. 86. The pipe is incorrect, the 

 holes being too far from the lower end of the 

 instrument ; the hand is wrongly given according 

 to our standards, the little finger being flourished in 

 the air. The tabor is suspended from the hand as 

 in the English style, and is struck on the snare side. 



In Kemp's Nine Daies Wonder (see above 

 p. 102) the drawing of the pipe is not instructive. 



In Strutt's Sports and Pastimes there are several 

 early drawings of performers on the 3-holed pipe. 

 The grip in the majority is correct, i.e. there are 

 three fingers visible, two covering the holes and the 

 ring finger gripping against the little finger under- 

 neath. The illustrations are also correct in the 

 fingers being close to the lower end of the pipe. 



In Betley Hall, Staffordshire, is a painted glass 

 window, probably dating from 1535, in which a 

 piper is represented. Mr. Toilet, a former squire 

 of Betley, gave an account of it in Johnson and 

 Steevens' Shakspeare, which is reprinted in a 

 privately pubUshed book by Barthomley. The 

 pipe is a conical tube, on which four fingers are 



