566 
M U S I C. 
The inftrument was found in the corps'de garde of this 
fubterraneous city, andfeems to have been the true mili¬ 
tary clangor tubarum. 
Fig. 6. Pan playing on th efprmx, from an ancient bafio-' 
relievo of Greek fculpture, in the Giuftiniani palace at 
Rome, reprefenting the nurfing of Jupiter by Amalthea. 
This figure holds in one hand the fyrinx, and in the other 
a horn, refembiing tlie Jhawm reprefen ted upon the arch 
of Titus, among the Hebrew inffruments fuppofed to 
have been copied from thofe which this emperor had 
brought from Jerufalem. 
The pipes of the fifiula Pauls, or fyrinx, being com- 
pofed of reeds or canes cut juft below the joint, were 
all Uopped-pipes, like thofe in the flopped diapafon of the 
organ, in which the wind is emitted at the lame place 
where it enters ; and, as it has a double motion to make, 
twice the length of the tube, the tone is an oCtave lower 
of a ftopped-pipe than of an open one of the fame length 
and diameter. The fiftula Pauls of the ifland of New 
Amfterdam, in the South Seas, is made of canes cut below 
the joints, and confequently of ftopped-pipes ; and the 
pipes of an Arabian inftrument of the fame kind, which 
Dr. Burney received from Aleppo, are all flopped at the 
end with wax. See p. 350, 1. 
Fig. 7. A hexachord, or lyre with fix firings, in the 
hand of a Grecian Apollo, in the Capitoline Mufseum at 
Rome. The three openings at the bottom feem defigned 
to anfwer the purpofe of found-holes in the belly of the 
inftrument. 
Fig. 8. A lyre in the famous ancient picture dug out 
of Herculaneum, upon which Chiron is teaching the 
young Achilles to play. See p. 353. 
Fig. 9. The tripodian lyre of Pythagoras the Zacyn- 
thian, from a bas-relief in the Maftei palace at Rome, re¬ 
prefenting the whole choir of the Mules. Athenaeus 
gives the following account of this extraordinary inftru¬ 
ment : “Many ancient inftruments are recorded, fays 
Artenon, of which we have fo little knowledge, that we 
can hardly be certain of their exiftence ; fuch as the tri¬ 
pod of Pythagoras the Zacyntlvian, which, on account of 
its difficulty, continued in ufe but a fliort time. It re- 
fembled in form the Delphic tripod, whence it had its 
name. The legs were equidiftant, and fixed upon a mo¬ 
vable bafe that was turned by the foot of the player; the 
firings were placed between the legs of the ftool; the vafe 
at the top ferved for the purpofe of a found-board, and 
the firings of the three fides of the inftrument were tuned 
to three different modes, the Doric, Lydian, and Phry¬ 
gian. The performer fat on a chair made on purpofe. 
Striking the firings with the fingers of the left-hand, and 
ufing the pledtrum with the right, at the fame time turn¬ 
ing the inftrument with his foot to whichever of the three 
modes he pleafed; fo that, by great practice, he was ena¬ 
bled to change the modes with fuch velocity, that thofe 
who did not fee him, would imagine they heard three dif¬ 
ferent performers playing in three different modes. Af¬ 
ter the death of this admirable mufician, no other inftru¬ 
ment of the fame kind was ever conftrudted.” 
Fig. 10. An Etrufcan lyre, with feven firings, in the 
Collettion of Etrufcan, Greek, and Roman, Antiquities, 
publiffied from the cabinet of fir William Hamilton, vol. i. 
With refpeCt to this inftrument, it is worthy of obferva- 
tion, that, though the vafe upon which it is reprefented 
is of fuch indifputable and remote antiquity, the tail¬ 
piece, bridge, belly, and found-holes, have a very modern 
appearance, and manifeft a knowledge in the conftruCtion 
of mufical inftruments among the Etrufcans, fuperior to 
that of the Greeks and Romans in much later times. The 
lower part of the inftrument has much the appearance of 
an old bafs-viol, and it is not difficult to difcover in it 
more than the embryo of the whole violin family. The 
firings lie round, as if intended to be played on with a 
bow ; and even the crofs-lines on the tail-piece are fuch as 
v/e frequently fee on the tail-pieces of old viols. 
Fig. xi. The tibia utricularis , or bagpipe, taken from a 
bas-relief in the court of the Santa Croce palace at Rome. 
This inftrument appears not to have been wholly un¬ 
known to the Greeks, who, according to Montfaucon, 
called it oto-y.ttvXo;. Dr. Burney alfo faw the raprefenta- 
tion of one in marble, of ancient Greek fculpture, in the 
pofieffion of Mr. Morrifon, at Rome. It feeins, however, 
to have been a Roman invention to which a Greek name 
was given; a piece of affectation that was generally prac- 
tifed upon every occafion, about the time of Nero. Greek 
was the French of the Romans^ The term does not occur, 
however, in H. Stephens, Scapula, Meurfius, Suicer, nor 
in Scott. In Faber’s and Martin’s Latin Dictionaries, 
afcaules is to be found, with a reference to Seneca, Vopif- 
cus, and Martial. The two former ufe pithaides, the one 
in Epift. lxxvi. and the other in the Life of Carinus, vol. ii. 
where the word is explained and illuftrated by an elabo¬ 
rate note of Salmafius. Martial, lib. x. ep. 3. gives canus 
aj'caules. From the filence of lexicographers, we may con¬ 
clude that the word appears in no Greek author. Ifaac 
Voffius Itrenuoufly denies that utncularius means a player 
on a bagpipe: the inftrument in queftion was, according 
to him, an organ blown by bellows, as diftinguifiied from 
the hydraulic or water organ; “ but to fuppofe,” fays he, 
C£ that the vtricnlarius was like our wretched mendicants 
that ftroll about, is molt ridiculous!” A pafiage, how¬ 
ever, in Dion Chryfoftom, clearly proves this enthufiaftic 
admirer of ancient mufic to have been miftaken. For, 
fpeaking of Nero, the Greek writer fays, that he played 
on the flute “ with a bladder, or leathern bag of wind, under 
his arm." And for this he affigns a reafon which is curi¬ 
ous; “that he might avoid making the ugly faces with 
which Minerva was fo much offended.” Nothing can de- 
feribe a modern bagpipe more decifively. According- to 
Suetonius, when Nero heard of the revolt by which he loft; 
his empire and life, he made a folemu vow, that, if it ftiould 
pleafe the gods to extricate him from his prefent difficul¬ 
ties, he would perform in public on the bagpipe. Suet, in 
Nerone, 54.. 
On an ancient gem in the pofieffion of Sig. Lellari at 
Cortona, of which an impreffion was lent to Jof. C. Walker, 
efq. of Dublin, who favoured Dr. Burney with a drawing 
of it, there is engraved an Apollo, crowned, after van¬ 
quishing Marfyus, with a lyre in his hands, and a bagpipe 
behind him. The name of the artift appears on the gem; 
an uncommon circumftar.ce, as the vvorkmanfiiip is not of 
the firft clafs. This gem is reprefented at fig. 12. 
It is probable that the union of the bagpipe with the 
fyrinx fuggefted the firft idea of an organ. We (hall there¬ 
fore aflume this as the connecting link between ancient 
inftruments and modern. The correct figure we have pre- 
fented of the ancient utricularis will give a very good 
idea of the common bagpipe of our days. It confifts of 
two principal parts: The firft, a leathern bag, which is 
blown up like a foot-ball, by means of a port-vent, 01- 
little tube, fitted to it, and flopped by a valve. The other 
part confifts of three pipes or flutes ; the firft, called the 
great pipe, or drone; and the fecond, the little one, which 
palles the wind only out at the bottom; the third has a 
reed, and is played on by comprefiing the bag under the 
arm when full, and opening or {topping the holes, which 
are eight, with the fingers. The little pipe is ordinarily a 
foot long; that played on, thirteen inches; and the port- 
vent fix. The bagpipe takes in the compafs of more than 
three oCtaves; namely, from A on the firft fpace in the 
bafs, to D in alt, above the feventh line, or fecond leger 
line, in the treble. 
IV. Musical Instruments of the Moderns. 
Mufical inftruments may be clafied, generally, under 
the following heads : ftringed inftruments, wind-inftru- 
ments, and inftruments of percuffion; according to the 
three ways of producing.found ; namely, by the vibration 
of firings, by the coliifon of air enclofed in pipes or tubes, 
and by the vibration of elaftic bodies. Dr. Crotch divides 
modern inftruments into— ift, keyed inftruments, whe- 
the? 
