nd village
festivals. I remember his showing me a whittle with a crack in it where
it had been broken over the head of a reveller by a drunken taborer.

The two instruments have been generally associated with dancing.
Tans'ur, {100a} writing in 1772, speaks of this. "The Tabor and Pipe are
two musical Instruments that always accompany each other, and are mostly
used at Wakes by Country People, and at their Dancings and innocent
Diversions, and often with Morris Dancers." He speaks of the pipe as
played with the left hand, "on which Wrist hangs a small drum, braced in
Tune to the Pipe, and beat by the Right Hand as a Bass in Time to it:
both of which being well managed make pretty Harmony."

In the Wallace Collection there is a picture by N. Lancret (1690-1743) of
a celebrated dancer, Mme. Camargo, who is accompanied by a small
orchestra of two recorders, a bassoon and one or more viols; these are
partly hidden at the back of the scene, while a boy with pipe and tabor
{100b} stands close to the dancer, giving the impression that she depends
on him rather than on the more formal musicians in the background. It
may remind us of the Duke of Plaza Toro, who sings a song accompanied and
supported by his own particular private drum as well as by the orchestra.
The same quasi independence of the tabor and pipe is still to be found in
the folk music of the Catalans, the inhabitants of the north-east of
Spain. The dance which Mr. Casals--himself a Catalan--described to me,
is a round dance of some complexity. It is held in high esteem as a
national affair, and is danced by gentle and simple together. The band
consists of a tabor and pipe, four large rustic oboes, some cornets and a
double-bass. The interesting point is that the taborer always leads off
with a solo, a spirited flourish which Mr. Casals was so good as to play
on the piano. It is curious that there is only one such traditional
flourish, and this is used whatever the dance-music may be. Mr. Casals
described the effect of the whole band as moving and exciting in a high
degree.

I have an old newspaper cutting of the Queen Victoria and Prince Albert
watching the British sailor dance a hornpipe on the deck of a man-of-war,
accompanied by a couple of marines with a drum and fife. Shakespeare
evidently considered these two instruments as the military equivalent of
the tabor and pipe. He makes Benedick laugh at Claudio, in love, for
throwing over the drum and