k which had been in the family for 200
years.

The way of holding the drum has not always been the same. Nowadays we
are told to hang it from the thumb or wrist. But in many early drawings
it is apparently firmly strapped or tied to the forearm, or even above
the elbow. {110a} The Lincoln Angel and Luca's boy have tabors supported
by a string round the neck, and this I find to be the best method.

I hope that the drum may long survive in Provence with its ancient
companion the pipe. {110b} A different instrument, however, supplies an
accompaniment to the galoubet in the Basque provinces. It is a rough
sort of lyre with six or seven strings tuned alternately to the tonic and
dominant, which beaten with a stick make a drone bass to the pipe. It
has the attractively savage name of _toon-toona_, an imitative word like
tom-tom; the galoubet is called the _cherula_.

From a French cyclopaedia I learn that in Provence the taborer's art was
a secret passed on from father to son, a mystery they refused to teach
for money. They appeared to hold the patriotic opinion that the art of
playing the galoubet, or as they call it, the _flutet_, has never spread
from Provence because of its extreme difficulty. This has been a comfort
to me in my attempts to play the pipe and tabor.

APPENDIX I
DRAWINGS AND CARVINGS OF PIPERS

At the risk of being tedious in the way of repetition I have thought it
worth while to put together a rough list of the illustrations of pipe and
tabor which I have met with.

The earliest representation of a player on the 3-holed pipe, of which I
have any knowledge, is the beautiful figure in the Angel Choir at
Lincoln. Its date is, I believe, 1270, and it has been injured so that
it is not possible to be sure of the manner in which the pipe is held.
The tabor is suspended by means of a string round the neck.

The most careful representation of our instrument is that by Luca della
Robbia, figured at p. 102, 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