companied by a rough kind of oboe.

Mr Galpin tells me a pleasant story of a bagpipe hunt in Paris. He
discovered, in a shop, an old French musette (bagpipe), the chanter or
melody-pipe of which was missing. He did not buy it until in a two days'
hunt all over Paris he discovered the lost chanter, when he returned to
the first shop, triumphantly carried off the musette, and thus became the
owner of this rare and beautiful instrument.

The drone, which forms a continuous bass to the "chanter," was not an
original character of the bagpipe, but appeared soon after the year 1300.
A second drone "was added about the year 1400, for it is seen in the
ancient bagpipe belonging to Messrs Glen of Edinburgh," which bears the
date 1409.

The Horn and Cornett.

The horn takes its name from the cow's horn, out of which the instrument
was made. The resemblance includes the tapering bore of this instrument,
and also the fact that it is curved. {90} In the metal instruments, made
in imitation of the natural horn, we find a curvature of about a
semi-circle, as in the seventeenth century hunting horn (Galpin, p. 188).
While in the horn of the early seventeenth century shown on the same
plate, the tube is curved into many circular coils.

[Picture: PLATE VIII. I, 2, 3, 4, 5. Cornetts. 6. Serpent. 7. Bass Horn.
8. Ophicleide. 9. Keyed Bugle]

The cornett, {91} which was blown like a horn or trumpet, seems to have
been successful in mediaeval times, because a workable scale was so much
more easily attainable with it than in the ordinary trumpet. In Norway a
goat's horn pierced with four or five holes stopped by the fingers is
still in use as a rustic instrument. This is in fact a cornett which, as
early as the twelfth century, was made of wood or ivory, and had a
characteristic six-sided form. It seems to have been popular, and Henry
VIII. died possessed of many cornetts. We hear, too, of two _Cornetters_
attached to Canterbury Cathedral; and the translators of the Bible gave
it a place in Nebuchadnezzar's band. But the cornett was doomed to
destruction in the struggle for life. In 1662 Evelyn speaks of the
disappearance of the cornett "which gave life to the organ." Lord Keeper
North wrote, "Nothing comes so near, or rather imitates so much, an
excellent voice as a cornett pipe; but the labour of the lips is too
great and is seldom well-sounded." The cornett was given a place in the
chorales of