ed with his fingers.
It is a remarkable fact that keys should afterwards have been replaced by
cumbersome _sliders_ which had to be pushed in and out to produce the
desired note. But so it was, and the keyboard had to be rediscovered in
the twelfth century. The keys were first applied to the little
portatives, {94a} one of which is figured by Galpin, p. 221, where the
organist works the wind supply with one hand and manipulates the keys
with the other. In Galpin, p. 222, a monk is shown playing a simple
organ of apparently two octave compass, while another tonsured person is
blowing a pair of bellows, one with the left and the other with the right
hand. Another artist is shown by Galpin, p. 226, from a thirteenth
century Psalter, who is accompanying a player of the symphony
(hurdy-gurdy). The bellows are blown by the feet of an assistant.

The regal, figured by Galpin at p. 230, was a simple form of organ in
which the pipes were not of the whistle-type, but consisted principally
of reed-pipes.

Tabors and Nakers.

In my essay on war music {94b} I wrote of the band of a French regiment
at the beginning of the war: "When the buglers were out of breath, the
drums thundered on with magnificent fire, until once more the simple and
spirited fanfare came in with its brave out-of-doors flavour--a romantic
dash of the hunting-song, and yet with something of the seriousness of
battle. . . . As I watched these men, so soon to fight for their
country, I was reminded of that white-faced boy pictured by Stevenson,
striding over his dead comrades, the roll of his drum leading the living
to victory or death." I have ventured to quote the above passage in
illustration of Mr Galpin's striking remark that the drum has probably
entered more largely than any other instrument into the destinies of the
human race.

The historian of musical instruments in the far north has an easy task,
since it appears that the Eskimoes confine themselves to the drum, which
they sound on all possible occasions, from prosperous huntings to the
death of a comrade.

The instruments of the class here dealt with are divided into three
types:--

(i.) The timbrel or tambourine, which is characterised by having only
one membrane stretched on a shallow wooden frame.

(ii.) The drum with two membranes, one at each end of a barrel-shaped
frame.

(iii.) The naker or kettle-drum, with a single membrane stretched over
the opening of a