In examining the group of musicians on this sculpture the reader will probably recognise several instruments in their hands which are identical with those already described in the preceding pages. The organistrum, played by two persons, is placed in the centre of the group, perhaps owing to its being the largest of the instruments rather than that it was distinguished by any superiority in sound or musical effect. Besides the small harp seen in the hands of the eighth and nineteenth
musicians (in form nearly identical with the Anglo-Saxon harp) we find a small triangular harp, without a front-pillar, held on the lap by the fifth and eighteenth musicians. The salterio on the lap of the tenth and seventeenth musicians resembles the dulcimer, but seems to be played with the fingers instead of with hammers. The most interesting instrument in this orchestra is the vihuela, or Spanish viol, of the twelfth century. The first, second, third, sixth, seventh, ninth, twentieth, twenty-second, twenty-third, and twenty-fourth musicians are depicted with a vihuela which bears a close resemblance to the rebec. The instrument is represented with three strings, although in one or two instances five tuning-pegs are indicated. A large species of vihuela is given to the eleventh, fourteenth, fifteenth, and sixteenth musicians. This instrument differs from the rebec in so far as its body is broader and has incurvations at the sides. Also the sound-holes are different in form and position. The bow does not occur with any of these viols. But, as will be observed, the musicians are not represented in the act of playing; they are tuning and preparing for the performance, and the second of them is adjusting the bridge of his instrument.
The minstrel gallery of Exeter Cathedral ([Fig. 38]) dates from the fourteenth century. The front is divided into twelve niches, each of which contains a winged figure or an angel playing on an instrument of music. There is a cast also of this famous sculpture at South Kensington. The instruments are so much dilapidated that some of them cannot be clearly recognised; but, as far as may be ascertained, they appear to be as follows:—(1) The lute or possibly cittern; (2) the bagpipe; (3) the clarion or the shalm; (4) the rebec; (5) the psaltery or the harp; (6) the jew’s harp (?); (7) the sackbut or the clarion; (8) the regals; (9) the gittern, a small guitar strung with catgut; (10) the shalm (?); (11) the timbrel,
resembling our present tambourine, with a double row of gingles; (12) cymbals. Most of these instruments have been already noticed in the preceding pages. The shalm, or shawm, was a pipe with a reed in the mouth-hole. The wait was an English wind instrument of the same construction. If it differed in any respect from the shalm, the difference consisted probably in the size only. The wait obtained its name from being used principally by watchmen, or waights, to proclaim the time of night. Such were the poor ancestors of our fine oboe and clarinet.
Fig 38.—Minstrel Gallery, Exeter Cathedral. 14th century.
From a plaster cast in the Victoria and Albert Museum.