[104b] Praetorius, Organographia, being the second volume of his Systagma Musici, 1618, where a figure is given in Plate IX. See Breitkopf and Härtel’s reprint of Praetorius, also Galpin’s Old English Instruments of Music, 1910.
[105a] See also Mahillon, Catalogue descriptif et analytique du Music instrumental du Conservatoire royal de Bruxelle, 1909, Vol 2, p. 282.
[105b] Harmonie Universelle, contenant la theorie et la pratique ce la musique, by M. Mersenne, Fol. 1636–7, Vol II, p. 232.
[105c] Stanford and Forsyth History of Music, 1916, p. 44.
[106] Op. Cit. 1912, Vol 4, p. 214.
[107] See p. 267.
[108a] Mr. Galpin, however, uses another grip; he crooks the little finger and presses against the lower end of the pipe, of course without occluding the bore at all. In the early drawings reproduced by Strutt (see ante p. 102) the taborers show as a rule three fingers only. This is practically Luca della Robbia’s grip, since the little finger could hardly show in these small illustrations. In Welch’s book on the Recorder (p. 195) is a figure (reproduced from Mahillon) of a Basque holding his 3-holed pipe in a different way, viz., with the ring finger underneath and the little finger unemployed. I find it impossible to hold the pipe in this manner.
[108b] Various editions appeared from 1661 to 1683. See Welch, loc. cit., p. 61.
[109a] Mr. Galpin says that they are found on an ancient Egyptian drum.
[109b] Mahillon’s Catalogue, iii., p. 377.