[6] Op. cit., § 73, pp. 87-88, note 1.
[7] “Akustik der Blasinstrumente,” Allgem. musikal. Zeit. (Leipzig, 1816), Bd. xviii. No. 5, p. 65 et seq. See also Ernst Euting, Zur Geschichte der Blasinstrumente im 16. und 17. Jahrhundert. Inaugural Dissertation, Friedrich-Wilhelms Universität. (Berlin, 15th of March 1899), p. 9.
[8] Lehre von der Tonempfindung (Braunschweig, 1877).
[9] See additions by D. J. B. to article “Flute” in Grove’s Dictionary of Music and Musicians (London, 1904).
[10] Musica instrumentalis deutsch (Wittenberg, 1528).
[11] See also L’Artusi, Delle imperfettioni della musica moderna (Venice, 1600), p. 4; Gottfried Weber in Cäcilia, Bd. ix. p. 99.
[12] See “Les Anciennes Flûtes égyptiennes,” by Victor Loret in Journal asiatique (Paris, 1889), vol. xiv. p. 133 et seq., two careful articles based on the ancient Egyptian instruments still extant. See also Lauth, “Über die ägyptische Instrumente,” Sitzungs. der philos., philolog. und histor. Klasse. der Kgl. bayer. Akad. zu München (1873).
[13] See Albert A. Howard, “The Aulos or Tibia,” Harvard Studies, iv. (Boston, 1893), pp. 16-17.
[14] Representations of flutes blown as here described have been found in Europe. See Comptes rendus de la commission impériale archéologique (St Petersburg, 1867), p. 45, and atlas for the same date, pl. vi. Pompeian painting given by Helbig, Wandgemälde, No. 7607; Zahn, vol. iii. pl. 31; Museo Borbonnico, pl. xv. No. 18; Clarac, pl. 130, 131, 139; Heuzey, Les Figurines, p. 136.
[15] There are two flutes at the British Museum (Catal. No. 84, 4-9 and 5 and 6), belonging to the Castellani collection, made of wood encased in bronze in which the mouthpiece, consisting of the head of a maenad, has a lateral hole bored obliquely into the main tube. This hole was probably intended for the reception of a reed. The pipe is stopped at the end beyond the mouthpiece as in the modern flute. There are six holes. See also the plagiaulos from Halicarnassus in the British Museum described by C.T. Newton in History of Discoveries at Halicarnassus (London), vol. ii. p. 339. The Louvre has two ancient statues (from the villa Borghese) representing satyrs playing upon transverse flutes. Unfortunately these marbles have been restored, especially in the details affecting our present subject, and are therefore examples of no value to us. Another statue representing a flute-player occurs in the British Museum. The instrument has been supposed to be a transverse flute, but erroneously, for the insufflation of the lateral tube against which the instrumentalist presses his lips, could not, without the intervention of a reed, excite the vibratory movement of the column of air.