and Sentiments. fented in the annexed cut (No. 133). This mediaeval drummer is clearly intended to be playing on two drums at once 3 and, in confidering their forms and pofition, we muft make fome allowance for the mediaeval negleft of perfpeftive. In the mediaeval vocabularies we find feveral lifts of mufical inftru- ments then beft known. Thus John de Garlande, in the middle of the thirteenth century, enumerates, as the minftrels who were to be feen in the houies of the wealthy, individuals who performed on the inftruments which he terms in Latin, lyra (meaning the harp), t'lbki (the flute), cornu (the horn), vidula (the ^M€), fiftrum (the drum), giga (the gittern), fymphonia (a fymphony), pfalterium (the pfaltery), chorus, citola (the 34. Bloiuhig the Trumpet and Playing on the Cymbals. cittern), tyvipanum (the tabor), and cymbala (cymbals). The Englilh glos- faries of the fifteenth century add to thefe the trumpet, the ribihe (a fort of fiddle), organs, and the crowd. The forms of thefe inftruments of various periods will be found in the illuftrations which have been given in the courfe of the prefent chapter. It will be well perhaps to enumerate again the moft common J they are the harp, fiddle, cittern or lute, hand-organ or dulcimer, the fhalm or pfaltery, the pipe and tabor, pipes of various fizes played like clarionets, but called flutes, the double pipe, hand-bells, trumpets and horns, bagpipes, tambourine, tabret, drum, and cymbals. We give two further groups of figures in illuftration of thefe inftruments, both taken from the Royal MS. fo often quoted, 3 B. vii. In the first (No. 134) we
