We have already inquired into the nature of the instrument which Baccio Ugolino carried on the stage and with which after the manner of the minstrels of his time he accompanied himself. It remains now only to ask what was the pipe which the shepherd Aristaeus mentions in the first scene. It was probably not a flageolet, though that instrument suggests itself as particularly appropriate to the episode. But the good Dr. Burney says that the flageolet was invented by the Sieur Juvigny, who played it in the "Ballet Comique de la Royne," the first French pastoral opera, in 1581. It could have been a recorder, the ancestor of the flageolet, which was probably in use in the fourteenth and surely in the fifteenth century. But more probably it was one of the older reed instruments of the oboe family, the pommer or possibly a schalmei. The schalmei is mentioned as far back as Sebastian Virdung's "Musica getuscht und ausgezogen" (1511). Its ancestor was probably the zamr-el-kebyr, an Oriental reed instrument. The schalmei was developed into a whole family, enumerated by Praetorius in the work already mentioned. The highest of these, the little schalmei, was seldom used, but the "soprano schalmei is the primitive type of the modern oboe."[29] [Footnote 29: See "A Note on Oboes," by Philip Hale. Programme Books of the Boston Symphony Orchestra, season of 1905-06, p. 644.] It is thus tolerably certain that the instrumental tone used to voice the pastoral character of the scene was the same as that which Beethoven used in his "Pastoral" symphony, as Berlioz used in his "Fantastic," as Gounod used in his "Faust," and that thus at least one element of the instrumental embodiment of Poliziano's story has come down to us. CHAPTER X From Frottola Drama to Madrigal