The _flaïos de saus_, or reed-flutes, were nothing but mere whistles, such as village children are still in the habit of making in the spring; but there were, says an ancient author, more than twenty kinds, “as many loud as soft,” which were coupled by pairs in an orchestra. The _fistule_, the _souffle_, the _pipe_, and the _fretiau_ or _galoubet_, were all small flageolets played on by the left hand while the right marked the time on a tambourine or with the cymbals. The _pandorium_, which has been classed among the flutes without its shape and character of tone being rightly determined, must have presented, at least at its origin, some similarity of sound to the stringed instrument called _pandore_ (_pandora_). [Illustration: Fig. 161.--_Chorus_ with single Bell-end with Holes. (Ninth Century, MS. of Saint-Blaise.)] [Illustration: Fig. 162.--Bagpiper, Thirteenth Century. (Sculpture on the Musicians’ Hall at Rheims.)] Trumpets formed a much more numerous class than the flutes. In Latin they were called _tuba_, _lituus_, _buccina_, _taurea_, _cornu_, _claro_, _salpinx_, &c.; in French, _trompe_, _corne_, _olifant_, _cornet_, _buisine_, _sambute_, &c. In most cases, however, they derived their name either from their shape, the sound which they produced, the material whereof they were made, or the use for which they were specially intended. Thus, among military trumpets of copper or brass, the names of some (_claro_, _clarasius_) indicating the piercing sound which they produced; the names of others seem rather to refer to the appearance of their bell-ends (Fig. 164), which imitated the head of a bird, a horn, a serpent, &c. Some of these trumpets were so long and heavy that a foot or stand was required to support them, while the performer took the end in his mouth and blew through it with full power of breath (Fig. 163.) The shepherds’ horns, made of wood rimmed with brass, were a heavy and powerful kind of speaking-trumpet, which in the eighth century the Welsh herdsmen and those of the _landes_ of Cornouaille always carried with them (Fig. 165.) When the barons or knights desired to convey any signals rendered necessary either in war or hunting, they were in the habit of using horns of a much more portable character, which were suspended at their girdles; they used them, also, as drinking vessels when occasion required. At first these instruments were generally made of nothing but buffalo’s or goat’s horns; but when the fashion arose of working delicately in ivory, they took the name of _olifant_, an appellation destined to become famous in the old romances of chivalry, in which the _olifant_ played a very important part (Fig. 166). To cite only one example among a thousand, Roland, when overwhelmed by numbers in the valley of Ronceveaux, sounded the _olifant_ in order to call Charlemagne’s army to his aid. [Illustration: Fig. 163.--Straight Trumpet with Stand. (Eleventh Century. Cotton MS., British Museum.)]