(1) _Large Bagpipe._ (2) _Dudey or Hornpipe._ (3) _Shepherd’s Pipe._ (4) _Bagpipe with Bellows._ ] There was an ancient instrument, called the chorus, which seems to have been closely related to the bagpipe. The chorus was composed of the skin of an animal, which was inflated by a pipe in the back of the neck, and had another pipe issuing from the mouth. That it was not exactly the same as the bagpipe is evident from the fact that it was called _alterum genus cori_ to distinguish it from the instrument composed of a bag specially manufactured with mouth-piece and pipe, which was known as _unum genus cori_. Giraldus Cambrensis, one of the most authoritative writers of the twelfth century, assigns the chorus to Scotland, but says nothing of its construction, although he credits the country with superior musical skill. Some ancient writers class the chorus with stringed instruments, and assert that it has no connection whatever with the bagpipe. Living as we do at the beginning of the twentieth century, we cannot possibly decide such a delicate point. And it does not matter much that we cannot. Those who hold that the instrument was originally imported into Scotland believe that the parent of the Scottish bagpipe was an instrument known as the _volynka_, found in some provinces of the Russian Empire and ascribed more particularly to the Finns, who called it _pilai_. It was a rude instrument, consisting of two tubes and a mouth-piece, all apart, inserted in a raw, hairy goatskin. It was not held in high esteem, for when the Czar degraded the Archbishop of Novogorod in 1569 he alleged that the worthy father was “fitter for a bagpiper leading dancing bears than for a prelate.” But no less than five different kinds of bagpipes were known on the Continent in the seventeenth century, some of them with very high qualities as musical instruments. They were:— I. The _cornemuse_, a simple instrument inflated by the mouth, with a chanter having eight apertures for notes, but without any drones. II. The _chalemie_, or shepherd’s pipe, used by peasants at festivals, and also in country churches. It was inflated by the mouth, had a chanter with ten holes, and had also two drones. III. The _mussette_, which was inflated by a bellows. It had a chanter with twelve notes, besides other apertures and valves opened by keys, and with four reeds for drones, enclosed in a barrel. It was a complicated instrument, and elaborately made. In one instance, we read, the bag of the _mussette_ was made of velvet embroidered with _fleurs de lis_. It was, however, the “class” variety of the bagpipe, and was played before Royalty. The _mussette_ was said to sound most sweetly, “especially in the hands of Destouches, the Royal Piper.” So they had a royal piper in those days and the pipes were honoured. IV. The _surdelina_ of Naples, an instrument with two drones, two chanters, and numerous keys.