The Irish bagpipe is the instrument in its most elaborate form. It also is supplied with wind by a bellows. The drones are all fixed on one stock, and have keys which are played by the wrist of the right hand. The reeds are soft and the tones very sweet and melodious, and there is a harmonious bass which is very effective in the hands of a good player. Some of the drones are of great length, winding as many as three times the length of the apparent tube. The player is seated with one side of the bellows tied firmly to his body, the other to his right arm, the drones under his left leg, and the end of the chanter resting on a pad of leather on his knee, on which it is tipped for the purpose of articulating many of the notes. The bag is made of goat’s skin and is rendered pliable by means of bees’ wax and butter. Originally it, like that of the Highland pipe, was filled by the mouth, but it was changed so as to be filled by the bellows. In later instruments several finger keys were adapted to a fourth tube, whereby a perfect chord could be produced, and thus the instrument was rendered fit for private apartments, where as the Highland and the Lowland were only suitable for the open air. The sweetness of the sound, the result of the smallness and delicacy of the reeds and the prolongation of the pipes; the capacity of the instrument, the result of the many keys, and the capability of the chanter; have earned for the Irish pipes the title of the Irish organ. The compass of the instrument is two octaves. Like the Lowland, the Irish bagpipe is fast dying out, but there is in Glasgow at least one player, an old man, bent with years, but devoted to his pipes, who takes his stand near the top of the classic High Street, and can always depend on a small but select audience, to appreciate his rendering of Scotch and Irish airs on the bagpipe of Erin. Both the Irish and the Northumbrian pipes have, it may be added, been elaborated until they have almost ceased to be bagpipes.