Ill.u.s.trations of bag-pipes are found in the miniatures of the following MSS. in the British Museum.--2 B. VII. f. 192 and 197; Add. MS. 34,294 (the _Sforza Book_), f. 62, vol. i.; Burney, 275, f. 715; Add. MS. 17,280, f.

238^b; Add. MS. 24,686 (_Tennyson Psalter_), f. 17^b; Add. MS. 17,280, f.

82^b; Add. MS. 24,681, f.44; Add. MS. 32,454; Add. MS. 11,867, f38; &c. &c.

(K. S.)

[1] See E. G. Graff, _Deutsche Interlinearversionen der Psalmen_ (from a 12th-cent. Windberg MS. at Munich), p. 384, Ps. lx.x.x. 2. "nemet den Sulmen unde gebet den Suegdbalch."

[2] These harmonics may be obtained by good performers by what is known as "pinching" or only partially covering the B and C holes and increasing the wind pressure.

[3] The notes marked with asterisks are approximately a quarter of a tone sharp.

[4] "Complete Tutor for attaining a thorough knowledge of the pipe music,"

prefixed to _A Collection of the Ancient Martial Music of Caledonia called Piobaireachd, as performed on the Great Highland Bag-pipe_, Edinburgh, _c._ 1805.

[5] Paper on "The Musical Scales of Various Nations," by Alex. J. Ellis, F.R.S., _Jrnl. Soc. Arts_, 1885, vol. x.x.xiii. p. 499.

[6] _Tutor for the Highland Bag-pipe_, by David Glen (Edinburgh, 1899).

[7] _Tutor for the Highland Bag-pipe_, by Angus Mackay (Edinburgh, 1839).

[8] _A Collection of Ancient Piobaireachd or Highland Pipe Music_ by Angus Mackay (Edinburgh, 1839), p. 128.

[9] _A Collection of Piobaireachd or Pipe Tunes as verbally taught by the McCrummen Pipers on the Isle of Skye to their apprentices_, as taken from John McCrummen (or Crimmon) by Niel MacLeod of Gesto, Skye (Edinburgh, 1880).

[10] Albyn's _Anthology_, vol. i. p. 90.

[11] _Descriptive Catalogue of the Musical Instruments exhibited at the Royal Military Exhibition_, London, 1890, Eyre & Spottiswoode, 1891, pl.

ix. A, and description p. 57.

[12] _Ancient Laws of Ireland, Brehon Law Tracts_, published by the Commissioners for publishing the Ancient Laws and Inst.i.tutions of Ireland (Dublin, 1879), vol. iv. pp. 338 and 339.

[13] John Derrick, _Image of Ireland and Discoverie of Woodkarne_ (London, 1581), pl. ii.

[14] _L'Harmonie universelle_, vol. ii. bk. v. pp. 282-287 and 305 (Paris, 1636-1637).

[15] _Syntagma Music.u.m_, part ii., _De Organographia_ (Wolfenb.u.t.tel, 1618); republished in Band xiii. of the _Publicationen der Gesellschaft fur Musikforschung_ (Berlin, 1884), chap. xix. and pl. v., xi., xiii.

[16] See E. Thoinan, _Les Hotteterre et les Chedeville, celebres facteurs de flutes, hautbois, ba.s.sons et musettes_ (Paris, 1894), p. 23. It is probable, however, that M. Thoinan, who makes this statement, has not considered the possibility of the word _musette_ applying in this case to the small rustic hautbois or _dessus de bombarde_, also written _muse_, _muset_, _musele_, which occurs in many ballads of the 13th, 14th and 15th centuries. See Fr. G.o.defroy, _Dictionnaire de l'ancienne langue francaise du IX^e au XV^e siecle_ (Paris, 1888).

[17] Musettes de Poitou; probably the _cornemuses_ used in concert with the Hautbois de Poitou.

[18] _Op. cit._ vol. ii. bk. v. pp. 287-292.

[19] See Ernest Thoinan, _op. cit._ pp. 15 et seq. (cf. Jules Ecorcheville, "Quelques doc.u.ments sur la musique de la Grande ecurie du Roi" in _Intern.

Mus. Ges._, Sammelband ii. 4, p. 625 and table 2, "Grands Hautbois").

[20] _Methode pour la musette_, &c., by Hotteterre le Romain (Paris, 1737), 4to, chap. xvi.

[21] _Traite de la musette avec une nouvelle methode_, &c. (Lyons, 1672), pp. 25-27 and plate. A copy of this work is in the British Museum.

[22] _Op. cit_. bk. v. p. 293.

[23] Ill.u.s.trated and described by Capt. C. R. Day, _Descriptive Catalogue_, pl. ix. fig. C, p. 62.

[24] _L'Egypte au temps des Pharaons--la vie, la science et l'art; avec Photogravures_, &c. (Paris, 1889) 12mo, p. 139.

[25] See _Delegation en Perse_, by J. de Morgan (Paris, 1900), vol. i. pl.

viii., Nos. 10 and 14.

[26] Dion Chrysostom, ed. Adolphus Emperius (Brunswick, 1844), p. 728 or lxxi. (R) 381. See Pauly-Wissowa, _Realencyclopadie_, _s.v_. "Askaules."

[27] 54, B. Jowett's Eng. translation (Oxford, 1892).

[28] A suggestion the writer owes to Mr G. Barwick of the British Museum.

[29] See "Researches into the Origin of the Organs of the Ancients," by Kathleen Schlesinger, Sammelband ii. _Intern. Musik. Ges_. vol. ii, 1901, pp. 188-202.

[30] Suetonius, _Nero_, 54 (S. Clarke's translation and text).

[31] _Archaeologia_, vol. xvii. pp. 176-179 (London, 1814).

[32] _Inscriptiones antiquae totius...o...b..s romani_ (Heidelberg, 1602-1603).

[33] _Miscell. erudit. antiquitatis_.

[34] _Munimenta antiqua_, vol. ii. (London, 1799), p. 22, pl. xx. fig. 3.

[35] See Montfaucon, _Suppl. de l'antiq. expliquee_, vol. iii. pl. lxxiii., Nos. 1 and 2, and explanation p. 189; Frances...o...b..anchini. _de tribus generibus instr. mus. veterum_, Romae, 1742, pl. ii., Nos. 12 and 13, and p. 11; Suetonius, _Vitae Neronis_, ed. Charles Patin, cap. 41, p. 304, where the contorniate in question, whose musical instrument differs essentially from Bianchini's and Montfaucon's, is figured.

[36] See Catalogue of the Exhibition of Illuminated MSS. at the Burlington Fine Arts Club, 1908, No. 31.

[37] _Notes of Early Spanish Music_ (London, 1887), pp. 120 and 121.

[38] _Idumentario Espanola_ (Madrid, 1880).

[39] _Die musikalischen Instrumente in den Miniaturen des fruhen Mittelalters_, p. 50 (Leipzig, 1903).

[40] An interesting pamphlet by Eugene de Bricqueville, _Les Musettes_ (Paris, 1894), p. 36, with ill.u.s.trations.

[41] See Antoine Vidal, _Les Instruments a archet_ (Paris, 1871), vol. i.

p. 81, note 1.

BAGRATION, PETER, PRINCE (1765-1812), Russian general descended from the n.o.ble Georgian family of the Bagratides was born in 1765. He entered the Russian army in 1782, and served for some years in the Caucasus. He was engaged in the siege of Ochakov (1788), and in the Polish campaign of 1794, being present at the taking of Praga and Warsaw. His merits were recognized by Suvarov, whom he accompanied in the Italian and Swiss campaign of 1799, winning particular distinction by the capture of the town of Brescia. In the wars of 1805 his achievements were even more brilliant. With a small rearguard he successfully resisted the repeated attacks of forces five times his own numbers (Hollabrunn), and though half his men fell, the retreat of the main army under Kutusov was thereby secured. At Austerlitz he was engaged against the left wing of the French army, under Murat and Lannes, and at Eylau, Heilsberg and Friedland he fought with the most resolute and stubborn courage. In 1808 by a daring march across the frozen Gulf of Finland he captured the land Islands, and in 1809 he commanded against the Turks at the battles of Ra.s.sowa and Tataritza. In 1812 he [v.03 p.0207] commanded the 2nd army of the West, and though defeated at Mogilev (23rd July), rejoined the main army under Barclay, and led the left wing at Borodino (7th Sept.), where he received a mortal wound. A monument was erected in his honour by the tsar Nicholas I. on the battlefield of Borodino.

BAGSHOT BEDS, in geology, a series of sands and clays of shallow-water origin, some being fresh-water, some marine. They belong to the upper Eocene formation of the London and Hampshire basins (England), and derive their name from Bagshot Heath in Surrey; but they are also well developed in Hampshire and the Isle of Wight. The following divisions are generally accepted:--

Upper Bagshot Beds Barton sand, and Barton clay.

Middle " " Bracklesham beds.

Lower " " Bournemouth beds, Alum Bay beds, and Bovey Tracey beds (?).