lows ([Greek:
phusa]), and not the usual verb [Greek: aulein], to play the aulos. Another
instrument, mentioned by Aristophanes in _Lysistrata_ (ll. 1242 and 1245),
which was probably a kind of bag-pipe, is also derived from [Greek: phusa],
_i.e._ _physallis_, the "concrete,"[28] and _physateria_[29] the
"collective"[28] form of the instrument. We leave the realm of inference
for that of certainty when we reach the reign of Nero, who had a passion
for the _Hydraulus_ (see ORGAN: _History_) and the _tibia utricularis_.[30]
That the bag-pipe was introduced by the Romans into the British Isles is a
conclusion supported by the discovery in the foundations of the praetorian
camp at Richborough of a small bronze figure of a Roman soldier playing the
tibia utricularis. The Rev. Stephen Weston, who made a communication on the
subject to _Archaeologia_,[31] points out further the interesting fact in
connexion with the instrument, that the Romans had instituted colleges for
training pipers on the bag-pipe, a practice followed in the Highlands in
the 18th century and notably in Skye. Gruterus[32] mentions among the
fraternities a _Corpus et Collegium Utriculariorum_, and Spon[33] also
quotes the _Collegio Utricular_. The bag-pipe in question appears to have
two drones in front pointing towards the right shoulder, and although no
chaunter is shown in the design, both hands are held in correct positions
over the spot where it ought to be; it may have been broken off. The bronze
figure has been reproduced from drawings by Edward King in three
positions.[34] The statement made by several writers on music that a
bag-pipe is represented on a contorniate of Nero is erroneous, as a
verification of certain references will show.[35] The error is due in the
first place to [v.03 p.0206] Montfaucon, who misunderstood the explanation
of Bianchini's drawing which he reproduced. The contorniate referred to is
one containing the hydraulic organ, and the legend _Laurentinus Aug_., but
no bag-pipe. Bianchini gives a drawing of a bag-pipe with two long drones,
which, he says, was copied from a marble relief over the gateway of the
palace of the prince of Santa Croce in Rome, near the church of San Carlo
ad Catinarios. If the drawing be accurate and the sculpture of classical
Roman period, it would corroborate the details of the instrument held by
the little bronze figure of the Roman soldier.

From England the bag-pipe spread to Caledonia and Ireland,