Illustrated Companion to the Latin Dictionary/Tibia
This article incorporates text from a publication now in the public domain: Rich, Anthony (1849). The illustrated companion to the Latin dictionary, and Greek lexicon. p. vi. OCLC 894670115. https://archive.org/details/illustratedcompa00rich.
TI'BIA (αὐλός). The name given to several different wind-instruments in very common use amongst the ancients, made of reed, cane, box-wood, horn, metal, and the tibia or shin-bone of some birds and animals, whence the name originated; all, however, belonging to a similar class, characterised by having holes or stops for the fingers, and being sounded by a mouth-piece inserted between the lips.
1. (μόναυλος). One of the earliest and simplest forms of the tibia consisted of a small box-wood pipe, something like the modern flageolet, and precisely similar to the instrument still used by the shepherds, or "pifferari," of the mountains near Rome; as shown by the annexed example (Tibia/1.1), from a statue representing a Faun. In this form, it was also expressly designated by the Greek name monaulos.
2. Tibia gingrina (γίγγρας). A very small and simple pipe, made out of a fine quality of reed, and producing a shrill and plaintive note, like that of our fife, which was much used in Phoenicia and Egypt. (Solin. v. Festus, s. v. Athen. iv. 76.) Several specimens have been found in the tombs of Egypt, varying in length from nine to eighteen inches; one of which, nine inches long, is shown by the annexed wood-cut (Tibia/2.1), from Salt's collection in the British Museum.
3. Tibia obliqua (πλαγίαυλος). A pipe something like our bassoon, with a mouth-piece inserted on the side of the tube, and when played, held in an oblique position, so that the top part came against the right ear (per obliquum calamum ad aurem porrectum dextram, Apul. Met. xi. p. 245.), as exhibited by the annexed example (Tibia/3.1), from a bas-relief in the Vatican, which represents a number of genii engaged in Bacchic festivities. It was said to be invented by Midas (Plin. H. N. vii. 57.), and was attributed to the satyrs and followers of Bacchus. Serv. ad Virg. Aen. xi. 737.
4. Tibia vasca. Supposed to have been a pipe of similar character to the last, but of a more simple and less powerful kind, which was employed for beginners to practise upon, the form of the mouth-piece facilitating the production and modulation of the tones; from which circumstance it is thought that the name of vasca, meaning literally light or inferior, was attributed to it. (Solin. 5. Salmas ad Vopisc. Carin. 19. Gloss. Philox.) If this notion be correct, an example is afforded by the annexed figure (Tibia/4.1), representing a terminal statue of Pan in the British Museum. The mouth-piece is fixed on like the last specimen, but the pipe is smaller, and consists of a simple reed or cane; but the right arm and lower portion of the pipe are modern restorations.
5. Tibia longa. The long pipe which was employed in religious ceremonies, in the temples, and at the sacrifice, to emit a loud and solemn strain during libation. (Marius Victorin. i. 2478.) The illustration (Tibia/5.1) is from a bas-relief published by Casali (Splendid. Urb. Rom. iii. 1.), representing a sacrifice, in which four figures are introduced with the same instruments, all of which are nearly as long as the height of the performers.
6. Tibia curva (ἔλυμος). The Phrygian pipe (Athen. iv. 79.); especially employed in the ceremonials of Cybele. (Pollux, iv. 74.) The tube was made of box-wood, with a bent end, like a horn, affixed to its further extremity (Pollux, l. c.), as shown by the annexed example (Tibia/6.1), from a Roman bas-relief; whence it is termed curva (Virg. Aen. xi. 737. Tibull. ii. 1. 86.), or tibia adunco cornu. (Ov. Met. iii. 533.) But it was often made with a double branch proceeding from the same stem, as exhibited by the annexed figure (Tibia/6.2), also from a bas-relief; and the strain emitted by it is, in consequence, described by the epithet biforis (Virg. Aen. ix. 618. biforem dat tibia cantum; Stat. Theb. iv. 668. biforem tumultum).
7. Tibiae pares (ζεύγη). A pair of pipes, of equal length and bore, both of which produced the same tone, viz. both base or both treble; inflated also together by one musician, though each pipe was a separate instrument, and not, like the last example, branching from a common stem. The specimen introduced (Tibia/7.1) is from a marble bas-relief of the Villa Mattei, in which they are held by a muse. The Hecyra of Terence was accompanied by pipes of this description, as we learn from the notice prefixed to the play; — modos fecit Flaccus Claudi, tibiis paribus.
8. Tibiae impares. A pair of unequal pipes played by a single performer, but each of which had a different pitch, or produced a different sound, the one base and the other treble, believed to result from inequality in the relative length of each pipe, and of the intervals between the stops, as the figures in the annexed wood-cut (Tibia/8.1), also from a bas-relief, seem to indicate. The Phormio of Terence was accompanied by pipes of this kind, as mentioned by the notice prefixed to the play; — modos fecit Flaccus Claudi, tibiis imparibus.
9. Tibia dextra (αὐλός ἀνδρήῖος). That one of a pair of pipes which was held in the right hand when playing (Festus, s. v.), as shown by the annexed figure (Tibia/9.1), from a painting at Herculaneum. It was made from the upper part of the reed or cane (Theophrast. H. P. iv. 12. Plin. H. N. xvi. 66.), and produced the deep or base notes (gravi bombo, Apul. Flor. i. 3. 2.), whence it is termed the "manly pipe" by Herodotus (i. 17.) The eunuch of Terence was accompanied by a pair of base pipes — tibiis duabus dextris; the Andria by a double set of pipes, one pair of which were both base, the other both treble — tibiis paribus dextris et sinistris.
10. Tibia sinistra or laeva (αὐλός γυναικήῖος). That one of a pair of pipes which was held in the left hand, as shown by the last illustration. It was made of the lower part of the reed or cane near the roots (Theophrast. H. P. iv. 12. Plin. H. N. xvi. 66.), and produced the sharp or treble notes (acuto tinnitu, Apul. Flor. i. 3. 2.); whence it is termed the "womanly pipe" by Herodotus (i. 17.).
11. Tibia incentiva. The leading, or base pipe; another name for tibia dextra (Varro, R. R. i. 2. 15.), because the right-hand pipe was the one which commenced the strain.
12. Tibia succentiva. The second, or treble pipe; another name for tibia sinistra (Varro, R. R. i. 2. 15.), because the strain, just commenced by the base, was taken up and followed by the treble, or left-hand pipe.
13. Tibiae Sarranae. A pair of pipes, of equal length and bore, like the tibiae pares, so that both of them were attuned to the same pitch. (Serv. ad Virg. Aen. ix. 618.) The Adelphi of Terence was accompanied by this instrument, which is supposed to have received its designation from Sarra, the ancient name of Tyre; but nothing really authentic is known respecting the origin of the name, nor of the characteristic properties of the instrument.
14. Tibiae milvinae. Pipes which emitted a peculiarly sharp and shrill tone (Solin. 5. Festus, s. v.); the form and distinctive characteristics of which are not otherwise ascertained.
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