and later regained the thumb hole and seventh finger hole (see above, right). The English flageolet never reached the level of popularity that the "French" flageolet enjoyed in the nineteenth century, possibly because the latter instrument was louder. Both remained popular until the beginning of the twentieth century. A significant amount of music was written for the flageolet in the nineteenth century, such as the etudes of Narcisse Bousquet, although much of it was directed at amateurs. English flageolets that may qualify as recorders are of two types: those early instruments, called "English flageolets," which were actually recorders, and nineteenth-century instruments with seven finger holes and a thumb hole. These instruments are not typically regarded as recorders; however, Tarasov has argued for their inclusion in the family. Csakan The csakan (from Hung. 'pickaxe'), also known by the recorder's old French name , was a duct flute in the shape of a walking stick or oboe popular in Vienna from about 1800 to the 1840s. The csakan was played using the fingerings of a recorder in C, and was typically pitched in A or G and played as a transposing instrument. The first documented appearance of the csakan was at a concert in Budapest on 18 February 1807 in a performance by its billed inventor, Anton Heberle ( 1806–16). Tarasov has contested Heberle's status as the inventor of the instrument, and has argued that the csakan grew out of a Hungarian war hammer of the same name, which was converted into a recorder, perhaps for playing military music. Around 1800, it was highly fashionable for make walking sticks with additional functions (e.g., umbrellas, swords, flutes, oboes, clarinets, horns) although the csakan was the most popular of these, and the only one that became a musical instrument in its own right. The earliest instruments were shaped like a walking stick with a mouthpiece in the handle and had no keys, although they could eventually have up to thirteen keys, along with a tuning slide and a device for narrowing the thumb hole. In the 1820s a csakan "in the pleasing shape of an oboe" was introduced in a "simple" form with a single key and a "complex" form with up to twelve keys like those found on contemporaneous flutes. Well-known makers of the csakan included Johann Ziegler and Stephan Koch in Vienna, and Franz Schöllnast in Pressburg. According to accounts left by