uncertain whether any of these depictions should be considered a single instrument, or constitute a kind of recorder. The identification of the instrument depicted is further complicated by the symbolism of the aulos, a double piped instrument associated with the satyr Marsyas of Greek mythology. An instrument consisting of two attached, parallel, end-blown flutes of differing length, dating to the fifteenth or sixteenth century, was found in poor condition near All Souls College in Oxford. The instrument has four holes finger-holes and a thumb hole for each hand. The pipes have an inverted conical "choke" bore (see Renaissance structure). Bob Marvin has estimated that the pipes played a fifth apart, at approximately C5 and G5. The instrument is sui generis. Although the instrument's pipes have thumb holes, the lack of organological precedent makes classification of the instrument difficult. Marvin has used the terms "double recorder" and the categorisation-agnostic (double flute) to describe the Oxford instrument. Marvin has designed a based on the Oxford instrument, scaled to play at F4 and C5. Italian recorder maker Francesco Livirghi has designed a double recorder or with connected, angled pipes of the same length but played with different hand positions, based on iconographic sources. Its pipes play at F4 and B4. Both instruments use fingerings of the makers' design. Note on "Ganassi" recorders In the 1970s, when recorder makers began to make the first models of recorders from the sixteenth and seventeenth centuries, such models were not always representative of the playing characteristics of the original instruments. Especially notable is Fred Morgan's much copied "Ganassi" model, based loosely on an instrument in the Vienna Kunsthistorisches museum (inventory number SAM 135), was designed to use the fingerings for the highest notes in Ganassi's tables in Fontegara. As Morgan knew, these notes were not in standard use; indeed Ganassi uses them in only a few of the hundreds of diminutions contained in Fontegara. Historically, such recorders did not exist as a distinct type, and the fingerings given by Ganassi were those of a skilled player particularly familiar with his instruments. When modern music is written for 'Ganassi recorders' it means this type of recorder. Repertoire Recorders were probably first used to play vocal music, later adding purely instrumental forms such as dance music to their repertoire. Much of the vocal music of the fifteenth, sixteenth and seventeenth centuries can be played on recorder consorts, and as