St. Ives Accounts for 1571/2 mention paying in association with the performance of another play. These accounts do not tell us about the instruments used, except that they were conventionally referred to as pipes. Nonetheless, it is clear that the iconography of bagpipers in Cornwall does not exist in isolation, but in the context of a broad musical culture of which piping was a significant element. Late Medieval iconography Twin-chanter bagpipes appear in late-Medieval iconography in churches at Altarnun, Davidstow, St Austell and Braddock, Cornwall and at Marwood, and Tavistock, Devon. A single chanter bagpipe and other instruments are depicted on the east wall of St Mary's, Launceston, Cornwall (c. 1520-1540). Such images must be considered with care. The earliest representation, at St. Austell, is a 15th-century gargoyle, unique in Cornwall but still probably a stereotypical image created by the mason. The Davidstow image, perhaps mid- 16th century, and perhaps of an angel, may also be stereotypical. The bagpiping dog of Braddock is a stereotypical image found on European pilgrim brooches and elsewhere. Marwood is a biblical depiction with possibly a generic representation of the bagpipes. However, similar clothing detail at Altarnun and Launceston suggests that those images are indeed representative of local practice in c. 1520-1540. The Tavistock bagpiper looks like those of Altarnun and Launceston, but the carving lacks the detail to permit certainty. Later documentary references Pipers were employed by William Thomas to entertain sheep shearers at Zennor as late as 1683.Thomas the piper is mentioned in the Bilbao MS of 1713. In 1830 an itinerant player of markedly quiet bagpipes, apparently disguised and wearing green spectacles, was noted playing for charity in Truro, Falmouth, Penzance and Bodmin. The report implied that such activity was unusual. The bagpiper's origin is not mentioned. Twin chanter pipes Iconography of double chanter bagpipes and aulos was common 600 years ago. There are 'clusters' of such images in Yorkshire and Dorset as well as Cornwall. Perhaps remoteness or cultural introspection preserved such instruments in the South West when they died out elsewhere. The Launceston bagpipe has a conical bore chanter, which would give a loud, full tone often associated with outdoor performance. The bagpipe at Altarnun has parallel bore chanters which would give a quieter, reedy tone normally associated with indoor use. The asymmetrical chanters at Altarnun may be representative or a function of perspective. The lengths as now measured would