to use "clarino" or "chlarino", which became a standard, albeit widely misunderstood, term. In Germany, the usage was "clareta", and by the middle of the 16th century, "clarin". Usage of the word [[File:Pilaster of Angels Sounding Trumpets from the Parapet of a Pulpit MET DP169508.jpg|thumb|200px|Angels sounding trumpets. With the exception of some early European instruments such as the Greek salpinx and Roman tuba, cornu and buccina, pre-13th century European trumpets were horns, shaped like oxen horns until encounters with Islamic armies' nafirs inspired creation of instruments such as the Spanish añafil and French buisine.]] The various iterations of "clarion" occur alongside the idiomatic usage of "trumpet" in the literature and historical records of several countries. The presence of these terms in concert with each other throughout such passages gave rise to a consensus that there must be a clarion trumpet which is distinct in construction from a standard trumpet. In France, historical records include phrases like "à son de trompes et de clarons", for instance. In his French dictionary, Jean Nicot wrote that the clarion is used among the Moors and the Portuguese (who adopted the Moors' custom). Nicot defines the clarion as a treble instrument, which is paired with trumpets playing the tenor and bass. Nicot also specifies that the clarion was used by the Cavalry and Marines. In The Knight's Tale, Chaucer writes, "Pypes, trompes, nakers, clariounes, that in bataille blowen blody sounes", which adds to the notion that clarions must somehow be distinct from trumpets. This idea was bolstered by artworks of the time, which show a variety of trumpets in different shapes and sizes. There are even records from trade guilds like the Goldsmith's Company of London which specify that a clarion is 70% lighter than a trumpet. However, there is no precise understanding of what any of these variations meant. The fundamental confusion is over whether or not they refer to an actual instrument or to a style of playing in the high register of the trumpet. Even the Spanish historian Sebastián de Covarrubias confused the meaning in his Tesoro de la lengua castellana o española, writing that the clarin was a "trumpetilla", a tiny trumpet capable of playing in the high register or that the term could simply refer to the high register of the trumpet. Baroque The confusion over the usage of these terms seemed to mainly dissipate in the Baroque era, when