Żygulski, Zdzisław: Ottoman art in the service of the empire (New York, NY [u.a.], 1992)

A!

Fig. 20. Contemporary Turkish Schellenbaum of military band Mehter.

fo Viryma, rd^.3- Still further elements were applied to the top of
the shaft: a turban, a bunch of ribbons, a wing of crane feathers (as
a symbol of alertness), or an eagle's wing (this bird having had a
special heraldic significance in Poland). A very few examples of the
hetman's ensign have been preserved; one is in the National Mu-
seum in Cracow,^ another in the Armemuseum (Army Museum) in
Stockholm.
THE SCHELLENBAUM Before the eighteenth century, Ottoman
tughs were frequently accompanied by a military band (mr/^rr). Later,
throughout the eighteenth and nineteenth centuries, a special kind
of pendulous tugh was also adopted by other European armies,
especially in their military bands, and in some of them this practice
remains in use to this day. It was particularly fashionable in Saxony

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