against the trumpet, and the people of Busiris and Lycopolis abstained entirely from its use, conceiving, says Plutarch, from the sound of this instrument resembling the braying of an ass, that it was Typhonian; or, at least, that it reminded them too forcibly of an animal emblematic of the evil genius.

The Israelites had trumpets for warlike † as well as sacred purposes ‡, for festivals and rejoicings §; and the office of sounding them was not only honourable, but was committed solely to the priests. They were of different kinds. Some of silver ¶, which were suited to all occasions, as I have already stated; others appear to have been of horns, like the original cornu of the Romans; and these are distinctly stated to have been employed at the siege of Jericho. ** The Greeks had six species of trumpets; the Romans four, in their army-the tuba, cornuus, buccina, and lituus; and in ancient times the concha, so called from having been originally made of a shell. They were the only instruments employed by them for military purposes, and in this they differed from the Greeks and Egyptians.

The sculptures of Thebes fail to inform us if the long and short drum were both comprehended in

*Plut. de Iside. et Osir. s. 30.

+ Numb. x. 2. 5. 9, 10.

Exod. xix. 13., Levit. xxiii. 24., and Numb. x. 10.

2 Chron. xv. 14., and Numb. x. 10.

Numb. x. 8., Josh. vi. 4.

¶ Josephus says, they were nearly a cubit, or 14 ft. long, with a tube of the thickness of a flute.

** These were the sóferóth, cornets; the silver ones were the khetztzróth or khetzotzróth, trumpets. From the name, I should think the former had a shrill tone. Josh. vi. 4. "Trumpets of rams' horns."

Egypt under the head of martial music: it is, however, evident that the former was not only used in their army, but by the buffoons who danced to its sound.*

MUSIC TAUGHT TO SLAVES.

The buffoons were sometimes foreigners; and in the accompanying picture they appear to be blacks, who amused the spectators with their own national dance, or one which they had learned from the Egyptians. Among many ancient people it was customary to teach slaves to dance and sing, in order that they might divert their master, or entertain a party of guests; and the Romans even employed them in various trades and manufactures. Those, too, who gave proofs of ability and genius, were frequently instructed in literature and the liberal arts, and the masters profited by their industry, or sold them at a great price in consequence of their accomplishments. The Egyptians, indeed, pursued this system to a certain extent; slaves were employed in public works †, and in domestic occupations ; and there is evidence from the sculptures that many of the musicians and dancers, both men and women, were slaves, who had been taken captive in war from their Ethiopian and Asiatic enemies. Yet it is not probable they were instructed in the same manner as those above mentioned at Rome; though the very kind treatment

* Vide wood-cut, No. 201.

Exod. i. 11. 14. Herodot. ii. 108.

*

of Joseph, the mode of his liberation, and his subsequent marriage with the daughter of a freeborn Egyptian, a high functionary of the sacerdotal order t, are striking proofs of the humanity of the Egyptians, and of their indulgent conduct towards manumitted slaves.

THE DRUM (TYMPANUM).

The only drum represented in the sculptures is a long drum, very similar to one of the tomtoms of India. It was about two feet, or two feet and a half in length, and was beaten with the hand, like the Roman tympanum. § The case was of wood

No. 202.

The drum.

Thebes.

* Gen. xli. 45. The case of Joseph was, no doubt, of an extraordinary nature.

"Asenath, the daughter of Potipherah, (in Hebrew, Poti-Phra; in Egyptian, Pet-Phre or Pet-re, Heliodotus,) priest of On," the City of the Sun, or Heliopolis.

As was the lenient punishment of Joseph, when with his master Potiphar. Gen. xxxix. 19, 20.

§ Lucretius says, them " sæva tympana."

Tympana tenta tonant palmis." Horace calls

or copper, covered at either end with parchment or leather, braced by cords, extending diagonally over the exterior of the cylinder, which in this respect differed from our modern drums; and when played, it was slung by a band round the neck of the drummer, who during the march carried it in a vertical position at his back. Like the trumpet, it

No. 203. Mode of slinging the drum behind them, when on a march.

was chiefly employed in the army; and the evidence of the sculptures is confirmed by the authority of Clement of Alexandria, who states that the drum was used by the Egyptians in going to war. Both these instruments are found to have been common at the earliest period, of which we have any account from the sculptures of Thebes, or about the sixteenth century before our era; and there is no reason to suppose them to have been then a recent invention.

When a body of troops marched to the beat of