est power in use among the Egyptians, since they are seldom represented in the sculptures with more than two octaves. All the Egyptian harps have a peculiarity, for which it is not easy to account-the absence of a pole, and, consequently, of a support to the bar, or upper limb, in which the pegs were fixed; and it is difficult to conceive how, without it, the chords could have been properly tightened, or the bar sufficiently strong to resist the effect of their tension, particularly in those of a triangular form. Another instrument, of nearly the same capacity as the Paris harp, was found at Thebes in 1823, where it was seen by Mr. Madox, to whom I am indebted for the sketch I have given of it, in a succeeding wood-cut.* It had twenty chords of cat-gut, so well preserved that, as I have already observed, they still retained their sound, after having been buried in the tomb probably three thousand years; a length of time which would appear incredible, if we had not repeated instances of the perfect preservation of numerous perishable objects, even of an older date, in the sepulchres of Thebes. It is to the excessive dryness of the soil, and of the rock in which the pits are hewn, frequently to the depth of fifteen, thirty, and even seventy feet, and to the total exclusion of air, that this is to be attributed; and grains of corn and other seeds have been found, which have remained entire, without undergoing any change, and without making any effort to strike root in the sand, or the vase in which they were deposited. Experiments are said to have been tried with some grains of corn thus preserved, which sprouted when sown*; and though I cannot speak of this as a fact, yet I am inclined to believe that if seed thus discovered were immediately put into the earth, the results would be as stated; since experience shows that seeds buried at certain depths are unable to germinate, till removed nearer the surface of the earth; and I have known them to remain for years on the plains of the Egyptian desert, awaiting that rain which has at length enabled them to take root in the previously parched soil. The instrument just mentioned was of a form which might require it to hold an intermediate rank between the lyre and the harp, like the two previously noticed: nor would the number of twenty strings be any objection, since we meet with Egyptian lyres of nearly the same power, having eighteen chords. The frame was of wood, covered with red leather, on which could be traced a few hieroglyphics. The strings were fastened to the upper limb, and wound round a rod inserted into the lower part, which was probably turned in order to tighten them, and may be considered similar in principle to that on the summit of many ancient lyres, or of the kisírka used in modern *Several are now in the different collections of Europe. The experiments are said to have been made in France. Ethiopia. In the former, the rod itself was turned; in the latter, each string is fastened over a ring of some adhesive material, intervening between it and the rod, and the turn of this ring regulates the tension of the chord. Neither this nor the two above alluded to were provided with pegs, a peculiarity which may be considered a distinctive mark between this class of instruments and the harp. There are still two others, which appear unconnected either with the harp or lyre, and yet differ from the two already described, having pegs to brace the strings. Of these, one has a flat broad body, covered with a sounding board, in the centre of which is a rod securing the chords; and perpendicular to it is another rod at the upper end of the instrument, into which the pegs are inserted that supported and tightened its ten strings.* The other, which bears still less analogy to the Egyptian harpt, appears to have had five strings, each secured by a peg, and passing over a hollow circular body, covered probably with a thin piece of wood or leather. It was seven inches in length, the neck about one foot three inches, and the five pegs were fixed in the lower side, in a direct line, one behind the other. At the opposite end of the circular part were two holes, for fastening the rod that secured the strings, as in the preceding instrument; which may be seen in one of the two found at Thebes, some years since, by Mr. Salt, and now in the British Museum. They * Given in wood-cut, No. 215., fig. 5., from Prof. Rosellini's work. are not of the best quality, nor very perfectly preserved, and the one I have described has lost two of its rude pegs. The other has only four, and the lower part is much injured. They are both of sycamore wood, and exactly like that in the Berlin collection, which has the five pegs entire, and has the body composed of three pieces of wood. At first sight this instrument appears to resemble the Egyptian guitar, both in its form and the position of the strings; on restoring it, however, and introducing them, we find that the principle was totally different, and that the neck was not intended, as in the guitar, for shortening the chords, and consequently the instrument was of a very inferior kind, and of an exceedingly limited power. In addition, then, to the guitar, harp, and lyre, we may enumerate at least five, independent of the four-stringed harp previously mentioned, which do not come under the denomination of any of the three; nor do I include in the five that represented in the sculptured tombs of Alabastront, which may deserve the name of standing lyre; nor one occurring in the same tomb, and played as an p. 276. vide wood-cut, No. 186. 2 ત |