It is derived from

nagan, to play on a stringed instrument.

The Hebrews had, according to Dr. Jahn, four kinds, viz. the cithara, nebhel, sambuke, and psaltery. There were some variations from these, but none sufficient, in his view, to constitute a distinct instrument.

Villoteau informs us, as we have already intimated, that upon the ruins of Egypt are to be found sculptured three principal kinds of stringed instruments, viz.: harps, lyres, and guitars. There are many other kinds, but they appear to be improvements upon, or modifications of these three. The general name for stringed instruments, among the Egyptians, was tebouni (TE Bovv). Jablonski, who is Villoteau's authority, remarks that the term denotes a musical instrument of the ancient Egyptians, which was mentioned by one Joseppus or Josephus, a writer of uncertain age, by some supposed to be of the fifth century, but by others of a much later date. Josephus quotes from Porphyry, and has, for the term, To ẞvvi, to buni (Por. Lib. v. c. 144). Thomas Gale found the same orthography in a Cambridge manuscript; but he maintains that it should be written Tɛ ßovvi, tě bouni. Fabricius, who first brought Josephus' works to light, has for this term in the Greek text To Bovi, to boni; but in the Latin buni. Jablonski remarks that the term should form but one word, thus: Teßovvi, tebouni. He thinks it probable, from Josephus' quotation, that the term is of Egyptian origin, and should be referred to the Coptic dialect. There it is writ

ten thus: DOCUSNs. In Gen. xxxi. 27, the Septuagint has Kidapaç, kitharas, and the Coptic translator DCSS, and, in Rev. xiv. 2, a harper is called PEEP DOшsis. From

the fact that the Greek letters v, u, and ov, ou, are often interchanged with ẞ, b, as in the word Remoboth, perhaps the writer was authorized to employ the Greek term Tε ẞovvi for

Docuses. Remoboth was used by Jerome to express Egyptian monks, which in Coptic is PEDOUT. Jablonski

had conversation at Paris with Montfauçon, who agreed with him in respect to the orthography of the word. La Croze, in a letter to Jablonski, also approves of this view. The latter says of the former, "who informed me by letter in the year 1735, that he very much approved of my observation respecting TEROONS, and considered it one to which nothing could be opposod." The musical instrument denoted by that term is similarly described by Jablonski and Villoteau, excepting what the former says of the plectrum. Jablonski ranks the instrument with the σαμβύκη, sambuke of Suidas, the τρίγωνον, trigonon, described by Hesychius, and the Tavdoúpa, pandoura, mentioned by Martianus Capella, in his work Denuptiis Philolog. et Mercur. ed. Grot. p. 313, where Harmonia is made to say: "Panduram Ægyptios attentare permisi."

All these terms seem to indicate instruments of the same general form and somewhat triangular. Most instruments of the harp kind described by Villoteau, in his Antiquities of Egypt, are of a similar form. From these considerations, Teẞovví, těbouni is considered as a general term to indicate Egyptian stringed instruments of the harp kind, and particularly those of the triangular form. It is probable that the term had as extensive a signification as the Greek cithara, or perhaps as the Hebrew kinnor. The plectrum, indicating the particular manner of playing on the instrument, does not affect the question. We find in the drawings upon the ruins of Egypt by the savans of Napoleon and others, as we have already intimated, tebouni of three kinds or species, in accordance with what Villoteau remarks upon the subject, though it is possible that he may have given a meaning to the term rather too extensive, and we might expect to find other general terms for instruments of music in the ancient Egyptian language.

I. Stringed instruments of the harp kind are far the most numerous in the drawings of the savans, exhibiting a great variety of forms, though evidently derived originally from the same pattern. In its most simple form, the harp was a plain unornamented section of a circle, varying more or less in curvature.

Finally it took nearly the form of a triangle, like the modern harp, with the front-piece wanting. It is probable that this was the grand original of all stringed instruments, the lyre and guitar, with all their varieties, having originated from it, though some suppose the lyre and others the guitar to have been the most ancient. The strings of the harp number from two or three to more than thirty, which appear to be fastened near the top by pegs in the sides. Sometimes the instrument was so large as to be higher than the head of the performer, and sometimes not more than half or two-thirds as high as an adult. In the drawings of the savans it usually stands nearly in front of the performer, or against the right or left shoulder, and is played with the fingers. A plectrum, according to Villoteau, is nowhere to be found in the ruins of Egypt. In the Antiquities, Planc. Tom. i. pl. 70, No. 2, El Kab, or Elethyia, there is a representation of a musical entertainment in connection with a double flute.

Fig. V.

Here is a harp, taken from Villoteau, of an oblong, circular form, leaving an elliptical bend in the centre, gradually swelling from the top to the bottom, has ten strings, and no ornaments. It is pretty accurately represented in the accompanying cut (Fig. V), and is played on by a female standing erect, having the harp nearly opposite her Fig. VI.

Ancient Egyptian Harp.

Ancient Egyptian Harps:

left shoulder and extending from the ground to some distance above her head. No. 1, of the group Fig. VI. on p. 83 is a similar one.

The following (Fig. VII.) is another, which is somewhat similar, taken from the Anti. Planc. Tom. ii. pl. 44, No. 6, Thebes Hypogées. It is, however, much more highly finished, and represents an instrument of later origin. It is carved, is much larger towards the lower part, and rests on a foot ornamented with a hawk's head. The instrument resembles that usually put into the hands of David excepting that the front piece is wanting. It

Ancient Theban Harp.

has twenty-one strings. Some of the instruments are nearly composed of the two sides of a triangle, and sometimes the segment of an ellipse. In both cases the back part is gradually swelled and curved as it descends to form the belly or chest, and the base. It is rather triangular than circular and the performer kneels. Harps resembling the above are found in (1) Ant. Planc. Tom. V. pl. 17, etc. Number 1 contains something like a musical concert. The harp, in that case, is a segment of a circle, all the way of a size, and has six strings. It was taken from the tomb east of the second of the Pyramids of Memphis. The The harp stands on the ground,

female who is playing kneels. and leans against her shoulder. No's 1, 2, 3 and 4 of the group Fig. VI, are similar instruments. In the fictitious musical concert named above there are three harps. Each is formed of an arc of a circle, has four strings, and is carried with the end in the left hand, supported against the shoulder, and played with the right hand.

The following, (Fig. VIII) is fancifully ornamented, being composed of a serpent with his head at the top, while his tail rests upon a hare with his long ears turned back. The top is ornamented by a human head. A drawing of it is found in Rees' Cyclopedia, also in the Comprehensive Com. under Gen. iv. 21, as well as in Villoteau. It was first taken, with other instruments, by M. St. Non.

The following (Fig. IX) is found in Villoteau, also in Rees, pl. 3. Fig. 10.

It is semi-circular, stands on a pedestal It is played by a female standing erect. is plain, and has but eight strings. The female's head is ornamented with stocks and flowers of the lotus.

Fig. IX.

Fig. VIII.

Ancient Ornamented EgypTM tian Harp.

In Fig. X. are represented three similar ones.

Fig. X.

Ancient Harp and the manner of performing upon it.

Theban bow-shaped Harps.

There are many other harps presented by Villoteau of essentially the same form, their number of strings varying from three to more than thirty. Some of the most simple. are extremely ancient, and probably the most ancient of all stringed instruments. Such are those with three