made these general remarks, we will now return to the particu. lar consideration of the Hebrew term kinnor (vid. p. 68, supra). The usual Greek word for this instrument is kivupa, kinura, or kivvvpa, kinnura. In the Septuagint vaλrípov, psalterion, psaltery, is used and in Gen. xxxi. 27, the LXX have employed K10úpaç, kitharas, cithara for the same Hebrew term, indicating that they did not understand accurately what the Hebrew

Fig. XX.

2

3

(c

kinnor was, although it is very probable that they were native Egyptians who understood the Hebrew and Greek languages (vid. Horne's Introd. P. i. c. iii. Sect. iii. § 2. 2—vol. i. p. 265). Possibly they did not know what kind of an instrument it was, but believed it to be one with strings and accordingly represent. ed it sometimes by a term signifying one kind of a Greek stringed instrument and sometimes by another. What is more probable is, that, in ancient times, and even at the time when the Septuagint translation was made, there was not much difference in this class of instruments. They resembled each other in their general characteristics, and the LXX perhaps thought that Vaλrnpiov, psalterion, psaltery, and ki0ápa, kithara, cithara would both very well represent the general characteristics of the Hebrew kinnor. Dr. Jahn supposes that the term is properly represented by the Greek cithara (vid. p. 86, supra, where cuts of two citharas are given), and that the Hebrew kinnor and Chaldee qaythros have nearly the same signification. From qaythros was probably derived the Greek Kıðápa, kithara, cithara. This last word, or Kivvpa, kinura, would best represent kinnor, although there was a difference between those two Greek

Ancient Egyptian Guitars.

instruments. Strabo (p. 471) affirms that cithara is an Asiatic term, and differs from kinura. The former was undoubtedly derived from the Chaldee language, and kinura from the Hebrew kinnor. The cithara, or harp with three strings, may be considered as near an approximation to the Hebrew kinnor as we can attain with our present knowledge. It is a species of harp. Horne considers it as a harp, somewhat similar to the modern instrument by that name.

We Te are not to suppose that every Hebrew or Greek name of a musical instrument indicated one essentially different from others of the same class, but often, merely the same instrument a little varied. There were classes and then individuals under them, differing very little from each other. With us the flute is at the head of a class of instruments differing in a small degree from each other, as the German, English, octave flute, flageolette, etc. Of the viol kind, we have the violin, violoncello, viola da gamba, guitar, etc. So we suppose kinnor in Hebrew to have been a general term, and that many instruments differing a little from each other were probably included under it. The Grecian cithara, in like manner had an extensive signification. The harp, answering to the Hebrew kinnor was doubtless the instrument on which David performed so skilfully.

עגב

In the passage (Gen. iv. 21) under consideration, we find the term translated Organ (Heb. ugabh). It is derived from the verb gabh, to blow, clearly indicating that it represented a wind instrument. The simplest form of this class of instruments was, doubtless, a reed, forming a rude fife or flute. Subsequently it was made of other materials.

Flutes and pipes are found among all nations, even the most uncivilized. The New Zealanders and inhabitants of other South Sea Islands had them when first discovered.

The pipe of Pan, or Hebrew ugabh, here presented, perhaps, originally consisted of one and subsequently several pipes joined together as in the accompanying engraving (Fig XXI).

Fig. XXI.

The Alexandrine translators represent the term ugabh by Kápav, kitharan, cithara, as though it were a stringed instrument; but they must have been mistaken, as the origin of the word shows. Jerome rendered it by organon, organ, a double or manifold pipe, an instrument consisting of many pipes. Horne affirms that it cannot have been like our modern organ. He supposes it to have been a kind of flute, at first composed of one or two and afterwards of about seven pipes, made of reeds of unequal Hebrew Ugabh. length and thickness, which were joined together.

Pipe of Pan, or

It most nearly corresponds, he thinks, with the ovptys, syrinx, or pipe of Pan among the Greeks. Dr. Jahn also supposes that it was this instrument which the ancients represent as of very high antiquity. Niebuhr saw it in the hands of a Boor at Cairo (Reiseb. i. 181). Kampfer found it in common use among the shepherds in Persia. It is still a pastoral instrument in Syria (vid. Alex. Russell's Nat. Hist. of Alleppo). It is so ancient that the early writers knew not the inventor of it. Virgil (Ecl. ii) ascribed it to Pan; Pindar (Od. xii. de Pallade) to Mercury; Athenæus (iv. 182) to Marsyas and Silenus. It must be considered as among the most ancient Oriental instruments. Russell in his Nat. Hist. of Alleppo (i. 155, 156) informs us that "the higher notes are clear and pleasing, but that the longer reeds are apt, like the dervise flute, to make a hissing sound, though blown by a good player. The number of reeds in the syrinx varies in different instruments from five to twenty-three.

The following, No's 1 and 2, Fig. XXII, are two other forms of this instrument approaching to the shape of the organ. In No. 1, the pipes are of different size, usually fixed in a box, open at the top and closed at the bottom by wood covered with skin. Wind is conveyed into the box from the lips of the performer, through a tube fitted into it. The pipes vary in length, and by stopping or unstopping them at the top, the melody is varied

as desired. No. 2 is a modification of No. 1. These forms bear a high antiquity though it is not absolutely certain that they were known to the ancient Hebrews.

We are then to regard Jubal as the inventor of stringed and wind instruments. All stringed instruments, probably, originated from the kinnor, harp, and all wind instruments from the ugabh, organ, which Jubal invented.

GENESIS, XXIX. 34.

And she conceived again, and bare a son; and said, Now this time will my husband be joined unto me, because I have borne him three sons: therefore was his name called Levi.

We have inserted this passage in order to make some remarks upon the term Levi, which refers to a class of persons who were engaged in the music of the temple service.

73 Levi, Levi, is derived from the verb lava to join, which has no reference to music. Levi was the third son of Jacob by Leah (Gen. xxix. 34; xxxiv. 25; xxxv. 23), and stood at the head of the tribe bearing his name. The Levites were solemnly set apart to conduct the services of the temple at Jerusalem. Some were employed as singers and accustomed to

stand in the courts of the temple, rendering thanksgiving and praise to God every morning and evening (1 Chron. xxii. 30). In the time of David four thousand were engaged in this service and some performed upon instruments of music (1 Chron. xxiii. 5). Asaph, Heman and Jeduthun were the grand-masters of song in the tabernacle under David, and in the temple under Solomon. Asaph had four sons, Jeduthun six and Heman fourteen, making in all twenty-four. These were at the head of twenty-four bands of musicians, who served in the temple by turns. The number of performers on all occasions was large and especially at the chief solemnities. Their position was around the altar of burnt sacrifice, the family of Gershon standing on the right, that of Merari on the left and that of Kohath between the other two. The whole business of their lives was to learn and practice music and they were required to be good vocal or instrumental performers. Asaph was the chief master of music under David. During the performance of religious exercises in the temple, female, as well as male singers, were allowed to aid in the music. It will not be necessary to insert the numerous passages in which there are references to the Levites, unless some circumstance, worthy of remark, is named in connection with them.

GENESIS, XXXI. 27.

Wherefore didst thou flee away secretly, and steal away from me; and didst not tell me, that I might have sent thee away with mirth, and with songs, with tabret, and with harp?

These are the words of Laban, the Syrian, who pursued Jacob as he fled from him with his wives, who were Laban's daughters. It appears that the Syrian had improperly detained Jacob in his service and the latter, feeling, under the circumstances,