with a great many strings, of a rich quality of tone. It is, most unfortunately, named sackbut in our English version, for the sackbut of Europe is a trombone, the idea of which has existed from very early times. And again, the root sac signifies a pouch or bag in several ancient languages, and the root boog or beek-the one in Arabic and the other in Hebrew-signify a pipe. Thus a sackbut naturally would mean a bagpipe; but the Biblical sackbut is very far from being either a trombone or bagpipe. It is, on the contrary, the sambuca, a harp known to the Greeks and Romans as coming from the Oriental nations, which was played by both men and

ANCIENT CITHARA.

women.

The cithara is one of the instruments mentioned in Daniel. This is the actual progenitor of the modern guitar. At first, the only distinction between the cithara and the lyre was the sort of box over which the lower ends of the strings were stretched. It is very closely allied to the Ethiopian kissar, or lyre.

CHINESE GUITAR,

Summing up the stringed instruments mentioned in the Bible, we find (1) the kinnor (translated harp), a portable lyre; (2) the nebel (translated psaltery), a moderate sized portable harp; (3) the nebel-azor, a tenstringed nebel; (4) the sabeca (translated sackbut), a large harp; (5) the psanterin (translated psaltery in Daniel), a dulcimer; and (6) the kithros, a lyre or guitar, probably of large size and fixed to a stand.

HINDOO GUITAR.

We can trace the gradual development of stringed instruments from a hunter's bow, the twang of the string giving a musical sound. Another string, shorter or longer, being added, gave two different sounds. Then more strings were added, and a harp is the result. Adding a resonance-box, the lyre comes next, and the transition from a lyre to a lute, and thence to a guitar, is easy. Next comes the early violin form, and side by side with this, by depriving the resonance-box of its neck, would form the dulcimer. From this to the clavichord, through the harpsichord to the piano the development is easily apparent. This is the logical but not chronological genealogy of the modern stringed instruments.

II.-WIND INSTRUMENTS.

BUT Jubal was the father, also, of those that play on the organ—the ugab, as the Hebrew has it. In a previous article,* I have indulged in some speculations concerning the origin of the organ, and endeavored to show that the organ of Jubal's time was simply a pipe or reed. That the pipe gave a musical sound was known to almost every ancient nation, and the different names given to it, curiously enough, show its peculiarities. The Hebrew, is

* See "Organs and Organists," SUNDAY MAGAZINE, May, 1882.

khalil, from a root signifying "pierced" or "bored"; Latin, tibia, from the fact that it was often made from a shinbone; Greek, aulos, from a root meaning "to blow"; Arabic, nay, meaning "a reed"; and Phoenician gingra, from the Sanskrit gri, "to sound.”

The khalil is first mentioned in I. Sam. x. 5, the same verse in which the psaltery (nebel) first appears. We next find it in I. Kings, i. 40; and we find it also mentioned by Isaiah, Jeremiah, Ezekiel, Zechariah, and in several places in the New Testament. The representation of Egyptian pipes which remain sculptured on tombs and monuments afford very good ground for belief that the khalil was of the same family of instruments as the modern oboe, rather than the flute. The Egyptians had flutes of different sizes and kinds, some being blown in at the end, and some as in our modern flutes, and it requires no. strong stretch of probability to suppose that when the Israelites went out of Egypt they carried with them the knowledge of the musical instruments of their task-masters. The khalil seems to have been used by the Jews on occasions of pleasure, and sometimes at funerals. Two, at least, were to be played at the death of a wife, and when our Lord bade the dead maiden to arise, the pipers were bidden to give place (Matt. ix. 24).

Machol is the word translated "dance," when associated with the timbrel, but Dr. Stainer thinks it is a musical instrument of the flute kind, and advances some ingenious arguments in proof. But the evidence is so slight that it must be dismissed as only a plausible conjecture.

CHINESE

MOUTH ORGAN.

In connection with the ugab, it will be interesting to note the similarity in an instrument of China called the cheng. This is blown by the mouth, and the performer passes his hand round to the back, where there are holes to stop, thus CHENG, OR making the pipes sound. The cheng is interesting as being the direct progenitor of the modern melodeon, accordion, concertina, harmonium and cabinet or reed organ, being constructed of pipes with free reeds. Among the instruments mentioned in Daniel, iii. 5, 7, 10, 15, is the mashrokitha, which has been supposed to be a small organ or collection of pipes, known as "Pan's-pipes," or syrinx. Other writers believe this instrument to have been a double flute. But there is no certainty what it was, as no records or representations are to be found of it. Now we come to the symphonia, also in Daniel's collection of instruments. This is nothing more nor less than a bagpipe. This instrument is exceedingly ancient, and seems to be found in almost every nation. The Chaldaic name is súmponyáh; the Arabic, Zouggarah; the Syrian Greek, samponia; Greek, symphonia; modern Italian, sampogna; all derived from the same root, meaning "to sound together," alluding to the melody and the drone sounding at the same time.

the one which was used at the fall of Jericho, as The shophar is a famous instrument. It is related in the sixth chapter of Joshua. It is one of the three Jewish trumpets, the others being the keren, or cow's-horn, and the khatsotrah.

The keren is translated cornet, and sometimes trumpet, in our Bibles; and khatsotrah, trumpet. The shophar is translated ram's-horn and trumpet, and it possesses the distinction of being

LAOS

MOUTH ORGAN.

to any great or serious action. The khatsotrah is mentioned only once in the Psalms (Ps. xcviii. 6). The last allusion to it is in Hosea, v. 8, where it is used in connection with the shophar, and both are blown as a warning to Israel of the approaching visitation of God.

SHOPHAR.

almost every book in the Old Testament. The use of the natural trumpet, made from the horn of some animal, is very ancient, and widely differed among the different nations. After the use of the actual horns of the cow or goat came the use of an imitation, either in metal or ivory. Tusks of elephants were hollowed out and often elaborately carved, and to this day the Ashantees use elephants' tusks for trumpets, blowing them through a hole on the side like a modern flute (flauto traverso.) The frequent use of the term shophar throughout the Psalms and prophetical books gives it a religious character far beyond in importance that of the keren; and its continuance in Jewish worship to this day shows the dignity with which it was invested. Not being provided with ventages or stop-holes, it could only give the natural harmonies or overtones. The musical reader will understand that a trumpet or horn in C would give these notes, C, C, G, C, E, G, B flat, C, D, E, F sharp and G. The two notes, B flat and F sharp are not strictly in tune, and were therefore rarely used. This scale was the actual scale of the keren, shophar and khatsotrah. The latter is generally thought to have been a straight trumpet with a bell. It is first mentioned in Numbers, x. 2, 8, 9 and 10. Moses received from the Lord specific directions as to making them. "Make thee two trumpets of silver; of a whole piece shalt thou make them." Josephus, in commenting on this, says: "Moses invented a kind of trumpet of silver; in length it was little less than a cubit, and it was somewhat thicker than a pipe; its opening was oblong, so as to permit blowing on it with the mouth; at the lower end it had the form of a bell like a horn." While the shophar was used chiefly in the religious services, the khatsotrah appears to have been

CHINESE TRUMPET (KHATSOTRAH).

III.-INSTRUMENTS OF PERCUSSION.

division of the instruments of the modern grand orchestra THE Hebrew instruments corresponding to the third are the tseltslim, metzilloth, manghanghim, shalish and toph. in the English version of the Bible. There were two kinds The first two are, with one exception, translated "cymbals" of cymbals, for in Psalm cl. 5 we read the injunction to "Praise Him upon the loud cymbals; praise Him upon the high-sounding cymbals." We find that most Orientak nations had two kinds of cymbals. The Arabs had two distinct varieties, one small and one large. The Assyrians. had also two kinds, differing not only in size, but also in form. One kind was almost identical with a modern soupplate, but having a somewhat larger rim, the other kind had a hollow, commencing at the very rim; and terminating in an upright handle, giving the appearance of a hollow cone with a handle. The flat cymbals were played one on each hand, bringing them sharply together at right angles with the body. The other kind was used differently. One was held stationary in the left hand, while the other was dashed upon it vertically with the right hand.

A pair of ancient Egyptian cymbals was discovered in the tomb of a mummified priest. They are made of copper, with a small admixture of silver. They resemble the modern cymbals very closely, even to the perforation for a strap of leather with which to hold them while playing. They are about five inches in diameter.

The Arabs use the large cymbals in religious ceremonies, and the small ones in accompanying the native dancers. The use of the cymbals in the Bible seems to have been wholly confined to religious ceremonies. We find them mentioned as having been employed in the bringing back of the Ark from Kirjath Jearim, at the dedication of King Solomon's Temple, at the restoration of worship by Hezekiah, at the laying of the foundation of the second Temple, and at the dedication of the wall of Jerusalem. In I. Chronicles, xvi. 42, we find that certain Levites wereset aside as cymbalists.

The one exception referred to is in Zech. xiv. 20, where tseltslim is translated "bells." As modern Europe is the birthplace of bells, this could not mean the bells we know,

but the small cymbals attached to the side of the horses would give a clang

ing sound very similar

to that given when they were struck by hand.

The term manghan. ghim is found

only once in

the Bible (II. Sam. vi. 5),

and it is then translated "cymbals," but Hebraists and other scholars have come to the conclusion that this

instrument was not like the other cymbals of Scripture, but rather a sistrum, an instrument which is described as follows: Through an upright frame of metal, supported on a handle, several metal rods are passed and fixed in position, generally by bending the extremities. On these rods are placed loose metallic rings, so that when shaken the instrument gives forth a ringing metallic sound. The word shalish also occurs only once in the whole Bible. This is at I. Sam. xxiii. 6, where it is translated "instruments of music." The root of the term implies the numerical value of three, and it has been deemed probable that the shalish was a triangle, or a sistrum with three rings on each bar.

The toph, translated "tabret," was a tambour, or handdram, almost exactly what we know as a tambourine. The large drum of modern orchestras is only a development of the toph. The ancient drums were very small, and of various shapes. We find drums in almost every nation,

civilized or barbarous. In India there are drums with two ends, and drums with one end, like the modern kettledrum. The Assyrians used the drum suspended from the neck by a cord.

HINDOO DRUMS.

The Hebrews probably used only the tambour. It is mentioned in connection with the kinnor (Gen. xxxi. 27), and it was a tambour (toph, translated "tabret") which Miriam played on when she sang that song of triumph after the Israelites had crossed the Red Sea (Exod. xv. 1). Many other mentions of this instrument are made through. out the Old Testament.

I.-A WORD FOR THE WIND.

O GENTLE murmuring wind of this June night,
I would, O wind that thou shouldst bear from me
Bome message to my lady o'er the sea.
Take all sweet perfumes with thee for thy flight;
Sigh gently through the failing Summer light;
Nor, happy wind, would I begrudge to thee
The right to kiss her face most tenderly;

The face so loved, so distant from my sight.
If from the tides of memory, that roll
In long sad waves, to-night, upon my soul,
Thou wilt bear up some echo of their speech
Unto her ear, then shall she turn, and feel
A tender sorrow through her spirit steal,

For one who toils, yet hath no goal to reach

II.-A MONTH OF MEMORIES.

O month of many memories, good-by!

Ghosts throng your moon-bathed nights, and sultry days; They gather round me in some silent place, Their breath is in the roses, and their cry In songs of birds that dare the sunlit sky; They meet me in the twilight face to face, And when I walk through lone, night-cover'd ways, In sadly murmuring winds I hear them sigh; Then am I as a man who sees in dreams Some dead, beloved face, and seeing, deems

The past a dream, the dream reality!

But oh! the bitter waking, when, alas!

He knows the mocking dream for what it was, And gazes on a new day, hopelessly.

III.-PRISONED THOUGHTS.

O soul of song, hast thou forsaken me

Thoughts journey through my spirit night and day, And throng the gateways of my soul, and pray That thou who holdest in thine hand the key, Would'st let them forth, that they might wander free, Listen, O distant soul, to what they say: We wander up and down, yet find no way,

To lead us forth from our captivity.

Lo, we have messages for those outside,, And all day long we beat against the gate; Come, then, O song, my thoughts to liberate;

Make thou in turn each one thy fruitful bride, Or must through life they daily watch and wait, And in dark places of my soul abide?

IV. EARLY VIOLETS.

Soft, subtle scent, which is to me more sweet
Than perfumes that come after, when the rose
In all the passion of her beauty blows;
Here, even in this busy London street,
Thou openest to my soul such sights as meet

The eye, when quite forgetful of past snows,
The earth beneath the sun's kiss throbs and glows,
And each thing feels the luxury of heat.

Thou art his lady's voice to one who waits In Summer twilights at her garden gates; Her face not seen as yet; thou art the rare First note of Nature's prelude, that brings soon. The Spring, like a divine and varying tune, Till Summer music vibrates in the air.

CHILDREN frequently make original applications of Scripture texts or trite proverbs. A little girl four years old, daughter of the rector of a church in a neighboring city, had ten cents given her to spend. She made some foolish purchase, which was in pieces before she reached home. Her father had a long talk with her, and in the course of it, quoted, "A fool and his money are soon parted," impressing the lesson by every means he possessed. Some Sundays after, in Sunday-school, the plate being passed, she had to think for a text to say, as is the custom on making the contributions. Finally dropping her money into the plate, she recited, triumphantly, "A fool and his money are soon parted."

A little boy who was about five years old had learned the habit of swearing when he was made angry. Trying every possible help to break him of the habit, at times, the parents would whip the child, but to no good result. In the midst of the whippings he would curse his parents still. So one day the mother took him up in her arms and told him about heaven and its beauty, and its inhabitants, how that only those who loved God, and did not curse, would at last have the pleasure of being there. Then the dark picture of the lower regions was brought out, and the mother described the awful consequence which would befall those who indulged in bad language. With tears in his eyes the little boy looked up and said:

"Ma, do you think God will forgive me?" And the mother, with tears of joy, exclaimed, "Yes." Sometimes the child would forget himself for a moment and utter an oath, but quick he would run and tell his ma he was sorry. To-day he is growing up into youthhood, with every prospect to make a noble man for the Church. If · love were used at times more than the rod, many children might be saved.

There is no need of inventing stories about children; they are equal to the originality, any day. "Do you think, mamma," said a little one, "that Uncle Reuben is a good man ?" "Why, my child, he is the best of all my brothers, and an excellent man." "And will he go to heaven?" "I think so, my child. Why do you ask?” "Oh, nothing, much," replied the child, waking from a sort of reverie; "I was thinking what a homely angel he'd make, that's all."

A Philadelphia boy was asked if he ever prayed in church, and answered, “Oh, I always say a prayer like all the rest do, just before the sermon begins." "Indeed," responded the astonished querist; "what do you say ?" "Now I lay me down to sleep."

The kind of little boys who go to heaven.-The teacher had grown eloquent in picturing to his pupils the beauties of heaven, and he finally asked: "What kind of little boys go to heaven ?" A lively four-year-old boy, with kicking boots, flourished his fist. "Well, you may answer," said the teacher, "Dead ones!" the little fellow shouted, at the extent of his lungs.

A gentleman who had been absent for a considerable time, and who during his absence had raised a pretty luxuriant crop of whiskers, mustaches, etc., visited a relative, whose child, an artless little girl of five or six years, he was very fond of. The little girl made no demonstration toward saluting him with a kiss, as was usual. "Why, child," said the mother, "don't you give Uncle John a kiss ?" 66 Why, ma," returned the little girl, with the most perfect simplicity, "I don't see any place."

From æsthetic Boston comes this bit of wit: We were eating our supper, and Mrs. Dodge was cooking beefsteak. I asked my little girl how she would have her steak cooked. She replied, "I will have it tender and true."

Here are two more from Philadelphia, sent by Mrs. Pierre Munzinger: A little girl of five years having been promised by her mother to be taken to see a child who had died, appeared at her mother's bedside at six o'clock the next morning, ready to take the promised trip. On being told it would not be proper to go at that hour, she said, "Well, if you don't hurry and go early, God will have put on his bonnet and shawl and be gone out." A sister was talking about heaven to her little brother seven years old, when he inquired, "Will I get any dinner there?" When told "No," he burst into a flood of tears, and said, "Then I don't want to go at all, for I can't do without my dinner."

A reader of the SUNDAY MAGAZINE sends these two charming bits: Said a little daughter of a friend of mine, "Oh, mamma, I do love Sunday so much." "I am glad you do, my darling; but why do you love the Sabbath so much? "Oh, betause we have fiss-balls for breakfast." A wooden gate had been freshly painted in my garden. My little grandson, who was playing there, was charged not to open it until dry. I afterward found the marks of his fingers, and told him I was sorry he had disobeyed me. He replied, "Oh, never mind; grandma, when I'm dead and gone you'll be glad to look at those little fingermarks."

Mr. J. N. Brown, of Dakota, sends the following from that faraway place: Little Georgie B— (five) is given to talking in riddles. One day he said to an older sister: "Mamma isn't like George Washington's father at all." On being asked why, he said, "When George Washington did anything wrong and told his father about it, he didn't punish him for it." Another time he was tired of study and said, "I wish sister Bell and I had been born like Adam and Eve, then we wouldn't have to study." He and the kitty were having a big romp, and he said, "Mamma, I guess kitty thinks I am her Uncle Rollin" (an uncle who plays with him in much the same style), "we are having such a nice time."

A Philadelphia reader of the SUNDAY MAGAZINE Vouches for the truth of the following: "Freddie," said a proud mamma to her four-year-old precocious, "this is the Rev. W. Callman, our pastor, the gentleman that will teach you to be so good yet when you go to church." Freddie looked very inquiringly into the clergyman's face for some time. "He isn't so very good himself, mamma, I guess," was his first observation. "Freddie, child, why do you say that ?” “Ah, if you heard him swear like I did!" Mr. "You never saw Mr. Callman Callman blushes crimson. before, child." "Yes, I did, mamma, but he thought nobody would know him because he had his shirt outside his clothes." "What did I say, Freddie, my little man ?" asked Mr. Callman, coaxingly. "Mamma would whip me if I said it." "I will not, I promise you, Freddie," assured the loving mamma. "Hold your ear, mamma, and I'll whisper it. He said damn!" "Was that all ?" "Oh, no! he went all the time. He said devil an' hell an' blasted, but he was up in a high place where nobody could get near him to whip him. The people only held down their heads for shame." Is it needful to say that Freddie had been to church with one of the servants, unknown to his mother, and heard the Rev. Callman pour forth in the good old-fashioned style?

A small boy was found by his mother crying bitterly. When asked the cause, he said, "The minister said we must be borned again, and I am afraid I will be borned a girl,"

"The bees are swarming, and there's no end to them," said Farmer Jones, coming into the house. His little boy George came in a second afterward and said there was an end to one of 'em, anyhow, and it was red-hot, too.

SHIPWRECKED NEAR PORT.

A CAPUCHIN has been on his rounds from the rural convent of which he is the questor. He has cracked his jokes with the good wives, sympathized with the old folk, patted the heads of the children, and has almost reached the convent, well-satisfied with his day's begging. He is evidently a favorite; poultry and fruit and hams, vegetables and eggs filled the basket, which was balanced on the other side by a sack of meal. The band that served as girth for patient Dobbin and as a sling for bag and basket had served too long. Just as they reached the crown of the hill, in view of the stern old prior, who, fretting at the questor's delay, stood watching his arrival, the girth gave way. Disaster strewed the earth with ruin. Eggs and wine mingled in a stream that cooks do not approve.

The questor stands horror-struck, with a lively sense that a week's penance on bread and water may be the result of his day's questing, which opened so graciously and has reached such a tragic end. His relieved companion seems to bear the loss more philosophically.