fact that music was largely taught in Egypt, and the numbers of musical instruments buried in the tombs or represented in the decorations confirm his statement.  The music was scientifically taught, and a knowledge of harmony is apparent in the complicated forms of the instruments.  The harps sometimes had as many as twenty-two strings:  the long-handled guitars, fitted with three strings, were capable of wide gradations; and the flutes were sufficiently complicated to be described by early writers as “many-toned.”  The Egyptian did not merely bang a drum with his fist because it made a noise, nor blow blasts upon a trumpet as a means of expressing the inexpressible.  He was an educated musician, and he employed the medium of music to encourage his lightness of heart and to render his gaiety more gay.

[Illustration:  PL.  X. A relief of the Saitic Period, representing an old
                      man playing upon a harp, and a woman beating a
                      drum.  Offerings of food and flowers are placed
                      before them. 
                      —­ALEXANDRIA MUSEUM.]

[Photo by E. Brugsch Pasha.

One sees representations of the women in a rich man’s harem amusing themselves by dancing and singing.  In the tomb of Ay there is a scene showing the interior of the women’s quarters, and here the ladies are shown dancing, playing guitars, feasting, or adorning themselves with their jewellery; while the store-rooms are seen to be filled with all manner of musical instruments, as well as mirrors, boxes of clothes, and articles of feminine use.  At feasts and banquets a string band played during the meal, and songs were sung to the accompaniment of the harp.  At religious festivals choruses of male and female voices were introduced.  Soldiers marched through the streets to the sound of trumpets and drums, and marriage processions and the like were led by a band.  At the feasts it was customary for the dancing-girls, who were employed for the amusement of the guests, to perform their dances and to play a guitar or a flute at the same time.  One sees representations of girls, their heads thrown back and their long hair flying, merrily twanging a guitar as they skip round the room.  In the civil and religious processions many of the participators danced along as though from sheer lightness of heart; and on some occasions even the band footed it down the high-road, circling, jumping, and skipping as they played.

The words for “rejoice” and “dance” were synonymous in the literature of the Egyptians.  In early days dancing naturally implied rejoicing, and rejoicing was most easily expressed by dancing.  But the Egyptians of the refined periods more often danced to amuse themselves, regarding it, just as we do at the present day, as an exhilaration.  Persons of the upper classes, however, did not indulge very freely in it, but preferred to watch the performances of professional dancers.  At all banquets dancing