of a straighter form than is usual in this country; consequently fitter for being bored; such as the middle horn of No. 1. or the two forehead horns of No. 2. Plate v.

".... Evening prayers were announced, not by the call of the priest, as usual, but by beating hollow drums, and blowing through LARGE ELEPHANTS' TEETH hollowed out in such a manner as to resemble bugle horns; the sound is melodious, and in my opinion, comes nearer to the human voice than any other artificial sound." Mungo Park's Travels in Africa, p. 96.

If the same instruments which bored these elephants' tusks could follow the bendings of a ram's horn, nothing prevents that horn from yielding musical notes of some kind: and what might be done when time was taken, and perseverance was employed on the subject, according to the best method then practised, is more than we can say, who have ready modes of procuring harmonic tones from various instruments made of metal, &c. The length of an elephant's tusk might render a sound melodious, as the curvatures of a ram's horn might render a sound shrill, piercing, or &c. but, we think, not fit for producing deep notes, or that crescendo hinted at above.

From the nature of the instrument, as well as from what occurs among ourselves, we may readily conclude that different kinds of Trumpets were in use among the ancient Hebrews; and in fact, Scripture affords no less than four words, each of which is understood to denote a Trumpet. It seems likely that they imply, at least, varieties of the instrument. But our present reference is only to those which were sacred, and which, the subject on the Plate, with other considerations, proves against the Rabbins, were straight and not crooked; tapering, not spreading; and of considerable length. As to the metal of which these instruments were made, it probably was silver; as that metal seems to be the best adapted to answer the purposes for which they were used.

By turning to Plate cvi. the reader will see a Trumpet precisely of this kind, employed among the Palmyreneans (who were almost brethren of the Jews, in many respects. Vide No. cccxxIx.)

As this Trumpet is employed in a funeral procession, most likely the sound of it was extremely solemn, or, at least, was easily rendered so by the management of the performer. This hint therefore seems to coincide with the supposition, that our Plate represents the sacred Trumpets, such as were "blown on the new moon, on the time appointed, the solemn feast day" (Psalm lxxxi. 3); that is to say, on the first new moon of the year; for on other new moons they did not blow.

It is extremely probable that no other than the sacred Trumpets were kept in the Temple, or could possibly be united with the Table of Shew-Bread, in the procession of sacred instruments directed by Titus: but it is difficult to believe that they were kept under the table, or, as if they appertained to the table, as their customary and proper place of deposit. Were they kept in the sanctuary? or, in any part of the temple, strictly speaking?-Perhaps in the porch or where?

No. CCXXX. OF THE CUP, OR VASE.

No. 9. IN order to complete this Plate, and to shew the whole of the subject at once, we have inserted figures of three distinct kinds of Vases, which appear on ancient Jewish coins: and the reader will combine with these that of the Cup on the Table of Shew-Bread, as shewn in No. 7..

It is natural to ask, What were the uses of these several kinds of Vases? But here we acknowledge no little embarrassment: not that numerous assertions are wanting, assertions which have long been received as indisputable; but their correct application-is that justified by circumstances? and by judicious appropriation ?

The upper figure of the three on our Plate, which is frequent on Jewish coins, is

usually called "the gomor, or omer, to represent that which had been preserved in the tabernacle, full of manna:" but surely this is very unlikely; for, 1. It is constantly without a cover: 2. Its mouth is so very wide, that a substance susceptible of evaporation could hardly be preserved by it for any length of time: 3. It has more the air of a common drinking cup than of one adapted to so solemn an office.

The second figure of the three on our Plate has greater plausibilities in its favour as a representation of the Pot which contained the Manna: it is from No. 2. Plate XLVIII. and has a palm branch by its side: nevertheless, this jug seems to be made for pouring out liquids; and to this agrees the formation of its lip as well as the bend of its handle, which seems adapted for being held during that service. We rather think, therefore, that the third subject on our Plate is the closest approach to the jug of manna, and possibly it may be intended for it having a handle on each side it seems well adapted for being carried by both hands, rather than for pouring; being wide in the belly, it is capacious for holding a quantity; its mouth is not so narrow as to receive, or pour out, liquids only, yet both its neck and its mouth may easily be stopped closely and firmly, so as to preserve its contents for ages. We should, therefore, on the whole, prefer this as the ( TZENTZENеT) or Vase of Manna (Exod. xvi. 33.), which is the only place, we believe, where this word occurs.

But what is the nature of the second Vase?-at this we can only guess. The reader will peruse the explication of this coin in No. CCIII. without impugning which we may ask, was it struck after some victory? for so the palm-branch seems to hint: is this a jug of wine? we think it is; and probably it alludes to presents, or offerings of wine, made to the high priest or to the temple. The crown (of laurel, very credibly) seems to imply the reward of victory also; and the crown of pearls to denote riches, or ornament:-in short, if we rightly understand the allegorical language of this piece, it is perfectly consonant to the history, 1 Macc. xiii. 50. "Simon took the city of Jerusalem, and entered into it on the three and twentieth day of the second month, in the hundred and seventy first year: with thanksgiving, AND BRANCHES OF PALM TREES, and with harps, and cymbals, and viols, and hymns, and songs: because there was a great enemy destroyed out of Israel. He ordained also that that day should be kept every year with gladness." Nothing seems more likely to be commemorated on his coin than this event; and if so then this jug is a wine jug, and probably of the nature and form of those the contents of which were brought for offerings to the temple; of which an instance occurs, 1 Sam. i. 24. Whether this Jug be the nebel of that passage may be left undetermined; but we do not perceive, at present, any reason that effectually prevents it (vide No. LVII. (II).): and if it be the nebel, then we have recovered the forms of two of the ancient Hebrew vessels.

To return to the upper figure of the three on our Plate. This Cup may be simply of the nature of common drinking cups, and inserted on the coin to denote merely a time of fertility: or it may be such as the priests were accustomed to make libations from; and as the shape of these agrees pretty nearly with that of the cup on the Table, we incline somewhat to this idea of it. Such a vessel was likely enough to find its place on the coins of a people whose prince was their chief priest; or on those of Simon himself, who was the chief ruler, yet perpetually conversant with sacrifices, and whatever belonged to them, as we know libations did. . . . To conclude

We perceive, that as this Table contained bread, the shew-bread, that is, food, so it also contained wine, that is, drink; and these were perpetual memorials before God: not that God was supposed to need them or to enjoy them, yet they were maintained as being of his appointment. If this principle be just, those who have supposed the cup on this Table to commemorate that which contained the manna have been mistaken:

and, we ɩnink it may be questioned, whether the second temple contained any memorial of the manna, or of Aaron's rod, or of other historical events which had happened immediately after the Exodus, or under that part of the Hebrew government which preceded the captivity. We know that the second temple never possessed the greatest glories of the first temple; and it may be, that it wanted others also, the appointment of which was for the purpose of refreshing the minds of the people by way of commemoration, as well as to point at events waited for, but too apt to escape from the memory, and still more from the expectation of those to whom they were addressed. [Were the bread and wine of the Eucharist prefigured on this Table ?] Having by a connection of reasoning, apparently unexceptionable, arrived at these conclusions, the reader will be pleased to see them confirmed by the learning and industry of Mr. Reland; whose opinion proves to be in perfect conformity with our own, though grounded on a distinct medium of inference.

"The learned dispute about the figure of the Vessel that contained this Manna. Mr. Reland (Dissert. ult. de Inscrip. Nummor. Samar. p. 1, 2, &c.) declares against those who pretend it was open, and that it is so represented in some Samaritan medals: he pretends to prove from the name Erauvos, which is given to it in the Epistle to the Hebrews, that it had such a lid or cover as those pots into which they put wine, and like to those by which it is represented on other Samaritan medals, of which he gives a draught. He observes, that the word in the original is one of those that are found but once in the Old Testament, and of which it is not easy to determine the etymology. He finds it in an Arabic word, that signifies to keep. He is of opinion, that this vessel had two handles. He shews by several instances that the ancients called these handles ears, and that they called such bottles as had two of them, Aμpúrovc, or Auúrovę (Amphotos, or Diotos). Horace uses this last expression in the same sense. Mr. Reland carries his criticism farther: he shews, by a great number of authorities, that the heathen called "Ovovs (asses) these sorts of bottles with two handles, because they had some conformity with the ears of asses. By the same criticism he explains the phrase in Athenæus, ovovs yéμovraç öivov, asses filled with wine. He refutes those who render it asses laden with wine; and maintains, that these asses are bottles with two ears. He judges this to be the reason why it was said by the ancients, that Silenus the servant of Bacchus was carried upon an ass. He uses it to explain from whence proceeded that calumny, anciently urged against the Jews, of keeping an ass, or the head of an ass, in the holy place, and of worshipping that idol. [Vide the Samaritan Medals from Reland, No. 7 to 12. Plate XCIX. We believe the term ears for handles is used in some parts of England.]

"He subjoins to his own dissertation another of that learned antiquary and profound divine, John Baptist Ott, who maintains that certain open vessels, which we see upon shekels, or Samaritan medals, represent the Pot that was preserved in the most holy place; and that certain globules marked over these vessels represent the Manna falling from heaven." [This last particular may justly be thought extremely dubious.]

No. CCXXXI. MUSICAL INSTRUMENTS. PLAte cvi.

UNDER the article Music the reader may see the general divisions of Musical Instruments, into 1. Stringed Instruments; 2. Wind Instruments; and 3. Pulsatory Instruments, or drums. We shall adopt this division, but in a different order.

No. 1. "The Horn." This is thought by some to be the cornet, or shawm (vide the following remarks); but whether it might be the Jubilee Trumpet, as others have thought, vide the following Fragment.

No. 2. "The Trumpet." Trumpets were used in the Jewish worship, in the wilderness. Two were made of silver (Numb. x. 2.): these Josephus says (Antiq. lib. iii. cap. 12.), were near a cubit in length, curved at the end like a bell, and at the mouth just of width sufficient to admit the breadth. The purpose of these instruments was for conducting the journeyings and restings of the camp.

There are two Hebrew names for Trumpets, which imply a difference either of form or of material. The Trumpets of Moses and Solomon are called Chatsotseroth: and this seems to denote metal Trumpets, Numb. x. 2; xxxi. 6; 2 Kings xi. 14; xii. 13; 1 Chron. xiii. 8, et al. The Jubilee Trumpets are called Shopheroth: with these the priests encompassed the walls of Jericho. These were employed by Gideon: and the name is applied metaphorically to the thunder of Sinai, Exod. xix. 16; Isaiah lviii. 1. Where both words occur together, the latter is rendered cornets by our translators; by others shawms; Psalm xcviii. 6. Vide FRAGMENTS, No. CCXIX.

No. 3. "Flute of the Ancients." Both pipes of these double Flutes were blown by the mouth at the same time; and played by the fingers: it is probable that the notes given by one of these pipes were in proper gradation on the musical scale, below those of the other.

No. 4. " Huggab, the ancient Organ." Some critics think the Hebrew name is from the sweetness of its tones (LEIGH's Crit. Sac. p. 16.); and since this instrument has been common about our streets, though played on by no extraordinary skill, the sweetness of its tones, in some instances, is sufficient to justify the derivation.

Nos. 5, 6. "Bells, large and small, which the Hebrews, perhaps, called Mezilothaim."

No 7. In the " Admiranda Romanarum,” Plate iv. is the representation of an ancient Palmyrene altar: among the subjects sculptured on which is, the funeral pomp of Hector at Troy. The figure here selected leads the procession: we are certain, therefore, that this is the true Funeral Pipe anciently used in the East; and considering the close connection and similarity between the Palmyrenians and the Jews, as already remarked (Vide No. ccxxIx.), we risk little in asserting, that an instrument of this kind, long, slender, and sonorous, might be that lugubrious pipe whose melancholy sounds infused grief and solemnity into every auditor. May we thus paraphrase our Lord's simile, Matt. xi. 17 ?—“We have played the most sprightly notes which the Horn, or the Trumpet, could produce; but ye have not been moved to joy by them: we have also, on the contrary, blown the Long Pipe, in notes of deep melancholy; but awful and powerful as those notes are, they have moved no sorrow in you."

No. 8. A kind of Bag-Pipe used in the East to this day. From Niebuhr. The simplicity of this construction, which consists of merely the skin of some animal to contain the wind that supplied the pipes, may incline us to accept this as an ancient and original form of the instrument. We know that the Bag-Pipe is an instrument of great antiquity among several nations. As the nature of it greatly controls its form, it could not be very dissimilar in any age from what we now find it; but, probably, the simplest form and composition is the most ancient, and the completest construction is the latest.

No. 9. " Bag-Pipe."

Nos. 10, 11." Cymbals of the ancients; taken from Pignorius and Mersennus." Cymbals appear to have been of two kinds: the zitzell shemash, and the zitzell temgah ; -the loud sounding, and—the high sounding Cymbal: perhaps the size might determine the sound. This instrument is not capable of any variety of notes; it makes a kind of clattering; and rather marks time than adds much to harmony. It is powerful and sonorous; but not melodious or affecting.

No. 12. Cymbals, from the Antiquities of Herculaneum, Vol. iii. These Cymbals are very different in form from the foregoing; and must, from their nature, make a loud and powerful noise. The reader will observe in what manner they are held. This group also shews the jingle of rings upon a circle of wire; and a flute, such as was used by the ancients.

No. 13. Ancient Sistrum: from Herculaneum. It is evident that this instrument could do little more by its rattling than mark time, and add noise to a concert.

No. 14, 15. "Schalishim." This word evidently implies three: but whether it be three sides to the instrument, as in our print; or, three strings, as some suggest: or whether it might not include both, and be three strings drawn tightly on an instrument of three sides, we are utterly unable to determine.

No. CCXXXII. MUSICAL INSTRUMENTS. PLATE II.

No. 1. "THE Old Kinnor, or Harp."

No. 2. "The Old Harp; taken from a seal of Nero's, delineated in Du Choul. Relig. Rom. p. 213."

No. 3. "The Harp, as represented on the medals of Simon Maccabeus; vide Le Blanc's Monnoye de France."

No. 4. "Timotheus's Harp; with nine strings."

The above are from Calmet: we know there are many varieties of the Harp; but which of them were adopted among the Hebrews it is difficult to determine.

No. 5. A Harp found at Herculaneum.

No. 6. A Harp found at Herculaneum.

No. 7. A kind of Guitar, used at present in Egypt; it is played on by a species of fret. From Norden, Plate XL.

No. 8. "The Nablum, or Old Psaltery." The Hebrew word nebel signifies a bottle, or flagon; vide No. LVIII. and very likely this instrument received its name from resemblance in shape. Josephus says it had twelve sounds, and was played on by the fingers; whereas the harp was played on by a fret, or plectrum. The modern Jews use the word Psaltery for a violin: our translators render it viol, Isaiah v. 12; xiv. 11; Amos v. 23; vi. 5.

No. 9. "The Ancient Cithara, or Hazur.”

No. 10. Harp found at Herculaneum. The simple form of this Harp seems to imply that it might be made extremely portable, while the great difference in the lengths of its strings would naturally offer a corresponding variety of notes, and be susceptible of great improvements. A Harp of this kind is described by Mr. Bruce as among the antiquities of Egypt; and we incline to think it a truly ancient form of the instrument. It is much less cumbersome than those of some other constructions.

The ancient Hebrews called the Harp the pleasant Harp; and not only employed this instrument in their devotions, but in their entertainments and pleasures. Those who have heard it, as animated by Ancient-British vivacity, will probably be of opinion that it was quite as well calculated for mirth as for solemnity. We should think the harp was nearly the earliest, if it were not the very earliest instrument constructed for music. David danced when he played on the Harp; so did the Levites: it was therefore light and portable, and its size was restricted within limits which admitted of that action, and of that manner of employment.

*** The reader will please to observe, that the words enclosed by quotation marks" are taken verbatim from the Plates of Calmet: the other remarks are

additions.