It will be observed that up to this point all the musicians represented are men. In later representations women are more common. Fig. 6 represents the entire musical culture of the later empire, this particular representation belonging apparently to an epoch not more than a few centuries before the Christian era. The harp in this case is of a different construction, and lighter than those in the former examples. It would seem to have been played while the player walked, for we find it in what seems to be moving processions. The lyre occupies here the post of honor next the harp. The banjo and double flute come next, and then a curious instrument of three or four strings, played while carried upon the shoulder. Several of these instruments have been found in a very respectable state of preservation. Their construction is better shown in the illustrations following: [Illustration: Fig. 7.] The tonal relation of these instruments to the larger harps is difficult to conceive. Wilkinson gives the dimensions of the most perfect one in the British Museum as forty-one inches long, the neck occupying twenty-two inches, and the body being four inches wide. The instrument with the long neck and the short body, seen in Figs. 3 and 6, belongs to the banjo family. Its resonance body consisted of a sort of hoop, or a hollowed out piece of sycamore, the sounding board being a piece of parchment or rawhide. Some of these have two strings, others one; three are occasionally met with. The name of this instrument was te-bouni, and it was of Assyrian origin. It was afterward known as the "monochord," and by its means all the ancients demonstrated the ratios of the octave, fourth and fifth, as we will later see. We have no knowledge whatever of the tonal sound of the music which so interested these ancient players and singers. There is, however, an ancient poem, called "The Song of the Harper" found in a papyrus dating from about 1500 B.C., which gives an idea of the sentiments the music was intended to convey. Here it is, from Rawlinson's "History of Ancient Egypt," p. 48: "THE SONG OF THE HARPER." (From a papyrus of the XVIIIth Dynasty.) The great one has gone to his rest Ended his task and his race; Thus men are aye passing away, And youths are aye taking their place. As Ra rises up every morn, And Tum every evening doth set. So women conceive and bring forth, And men without ceasing beget. Each soul in its turn draweth breath, Each man born of woman sees death. Take thy pleasure to-day, Father! Holy one! See, Spices and fragrant oils, Father, we bring to thee. On thy sister's bosom and arms Wreaths of lotus we place; On thy sister, dear to thy heart, Aye sitting before thy face. Sing the song, let music be played, And let cares behind thee be laid.