The voice of these masses stood to the Hebrews' mind as the feeble type of the great song which should go up from the entire Israel of God when the scattered members of the cult were gathered in their time of fullness and glory. For us also the same image stands. And while the art of this venerable and singularly gifted people did not attain a place of commanding influence upon the tonal side of music, it nevertheless has borne no small part in affording a vantage ground for later art in the line of noble conceptions, inspiring motives and brilliant suggestions. It has been, and still is, one of the most potent influences in the art-music of the world. Nor is it without interest that the scattered representatives of this race have been and continue to be ministers of art in all the lands into which they have come. The race of Israel has made a proud record in modern music, no less than that of the ancient temple. II. The Assyrians held music in honor, and employed it for liturgical purposes, as well as those of social and private life. Among the discoveries at Nineveh and Babylon are many of a musical character. Strong bearded men are playing upon harps which are of a triangular form, but of a different structure to any which we have thus far given. (See Fig. 10.) The one upon the left is a eunuch. In the following figure we have the banjo-like instrument so constantly seen in the Egyptian representations. [Illustration: Fig. 11.] There are several instances of some sort of an instrument, apparently consisting of metallic plates or rods, played by means of a hammer. Many have considered these to have been the original type of the modern instruments of percussion, where metal plates are vibrated by means of hammers or mallets. The following is one of this kind. [Illustration: Fig. 12.] The general appearance of these processions indicates that the Assyrians were in the habit of massing a large number of players upon important occasions. We have no idea what the effect of this music can have been, but upon the tonal side it cannot have had any great resonance or power. Enough if it satisfied the ears of the dignified players and those who employed their services as a part of the pageant of their great festivals. CHAPTER III. MUSIC AMONG THE ANCIENT GREEKS. Upon several accounts the development of the art of music among the ancient Greeks is both important and interesting. Our word "music" is theirs; it carries within its etymology the derivation from the Muses, the nine agreeable divinities who presided over the more becoming and nobler activities of the Greek mind. By music the Greeks meant much more than merely the tonal art itself. Under this term they included pretty much all that they had of a liberal education; grammar, history, rhetoric, mathematics, poetry and song--all were included in this one elastic and comprehensive term. Music itself, the art of tone-sequence, they called harmony.