Yes! Not only does it breathe, but also whispers of that stalwart race of warriors, awakened from the lethargy of years and thrilling to Mohammed’s sublime cry: “There is one God alone!” speaks of the majestic growth of civilisation and chivalry among them, which emanated from the Prophet’s teaching: tells of the conquest of Persia in the seventh century, from whence they gathered wealth and culture, and of the subsequent subjugation of the whole of Egypt, Assyria, and India under one vast Empire. In this manner did the more advanced knowledge of the vanquished become disseminated among the conquerors and--keeping pace with the newly kindled spirit of progress--receive impetus at their hands. The Persian system of music was taken by the Arabs _en bloc_; likewise their musical instruments, and those of India and Egypt, consequently they became possessed of a a numerous and varied assortment. Of their prime favourite _el oud_ (lute), alone, they are said to have counted thirty varieties, and of stringed instruments played with a bow they had fourteen different types. At the present day, only two out of this array exist from which to draw conclusions: the Persian kemangeh à gouze (ancient place of the bow[6]), and the Arabian rabab, which was possibly derived from the Indian ravanastron through the kemangeh. [Illustration: Fig. 4.--KEMANGEH A GOUZE] In the eighth century, the Arabs enlarged their dominions still further by the addition of Spain, and it was there more particularly, amid the bewildering wealth, the luxurious self-indulgence and unrivalled magnificence, that music--“the language of love”--became indispensable. Mahommed might frown upon the art: might decry it as a device of the devil; might thunder that it caused “hypocrisy to grow in the heart like as water promoteth the growth of corn,” but to no avail, the placid Moslem found some means of reconciling his love of sweet sounds to the teachings of his religion. In Cordova, which was then the capital of Spain, “from every balcony in the evening time sounded the tinkling of lutes, and the melody of voices, so that the city seemed wreathed in musical airs after the bazaars were closed and the evening recreation had begun. The Caliph, secluded from public curiosity in his voluptuous retreat of Zehra, passed his hours of recreation amid scenes that may well recall the description of fable. The ‘pavilion of his pleasures’ was constructed of gold and polished steel, the walls of which were encrusted with precious stones. In the midst of the splendour produced by lights reflected from a hundred crystal lustres, a sheaf of living quicksilver jetted up in a basin of alabaster and made a brightness too dazzling for the eye to look upon. Amid the decorations of rare and stupendous luxury was a musical tree--a similar construction is said to have existed at Constantinople and one at Bagdad--the branches of which were made of gold and silver.