With this we will leave Egyptian music, simply calling attention to the works of Resellini, Lepsius, Wilkinson, and Petri, which contain copies of mural paintings and temple and tomb sculptures relating to music. For instance, pages 103, 106, and 111 of Lepsius's third book, "Die Denkmaeler aus Aegypten und Aethiopen," will be found very interesting, particularly page 106, which shows some of the rooms of the palace of Amenotep IV, of the eighteenth dynasty (about 1500 or 1600 B.C.), in which dancing and music is being taught. In the same work, second book, on pages 52 and 53, are pictures taken from a tomb near Gizeh, showing harp and flute players and singers. The position of the hands of the singers--they hold them behind their ears--is a manner of illustrating the act of hearing, and arises from the hieroglyphic _double_ way of putting things; for instance, in writing hieroglyphics the word is often first spelled out, then comes another sign for the pronunciation, then sometimes even two other signs to emphasize its meaning. The music of the Assyrians may be summed up very briefly. All that can be gathered from the bas-relief sculptures is that shrill tones and acute pitch must have characterized their music. As Rowbotham says, alluding to the Sardanapalus wall sculpture now in the British Museum in London, "What can one think of the musical delicacy of a nation the King of which, dining alone with his queen, chooses to be regaled with the sounds of a lyre and a big drum close at his elbow?" The instruments represented in these bas-reliefs, aside from the drum, are high-pitched: flutes, pipes, trumpets, cymbals, and the smaller stringed instruments. These were all portable, and some, such as drums and dulcimers, were strapped to the body, all of which points to the eminently warlike character of the people. Instead of clapping the hands to mark the time as did the Egyptians, they stamped their feet. The dulcimer was somewhat like a modern zither, and may be said to contain the germ of our piano; for it was in the form of a flat case, strapped to the body and held horizontally in front of the player. The strings were struck with a kind of plectrum, held in the right hand, and were touched with the left hand immediately afterwards to stop the vibration, just as the dampers in the pianoforte fall on the string the moment the key is released. There existed among the Chaldeans a science of music, which, of course, is a very different thing from practical music, but it was so imbued with astronomical symbolism that it seems hardly worth while to consider it here. The art of Babylonia and Assyria culminated in architecture and bas-relief sculpture, and it is chiefly valuable as being the germ from which Greek art was developed.