Another application of music is pictured in a very ancient painting, given by Rosellini,[14] in his great work; in it is seen a woman nursing an infant, while a harper and singer are furnishing music, possibly to lull the child to sleep; in almost all these paintings the singers are represented with one hand to their ear in order to catch the pitch of the instruments more readily. But the most interesting painting has been copied, in the folios of Lepsius,[15] from a tomb of great antiquity; it represents a course of _musical instruction_ in the department of the singers and players of King Amenhotep IV. (18th Dynasty). We see several large and small rooms, connecting with each other; furniture, musical instruments and implements are seen all around, especially in the small rooms or closets. In the large rooms are the musicians, engaged in practising and teaching; one teacher is sitting, listening to the singing of a young girl, while another pupil is accompanying her on the harp; another girl stands attentively listening to the teacher’s instructions, (_class system_ evidently); in another part two girls are practising a dance, while a harper accompanies; other musicians are variously engaged. In one room is a young lady having her hair dressed, and in another, a young miss has leant her harp against the wall, and is sitting down with a companion to lunch. This certainly gives a fair insight into the music life of old, and we leave Egyptian music, of which _as music_ we know nothing, with more satisfaction after this glance at the _Royal Egyptian Conservatory of Music_. CHAPTER III. BIBLICAL AND HEBREW. The earliest scriptural mention of music is in Genesis, Chapter IV. where Jubal is spoken of as “Father of those who handle the harp and organ.” But harp and organ must by no means be confounded with our modern instruments of the same name. The harp was probably an instrument of three strings, while all the very ancient references to an organ, simply mean a “Syrinx” or Pan’s pipes. The music of Biblical History is, as is almost all the music of ancient nations, combined to a great extent with the dance; the dances of the ancients were what to-day would be called pantomimes, expressing joy, sorrow, fear, or anger, by the motions and expressions of face and body, rather than by the feet. The real character of the ancient Hebrew music, as well as of many of the musical instruments, is involved in utter obscurity, and no clues to enlighten the investigator, remain in the modern music of this usually most conservative of peoples; much of their musical system was borrowed, until David’s time certainly, from the Egyptians. The music of the modern Jews is tinged in almost every instance with the character of the music of the people around them; thus the same psalms are sung in a different manner by German, Polish, Spanish, or Portuguese Jews.