Each of the vowels is given separate from the others, and the effect is ludicrous in the extreme. The Copts do worse than this; after mincing a word into such minute fragments, they go back and re-mutilate the first syllable, then again the second, then perhaps the first two, and so on for a long time before they give the word complete like the Syrians. The Copts have no musical notation whatever, and it is a most curious fact in music, that they should be able to recollect such lengthy songs, devoid of any apparent melody, or sequence, and hand them down traditionally, from generation to generation; they must possess either phenomenal memories, or an insight to a connection of ideas in their songs, which has escaped European perception. These remarkable descendants of the ancient Egyptians, hate other Christian sects with much more fervor than they do the Mohammedans. Of the Abyssinian Church we have already spoken, (see chapters on “African Music”);—there is little more to add. They have different modes of singing for different grades of sacred festivals. Responses made by the people or the choir, enter largely into their mass. The number of choristers is from eight to twelve, and they have all powerful voices; this is in fact a prime necessity, as at the door of the church, during service, a constant din of drums, cymbals, and sistrums is kept up. On certain days, the priests and people have a grand religious dance, to the sound of these instruments, while the chorus sing a litany and all mark the time by a clapping of hands. GENERAL SYNOPSIS OF EARLY CHRISTIAN MUSIC. That the art of music was esteemed among the more educated of the early Christians is very strongly shown by a fresco in the cemetery of Domitilla (in Rome). This painting which seems to be of the first or second century of our era, represents Christ as Orpheus, charming all nature by his music.[246] It is probably only an allegorical figure, representing his divine gifts, but the figure must be a shock to all who are accustomed to see the face of Jesus, as drawn by the Leonardo da Vinci. Instead of the meek and beautiful form, we see here a lank loosely-built young man, sitting in a very uncomfortable attitude, on a rock, and twanging away at a four-stringed lyre. Regarding the origin of the present pictures of Christ (although not strictly belonging to our subject) we are tempted to make the following remarks. It is believed by some scholars that the head of Christ was first copied from the statue of Jupiter (or the Greek Zeus), which was, in the early centuries regarded as the most perfect model of manly beauty. It is scarcely to be doubted that the general model of the Pagan sculptures was followed in the early representations of the Saviour. But the style of portraits was altered in consonance with the description handed down by good authorities.