Of the special exhibition of ancient musical instruments held in the South Kensington Museum in the year 1872, an account has been given in the Descriptive Catalogue of the Musical Instruments in the South Kensington Museum, London, 1874. The present survey would, however, be imperfect if that remarkable exhibition were left entirely unnoticed, although the collection which it comprised had an existence of four months only. Suffice it here to record that it contained upwards of five hundred instruments, including a large number of violins, violas, and violoncellos of the celebrated Cremona makers. Should a similar exhibition be attempted, an equally successful result is not likely to be achieved for years, if ever. Old and scarce musical instruments have become of much more antiquarian interest than formerly was the case. The specimens still obtainable by purchase gradually find their way into public museums, not only in European countries, but also in America, and in the English colonies. Whenever they have been secured for a museum they generally are no longer obtainable on loan for other exhibitions. Private persons possessing such treasures set upon them a higher value than formerly, and are therefore less inclined to expose them to the risk of being injured. For these reasons it appears all the more desirable that there should be some record of the collections known to be still in existence. [5] Some account of the instruments in Eisenberg appeared in the Vienna paper, "Die Presse," of November 27th, 1872. [6] In England the cither was formerly called _cittern_, _cithern_, _cythorn_, _citharen_, etc. [Illustration] MUSICAL MYTHS AND FOLK-LORE. Music is so delightfully innocent and charming an art that we cannot wonder at finding it almost universally regarded as of divine origin. Pagan nations generally ascribe the invention of their musical instruments to their gods or to certain superhuman beings of a godlike nature. The Hebrews attributed it to man; but as Jubal is mentioned as "the father of all such as handle the harp and organ" only, and as instruments of percussion are almost invariably in use long before people are led to construct stringed and wind instruments, we may suppose that, in the biblical records, Jubal is not intended to be represented as the original inventor of all the Hebrew instruments, but rather as a great promoter of the art of music. However this may be, thus much is certain: there are among Christians at the present day not a few sincere upholders of the literal meaning of those records who maintain that instrumental music was already practised in Heaven before the creation of the world. Elaborate treatises have been written on the nature and effect of that heavenly music, and passages from the Bible have been cited by the learned authors which are supposed by them to confirm indisputably the opinions advanced in their treatises.