In support of this assumption we have an amount of definite evidence; which indeed goes very little beyond a corroboration of our beliefs. In the case of the Assyrians and Egyptians this testimony consists of bas-reliefs and mural paintings representing musical instruments, and a few actual instruments which have been discovered in the ruins of Nineveh and in the tombs of Egyptian kings. These sculptures show a wide variety of instruments, the general construction of which would indicate considerable musical knowledge, and they testify clearly that among the Assyrians and Egyptians music was an indispensable adjunct to all affairs of ceremony, and consequently, in all likelihood, a subject for serious cultivation. The Assyrian bas-reliefs represent chiefly historical events, religious ceremonies, and royal entertainments. We have no means of knowing whether the musical instruments shown thereon were the only ones in use among the Assyrians, or whether there were not other instruments in widely popular use which the priestly conventions excluded from all ceremonial observances. The instruments represented, however, are numerous and interesting. Judged by the frequency of its appearance on the monuments, the favorite instrument of the Assyrians seems to have been the _asor_, which consisted of a square or triangular frame mounted with six to ten strings of silk or catgut and was played with a plectrum. It was carried in front of the performer by means of a strap slung over his shoulder, and both hands were used in playing it--the right with the plectrum and the left either to twang the strings or to stop any unnecessary vibration. The number of strings on this or on any other Assyrian instrument can only be conjectured. Apparently the artist was never at pains to secure fidelity of detail, for sometimes there are more strings than tuning-pegs and sometimes the reverse. After the _asor_ the harp seems to have come next in popular estimation. The Assyrian harp was an imposing instrument, about four feet high, and was carried in ceremonial processions before the breast of the performer, much as a side-drum is carried in a military band. It was furnished with tuning-pegs and with about twenty strings, probably of silk, but possibly of catgut. The most essential point of differentiation between the Assyrian harp and the modern instrument was the lack of a front pillar. This would argue a rather weak and harsh tone; though if the frame were made of metal or ivory--as in the case of the later Egyptian harps--it would allow of sufficient tension to secure a tone not necessarily very inferior to that of our own harp.