Turning our attention again to instruments belonging to the orchestra proper, we find an inexhaustible subject in the evolution of the two other great families, the wood and the brass. Most of the above-advanced hypotheses in respect to origin and migration of strings are equally pertinent to the wind. But the inference that the genesis of these latter instruments antedates that of the lyre and lute is surely justified in that conch shells and the horns of animals must have offered the most natural means for producing artificial musical tones. Again, the construction of stringed instruments suggests a more advanced stage of intellectuality. Finally, there have been preserved to us from antiquity a far more numerous and varied array of comparatively natural instruments such as the Egyptian mem and sebi,--respectively vertical and horizontal flutes, of which the former was more common and still exists in the guise of the modern Arab flute. One of the most simple species of horn was the "Schofar" or ram's-horn, used in the temple worship of the Hebrews. The Assyrians as well as the Egyptians possessed trumpets, probably of brass. The war trumpets of the Romans were of bronze. The deep-toned trumpet or tuba was straight; the high-toned lituus was bent; and the buccina, large trumpet or trombone, was curved. III. The principle of both single and double reeds was understood by the Greeks. As a result of the researches of Professor A.A. Howard, an accurate description of their representative instruments, the auloi, Latin tibiae, is to be found in "Harvard Studies in Classical Philology," Vol. 4. His article presents strong arguments in favor of the belief that instrumental polyphony was actually practised by the Greeks. Performers upon the auloi played almost invariably upon two pipes at once. The instruments were supplied with finger-holes, were capable of producing both the diatonic and chromatic scales, and may be divided into three classes corresponding, in a general way, to the three types of wood-winds as are in use to-day. All of them had a tube of cylindrical bore, but most of them were supplied with a double mouthpiece like the modern oboe, so that these species of the auloi can be regarded as the prototype of the preferred double-reeds that prevailed during the Middle Ages when they went under the name of schalmei. This nomenclature is confusing; in explanation it should be said that not until after the original schalmei had developed into the pommer, thence to the oboe, was the single-reeded predecessor of the clarinet known by this name. Colloquialism refers to the schalmei in its later application. Another double-reed that came into temporary existence during the Middle Ages was the variety of cromornes. They differed from the schalmei principally as to form--Krummhorn.