Probably the stopping of the water supply outside the walls was connected with an operation mentioned at the close of the narrative of Hezekiah’s reign: “Hezekiah also stopped the upper spring of the waters of Gihon, and brought them straight down on the west side of the city of David.”(428) Moreover, the chronicler’s statements are based upon 2 Kings xx. 20, where it is said that “Hezekiah made the pool and the conduit and brought water into the city.” The chronicler was of course intimately acquainted with the topography of Jerusalem in his own days, and uses his knowledge to interpret and expand the statement in the book of Kings. He was possibly guided in part by Isa. xxii. 9, 11, where the “gathering together the waters of the lower pool” and the “making a reservoir between the two walls for the water of the old pool” are mentioned as precautions taken in view of a probable Assyrian siege. The recent investigations of the Palestine Exploration Fund have led to the discovery of aqueducts, and stoppages, and diversions of watercourses which are said to correspond to the operations mentioned by the chronicler. If this be the case, they show a very accurate knowledge on his part of the topography of Jerusalem in his own day, and also illustrate his care to utilise all existing evidence in order to obtain a clear and accurate interpretation of the statements of his authority. The reign of Hezekiah appears a suitable opportunity to introduce a few remarks on the importance which the chronicler attaches to the music of the Temple services. Though the music is not more prominent with him than with some earlier kings, yet in the case of David, Solomon, and Jehoshaphat other subjects presented themselves for special treatment; and Hezekiah’s reign being the last in which the music of the sanctuary is specially dwelt upon, we are able here to review the various references to this subject. For the most part the chronicler tells his story of the virtuous days of the good kings to a continual accompaniment of Temple music. We hear of the playing and singing when the Ark was brought to the house of Obed-edom; when it was taken into the city of David; at the dedication of the Temple; at the battle between Abijah and Jeroboam; at Asa’s reformation; in connection with the overthrow of the Ammonites, Moabites, and Meunim in the reign of Jehoshaphat; at the coronation of Joash; at Hezekiah’s feasts; and again, though less emphatically, at Josiah’s passover. No doubt the special prominence given to the subject indicates a professional interest on the part of the author. If, however, music occupies an undue proportion of his space, and he has abridged accounts of more important matters to make room for his favourite theme, yet there is no reason to suppose that his actual statements overrate the extent to which music was used in worship or the importance attached to it. The older narratives refer to the music in the case of David and