A love of music appears to have characterized both the Babylonians and their near neighbors and kinsmen, the Susianians. In the sculptured representations of Assyria, the Susianians are shown to have possessed numerous instruments, and to have organized large bands of performers. The Prophet Daniel and the historian Ctesias similarly witness to the musical taste of the Babylonians, which had much the same character. Ctesias said that Annarus (or Nannarus), a Babylonian noble, entertained his guests at a banquet with music performed by a company of 150 women. Of these a part sang, while the rest played upon instruments, some using the pipe, others the harp, and a certain number the psaltery. These same instruments are assigned to the Babylonians by the prophet Daniel, who, however, adds to them three more--viz., the horn, the sambuca, and an instrument called the sumphonia, or “symphony.” It is uncertain whether the horn intended was straight, like the Assyrian, or curved, like the Roman cornu and lituus. The pipe was probably the double instrument, played at the end, which was familiar to the Susianians and Assyrians. The harp would seem to have resembled the later harp of the Assyrians; but it had fewer strings, if we may judge from a representation upon a cylinder. Like the Assyrian, it was carried under one arm, and was played by both hands, one on either side of the strings. [PLATE XXV., Fig. 3.] [Illustration: PLATE XXV.] The character of the remaining instruments is more doubtful. The sambuca seems to have been a large harp, which rested on the ground, like the harps of the Egyptians. The psaltery was also a stringed instrument, and, if its legitimate descendant is the modern santour, we may presume that it is represented in the hands of a Susianian musician on the monument which is our chief authority for the Oriental music of the period. The symphonia is thought by some to be the bagpipe, which is called sampogna by the modern Italians: by others it is regarded as a sort of organ. The Babylonians used music, not merely in their private entertainments, but also in their religious ceremonies. Daniel’s account of their instruments occurs casually in his mention of Nebuchadnezzar’s dedication of a colossal idol of gold. The worshippers were to prostrate themselves before the idol as soon as they heard the music commence, and were probably to continue in the attitude of worship until the sound ceased.