The little free reed is of copper, is of very delicate workmanship, the tongue is about half an inch long having its tip slightly loaded with beeswax, and the corners rounded off, thus leaving passage way for the air, otherwise the tongue would not be set in vibration, since the reed tongue is quite level with its frame, a condition in which modern reeds would not speak. It is a peculiarity worth noticing. Another strange contrivance is that the hole which we see on each pipe a short distance above the cup, is designed to prevent the pipe from speaking; is not the opening for the sound of the note as in other pipes is the usual purpose; although the air drawn in comes simultaneously through all the pipes, not a single pipe will sound that has not the side hole covered by a finger. The position of the hole has no relation to nodal distance, it effects its purpose by breaking up the air column when it is open, and so prevents the pipe from furnishing a reciprocating relation to the pitch of the reed. Over these holes the four fingers play in the order the music requires. [Illustration: _The Reed_ (_Full Size._)] The _Sheng_ is considered to be one of the most important of the Chinese musical instruments; no other is so perfect either for sweetness or delicacy of construction. It is indispensable in the ritual music of their temples. At the Confucian ceremonies there are six _Sheng_, three on the east and three on the west side of the hall. They play exactly the same music as the _ti-tza_ or flute, yet they are not used in the popular orchestras. At nuptial and funeral processions the _Sheng_ is played, but it is then merely for form’s sake, in accordance with the requirements of the rites, and the hired coolie who carries it simply simulates playing. One rarely hears the _Sheng_ now-a-days, on account, some say, of a curious superstition that a skilful performer becomes so wedded to its music, that he is ever playing, and that, as the instrument is played by suction or drawing in of the breath, a long continuance in practice brings on inflammation of the lungs; so no performer is believed to live more than forty years! Others however, and these are the philosophers, maintain that the ancient music and the ancient methods of playing are lost, and the construction of the instrument after the ancient plan is a lost art. This one can well believe of an instrument belonging in its prime to so early a period of history. Of all the ancient music nothing remains but abstruse theories. Van Aalst says:—