The instruments described in an earlier chapter are classed by the Chinese—“the stone chime” as representative of Winter, and distinctively as stone, the first of sonorous bodies; and the “bell chime” as belonging to Autumn, and as the second of sonorous bodies, “metal.” The stringed instruments do not come, as we should expect, under the heading, “wood,” but are allotted to Summer, under the heading of “silk,” because the silk strings are the sound producers, and silk is third in rank of natural productions. So you will see by this how very logical the Chinese are, notwithstanding the fantastic notions with which they embroider every kind of knowledge. The strings are made of many strands of silk, and the numbers of the strands to be dedicated to each particular string are stated to be subjected to written laws. Thus, the thickest string was to have 240 threads, and represented the sovereign; the second and fourth strings each to have 206 threads; and the third and fifth, 172 threads; and the reasons are given for such allotments according to poetical affinities and symbolical meanings. This essential formalism in the Chinese character has been the hindrance to artistic, as it has been to the industrial, development in the nation; and yet, strange to say, the rigid injunctions which verbally still rule, are in practice, outside the circle of authority, only nominally regarded. Instruments of the dulcimer class have wire strings,—brass or copper drawn very fine: but they—although good specimens are to be seen, some highly ornamented—are not considered national Chinese instruments, but as in some sense foreign intruders. The dulcimers are more related to Assyria, and in point of fact that land may be held to be their original home. Yet, as we shall see, there has been some intimate association with Assyria and Babylonia in very early times, for the instrument, the _Ch’in_ or _Kin_, here illustrated, betrays in one particular feature a resemblance which can hardly be supposed to have arisen accidentally. The _Ch’in_, or scholar’s lute, is so called because it was the chief favourite of their great law giver, Confucius. In his time it was of great antiquity, and is frequently named in the classical works and in the annals of the first rulers of China. It was invented by Fu Hsi (2852, B.C.), and its name implies “restriction” or “prohibition,” because “its influence checks the evil passions, rectifies the heart and guides the actions of the body.” The dimensions, number of strings, the form, and whatever is connected with the instrument, had their principles in nature. Thus the _Ch’in_ measured 3·66 ft., or 366/10 of an inch, because the year contained a maximum of 366 days. The number of the strings was five, to agree with the five elements. The upper part was round to represent the firmament. The bottom was flat to represent the ground. The thirteen studs stood for the twelve moons, and the intercalary moon; and so on.