Four kinds of _Sê_ are in use, they differ only in size, and in number of strings, the principle being the same; and it is customary that they should give the sound of two notes at the same time, generally octaves, so that on state occasions no doubt the effect is imposing, as the instruments possess considerable resonance. That which seems to be the most permanent variety has thirteen or fourteen strings only, quite sufficient for the modern skill and modern musical requirements. In this form it is preserved by the Japanese, with whom it is named the _Taki-Koto_. The example in my possession I have more than once made mention of, and recounted some of its beauties. Its breadth is 10in., its length 6ft. 4in., depth 1-3/4 in. The wood is nearly half an inch thick, both the upper and the lower planks; there is no thinning of the wood, but the upper one is made to arch over in its breadth by having the under side of it fluted. This fluting process is marvelously well adapted for the end in view; the thickness of the sound-board, as we immediately recognize it, is the opposite of that which we pursue in stringed instruments. The wood is of a beautiful mellow brown, and is a riven plank. No plane has touched it; it remains as it was riven from the tree, showing as it were an embossed fibre,—so clear it is, and so purely natural. It has splendid resonance, remarked by every hearer for lovely quality of tone. A thick silk cord is laid upon the end-bearing bridge, and the strings set on this cord, so that the vibration is communicated only through the moveable bridges belonging to each string. At the ends of the cord are silk tassels of a quiet green colour, with some strands of pale buff intermixed: all in perfect harmony with the inlaid woods and ivories. The strings are plucked by the aid of two little ivory plectra, shaped like a half filbert or almond, stayed upon the fingers by a narrow band of leather: thus the silk strings escape being affected by moisture. The choice of thick wood intuitively by the Chinese is a lesson in acoustics for moderns. If we try woods of thickness with a tuning fork, the resonance obtained is often finer than any derived from thin cut pieces of the same. The sonorousness of these large instruments marks by contrast the evident purpose of the designer of the _Ch’in_ and concerning the latter there are yet some interesting particulars to mention to bring its nature clearly before those who have not had an example under hand.