That the style had a vogue is evident since another example exists in the Leyden collection, though less complete in condition; the framework still retains the fine green colour as originally painted. Sometimes the woodwork was covered with leather, green or red. This instrument is built five sided in section, and at the back has three sound holes. The resonance should be very strong. The string-bar is well supported by its double bearings and for the kind of music demanded, I should not consider that the tuning would be of the difficulty some writers suppose. [Illustration: _The Paris Lyre._ _Fig. 50._] As the boated lyre betokens a river influence, so the lyres of Class II. indicate a pastoral origin, and this is well portrayed in the Egyptian painting discovered by Sir Gardner Wilkinson in a tomb at Beni-Hassan. It is a painting representing the arrival of strangers in Egypt, and one portion of it introduces a lyre having six strings, the man holding it in the primitive fashion, and playing it with the plectrum, he is preceded by an ass bearing a burden. The true origin is undoubtedly Asiatic, it came, perhaps, by way of Arabia into the central Nile region, and the parent form is best shown in the illustration next following (_Fig. 52_). In this shape it has existed from time immemorial, and down to the present it is found in use by native tribes, in Nubia, Ugandi, Abysinnia, and other regions. Sir Harry Johnston, in his splendid work on Uganda, gives a picture of a native, a Kavibondo, playing this same kind of lyre, eight-stringed. [Illustration: _Fig. 51._] He also gives an illustration of a native Mbuba playing on a strung bow, and holding the string between his teeth thrumbing it the while (he by frequently altering the shape of the mouth-cavity varied the sounds to agree with the changing resonance), in fact, making a jew’s harp of it, which is a singular confirmation of the view I take, tracing the origin of stringed instruments to the bow. [Illustration: _The Kissar._ _Fig. 52._] The picture of a _Kissar_ here given is taken from a fine specimen presented to the South Kensington Museum by the late Viceroy of Egypt, it has strings of camel gut, and a plectrum made of horn, which is used alone or associated with the fingers. All harps it should be remembered are, as occasion may require, subject to the use of one hand for damping the strings, which else would continue sounding too long for the right effect in the performance of the music.