Many paintings show this little instrument, it is small and flat, is from three to four feet in length, and has from two to five strings, and always this form suggestive of its paddle origin; the pole, called by us a long neck, has at the top pegs which are turned to bring the strings into tune; the instrument is played with the plectrum. Sometimes it is shown played with the fingers only. Often we meet with the statement that the _Nefer_ finger-board had frets, but I am myself not quite satisfied upon this point, because the lines that in black and white look like frets, yet when inspected in the large coloured fac-simile productions given by Rosellini and others, appear as nothing other than lines of the decorative patterns inlaid on the flat finger-board. [Illustration: _The Nefer supported by a silk band._ _Fig. 57._] That such fancy designings should be a guide to the player seems very probable, but I do not think that the idea of a raised fret had then arisen; in later times there is no question that frets were adopted when precise relations of pitch were sought for in the closer study of the art of playing. In their rudest form pieces of camel gut are tied on the neck to act as frets. [Illustration: _Dancer with the Nefer._ _Fig. 58._] It is still a vexed question whether the Egyptians required, from even their many stringed harps, anything more than certain runs or conventional sequences of tones, little simple tunes that were traditionally retained, and reiterated rhythms, or possessed the knowledge of harmony as a science, and used their instruments in pursuance of aims to produce effects of sound regulated by laws based upon science. They had a great variety of instruments we know, and that the fingers of both hands were used to pluck the strings of the harps, and it seems hard to deny such a claim to a people so skilful and intelligent. Mr. W. Chappell strenuously insisted that the Egyptians understood and practiced harmony, and some other writers support the claim. The most learned authorities take the adverse view and say that nothing yet discovered by investigation warrants such a supposition. All that can be conceded is that the simple consonances of two sounds were known and practised. The present state of Asiatic nations tells very plainly that a large number of instruments may be used in combination without, through the course of ages, any idea of harmony being evolved. The Chinese, Japanese, and Siamese Orchestras are a standing witness of this fact in the history of human races.