Very precious are these recovered flutes. They tell us of a people’s music, definitely fixed and in use, theirs by choice, by tradition, by religion. They owe their preservation to having been placed within a larger reed, which was doubtless their ordinary case. They were found untouched since that last day. Not from mere sentiment were these flutes placed beside the Egyptian lady in her tomb, but because of a deeply rooted religious belief that these, together with the other articles named, were in some way connected with the daily existence and the comfort and content of the _Ka_, the _double_ or dream body, which perpetually inhabited the tomb with the embalmed mummy. In point of fact, it was the _double_ of the flutes that was to prove a source of musical solace, not the flutes themselves, for they would not be touched by the dream body. The Egyptians worked out their views with logical consistency, and believed that all things had their _doubles_, both animate and inanimate. Even a pictorial representation in default of the real thing was of almost equal value for the service to be rendered in the invisible world, and a mere name written had a potency and could secure the coveted benefits to the _Ka_. For the soul or _Bi_ was often called upon to follow the gods in the heavens, or to undergo probationary journeys to the world of darkness below the earth, and then the _Ka_ was left alone, and occupied itself with the pursuits common to its earthly life. Thus from this strange belief we may presume, or may infer that the Lady Maket was not only a lover of flutes, but might also have held some official position, civil or religious, connected with the use of them. There is a similar instance in the case of a mummy in the British Museum, where you may see, at the feet of the dead musician, the bronze cymbals he played when alive, with the people dancing around him. Is the dream body—the _Ka_—still there, I wonder, coming out at night to talk with his fellows? Dream bodies like himself, all terribly old, all listening to the clashing of the ghostly cymbals, and joining in unheard melodies. All terribly old!