Fig. 7 shews a full size reed of the hautboy type, and above it, as looking down upon the tip of the reed, is seen the oval form it assumes after it has been moistened for playing. The two parallel lines indicate its appearance when dry. The make up of the reed is modern, but the size is of the old pattern as used by Italian peasants to the present day, spoken of as the pastoral hautboy. Some readers not familiar with the instrument will be glad of this illustration showing the difference between double and single reeds. In the double reed, which consists of two slips of reed bound together, the vibrations take place only at the tips, and are caused by rapid changes from oval to parallel due to suction by the current of air driven down between them. It should be understood that in both the single reed and the double reed the action is the same in kind, and the vibrations or sounds result from the stream of air being checked in its progress by closure of the aperture by force of suction alternating with opening of the same by the resilient power or spring in the form and material of the reed—in other words vibration is due to shocks of arrested motion in extremely rapid recurrence—the number of repetitions of arrest per second constituting what we call the pitch of the notes or sounds. Using either the hautboy reed, or the arghool reed, with these flutes, a scale of notes of some sort may be elicited. The narrowness of the bore causes so much difficulty in the obtaining consecutive notes by lip blowing, that I the least favour the supposition that the pipes were designed for such a method. The hautboy reed is almost always associated with a conical pipe; but there are instances, in which it is used in connection with a cylinder of diameter quite as small as that of these pipes. We have no intimations that the Egyptians of that period (1100 B.C.) were familiar with the hautboy reed. In any experiments with the hautboy reed the management of the reed by the muscles of the lips should be prohibited, as being a practice unknown to the ancients. My definite conclusions are that these pipes are true specimens of the _di-aulos_ at its earliest stage; that the slimness betokens a particular ceremonial purpose; that the pipes were designed for use with reeds of the arghool type; and that the distances between the holes indicate that the tones proper to the instrument are those of the four foot octave. For the better command in the holding of the pipes the natural lay of the fingers is with the second joints covering the holes, the tips of the fingers not being used for the purpose until later times. Peasants in the wilder parts of Europe and Asia retain the ancient custom.