We should remember the great gap of time—two thousand five hundred years—before men arrived at the idea of a simple lever key to extend the scale of oboes and flutes by one note; and then think of the possible interval between the time of early common use of pipes comprising four tones in their range and the advent of a pipe with one finger hole and one more added tone. May be in the popular tradition, some young god invented it. Think of the commotion amongst the Greeks when a daring innovator added one more string to the lyre! The Egyptian double flutes seen in the paintings are of greater length than those used by the Assyrians, who so far as we can tell, from their incised tablets seen in the Nineveh Gallery in the British Museum, had only short ones. It was in the hands of the Greeks that changes began to be made, the first noticeable feature being the greater diameter of the pipes. It was not until about five hundred years after the death of Lady Maket that Egypt was opened up to the Greeks; all foreigners had been previously most rigidly excluded. The Egyptian instrument called the _Arghool_ is a comparatively modern instrument, for we never find a trace of it in ancient paintings; and the drone, which is its chief feature, was most likely an Arab device founded on the long pipe of the earlier Egyptian (see page 45, Fig. 9). But the _Arghool_ reed itself had a very ancient origin, and we rightly consider it the oldest of reeds, and as essentially belonging to the Egyptian double flutes. If you look at the engraving you will see that, at the top of the pipe itself, a short piece of smaller pipe is inserted; and, again, a piece of still smaller pipe is added in which the reed has been cut. Thus there is, as it were, a double step, ingeniously accommodating the fitting in of the reed in the simplest way. [Illustration: _Fig. 11._ _The Arghool with its drone and lengthening pieces._]