Whether by some peculiar skill the flute players were able to produce a series of harmonics, is a puzzling problem. There is no reason to suppose that they could control the reed, unless they used a reed with reversed cut of tongue, like that of the old Chalumeau, or some other kind of reed, or a double reed as just now suggested; not the _Arghool_ reed. To obtain harmonics merely by hard blowing would be a hazardous affair, especially in public performance before an audience professedly merciless to failure. The only harmonics to instruments of this class are twelfths and possibly fifths. Yet on the other hand, in the contests between ancient flute players, the especial aim of the rivals was to outdo each other in producing the highest notes. Our players on oboi and clarionets only obtain harmonics with certainty by pressing the reed with the lip, so as to shorten the reed’s active portion. On the Egyptian flutes, as stated in a previous chapter, fifths were obtained in series, and after that octaves. A fine straw reed tongue was used in this case, and may account for results so different from modern custom. One of these four Pompeian flutes produces three notes beyond the compass of the others, and there was doubtless some intent in the distinction; possibly the player who handled it had the dignity of first flautist. There is yet one other example in existence of this type of flute. It was discovered at Salamis, in the the island of Cyprus, by Cesnola, and is, I believe, included in that portion of his wonderful collection which was sent to New York. It is described in his book, “Salaminia,” and is illustrated. Although in decayed condition, its structure is apparent. It is of bronze, with sliding cylinders; is about twenty inches long, and is perforated with fourteen finger holes, three of which it would seem were closed off. Careful measurements were taken, and an exact copy made by Messrs. Carte, and they were thus able to ascertain the original notes of the time worn instrument. The notes are nearly those of the modern chromatic scale, the lowest note being C in the bass clef, and the highest G (an octave and a fifth above). These notes, C, C♯, D, D♯, E, F, G, A, B♭, C, E, G,