Farther forward on the right-hand of the entry, the pannels, or compartments, were still formed in stucco, but, in place of figures in relief, they were painted in fresco. I dare say this was the case on the left-hand of the passage, as well as the right. But the first discovery was so unexpected, and I had flattered myself that I should be so far master of my own time, as to see the whole at my leisure, that I was rivetted, as it were, to the spot by the first sight of these paintings, and I could proceed no further. In one pannel were several musical instruments strowed upon the ground, chiefly of the hautboy kind, with a mouth-piece of reed. There were also some simple pipes or flutes. With them were several jars apparently of potter-ware, which, having their mouths covered with parchment or skin, and being braced on their sides like a drum, were probably the instrument called the _tabor_, or[122]_tabret_, beat upon by the hands, coupled in earliest ages with the harp, and preserved still in Abyssinia, though its companion, the last-mentioned instrument, is no longer known _there_. In three following pannels were painted, in fresco, three harps, which merited the utmost attention, whether we consider the elegance of these instruments in their form, and the detail of their parts as they are here clearly expressed, or confine ourselves to the reflection that necessarily follows, to how great perfection music must have arrived, before an artist could have produced so complete an instrument as either of these. As the first harp seemed to be the most perfect, and least spoiled, I immediately attached myself to this, and desired my clerk to take upon him the charge of the second. In this way, by sketching exactly, and loosely, I hoped to have made myself master of all the paintings in that cave, perhaps to have extended my researches to others, though, in the sequel, I found myself miserably deceived. My first drawing was that of a man playing upon a harp; he was standing, and the instrument being broad, and flat at the base, probably for that purpose, supported itself easily with a very little inclination upon his arm; his head is close shaved, his eye-brows black, without beard or mustachoes. He has on him a loose shirt, like what they wear at this day in Nubia (only it is not blue) with loose sleeves, and arms and neck bare. It seemed to be thick muslin, or cotton cloth, and long-ways through it is a crimson stripe about one-eighth of an inch broad; a proof, if this is Egyptian manufacture, that they understood at that time how to dye cotton, crimson, an art found out in Britain only a very few years ago. If this is the fabric of India, still it proves the antiquity of the commerce between the two countries, and the introduction of Indian manufactures into Egypt. [Illustration: _Painting in Fresco, in the Sepulchres of Thebes._ _London Publish’d Dec^{r}. 1^{st}. 1789 by G. Robinson & Co._]