The approximate illustrations of the kinnor, or harp, supplied by the Egyptian and Assyrian monuments are very copious and interesting, and we cannot err far in supposing the various modifications of the Hebrew in- strument to have been substantially the same as those in use among their neighbors. The most ancient form of the kinnor was probably the bent or curved form, agreeably to the etymology of tlie name, whicli accord- ing to Furst {Hebrdisches unci Chalddisches Handirurter- buch) is derived from a root signifying to make in the shape of a bow or curve. Egv'ptian harps of this shape are represented in the first of the accompanying illus- trations (p. 764:), and are remarkable for their differences of size, arrangement, and power, two of the specimens having as many as thirteen strings, one nine, and one
only three ; while one is light and portable, and the rest so large and heavy as to require to rest on tlie ground. It was by a natural transition that the curved form gave way in many cases to the triangular, such as we see in our next series of illustrations. Nearly resem- bling these ancient Egyptian forms of the portable
Triangular Harps.
, Ancient Egyptian Harp (from instrument in Eej-pt. Mns., Florence).
harp is the shape of the ancient Persian chang and the Arabic junk of the present day ; and we are disposed to agree with Engel that this triangular instrument is most likely the trigonon, or triangle, mentioned by sev- eral classical authors. " Burney," he remarks, " in his History of Music, gives a drawing of a trigonon with ten strings. He observes that it is called by Sophocles a Phrygian instrument, and that a certain musician, of the name of Alexander Alexandrinus, was so admirable a performer upon it, that when exhibiting his skill in Borne he created the greatest /«?-o?e. Burney further remarks, ' The performer being a native of Alexandria, as his name implies, makes it probable that it was an Egyptian instrument upon which he gained his reputa- tion at Rome' — an opinion which is corroborated by the discovery of the instrument shown in our engraving. The representations, it is true, of the Grecian trigonon, given in our histories of music, exhibit it in the shape of a Greek delta, with three bars. In the Egyptian in- struments the third bar, it will be observed, is wanting; but no ancient examples have been produced of the trigonon with three bars, and the representations re- ferred to are probably only imaginary." Perhaps we have a still nearer approximation to the Hebrew harp in the two triangular instruments from the Assyrian sculptures. These harps are of ver\' frequent occurrence on these Oriental monuments, showing that this form of the instrument was a favorite one. One of the two repre- sented on the following page has twentj'-one strings, the other has twenty-two strings; and it is a remarkable dif- ference of construction as compared with the Egyptian specimens that the sounding-board forms the upper part of the instrument instead of the lower, while the reader will also observe openings for the escape of the sound. The ancient harp was sometimes played with a plec- trum ; but in all the Egyptian and Assyrian specimens now given it will be noticed that no plectrum occurs, but the instruments are all played with the hands, as we always figure to ourselves David liandling his favor- ite harp. This Assyrian harp is probably the nearest approximation to the harp of the royal psalmist which we shall ever be able to reach. Remembering that the kinnor is one of the instruments mentioned by Laban as in common use in the country of Aram, we cannot but suppose that the harp which was used by the de- scendants of Jacob bore a closer resemblance to those which are figured upon the monuments of Mesopotamia than to those of the Egyptian monuments. See Harp»
MUSICAL IXSTIIUMEXTS VG6 MUSICAL INSTRUMENTS
2 3 ■+
Procession of Assyrian Musitiaus, their followers clapping hands iu time.
Fijja. 1 and 4. Assyrian Harps ; 2. Double Flute ; 3. Dulcimer, (Bass-relief of triumph of Sardanapalua over the Susiaus, British ]
2. Tlie 723, nebel, probably the Greek vaj3\io7' (va- I3\a, vc'i(5\}], vavXa, or vdjiXatf) and the Latin nohlium (nablu7)i or nabld). The word is rendered " psaltery" in the A. v., in imitation of the Sept. translation of the I'salins and Nchemiah, which renders it by xf^aXrlipiov, with the exception ofij/aXfiOi; in Psa. Ixxi, 22, and KiBc'tpa ill I'sa. Ixxxi, 2. The Septuagint in the other books in which the word occurs renders it by vuftXa or, with a dirtcrent ending, vajiXov. The Greek rendering \paXrf]- pioi/ evidently connects this instrument with tlie Chal- dee •"'"i:n;33 of Dan. iii, 5, 7. The first mention of it is in the reign of Saul (1 Sam. x, 5), and from that time forward we continue to meet with it in the O. T. It is, however, not found in the 2d chapter of Daniel, where mention is made of so many instruments ; whence we may infer cither that it did not exist among the Habylonians, or was known among them by another name. It was pla\-ed upon by several persons in the grand procession at the removal of the ark (1 Chron. XV, 10; xvi, 5); and in the final organization of the Temple music it was intrusted to the families of Asaph, lleman, and Jeduthun (1 Chron. xxv, 1-7); Asaph, however, was only the overseer of the nebelists, as he himself played on a different instrument. Out of the worship of God it was employed at festivals and for luxurious purposes (Amos vi, 5). In the manufacture of this instrument a constant increase of splendor was exhibited. The first we meet with were made sim])ly of the wood of the hcrosh (2 Sam. vi, 5; 1 Chron. xiii, 8), others of the rarer ult/um tree (1 Kings x, 12; 2 Chron. ix, II), and some perhaps of'mctal (Josephus, A lit. i, 8, 3), unless the last is to be understood of par- I ticular parts of the instrument.