1874.] Notices of Books. 521 
The Greeks appear to have possessed three kinds of cymbals. As 
for stringed instruments, their number was considerable: there 
were many kinds of lyre, harps, psalteries, four-stringed trigons, 
and guitar-like instruments. The largest kind of lyre had many 
strings, and was placed upon a stand; the others were carried in 
the hand. Athenzus quotes a singular story told by Artemon, 
to the effect ‘‘that Pythagoras once strung the three sides of a 
Delphian tripod, such as was used to support an ornamental 
vase, and that he tuned one side to the Dorian scale, another to 
the Phrygian, and the third to the Lydian scale or mode. So 
far all was possible, but it is improbable that Pythagoras should 
have attempted it, because there could be no tone from such a 
tripod, for it had no sounding-board. The minuteness of the 
remaining part of the story proves the whole to be a myth. 
Artemon adds that Pythagoras contrived a pedal to turn this 
tripod, and that he twisted it about with such rapidity while he 
was playing that any one might have fancied he was hearing 
three players upon three different instruments.” 
Mr. Chappell considers the Greeks to have been very unin- 
ventive in regard to musical instruments, which all seem to be 
Asiatic or Egyptian. The lyre is found in Egyptian paintings 
before the Greeks existed as a nation. ‘*We can find no new 
principle for stringed instruments discovered by a Greek, nor 
anything new in pipes. All was ready-made for them, together 
with their system of music. The Greeks were even inapt 
pupils; for, although they had many strings ever before their 
eyes, they did but reduce the number, after a time, to bring the 
instruments down to their own level. They practised a certain 
amount of harmony, but not so much as earlier nations.” Our 
author even goes so far as to compare Greek music of an early 
date with modern Japanese music, of which a curious account is 
given on p. 304. We are glad to notice representations 
(pp. 314—315) of the beautiful harps from the tomb of Rameses 
the Third. 
The thirteenth and final chapter of the work is devoted to 
organs, and Mr. Chappell has carefully investigated the various 
forms of hydraulic and other organs described by Hero in hig 
IIvevparuwa. He has even had a model of one of them constructed, 
and points out its advantages. The invention of the hydraulic 
organ is attributed to Ctesibius, who appears to have lived about 
284 B.c. The precise meaning of the word opyavoy has some- 
times led to confusion. It was often used to mean any instru- 
ment ; it might be a surgical instrument, or a musical instrument, 
or an organ of sense,—as the instrument of reasoning,—and so 
on. The first description of the hydraulic organ is given by 
Hero of Alexandria, who was a pupil of Ctesibius. A second 
full account of it is given by Vitruvius, in his Treatise on 
Architecture, written between B.c. 20 and 11. Many of the 
early editions of the ‘‘ Pneumatics” appeared with drawings, 
