in the British Museum, representing a procession of musicians marching to meet a conqueror returning from battle. In front marches a man playing upon a harp, this instrument is approximately four feet high and fitted with ten strings. From the fact of hIn the sculptures found in the ruins of Nineveh are many representations of musicians and musical instruments. The latter appear to have been of the finest workmanship, in fact, within their limits, the instruments of the Assyrians could be said to be artistically perfect.

Most of the sculpture work discovered at Nineveh is now in the British Museum, and reproductions of it are to be found in almost every book dealing with the history of music. Judging from the nature of the instruments represented, the music of the Assyrians must have been of a light yet somewhat subdued order, with no very pronounced effects of instrumental "colour," no blaring of large wind instruments or banging of drums. They have also arrived at some idea of a proper combination of instruments and voices.

An interesting illustration, not only of the nature of the Assyrian musical instruments, but also of the manner in which these instruments were used in combination with voices, can be seen by a sculptural relief in the British Museum, representing a procession of musicians marching to meet a conqueror returning from battle. In front marches a man playing upon a harp, this instrument is approximately four feet high and fitted with ten strings. From the fact of hi

rtistically perfect.

Most of the sculpture work discovered at Nineveh is now in the British Museum, and reproductions of it are to be found in almost every book dealing with the history of music. Judging from the nature of the instruments represented, the music of the Assyrians must have been of a light yet somewhat subdued order, with no very pronounced effects of instrumental "colour," no blaring of large wind instruments or banging of drums. They have also arrived at some idea of a proper combination of instruments and voices.

An interesting illustration, not only of the nature of the Assyrian musical instruments, but also of the manner in which these instruments were used in combination with voices, can be seen by a sculptural relief in the British Museum, representing a procession of musicians marching to meet a conqueror returning from battle. In front marches a man playing upon a harp, this instrument is approximately four feet high and fitted with ten strings. From the fact of h

ted, the music of the Assyrians must have been of a light yet somewhat subdued order, with no very pronounced effects of instrumental "colour," no blaring of large wind instruments or banging of drums. They have also arrived at some idea of a proper combination of instruments and voices.

An interesting illustration, not only of the nature of the Assyrian musical instruments, but also of the manner in which these instruments were used in combination with voices, can be seen by a sculptural relief in the British Museum, representing a procession of musicians marching to meet a conqueror returning from battle. In front marches a man playing upon a harp, this instrument is approximately four feet high and fitted with ten strings. From the fact of h

ination of instruments and voices.

An interesting illustration, not only of the nature of the Assyrian musical instruments, but also of the manner in which these instruments were used in combination with voices, can be seen by a sculptural relief in the British Museum, representing a procession of musicians marching to meet a conqueror returning from battle. In front marches a man playing upon a harp, this instrument is approximately four feet high and fitted with ten strings. From the fact of h

in the British Museum, representing a procession of musicians marching to meet a conqueror returning from battle. In front marches a man playing upon a harp, this instrument is approximately four feet high and fitted with ten strings. From the fact of his walking alone in front of his fellow musicians, this man was probably the head musician. In today's terms, he could be a conductor or a musical director, or it might have been his turn to stand at the front. Nobody knows for sure. Behind him walk two men, one playing an instrument of the dulcimer kind, and the other a double flute.

The dulcimer player walks with his instrument resting against his breast in a horizontal position, possibly it was secured by a cord or strap passed round the player's neck. The flute-player's instrument is small, allowing him to have been a tall man; each pipe would be up to twelve inches long. Behind the flute and dulcimer-players come two more harpers, with instruments similar to that carried by the leader.

Then follow another couple, a harper and a flute-player, followed, in turn, by two other harpers, these last being followed by a harper and a drummer, the drum a very small one and apparently played with the finger-tips. This constitutes the orchestra