The Greek legend of Pan's pipes, which the Greeks also call "syrinx," is even more poetical than the Chinese. Pan the Satyr was in love with the nymph Synnx, but wooed in vain, and when trying to embrace her, found her changed into a bundle of reeds in his arms. The wind rushing over them made sweetest music. Pan, in his sorrow, bound them together always carried them with him and played upon them for solace.

The chief stringed instrument of the Chinese is the dulcimer, called yangkin. It is a trapezodial box of wood, with from fourteen to twenty wire strings passing over and through two perforated wooden bridges, and fastened by as many metal pegs. It is played with two delicate bamboo beaters, merely shreds of bamboo.

The specimen at tue Park is a very fine one, the tone being sweet though metal-lic.

The tseng is an instrument which evolved from the kin or scholars' lute, the most ancient of Chinese stringed instruments. Its strings pass over movable bridges and are plucked with the finger tips.

The yue-kin or moon guitar, the sanheen or banjo with its snake-skin to-day, the ehr-h'sien, or two-stringed fiddle, are all familiar to visitors to Chinatown. All these appear again in the Japanese collection under Japanese names, and really are as familiar in Japan as in China.

The tseng in Japan comes under the head of kato, which is the most elegant of Japanese stringed instruments. It, together with the samisen, form part of the dowry of all Japanese brides, though the samisen has become chiefly associated with the Geisha girls. The samisen has a square body of parchment and long, wooden neck. The three silk strings are played with a plectrum of tortoise shell.

Kotos vary in size and number of strings, which are of silk, and are one to thirteen in number. Some have movable bridges, some fixed. They are always a pretty instrument, and those made of primi wood, the blossoms of which form the Imperial crest, are among the most

artistic as to appearance of all Oriental instruments. It is played with an ivory tsume slipped on the first finger.

With the exception of the Chinese erhh'sin and the Japanese teipin-the fiddles -the stringed instruments give a not unpleasant sound. Certainly Ah Ying, the sming old music teacher of Chinatown, can make them agreeable. Even the squeaky fiddle becomes unique in his hands when he plays "Marching Thro' Georgia" and "A Hot Time," using only the five intervals of the Chinese scale. He makes the flute-or hsiao, in Chinese -sound very sweet, giving to it something of the tone of a piccolo.

A stringed instrument not as much as the others is the balloon guitar, pepa in Chinese, biwa in Japanese. Biwa Lake in Japan is named from the instrument, because its shores resemble the outline of the instrument.

Gongs, cymbals and drums of both China and Japan are well represented in the same case with the stringed instruinstruments.

Passing along to India, we find but three representatives of that country. Two are of the tambourine family. The tone is rich and full, like the deep notes of a guitar. If another gourd were placed on the other end of the instrument in the illustration, it would be a vina, the most ancient and highly valued of Hindoo instruments. It has been immortalized by all Hindoo poets, among them Kalidasa, 56 B. C., who makes use of it in the garden scene in his beautiful drama of "Sakunlata" or "The Lost Ring." The sarod or shasode is a queer instrument with its curved sides and tangle of wire strings.

Arabian instruments are more numerous than others in the collection. Some came from Arabia, some from the Soudan and Algiers. Turkey and Syria are represented. It must be remembered that all Mohammedan countries show the influence of Arabian music. For instance, in Cairo to-day the music is Arabian, all traces of ancient Egyptian music having disappeared. Yet one instrument remains in force, just as it was in the days of the wandering of the Israelites. They

box and parchment head and gut strings tuned in sets of three attached to metal pegs and played with a plestrum.

The Arabian tamboura and Algerian guenbri are of the guitar family, and were introduced into Spain by the first Mohammedan invaders. Traces of Arabian influence in music is still to be found in Spain, especially in out of the way villages, where the resemblance is very marked.

The rebab and kemaugeh were descended from the ancient ravanestron, the first instrument played with a bow. It is said to have been invented by Ravannen, a powerful King of Ceylon, 5,000 years ago, and stamps India as the home of the bow. The reban and kemaugeh were not only carried into Spain by the Arabians, but brought to Europe by the Crusaders, and in modified form became the instruments of the troubadours and minnesingers. They finally developed into the viol, from which sprang the family of viols preceding the famous Cremonese school of violins and its accompanying instruments.

Nothing could be more simple yet more graceful than the unk or harp of Arabia. It is merely an oblong box of parchment with sound holes and curved neck of wood, to which strings are attached, producing a tone of depth and sweetness.

Of drums, the daraboukkeh is the most common, either of earthenware with a skin head, as in the illustration (the neck is broken) or of wood and kin. These drums are largely used by the Nile boatmen marking the time of their boating songs.

A picturesque instrument is the serpent of the 16th century, made of metal, covered with leather. Improved forms are still to be found in France.

Another singular French instrument is the vielle or hurdy-gurdy of the 18th century. The sound is produced by the friction of a resined wheel, revolving against the strings, turned by a crank in the left hand, the right playing the keys. The tone is very harsh.

The graceful lyre of the period of Napoleon I in the Park collection is an

example of the industry of the zeal with which Mr. de Young pursues his quest of curios for the museum. When in Paris on one of his recent visits, he met a lady, who told him of a valuable lyre which she had seen in the window on a certain street celebrated for its secondhand shops. But on seeing Mr. de Young's interest, she evaded his question as to the particular shop. He, not to be outdone by so mere a trifle, took a fiacre and ordered the driver to go slowly up one side of the street and down the other. At last he discovered the lyre, but a fabulous price was asked for it, and there were several visits and much bargaining before it passed into his possession.

An old German bassoon with a serpent's head is a striking oddity, and Germany is further represented by flutes, hautboys, clarinets, flageolets, various horns and drums.

Immensely interesting is the reproduction of the harp of the harper of King Brian Boru, which was supposed to have been played at the battle of Clentarf, near Dublin, on Good Friday, 1014, A. D.

Jumping to more modern times, there is the grand piano of the time of Louis XV, with its painting after Watteau and three quaint claviers of famous London makers.

For those who have known the delights of London and have wandered about the labyrinth of streets adjoining Golden Square, or ridden on top of a "'bus" down crowded Cheapside past mighty St. Paul to more crowded Cornhill, the financial heart of the world; or have driven along gay Haymarket just as the famous old theatre of the same name, and the famous new theatre, Her Majesty's, across the way, were pouring out their large audiences to spring into the myriad cabs whose lights seem like waiting fireflies ready to speed to all parts of Londonthe labels on these old claviers set hearts of such as these to beating and conjure up memories of the old world which can be brought to this newest of cities by just as a medium as the Memorial Museum in Golden Gate Park.