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Shemiramoth, are said to have presided over the seventh band of music, which was that of the young women." t

In many other places, mention is made of women, who sang, and played on instruments ; and the fact of some of them being the daughters of priests, and of the first families, is analogous to the custom of the Egyptians, who only admitted those of the priests, and kings, into the service of the temple. Herodotus states, indeed, that women were not allowed in Egypt to become priestesses of any god or goddess, the office being reserved exclusively for men §; but though it is true that the higher functions of the priesthood belonged to these last, as far as regarded the slaying of victims, presenting offerings, and other duties connected with the sacrifices, yet it is equally certain that women were also employed in the service of the temple, and were even, according to the historian himself, so fully instructed in matters appertaining to religion, that two, who had been carried away and sold into Libya and Greece, were enabled to institute oracles in those countries. This statement || of Herodotus appears to contradict the former one above mentioned, especially as he admits them to have had

* Vide also 1 Chron. xv. and xvi.

+ Calmet.

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Exod. xv. 20. Psalm lxviii. 25. "It is well seen, O God, how thou goest in the sanctuary. The singers go before, the minstrels follow after; in the midst are the damsels playing with the timbrels." 2 Sam. xix. 35. “Can I hear any more the voice of the singing men and singing women ?"

Herodot. ii. 35.

|| Ibid. ii. 54.

access to the altars of the god* they served, the Theban Jupiter; but it is probable that he merely refers to the higher offices of the priesthood, without intending to exclude them altogether from those sacred employments.

It is difficult to decide as to the name, or the precise rank or office they bore; but the sculptures leave no room to doubt that they were admitted to a very important post, which neither the wives and daughters of priests, nor even of kings, were ashamed to accept. † In the most solemn processions, they advanced towards the altar with the priests, bearing the sacred sistrum ‡; and a queen, or a princess, frequently accompanied the monarch, while he offered his praise, or a sacrifice, to the deity, holding one or two of those instruments in her hand. §

By some the sistrum was supposed to have been intended to frighten away Typhon, or the evil spirit; and Plutarch, who mentions this, adds, that "on the convex surface is a cat with a human visage; on the lower part, under the moving chords, the face of Isis; and on the opposite side that of

*Herodot. ii. 56.

261.

For the offices held by women, vide supra, Vol. I. pp. 258, 259.

Conf. Claudian de IV. cons. Honor. 570.:

"Sic numina Memphis

In vulgus proferre solet.

Nilotica sistris

:

Ripa sonat, Phariosque modos Ægyptia ducit
Tibia "

And Vide wood-cut, No. 8.

§ Vide wood-cut, No. 8. fig. 5.

|| Plut. de Iside, s. 63.

Nepthys." The bars, to which he alludes, were generally three, rarely four; and each had three or

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No. 230.

Fig. 1. The sistrum of four bars.

2. Of unusual form.

Thebes.

four rings of metal, whereby the "rattling noise made with the moveable bars" was greatly increased.

The instrument was generally from about eight to sixteen, or eighteen, inches in length, and entirely of bronze or brass. It was sometimes inlaid with silver, gilt, or otherwise ornamented; and being held upright, was shaken, the rings moving to and fro upon the bars. These last were frequently made to imitate snakes, or simply bent at each end to secure them; and I have met with one instance of their being connected with each other by cross pieces, besides the unusual addition of two intermediate bars. *

In a sacrifice to Isis, represented at Herculaneum, in company with several sistra, is an instrument, consisting of a rod and a set of moveable balls, arranged in a circle, apparently shaken by the

* Vide wood-cut, No. 230. fig. 2.

performer; who, in the other hand, holds four links of a chain, intended, no doubt, to emit a similar gingling sound; but as the paintings in which

No. 231. Instrument and chain shaken by a person in a religious ceremony represented at Herculaneum.

they occur are of a late date, and the rites only borrowed from those of Egypt, we have no direct evidence of their having been used by the Egyptians themselves.

The most interesting sistrum I have seen is one brought to England by Mr. Burton, and now in the British Museum. It was found at Thebes; and being of a good style and of the most correct Egyptian form, appears to indicate great antiquity, and one of the best periods of art.

Two others, in the British Museum, are highly preserved, but are evidently of a late epoch; and another in the same collection is of very modern date. They have four bars, and are of very small size. Mr. Burton's sistrum is one foot four and a half inches high, and was furnished with three

movable bars, which have been unfortunately lost. On the upper part are represented the goddess Pasht, or Bubastis, the sacred vulture, and other emblems; and below is the figure of a female, holding in each hand one of these instruments.

The handle is cylindrical, and surmounted by the double face of Athor", wearing an "asp-formed crown," on whose summit appears to have been the cat, now scarcely traced in the remains of its feet. It is entirely of bronze; the handle, which is hollow, and closed by a movable cover of the same metal, is supposed to have held something appertaining to the sistrum; and the lead, still remaining within the head, is a portion of that used in soldering the interior.

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No. 232. Sistrum in Mr. Burton's collection, now in the British Museum.

* Plutarch says, on one side the face of Isis, on the other that of Nepthys. De Is. s. 63.

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