Upon the left-hand side is the crocodile seizing upon the apis, and plunging him into the water. On the right-hand is the [121]scarabæus thebaicus, or the thebaic beetle, the first animal that is seen alive after the Nile retires from the land; and therefore thought to be an emblem of the resurrection. My own conjecture is, that the apis was the emblem of the arable land of Egypt; the crocodile, the typhon, or cacodæmon, the type of an over-abundant Nile; that the scarabæus was the land which had been overflowed, and from which the water had soon retired, and has nothing to do with the resurrection or immortality, neither of which at that time were in contemplation.
Farther forward on the right-hand of the entry, the pannels, or compartments, were still formed in stucco, but, in place of figures in relief, they were painted in fresco. I dare say this was the case on the left-hand of the passage, as well as the right. But the first discovery was so unexpected, and I had flattered myself that I should be so far master of my own time, as to see the whole at my leisure, that I was rivetted, as it were, to the spot by the first sight of these paintings, and I could proceed no further.
In one pannel were several musical instruments strowed upon the ground, chiefly of the hautboy kind, with a mouth-piece of reed. There were also some simple pipes or flutes. With them were several jars apparently of potter-ware, which, having their mouths covered with parchment or skin, and being braced on their sides like a drum, were probably the instrument called the _tabor_, or[122]_tabret_, beat upon by the hands, coupled in earliest ages with the harp, and preserved still in Abyssinia, though its companion, the last-mentioned instrument, is no longer known _there_.
In three following pannels were painted, in fresco, three harps, which merited the utmost attention, whether we consider the elegance of these instruments in their form, and the detail of their parts as they are here clearly expressed, or confine ourselves to the reflection that necessarily follows, to how great perfection music must have arrived, before an artist could have produced so complete an instrument as either of these.