"The size of the bell must be accurately equal to the Ke-an, (or measuring standard); the weight must be nicely poised with the chik (or weighing standard). The bell must first sound, and then let each musical instrument be tuned to it."

One of these bells is always to be found in the wealthy temples, slung in a large wooden frame; the only material difference perceptible, between them and our European bells, consists in the absence of a tongue or clapper; at the time of their devotions, therefore, the priests produce their tones by means of large wooden mauls, with which they strike them.

It is not necessary to make any particular mention of the cymbals and timbrels, which do not materially differ from others of the same class; they are used on public ceremonials and festivals.

From the modes of tuning their instruments, which have been already shown, it would appear as if the Chinese system of music were one of five sounds, in contradistinction to our octaves; for the amusement and information of our readers, we subjoin a specimen of Chinese airs, which, to the best of our belief, as nearly resembles as possible, the sounds produced by a Chinese musical performer. We would give words, could we procure them, but our stock of Chinese is small,-minute as our assurance; but if our kind indulgent readers will fancy all sorts of queer monosyllables, such as hwang, tee, sun, hung, loo, foo, yin, fan, quei, &c., each word being sung to two notes, they will be able to form some idea of the words of a Chinese song, and the pleasing effect produced on the oral organs, of a European by the same.