The Greek hymnody contemporary with Ephraem followed, with some licence, classical models. One of its favourite metres was the Anacreontic; but it also made use of the short anapaestic, Ionic, iambic and other lyrical measures, as well as the hexameter and pentameter. Its principal authors were Methodius, bishop of Olympus, who died about A.D. 311, Synesius, who became bishop of Ptolemais in Cyrenaica in 410, and Gregory Nazianzen, for a short time (380-381) patriarch of Constantinople. The merits of these writers have been perhaps too much depreciated by the admirers of the later Greek "Melodists." They have found an able English translator in the Rev. Allen Chatfield (_Songs and Hymns of Earliest Greek Christian Poets_, London, 1876). Among the most striking of their works are [Greek: mnôeo Christe] ("Lord Jesus, think of me"), by Synesius; [Greek: se ton aphthiton monarchên] ("O Thou, the One Supreme") and [Greek: ti soi theleis genesthai] ("O soul of mine, repining"), by Gregory; also [Greek: anôthen parthenoi] ("The Bridegroom cometh"), by Methodius. There continued to be Greek metrical hymn-writers, in a similar style, till a much later date. Sophronius, patriarch of Jerusalem in the 7th century, wrote seven Anacreontic hymns; and St John Damascene, one of the most copious of the second school of "Melodists," was also the author of some long compositions in trimeter iambics. Period of Arian controversy. An important development of hymnody at Constantinople arose out of the Arian controversy. Early in the 4th century Athanasius had rebuked, not only the doctrine of Arius, but the light character of certain hymns by which he endeavoured to make that doctrine popular. When, towards the close of that century (398), St John Chrysostom was raised to the metropolitan see, the Arians, who were still numerous at Constantinople, had no places of worship within the walls; but they were in the habit of coming into the city at sunset on Saturdays, Sundays and the greater festivals, and congregating in the porticoes and other places of public resort, where they sung, all night through, antiphonal songs, with "acroteleutia" (closing strains, or refrains), expressive of Arian doctrine, often accompanied by taunts and insults to the orthodox. Chrysostom was apprehensive that this music might draw some of the simpler church people to the Arian side; he therefore organized, in opposition to it, under the patronage and at the cost of Eudoxia, the empress of Arcadius (then his friend), a system of nightly processional hymn-singing, with silver crosses, wax-lights and other circumstances of ceremonial pomp. Riots followed, with bloodshed on both sides, and with some personal injury to the empress's chief eunuch, who seems to have officiated as conductor or director of the church musicians. This led to the suppression, by an imperial edict, of all public Arian singing; while in the church the practice of nocturnal hymn-singing on certain