II. This diversity of uses to which music was appropriated, induced a difference in the composition of it: and as it was necessary in the temple, and in the theatre, to excite distinct affections, they contrived distinct modes of melody, to correspond, as their echoes, with the different affections of the soul. The Dorian mode, as grave, majestic, and devout, was reserved for the temple; and in the theatres, they adopted different modes, suited to the diversity of the matters. In the amorous representations, they used the Lydian mode, which was soft and tender; and when they had a mind to give the movement a stronger effect and expression, they applied the mixed Lydian, which was more pathetic and striking than the Lydian by itself. In warlike representations, they used the Phrygian mode, which is terrible and furious; and in affairs of mirth and jollity, or favouring of the Bacchanalian, they adopted the Æolian, which was sprightly and comic. The Subphrygian mode, was appropriated to calm the transports, raised by the Phrygian; and thus, to produce other effects, they had other modes of melody. III. Whether these modes of the antients, corresponded with the different tones used by the moderns, is not clearly ascertained. Some authors affirm they do, others doubt it. I myself, am inclined to think they do not, because the diversity of our tones, have not that influence to vary the passions, which was experienced in the different modes of the antients. SECT. II. IV. Thus music, in those remote ages, was divided between the temple and the theatre, and was applied promiscuously, to worship at the altar, and to the corruption of manners. But although this was a lamentable falling-off, it was not the greatest abuse which has been practised on this noble art, the accomplishment of its perversion being reserved for our times. When the alteration in the application of music, which was employed heretofore only in divine worship, took place, the Greeks made a very judicious division and distribution of it; reserving to the temple, that which was proper for the temple; and giving to the theatre, that which was suitable to the theatre; but what has been done in these latter times? Not content with keeping theatrical music for the use of the theatre, they have translated it to the church.