As against the claims made for the Hellenic Popes of the seventh and eighth centuries, it is worth while to examine the music which it is probable was introduced by Hellenic influence during that time, and compare it with the bulk of the "Gregorian." The tropes and the melodies from which the sequences developed probably come under this head, and some specimens of these may be seen in the _Winchester Troper_ (_Ed._ Rev. W. H. Frere, _H. Bradshaw Society_, 1894). An examination of these melodies will show that their structure is entirely unlike the structure of the Gregorian melodies, especially in the close with a rise from the note below the final to the final, which continually occurs at the end of the phrases. This will be very clear from the accompanying melody, _Cithara_, from which the sequence _Rex Omnipotens_ was formed. This form of close appears at the end of each of the first five sections, and again at the end of the seventh and eighth. In the rest of the sequence, the melody rises to a higher range, and the close appears a fifth higher in the ninth and tenth sections, a fourth higher in the eleventh and thirteenth, and a whole octave higher in the twelfth. This transposition of the range of the melody is more developed here than in most sequence melodies, but some such transposition is a prominent characteristic of many of them. There is nothing at all like it in the genuine Roman chant. CITHARA [Illustration: CITHARA] IN WHAT DID THE WORK OF ST. GREGORY CONSIST?