The flute was not an instrument of much antiquity among the Greeks; Homer only mentions it as used by the Trojans.(1422) In the time of Hesiod it had been introduced at the _comus_, the band of noisy revellers.(1423) But the cithara alone for a long time kept its place as the instrument for the chorus: even in the time of Alcman flute-players came mostly from Asia Minor; and their names (Sambas, Adon, Telos(1424)) frequently had, from this circumstance, a barbarous sound. This kind of music was principally adopted in places where Dionysus was worshipped; for instance, in Bœotia. It was of course also much used in the rites of the Phrygian Magna Mater, and of the Phrygian Pan:(1425) hence Pindar, who inherited the character of a flute-player from his father, dedicated a shrine to the mother of the gods, and to Pan.(1426) When, however, it had become common throughout Greece, it could not be excluded from a place so celebrated for music as Delphi, and Apollo’s ear became less fastidious. Alcman and Corinna, indeed, were too partial to that art (the former as being a Lydian, the latter a Bœotian), when they represented Apollo himself playing on the flute.(1427) This instrument, however, had at that time been adopted even in the sacred exhibition of the Delphian worship: a dirge on the death of the Python(1428) (nominally the production of Olympus a Phrygian musician, contemporary with, or somewhat later than, Terpander),(1429) was played on the flute in the Lydian strain, and probably formed a part of that dramatic representation. Moreover, this instrument was used to accompany Prosodia (songs which were sung on the way to a temple) in the procession to Tempe, and in the Pentathlon at the gymnastic contests.(1430) A peculiar species of flute, from being used in pæans, obtained the name of the _Pythian_:(1431) yet the music of the flute, combined with singing (αὐλῳδία), in lyric and elegiac measures, was excluded from the Pythian games, after it had once been heard, as making too gloomy an impression:(1432) for all sadness, and therefore all plaintive strains, were every where excluded from the worship of Apollo; and the music in his temples was always intended to have an enlivening and tranquillizing effect upon the mind.