flourished from Olymp. 26. till 33. 676-646 B.C.), since at his time they had already arrived at a high degree of eminence. In fact, the Lesbian musicians were at that time the most distinguished in Greece: they far surpassed the native musicians of Peloponnesus, nay, even of Lacedæmon itself; so that if the above style had not at that time been common in the Peninsula, it would not have been called _the Doric_. Notwithstanding which, the opposition of the Doric to the Phrygian and Lydian modes on the one side, and the definite and systematic relation between the three on the other, can neither have been the result of mere popular and unscientific attempts, nor have originated in the mother-country of Greece, where there was no opportunity of becoming acquainted with the styles of music peculiar to those Asiatic nations,(1498) or of comparing them with their own, so as to mould them into one. The _Doric_ mode, however, could only have been so named originally, from the contrast which it exhibited with these other kinds of music, and this must have been first observed in foreign countries, and not among the Dorians or Peloponnesians themselves, who were only acquainted with one style. The natural supposition then is, that the Lesbian musicians, being in constant communication both with Peloponnesus and Asia Minor, first established the distinction and names of the three _modes_, by adapting to the particular species of tetrachord in use throughout Peloponnesus, the accompaniments of singing and dancing practised in Asia Minor, and moulding the whole into a regular system.