3. In the study of music, as well as every thing else, the Dorians were uniformly the friends of antiquity; and in this also Sparta was considered the model of Doric customs.(1500) Not that Sparta opposed herself altogether to every attempt at improvement; her object was, that every novelty should be first acknowledged to be an improvement, before it passed into common use, and formed a part of the national education. Hence it unavoidably followed, that the music publicly practised in Sparta proceeded by rapid and single advances to a state of perfection; which opinion is perfectly consistent with the account given by an ancient author of the different regulations respecting the exercise of this art.(1501) When Terpander, the son of Derdenes, an inhabitant of Antissa in Lesbos, four times carried off the prize in the Pythian games, and also in the Carnean festival at Sparta (where the musicians of his school were long distinguished),(1502) and had tranquillized the tumults and disorders of the city by the solemn and healing tones of his songs,(1503) the acknowledged admiration of this master became so general in Sparta, that he procured the sanction of the law to his new inventions, particularly the seven-stringed cithara. It appears that by these means(1504) the music of earlier times became entirely antiquated, so that with the exception of the ancient Pythian minstrels, Chrysothemis and Philammon, not one name of the Doric musicians, before the time of Terpander, has come down to us. For those who, like Thaletas, have been sometimes considered more ancient, belong, according to undoubted testimony, to a later period.(1505) Plutarch dates the second epoch of Spartan music from Thaletas the Elyrian (whose skill was undoubtedly derived from the ancient sacred minstrels of the neighbouring town of Tarrha),(1506) and from Xenodamus of Cythera, and Xenocritus the Locrian,(1507) (whose chief compositions were pæans and hyporchemes), from Polymnestus of Colophon, and Sacadas the Argive, the latter of whom distinguished himself in elegies and other compositions adapted to the flute, the former in the orthian and dithyrambic styles, and also as an epic and elegiac poet. Sacadas flourished and conquered at the Pythian games in Olymp. 48. 3. 586 B.C.; the other musicians, according to Plutarch, must also have lived about the same period. Thaletas was however earlier than Polymnestus(1508) and Xenocritus,(1509) although later than Terpander and Archilochus, and therefore lived before the 40th Olympiad, or 620 B.C. To these musicians Plutarch entirely ascribes the introduction of songs at the gymnopædia of Lacedæmon,(1510) the endymatia at Argos, and some public spectacles in Arcadia. The regulations established at this period appear to have continued in force as long as the Spartan customs were kept up, and were the chief means by which the changes attempted to be introduced during the several epochs of