4. The chief reason why the state constantly interfered in the regulation of music was, that it was considered much more as expressing the general tone of the feeling and morals of the people, than as an art which might be left to its own capabilities of improvement. Historical examples confirm the truth of this close connexion, and in particular, it is alleged respecting the Dorians of Sicily, that by introducing a soft effeminate music, they destroyed the purity of their morals;(1528) while the strict domestic discipline at Sparta would hardly have been preserved without the assistance of the ancient style of music which was there cultivated. In order to explain this, it is necessary to observe, that in those times music formed a much more universal branch of education, and was practised to a far greater extent by the people at large, than it has ever been since.(1529) We may trace the progress of music, as it from time to time fell more into the hands of individual artists, whilst the populace, which in the infancy of the art took a part in the exhibition, gradually became mere spectators. The command of an ancient Delphic oracle,(1530) that public thanksgivings should be offered to Bromius by the whole people for a fruitful year, by singing choruses in the streets, was also followed at Sparta, at least in the Gymnopædia. At this festival large choruses of men and boys appeared,(1531) in which many of the inhabitants of the city doubtless took part. From this circumstance either the whole or part of the market was called _chorus_;(1532) and it is probable that the spacious (εὐρύχοροι) cities of Homer were merely furnished with open squares large enough to contain such numerous choruses. It was at these great city choruses that those of blemished reputation always occupied the hindermost rows:(1533) sometimes, nevertheless, men of consideration, when placed there by the arranger of the chorus, boasted that they did honour to the places, the places did not dishonour them.(1534)