Artemis,(1562) was probably occasioned by music having degenerated in that island.(1563) 6. We do not intend to consider the subject of dancing independently of music; as this combination appears to be most convenient for our purpose of ascertaining its importance as connected with manners and public education. Dancing, when it did not merely accompany the time of the music, inclined either to gymnastic display or to mimicry; that is, it either represented bodily activity, or it was meant to express certain ideas and feelings. The gymnastic dancing was no where so much practised as at Sparta, where the ancient connexion between the musical school and the palæstra, and of both with the military exercises,(1564) was more strictly maintained than in any other state. Indeed the march of the Spartans and Cretans had, on account of its musical accompaniment, some resemblance to a dance. For, whereas the other Greeks either marched to battle without any music, in the manner of the ancient Achæans, or, like the Argives, made use of Tyrrhenian trumpets,(1565) the Cretans advanced to battle to the sound of the lyre,(1566) the Spartans to that of the flute.(1567) This last seems, however, to have been an innovation; for Alcman the Laconian mentions the cithara;(1568) and the Cretans also introduced the flute in their army.(1569) However, be this as it may, the flute had become the common instrument at Sparta; probably because the cithara was not fitted for uniting large bodies of men, its sound being too low to produce any effect, even during a complete stillness. The sound of flutes was doubtless more piercing, and particularly when a great number of pipers (who in Sparta formed several native families)(1570) played the tune for attack. Thucydides remarks that this was not for any religious purpose, but that the troops might march in time, and not as large armies are apt to do, fall into disorder.(1571) The general term for a tune of this kind was _embaterion_.(1572) One kind of nome was called _castoreum_, which, like the others, was played on the flute, when the army marched in line to meet the enemy.(1573) This had the same rhythm(1574) as the other embateria,(1575) viz. an anapæstic; both in its measure and melody there was something very enlivening and animated,(1576) so that Alexander of Macedon always felt himself inspired with fresh bravery when Timotheus the Theban played the castoreum to him. There can be no doubt that it was originally set in the Doric mode, and bore the character of Spartan simplicity, notwithstanding the many variations which were afterwards added.(1577) Pindar is reminded by its name of Castor the horseman and charioteer;(1578) but I do not perceive what relation the most ancient use of this nome, as a march for the Spartans, could have to this point: but it clearly took its name from the Tyndaridæ, who were considered as the leaders of the Spartan army.(1579) That of the poems of