“To conclude, the climate, the soil, and the fruits of the country are as perfect as ever. But the precious Greek liberty, population, power, magnificence, and good taste, are now not to be met with as in former times, and the present inhabitants can only say, Fuimus Troes.” p. 151. That this elegant recreation was of Sicilian origin we have clear and abundant evidence. Bion (_Idyll_ vii. 1.) calls pastoral poetry “a Sicilian strain;” which certainly implies, that of all places where the Greek language was used Sicily was the most noted for it, and that in fact it properly belonged to Sicily. So Moschus (_Idyll_ iii.) speaks of “the Sicilian muses;” and throughout this Idyll, which is the lament of Moschus on the death of Bion, he repeatedly speaks of the pastoral poetry, such as Bion cultivated, as proper to Sicily. In Virgil’s Bucolics we find frequent allusions to the same acknowledged fact. Thus he says, “I will set my verses to the tune of a Sicilian shepherd.” _Buc._ x. 51. The historian Diodorus, himself a Sicilian, who lived about the commencement of the Christian æra, supposes bucolic poetry and music to be the peculiar invention and exercise of his own country, and says, that it continued in use at his time and was held in the same estimation as formerly[314]. In less than 200 years from this period the art lost much of its original simplicity. Maximus Tyrius (Diss. xxi.) says, that “the Dorians of Sicily became, to use the mildest term, _more weak in understanding_,” (_more dissolute_) “when instead of the simple Alpine music, which they used to employ in the presence of their flocks and herds, they began to love the tunes of the Sybarites, and a style of dancing adapted to them, such as was required by the Ionic pipe.” [314] L. iv. c. 84, p. 283. But, although the rustic Dorians of Sicily had the full credit of this invention and were never surpassed in the practice of it by any other people, yet the imitation of it was attempted in various instances by the pastoral inhabitants of other countries. More especially, it appears to have been adopted in the neighboring district of Magna Græcia; for it is near _Sybaris_ that Theocritus has placed the scene of his Fifth Idyll, in which, a shepherd having staked a lamb and a goatherd a kid, they contend in alternate verses, whilst a wood-cutter, whom they have called from his labor, listens as judge, and awards the prize to the goatherd, who hereupon joyfully sacrifices his newly acquired lamb to the Nymphs. In the Seventh Idyll (_v._ 12, 27, 40.) Theocritus mentions the goatherd, _Lycidas_ of Crete, who was his contemporary, and also his predecessors and supposed instructors, _Asclepiades of Samos_, and _Philetas of Cos_, as distinguished for skill in pastoral music.