"Four scales," says Mr. Helmore in _The Dictionary of Music_, "traditionally ascribed to St. Ambrose, existed before the time of St. Gregory. These, known as the Authentic Modes, and since the thirteenth century named after the ancient Greek scales from which they were supposed to be derived, are as follows: 1, Dorian; 2, Phrygian; 3, Lydian; 4, Mixo-Lydian. To the four Authentic St. Gregory added four Plagal, _i.e._ collateral or relative Modes. Each is a fourth below its corresponding original, and is called by the same name with the prefix hypo ([Greek: hypo], below), as follows: 5, Hypo-Dorium; 6, Hypo-Phrygian; 7, Hypo-Lydian; 8, Hypo-Mixo-Lydian.... Handel's 'Hanover' among modern tunes, which ranges from F to F has its finale on B flat. 'Should auld acquaintance be forgot' is also a specimen of a tune in a Plagal Mode descending about a fourth below its final, and rising above it only six notes, closing upon the final of its tone." This may be a little too learned for the ordinary reader, but it is interesting to find how far the influence of the busy old Pope, who had a finger in every pie, could go. There is a very curious commentary by John the Deacon, Gregory's later biographer, upon this new musical system and its adoption throughout Europe, which makes a good pendant to the scientific description. The Italians seem then as now to have had a poor opinion of German modes of singing. "This music was learned easily by the Germans and Gauls, but they could not retain it because of making additions of their own, and also because of their barbarous nature. Their Alpine bodies resounding to their depths with the thunders of their voices, do not properly give forth the sweetness of the modulation, the savage roughness of their bibulous throat when it attempts to give forth a delicate strain, producing rather harsh sounds with a natural crash, as of waggons sounding confusedly over the scales."