With regard to the place of origin of the notation the chief fact which we have to deal with is the use of the character [Symbols: I-] for lambda, which is distinctive of the alphabet of Argos, along with the commoner form [Symbols: <]. Westphal indeed asserts that both these forms are found in the Argive alphabet. But the inscription (C. I. 1) which he quotes[1] for [Symbols: <] really contains only [Symbols: t-] in a slightly different form. We cannot therefore say that the inventor of the notation derived it entirely from the alphabet of Argos, but only that he shows an acquaintance with that alphabet. This is confirmed by the fact that the form [Symbols: Li] for iota is not found at Argos. Probably therefore the inventor drew upon more than one alphabet for his purpose, the Argive alphabet being one. [Footnote 1: _Harmonik und Melopöie_, p. 286 (ed. 1863). The true form of the letter is given by Mr. Roberts, _Greek Epigraphy_, p. 109.] The special fitness of the notation for the scales of the Enharmonic genus may be regarded as a further indication of its date. We shall see presently that that genus held a peculiar predominance in the earliest period of musical theory--that, namely, which was brought to an end by Aristoxenus. If the author of the notation--or the second author, inventor of the modified characters--was one of the musicians whose names have come down to us, it would be difficult to find a more probable one than that of Pronomus of Thebes. One of the most striking features of the notation, at the time when it was framed, must have been the adjustment of the keys. Even in the time of Aristoxenus, as we know from the passage so often quoted, that adjustment was not universal. But it is precisely what Pronomus of Thebes is said to have done for the music of the flute (_supra_, p. 38). The circumstance that the system was only used for instrumental music is at least in harmony with this conjecture. If it is thought that Thebes is too far from Argos, we may fall back upon the notice that Sacadas of Argos was the chief composer for the flute before the time of Pronomus[1], and doubtless Argos was one of the first cities to share in the advance which Pronomus made in the technique of his art. [Footnote 1: Pausanias (iv. 27, 4) says of the founding of Messene: [Greek: eirgazonto de kai hypo mousuiês allês men oudemias, aulôn de Boiôtiôn kai Argeiôn; ta te Sakada kai Pronomou melê tote dê proêchthê malista eis hamillan.]] § 28. _Traces of the Species in the Notation._ Before leaving this part of the subject it will be well to notice the attempt which Westphal makes to connect the species of the Octave with the form of the musical notation. The basis of the notation, as has been explained (p. 69), is formed by two Diatonic octaves, denoted by the letters of the alphabet from [Greek: a] to [Greek: n], as follows: [Greek: ê i e l g m [digamma] th k d l b n z a] _ a b c d e f g a b c d e f g a_