Of the instrumental passages given by the _Anonymus_ three are clearly in the Hypo-dorian or common mode, the Mesê (_a_) being the key-note. (See Gevaert, i. p. 141.) A fourth (§ 104) also ends on the Mesê, but the key-note appears to be the Parhypatê Mesôn (_f_). Accordingly Westphal and Gevaert assign it to the Hypo-lydian species (_f - f_). In Westphal's view the circumstance of the end of the melody falling, not on the key-note, but on the Third or Mediant of the octave, was characteristic of the Modes distinguished by the prefix _syntono-_, and accordingly the passage in question is pronounced by him to be Syntono-lydian. All those passages, however, are mere fragments of two or three bars each, and are quoted as examples of certain peculiarities of rhythm. They can hardly be made to lend much support to any theory of the Modes. The music of Mr. Ramsay's inscription labours under the same defect of excessive shortness. If, however, we regard the four brief sentences as set to a continuous melody, we obtain a passage consisting of thirty-six notes in all, with a compass of less than an octave, and ending on the lowest note of that compass. Unlike the other extant specimens of Greek music it is written in the Ionian key--a curious fact which has not been noticed by Dr. Wessely. INSCRIPTION WITH MUSICAL NOTES. [Music: [Greek: hos-on zês phai-nou. mê-den hol-ôs sy ly-pou. pros o-li-gon es-ti to zên. to te-los ho chro-nos a-pai-tei.] ] The notes which enter into this melody form the scale _f[Symbols: sharp]-g-a-b-c[Symbols: sharp]-d-e[-f[Symbols: sharp]]_, which is an octave of the Dorian species (_e - e_ on the white notes). Hence if _f_[Symbols: sharp], on which the melody ends, is the key-note, the _mode_ is the Dorian. On the other hand the predominant notes are those of the triad _a-c[Symbols: sharp]-e_, which point to the key of _a_ major, with the difference that the Seventh is flat (_g_ instead of _g_[Symbols: sharp]). On this view the music would be in the Hypo-phrygian mode.