The Dorian mode is amply represented in the extant remains of Greek music. It is the mode of the two compositions of Dionysius, the Hymn to Calliope and the Hymn to Apollo (p. 88), perhaps also of Mr. Ramsay's musical inscription (p. 90). It would have been satisfactory if we could have found it in the much more important fragment of the _Orestes_. Such indications as that fragment presents seem to me to point to the Dorian mode (Mixo-lydian of Lamprocles). 3. The scales of the cithara furnish one example of the Phrygian species (_d-d_), and one of the Hypo-phrygian (_g-g_): but we have no means of determining which note of the scale is to be treated as the key-note. [Footnote 1: Ps. Eucl. _Introd._ p. 20 Meib. [Greek: kata systêma de hotan ek synaphês eis diazeuxin ê anapalin metabolê ginêtai]. Anonym. § 65 [Greek: systêmatikai de] (sc. [Greek: metabolai]) [Greek: hopotan ek diazeuxeôs eis synaphên ê empalin metelthê to melos].] [Footnote 2: As represented primarily by the analysis of Helmholtz, _Die Tonempfindungen_, p. 467, ed. 1863.] In the Hymn to Nemesis, however, in spite of the incomplete form in which it has reached us, there is a sufficiently clear example of the Hypo-phrygian mode. It has been suggested as possible that the melody of Mr. Ramsay's inscription is also Hypo-phrygian, and if so the evidence for the mode would be carried back to the first century. The Hypo-phrygian is the nearest approach made by any specimen of Greek music to the modern Major mode,--the Lydian or _c_-species not being found even among the scales of the cithara as given by Ptolemy. It is therefore of peculiar interest for musical history, and we look with eagerness for any indication which would allow us to connect it with the classical period of Greek art. One or two sayings of Aristotle have been thought to bear upon this issue.