TABLE II. _The fifteen Keys._ Mesê. [Music: Hyper-lydian.] [Music: Hyper-aeolian.] [Music: Hyper-phrygian.] [Music: Hyper-ionian.] [Music: Mixo-lydian.] [Music: Lydian.] [Music: Aeolian.] [Music: Phrygian.] [Music: Ionian.] Mesê. [Music: Dorian.] [Music: Hypo-lydian.] [Music: Hypo-aeolian.] [Music: Hypo-phrygian.] [Music: Hypo-ionian.] [Music: Hypo-dorian.] The moveable notes ([Greek: phthongoi kinoumenoi]) are distinguished by being printed as crotchets. The two highest of these keys--the Hyper-lydian and the Hyper-aeolian--appear to have been added in the time of the Empire. The remaining thirteen are attributed to Aristoxenus in the pseudo-Euclidean _Introductio_ (p. 19, l. 30), and by Aristides Quintilianus (p. 22, l. 30): but there is no mention of them in the extant _Harmonics_. It may be gathered, however, from the criticism of Heraclides Ponticus (see the passage discussed on pp. 9-12) that the list of keys was being considerably enlarged in his time, and Aristoxenus, though not named, is doubtless aimed at there. Music of the 'Orestes' of Euripides (ll. 338-344). [Symbols: II P C. P? 40 n] [Greek: katoloPHYROMAIZMATEROS haima sas] [Symbols: Z (?)..1' "Z E E (?)] [Greek: ho s' anab AKCHEUEIZOMEGAS olbos ou] [Symbols:-ii P C. I' Z] [Greek: monimoSEMBROTOISZANA de laiphos] [Symbols: C P-A C p-i?. c,] [Greek: hôs tiSAKATOUTHOASTINAxas dai-] [Symbols:] [Greek: môn KATEKLYSEN deinôn] [Symbols: Z re. z?] [Greek: ponôN[Symbols:???]ÔÔSPONT ou] [Symbols: I C: C: Pvl(?) 40(?)] [Greek: olethrIoiSIN en kymasin] [Music: Restoration proposed by Dr. Crusius. [Greek: kat-o-lo-phu-ro-mai ma-te-ros ai-ma sas o s ana-bak-cheu-ei. o me-gas ol-bos ou mon-i-mos en Bro-tois a-na de lai-phos hôs tis a-ka-tou tho-as ti-na-xas dai-môn kat-ek-ly-sen dei-nôn po-nôn hôs pon-tou lab-rois o-leth-ri-oi-sin en ky-ma-sin] ] The metre is dochmiac, each dochmius consisting of an iambus followed by a cretic, [Symbols: u--u-]. The points which seem to mark the ictus, or rhythmical accent, are found on the first syllable of each of these two feet. If we assume that the first syllable of the iambus has the chief accent, the dochmius will be correctly expressed as a musical bar of the form-- [Music] If the first syllable of the cretic is accented, the dochmius is divided between two bars, and becomes-- [Music] The accompaniment or [Greek: krousis], consisting of notes interposed between the phrases of the melody, is found by Dr. Wessely and Dr. Crusius in the following characters: