On the whole, I think it may be inferred that tenor A was naturally fixed upon as the starting point of the scale, which had its vocal foundation in every nation. As regards intonation, the notes specified are not exact to our tempered scale, but only as near as the actual pitch heard can be stated in our terms. In the ancient diatonic, all the tones are major tones. In the soft diatonic, an interval equal to a tone and a quarter was used, being greater than a major tone but less than a minor third. In one diatonic genus, the interval of three fourths of a tone was substituted for the second semitone in ascending. Authorities tell us that they are not aware that the Greek writers ever mention the concord of more than two sounds; any concord less than a fourth was considered dissonant, and so was the sixth. The true consonant major third was either not discovered, or not admitted to be consonant, till a very late period; Ptolemy being the earliest author who speaks of a minor third. There was a double tone nearly equal to the modern major third, and a tone and a half nearly the same as the minor third. In the later Greek periods, the system of music became intricate, and the diatonic, chromatic and enharmonic systems were in vogue, and discoursed upon to their lips’ content by the scholiasts and their disciples, much the same as in modern days, beclouding knowledge. The instruments that we have been interested in were, I should imagine, those of ordinary use in the social life of the people, associated with their ceremonies and entertainments; but the steps by which I have taken you show change in usage and aspiration in the artists. There was even a striving after fuller command in execution, and after adaptability to the increasing range of musical theory; and evidently the stringed instruments, with their power over many modes, excited rivalry in the flutes. There is a very important and significant passage, already referred to, by an author—Athenæus, if I remember aright—that about the 440 B.C. (or earlier), Pronomus the Theban invented adjustments by which the same set of pipes might be fitted to all the modes. History upon many matters we know is very elastic, and I am not quite disposed to think that the flutes depicted on our Etruscan vases answer to this description. There is yet one other possibility, beyond that Greco-Etruscan invention, in a later invention of most ingenious design, aiming at this same power of control, only that this is a single pipe, and is a development beyond those we have been considering. Very pleasant it is to trace these workings of genius Striving, because its nature is to strive. The next chapter affords illustrations and particulars of the new discovery; for to the Greeks it was new, and we may be sure interesting. Perhaps to some of them quite as engrossing as a new statue or the latest scandal! CHAPTER VII. In the Land of Greece. THE SILKWORM FLUTES, OR BOMBYX FLUTES.