The Greek hymn that was found at Delphi inscribed in marble upon the inner wall of the ancient treasure house, has been sung at Athens. After two thousand years the music lives again. But with what a difference—revivified, yet only strangely alive! Those who incised the hymn, imperishably as they thought upon the marble surface—they had themselves given voice to it, had joined in the sacred service, and felt the thrill of the thousand surrounding voices of a people who believed in their gods. Who now believes? Apollo and the Muses are far off, and the great god Pan is dead. No, the music cannot be the same, for the ears that listen have lost that inheritance of nature which was the birthright of those early worshippers at the Temple of Delphi. Neither priest nor oracle speak; our privilege as quite a modern people, is to listen to _The Times_ own correspondent. We are told that The composition is in the Hypo-Dorian mode, and, like most ancient musical compositions, is in a minor key, and written in a peculiar time, with five crotchets to the bar. It was rendered by a quartet of male voices. Some passages are surprisingly modern in character, and the whole composition possesses much of the dignity of the finest German chorales. And, further, we hear that the hymn was encored. Think of that! The first time, no doubt, of being honoured in such a fashion. What would they have said at Delphi? It is all pastime now, not prayer. And another correspondent gives assurance that The performance, which lasted but half-an-hour, was a great success; it produced a profound impression on the audience. Everyone present indeed was ravished by the charm of the music, and its mingled originality, simplicity and grandeur. Well, I suppose that it is all right; but it is terribly artificial in the reading. You cannot but note that the restorers have been at work; the harmonization by M. Reinach has no doubt been well done. But with that kind of certainty any simple melody of a few notes may be made impressive. A modern quartet! It sounds incongruous, and makes one think of a top hat on a marble statue; and you cannot help the suspicion that the musical composition made tasty was not Greek music. Although we are condemned by our advancement to see and hear according to modern ways, the interest in this Greek fragment remains; and we all of us curiously want to have the music brought within the range of our own perception, and are presented with the Greek Hymn to Apollo in modern notation, with an imagined suitable harmonization.