Whether the character of these earlier poetesses was above reproach or not, it is certain that in the later days of Grecian civilization music was handed over to the most degraded classes. In Egypt the caste of professional musicians was not held in any respect, and the art was often merely an added accomplishment to enhance the value of slaves. So, too, in Greece, the practice of music was given over to the Hetaerae, or courtesans. That these women were at times able to win a high position is amply proven by the case of Aspasia. A native of Miletus, she came to live in Athens, and there gained the affections of the great leader Pericles, not more by her beauty than by her high mental accomplishments. The story of her life, and of the literary and philosophical circle which she drew around her, is too well known to need repetition. Another famous courtesan, though less well endowed mentally, and evidently on a much lower plane of character, was the famous flute-player Lamia. It was her beauty rather than her intellect that won the great honours which she attained; and a temple dedicated to her as Venus Lamia, as well as a signet upon which her portrait has been preserved, bear witness to this fact. The character of Greek music can only be conjectured. At first simple, it was regulated on a mathematical basis by Pythagoras, who understood the laws of vibration. Later on it developed into something more rich and varied, and, while still devoted to unison, or melodic, effects, it was undoubtedly full of beauty, as is the old Scotch music. Its great development, as well as the use of many small instruments (kithara, flute, etc.), go far to prove that music must have formed a larger part of woman's domestic life than the actual records show. Roman civilization borrowed much from Greece, especially in the matter of art. It is not surprising, therefore, to find that the musical status of Rome, especially in her later days, was a mere replica of that of Greece. In the instrumental field, we find the lyre of less importance, but the flute (a term that included reed instruments also) was constantly used in ceremonial and sacrificial music. Trumpets were in use at all triumphal processions, while in the days of the empire the well-known but problematical water-organ became popular. Although the Roman domestic conditions admitted of more freedom than those of Greece, it is doubtful if the women took any important part in performance or composition of music. There are no great poetesses on the Roman roll of honour, while there are many on that of Greece.