Amoebaeus the harper, according to Athenaeus, used to receive an Attic talent of 193_l._ 15_s._ for each performance. The beautiful Lamia, the most celebrated female flute-player, had a temple dedicated to her under the name of Venus Lamia. The _Tibicinae_, or female flute-players, who formed collegiate bodies, were as celebrated for their talent and their charms, as for their licentiousness and extravagance. Their performances were forbidden by the Theodosian code, but with little success; since Procopius informs us that, in the time of Justinian the sister of the Empress Theodora, who was a renowned amateur _tibicina_, appeared on the stage without any other dress than a slight and transparent scarf. In the early ages of Christianity, the power of music in adding to religious solemnity was fully appreciated, and many of the fathers and most distinguished prelates cultivated the auxiliary science. St. Gregory expressly sent over Augustine the monk, with some singers, who entered the city of Canterbury singing a litany in the Gregorian chant, which extended the number of the four tones of St. Ambrose to eight. A school for church music was established at Canterbury; and it was also taught in the diocese of Durham and Weremouth. St. Dunstan was a celebrated musician, and was accused of having invented a most wonderful magic harp; it was, perhaps, to prove that the accusation was false, that he took the devil by the nose with a pair of tongs. This ingenious saint is said to be the inventor of organs, one of which he bestowed on the abbey of Malmesbury. It appears, however, that instruments resembling the organ were known as early as 364, and were described in a Greek epigram attributed to Julian the Apostate, in which he says, "I beheld reeds of a new species, the growth of each other, and a brazen soil; such as are not agitated by winds, but by a blast that rushes from a leathern cavern beneath their roots; while a robust mortal, running with swift fingers over the concordant keys, makes them, as they smoothly dance, emit melodious sounds." The influence of music on the fair sex has long been acknowledged, and this advantage has proved fatal to some artists who had recourse to its fascinating powers; Mark Smeaton was involved in the misfortunes of Anne Boleyn; Thomas Abel, who taught harmony to Catherine, met with a similar fate, and David Rizzio was not more fortunate. They were, perhaps, too much impressed with the ideas of Cloten: "I am advis'd to give her music o' mornings; they say it will penetrate." It is worthy of remark, that no woman was ever known to excel in musical composition, however brilliant her instrumental execution might have been. The same observation has been made in regard to logical disquisitions. To what are we to attribute this exception?--are we to consider these delightful tormentors as essentially unharmonious and illogical? We leave this important question to phrenologists.