(512) Excavations in Cyprus, p. 112, fig. 164, No. 12; (514) Cat. of Sculpt., III., 2701; (515) Cat. of Terracottas, D 201; (516) Cat. of Vases, II., B 508; (517) Cat. of Bronzes, 830; Torr, Ancient Ships, pl. 8, 41.

On ancient ships generally, see Torr, Ancient Ships; Cartault, La trière athénienne; W. W. Tarn in Journ. Hell. Stud., XXV., pp. 137, 204 ff.; A. B. Cook in Camb. Comp. to Gk. Stud., p. 475 ff.

FIG. 227.-ROMAN FISHERMEN IN A HARBOUR (No. 519). Diam. 3g in.

(Wall-Cases 54-56.)

Music. The Greek term povoký (music) included much more than we mean by music. It was applied to the education of the mind as opposed to yvuvaσTIKý (gymnastics), the education of the body. In the narrower sense, however, it corresponded to the modern term, and to this the Greeks from early times attached a high importance. It was the effect of music upon the character

which appealed to them above all things, and it was this which caused Plato to banish from his ideal state certain modes of music, which would, he thought, be injurious to its well being. These modes or 66 harmonies were named after race-divisions. We find the Dorian, the Aeolic, the Ionic, the Lydian, and the Phrygian. The Dorian was universally approved for its manly qualities, but Plato rejected the Lydian as useless and effeminate. He agreed with the musician Damon that "No

change can be made in music without a change of the most important laws of the State." 2

FIG. 228.

Of the stringed instruments used. among the Greeks, the lyre was the most prominent. There were two varieties of this, the kithara and the lyre proper. The kithara, an instrument with a large wooden sounding board and upright arms, was played chiefly by professional musicians, such as the kitharist represented on a fine vase in the Third Vase Room, who has won a victory at one of the great musical contests (E 460; Pedestal 7). The illustration (fig. 228), taken from an amphora of the fifth century (E 256, Case H, Third Vase Room), shows Apollo playing on the kithara, which is supported by a band passing over his left wrist. In his right hand he holds the plectrum, which is attached by a cord to the instrument. The plectrum was of various forms, but its most essential part was the tooth or hook for catching and sounding the wires. Below the kithara hangs a panther's skin, which would serve to cover the wires when the instrument was not in use. The lyre proper (fig. 229) is distinguished by its curving arms and sounding board of tortoiseshell (hence called chelys). The wooden framework of a Greek lyre found in a tomb near Athens is shown in Case 55 (No. 521). As the popular instrument, the lyre was naturally taught in schools. Two interesting Greek vases (Nos. 522 and 523), exhibited in these Cases, give a picture of boys receiving music lessons at a school. 2 Ibid., iv. 424 c,

FIG. 229.
LYRE.

1 Plat., Rep. iii. 398-9,

In one instance a boy is learning the lyre, in another the boy is playing the flutes, while the master, who holds a plectrum, is playing on a lyre. Domestic animals are freely admitted, and the discipline seems far from severe.

As the school scene shows, flute-playing, though condemned by Plato and Aristotle,' was commonly taught at Athens. Ancient flutes are distinguished from the modern instrument by the vibrating reed which formed the mouthpiece, and by the fact that they were always played in pairs. Hence the frequency with which pairs of ancient flutes are found. Two of sycamore wood (No. 524; Case 56) were discovered in the same tomb (near

Athens) as the lyre described above (No. 521). Another pair of flutes (in bronze) from Italy (No. 525; fig. 230) have their mouthpieces in the form of busts of Maenads. To assist the playing of the two flutes together a mouth-band was often worn, as may be seen from designs on vases, e.g. on a cup of Epiktetos (E 7; Third Vase Room), where a youth wears the mouth-band and plays the double flutes, while a girl dances to the music.

A framed impression from a Greek hymn to Apollo inscribed on stone is here exhibited (No. 526). Musical notes, indicated by letters of the Greek alphabet in various positions, are placed at intervals over the letters to guide the singer. The inscription was

Plato, Rep. iii. 399 D; Arist., Pol. viii. 6, 5 ff.

found at Delphi, where other inscriptions of a similar character have come to light.

Flute-playing was very popular with the Romans, among whom it was considered the proper accompaniment of every kind of ceremony. For military purposes they used several other wind instruments. Two bronze mouthpieces (No. 527) in Case 54 may perhaps come from long straight trumpets (tubae). The Roman curved horn (cornu) is represented by two large specimens in bronze (No. 528) placed at the top of Cases 55, 56. The terracotta bugle in Case 54 is probably a model of the Roman bucina (No. 529).

The simplest of all ancient wind instruments is the rustic Pan's pipe (syrinx), usually formed of seven or eight hollow reeds fastened together with wax. The Greek Pan's pipe has the reeds of equal length, the different notes being produced by the different positions of the natural joints of the reed. The Roman syrinx had its lower edge sloping, the result of cutting off the reeds immediately below the natural joints. A terracotta statuette in Case 55 (No. 530) represents a shepherd boy playing on a Pan's pipe of the Roman kind, and a marble relief from Ephesus at the top of Case 54 (No. 531) shows a beardless man seated with a large syrinx in his hands. The Greek inscription tells us that the relief was dedicated by Ebenos, a first-flute," to Hierokles his piper.

It was the Pan's pipe which gave Ktesibios of Alexandria (third century B.C.; cf. p. 110) the model on which he constructed his water-organ, an instrument which became popular with the Romans. A Roman" contorniate" shown in Case 57 has one of these water-organs represented upon it. They were apparently blown by hydraulic power and played by means of a keyboard.

Cymbals were largely used by the Greeks and Romans in religious ceremonies of an ecstatic character, such as the mysteries of Demeter and Kore and the worship of Kybele. Among the cymbals in Case 56 is an interesting pair (No. 532; fig. 230) inscribed in Greek with the name of Oata their owner (Náras eiμí). They were originally joined together by a chain, part of which still remains.

1 Ovid, Fasti, vi. 659 f. :

cantabat fanis, cantabat tibia ludis,

cantabat maestis tibia funeribus.

་་

(522) and (523) Cat. of Vases, III., E 171, 172; (524) For the structure of the ancient flute, cf. especially Baumeister, Denkmäler, s.v. Flöten; (526) Bull. de Corr. Hell., XVIII., pl. 21; (530) For the syrinx, cf. Tillyard in Journ. Hell. Stud., XXVII. (1907), p. 167 ff.; (531) Cat. of Sculpt., II., 1271.

See in general, Camb. Comp. to Gk. Stud., pp. 290-294; Daremberg et Saglio, s.v. Musica.

Dancing.-Dancing among the Greeks and Romans differed in many ways from our own. In the first place dances (which were generally accompanied by the flutes) were largely associated

with religion. Plato in his Laws gave it as his opinion that, in imitation of the Egyptian example, all dancing should be made to take a religious character.1 This ceremonial side of Greek dancing is illustrated by a primitive stone vessel from Cyprus (No. 533), which represents three draped women dancing in a ring. Another instance of the religious character of dancing among the Greeks is the dancing of the chorus in the Greek drama (see above, p. 50). Among the Romans the processions of 1 Plat., Leg. 799 A.