660–620 BC. Though a Phrygian by origin, Olympus must be reckoned among the Greek musicians; for all the accounts make Greece the scene of his artistic activity, and his subjects Greek; and he had Greek disciples, such as Crates and Hierax. He may, in fact, be considered as having naturalized in Greece the music of the flute, which had previously been almost peculiar to Phrygia. This species of music admitted of much greater variations than that of the lyre; and, accordingly, several new inventions are ascribed to Olympus. The greatest of his inventions was that of the third system, or genus, of music, the enharmonic. Of the particular tunes (nomoi) ascribed to him, the most important was the Harmatios nomos, a mournful and passionate strain, of the rhythm of which we are enabled to form an idea from a passage in the Orestes of Euripides, which was set to it, as the passage itself tells us. A dirge, also, in honour of the slain Python, was said to have been played by Olympus, at Delphi, on the flute, and in the Lydian style. Aristophanes mentions a mournful strain, set to more flutes than one (xynaulia) as well known at Athens under the name of Olympus. But it can hardly be supposed that his music was all mournful; the nome in honour of Athena, at least, must have been of a different character. Some ancient writers ascribe to him the Nomos Orthios, which Herodotus attributes to Arion. Olympus was a great inventor in rhythm as well as in music. To the two existing species of rhythm, the ison, in which the arsis and thesis are equal (as in the Dactyl and Anapaest), and the diplasion, in which the arsis is twice the length of the thesis (as in the Iambus and Trochee), he added a third, the hemiolion in which the length of the arsis is equal to two short syllables, and that of the thesis to three, as, in the cretic foot, the paeons, and the Bacchic foot, though there is some doubt whether the last form was used by Olympus. There is no mention of any poems composed by Olympus. It is argued by some writers that the inseparable connection between the earliest compositions in music and poetry forbids the supposition that he composed music without words. Without entering into this difficult and extensive question, it is enough to