in the ancient music, a term to which we have no one corresponding in our language. The melopoeia, or the art of arranging sounds in succession so as to produce melody, is divided into three parts, which the Greeks call *lepis*, *mixis*, and *chresis*; the Latin, *sumptio*, *mixio*, and *usus*; and the Italians, *presa*, *mescolamento*, and *uso*. The last of these is called by the Greeks *stirra*, and by the Italians *petta*; which therefore means the art of making a just discernment of all the manners of ranging or combining sounds amongst themselves, so that they may produce their effect, or express the several passions intended to be raised. Thus it shows what sounds are to be used, and what not; how often they are severally to be repeated; with which to begin and with which to end; whether with a grave sound to rise, or an acute one to fall, &c. The pettea constitutes the manners of the music; chooses out this or that passion, this or that motion of the soul, to be awakened; and determines whether it be proper to excite it on this or on that occasion. The pettea, therefore, is in music much what the manners are in poetry.

It is not easy to discover whence the denomination should have been taken by the Greeks, unless from *stirra*, their game of chess, the musical pettea being a sort of combination and arrangement of sounds, as chess is of pieces called *stirra*, *calceuli*, or chess-men.