the father of Greek music and of lyric poetry, flourished at the town of Antissa, in Lesbos, somewhere between 700 B.C. and 650 B.C. It has been set down hitherto with confidence by historians (see particularly K. O. Muller in his *Literature of Anc. Greece*, and Grote, *History of Greece*, vol. iv.), as a well ascertained fact, that the victor at the Spartan festival of Carneia, was Terpander, and that this occurred in 676 B.C. (Ath., xiv.) But it has been acutely argued, by a writer in Smith's *Dictionary of Greek and Roman Biog. and Mythology*, that too much certainty has been attached to this point of time in the midst of the surrounding chronological obscurity. Born of a musical race, and born in a musical city, for here was the grave of the mythical and musical Orpheus, Terpander was, besides, possessed of a true genius for simple lyrics, and for the harmony of their utterance by Terracina the human voice in the form of song. His was the first orderly brain of sufficient power that undertook to bind down, under the rigour of rules, the floating airs of the different provinces of Greece and of Asia Minor. His musical success seems to have been nearly as great as the success which attended the Homeric poems. Curious circumstance this, that the first poet and the first musician of whom any record remains, should have been the best poet and the best musician in all history. Terpander removed from Lesbos to Sparta, where he set up the first musical school hitherto known in Greece. The compass of the lyre was enlarged by him from a tetrachord to an octave. Almost all we know of his musical labours is, that he exercised himself for the most part with etharoidic nomes (τροπαί). He set his own verses and those of Homer to fixed tunes, which he chanted on the harp at the musical contests of Greece. Whether or not he employed the flute as a means of harmonical expression is doubtful. Neither is it certain whether he invented any kind of musical notation in which to preserve his tunes after he was gone. The music of Terpander remained long famous throughout Greece; and as he was the first to gain the prize at the musical festival of Carneia, his descendants seem to have resolved that so high an honour should not pass lightly out of their school. The musicians of Terpander were, accordingly, famous for many centuries after his death. Only a few fragments now remain to attest the simple elegance of the religious songs of Terpander. These will be found in the second volume of Bode's *Geschichte der Lyrische Dichtkunst der Hellenen*.

**TERRACINA** (anc. Anxur, or Tarracina), a town of the Papal States, at the S.E. extremity of the Pontine marshes, near the border of the kingdom of Naples, about 56 miles S.E. of Rome. The ancient Anxur, whose site is occupied by the present old town, stood, as ancient writers inform us, on calcareous rocks, widely conspicuous for their white colour, forming the termination of the Monti Lepini, the ancient Volscian Mountains. At the foot of these rocks, and close upon the sea-shore, ran the Via Appia, still the high-road between Rome and Naples. Along it has been built the more modern portion of the town, consisting chiefly of inns, custom-houses, and other public offices. The most conspicuous building in Terracina is the cathedral, with its lofty spire; there is also an elegant episcopal palace, and above the town, on the summit of the overhanging cliff, are the remains of the palace of Theodoric. The ancient harbour, constructed by Antoninus Pius, has long been completely silted up; but there is still some fishery here and a little trade. Anxur was the name of the town while it was subject to the Volscians; but after the Romans conquered it, about 400 B.C., they gave it the name of Tarracina. It was a place of importance in the later times of the republic and under the empire. Pop. 4145.

**TERRA DEL FUEGO.** See Tierra del Fuego.