The Greeks most probably constructed their musical tetrachords in a symmetrical order in analogy with their sculpture, and showed the ear identical with the eye in its love of symmetry. With them, therefore, the Dorian mode would have a certain pre-eminence. Beginning this mode on D, without knowing the musical mystery that resides in D, they had two tetrachords with the semitones symmetrically in the middle in one mode; it was next possible for them to arrange in pairs, symmetrically, the other tetrachords.
There was, then, something of truth and beauty in the Greek modes as seen in the light now thrown upon them by the Law of Duality, at last discerned, and as now set forth in the genesis and wedlock of the major and minor scales. The probably symmetrical arrangement of the modes, all unwitting to them, is an interesting exhibition of the true duality of the notes, which may be thus set in view by duality lines of indication. We now know that B is the dual of F, G the dual of A, C the dual of E, and D minor the dual of D major. Now look at the Greek modes symmetrically arranged:
Thus seen they are perfectly illustrative of the duality of music as it springs up in the genetic scales. The lines reach from note to note of the duals. [Scientific Basis and Build of Music, page 46]