It may not be uninteresting to state, farther, that, in accordance with the custom among every people of those times, the priests and the musicians had a peculiar costume their garments consisting of fine linen: with this distinction, however, that the priests' robes were dyed red, or blue, while those of the musicians remained a spotless white. White was esteemed the color of innocence. Holy writ presents angels to us clothed in white. At the religious services of Juno and Ceres among the Romans, the Vestals performed their holy offices in white. Ovid says:

"More patrum Sanctae, velatae vestibus albis,
Tradita, supposito vertice, sacra ferunt."

The Jewish official costume consisted of three articles. An external garment, encircled by a girdle; a closer fitting garment below, extending to the feet; and loose linen drawers. The feet, (unlike those of the Egyptian priests) were naked when pressing upon holy ground. In accordance, also, with the universal custom of the Orient, the heads of those who officiated were covered with white linen turbans, the form of which was unprescribed, and voluntary.

The position of the singers in the temple, was upon a platform, near the steps which led from the court of the Priests, into the court of Israel, (so called.) where the whole people could see and hear them. The music began after the effusion of wine at the offering; and, as the singers could not well see this ceremony, a signal was given them by the priest, with the wave of a white cloth. The trumpeters, who were all priests, had not the same place with the singers, but stood upon the steps of the altar. As every psalm was divided into three parts, between each division the trumpets sounded, (a signal given subsequently by the bell) and, at that instant, the whole people fell to the earth upon their faces before God. Neither the horns or trumpets were ever combined with the voices of the singers, in order not to drown them. A hint for the leaders of our time, in the organ accompaniments of choirs.

Such was the music of the Jewish church, which continued till after the destruction of the temple: the same musical arrangement being afterward substantially retained. We turn now to the Christian era, and the music of the Christian church. Mr. Coleman, in his admirable work on the "Primitive Church," thus writes:-"The singing of spiritual songs constituted, from the beginning, an interesting part of religious worship in the primitive church. The first three hundred years of this church, there existed no choir, the singing of the early Christians being congregational, all taking part in it. In the middle of the fourth century, the first innovation took place, that of responsive singing. This mode of singing was first practised in the Syrian churches, and was introduced into the Eastern churches by Flavian and Diodorus, in the middle of the fourth century. From thence it was transferred by

Ambrose, A. D. 370, to the churches of the West, and soon came into general use under the name of the Ambrosian style of music.

"The next innovation was the appointment of singers,as a distinct class of officers in the church, for the performance of this part of religious worship. These were also first appointed in the fourth century. But the people continued for a century or more to enjoy to some extent their ancient privilege of singing all together, they uniting in the chorus, and singing the responses.

"The third innovation was the introduction of instrumental music. This can hardly be assigned to a period earlier than the fifth and sixth centuries. But, from this time, an artificial, theatrical style of music, having no affinity with the worship of God, began to take the place of those solemn airs which had before inspired the devotions of his people. The music of the theatre was transferred to the church, which accordingly became the scene of theatrical pomp and display, rather than the house of prayer and of praise, to inspire, by its appropriate and solemn rites, the spiritual worship of God. The assembly may have continued, however, to bear some part in the psalmody of the church, after the music had thus become a cultivated, theatrical art, for the practice of which singers were appointed, and trained, as a distinct order in the church; all joining, occasionally, in a chorus or a response. But is it conceivable that a promiscuous assembly could unite in such theatrical music as at that time prevailed, and which was so much censured by the Abbot Pambo of Egypt, and Jerome? Was not this style of music simply an art, requiring skill altogether beyond the rude simplicity, which that sacred music must of necessity have, in which all bear a part?

"Eventually, however, and as a last innovation, the clergy claimed the right of performing the sacred music as a privilege exclusively their own. And, as a final expedient the more effectually to exclude the people, the singing was in Latin."

This style of church music, it may now be added, afterward obtained till the era of the reformation, when Luther restored, as the cup to the mouth, so congregational music. to the lips of the people. In Germany, since that time, three styles of music have ex isted in the church: first, and as the basis of all, the congregational style. Second, the music of the clergy. Third, the music of the choir. As regards the first, both in the Catholic and Protestant churches, the hymns are sung by the whole congregation in unison, to a choral tune, with simply the accompaniment of an organ. Concerning the second, the music of the clergy is heard always in the Catholic service, the priest chanting that part of the service prescribed for him, (here as elsewhere) and in the Lutheran church, also, the clergyman occasionally chants, at the altar, the Lord's prayer, or impressively sings the benediction. Respecting the third style, in the Catholic as in the Protestant church, a superior, choir style of music, (that prescribed in

the Catholic, or unprescribed in the Protestant service,) is introduced, when their musical materials justify them in attempting it. A case, it may be observed, never occurring, perhaps, in the country, and but in individual instances in large cities. So that the universally prevailing music of the German church, is the simple congregational style, with organ accompaniment.

In reviewing thus the history of church music, we find, that, during the various ages of the church, three distinct styles of music have been developed :-that participated in by, and peculiar to, the people;-that peculiar to the clergy:-that peculiar to the choir. Each of these styles, in itself considered, has been sanctioned, in our estimation, by long church usage, and by Divine tolerance: though the same remark we do not conceive to be true of any one style, to the absolute and forcible exclusion of another.

We consider, then, these three styles, as the three grand divisions of all music pertaining to the church. Let us now more nearly consider their peculiar nature and office, as connected with the worship of God.

With the music of the clergy, we are, in this country, but little acquainted. A feature peculiar to the Catholic service, among Protestants it is heard, as has been mentioned, only occasionally in the Lutheran church, and, it may be added, in that part of the English cathedral service, which is chanted, or intoned by the clergyman. Confining ourselves to the two more familiar styles, the congregational, and the choir, we would here express the view of a distinct character as pertaining to each: the congregational, we regard as the devotional style, the choir, as the ornamental or impressive style. And this distinction, as expressing the peculiar and legitimate character of each, we do not esteem an arbitrary one, but as based in the nature of what we term-worship. To a proper understanding of our subject, the signification of this term must, necessarily, be nearer defined. Soliciting all indulgence for here venturing upon what is more properly theological, than musical ground, the writer begs leave to express his own personal views of this subject.

OF WORSHIP.

Worship consists, it is conceived, neither in listening to music, or being impressed, or entertained by musical sounds. Music is not worship. Worship is an intelligent act of the soul, and cannot consist in indulging in, or resigning oneself to, any class of pleasing emotions. We must be, in worship, active participators, and not passive recipients of impression. Worship is something to be done, and not to be felt: felt alone, we would say: it is something to be done and felt: a positive act of the will,

This homage is

accompanied by a corresponding warm, and appropriate emotion. Not that we would convey the idea, in saying that worship is something to be done, that worship must necessarily be accompanied by an outward sign: that an act of worship must be audible to the ear, or visible to the eye. These are but the appropriate, or desirable outward conformings to the act, which must necessarily be of a spiritual nature. The peculiar element of all worship, we conceive to be homage. rendered in any mental recognition of God, in his works, in his character, or in his acts; whether the intelligent act of the soul be accompanied by an outward sign, or not. In praise, this homage of course is rendered. In petition and confession, it is also rendered, as to a Being to whom both are due, and both to be addressed. We conceive this homage also to be rendered in sacred meditation; either upon the works, the acts, or the attributes of God; for here is also a recognition of God, which is homage; and divine homage is necessarily of that quality involving worship. Of this reflective, meditative character of worship, it may be remarked, is a large class of our church hymns; in which no direct address to the Supreme Being is made.

In conformity, then, with this idea of worship, we regard those outward observances which are accompanied by this spiritual act, as of a devotional nature, and only such. Further, such outward effects we conceive only to be devotional to those minds in which they induce, or accompany this spiritual act; and to all others, they are merely impressive effects, if they prove, perhaps, even this.

A person, for instance, has entered a cathedral. He is awed and solemnized by architectural grandeur, and the impressive hush of the place. But awe, and solemnity, in other words a solemn feeling, are not worship. We may entertain this feeling on other occasions, and in other places than a temple of worship. There is another earthly temple of diviner workmanship, the abode of intelligence, which, in its silence, its solitude, when deserted by the soul, is always impressive-Death. We are solemn in the presence of the dead. But this is not worship. Nature, in her combined influences, her aggregate impression, is solemn; and we are solemn alone with her; but this is not worship.

But suppose this mere feeling of solemnity to go further. The person in the cathedral is indulging in what might be termed, perhaps, architectural awe. He marvels at the creative might and majesty of man. But, if a reflective and naturally devotional mind, he might not stop here, as unreflective, and most minds probably do, indulging in the luxury of architectural emotions or in that architectural reverie, so attractive to all minds, but on, and from this feeling of awe, his soul takes flight, and he marvels at, and meditates upon the Power that created that might. The original creative power, takes the place in his mind of the imparted creative power. God is in his thoughts; he is silently, perhaps almost unconsciously, doing him homage. That

mind has attained to the point of worship: worship, as we might perhaps say, in the first degree:-meditative worship. And one step further. The soul of the person has already passed through awe; this awe was heightened into adoration; adoration, accompanied by a gathering strength of emotion, longs for, and almost compels expression; the spirit is hurried forward more directly to the feet of its Maker, and fervently exclaims, "Father, I adore thee!" Here was, in the highest degree, worship. Though it went no further, brief, sincere, comprehensive; though the lips moved not, though no sound broke the silence, peculiarly an act of devotion. A similar illustration might be furnished by a person standing amid the works of nature; in God's open and glorious cathedral; surrounded by that far more elevating and impressive architecture. Pleasurable sensation, awe and solemnity under the effects, are not yet worship for the Cause. The soul must first mount up to that Cause, on the wing of intelligent homage, before it worship. We must press through Nature, and the indefinite emotions produced by Nature, up to Nature's God, before we arrive at the place, or moment, or Object of worship.

Thus would we say, then, of music. That subdued and solemn feeling, that awe and solemnity produced by musical tones, are not worship; though they may well, and appropriately, of course, precede worship. And this is the peculiar and legitimate use of this style of cathedral music. Its use is, to impress; to infuse into the soul solemnity, reverence, awe. Hence, we call it impressive music.

But may not this impressive music become devotional? We can conceive in some cases that it may. Though, like the influence of a lofty and imposing architecture upon the mind, just considered, we consider this more a possible, than a probable effect. But such a case may be conceived. If, during a choir performance, for instance, of a motett or anthem, or so-called occasional piece, we catch certain devotional expressions, (which we may do) and make those expressions our own, acquiescing in, and making individual application of them, then have we worshipped. Or again, if in listening to a vocal or instrumental performance, as upon an organ, pleasurable sensation become emotion, (which it not always does) and be accompanied by a corresponding intellectual action, or if, without any great degree of emotion, music exert upon us that merely suggestive power, so mysteriously felt in tones, and induce definite thought or meditation, then has music become to us, in any case, instead of a merely sensuous effect, an intellectual effect; and is that thought and emotion of the elevated character described, then has impressive music become to us devotional music-but not otherwise.

To sum up briefly, then, what has been said, neither architectural awe, nor thoughtfulness and dreamy reverie, induced either by nature or art, can we consider as worship. They are, or may be, the natural precursors, or promoters of worship. Those