we suppose that instrumental music was abrogated with it? Surely, the trumpet may still be blown upon our feast day: the singers and players on instruments may still make their voices to be heard as one, in blessing and thanking the Lord God of Israel, the Redeemer of his people.

On that night, ever to be had in remembrance by us, when it pleased God to bring his first begotten into the world, the angel preached a short sermon on the subject of the nativity, and communicated to the shepherds the glad tidings of the Gospel: "Unto

you is born this day, in the city of David, a Saviour, "which is Christ, the Lord"-Immediately heaven's white-robed choristers appeared, and sung the anthem of the season-" Glory to God in the highest, and "on earth peace, good will towards men "." On the evening before our Saviour's passion, when he celebrated the passover with his disciples, they sang a hymn, or psalm, together. St. Paul exhorts his converts, more than once, to cheer and animate each other, in their Christian course, by "psalms and 'hymns, and spiritual songs, making melody in "their hearts," as well as their voices, "to the Lord"." And this was the constant practice in the primitive church. Instrumental music could have no place during the times of persecution, when, for fear of their enemies, the Christians were obliged to hold their assemblies in secret chambers, in dens and caves of the earth. Organs are said by some to have

Luke, ii. 13.

h Ephes. v. 19. Coloss. iii. 16.

been introduced into churches, about the middle of the seventh, by others, not till the eleventh or twelfth century; since which time this kind of music has made a part in the Christian service'.

With us of the church of England, indeed, it ceased for a short period in the last century. By the sectaries of that day, organs were holden in abomination; and the fury of an enthusiastic zeal, which seems to have been DEAF as well as BLIND,

destroyed many capital instruments. It is observable, however, of Milton, though so warmly engaged against the church, that his taste got the better of his prejudices; for, in one of his smaller poems, he speaks of cathedral service-as it ought to be spoken of-and in a manner truly worthy of himself. It is much to the honour of the members of the kirk of Scotland, that many of them have lately subscribed liberally towards the erection of an episcopal chapel,

i See Bingham. b. viii. ch. vii. sect. 14.

But let my due feet never fail
To walk the studious cloisters pale,
And love the high embowed roof,
With antique pillars massy proof,
And storied windows richly dight,
Casting a dim religious light.

There let the pealing organ blow,
To the full-voiced choir below,
In service high, and anthems clear,

As may with sweetness, through mine ear,
Dissolve me into ecstasies,

And bring all heaven before mine eyes.

Il Penseroso.

with an organ, at Edinburgh. The votaries of presbytery not only bear the sound of the organ, but, I believe, have adopted it in some of their own places of worship in England. O might all their other prejudices in our disfavour die away and vanish in like manner!

The objections, in short, of any account, urged against choral music, are pointed at the abuse which has been sometimes made of it, and to which, like other good things, it is at all times liable. Great care should, therefore, be taken to keep the style of it chaste and pure, suitable to holy places and divine subjects. "Religious harmony," says Collier, "must be moving, but noble withal; grave, solemn, and seraphic; fit for a martyr to play, and an angel to hear." The light movements of the theatre, with the effeminate and frittered music of modern Italy, should be excluded, and such composers as Tallis and Bird, Gibbons and King, Purcel and Blow, Croft and Clark, Wise and Weldon, Green and Handel, should be considered (and it is hoped they always will be considered) as our English classics in this sacred science'. Nothing

The science of Music was ranked next to that of Theology by Luther, who is thought to have composed the notes now sung to the hundredth psalm.-On the true style and composition of music in general, and sacred music in particular, see the excellent observations made by the reverend and learned Mr. Jones, in his Treatise on the Art of Music, dedicated to the Directors of the Concerts of Ancient Music; Introduction, and occasionally through the work. The manner in which he has illustrated one science by ideas borrowed from another, in the way of analogy, shows the hand of a master.

then can be said against it, and every thing may be said for it.

That which is commonly affirmed of nature (what ever is meant by the word) may with truth and propriety be affirmed of the God of nature, that he "doth nothing in vain." To the element of air he has given the power of producing sounds; to the ear the capacity of receiving them; and to the affections of the mind an aptness to be moved by them when transmitted through the organs of the body. The philosophy of the thing is too deep and wonderful for us; we cannot attain unto it! But such is the fact with that we are concerned, and that is enough for us to know. The end and design of so curious an apparatus are most evident. Sound was intended to be the vehicle of sentiment, and should be employed in the conveyance of such sentiments as may instruct, improve, purify, and exalt the mind; such as, when received and retained, may inspire resolu→ tions, and produce actions, tending to the glory of God and the good of mankind. How can this purpose be more effectually answered, than it is, when the most beautiful and sublime passages of holy writ, set to the finest music, are heard outwardly with our ears, and ingrafted inwardly in our hearts? What can we have-what can we desire more, upon earth?

The power of music is but too well known, by fatal experience, when it is misapplied-applied to cherish and call forth the evil that lies concealed in the corrupt heart of fallen man; to recommend and excite in him all the follies of levity and dissipation,

of intemperance and wantonness.

What are we to

do in this case? Are we to renounce and disclaim music? No; let us employ music against music. If the Philistines sing a chorus in honour of their idol, let Israelites sing one louder to the glory of JehovahTM. In the heathen mythology we are told, that when the Sirens warbled the soft seducing strains, to allure heedless mortals into the paths of unlawful pleasure, two different methods were made use of to escape the snare. Some rendered themselves incapable of hearing, while others overpowered their songs by chanting divine hymns. The story is fabulous, but the moral just, and apposite to the subject in hand. For there is no doubt but that the heart may be weaned from every thing base and mean, and elevated to every thing that is excellent and praise-worthy, by sacred music. The evil spirit may still be dispossessed, and the good spirit invited and obtained, by the harp of the son of Jesse.

Talk we of LIFE, and JOY, and PLEASURE? "Thou, O Lord, shall show us the path of LIFE; "in thy presence is the fulness of JOY, and at thy right hand is PLEASURE for evermore”.”

Are we at any time heavy and sluggish? Does religion seem dull, prayer a task, and thanksgiving a burden? "Awake up, my glory; awake, lute and harp! I will praise thee, O Lord, among the peo"ple; I will sing unto thee among the nations.

"This is done in the Oratorio of Samson.

n Psal. xvi. 11. Set full by Goldwin, and a charming duet by Dr. Blake.