THE PRAISE OF MUSIC: Wherein besides the antiquity, dignity, delectation, & use thereof in civil matters, is also declared the sober and lawful use of the same in the congregation and Church of God.  Hieron. in Psal. 64. 
Matutinis Vespertinisque hymnis Ecclesiae delectatur Deus per animam fidelem, quae relicto inanium superstitionum ritu, eum devotè laudaverit.  
God is delighted with the morning & evening hymns of the church, in a faithful soul, which rejecting the ceremonies of vain superstition, praiseth him devoutly.  
Printed at Oxenford by JOSEPH BARNES Printer to the University, Anno 1586.   

TO THE RIGHT WORSHIPFUL SIR WALTER RAWLEY KNIGHT.  
RIght worshipful, I am glad that I have any small occasion to revive that study which lay, as dead, for a time: and I would be as glad to have it continued in good credit & liking after it is once revived. For which cause I request your worship in all humility to become a patron of this small work, worthy to be taken into your hand when your worship shall have any respite from your weightier affairs, and pleasant to be read, because it is an Orphan of one of Lady Musics children. It is commended to me by men of good judgement and learning, and it will be the better commended hereafter if it may go out under your worship's protection: which I request again most humbly, wishing your worship as much happiness as I can conceive, and conceiving as much as your worship can wish.  
From OXENFORD. Your worship's most humble at commandment, JOSEPH BARNES.   

The preface to the Reader.  
TRue it is, 
Arist. eth.. 9  which is reported of Poets and Musicians, that they are no otherwise affected toward their own devices, than parents toward their children. And surely (gentle reader) I willingly confess unto thee, that I am glad I have some skill in music, which is so sweet, so good, so virtuous, so comely a matron among other arts. Wherefore I shall not justly blame thee, if thou think, that love and affection hath prevailed much with me in publishing of this pamphlet: for therein thou shalt give testimony unto me, that I have performed the part of a kind and grateful son, in bestowing the best of mine ability, to the advancing of so gracious a mother. Neither would I have thee so much to stand upon this conceit, as if reason had no place in this action: considering that affection without reason, is a blind and unjust judge of any matter. May it therefore please thee, no otherwise to judge of my labour, than the reasons therein alleged shall give thee just occasion: and if it happen thou come to the view hereof with a prejudice, yet consider that nature hath therefore given thee two ears, that thou shouldest aswell apply the one to the defendant, as the other to the plaintiff. For as in civil matters, so in this, 

Seneca.  Qui statuit aliquid part inaudita altera,  
Aequum licet statuerit, haud aequus fuit:  
Who so defines a thing he doth not know,  
Though just his verdict be, he is not so.   
If then I bring not only reason, but testimony also for mine assertion, I shall desire the averse Reader, not to condemn me without ground, nor with a fantastical prejudice to set light by that, which perhaps, he will not be able to gainsay. For as the Poet said in an other matter, 

Terent.  Qui hunc accusant, Naevium, Plautum, Ennium.  
Accusant, quos hic noster aviores habet.   
So I make answer to them that pass their sentences of condemnation upon me, that they do in no wise disgrace me, but Jerome, Ambrose, Augustine, Basil▪ Gregory Nazianzen, and the holy Fathers of the primitive Church, whose authorities are here alleged men far better than themselves, and not worthy to be condemned under a session of their peers. I know a blemish is soon perceived in a comely body, and the greater the man is that doth offend, the greater seemeth his offence. Because one small wart is a stain to be a beautiful face, and some little fault committed, that might otherwise seem tolerable in a man of mean estate, is inexcusable in a greater parsonage: So fareth it with music, which because it is excellent, & for that naturally subject to the envy and malice of many, is therefore ill spoken of, because it falleth out, that she is oftentimes blemished with the faults of them, that profess to have some knowledge in her. Hence it cometh to pass, that the faults of the persons are attributed to the art, and that whatsoever is amiss in this or that lewd musician, is said to proceed from her, which ought by better reason to obscure and overshadow the foulest blots which are incident to men, than she by them should be disgraced. Because the Pierideses in pride of their skill provoked the Muses, or Marsyas and Pan in opinion of their own excellency, Apollo: this general collection is made, that music causeth pride and ambition. If there be any such foolish musicians as Arcabius was, having that fault whereof Horace speaketh, 
Vt nunquam inducant animum cantare, rogati,  
Iniussi nunquam desistant:  
That being prayed to sing and show their skill,  
Cannot induced be, say what thou list:  
But unrequested keep a chanting still,  
And from their folly never will desist.  straightway music is wayward and troublesome, ●unning men are either dangerous or fantastical, as if to be skilful, were a fault, or to be cunning, worthy reprehension.  
Great occasion & advantage of inveighing against his art, is taken of that saying which King Philip of Macedon used to his son Alexander when he rebuked him, for that he could sing so well and cunningly: as if we did allow the importunity of Nero, which is said, all a long summers day, to have sitten in the Theatre, playing on his Harp: or did not rather think, that music is so to be used of Noble & Gentlemen, as Achilles did in Homer: 
Iliad.  who after that bitter contention between him and Agamemnon, taking to him his ●harp, (whereon he had learned to play of Chiron ●he Centaur, who also taught him feats of arms, with Physic and surgery) and playing thereon, 
Eliot. lib. 1. cap. 7.  sang ●he martial acts of the Princes of Grece, as Hercules, Perseus, Peritheus, Theseus, & his cozen jason, & was ●herewith assuaged of his fury and reduced into his ●irst estate of reason. And this in him was so commendable, th●● Alexander himself, after he had vanquished Ilium, oeing demanded of one, if he would see the ●arp of Paris, who ravished Helena: there at gently smiling answered, it was not the thing he much desired, but had rather see the harp of Achilles, wherewith ●e sang not the illecebrous delectations of Venus, but ●he valiant acts & noble affairs of excellent princes.  
Some, I doubt not, will exult to draw a reproach of his art from the ancient Greeks, with whom it was ●t the first in greatest estimation: & therefore will triumph that Minerva should have cast away her Recorder from her in disdain, 
Arist. 8. pol. cap. 6.  not as some say, because th● using thereof made her cheeks swell and puffed, bu● as Aristotle rather thought, because the playing on 〈◊〉 Recorder doth neither avail the mind, nor help knowledge any thing at all: whereas we ascribe art & knowledge to Minerva. But I would not have any man suppose that my purpose is in this treatise, otherwise to speak of this science, than so, as that it may seem both worthy private delectation, for a man's proper solace: and also publicly commodious in matters both civil & ecclesiastical as in the process shallbe declared. And therefore I refer the Reader, for the decent use hereof in gentlemen, to the 8. book of Aristotle's politics, & the 7. chapter of Sir Thomas Eliots' first book of his Governor. From whom he shall sufficiently gather, wha● the proper and sober use hereof is, and aught to be Touching the other use, I mean the Ecclesiastical, because that is a matter in controversy, I shall desire the gentle reader, so long to suspend his judgement, till having read the treatise, he shall also consider of the strength & firmness of the reasons. And I do no● doubt, but as I without bitterness speak of these things so he peradventure, that is most averse, shall take some profit & fruit of these my labours. If thou be skilful and learned, I know thou wilt not condemn me at a blush: if unskilful and ignorant, think that I wil● not so mildly answer thee as Stratonicus answered King Ptolemy, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. A sceptre o King is one thing, and an instrument another: but rather that which is more agreeable to thy person, which the same man also is said to have answered a smith, which maliciously reviled him: Sir, 〈◊〉 pray you deal not above your hammer.   

THE antiquity AND ORIGINAL OF MUSIC: FIRST GEnerally, then more particularly set down. CHAPTER I.  
IT were but lost labour to write any thing of Music, being an Art of more use than credit, more known than acknowledged, were it not that more indifferency is to be looked for of the eye, to whose view and oversight she betaketh herself, than hath heretofore been shown by the ear, whose itching sense she hardly contented. But fullness perhaps breeds loathing: And the eye which in a manner hath been kept hungry from these things, may by sight and reading hereof, both satisfy herself, and teach her ungrateful neighbour the ear to think better of so comfortable a treasure. The commendation whereof as it ariseth from many heads, namely her parentage, auncientrie, dignity, her both pleasant and profitable service, with other as many & no whit meaner arguments of her praise, all which jointly fill up a perfect measure of more than common honour, so her birth and antiquity maketh not least to the setting forth of her beauty.  
And although it is for poor men to reckon their cattle, because rich men's store groweth out of number, & for younglings to account their years, 
justinus,  because antiquities wax out of mind (whereupon the Arcadians lest they might come in question of juniority which any other country would needs be elder than the moon) yet the casting of her nativity can in no wise prejudice so ancient a science, whose continuance is great but not defined, her birth day ancient but not dated. For time cannot say that he was before her, or nature that she wrought without her. To prove this look upon the frame, & workmanship of the whole world, whether there be not above, an harmony between the spheres, 
Musica mundana. Cor. Agrippa.  beneath a simbolisme between the elements. Look upon a man, whom the Philosophers termed a little world, whether the parts accord not one to the other by consent and unity. And who can blame nature in any reason for using her own invention? 
Polydor. Virg. 1. lib. cap. 14.  Doth the nightingale record by Art or by nature? Although the Roman taught his crow this one lesson with much ado, All hail Caesar, and the Carthaginian his birds hardly enough to sing this one plain song, Hannon is god, yet it is I am sure besides the custom, and perhaps beyond the cunning of any man, to instruct the nightingale in so pleasant and variable notes, being as cunningly delivered as speedily learned. But to leave nature and come to Art (which then is at her best when she is nearest this mistress) who can be ignorant that nature hath given her the ground work, whereon she a long time hath flourished? As for her infancy, let us bury it in silence, and wrap up as it were in her swathing clouts. For no doubt she was not inquired, talked, or written of till she waxed and grew in years, that is in perfection and ripeness. At what time being jam plenis nubilis annis, fit to wed men's ears and hearts unto her, she began even with greediness to be received, commended, practised, to exercise their wits, possess their minds, occupy their tongues, fill their books and writings. Forthwith she was so challenged by this nation and that country, so claimed by this man and that God, that it was doubtful in such variety of judgement, to whom she was most beholding for her birthright. Whereof what shall I say else, but that as the contention of seven cities about Homer that famous & renowned Poet, & earnest plea of each of them to be his native soil did imply his excellency: so these many lands & Islands, men and women, gods and goddesses, and (if I may so speak) heaven and earth being at odds and variance about this science, argue her to be no base borne child, but such a one as both commends him that invented her, and honesteth them which entertain her.  

Cornelius Agrippa.  But because she is as pregnant as Libya always breeding some new thing, for so it pleased Anaxilas long ago to make comparison, it willbe the harder in such fruitfulness of issue to father every child aright, & to assign to every one his proper and peculiar invention. First the Muses lay challenge unto her for their offspring, as may appear by christening her Music after their own name. If we from hence derive her lineage, what one thing is amiss? jupiter, that is dexterity and quickness of wit her grandfather: 
Natal. Comes  memory that aged and reverend Mistress of all sciences her grandmother, her mother many in steed of one (for how could ordinary parents have conceived such extraordinary perfection?) and yet but one in many, for all is but Harmony. Exception may be taken against these things as fables and fantasies of the poets: yet if we draw the vail aside, and look nearer into that, which now we do but glimpse at, what else is meant but that Music is and aught to be accounted donum & inventum deorum: the gift and invention of the gods, and therefore ordained to good use and purpose? Now if Music can find no favour by alleging these parents, 
Pol. Virg. ibid.  let us search other men's registers, and see if happily she be more gracious for the grace's sake. Whose hands being fast clasped without severing, their faces amiable withoutfrouning, their youth fresh & green without waning, their garments lose without-girding, and their chastity perpetual without violating express in sense & meaning nothing else, but concord without breach, mirth without sadness, continuance without end, liberty without constraint, and finally pureness without taint or corruption. And can a graceless fruit come of so gracious a stock? For proof hereof may serve the image of Apollo which stood at Delos, bearing in the one hand his bow and arrows as being God of the archers, in the other the three graces with several instruments as having sovereignty over the musicans. 
Idem ibid.  I would not leave Bacchus out of this catalogue: were it not that his name now adays is in some disgrace amongst us, & those drunken evohes and howlinges together with confuse hammering of timbrels used in his Bacchanals feasts and somnities might seem to endanger the credit of this art. Howbeit if we take him not as he is imagined, but as he was indeed, I mean an heroical person, his finding out of wine and Music is or aught to be as famous, as his victories and triumphs in India were glorious.  
But because as the rainbow being not of one colour is therefore more sightly to the eye, so Music being not of one kind is therefore more welcome to the ear, it shall not be amiss to consider the specialties, & lay by itself each man's help and furtherance in this science. And first to begin as best beseemeth, with vocal Music, 
Vocal Music  being sounded with a lively instrument the tongue of man who will not fly with birds of his own feather & profess that both the nature of man is beautified with so excellent a quality, and the quality credited with so excellent a nature. For if we join even with heathen Philosophers & masters in this point, & confess with Pythagoras that man is a great miracle, with Mercury a second god, with Phavorinus a mortal god, with Abdala the Sarracene another Proteus apt to receive any form, with others a little world, & with others omnia, all in all: as taking part with angels, part with plants, & part with brute beasts, it were most injurious to make better account of an instrument framed by art, than made by nature, the one being without us, the other living & growing within us. But what need I call the light of the Sun in question? Let each of these sorts receive her due commendation, neither let contention about the mastery make to the disgracing of either of them, but rather prove how happy and rich we are, that can find no worse quarreling matter, than to dispute of two good things, whether is the better. The antiquity of this kind hath more need of disciding than the sovereignty, both because the times are not easily remembered, and the opinions of men hardly reconciled. For some ascribe singing to jupiter, as Diodorus of Sicily: some to Mercury, as Heraclides of Pontus: rest in whether of these two verdicts we list, deus est in utroque parent, each of their authors was deified by the heaven for principal virtues. Furthermore as all the Muses were reported at the marriage of Cadmus and Hermione to have sung a ditty of the near alliance betwixt friendship & honesty, so specially amongst the rest Calliope had been miscalled but for the goodness of her voice, and Melpomene nicknamed but for setting of songs. But in such cases we canonize for Authors, aswell those that make perfect, as those which first invent: not for devising that which was not before, but for bettering that which was worse before. Doth no man build but he which lays the foundation? no man paint but he which shadows? no man wade but he which first breaketh the ice? If it were so, in what case had all our Arts & sciences been? They had been monuments as one speaketh adorandae rubiginis, and nothing else, well we might have reverenced their ancient rustiness, but neither had their faces been half so well favoured, neither their knowledge half so much practised. 
Diod. Sicul.  Now then by this account Osiris must be remembered for one whom the Muses were said to attend upon. To signify that he was his craftsmaster, having the art at will, and thoroughly stored with all the gifts of so notable a knowledge. 
Ravis.  Next Tisias otherwise Stesichorus commended even from his cradle to this science by the ominous sitting of a nightingale upon his tender lips. Besides these Chrysogonus which made a perfect consort between his own voice and Mariners oars, observing a delectable tune in the one, and proportionable a time in the other. 
Volaterranus  What shall I speak of Simon and Lysias, which being offended with the old Music as too too harsh for their smooth and delicate ears, cast it once and again as it were in a new mould, neither suffered so much as the former name to remain unchanged. These & many the like whose memory is fresh in histories though passed by me in silence, either for setting us on work by their examples, or for instructing us by their precepts, or for polishing other men's rough hewn work by their skilfulness can deserve no less at our hands than to be held and reputed for authors. But why do I plead for their privilege and authorizement, who have found no age hitherto so ungrateful as not to offer it? He that will not give seconds and thirds a first place in these matters thinks it easy perhaps to build Rome in one day, & possible enough to make a science perfect even at one instant. Albeit we know that even Mercury himself called amongst the Egyptians by a name of prerogative, Ter maximus, as being in three special things, especial and chiefest could not acquit himself so handsomely in this science, as not to have need of bettering in succeeding ages. His Music of three parts, 
Pol. Virg. ibidem.  set and proportioned to the three times of the year, the base ●o winter, the triple to summer, the mean ●o the spring, being a middle season between summer and winter, was bare and naked till other parts came in to help and supply it. So that as a question is made whether Theseus his ship being kept among the Athenians for a monument, and by continual reparation even from the hatches to the keel quite altered be now Theseus his ship or no: so it might be disputed were it not injurious to the good deservings of our predecessors, whether this our Music after the new fashioning, and working of so many men in so many ages be the same music which was retained in former times? For string hath been added to string, part unto part, precept unto precept, one thing to an other so long till at length no one thing so much as variety hath made music a perfect & uniform body. Now besides all this who knows not that as generally so many men so many minds, so specially sundry musicians drive sundry crotchets, & diversity of masters makes diversity of methods. Timotheus one for all (though one swallow be no sufficient warrant of the spring) yet standing in for 〈◊〉 of many witnesses, as being borne out b● common sense and practise of our days required a double fee of other men's scholars: one to make them forget what the● had taught them, another to make than learn● what he himself would teach them. S● then if both the matter taught, and the manner of teaching have seen as many alterations, as almost ages, who can imagin● that so great a dissent of the kinds can stā● without as great diversity of the authors?  

Instrumental music.  But to come nearer home, and to speak● of the other sort of Music, which hath a while been prevented by this needless digression, although we be now adays fallen into a kind of intemperancy and wantonness, especially in the framing of instruments, in so much that the devising of them is not so great a trouble as their naming, yet antiquity the mother of simplicity and singleness in the greatest part of artificial things, both contented herself with meaner choice, & encumbered herself with smaller business. In those times three colours did serve for painting, and three instruments for playing. Now the Painter's ●●op may vie with the rainbow for colours, ●art hath almost gone beyond itself for instruments. But to leave both the greater & ●●e later number of them which are made 〈◊〉 the imitation of the former, there is no question but as the dignity of these three above the rest is to be maintained, so their ●●der amongst themselves not to be neglected. 
The harp.  For by the judgement of Alcibia●es the harp is to be preferred before the whistling pipe or pshalms, because it leaves 〈◊〉 room for the voice, whereas the other possessing the whole wind and breath of man dispossess him of that service.  
Touching the original hereof it is reported that when Nilus had over-washed the country of Egypt & afterwards drank in ●is waters again into his seven mouths being so many streams or channels, 
Polydor. Virg.  amongst many other fishes which perished on the dry land being in a sort betrayed by that element wherein their nature is preserved the Tortuise also came short. Mercury coasting along that way took up one of them, and finding nothing thereon but a few of parched or withered sinews tied them with his fingers, wherewith they made some offer of a musical noise. The experiment is well known lippis & tonsoribus, to the meanest and simpleir persons amongst us. For every child holding a thread or hair in his mouth, and striking it with his finger shall find the like partly by the motion of his finger wherethrough the solid is caused, and partly by the hollowness of the mouth whereby it is tuned. Mercury having gotten this hold took occasion to set abroach his cunning. For he fashioned a piece of wood proportionable to the shell of a fish, and put thereon three strings distinct in sounds, answerable to the three seasons. After this first onset which for the most part carrieth both the greatest danger, and the greatest credit, Terpander made up seven strings in honour of the seven Atlantides which go under the name of our seven stars: Simonides and Timotheus brought them to nine in reverence of the nine Muses. 
Ibidem.  Thus Mercury's handsel set the market in a good & happy forwardness. This instrument being as well for the novelty as excellency strange was presented by report of some to Apollo: in lieu whereof he recompensed Mercury with his heralds rod called Caduceus.  
Hoc animas ille evocat orco  
Pallentes, alias sub tristia Tartara mittit.  
Herewith he calls some souls from Hell,  
And sends down others there to dwell. 
ovid.   
By witness of others it was given to Orpheus, wherewith he brought even senseless things to a sense and feeling of his sweetness, and lifeless creatures to a lively stirring & motion of their unarticulate bodies. And when Orpheus was torn in pieces by the drunken Bacchides, his head and harp swum down the river Hebrus, and were taken up at Lesbos: where they buried the one, and hung up the other in the temple to their gods. Thus the harp lived after Orpheus was dead, and made a manifest proof how highly it disdained to be handled by unskilful & profane fingers, revenging even unto the death a presumptuous act committed by Naearchus. This young man being the king of Miteleus son bargained with the priests of the temple for Orpheus his harp, because as the practice of music was commendable amongst them, so the greater every man's skill was the better was his recompense. Now Naearchus having a mind to the best game, and putting more affiance in the virtue of the harp than his own cunning, got by night into the suburbs, and there jangled the strings so long, till at length he was rend asunder by dogs. Thus was his Music unsavoury, thus was his death untimely.  
But to proceed, the first that ever sang to the harp which is either the only or chief reason why it is preferred before wind instruments, was Linus. Whose ungracious scholar Hercules being controlled by him for his rawness made such untoward Music betwixt his masters harp and his head, that he beat out the sides of the one, and the brains of the other. Although some displace him from the honour of this invention, 
Polydor. Vir.  and ascribe it rather to Amphion.  

The Pshalme.  Now among the wind instruments the Pshalme was devised either by Euterpe one of the nine Muses, or else by Ardalus Vulcan's son, made at the first of the shank bones of crane's, and therefore called Tibia by the Latins. 
Caelius Rhod  Although afterwards it was framed of the baytree in Lybia, of box in Phrygia, of the boans of hinds in Thebes in Scythia of ravens & eagles, in Egypt of barley stalks, & so accordingly at other times & in other places of other matters. But the most voices run upon Minerva the daughter of jupiter, and one who for her wisdom is said to be borne of jupiters' brain. And because every artificer loveth his own work, Minerva was delighted with her pipe, and used even in the assembly of the gods very much to wind it: till such time till both they drove her both from her Music and their presence by laughing at her blown cheeks. She to make trial of the matter went down to a river side, & beholding her swelling face in Neptune's glass bid her pipe farewell in a great choler, loathing & disgracing the same as much as it disfigured her. This pipe left not so good a Mistress, but it lighted on as bad a Master Marsias by name: whom it caused so to swell not in face but in heart, 
ovid.  that he challenged & provoked Apollo to a musical combat: and being overcome lost the best and nearest coat to his back, having his skin plucked over his ears for attempting so bold an enterprise. The use and effect of this as also other instruments I refer to their places. In the mean while I follow my purpose.  

The whistling Pipe.  Touching the whistling pipes which were made, for the most part, of reeds, though some assign them to Silenus the foster father of Bacchus: on whom he always attended riding upon an Ass, yet the greater part agree in Pan the God of shepherds.  
The occasion was this: It chanced that he fell in love with Sirinxe a nymph of Arcady, 
ovid.  who would neither give her head as they say for the washing, nor her virginity for the ask. And therefore when he first came to commence his suit she took her course from him toward the river Ladon. Where her journey being at an end upon request made unto the nymphs, she was delivered by them from that rustic paramour by transforming her into water reeds. Those he took for love of her, and made them instruments to utter forth his complaints. Howsoever other things in this history be feigned, sure it is that it carrieth with it an other drift than to prove Pan the author of that instrument. And if it be so, how could so grounded a workman, being made as they say to the imitation of nature and expressing by his horns the sun beams, 
Natal. Comes.  by his red face the colour of the skies, by his rough and hairy thigh the trees and herbs upon the face of the earth, by his goats feet the solidity and steedfastnes of the same, be the master of a vain and fruitless work? What shall I speak of the Lute, Cittern, Violle, Rebeck, Gittorne, Pandore, Dulcimer, Organs, Virginals, Flute, Fife, Recorders, of the Trumpet, Cornet, Sackbut, and infinite other sorts so excellent & pleasant in their sundry kinds, that if art be any way faulty for them, it is for being too too riotous and superfluous. For having as it were wearied and overgone herself in choice of new sorts, she hath devised a kind of newness even out of the old, by joining & compacting many in one, which these later times may by right challenge for their invention. But to leave all other historiographers dissenting some of them far in opinions that history which indeed is the witness of times & light of the truth written by the finger of God sets down jubal son of Lamech & Ada to be the Father of all such as handle harp and instruments. 
Genes. & joseph.    

THE DIGNITY OF MUSIC PROVED BOTH by the rewards and practice of many and most excellent men. Chap. 2.  
THus having stood upon the antiquity and original of music being so nearly linked together that they could not well be severed, it followeth by order that I speak somewhat of her honour. A needless treatise, were it not for the affectionate judgements of some men, which making more reckoning of the shadow than the body account neither virtues nor sciences worthy the taking up for their own fair faces, unless they come furnished with good & sufficient doweries.  
Ipse licet venias Musis comitatus Homer,  
Si nihil attuleris ibis Homere foras.  
Come Homer if thou list & bring the muse's crew  
Yet Homer if thou bring nought else but then adieu.  
Notwithstanding to satisfy those which like indifferently well of this science not so much for her own laudable nature as her profitable accidents, let them know that her professors & practisers were not rewarded heretofore (as they speak in reproach) which meat, drink & money, which they call fiddlers wages, but admitted into the presence and familiarity of kings, sought unto by whole cities and countries, & dismissed with rich and honourable rewards. I am sorry that I am forced to seek those kind of arguments, being fit to quiet the common people than the learned and wise: who looking into the things themselves, weigh them by themselves, valuing at an higher price the goodness wherewith they are endowed, than the goods and commodities wherewith they are enriched. But to approve music unto both those sorts of men, to the upright & well minded for her own sake, to the others for the things which they do most estimate I intent both by variety and truth of history to make manifest declaration in every respect of her dignity. 
Alexander ab Alexandro.  Who was more accepted of Periander King of Corinth than Arion? of Hieron King of Sicil than Simonides? of Perdicchas than Menalippides? of Alexander the great than Timotheus & Zenophontus who could make him both give an alarm, and sound retreat at their pleasures? Who in better favour with Agamemnon than Demodochus to whom he committed his wife Clytaemnestra for the time of his long & unfortunate voyage? with Themistocles than Exicles whom he made his daily and household guest? with M. Antonius than Anaxenor to whom he gave the tribute of four Cities? with julius Caesar than Hermogenes? with Nero than Ferionus? with Vespasian than Diodorus? with Galba than Canus? Who more tendered of Aristratus king of Sycion than Thelestus, whom he countenanced being alive with all kind of preferment, and honoured being dead with a costly monument? 
Music mollifieth cruelty.  Nay the cunning of some hath so far rebated the edge of most cruel and hard hearted tyrants, that they have been willing, as they say perforce to put up injuries and wrongs at their hands. Pyttachus of Mytilen let go scotfree Alcaeus his sworn enemy, notwithstanding he had both disgraced him and taken arms against him. The like did Phalaris the Agrigentine by Tisias his mortal foe, albeit he took as much pleasure in murdering as in banqueting, and had often even with greediness dislodged the souls of many innocents from their harmless bodies. Thus Music led him farther than ever humanity could draw him. What need I add water to the sea, 
Theat. vitae.  & after all these speak of Terpander in a dangerous tumult of the Lacedæmonians appointed by the oracle & required by the country to appease their uproars? A precedent so much the more to be heeded, by how much the judgement of a whole country than of any private person is the rather esteemed. And is Lacedaemon singular in this case? have not Rome & Greece joined hands with her, the former instituting a College of Minstrels, the later by ordaining that the same men should be their sages, prophets and musicians? Plenty makes me scant both by restraining me to choice, & by withdrawing me from tediousness: for how easy a thing were it in such abundance to tire & weary even the patientest ears? Notwithstanding because I am to convince these judgements which look no farther than the outside, & hearken rather to the honour conferred otherwise, than the honesty & goodness incident to the things themselves, let them add to the favour and acceptation of those royal persons above named their practice and industry which they have exercised.  
I omit the muses, graces, gods and goddeses before mentioned. coleworts twice sodde are harmful, and tales twice told ungrateful. This next pageant shall be filled with Emperors, Kings and Captains, men both of courage and experience not content to go by hearsay and testimony of others, 
The practice of Music in great and Noble men.  but adjoining them unto their own use and practise. Nero Emperor of Rome wan and ware the garland to the great admiration and shouting of the people for victory over the harpers. Alexander the great made a great jewel of Achilles his harp. Choraebus the Lydian prince was as sovereign in music as in authority. Cimon of Athens and Epaminondas of Thebes no worse musicians than Captains. Gregory the great, Bishop of Rome ended his life and music together, and the quire at this day is a witness of his pains. Yea Socrates himself as great a king in wisdom, as they in jurisdiction: whose stay and moderation of life let Xantippe his wife and scourge witness, and let envy itself judge of his other qualities, being far stricken in years, and having in a manner one foot in the grave, yet of an old master became a young scholar unto Conus for the attaining of this science. And being charged therewith as a wanton toy unfitting to his grey hairs made this apology, 
Cael. Rhod.  It is more shameful in the wain & decrease of our life to be ignorant of any good & commendable property. Thus he put on music as the list & uppermost garment, wherewith his wisdom, gravity and age, might be adorned, & even the whole race of his life perfected, a garment no doubt that is well worn, & of seemly personages better worth the wearing than the softest raiment in kings housen. 
Music good in itself.  You may clothe an Ape in gold, and an Infant in Hercules armour: doth an infant therefore change his age, or an Ape forego his nature? or is there less price in the gold, or viler estimation of the armour? This is to misuse the right use of things neither fitting the persons, and far unfitting the garments. The deepest dye may be stained, and the best gift abused. The tuning of the voice and strings may turn to the jar and discord of manners, as well as Rhetoric may plead untruths, and Logic prove impossibilities. So that I marvel the less if Diogenes the cynic Philosopher amongst other his dogtrickes put up a formal bill of indictment against the musicians in open and ordinary court, for showing greater skill in concords and unisons of their notes, than unity and consent of manners: whose suit or action, being in all cases and with all persons a resolute and peremptory man and little caring where or how he fastened his teeth so he fastened them, may seem approvable in respect of those unjust and ever repining plaintiffs which attemper every thing to their distemperate humour, and in their proceed make not reason their advocate, but either the weakness, strangeness, or undiscreetness, of their own nature. Now if a bleareeied man should give sentence of the sun beams, no doubt he would judge them to be shut up into everlasting clouds, lest at any time they might be offensive to his sore eyes. If a feversicke palate should be judge of tastes and relishes, what unmerciful doom would it award to the holesomest restoratives? Ask the Satire what shall become of the fire for swealing his beard being oversawcie in embracing it, I warrant you he will curse Prometheus for ever troubling the earth with it. A melancholic man and one that is fit to live in Trophonius his den, than in civil society will trowne upon music, if for no other cause, yet at the least to show himself serviceable to his melancholy. Thus we shall have the brightest eye of the world even the sun plucked out of heaven, the best meat out of our mouths, and the necessariest element out of the nature of things, yea all virtues and sciences utterly razed out, as the occasions sometimes (though never the causes) of some inconveniences, if every brainsick, hareblind, and froward man may judge and determine in those cases. 
Cael. Rhod.  Now then as oft as we shall hear Archidamus or any the like sectary of his make better account of a Cater than a Singer (mihi bonus cantor, bonus cupediarius) what shall we say of him but that animus erat in patinis: His belly was his idol, 
Terent.  & the belly having no ears is unfit to meddle with sounds? If Anteas the Scythian at the singing of Ismenias the Theban for want of better gods swore by the wind & his falchion, he had rather hear the neighing of an horse than the singing of Ismen. let his words as they are indeed so go but for wind, & if his sword be the best argument that he hath to avouch it let us wound him again but with this only blow, Quis tumidum guttur miretur in alpibus, Who can look for a white skin in Aethiopia, or an upright judgement in Scythia? Albeit besides the uncivility and brutishness of his country, he was no doubt fit to handle a curriecombe than judge of singing, who in the midst of his royalty made boasts that he used to rub horses heels. But if Antisthenes shall go a note above Anteas & give this or the like uncharitable censure of Ismenias, as indeed he is reported to have done, 
Cael. Rhod.  he is a naughty man: if he were honest he would never be a musician, we may say with some indifferent reverence of his philosopher's beard & gown, that as he was generally reputed to be Auitus magis quàm eruditus his wit being too headstrong for his wisdom, 
Tullius ad Articum.  so particularly in this matter he had not sufficiently learned how to define honesty. 
Music not to be blamed for the lewdness of some Musicians.  For although many good musicians be as many bad men, yet so far is it off that music should be blamed as the cause of such an effect, that rather if they be otherwise bad men she weans and withdraws them from their corruption. For warrant hereof the necessity of the art to be set down in a latter treatise may yield sufficient argument: mean while thus much I say, that a precious stone may be set in led, and a good quality placed in an evil subject. In which cases we have more cause to pity their unfortunate houserome, than accuse their unseemly demeanour. But to lose the bit a little farther and to give than even their own ask, music, as many other good blessings hath been made the instrument of many disorders. What need I recite them? other are eagle eyed and quick sighted enough to espy them. I confess this to be true, but in such sort as glory becomes the fuel & occasion unto envy, peace to security, beauty to pride, learning to insolency, good laws to enormity, meats and drinks to surfeiting, and finally the fairest gifts an edge & enticement to the foulest faults. Where notwithstanding the well natured things themselves are not chargeable with those crimes, but the evil disposed persons. If thou canst not moderate & school thyself in beholding, pluck out thy eyes as Democritus did, if not in hearing stop thy ears with wax as Ulysses his companions did, if not in eating lay thy teeth aside as those Graeae of Scythia did, if not in speaking bite off thy tongue as Zeno Eleates did. For by as good reason mayst thou do the one as the other, seeing the disliking of these and the like good things stands in the immoderation & intemperancy of these men which abuse them. Now if it be uncivil to live without virtue and knowledge, if unnatural without meats & drinks, if unreasonable without eyes, teeth & tongues, although perhaps they have many unsufferable consequentes, then blame not the hatchet for the Carpenter's fault: but esteem worthily of good things for their own natures, & favourably deal with them for other men's offences.  

Music not to be blamed for some musicians unskilfulness.  Now besides this they that cannot espy an hole in the musicians coat for their looseness & effeminatnes of manners seek to bring music in contempt by reason of their unskilfulness. As if the husbandman's reasoning a baculo ad angulum should condenn Logic, or Tom fools telling his geese Arythmeticke. There are infants in all arts, & I grant none so very a babe in music as was Babys. Minerva to beg his pardon for offending therein used this friendly intercession to Apollo, 
Theat.  abiectior est & infaelicius canit quàm ut dignus sit supplicio. Cast not away chastisement upon so base and unexpert a person. And sure he was worth nothing (say I) if he were not worth the punishing. Diogenes was troubled with the like moon calf, whom as often as he met him welcomed with this salutation, Salve gall, God speed cock, the other demanding him why he mistermed him, Quia cantu tuo excitas omnes, Thou diseasest quoth he every man with thy unseasonable crowing. And Demost. was plain on the other side with an harper of the same stamp, which whom he ever conditioned to tie up his pipes before he would once set foot with in his doors. There are a great many cocks & to use a domestical proverb, a great many asses at the harp who because they have employed themselves at the trade dijs tratis, 
Eras. Persius.  genioque sinistro against the hair as they commonly speak & even in despite of Apol. & nature, have made themselves a byword & scorn in all places. Our alehouse, vagabond & begging minstrelsy I defend not, liberal sciences are for liberal men, whose dexterity and aptness of nature hath forwarded their art, & both these being conjoined have made the men commendable & of good report. For then is the medley good when art & nature have met with each other.  
But I leave this reason to be refuted by the weakness and simplicity of itself. I come to another vain which hath need of a little opening, 
Dainty men.  lest the neglecting of it make it in time somewhat more troublesome. I mean those men, who, as if they came of some finer mould, like well enough of music in others, but cannot away with it themselves. They are delighted for examples sake with the well proportioned pictures of jupiter, juno, and Venus, but yet would not be Phidias, Policletus or Praxiteles. Examine their reasons they areas rare as black swans, unless perchance they answer as children and fools are wont. They will not for their minds sake. And why not they as well as other men? They are belike of a better brood. Be it so, let them plead their privilege, but so far forth as they seek not to dishonour things as honourable as themselves. In mechanical arts I bear with them. Tractent fabrilia Fabri. Courser meats may serve finer mouths. What cards can they show to discard literal sciences? If every man's will were a rule in such cases there is no doubt but that some 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the whole corpse and body of sciences would quite be extinguished. For even amongst the nobler sort which stand upon their gentry, and in consideration only of their better fortune, condemn better natures than their own, there are many aureae pecudes, golden sheep such as junius Brutus was better clad than taught, which cannot conceive the excellency of good faculties, many monstra hominum strange natured men such as Licinius the emperor was, not so princely borne, as pestilently minded, which call learning the poison & plague of a commonwealth. Howbeit some there are better inclined than these which do it not so much of despite as of daintiness, for they are well enough content to take all the pleasure they can by it, & yet take as great pleasure to discontent those that afford it.  
In whose favour notwithstanding I will speak thus much, 
Aristotle.  & my speech is abetted by good authors that both a choice of music is to be made, and a moderation therein retained. Minerva as before cast away her pshawlme 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 for very shame. And amongst us every one will not blow a bagpipe, that will finger the Lute or Virginals. And as in one banquet all viands, though all very good, please not alike every man's diet, so in Music there are sundry & delectable sorts, which unless they be ordered with good discretion will not suit all times & persons. The which two things time & persons serve principally to make limitation of that measure which I mentioned before. There is a time of breathing & a time of business, a time of mirth & a time of sadness. If thou be remiss or merry use for thy recreation some kind of melody. Albeit indeed which Music no times are amiss. For we know that life is as it were put into the deadst sorrows by inflection & modulation of voice. And they whose hearts even yearn for very grief sometimes fall on singing not to seek comfort therein (for the best seeming comfort in such cases is to be comfortless) but rather to set the more on float that pensiveness wherewith they are perplexed. Similitudo parit amicitiam saith Boetius, & sorrow finds somewhat in Music worthy his acquaintance, If not, how chance they have specified three originals or causes of Music? 
Cael. Rhod.  the first pleasure of which there is no question, the next grief, & the last Enthusiasmun some divine & heavenly inspiration. Surely affections dance after pipes & being themselves but motions do by a natural kind of propension apply themselves to Music, whose efficacy stands wholly upon motions. But I return to my purpose. The chief end of Music is to delight, howsoever sorrow useth it sometimes for an advantage as knowing how forcible & effectual it is to help forward all purposes. Therefore in time of vacancy & remission when there is a mutiny of wars & a calm of other the like troublesome affairs, the place being not molested, the people being not disquieted, them hath music evermore had the best audience. For otherwise if you light upon Pyrrhus & ask him whether is the better psalmist Python or Charisius, he will answer you Polysperches. And why? In promptu causa est, a blind man may hit his staff at this mark, his mind forsooth ran upon captains & not musicians: bring an harp or other good instrument to Lacedaemon, they will cry away with it. Non est Laconicum nugari, Trifling is not our vocation. And do we marvel at them? Pyrrhus as if he had been hunger-starved & stifled in his poor kingdom of Epirus had laid a platform in his head of usurping the whole world. The Lacedæmonians (to speak without exception of sex, age or condition) as hard hearted as if they had been borne of Adamant or nursed up with Lion's milk. I belly them not, their stoical Apothegs and resolute exploits delivered unto us by faithful authority are plentiful witnesses hereof. But to end this point, the dignity of Music is great if we do not partially and unequally burden her with those faults whereof she is guiltless, the artificer may offend, men's affections are corrupt, times unseasonable, places inconvenient, the art itself notwithstanding in her own proper & lawful use innocent and harmless.   

THE SVAVITIE OF MUSIC. CHAP. III.  
ALthough both the Authors of this most divine science, and antiquity thereof, and estimation which it hath had in times past, may sufficiently credit the same: yet I do not desire any man hardly affectioned in this point, to be moved by this treatise, unless both the sweetness and necessity, and operation of it, be declared to be such, as neither aught carelessly, or can worthily be neglected. For as in those things which are both pleasant and profitable, that which is profitable aught most earnestly to be followed: so the pleasure which is joined with the commodity, is not to be contemned. Wherefore, seeing that poetry, which is but a part of Music, as Plutarch doth testify, hath this commendation of Horace, 
Aut prodesse volunt, aut delectare Poetae,  
Aut simul & jucunda, & idonea dicere vitae.  
Poets of pleasure, or of profit great,  
Or else of both most decently entreat.  we may safely pronounce of the whole, that it hath both delectation to allure, and profit to persuade men to those things, wherewith man's life is beautified and adorned. I will first therefore speak of the sweetness and delectation of Music: and afterwards of the use and necessity thereof. Concerning the pleasure and delight, I will first show it by that affinity and congruity which Music hath with the nature of living creatures: Secondly by the effects and operation, which it worketh in the hearers. Touching the first: 
Arist. 8. Polit.  as the testimony of Musaeus in Aristotle: Res suavisima cantus est mortalibus, singing is a most pleasant thing to men: & daily experience doth prove unto us, that not only men but all other living creatures, are delighted with the sweet harmony & consent of Music: so if there were no other thing else, yet that proper fiction of the Grammarians, 
Onito parchus in princ. ꝰ lib. 3. suae musicae.  might fully satisfy any man in this point. Sonus, say they, the king of Harmony had two sons. The one of them was called Concentus, the other Accentus: of Grammatica he begat Accentus, but Concentus was borne unto him of the nymph Musica. Whom when their father perceived to be both equal in the gifts of the mind, and that neither was inferior to other in any kind of knowledge, and himself now well stricken in years to wax every day nearer and nearer to his death: he fell into a serious cogitation with himself, whether of them two, he should leave his successor in his kingdom: and therefore he began more narrowly to mark the manners and behaviours of them both: now Accentus was the elder of the two: and he was grave and eloquent, but austere, and therefore less beloved of the people: But Concentus was very merry, pleasant, amiable, lovely, courteous, acceptable unto all men, and clean contrary to the disposition of his brother, thinking it more glorious to be beloved than feared. Whereby he did not only get the love and liking of all his Subjects, but also put his Father into a greater doubt which of them he should institute inheritor of his Sceptre. Therefore appointing a solemn meeting, he asked the Counsel of the Nobles and Princes of his Land, as musicans, Poettes, Orators, Philosophers and Divines: and in conclusion their consultation had this issue, that neither should be preferred before other, but both should equally inherit their Father's Sceptre and Dominions. Whereof I gather (omitting all other circumstances) that as Accentus which is Grammar ought not to be disinherited, because of the necessity thereof in speech: so Concentus which is Music, could not but be esteemed as worthy of pre-eminence, for his pleasure and delectation. And for as much as that was the judgement and determination both of Musicians, Poets, Orators, Philosophers, both Moral & Natural, and Divines: so much the more is to be ascribed to the sweetness of Music, as these Professors are of better judgement than other men. But I will not ground the commendation of that on fictions and conceits: which neither in itself needeth the colour & shadows of imaginations, being above all conceits: nor in the pleasure thereof any external ornament: being sweeter than can be counterfeited by fictions, or expressed by fantasies. Wherefore leaving these, I will as nearly as I can, declare the reason of that delight which Music yieldeth. And this first is evident, that Music whether it be in the voice only as Socrates thought, or both in the voice and motion of the body as Aristoxenus supposed: or as Theophrastus was of opinion not only in the voice and motion of the body, but also in the agitation of the mind: hath a certain divine influence into the souls of men, whereby our cogitations and thoughts (say Epicurus what he will) are brought into a celestial acknowledging of their natures. For as the Platonics & Pythagorians think all 〈◊〉 of men, are at the recordation of that celestial Music, whereof they were partakers in heaven, before they entered into their bodies so wonderfuly delighted, that no man can be found so hard hearted which is not exceedingly allured with the sweetness thereof. And therefore some of the ancient Philosophers attribute this to an hidden divine virtue, which they suppose naturally to be ingenerated in our minds, & for this cause some other of them as Herophilus & Aristoxenus which was also a Musician, thought that the soul was nothing else, but a Musical motion, caused of the nature & figure of the whole body, gathering thereof 〈◊〉 necessary conclusion, that whereas things that are of like natures, have mutual & easy action & passion between themselves, it must needs be, 
Cic. Tusc. quaest.  that Musical consent being like that Harmonical motion which he calleth the soul, doth most wonderfully allure, & as it were ravish our senses & cogitations. But this which I have said may seem peradventure to be too profoundly handled: I will therefore confirm it by natural experience & examples. And first generally (as I said before) there is neither man, nor any other living creature exempt from the participation of the pleasure of Music.  
As for man let us begin with him even from his cradle, and so take a view of his whole life: 
Man naturally delighted with music.  and we shall see, that even every particular action of his, is seasoned with this delight: first in his infancy, whiles he is yet wholly destitute of the use of reason, we see that the child is stilled, and alured to sleep, with the sweet songs and lullabies of his Nurse: although the grief of his tender limbs be such, as is able to breed impatience in a stronger body. And for this cause is it, that children are so delighted and alured with rattles and bells, and such like toys as make a sound. Now as strength & judgement increase in man, so Music pleaseth and delighteth him more and more: so that whether he be noble or ignoble, yet the same delight of mind groweth to perfection together with the body. 
Arist. Polit. 8. cap. 3.  And therefore Aristotle in his Politics, counseleth that children be instructed in music, especially if they be of noble parentage: not so much for the profit & commodity thereof, as because it is agreeable to nature being in itself both liberal & honest: for in all matters to propose profit as the only end, is neither the part of a liberal nature nor of a gentlemanlike disposition. Again in base & in ignoble persons, the very senses & spirits are wonderfully inflamed, with the rural songs of Phillis & Amaryllis: insomuch that even the ploughman & cartar, are by the instinct of their harmonical souls compelled to frame their breath into a whistle, thereby not only pleasing themselves, but also diminishing the tediousness of their labours. And therefore most natural is that which Virgil useth in describing of a good housewife. 
longum cantu solata laborem  
Arguto coniux percurrit pectine telas. 
1. Geor   
The housewives spinning makes her labour long  
Seem light with singing of some merry song.  as also that other spoken of the pruner of trees: 
Eclog. 1.  
Alta subrupe canit frondator ad auras.  
The lopper singing from the craggy rock  
The bows & leaves beats down with many a knock.  and that of the shepherds: 
Eclog. 5.  
Cur non Mopse (boni quoniam convenimus ambo  
Tu calamos inflare leaves, ego dicere versus)  
Hic corilis inter mixtas consedimus ulmos?  
Mopsus my friend, seeing our skill is great  
Thine for the tune, mine for the pleasant rhyme.  
In th'hasel bower why take we not our seat,  
In mirth and singing there to spend the time?  And hence it is, that wayfaring men, solace themselves with songs, & ease the wearisomeness of their journey, considering that Music as a pleasant companion, 
Comes facundus estpro vehiculo in via.  is unto them in steed of a waggon on the way. And hence it is, that manual labourers, and Mechanical artificers of all sorts, keep such a chanting and singing in their shops, the Tailor on his bulk, the Shoemaker at his last, the Mason at his wall, the shipboy at his oar, the Tinker at his pan, & the Tylor on the house top. And therefore well saith Quintilian, that every troublesome & laborious occupation, useth Music for a solace & recreation: whereof that perhaps may be the cause, which Gyraldus noteth. The symphony & consent of Music (saith he) agreeth with the interior parts & affections of the soul. For as there are three parts or faculties of man's soul, the first and worthiest the part reasonable, which is ever chief, & never in subjection to the other, the second irascible, which, as it is ruled of the former, so ruleth the latter, and the last concupiscible, which ever obeyeth, & never ruleth: so if we compare the symphony of Music, with these powers of the soul, we shall find great conveniency and affinity between them. For look what proportion is between the parts reasonable, & irascible, such is there in Music between that string which is called hypate, & that which is termed Mese, causing the melody called diatessaron: and look what proportion is between the parts of irascible & concupiscible, such is there between Mese & Nete making that sound which is named Diapente: so that as those three parts of the soul consenting in one, make an absolute and perfect action: so of these three in Music, is caused a pleasant and delectable Diapason. And therefore no marvel if according to the mixture of these sounds diverse men be diversely affected, with several Music: insomuch, that almost every peculiar nation and people, be in their wars delighted with proper instruments: as in former times, the Cretenses with the harp, the Lacones with Cornets, the Amazons with Flutes, the Cibarites with Shawms, the Lydians with Whistles & Pipes, the Latins with trumpets, the Getes with the Cithaeron and Flute: so in these later days, and more nice times of the world, all nations with compound and mixed Music, and with sundry kinds of instruments, as Cornets, Waits, Shagboyts, Trumpets, Drumb & fife.  
Neither do I here so attribute this delectation unto man, 
1 Beasts delighted with Music.  as denying it to other creatures, for I am verily persuaded, that the ploughman & cartar of whom I spoke before do not so much please themselves with their whistling, as they are delightsome to their oxen & horses. 
Polyd. Virgil.  Again the warhorse is so inflamed with the sound of the trumpet, that he cannot keep his standing, but maketh an open way to his rider, through the midst of his thickest enemies. 
Horses delighted with Music.  And here may it please the reader for his recreation, to call to mind one special history of the Sibarits: whose horses were not only delighted with Music, but also taught to dance to the instrument: insomuch that one of their musicians at a certain time, having some discurtesy & injury offered him took occasion to forsake his country, 
Policianus Miscellaniorun 15.  & fled to the Crotoniats, which were enemies to the Sibarits, forasmuch as not long before that time the Sibarits had given them the overthrow in battle. This tibicem, or player on the shalm, coming among the crotoniats, made his speech unto them to this purpose & effect, that if they could afford him credit, he would work such a device, as they should easily obtain the conquest of the Sibarits horsemen. Credit was given unto his tale, & he ordained captain of the war, 
Sybaritarum mollicies prou.  instructed all the fluters & shalmers of the Crotoniates, what note they should play, and how they should address themselves against their enemies. Now the Sibarites on the other side being insolent, & having taken heart a grace & courage unto them by reason of their former victory, prepare themselves to meet their enemies in the field. Wherefore the Shalmers of whom I spoke before having received a watchword of the Captain, on a sudden sounded their Flutes and Shawms. The horses of the Sibarites hearing their country Music, whereunto they had been accustomed, reared themselves on their hinder feet, cast their riders, and as they were wont to dance at home, so now they did it in the skirmish, and by this policy, the Crotoniats won the victory of the Sibarits. Whereby may be gathered not only how pernicious clandestine treason is to a commonwealth, but also what strange & incredible delight music impresseth even in these dumb and unreasonable creatures. So mules are wonderfully allured with the sound of bells: & sheep follow their shepherds whistle. And it is recorded also, that the Hart and other wild beasts are by sweet and pleasant notes drawn into the toils and gins of the huntsman. AElianus in his varia historia testifieth, that Pythocaris a musician playing upon his Cornet, mitigated the fierce and ravenous nature of wolves, and that the mares of Libya and elephants of India would follow the sound of Organs and divers other instruments. 
2 Fishes delighted with Music. Plutarch in convivio 7. Sap. Herodotus in Clio. Cic. Tusc. 1. ovid. 2. Fast.  Now as these terrestrial beasts have their peculiar and proper delights, so aquatical creatures also living in another element, offer themselves voluntarily to the sound of Music: so, as Martianus recordeth, certain fishes in the pool of Alexandria are with the noise of instruments enticed to the banks side, offering themselves to men's hands, so long as the melody endureth. Wonderful are those things, which in good authors are related of the dolphin: but for our purpose, none so fit, as that of Arion: whose excellent skill in Music, giveth testimony aswell against the savage and barbarous cruelty of those unnatural shipmen, which sought to take away his life: as to the gentle and kind nature of the dolphin, which is both a lover of men, and an earnest follower of music. Arion seeing no way to escape the fury of his cruel enemies, took his Cittern in his hand, and to his instrument sang his last song, wherewith not only the dolphines flocked in multitudes about the ship ready to receive him on their backs, but even the sea that rude and barbarous element, being before rough and tempestuous, seemed to allay his choler, waxing calm on a sudden, as if it had been to give Arion quiet passage through the waves.  
There is also a third kind of living creatures, which by the Philosophers are called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, because they live both on the land & in the waters. Of these, 
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉  I will only name the Swan, which bird is therefore said to be under the patronage of Apollo, not only for that she is alured with the sweet notes and melodious consent of music, following them which play upon instruments on the water: but more especially because she seemeth to have some divination from him, whereby she foreseeing what good is in death, by a natural instinct, finisheth her life with singing and with joy.  
Sic ubi fata vocant udis abiectis in herbis,  
Ad vada Maeandri concinit albus olor:  
When death the swan assays,  
Laid prostrate on the ground,  
Her song doth make mad'st banks  
her dolours to resound.  

4 Birds delighted with music.  As for those other creatures which live in the air, I do not think that the fouler could ever have made such spoil & havoc of them, being so far out of his reach & jurisdiction, had not nature told him, that they above all creatures under the heavens, are as most delighted, so soonest entangled & alured with his songs. Wherefore when thou seest, each foul in his kind, the Linnet, the Nightingale & the Lark, to mount aloft, & sing their notes unto the skies, show thyself docill in these two things, first in acknowledging the delight which both thou takest in them, & they in music: & secondly learn by their example, what thy duty is & aught to be in grateful singing of psalms and songs to him that made thee.  

Semidei.  Lastly, that I may not omit those which the heathenish poets & wise men counted inferior indeed to the gods: but better than men (how worthily I will not here stand to debate) even they testify also of them, that they take infinite pleasure in music. As when Silenus sang his song of the beginning of the world unto Chronis, Mnasilus & Aegle that fair nymph.  
Tum vero in numerum Faunos Satyrosque videres  
Ludere, tum regidas motare cacumina quercus.  
Then mightst thou see the Fauns  
and satires dances lead,  
The Cypress trees to shake,  
and sturdy oaks their head.  
So when Pan & Apollo strove whether of them was the better physician.  
Deseruere sui nimphae vineta Timoli,  
Deseruere suas nimphae pactolides undas.  
When Pan for laurel branch  
in song with fair Apollo strove,  
Pactolus' nymphs forsook their stream  
and Tmolus' nymphs their grove.  
Homer is not afraid to ascend a little higher, showing that even the gods & jupiter himself are content to give a patiented ear to musical consent: & thereupon in that banquet of the gods where Vulcan played the skinker, he maketh Apollo & the Muses singing a song. 
Iliad. ●.   
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉  
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉,  
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉,  
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.  
Thus they in banqueting consumed the day:  
Nor fair nor mirth was wanting to their will  
While fair Apollo on his harp did play,  
The Muses answering with equal skill.  
Pythagoras and his sectatours, thought that the world did not consist without musical proportion and consent. And therefore both he & the best philosophers ascribe unto every Celestial sphere, one Goddess or Muse, which is the governs & ruler thereof: & because there are eight of those spheres, the seven planets, and the eight which is called the firmament, therefore they made 8. peculiar Muses, attributing to Luna the muse Clio: to Mercurius, Euterpe: to Venus, Thalia: to Sol, Melpomene: to Mars, Terpsichore: to jupiter, Erato: to Saturn, Polymnia, to the firmament or coelum stellatum, Urania; and because of eight particular sounds or voices, keeping due proportion and time, must needs arise an harmony or consent, which is made by them all, therefore that sound which all these make is called Calliope. And hence is that pleasant harmony of the celestial globes caused, which Pythagoras so much speaketh of. If then both Gods and men, and unreasonable creatures of what kind soever, be alured and mitigated with music, we may safely conclude that this proceedeth from that hidden virtue, which is between our souls and music: and be bold with Pindarus to affirm, that 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 etc. All those things that jupiter doth not love, do only contemn the songs of the Muses.   

THE EFFECTS AND OPERATION OF MUSIC. Chap. 4.  
IN the former chapter was gathered a proof and demonstration of the sweetness of Music, proceeding from the causes to the effects. Now I mean by the contrary demonstration, to prove the delectation thereof from the effects to the causes. For it cannot be but that as the convenience and agreement which music hath with our nature, is the cause of the delectation thereof: So the pleasure and delectation is also the cause of those effects which it worketh as well in the minds as bodies of them that hear it. Music being in itself wholly most effectual, importeth much of his force and efficacy, even to the peculiar parts and portions thereof. And thereupon ancient writers make the distinction of songs and notes in music, according to the operations which they work in their hearers: calling some of them chaste and temperate: some amorous and light, othersome warlike, others peaceable, some melancholic and doleful, other pleasant and delightful. And yet this division is not so ancient as that other which was in use in Orpheus & Terpander's time: for Plutarck in his treatise of music recordeth that Modi Musici were also distinguished by the names of nations: such were principally these four, Modus Dorius, Modus Phrygius, Modus Lydius, and Modus Myxolydius. Hereunto were added as collateral other three Hypodorius, Hypoludius, and Hypophrygius: making seven in number, answerable to the 7. planets: whereunto Ptolomaeus addeth an 8. which is called Hypermyxolydius, sharpest of them all and attributed to the firmament. These several distinctions of notes in music do not so far dissent in name and appellation, as they do nearly accord in effects and operation. For Modus Dorius, being a grave and stayed part of music, answereth to that which I called chaste and temperate. Modus Lydius used in comedies, in former times, being more lighter and wanton than Dorius, answereth to that which I termed amorous and delightsome. Modus Phrygius distracting the mind variably, also called Bacchicus for his great force & violence answereth to that which I called warlike, And Myxolydius most used in tragedies expressing in melody those lamentable affections which are in tragedies represented, answereth to that which before I named Melancholic and doleful. As for those other, Hypodorius, Hypolydius, Hypophrygius, & Hypermyxolydius, there is no doubt, but that they being collateral and assistants to these, move such like affection as their principal.  

Macrob. in Som. Scip. lib. 2.  Macrobius in effect saith as much in these words: Vt visus colorum, sic sonorum varietate delectatur auditus: Modus Dorius prudentiaelargitor est & castitatis effector: Phrigius pugnas excitat & votum furoris inflammat: Aeolius animi temperiem tranquillat, somnumque iam placatis tribuit. Lydius intellectum obtusis acuit, & terreno desiderio gravatis caelestium appetentiam inducit, bonorum operator eximius. That is, As the eye is delighted with the variety of colours, so is the ear, with the diversity of sounds. Modus Dorius is a giver of wisdom, and a causer of chastity. Modus Phrygius provoketh to fight, and maketh courageous. Aeolius quieteth the mind, & giveth sleep to the pacified senses. Lydius sharpeneth dull wits, & to men oppressed with earthly cares, it bringeth a desire of heavenly things: being a wonderful worker of good motions. So that the effects of music generally are these. To make haste to incite and stir up men's courages, to allay & pacify anger, to move pity and compassion, and to make pleasant and delightsome: Nay yet I will go farther: & doubt not but to prove by good authority, that music hath brought mad men into their perfect wits & senses, that it hath cured diseases, driven away evil spirits, yea and also abandoned the pestilence from men & cities. 
Music maketh chaste.  Touching the first effects of music we read that Agamemnon going to the war of Troy left behind him Demodocus, an excellent musician, 
Dydimus Homeri interpr. in 2. Odyss.  skilful in Modo Dorio, to keep chaste his wife Clytaemnestra, whom he nicely had in suspicion of wantonness and levity with Aegistus. Whereupon it is recorded that as long as Demodocus lived, Clytaemnestra remained faithful to her husband: but when Aegistus, for that purpose had murdered him, she gave over herself to satisfy his adulterous appetite. So did Ulysses leave Phenius an other musician, with Penelope, whom Ulysses returning home at twenty years end, found to have wrought so effectually with his wife, that both he deserved great commendation for his acts, and she is registered as a most perfect & absolute example of chastity: neither do I attribute so much to Homer the author hereof, as to Dydimus his interpreter, who giveth this as a reason thereof, because in those days, Musicians were the chiefest professors of philosophy. I doubt not but that those, 
Objection.  which are glad to take any occasion to speak against music, will think the contrary: and affirm that it maketh men effeminate, and too much subject unto pleasure. 
Answer.  But whom I pray you, doth it make effeminate? Surely none but such as without it would be wanton: it is indeed as fire to flax, and as wine to a drunkard, if flax be easily inflamed, is the fault in the fire? or if a drunkard, be easily overcome with wine, is the fault in the wine? So likewise if the sun harden clay and mollify wax: the diversity of these effects is by reason of the diversity of those subjects: even so the same music which mollifieth some men, moveth some other nothing at all: so that the fault is not in music, which of itself is good: but in the corrupt nature, & evil disposition of light persons, which of themselves are prone to wantonness. 
Music maketh courageous  As for the 2. effect which is caused by Modus Phrygius, as I said before, it shall suffice to confirm it by example. The Athenians having received great hurt and loss, by seeking to recover the Island Salamis, made a law that whosoever should make mention of any more recovering thereof should die the death. 
Plutar. in Solone.  But Solon perceiving this law to be hurtful to the common wealth, feigned himself to be mad, and running into the chiefest places of the City, sang a certain Elegy, which he for that purpose had made showing how easily the Island might be redeemed, and how pernicious a law that was, which had been made in that behalf. With whose sweet song plutarch doth record the Athenians to have been so incensed, that immediately they armed themselves, and with good success recovered Salamis. To this purpose serveth also that which is recorded of a certain young man of Taurominum, which Boetius reporteth, 
Boetius.  was incited with the sound of Modus Phrygius, to set a fire an house, wherein a harlot was entertained, But a most manifest proof hereof is that, which is said of Alexander the great, who sitting at a banquet amongst his friends, was nevertheless by the excellent skill of Timotheus a famous musician so inflamed with the fury of Modus Orthius, 
Gyrald. lib. 1. Poet.  or as some say of Dorius, that he called for his spear & target as if he would presently have addressed himself to war. Neither is this a more apparent proof for this part than that which followed is for the next. 
3 Music allayoth anger.  The same Timotheus seeing Alexander thus incensed, only with the changing of a note, pacified this mood of his, & as it were with a more mild sound mollified & assuaged his former violence. Chameleon Ponticus reporteth of a certain man called Clinias Pithagoricus, that he being a man given to severity, if at any time he perceived himself to have been melancholic, took his Cittern in his hand & professed that he took ease thereby. And Homer witnesseth of Achilles that of all the spoils of Etion he only took for himself a Lute, wherewith he might assuage his wrath in his extremity. 
2. Kings. 3.  So a minstrel pacified Elizeus when jehoram came to ask counsel of him, 
4 Music moveth pity.  and quieted his mind when he was sore offended. As the 4. effect may by many examples be confirmed, so the story of Lodovicus pius the Emperor doth make it most evident. For when Theodolphus the Bishop, had by his counsel and devise caused Lotharius not only to deprive his father Lodovicus of his empire but to cast him into prison, who can justly accuse the Emperor, if he being restored to his imperial dignity again, did fully purpose to chastise the bishop with death? Yet nevertheless such was the force of Music, that the Emperor parsing by the prison wall, and hearing the Bishop sing an Hymn most pleasantly which he had made in prison for his solace, was moved with compassion, to be savourable to that man, which had dealt disloially with himself, and restored him to his former dignity and estimation. As for the fifth, 
5 Music maketh pleasant.  we daily prove it in ourselves: using Music as a medicine for our sorrow, and a remedy for our grief: for as every disease is cured by his contrary, so music is as an Antipharmacon to sorrow: abandoning pensive and heavy cogitations, as the sun beams do the lightsome vapours. 
6 Music restoreth madmen to their wits.  Greater are those other properties of this art, which I will in this place rather touch, than dilate with examples. Music assuageth and easeth the inordinate perturbations and evil affections of the mind. For Pythagoras with the changing of the sound of his instrument, caused a young man overcome with the impatience of love to change his affection also, wholly taking away the extremity of his passion. 
Baptist. Port. Magiae naturalis, lib. 2. cap. 25.  So Empedocles with his skilful playing on the Cittern hindered a mad man, ready to slay himself: yea Zenocrates also and Asclepiades, 
7 Music cureth diseases.  are said by this only medicine, to have restored a lunatic person, into his perfect senses. If it be so that music can help the outrages of the mind, it will not seem uncredible that it should cure the diseases of the body. By the help of music Ismenias a Theban musician, restored men sick of an ague, to their former health, and Asclepiades by the sound of a trumpet caused a deaf man to hear. Theophrastus' also testifieth of the Ischiasy, that their sicknesses are cured, if a man play the Phrygian note unto them.  

8 Music driveth away evil spirits. 1. Sam. 16.  It is also a present remedy against evil spirits: which as it is proved by that one example of Saul from whom the evil spirit departed when David played on his Harp: so having so sufficient authority, 
9 Music medicinable against the plague.  for the confirmation thereof, I shall not need to stand upon it any longer. Lastly we read also of music that it hath delivered both men and Cities, from the noisome infection of the pestilence. As Gyraldus in the place above incited, recordeth. Terpander and Arion, saith he, with their music delivered the Lesbians & joves, from most contagious infections. And Thales a musician of Crete, with the sweetness of his harmony, banished the plague from his city. I durst in no wise affirm the last effect & operation of this worthy art, 
10 Music preserveth or overthroweth commonweals.  were it not that Plato with his credit and authority did embolden me: Mutati musicae moduli (saith he) status publici mutationem afferunt: The changing of Musical notes, hath caused an alteration of the common state. The reason hereof can be no other than this, Because by the force of Music as well those of less heart & courage are stirred up, as those of greater stomach weakened & unabled to any excellent enterprise. Whereupon he also inferreth, that such are the manners of young men, as are the notes and tunes they are accustomed to, in their tender years.  
Now if these my proofs & authorities shall to some 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 & unmovable person either seem too weak, or the things attributed to music too hyperbolical: he shall bewray either his ignorance in not having read ancient writers, in whom, as of all other sciences, so of this especially, as most admirable, condign praises are comprehended: or else his malice, in derogating from this art, those properties which he can neither deny other men have given, nor convince, ought not by good reason to be attributed thereunto. For as I do not stand on the sufficiency of these allegations, meaning in this part only to show what hath been ascribed unto music in former times: so is it not enough for any malicious Musomastix, to take his pen and write I lie, unless he can by sufficient reason declare, that these authors by me cited have erred heretofore: which if he shall not be able to perform, then let him give some reason why music in these days, is not the same, it hath been heretofore: or why Music hath rather lost any of her former excellency, than increased in perfection from time to time, considering that time is the perfecter and increaser of all arts? But I will not willingly entangle myself, with the vain and fantastical devices of this sort of men. Only I conclude this point, with that common saying of the learned: Scientia neminem habet inimicum nisi ignorantem. None are so great enemies to knowledge as they that know nothing at all.  
Likewise in Apulia when any man is bitten of the Tarrantula, 
Balthas. Castalion. Aulic lib. 1.  which is a certain kind of fly, very venomous and full of danger, they find out the nature and sympathy of the sickness or humour, with playing on instruments, and with diversity of Music, neither do they cease from playing, until the often motion and agitation, have driven the disease away.   

THE NECESSITY OF MUSIC. CHAP. V.  
But what of all these things before rehearsed, if Music have neither profit or necessity? or to what end should a man bestow his travel & industry in that whereof there is no use? Can an Art be unnecessary, or can any thing be good for so many purposes as have been declared, & not be needful? yea can any thing be so profitable and have no use? Easier is it for water not to moisten, & for fire not to give heat, than for an art liberal to be unnecessary, or for so precious a science to have no use. And therefore most memorable judgement of Galene, which will not suffer that to be called an Art, that bringeth no profit to our life. Wherefore before I enter into that which is the mark whereat I aim, I mean, the use of Music in the church, I must add to these former commendations, something, as of the necessity of it in fewer words, so of civil use thereof more at large. And first concerning the necessity: I confess, that Music is not so necessary for man, as meats are for the preservation of life, and clothing for the defence of the body: (for so he were not a man, that were not a musician:) but as in meats some are course, and others delicate, which both nevertheless are necessary, the one to those of meaner, the other to them of higher degree: and as labouring men use mean apparel only to defend their bodies from the violence of the weather, and gentlemen finer, not only so, but for an ornament also, which both are necessary, to distinguish callings: so Music is as the more delicate meats, and as the finer apparel: not in deed necessary simply, but profitably necessary for the comeliness of life. And therefore Socrates & Plato, & all the Pythagoreans instructed their young men and maids in the knowledge of Music, not to the provocation of wantonness, but to the restraining and bridling their affections, under the rule and moderation of reason. For they, because youth naturally is movable, & desirous of delight, & yet unfit to receive any severe discipline, thought it convenient & necessary, to acquaint their children with an honest oblectation of Music in their youth, that being brought up in that liberal delectation, they might learn to refrain from other illiberal and inordinate pleasures. And Aristotle in the eight book of his Politics, which is wholly of that argument, giveth counsel that noble men & gentlemen be instructed with Music, 
Arist. Polit. 8. cap. 3.  first to avoid idleness, because the idle time which is in a man's life, doth require to be busied in the knowledge & learning of some profitable thing: secondly because Music after a sort belongeth unto virtue. 
Cap. 4.  For as that exercise which is called Gymnastica doth strengthen and confirm the body: so Music refresheth the wearied mind with honest delectation. Thirdly for that it hath great force in the well ordering and good institution of life. And therefore Pythagoras his Scholars, as Tully recordeth, 
Tusc. 4.  were wont, both to give certain hidden and secret precepts in verses, and to withdraw their minds from intentive and deep cogitations, with singing and with instruments: yea and many of the ancient Grecians among whom this Art was in high estimation, instructed their children in Music, as profitable to the correction of life and manners, that thereby they might be incited to temperance and honesty: for it is the property of liberal Sciences, to ingenerate a gentle, and liberal action in their hearers. Whereupon Aristotle, in the same place doth infer, that albeit arts are to be learned not for any vain pleasure or ostentation, but for some good and profitable use, yet if music were neither necessary nor profitable at all, it ought to be accounted of & embraced, for that it is liberal. And yet Aristotle doth not so far commend Music to noble men, that he would rather wish them the practice, than the speculation and knowledge thereof: But as he would have none but those that profess it to be the practisers of it: so he counseleth noble men rather to use it for their private solace, than public ostentation, and rather to be able to judge of other men's cunning, than willing to show their own. For the Lacedæmonians, saith he, a warlike and noble people, have this as a singular commendation, that although they seemed not to have any skill in Music, yet they could easily discern, which sound agreed or disagreed most. And he maketh it a general observation, that in all poets of any credit and name, jupiter is never made to sing, or to play upon any instrument, although they deny him not most exact knowledge and judgement. 
Suetonius.  And indeed who doth not confess an abuse of this art in Nero, which would sit whole days together playing in the Theatre? or in Archabius that foolish musician, of whom it is written, that his auditors were wont to give him more money to end his song, than to begin. Pope john the 22. of that name which was himself a good musician, & wrote a book thereof: in the second chapter of his book attributeth thus much thereunto. Great is the necessity of Music, and the use thereof not to be contemned: for it maketh him that is skilful therein, able to judge of that which he heareth, to amend that which is amiss, and to make a new. And thus much he ascribeth to the necessity of the art. Nevertheless the necessity which we mean, is, that it doth bridle and nurture our inordinate affections, as not only Aristotle taught us before, but Strabo also, calling musicians the masters and correctors of manners. Homer in the same sense termeth them Sophronistas, that is to say, Moderators or teachers of Temperance. And for the like cause as I suppose, was Music first brought into the church, and used in divine service: for Isidore testifieth, that Propter Carnales in Ecclesia, 
Isidor. Eccle. off. lib. 1. cap. 5.  non propter spirituales, consuetudo est instituta canendi, ut qui a verbis non compunguntur, suavitate modulaminis moveantur. The custom of singing in the church, was instituted for the carnal, not for the spiritual, that they whom the words do not pierce might be moved with the sweetness of the note. S. Augustine also is of opinion, 
Confess. lib. 10. cap. 33.  that Music is necessary in the church of god, ut per oblectamenta aurium, infirmior animus in affectum pietatis surgat: that by the delight of the ears, the weak soul may be stirred up into a feeling of godliness: and his reason is: Omnes affectus spiritus nostri pro suavi diversitate sentio habere proprios modos in voce atque cantu, quorum nescio qua occulta familiaritate excitentur. I perceive, that all the affections of our spirits, have certain proper motions in the voice and song, according to the sweet diversity thereof, which (with I know not what hidden familiarity) are excited and stirred up. 
Arist. Polit. 8. cap. 5.  In a word Aristotle's resolution touching the civil necessity is, that music hath relation to these three things, to delectation, to discipline, and to an happy life. To delectation, because Music with the sweetness thereof, doth refresh the mind and make it better able to greater labours. To discipline, because it is a cause of breeding in us chastity, temperance, and other moral virtues. To an happy life, because that cannot consist without judgement and liberal delectations, whereof Music is the chiefest.   

THE USE OF MUSIC generally IN THE course of our life. CHAP. VI  
PHilosophy & experience have taught us that omne bonum quo communius eo melius, the goodness of every good thing stands chief upon the use. If the mysteries & secrets of nature touching plants, springs, metals, stones, & the like had lain always smothered & suppressed within her bosom, doubtless we had wanted much of her blessings, & she as much of our commendation. 
Plutarch.  How vile a thing were gold amongst us, if for lack of better use we used it as we read of the Scythians to manacle & shackle our prisoners? scarlet is no colour to him that sees it not, an Emeraul not precious to him that knows it not. But Music God be thanked is no nightbird, she hath flown through the whole world in the open face & sight of all men. And the sun hath not had a larger theatre wherein to display his beams then music to lay open her sweetness. Look into all ages, she hath grown up with them. Look into all places, she hath infranchiced herself within them: look into all estates, she hath no sooner come, but welcome unto them. Antiquity which now adays every green head will needs set to school, and make subject to the overlashing pregnancy of his young wit, derives her even from Saturn's time, when the world was scant shield: 

Juvenal.  Tum cum virguncula juno  
Et private us adhuc Idaeis jupiter antris.  
When juno was a girl as yet,  
And jupiter not weaned from teat.  Then did the priests of Cybele sing an happy lullaby for him, 
Pol. Virgil.  whose crying if they had not drowned of purpose with their singing and tabering, his merciless father Saturn had devoured him. But what need these broken staves? Nature which in deed was when nothing else was can bear the best record in these cases: and what evidence gives she? When I made the firmament I established it by consent. When I made the elements I qualified them with proportions. When I made man I gave him a soul either harmony itself, or at least harmonical. Nay besides this, Non est harmonicè compositus qui Musica non delectatur. If I made any one which cannot brook or fancy Music, surely I erred and made a monster. For how is it credible, if beasts have been snared, birds alured, fishes baited, serpents charmed, yea and rend in sunder with Music, that her strength should become weakness in the wisest and most reasonable creature, without an infallible prejudice of a most untoward nature? If there be any such flintlike and senseless man, let us leave him as a desperate patiented unrecoverable, to the course of his own hateful constellation: which if it had not vowed to try an experiment, and make one in all degrees worse than Timon of Athens, a man even wholly resolved and done into spitefulness, how could it possibly have harboured within his breast such an unnatural loathing towards so excellent a science? I speak this but in jealousy: for I never heard of any though seated & planted in the very heart of Barbary, which ever did abhor it, or was not sometimes greedy to embrace it. 
Music a Delphian sword.  The rather because it is gladius Delphicus, having an edge on all sides, for it is made meat and drink to melancholy, a great horse to choler, a full tide to grief, a fire to pleasure, a right hand to prodigality, a main sea to drunkenness, and finally a forced friend to all manner of affections and vices. So than if good dispositions love her for her own sake, the bad for their passions sake, as whereby they back and strengthen themselves in their ungraciousness, I hope I may safely conclude an universality touching her use and service. In this discourse plenty would have overwhelmed me, had not a former tract of her suavity and effects forstalled this place. For to omit the court with her consorts, corporations with their waits, and other places both of greater countenance and frequency, wherein Music may seem by more authority to claim acquaintance, & to look but with half an eye into the country, wherein toiling & as they call it good husbandry should exclude all pleasurable recreation, how heartily doth the poorest swain both please himself, and flatter his beast with whistling & singings? Alas what pleasure could they take at the whip and ploughtaile in so often and uncessant labours, such bitter weather beatings sometimes benumbed with cold, otherwhiles melted with heat, evermore panting & scarcely drawing breath under their burdenous travels, unless they quieted & even brought a sleep their painfulness, with this their homely, yet comfortable & selfe pleasing exercise? That as the woman in Plutarch sang, Mole pistrinum, mole, nam & Pittachus molit Rex magnae Mytilenae: grind mil, grind: for even Pittachus grinds the great king of Mytilen (otherwise were it not for his grinders his belly would take but poor toll) so those with a light heart make their plough go lighter, & while they use the solace of their natural instruments both quicken themselves and encourage forward their over-laboured horses. What shall I speak of that petty & counterfeit Music which cartars make with their whips, hempknockers which their beetles, spinner's with their wheels, barbers with their sizzers, smiths with their hammers? where me thinks the mastersmith with his triple hammer sings descant whilst the greater buzz upon the plainsong: who doth not straightways imagine upon music when he hears his maids either at the woolhurdle, or the milking pail? good God what distinct intention & remission is there of their strokes? what orderly dividing of their strains? what artificial pitching of their stops? If then the bare imitation of Music in comparison of the other being dumb & lifeless, he notwithstanding so available as to cherish overdulled spirits, and even by stealth to carry away the laboursomest drudgeries, what malicious and sworn frowardness is it against nature, sense, and reason by a commission only of Sic volumus, Sic jubemus, to discommon that which is the principal, and by all reason of the greater force? Wherein because experience doth prevent examples (for what need I allege Parrhasius and Nicias two notable painters by their own confession strengthened hereby and even steeled in their infinite labours?) I will reduce all to one monument of antiquity, not private to any one either person, household, colony, or town, but generally put in ure by a whole nation. The ancients of Crete (a realm renowned sometimes for no fewer than an hundred beautiful cities) as they were religious in their laws, 
AElianus.  being the very sinews and joints of every well-governed commonwealth, so they were as careful to plant them in their children's heads. But these laws being matters of state and government, and therefore too hard meat for such young stomachs to digest, and deeper lessons than to match their shallow capacities, they used Music therein as a Schoolmaster, by fair means and gentle allurements to mitigate the difficulty of their tasks. Which if it be so unprofitable as it is made now adays, why was it accepted in so famous and populous a country? why borne out and maintained by so grave authority? why admitted to things of so great importance? wherein standeth the life and soul of all Kingdoms? why instilled to youth for pliableness of nature easily corrupted, and for their hope the best seed of the next harvest? But henceforward because these sullen stoics do measure not their good liking of good Arts by such hard and niggardly skantlings I will learn to be more liberal to myself, and presume upon that foregranted, which as I know not so I care not whether ever they will grant or no. Music is not at their stinting: her charter (how large let all the world judge) was granted by nature, confirmed by prescription of time out of mind, and established by the use of all places, persons and conditions. For better assurance whereof I will descend more particularly to her use, and speak of it partly as it is civil in time of peace and quietness, partly as warlike in times of commotion.   

THE PARTICULER USE OF MUSIC IN Civil matters, especially in sacrifices, feasts, marriages and Burials. CHAP. VII.  
NOw the civil use, to let pass all generalities which I touched before with a wet finger, may best be collected out of these solemn either actions or assemblies, which are frequented in all politic states, & may be listed for brevities sake within the compass of these four things, to wit, sacrifices, feasts, marriages and burials. For I dare not speak of dancing or theatral spectacles, lest I pull whole swarms of enemies upon me. Albeit Lesbonax of Mytilen, honestus plane vir & bonus, 
Cael. Rhod.  a man I am sure, aswell titled, as the curiously minded called dancers 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, men teaching wisdom even with their hands, & often went to theatres, giving this testimony of them, that he ever returned home the better by them. I confess I am accessary to their injury against Music in bereaving it of these two so ample & notable provinces, because I do not by open resistance hinder their riot. For howsoever obcenity may bring the stage in suspicion of unchasteness and incontinency, make dancing disfavorable & odious, I am sure that neither of them keeping themselves under sail, that is not overreaching their honest and lawful circumstances, can want either good grounds to authorize them, 
1 In sacrifices.  or sufficient patronage to maintain them. As for these sacred or rather profane churchrites used amongst the heathen & pagans' in reverence of their supposed gods, let that sorting of Music into Sophronisticè applied to Sobriety and Temperance, 
Cael. Rhod.  Encomiasticè to praises, Orchematicè to dance, Threneticè to calamities, & Paeanicè to sacrifices be sufficient to discharge me of farther pains. 
Ibidem.  Notwithstanding because examples stick deeper than precepts, & both these will scant serve to win some men's credence, let them call to mind what the priests of Rhea in Crete called Curetes or these Corybantes in Phrygia did. What kind of service Apollo found in Delos, or the Sun amongst the Indians, in what manner those gadding housewives of Thrace worshipped Bacchus. And if one Proctor Antoninus the Emperor may not serve to answer thoroughly enough in behalf of Rome, who in sacrificing to Heliogabalus appointed Carthaginian Dames to dance, and make melody about the altars, let the whole clergy of Mars called Salii (perhaps as some have guessed of dancing and leaping) instruct them what the usage, and fashion was amongst the Romans.  
Touching banquets, 
2 In banquets.  let no man I would advise him exclude pleasure and recreation from thence, unless he have a forehead to set against the whole world, and a face to be at defiance with all countries. For otherwise why have the feastmakers provided meats for the mouth, sights for the eye; perfumes for the nose, yea why have they strewed Violets and Roses for the feet to walk upon, but to allure and detain their guests with all manner of delectation? And must the ear sleep all this while? No, there are questions of nature, of policy, or manners to be disputed on as amongst the Persians. There are riddles and mystical speeches to be explicated (for examples sake, A man and yet no man of an Eunuch, a stone and yet no stone of a pumeise, a bird and yet no bird of a reremouse) as amongst the Grecians. You may eat books in time of meals as did Alexander Severus: you may give ear to tragical & comical Poets as did Hadrianus. Or if such table talk be too grave for your light humour, bring in young children to find you occupied with their apish prattling as amongst the Abydens. Bring in fools and jesters (the very scorns and reproaches of nature) to delight you with their toys as amongst the Romans. And I pray why not Music as well as all these? sure if I were privy to any reasons of yours, which either are few & will shrink in the numbering, or light & will vanish in the weighing, I would never suffer my pen to bely my heart: either I would bend all my force to convince them, or if I could not, utterly forsake the defence of Music. In the meantime if I err I am glad that my error is not young or selfwilled but sprung even from the most ancient & best approved manners of many countries. The Arcadians (what speak I of the Arcadians?) veteres: The ancients (for so in Athenaeus the patents are general, and concern other places) were enjoined by virtue of their laws and statutes in time of feasting to sing forth praises unto their gods. Cato his originals for aught I know are not extant amongst us. Howbeit if we will be tried by one of Cato his peers, 
Tull. in Brut.  Tully can tell us that every guest was bound in musical sort to express the feats of arms and chivalry attempted and performed by their noble captains. I am bold to say they were bound, 
Stuckius.  for their Feasts in those days represented even the whole body of a Commonwealth. They had Regem & Legem, their King and their laws, & every inferior upon pain of some mulct or other sworn to allegiance. Now amongst these decrees one was that a Laurel or myrtle bough should pass through out the table from hand to hand as an ensign or standard for each man in his time & course to sing under. Afterward they were put to the harp, & he that refused it sped no better than we read Themistocles did. For Habilis est indoctior. 
Tuscul.  He was condemned of ignorance and unkilfulnesse. What need I specify Lacedaemon or Athens? we need not travel far to be seen in their antiquities. Every Historiographer especially in this argument, hath matter enough to cloy and overcharge the hungriest mind. And that one song in commendation of Harmodius and Aristogiton for rooting out the tyranny and memory of Pisistratus 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉: 
Cael. Rhod.  Thou art not yet dead sweet Harmodius (for his name was revived in every banquet) makes it a clear case touching the Athenians. The Sibarits besides all variety of minstrelsy brought in horses at their times of feasting, to tread the measures. But to set the Sun against the lesser stars, I mean the son of Sirach against all profane authors (for how can I but confound myself and the readers in so ample a maze of authorities?) he compares Music in a feast to an emerald or carbuncle set in gold: if it be perilous why doth the wiseman commend it to us in his writings? if vile why doth he match it with two so excellent & precious stones? But his bare word is to me a better warrant for the ratifying of it than all their peevish & scarce colourable wrangling to reprove it. I come to marriages, 
3 In marriages.  wherein as our ancestors (I do willingly harp upon this string that our younger wits may know they stand under correction of elder judgements) did fond, 
Plutarch.  & with a kind of doting maintain many rites & ceremonies, some whereof were either shadows or abodements of a pleasant life to come, as the eating of a quince pear, to be a preparative of sweet & delightful days between the married persons, the joining of Mercury and Venus together, as a token that love must be preserved & fostered by courteous speeches, with other not unlike: so in the time of solemnizing the same they had choice & set songs appointed for the purpose. 
In avibus.  The Grecians generally by report of Aristophanes one of their Poets sang Hymen, O Hymaenaee, O Hymen. Calling upon the name of him whom they made their chief superintendant over such matters. And Plato in his book entitled Gorgias makes mention of this ditty as peculiarly belonging to those festival times. Formosum esse, & diuitem, & bene valere, summum existimatur bonum. 
Wilt thou be blessed and happy indeed?  
Be fair, rich and healthy, if thou wilt speed.  The Athenians one of the best flowers in grease sang inconditum carmen, perhaps some black saunt without order or distinction, & it is reported to be this: Bonos ama, timidos repelle, scimus enim timidorum paruam esse ubique gratiam.  
Embrace & love the good, the carpet knights repel,  
How little favour they have found elsewhere who knows not well?  

4 In funerals.  I will end with death the end of all mortality, which though it be the dissolution of nature, & parting of the soul from the body, terrible in itself to flesh & blood, & amplified with a number of displeasant, & uncomfortable accidents, as the shaving of the head, howling, mourning apparel, funeral boughs of you, box, cypress, & the like, yet we shall find by resorting to antiquities, that music hath had a share amongst them, as being unseasonable at no time. I let pass the Thracians with their triumphs & jubilees for the happy estate of their deceased friends & kinsfolk. 
Theat.  The Lybians most honourable mention of those principally which were slain either by elephants or other wild beasts or spent their blood & livelihood in the field for maintenance of their country, I cannot omit without injury to their thankfulness & mine own cause. The rather sith the cause which moved than to these exigents cannot be ungrateful to any loyal & well disposed ears. Autumn winds are not so common as authorities if I would use them. Every grammar scholar that openeth but an orator, poet, or historiographer shall see trumpets, pshalms, & singings attributed to funerals. And to reduce all veins to the heart, & all authorities to one head, if there were no such remembering of the dead, why have they deified a gods of these songs, 
Varro Terentius.  that as janus amongst them was the first god to open the door & entrance of their lives, so Maenia should be the last to do them any service, by quickening them after their deaths, and raising up a second life, by a wailful and yet musical commemoration of their laudable deserts.   

THE PARTICULER USE of music in warlike matters. CHAP. VIII.  
NOw because music is reported to be, belli & pacis alunna vel comes, 
Stuckius.  either the daughter or companion both of war & peace, I will set the palm & olive together: & as I have been short in declaring her peaceable use, so I will take the nearest course that may be in this warlike treatise. Though painters & Poets are commonly allowed to lie, 
Pliny.  yet I am sure Theon expressed no more colours than is true in life when he drew an armed man in complete harness ready to make excursion upon his enemies, and to all men's thinking animated and encouraged thereunto by the clamorous sounds of a physician. I appeal not now to men's integrity, and uprightness of judgements. I make provocation to them as they are men. Let them speak if the drum, fife, & trumpet do not excite their spirits, & make their hearts even to swell to the overthrow of their enemies. 
Alexan. ab Alexander.  The kings of Persia first sang a song to Caster & Pollux, & then made encounter with their adversaries. The Lacedæmonians used Pshalms: whose captain Agesilaus being demanded of one not so wise as curious (I will not say he was a ringleader to our froward questionists now adays to what end & purpose be did it) made answer that hereby he was assured of every man's mind & courage. For if his paces were consonant and according to measures, than it argued he was not appalled. If disagreeing, it argued that he was faint hearted. Now if it be expedient for a captain to know whether his soldiers be hearts or Lions, whose good & cheerful hearts are the first step to the winning of the field, than it is consequent, that Music should be a Lydius lapis, the right touchstone to try their minds.  
Now besides the advertisement given hereby to the captain, 
Music encourageth our own parts and terrifieth the adverse. Alex. ab Alex. & Clemens Alexand.  our own side is incited, the adverse parts amazed & astonished. For which causes all nations civil & barbarous though in diverse sorts, yet upon one & the self same ground have made even the earth shake, & the heavens ring either with outcries, braying, howling, singing, & clattering of their armour as the old Germans and frenchmen, or with tabering upon their waggon pelts, as the Cimbrians, or with drums, & great iron hammers, as the Parthians, or with a gentler and remisser kind of Music, with their harping, or piping, or winding the cornets, or sounding trumpets, or tinkling their cymbals, as the Lydians, etrurians, Arcadians, Sicilians, Corinthians, Syrians, Troyans', Egyptians, Arabians, and to speak in one word, no one word so true, all countries. Amongst which Athens the mother & nurse of the best literature was accustomed to sing hymns to Apollo and jupiter, for the better speeding of their doubtful voyages. And Rome the lady & Queen of all other cities (if they may be credited in their own cause, used first an ox horn till Tyrrhenus had devised the brazen trumpet, provided notwithstanding that in any expedition of silence, they gave but a watch word only without any sound of instruments.   

THE LAWFUL USE OF MUSIC IN THE CHURCH confirmed by the practice of the church. CHAP. IX.  
NOw although there be none but few men so senseless & blockish by nature, or of disposition so peevish, & wayward, that taking no delight in Music themselves, & measuring the worth & price thereof, by their own affections, do account of it as a thing either vain & unlawful, or idle & unprofitable, yet there be many, who albeit they allow a moderate, & sober use of it, in civil matters: do notwithstanding cast it out of the church, as an unclean thing, & will vouchsafe it no place in the service of God. But if the use thereof be proved to be not lawful only in the church, but profitable also and decent, by the practice of the church at all times, the opinion of the best learned in all ages, and the authority of the Scriptures themselves in many places: I trust that these men will reform their opinions from thinking so basely of it, or refrain their tongues from inveighing so bitterly against it.  
And first as touching the practice of the church, they are not ignorant, that the most ancient church of the jews (which received the doctrine of truth, which it believed, the precepts of life, which it observed, the order of discipline, which it practised from God himself) used no one spiritual exercise more than singing unto the Lord. When the Ark (which was unto them a visible sign of God's presence among them, and unto which they resorted to ask counsel of the Lord, & to pour out their prayers, as we do unto the church) was brought into the city of David, 
1. Chron. 23.5. 2. Sam. 6.4.  not only the four thousand Levites whom David had assigned this office to praise the Lord with instruments which he had made, song & made melody, but David himself also sang, rejoiced, & danced before it. Afterward when the Temple was builded by Solomon, and the Ark, with other things dedicated thereunto by David, were brought into the temple, the Levites according unto their office, sang unto the lord, songs of praise and thanksgiving, lifting up their voices with trumpets and Cymbals, & with instruments of Music: which service the Lord did so gratefully accept, that he vouchsafed his visible presence, 
2. Chron. 29.25.26.  and filled the temple with his glory. And when as Ezechias opened the temple which had been shut, & re-established the service of the lord, which had been intermitted by the wickedness of Ahas among other things, there is especial mention, that he restored this exercise: for he appointed the Levites in the house of the Lord, with cymbals and vials, and with haps, according to the commandment of David, and Gad the king's seer, 
Isid. de office Eccle. lib. 2. cap. 13.  and Nathan the prophet: for the commandment was by the hand of the lord, & by the hands of his prophets. And his holy ordinance, which the lord himself had sanctified, continued in that church as other parts of his service did, though corrupted, even unto the coming of Christ in the flesh. Neither was it then, as a bodily and unprofitable exercise, abolished, but retained as a spiritual service unto the Lord, albeit not in that order and form as before. And Isidor testifieth that Ad antiquum morem Psalmistarum in veteri ecclesia judaeorum, etc. of the ancient custom of singers in the old church of the jews, the primitive church took example, to nourish singers, by whose songs the minds of the hearers, might be stirred up to god. And the psalmistor singer ought to be most excellent both in voice & art, that he may the better delight the hearers with the sweetness of his Music, yea even our saviour Christ used this divine exercise, for when he had eaten the passouer with his disciples, S. Matthew addeth, 
Math. 29 30.  & when he had sung a psalm they went out into the mount of Olives. As for the times wherein the apostles themselves lived, it cannot be denied, but that this exercise was used in the churches which they planted: for many exhortations are by them made in their epistles, as it shall after appear, unto their churches that then flourished, concerning this matter, and I trust their practice then was agreeable to their exhortations. 
Plin. in epist. ad Tra. epist. li. 10. & Euseb. lib. 3. eccl. hist. cap. 30.  Pliny in an epistle he writeth to Trojan the Emperor (whiles yet S. john was living) testifieth that it was the custom of the Christians to sing hymns unto their Christ in their assembles before day: for they could not freely come together by day, for the persecutions that then raged against them. afterward when the church of Christ had a breathing time, and might freely serve their God, they did that openly in their churches, which before they used secretly in their assemblies. Look upon the East & the West, the Greek & Latin Churches, & you shall find this to be true. It had his beginning in the East Church, and from thence being derived unto the West, spread itself unto all Churches, as Saint Augustine reporteth in his confessions. 
Lib. 3. cap. 7.   
It were too long to run over all the particular Churches, which frequented this exercise, 
Lib. 2. cap. 24.  it shall be sufficient to take a view of the patriarchal seats, by whom the others were to be directed in matters of doctrine and discipline. 
1 Antioch in Syria under Flavian and Ignatius.  Theodoret reporteth that Flavianus and Diodorus ordained in the Church of Antioch that the Psalms of David should be sung interchangeably by a choir of singing men, divided into parts, first at the monuments of Martyrs, and afterwards in the Church, & hortabantur, sayeth he, socios sui ministerij ut in Ecclesia sanctissimum Dominum nostrum hymnis celebrarent, And they exhorted their fellow Ministers, to praise their holy Lord Christ, with hymns and songs. 
Ibidem.  The which order once begun at Antioch was derived farther and farther even unto the utmost parts of the world. In Zozomenus likewise it is recorded, 
Zozom. lib. 7. cap. 23. & Niceph. lib. 12. cap. 43.  that when the people of Antioch had intelligence, that the Emperor Theodosius was incensed against them for a sedition raised in their City, they made their prayers unto GOD, to allay and mitigate his rage, using thereunto mournful songs and melody. The which when Flavianus the Bishop had caused to be song before the Emperor, as he sat at meat, the story sayeth, that Theodosius was thereat not only moved to pitty, but forgave the offence also, and himself with tears increased their lamentations. 
Zozom. lib. 3. cap. 29.  And in another place he saith, that the Clergy & people of Antioch dividing themselves into two parts, did according to their accustomed manner, praise God with hymns and songs. To these former authorities accordeth Socrates, who although he attribute not the original of this singing of Antiphones and psalms in the church of Antioch, to Flavianus and Diodorus as Theodoret both, but unto Ignatius one ancienter than they (for he was the third bishop of that place after Peter, and was very conversant with the Apostles themselves) yet he agreeth with him in the verity of the matter whereof I speak, affirming that Ignatius, 
Socrat. lib. 9 cap. 8.  having seen a vision of Angels lauding the holy Trinity with hymns interchangeably sung, constituted in the church of Antioch that form and manner of singing, which had been manifested unto him in that vision. And albeit this may seem some what fabulous (as perhaps it is, 
Cent. 2. cap. 6. de pub. congres.  and as the Magdeburgenses are of opinion, saying that this is not a matter of so great moment, that therefore Angels should come down from heaven & appear singing:) yet this clause which they add, especially because the church in those days wanted neither psalms nor hymns, is a sufficient proof of mine assertion.  
Now concerning the church of Alexandria as I do confess, 
2 Alexandria in Africa under Athanasius. Tripart. hist. lib. 4. cap. 11. Socrat. lib. 2. cap. 4.  this exercise was not so much used there as in Antioch: so must I needs say that sometimes it was there also frequented: for proof whereof I refer the reader to Socrates and the tripartite history, where they declare how Athanasius the Bishop of Alexandria being by the Arrians deprived of his Bishopric, escaped out of the hands of Sirianus, the Captain of that army, who came with a band of 3000. soldiers, beside the aid of the Arrians which were in the city, as well to place Gregorius in that sea as to apprehend Athanasius. For the history saith thus: The evening grew on, and the people watched all night, because they looked for a communion. The Captain placed his soldiers round about the Church: the which when Athanasius perceived, all his care was, that for his sake the people might receive no harm. Wherefore he willed the Deacon to end his prayers, & commanded they should sing a Psalm. Now while the Psalm was singing, with sweet and pleasant consent, the whole congregation went out at one door: all this while, the soldiers were silent, and made no uproar: but Athanasius in the midst of the throng scaped the rage of his enemies without harm. Whereof I gather that as in other churches, so also in this of Alexandria they used this divine exercise: which also S. 
Confess. lib. 10 p. 33.  Augustine testifieth, though not in so full manner, when he wisheth, that the order of singing were used in the Church where he was, which Athanasius observed in the Church of Alexandria who commanded him that read the scriptures, that he should so temperate & moderate his voice, that he might rather seem to speak treatably than to sing, to the end he might be the better understood of the people. And yet nevertheless S. Austen calling to mind, how wonderfully himself had been moved with the singing of the church at his conversion to the faith, & what operation it worketh in the hearers, although doubting, confesseth in the same place, that he doth allow singing in the church, that by the delight thereof the weak mind might be brought into a feeling of Religion.  
As for the Church of jerusalem, I think it a matter needless to stand long in proof of that, 
3 jerusalem in Palestina.  which no man can deny, especially seeing this exercise was in use among the Apostles themselves (as may appear by that of Paul, I will sing with the spirit, 
1. Cor. 14.15.  but I will sing with the understanding also) and none were bishops of that sea, but such as were either Apostles themselves, or scholars of the Apostles. Yet lest I should seem to say nothing in so large a matter, 
Niceph. lib. 3. ca 25.  I will allege only one testimony for confirmation hereof. There is extant among the epistles of S. Hierom, one of S. Hieroms own making: 
Hieron. in epist. Paulae & Eustochij ad Marcel. tom. 1.  but under the name of Paula & Eustochius written to Marcelia, the argument whereof is to entreat Marcelia which was then at Rome, to come unto jerusalem where Paula & Eustochius remained. Among many commendations of the place, & divers reasons to persuade her, this is one, Hic vox quidem dissona, sed una religio, tot Psallentium chori, quot gentium diversitates: Here, say they, are divers languages, but one religion, & so many quires of singers, as there is diversities of nations. And in the same epistle they add, In christi villula, Here in christ his village, is no pride but all plainness, and besides the singing of Psalms, nothing but silence. The husbandman holding the plough singeth Alleluia, the harvest man sweeting at his labour doth solace himself with Psalms▪ and he which cutteth the vines singeth some Psalm of David. These are our verses in this country, these are our amorous songs. These be the tunes of our shepherds, & these be the instruments of our husbandry, 
4. Constant. in Thracia under Chrysostom. Socrat. li. 6. cap. 8.  etc. The fourth patriarchal seat was Constantinople, wherein as in a place consecrated to the service of god, was to be heard the most sweet & pleasant voice of the Church, singing Psalms & Hymns unto the Lord. For Socrates reporteth that Chrysostom ordained in the Church of Constantinople, the manner of singing by course, that is, quires interchangeably singing, which he did by emulation of the Arrians, 
Zozome. lib. 8. cap. 8.  which in their meetings and assemblies without the City, used this kind of singing with a great show of holiness and devotion. The which order once begun upon this occasion, continued, as Zozomenus noteth, a perpetual custom in that Church. 
Hilar. in Psal. 64.  Insomuch, that S. Hilary in his Commentaries upon the Psalms giveth this testimony to the Church of Constantinople. They began (saith he) the day in prayers unto God, they ended the day with Hymns to him in the Church: and again: 
In Psal. 65.  Let him which is without the Church hear the voice of the people making their prayers, let him consider the excellent sound of their Hymns. 
Niceph. lib. 17 cap. 27. & 28.  We read also that justinian the Emperor, in the 8. year of his reign after the fifth general Council at Constantinople, wherein were 165. Fathers assembled, to condemn the errors of the Origenists, made a song, the beginning whereof was, The only begotten son, and word of God, and gave it to the church of Constantinople to be song. They were also wont to sing the Psalms of David, and certain Letames, which they did at the commandment of Anastasius the governor of the City, to the end they might take heed of sedition, wherewith the City was often times molested. Many more testimonies might be alleged to prove the frequentation of this exercise in their patriarchal seats, but that I judge these are sufficient, & my purpose is to show, that as this custom begun in these chief & mother Churches of the East: so it flowed from them as from fountains, not only into all other inferior Churches of the East, but as if it had taken force in the course thereof, derived itself unto their sister church of Rome & all other christian congregations in the west.  
And first concerning the other east churches: 
Edessa in Syria under Ephraim.  we read of the church of Edessa, where Ephraim a Syrian (a man commended and had in admiration of S. Basil for his excellent knowledge and learning) was Deacon: that there in his time this divine exercise was embraced. For when Harmonious an heretic, 
Theod. li. 4. cap. 27. & Zozome. lib. 3. ca 15. & Niceph. lib. 9 cap. 18.  had set wicked & impious songs to most pleasant & delectable tunes, & thereby had alured the minds of many: this Ephraim is said to have made holy & godly ditties, & to have applied them to the sweet notes & tunes of Harmonius: whereby it came to pass that afterwards the Syrians his countrymen sang in their assemblies the songs of Ephraim, observing therewith the musical consent of Harmonius, which was to them not only most pleasant, 
Neocaesaria under Basil.  but wonderful profitable & commodious. And this custom prevailed also in the Church of Neocaesaria. In the time of Basil, who in an epistle he writeth to certain of the clergy of Neocaesaria, answereth the reproaches of Sabellius & Marcellus, which found fault with the singing used in their church, and for that cause had separated themselves from the congregation, his words be these: De nocte populus consurgens, etc. 
Basil in epist. ad clericos Neocaes. epist. 63.  The people rise before day, and hie them to the house of prayer, & there after that in mourning & in heaviness, & in continual tears, they have confessed themselves unto god, standing up from their prayers they begin the Psalmody, and being divided into 2. 
Consuetudo Asiaticar. & African.  parts, they sing together the one part answering the other: whereby they strengthen themselves in the exercise & meditation of the word of god: & being attentive with their hearts, confirm their minds, rejecting all vain & frivolous cogitations, & so with variety of psalms, & diversity of prayers, sometimes singing, & sometimes praying, they spend the night. Assoon as the day appeareth, altogether as it were with one mouth, & with one heart, offer a psalm unto the lord: if for these things ye avoid our company, ye must avoid likewise the churches of Egypt, of Lybia, them of Thebes & also of Palestina, of Arabia, of Phaenicea, of Syria, & all those that border upon the river Euphrates, where the use of singing psalms is frequented. Where I note, that though I should have held my peace, yet S. Basil proveth for me the generality of this practice, seeing in his last words he affirmeth, that this order was agreeable to all the other Churches of God. For the churches in Egypt, I have not only S. Basils' bare assertion (as in this place appeareth, 
Aegyptus under Nepos. Dionys. Alex. li. de promis. 2.  which nevertheless were sufficient for my purpose) but also the testimonies of ancient writers. Dionysius Alexandrinus, as Eusebius reporteth, in his 2. book De promissionibus commendeth Nepos a Bishop of Egypt, Propter fidem, sedulitatem & exercitium in scriptures, & propter multam ipsius psalmodiam, qua etiamnum multi ex fratribus delectentur: 
Euseb. eccle. lib. 7. cap. 19 & Niceph. lib. 6. Cap. 21.  That is, for his faith, for his diligence in preaching, and for his exercise in the Scripture, and for his making and setting of divers Psalms and Hymns, wherewith even till that day, many of the brethren were delighted. The same Eusebius citeth out of Philo this testimony, for the use of this exercise in the churches of Egypt. 
Euseb. eccle. lib. secundo ca 16.  Non contemplationi se solúm, etc. They do not only give themselves to contemplation (for thereof he had spoken before) but they make also, Songs and Hymns, with most exact qualities and measures of verses, which they sing in the honour & praise of god. Time will not suffer me to speak of those churches severally which are mentioned in S. Basils' catalogue: wherefore I will content myself with his authority, thinking his assertion as forcible to persuade the reader, as my proofs and allegations. And to conclude this former part concerning the practice of the East Churches, I verily persuade myself, that the churches of Corinth, of Colossa, 
Cor. Colos. Ephesus.  of Ephesus and the rest used this exercise in their divine service. In which opinion, I am the more confirmed, for that so often mention, 
1. Cor. 14.15. Coloss. 3.16. Ephes. 5.18.  and so many exhortations hereof are extant in the epistles of the holy Apostle to these congregations.  
As Italy and the western parts in former times were beholding to Greece for human learning: 
The west Churches.  so at the first propagation of the gospel, they were much more bound to the greeks and east regions for the knowledge of God, and true religion. The substance whereof, as they received pure and undefiled at the first, and altogether unspotted with men's traditions, as a treasure delivered unto them by the Apostles themselves: so withal they received also the holy ceremonies and customs of the same, so as they & the holy Ghost had thought it most convenient. And forasmuch, as nothing of price is begun & perfected at once, but increasing by little and little afterward groweth to a full & absolute perfection: therefore it is recorded that the west and latin churches, first received the substance of religion, as the foundation, & afterward the rites & ceremonies thereof, as beautiful adjuncts & ornaments of the building. For whereas the doctrine of Christ had continued in these parts ever since the preaching of the Apostles, we read that this part of divine service was not entertained into the Latin churches before the time of S. 
The church of Millen under S. Ambrose.  Ambros bishop of Millen, which was after Peter's death at Rome almost 300. years. So that of all the churches in the west, the church of Millen was the first that used this solemnity, & that in the days of Ambrose the holy man of God, by whose means & advise it was received. Whereof we have the testimonies as well of Sygibertus & Ivo in his chronicle, 
Magdeb. cent 4. cap. 6.  which attribute the first institution of singing of Anthems and Hymns in the latin Churches unto Ambrose, as the writers of Magdeburge justify: as of Austen also, who affirmeth that at what time justina the mother of Valentinian the emperor, 
Aug. confess. lib. 9 cap. 7.  favouring the heresy of the Arrians, persecuted the true Church of Christ, the manner of singing Psalms, which was used in the east churches, begun to be frequented in the church of Millen by the counsel of Ambrose, lest the people being in continual watchings & labour should faint & pine away for sorrow. The which use he saith, was not only retained there, but was also received & embraced, of all the churches & congregations of christ throughout the west. To these former authorities agreeth Isidorus, who speaking of Ambrose recordeth that he not only made Hymns himself which were song in the church of Millen, 
Isidor. de eccl office lib. 1. cap. 6. Hymni. Ambr.  & called Ambrosiani after his name, but also was the first, that instituted the singing of Anthems in his church to the example of the greeks, who divided aquier of singing men into 2. parts, which should sing by course, like the 2. Seraphins, or the 2. testaments answering one another in order, adding also, Cuius celebritat is devotio postea per totius occidentis ecclesias obseruabatur. 
The church of Rome under Damasus.   
I think it a matter of more labour than necessity to go about to show the frequentation of this solemnity in the Church of Rome, I mean not that which now is, but that which was in the time of the primative Church, especially seeing that as that was the place, whither all nations made great recourse: so nothing was there omitted which might in any respect make to the setting forth of the Gospel & divine service of God. Nevertheless lest I should seem to speak only by guesses and conjectures, I will allege antiquity for my proof. 
Isidor. lib. 10. eccle. office cap. 8. Antiphonae. Responsoriae.  Isidorus Archbishop of Hispalis in Spain of whom I spoke before, maketh a difference & distinction between Anthems and Responsories: for Anthems he said as I affirmed before, that Ambrose was the first that translated them from the Greek into the Latin Church: but for Responsories he showeth that they were long before that time used in the Churches of Italy, and were so called because when one sang, the choir answered him singing also, & then it was the use either that every man should sing by himself, or sometime one alone, or at some other times two or three together, the quire for the most part making answer. Pontianus likewise the sixth bishop of Rome, which was long before S. Ambrose, ordained, that in all churthes' psalms should be song night & day, as Fasciculus temporum hath observed. 
Cent. 2. cap. 6.  Now as I easily confess that this was not that exquisite kind of music which afterward was in use: so it cannot be denied, that they embraced the other also. Damasus wrote unto S. Hierom then being at jerusalem by Bonifacius a priest, 
Epist. Damas'. ad Hieron.  that he would send him Psallentium Graecorum, the manner of singing of the Greeks in the East. He complaineth also in that epistle of the simplicity of the Roman Church, that there was on the sunday but one epistle of the Apostle and one Chapter of the gospel rehearsed, and that there was no singing with the voice, nor comeliness of hymns known among them. Whereupon S. 
Rescripsit Hieronymus ad Damas'.  Jerome in his answer sent him that, which he requested, and besides that counseled him, that at the end of every Psalm, he should cause to be song, Glory be to the father, etc. Wherefore for certainty of this matter, we have the affirmation of Platina, who recordeth that Damasus was the first which caused the Psalms to be song Alternatim, 
Platina in v●ta Damas'. 1.  by course interchangeably in the Church of Rome. The which when M. Harding alleged against Bishop jewel, so as he would thereby confirm, either singing in an unknown tongue, or that the quire only sung in the primitive Church: the Bishop answereth unto by denial, 
Bishop jewels answer to master Harding, fol. 159.  not of the thing: for he granted they used singing, but of the illations: for although they used singing (saith he) yet they used it not in an unknown tongue, & though they used singing interchangeably by sides: yet the quire or sides song not alone but the people also, which he confirmeth out of the decrees of Gregory, 
Dist. 92.  distinct. 92. who forbade the priest that said service to sing, & in the end addeth this conclusion. Hereof we may gather (saith he) that Damasus divided the whole people into 2. parts, & willed them to sing the psalms in their own tongue, the one part making answer by course to the other. Now hear me thinks I perceive some exult as if they had gotten confitentem reum, because I confess, the quires did not only sing in the primative church, but the people: & the verily I do confess, neither is it my purpose to deny any manifest truth, and I doubt not, but to reconcile these contrarieties in their proper place sufficiently, where I shall answer all objections fully that can in any respect be alleged against this exercise. In the mean season I have got hereby so much as I desired in this place, namely that this part of God's service was used in the Roman church and other congregations of Italy.  
Neither did this service contain itself only within the bounds of Italy, 
poitiers in France under S. Hilar.  but took root also in the churches of France and Germany, and other places. For in the time of Saint Hylary Bishop of poitiers in France, it is testified by Isidorus that this custom was confirmed in the church. 
Isid. de eccl. office li. 2. ca 6. Hymni Hilar.  In somuch that Hylary himself a man of wonderful eloquence, made Hymns which were song in his church & called after his name Hylariani. The same may be said of the churches of Africa as Carthage, 
The churches of Africa. Carthage. Aust. retract. lib. 2. cap. 11.  & Hyppo: for the church of Carthage S. Austen saith thus much: Hylarius quidam vir. tribunitius, etc. A certain man called Hilary, being incensed, I know not upon what occasion, against the ministers of god, did revile with contumelious speeches, wheresoever he came, that custom of singing Hymns at the Altar out of the book of Psalms, either before the offering, or after that which was offered was distributed to the people, which was begun in Carthage, saying that it ought not so to be. To him did I make answer, saith S. Augustine, being commanded so to do by the brethren.  

Cent. 5. cap. 6.  So Victor in his history de Vand. persecutione saith: That at Carthage in the feast of Easter the people assemble themselves together in the palace of Faustus, and there sing Hymns in the night season in honour of the time. 
Hippo.  As for the church of Hippo where S. Augustine himself was ruler & chief Bishop, it is not likely that he would defend the use of that against Hylarie which he would not allow in his Church: especially seeing himself was not only wonderfully therewith delighted: but in his conversion (as was noted before) had the effectual working thereof in himself. It were an infinite and endless labour to rehearse every particular Church after this order, considering that even the very names of them are infinite: nevertheless if these particulars will not suffice, hearken to the general voice of the Doctors, who with one consent agree, that nothing was more frequent in the assemblies of the faithful: First S. Hierom hath these words: 
Hier. in Psalm 64.  Matutinis vespertinisque hymnis ecclesiae delectatur Deus, per animam fidelem, quae relicto inanium superstitionum ritu eum devotè laudaverit. God is delighted with the morning & evening hymns of the church by a faithful soul, which rejecting the ceremonies of vain superstition praiseth him devoutly. 
Euseb. lib. 10. cap. 3.  And Eusebius writing the exercises of the Christians in their meetings maketh this catalogue. They used prayers, singing of Psalms, celebration of the Sacraments, and thanksgiving. To whom agreeth S. Basil, 
Basil. in Psal. 114.  templa Martyribus dedicarunt, etc. They dedicated churches to the holy Martyrs with hymns & giving of thanks, whereunto they came together even at midnight as then their manner was. And in the same place, Interdum concionandi materia ex Psalmis illis desumpta est quos prius decantarunt. Sometimes the arguments and texts of their Sermons were taken out of the Psalms which they had sung before. 
Euseb. lib. 5. cap. 27. Niceph. lib. 4. cap. 21.  So Eusebius and Nicephorus against the cavils of Theodotus & Artemon and other heretics make mention of Psalms and songs which faithful men had made, attributing therein to Christ, divine Godhead, and praising him with sweet consent. And it may easily be gathered out of Saint Augustine, 
August. de civitat. Dei lib. 22 cap 8. Theodor. lib. 3 cap. 27.  that godly men in their assemblies sang praises unto GOD, and made their prayers to their Lord. So Theodoret maketh mention of dancings and banquets, which christians were wont to use in their merry meetings after any notable and strange deliverance. 
Epiphan. contra haeres. lib. 3. tomo 2. in fine, in cap de fide catholic.  And Epiphanius to this purpose speaketh: Morning hymns are continually sung in the church, and evening prayers, yea both Psalms and prayers by candle light. But most evident is that testimony of Rabbi Samuel, who writing to Isaac the Israelite hath these words: 
Rabb. Samuel in lib. de adventu Messiae sect. 24.  Paveo, mi domine, quod dictum est de Apostolis illud Esaiae, etc. I am afraid (Sir) of that which Esaias speaketh of the Apostles: they shall declare the holy one of jacob, and preach the God of Israel: the ignorant shall receive knowledge, and Musicians shall know the Laws. We manifestly see that ignorant men and Musicians teach our Law: And who are these ignorant men, but the Gentiles? and who are these Musicians, singing our Psalter and our Prophets in their Churches, but the christians? And a little after, His omnibus consideratis, etc. All these things considered, me thinks, 
Sect. 25.  we do amiss in judging of the sacrifice of their praise which they offer in the church of God, singing: especially seeing we find both commandment for it in the law of God, and the example of David. For commandment it is said, Praise him with Virginals & organs, praise him with cymbals, 
Psalm. 150.  praise him with high sounding cymbals, let every thing that hath breath praise the Lord jesus Christ. For example we read that David danced before the ark, 
2. King. 6.  whom his foolish wife Michol did therefore reprehend, but he answered, O foolish woman, will God suffer me in his service to be despised? And all the children of Israel sounded the trumpet as they carried the Ark. Now what are we which laugh at the solemnities of these singers but foolish Michols? and who are these that sing, but the christians dancing & singing to God in humbleness of heart as David did? But for conclusion of this point, my last proof shall be out of Isidore which speaketh most plainly to this effect. 
Isidor. de eccl. off. lib. 1. cap. 5  Davidis Psalterium idcirco cum melodia cantilenarum suavium ab ecclesia frequentatur, quo facilius ad compunctionem flectantur. The Psalter of David is therefore accustomed to be song in the church with the melody of pleasant songs, that men may the more easily thereby be brought to a remorse of conscience and sorrow for their sins.   

THE LAWFUL USE OF CHURCH MUSIC proved by authorities out of the Doctors. CHAP. X.  
TO the pracise of the church, it may seem superfluous to add the opinions of the fathers for that it is likely, that they which used Music in their churches, allowed it in their opinions. And yet because the fathers set down the use thereof in ecclesiastical matters, that we may leave no place of cavil for the adversary, I think it not amiss, though in few words, to add their particular speeches to this purpose. justinus Martyr, who flourished about the year of our Lord 164. in his questions, which the Gentiles proposed to the Christians, moving a question touching this matter maketh answer thereunto. His question he putteth down in this form. If verses and songs were invented by them which detested religion, 
justin. Martyr Quaest. 107. Quaest. à Gent. christian. propositarum.  purposely to deceive, & were commended to them which lived under the law for their weakness only, & because they were to be trained up as children: why should they which have received perfect gifts of grace, and different from those means which we have spoken of, use singing in their churches, to the imitation of those which were under the law as children & infants? His answer is this: To sing doth not at all become children, but to sing with dumb instruments, and with dancing and cymbals. Therefore the use of such instruments and others which are fit for children, is thrust out, and expelled the church, and singing only is retained: for it inflameth the heart with a fervent desire of that which in singing delighteth us, it subdueth the motions of the flesh, it driveth away those wicked cogitations, which our invisible enemies put into our minds, it watereth the mind, and causeth it to bring forth fruit of heavenly things, it armeth and strengtheneth the reverencers of religion with patience in adversity, it ministereth a remedy unto the godly against those molestations which spring of worldly affections. This Saint Paul calleth the sword of the spirit, wherewith he furnisheth christian soldier, against their spiritual enemies: for the word of God is that, which being meditated upon, song, and sounded out, chaseth away and putteth to flight the devils themselves. It is of force to adorn the mind with christian virtues, which spring up in them that reverence religion with ecclesiastical songs. Thus far justinus Martyr. Of which words being in themselves so clear and evident to prove the lawful use of Music in the church, I say nothing but this, that as he plainly alloweth singing, so he excludeth not all Musical instruments, but such as are fit for children. Athanasius Bishop of Alexandria in Africa, who lived about the year of our Lord 329. 
Athan. ad Marcel. de in't. psal.  writing to Marcellinus of the interpretation of the Psalms, among other things which he speaketh in the commendation of this excellent gift of God, showeth why it pleased God to ordain the use thereof. As we do utter (saith he) and deliver our inward thoughts by our words: so god willing to have the melody of our words to be a sign of the spiritual consent which is in our minds, Psalmos ut modulis canerentur instituit, & cum huiusmodi harmonia recitari voluit, ordained that Psalms should be song with Music & would have them recited with such harmony: Vt inde concinnitas animorum, etc. That thereby the quietness of the mind which is well-disposed may be known as it is written, If any man be sorrowful let him sing And a little after speaking of instrumental music he useth these words: to praise god upon the well tuned cymbals, upon the harp & psaltery of ten strings, is a note & signification that there is such a consent between the parts of the body, as there is among the strings. And sure this his saying is proved by experience: for as even our senses witness unto us, 
Baptist. Port. Magiae Nature lib. 2.  that if we strike only one string of any instrument the rest of that tone also give a certain kind of sound, as if the striking of one partained to them all: so in our body, if any thing be pleasant or grievous to any part, it is also pleasant or grievous to the whole. Good reason therefore that the tongue profess in divine service, that which the heart believeth: & what both heart believeth, & tongue confesseth, good reason that both hand and whole body testify to their power. 
Aug. in praefat. in Psalm.  The like hath S. Austen in the prologue he writeth before his enarrations of the Psalms. Because (saith he) that the holy Ghost did see that man's mind by nature did forsake the way of virtue and incline to the delights of this life, and that it might be incited and stirred up to tread the paths of virtue by sweet harmony, he mingled the efficacy of singing with his doctrine: that whiles the ears are delighted with the sweetness of the verse, the profit of the word of God might by little and little distill into their minds: much like unto a skilful Physician: who when he will minister any sharp or bitter potion to his patient useth to anoint the mouth of the cup with honey: lest the diseased or sick person, should refuse the profit for the bitterness thereof. And lest we should think that he speaketh not this of the Music in the church, he defineth a Psalm to be one voice of the whole church: whereupon in the same place breaking into a wonderful commendation of Psalms, he addeth, Psalmus tranquillitas animarum est, etc. A Psalm is the quietness of souls, the standard bearer of peace, a restrainer of the perturbations and rage of our cogitations, repressing wrath, bridling wantonnsse, inciting to sobriety, making friendship, bringing those to concord which were at variance, and a reconciler of utter enemies. And in another place telling first how he became a christian, he useth these words, Quantum flevi in canticis tuis, etc. 
Augu. confess. lib. 9 cap. 6.  How great abundance of tears did I shed at the hearing of thy hymns and Psalms, and how inwardly was I moved with the voice of thy sweet singing congregation? 
Greg. Nazia. in funeb. orat.  Among other virtues Gregory Nazianzen commendeth this one in his sister Gorgonia, that she was skilful in singing, and used it very often. And surely no marvel, seeing Chrysostom attributeth these divine properties thereunto. Musica, saith he, 
Chrysost. in Psalm. 148. in principio.  mentem e terra abducit, etc. Music doth withdraw our minds from earthly cogitations, lifteth up our spirits into heaven, maketh them light and celestial. And therefore it is that Tertullian giveth this general exhortation, sonent inter duos Psalmi, 
Tertul. lib. 2. ad uxorem loquitur de viro & coniuge.  etc. Let Psalms and hymns be sung even of two, and let them provoke one an other, whether of them can sing better to his God. Athanasius in the place above cited giveth this reason, why we should not only sing, but also sing cunningly and artificially to our maker: Modulatim recitare Psalmos, 
Athan. de interp. Psal. ad Marcellinum.  etc. To sing Psalms artificially is not to make a show of cunning Music, but an argument, that the cogitations of our minds do aptly agree with our music, & that reading, which observeth the law of feet & numbers, is a sign of a sober & quiet affection in the mind. For both to praise God upon well sounding cymbals, & upon the harp & psalterity often strings, is a note and signification that the parts of our body are so conjoined and linked together as be the strings etc. To the same purpose speaketh Athanasius at large in the same place, and his meaning is as well to show how good and comely an ornament Music is in the church, (which as in those days it was not doubted of, nor once called in question, so needed no exquisite apology) as to declare the profit and use which it hath even in private meditations: for saith he, they that sing so, as the melody of words with the quantity of them, may agree with the harmony of the spirit, be those which sing with the tongue & with understanding also, neither do they delight themselves only, but also bring wonderful help to those that hear them. For he that singeth well doth frame his mind to his song, & bringeth it, as it were, from an inequality to a certain equality & proportion, not that he is moved by any thing, but rather that he doth perceive thereby the affections and imaginations of good things, & stirreth up in his mind a greater desire to do good afterwards. For the soul being intentive to the words doth forget the affections & perturbations: & being made merry with the pleasant sound is brought to a sense and feeling of Christ, and most excellent and heavenly cogitations. To their former authorities, it were an easy matter to add more innumerably: but I will content myself and the reader with a few. 
Euseb. praepar. evang. 12. ca 14. ex Platon.  Eusebius in his twelft book de praepatione evangelica useth these words: ut pueri animus legem ita sequatur, ut unà cum ea etc. To the end that the minds of children may so follow the law, that they may together therewith rejoice and be sorrowful, let them learn and sing often such odes and songs as contain the praises and dispraises of those things which the law doth praise and discommend: and he addeth this reason: Quoniam teneriores animi rationem virtutis non suscipiunt, ludo atque cantu praeparantur: jure igitur apud nos prophetarum odae a pueris addicuntur. For the tender minds of children are therefore to be prepared, with dalliance and mirth, because they cannot conceive the reason of virtue at the first. Good therefore is that use amongst us, that the Psalms of the Prophets should be learned by children. And S. 
Chrysost. in Psal. 134. ver. 3  Chrysostom upon these words of the 134. Psalm, Psallite nomini eius quia suave est: hath this sentence, Hoc dicit, ostendens rem ipsam habere quandam vel per se voluptatem unà cum utilitate, etc. This he saith to show that the thing itself hath of itself, a certain pleasure with profit: for the principal gain thereof, is, to sing hymns unto God, to purge the soul, to lift our cogitations on high, to learn true and exquisite knowledge, to argue of things present & things to come. Besides these things it hath also by melody great pleasure and some comfort, and recreation, and maketh him that singeth grave and reverend. And that it maketh men such, it is manifest, in as much as one interpreter saith, it is a comely thing, and an other, it is a pleasant thing: for both say true: for although he that singeth be never so outrageous, yet while he doth reverence the psalm, he doth pacify the tyranny of his outrage. Although he be overwhelmed with mischiefs, and overcome with the heaviness of his soul: yet while he taketh pleasure in singing he easeth his heart, extolleth his cogitations, and lifteth up his mind on high.  
This part might wonderfully be amplified as with the speeches of ancient fathers: so also with the practice and example, not only of themselves, as is before declared, but also of most noble and renowned Emperors: as of Constantine the great, justinian, Theodosius the younger, Valens the emperor, and Carolus Magnus: which may be confirmed by the testimonies of Eusebius, Nicephorus, Gregory Nazianzen, & Carrion in his thronologie. 
Euseb. lib. 4. de vita Constan.  Eusebius thus testifieth of Constantine: Cantare primus incaepit, unà oravit, conciones sacras reverenter audiit: adeo ut rogatus ut consideret, responderit: fas non esse dogmata de Deo remiss & segniter audiri. He first began the psalm, prayed together with the people, heard holy sermons with reverence, insomuch that being desired to sit down, he answered, it was not meet that those things which were declared concerning God should be heard remissly and negligently. Nicephorus speaking of justinian sayeth, 
Nicepho. lib. 17. chap. 28.  justinianus imperator octavo sui imperii anno, constituit ut in concionibus ecclesiasticis concineretur illud: unigenitus filius & verbum dei etc. justinian the emperor in the eight year of his reign, instituted that that ditty, the only begotten son & word of God etc. should be song in ecclesiastical meetings. And of Theodosius the younger, 
Niceph. lib. 14 cap. 3.  Theodosius minor imperator, cum tota ecclesia supplicationem fecit pro serenitate, & ipse quidem medius hymnis canendis praeivit privati habitu incedens, Theodosius the emperor made his supplications with the whole church for fair wether, and went in the midst before them in the habit of a private person while they sung their hymns. So Nazianzen speaketh of Valens. When the emperor Valens entered into the church where Saint Basil preached 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, 
Greg. Nazian. in funebre orat. de Basilio. Cairo. chro. li. 4.  hearing the sound of the psalms was stricken as if it had been with thunder. So doth the history record of Charles the great. Quandocunque fuit in urbibus accessit ad psalmodiam, etc. When so ever he came to any city he went to the Psalmody and sang himself, appointing unto his sons and his other Princes, Lessons to be song, and joined his earnest prayer with the godly.  
The epistle of the bishops, which were of the counsel of Antioch against Paulus Samosatenus the heretic, among other things layeth this to his charge, 
Euseb. eccles. hist. lib 7. cap. 24. episc. epist.  quòd psalmos & cantus, qui ad honorem Domini nostri jesu Christi decantari solent, tamquam recentiores, & a viris recentioris memoriae editos exploserit. That the hath thrust out of the church as new and made by men of late memory those psalms and songs which were wont to be song in the honour of our lord jesus Christ. Whereby it may appear that as all the reverent assembly disliked of the attempt of Paulus in abolishing the use of singing, so also they thought it a meet ceremony and ornament for their churches. To these antiquities of former times, it shall not be unneedful to add the opinions of later writers: as of Bullinger, Peter Martyr, Caluine, Wolphius, Beza and others; who all with one consent (although some I confess be earnest against pricksong and artificial music in the church) yet make this resolution, that as all other things, which of themselves be good, may be both well & evil used: so Music likewise hath doubtless a good and profitable use in the church, howsoever in the time of popery, the right and lawful use thereof hath been quite extinguished and forgotten. And surely if any man think that I have in this treatise, taken upon me the defence of the unlawful use thereof, he may well take just occasion of offence. But I am so far from allowing of the abuse, and of popish church Music, that I detest both the one & the other. Look upon the several tracts of these men, whom I last mentioned, Bullinger in his 5. Decad and 5. Sermon: Peter Martyr upon the 5. chap. of the judges: Calvin in his Institutions & in his commentaries upon the Psalms, namely upon the 4.48.67. and 98. Psalms: Wolphius upon the 12. chap. of Nehemiah: Beza upon the 3. chapter to the Colossians, & in diverse other places, and you shall find all the contention to be against the abuse: no one word against the right and lawful use thereof. 
Brentius Homilia 14.  Here I willingly omit Brentius & all the Lutherans: with whom I see no reason why in this point we should not most constantly agree: so that all things be done to edifying and to the praise of God. Wherefore I will conclude this part with that saying of S. Ambrose in his Hexameron: Quis sensum hominis gerens, non erubescat sine psalmorum celebritate diem claudere, cum etiam aves minutissimae solenni devotione & dulci carmine orius dierum ac noctium persequantur: Who is he bearing the sense of a man which is not ashamed to end the day without the singing of Psalms, 
Ambr. Hex. lib. 5. cap. 12.  seeing even the little birds with solemn devotion & sweet notes do both begin and end the day?   

Sentences of the Scripture, for the use of Church Music. Chap. 11.  
BEcause it may seem a matter impertinent, to heap a great number of testimonies of the Scripture, for the proof of that, which can by no reason be denied, I mean, after some few testimonies and grounds of the Scripture alleged, to touch the point and quick of this controversy. For as much therefore as I have hitherto sufficiently proved by the practice of the Church, and authority of Fathers, that there is a lawful use of Music in the Church, I will content myself with these sentences of Scripture which I shall here coat, for confirmation of the same, meaning in one conclusion, to prove those two things which are in question: that aswell artificial as also instrumental Music may be used in God's congregation. My grounds therefore are these: first the testimonies in the old Testament, whereof I will cite some, because all are infinite. Psal. 33. Rejoice in the Lord O ye righteous: 
Psalm. 33.  for praise becometh well the just: praise the Lord with harp, sing unto him with vial and instrument of ten strings: sing unto him a new song, sing cheerfully with a loud voice, etc. Likewise in the last psalm: praise him in the sound of the trumpet, praise him upon the vial & harp, praise ye him, 
Psalm. 150.  with timbrel & flute, praise ye him, with Virginals & organs, praise ye him, with sounding cymbals, praise ye him upon the high sounding cymbals: let every thing that hath breath praise the Lord. Ad hitherto Psal. 81. the 5. first verses: sing we joyfully unto God our strength, etc. I willingly for brevities sake omit all other speeches of the psal. Read beside these the particular examples of Miriam, Exod. 15. of Deborah & Baruck, 
Exod. 15. judges 5.  of Anna the mother of Samuel, 1. Sam. 2. of all the tribes of Israel, Nehem. the 12. 2. Chron. 5. 1. Esdras 3. and infinite more? Whereof I gather not only precept, as in the former places out of the Psalms: but also example and practice as out of these places last alleged. And surely considering that Music is no ceremonial thing, and therefore not abolished with those things that are ceremonial, I see no sufficient cause, why that which was so excellent an ornament to divine service in those times, should now in these latter days, be cast out as an unclean thing, and have no place, nor use in God's Church.  
Neither is this practice & service of God, a thing either unused in the primative church, 
Coloss. 3.6.  or not heard of in the new testament: which is manifest by these testimonies. Let the word of God dwell in you plenteously, in all kind of wisdom, teaching & admonishing your own selves, in Psalms & hymns & spiritual songs, singing with a grace in your hearts to the Lord. And again, 
Ephes. 5.19.  speaking unto yourselves in psalms & hymns & spiritual songs, singing & making melody to the Lord in your hearts etc. Hitherto join also the examples of Christ and his disciples, Mat. 26. of Zacharias and the virgin Marie, Luke the 1. and tell me, why both the commendation of this exercise, given by the Apostle, (for I will not call it precept) and the example, both of our Saviour, and other blessed Saints of God may not be a sufficient warrant for us, to practise that in our Churches, which they performed in former ages. And surely if every action of Christ be our instruction, and an example, whereunto we should frame ourselves: why should Christ have been author of that which he allowed in himself, & in his Apostles: if he were not willing, that we should take example thereby to imitate both them & him? Now if we consider to what end the custom of singing was used: we shall perceive, that it was not so used, as that singing & the sounding of organs, should be a deed meritorious, to obtain remission of sins and life eternal (as the jews imagine of their songs, and the heathen of their sonnets) or as the hypocritical Monks and Friars sang their seven canonical hours that the doing of that work, whether which understanding, or without understanding, it was not material, yet the bare performance of it, should be meritorious for the sins of the quick & the dead: But so, that the Lord might decently be praised, whether with humble and hearty prayer, as in the time of heaviness, when grief oppresseth: or with singing of Psalms, and playing on instruments, as in the time of joy and mirth, according to that counsel of the Apostle, If any man be afflicted let him pray, and if any man be merry, 
james 5.13.  let him sing Psalms.  
In mine opinion, excellent is that interpretation of Master Caluine, upon these words in Luke, 
Calvin. in Lu. cap. 2. vers. 13.14.  Then was with the angel a multitude of heavenly soldiers praising & singing, glory be to God on high. The Lord saith he by the example of this heavenvly melody, would commend unto us, the unity of faith, and stir us up here on earth, to sing the praises of our God etc. Wherefore a good argument may be gathered out of diverse places in the Revelation: That for as much as our life here on earth should with all industry and endeavour, apply itself to be like that heavenly life which the angels live above, where the 24. Elders fall down before the Lamb, 
Revel. 5.8.  having every one haps, & golden viols in their hands. 
Re. 14. ver. 23.  The voice of which harpers, harping with their haps, john himself testifieth he heard, and that they sang as it were a new song before the throne, etc. We therefore ought not to omit any part of that service, which may either stir us up in devotion, or make to the testifying of our earnest & hearty setting forth of divine service, and beautifying of the church of God. And surely in the praising of God, whom should the Church militant follow, rather than the Church triumphant? And whom should the Saints on earth imitate rather than the Saints in heaven? who behold the Lord face to face, 
1 Cor. 13.12.  and know even as they are known.  
Doubtless there can be no greater comfort for a pensive soul, than to think, that he is partaker of the same salvation, with the Saints. And no one thing can pierce deeper into the heart of man than that he is called, to the same state of praising and lauding GOD, with the holy Angels. Howbeit because I would displease no man, nor give just occasion of offence unto any: I put this as a principle: that as nothing is to be taught, so nothing to be song in the Church, but either that, which is set down in the express word of God, or that may certainly be showed to be collected out of it. For I profess that rotten rhythms of popery, & superstitious invocation or praying unto Saints doth not give greater cause of vomit to any man than to myself: & all either unwritten, or unwarrantable verities, I so far abhor, as that I judge them fit for Grocer's shops, & fishmonger's stalls, 
Persius  than for God's congregation. So that I thus far agree with the greatest adversaries of our profession, that I would not admit any other matter, than is contained in the written word of God, or consonable thereunto: only herein we differ, that they would have no great exquisite art or cunning thereunto, neither the noise of dumb instruments, to fill up the measure of the praises of god: & I allow of both. Wherein if I be not too much affectioned, me thinks they do great injury to the word of God, in that they can contentedly permit it to be song plainly, denying the outward helps & ornaments of art, to add more grace & dignity thereunto. And truly if in all other faculties, it be not only lawful, but commendable also, as in painting & speaking, to set out their matters with colours & eloquence of words: I see no reason, why to add more grace to the ditty, with the exquisiteness of Music, should be condennable in the church. Wherefore I am of opinion that few of our adversaries can answer this reason, which seemeth to me a general rule, & infallible demonstration for the allowing aswell of the cunning & exquisite art of singing, as of the use of organs and dumb instruments. The Psalms may be used in the church as the author of them appointed: But the holy Ghost, the author of the Psalms, appointed and commanded them by the Prophet David, to be song, and to be song most cunningly, and to be song with diverse artificial instruments of Music, and to be song with sundry, several, and most excellent notes & tunes: Therefore in our English church, the psalms may be song, and song most cunningly, and with diverse artificial instruments of Music, and song with sundry several and most excellent notes. For proof that the holy Ghost would have them song, he calleth diverse Psalms by the name of the Hebrew word Shir, which is a song, and such a song, as aught of necessity to be song: as Psalm 7. and 120. That he would have them song most cunningly, he directeth many Psalms especially and by name Lamnazzeath, that is, to the skilful chanter, or to him that excelleth in Music, as Psalm 4, etc. That he would have them song, with diverse artificial instruments of Music, gittith and neginoth, and diverse other kinds of musical instruments are expressed in the titles of certain Psalms, as Psalm 6. & 8. That he would have them song with sundry several and most excellent notes and variety of tunes, in diverse parts and places of sundry Psalms, it is to be seen by the word Sela set down in sundry places, as Psalm 77. etc. which Hebrew words properly signifieth, now change your voice and that cunningly, now lift up your voice, and that with an other excellent tune, that the people may be more attentive; and the word Sela is never written, but where the matter of the Psalm is most notable.   

A REFUTATION OF OBJECTIONS AGAINST the lawful use of Music in the Church. CHAP. XII.  
IN this last part of my treatise I might seem to undertake a matter far above my ability: were it not that either their objections were too weak to prove their purposes: or those which are of any force, mistaken and grounded upon false principles. Nevertheless that I may proceed orderly therein, it shall not be amiss, to see what diversity of opinions are concerning this matter: Some mislike not all kind of singing, but that which is song by the Ministers alone, or by singing men duputed for that purpose: and these are they, which cannot away with exquisite and cunning Music, nor with the sound of instruments in the Church, but measuring all things by their own humours, think plain song far more meet for God's congregation. Others there be that disallow all kind of Music in the church. And we do not only permit singing contrary to the latter, but also cunning and exquisite singing clean repugnant to the former. My meaning is therefore, first to see what reasonable answer may be made, aswell to those which are against exquisite music, which by yielding something, make a great show of probability, as those which wholly banish all Music out of divine service: who therefore cannot avoid suspicion of stomach and malice, because they be so earnest against that, which was never hitherto condemned. To the former, which dislike not all kind of music, but that which is song by certain men ordained to that purpose, 
Ob. Exquisite Music not to be used, because all the congregation cannot sing together. Answer.  alleging, that they would have all the people sing together: I answer, that if all could it were not amiss, but because it cannot be I see no reason, why the people may not take as good edification by the singing which others sing, as by the prayers that others read, especially, if they so sing as they may be understood. 
2. Object. Exquisite Music confused and hard to be understood.  Yea but (say they) this cunning and exquisite music, wherein the base and contratenors, & other parts sing which full quire, with often repetition of the same things, is so confuse & undistinct, that the very ditty cannot be understood, much less any edification taken. If any thing will satisfy these men, 
Answer.  me thinks this which I shall say may be in steed of a reasonable answer: That the singing of so many parts together, causeth the ditty not to be understood, it is vitium hominum non artis, the fault is in them that so sing, and not in the art. For no doubt but a full choir of good & distinct voices, may be aswell understood, as two or three pronouncing the same thing. Again, because in deed this obscurity can hardly be avoided, it hath been well provided for in the church, that nothing should so be song, but such things, as are very familiar and known unto the people. And whereas they object the often repetition of the same thing, as a fault, me thinks they blame that, which by their own reason should rather be commended. For if some things by the number of the voices be hardly understood at once, then surely the 2.3. or 4. repetition is a mean to cause it to be understood the better: neither if it be understood at the first is it therefore a fault to repeat it again, because the often ingeminating and sounding the same thing in our ears doth cause the thing repeated to take deep root, and work effectually in our hearts. The third reason is, because exquisite Music maketh us more intentive to the note, 
3. Ob. Cunning Music pleaseth more with the note than the matter. Confess. lib. 10. cap. 13.  than to the matter. And to this purpose, they allege the place of S. Augustine, where he saith, that he did sin mortally when he was more moved with the melody, than with the ditty, that was song. 
Answer.  Verily I do in no wise allow that men at the reading of the chapters should walk in the body of the church, and when the Organs play, give attentive heed thereunto: as if the whole and better part of service did consist in Music. For this is a wondered abuse. But if they would learn to lay the fault where the fault is, they might easily learn to satisfy themselves herein: For it is not the fault of music if thou be too much therewith alured, but thine own. And Saint Augustine in that place doth not condemn Music for the sweet sound thereof, but his own frail and weak nature, which took occasion of offence at that, which in itself was good. Again, as it carrieth away some men, with the pleasure of the note: so for a recompense, it causeth some other, to give greater heed and attention to the matter: even as the sound of the trumpet in the war is to the dastardly, and white liuered knight, a cause of fear, but to the valiant soldier, a heartening and encouragement. Wherefore for a final answer unto these, me thinks a man out of their own words, may gather this good collection against them. Singing in the church they allow: whereupon I infer: If the worst sort of singing be allowable in the church, than the better much rather. But artificial singing is far better than their plain Music, for it striketh deeper, and worketh more effectually in the hearers: Therefore much rather to be allowed in God's congregation.  
Touching the second opinion, which excludeth Music wholly without exception, I mean severally to make answer to such their objections, as seem to be of greatest importance. 
1. Objection.  The first objection beareth great show of truth, affirming (which we can by no means deny) that GOD is a spirit, and will be worshipped in spirit and truth, and requireth not the outward actions and service of the body, but the inward motions of the heart: the which as it is true indeed, so it is also declared by the testimony of Gregory: who in dist. 
Decret. Gregor. Pont. dist. 92. In Sancta Romana.  92. in sancta Romana, complaineth that it falleth out oftentimes, ut dum blanda vox quaeritur, congrua vita negligatur, & cantor minister Deum moribus stimulet, cum populum vocibus delectat. That while a pleasant voice is sought, honest life is neglected, & that the singing man oftentimes offendeth God, while he endeavoureth to delight the people with his voice: adding in the same place those common verses, 
Non vox sed votum, non cordula musica sed cor,  
Non clamans sed amans cantat in aure Dei.   
And hereupon the fathers in the 4. Council of Carthage decreed, that when the chanter of any place was chosen, he should say: Vide ut quod ore cantas, cord credas: & quod cord credis, opere comprobes. See that thou believe that with thy heart, which thou singest with thy mouth: and that thou perform that in work, which thou believest with thine heart. All which testimonies as they seem to make against us, so carry they the greater force with them, because they are grounded upon a truth. But the same answer afore, 
Answer.  to that objection out of Saint Augustine may satisfy these. For what if many men be more carried away with the pleasure of the sound then with the thing and ditty, is this Musics fault? or is it not rather the fault of them, which by that which is good, take occasion of evil? If some intemperate person, take surfeit of pleasant and wholesome meats, are the meats to be reprehended, or the man? And although God be a spirit, and will be worshipped in Spirit and truth, yet forasmuch as he hath made both the soul and the body: as well the faculties of the one, as the parts of the other are to be referred to his glory. For what kind of collection is this? God is to be worshipped in Spirit and truth: therefore we must not endeavour to please and worship him with our outward and bodily actions. Or, the inward service of the heart is accepted, therefore the outward service of the body may be omitted? When we therefore commend the outward service of God, we do not deny the inward. But we require that they which do sing, sing with the tongue & with the understanding also: 
Atha. ad Marcellinum de inter. Psalmi.  Now they which so sing as the melody of words by the singing of voices may agree with the harmony of the spirit be those which sing with the tongue and understanding also, and profit not only themselves but others, 
2. Objection.  as before was declared out of Athanasius. Secondly they urge us, that because pricksong is not verbally nor literally commanded in the Gospel it may not therefore be allowed. Whereunto I answer, 
Answer.  that being not ceremonial, it is sufficient for any christian being clear & free from the Manichees opinion, that the old Testament hath approved it. Again, grant that it hath no commandment, in either the old or new Testament, is it therefore without all advise and consideration to be rejected? Verily many things have been very acceptable unto God, which have had no express commandment in the Scriptures: As the gold, incense, & myrrh, which the three wisemen offered unto Christ, the precious box of spikenard, wherewith Marie Magdalen anointed his blessed feet, the costly oders, 
Mat. 2. Luke. 7. john. 19  wherewith Nicodemus did embalm his glorious body, the bows of trees & garments, which the people broke down, 
Mark 11.  & spread in the way, as he went to Jerusalem, & infinite other more, which were done without any warrant of holy Scripture. Wherefore as in the building of the temple the service of them, which brought lime and mortar and other base things, and as in the beautifying of Christ's body, these things of small price and value were acceptable unto the Lord: so no doubt but the songs of the faithful may be as a sweet odor of incense unto him, and most grateful in his sight.  
Thirdly, 
3. Objection.  this use of singing is a ceremonial thing,, and if there were no other, yet this were a sufficient cause, why it should be excluded out of the church. I answer, that Music was no ceremony: 
Answer.  for every ceremony in the time of the law was a type and figure of somewhat, the substance whereof coming in place, the ceremony was abolished: Now because we find nothing in the Gospel, which answereth to Music in a certain agreement of similitude, as unto his type and figure: we may therefore safely pronounce, that Music was neither ceremonial in the time of the Law, nor to be abolished out of the church in the time of the Gospel. Many other reasons of small moment, may be brought against us: but seeing so little force in the stronger, I thought it an unnecessary point to trouble my paper, and the reader with the weaker.  
And surely I do not mislike the good counsel & endeavour of any well disposed man, that is earnest in correcting abuses, and in separating that which is good, from that which is evil. But me thinks it is a desperate remedy, for some few abuses, and inconveniences, which might be better amended, to root out all Music from the church. 
Val. Max.  Much like the counsel of Fabritius and other senators of Rome, which by abolishing gold & silver, or at leastwise the use thereof, thought to take away covetousness and ambition. 
Plu. in Lycur.  Or the devise of Lycurgus among the Lacedæmonians, who for hatred of drunkenness caused all the vines in the country to be digged up by the roots. Now as these men being otherwise wise and politic, as diverse others their actions testify, took not herein a right course of reforming those faults which were amiss, because they might better have taken order against covetousness, and drunkenness, by permitting a lawful and decent use of money and wine, than by quite abolishing of them: even so those which reprehend certain things in Church Music, may better reform them in permitting a moderate use, than in plucking it up by the roots: For as a man may be covetous without money, and drunken without wine: so a frail and weak mind, will find other provocations to call it from the ditty, though Music should be wanting. Wherefore for conclusion of this matter, as I easily grant to Master Bullinger, that this is no good argument: The East Churches use singing, the West Churches use not singing: Therefore the West Churches are no Churches. 
Dec. 5. cap. 5.  So I hope Master Bullinger, and any other good man whatsoever will grant as much to me, that this is as false a collection: The West Churches use not singing, the East Churches do use singing, therefore the East church is no church. Seeing then, that there is no precept in the new Testament, whereby Church-Musicke is either commanded or forbidden, as it is apparent, that as those Churches which used it not, cannot be compelled to receive it: so those churches which do use it can by no place of the Scripture therefore be condemned. And this is the resolution of all our late divines, Bucer, Bullinger, Calvin and the rest, which with one consent agree, that it is an indifferent thing, having no hurt, but rather much good in it, if it be discreetly and soberly used. Why then is it not as lawful for me to incline to this part, that it should or may be used, as it is for them to incline to the contrary, that it should not or may not in any wise be used, considering that neither my singing maketh me less the servant of God, nor their not singing them the more holy and devout men?  
Lastly therefore it remaineth that having answered the chiefest arguments that make against us, I now bring certain reasons for my position. First therefore Music is rather to be used in the church than not, because it is the excellent invention and gift of God himself, ordained to the honour and glory of God: neither doth their cavil avail any thing at all, which say, that if this reason were good, than all the liberal sciences & the knowledge of the civil law, and all good and honest arts, might by as good reason be used in the church because they are also the invention & good gift of God. For if they knew, how to refer every of these things to their neat & proper end, they might perceive that as the end of those other sciences, is first to know, and then to serve to the glory of God, so the vent and only end of music is immediately the setting forth of God's praise and honour. A second reason of mine assertion is, because music with the concinnity of her sound, and the excellency of harmony, doth as it were knit & join us unto God, putting us in mind of our maker and of that mutual unity & consent, which ought to be as of voices so of minds in God's church and congregations. Thirdly if there were no other reason, yet this were of sufficient force to persuade the lawful use of Music: in that as a pleasant bait, it doth both allure men into the church which otherwise would not come, & causeth them which are there to continue till the divine service be ended. Fourthly men do more willingly hear, & more firmly carry away with them, those things which they hear song than those which they hear barely spoken and pronounced. Lastly the use thereof is ancient and of great continuance, for it was used in trajan his time as I before showed, and it was translated from the religious of the heathen, which in hymns and songs, yielded all reverence and honour to their gods of wood & stone. And surely if there be any one thing in man, more excellent than another, that is Music: and therefore good reason, that he which hath made us, & the world, and preserveth both us & it, should be worshipped & honoured with that thing which is most excellent in man, dividing as it were his soul from his body, and lifting up his cogitations above himself. Such was the zeal and fervency of the kingly prophet David, 
2. Sam. 23.1.  that he was therefore called by the title not only of the anointed of the God of jacob, but also of the sweet singer of Israel. And S. Austen saith of himself, That the voices, of the singers, 
Aug. confess. lib. 9 cap. 6.  did pierce into his ears, & God's truth did distill into his heart, & that thence was inflamed in him an affection of godliness which caused tears to issue from him so that he felt himself to be in a most blessed & happy state.  
FINIS.