THE Well-tuned Organ, OR, AN EXERCITATION; WHEREIN, This Question is fully and largely discussed, Whether or no Instrumental, and Organical music be lawful in Holy public ASSEMBLIES?  
Which Query is made good in the Affirmativ, by sufficient Arguments; the Objections refeled; and Directions given for the safe and profitable practise thereof.  
By the Blessing of God upon the Industry of Joseph Brookbank, Minister of Gods Holy Word and Sacraments; Intended for the Glory of GOD, the Quiet and Peace of these Nations.  
LONDON, Printed Anno Domini, 1660.   

TO The most Pious, Gracious& Illustrious Prince, CHARLES the Second, By the Grace of God, KING of Great britain, France and Ireland, Defendor of the truly ancient, catholic and apostolic Faith, &c. All Blessings External, Internal, and Eternal.  
Most dread sovereign!  
WHAT I here presume to prostrate,( at your Majesties sacred feet) is the Defence of a contemned, and despised Truth, wherein I have don my best endeavour, to discharge the duty of an unbiased Christian, and a faithful Subject: though I am one of the meanest, and unworthiest of your Majesties liege peopl, {αβγδ}: by reason that A. D. 1643. I was for my loyalty to your Majesties Interest, in the just cause of Your Highness Father of ever blessed memory, dragged by the Earl of Essex his Army, from Dedington in the County of Oxford,( where I was in a way of settlement, therein to have served my God, in my calling the Ministry) unto gloucester, and thence to Newbury fight, with savage usage, in could irons; from whence I was with others relieved by a party of his Majesties( Your pious Father's) horse; since which time, I have suffered abundantly, because I have ever been a devoted Servant unto Truth, abhorrent unto Flattery and sinister Policy, and avers unto Popularity: which hath caused me hitherto, to be rejected in the world; Yet have I in the lowest ebb of Your Majesties affairs, and mine own abilities, made some signal evidences, of my loyalty and Fidelity, to my right and natural sovereign; which, had I been able, I had ere this expressed by way of Gratulation of, and Thankfulness to GOD for the return of Your Gracious Majesty unto your just Rights; and therefore setting Gods Glory in the first place, your Majesties quiet, and the Peace of Your Kingdoms in the next, I have here, as I trust, vindicated from contradiction, a piece of Gods Service, practised in Your Majesties chapel Royal: for which the black-mouthed vulgar speak unworthily and basely of Divine Worship, and your Gracious Majesties practise: Wherefore none is more fit, to become Patron thereof, and to giv Protection thereunto, than Your royal Self. It therefore, and myself, nay my All, I humbly submit to Your most Sovereign Will, and Pleasure, and do engage myself ever to be  
Your Gracious Majesties most faithful Subject, Joseph Brookbank. London, Aug. 24 1660.   

The well-tuned Organ; OR, A Discussion of the following QUESTION. Whether or no Instrumental, and Organical music be lawful, in Holy public Assemblies. Affirm.  
THere is not the least parcel, 
The occasion of this Determination.  or Portion in Christian doctrine, and practise: which hath not at one time or other; in one place, or other; by one person or other, met with shrewd and malevolent Opposition, and Contradiction. And amongst the rest this: viz. The lawfulness and allowance of church-music, that is, Instrumental and Organical music, in public Divine Service, hath born its part. But never more then now, upon which too too many, of the unsteady and ignorant, but clamorous multitude, take occasion, upon a peremptory holding of this Question in the Negativ, that is, that Instrumental and Organical music in public holy Assemblies, is not only unlawful, but also vain, Superstitious, Idolatrous, Heathenish, Papistical, Unprofitabl, and Profane. Whereby they Blasphemously, and Wickedly aspers the present practise of his sacred, and most Gracious Majesty, with Impiety and Profaneness; our tender Mother the Church with Superstition and Vanity; and which is worst of all, Holy and Divine Service with Abomination and Foppery.  
The Sens, and Apprehension of all which, ought to raise up, and awake all Christian subjects, within his sacred Majesties Dominions, according to their ranks, stations, places, and callings, according to their abilities,( but especially the Ministers of Gods holy Word, and Sacraments, either by Preaching, or Writing, or both) to vindicate his Gracious Majesty, from these foul aspersions; our mother the Church from these base and unworthy accusations; and Divine Worship,( as also Gods Ministers,) from such horrid and devilish rebuk and slander. Which duty though it lies Incumbent, in one way or other, more or less; upon every true English subject: Yet hitherto not observing either mouth to open, or pen to mov, in the clearing and vindication of this Truth, I, though one of the weakest, and meanest of all Gods Ministers, have now, hereby engaged the best Talent God hath given me, in the right stating, determining, and concluding of this Question, or query, which is invincibl, and uncontrolabl in the Affirmativ: namely, That Instrumental and Organical music, is lawful, and allowabl in Holy public Assemblies. And therefore in the performance of this Exercitation, we will do these three things.  


The parts of this Engagement.  1 Prov the Affirmation of the Question by Invincibl, and undenyabl Arguments.  
2o Answer the greatest Objections that can be made against it.  
3o Giv Directions, how to shun, and avoid all dangers, and inconveniences, which may happen in the use thereof.   

I. For the first of these, namely, 
The Distinction of music.  the proof of this Question in the Affirmative by good Arguments, before we engage therein, it is necessary to give the Distinction, and various sorts thereof; and thus music is twofold.  

1o Vocal, Which is singing with the voice.  
2o Instrumental, Which is by playing on Musical Instruments. Both these are 

1o Private, and this two ways. 

1o Most Private, When one sings with the voice, or plays on Musical Instruments solitarily, and by himself, to God, or himself, or both.  
2o Less Private, When Singing, or Playing on Musical Instruments, or both, are used by or with a few in Private, to God, or themselves, or both.    
2o public, When either of these, or both, are used in a public Assemblies, to God, or themselves, or both.     
All these again are of two sorts.  

1o Profane, When human Songs or Poems, are sung or played; and this again, is 

1o Lawful, When Civil, Moral, or Historical Songs or Poems, voided of Obscaenity, and Uncleanness, &c. are sung, or played, or both, at Feasts, Triumphs, Shows, &c.  
2o Unlawful, When Wicked, profane, Idle, Unclean, and Obscaen Songs or Ballads, fraught with ribaldry, are sung or played any where.    
2o Sacred, When Psalms, Hymns, or Spiritual Songs, are sung to, or played on Musical Instruments, or both.   

The state of the Question.  Profane music, though allowed to be lawful, is excluded from consideration, in this query or Question, by this expression therein, In Holy public Assemblies. Therefore the enquiry here to be made, is only concerning Sacred music; and therein whether or no that music wherein Psalms, Hymns, and Spiritual Songs, sung with Vocal, or played on Instrumental music, be to be allowed, and practised in Divine Service. Concerning the former of these, namely, Vocal church-music, such as they have made to themselves, that is received without quarrel, by them of more sound Principles, but here we are bound out, from intermeddling with that, by this Distinction; Instrumental and Organical music whereby Psalms, Hymns, &c. are Sung, or Played, or both, on Musical Instruments, in holy public Assemblies, which though it is Allowabl, Profitabl, and Lawful, yet in the Church of God,( especially in these latter times,) it hath met with too much enmity, distaste, contempt, and contest against it; and therefore out of mine endeared affection to truth, mine ardent desire, and utmost endeavour, after Unity, Peace, and Concord, in the whole Church of God, but especially in these Nations wherein we liv; I shall labour to take off that calumny, and obloquy which is cast upon it, by these eight ensuing( to me irrefragably) Arguments, which because in their prosecution, they are swelled up to a far larger bulk, than I either expected, or desired, I will first sum up in as much brevity as may be, and they are these.  


The Arguments epitomized.  1 Psalter, or book of Psalms, takes name from that Musical Instrument, on which they were made and composed to be played, and therefore the playing them thereon, is a chief subordinate end, wherefore they were made.  
2o Instrumental music is one of Gods gifts, who exspects in some measure, a thankful and specifical return, from us for all his bestowments.  
3o It hath been practised by the best of men.  
4o It is required from us by the Analogy of Faith.  
5o It hath been the constant allowance, or practise of the Church.  
6o It is of an Holy and Sacred Use.  
7o It tends to the use of edifying.  
8o It is commanded both in the Old and the New Testament.   
The first Argument shall be made good, in what follows; where it is to be noted, that the Book of Psalms, hath ever been so far from denial in the Church of God; that it hath been received with more applaus, and cordial reception; then any other book of God: and is highly had in honour by our ever blessed Saviour himself, and his holy Apostles: And is called Psalter, from Psalterium, a Psaltery, which was a certain Musical Instrument, which in the Hebrew is called {αβγδ} Nablium, Buxtorf saith the German Jews, expound it to be the Bandora. Saint Hilary saith it was our Organs. The Greeks call it {αβγδ}, 
Mr. Gregory& Pasor. Constantin.  whence comes the latin Psalterium, and our English words Psaltery, and Psalter. It comes from the Greek word {αβγδ}, which signifies to touch, as musicans do their strings. Some say it is to play upon the Harp, and that it is properly spoken of the sound made by the strings of Musical Instruments. The Greek Poets use it for to touch, and therefore the musicans in Euripides are said {αβγδ}, To touch the strings. And {αβγδ} signifieth the tune of strings. This Instrument( whence this Holy Book is thus name) the latins call it Naula, or Naulium, from the Hebrew word {αβγδ} and our Dictionaries say, it is an Instrument like an Harp, but more pleasant, wherewith Psalms, and Hymns are sung in playing. And the Gloss saith hereof; Ab illo autem Instrumento ad literam nominatur ideo liber iste, quia ad sonum illius instrumenti David decantabat Psalmos ante Arcam in Tabernaculo Domini. But therefore is that book, literally name from that Instrument, because David sung Psalms unto that Instrument, before the Ark in the Tabernacle of the LORD. It is also granted by Chytraeus, that David sung Psalms to his Psaltery. 
Chytr. Scholia. in Psal. 33.  Psalterium( saith he) ad quod Propheta Regius hymnos suos decantabat. The Psaltery unto which the Kingly Prophet sung his Hymns. And the word {αβγδ},( derived from the now treated of {αβγδ},) properly signifieth the sound of the Harp, saith one: Yet so as it is indifferently used for Cantus a Song, or Cantio Singing. According to Athenaeus, {αβγδ} signifieth the sound of Musical Instruments, or a Poem sung thereunto. For the ancient Poets, especially the lyrics, such as was David, sung their Poems to the Lyre or Harp, and so joined Vocal, and Instrumental music together; and therefore saith Horace, 
Non ante vulgatas per artes,  
Verba loquor socianda chordis.  Od. 9. Lib. 4. 
With Art unpractised, by those fore-went,  
I've made with Chords, measured words consent.   
All this laid together, and considering that Moses, and miriae; Saul, and the Prophets used Psalteries, and other Musical Instruments, it confutes the opinion of Zanchy in this case, 
Zanchaeus. Tom. 4. Col. 570. To be very warily understood.  who saith, Est tamen Musica ad verbum Dei: Non verbum ad Musicam ordinatum: music nevertheless is appointed for the Word of God, but not the Word for music: Whereas in this sense it is true 'vice versa, though it be literally true also in another. Hence therefore we conclude it to be an undenyabl truth, that it is a very mudabl, and warrantabl practise in the Church of God, To sing the Book of Psalms, Hymns, or Spiritual Songs, with Organical and Instrumental music, because this is one of the chief and main subordinate ends, wherefore they were made. And that therefore, upon these and better grounds; the Church of God was never in a peaceabl, and settled condition, or brought to any measure of strength, 
Sydenham his well-tuned cymbal. p. 24.  and stability, but she hath used Instrumental music, joined with Vocal; in her solemn Assemblies and Services. See Sydenham his well-tuned Cymbal, p. 24.  
The second Argument is this, None can deny lawful and warrantabl music to be the gift of God, and a good gift too, sent from him. For the Apostle saith, But every good gift cometh down from the Father of lights, with whom is no variableness, neither shadow of turning, Jam. 1.17. 
Jam. 1.17.  If every good gift, then music, as is confessed by Saint Augustine; Musica, id est, 
Aug. Tom. 2. Col. 103. c.  scientia sensusve benè modulandi, ad admonitionem magnae rei, etiam mortalibus, rationales habentibus animas Dei largitate concessa est. music, that is, the knowledge or sens of well-tuning, unto the Admonition of a great Matter, is also by Gods bounty granted to men having reasonabl souls. When God was about to settle his Church in the Old Testament, he appoints the building of a Tabernacl, and for that purpose, picked out Bazaliel and Aholiab, with all that were wise-hearted, and furnished them with his own Spirit, in wisdom; and in understanding, and in knowledge, and in all manner of workmanship, to device cunning works, to work in gold, and in silver, and in Brass, &c. Exod. 31.1— 12. 
Exod. 31.1— 12.  Certainly, had not God accounted it for a foul dishonour to him, ●nd to his Worship, to have had the work of a Momentary, and Typical Tabernacl, finished in a course, homely, and ordinary manner; he would never have furnished, nay filled the Mechanical workmen thereof, with his own spirit, in wisdom, &c. 
Jun.& Tremel. in Loc.  Divinis donis, with divine gifts. Now then if God be honoured by Masons, Carpenters, Smiths, &c. in the well and exact performances of their Handicrafts: How much more, are He? his house? his Service? his Ordinance? his Worship? yea his People? honoured by music, but especially Instrumental, which is far more honourabl, then the issue of any mechanic workmanship; nay heavenly in comparison thereof. And if Honour; and Service be done unto God in Stones, Timber, Gold, Silver, and Brass; how much more with an Harmonious, Curious, and Musical Air? which is a far more noble, and especial gift and endowment. Moreover, questionless, doing this in the building of the first Tabernacl, he gave much more Assistance, and measure of his Spirit, in Song, and music; unto David, Heman, Asaph, and the sons of Merari, 
1 Chron. 15.16.  &c. 1. Chron. 15. v. 16, &c. about 445. years after. When they were to prais and to magnify the great and glorious name of our God, in those set and solemn Songs and Services, upon those Musical Instruments, which doubtless he had enabled David to find out, for such pious and religious use. But yet higher, here we see, When God was first served in a Temporary Tabernacl, then he contents himself with the honour of cunning, and curiosity, in the workmanship thereof; but when his Worship, and Service did but approach unto a Templ: then must it be improved, and enlarged, by music both Vocal and Instrumental, and that also with the greatest Art, Skill and Cunning, which at that time, the choicest, and ablest of his servants were able to invent, make, or use; which Instruments, though they were so wonderfully, and in an extraordinary manner contrived, and practised, upon so great and religious a design; yet now are the most of them, and their use lost together. And since the coming of our Saviour, there are invented other Instruments of music, far more solid, grave, reverend, and advantageous, for the solemn praising of God, and the use of edifying, in the judgement of pious, judicious, and learned men; as is expressed by Polydore Virgil, 
polydore. Virgil. de ●●vent. rer. lib. 3. cap. 18.  who saith thus, Multa insuper novissimis temporibus instrumenta Musica inventa sunt, quorum auctores jam in oblivionem venerunt: ex quibus propter suavitatem concentus, omni& admiratione,& laud digna sunt illa; quae Organa nuncupant, valde quidem ab illis dissimilia, quae David Judaeorum rex, ut in 1. hujus operis volumine memoravimus, fecerat, quibus Levitae sacros hymnos concinerent sicut nos his pariter canimus. Item alia id genus sunt, quae Monochordia, clavicymbala varieque nominantur: eorum tamen aequè inventores magno quidem suae gloriae damno, in nocte densissimâ delitescunt. Moreover there are many Musical Instruments, found out in these last times, which are called Organs, the Authors whereof are lost; from which( for the sweetness of tune) they deserve all admiration, and prais, much truly unlike those which David King of the Jews made, as we have related in the first book of this work, whereon the Levites sung Hymns, as we in like manner now use on these. Also there are others of that kind, which are name Monochords, clavicymbals, and several others. Their Inventours nevertheless, to the great loss of their glory ly equally hidden in the thickest night of oblivion. The same Author in another place, saith thus, Hinc perspicere licet, 
Ibid. lib. 1. cap. 15.  istiusmodi Organa à Davide confecta diversa fuisse à nostris, quorum nunc usus in Templis est perquam frequens: quando illa plectro pulsabantur, nostra vero inflantur follibus, unde multis meatibus quasi cicutis imparibus vox erumpit, concentumque efficit, &c.— At author nostri Organi tam concinni non proditur, cum magnâ ejus nominis jactura, &c. Hence we may see, those kind of Organs made by David, were different from ours, whereof now there is much use in Churches; because those were struck with a quill, but ours are blown with bellows: Whence a noise or sound breaks out, through uneven pipes, and makes a sweet tune, &c.— But the author of our so sweet an Organ is not known, through the great loss of his name, &c. All these laid together, and summed up, amount to this Observation: That considering God never givs gifts, but to the end that he may be glorified therein, and thereby; and that under the New Testament, he hath greatly advanced, and much improved the liberal Art of music, whereby to prais, and magnify his great, and glorious name, for all his wondrous mercies, and gracious goodness, continually showered down upon us, especially in his Son our Saviour Christ Jesus. Moreover God never bestows his gifts, of what kind soever, but for himself, as the Apostle saith, For of him, and through him, and to him are all things, to whom be glory for ever, Amen, Rom. 11.36. 
Rom. 11.36.  Nothing therefore comes from God, but he expects fom return thereof, as was showed in the Giving of him the first-born, first-fruits, and now Sanctification, Worship, and Service. Therefore a soul truly devout, endued with Gratitude, and Thankfulness, ever upon the receipt of any enjoyment, some way or other, makes a return thereof. The sens, and apprehension of this, compels me here to confess, that upon the sight, or Remembrance of a certain piece of needlwork, yet remaining in the Templ Church, London, I judge, and condemn myself, and the generality of these times, and Nations, as deeply guilty of a great measure of ingratitude and unthankfulness towards our most Gracious God and Saviour: In that a young maid, one of the weaker sex, which when it is in the most Honourabl estate, the Law of our Land makes under covert Baron: And that she alone, should so far out-strip us, in leaving a monument of her Piety and Devotion, by giving, and consecrating the first fruits of her needl, unto the Honour of our Redeemer. This Remainder of Religious Gratitude, was thankfully and devoutly returned to God about 48. years since: and it is thus, That her curious Handiwork is enclosed in a very fair handsome wooden frame, within which about the needl work, are writ the first words of the 115. Psalm, in Latin, and in fair capital Letters, Non nobis, Domine, non nobis, said nomini tuo sit Gloria. Not unto us, Lord, not unto us, but to thy name be the Glory. And in the middl of the lower side thereof is the very style, and form of words of her consecration thereof. Gloriae Dei Opt. Max. acûs suae primitias, coeli solique adumbrantes Gloriam, Dimissimè dedicat consecratque Maria Marston. A. D. 1612. Mary Marston most humbly givs and consecrates, the first fruits of her needl, shadowing out the glory of Heaven, and Earth, to the Glory of God Almighty. By which act of hers she shows, what duty of thankful, and specifical returns in and for all things we owe unto God; and if in all, then in this of Instrumental music, whereby he is more then honoured, praised and magnified. In this case the Heathens were able to say thus much; {αβγδ}, 
Plutarch. {αβγδ},  For to prais the gods, which to us alone hath given articulate voice, I account it a godly thing, and first of all agreeabl to man.  
In a word, to explode, or exclude Instrumental music, from the service and Worship of God; is to cause the Church, to hid a Talent, which God hath given her, whereby to praise, magnify, honour, and glorify him, which to do, of how sad, and dangerous a consequence it is, see Matth. 25. 24.-30. 
Mat. 25. 24-30.   
The third Argument is this; It hath ever been practised by good men, yea long before Vocal music. For to deny good men to have praised God without any music at all for about the space of 2450. years,( which was the time of the children of Israels passage through the read Sea) is very absurd, whereas Instrumental music, at that time, was of about 1850. years standing; Wherefore the strongest and fairest probability, and conjecture is; that good men, all that term of time, praised God only with Instrumental music, or none: For the Heathens spent much oil and many precious hours, with the best of their abilities to make enquiry, whereby to find out, who were the first Authors of music, which when they had done, they were unable to determine; For the highest that therein they were able to reach, was that Amphion King of Thebes was the first Inventor thereof. {αβγδ}. 
Plutarch. {αβγδ}.  Heraclides, in that Book wherein he hath collected ancient musicans, and the first Inventours of that Art, saith Prince Amphion the son of Jupiter, and Antiope, first found out the use of the Harp. Which was about A. M. 2620. abov 170. years after the first news of singing, which was by Moses, and the children of Israel, immediately after their recovery out of the Land of egypt, since which time, that it hath been practised by good men, is evident, from Moses, miriae, Jephte's daughter, the Prophets, David, Solomon, &c. That Instrumental music, is so much elder sister to Vocal: 
Instrumental music elder sister unto Vocal.  I thus prov, Jubal was the Father of all such as handl the Harp, and Organ, Gen. 4.21. 
Gen. 4.21.  which the Septuagint red thus, {αβγδ}. He was the inventor of the Psaltery, and the Harp. Both which, but especially the former, was designed, and intended for sacred use, from their first creation. And in this text, there is not so much as a hint of singing, but a clear expression for playing on Musical Instruments, wherein our last Translators, by rendering it handl the Harp and Organ, follow Junius and Tremelius; the latter whereof was a convert nativ Jew, bread up with them, and therefore had skill in the propriety of that language, and their sens in the exposition of the sacred Text; Their translation thereof is this, author fuit omnium tractantium citharam, &c. 
Junius& Tremelius in locum. " He was the Tutor of all those that handl the Harp; &c." Whereupon they note, that according to the Hebrew it is omnis prehendentis citharam, i.e. pulsantis, of every man that takes hold of, that is, strikes upon the Harp, &c. Therefore saith Peter Comestor, 
Pet. Comest. Hist. in Gen. cap. 28.  Inventor fuit Musicae, id est consonantiarum, He was the inventor of music, that is Harmony, the agreeing of sounds. Wherefore the Geneva in their Translation hit it right, who red it thus, He was the Father of all such as play upon the Harp, and the Organ; much better then the vulgar, which givs it thus, ipse fuit pater canentium citharâ,& Organo. He was the Father of them which sing with the Harp and the Organ; by which word canentium we must understand playing, because it is Citharâ,& Organo, with the Harp and Organ, not ad Citharam,& Organon, unto the Harp and Organ; neither is there any footing at all for canentium from {αβγδ} of every one that handls the Harp, or Organ. Nor from {αβγδ} he found out, what Peter Comestor saith a little after; 
Ibidem.  ut labour Pastoralis in delicias verteretur, 
Jubal invented Instrumental music for holy use. " That the Shepherds labour might be turned into delight;" which I utterly deny for these two reasons.  
1o because as hath been already observed, The Psaltery was ever of holy use.  
2o Doubtless God for his own glory, which must be by a praising him therewith, put it into his heart to have an especial care, for the preservation of the whole Art of music. For he himself saith in the words immediately following: Et quum audierat Adam prophetasse, de duobus Judiciis: ne periret ars inventa, 
Ibidem.  scripsit eam in duabus columnis, in qualibus totam: ut dicit Josephus, una marmorea: altera latericia. Quarum altera non dilueretur diluvio: altera non solveretur incendio. Marmoream dicit Josephus esse in terrâ Syrica. And sith he had heard Adam prophesy of two Judgements; least the invented Art should perish, he writ it in two pillars, all in each; as saith Josephus, one Marbl, the other Brick; the one whereof could not be destroyed by the flood, nor the other dissolved by burning. Josephus saith the Marbl one is in Syria. Which relation, I must confess, I should second with no more credit, then a Rabinical conceit, had it not been put under the name of Josephus, whom in such a case as this, I believe next to Scripture, from whose judgement and authority joined to the reasons, and authorities aforesaid, I conclude, Instrumental music hath been used by good men ever since it came into the world. What material objection may be made herein, shall be answered in its due place.  
The fourth Argument is from the Analogy of Faith, from this text, 
1 Cor. 14.40. Zanch. Tom. 4. Col. 569.  1 Cor. 14.40. Let all things be don decently and in other. Zanchy concludes thus, Facile est intelligere, qualis etiam debet esse Musica in Ecclesiâ Christi,& in caetibus Ecclesiasticis, talis nimirum quae decorum habeat, ordinem,& aedificationem; est enim ad hoc inventa,& instituta. It is easy to understand, what music ought to be in the Church of Christ, and in Ecclesiastical Assemblies; namely such as may have a decorum, order, and edification; for hereunto was it invented, and instituted. Here is an express Analogy of faith requires it; but more plainly, They in the Old Testament, made their solemn praises with music Vocal, and Instrumental, for temporal deliverances, as, the bringing the children of Israel out of egypt, their passage through the read Sea, their protection in the Wilderness, their arrival in Canaan, their enjoyment of Typical Ordinances, as a Levitical Priesthood. The Tabernacl, the Templ, the Ark, the Altar, Return from captivity. Their deliverance from their enemies, and at the utmost their receiving of Spiritual promises. Whereas we under the New Testament, have received infinite greater deliverances which are Spiritual, as in that we are delivered from the Egyptian slavery, bondage, and darkness of Heathenism, Superstition, and Idolatry; we receive nourishment, and protection in the midst of a crooked and perverse Generation; we are made lively members of Christs Mystical body. Our enjoyment of Evangelical privileges, and Ordinances, as an Evangelical Priesthood; The righteousness of Christ imputed unto us by Faith. The Word, and Sacramens, and our continual deliverances, not only from our enemies temporal, but also spiritual. Whereby we attain unto fruition of the greatest Promises that ever were made to men; and therefore both of them, and us, the Author of the Epistle to the Hebrews saith thus, And these also, 
Heb. 11.39, 40.  that is those under the Old Testament, having obtained a good report through Faith, received not the promise: God having provided some better things for us, under the New Testament, that they without us should not be made perfect, Heb. 11.39, 40. Therefore it is a very good Argument, à minori ad majus, that it is our duty, under the Gospel, to prais, and magnify the name of our great, and gracious God, in Psalms, Hymns, and Spiritual Songs, on Musical Instruments.  
The fift Argument is from the constant allowance, or practise of the Church, which manner of worship, that it commenc't, about the year of the world 600. by Jubal who was great Grandchild to Irad, Cains Grandchild, the seventh from Adam. After which time it was the only Musical service of God, unto about the year of the world 2450. when it admitted Vocal music, as an assistant, with whom it continued in but a mean estate, for the space of about 444. years, till it was much improved, and enlarged by David, 2 Sam. 6. 
2 Sam. 6.  as hath been said, since which time it hath continued in the Church till this, which is about 2760. years, without intermission, except for the space of an hundred years and upwards, after the Resurrection of our Saviour; during which time we find no noise of instrumental music, but only Vocal; as is confessed by all men of moderation, and unbiased principles; and great reason there is, why it should be so, For, for the space of three hundred years, and upwards, she was either young, and but in planting, or rent, and torn, with intestine, and unnatural broils, and dissensions: or cruelly oppressed with some of the ten Persecutions, which were times, for the hanging of their Harps upon the willows, as they sate by the rivers of confusion, rather than to sing the songs of Sion, upon Musical Instruments, in so strange a world; which is nothing but what our Saviour had foretold, when he said, The daies will come, when the Bridegroom shall be taken from them, and then shall they fast, Mat. 9 15.  
Yet nevertheless, though during the said time of minority and sufferings, she was hurried, and harrowed by extremity of weakness, or cruelty, or both; yet did she begin to recover her head about the year of our Lord 150. 
Justin. Martyr flourished A. D. 150.  For Justin Martyr, who was first a great Philosopher, and after that a glorious convert unto the Christian faith, a zealous lover, a great worshipper of Christ Jesus, famous about the year of our Lord 150. gives his sense in allowance hereof, as it is in the answer unto the eighth Objection in this Exercitation.  

Clemens Alexand. Poedag. lib. 2. cap. 4. He flourished about A. D. 200.  About An. Dom. 200. Clemens Alexandrinus Presbyter flourished; he was famous for devotion and learning; yet in his directions for Feasting he saith thus upon Col. 3.16. {αβγδ}. Let the Word of Christ dwell in you richly, in all wisdom, teaching, and admonishing one another; in Psalms, and Hymns, and Spiritual songs. This is our pleasant, and gracious Feast. And if thou knowest how to sing to the Lyre or Harp, there is no reproof against thee: Therein thou shalt imitate the righteous Hebrew King who was acceptable to God. And somewhat after thus; For modest and shamefac't Musical consorts, are to be admitted of; on the other hand, soft, and effeminate Musical Consorts, are to be far driven away from our solid, and serious thoughts; for they tend to an occasion of leading a delicate, and idle life; but they are thankworthy which belong unto temperance. Wherein there is a fair allowance of Musical Instruments in the Church; for if David be imitated in playing harmless and innocent Ditties at Feasts, it is only in the music, not in the Ditty, being profane, which is disallowed in the Church, for we never heard of his playing but of Psalms or Hymns in the Church of God, ante Arcam before the Ark, as before. Again, if Moral civil songs played upon Instruments tend to temperance, how much more do Psalms, Hymns, and Spiritual songs, so played, tend to Devotion, and edification!  
Moreover this Father here lays before us an abuse of music, which he labours to redress, endeavouring to take away the abuse thereof, not the use.  
St. Cyprian was a man of great learning, and a most holy life, who before his conversion, 
Cyprian. Epist. 2. l. 2. in fine. St. Cyprian was Martyred. A.D. 249.  was a Rhetorician; after that, first Priest, then Bishop of Carthage, and lastly a glorious Martyr, An. Dom. 249. who in his life time having writ a letter unto Donatus, a young Convert, wherein he gives most wholesome and Christian direction and advice, whereby to make his works shine before men; he concludes with Instructions, how in a Christian manner, to keep Holy daies, and Festivals, comparing the season of Grace to a Feast,& he concludes thus: sonnet Psalmum Sobrium: ut tibi tenax memoria est: Vox canora: aggredere hoc munus ex more. Let a Psalm noise out a sober Feast: as thou well remembrest: A shrill voice: set upon the duty after the accustomend manner. Which passage though it doth not totidem verbis, speak out loud music, yet it urges the duty by no less then three Arguments.  
1. sonnet Psalmum, which must be understood of holy public assemblies, in that sense wherein as you have heard, {αβγδ} was then understood.  
2. Ut tibi tenax memoria est. As thou well remembrest; there is the practise of the Church.  
3. Ex more, after the accustomend manner; there is her constancy in that her practise; with command unto Donatus to be conformable thereunto.  
After him St. Hilary Bishop of poitiers in France, about the year of our Lord 370. A man very venerable both for life, and doctrine, speaks for the Organ in Gods service as an ancient, and old continued custom, as if the Church had at that time, received it by prescription, and in the very same sense and latitude, we here determine. Psallendum autem nomini ejus: quia per Organum Psalmus est. 
Hil. p. 512.  We must Instrumentally sing to his name, because a Psalm is upon an Organ. And a little before, Deo itaque jubilandum est, quia debitum ei à nobis est exultantis vocis officium. 
Ibid.  We must greatly rejoice in God, because from us the voice of exaltation is due to him. And in another place, Canticum autem Psalmi est cum Organo praecinente, subsequens,& aemula Organi vox chori canentis auditur: 
Id. p. 430.  Modum Psalterii modulis vocis imitata. The singing of a Psalm, is the leading of an Organ, and the emulous voice of the singing choir following the Organ. And in another place, speaking of Davids composure of the Psalms( he saith) Eo enim cum Organo prophetatum est, Graecè Psalterio, 
Idem. p. 427.  Hebraicè nablo nuncupato: quod unum omnium Musicorum Organorum rectissimum est; nihil in se perversum continetur, vel obliquum. For there he prophesied on an Organ in Greek called a Psaltery, but in the Hebrew Nablium, which is the best of all musical Instruments, wherein is contained nothing perverse or amiss.  
Saint Basil for his eminency, surnamed the Great, Arch-Bishop of caesarea in Cappadocia, who flourished about A. D. 380. a learned, and most holy man, who was of so great authority amongst the Grecians, that no man, though never so base, durst at any time, in any matter, contradict any thing of either his doctrine, or his Writings; after he had given the holy use of, and advantage which may be made by Instrumental music, he saith thus, {αβγδ}. 
Basil. M. in Psal. 29.  A Psalm therefore is a Musical speech, when it is tunably and exactly played upon an Organ, according to the rule of Musical Consort.  
Gregory Nazienzen another Bishop, of Nazianzena, in Cappadocia, about A.D. 390. A man for learning, integrity, and eloquence so eminent, that the greatest of his adversaries durst not contradict any thing of his, of whom Eusebius saith, Haereticorum turbinem fideliter tulit, He faithfully underwent the whirlwind of the heretics, Whose honour was such, that he was surnamed the great 200. years: He implying every one to be supposed to understand a Psalm to be as formerly showed, to come from {αβγδ}, giving the difference betwixt an Hymn, and a Psalm, 
Greg. Nazian. Car. Jamb. 15.  saith 
{αβγδ},  
{αβγδ}.  
Modulata laus est hymnus, ut quidem Arbitror,  
Cum cantione Psalmus, est Psalmodia.  
With the voice prais tuned, an Hymn is,  
Psalm playing, with singing, is, I wis.   
Gregory Nyssen, Brother to Saint Basil the great, Bishop of Nice in Cappadocia, a man of great Learning, Piety and account, about the same time, thus hath it, {αβγδ}. 
Greg. Nyss. de vita Moysis.  For as the last words which are made by Gospel Preaching, have moved the hearing; so the Spirit more vehemently by the Organs in later times.  
Saint Ambrose Bishop of milan, a most famous man for Faith, and Sanctity, and exceedingly learned, he was famous about the same time, who speaking of this kind of praising God, givs this reason for it, merely( saith he) est quidam proprius bonorum actuum factorumque plausus; in Orbem exeat,& benè gestorum resultet gloria. Surely there is a certain proper prais of good Acts, and deeds; let the sound thereof go abroad into the world, and the glory of things well don break out. In the same Paragraph speaking upon Ezek. 25.6. 
Ezek. 25 6. S. Ambros. Tom. 5. p. 76.  by the rule of contraries, concerning the duty of the Prophet therein, he observes thus, Jubetur ergo Propheta plaudere manu,& percutere pede; jubetur Psallere, quia sponsi nuptias jam videbat, in quibus desponsatur Ecclesia, Christus adamatur, Psal. 80.& 70. Audis citharantium voces, audis saltantium strepitus, nuptias creed. The Prophet therefore is commanded to clap his hands, to dance; he is commanded to play upon Musical Instruments, because now he saw the Marriage of the Bridegroom, wherein the Church is espoused, Christ is loved, Psal. 80.& 70. Dost thou hear the nois of musicans, dost thou hear the busling of Dancers? believe the Marriage.  

Chrysostom. To. 1 Homil. de penitent. contin. &c.  Saint Chrysostom Bishop of Constantinople, a man who abounded in learning, and sanctity, had in great reverence, and exceedingly beloved of his Peopl; he dyed An. Dom. 411. and is as clear as the Sun for it, and in it. {αβγδ} {αβγδ}, 
Idem de Dict. Abrah. Ser. 4.  {αβγδ}. The Angels lov them that delight in the Lord, Take a Psalm, and bring hither the Tabret, the pleasant Psaltery with the Harp; he takes one thing, and desires three. But fuller and clearer yet. For ( saith he in another place) in the Church neither is a Musical Organ to be reckoned nought, or of no worth, but after it hath served to filthy songs. Even as Divine songs anciently were not profane; although through an immoderate pleasure, they were after turned to lust, nevertheless they were dedicated to God: as truly they were not profane from the beginning. Therefore David in the 150. Psalm v. 3. Prais him with the Psaltery, and with the Harp, upon strings, and on the Organ, on the well tuned Cymbals, upon the high sounding Cymbals, upon the timbrel, and in the choir. And I wish that this invention had not been converted to pleasure, enticements, and lusts, not unto the worshipping of images: but the use at which the Inventours thereof aimed, that it might excel in Divine things; for the cunning of the Art was never reproved, never was the Harp dispraised, if God was honoured by the Harp.  
Saint Hierom Presbyter, a man of incomparabl learning and piety, who was termed Haereticorum Malleus,& expugnator fortissimus, 
S. Hierom. in Ephes. cap. 5.  The stoutest Hammer, and conqueror of heretics, he dyed about the year 422. after this manner he givs Advice, both to the Organist& the choir. Audiant haec adolescentuli: audiant hi quibus Psallendi in Ecclesia officium est. Hear these things ye young men; hear this ye whose office it is, to play upon Musical Instruments in the Church.  
Aurelius Clemens Prudentius, a Roman Believer of consular Authority, a man of great piety, and learning, who well knew the custom, and practice of Christs Church; as he sets it down in these verses following; he flourished A. D. 380.  
Quicquid in aere cavo reboans tuba curva remugit,  

Aurel. Clem. Pruden. in Apotheosi Adversus Judaeos.  Quicquid in arcano vomit ingens spiritus haustu,  
Quicquid casta chelys, quicquid testudo resultat,  
Organa disparibus calamis quod consona miscent,  
Aemula pastorum quod reddunt vocibus antra,  
Christum concelebrat, Christum sonat, omnia Christum  
Muta etiam fidibus sanctis animata loquuntur.  Aurel. Clem. Prudentius in Apotheosi Adversus Judaeos. 
What e're loud Trumpet bent, from's hollow brass resounds,  
What( air) e're, the strong breath in secret draft rebounds,  
What so e're chased Harp, what so ere the Lute out sand,  
That which with loud pipes uneven, the sweet Organs blend;  
That which the emulous Shepherds but with voices sings,  
Christ it honours, Christ it signifies, Christ all things  
( Yea even brute men) do him declare, on Sacred strings.  
From this search, and enquiry here made, after the Allowance, Use and Practise of Instrumental music, by holy men, in the house, and Church of God, as we have discovered it, in the first Institution thereof; in its increase; Wane; eclipse; and Recovery; in which it hath stood, and continued, at the least this 1400. years; Now we conclude it to be allowabl, warrantabl, and profitabl with us in these dayes, in that it was so, with those almost primitiv Saints and Champions; wherein to wade any further, and in this manner, to bring it down unto these times, would not only take up abundance of unnecessary pains, but also swell this undertaking into too great and needless a bulk; we therefore will leave every moderate discreet Christian to make use of that old Adage, Ex Hercule pedem, where we will leave them to judge the just proportion of its reception, and entertainment in after times, until this day; although by and through the spirit of opposition, and contradiction, the worst enemy of Christianity, it hath met with foul play, and unjust dealing, in some of the reformed Churches; by reason of their wayward spleen, not rectified judgement: mis-biased conscience, not purity of spirit: fierceness of wild zeal, not soundness of knowledge: forwardness of precipitated Resolution, and not meekness, and calmness of true piety, and devotion, decrying Church music, as ridiculous, Papistical, and the like, from, and amongst whom, it hath found very bad entertainment, especially from the former Ages Genevists, even against their own light and principls, as is evident from their own Champions; one whereof take for an instance, and that is Zanchy, who saith, Veterem igitur, 
Zanch. Tom. 4. Col. 566.  & Apostolicam hanc esse consuetudinem, ut Deus laudetur,& invocetur non solum voice simplici, verum etiam Musicâ,& cantu, manifestum est, eóque utile. Manifest therefore it is, and also profitabl, that this was an old and Apostolical custom, that God should be praised, and called upon, not only by plain voice, but also by music and song. Herein I could say much more, but love not to meddl more than necessary in troubled waters: Therefore will I conclude this Argument with a latin distich, which claims prescription in the Church of God, and the judgement of two of our English men, by all which this Question is concluded in this sens. The distich is this, 
Non vox, said votum: non Chordula Musica, said Cor;  
Non Clamans, said amans cantat in aure Dei.  
Not voice, but vote: not stringed Instrument, but heart:  
Not crying out, but Lov: in Gods ear bear a part.   
This shows it to have ever been a standing custom in the Church of God, and it is this day practised in the Reformed Churches, in Germany, whether Lutherans, or Calvinists. And is enjoined to be practised in our Church of England, by Queen Elizabeth in her Majesties Injunctions, in these words, For the comforting of such that delight in music, 
Queen Elizabeths Injunction 49.  it may be permitted, that in the beginning, or in the end of Common Prayers, either at Morning or Evening, there may be sung an Hymn, or such like song, to the prais of Almighty God, in the best sort of Melody and music that may be conveniently devised, having respect that the sentence of the Hymn may be understanded and perceived.  
Our English men are these.  

Mr. Masons Sermon, p. 46.  The first is Mr. Mason, in his pious and learned Sermon preached 55. years ago, in the Green Yard at Norwich, where answering the Objections made against our Church, he saith, Our Musical Harmony, they would likewise abolish as Jewish; but they have not yet proved, that church-music Vocal or Instrumental, is such a Jewish Ceremony, as ought to be abrogated. The other shall be a sober Anonymus, in certain considerations touching the Church of England, 
Certain considerations touching the Church of England.  whose design therein is a reformation of our Church, wherein in the Section of Liturgy, the Ceremonies, and subscription, he allows of Instrumental music, in these words: After the reading of the Word of God, it was thought fit there should be some pause for holy meditation, before they proceed to the rest of the service; which pause was thought fit to be filled, rather with some grave sound, then with a still silence, which was the reason of playing upon the Organs after the Scriptures red. All which was decent, and tending to edification.  
The sixth Argument is this, That it is of a sacred and holy Use: those who deny this, will one day find the Heathens to rise in judgement against them. For they had such a Reverend respect unto Instrumental music, that at first, it was used amongst them only at their Divine service, in the praise of their Gods, or the worthy deeds of famous men. This is attested by Plutarch, {αβγδ}. 
Plutarck {αβγδ}.  It is a report that in more ancient times, Theatrical music was unknown amongst the grecians; for this whole Science was turned to the worship of the Gods, and the Discipline of young men; neither as yet at that time, was the theatre raised among men. As yet music was nourished and kept up in their Temples only: Wherein they celebrated the honour of their Gods, and the praises of famous men.— At Delos no service was performed without music.— Cybells Priests were wont to perform their holy services, with the sound of Bells, and Timbrels. Amongst the Caretae there was none of their holy service without the sound of Timbrels and Trumpets.  
Livy saith, that the Roman Trumpeters were wont to play before their sacrifices, and that the Spondy foot took name from the Greek {αβγδ} which signifies sacrifice, because they used that foot most in their sacrifices. Neither did the Heathens thus alone, but the Jews, Gods own people; they did the like according to Gods own command, as hath been already sufficiently declared, which to be denied by Christians, will conclude them to imagine themselves less beholden to their God, or to be more unthankful than either Jew, or gentle; or that they are less engaged unto him, or that he is mutable, unfit, or unable to be their God, with infinite Blasphemies, and Absurdities more, from which the Lord deliver us.  
The seventh Argument, is, because it tends to the use of edifying; 
Plutarch {αβγδ}.  of this in regard of naturals, and morality, red Plutarch {αβγδ}. Our task here is to deal therewith in respect of spirituals, wherein it is to be observed, that want of skill in music, is a cause of great want of understanding; therefore saith St. Augustine, Non pauca etiam claudit, 
August. Tom. 3. Col. 31.  atque obregit nonnullarum rerum musicarum ignorantia. The ignorance also of many Musical matters, shuts up& conceals many things: neither is it advantageous in the Improvement of our knowledge only, but also of our Devotion For David Citharà suâ coram Arcâ lusit,& corporis insuper concinno motu saltans, 
Theatr. vit. Hum. p. 1290 c. 2.  animi fervidam devotionem non tam ostendit quam excitavit. Ejus rei causa Ecclesia quoque Organis animos ad pietatem,& zelum religionis excitare volvit." David playing before the Ark upon his harp, and moreover leaping with an handsome motion of his body, did not so show, as stir up the hot Devotion of his mind: For that cause the Church also by Organs would stir up mens minds unto Piety, and zeal of Religion. In this St. Basil is remarkable. {αβγδ}. 
Basil. Proaem. in Psalms.  Seeing therefore there are many sorts of Musical Instruments, the Prophet choose rather, to fit this book ( speaking of the Psalms) unto that which is called a Psaltery: because( so truly I think,) that even from that name, he might show grace, resounding therein, from above, to come from the Holy Ghost: because this Instrument alone amongst the rest, causeth the sound to go out from above; for in the Harp, and the Lyre, the Brass sends out its sound, being beaten with a quill from the lower part: whereas on the other hand the Psaltery, being touched above, gives the cause of that its sweet harmony, that being moved by this Document in the whole contemplation of the mind, we may learn to seek those things which are above; also not to turn aside headlong, and be carried into the obscene affections of the flesh, by the alluring pleasure of sweet sounding melody. And to these add that: From a chief, and more wise reason,( which truly I suppose the Prophet shows to us,) he was willing by the structure of that Instrument, namely, that every man should set his soul unto the embracement of virtue, in a more exact, and profitable endeavour, so having an easy passable way unto things above.  
Instrumental music hath been admirable, and wonderful in its effects, and consequences, wrought thereby; herein we will instance in two particulars. The expelling of evil spirits, and the regaining of good.  
First, the former of these, Perturbabatque Saul malus spiritus à Jehovâ, an evil spirit from the LORD troubled Saul, 1 Sam. 16.14. 
1 Sam. 16.14.  but in v. 23. 
Ver. 23.  David accipiens Citharam, &c. David took his harp, &c. and one touch thereof refreshes that troubled King; respirabat Saul, Saul recovered breath, and was well, and the evil spirit departed from him, Lymphationibus( quae ab illo spiritu malo proficiebantur, 
Jun.& Trem. in Locum. ) tunc temporis cessantibus. His madness( which proceeded from that evil spirit) ceasing at that time.  
Again herein is the excellency, and wonder comprehended in Instrumental music, that its efficacy consists, not only in driving away evil spirits, but in the procurement of good: When the Prophet Elisha was desired to prophesy before the three Kings of Judah, Samaria, and Edom: Bring me( saith he) a Minstrel; and it came to pass when the Minstrel played, that the hand of the Lord came upon him, 2 King. 3.15. 
2 King. 3.15.  In which passage, it is very remarkable, that Elisha being sent for, upon the motion of good King Jehoshaphat( with whom upon his arrival, he found the King of Samaria) he was highly displeased, and greatly offended at Ahab; for the sacred text saith, Elisha said unto the King of Israel, What have I to do with thee? get thee to the Prophets of thy Father, and to the Prophets of thy Mother.— As the Lord of hosts liveth, before whom I stand, surely, were it not that I regard the presence of Jehoshaphat the King of Judah, I would not look towards thee, nor see thee, v. 13, 14. 
Ver. 13, 14.  Here good Elisha, is too much burdened, and oppressed in his human passions, which brought upon him the spirit of wrath, displeasure, and indignation; which must first be removed, before he was able to execute the office of Gods Prophet; wherefore he first calls for a Musician, by whose Musical art, and skill, that contrary spirit being driven away, then it brings the good Spirit of the LORD upon him; for so must we understand Manus Jehovae, the hand of the LORD, to be vis prophetica, 
Jun.& Trem. in Locum.  sieve donum prophetandi; Metonymiâ. The power of prophesying, or the gift of prophesy by a Metonymy, upon all which the same Annotators give this worthy note, 
Ib.  adducite mihi fidicinem, bring me hither a Musician, cujus opera perturbatus animus, ex praesentiâ impii regis Jisraelitarum, sedaretur,& spirituali carmine comparetur ad caelestia praedicanda, sicut aliorum ad ea percipienda. By whose labour his mind troubled by the presence of the wicked King of Israel, might be appeased, and prepared by spiritual Poetry, for the preaching of heavenly things; as also the [ mind] of others to apprehended them. Therefore well might St. Augustine cry out in admiration of these strange effects, Mirum! daemons fugat, 
August. in Prologom. in Psalmos.  Angelos ad adjutorium invitat. Heres a wonder! it drives away devils, it calls Angels in for help.  
Who so contemneth music,( as all Seducers do) with them( saith Luther) I am not content; next unto Theologia, I give the place, 
Vide D. Mart. Luth. Coll. come. c. 68.  and highest honour to Musica. For thereby all anger is forgotten, the Devil is driven away, inchastity, Pride, and other Blasphemies by music are expelled. We see also, how David and all the Saints brought their Divine Cogitations Contemplations, their rhymes, and Songs into verse, Quia pacis tempore regnat Musica, i.e. In time of Peace music reigns.  
To bring this Argument to an end, The sweetness of Harmonical sounds doth insinuate itself into the soul of man, 
Mr. Masons Sermons. p. 46  preparing the affections for the service of God, lifting up the heart towards heaven, delighting the mind, kindling devotion, and ravishing the spirit with celestial joy. In a word, Instrumental music, solemnly, and devoutly performed according to Church Order, and Discipline, enlivens the spirit, and quickens apprehension, heightens affections, enlarges holy desires, kindles zeal, purifies devotion, and strengtheners resolution, 
Sydenh. well tuned Cymbal. p. 19.  in all holy duties, and practices. See Sydenhams well tuned Cymbal, pag. 19.  
If all the foresaid Arguments, namely, That playing of Psalms upon Musical Instruments, was the main subordinate end, wherefore they were composed. That God is to be honoured, and magnified specifically in his own gifts. That Instrumental music hath been practised by good men in Gods service. That it is a duty required by the Analogy of faith. That it hath ever been the allowance, or practise of the Church. That it is of holy, or sacred use. And that it tends to the use of edifying: I say if all these( as they are not,) were too weak, and invalid to maintain this truth, yet this last is sufficient; namely, That it is Gods command, both in the Old, and the New Testament.  
1. The Old Testament, it is therein commanded; by a strong and a fivefold twisted Law. 1. Regal. 2. Civil. 3. Ecclesiastical. 4. Military. 5. Divine.  
1. In the Old Testament, it is commanded by regal Authority; a Law given by a good man, a man after Gods own heart, the sweet singer of Israel, David a great King. Nehe. 12.24. 
Neh. 12.24.  And the chief of the Levites, Hashabia, Sherebiah, and Jeshua the son of Kadmiel, with their brethren over against them, to praise, and to give thanks according to the commandment of David, the man of God, ward over against ward. Which duty was by this command revived, above six hundred years after it was given, after a seventy years captivity, and seventy eight years of great trouble, and heavy affliction, and therefore this command is said to be of old, as is said in v. 46. 
Ver. 46.  of the same Chapter. A time of a hundred and forty eight years of sorrow and calamity. For in the dayes of David, and of Asaph of old, there were chief of the singers, and songs of praise, and thanksgiving unto God; and all this was performed, not only in obedience to the command of David, but also of Solomon, as it is in the foregoing verse. 
Ver. 45.  And both the singers and the Porters kept the Ward of their God, and the ward of their purification according to the Commandment of David, and of Solomon his Son, which Commandment was not only for singers and songs, music vocal, but also Instrumental, for which purpose David appointed Psalms, musicans, and Musical Instruments, six hundred and twelve years before the renewing thereof by Nehemiah, at the bringing of the Ark of God to Jerusalem, 1 Chron. 16 4. -7. 
1 Chron. 16. 4.-7.  And he appointed certain of the Levites, to Minister before the Ark of the LORD, and to record, and to thank and to praise the LORD God of Israel. Asaph the chief, and near to him Zachariah, Jeiel, and Shemiramoth, and Jehiel, and Mattithiah, and Eliab, and Benaiah, and Obed-Edom, and Jeiel with Psalteries and Harps: but Asaph made a found with Cymbals. Benaiah also, and Jehaziel the Priests, with Trumpets continually before the Ark of the Covenant of God. Then on that day David delivered first this Psalm to thank the LORD, into the hand of Asaph, and his brethren. This was to be a lasting, and a constant duty, not for a short time, but for ever, as is expressed by this Word continually, and as it is reiterated in v. 37. 
Ver. 37.  So he left there before the Ark of the Covenant of the LORD, Asaph, and his brethren, to Minister before the Ark continually as every days work required. This charge was given by that holy man, when the Ark of God was settled in the place, which he had prepared for it, as may be seen in the first verse of the Chapter; but the execution thereof, 
1 Chron. 15. v. 16.  commenc't with the fetching of the Ark from Kirjathjearim, as it is given at large in chap. 15. and ver. 16. And David spoken to the chief of the Levites, to appoint their brethren to be singers with Instruments of music, with Psalteries, and Harps, and Cymbals sounding by lifting up the voice with joy to the Levites, appointed Heman the son of Joel, and his brethren: Asaph the son of Barach●ah, and of the sons of Merari their brethren, Ethan the son of Rushaiah. And with them their brethren of the second degree, Zachariah, Ben, and Jaziel, and Shemiramoth, and Jehiel, and Unni, Eliab, and Benaiah, and Maasiah, and Mattithiah, and Eliphalet, and Mickniah, and Obed-Edom, and Je●el the Porters. So the singers, Heman, Asaph, and Ethan, were appointed to sound with Cymbals of brass. And Zachariah, and Aziel, and Shemiramoth, and Jehiel, and Unni, and Eliab, and Maasiah, and Benaiah, with Psalteries on Alamoth. And Mattithiah, and Eliphalet, and Mickniah, and Obed-Edom, and Jeiel, and Azzaziah, with Harps, on Sheminith to excel. And Chenaniah chief of the Levites, was for song: He instructed about the song, because he was skilful. v. 22.  

2. Civil.  2. Men of s●cular Order, and power, we find not so free and forward, in the prais of our God, with Instrumental music, as his more near, and immediate servants: yet at the Institution thereof, Regal Authority herein was seconded by civil allowance, and practise, as is clearly gathered from the General reception thereof, at its Commencement by the whole house of Israel, who both allowed and practised it, 
2 Sam. 6.3.  2 Sam. 6.5. And David, and all the house of Israel, played before the LORD, on all manner of Instruments made of Firwood, even on Harps, and on Psalteries, and on timbrels, and on Cornets, and cymbals. Whereof we have a larger, and fuller relation, 1 Chron. 15. 25-28. 
1 Chron. 15.25.— 28.  So David and the Elders of Israel, and the Captains over Thousands, went to bring up the Ark of the Covenant of the LORD, out of the house of Obed-Edom with joy. And it came to pass when God helped the Levites that bare the Ark of the Covenant of the LORD, that they offered seven bullocks, and seven rams. And David was clothed with a rob of fine linen, and all the Levites that bare the Ark, and the singers, and Chenaniah, the Master of the song, with the singers: David also had upon him an Ephod of linen. Thus all Israel brought up the Ark of the Covenant of the LORD, with shouting, and with sound of Cornet, and with Trumpets, and with Cymbals, making a nois with Psalteries, and Harps.  
3. Authority Ecclesiastical. 
3. Ecclesiastical.  This command hath good Authority as it was given by David, a man after Gods own heart, a great Prophet, and a great King, with the Addition of Civil Sanction, Allowance, and practise: Yet least this should be too little, it is corroborated, and strengthened by the annexion of Authority Ecclesiastical, that it may be made a good and sufficient Law, like the Law of the Medes, and Persians, which cannot be altered. For look but into the beginning of the 25. Chapter of the first Book of Chronicles, 
1 Chron. 25.  and there you shall find a large Catalogue of a full choir ordered, by three of the Tribe of Levi, who were chief Commanders therein, and annexed their Authority unto King Davids, as it is in the 6. v. 
v. 6.  All these were under the hands of their Father, for song, in the house of the LORD, with Cymbals, Psalteries, and Harps, for the service of the house of God, according to the order of the King, and of Asaph, and Jeduthun, and of Heman, which red thus following the Septuagint, who render it in these words, {αβγδ}. Which reading is made good, 2 Chron. 35.15. 
2 Chr. 35.15.  And the singers, the sons of Asaph were in their place, according to the Commandement of David, and Asaph, and Heman, and Jeduthun the Kings Seer.  
4. Military. 
4. Military.  Though this Ordinance was thus established by power Regal, Civil, and Ecclesiastical, yet that no member of the Common-wealth of Israel might be wanting therein, there is also herein an Addition of the military power, as is clearly concluded from 1 Chron. 15.25. 
1 Chr. 15 25.  So David, and the Elders of Israel, and the Captains of thousands, went to bring up the Ark of the Covenant of the LORD, out of the house of Obed-Edom, with joy. Not only David, and the Levites, and the Elders, but also the Colonels of the Army, bore their part, in the first allowance, and practise of Instrumental music, in that great solemnity, with Devotion, Joy and Alacrity, whereby to bless, prais, and magnify our God.  

5. Divine.  5. But least all this should amount no higher than to make it an human Ordinance and Constitution, it is made authentic, and caconical, abov all Statutes and Ordinances of men, consummated and completed by a Divine Law, and command. For none of these holy men, herein did, or commanded any thing, but what was first enjoined, and commanded them by their, and our great God Jehovah, as was acknowledged by good King Hezekiah, who 330 years after, set the Levites in the house of the LORD with Cymbals, with Psalteries, and with Harps, according to the Commandment of David, and of Gad the Kings Seer, and Nathan the Prophet: for so was the Commandement of the LORD by his Prophets, 2 Chron. 29.25. 
2 Chro 29.25.  This therefore was no command of man, but of God by man; given to all peopl. rejoice in the LORD O ye righteous, for prais is comely in the upright. Prais the LORD with Harp: Sing unto him with the Psaltery, and an Instrument of ten strings. Sing unto him a new Song, play skilfully with a loud voice, Psal. 33. 1-3. 
Psalm 33. 1-3.  which duty the Prophet enforces in the three following verses, by five reasons drawn from 


v. 4.  1o His righteousness in his Word; for the Word of the LORD is right.  

v. 5.  2o His Truth; all his Works are don in Truth, v. 4.  
3o Judgement: He loveth righteousness and Judgement.  
4o His Bounty; The earth is full of the goodness of the LORD.  
5o Omnipotency: By the Word of the LORD were the Heavens made, &c. v. 6, 7. rejoice in the LORD, &c. For the Word of the LORD, &c.    
Thus this duty in this manner enjoined, 
This manner of Gods Service a duty of the first Tabl.  and commanded by God and good men; nay more, confirmed, and established by the strongest Sanction of Authority, Divine, Regal, Ecclesiastical, Civil and Military, upon Moral Reasons, and Grounds, the Performance thereof is a branch of the Moral Law; and is a duty required in every Commandement, in the first Tabl: The sum whereof is in all tenderness of hearty lov, to bear an humbl, aweful, devout and thankful respect unto God alone; viz. 

1o His Majesty; In Obedience unto the first Commandement.  
2o His presence; in Obedience to the second.  
3o His Name; in Obedience to the third.  
4o His Service; in Obedience to the fourth.    
1o In the first Commandement, amongst the many, 
1. In the first Commandement. & several affirmativ duties thereof, these four tend directly to the service of his Divine Majesty, by Instrumental music.  

1o To Honour him; if we be his sons, we must honour him; the son honoureth the father, Mal. 1.6. 
Mal. 1.6.   
2o To rejoice in him; Thou shalt rejoice in the LORD, and shalt glory in the holy one of Israel, Isa. 41.26. 
1 Sam. 2.30. Isa. 41.26.   
3o To be zealous for him; no mere man was ever able to say of himself, The zeal of thy house hath eaten me up, but he who was the great improver of this duty, Psalm 69.9. 
Psal. 69.9.   
4 To give him Prais, and Thanksgiving. Sing unto the LORD with thanksgiving, sing prais upon the Harp to our God, Psal. 147.7.   
Now at the Solemnity of Divine Service, in Holy public Assemblies, there can be no Honour, rejoicing, Zeal, Prais, and Thanksgiving performed to Divine majesty, in a more Divine, Heavenly, abstract, and Seraphical manner, then by Instrumental music.  

2. In the second Comm●ndement.  2o In the second Commandment, we are enjoined to do worship and service unto God in his presence, by Receiving, Observing, and Keeping pure and entire, all such Religious Worship and Ordinances, as God hath appointed and instituted in his Word, Deut. 32.46, 47. Matth. 28.20. Act. 2.42. 1 Tim. 6.13, 14. Luke 16.31. 
Deut. 32.46, 47. Mat 28.20. Act 2.42. 1 Tim. 6.13, 14. Luk 16 31.  Particularly, 

1o By Prayer, and Thanksgiving made in the name of Christ, Phil. 4.6. Eph. 5.20. 
Phil. 4 6. Eph. 5.20.   
2o In ordering of, and submitting to Church-Government and Discipline. Matth. 18.15— 17.& 16 19. 1 Cor. 5.45.& 12.28. 
Mat. 18. 15— 17.& 16.19. 1 Co●. 5.45.& 12.18.     
In all these respects, this manner of Service of God, is a duty enjoined in this Commandment; For hereby we receive, observe, and keep pure, and entire, this Religious Worship and Ordinance which God hath instituted, and appointed in his Word, to be performed in public Prayer and Thanksgiving, made in the name of Christ, duly Ordering of, and submitting to Church-Government and Discipline.  

3. In the third Commandement.  3. The Affirmativ Duty in the third Commandement is, That we glorify the Name, Titles, Attributes, and Ordinances of God. Mat. 6.9. Deut. 20.58, 59. Psal. 29.2. Rev. 15.23. 1. Cor. 10.31. 
Mat. 6.9. Deut. 20.58, 59. Psalm 24.2. Rev. 15.22. 1 Cor. 10.31.  All which is don by Instrumental music.  
4o The Affirmativ Duty in the fourth Commandement, 
4. In the fourth Commandement.  is, that we join with the Assembly of the Saints, in Prayers and Praises, according unto the Command of God, and the practise of the Church of Christ. Act. 3.1, 21, 42, 46, 47. 
Act 3.1, 21, 42, 46, 47.  And thus is it a duty of this Commandement.  
Wherefore this Service, being a duty of the whole first Table, 
Exod. 4.25, 26. Matth 22.5. Mal 1.7, 13. Mat. 23.13. Act 13.44, 45. 1 Thes. 2.15, 16.  we are transgressors of the four first Commandements, if this Service, Worship, and Ordinance of God, be by us neglected, contemned, hindered, unduly altered, Luk. 10.16. Mat. 21.13. 1 Cor. 11.22. 1 Thes. 4.8. Or omitted, Isa. 43.22. Ezek. 22.26. Act. 20.7.— 9. Ezek. 33. 30-32. Am. 8.5. Mal 1.13. Thus have we largely and sufficiently proved, That Instrumental music in Holy public Assemblies, is Commanded in the Old Testament: Our next Engagement is, to prov it commanded in the New.  
II. That it is commanded in the New Testament, 
II. That it is commanded in the New Testament.  is already proved, in that it is so solemnly commanded in the 33. Psalm v. 1-3. And that upon Moral Grounds, and Reasons, which makes this service to be commanded in the Moral Law, and therefore in the New Testament also. And the Duty is enjoined in that Psalm, upon many more moral reasons therein expressed. And there are two other Psalms where are nothing but commands to perform this Office of Prais, and Reasons to enforce it: the one is the 147. and the other the 98. 
Psalm 98.& 147.  but herein, I will only name two Gospel Arguments, whereupon he commands this duty. The former is in Psal. 149. 
Psal. 149.  wherein having given the charge, in the three first verses, he ends thus, Sing Praises unto him with the timbrel and Harp: All which he first backs with this Reason, in the fourth verse, For the Lord taketh pleasure in his peopl, he will beautify the meek with salvation. 
v. 4.  Which our Saviour sums up in the third Beatitude, Mat. 5.5. 
Mat. 5.5.  Blessed are the meek, for they shall inherit the earth. So that if Blessedness, and Inheritance of the Earth, be Gospel Promises, than Glorifying, and magnyfying God with instrumental music, is also a Gospel-Duty.  
The other is in Psal. 98. 
Psal. 98.9.  wherein the Psalmist having been something large, in injunction of this Duty, he concludes it, and the Psalm upon this Reason: For he cometh to judge the earth: with righteousness shall he judge the world, and the peopl with equity, v. 9. So then if Christs return to Judgement be an Articl of our Faith, we are enjoined the same in the New Testament.  
And herein it is to be noted, that all Commands given in the Book of Psalms,( not exacting Obedience, to some Ceremonial or Judicial Law, neither subordinate unto the Moral Law, nor received into some National-Law:) are obliging to Christians, as is evident by comparing Psal. 117.1. with Rom. 11.15. and Psalm 95. according to the Septuagint, from the 7. v unto the end, with Heb. 3. 7-11. 
Psal. 117.1. with Rom. 11.15. Psal. 95.7— with Heb. 3. 7-11.  Saint Hilary givs this Admirabl account of the Contents of this Book of Psalms, thus, In aeternum Glorificatis sibi, qui in eum crediderunt, 
Hil. Proeem. in Psal. p. 426.  regnandi,& caeteros Judicandi Sacramenta panduntur, p. 426. The Mysteries of Government, and Judging the rest of the world, are revealed to them that are eternally glorified, which have believed in him; thus Saint Hilary. All true Converts, even while they are in this world, are in part eternally glorified; unto whom the mystery of Government, by this book of Psalms is revealed which in respect of the Matter wherewith, the Causes wherefore, and the Manner how to prais God, hath a greater clearness and propriety, than any other Book of God, in the Old or New Testament. The same Father a little after saith, This Book of Psalms is the Key of David, spoken of Rev. 3.7. Clavem igitur David habet, quia ipse per haec vi quâdam signacula, 
Ibid. Rev. 5.13.  quae de corporalitate ejus,& passione,& morte,& resurrectione,& Gloriâ,& Regno,& Judicio David de eo in Psalmis Prophetat, absolvit, aperiens quod nemo claudit,& claudens quod nemo aperiet. He hath the Key of David, because David himself by these seals with a certain force, concerning him ( that is our Saviour) in the Psalms, prophesyeth, and delivereth the things concerning his Incarnation, and Passion, and Death, and Resurrection, and Glory, and Kingdom, and Judgement, opening that which no man shutteth, and shutting that which no man openeth. Thus far Saint Hilary. This Key the Book of Psalms, is not more peremptory in commanding, more full in describing, nor more frequent in repeating any thing tending to the Glory, and the Government of the Kingdom of Christ, and his Service, than in charging, commanding, and prescribing this duty of serving God with Instrumental music.  
Certainly, what hath hitherto been said herein, makes it a clear evincement, what the Apostle James meant in that his Apostolical command {αβγδ}. Is any man merry? let him sing Psalms, Jam. 5.13. 
Jam. 5.13.  bono animo est aliquis? Is any man in a good mind? Psallat. Bez. Let him sing Psalms, upon Musical Instruments; for this is the true and genuine signification of the word {αβγδ}, in all Latin Translations, expressed by Psallat, implying, that there is no proper, and reverâ singing of Psalms but with Instruments of music. From what Pasor hath delivered upon these words, {αβγδ} and {αβγδ}, this expression {αβγδ}; carries thus much with it: bono ac hilari animo est aliquis, indulgens genio? Is any man in a good and merry mind, giving way to his natural Inclination? then Psallat, Let him take Musical Instruments into his hand, and thereon let him play Psalms, and Hymns, and spiritual songs, Ephes. 5.19. which passage of the Apostl that it imports thus much, appears thus; In the vers next before that, he prohibits, and forbids, excess in wine, intemperance, and drunkenness; be not drunk with wine wherein is excess, but be filled with the Spirit, v. 18. Here is forbidden a foul and abominabl 'vice, which is the cause of many enormities, Inter omnia quae multos spiritus generant, 
Tho. Aquin. in Eph. 5. v. 18.  est vinum unde generat animositatem,& facit homines per talenta loqui ut dicitur, 3 Esdr. 3.21. It is wine amongst all things, which makes many spirits, and causeth courage, and makes men to speak by talents, 
1 Esd. 3.21.  as it is said 1 Esdr. 3.21. Hence they chant to the sound of the Viol, and invent to themselves Instruments of music, like David. They drink wine in bowls, and anoint themselves with the chief ointments: but they are not grieved for the affliction of Joseph, Amos 6.5, 6. 
Amos 6.5, 6.  But the duty of a Christian is quiter contrary; instead of wine, let him be filled with the spirit, that is, the Holy Ghost, which begets heat of Devotion, makes men to be fervent in Spirit, serving the Lord, Rom. 12.11. It also begets righteousness, and peace, and joy in the Holy Ghost, 
Rom. 12: 11.& 14.17.  Rom. 14.17. It makes men speak powerfully, and boldly. They were all filled with the holy Ghost, and began to speak with other tongues, Acts 2.4. 
Act. 2.4.  though the mocking hearers said, these men are full of new wine, v. 13. 
v. 13.  The manner of this filling with the Holy Ghost, consists in the Lov of God, and our neighbour; of our neighbour, when the Word of Christ dwells in us richly in all Wisdom, teaching and admonishing one another, in Psalms, &c. Col. 3.16. 
Col. 3.16.  Submitting ourselves one to another in the fear of God, Ephes. 5.21. 
Eph. 5.21.  In the lov of God, when our souls and affections break out into holy ecstasies, and Raptures, speaking as to our selvs, so to God in Psalms, and Hymns, and spiritual Songs, in Psalms, on Instrumental music. Psallere est uti Psalterio. To sing Psalms, is to use the Psaltery, saith Thom. Aquin. 
Tho. Aquin. in Locum.  The Psaltery, that is the Organ, as appears by the Septuagint, all Translations that ever I met with, and the judgement of Saint Basil, and Saint Hilary; though many men, as Buxtorf, Polydore Virgil, and others be of another opinion. To draw to an end, we have a conveyance of this holy duty, and service from the Law to the Gospel, from the Old Testament to the New, 
Rev. 15.2, 3, 4.  in the 15. Chapter of the Revelation, v. 2, 3, 4, 5. The tenor thereof is this, I saw as it were a sea of glass mingled with fire, and them that had gotten the victory over the beast, and over his image, and over his mark, and over the number of his name, stand on the sea of glass, having the Harps of God; And they sang the song of Moses the servant of God, and the song of the Lamb, saying, Great and marvellous are thy works, Lord God Almighty Just and true are thy ways, O King of Saints. Who shall not fear thee O Lord, and glorify thy name? for thou only art holy; for all Nations shall come and Worship before thee, for thy Judgements are made manifest. And after that, I looked,& behold the templ of the Tabernacl of the testimony in heaven was opened. This Paragraph is an {αβγδ}, seu carmen triumphal,& {αβγδ}, 
Chytrae. in Apoc. cap. 15, 16.  quod sancti Martyres& omnes pii,& constantes Ecclesiae Christi cives, stantes supper mere vitreum hujus mundi fluctuantis,& fragilis, mixtum igne tribulationis,& persecutionis, qui fide& patientiâ bestiam vicerunt, etiam in his terris canunt, simile cantico Mosis servi Dei, quo admirandam liberationem ex Aegypto,& mari rubro,& victoriam de Pharaone, qui typus est Antichristi, gratâ mente,& voice,& instruments Musicis Israelitae celebrant. Exod. 15. {αβγδ}, a song of triumph, or {αβγδ}, a song of thanksgiving, because the holy Martyrs, and all the godly and constant professors of the name of Christ, standing upon the Glassy Sea of this world, mixed with the fire of Tribulation and Persecution, have overcome the beast upon earth. Therefore do they sing unto God upon earth, a song like unto the song of Moses the servant of God, wherein with a thankful mind, and voice, and Musical Instruments, the Israelites [ that is true Believers] do greatly prais their Admirabl deliverance out of egypt, and the read Sea, and over Pharaoh, who is a type of Antichrist, Exod 15. Wherein the Saints of the New Testament, laud, and prais God with a thankful mind, voice, and Musical Instruments, for conquest and victory over the beast, his image, his mark, his number, his name, which is the Song of the Lamb of the New Testament. Thus have we performed the first part of this Engagement, which is the proof of this Question, to be truth in the Affirmativ; now we pass on to the next, which is   


The second Part of this Undertaking.  A Resolution of, and Answer unto the most material Objections, made against this verity.  
Object. 1. THE Use and practise of Instrumental music, in holy public Assemblies, must needs be unallowabl, and unwarrantabl from the first finding out, and invention thereof; which was by Jubal son of Lamech, Gen. 4.21. 
Gen. 4.21.  Of the Progeny of Cain, which were said to be the sons of men.  
Answ. For Solution hereof, we return these three things.  
1o That though Instrumental music was first found out and invented by Jubal one of Cains Progeny, yet is it not any way thereby disabled, from bearing a part in the service of God; for if thus, God should not have chosen the City jerusalem for his own, because Cain was the first builder of Cities, 
v. 17.  Gen. 4.17. nor ever would he have given the platform of a Tabernacl, which was but a Tent for his service, had he therein distasted Jabals first making thereof, 
v. 20.  Gen. 4.20.  
2o From what hath been said in the third Argument, it is very probabl that Jubal was a good man, and in his first finding out music Instrumental, and his after care for the preservation thereof, had an eye to Gods Glory and Service, whereby he was qualified, for an acceptabl performance in that undertaking. For God who is Immutabl, and is no respecter of persons under the New Testament, doubtless was the same under the Old, before the Flood; so that he might have one Jubal amongst Cains Progeny, as well as a Job amongst the Moabites, and a Rachab amongst the Canaanites.  
3o Our Saviour in that he refused not Rachab the Harlot, nor Ruth the Moabite, 
Mat. 1.5.  to be of his Lineage and Genealogy, might well admit of Jubal, though of the line of Cain, to be the inventor of Instrumental music, for his Church and Service.  
Object. 2. This Question thus stated, God must be served with like music as was the Image which nabuchadnezzar set up, 
Simonds Pisgah Evangel. p. 91.  Dan. 3.5. 
Dan. 3.5.   
Answ. Why not? Nebuchadnezzars sin in that particular was not in the exercise of Instrumental music, but in using it amiss; in the manner, in the matter, and in the end thereof; in the manner, which in all probability was an effeminate kind of Tune, light, and wanton, whereas it ought to have been stayed, solid, and grave. So likewise in the matter, which questionless, was those profane, and fabulous songs, and hymns, which were invented for that purpose by the Heathen: whereas they ought to have been Holy Davids Psalms, Hymns, or Spiritual Songs. Lastly in the end, which was the glorifying and magnifying his graved Image: whereas it should have been don, and performed in the Prais of, and Thanksgiving to the True God.  
Object. 3. This kind of Worship, and Service, is so far from Divine, that it is Theatrical, Mimical, and Ridiculous.  
Answ. This Answer was given unto the Apostl Saint Peter, in a like case; What God hath cleansed, 
Act. 10.15.  that call not thou common; if our daily food be sanctified by the Word and Prayer; 
1 Tim. 4.5.  how much more Gods own Ordinance and Service? What more I will say herein, shall be to desire such as make use of this Objection, whereby they become guilty of Michals sin, to fear and expect Michals curs, or a greater, 2 Sam. 6.20— 
2 Sam. 6.20—   
Object. 4. This manner of Service is an Heathenish and Paganish custom, used by them in honour of their Idols.  
Answ. The contrary is truth; for certainly, though it is true that it was their practise, yet herein they had the ground, and reason of so doing from the exercise of Gods Church, and people, for it was exercised, and practised to Gods honour, long before the Heathens had any knowledge, or use thereof, as hath been already made clear, in the proof of this truth.  
Object. 5. This is but a windy Devotion, cooling the fervour of zeal, damping the motion of the Spirit, clogging the wheels of the Saints fiery Chariots mounting towards Heaven, choking the livelihood, and quickness of those raptures, which on a sudden they ejaculate.  
Answ. In a word, holy David brought the melody of Instrumental music into Gods Church, 
Mr. Masons Serm. p. 46.  for the better praising of him, because sweetness of harmonical sounds, insinuates itself into the soul of man, prepares the affections for the service of God, lifts up the heart towards heaven, delights the mind, kindles Devotion, inflames desire, and ravisheth the spirit with celestial joy. Those who desire further answer hereunto, let them look back unto the sixth and seventh Arguments in the proof hereof: And Sydenham his well tuned Cymbal, p. 17. 
Vide Sydenhams well tuned Cymbal. p. 17.   
Object. 6. This service is abrogated with the Ceremonial Law.  
Answ. For solution hereof take these four things.  
1. That if this service of God be abrogated with the Ceremonial Law, in singing of Psalms, Hymns, and Spiritual Songs, on Musical Instruments: then is the same also abrogated which is done by Vocal music; that is, singing by voice; for it hath been, already showed, and proved, that Singing comes nearer to the Ceremonial Law, than playing on Musical Instruments.  
2. That as we have already shewed elsewhere, Instrumental music in all probability, was ordained about 1850. years before the Ceremonial Law, and therefore could not be abrogated therewith.  
3. That as hath been already proved, in the fifth Argument, there was no express command for this service until about the year of the world 2894. which was about 444. years after the giving of the Ceremonial Law, and therefore it hath no relation to, nor dependence thereon.  
4. That, as hath already been sufficiently proved in the eighth Argument, it is a branch of the Moral Law, and branch't under each of the four Commandements in the first Table, which our Saviour came not to break, 
Mat. 3.17, 18.  or abolish, but to fulfil, Matth. 5.17, 18.  
Object. 7. Diodorus Siculus informs us that the Egyptians of old, 
Doctor Sicul. lib. 1. Cap. 2.  {αβγδ}, did account music ( which certainly is to be understood of Instrumental) not only unprofitable, but hurtful, as making mens minds effeminate.  
Answ. The Egyptians had their multiplicity, and variety of errors, as much as any other people, or Nation; amongst which, this was one, if understood of well moderated, and regulated music, whether Vocal, or Instrumental; Here also we might confess, 
A Piece of good Reformation.  that it is the property, of irregular, wanton, and loose music, whether Vocal, or Instrumental, to weaken, and effeminate mens minds; and therefore it would be, one piece of good Reformation, were it possible, to have that music banished all Christian Kingdoms, and Commonwealths; but for all other sorts of music, it is fit they be kept, and entertained as useful, and profitable, as is everywhere sufficiently made good.  
Object. 8. Mr. Perkins, in the negative Duties of the second Commandement, 
Perkins. Serie cause. Salut.& Dam. p. 90.  urgeth two authorities against Instrumental music in Churches; the one is, 1 Cor. 14.15. 
1 Cor. 14.15  What is it? I will pray with the Spirit, and will pray with understanding also, thereby intimating that this is a Devotion without understanding, and therefore unlawful. The second authority is Justin Martyrs in these words. In Ecclesiis receptus non est usus carminum per ejus Generis Instrumenta,& alia insipientibus convenientia, 
Just. Mart.  said simplex Cantio iis manet. Quest. 107. The use of Poems with such kind of Instruments is not received in the Churches, and other things agreeing to fools; But plain song remains therein. Therefore, in his time it was not only disused, but also disallowed.  
Answ. This Objection stands upon two legs, first Scripture, that we must pray with the Spirit, that is, with mind and affection, which is owned, and acknowledged by all; for every school-boy understands this, that Orantis est nile nisi caelestia cogitare. A man in his prayers must mind nothing but heavenly things; but here lies the Objection, I will pray with understanding also, as if Instrumental music were an hindrance thereunto; in the answer whereof I might be very large, but affecting brevity, take what a professed Reformer says in this case, thus;" There are no songs or verses sung by the choir, ( the reason is the same for the Organ, 
Certain considerations touching the Church of England. ) which are not supposed, by continual use to be so familiar with the people, as they have them without book, whereby the sound hurteth not the understanding; and those which cannot red upon the book, are yet partakers of the sense, and may follow it with their mind.  
The other leg, whereupon this Objection stands, is the authority of Justin Martyr: 
Just. Martyr.  which place he gives not as it is there urged by Mr. Perkins; for what he saith to that purpose in the 107. Question is thus, {αβγδ}. Plain song is not convenient for Infants, but singing with inanimate Instruments, and with dancing, and singing men, whereupon the use of such like Instruments is appointed in the Churches from these songs, and of other Instruments agreeing to Infants; and plain song is left [ in the Churches.] For it allures the soul unto the fervent desire of him that takes delight in songs, &c. This is all that Justin Martyr there saith verbatim in that Question, wherein there is not one letter, or syllable against Instrumental music, except in this, that he therein attributes the use thereof most properly to belong to children, which he might well do at that time, we not then finding it used in the Primitive Church, except that now it began to down again, as it seems to do by this very passage. Justin Martyr flourishing about A. D. 150.  
Object. 9. St. Augustine condemns Instrumental music, in his Commentary upon Psalm 33. Nonne& egit institutio in nomine Christi vigiliarum istarum, 
Aug. in Psal. 32.  ut ex isto loco citharae pellerentur. Hath not the institution of wakes in the name of Christ, appointed that harps should be put away from that place?  
Answ. This Objection, is no Objection; for I hope though St. Augustine honours wakes so far, as to affirm that they were begun in the name of Christ; yet did he never say( as we know that they are not) Those meetings were those holy assemblies, wherein Gods people meet in his house on his day, to perform those solemn duties, and services, required from us on those days. Moreover what abuses are incident unto wakes, are sufficiently known amongst us, and therefore well might Instrumental music be forbidden therein. Yet there is one thing worth our notice, and it is this, that St. Augustine we do not find ever approved of Instrumental music in holy public Assemblies, though St. Chrysostom, St. Hierom, St. Ambrose, and St. hilary with others coetaneans with him allowed thereof; nevertheless we do not find that he ever started any quarrel with all or any of them about the same, which I wish all the {αβγδ}, of our age had put in practise.  
object. 10. Instrumental music in holy public Assemblies, 
Test. Veritatis l. 7. p. 656.  is a Papistical institution, as is averred by Flaccus Illyricus who saith thus, Vitalianus composuit regulas Ecclesiasticas& instituit cantum instruments Musicis, quae vulgari nomine Organa dicuntur, teste libro Pontificali. Vitalianus made Ecclesiastical rules, 
Simonds Pisg. Evangel. p. 91.  and appointed singing with Musical Instruments, which are vulgarly called Organs. Simonds saith, Vitelianus brought songs and Organs into the Church about An. Dom. 657. therefore they are unlawful, in well governed, and reformed Churches.  

Lorinus in Psal. 33.  Answ. Unto this Lorinus gives this answer, Julianus unus de Auctoribus Catenae in Joh. multò antiquior Vitelliano,& Gregorio magno, ait cum pietate Organa usurpari posse,& jam in templis usum illorum fuisse cum scriberet. Julianus one of the Authors of the Catena upon John, much more ancient than Vitellianus and Gregory the Great, saith Organs might be used with piety, and were in use in Churches when he writ. This Julianus was a Spanish Bishop, about the year of our Lord 450. above two hundred years before Vitellianus was Bishop of Rome; and therefore neither Julianus, nor Vitellianus, first brought Organs into the Church, for they were therein before them, so that at that time Vitellianus was but the restorer, or Improver thereof; and had Simonds been pleased to have added Psalms, Hymns, and spiritual unto songs, what harm had there been, either in the Ditty, or the Instrument? for that Instrumental music was used in Churches before Papistry had gained head, hath been sufficiently proved already.  
Object. 11. Thomas Aquinas saith, To use Musical Instruments in the Church, 
Thom. Aquin. 22. Quest. 91.  is Jewish, and therefore the Church did not then use them. Instrumenta Musica sicut Citharas,& Psalteria, non assumit Ecclesia in divinas lauds ne videatur Judaizare. The Church doth not admit of Musical Instruments, as Harps, and Psalteries unto the praises of God, lest she should seem to Judaize. And in the same question he gives another good reason why the same is not to be used in the New Testament, namely because it is inconsistent therewith, inconvenient, and hurtful. Sicut Philosophus dicit in 8. Polit. neque fistulas ad disciplinam est adducendum, neque aliquid aliud artificiale Organon, putà Citharam,& si quid tale alterum est: said quaecunque faciunt auditores bonos. Hujusmodi enim Musica Instrumenta magis animum movent ad Delectationem, quàm ut per ea formetur interius bona Dispositio. In veteri autem Testamento, usus erat talium instrumentorum, tum quia populus erat magis durus,& carnalis: unde erat per hujusmodi instrumenta provocandus sicut& per promissiones terrenas: tum etiam quia hujusmodi instrumenta corporalia aliquid figurabant. As saith the Philosopher in the 8. book of Polit. Neither are Pipes to be brought unto Discipline, nor any other artificial Instrument of music, namely Harps, and if there be any other such thing: but what things soever make the Auditors good. For of this sort are Musical Instruments; for they rather move the mind unto delight, then thereby make a good disposition. But in the Old Testament there was an use of such instruments, and also because that people were more hard, and carnal, whence they were to be provoked by these kind of Instruments, and as it were by earthly promises: and also because these kind of Corporal Instruments figured out some thing.  
Answ. Unto the first thing, in this Objection, Lorimus gives a sufficient answer thus, that in another place disertè non negat suo tempore usitata fuisse: 
Lorin in Psal. 32.  nec omnino hunc usum reprehendit, ut sanè postquam jam invaluit,& approbatus est, modo in modulis modus sit, reprehendi non debet. He doth not clearly deny that Musical Instruments were used in his time, neither doth he altogether reprove this use; and now after it was established, and approved, so that there be a mean in the tunes, it ought not to be reprehended; neither may we be said to Judaize in performance of a clear peremptory command, enjoined both in the Old and the New Testament.  
2. What Aristotle saith in forbidding youth Instrumental music, we must understand that he lived amongst the Heathen, whose music was very dangerous.  
3. That such music moves mens mindes rather to delight than to a bettering thereof, is to be understood of unlawful profane music, and not lawful whether profane or sacred.  
4. That they were used under the Old Testament, because the Jews were a hard, and carnal people, whereby they might be alured to the service of God, is a bare supposition without either natural reason, or any footing in the Word of God.  
5. That something was figured thereby, is a bare, and a mere suggestion, which hath been said by many, demonstrated by none.  
Object. 12. It is proper and allowable at Feasts, shows, triumphs, &c. Therefore it is not lawful in Divine service.  
Answ. This doth not any way make it unlawful in Divine services. For it is also lawful at these times, and upon these occasions, to sing Psalms, Hymns, or Spiritual Songs with Vocal music; is it therefore unlawful to sing them in Churches?  
Object. 13. Instrumental music, is only Figurativ and Typical, as is acknowledged by all reformed Divines, who for this reason call it Musica Figurata, Figurativ music.  
Answ. This is only modus loquendi, a manner of expression, used by the reformed, wherein is nothing to prov Instrumental music to be Typical; for Pasch is a word which signifies the Passover, yet is it used by all Divines, both Protestant and Papist, to denote the Passion of our Saviour, which if any one should thence conclude to be Typical, I leave unto all men to judge the absurdity thereof.  
Object. 14. That kind of music, which is called Musica Figurata, Figurativ music, 
Refor. Leg. Eccles. de Div. office. c. 5.  is disallowed by the Church of England, in these words, Vibratam illam,& operosam Musica●, quae figurata dicitur, anferri placet. It pleaseth us that quavering, and elaborate music, which is called Figurativ, be taken away.  
Answ. Here is only a disallowance of the Abuse, not the Use of all music, whether Vocal or Organical, as it is expressed by Musica vibrata,& operosa, Quavering and elaborate music, when there is too much Art, nicety and Curiosity therein; and therefore one givs the Organist this lesson, Parcè illis utetur, ne sanis noceat minuendo, vel tollendo devotiones; 
Tho. de ʋio. Cajet. in Thom. 22. q. 91.  & licet Organorum usus licitus jam in Ecclesiâ sit, causâ excitandae devotionis, illicitus tamen est causâ delectationis, eâdem ratione quâ cantus. He shall use them( that is, the Organs) sparing, warily, least he do wrong to the sound in the Faith, by lessening, or taking away their Devotions; and although the lawful use of Organs be now in the Church, for the stirring up of Devotion; notwithstanding for the stirring up of Delight, it is unlawful, by the same reason as Song. 
Syden. Well-tuned Cymb. p. 22.  Vide Syden. his well-tuned Cymbal, p. 22.  
Object. 15. Sir Edward Dering, after his return from our late Gracious King, his Majesty of ever blessed memory, when he was at Oxford, foully cries out of the then practise there, of Instrumental music in their Cathedral. I observe,( saith he) that in matter of Religion, 
Sir Edward Dering his declare. 1644. p. 10.  they are yet in lov with those specious, pompous, loud, exterior compliments. One singl groan in the Spirit, is worth the Diapason of all the Church music in the world. Organs, Sackbuts, Recorders, Cornets, &c. and Voices are mingled together, as if they would catch God Almighty with the fine air of an Anthem, whilst few present do or can understand. Ubi belluinis strepitibus cantillant, 
His Preface before his Disc. of pro. sacrifice. p. C 3.  dum hinniunt discantum pueri, mugiunt alii tenorem, alii latrant contrapunctum, alii boant altum, alii frendent bassum; faciuntque ut sonorum, plurimum quidem audiatur; verborum,& orationis, intelligatur nihil. Which he himself thus Englisheth, Where they chant it, with belluine noises: whilst children neigh forth the descant, others do thus lough forth the tenor, others bark the counter-tenour, others roar the Altus, others groan forth the Base: and all do this, that much of nois is heard, but nothing at all is understood of the words, and of Prayer.  
Answ. A full, and satisfactory answer, unto Sir Edward Dering, all his calumnies, and obloquys, in those two Paragraphs, cast upon Divine Service, his late Sacred Majesty, our Mother the Church, and the Clergy, requires more in answer thereunto, than is here pertinent, or to this purpose: We having here to deal with him only as an enemy to Instrumental music in public Divine Assemblies. And herein we must consider the Objector and the Objection. The Objector, the foresaid Sir Edward Dering, 
1. The Objector.  a Person of great worth and eminency; who had he used his parts the right way, might have been abundantly beneficial, both to Church and State, in these Nations wherein we liv; but turning them the wrong way, was the chief, and principal instrument, in letting out that Anarchy and Confusion, whereby we have been subjected to all kind of misery, these last twenty years; by his( as the main instrument) overthrowing the state and government of the Church of England, as is manifest in his Collection of his Speeches, Printed 1642. Wherein, amongst many passages of that leaven, we will here mark one, and it is this, p. 62. Upon Thursday May 21.( which was Anno Dom. 1641.) I subjected myself, 
Sir Edward Dreings Speeches. p. 62.  to the obloquy I suffer. The Bill for Abolition of our present Episcopacy, was pressed into my hand, by S. H. A.( being then brought unto him by S. H. V. and O. C.) Until I shall be better informed, giv me leave, to believe, S. A. H. was Sir Arthur Haslerig, S. H. V. Sir Henry Vane, and O. C. Oliver cromwell. This Objector, as it appears by his relation there, he having formerly entertained a Prejudice, against our Church-Government; these men and others, prevailed with him, 
Sir Edward Dering ruined by ruining of Episcopacy.  to present the Bill against Episcopacy; whereby, as there in part he confesseth, he was also ruined: for with that, which he did his best endeavour utterly to destroy, he made himself to die miserable; which had it not been Gods displeasure with these Nations for our sins, he had foreseen; for certainly he knew well enough, that if any man in a lower ground, dig down the banks of the Sea, he must of necessity be overwhelmed therewith, as he was. For after the foresaid men and their party, did not stand, and abide with him upon that ground whereon they then were, but out-ran him into all manner of injustice, outrage and disorder, against God, his Vicegerent, his Church, his Peopl, with a greater excess of rage, and fury, then he could either subscribe, or submit unto; for which they made him drink of the same cup, with the rest of the sound-principled Protestants in the Land; which cup, it seems he endeavoured to have put away, by compliance with them, which he did at large in his forementioned Declaration, and in his Preface before his' discourse of Proper Sacrifice; wherein for that purpose, he picks quarrels with his then Majesty at Oxford, the Clergy, and Divine Service, in the last whereof he is most offended, with Church music: In which doing, he seems to me out of an Abhorrency of a Recantation, to take the worse staff by the end, in that he might with better Argument, and as I suppose better Acceptation to that Party, unto whom he therein applied himself, have made Recantation of what he delivered in Parliament, for bowing at the name of Jesus. And therefore this Objection makes me believe, 
Sir Edward Derings Speeches, p. 84.  that therein he had Policy and Design, not Judgement and Conscience. Thus much for the Objector.  

2. The Objection. Sir Edward Derings four Arguments against it. 1. hypocrisy therein.  In the Objection, there are four Arguments. hypocrisy in Instrumental music; Presumption therein; the Unprofitableness thereof; and lastly Another mans Judgement thereof in the Negativ.  
1o hypocrisy, in blaming them then at Oxford, for being in lov with those specious, pompous, loud exterior compliments; wherein by the last word compliments, he concludes them all Hypocrites, as performing the same without hearty sincerity and devotion: Without which, Praying, Preaching, receiving the Sacraments, singing of Psalms by voice, and every holy Service, are but exterior compliments: than all which, one singl groan in the Spirit, is more worth: they all being mere outward duties, and specious, loud, outward dssimulations: but where true zeal of heart goes along, whether it be Reading, Praying, Preaching, receiving the Sacrament, singing with Voice, or Instrument, it is acceptabl to God; otherwise it is not. And herein he shows the badge of all infectious judgements, which is want of charity, by taking Gods office out of his hand, in judging other mens hearts.  

2. Presumption.  2o In the second place, be would seem to be offended with them, for Presumption, in attempting to catch God Almighty by a fine air, made by multiplicity of Musical Instruments, wherein there is, as in the former, a presumptuous petitio principii; for no man of any Principls in Religion, can be so weak and silly, to believe that God may be gained by any mere outward performance whatsoever. But if the variety of Musical Instruments were offensiv unto him, we have the same often enjoined, and commanded in the book of Psalms, and particularly in the 150.  
The third Argument against it is, 
3. Unprofitablness thereof.  that few or none present do, or can understand. Here is the Old Argument for root and branch, by which to take away bo●h use and abuse; whereas good, and wise Reformers, ever endeavour at taking away the abuse, but not the good and lawful use of any thing. Therefore hath the Church endeavoured the prevention of the cause of this complaint. In Queen Eliz. Injunct. 49. Reforma. leg. de Divin. office. cap. 5. 
Queen Eliz. Injunct. 49. Reform. Leg. Eccles. de Divin. Oct. cap. 5.  Where music both Vocal and Instrumental is enjoined to be so performed, as all may understand it; but this is the quality of most of those that have a prejudicacy against any thing or person, to deny knowledge, or understanding thereof, and profit thereby.  
Lastly, he highly pleads against Instrumental music by Authority, in the words of Cornelius Agrippa, in the very end of the 17. chap. of his Book de incertitudine,& vanitate scientiarum: which are given in the Objection verbatim, in both Latin, and English, as by Sir. E.D. delivered, whereunto Agrippa himself by the Addition of quando, when, givs a sufficient answer thus; said quando auribus, pariter& animo judicii sub trahitur authoritas; But when the power of Judgement is taken away from the ears, and from the mind: then do we grant there is chanting it with belluine noises, &c. But where the heart is accompanied with knowledge, understanding, and zeal, Instrumental music will inflame and rais up a Devotion, acceptabl to God.  
Again, consider but either the Book, whence this ribbl rabbl( rather than Argument) was taken, or the Author thereof, and it will appear an Objection not worth notice; for in some copies it is styled Declamatio Invectiva," An Invectiv Declamation" against all Arts and Sciences; and Invections,( whereof this is one of the largest size) are not Arguments. And of that Book, the Author himself in his Epistle Dedicatory saith thus: Opus quale hactenus nostra non viderit aetas, said non nisi famoso cuiquam, Orbis vastatori profuturum. Such a work as hath not seen the world to this time; but to benefit none, but to every one that would be a Destroyer of the world.  
Is this then a fit Book, out of which any one may lawfully urge an Argument? The Author, let us look upon as the Pen-man of this Book; and in his Personal qualifications; and we shall find he is not of authority for an Argument: As he is Pen-man thereof, in the foresaid Epistl he saith of himself, 
Cornel. Agr. in Epist. Ded. ante librum de Incert.& vanit. scientiarum.  Ex ipsâ indignatione fermè cum Trojanâ illâ Hecubâ versus sim in canem, ac nullarum virium sim ad benè dicendum; nile amplius memini nisi Mordere, oblatrare, maledicere, conviciare, atque sic adfectus, scripsi his diebus volumen satis amplum, cvi de incertitudine,& vanitate scientiarum titulum feci. With very indignation, I am with that Trojan Hecuba almost turned into a dog, and am unable to speak well. I remember nothing, except to bite, to detract, to curs, to revile; and thus affencted, at this time I writ a book big enough, to which I gave the title Of the uncertainty and vanity of Sciences. And a little after, Ipse ego me demirer talem in homine canem, 
Ibid.  & cvi nihil caninum de sit, praeter unam Adulationem, licet Aulico necessariam. I myself may wonder at myself, a dog in a man, who want nothing belonging unto a Dog, except only fawning, although it be necessary for a Courtier.( To use Sir Edwards words) So that Learned Papist Agrippa of himself, and and of his Book; whereby they are made of no Authority for Argument. To conclude this; his personal qualification brings up the Finis in that Book; 
Though this is not vers, yet being set vers fashion, I here do the like.  
Nullos hic parcit Agrippa;  
Contemnit, scit, nescit, flet, ridet, irascitur, insectatur carpit omnia;  
Ipse Philosophus, Daemon, Heros, Deus,& omnia.  
Aggrippa spares none;  
He coutemns, he knows, he knows not, he weeps, he laughs at, he is angry with, he carps at all things.  
He is a Philosopher, a Devil, a Nobleman, a God, and all things.  Now what this his language here is, I leave to all men to judge, it having no relish of a Philosopher, a Nobleman, or God.  
Thus is Sir Edward Derings Objection sufficiently refeled, wherein he himself towards the latter end thereof begins to relent, in the foresaid Preface before his discourse of Proper sacrifice, and to acknowledge that though there may be Arguments for it in the Hymnal part, that yet for ought he ever heard, there can be none for the Precatory part; because, saith he, no man can make his solemn Prayers in a Tune, but that he must make them unlike Prayers. Whereunto I answer, Prayers are nothing but Petitions unto God, and therefore Petitions are Prayers, whether they be in prose or in vers, whether delivered by reading, singing, or playing upon Musical Instruments, provided that true faith, warm zeal, and sincere devotion giv life thereunto. Otherwise we must conclude, that those many Requests in the Book of Psalms, are not like Prayers, because they were by David compiled in vers, and played on Musical Instruments; and should any man conclude our Reading Book of Psalms, to comprehend and contain Prayers in it, and not the Singing Book of Psalms, we should acaccount it for strange logic.  
Object. 16. Many peopl will go to Church rather to be delighted with the music, then to be informed and instructed in true Religion.  
Answ. Grant they do, it will not thence follow that this Service is either unwarrantabl, or unlawful; so many go to Church only to see the Preacher; will it therefore follow, they must no longer hear Sermons? So many go to Church for fashion, and for company, or for custom; must they therefore be forbid going to Church? That men go to the house of God upon any account, let us therein rejoice. For some go to Church with purpose to intangl, catch, or find fault with the Preacher, yet sometimes it pleaseth God, that they are at one time or another caught themselves. Thus Mr. Bolton went on purpose to ensnare Mr. Perkins, and returned a Convert. As Pighius red Calvins Institutions on purpose to confute them, when it was Gods will, that thereby he should return rectified in his judgement, concerning the doctrine of Justification. Father Latimer informs us, that some went to Church only to take a nap, and he had rather they should come thither on purpose to nap, than not go at all. So perhaps, some may go to Church, to hear the melody that is in church-music: but who knows, but it may pleas the fadomless, and unsearchabl wisdom of God, the only Teacher, to led them such a way, that by hearing those things wherein their ears delight, their hearts may be caught, and that they may learn feelingly, and affectionately to understand those things, whereby they may be eternally saved! Amen.   

Directions how to shun, and avoid dangers and inconveniences, in all music, Whether Vocal or Instrumental, that is to be used in Divine Service.  

The third part of this Task.  THE third, and the last part of this present engagement, is, to giv directions, whereby to avoid, and shun those dangers and inconveniencies, which may attend the use of Instrumental music, in Holy public Assemblies; and they are these.  
1. 
Direction.  That herein we do not account this to be the choicest and chiefest part of Gods worship, and service; so as to imagine or suppose God cannot be served without it.  
2. That we do not place or expect any merit therein, or suppose thereby to gain remission of sins. But to perform the same, that thereby the glory of God may be the more fully, and clearly set out, and celebrated, in conformity to his will.  
3. That it be not so enlarged, and extended, that there be no room left, for the other service of God, as Prayer, Preaching, Administration of the Sacraments, &c. 
council. Colon. Tom. 35. fol. 30. Can. 12.  Vide Dist. Can. Cantantes. Therefore was it thus kerbed in one of the Councils: Jam& illud non rectè fit in quibusdam Ecclesiis, ut ob cantorum,& Organorum concentum omittantur, aut decurtentur ea quae sunt praecipua; And now it not well done in some Churches, that those things which are of greatest concernment should for the Consort of singing men, and Organs, be omitted or shortened.  
4. That Poems of all sorts, be not promiscuously used in Churches, but only those which are found in the Word of God; 
council. Sonon. Decr. 17. " And therefore one of the Councils gave this in Decree; Nolumus quod Organicis instruments, resonet, in Ecclesiâ, impudica, aut lasciva melodia, said sonus omnino dulcis, qui nihil praeter hymnos divinos,& cantica spiritualia representet. We will that no shameless, or lascivious music sound on Musical Instruments in the Church, but only a sweet tune, which may represent nothing, except Divine hymns, and spiritual songs. Herein St. Basil is excellent. {αβγδ}. 
Basil. Hom. 24. De leg. lib. Gent.  {αβγδ} {αβγδ}. Neither to draw out through the ears that melody which is a corrupter of souls. For this kind is wont to bring forth the fruits of servitude, and ignobleness; besides it stirs up the desires of lust. We have an other music far better; stirring us up unto better things, which are to be followed. David the Author of holy songs, used this; he delivered Saul from madness. And Pythagoras in times past, happening upon men drunk, commanded a Musician the Master of the luxurious feast, to change his Tune, and to play the doric Tone unto them. And by this kind of melody made them all sober; All which having cast their Crowns from their heads blushing returned home; but the rest played upon the pipe after the manner of Cybels Priests, and men drunk. So great truly is the difference of right melody, from obscene, and filthy, that ye ought no less to fly that which now is in use, then any thing most filthy. Therefore was it well decreed by the same Council; 
council. Colon. Decr. 15.  Organorum melodia in Templis sic adhibebitur, ne lasciviam magis quam devotionem excitet: neve praeter hymnos Divinos, ac cantica spiritualia, quidquam resonet ac representet. Decr. 15. The melody of the Organs shall be so used in Churches, that it may not occasion lasciviousness more then Devotion, neither may it noise any other thing than Divine Hymns, and spiritual songs. Materia Musicae Ecclesiasticae esse debent cantiones, hymni,& odae, quae in sacris tantum literis extant. The matter of Ecclesiastical music ought to be Songs, Hymns, and Odes, which are only in holy Scriptures.  
5. Too much nicety, 
Syden. well tuned Cymbal. p. 22.  and curiosity is herein to be shunned, and avoided; for as it is excellently well said by Divinely Oratorical Mr. Sydenham, The overcarving, and mincing of the air, either by ostentation or Art, lulls too much the outward sense, and leaves the spiritual faculty untouched; whereas a sober Mediocrity, and grave mixture of Time and Ditty, rocks the very soul, and carries it into ecstasies, and for a time seems to cleave, and sunder it from the body, elevating the heart in expressably, and resembling in some proportion those Hallelujahs above; the choir, and Unity which is in Heaven. 
Schorpius Symph. p. 226  Forma talis debet esse cantus, ut intelligentiam verborum non impediat, said potius juvet,& qui animum ex verborum intellectu, cum suavitate conjuncto oblectet& afficiat, potius quam sensus,& aures. The form of Tune ought to be such, that it hinder not the understanding of the matter, but may rather help it, and which from the understanding of the words joined with sweetness may delight the mind, rather than the sense, or ears. Therefore is the doric Tone, as fittest for this use received into the Church, both in voice and instrument; which Plutarch saith Plato, did best allow. {αβγδ}. 
Plutarch. {αβγδ}.  {αβγδ}. He choose the doric [ music] as most fit for moderate and valiant men, not truly being ignorant, as saith Aristoxenus, in the second book of music, therein also to be something profitable, tending to the preservation of the Commonwealth. And indeed he bestowed much pains upon music, and was scholar unto Diacon of Athens, and Metellus of Agrigentum. But because there was much gravity in the doric Tone, he vouchsafed it the most honour. But by Christians it is much more honoured, being by them admitted into Divine service. 
Syden. well tuned Cymbal. p. 26.  Whereof hear Pious, learned and most elegant Mr. Sydenham once more: The doric Tone was in use even in Primitive times, and for the gravity, and pleasantness of it, Psalms and Hymns were then continually sung to that Harmony. And this had a double aim in the first Institution; the one, for novices in Devotion, that in mindes but lately carnally affencted,( which naked words could not so easily bore, and enter) the flatteries of Art, the insinuations of music, might gain a more plausible convoy, and access for divers matters; the other, for spiritual refreshing and comfort of those that for Religion, heretofore groaned under the yoke of Tyranny.  

Willet Synops. p. 683.  Concerning Church songs, and music, St. Augustine writeth thus: Sobriè Psallimus in Ecclesiâ, Divina Contica Prophetarum. We sing with Musical Instruments, treatably, and soberly in the Church, the Divine songs of the Prophets. Two conditions he requireth: first that we sing holy Psalms taken out of the Scriptures. Secondly, that they be sung treatably, and distinctly.  
6. In this service we are also to take special heed, least our senses be more intent upon, and actuated with the outward tune and melody, than the matter, and business in hand; for except our souls make it at that time their sole and only business, we do therein, and thereby offend God; therefore saith St. Basil, {αβγδ}, 
Basil. Mag. Epist. 63.  {αβγδ}. But if otherwise, take heed least ye garnish a Gnat, whilst in tuning of Psalms, busying yourselves about the sound of the voice, 
August. contr. Julian. lib. 4.14.  ye break the greatest of Gods Commandments. Etiam illic( saith St. Augustine) si sonum non sensum libido audiendi desideret, improbatur. There also if there be a desire of hearing the sound, not the sens, it is disallowed. Ideo rect Hieronymus in cap. 5. ad Ephes. 
Scharpius Sympho. p. 227.  agit contra eos qui magis modulationi quàm verbis attenti sunt. Well therefore doth Hierom speak against them which are more attentive to the tune than the words. This sin cost St. Augustine much grief and sorrow. Cum mihi accidit, ut me amplius cantus quam res quae canitur, 
St. August. Conf●s. l. 10. c. 33.  moveat, poenaliter me peccare confiteor:& tunc mallem non audire cantantem. When it befalls me to be more moved with the Song than the Ditty, I confess myself to have grievously offended, and then had I rather not have heard the choir. In this case there may be too much Art, and Curiosity, in the composure of the book of Psalms for music. Therefore saith Zanchy, Nimio enim artificio, quo compositi sunt apud nos Psalmi, 
Zanch. Tom. 4. Col. 570.  & quo etiam canuntur, fit ut parum ad res ipsas, nimium autem ad cantum attenti plerunque simus: quod sanè vitium maxim cavendum est. For by overmuch art, whereby the Psalms are set with us, it comes to pass that for the most part we are overmuch attentive to the tune, but little to the things themselves: which 'vice truly is chiefly to be taken heed of. Of this red unparalleled Mr. Sydenhams well-tuned Cymbal, p. 25. 
Mr. Syden. his well tuned Cymbal. p. 25. Calv. Justit. l. 3. c. 20. Sect. 32. Calv. Justit. l. 4. c. 20. Sect. 31.  Quicunque ad suavitatem duntaxat auriumque oblectationem compositi sunt cantus, nec Ecclesiae Majestatem decent, nec Deo non summopere displicere possunt. What songs soever are composed only for sweetness, and delight of the ear, do not become the Majesty of the Church, but are highly offending to God. And Calvin saith well, Plusquam clarum est, neque vocem, neque cantum( si in oratione intercedant) habere quicquam momenti, aut hilum proficere apud Deum, nisi ex alto cordis affectu profecta: It is very clear, that neither voice nor song( if they be used in prayer) profit any thing, or are of any reckoning with God, except they proceed from the inmost affection of the heart.  
7. Herein we must be sure to be free and clear from all manner of Pride and highmindedness; For as it if admitted, undoes all our best performances, even so this also. For God resisteth the proud, but giveth grace to the humble. 
1 Pet. 5.5.  If all these several Shelves, Rocks, and Gulfs be avoided, we have no cause of fear, or jealousy; but we may in an acceptable manner serve our God with Instrumental and Vocal music; otherwise it may prove most dangerous, 
Zanch. Tom. 4 l. 1. c. 18.  for Haec sunt praecipua vitia, quae in Musicâ corrigi vellem:& propter quae fit, ut perniciosior potius sit Ecclesiae Dei Musica quam utilis sit. Siverò haec tollantur, non possum non laudare tanquam rem utilem,& honestam; tum certe non assumitur in vanum nomen Dei. These are the faults, which I would have mended in music: and through which it comes to pass, that music is rather hurtful than profitable to the Church of God. But if these things be taken away, I cannot but praise it as a thing profitable, and honest. When we have by all these means, pruned, and pared the unfitness, and indisposition of our minds and affections, for a warrantable undertaking of this holy duty, then let us be sure that we do not attempt or undertake the same but in humility. Cor sit humiliter exultans, 
August.  & devotione piissimâ inflammatum. Let the heart be in humility exalted, and inflamed with the greatest devotion, that this Ordinance may do its right and proper work upon our affections.  
8. All this which hath hitherto been delivered, is but for and in the behalf of music Ecclesiastical, which will be in vain, and superfluous, except we bring it into a higher strain than this is able to reach, namely a divine and heavenly music, termed by Divines Musica Spiritualis, Spiritual music, a Spiritual Art, as it were of Mysterious chemistry, whereby all celestial Ditties, and sublimated airs, are turned and digested into works of Piety, and Sanctification; by making our bodies, and our souls, our thoughts, and affections in a much higher manner to become conformable unto that Deity we therein worship and serve; this caused lofty Nazianzen to say {αβγδ}, 
Gregor. Nazien. val 1. Ad Patr. Orat. 8.  {αβγδ}. I myself am a Divine Organ, an Organ endued with reason, an Organ which by that excellent Artificer, the Holy Ghost, am made tunable, and played upon.  
{αβγδ}  
{αβγδ}. 
Idem. vol 2, car. 54. de Silen. 〈◇〉.   
Sum Lyra supremi regis, modulisque canoris  
Hunc canon, qui tremulo cuncta favore quatit.  
The Harp of the great King I am, and with notes shrill  
Him sing, which doth all things, with warbling good will trill.  
It is not the Harmonious and sweet Consort of music which God requires from us, without that better Harmony of a good life. Therefore do all the Fathers, and Schoolmen agree in their exposition of psal. 33.( and the rest wherein those clear commands are given for Instrumental music,) therein driving at an holy, and heavenly life as the best Harmony, and sweetest melody in Gods ear: and herein Great St. Basil, is large and excellent. {αβγδ}. 
B●sil. in Psal. 29. ] {αβγδ}. 
Idem. in Psal. 32. — {αβγδ} {αβγδ}. Ye his Saints sing to the Lord] not if any man speak our the words of a Psalm with his mouth, doth he by and by sing to the Lord; but whosoever sing Psalms with a pure heart, and whosoever are holy towards God, keeping righteousness, These at last may sing Spiritual Songs to the Lord, in a sweet, and consentaneous order. But so many as do continue in thoughts of fornication, which hid theft, which cover deceit, and a ly in their heart, they truly are thought to sing, but in very dead they do not.— Confess ye to the Lord upon the Harp, sing to him on the Psaltery with ten strings.] It is meet first to sing to the Lord on the Harp; That is, to make the Actions of our bodies harmonious. Because we have sinned in the body, when we have yielded our members servants of sin; unto righteousness we also confess with the body, using that Instrument for the destruction of sin. Hast thou cursed? bless. Hast thou circumvented thy neighbour in any business? make restoration. Hast thou fallen into drunkenness? Fast. Hast thou done arrogantly, and proudly? be thou humbled. Hast thou been envious? pray. Hast thou committed murder? undergo martyrdom, or which certainly may equal martyrdom, afflict thy body by thy confession. 
Ambros. Tom. 5. p. 76.  Sume& tu citharam; pulsata spiritus plectro, interiorum chorda venarum, boni operis sonum reddat. Sume& Psalterium ut harmonia dictorum factorumque tuorum concinat. Sume& Tympanum, ut organum tui Corporis Spiritus moduletur interior, factisque operantibus dulcis morum tuorum suavitas exprimatur; sic Psallebat Propheta, cum diceret, Veni huc de Libano sponsa mea, veni de Libano, veni. Cant. 4.8. 
Cant. 4.8.  Ecce, ego& pueri mei, quos dedit mihi Dominus in signum, Isa. 8.18. Qui pueri? de quibus dicit Ecce ego,& quos dedisti mihi; said hoc canticum non in foro, non in plateis canebatur, said in jerusalem. Ipsa est enim Dominicum forum, in quo praeceptorum coelestium leges conduntur. Take thou also the Harp, struck with the quill of the Spirit, let the string of the inward disposition give out the sound of good works. Take also the Psaltery, that the Harmony of thy words and deeds may agree. And take the Timbrel, that the Organ of thy body, and the inward spirit may keep tune, and that a sweet pleasantness of thy life and manners may be declared by the power of thy deeds; so sung the Prophet, when he said Come with me from Lebanon( my Spouse) come from Lebanon, come. Behold I and the children, whom the Lord hath given me are for signs. What children? Those concerning whom he saith, Behold, I and the children which thou hast given me; but this song was not sung in the Market, nor in the streets, but in jerusalem; for that is the Lords Marketplace, wherein the Laws of the heavenly Commandements are safely laid up. Whilst men are busy in the Theory of Religion they do but cantare, chant it; 
Vide Sydenhams well tuned Cym. p. 29.  but when they are wholly taken up with the practics thereof, then they do Psallere, truly Psalm it; Which God through the merits of Jesus Christ, and the assistance of his Holy Spirit enable us all to perform as he in his Word hath commanded. Amen.   
FINIS.   

The Author hereof hath these Books already Printed.  
AN English Elementary, an English Syllab●ry, and an English Monosyllabary, with Rules of Syllabication, and Comenius his Vestibulum with Additions, and Directions, whereby ordinary capacities may in two years be enabled from their Letters judiciously to writ and red English, and so far entered into Latin, that they may writ, and speak Latin; and English any Latin Author with the help of a Dictionary, and Godwins Roman Antiquities.  
All which are to be sold at the Authors house, the next door to the Dog and Duck, in George Alley in Shooe-lane, London.   

ERRATA.  
Candid Reader!  
THough great care, and diligence hath been taken at the Press, these( and I fear other faults) have escaped, which are desired favourably to be corrected as followeth.  
page. 1. l. 7.(.) s●c(?) p. 3. l. 20. deal a. l. 24. after when add Psa●ms, Hymns, or Spirit al songs, are sung, or played, or both in hypocrisy, upon some wicked design, or account, and when. l. 30. after when add P●alms, &c. are profaned, &c. p. 4. l. 2. after are add in sincerity. s. 28. lege irrefragabl. p. 24. l. 16. lege whether p. 32. l. 28. lege which I red. p. 45 l. 4. Marg. Doctor, lege Diodor. p. 52. l. 12. deal thus. p. 54. l. 19. deal being. p. 59. l. 17. after it add is.