!I. The Music and Song of the Ages.. 
 
 By T. H. EoBiNSON, D. D., Harrisburg, Pa. 
 
 THE 
 
 9 
 
 EVANGELICAL 
 
 QUARTERLY REVIEW. 
 
 EDITED BY 
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 VOL. XXI— NO. LXXXIII. 
 
 JULY, 1870. 
 
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THE 
 
 EVANGELICAL 
 
 QUARTERLY REVIEW. 
 
 NO. LXXXIII. 
 
 JULY, 1870. 
 
 ARTICLE XL 
 
 THE MUSIC AND SONG OF THE AGES. 
 By T. H. Robinson, D, D., Harrisburg, Pa. 
 
 "Where wast thou when I kid the foundation of the earth, 
 .•when the rnoruing stars sang together, and all the sons of 
 •God shouted for joy ?" Earth's history began in song. So 
 shall it end : in the song of that great multitude, that no 
 man can number. Who shall stand by the sea of glass 
 mingled with fire, wearing the priestly robes of festival, 
 and victors' crowns, and with the harps of God in their 
 hands, lifting up the undying chorus of a finished redemp- 
 tion? 
 
 We purpose to follow the track of song and melody, 
 from that fountain-head of song in Eden, along through 
 the ages, down to our own day. The field is, however, so 
 extensive, that we are compelled to limit our investigations. 
 Music and Song take on three prominent types : 1. of love, 
 and home, and social life; 2. of war; 3. of religion. We 
 must confine ourselves mainly to the last. 
 
 The accents of the first singers have not reached us. Of 
 the modes of worship in the old patriarchal times, we 
 know but little. But music and song were there. It was 
 surely not in the city of Cain, that the voice, of singing 
 
460 Hie Music and Song of the Ages. 
 
 was heard. Our first father Kved long enough to hear his 
 ingenious sons piping, on harp and horn, their ante-dilu- 
 vian melodies. Jubal was the father of all such as handle 
 the harp and organ. But, if the tents of sin resounded 
 with unhallowed music and mirth, surely, the abodes of 
 the righteous were not wholly silent. 
 
 After the universal hymn of Eden was broken, and the 
 joyous song of creation fell into a mournful minor, the 
 wail of human sin and sorrow runnintr across all its har- 
 monies, the first golden wave of promise, that struck ou 
 the desolate heart of man, must have re-awakened the 
 echoes of the angels' song. Yet we are left to conjecture. 
 A long silence reigns in the hymn-book of the first cen- 
 turies. There are records of violence and judgment, of 
 the flood and the ark, of patriarchal tent and Egyptian 
 bondage, but the only song of that earliest age, that lias 
 floated down to us, is the wail of the murderer Lamech, 
 to his wives Adah and Zillah. We read of altar and sac- 
 rifice, of meditations in the field at eventide, of visions and 
 prayers, and accepted intercessions, and we feel confident 
 that they, who walked like Enoch and Abraham with God, 
 must have had their hearts kindled into music. The tents 
 of the wicked were full of dancing, and mirth, and song. 
 But not these alone. The groves were God's first tem- 
 ples, and up through those leafy cathedrals, rose the sim- 
 ple lays of early faith, breathing amid the gray old trunks, 
 that high in heaven mingled their mo.ssy boughs, their 
 hopes of forgiveness and peace. From the green earth, 
 rising out of the flood, from the ark lifted upon the wat- 
 ers, from the shadow of the great oak of Harare, trom the 
 fountains, and valleys, and hill-side pastures, where the 
 tents of the patriarchs rose white amidst their flocks, 
 from the garrisons and palaces of Egypt, doubtless, the 
 sons; arose, though our ears listen in vain for the echo 
 of it. 
 
 The first recorded hymn of the Bible, is the national 
 thanksgiving anthem, which was sung on the eastern shore 
 ol the lied Sea. As the waves of the sea rolled back to 
 their ancient tide-mark, burying under them the hosts of 
 the enemies of God and of Israel, above the ripple and 
 the roar of the clashing waters, Miriam and the stalely 
 maids of Judali, leading the voices, and the cymbals, and 
 the liarps of the vnilHons of Israel, .sang the recjuiem of 
 Pharaoh and his Mem))hian chivalry. It was a song of 
 
77*6 Mtisic and Song of the Ages.- 461 
 
 victory. It was a song of redemption. It was sung to 
 the Lord. It was thus a type of all succeeding Psalrns. 
 It was the first hymn of the Church visible, and the notes 
 of that great chant of victory echoed along that crystal 
 sea, over the silent buried dead, out into the stillness of 
 the desert around, down along the track of time, across all 
 the centuries to us, and have gone sounding and echoing 
 on beyond, far beyond us into the depths of eternity. 
 "Who is like unto Thee, O Lord, among the gods : who is 
 like. Thee, glorious in holiness, fearful in praises, doing 
 wonders ?"' 
 
 From time to time, throughout the Old Testam.ent, we 
 catch fresh notes of the song. There is the sublime chant 
 of Deborah the prophetess, and the hymn of Hannah. 
 There is the war chant of Jehoshaphat and his army, a 
 hymn of victory, sung in faith before the battle, sung with 
 harp and psalters, and trumpet. There is the song of 
 Hezekiah, sung when he recovered from his sickness, and 
 the psalm of Jonah, sounding up from the depths of the 
 sea. There is the mystical song of songs. The winter is 
 past, the rain is over and gone, the flowers appear on the 
 earth, and the time of sino-in"' is come. 
 
 There was mournful music by the rivers of Babylon, 
 when the taunting oppressors said to the captive of Judah, 
 Sing us one of the songs of Zion, and there also was the 
 song of liberated Israel, when the walls of Jerusalem again 
 arose, when the singers sang aloud, and they all rejoiced, so 
 that the joy of Jerusalem was heard afar off. And, there too, 
 
 ■in that Book which God has caused to be written for us, 
 are the songs of the sweet singers of Israel, the inspired 
 liturgy for all time. Like all other true hymns of the 
 Church militant, these psalms of David rise out of tumul- 
 tous depths and soar into the calm light of heaven. They 
 are not soft literary effusions of a sentimental religion; 
 
 •they are battle songs, penned and sung on the battle-field, 
 they are the outbursts of a struggling, fainting, hoping 
 heart, they are sighs of penitence rising heavenward, they 
 are the very words, on which the griefs of repenting sin- 
 ners, and the joys of exulting believers, have taken wing 
 to God for more than three thousand years. Thus passed 
 the Old Dispensation. Opening with the song of the morn- 
 ing stars, changing too speedily into the wail of sorrow and 
 penitence, yet, everywhere flows the stream of melody, 
 gushing out of loving hearts. Whether in the temple, or 
 
4<62 The Music and Song of the Ages. 
 
 on tbe battle-field, amid flocks and green pastures, and still 
 waters, or hunted as a stag upon the mountains, the true 
 Church ceased not to sing unto God. And just as the 
 birth day of the first creation was ushered in by the songs 
 of the angels, so the joy of the second and greater birth 
 day, awoke the earth with music, as the song of a great 
 multitude of the heavenly hosts broke on the shepherds 
 keeping watch over their flocks by night. They came to 
 teach the Church once again, the almost forgotten strains 
 of the first hymn : Glory to God in the highest. 
 
 The first recorded Jewish hymn was chanted by the 
 great Lawgiver and by Miriam, with a nation for the 
 chorus. Tbe first Christian hymn was sung by Mary the 
 mother of Jesus, with no audience but her cousin, the 
 faithful Elizabeth. Yet the thanksgiving of Moses and 
 the magnificat of the Virgin are both alike, strains in the 
 one great song of redemption. 
 
 As we follow the stream of inspired melody in the New 
 Testament, we have the natal hymn of the 13aptist, when 
 the seal was taken from the lips of Zacharias, and his heart 
 was borne away in gladness over the child of his old age. 
 Then, once again, ia 4;hat temple, where for centuries no 
 fire from heaven had touched the sacrifice, and no gush of 
 inspiration warmed the icy and formal routine of the ser- 
 vices, once again inspired song arose, not irom a choir of 
 priestly singers, but from the lips of an old man, who held 
 the infant Saviour in his arms. These hymns of Mary, of 
 Zacharias, and of Simeon, were the matin songs of Chi'isti- 
 anity, all hymns of triumph. Then as we pass along, we 
 catch notes, now of children singing in the temple, now of 
 the great multitude with the palm branches, anon, a mourn- 
 ful strain from the hymn of the night of trial, then, after 
 the ascension of our Lord, we have a choral burst of 
 praise from the Avhole assembled Church, as Peter and 
 John came back from their night in prison. Then, from 
 the dungeon in Philippi, we hear Paul and Silas singing 
 praises to God. After this we hear no more, and rever- 
 ently clo.se the sacred volume, as the songs of heaven are 
 falling from the heights of apocalyptic vision, upon the 
 ear and into the heart of the beloved disciple in Patmos. 
 And that new song, within the gates of pearl, what is it 
 still, but the song of redemption, which Moses and David, 
 and Mary and Simeon, and the early Church sang, the song 
 
The Music and Song of the Ages. 463 
 
 ^at every repenting sinner, and every bappy believer still 
 sings, the song of the New Creation. 
 
 We pass to the second stage, the psalmody and music of the 
 ancient Christian Church. The Saviour sang with bis dis- 
 ciples, and the olive trees heard the murmured notes. The' 
 holy example thus set, was not forgotten. Sacred song 
 continued to be a delightful part of social and public wor- 
 sbip. From the celebrated letter of Pliny to the emperor 
 Trajan, less than ten 3rears after the death of the apostle John, 
 we learn that the Christians, of that time, were accustomed 
 to meet before day break, to sing hymns to Christ as God. A 
 Christian hymn book existed from the beginning. Two 
 or three hymns of that remote antiquity have come down 
 to us. The Ter Scmctus, or Thrice Holy, the Gloria in Ex- 
 celsis Deo, and the Te Deum Laudamus, with some modifica- 
 tions,are preserved in Lutheran, Episcopal and Roman Cath- 
 olic Liturgies, and are undoubtedly very ancient. The 
 strictest research, cannot find conclusively, the time of their 
 production. There exists a tradition, that the Te Deum^ 
 which is one of the noblest and grandest of human com- 
 position.s, gushed forth in alternate responses from the lips 
 of two fathers, Ambrose and Augustine, while the former 
 was baptizing the latter. Another evening hymn is con- 
 sidered by many to be the most ancient Christian hymn 
 extant. We give it in a translation. It should be remem- 
 bered, that poetry in rhyme is of quite modern date. The 
 ancient hymns were sentences, much like our modern chants 
 and anthems. 
 
 ' Let us imagine a little band of persecuted Christians, 
 whom no danger of enemies could deprive of the joys of 
 meeting, gathered at eventide by the side of that river, 
 where the blessed apostle Paul met the first converts of 
 Greece. The sun is setting. The brief twilight is fast 
 fading. The glow of the golden southern day is passing 
 rapidly away, and night, with its silence, dews and stars, is 
 coming on. From that little band, faintly, like the chimes 
 of evening bells, rises on the evening air this sweet song: ' 
 
 Jesus Christ, joyful lig'lit of the Holy, 
 
 Glory of the immortal, heavenly, blessed Father, 
 
 We, coming at the setting of the sun. 
 
 Beholding the evening light, 
 
 Praise Thee, Father, Son, 
 
 And' Holy Spirit, God, 
 
464 The Music and Song of the Ages. 
 
 Theo, it is meet, 
 
 At all hours to praise 
 
 "With sacred voices, Son of God, 
 
 Who giveth life. 
 
 Wherefore the universe glorifieth Thee. 
 
 The prevailing mode of singing, for the first three cen- 
 turies, was congregational. All united their voices in the 
 songs of praise, in strains suited to their ability. The mu- 
 sic was, of necessity, rude, simple and inartificial. It ap- 
 pears to have been but a recitative or chant, sung in sym- 
 phony or unison. The harmony lay not in the blending 
 of different parts, as treble, tenor, alto and bass, but the 
 blending of different voices of men, women and children. 
 Nor should it be forgotten, how God has made the whole 
 human race a vast choir, where the deep bass of a manly 
 voice, the tenderness of woman's and the varying tones of 
 the maiden and the child all blend in sweetest harmony. 
 The early fathers are full and eloquent in praise of the 
 moral power of their psalmody. "Nothing," says Chry- 
 sostom, "so lifteth up, and as it were, wingeth the sonl, so 
 freeth it from earth, and looseth it from the chains of the 
 flesh, so leadeth it into wisdom, and a contempt for all 
 earthly things, as the choral symphony of a sacred hymn, 
 set in harmonious measure." Augustine also gives an ac- 
 count of the power of music over him, on the occasion of 
 his baptism : "I was transported by the voices of the con- 
 gregation sweetly singing. The melody of their voices 
 filled my ear, and divine truth was poured into my heart. 
 The sacred flames of devotion burned in my soul, and 
 gushing tears flowed from my eyes. The Te Deum^ which 
 was very early sung, was at once a hymn, a creed, and a 
 prayer. It is a creed taking Avings and soaring heaven- 
 ward. It is a cloud of incense rising up, and reflecting 
 back on the earth, the radiance of the skies. The burden 
 of the primitive songs and hymns was Christ, the only be-, 
 gotten of the Father. This sacred theme inspired the 
 earliest anthems, was the subject of the sweetest melodies 
 and loftiest strains. They were sung before the devotions 
 of the Church had turned from Christ to Mary. They 
 are full of faith in a personal listening Saviour, as a 
 living, gracious, miglity and beloved Friend. In publio 
 devotions, in social circles, around their domestic altars 
 they worshiped Christ, in happy sacred song. In their 
 
The Music and Song of the Ages. 465 
 
 daily occupations, they relieved their toils and refreshed 
 their spirits, by renewing the favorite songs of Zion. Per- 
 secuted, afUicted, in solitary cells, exiled to foreign lands, 
 shut up in dismal mines, hiding away in caves, led to the 
 martyr's stake, they still sang the Lord's Song. Some of 
 these hymns are so true and tender, so sublime in their 
 simplicity, so full of the sweet repose of faith, and of 
 lowly, happy adoration, that we love to think of them 
 as hymns, to which Paul and John may have listened, may 
 have sung. 
 
 We pass on down the stream of time. We have already 
 said the earliest Church music was simple and inartificial, 
 congregational singing in symphony. About this time, 
 the third century, some heretical sects arose along side of 
 the Church, that, in order to draw the people after them, 
 paid great attention to music and hymnology. To sup- 
 plant the popular hymns of the heretics, and to provide 
 singing that should rival theirs, many orthodox hymns 
 were written, and the office of Cantores, or Psaltai, i. e., 
 conductors of the service of praise, was instituted, and 
 choirs' gradually came into vogue. The practice of alter- 
 nate, or responsive singing was common. The Church 
 began to put off its early simplicity, and develop into a 
 hierarchy. The clergy, thus early, were rising into a des- 
 potism in the Church, and they sought to exclude the peo- 
 ple from all participation in the services of worship. Con- 
 gregational singing was banished, the clergy and the choir 
 taking the singing into their own hands. Great attention 
 began to be paid to the requirements of art, and the com- 
 mon people were bidden to be silent. The character of 
 the music rapidly changed. Secular and theatrical melo- 
 dies were introduced into the churches. As yet, the use 
 of instrumental accompaniments, was tenaciously resisted, 
 and the singing in different parts was not allowed. As 
 early as the year 330, a school for the training of profes- 
 sional church musicians, was opened in Eome. In the 
 heat of the great Arian controversy of the fourth century, 
 bands of orthodox and Arian choristers were formed to 
 perambulate the streets of Constantinople, singing hymns 
 upon the rival doctrines, in imitation of the processional 
 singing of the pagans. This was done to indoctrinate the 
 people. It was at this period, that Ambrose, of Milan, 
 arose in western Europe, and introduced a new kind of 
 
 Vol. XXL No. 83. 60 
 
466 The Music and Song of the Ages. 
 
 Psalmody, the Cantus Avihrosianus, or Ambrosian CliaQt'v 
 For modulation, aptness and beauty, it far surpassed any- 
 thing that had yet been known. It is very difficult at this' 
 day, perhaps, wholly impossible to reproduce anything in 
 the exact style of one of those ancient chants. 
 
 If we turn from the music to the hymns of that age, we 
 begin to discover some sad changes, creeping silently and 
 stealthily in. The fervent, tender, childlike hymns of the 
 first three centuries, that only spoke of Jesus, the Saviour,- 
 the Friend, the Master, the merciful, loving, holy Sufferer 
 for us, begin already to be displaced by hymns commeinor- 
 ative of martyrs and just men ; hymns that speak of the 
 Virgin mother, hymns for feast days and fjxst days. As 
 yet, indeed, the name of Jesus is above every name ; as 
 yet, the martyrs and saints of heaven seem to be sitting on 
 the steps only of his glorious throne, but the whole order 
 of the Church begins to turn its face from Christ, towards- 
 his creatures. The trust in the Lamb of God alone, dies 
 silently out of them, giving way to invocations of Mary. 
 
 We now approach the middle ages, the ages of chivalry 
 and the crusades, of massive Gothic architecture and the 
 feudal system. But just before we reach that strange and 
 wonderful age of everything romantic, of heroes and hero- 
 ines., we pass through a border-land, filled with troubadours 
 and love sougs, knio;hts errant and tournaments, of rich 
 wild border minstrelsy — a laud full of legends, the heroic 
 age of a false Christianity, as the age of Hector and Priam 
 was the heroic age of Troy and Greece. The heroes of 
 the age are canonized saints, and they are an army counted 
 and memoralized by tens of thousands. Passing across 
 the stage before our eyes as we look back on the age, we 
 behold the motliest group of all the centuries, emperors 
 and kings, popes and cardinals, prefects and dukes, monks 
 and nuns, consuls and counts, peers and paladins, caliphs 
 and empresses, troubadours and rhetoricians, the demoa 
 Minerva and the saint lihadegunda, with other demons 
 and other saints innumerable, moving about amongst each 
 other, with all that eas}' familiarity, with which the stran- 
 gest beings are mingled in our wildest dreams. These 
 were the golden days of legend, yet they were days of dis- 
 order and wretchedness extreme. Wild Gothic hosts were 
 plundering Lombardy and Gaul. Northern pirates were in- 
 vading and desolating England, and all the shores of Europe* 
 A fierce torrent af Vandal and Saracen swelled up from the' 
 
The Music and Song of the Ages. 467 
 
 ©outh. The wretched population were tossed helplessly to and 
 fro. Rival popes and rival bishops sought each other with very 
 'Carnal weapons, and fulminated at each other terrible bulls. 
 The imperial institutions of Eome had crushed out the old 
 national republican life, and now, these in their turn, were 
 crumbling into dust. Many thoughtful men, during these 
 centuries, from the seventh to the eleventh, believed they 
 were the last days. In the beginning of the seventh cen- 
 tury, Gregory the Great, the Pope of Eome, introduced 
 into the churches a new style of Church music. Already 
 processions, in which the Gospels, costly crucifixes and 
 banners, torches and burning candles, relics, bits of the 
 true cross, pictures and bones of the saints, were carried 
 about and hymns sung, had become a regular ceremony, 
 occurring at stated times. The litanies consisted of invo- 
 cations of saints and angels, to which the people made re- 
 sponse, Ora pro 7iobis, which was the extent of their sing- 
 ing. Gregory undertook to reform the music of the 
 Church, which had degenerated into a style too lively, and 
 theatrical and sentimental for Church music. He intro- 
 duced what has been known from his day to the present, 
 as the Gregorian Chant, or the Cantus Bomanus. The 
 music was symphonous, slow, solemn, and measured, yet 
 without rythm or time. He devised a special kind of no- 
 tation to indicate the tones, a curious compound of points 
 and strokes, and little hooks. It had little of the liveli- 
 ness and the freshness of the music then in vogue, but 
 from its more solemn and dignified character, was better 
 adapted for worship. It was sung by trained choirs. 
 Sino'ing schools were established, to introduce the new 
 chanting and fit choirs, and the Pope, Gregory himself, 
 taught in them. Instrumental accompaniments were in- 
 troduced, especially the organ, which was transferred from 
 the theatre to the church. It was, however, quite a seri- 
 ous objection to the Gregorian music, that on account of 
 its complicated character, a good proficient in music could 
 scarcely master it by diligence and skill, in less than ten 
 years., But a few professional singers could bear part in ■ 
 it. The common people were utterly excluded. It was 
 enough for them to listen. An ecclesiastical ban lay upon 
 them. The Anti-phonarium, or hymn book, was taken 
 wholly out of their hands, and retained by the priests and 
 choristers. A hymn book is a dangerous weapon to priest- 
 craft and absolutism, when put in the hands of the people. 
 
468 The Music and Song of the Ages. 
 
 "Let me write the songs of a nation," some one has said, 
 "and I care not, who make their laws." An unsinging and 
 unmusical and unpoetic people, are fit only to be the slaves 
 of civil and hierarchical despotism. 
 
 The Gregorian style of music could not maintain itself. 
 It was too difficult. Trained and competent singers were 
 too few. The hymn books were too expensive. The slow 
 chant in unison, began gradually to give way to more 
 rapidly moving duets. Definite rules of harmony, of 
 chords and intervals, were framed. The organ came gen- 
 erally into use. The first one brought to France, was a 
 present from the emperor of Turkey to king Pepin. The 
 second, was a present to Charlemagne the great. The first 
 organs were very imperfect. They had only ten or twelve 
 notes, and the keys required to be struck with the fist. 
 
 As we leave the times of Charlemagne, Bernard and the 
 venerable Bede, and walk forward into the denser darkness 
 of the middle age, the character of music and hymns 
 changes still further. The music becomes more and more 
 dramatic. The cathedral is transformed into a theatre, in 
 which priests and monks and nuns are the actors, and the 
 people, the astonished, captivated audience. Dramas were 
 acted on Sundays and holy days, in which noble men and 
 beautiful women, saints and holy virgins, were represented 
 as in conflict with power, cruelty and fate. And, whereas, 
 the modern drama usually ends with a marriage of the 
 hero and the heroine, the religious dramas of the mediaeval 
 age lauded the hero in some monkery, and the heroine in 
 some nunnery, as if that were the earthly end of human ex- 
 istence. Thus, the Christian Church became both the 
 theatre and the temple of the people. These religious 
 dramas were acted out with all the scenic preparation of 
 the stage, and became a powerful rival for any regular and 
 professedly worldly entertainments. When, at length, in 
 order to increase their power and popularity, the actors 
 appealed to the passions, degenerated the tragedy into 
 comedy, and mingled with the most sacred subjects coarse 
 buftbonery and unrestrained fun, indignant and insulted 
 religion could bear it no longer, and with a whip of cords 
 drove it out, as Christ, the buyers and sellers of the an- 
 cient temple. 
 
 Let us introduce you into one of the cathetlrals of those 
 ages, and to the worship of the gathered assembly. 'J'he 
 iffline.nse and glorious building is itself a solemn sounding 
 
The Music and Song of the Ages. ' 469 
 
 psalm. As one enters the massive archway of the door, 
 and looks forward, a solemn awe falls upon him. The 
 building recedes away in long narrow avenues, and rises 
 in its roof to a majestic height. Its almost interminable 
 length vanishes away in most graceful prospective, as if 
 leading the worshiper onward into some Holy of Holies. 
 Stately divisions, with countless chapels, successions of 
 concentric arches, crossing and intermingling, the aven- 
 ues lined with symmetrical pillars, the heavy massive walls 
 expanding into large, mullioned and stained windows, or 
 concealed by paintings of the masters, the niches crowded 
 with statues of worshipful saints, and array, above all ris- 
 ing as if into the very heavens, the vaulted roof formed of 
 most simple, yet intricate ribs. The entire structure is 
 arranged to inspire awe and reverence. And when the 
 music of the 7'e Deum, on some grand and massive organ 
 is struck, it soars upward, pervades the whole building, 
 echoes and re-echoes, infinitely multiplying itself, as it dies 
 and rises again to the fretted and lofty roof, and the incense 
 curling up into the unmeasurable height, mingled with the 
 echoing music, might well give to the enthusiastic beholder 
 the notion of clouds of adoration finding their way to hea- 
 ven. In such a temple what space for endless variety, for 
 change of scene, for stage effect ! How effective the light 
 and shade even by daylight, how much more so heightQn- 
 -ed at night by an infinity of lamps, and torches and tapers, 
 now pouring their full effulgence on some one object — the 
 Christ on the cross — or a painting of angels on the walls, 
 and now sending their feeble glimmering into the deep 
 gloom of the recesses, arches and roof In such a place a 
 vast congregation is assembled. They are ignorant, i^uper- 
 stitious, impressible. The drama for this Sabbath is "The 
 Massacre of the Innocents." Amid the deep reverberat- 
 ing tones of the organ, a procession of innocents, children 
 clothed in white robes, march in long lines, through the 
 long cloister of the monastery, chanting as they go : How 
 glorious is Thy Kingdom ! Send down, God, Thy Lamb! 
 The Lamb immediately appears, a man with a banner, 
 bearing in his arms a lamb, takes his place at their head, 
 leading up and down the aisles in long gleaming procession. 
 Herod, clad in all the splendors of barbaric and oriental 
 attire, is seen seated on a throne near by. A squire ap- 
 pears and hands him his sceptre, chanting: "On the throne 
 of David." In the meantime an angel, in the person of 
 
470 ' Tlie Music and Song of the Ages. 
 
 one of the monks, alights upon the manger singing, Jo- 
 seph, Joseph, Joseph, tliou son of David, take thou the 
 child, and flee into Egypt. Weep not, Egypt ! Herod's 
 armor bearer steps forward and informs him of the depar- 
 ture of the wise men, whereat he bursts into a great wrath. 
 While he is raging, the children, representing the Inno- 
 cents of Bethlehem, are still following the steps of the 
 lamb, and sweetly chanting: "Oh Lamb, who by thy holy 
 death for us, glory of the Father, glory of the Virgin." 
 Herod delivers the fatal sword into the hands of the armor 
 bearer. The lamb is silently withdrawn. The children 
 remain in their fearless and happy innocence, singing, "Hail 
 Lamb of God, O hail !" The cry of mothers is now heard, 
 imploring mercy. The children are slain and fall in the 
 aisles. While they are dying, and while they lie dead, 
 another angel descends, chanting, "Ye Avho dwell in the 
 dust, awake and cry aloud." The dead innocents respond 
 as if from the tomb : "Why, God, dost not thou defend 
 us from bloodshed !" The angels chant in response : 
 "Wait but a little time, till your number is full." 
 Then enters Eachel, weeping for her children, and re- 
 fusino; to be comforted. The musical dialooue between 
 her and her attending women, is simple, wild and pa- 
 thetic : "Alas, alas, alas, how shall 1 rejoice, while I 
 behold these slain ? iVo//, FiV/70 Rachel, noli, dulcissima 
 mater — Kestrain, Eachel, sweet mother, thy tears 
 of grief from the necks of these little ones." As they 
 lead ofl' the sad mother, an angel hovering above, sings 
 the antiphone, or response : Suffer little children to come 
 unto me. At this voice the children rise from the tombs, 
 the ai.sles, enter the choir, and take up the triumphant song 
 of Heaven. Herod disa]ipears. Archelaus takes the throne. 
 The angel is heard summoning Joseph from Egypt. Jo- 
 seph comes forward, chanting a hymn to the Virgin moth- 
 er. The cantor of the Church intones the 71' JJeiwi, the 
 massive organ sends its pealing, trembling, thundering 
 tones through aisles, and recesses, and arches, up to the 
 vaulted roof, and the whole va.st cathedral rings with the 
 harmony, and as it cea.ses, the awe-struck, profoundly agi- 
 tated hearers retire silently from the scene. 
 
 It will easily be seen from this brief episode, with what 
 spirit and wonderful effect sacred repesentations were given 
 in the Middle ages. There was no event of sacred his- 
 tory, however solemn, that was not in this manner wrought 
 
The Music and Song of the Ages. 471 
 
 into action for the purpose of impressiog the ignorant peo- 
 ple and tightening the chains of spiritual despotism. 
 
 As we pass to consider the characteristics of the hyran& 
 of those ages, one painfully impressive fact meets us at 
 the outset, that a full, swelling tide of Mariolatrj flows 
 through them. They worshiped and served the creature 
 more than the Creator. There are a few hymns to God 
 the Father, a few to Christ, but the general mass are invo- 
 cations to Mary and the saints. The worship of Mary 
 was the grand characteristic worship, and it had gathered 
 to itself the warmest affections of the heart. In the ear- 
 liest hymns a trace of this is visible. It stole insensibly 
 into the Church. Her first lustre was natural. As mother 
 of Jesus she must stand chief among women. Out of this 
 gradually grew the loftier title. Mother of God, with which 
 she was early honored. Then another, wide-spread and 
 pernicious practice contributed to swell the tide of Mariol- 
 atry, and the adoration of Mar}?, the Mother of God, was ab- 
 sorbed in that of St. Mary the virgin. Gradually, one title 
 after another was lavished upon her. Tradition dressed her 
 earthly life in a false history, wove a gorgeous robe around 
 her "that hid the lowly and feminine life of the true Mary, 
 and, instead of the meek and humble form and quiet spirit 
 that meets us in the Gospel, there stands before us in the 
 Mediaeval hymns, a queen; arrayed in vulgar gold and 
 earthly jewels, a glittering, tinselled goddess, as magnifi- 
 cent as any Venus or Minerva of old. The piety and re- 
 ligion of the age lived, luxuriated in these hymns. Mary 
 usurped the place of her divine Son, nor his alone, but of 
 the whole Trinity. The love of God the Father was for- 
 gotten in the tenderness of Mary, Mother, Queen of heaven. 
 The Kedeeming sorrows of Christ, the Son, were eclipsed 
 by the sympathetic sorrows of the pierced heart of Mary. 
 The consolations of the Comforter were cold beside the 
 pity of Mary, sweet virgin, star of the sea. The relations 
 of the three persons of the Godhead, were transferred to 
 her. She was Mother, Intercessor and Comforter — a trin- 
 ity in unity for the Church. The first lispings of the 
 child, the morning and evening hymn, the cry of the dis- 
 tressed, and the thanksgiving of the rescued, were all for 
 Mary. Century after century added stones to the altar of 
 her superstitious worship, until she who was once known 
 only as a joyful mother, with the infant Jesus in her arms, 
 stood on the facade of all the churches, and in the hearts 
 
472 Tlie Music and Song of the Ages. 
 
 of all the worshipers a crowned queen, her hands out- 
 stretched to bless, concentrating upon her person, all the 
 glory of the Trinity above, and all the adoration of hu- 
 manity below ! Yet, out of the chaos, and darkness, and 
 superstition of the middle ages, and their religion, there 
 are occasional gleams of light. As to the old voyager, iu 
 the vast interminable ocean, if he beheld on some dreary 
 mass of rock, a batch of living green, a tuft of graceful 
 trees, a cool and musical rush ot waters, it became at once 
 a paradise, and is described as one of the elysian liclds, so 
 does one feel, who, traversing the dreary wastes of the me- 
 diaeval age, so full of legends, of spiritual and sentimental 
 love songs, of Mariolatry and priest-craft, of comedies on 
 sacred things, hears suddenly, he scarcely knows whence, 
 a single voice, rising low and trembling, so soft and low, 
 that it is scarcely heard at first, yet gathering clear, and 
 deep, and sonorous, till it echoes down the arches as an 
 organ, and rolls, vibrating the whole heart of Christendom 
 with the solemn and magnificent chant of the great Me- 
 di;\ival hymn, the Dies Irae — a lyric that lifts one up, as 
 on mighty wings. 
 
 Our next stage brings us into the great Reformation, 
 the richest field of all the past in music and song. One 
 of the first symptoms of that great awakening was the re- 
 vival of a taste and a demand for religious songs in the 
 vernacular tongue. Heretofore the singing had been con- 
 fined to the clergy and the choir and the Latin language. 
 It was in the fifteenth century and during the Hussite 
 movement that useful popular hymns were for the first 
 time introduced into the service of the Church. Their 
 introduction was facilitated by two strange instruments, 
 first by the minne-singers, or love-singers, who perambu- 
 lating the country, and singing their love ditties, gave the 
 people a thirst for singing : and secondly, by a body of 
 fanatics, called flagelants, who in long trains, with laces 
 covered, wandered from country to country, amid weeping 
 and lamentations, and the chant of penitential hymns, con- 
 tiuually applying, as they marched, the scourge to their 
 naked backs. They grew in numbers like an avalanche, 
 and passed through a large part of Europe. Their strange, 
 wild hymns, in the native tongue, seized the hearts of the 
 people, and paved a way for the psalm of the Reformation. 
 Huss insisted on the people taking part in the service of 
 song, and himself composed a number of excellent hymns. 
 
The Music and Song of the Ages. 473 
 
 At first, so difficult was it to abandon the Latin, we find a 
 number of hymns, half Latin and half German. Congre- 
 gational singing was again revived. The ancient Ambro- 
 sian psalmody, in a purer and richer form, was given to 
 the people. The choir of priests was dissolved. Instead 
 of solo monotonous singing in uniform loud notes of equal 
 value, a copious rythm with lively modulations was sub- 
 stituted, and about the close of the fifteenth century, sing- 
 ing in parts, took the place of singing in unisoa. The air 
 was sung by the congregation, and the singers in the choir 
 accompanied the congregation in the several parts. The 
 air, however, was set in tenor, which was the leading part 
 of music. The tunes were obtained by modifying old 
 tunes, by appropriating national airs of the middle ages, 
 and using, without reserve, the rich treasure of song-tunes 
 in popular use. Many of the hymns were parodies of sec- 
 ular songs, the love songs of the minne-singers. Thus, 
 the popular ditty, sung by wandering apprentices, which 
 commenced : Inspruck^ I must leave thee, and go my 
 lonely way, far hence, to foreign lands," was transfonmed 
 into : "O world, I must leave thee, and go my lonely way, 
 unto my Father's Home." When Luther composed his 
 melodies, the people were taught them by traveling musi- 
 cians, singing processions of school boys and city cornet- 
 teers. The Papal Church sought to prevent the singing. 
 But, wherever the spirit of the Ecformation went, there 
 flowed the torrent of song. The demand for hymns and 
 music was sudden, and the result of no visible design. It 
 almost preceded the labors of the Reformers, and did 
 more than preaching to inculcate religious truth. Europe, 
 almost in an instant, was full of songs and singing, as if 
 an epidemic had broken out. The rise of the phenome- 
 non in the Reformed Churches was remarkable. Clement 
 Marot, a valet of the bed chamber of king Francis the 
 first, and the favorite poet of France, tired of the vanities 
 of the reigning poetry, and tinctured slightly with Pro- 
 testantism, applied to his friend Theodore Beza, for assist- 
 ance in rendering David's Psalms into French rhymes. 
 This was in 1540. The amorous ditties of Marot had 
 been the delight of the French Court. He dedicated his 
 version of the Psalms to the ladies of France, and apolo- 
 gized for presenting such an oft'eriug to their taste. It 
 seems with him to have been a mere freak of poetic license, 
 Vol. XXI. No. 83. 61 
 
474 The Music and Song of the Ages. 
 
 an experiment. But the most sanguine Reformer could 
 not have indulged anticipations equal to the reality. Hia 
 previous contributions to the polite literature of tlie day 
 were forgotten in the enthusiasm, with wliich the court of 
 France received these versions from the Hebrew Psalter. 
 The press was burdened to meet the demand. All classes 
 were eager to purchase. In the festive and splendid court 
 of France, of a sudden, nothing was heard but the Psalms 
 of Clement Marot. They were the accompaniment of the 
 fiddle, if not of the dance. The members of the royal family, 
 high-born ladies and lords, would each select a psalm, and 
 fit it to the ballad which each liked best. They were the 
 fashion, the rage, and did not seem at all to interfere with 
 the humor and gaiety of the Court. It was a strange 
 sight, the Psalms of David turned into ballads, and sung 
 in gay and royal assemblies, in the place of love songs. 
 But the Providence of God was in it. Just at this time, 
 Luther in Germany, and Calvin in Geneva, were looking 
 about for poets to translate the whole of the Psalms of Da- 
 vid into the common tongue, that Christian people might 
 have something to sing. Calvin, at once availed himself 
 of Marot's gallantry to the ladies of France, and intro- 
 duced the poet's versions from the Psalter, into the Re- 
 formed Church of Geneva. On any particular Sunday of 
 1540, might have been heard the noble lords and ladies of 
 his most Catholic majesty Francis I, and the humble con- 
 gregation of the great heretic John Calvin, singing the 
 same words out of the new psalm book of Clement Marot. 
 The fashion of the court was short-lived. Not so the sing- 
 ing of the people. They had never before been allowed 
 to sing. The Scriptures had been shut up in a dead lan- 
 guage. Now they were released. The efi'ect was electric. 
 Hymns and music were both received with unbounded en- 
 thusiasm. France and Germany were infatuated with a 
 love of psalm-singing. Nowhere did the new mania take 
 such a hold of the national mind, as in Germany. The 
 miner's son, Martin, who, in his school days, had caroled 
 for bread, before the doors of the burghers of Fisenach, 
 remembered the old melodies, and when the people asked 
 him for the Bread of Life, he gave forth out of his treas- 
 ure-house, things new and old. The great Reformer of 
 the German Church, was also, her first great singer. Lu- 
 ther gave the German people their Hymn Book, as well as 
 their Bible. His enthusiasm is well known. He gath- 
 
The Music and Sonj of the Ages. 475 
 
 •ered up the best of the old hymns, had them transferred 
 to the tongue of the people, wrote new hymns, and com- 
 posed the music to some of them. So popular were his 
 hymns, that spurious collections were hawked about Ger- 
 many under his name. The hymn was the great power of 
 the Reformation upon the masses of the people. In 
 Augsburg, in 1551, three or four thousand people, singing 
 together at a time, was but a trifle. Poets arose every- 
 where. One Hans Sachs was the author of no less than 
 six thousand hymns, and their poets are numbered by 
 hundreds. A hymn had scarcely gushed from the heart 
 of a poet, until it spread everywhere, penetrated families 
 and churches, was sung before every door, in work shops, 
 market places, streets and fields, and with a single stroke of 
 a popular hymn, whole cities were won to the Evangelical 
 faith. The youth of the day sang them in place of the 
 ribald songs. Mothers sang them beside the cradle, ser- 
 vants in the kitchen, market men in the streets, and farm- 
 ers in the fields. The Papacy was terrified by the religi- 
 ous singing mania. Psalm-singing and heresy became 
 synonymous terms. All good Catholics were forbidden, 
 under penalties, to try their voices on the heretic psalms. 
 The new system passed over into England, and here, too, 
 the people became jubilant. The Eefugees, whom Mary 
 had driven to the continent, when Elizabeth a.scended the 
 throne, came back trained and enthusiastic psalm-singers. 
 The enemy characterized the eagerness of the people, as 
 an infectious frenzv. The sinsino- bes;an in a little church 
 of London, but soon after at St. Paul's Cross, six thous- 
 and persons of all ages, might be heard singing the new 
 songs, "which,"' said Bishop Jewel, "was sadly annoying 
 to the mass priests and the devil." Puritanism, then in 
 its infoncy, throbbed with the popular exhilaration. The 
 use of Psalmody became the badge and test of sympathy 
 with the Eefornuition. As psalm-singing and heresy were 
 synonymous on the continent, so psalm-singing and Puri- 
 tanism were in England. The Psalms in the vulgar tongue 
 were stigmatized as "Geneva Jiggs," and "Beza's Ballets," 
 but they soon became, in fact, the ballads and war songs 
 of the nation. The proclamation against the queen of 
 Scots, in London, 158G, was received with the ringing of 
 bells, making of bonfires, and singing of psalms, in every 
 one of the streets'and lanes of the city. The forces of the 
 Parliament, in Marston Cornfield, fell to singing psalms, 
 
47C Tlie Music and Song of the Ages. 
 
 and after the battle of Dunbar, tbo republican soldiers and 
 their General Lambert halted near Haddington, and sang 
 the 117th Psalm. Cromwell's soldiers were nick-named 
 the Psalm singers. A comedy of the times re})resents 
 the Eoundheads as being used to sing a Psalm and then 
 fall on. 
 
 As in the morning of some bright summer day, the 
 choristers of field and grove make earth and air, and all 
 things tremulous with their melody, so when the glorious 
 morning of the Keformation dawned, there poured almost 
 instantaneously from the lips and hearts of a great 
 chorus of song, such as the age had never heard. Out of 
 the walls of the cloister, out of the work-shop, ihe harvest 
 field, the home, came they; hymns for family joys and sor- 
 rows, h^^mns for toil and struggle, hymns for the sick bed 
 and the wayside, and hymns for battle, ringing with the 
 inspiring step of martial music; songs to march to, songs 
 to fight, blasts from the trumpet, before which the strong- 
 holds of the enemy fell. 
 
 A quaint old writer of the seventeenth century gives 
 us his idea of the singing in England, in that day. He 
 •was in York, at the time of the famous siege of eleven 
 weeks. He tells us : "Every Sunday the Old Minster was 
 even cramming and squeezing full, and sometimes a can- 
 non bullet, not a one hundred and eighty pounder of our 
 day, has come in at the windows, and bounced about from 
 pillar to pillar, even like some furious fiend, or evil spirit. 
 ]3ut now you must take notice, that they had then a cus- 
 tom in that church, which I hear not in any other cathe- 
 dral, which was, that always before the sermon, the whole 
 congregation, with the choir and organ, sang a psalm, and 
 you must know, that there was a most excellent, large, 
 plump, lusty, full-speaking organ, which cost, I am credi- 
 bly informed, a thousand pounds. This organ, I say when 
 the Psalm was sung before the sermon, being let out into 
 all the fulness of stops, together with the choir began the 
 Psalm. But when that vast concording unity of the 
 whole congregational chorus came, as 1 may say, thunder- 
 ing in, even so as it made the very ground shake under 
 us, Oh! the unutterable and javishing soul's delight, in 
 which 1 was transported and wrapt up lu higli contempla- 
 tion, so that there was no room lelt in body, soul, and 
 si)irit, lor au^'thing below divine and heavenly rajitui'cs." 
 
 Wo have been lisleniug to the njuruiurs of the great 
 
The Music and Song of the Ages. 477 
 
 stream of song, as it has flowed on from age to age, some- 
 times nearly buried in the sands of time, and now again 
 bursting the barriers of centuries in a rush, a torrent of 
 music, and then again flowing on calmly in a broad, deep 
 current, yet never utterly dried up, or silent. The deepest, 
 purest life of man, the inmost piety of the Church, has 
 flowed on in hymns. He who knows the way, hymns and 
 music have flowed, can trace the veins and arteries, in which 
 the blood of piety has flowed. We have caught echoes 
 from the ancient sanctuary, from Miriam's peal of victory, 
 from the hymns that the early Christians sang to Christ 
 before day-break, hymns of burial, sung in the crypts of 
 the Catacomb.-?, where young men and maidens, old men 
 and children, were laid away to rest. We have had 
 hymns of the martyrs, sung by hunted worshipers, at mid- 
 night, in dens and caves of the earth, amidst armed men, 
 in ambush, by prisoners in dungeons and in flames. We 
 have caught notes from the hymns of St. Ambrose, and 
 many others, that rose up like birds in the early centuries, 
 and have come flying and singing all the way down to us, 
 and still with voices as strong and sweet as they were a 
 thousand years ago. We have heard the battle songs of 
 the Church, Crusaders' hymns, that rolled forth their truths 
 upon the Oriental air, while a thousand horses' hoofs kept 
 time below, and ten thousand palm leaves whispered and 
 kept time above, hymns of the Huguenots, of the Cove- 
 nanters and Puritans, hymns, that, as with the pinions of 
 eagles, have borne up to the bosom of God the sorrows, 
 the desires, and the aspirations of his poor and oppressed 
 children on earth, hymns that have gushed out of pressed 
 and broken hearts, as fountains out of cleft rocks. 
 
 The great battle song of the Lutheran Church, Luther's 
 Eine fesle Burg — a Tower of Safety is our God — is said to 
 have come into the heart of the Reformer on his way to 
 the Diet of Worms. Both it, and the battle song of Gus- 
 tavus Adolphus, the lofty Christian hero of his age, were 
 consecrated for all time by a memorable incident, worthy 
 of all honor. 
 
 On the morning of his last battle, when the armies of 
 Gustavus and Wallenstein were drawn up, waiting for the 
 morning mist to clear away, ere they sounded the charge, 
 the king commanded Luther's grand hymn to be sung, 
 then his own, accompanied with the trumpets and drums 
 of the whole array. As they ceased singing, the mist 
 
478 TJic Music and Song of the Ages. 
 
 broke away, and the sunshine burst on the two armies. 
 For a moment, Gustavus knelt beside his horse, in the 
 face of his soldiers, and repeated his battle-prayer : "O 
 Lord Jesus Christ, bless our arms, and this day's battle, 
 for the glory of thy holy name." Then, passing along the 
 lines with a few brief words of encouragement, he gave 
 the battle cry, "6rO(:Z with ms," with which he had conquer- 
 ed at Leipzig, and rushed on the foe. In the thickest of 
 the fight he Avas found, bleeding with a death wound, but 
 from the d3'ing lips of the martyr, fell these noble. Chris- 
 tian words : "I seal with my blood the liberty and the re- 
 ligion of the German nation." Thus, have the hymns of 
 the past been embalmed for us. We cannot gather up all 
 the precious names of men, out of whose hearts the dear 
 Cross pressed the living songs of the Church; St. Ephrem, 
 Ambrose and Gregory, Luther, Gerhardt and Tersteegen, 
 gentle George Herbert, borne to his grave with cathedral 
 chants, blind John Milton, singing on in his blindness, 
 Richard Baxter, so basely brow-beaten by the infamous 
 Jeffries, Bishop Ken, the non-juror; Watts and Doddridge 
 the two great non-conformist hymn writers, the brothers 
 Wesley pelted, threatened, mocked, yet distilling out of 
 their hearts sweet songs, that go chiming everywhere like 
 silvery bells, cheering death beds, giving courage to brave 
 men, and patience to suffering women; the gentle tortured 
 spirit of Cowper, pouring out, in the intervals of his terrible 
 malady, his trembling, but immortal song, and many others, 
 cot to mention those great masters of music, whose chorals 
 have a deathless life. The treasury of all the past is ours, 
 and much of the best of it has come down to us in Chris- 
 tian song. 
 
 As in the early autumn, the birds begin tto look from 
 the north southward, and springing up from the shrubs, 
 the reeds, and the waters, begin their flight, and as they 
 wind their way out of every tree and copse, from orchard 
 and garden come forth new singers, increasing in number 
 at every furlong, until, at length, coming down lYom their 
 high pathways, they cover provinces, and fill forests, and 
 are heard caroling and triumphing through all the un- 
 frosted orchards, amid all the groves, and the vines, the 
 olives, the palms, and the oranges of the tropics, with their 
 wonderous bursts of song. So, like these birds, these sa- 
 cred hymns of the past, whose nests have been found in 
 every age, from the very gray and twilight of creation, 
 
Notices of New Publications. 479 
 
 seem to have risen up, spread, and plumed tlieir wings, 
 and flown down to our day, and into the pleasant gardens 
 and vineyards God has given to his Church, and their 
 sweet and heavenly music, as they flit from branch to 
 branch, filleth the Church with melody, comforting and 
 cheering, as in old time, the hearts of God's people, as if 
 once again, the advent was renewed, and God's angels were 
 in the air. 
 
 — ♦*- 
 
 AETICLE XIL 
 
 NOTICES OP NEW PUBLICATIONS. 
 
 Ci/clopcedia of BiMical. Theological and Ecdcsiaxlical Literature, 
 Prepared by Rev. John McCIintock, D. D., and James Strong, S.T, 
 t). Vol. III. New York: Harper and Brothers. We have already 
 spoken of this important contribution to our religious literature. 
 When finished, it will lie the most thorough, compact and satisfac- 
 tory work of the kind yet published. The present volume exhausts 
 tlie letter G, and three additional volumes, it is supposed, will com- 
 plete the work. The lamented death of the senior editor will occa- 
 sion no delay in the enterprise. Its labors will be carried on by Dr. 
 Strong, with the assistance of scholars connected with difl'erent de- 
 nominations, and brought to a speedy conclusion. 
 
 A Manual of CImrck History. By H. E. F. Guericke, Doctor and 
 Professor of Theology in Halle. Translated from the German. By 
 W. G. T. Shedd, D. D., Baldwin Professor in Union Theological 
 Seminary. Andover: W. F. Draper. This volume embraces Mediae- 
 val Church History, from A. D., ,590 to 10.30, when Hildebrand, un- 
 der the name of Gregory VII, ascended the Papal chair. Among 
 other topics, it discusses the diffusion of Christianity among the 
 Gothic, Scandinavian and Sclavic races; the controversies in refer- 
 ence to the two Wills in Christ, Image Worship and the Lord's Sup- 
 per, and the schism between the East and the West. In connection 
 Witli a former volume, which appeared in 18.57, this edition gives an 
 interesting history of the Church, during the first ten centuries. 
 
 The Elements of the Hebrew Language. By Rev. A. D. Jones. A, 
 M. Andover: W. F. Draper. This is a work, which corresponds, 
 in its general arrangements, with many of the elementary text books 
 in common use, and is designed to facilitate the study of the Hebrew 
 in our classical schools. The language is divested of many of its 
 peculiarities and difficulties, and its study, by a simple and ])rogres- 
 sive series of exercises, is rendered comparatively easy and pleasant. 
 
 The Close of the Ministr;/. By Rev. William Hanna, D. D., LL.D. 
 The Passion Week. By Rev. William Hanna, D. D., LL. D. New 
 
480 Notices of New Publications. 
 
 York: Rohort Carter S: Bros. Those arc the Ihinl and fonrth vol- 
 umes in this excellent series. Thoy arc, like their predecessors, 
 written in a popular, intelligible style, and are free from evcrytliing 
 like formal criticism, but, at the same time, the best results of mod- 
 ern criticism and mature biblical study are presented. The author 
 has shown great skill in grouping the leading events of the Saviour's 
 life, and exhibits throughout a devout, evangelical and elevated 
 spirit. 
 
 Our Father in Heaven: The I.ord's Prayer explained and illustrated. 
 A Book for the Young. By Rev. J. II. Wilson, .N[. A., Barclay 
 Church, Ediid)urgh. New York: Robert Garter k Bros. This 
 book, prepared originally for the young, is full of illustrations and 
 incidents of rich scriptural truth, derived from this beautiful and 
 inexhaustible prayer, upon which so much has been written. 
 
 Christ ill Sonq. Ht/mns of Iinmainie/: .Selected from all Ages, with 
 Notes. By Philip Schaff.D. D. New York: A. D. F. Randolph & 
 Co. To those who are interested in sacred poetry, it will be a satis- 
 faction to learn, that this is the fourth edition of this beautiful book, 
 and that it is made to meet the increasing demand for a cheaper issue. 
 It contains, as already stated, the richest gems of (Jrecian and Ro- 
 man hymns, as well as the finest specimens of German and English 
 song, in the Church. The taste and judgment, displayed in the 
 arrangement and classification of the material, are such as the erudi- 
 tion and practical skill of Dr. Schaff might lead us to expect. 
 
 Music Hall Sermons. By William tl. H. Murray, Pastor of Park 
 Street Church. Boston: Fields, Osgood & Co. These discourses, 
 originally delivered before large audiences in the Music Hall, are now 
 given in the more permanent book-form. Although not remarkable 
 for original or profound thought, they are graphic, and liave all the 
 freshness of speech, and bear evidences of careful composition. They 
 contain passages of great beauty, illustrations drawn from pure na- 
 ture, marked by simplicity, directness and earnestness. Our criticism 
 as to the matter is, that whilst the author presents most clearly 
 some of the great and distinctive doctrines of the Gospel, there are 
 utterances, which seem to us unguarded and latitudinarian. Some 
 of the most instructive truths of the Rible, arc often kept too much 
 in the background, or entirely ignored. 
 
 Sermons Preached in St James' Chapel, York Street, Ijondon. By 
 Rev. Stopford A. Brooke, !sl. A. Boston: Fields, Osgood it Co. 
 Although these discourses are unequal in merit, they are luiusually 
 interesting, and their perusal will not disajipoint the iiulivi<lual, who 
 has been interested in the author's .Memoirs of Rev. F. W . Robert- 
 son. They are marked by originality and force of thought, and by 
 freshness and clearness of expression. 
 
 Sermons Preached at Trinitt/ Chapel, Brighton. By Rev. Frederick 
 W. Robertson. In two volumes. Boston: Fields, Osgood & Co. 
 These volumes are among the ablest contributions to this department 
 of literature, that these latter days, so prolific in productions of this 
 kind, have produced. If the author is not a creator, he is certainly 
 a clear and successful interpreter, of thought. If the discourses are 
 not distinguished by the originality of their ideas, they arc pre-emi- 
 nent in their representations of these ideas. 'J'lieir richness of 
 thought and practical direction, their philosophic tone and elegance, 
 their earnestness and power, fully sustain the high reputation, 
 which the author, as a pulpit orator, enjoyed. 
 
GEORGE H. BECHTEL, 
 
 MANUrACTUEER OF 
 
 0itpcncir 0il«cr ^ cDlcctvivpiatc^ tOarcs, 
 
 No. 716 ARCH STREET, PHILADELPHIA. 
 
 The stock on baud is as complete as any establishment of tbe kind in ihe 
 United States, and those wishing to purchase, by sending in their orders, 
 trill not be disappointed. 
 
 A printed list of the principal articles constantly on hand will be forwarded 
 on application by mail. 
 
 J. HOOVER, 
 
 804 MARKET STREET, PHILA., 
 
 Publisher and Dealer in every description of 
 
 r3ES 03EX3E1.0XiaCC] 
 
 The largest assortment and very moderate prices. 
 
 STEEPLE CLOCKS, 
 
 FOR TOWN HALLS, CHURCHES, &C., &C., 
 22 NORTH 6TH STREET, PHILADELPHIA, 
 
 Manufacturer's Agent. 
 
 Inquiries by mail promptly answered. Also Importer and Dealer in Fine 
 WATCHES, CLOCKS and JEWELRY. 
 
 FASHIONABLE HATTER, 
 
 430 CHESTNUT STREET, PHILADELPHIJ. 
 
 Adjoining New Post Office. 
 
 CAOTIELD, BROTHER & CO., 
 O" £S XTO^ 30 X^ X^ 30 3E^ Sl^ 
 
 229 Baltimore Street, Baltimore, Md, 
 
THE EVANGELICAL QUARTERLY REVIEW. 
 
 This periodical is devoted to the exposition and defence of the doc- 
 trines of the Evarigelical (Lutheran) Chutcli, to Theological discussion, 
 Uiblical Criticism, and Church History, by means of articles both original 
 hikI translated from the best German and other foreign journals. It will 
 also contain reviews of works, published either in this country or in 
 Europe, notices of new books, and a general summary of the Literary 
 Intelligence, and will aim, in general, at the promotion of a sound and 
 Christmn Literature and Science. The terms are as follows : 
 
 \ I. The Evangelical Review is published quarterly, in good type 
 and on fine paper, each number containing from one to two hundred 
 ; pages 8vo., making a volume of about six hundred pages, at the price of 
 • 2'liree dollars per anmini, in advance, for a single copy. 
 
 ', II. Subscriptions may be remitted through the Post Office at our 
 ; risk, provided Postmasters are witnesses of the sending of the money. : 
 
 I III. That a subscription cannot be discontinued, until explicit direc- 
 I lions have been given to the Editor, and all arrearages paid. If the no- 
 ^ lice be received after the first number of the New Volume has been sent, 
 j (he subscriber will be charged for the full year. 
 
 I IV. Letters upon business and communications, intended for publica- : 
 I lion, are to be addressed to Professor Stoever, Gettysburg, Pa. 
 
 { V. Subscriptions or packages left in care of Smith, English & Co., or 
 i('laxtoi), Remaen & HalTeliiiiger, Philadelphia, will be promptly forwarded to 
 f ihe Review. 
 
 FINEST CLOTHING FOR AUTUMN AND WINTER. 
 
 We Import Goods, We make none but the Best, We have Ready- 
 made Clothing as fine as custom work. 
 
 At cur (Jhestnut Street ]'',stablishmcnt will be found throughout tliis 
 
 season, a stock of Clothing — either ready-made, or to be made to order — 
 
 'i fuiperior in every respect. We are confident tliat our g-oods need only to 
 
 i 1)0 seen in order to command a large and ready sale. We only ask inspec- 
 
 j tion. 
 
 I Our Custom Department is unequalled. All the new Styles 
 and Materials. The best Cutters and Tailors. Special atten- 
 tion given to Clerical Dress. Beautiful Fall and Winter 
 Overcoats. 
 
 I Clothing for Young Gentlemen and Boys. Marked Tmprove- 
 • ments. Carefully Manufactured. Elegance and Utility Com- 
 ibined at the CHESTNUT STREET CLOTHING ESTAB- 
 LISHMENT. 
 I JOHN WANAMAKER, 
 
 818 and 820 Chesnut Street, Philadelphia.