“Quid est suavius quam Bene rem gerere bono publico, sicut feci Ego heri, quum eius hosce homines, ubi quisque Vident me hodie,” etc. But I defy any musician to set his song to anything else but recitative; the metre is intricate and varied. Now of rhythmic melody we have nothing more till the year A.D. 386, when, at Milan, the Empress Justina ordered that a church should be taken from the Catholics and be delivered over to the Arians. Thereupon S. Ambrose, the bishop, took up his abode within the sacred building, that was also crowded by the faithful, who held it as a garrison for some days. To occupy the people Ambrose hastily scribbled down some hymns—not at all in the old classic metres, but in rhythmic measure—and set them to sing these, no doubt whatever, to familiar folk-airs. Thirteen of the hymns of S. Ambrose remain. His favourite metre is— “Te lucis ante terminum,” our English Long Measure. And what is more, the traditional tunes to which he set these hymns have been handed down, so that in these we probably possess the only ascertainable relics of Roman folk-airs of the fourth century, and who can tell of how much earlier? Now, in ancient days the people were wont to crowd to church on the vigils of festivals and spend the night in or outside the churches in singing and dancing. To drive out the profane and indelicate songs, the clergy composed hymns and set them to the folk-airs then in vogue. These hymns came into use more and more, and at length simply forced their way into the services of the Church—but were not recognised as forming a legitimate part of it till the tenth century. The ecclesiastical hymns for the people, after having been composed in barbarous Latin, led by a second step to the vernacular Romance. The transition was easy, and was, indeed, inevitable. And in music, recitative fell into disfavour, and formal music, to which poetry is the handmaid, came into popular usage exclusively; recitative lingering on only in the liturgy of the Church. The Provençal language was now on its way to becoming fixed and homogeneous; the many local variations found in the several districts tending to effacement.