Let us briefly test these sceptical paradoxes in the light of mediaeval history and modern biography. Is it only among the ancient and primitive people, and among the musically uneducated, that the divine art exerts an emotional influence? St. Jerome evidently did not think so. He believed, at any rate, that music can exert a _demoralizing_ influence, and he taught that Christian maidens should know nothing of the lyre and the flute. The eminent divine was guided in this matter by the same process of illogical reasoning of which, later, the Puritans were guilty when they banished music from the churches. In view of the fact that music was used to heighten the charms of wanton Roman festivities or Pagan rites, St. Jerome condemned the art itself, ignorant of the fact that music can never be immoral in itself, but only through evil associations. St. Augustine took a different view of music from St. Jerome. When he first heard the Christian chant at Milan he exclaimed: "Oh, my God! When the sweet voice of the congregation broke upon mine ear, how I wept over Thy hymns of praise. The sound poured into mine ears and Thy truth entered my heart. Then glowed within me the spirit of devotion; tears poured forth, and I rejoiced." Here we have an illustration of how music intensifies and exalts the emotions of educated men. St. Augustine's devotion "glowed within him" when he heard the music. It is for this power that the church has always employed music as a hand-maid; and those ecclesiastics who would to-day banish it arbitrarily from the church, know not what a valuable ally they are blindly repulsing in these days of religious scepticism. As Mr. Gladstone very recently remarked: "Ever since the time of St. Augustine, I might perhaps say of St. Paul, the power of music in assisting Christian devotion has been upon record, and great schools of Christian musicians have attested and confirmed the union of the art with worship." But the greatest musical enthusiast in the ranks of mediaeval churchmen was Martin Luther. To judge by the extraordinary influence which music had on him, Luther must doubtless be classed among the lowest of savages, if Dr. Hanslick is right in saying that it is on savages that music exerts its greatest influence. He wrote a special treatise on music, in which he placed it next to theology. "Besides theology," he wrote in a letter to the musician Senfel, "music is the only art capable of affording peace and joy of the heart like that induced by the study of the science of divinity. The proof of this is that the devil, the originator of sorrowful anxieties and restless troubles, flees before the sound of music almost as much as he does before the Word of God. This is why the prophets preferred music before all the other arts ... proclaiming the Word in psalms and hymns.... My heart, which is full to overflowing, has often been solaced and refreshed by music when sick and weary."