St Ambrose, the first real reformer in the music of the Christian Church, was born A. D. 333, probably at Treves, where his father who was prefect of Gaul, often resided. He is said to have received an auspicious omen even in his cradle; a swarm of bees alighted upon him during his slumber, and the astonished nurse saw that they did not sting him, but clustered around his lips; his father, remembering a similar wonder related of Plato, predicted a high destiny for his son. He was therefore, thoroughly educated in his youth, and soon was sent with Satyrus, his brother, to Milan to study law. He soon became so eminent in this profession, that he was appointed (A. D. 369) prefect of upper Italy and Milan. In A. D. 374 he was unanimously, and against his will, chosen bishop of Milan. Once in the chair, however, he ruled with vigor and great sagacity, making numerous and necessary reforms in church regulations and discipline.[248] We shall only follow his musical career. Unfortunately, although there are some remains in the Milanese church-chant of to-day, we have but little proof of the nature of his reforms. That it was deeply impressive we have the testimony of St. Augustine who eulogises, without accurately describing it,[249] but it is certain that his reforms were founded in part upon the Greek music, and that in the Gregorian and Ambrosian chants of the church, we have a legitimate descendant of the ancient Greek music. The reader must remove one impression from his mind; the music of the early Christians, though certainly crude, was by no means simple; on the contrary, it contained many flourishes and rapid embellishments, most of which were of oriental origin. The reform was in the nature of simplicity, and added dignity to a service, which already, in its words, possessed beauty and poetry. He cast aside much of the cumbrous nomenclature of the Greek modes, and retained of them only what was beautiful and easily comprehended. He did not aim at any sweeping reform, as is evident from his letter to his sister St. Marcellina, wherein he says that he is endeavoring to regulate the mode of singing the hymns, canticles and anthems in his own church,[250] and St. Augustine[251] says that it was done after the manner of the churches of the Orient. The modes which he chose for his compositions were the following:— First mode:— D, E, F, G, A, B, C, D, re mi fa sol la si do re Second do. E, F, G, A, B, C, D, E, mi fa sol la si do re mi Third do. F, G, A, B, C, D, E, F, fa sol la si do re mi fa Fourth do. G, A, B, C, D, E, F, G, sol la si do re mi fa sol