A theological library connected with a Calvinistic church, when recently catalogued, disclosed two long shelves of books upon Hell and two slim volumes upon Heaven. No such unloving Puritanism dominates the Negro's thought. Hell's horrors may be portrayed at a revival to bring the sinner to repentance, but only as an aid to a clearer vision of the glories of Heaven. The Negro churches lay greater stress than formerly upon practical religion; they try to turn a fine frenzy into a determination for righteousness. This was strikingly exemplified lately in one of New York's colored Baptist churches. During the solemn rite of immersion the congregation began to grow hysterical, or "happy," as they would have phrased it; there were cries of "Yes, Jesus," "We're comin', Lord," and swayings of the body backward and forward. The minister with loud and stirring appeal for a time encouraged these emotions. Then in a moment he brought quiet to his congregation and called them to the consecration of labor. Faith without works was vain. Baptism was not the end, but only the beginning of their salvation. "You-all bleege ter work," he said, "if yer gwine foller der Lord. Ain't Jesus work in der carpenter shop till he nigh on thirty year old? Den one day he stood up (he ain't none er yer two-by-fo' men) an' he tak off his blue apun (I reckon he wore er apun like we-alls) an' he goes on down ter der wilderness, an' John der Baptist baptize him." From oratory one turns naturally to music. The feeling for rhythm, for melodious sound, that leads the Negro to use majestic words of which he has not always mastered the meaning, leads him also to musical expression. He has an instinct for harmony, and, when within hearing distance of any instrument, will whistle, not the melody, however assertive, but will add a part.[6] Those who have visited colored schools, and especially the colored schools of the far South where the pupils are unfamiliar with other music than their own, can never forget the exquisite, haunting singing. When a foreman wants to get energetic work from his black laborers he sets them to singing stirring tunes. The Negro has his labor songs as the sailor has his chanties, and it would be impossible to measure the joy coming to both through musical expression. In New York, despite their poverty, few Negroes fail to possess some musical instrument--a banjo perhaps, or a guitar, a mandolin or zither, or it may be the highly prized piano. Visiting of an evening in the Phipps model tenement, one hears a variety of gay tinkling sounds. And besides the mechanical instruments there is always the great natural instrument, the human voice. Singing, though not as common in the city as in the country, is still often heard, especially in the summer, and remains musical, though New York's noise and cheap and vulgar entertainments have an unhappy fashion of roughening her children's voices.