singing or chorus, for small choir or large, to be purchased at any music shop. There are a dozen fine composers whose music is never heard in most American churches; composers such as Palestrina, Vittoria, and others of the great period of church music; or Bach, or Gibbons, Byrd, and Purcell, whose music is in the true idiom, an idiom now almost entirely lost; or John Goss, Samuel Wesley, and Thomas Attwood in the early part of the nineteenth century, before the decadence had fairly begun. The earliest of this music is written for voices unaccompanied, and is therefore too difficult for any but a highly trained choir; but there are plenty of simple anthems with organ accompaniment by the early English composers named above, and there are a certain number of Bach’s motets suitable for choirs of moderate ability. Let me mention “O Thou, the central orb,” by Gibbons, as an example of a fine anthem in the old style, and “Oh, Saviour of the World,” by Goss, as an example of the simpler and later type. These are beautiful, simple, and dignified anthems suitable for city or country choir. If the city choirmaster will give over for a time trying to provide the congregation with brilliant music which is chiefly notable for its extravagance of technique and its striking effects, his listeners will, perhaps, be able to revert to that state of quiet devotion which the rest of the service has induced. Many choir directors would doubtless like to use simpler and more devotional music, but are hindered from doing so because they feel upon them the weight of the opinion and taste of the congregation, and perhaps of the preacher. Everybody, regardless of his qualifications for doing so, feels at liberty to criticize the music he hears in church.