Although instruments of music had a prominent place in public festivities, social gatherings, and private recreation, far more important was their use in connection with religious ceremony. As the Hebrew nation increased in power, and as their conquests became permanently secured, so the arts of peace developed in greater profusion and refinement, and with them the embellishments of the liturgical worship became more highly organized. With the capture of Jerusalem and the establishment of the royal residence within its ramparts, the worship of Jehovah increased in splendor; the love of pomp and display, which was characteristic of David, and still more of his luxurious son Solomon, was manifest in the imposing rites and ceremonies that were organized to the honor of the people’s God. The epoch of these two rulers was that in which the national force was in the flower of its youthful vigor, the national pride had been stimulated by continual triumphs, the long period of struggle and fear had been succeeded by glorious peace. The barbaric splendor of religious service and festal pageant was the natural expression of popular joy and self-confidence. In all these ebullitions of national feeling, choral and instrumental music on the most brilliant and massive scale held a conspicuous place. The description of the long series of public rejoicings, culminating in the dedication of Solomon’s temple, begins with the transportation of the ark of the Lord from Gibeah, when “David and all the house of Israel played before the Lord with all manner of instruments made of fir-wood, and with harps (_kinnor_), and with psalteries (_nebel_), and with timbrels (_toph_), with castanets (_sistrum_), and with cymbals (_tzeltzelim_).”[20] And again, when the ark was brought from the house of Obed-edom into the city of David, the king danced “with all his might,” and the ark was brought up “with shouting and with the sound of a trumpet.”[21] Singers were marshalled under leaders and supported by bands of instruments. The ode ascribed to David was given to Asaph as chief of the choir of Levites; Asaph beat the time with cymbals, and the royal paean was chanted by masses of chosen singers to the accompaniment of harps, lyres, and trumpets.[22] In the organization of the temple service no detail received more careful attention than the vocal and instrumental music. We read that four thousand Levites were appointed to praise the Lord with instruments.[23] There were also two hundred and eighty-eight skilled singers who sang to instrumental accompaniment beside the altar.[24]