appear in the cantata illustrate the Biblical texts, applying and commenting upon them in the light of Protestant conceptions. The words refer to some single phase of religious feeling made conspicuous in the order for the clay. A cantata is, therefore, quite analogous to the anthem of the Church of England, although on a larger scale. Unlike an oratorio, it is neither epic nor dramatic, but renders some mood, more or less general, of prayer or praise. We have seen that the Lutheran Church borrowed many features from the musical practice of the Catholic Church, such as portions of the Mass, the habit of chanting, and ancient hymns and tunes. Another inheritance was the custom of singing the story of Christ’s Passion, with musical additions, in Holy Week. This usage, which may be traced back to a remote period in the Middle Age, must be distinguished from the method, prevalent as early as the thirteenth century, of actually representing the events of Christ’s last days in visible action upon the stage. The Passion play, which still survives in Oberammergau in Bavaria, and in other more obscure parts of Europe, was one of a great number of ecclesiastical dramas, classed as Miracle Plays, Mysteries, and Moralities, which were performed under the auspices of the Church for the purpose of impressing the people in the most vivid way with the reality of the Old and New Testament stories, and the binding force of doctrines and moral principles. The observance out of which the German Passion music of the eighteenth century grew was an altogether different affair. It consisted of the mere recitation, without histrionic accessories, of the story of the trial and death of Christ, as narrated by one of the four evangelists, beginning in the synoptic Gospels with the plot of the priests and scribes, and in St. John’s Gospel with the betrayal. This narration formed a part of the liturgic office proper to Palm Sunday, Holy Tuesday, Ash Wednesday, and Good Friday. According to the primitive use, which originated in the period of the supremacy of the Gregorian chant, several officers took part in the delivery. One cleric intoned the evangelist’s narrative, another the words of Christ, and a third those of Pilate, Peter, and other single personages. The ejaculations of the Jewish priests, disciples, and mob were chanted by a small group of ministers. The text was rendered in the simpler syllabic form of the Plain Song. Only in one passage did this monotonous recitation give way to a more varied, song-like utterance, _viz._, in the cry of Christ upon the cross, “Eli, Eli, lama sabachthani,” this phrase being delivered in an extended, solemn, but unrhythmical melody, to which was imparted all the pathos that the singer could command. The chorus parts were at first sung in unison, then, as the art of part-writing developed, they were set in simple four-part counterpoint.