*Wiseman. Lectures on the Offices and Ceremonies of Holy Week. Baltimore, Kelly, 1850. INDEX A Act of Supremacy, 325, 328, 329. Agathon, pope, 110. Agnus Dei, 90. Ahle, 266. Ainsworth, psalm-book of, 376. Altenburg, 266. Ambrose, St., 58; introduces psalm singing into Milan, 66. Anerios, the, 133, 168. Anthem, Anglican, 346; its different forms, 348; periods and styles, 353. Aria, Italian, origin of, 190; its supremacy in the seventeenth and eighteenth centuries, 191; its introduction into church music in Italy, 193, 269; influence upon German church music, 267, 269, 318; adoption into the cantata, 273; into the Passion music, 276, 280. Art, Catholic conception of religious, 70, 174; Calvinist and Puritan hostility to art in connection with worship, 363, 369, 372. Asor, 23. Assyrians, religious music among the, 12. Attwood, 354. Augustine, missionary to England, 117. Augustine, St., quoted, 51, 67; traditional author, with St. Ambrose, of the Te Deum, 58; effect of music upon, 372. B Bach, Johann Sebastian, his relation to German church music, 282, 287, 289; the Bach family, 284; Bach’s birth, education, and official positions, 286; condition of German music in his early days, 287; his organ music, 290, 292; fugues, 292; choral preludes, 295; cantatas, 300; style of his arias, 304; of his choruses, 305; Passion according to St. Matthew, 307; compared with Händel’s “Messiah,” 307; its formal arrangement and style, 308; performance by Mendelssohn, 312; the Mass in B minor, 204, 211, 312; national and individual character of Bach’s genius, 314; its universality, 316; decline of his influence after his death, 317. Bach Society, New, 322. Bardi, 188. Barnby, 355, 383. Battishill, 354. Beethoven, his Mass in D, 119, 200, 204, 210. Behem, 229. Benedictus, 88. Bennett, 355. Berlioz, his Requiem, 199, 200, 204. Beza, 360. Bisse, quoted, 338. Boleyn, Anne, 326. Bonar, 381. Boniface, 118. Bourgeois, 360. Boyce, 354. Brethren of the Common Life, 234. Bridge, 355. Buxtehude, 292. Byrd, 350. C