in which also the unique charm of the Catholic chant of the present day so largely consists. In view of the controversies over the use of instrumental music in worship, which have been so violent in the British and American Protestant churches, it is an interesting question whether instruments were employed by the primitive Christians. We know that instruments performed an important function in the Hebrew temple service and in the ceremonies of the Greeks. At this point, however, a break was made with all previous practice, and although the lyre and flute were sometimes employed by the Greek converts, as a general rule the use of instruments in worship was condemned. Many of the fathers, speaking of religious song, make no mention of instruments; others, like Clement of Alexandria and St. Chrysostom, refer to them only to denounce them. Clement says: “Only one instrument do we use, _viz._, the word of peace wherewith we honor God, no longer the old psaltery, trumpet, drum, and flute.” Chrysostom exclaims: “David formerly sang in psalms, also we sing to-day with him; he had a lyre with lifeless strings, the Church has a lyre with living strings. Our tongues are the strings of the lyre, with a different tone, indeed, but with a more accordant piety.” St. Ambrose expresses his scorn for those who would play the lyre and psaltery instead of singing hymns and psalms; and St. Augustine adjures believers not to turn their hearts to theatrical instruments. The religious guides of the early Christians felt that there would be an incongruity, and even profanity, in the use of the sensuous nerve-exciting effects of instrumental sound in their mystical, spiritual worship. Their high religious and moral enthusiasm needed no aid from external stimulus; the pure vocal utterance was the more proper expression of their faith. This prejudice against instrumental music, which was drawn from the very nature of its aesthetic impression, was fortified by the associations of instruments with superstitious pagan rites, and especially with the corrupting scenes habitually represented in the degenerate theatre and circus. “A Christian maiden,” says St. Jerome, “ought not even to know what a lyre or a flute is, or what it is used for.” No further justification for such prohibitions is needed than the shameless performances common upon the stage in the time of the Roman empire, as portrayed in the pages of Apuleius and other delineators of the manners of the time. Those who assumed the guardianship of the morals of the little Christian communities were compelled to employ the strictest measures to prevent their charges from breathing the moral pestilence which circulated without check in the places of public amusement; most of all must they insist that every reminder of these corruptions, be it an otherwise innocent harp or flute, should be excluded from the common acts of religion.