[23] Buckle, _History of Civilization in England_, Vol. II, p. 140: "Whatever the prejudices of some may suggest, it will be admitted, by all unbiassed judges, that the Protestant Reformation was neither more nor less than an open rebellion. Indeed, the mere mention of private judgment, on which it was avowedly based, is enough to substantiate this fact. To establish the right of private judgment was to appeal from the Church to individuals," etc. (See also p. 138 in the same volume.) _Cambridge Modern History_, Vol. II, p. 166: "In the Edict of Worms, Luther had been branded as a revolutionary, then as a heretic, and the burden of the complaints preferred against him by the Catholic humanists was, that his methods of seeking a reformation would be fatal to all order, political or ecclesiastical. They painted him as the apostle of revolution, a second Catiline." And p. 174: "The most frequent and damaging charge levelled at Luther between 1520 and 1525 reproached him with being the apostle of revolution and anarchy, and predicted that his attacks on spiritual authority would develop into a campaign against civil order unless he were promptly suppressed." [24] _A Treatise Touching the Libertie of a Christian_, by Martyne Luther (translated from the Latin by James Bell, 1579. Edited by W. Bengo' Collyer, 1817), p. 17: "So that it is manifest that to a Christian man faith sufficeth only for all, and that he needeth no works to be justified by. Now, if he need no works, then also he needs not the law: if he have no need of the law, surely he is then free from the law. So this also is true. The law is not made for the righteous man, and this is the same Christian libertie." [25] _Ibid_., p. 3. [26] _Ibid_., p. 31. [27] _W. P._, Vol. II, p. 211. [28] 1 Cor. iv. 1. [29] Cambridge Modern History, Vol. II, p. 201. [30] _W. P._, Vol. I, p. 75. [31] Emil Naumann, _History of Music_, Vol. II, p. 429: "With the Catholics, hymns in the mother tongue were only used at processions and on high festivals, and were then sung by the congregation only at Christmas, Easter, and certain other high feast days. With these exceptions, the Catholic congregational song consisted of short musical phrases chanted by the priests, to which the people either responded, or added their voices to the refrain sung by the choristers from the altar. The part assigned to the people then was but a very subordinate one." See also the Introduction to C. von Winterfeld's Sacred Songs of Luther (Leipzig, 1840). [32] _The Beginnings of Art_, by Ernst Grosse, pp. 299, 300; and Cambridge Modern History, Vol. II, p. 201. [33] Culture and Anarchy (Smith, Elder, 1909), pp. 11, 12. [34] _Z._, I, VII. [35] E. I., pp. 54, 55.