Lovers of church music in all countries had hailed with joy the news of Cardinal Sarto's election to the papacy. The changes brought about in Venice had not passed unnoticed in the musical world; a need for reform was universally felt. "May we not hope that your Holiness will do for the world what you have already done for Venice?" asked a French musician. "It shall be done and soon," was the reply, "but it will be a hard fight. And not the only one," added the pope thoughtfully, musing on the work that lay before him. Leo XIII had more than once urged on the faithful the study of the traditional music of the Church. He had even sent to Venice for Don Lorenzo Perosi to take charge of the music of the Sistine Chapel; but the Italians clung to their operatic effects, and the results had not been notable. On the 22nd of November, 1903, the _motu proprio_[*] on sacred music laid down definite rules on the matter. "Nothing should have place in the church that is unworthy of the house of prayer and the majesty of God," said the pope. "Sacred music contributes to the fitness and splendour of the ecclesiastical rites, and since its principal office is to clothe with suitable melody the liturgical text proposed for the understanding of the faithful, its proper aim is to add greater efficacy to the words, in order that through it the people may be the more easily moved to devotion and better disposed for the fruits of grace belonging to the celebration of the most holy mysteries. It must be holy, it must be true art, it must be universal; and since these qualities are to be found in the highest degree in the Gregorian chant . . . the more closely the composition of church music approaches . . . to the Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple." [*] A _motu proprio_ is a document drawn up by the pope on his own initiative. The _motu proprio_, however, did not exclude the use of modern music, provided that it was suitable to be associated with the liturgy; but theatrical music was not to be tolerated. Rules were laid down to guarantee the dignity and solemnity of church offices; paid singers, especially women, were not to be employed in the choir; bands and orchestral accompaniments were forbidden. Bishops were to institute special commissions of persons skilled in sacred music, to see that the rules were carried out. Schools of sacred song were to be established in those seminaries where they did not already exist, and in town and country parishes. From his personal experiences at Tombolo, Salzano, Treviso and Mantua, Pius X knew that this was perfectly practicable.