ivory, and couches with silver feet and inlaid with ivory, and folding-doors of beds studded with gold and variegated with tortoise-shell, and bedclothes of purple and other colors difficult to produce. And let no one wonder that he should enumerate bedclothes among the objectionable furniture of a dining-room. It must be remembered that in those gluttonous old times people took their meals not sitting on chairs, but reclining on couches, so that it would hardly be out of the way to say that they breakfasted, and dined, and supped in bed. They used to eat and drink so much that this attitude was perhaps, on the whole, the most convenient for them. Among the other blamable luxuries which he enumerates are ivory-handled knives. The basins in which it was customary to wash the feet and hands before meals ought to be of no better material than common potter's ware. You can get off the dirt just as well in a cheap earthen washbowl, says the saint, as in one of price; the Lord did not bring down a silver foot-bath from heaven. Music at feasts is an abomination to be carefully shunned, and a comic song is unworthy of a Christian gentleman, for "burlesque singing is the boon companion of drunkenness." If people occupy their time with "pipes and psalteries, and Egyptian clapping of hands," they become, by degrees, quite intractable, and even descend so low as to "beat on cymbals and drums, and make a noise on the instruments of delusion." We must be on our guard against whatever pleasure effeminates the soul by tickling the eye or the ear, and so must shun "the licentious and mischievous art of music," which disturbs the mind and corrupts the morals. Grave, temperate, and modest music may, indeed, be permitted, but "liquid" strains and "chromatic harmonies" are only for immodest revels. All which shows that in Clement's time there must have been a wickedness associated with music which that glorious art has now happily lost. The psalmist, it is true, exhorts us to praise the Lord in the sound of the trumpet, with the psaltery, the lyre, the timbrel and dance, the chords, and the organ, and the clashing cymbals; but the Alexandrian philosopher interprets all this passage symbolically. The trumpet to which King David refers is the blast which shall wake the dead on the last day. The lyre is the mouth struck by the spirit. The timbrel and dance are the church "meditating on the resurrection of the dead in the resounding skin." Our body is the organ; its nerves are the strings by which it has received harmonious tension; and the clashing cymbal is the tongue, resounding with the pulsations of the mouth. Reading St. Clement's instructions, with no light by which to interpret them, except the bare words of the text itself, it would seem to be but a solemn and joyless life which he inculcated a perpetual Puritan Sunday--than, which, probably, nothing more doleful was ever imagined of man. But we must remember that he lived in an age of ineffable vileness.