Contrast now the character of plain chant with music as a suitable song for the duly‐qualified church singers, from the priest down to the humblest cantor. That it is the only song fit for the consecrated priest needs no argument. Thank God, there is no “toleration” of “priests’ music,” “sacerdotal solos,” “Prefaces,” and “Pater Nosters,” _à la_ Mozart, Haydn, Cherubini, or Peters! It is distinguished especially by that gravity of movement, that _modestie ecclesiastique_, in its intonation, which becomes the sacerdotal character. Any other melody from the mouth of a priest at the altar would scandalize not only the least ones of the brethren of Christ, but the greatest also; and however terrible the “woe” our Lord would pronounce upon those who might scandalize the latter, we are not left in ignorance of what is reserved for those who fall under his judgment for scandalizing the former. Any one who has had the good fortune of assisting at a Mass chanted by a properly vested chorus, in strict Gregorian melody, with organ accompaniment, if you will—that is, nothing more than an accompaniment, as the cardinal vicar desires—will assuredly bear testimony that it was not a musical performance—that is, a melodious concert performed for its own sake in any degree—but a religious performance, a chant of priests and the “likes of them,” suggesting nothing of this world’s vanities or luxury, and as unlike modern music and its mechanism as the melodious whisperings of an æolian harp are unlike a hand‐organ with monkey _obbligato_. What is, to say the least, astonishing, if not lamentable, is to see so many priests devoted with ardor to the study of music, and so many more sanctioning and furthering its inroads upon the domain which it behooves them to cultivate, whilst remaining wholly ignorant of the chant, and unable to intone the _Gloria in Excelsis_ or to sing a Collect or Gospel without blundering at every inflection. We see no impropriety in pressing these facts home upon those who are bound by the laws of their profession to interest themselves in the claims which Gregorian chant makes upon them, in order that they may decently perform the sacred functions committed to their care—how sacred one single reflection will show. For what is the song of the priest? It is not a private performance of his own, but rather an inspired expression of the mind of the church, herself the divine voice of God. When she prays and sings, she prays a divine prayer, and sings a divine song. God prays and sings within the walls of the church, the New Jerusalem, which has come down like a bride out of heaven upon the earth. True, it is the priest who prays and sings; but let him not forget that there is a Voice of supplication which ascends to the throne of the Almighty and Eternal Majesty that is not his, and a song which sounds sweetly in the ears of the Divine Mercy, and celebrates the praises of the Most High, whose melody is not the inspiration of his soul.