towards the unknown, (2) a relation on our own level, a relation towards our equal,--that is towards our fellow man, and (3) a relation towards our inferior,--in the sense that the world is for man's use, is made for man,--that is, towards physical nature. We have seen how from the beginning of man's history these three relations did not acquire the vividness and energy of personal relations, nor any fixed or developable existence at all until the period mentioned. I cannot help expressing earnest regret that the limits of my present subject have not allowed me to give any development whatever to this conception of the actual significance of the Renaissance as a significance which crystallizing into Music, the Novel, and Science, has left us those as the solid residuum of that movement; and it is not a mere sentimental generalization but a hard, scientific and unifiable fact that music is the distinctive form in which man's new relation to what is above him has expressed itself; the novel is the distinctive form in which man's new personal relation to his fellow-man has expressed itself; and science is the distinctive form in which man's new personal relation to nature has expressed itself. I am perfectly well aware, for instance, that when one thinks of the Italian Opera with its banalities and fleshly frenzies; or when one thinks of the small, low, unmanly sensual lives which so many musicians have led under our eyes; one may well feel inclined to dispute this category to which I have assigned music, and to question whether music does belong to this wholly religious sphere. I long to be able to remind such questioners of the historic fact that music has been brought into the church as the mouthpiece of our worship, not by the sentimental people but by the sternest reformers and the most untheoretical and hard-handed workers: I long to remind them now it is the same Luther who would meet his accusers though ten thousand devils backed them, that cares most assiduously for the hymns of the church, makes them, sings them: how it is the same Puritan who fights winter and hunger and the savage, that is noted for his sweet songs, and must have his periodic opening of the musical avenue up towards the great God: or, passing far back to the times before music was music, and so making the case stronger, I long to remind them of a single line in a letter from Pliny the younger to Trajan in the year 110, which puts before me a dewy morning picture of music and Christian devotion that haunts my imagination--a line in which Pliny mentions some people who were in the habit of "meeting on a certain day before daylight and singing a hymn to Christ as to a God": or how in the fourth century the very Ambrosian chant which preceded the Gregorian chant is due to the fact that the good Ambrose, Bishop of Milan, casting about for solace, collects a number of psalm tunes and hymns and appoints them to be sung for the express purpose of