assumption that these are musical terms, we have three classes of them in the Psalms. One class apparently gives directions for the tune to which the Psalm is to be sung, and this tune is named, like some modern hymn tunes, after the words with which the tune had been originally or customarily associated; these appear to have been popular songs, not necessarily of an entirely religious character (Ps. lvi., R.V. title: "set to Jonath elem rehokim"; mar. translates: "The silent dove of them that are afar off"; Ps. lvii., lviii.: "set to Al tashheth," which means: "Do not destroy." In the Septuagint the setting of Ps. lxx. has been altered to: "Save me, O Lord"). Other titles seem to direct the voice to be used in singing, as either falsetto or bass (Ps. xlvi., "set to Alamoth"; probably maiden-like voices, and as women took no part in the service of the choirs, this must refer either to tenor, or male falsetto; Ps. vi., xii., "set to the Sheminith." R.V. mar., "the eighth." This is probably the octave or bass voice). Two references are to be found to the instrumental accompaniment to be used, as either stringed or wind instruments (Ps. iv., vi., etc., "on stringed instruments"; Ps. v., "with the Nehiloth," mar., "wind instruments"). The much discussed meaning of _Selah_ is most probably to be sought in a musical direction. The word means: "lift up." The Septuagint translates, "interlude," but many other versions (Version of Aquila, Syriac Peshitto, Jerome and the Targum) translate, "for ever." This duplicate translation suggests the very possible clue that at the places where _Selah_ appears, the Psalm might be ended, if desired, and the "for ever," or the doxology, which was usually sung at the end of the Psalm and which is found at the end of each book, could be taken there. As completed, the Psalter is therefore a book with directions for a fully organised and choral worship, and we have to seek for a time when such a worship was in existence. The difficulty is that these musical directions are somewhat rare and are not found in the later books, but only in connection with those Psalms entitled, "for the Director." As the instruments mentioned are only of the simplest kind and not of the varied character used in the ornate worship of the Temple (cxlix. 3; cl. 3-5), and as by the time the Greek translation was made (150 B.C.), their significance was forgotten, we have to put the final edition long after the founding of synagogue worship, in which the Director's Psalm Book was first used, and at some period when there had been a complete change in musical practice. This demands a time when Hellenistic culture had moulded even the Temple worship. (The Jews were under Greek influence and rule from B.C. 333 to B.C. 63.) The time from which a full choral service was in use in the Temple is to be carried back, according to the Chronicler, to the time of Solomon and David, but a comparison with the earlier