All exalted sentiment tends to rhythmical expression. There is a mystical alliance, which is amongst the most significant facts in our constitution, between emotion and art. The rudest natures, touched by high feeling, will shape themselves to some sort of beauty, to some grace and refinement of expression. Each new stirring of the pulse of man’s common life has been marked by a re-birth of poetry and art. The songs of Mary and Zechariah were the parents and patterns of a multitude of holy canticles. In the Psalms of Scripture the New Testament Church found already an instrument of wide compass strung and tuned for her use. We can imagine the delight with which the Gentile Christians would take up the Psalter and draw out one and another of its pearls, and would in turn recite them at their meetings, and adapt them to their native measures and modes of song. After a while, they began to mix with the praise-songs of Israel newer strains--“hymns” to the glory of Christ and the Father, such as that with which this epistle opens, needing but little change in form to make it a true poem, and such as those which break in upon the dread visions of the Apocalypse; and added to these, “spiritual songs” of a more personal and incidental character, like Simeon’s _Nunc dimittis_ or Paul’s swan-song in his last letter to Timothy. In verse 14 above we detected, as we thought, an early Church paraphrase of the Old Testament. In later epistles addressed to Ephesus, there are fragments of just such artless chants as the Asian Christians, exhorted and taught by their apostle, were wont to sing in their assemblies: see 1 Timothy iii. 16, and 2 Timothy ii. 11-13. Upon this congenial soil, we trace the beginnings of Christian psalmody. The parallel text of Colossians (iii. 16) discloses in the songs of the Pauline Churches a didactic as well as a lyric character. The apostle bids his readers “_teach and admonish_ one another by psalms, hymns, spiritual songs.” The form of the sentence of chapter iv. 4-6 in this letter, and of 1 Timothy iii. 16, suggests that these passages were destined for use as a chanted rehearsal of Christian belief. Thus “the word of Christ dwelling richly” in the heart, poured itself freely from the lips, and added to its grave discourse the charms of gladdening and spirit-stirring song.