An equally appropriate selection from Charles Wesley would be “Ye servants of God, your Master proclaim.” Care should be taken that the tune used for either is vigorous and well known. A dull tune for either would be a stumble on the threshold of the service. The point in the service has not yet been reached where a distinctly missionary hymn is called for; aggressiveness in the Lord’s service is still the mood to be created. There would be a choice between Shurtleff’s vigorous “Lead on, O King Eternal,” with its specific dedication of self to any forward movement of the Christian Church, or Baring-Gould’s marching hymn with its American tune written by an English composer, “Onward, Christian soldiers,” which can hardly fail to stimulate the pulses of a presumably already stirred congregation, unless it is sung in a drawling, unaccented way. If by this time the congregation is not prepared to be thrilled by an unexpected missionary sermon, eloquent with an appeal hardly to be equaled by any other topic connected with the Church’s activities, there has been something wrong with the preacher or his people. At the close of the sermon the hearts of the people will be glad to express themselves either in Smith’s “The morning light is breaking,” or in Watts’ noble Christianized version of the seventy-second Psalm, “Jesus shall reign where’er the sun.” For once the organist can pull out all his stops and play a brilliant but not flippant postlude without disturbing the mind and nerves of thoughtful and devout people. In these suggested programs it has been evident that the unity is one of feeling and not of logic. This gave room for the interest which the unexpected supplies. There must be progress of feeling as well as of thought. The long prayer or the music after it, be it organ or choir or hymn, should be the climax of emotion. It should be allowed to subside a little during the announcements and offering, in order to rise to a still higher climax in the sermon and closing hymn. In a tender, sympathetic service there is more danger of not taking the audience with you. If the music and the feelings suggested by the hymns are too quiet and depressing, there is danger of its acting as a lullaby, putting the people to sleep. Many a preacher wonders why some of his hearers are asleep before his text is fairly announced. In nine cases out of ten, it is due to the depressing character of the music used in the devotional part of the service. III. IMPORTANCE OF THE TUNES