will generally be found of precisely the same views with the nominators, and in the same station in society, or as near to it as possible. This is undesirable, as we have already seen that new elements ought to be introduced, and therefore, parishes should name such as they think will unflinchingly utter their sentiments, and forward their plans. By thus attending to the degree of power granted in the bill, to the popular voice, dissatisfaction will be prevented, and no place will be found for the vegetation of corruption.

HOGARTH'S HISTORY OF MUSIC.
London: Parker. pp. 432.

THE cultivation of music is required in this country, in order to counteract the numerous violations of taste, with which a mere fondness for melody is often accompanied. Let any one listen to the songs of the populace of France and England, and the vast superiority of the former in those particulars, which an acquaintance with the science of music is intended to teach, will evince the propriety of our remark.

This interesting volume is intended to promote chasteness and propriety in musical ideas and execution, and is well calculated to further such a design. The author gives such a luminous account of the different schools of the art, of those who have most successfully cultivated it, and of the various violations of its rules, which communities and individuals are likely to commit, that his work cannot be read without pleasure and profit.

Mr. Hogarth's account of congregational singing is as follows;

"In the course of the 16th century, the psalmody of the protestant churches was brought nearly to the state in which it now remains, and in which it is desirable that it should continue to remain. For this psalmody we are indebted to the reformers of Germany, especially

Luther, who was himself an enthusiastic lover of music, and is believed to have composed some of the finest tunes, especially the hundredth psalm, and the hymn on the last judgment. Our psalm tunes, consisting of prolonged and simple sounds, are admirably adapted for being sung by great congregations; and as the impression produced by this kind of music is much increased by its venerable antiquity, it would be unfortunate, were it to yield to the influence of innovation. For this reason, it is much to be desired, that organists and directors of choirs should confine themselves to the established old tunes, instead of displacing them by modern compositions."

We take the liberty to recommend this volume to all persons who have anything to do with the direction of the musical devotions of others.

As a specimen of the generally interesting character of the book, we extract the description which is given of Handel, á name familiar and dear to most readers.

"The character of Handel, in all its great features, was exalted and amiable. Throughout his life, he had a deep sense of religion. He used to express the great delight he felt in setting to music the most sublime passages of holy writ; and the habitual study of the scriptures had constant influence on his sentiments and conduct. For the last two or three years of his life, he regularly attended divine service in his parish church of St. George's, Hanover Square, where his looks and gestures indicated the fervour of his devotion. In his life he was pure

and blameless; not possessed of strong passions, (for his impetuosity of manner was not the result of passion) not even of very warm affections; but yet friendly and benevolent. To this part of his character may be ascribed his life of celibacy; but to a higher principle must be im puted his freedom from dishonourable connections with the female sex. "His few foibles were not of a nature to sully the brightness of his character. The greatest of them, certainly, was his use of profane expressions, to which, notwithstanding the real piety of his character, he was unbecomingly addicted. For this, however, there was some excuse in the manners of the age, when such expressions were habitual, even among the better classes of society. He liked to indulge in good living, but not to an injurious or degrading excess. He was rough and impetuous, but utterly free from malevolence or ill-nature.

*

"His intellect was vigorous and well cultivated. He was acquainted with Latin, and a master of the Italian language, and understood English well enough to be sensible of the beauties of our poets. His knowledge ofour language, indeed, is very apparent, from the admirable

* We fear Mr. Hogarth's notion of piety is rather latitudinarian,

manner in which the words of his oratorios, notwithstanding occasional errors of accent and prosody, are adapted to the music.

"In his person, Handel was large, and rather corpulent; his features were very handsome, and his countenance was placid. with an expression of mingled dignity and benevolence. He had a good deal of wit and humour; and even in his fits of anger and impatience, his sallies of pleasantry, conveyed in his grotesque English, produced merriment rather than uneasiness. He wore an enormons white wig, flowing over his shoulders, which, when things were going well at the oratorio. had a certain vibratory motion, indicative of his satisfaction. At the rehearsals of his oratorios, at Carlton House, if the prince and princess were not punctual in entering the room, he used to be violent; yet such was the reverence with which these illustrious personages (to their honour) treated him, that they never took offence at his freedom; but the prince has been heard to say, 'Indeed, it is cruel to keep these poor people,' meaning the performers, 'so long from their scholars and other concerns,' If the maids of honour, or the female attendants, indulged in their Joquacious propensities during the rehearsal, our composer's rage was uncontrollable, and sometimes carried him to the length of swearing and calling names, even in the presence of royalty. Yet at such times, the princess of Wales, with her accustomed mildness, used to say to her attendants, Hush! hush! Handel is in a passion."

From the critique on the compositions of Handel, we select the following striking passage.

it is the glory of Handel's genius, that, in his moments of inspiration, he broke through the conventional trammels which bound his contemporaries, and imagined those divine melodies, which must ever find their way to the heart. Handel's airs almost uniformly bear the impress of his mind; but some of them resemble a noble, or beautiful figure, clothed in the cuniberous costume of his day, while others, free from such trappings, display the perfect symmetry and grace of some exquisite remnant of Grecian art. If the choruses in the Messiah,' 'For unto us a Child is born'. and the 'Hallelujah', shall continue from age to age to produce awe and veneration, so shall the airs, I know that my Redeemer liveth',-He shall feed his flock', and 'He was despised and rejected', fill the mind with chastened joy, tenderness, and pity."

"THERE'S NOTHING BRIGHT BUT HEAVEN." Moore.

How beautiful is this! The arch of heaven,
With golden lamps hung thickly, seems to tell
Of majesty, and harmony, and love;

Fit habitation for the immortal choir,

Who tune their harps of sweet and various note,
To songs of rapture, changeless, without end.
Thus while I mused, a thick and envious cloud,
Hid all these beauties from my eager gaze.
E'en thus, I said, the joy of man departs!

Sure this is fair! the prospect opening wide,
Displays in nature's choicest dress, the hills,
The vales, the forests, and the lawns,
With plenty stored; while birds of every hue
Sing carols to the rising day.

Here let me rest, and lose my care awhile.

Thus while I mused, stern winter's icy hand,

Plucked all the leaves, and bade the flow'rets die. 'Tis thus, I said, the hopes of men expire!

Was ought more lovely ever seen below?
They are a happy pair,-they seem but one;
United by the holiest bonds, their love
Burns bright upon the altar of the heart.
Together now they smile, and now they weep,
Since all their joys and sorrows mutual prove.
Thus while I gazed, the dart of death, deep-fixed,
Forbade them more to feel affection's charm.
'Tis thus, I said, the loves of man decay!

E

This is a scene would cause all hearts to feel!
Low on the couch the dying pilgrim lies,
While those who called him theirs, give utterance
To agony intense, in sighs and tears.

His days are passed, his sand is all run out,
One last exchanging look-he breathes no more.
Ilere while I mourned, a bright, a heavenly band,
His spirit took to realms of endless peace.

'Tis thus, I said, the joys of man begin!

ON THE SPIRIT AND MANNERS OF THE EARLY CHRISTIANS, AS EXEMPLIFIED IN THE APOLOGY OF TERTULLIAN.

(Concluded.)

IT is a fundamental doctrine of the sacred Scriptures, that faith without works is dead; or, in other words, that religion, to be efficacious, must not be speculative, but practical. How did Christianity, at that period, correspond with this rule of inspiration? It might talk much of its opinions, as different from those of the rest of the world, but did it show their superiority over others, by the more elevated character of the effects produced by them? It may be sufficient to refer to the triumphant manner in which they could challenge their enemies to substantiate against them a charge of immorality; while their history, handed down to us, fully proves that, for opinions, not for actions, they met with imprisonment, torture, and death. Secluded from the observation of those, whose only wish to behold, was to destroy them, these happy disciples kept their feasts of charity. But mark how this secrecy to which they were compelled, was shamefully misconstrued. Their commemo