intimate ideal emotions, and in a resonant
building a choir of six voices can produce complete effects with it. The
broad, sonorous swell of its harmonious intervals floods the air with
peaceful power, very unlike the broken sea of Bach's chromatics, which,
to produce anything like an equal effect of sound, needs to be powerfully
excited.

It is necessary to insist strongly on one caution, viz. that grammar is
not style, and settings which avoid modernisms are not for that reason a
fair presentation of the old manner. Nothing is less like a fine work of
art than its incompetent imitation. And this practically exhausts, as far
as I am aware, the material which this period provides.

The next class will be made up of our Restoration hymns, by Jeremy Clark,
Croft, and others who added to the succeeding editions of the metrical
Psalms. If there are not many in this class, yet the few are good; and
Clark must be regarded as the inventor of the modern English hymn-tune,
regarded, that is, as a pure melody in the scale with harmonic
interpretation of instrumental rather than true vocal suggestion. His
tunes are pathetic, melodious, and of truly national and popular
character, the best of them almost unaccountably free from the
indefinable secular taint that such qualities are apt to introduce, and
which the bad following of his example did very quickly introduce in the
hands of less sensitive artists. They are suitable for evening services.

After this time there followed in England, in the wake of Handel, a
degradation of style which is now completely discredited. Diatonic flow,
with tediously orthodox modulation, overburdened with conventional
graces, describe these innumerable and indistinguishable productions. And
just as the old tunes were related to the motets and madrigals, so are
these to the verse-anthems and glees of their time. These weak ditties,
in the admired manner of Lord Mornington, were typically performed by the
genteel pupils of the local musician, who, gathered round him beneath the
laughing cherubs of the organ case, warbled by abundant candlelight to
their respectful audience with a graceful execution that rivalled the
weekday performances of _Celia's Arbour_ and the _Spotted Snakes_. Good
tunes may be written at any time, for style is independent of fashion;
but there are very few exceptions to the complete and unregretted
disappearance of all the tunes of this date.

We have then nothing left for us