of Paul and in other
portions of the New Testament. Such a fragment is believed to be recorded
in 1 Timothy 3:16:

He who was manifested in the flesh,
Justified in the spirit,
Seen of angels,
Preached among the nations,
Believed on in the world,
Received up in glory.

The "faithful saying" to which Paul refers in 2 Timothy 2:11 also is
believed to be a quotation from one of these hymns so dear to the
Christians:

If we died with Him,
We shall also live with Him:
If we endure,
We shall also reign with Him:
If we shall deny Him,
He will also deny us:
If we are faithless,
He abideth faithful;
For He cannot deny Himself.

It will be noted how well these passages adapt themselves to responsive,
or antiphonal, chanting, which was the character of the ancient Christian
songs. Other passages that are believed to be fragments of ancient hymns
are Ephesians 5:14; 1 Timothy 6:15, 16; James 1:17, and Revelation 1:5-7.

There are strong evidences to support the claim that responsive singing
in the churches of Asia Minor was introduced during the latter part of
the first century by Ignatius, bishop of Antioch, a pupil of the Apostle
John. The _Gloria in Excelsis_ was used in matin services about this
time, while the _Magnificat_ was sung at vespers. Ignatius suffered
martyrdom about 107 A.D. by being torn to pieces by lions in the circus
as a despiser of the gods.

Liturgies also were employed very early in the worship of the Christian
Church. An ancient service known as the "Jerusalem" liturgy was ascribed
to the Apostle James, while the so-called "Alexandrian" liturgy claimed
as its author Mark, fellow laborer of Paul and companion of Peter. There
is much uncertainty surrounding these claims, however.

Both Tertullian and Origen record the fact that there was a rich use of
song in family life as well as in public worship.

The singing of the early Christians was simple and artless. Augustine
describes the singing at Alexandria under Athanasius as "more like
speaking than singing." Musical instruments were not used. The pipe,
tabret, and harp were associated so intimately with the sensuous heathen
cults, as well as with the wild revelries and shameless performances of
the degenerate theatre and circus, that it is easy to understand the
prejudice against their use in the Christian worship.

"A Christian maiden," says Jerome, "ought not even to k