a

cendancy of Protestantism a singular epoch should occur in the history of æsthetics. The propriety of church ornamenting was of course made a matter of grave doubt by the good reformers. In their horror of Popish image-worship they fled to shapeless buildings with bare walls, and were horror-struck at the pictured presence of a martyr. They would have felt, if transported to the interior of the Sistine Chapel, as if they stood in the very midst of those dark "chambers of imagery: that the Prophet saw, on whose walls were portrayed the abominations of the seventy ancients of Israel. This feeling could only pass away, when the immediate reaction was succeeded by a more large and liberal view of that entire system of Faith, of which so great a proportion was empty ritual. Then we should expect it to be discovered, that a proper attention to sacred edifices, and a proper use of some of the outward emblems would not be fatal to soul-worship. Ours not being the age of Faith but of inquiry, of skepticism, and of mechanism, we cannot look for the erection of cathedrals. But we do anticipate, from the generous appreciation among us of all the means in all sects for developing the whole nature of man, freedom from the weak prejudices that surround this subject also. The worship, we are told, the worship of the spirit is what men require, and compared with this the place and the form are nothing. The soul may commune with its source, as well under the open sky as beneath the roof of a costly edifice. And, indeed, we ourselves should account it a misery, did not we ourselves believe that there is a worship which the soul offers, when it is touched by the breathing voice of woods and streams, as true as is often known within imprisoning walls; that holiness is often taught by the ministrations of God's own open day and silent night, with their splendors and mysteries, such as the feeble human voice can hardly teach; that there is no censer's breath like the mountain-airs, and no arch like Heaven's. But then nature will not always admit us to her sanctuaries; and so long as we build with our own hands, let us build so as to approach as nearly as we may to the perfections of her greater temple. The place has its influence. And if the services of our religion have power to touch and impress anywhere, this furnishes no reason for leaving churches ugly and repulsive, but rather for so simply adorning and tastefully proportioning them, that they may aid the devotion that can never be too deep. Let us, if we take away the crucifix

and the images, leave, at least, the oak and the hawthorne. Let us lay our granite hills under contribution for materials and our forests for shade trees, that we may join dignity and beauty with sanctity. Associations cluster round objects that are permanent. Why might we not build our country churches more generally of stone? We have heard of parishes that actually make it their rule to select, as sites for their churches, schoolhouses, and all public structures whatever, not as might be supposed the most quiet and lovely spots, where the gentlest influences from without might mingle with the spoken utterances of wisdom, but on the contrary in some bare field, or on some dusty corner, because the place is fit for nothing else. On the whole, is there even a well founded objection to adorning the places of prayer, and of the eloquent preaching of the word, with the speaking forms of those holy men who have lived for their race and died rejoicing, with the impersonation of just and disinterested affections, with the sublime ideals that among successive nations have been the measures of the soul's capacity for truth and goodness? One would suppose, that heavenly wisdom might sometimes come as purely from the objects over which Genius has waved its wand and breathed its inspiration, as from a weak, dull reader of weaker and duller homilies. To us of modern days, art might thus come, in some measure, to realize the purpose of those temples in the age of Constantine, which had scriptures written in Mosaic all over their walls.

We cannot forbear to mention here the rapid progress that is making in the musical tastes of the people. It constitutes one of the most interesting features of modern educational movements, that such prominence is begining to be given to this softening and humanizing study of music,-music, which, as observes Rousseau," paints all pictures, expresses all emotions, represents all objects, and subjects all nature to her skilful imitations." If every village among us may not become a Salsburg, a Bonn, a Rohrau or a Halle, and give us each a Mozart, a Beethoven, a Haydn, and a Handel, yet every village and every cottage may produce respectable performers of the works of those great composers. It is not to be forgotten that it was in a singing school for the lower orders in a church of one of the cities of Germany, that the heart was opened, the taste formed, the mind moulded, of Hans Sachs, from whose humble workshop at the gates of Nuremburg afterwards VOL. XXXI.— -3D S. VOL. XIII. NO. I.

11

proceeded the words and the harmonies, that were heard through all the broad land, and that did so much to prepare men for the new era that came with Luther.

We began with apology. Before we close we must be permitted a word of congratulation and hope. We have spoken of our popular tastes too generally, perhaps, in the language of complaint and censure. It has been because it is usually more profitable to seek out deficiencies than to glory in achievements; and because it is less disagreeable to be the discoverers of our own errors, even if we exaggerate their importance, than to wait till our neighbors thrust them upon our notice. We know full well that our transatlantic brethren are prompt and faithful in the fraternal duty of admonition. But after all, we are not inclined to suppose that our case is absolutely hopeless; that we are to be finally exiled, like Raphael's Adam and Eve, from the whole Paradise of Beauty, and only permitted to look tremblingly back upon the cherub's sword. If names not dishonorable be required, we can unblushingly repeat those of which the world is not ashamed. With the higher and more natural social condition, and the new religious culture, which the years will open upon us, will come also new demonstrations of the progressiveness of art.

Meantime, in the departments we have been considering, enough has been done to satisfy us how much may yet be accomplished by even moderate efforts in the right spirit. A steady increase of interest in the public exhibitions of plants and flowers is observable. Both in Boston and Philadelphia, the two principal seats of horticultural enterprise in the United States, practical experimenters and able writers have attracted the attention of the community, and carried the art beyond the feeble and precarious period of infancy.

Several towns have been especially happy and successful in selecting and laying out places of public and private burial. Already the cemeteries of Mt. Auburn, Greenwood, Mt. Hope, and Harmony Grove, have become the abode of living beauty, as well as the home of a multitude of the lamented dead. There is something touching and healing in that gentle office which art performs, when she comes and writes commemorative words, as unaffected as the sighs that the mourner heaves among the groves that God hath planted. Our rural villages will yet imitate this example of crowded cities.

The magazine of which the title is prefixed to these pages

is well deserving of patronage. It has already been favorably judged by competent critics, by the community at large. Its circulation should be increased, not only because it is the only periodical of the kind published in America, but on account of its intrinsic merits. Its articles are furnished by the ablest writers on the subjects which it treats.

F. D. H.

Méthode de Vocalisation, en deux parties, par Auguste Panseron, Professeur de Chant àu Conservatoire, &c. &c. Paris. 4to. pp. 216.

It is remarkable, that while in some countries of Europe so much attention has been given to the general diffusion of early musical instruction, and its good influences have been so long perceived, it should have until very recently been so much neglected in France and Great Britain. Within a very short time, however, it has been attempted in Paris and London, and vocal music is now taught in many of the national and other schools, and the results are stated to be highly satisfactory.* Several years ago, from the representations of those who had had an opportunity of witnessing the happy effects in Germany, and their persevering exertions, aided by those of a few lovers of music, the introduction of vocal music into some of our own schools was attempted, and the experiment has been crowned with success. The English musical publications have from time to time contained notices of what was doing in this country, and we have reason to think that they have had some influence in awakening attention to this pleasing and useful branch of early instruction, at least in London. The best results have already become evident, and among them has lately been noticed the more general and increased attention to the services of the church. This is now stated to be such in

*"Singing is now taught in Paris, in 52 schools, on the method of mutual instruction, 21 schools directed by the Frères de la Doctrine Chritiènne, and 12 evening schools, for adults. These comprise together upwards of 1500 adult scholars and 5000 children."- For. Quart. Rev. July, 1841.

London, that many of the churches, which before were thinly attended, are crowded on the Sabbath, and on the week days the audiences are large; the consequence, as is maintained, of an improved style of singing and chanting, and of an increased ability to appreciate and enjoy good music. That there has been a great change and improvement, that the public taste and love of music have been remarkably developed, not only in England and France but in our own country, within a very few years, is evinced by the fact, that while the theatres are deserted, or abandoned to musical entertainments, vast halls are crowded by all orders of people, listening with profound attention to the sublime compositions of Handel, Beethoven, and other great masters.

We have alluded to the increased attendance upon the services of the church, as attributed in part to the influence of music; and although we would hope for a higher and better motive, we are not disposed to reject or despise this. We had almost said we would despise none; we will not quarrel with the motive, provided it be innocent; for we are confident that the increased attendance upon the services of the sanctuary must eventually rescue many from the haunts of idleness and vice, and that of the numbers, who may be drawn within the sacred precincts by an inferior motive, some, if not many, will return from a holier influence. Religion and good order, domestic happiness, temperance, and all the better impulses and affections have, in a correct and well regulated musical taste, no feeble auxiliary and safeguard. Viewed merely as a blameless popular amusement, music cannot be too generally cultivated and diffused, and provided for the enjoyment of all classes. Where cheap musical entertainments are accessible crowds are attracted, of which a large proportion would otherwise pass their leisure hours in low and licentious amusements, or resort to the haunts of idleness and the schools of crime. It is with no little pleasure then, that we witness the encouraging results of the efforts in our country to bring into action this powerful instrument of order, peace, and religion.

While we are fully sensible of the great and general improvement, which has taken place in the performance both of vocal and instrumental music in New England, and perceive so many indications of better taste, and of a capability of enjoying and appreciating classical music, we cannot but regret the prevalence yet of many sins against good taste in our choirs.