contradictions within the very essence of reason; and rather than make our nature Jesuitically insinuate a lie, to persist in the hope of so interpreting the mottoes of its several faculties and combining the scattered leaves of its faith, as to bring out the continuity of truth, and its unity with all beauty and good. A philosophy which creates Antinomies may have the highest merit but one; the highest of all is reserved for a philosophy that resolves them.

We must close this notice without a word on the subject of Sir W. Hamilton's scheme of Logical forms. Indeed when we advert to the various topics elaborately treated by him, which we cannot so much as enumerate to our readers, and see how slightly we have touched his solid mass of doctrine even at the few points which have attracted us, we are more impressed than ever with profound admiration for his largeness of learning and thoroughness of mind. That the one sometimes tempts to a superfluous display, and the other to an intellectual scorn more merited by his victims than graceful in himself, will be most readily forgiven by those who understand the author and know his writings best. In him the old scholastic spirit seems embodied again; its capacity for work; its vehemence of disputation; its generous intellectual admirations; its fineness of logical apprehension; the want of perspective and proportion in its mental view. Books and thoughts are evidently the population of his world; they form the natural circle of his friendships and his enmities; their reputations touch his sense of equity and honour; their rivalries and delinquencies furnish the needful amusement of a little gossip and scandal. Where the range of knowledge is so vast, this enclosure of the whole intensity of life within the sphere of notional speculation involves no narrowness; but can scarcely fail to impart a warmth of zeal, which others can scarcely believe to be excited by formulas and theories. Professional enthusiasm is so needful an inspiration for every effective teacher, that only those who cannot appreciate its value will be unwilling to take it on its own terms. The great critic and metaphysician of Edinburgh has rendered inestimable service by reducing the leading problems of philo

sophy into a better form than they had assumed in the hands of any of his predecessors, and by admirable examples of the true method of discussion. But he has rendered a higher and yet more fruitful service by awakening the dormant genius of British philosophy, rebuking its sluggishness, reviving its aspirations, and training a school of studious and generous admirers, who will emulate his example and reverently carry on his work.

ART. IV.-MUSIC IN ITS RELATIONS TO
PUBLIC WORSHIP.

Webbe's Psalmody: A Complete Collection of Tunes for the Church or Chapel Choir, adapted or composed, and harmonized for four voices, with a separate accompaniment for the Organ or Piano Forte. By the late Samuel Webbe, Sen. and Jun". London. J. A. Novello. 1853.

Ir is matter of common observation that a decided advance in musical knowledge and taste has occurred in England within the last few years. Both in the concertroom and in the theatre, audiences expect, and performers exhibit, a degree of discipline and skill which, not long ago, was quite unattainable; and the labours of the amateur wear an aspect of dignity and earnestness belonging especially to the present day.

Though unable to speak from any extended survey or intimate knowledge of the state of our Church Music throughout the country, we believe we are warranted in the assertion that the progress to which we have referred is far less apparent in the church choir, than in the concert-hall or the theatre. Sacred music, indeed, is performed as it was never performed before. The great creations of Handel are presented with a grandeur and precision previously unapproached during the century which has elapsed since "the mighty master" gave them to the world. But it is to Exeter Hall and the gay festivals of Birmingham and Norwich, not to the Sunday worship of our churches, that we must resort in order to witness the marvellous perfection of this department of sacred art.

The comparatively low and stationary condition of Church Music is the more remarkable, because of the disposition so manifest of late years, especially among the more rigid denominations, to abandon the old scruples regarding the employment of art in the service of religion. How many ecclesiastical structures, for instance, have arisen throughout the land, and how many shapeless edifices have been deserted, in order that the spirit of

devotion might be more worthily enshrined! Every such change involves a sacrifice of a kind from which our nature usually recoils. The old house of prayer with its affectionate memories and sacred associations, sustaining, and entering into the spirit of devotion, is given up, and the change is not made without many a silent protest and regret. We are aware that the change is not always to be attributed to the mere regard for what is worthy and dignified in architecture. Among Dissenters, at least, a less hostile position with regard to ecclesiastical systems has prepared the way for conformity with ecclesiastical art, and, in many instances, sufficient motive is found in the necessity of forsaking a decayed edifice, and the desire to erect a more imposing building in its place. Still, it must be admitted that venerated places of worship are continually abandoned, in order that the devotional influence of form and decoration which appeals to the eye may have its perfect work, while, with an inconsistency not easily explained, the devotional art which addresses the soul through the ear, and whose improvement and cultivation needs no lamented change of place, and no large expenditure, is too often permitted to remain in a state of deplorable neglect. Week by week, and year by year, congregations go on submitting with strange contentment to the infliction of vulgar and discordant singing, making no attempt at reformation, and scarcely giving a thought to the possibility of change. It is worthy of notice that, however bad the music of a congregation may be, that portion of the service generally remains in favour, so far, at least, as to be perseveringly retained. Without pausing either to investigate the cause of the anomaly we have. noticed, or to urge the necessity of immediately removing the disgrace wherever it exists, we proceed to inquire into the principles by which the musical department of our religious services should be regulated.

The vocal music of public worship may be considered either as the expression and effect of devotion, or as an influence tending to awaken devotional sentiments in those who hear it. Now, whatever may have been the case in the infancy of art, we believe that, in these days, to “break forth into singing" is not the spontaneous act of the mind in the hour of deep devotion. In solitary

prayer it would be unnatural to sing. Does the companionship of other worshippers awaken the impulse, which, otherwise, we do not experience? We believe that in the presence of numbers, also, sacred music is always more likely to affect us through the ear, as a devotional influence, than to issue from the lips as a devotional utterance. But of all holy and inspiring sounds, none, perhaps, ranks so high, both with the cultivated musician and the man of ordinary sensibility, as the voice of a multitude, singing the sustained chords of a hymn. Are we then driven to the deplorable dilemma, that this high influence can be purchased only at the expense of genuineness of expression, and that to join in the singing implies a condition of mind inconsistent with the sentiments of religious worship expressed in our psalms and hymns? The general practice or sanction of congregational singing would go far towards forbidding us to rest in a conclusion so humiliating. The fact we believe to be this,-that when under the inspiring influence of the music of many voices, proceeding from those whose sacred purpose, whose wants and aspirations, we feel to be in sympathy with our own, it is both possible and easy for persons of average musical sensibility, and some acquired skill, to retain, undisturbed, a devotional attitude of mind, though at the same time they deviate from the level utterance of ordinary speech, and join the song of the multitude.

A congregation necessarily comprises persons of great variety of musical capacity. Some are so unhappily constituted as to sing invariably and unconsciously out of tune. Such persons, it is needless to say, ought never to utter a note. But, with respect to the great majority, no such total abstinence is required. It is essential, however, that the minds of those who sing should not be bewildered by the difficulty of the music. If the singing is to be general, the music must be so simple, that no singer need be engrossed by his efforts of execution, but remain open to the influence of the surrounding voices, and to the sentiments of the language uttered. It is, of course, most desirable that a congregation, by diligent improvement of their skill, should do away with the necessity of using only simple music. But even supposing training and discipline to have done their utmost, we nevertheless believe that the