Gregorian melodies were composed, it had become intensive or strong, but without any intended mixture of length. At last, when the romance languages came into existence, the tonic accent acquired a tendency to become quantitative or long. Then, the Renaissance did its best to enforce the imposition on the tonic accent of a triple character: acuity, intensity, and quantity. And, when our modern music systematically became metric, the law prevailed of always putting the tonic accent at the down-beats. This is a fact of merely mechanical logic, many times contradicted by a logic of superior essence; but it is a fact. Accordingly, even when we have to deal, in English, with an accented and short syllable, we are forbidden to put it at the up-beat or its equivalent, and consequently the down-beat will receive it; but, as the syllable is short, and to give it the full length of a beat would be inelegant or unusual, we shall shorten it by writing the next syllable on the second half, or second third, or even second fourth, of the aforesaid beat, thus producing a case of syncopation as often as the text requires it. But the syncopation essentially is an exceptional element of pathetic expression; and, by our practice, we make it a usual and common one: which is a sin against rhythm. The rag time is wrong chiefly from the fact of transforming the same exception into a principle, and, to some extent, it may be looked at as an offspring of our misrepresentations of the tonic accent.

Dom Mocquereau is wiser: always in touch with "the sources", he knows how to keep everything in its proper place.

Practically, we are bound either to abandon any idea of complete Gregorian restoration, or to accept and practise the Gregorian repertory as it is, well persuaded that a system that was in common and daily use, to say the least, from Saint Gregory's time to the Renaissance was a consistent and logical one. And, in truth, it is accepted;

but some people try to find accommodations between old and modern ways; and this impairs the efficiency of a rational teaching. Dom Pothier did not experience to the utmost the bitterness of contradiction on such points, as he always strove to keep his explanations along the oratorical line, without courting too much precision. But Dom Mocquereau was plain and formal, and drew out the last consequences from the commonly accepted principles: accordingly he had, and still has, to face a set of bold opponents.

Nevertheless, as the true interest lay not in being put on a pedestal, but in helping the common work, the Benedictines of Solesmes tried to keep their precious rhythmical indications at our disposal. Therefore, when the Vatican Kyriale and Gradual came out, the Solesmes pub lisher, Desclée, printed two sets of books: the plain Vatican edition, and the same edition with addition of the rhythmical signs of Solesmes. The second set was so successful that it was said to be sold in the proportion of nine copies against each copy of the first one. But, as the other publishers had no Solesmes to back them, they were unable to issue their own Vatican edition with rhythmical signs, and their business was thereby impaired; and their discontent became a weapon in the hands of the adversaries of Solesmes.

Truly, it is sad to realise that any noble enterprise like the Gregorian restoration, when taking place in this world of ours, is doomed forever to be a compound of authority, science, ambition, and business. Authority and science, if practically trusted, would go along hand in hand, and do their work quickly and efficiently. But they are so many times checked by the vanity of some people and the cupidity of others! And that makes their work slow, and keeps the public improvement in the ways of uncertainty for indefinite periods.

Anyway, on January 25, 1911, the Congregation of Rites issued a Decree about the so-called "rhythmical signs". They were declared "precariously tolerated", and only for the books already provided with those signs, to wit, the Gradual and Office of the Dead; and it was forbidden to add them to the books that were yet to come out, like the Antiphonary, Propers of dioceses, etc.

This decision was taken "attentis rerum adjunctis", and such a clause keeps the Congregation's hands free for the future. Moreover, the same decision may easily be misinterpreted as it does not mention the books written in musical modern notation: for, each one of our modern notation books is, more or less, a rhythmical one; and every publisher issued such books of his own; and to exclude them would be to preclude the two-thirds of humanity from any participation in Gregorian singing. The friends of Solesmes, who are legion, have already made up their minds for the use of a modern notation Vesperal, rather than lose the benefit of the rhythmical indications; and, as every publisher will have some book of the same kind, there will be no protestation against the position; but, as every publisher will likely have his own interpretation, we shall have as many modes as publishers, and no unity whatever. Really, it would not be so troublesome to have the rhythmical directions of Solesmes sanctioned and secured for uniform use everywhere. After years of experience, this practical conclusion will become evident.

But, for the present, we cannot conceal that the Decree of January 25, 1911, was a new trial for the monks of Solesmes, and an occasion of triumph for their adversaries. One of them, a Canon and choirmaster in France, cried out victory in a long aggressive and sarcastic article that was published by the "Semaine Religieuse" of his diocese. Of course, in the camp opposed to Solesmes, such musical Reviews as preserve some dignity did not

chime in with the Canon; but they charitably informed their readers that such an article had been published in such a periodical, and was worth reading...

However, the triumphal noise of the adversaries was, after a short while, deadened by some official "Declarations" that will be related presently.

Meanwhile, and in spite of all, the Benedictines kept on in their love for Rome, as Rome did in its love for the Benedictines. The position, at least partly, still was what it had already been for some thirty years. And we really do not know which we have to admire more, either the trust of Rome in the Benedictines, or the trust of the Benedictines in Rome. Anyway, the Benedictines are, on one hand, wonderful workers, who won the admiration of scientists, and, on the other hand, wonderful christians, who many times gave the world the most beautiful examples of humility and resignation. ABEL L. GABERT.

(TO BE CONTINUED)

BROTHER JUSTIN

When the telegraph clicked off on Wednesday, February, 28: "Brother Justin died this morning," a President of one of the great institutions which Justin founded, remarked, with tears in his eyes: "Our great Leader is gone. He was a great worker: he filled the whole United States with his work, he filled Ireland and England with his work, and he filled parts of France with his work. Our great Leader is gone."

The President knew whereof he spoke, and a review of Brother Justin's labors will inspire his followers to courageously live the "life in death" philosophy which Justin's Master pronounced at the foundation of Christianity: "Unless the grain of seed which falls to the ground die, itself remaineth alone. But if it die it shall bring forth fruit an hundredfold." This philosophy Justin knew, accepted and lived to his eternal glory.

Brother Justin (Stephen McMahon) was born in County Mayo, Ireland, August 4, 1833, and emigrated to the United States at a very early age. After having "worked his way" through school in New York he entered the Christian Brothers' Novitiate at Montreal in his twentieth year. In 1854 he left the Novitiate. For a number of years he taught in the schools of Montreal and Quebec and Baltimore, and in 1859 was appointed Director of Assumption Academy, Utica, New York. He held the directorship for seven years, when he was given charge of Calvert Hall, Maryland. The MS. history of that college, written by Brother Azarias, commends in fitting words the work done by Justin during his two years there.

Then came a new field wherein Justin's ability as an organizer and a leader was given full scope, and where