The end here contemplated is not the exclusive cultivation of religious music, nor the sanctimonious or prudish treatment of the non-religious. The end is rather to diffuse through the whole domain of the art the light of a Christianity which puts the best interpretation upon all the functions and relations of human life, and lifts the mind into the highest range of moral and religious ideality. This is not to repress the free spirit of art, but to give it wings and clarify its vision. A Christian music doubtless involves the use of Christian forms of conception; but this is no injury so long as these are treated not as shackles, but as fountains of inspiration. And it is only fair to note that many important musical works, like the Messiah and the great Requiems, have set out from an even distinctly dogmatic conception of Christianity.

If the moral and religious wants of the student were provided for as his personal good requires, this would itself go far to impart the right spirit to the art and surround it with pure associations. In addition to this general provision, there is something required in the very musical training itself: the fostering of true ideas of the mission of art, and of a sense of responsibility for its right use, the cultivation of reverence in the handling of sacred things and of a fine sense of the clean and unclean in music. Of these two sides of the artist's spiritual culture, the former is the more fundamental; for the artistic character ought, and in a great degree must, be the natural outgrowth of the personal. The idea seems plausible, indeed, that in the case of the executant at least, personal character signifies little, since he has only to render a given score. But, merely to mention the corrupting influence of associating impure character with pure music-most obvious in the case of sacred music--and also the fact that the performer largely has the choice of music, it is further true that the effect of the rendering is in a considerable measure dependent upon his personality. No artistic rendering is merely mechanical; and the success with which an artist seizes and imparts a composer's noble thought will

depend upon his own spiritual equipment. And if such things are true with respect to the executant, the demand upon the composer for character is still more imperative. If highly gifted, his range of influence is wider; and what he offers must be in still greater degree self-expression.

Some regard must be had, indeed, for the undeniable fact that the ideal life may in a measure be separated from the practical, and that sin does not involve an immediate and complete depravation of sentiment-particularly in natures like that of Robert Burns, which we are inclined to call weak rather than wicked, where many noble and even religious sentiments maintain themselves at the side of a practice swayed by over-grown passions. But the fruit of these lives is at best ambiguous; and while the quality which makes these natures so temptable may be the same which gives poetic insight and fervor, it must be remembered that it is not passion as conquering, but as conquered, which prepares one to give to the struggles of human experience their true place in art.

A topic of no small practical consequence has been reserved till the last. If the art of music has the importance attributed to it, and if the conservatory has the power thus to guide its development and extend its benefits, then the public ought to bestow upon the latter such practical support as may be requisite to its thorough efficiency. And to this end it is necessary that a sufficient number of schools of music should be placed on a permanent basis of invested funds. No good reason can be assigned why art education should not be fostered by endowments as well as scientific and literary. If choice had to be made between the two the latter would doubtless take precedence; but there is no occasion to neglect either, there is money enough for both. The addition of this object would increase beneficence, not divide it.

The lack of endowment makes a musical education much. more expensive than an ordinary one. In the same institution, sometimes, the tuition of the musical student is four or

five times as great as that of the classical or scientific student. The chief reason is that the musical department must be made to pay expenses, while the other departments are endowed. An additional reason is that musical teaching must necessarily be somewhat more individual than other, and therefore requires a relatively larger teaching force. This excess of cost on the side of music is a thoroughly bad adjustment. Music is no mere luxury to be enjoyed by the few who can afford to have it without regard to expense; it ought to be a part of the common life of the people. Besides that, these pupils in many cases desire to use music as a means of gaining their livelihood; and there is no reason why the door should be closed against the poor who need to enter, and open to the rich who do not wish to. Further, as every one knows, much of our best material for the educated vocations comes from the classes who are in moderate circumstances. The case is not otherwise with music; and the advancement of the art demands that the best resources for its cultivation be made accessible to our great, substantial, middle class.

The want of endowment, moreover, puts the conservatory itself at a great disadvantage. Being made dependent on patronage, it is tempted, if not compelled, to let down from the highest standard. It must accept all the material which offers, so as to make its income as large as possible. Since the beginners will always be much in excess of the high grade pupils, it is obliged to give a share of elementary work even to its strongest instructors, which is somewhat the same thing as to require the senior professors in a college to spend part of their time on preparatory classes. Indeed, without other resources than patronage it is hardly possible to attempt the most advanced work at all, its expense being naturally greatest and the demand least. There is always, too, a liability to fluctuations in attendance, which forms an embarrassing element of uncertainty in calculations for the future. The competition, moreover, between schools with which the number of pupils must be the first consideration is not of a

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wholesome kind. The striving for pupils is not exactly equivalent to a striving after excellence. The competition for excellence will have its freest scope after the school is relieved from the pressure of financial anxiety. In Europe the conservatories as well as the universities receive governmental aid. In this country the endowment takes, in a large measure, the place of governmental assistance, and there is no reason why the parallel should not extend to the conservatory as well as to the university.

ARTICLE VIII.

PSEUDO-KRANION.

BY PROFESSOR J. A. PAINE, PH.D., TARRYTOWN, NEW YORK.

My noted and beloved friend, Dr. Charles S. Robinson, is trying to realize an ideal. In the purity of his heart he yearns after the perfect, and if he could he would very quickly purge our fallen world, or rather humanity, of all its defects and unholiness, not stopping to reflect that then heaven itself would be most unreasonably antedated.

In the November issue of the Century Magazine he has related what happened more than eighteen years ago, when together we scanned from far and near the cliffs and the cave of the Grotto of Jeremiah, beyond Jerusalem on the north, and stood upon the summit of the hill adjoining. Had he published this article then, it would have been timely, but now it is too late. From the drift of his gentle words it is evident he imagines good men generally to be accepting this adjacent hill as "The True Site of Calvary," and "a sort of competition" to be prevailing "among explorers as to the credit of having first suggested the knoll by the Damascus gate as being probably the exact place where our Lord was crucified;" but, alas! just the contrary is the case-already the fantasy is obsolete.

Within the last five years much new evidence of topographical and archæological character has been discovered, revealing the course of the northern wall of Jerusalem at the era of our Lord to have been south of the modern Church of the Holy Sepulchre; and the site of this church, being shown to have been outside the town in those days, thus becomes the unquestionable place of his crucifixion and tomb of his resurrection.

Inasmuch as my good friend seems to be incompletely advised as to the origin of the movement he joins, roaming away from the present Church of the Holy Sepulchre, let us, for a moment, retrace its history.

Half a century ago Dr. Edward Robinson recoiled from the traditional locality very much as Dr. Charles S. Robinson now does. To this he was impelled by such considerations as these:—

"It is not therefore without some feeling of wonder, that a stranger, unac quainted with the circumstances, on arriving in Jerusalem at the present day, is pointed to the place of crucifixion and the sepulchre in the midst of the modern city, and both beneath one roof. This latter fact, however unex. pected, might occasion less surprise; for the sepulchre was nigh to Calvary. But beneath the same roof are further shown the stone on which the body of our Lord was anointed for burial, the fissure in the rock, the holes in