fect system of intonation.
The Chinese system is minutely exact in theory, bombastic in fancy.
The Hindus sedulously avoided applying mathematics to their scales.
The development of the scale is shown in the construction of the
ancient Greek scale, the modern Japanese, and the aboriginal
Australian scale, and the phonographed tunes of some of the Red
Indians of North America. Here a reference must be made to the scale
of the Scotch bagpipe, a highly artificial product, without
historical materials available to assist in unravelling its
development. It comprises a whole diatonic series of notes, and
modes may be selected therefrom.

But it is to Rome that we owe the seed of our modern methods of
treatment. The Netherland school had been highly developed there by
a long line of distinguished masters, who paved the way for the
gifted Palestrina, who exalted polyphony to a secure eminence equal
to that attained by the arts of painting and architecture. He
brought forth a perception of the needs which music suffered, adding
an earnestness and science to a profound quality of simpleness and
grace. It was between 1561 and 1571 that his genius mellowed and his
style took on those characteristics upon which was based the future
music of the Catholic Church. It was while he was Maestro at the
Vatican that he submitted to the Church the famed _Missa Papae
Marcelli_, which determined the future of church music.

The culmination of art in music is strikingly shown in the subjoined
article from the pen of that great authority, Mr. H. Tipper.

The first tonal prophet and poet of the modern era, the era in which
reason made tremendous protest against mere dogma, and the best
religious instincts of human nature called imperatively for emancipation
and for nearer individual contact with God, is Johann Sebastian Bach. We
look dazzled at the brilliant victories of the Italian Renaissance, and
amid tumultuous beauty run riot with imagination we hear the voice of
Savonarola at the close of the period uttering his lamentations. The
great Italian reformer saw and felt that in his own day and in his own
country the glory and beauty of the movement had vanished in sensuality;
that hardness of heart and indifference to primary human needs had
diverted the waters of the Renaissance from their main fertilizing
channel.

The deep need of the epoch w