DBEAMS AXD ILL1> - 315 



and the introduction of Oriental ideas, it appears 

 even in the Christian conception of Paradise. For 

 the great majority of believers, earthly music is only 

 an echo of that -rial music, and participates in 

 its divine efficacv. In the Christian Paradise there 



m 



were saints to preside over the instruments, the 

 singing, and music ; the visions of the ecstatic, the 

 hallucinations of the mystic, and the precious memor. - 

 and images of the dead, are often combined with 

 - eet and heavenly music, and this completes the 

 idea which enters into every phenomenon 

 with which man has to do. For if inanim :.- 

 objects and instrument- were supposed by the 

 primitive savage to have a soul which follov. 

 the shade of the dead man into the mythical ab 

 beyond the grave, in modern religions the earthly 

 instruments, the fanciful idols of the common people 

 and of my- also resound in Elysium and the 



heavens, touched and inspired by choirs of ang 

 and by seraphic powers. 



ILe :lvrp and sonorous music of bells, of organs, 

 and other ecclesiastical instruments, the chants which 

 . -jund through vaulted roofs amid the assembled 

 worshippers, ecclesiastical lights, and the fumes of 

 in: inspire many Christians with a deep and 



esthetic sense of the divine presence ; and at such 

 moments their vivid faith joins heaven and earth in 

 the same harmonious emotion. The nr. hants, 

 and harmonv, combined with other solemn : . - :.re 



