[27] W. P., Vol. II, p. 211.
[28] 1 Cor. iv. 1.
[29] Cambridge Modern History, Vol. II, p. 201.
[30] W. P., Vol. I, p. 75.
[31] Emil Naumann, History of Music, Vol. II, p. 429: "With the Catholics, hymns in the mother tongue were only used at processions and on high festivals, and were then sung by the congregation only at Christmas, Easter, and certain other high feast days. With these exceptions, the Catholic congregational song consisted of short musical phrases chanted by the priests, to which the people either responded, or added their voices to the refrain sung by the choristers from the altar. The part assigned to the people then was but a very subordinate one." See also the Introduction to C. von Winterfeld's Sacred Songs of Luther (Leipzig, 1840).
[32] The Beginnings of Art, by Ernst Grosse, pp. 299, 300; and Cambridge Modern History, Vol. II, p. 201.
[33] Culture and Anarchy (Smith, Elder, 1909), pp. 11, 12.
[34] Z., I, VII.
[35] E.I., pp. 54, 55.
[36] Sandro Botticelli, by Emile Gebhart (1907), p. 9: "Paul III âme très haute, répond aux personnes qui lui dénoncent les vices de son spirituel spadassin: 'Les hommes uniques dans leur art, comme Cellini, ne doivent pas être soumis aux lois, et lui moins que tout autre.'"