[28] Idea, dis. iv. 80, 81. In a Bull of 1749, Pope Benedict the Fourteenth lays great stress on the words being heard and understood, "Curandum est ut verba quæ cantantur plane perfecteque intelligantur," and this is best secured in the unaccompanied chant. In an interesting article of the Dublin Review (New Series, vol. ii. January-April, 1864), the effect of official pronouncements on the questions affecting the plain chant and concerted music is thus succinctly summed up: "1. That music, properly so called, may be admitted as well as plain chant. 2. That the music of the church is to possess a certain gravity and to minister to devotion. 3. That instrumental music may be allowed, under certain restrictions."
[29] Discussions and Arguments, p. 343, Fourth Edit. 1882.
[30] We have it, however, on good authority that a Jesuit Father told a Mr. Okely that "one of our Fathers received him (Mendelssohn) into the Church shortly before his death." Our informant thinks the occurrence took place in Switzerland. If so, the fact ought to be better known than it is. Moreover, he adds, that the late Father W. Maher, S.J., on one occasion, previous to Mendelssohn's Lauda Sion being done at Farm Street, addressed the congregation: "Perhaps you would like to know that the author of the music we are about to hear died a Catholic."
[31] Oxford University Sermons, p. 346.
[32] She subsequently resumed talk, trying to draw him out about Ireland and Gounod, but all in vain. It was nearly 3 p.m. ere this morning concert came to an end, when a second lady, introduced by a noble lord, appeared on the scene, and detained him upon questions relative to the state of the soul after death, what St. Thomas had said, &c. Meanwhile sweepers, uninterested in this ill-timed discussion, were pursuing their avocation in the emptying hall, and stewards were set wondering as to when His Eminence would be released.
[33] Mozley, Corr. i. 380. We do not think that Corelli ever was Papal choirmaster. For some years, however, he led the orchestra of the Roman Opera, and was a great friend of Cardinal Ottoboni. How different the Tenebræ music at St. Peter's can be from that at the Sixtine chapel, is seen by the three Misereres at the former being by Basili, Guglielmi, and Zingarelli, all composers of light opera.
[34] Mozley, Corr. i. 83.
[35] Ibid. i. 19.
[36] Mozley, Corr. i. 19.
[37] Ibid. p. 61.