Did we add no more, we think we have said enough to show that the employment of figured music for the divine offices is an abuse. It does not answer its purpose, and its permission is nothing better than a winking at our weakness, (the wisdom of which, considering all things, we by no means presume to condemn for the past,) while the prevailing sensuousness and libertinism of the times has debased and emasculated our taste in true religious art.
But it is a comfort to know that such music has never received from the supreme pastors and rulers of the church any thing more than a reluctant permission, that the concessions they have made in its favor have always been exacted by the force of circumstances, and that they have constantly raised their voice in opposition to it as an abuse, and urged in the strongest terms of command and persuasion its abolition, and a return to the authorized chant, the universal song of the Church, ever ancient and ever new.
Dilettanti talk, with an air of superior knowledge, of the Gregorian chant as if it were something obsolete, the uncouth production of a barbarous and unartistic age. We think there are not a few other fashions and modes of religious expression besides her chant, that the Church has persistently adhered to, which modern ideas might with equal justice denounce as obsolete and of unartistic origin. As has been well remarked,
"This conservatism, if we may so call it, of the Church, is not confined to plain chant. The same may be said of the language and the style of her offices, the dresses of her clergy and religious orders, and many of her rites, ceremonies, and customs. The chant is, therefore, no stranger than any part of the Church system; and that system being what it is, the antique character of the music seems in every way suitable."
To be sure. What would we think of an archbishop to-day standing before the altar dressed in a frock-coat with a stove-pipe hat on his head, and a pair of patent leather boots on his feet, giving his solemn benediction en roulade?
What we have said in regard to the wishes and commands of the Church, as expressed by the papal bulls and decrees of councils in regard to this matter, we propose to prove by referring the reader to several of these authorities.
Alexander VII., in his Constitution 36, Piæ sollicitudinis, 23d April, 1657, excludes all singing of pieces not contained in the liturgy or approved by the Congregation of Rites, and all profane styles of music. (Bullar. t. 6.)
The Congregation of the Apostolical Visitation, July 30th, 1665, enforced and explained more fully the constitution of Alexander VII. The character of the music at Mass and Office is to be ecclesiastical, grave, and devotional. Only what is prescribed for the day or season is to be sung. It prohibits prolonged solos. It prescribes that the words are to be sung as they were written, without any inversion, addition, or other change.
The popes, Innocent XI., 1678, and Innocent XII., 1692, renewed and enforced similar rules, imposing, as their predecessors had done, heavy penalties on choir-masters for disobedience. (V. Bullar. t. 7.)
In the Council of Rome, 1725, Benedict XIII. insists upon the ecclesiastical character of the music to be used in church. (Tit. 15, cap. 6.)