“1. Music destined for execution in the churches ought to be distinguishable from profane and theatrical music, not only in its melodies, but also in its whole character; hence
“2. Those movements are forbidden which would not be naturally inspired by the sacred character of the words, and which would be suggestive of the theatre.
“3. We forbid too lively or exciting movements; if the words require cheerfulness and joy, let it be expressed by the sweetness of religious mirth, and not by the unbridled liveliness of the dance.
“4. In all movements, whether slow or quick, the words of the sacred text must be pronounced clearly, and never more quickly than in ordinary discourse.
“5. The words must be put to music in the order which they occupy in the sacred text. When the sense has been entirely expressed, it will be allowable to repeat some word of it, or some phrase of it, as may be necessary, without inversion, without confusion of the sense, and with the required moderation.
“6. All the words must be sung, and none added nor any omitted. It is not allowed for one syllable of them to be changed.
“7. We forbid ariettas, duets, and trios in imitation of theatrical pieces. Recitative and everything approaching to it is forbidden; as also operatic finales, such as are known by the term cabaletta.
“8. As regards instruments, long introductions and long preludes are to be avoided, whether with full orchestra or with solos.
“9. Without depriving instrumental music of the grace and coloring which art and good taste suggest, an effeminate softness is to be avoided, as well as immoderate noise, which is always tiring and unbecoming in the house of God.
“10. The composer must not forget that the use of instrumental music in the churches is in a state of simple toleration; the object of it must be to sustain and enrich the singing, to be far from overpowering it, or from enfeebling and deadening it, or reducing it to a mere accessory.”