Biorttlanuru,s.
MUSIC IN THE HOME.
While fully recognizing the increasing
taste for high-class music as a subject for
em phatic praise, and desiring only to reform
a nd purify, we 'yet think that musical cul
tore may be extended in a direction which
may vastly increase its influence through
society and its power for good. We hold
that music may have a yet more congenial
sphere, be cultivated with greater advan
tage, and impart more pleasure, by its re
ceiving a cordial welcome and a home in
the dwellings of the people, instead of being
met only in the glare and crush of public
life. Public feasting soon palls upon the
taste, but the plain domestic meal is en
joyed through the even tenor of a lifetime.
And as with feasting, so with music. Let
public and domestic music go together;
meanwhile we are concerned to make a plea
for home music.
We greatly doubt whether the rage for
favorite soloists be an 'mixed musical
good. The popular ear hankers after the
- silvery tones of a Patti, a Reeves, or a
Santley, and the popular purse opens will
ingly and largely for the luxury. The ad.
miration lavished on some artistes is simply
a blind following of fashion, and is too
often bestowed on skilful execution merely,
or on trickery, if it only give out startling
effects. But what 'of the modest though ,
often good results of a disinterested cul
tore?
Let the experience of our musical
societies be left to answer this question.
We are not insensible to the educational
influences which an eminent artist exercises
upon those of his hearers whose ears and
whose minds are intent upon self-improve
ment. But with all the rage for seeing,
hearing and talking about individual sing
ers, the art is really little cultivated com
pared with what we would wish to see it—
a conclusive proof that hearing pet perform
ers does not sufficiently create the desire,
or is not an efficient means of cultivation,
either or both.
The expense to the pocket—the price of
admission, of dress, and of conveyances—
aud the injury to the health, by overcrowd
ing, exposure to cold and draughts, along
with the violence often done to domestic
duties—these and such like are heavy
drawbacks on public performances, which
besides beget a want of composure and
sobriety of spirit, greatly adverse to true
enjoyment of the art.
Around the social hearth, on the other
hand, music in its various forms may, so to
speak, become a cheap and most enjoyable
home-made article, with perfect freedom to
choose your own materials. All, old and
young, may easily eng age in it, in a great
measure free from th drawbacks we have
enumerated as belonging to music in the
crowd.
In urging this plea for music in the
home, we think it of primary importance at
once to point out our idea of the function
of music—that music as usually understood
is one thing, and the purposes to which it
is applied another, and this latter too often
ignored. Milton has said :
"Eloquence the soul, song charms the sense."
We cannot accept this as wholly correct.
It does charm the sense, and it is probable,
as a thoughtful writer observes, that fine
musical harmonies have a sensitive influ
ence over- our bodily organizations. In
certain morbid conditions of mind and
body, music, we know, is a valuable reme•
dial agent. Montesquieu says, music is
the only one of all the arts that does not
corrupt the mind," and certainly we know
of no better antidote to depressing or can
kering influences, incident to continual toil
and the cares of life. The natural desire
for pleasurable excitement after toil can be
gratified by no other means at once so easily
and so cheaply attained, so harmless, so
soothing, and so elevating. Music stands
alone in this, that, whereas most other plea
sures leave • a residuum of regret, have a
shadow more or less dark, it leaves, if
rightly employed, a clearer intellectual
vision, and more cheerful spirits. There
can be no doubt that music has a great in
fluence in imparting those delicious sensa
tions which tend to sweeten and prolong
life. But the heavenly origin of music,
and its early use among men, alike prove
that it was employed for the highest pur
poses, as the only adequate expression of
angelic joy, and of human feeling and wor
ship. The living voice of man alone can
be the organ and interpreter of his living
spirit. If, as has been truly said, it re
quires the voice of man to intone the song
of universal brotherhood, much more is it
required to intone that of the praise of
God, or, even to prove a solace and relaxa
tion worthy of a rational being. Well has
our great orator, Mr. Gladstone, observed :
"They who think mnsio ranks among the
trifles of existence are in gross error ; be
cause, from the beginning of the world
down to the present time, it has been one
of the most forcible instruments both for
training, for arousing, and for governing
the mind and the spirit of man. There
was a tinfe when letters and civilization
had but begun to dawn upon the world. In
that day music was not unknown. On the
contrary, it was so far from being a mere
servant and handmaid of common and light
amusement, that the great and noble art of
poetry was essentially wedded to that of
music, so that there was no poet who was
not a musician; there was no verse spoken
in the early ages Of the world but that
music was adopted as its vehicle, showing
thereby the universal consciousness, that in
that way the straightest and most effectual
road would be found to the heart and affec
tions of man." Whatever rdky be said of
music as a system of sounds, yet even as
appealing to the emotions, music must deal
with ideas of which the mind can take cog
nisance. To these it gives fervor, and thus
acts upon the emotions. We would not,
however, utilize music too much, for there
may be "songs without words," that partly
suggest and partly express feelings too sutle
iur words ; but in the general case, whatan
accession of vividness and power cometifin
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with the word I Music is like molten gold,
not to be poured out in a continuous stream,
but, so to speak, into the moulds of ideas.
We make this point prominent because, in
general, it is very greatly lost sight of.
The universal devotion of women to one
particular instrument, suggests the question
how far, in treating of music, this particu
lar taste deserves our approbation. The
piano-forte is a noble instrument under the
hand of a master, and of late years especial
ly,some half a dozen players have, by a care
ful study of works of genius, made its per
formances splendid and intellectual. But
these players move by themselves in an
orbit to which they have risen by incredi
ble labor, superadded to most *common
fitness and a rare enthusiasm. All ordi
nary efforts, however, must in proportion
come short of this standard; nor in the
general case can even a tithe of those im
mense efforts be possible, and even if they
were possible, they could not, in the absence
of a special genius, be equally successful.
Hence, though money is expended by thou
sands of pounds to buy instruments and
music, and to fee teachers, and time more
precious than money, spent beyond all
human calculation in learning and practice,
nothing is gained in ninety-nine cases in
the hundred beyond a dead level of routine,
artificial exercise to the eye and the fingers,
with a series of sounds often barely toler
able.
But for our own part, we care not to con
fess that we hold all instrumental music as
fit only to rank many degrees below the
cultivated human voice, that is, when the
voice is applied to high musical purposes,
animated by, intelligence, and moved by
feeling. And where is anything known to
us to compare with the voice of woman,
when it is the organ of womanly emotion ?
Hence the undoubted claim which the voice
has to priority of cultivation : hence the
enjoyment, which, culture assumed, it gives,
as not an interpreter merely, but part of
your being, so superior in this respect to a
mere dead piece of brass or wood, catgut
or wire. The excessive and increasing
prevalence of the costly and resultless form
of musical cultivation we have alluded to,
has induced us to brave the ordeal of trutla'
telling in regard twit. But we do so to I
show a more excellent way. We claim that I
the voice--,the first and best of all organs
of music—be first cultivated; and this
leads us to an important part of our sub
ject: the influence of woman in song. In
other days, the " Gentlemen's Catch Clubs"
and similar societies were composed exclu
sively of men, who resorted to them not
alone for the sake of music, or, if so, their
enthusiasm must have been something
wonderful, considering the materials on
which they wrought. They met invariably
in taverns, and, stimulated by good fellow
ship and jovialty, the members were fully
as much devoted to Bacchus as to Terpsi
chore. Part-music, for recreative purposes,
in which the female voice had a place, was
at a time very recent almost unknown. The
ample recognition, however, of this potent
and charming element by composers, and
its accession to vocal musio, is beyond all
comparison the most salient and important
fiat in recent musical history. The gain
has been every way unspeakable. In song,
woman's emotions and woman's voice firm
a high congenial exercise. Very sweet
songs, as sweet as any in the Bible, are
those of Hannah and of Mary; and women
appear to have had an important place
assigned them in the musical service of the
Temple, and in that of the early Christian
assemblies. With regard to vocal excel
lence, one has only to hear a male chorus,
and then a mixed one (both good), to
realize what an accession of warmth, sweet
ness, splendor, and pathos, the female voice
brings to the " concord of sweet sounds:
To find the cause of this, we must add to
beauty of voice, a deeper and even more
potent element, intensity of feeling—for
both qualities are required for true musical
effect, and in both, woman excels man. •
Now, it is one of the great advantages of
the home cultivation of music, that this
primary musical element would be made
fully available as it can be by no sort of
public organization. In fact, in the do
mestic circle, woman's share in music would
—female modesty intact—predominate ;
and this, with certain limits, is a guarantee
for musical excellence. That this would
also afford the best security for anything
like general musical cultivation, must be
too obvious to need to be stated; for to
what influence can we compare that of the
mothers of the present and the next gene
ration ?
We need scarcely mention the great ad
vantage of the daily use of.music in family
worship. How pleasing the picture the
great Scottish poet has drawn of domes
tic psalmody in the " Cotter's Saturday
Night
They chant their artless notes in simple
guise ;
They tune their hearts, by far the noblest
aim ;
Perhaps Dundee's wild-warbling measures
rise,
Or plaintive Martyrs, worthy of the name,
Or noble Elgin beats the heavenward flame,
The sweetest far of Scotia's holy lays
Compared with these, Italian trills are
tame ;
The tickled ear no heartfelt raptures raise ;
Nae unison rLs.,
e h , ae they with our Creator's
pa
And the daily use of psalms and hymns
in the home, is the best security against a
meagre and degenerate church song, which
all denominations of Christian have-still
more or less to deplore. How sublime and
soul•stirring, on the contrary, in the rare
instances where it is heard in anything
like perfection, is the voice of the great
congregation Gather, then, the children,
the infants even, around your knee. Watch
how soon a child will sing a hymn or song
before he takes it in intellectually—and
can we doubt (to borrow a happy simile of
Hood's) how salutary these " impressions
before letters" may after a time become
Do not too early confuse and vex them
with intellectual disquisitions about notes,
but simply let them lisp their childlike
hymns musically. This we know was
pleasing to Him who said, " Suffer the
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little children to come unto me," when the
children joined in the Hosanna to His
praise. Although, as we have said, any
thing like formal instruction to children
should at first be rather avoided, yet the
language of music, when a proper key is
applied to it, is not so intricate as is gene
rally supposed. Without associating irk
some exercises with what should be plea
sant recreation, yet after a time, even chil
dren may gradually be trained witteitit
difficulty "to sing from the notes." This
must be effected, as everybody acquainted
with. the principles of music knows, by
means of .key relationship presented in its
simplest forms. This is done by Mr. Cur
wen's Tonic Sol-fa Notation, which we re
commend as at least an admirable introduc
tion, and as being easily applied to the es
tablished notation. We should also recom
mend Colville and Bently's letter-note
method, which, by engrafting the initial
letters of the sol-fa syllables on the common
notes, virtually combines both notations.
And be it remarked, that it is nearly, if
not quite as important, that people should
be taught what will harmlessly and im
provingly fill up their leisure time, as what
will fit them for a business or trade. Thus
art becomes a part, and a very important
part, of the education of the people. The
influence of mothers must be aided by the
technical knowledge of the schoolmaster.
In order, therefore, that music may become
a true and lasting joy in the homes of the
people, it must be taught in our schools.
But how few care to secure this qualifica
tion in a schoolmaster. Yet to this cause,
in a large measure, are we to trace the
musical superiority of Germany to Great
Britain. Conservatories for rearing pro
fessors, a musicial training for schoolmas
ters in Normal schools, the employment of
schoolmasters in the musical service of the
church and in the day-school--these are
the means by which the musical genius of
the Teutonic race is developed. Britain,
musically speaking, is in a great degree
waste-land, but it is not sterile; it only
wants, cultivation; and judging from in
stances, by o means rare, the vocal resour
ces of our pople are vast, and only need to
be drawn out. One of Pickford's carters
found sitting on his cart in a meal hour
copying music ; a ploughman on the heights
of Banffshire, "soughing" his exercise as
he makes his furrow, and referring to his
book at the turning; a party of rural folks
in an Aberdeenshire highland parish giving
a performance from Handel—solos, cho
ruses, with instrumental accompaniment by
the minister and his family—these things,
if reported from the Continent, would be
held in this country as incidents of signal
musical interest and promise. They are
entitled to be so regarded, as actual facts
in unlikely places in this our own island;
and as allied to domestic cultivation among
the common people, may be cited here
both in the way of encouragement and au
gury.
To return. We add a hint or two on
points away from the technicalities of the
music•master. Some systematic plan of
study and practice, carried out with earnest
purpose, is of vital importance. A higher
object must be aimed at than mere desul
tory .pleasure-giving, otherwise your domes
tic music will prove only a sort of elbglint
dissipation. Each should aim at possessing
the spirit of art—at being an artist, ac
cording. to his means and opportunities,
however humble. Rest content, in general,
with simple music-; for the artistic handling
of what appears exceedingly simple, will
bring out meanings and excite feelings,
which surface work can never evoke. Do
not lean on instruments for support. Self
reliance is important here, and the voice
alone will produce wondrous effects, the use
of simple music being assumed. While
simple music, however, may most appro
priately form the staple of your home exer
cises, yet it will have a bracing effect, and
increase the scope and pleasure of your
study, to choose occasionally such pieces as
offer, the excitement of difficulty. But
strive to put into the song a meaning higher
than is to be found in the mere notes; for
every piece of music, as has been well ob
served, is a poem either in blank verse or
in rhyme, and careful study and gnsight
will bring out beauties which will ever re
main hidden to the thoughtless and super
ficial. Use music for purposes higher than
itself—to vivify and adorn pure and noble
thoughts, to arouse the mind, to quicken
healthy emotions and to elevate the soul.
"Beauty in all its highest forms," it has
been well said, "is calculated to impress
on human beings the belief in a perfection
greater than this world contains"--a senti
ment pre-eminently true' of music, not only
as giving wings to the soul's highest aspi
rations, but also as affording an employ
ment in which man may.anticipate the em
ployments and rehearse the praises of
eternity ! Welcome then, this beneficent
and ennobling influence at the family
hearth and the family altar, and more and
more identify music with the voices, the
hearts, and the homes of the `,people`!
Then may we hope to see it employed to
sweeten and elevate the 111889 of society, to
awaken songs of love and joy, "and also that
nobler song whose utterance by the col
lective voice is the grandest, not only of
musical but of humgyi manifestations, when
the great congregation with one heart and
one voice sound the high praises of Father,
Son, and Holy Ghost !—Good Words.
On the black-board by the door of a Lon
don hospital there is attached by four wa
fers,a,simple announcement. Siinple as it
looks, it meets with very great notice, for
as the students keep dropping in, some in
little knots, others singly, a good many in
pairs, the first thing they look at is the
little sheet of paper, with but few words in
print, and fewer in writing upon it. " Has
it begun ?" "Is Mr. here yet?"
are the constant questions addressed to the
important man with the red collar on his
coat of blue. This functionary is the por
ter, whose chief business consists in keep
ing order among the crowd of people in the
out-patients' room, and , in letting up and
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down a wooden bar to allow them as their
turn arrives, access to the celebrities they
have some to 'Consult. Let us follow the
students as, they pass through the various
passages and corridors of the building. The
outpatient practice has no charm for the
students to-day. The physicians are going
their rounds alone; for however often the
theory may be enunciated, that in rank the
practice of physic takes precedence of the
practice of surgery, yet the fact remains
patent that a brilliant operator creates more
enthusiasm than the best physician, his
test-tubes, stethoscope and microscope not
withstanding. Passing up a narrow stair
case, we find ourselves at the top of a tier
of steps, at the bottom of which is the room
proper. The bright rays of the sun pass
through the ample skylight, and discover a
densely-packed mass of people filling the
round gallery. -We are in the operating
theatre of the hospital. Around us we see,
let into the walls, medallions of the great
surgeons of the olden time—the apostles of
the art, whose names are held in reverence
by their clever, eager followers of to-day.
Here and there among the students we
have pale-faced, anxious-looking men, who
have called in during their round of so
" general practice." They have
come to see their former master operate—
the surgeon who is at the pinnacle of his
profession, and who has earned fame,
wealth, and now a title, by his talents, and
who has been an instrument in God's hands
of alleviating much human suffering and
distress.
In die area of the theatre there are signs
of the approaching operation. There is the
peculiar table that can extend and fold in
all directions, with its straps and append
ages. There are cans of hot and cold water,
the basins, the sponges, and many other
things. The surgical dresser flits about,
anxious that nothing shall be forgotten, and
the house surgeon, with ligatures ready in
the button-hole of his coat, is examining
for the last time the glittering array of
knives and other instruments preserved in
a case as delicately lined as a lady's jewel
box
By degrees the minor luminaries of the
medical and surgical staff of the hospital
arrive, and the students ranged above, so
noisy at their college in awarding approval
to their favorite teachers, only show here
by a half stifled buzz their recognition. At
last the lion of the hour arrives, a strong,
stalwart man, placid, cool, and smiling, the
least anxious of the whole assembly. A
smothered roar of approbation meets him
as he lifts his eyes and nods to the assem
bled crowd. A gesture of his hand checks
any unseemly noise, for now the patient is
being carried in and laid tenderly on the
cushioned table. The latter gives a sharp,
half-frightened glance above at the dense
mass of hushed, eager and expectant stu
dents. The time has at last arrived which has
been in his thoughts for days and weeks—
aye, may be months. It is a moment of
agony for the poor man, in spite of all the
care and kindness shown him. The great
surgeon whispers in his ear and pats his
shoulder kindly. The patient grasps the
hand of his friend, and instantly another
mrical man fits the apparatus for the in
h . atio9 of Chloroform. In a little he is
wandering in his talk, he gesticulates with
his hands, but soon he drops off like a
sleeping child. Quietly turning up his
cuffs, and giving a scrutinizing glance
through the gleaming instruments spread
on the white-Clothed tray, the surgeon turns
to the diseased limb. There is a dead still
ness throughout the theatre, as with steady
hand the operator coolly and rapidly pro
ceeds. His knife is crimson now, and the
warm red blood wells up and spirts around.
The saw is quickly used, and a few more
dexterous movements with the knife per
fect the operation. All the pumping arte
ries are caught• and tied, and the parts are
skilfully adjusted. Then the still uncon
scious patient is carried off to awake in his
bed, and find himself surrounded by all
that skill, ingenuity and wealth can bring
to bear for suffering man. The surgeon
has done his best within his limit; the
issue rests with God; for, «Except the
Lord build the house, they labor in vain
that build it."—Medical Mirror.
YOUTH AS DEPICTED IN MODERN
FICTION.
[The Christian Remeinbrancer (English)
prefaces a sharp review of-one of the latest
immoralities of fiction, with the following
remarks upon the growing passion for the
worst qualities in that species of literature.
The taste for novel-reading is unwholesome
enough at the best, but its worst feature
is its infallible tendency to become a more
and more corrupt mental craving.]
An ideal which once seemed inseparable
from civilized, or, at least, Christian human
ity, is certainly suffering_ an eclipse in our
day. We "cannot dip into the pages , of
modern fiction, modern poetry, or modern
journalism, without perceiving that youth
and innocence are no longer associated as
they used to be in men's minds. Things
are said contravening this alliance which
not only people would have been ashamed
to say thirty years ago, but which would
not have occurred to the same people to say.
The charm of girlhood used to be indissolu
bly connected with purity and innocence
—an innocence which certain writers de
spised, because intercourse with the world
took off its edge; because it was, according
to their view, a merely passive, involuntary
quality, depending on seclusion and igno
rance of evil; but such as it was,
virgin
purity was a . generally received ideal.
Whatever a girl of eighteen might become,
however soon simplicity and bashfulness
might be exchanged for their opposites,
youth, to be like itself, and also to be en
gaging and attractive, was supposed to be
-innocent. And love naturally attached the
idea of freshness and goodness to the thing
it loved. Even if appearance was unfavor
able, and the woman beloved showed a
-1 jectionable qualities to the world at large,
the lover of past fiction believed in her; he
saw further than other people; what was
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faulty was a mere outside mask; he could
discover truth and womanly virtue under
Death; and this persuasion, erroneous or
well founded, was necessary to his allegi
ance. To realize a woman's worthless
ness or selfishness, was to cease to love. I
shall never meet with such another woman,"
sighed the boy-lover of old, even when he
had. been jilted by a heartless coquette,
and resigned his pretensions. Once to
have loved her was to have supposed her
excellent, and to cling to the idea still.
As far as we can judge from newspapers,
books, and detached scenes and critiques
upon them, the popular press is altogether
changing its tone; and so far from frivolity,
selfishness, and heartlessness, when plainly
and obtrusively apparent, being repellant
qualities, they are, in the new view of things,
essentials to fascination. The beautiful
women of modern sensational romance are
syrens, not pretending to be angels and
taken for what they pretend to be, but
known for syrens, and adored as such.
And the younger she is, the more her years
point to the old "age of innocence," the
more cold-blooded is the enchantress, and
worshipped accordingly. The men in a
modern novel will apostrophise the woman
who engrosses their thoughts and makes
their hearts ache—or, in sober language,
makes them neglect their business—as a
fiend; and the young lady accepts the in
sinuation at least as a compliment to her
charms; and gaily enlarges on her want of
heart, on her entire selfishness, her indiffer
ence to the feelings of her lovers, who are
an essential part of her state, and, above
all, on her resolute eye to the main chance
—not the.old, sober main chance of rank
and a certain income, so much as a future
of riotous, reckless parade and profusion.
In English prose fiction we have scarcely
got further than an exhibition of these
qualities, and the complications that arise
out of them. They are not pushed to their
natural consequences. For up to this time
the success of a book—which means its
sale---depends on some outward illogical
attention to the decencies of society ; a re
quirement which must exceedingly bore
and embarrass any writer who cares for
philosophical correctness and the depen
dence of effects on causes. In
,comparing
themselves with French novelists, our wri
ters must feel at a cruel disadvantage, and
must often be ashamed of the clumsy ex
pedients they are driven to by punctilio,
the necessities of the' publisher, or whoever
else feels the pulse of popular morality.
It has been agreed hitherto, that in any
novel which •hopes to find a place on the
drawing-room table, there must be a pull
up somewhere if things seem to be going
too far—some coincidence preventing the
last scandal, and arresting the headlong
progress of -events. How long this awk
wark inartistic mode of saving appearances
is to be submitted to, is a question which
is evidently trying some of the more popular
of our sensational writers ; and we discern a
groWing courage on their part, no unnatural
consequence of the toleration they have
hitherto met. People who have endured
so much, they may well think, have com
mitted themselves to more. "Lady And
ley's Secret" and "The Doctor's Wife"
lead up very naturally to " The Lady's
Mile," a recent novel by Miss Braddon,
which heads our article, and which we
cannot but regard as a bold, if not im
patient, effort in its authoress to cast off
trammels which must daily grow more
irksome.
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PRESBYTERIAN
PUBLICATION COHITTEE,
No. 1534 CHESTNUT STREET,
PHILADELPHIA
BOWEN'S DAILY MEDITATIONS.
1.21n0.. 429 pp. $1 75. Tinted paper, gilt edges. $2 50.
The author. Rev. George Bowen. grew up in New
York City, a skeptic, but, "by a remarkable chain of
providences," was led to Christ, and has been for eigh
teen years a missionary in India.
"He became one of the most earnest and single
hearted Christians - we have ever known. The Bible
was his book, and he searched it constantly, prayer
fully, for hidden treasures. If he had met you on
Broadway, he would stop you a moment to tell of some
new beauty or sweetness he had discovered in the
Divine word. Such a man's meditations are as water
fresh from the fountain. They are deeply spiritual,
and adapted to quicken the faith and love of the
reader."—Herald and Recorder, Cincinnati.
Rev. William.R. ll illiams, D.D., of New York, (Bap
tist), says, "It is a book of rare merit, marked by deep
piety, insight into Scriptures, original genius, and
uncompromising directness. I know of no book of its
class equal to it."
In this opinion heartily concurs the Rev. Thomas B
Skinner, D.D., who knew the author well while a stu
dent in the Union Theological Seminary.
Rev. E. E. Adams, D.D., of Philadelphia, and ninny
others well qualified to judge, have commended the
book in the strongest manner, and particularly for its
freshness and originality.
LEAVES OF CONSOLATION.
Selected and edited by Mrs. H. Dwight Williams.
12m0.. 360 pp. S 1 50. Tinted paper, gilt edges, $2.
This volume will be welcomed into many stricken
and sorrowing households. It is composed of judici
ous selections from the choicest literature in our
language, addressed to the desponding and desolate,
who, in times of bereavement, love to linger among
the " graves of their household." and dwell upon the
state of the departed. The aim of the compiler is to
induce some to make a good and wise use of afflictive
dispensations, to see the hand of God in them all, and
to feel that "the Judge of all the earth will do right."
To many sorrowing souls this will be a precious balm.
—Presbyterian Banner. Pittsburg.
SOCIAL HYMN AND TUNE BOOK,
ISSUED LESS THAN ONE YEAR AGO-
16na0., 510 pp. The SIXTH EDITION is in prom
(2500 each edition.)
SOCIAL HYMNS.
Just issued. 18mo., 336 pp. This is the same as the
"Social Hymn and Tune Book," with the omission of
the tunes, and is published in corresponding styles of
binding. Muslin, 75 cents; Sheep, 90 cents; Flexible.
$1 10.
NEW SABBATH-SCHOOL BOOKS,
DUTCH TILES; Or,
Loving Words about the Saviour.
18mo.. 171 pp.. 19 original illustrations. 90 cents
WHAT TO DO.
For the Little Folks.
18ino.. 113 pp.. 6 original illuttrations. 60 cents.
BLACK STEVE; Or,
The Strange Warning.
18mo., 83 pp.. 2 original illustrations. 40 cents.
NIFF, AND OTHER TALES.
18mo., 84 pp., 3 illustrations. 40 cent&
SPOTS ON THE SUN ;
OR,
THE PLUM-LINE PAPERS
Being a Series of Essays. or Critical Examinations
of Dii%cutt, Psages of Scripture; together with a
attend inquiry a
into Ceram& Dogmas of the Church. Bp
Bee. T. Jr. Hopkins. A. M., Geneva, Nem York. Fourth
Edition. Wm. J. Hoses Auburn. N. Y.
KIND READER: Would you like to see it demon
strated, that the story of Samson and his Poxes, and
that of the Dial of Alias, are evidently a mistraiude
non 7--the Stopping of the Sun and Moon by Joshua
an interpolation! and that the word of God contains
nothing of these, as they are in our common Transla
tion? Would you like to inquire. among the institu
tions of Jesus Christ, for certain dogmas of the
Church, and not find them there? Would you see in
what sense men are born in the Image of God? Be
sides, Infidelity has asserted, that if the dead were to
rise to-day, and to occupy as much space as when they
were alive, they would cover the whole earth to the
depth of some eight or ten feet; would you see it
demonstrated, that space for at least fire burvine
mrounde can be found within the limits of the State of
New York, of sufficient capacity to bury every son
and daughter of Adam? The above-named Book
will do this and something more; you may obtain it
by sending Si 50 to the author at Geneva. who will
forward it to you post-paid. When you have read
it, if you do not find it so. return the Book and I will
refund the money. T. M. HOPKINS,_
Geneva. N. Y.
W. H. BONER & CO.,
MUSIC PUBLISHERS,
AND
DEALERS IN AMERIOAN AND FOR
EIGN MUSIC,
Agents for
BERWIND'S CELEBRATED GUITARS.
No. 1102 CHESTNUT STREET,
PHILADELPHIA, PA.
Teachers and Seminaries supplied with Music and
Music Books at a liberal discount. 10464 m
PHILADKLPECIA. January 1.186&
Data Srs:—The Ice business heretofore carried on
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after be known as the " COLD SPRING . ICE AND
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supplied bythe Cold Spring Ice and Coal Co. with loe
of the best quality, always at the lowest market rates.
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WOLDERT & BROTHER.
(INCORPORATED APRIL, MA)
COLD SPRING ICE AND COAL CO.
THOS. B. CAHILL. Pres. JOHN GOODYEAR. Seer.
HOMY THOMAS. Superintendent.
WHOLESALE AND RETAIL
DEALERS ANDSIIIPPEBISOF ICE it COAL.
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