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phrases, which is always of great importance, is of a freer kind.

A marked feature in plain chant is the use of the same melody for various texts. This is quite typical for the ordinary psalmody, in which the same formula, the "psalm tone", is used for all the verses of a psalm, just as in a hymn or a folk song the same melody is used for the various stanzas. But it is also used for the more complicated psalmodic forms, Graduals, Tracts etc., though oftentimes with considerable lib- erty. Again we find it in the case of the Office anti- phons. In all these cases great, art is shown in adapt- ing the melodic type to the rhythmical structure of the new texts, and oftentimes it can be observed that care is taken to bring out the sentiments of the words. On the other hand it seems that for the Mass antiphona each text had originally its own melody. The present Gradual, indeed, shows some instances where a melody of one Mass antiphon has been adapted to another of the same kind, but they are all of comparatively late date (seventh century and after). Among the earliest examples are the Offertory, "Posuisti" (Com- mon of a Martyr Non-Pontiff), taken from the Offer- tory of Easter Monday, "Angelus Domini", and the Introit, "Salve sancta Parens", modelled on "Ecce advenit " of the Epiphany. The adaptation of a melo- dic type to different texts seems to have been a char- acteristic feature of antique composition, which looked primarily for beauty of form and paid less attention to the distinctive representation of sentiment. In the Mass antiphons, therefore, we may, in a sense, see the birth of modern music, which aims at individual ex- pression.

^Esthetic Value and LituhgicaIi Fitness. — There is little need to insist on the aesthetic beauty of plain chant. Melodies, that have outlived a thousand years and are at the present day attracting the atten- tion of so many artists and scholars, need no apol- ogy. It must be kept in mind, of course, that since the language of plain chant is somewhat remote from the musical language of to-daj', some little familiarity with its idiom is required to appreciate its beauty. Its tonality, its rhythm, as it is generally understood, the artistic reserve of its utterance, all cause some diffi- culty and demand a willing ear. Again it must be insisted that an adequate performance is necessary to reveal the beauty of plain chant. Here, however, a great difference of standard is required for the various classes of melodies. While the simplest forms are quite fit for congregational use, and forms like the Introits and Communions are within the range of average choirs, the most elaborate forms, like the Graduals, require for their adequate performance highly trained choirs, and soloists that are artists. As to the liturgical fitness of plain chant it may be said without hesitation that no other kind of music can rival it. Having grown up with the Liturgy itself and having influenced its development to a large extent, itismostsuitableforitsrequircments. Thegen- eral expression of the Gregorian melodies is in an emi- nent degree that of liturgical prayer. Its very remote- ness from modern musical language is perhaps an additional element to make the chant suitable for the purpose of religious music, which above all things should be separated from all mundane associations. Then the various forms of plain chant are all particu- larly appropriate to their several objects. For the singing of the psalms in the Office, for instance, no other art form yet invented can be compared with the Gregorian tones. The Falsi Bordoni of the sixteenth century are doubtless very fine, but their continuous use would soon become tedious, while the Anglican chants are but a poor substitute for the everlasting vigour of the plain chant formulic. No attempt even has been made to supply a substitute for the antiphons that accompany this singing of the psalms. At the Mass, the Ordinary, even in the most elaborate forma

of the later Middle Ages, reflects the character of con- gregational singing. The Introit, Offertory, and Com- munion are each wonderfully adapted to the particu- lar ceremonies they accompany, and the Graduala display the splendour of their elaborate art at the time when all are expected to Usten, and no ceremony interferes with the full effect of the music.

The rev-ival of religious life about the middle of the nineteenth century gave the impetus for a renewed cultivation of plain chant. The extended use and per- fected rendering of plain chant, so ardently desired by Pope Pius X, will in its turn not only raise" the level of religious music and enhance the dignity of Divine worship, but also intensify the spiritual Ufe of the Cliristian community.

Wagner, Einfuhrung in die gregorianischai Melodien (Leipzig, 1911), first vol. also in English: Inlroductiou to the Gregorian Melo- dies (London); G-\stou^, Les origines du chant romain (Paris, 1907), RlEtiAnN. Handbuchder Musikgeschichte, 1 (Leipzig, 1905); Weinm.\nn, History of Church Music (Ratisbon, 1910): M5hleb AND G.4nss, Compendium der katholischen Kirchenmusik (Ravens- burg. 1909): Jacobsthal, Die chromatische AUeration im litur- gischen Gesang der abendldn/lischen Kirche (Berlin, 1897); Nikel, Geschichte der katholischen Kirchenmusik, I (Breslau. 1908); Leit- NER, Der gottesdienstliche Volksgesang im jiidischen u, christlichen AUerlum (Freiburg, 1906) ; Bewercnge, The Vatican Edition of Plain Chant in Irish Ecclesiastical Record (Jan., May. and Nov., 1906) ; MocQDERE.\u, Le nombre musical gregorien, I (Tournai, 1908); Dechevrens, Etudes de science musicale (3 vols., 1898); Benedictines of St.anbrook. A Grammar of Plainsong (Worces- ter, 1905); PoTHlER, Les melodies gregoriennes (Toumai, 1880); JOHNER, Neue Schule des gregorianischen Choralgesanges (Ratisbon. 1911); KiENLE, Choralschule (Freiburg. 1890): Wagner, Ele- mente des gregorianischen Gesanges (Ratisbon. 1909) ; Abert, Die Musikanschauung des Mittelalters (Halle, 1905).

H. Bewerungb.

Plantagenet, Henry Beaufort, cardinal, Bishop of Winchester, b. c. 1377; d. at Westminster, 11 April, 1447. He was the second illegitimate son of John of Gaunt, and Katherine Swynford, later legitimized by Richard II (1397). After his ordination he received much preferment, becoming successivelv dean of Wells (1397), Bishop of Lincoln (139S), Chancellor of Oxford ITniversity (1399), Chancellor of England (1403-4), and Bishop of Winchester (1404). He was much in favour with Henry, Prince of Wales, and on his accession as Henry V, Beaufort again became chancellor (1413). He attended the Council of Con- stance (1417), and it was due to him that the Emperor Sigismund in alliance with Henry V withdrew his op- position to the plan of electing a new pope before measures for Church reform had been taken. This election ended the unhappy Western Schism. The new pope, Martin V, created Beaufort a cardinal, though the king forbade him to accept this dignity. On Henry's death he was left guardian of the infant Henry VI and again acted as chancellor (1424-26). He was created cardinal-priest of St. Eusebius in 1426, and was emploj'ed as papal legate in Germany, Hun- gary, and Bohemia, where he assisted the pope in the Hussite \\'ar. Employed in French affairs in 1430-31, he crowned Henr3-, as King of France, in Paris (1431). The following year he defeated the Duke of Glouces- ter's effort to deprive him of his see on the ground that a cardinal could not hold an English bishopric. \\'hen war broke out with France he assisted the war- party with large financial advances. He completed the building of Winchester cathedral, where he is buried.

Radford. Henry Beaufort, bishop, chancellor, cardinal (LondoD, 1908); Lingard, Hisiorj/ o/£;i9faiid. IV (London. 1883); Greqo- Boviua. History of the City of Rome in the Middle Ages, HamiI/- TON'etr. (London, 1894-1900); Creighton. History of the Papacy during the Reformation (London, 1S82-97) ; Caley in Archaologia (1826), XXI, 34; (1852), XXXIV, 44; Beaurepaihe in Pric. trav. acad. Rouen (Rouen, 1888-90); Hunt in Did. Nat. Biog., with reference to contemporary sources; s. v. Beaufort.

Edwin Burton.

Plantin, Christohe, book-binder and publisher of Antwerp, b. 1.514, at or near Tours (France); d. 1 July, 1,5S9, at Antwerp. The son of a servant, he learned the art of book-binding and printing (1535-