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Rh remembers most vividly an incident that occurred during the first year of the Great War, in the church in which he was at that time the choirmaster. The choir had just finished singing an anthem written by an English composer as a prayer for peace, the concluding strains being sung to the words "Give peace, O God, give peace again! Amen." As the choir sat down, after an effective rendition of the anthem, there was a hush in the congregation, showing that the message of the music had gone home to the hearers. But a moment later the spell was rudely broken, as the minister rose, and in a stentorian voice proclaimed the text of the day—"For I come not to bring peace into the world, but a sword."

The responsibility in this case rested as much upon the shoulders of the choir director as upon those of the preacher, for he should at least have taken the trouble to acquaint his coworker with the nature of the anthem, so that some reference might have been made to the subject in either the prayer or scripture reading or in some of the hymns, if not in the sermon itself. It is perhaps not always feasible to have sermon and anthem agree absolutely in subject, but it is entirely possible to avoid such occurrences as that cited above, if even a small amount of thought is given to the matter of correlation each week. Surely the choir leader could at least provide the minister with the titles of the anthems and solos to be rendered.

In advocating a return to the volunteer chorus choir instead of the salaried solo quartet, we are well aware of the disadvantages that are likely to accompany any attempt along this line. We know that the chorus choir composed of volunteers is often poorly balanced, usually contains for the most part indifferent voices and often unskilful readers, and frequently consists largely of