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 within the lines then established. Bach's work stood squarely upon that of several preceding generations. The technical foundations were already provided. It remained for him to fill the style with further vitality and to apply it to the utterance of grand ideas.

The Lutheran liturgy, like the Roman and Anglican, was favorable to musical art. The annual calendar was the old Church Year, though with few saints' days. The outline of services closely followed the Catholic, except in the use of the German language, the frequent congregational chorales and the prominence of the sermon. For every Sunday and other special day were prescribed, not only the Bible lessons, the versicles and the prayers, but most of the chorales and some other musical exercises. The observance of high festivals was fuller in regular services, often spreading over more than one day. Even on ordinary Sundays the morning service was nearly four hours long, beginning at seven o'clock, including an hour's sermon and the Eucharist. Its order was like that of High Mass, and some parts of it were in the old Latin forms. The musical features were an extended organ-prelude, a motet (usually in Latin), the Kyrie, the Litany, the Creed, the 'principal music' (either a motet or a cantata), many chorales, often embellished with prelude and interludes, and often another motet in the Communion Service. Pains were taken to vary the method of the musical exercises, some being either a cappella or very simply accompanied, others lavishly supported by the organ or other instruments. The afternoon service was also elaborate, but without the Eucharist. While such services were not universal, in the chief town-churches they were a conspicuous item in municipal oversight and expenditure, and emphatically popular. The use of the vernacular and of chorales kept them in the understanding and affection of the people generally. Into this system, with its free use of music, all the Bachs threw themselves with enthusiasm, none more so than the greatest of the family.

117. Johann Sebastian Bach.—The accumulated artistic capacity of the Bach family found manifestation in the genius of Johann Sebastian. He grew up and did all his mature work in Thuringia and Saxony, in towns and cities full of traditions of the Bachs and where several noted relatives were still at work. He thus entered by inheritance into the heart of the richest musical life of Germany as it stood at the opening of the 18th century. By indefatigable study he made himself master of the literature of German music, especially that for the organ and the choir, welcoming impressions from every school. His catholicity enabled him to absorb much from the styles of other countries, especially Italy and France. He was keenly conscious of the best tendencies of the time, notably in the general