MUSGRAVE
751
MUSIC
other sciences now form a chief part of the treasures of many of the greatest museums, and there are museums devoted to particular branches of science. Of the mu- seums of Britain, the Britisli Museum is the great- est; that of Oxford, founded in 1G79, is the oldest. The museum of the Vatican, in Korae, contains immense treasures in sculptures and paintings, and also in books and manuscripts. The museum of the Louvre, in Paris, that of St. Petersburg, and those of Dresden, Vienna, Munich, and Berlin, are among the greatest in the world. The usefulness of a museum depends not merely upon the amount of its treasures, but perhaps even in a greater degree upon their proper arrangement; and while great collections in the chief capitals of the world are of incalculable importance to science, its interests are also likely to be much promoted by those local mu- seums, still unhappily not numerous, which are devoted to the illustration of all that belongs to particular and limited districts. Museums appropriatetl to the illus- tration of the industrial arts — their raw material, their machines, and their products — and of everything eco- nomically valuable, are of recent origin, but their im- portance is unquestionably very great. Pre-eminent among institutions of this kind in Britain are the South Kensington Museum and the Industrial Museum in Edinburgh. In recent times missionary museums have been started in the United States for the purpose of col- lecting all that is valuable for the proper interpretation of heathen religions, and to commemorate Christian vic- tories over pagan idolatry.
Musgrave, Thojeas, D.D., an English prelate of note, was the son of a draper in Cambridge, where he was born in 1788. After an elementary education he enter- ed as student Trinity College, Cambridge, in 1806, and jvas fourteenth ^vTangler in 1810. He was then elected a fellow of his college, which position he held up to 1837. He obtained the master's degree in 1813; became lord almoner's professor of Arabic in 1821 ; and was senior proctor in 1831. He was also incumbent of St. Mary- the-Great, Cambridge, and bursar of his college. In 1837 Dr. Musgrave was appointed by the late viscount Melbourne bishop of Hereford, and on the death of the venerable Dr. Harcourt was translated to the archi- episcopal see of York, and thus became primate of Eng- land, a governor of the Charter -house and of King's College, Oxford, a commissioner for building churches, and elector of St. Augustine's College, Canterbury. In his patronage as ai-chbishop were ninety-six livings, which he dispensed most impartially and with credit to his exalted position. Archbishop Musgrave died May 5, 18G0, at his residence in London. He published only several of his Sermons (1839 and 18-49, 8vo),
Mu'shi (Heb. Muski', ^'j^l^, once [1 Chron. vi, 19] '''lip, receding; Sept. 'Ofiovaei, 6 Movffi, 'O/xouffi'), the second of the two sons of Merari, son of Levi (Exod. vi, 19; Numb, iii, 20; 1 Chron. vi, 19, 47 ; xxiii, 21 ; xxiv, 26) ; he had three sons (1 Chron. xxiii, 23 ; xxiv, 30), whose descendants were called in common Mushites (Numb, iii, 33 ; xxvi, 58). B.C. post 1856.
Mu'shite (Heb. same as MusM; Sept. 'O^ovai and 6 Mocffi; Vulg. Musites and Musi), a descendant of the Levite Mushi (Numb, iii, 33; xxvi, 58).
Music [IIebuew] (T^'J, shir, singing, 1 Chron. xv, 16 ; 2 Chron. v, 13 ; vii, 6 ; xxxiv, 12 ; Eccles. xii, 4 ; Amos vi, 5 ; a song, as it is usually elsewhere rendered ; Chald. "i"?T, zemar', the striking of musical instruments, Dan. ii, 5, 7, 10, 15; Gr. avfKpiiivia, symphony of sound, Luke XV, 25 ; but n3"'ja, neginah', Lam. v, 14, or n3'^S5^, manginaJi', Lam. ii, 63, is a satirical "song;" comp. Jab XXX, 9. See Negixoth). This is the oldest and most natural of all the fine arts, and therefore is found among all nations, however ignorant of every other art. In elucidating the subject in this and a following article (that ou Musical Instkumests) we freely avail our-
selves of whatever material we find appropriate in the Dictionaries of Kitto, Smith, and Fairbairn.
The Hebrews were an eminently musical people. Their history is full of illustrations of this feature of their national character and life. Their literature is a monument of it ; for a large portion of Iheir poetry v.^as conceived in the form of psalmody or sacred lyric song ; and though exaggerated representations have sometimes been put forward of the perfection which musical science and art attained among them, it cannot be doubted that their musical progress and attainments went much be- yond the narrow limits Avhich some eminent modern writers of the history of music have thought themselves warranted to assign.
1. Antiquity of Hehreio il/«5ic.— The Hebrew nation made no claim to the invention of music or musical in- struments, but assigned to it an antiquity as remote as the antediluvian days of Jubal, who " was the father of aU such as handle the harp and organ" (Gen. iv, 21). The inventor of musical instruments, therefore, like the first poet and the first forger of metals, was a Cainite. Chardin relates that the Persians and Arabians call mu- sicians and singers Kayne, or " descendants from Cain." From the occurrence of the name Mahalaleel, third in descent from Seth, which signifies "giving praise to God," Schneider concludes that vocal music in religious services must have been still earlier in use among the Sethites (^Biblischgesch, Darstellung der Hebr. Musik, p. xi). It has been conjectured that Jubal's discovery may have been perpetuated by the pillars of the Seth- ites mentioned by Josephus {Ant. i, 2), and that in this way it was preserved till after the Flood ; but such con- jectures are worse than an honest confession of igno- rance.