lot but he converted it into a thing of beauty in his songs. When he was the abject, down-trodden slave, he burst forth into songs which constitute America's only great music—the spirituals. These wild chants are the natural, naive, untutored, spontaneous utterance of the suffering, yearning, prayerful human soul. In their mighty roll there is a nobility truly superb. Idea and emotion are fused in an art which ranks with the Psalms and the songs of Zion in their compelling, universal appeal.
The emancipation of the Negro slave in America gave him only a nominal freedom. Like all other human beings he is a creature of habits which tie him to his past; equally set are his white brothers' habits toward him. The relationship of master and slave has changed but little in the sixty years of freedom. He is still a slave to the ignorance, the prejudice, the cruelty which were the fate of his forefathers. To-day he has not yet found a place of equality in the social, educational or industrial world of the white man. But he has the same singing soul as the ancestors who created the single form of great art which America can claim as her own. Of the tremendous growth and prosperity achieved by America since emancipation day, the Negro has had scarcely a pittance. The changed times did, however, give him an opportunity to develop and strengthen the native, indomitable courage and the keen powers of mind which were not suspected during the days of slavery. The character of his song changed under the new civilization and his mental and moral stature now stands measurement with those of the white man of equal educational and civilizing opportunities. That growth he owes chiefly to his own efforts; the attendant strife has left unspoiled his native gift of song. We have in his poetry and music a true, infallible record of what the struggle has meant to his inner life. It is art of which America can well be proud.
The renascence of Negro art is one of the events of our age which no seeker for beauty can afford to overlook. It is as characteristically Negro as are the primitive African sculptures. As art forms, each bears comparison with the great art expressions of any race or civilization. In both ancient and mod-
