TEMPLE CHURCH. 121 TEMRYUK. TEMPLE CHURCH. The cliurch connected vith the former house of the Knights Templars in London, and the only portion of the original group of buildings remaining. It consists of a Xornian Round church, 58 feet in diameter, dat- ing from 1185, with a choir added in 1240. It has a richly painted ceiling and interesting tiled flooring, and contains nine monuments of Templars. TEMPO (It., time). The degree of rapidity with which a piece of music is to be executed. The rhythmical proportions of notes, as indicated by their form, give them only a relative value, and have no reference to the absolute speed at which the entire composition is to be played. The varying rates of speed at which different compositions, or portions of compositions, are to be played is usually indicated by certain terms called tempo marks. These terms are not, how- ever, always used with exact precision, and some- times apply more to the character than to the absolute speed of performance. The following table gives the most usual tempo marks with their approximate significances : SLOW MODERATE FAST Largo Andante Animato Grave Moderato Allegro Lento molto Allegretto Vivace Lento Adagietto Vivo Larichetto Allegro moderato Allegro molto A(iafriH8iino Sostenuto Allegro vivo Adadin Commodo Presto Andantino N o n troppo al- legro Maestoso Prestissimo INPICATIMG INDICATING RETARD ACCELERATION Rallentamento Accelerando Itallentando Stringendo RItardando Affrettando Larpando Veloce Rltenuto Ravvivando ii Tempo Tardando Doppio movl- meuto Lentando Sempre acceler- ando Meno mosBO Piil mosao The tempo is indicated with far greater ex- actness by references to the beats of the metro- nome (q.v. ). It is not, however, uncommon for composers to express the tempo by reference to some well-known musical form which has a cliar- aeteristic movement, as 'tempo di marcia,' 'tempo di valse,' 'tempo di minuetto,' etc. Schumann and Wagner discarded the Italian nomenclature and indicated the tempo by means of German terms. In this they have been followed by a few other composers, but the German terms are not well enough known to be free from a certain vague- ness. The Italian terms came into use at the be- ginning of the seventeenth century. Before that time the means of expressing the general speed at which a composition was to be played were very limited. In mensurable music (q.v.) each note had a certain average time value (integer valor) ; but in the course of years the unit of measure changed so frequently that great con- fusion ensued. In transcribing works of the six- teenth century in modern notation all notes must, as a rule, be reduced to about half their face values; while in still older works the reduc- tion should be to a quarter or an eighth of the original value. Tempo rubato (stolen time) is the name given to a mode of performance to which a restless character is imparted by pro- tracting one note beyond its proper duration, and curtailing another so that the aggregate duration of each measure remains unchanged. Mollifica- tion of tempo is a term first used by Richard Wagner, in his article "Uebcr das Dirigieren." to indicate that a composition cannot be played throughout in strict metronome time. This' is especially true in dramatic music, and throws the responsibility for the interpretation of the music upon the conductor (q.v.). TEMPORAL POWER (Lat. temporalis, re- lating to time, from tcinpus, time, season; con- nected with Icel. ]'amb, an out-stretching, Lith. lempiA, I extend) OF THE Pope. The sovereign power which the Pope possessed as ruler of the Papal States (q.v.)^ which, although modified in its exercise by his spiritual character, was in substance the same as that of any arbitrary sov- ereign. The question as to the necessity or utility of such a power vested in tlie hands of a spiritual ruler, and even of its lawfulness and its compatibility with his spiritual duties, has been very warmly debated. Many of the mediaeval sectaries put forward the principle of the in- compatibility of the spiritual with the temporal power in the same person, not only in relation to the Pope, but also as to the other ecclesiastics who were feudal lords. Such were the doctrines of the V'audois, of Pierre de Bru3's, and above all of Arnold of Brescia (qq.v.). Through the centuries which followed, the anti-Papal con- troversies turned so entirely upon doctrine that there was little room for the discussion of this question, and it is a mistake to suppose, as has not unfrequently been done, that it entered in any way into the conllict of Galilean and Ultra- montane principles. Even the great Galilean champion Bossuet (q.v.) not only admitted the lawfulness of the Pope's temporal sovereignty, but contended that it w.as in some sense neces- sary to the free exercise of his spiritual power, and to the independence of his ecclesiastical gov- ernment. It was not until the aggression of the French Republic upon Rome, and the annexation of the Papal provinces called the Legations ta the Cisalpine Republic, and afterwards to the Kingdom of Italy, by Bonaparte, that the con- troversy assumed any practical interest. For a few years all of the Papal territories were in the hands of Napoleon. Jlore recently, upon the incorporation of the whole of the Papal States in the Kingdom of Ital.y. the question once more agitated the entire Catholic world, and is still, a generation later, a practical one. Most Roman Catholics, while admitting that the possession of temporal sovereignty is no essential part of the privileges of the successor of Saint Peter, regard the possession of a sovereignty independent of any particular sovereign as the means provi- dentially established for the protection of the spiritual independence of the Pope, and of the free exercise of his functions as spiritual ruler of the Church. TEMRYUK, tyem-ryook'. A seaport in the Territory of Kuban, Ciscaucasia, Russia, situ- ated on an inlet of the Sea of Azov, 90 miles Avest of Ekaterinodar (Jlap: Russia, E 5). It has an extensive export trade in grain and flour. Population, in 1897, 14,476.
