CHAPTER XXXII.BIBLIOGRAPHICAL NOTES.

Adjuvent nos eorum merita,Quos propria impediunt scelera?Excuset eorum intercessio,Quos propria accusat actio?At tu, qui eis tribuistiCoelestis palmam triumphi,Nobis veniam non deneges peccati.In the same spirit he and his associates edited the first great Protestant work on Church history—theMagdeburg Centuries(1559-74, in thirteen folio volumes). The first Protestants hadno more idea of surrendering the history of the Church to the champions of the Roman Catholic Church, than of giving up to them the New Testament. They held that down through all the ages ran a double current of pure Christianity and scholastic perversion of that, and that the Reformation succeeds to the former as the Tridentine Church to the latter. This especially as regards the great central point in controversy, the part of grace and of merit in the justification of the sinner. And they found the proof of this continuity especially in the devotions of the early Church. They found themselves in that great prayer of the Franciscan monk, which the Roman Missal puts into the mouth of her holiest members as they gather around the bier of the dead:Quid sum miser tunc dicturus,Quem patronum rogaturus,Quum vix justus sit securus?Rex tremendae majestatis,Qui salvandos salvas gratis,Salve me, fons pietatis!“Whenever in the Middle Ages,” says Albrecht Ritschl, “devotion, so far as it has found articulate expression, rises to the level of the thought that the value of the Christian life, even where it is fruitful of good works, is grounded not upon these as human merits, but upon the mercy of God ... then the same line of thought is entered upon as that in which the religious consciousness common to Luther and Zwingli was able to break through the connection which had subsisted between Catholic doctrine and the Church institutions for the application of salvation.... Whenever even the Church of Rome places herself in the attitude of prayer, it is inevitable that in the expression of her religious discernment, in thanksgiving and petition, all the benefits of salvation should be referred to God or to Christ; the daily need for new grace, accordingly, is not expressed in the form of a claim based upon merits, but in the form of reliance upon God.”[26]That the Latin hymns of those earlier centuries show a steadily increasing amount of unscriptural devotion to the mother of our Lord and to His saints, and of the materializing view of our Lord’s presence with His Church in the Communion, is undeniable. But even in these matters the hymns of the primitive and mediaeval Church are a witness that these and the like misbeliefs and mispractices are a later growth upon primitive faith and usage.The first generation of Protestants, to which Luther, Melanchthon, and Zwingli belong, had been brought up on the hymns of the Breviary and of the Missal, and they did not abandon their love for these when they ceased to regard the Latin tongue as the only fit speech for public worship. They showed their relish for the old hymns, by publishing collections of them, by translating them into the national languages, by writing Latin hymns in imitation of them, and even by continuing their use in public worship to a limited extent.As collectors and editors of the old Latin hymns, the Protestants of the sixteenth century surpassed the Roman Catholics of that age. Over against the names of Hermann Torrentinus (1513 and 1536), Jacob Wimpheling (1519), Joste Clichtove (1515-19), Jacob van Meyer (1535), Lorenzo Massorillo (1547), and George Cassander (1556), the Roman Catholic hymnologists of the half century which followed the Reformation, we may place the anonymous collector of Basel (1538), Johann Spangenberg (1545), Lucas Lossius (1552et seq., with Preface by Melanchthon), Paul Eber (1564), George Fabricius (1564), Christopher Corner (1568), Hermann Bonn (1569), George Major (1570), Andreas Ellinger (1573), Adam Siber (1577), Matthew Luidke (1589), and Francis Algerman (1596). All these, with the possible exception of the first, were Lutherans, trained in the humanistic school of Latin criticism and poetry; but only two of them found it needful or desirable to alter the hymns into conformity with the tastes of the age. The collections of Hermann Bonn, the first Lutheran superintendent of Lubeck, and that of George Fabricius, are especially important, as faithfully reproducing much that else might have been lost to us.The work of translating the old Latin hymns fell especially to the Lutherans. Roman Catholic preference was no stronger for the original Latin than that of the Reformed for the Psalms. Of the great German hymn-writers from Luther to Paul Gerhardt, nearly all made translations from the storehouse of Latin hymnody, Bernard of Clairvaux being the especial favorite with Johann Heermann, John Arndt, and Paul Gerhardt. And even in hymns which are not translations, the influence of the Latin hymns is seen in the epic tone, the healthy objectivity of the German hymns of this age, in contrast to the frequently morbid subjectivity of those which belong to the age of Pietism.More interesting to us are the early translations into English. The first are to be found in thePrimerof 1545, a book of private devotions after the model of the Breviary, published in Henry VIII.’s time both in English in 1545 and again in Latin (Orarium) in 1546. In the next reign a substitute for this in English alone was prepared by the more Protestant authorities of the Anglican Church, in which, besides sundry doctrinal changes, the hymns were omitted. But the scale inclined somewhat the other way after Elizabeth’s accession. The EnglishPrimerof 1559 and the LatinOrariumof 1560 are revised editions of her father’s, not of her brother’s publications. The parts devoted to the worship of Mary are omitted, but the prayers for the dead and the hymns are retained. These old versions are clumsy enough, but not without interest as the first of their kind. Here is one with the original text from theOrarium, differing from any other authority known to us:Rerum Creator omnium,Te poscimus hoc vesperiDefende nos per gratiamAb hostis nostri fraudibus.Nullo ludamur, Domine,Vel somnio vel phasmate:In Te cor nostrum vigilet,Nec dormiat in crimine.Summe Pater, per FiliumLargire quod Te poscimus:Cui per sanctum SpiritumAeterna detur gloria. Amen.O Lord, the Maker of all thing,We pray thee now in this eveningUs to defend, through thy mercy,From all deceit of our enemy.Let us neither deluded be,Good Lord, with dream nor phantasy.Our heart waking in thee thou keep,That we in sin fall not on sleep.O Father, through thy blessed Son,Grant us this our petition;To whom, with the Holy Ghost, alwaysIn heaven and earth be laud and praise. Amen.It is not wonderful that when the Anglo-Catholics sought to revive thePrimeras “the authorized book of Family and Private Prayer” on the same footing as the Prayer book, they took the liberty of substituting modern versions of the hymns for these “authorized” translations.[27]But thePrimer, whatever its authority, never possessed that much more important requisite to success—vitality. A very few editions sufficed for the demand, and Bishop Cosin’s attempt to revive it in Charles I.’s time only provoked a Puritan outcry against both him and it. Rev. Gerard Moultrie has attempted to revive it in our own time, as “the only book of private devotion which has received the sanction of the English Church,” and has not achieved even thus much of success. No Prynne has assailed him.In the Book of Common Prayer, besides such “canticles” as theGloria in Excelsisand theTe Deum, there is but one hymn, an English version of theVeni, Creator Spiritusin the Ordination Service. It is the wordiest of all known versions, rendering one hundred and five Latin by three hundred and fifty-seven English words, but is not without its old-fashioned felicities. The revisers of 1661 cut it down by omitting just half of it, and modernized the English in a number of places. Its very verbosity seems to have suggested Bishop Cosin’s terse version, containing but four morewords than the original, which, however, it somewhat abridges. This was inserted in 1661 as an alternate version. The author of the paraphrase in the Prayer-Book is unknown. It is not Bishop Coverdale, as his, although translated at second-hand from Luther, as, indeed, all his hymns are from some German source, is far closer and less wordy.[28]It also was adopted into the old Scottish Psalter of the Reformation, where it appears in the appendix, along with a metrical version of the Apostle’s Creed and other “uninspired compositions.”From the Reformation until about fifty years ago, there was among English-speaking people no interest in Latin hymnology worth speaking of. A few Catholic poets, like Crashaw and Dryden, honored their Church versions from the hymns of the Breviary. But even John Austin, a Catholic convert of 1640, when he prepared hisDevotions in the Ancient Way of Officesafter the model of the Breviary, wrote for it hymns of his own instead of translating from the Latin. Some of these (“Blessed be Thy love, dear Lord,” and “Hark, my soul, how everything”) have become a part of our general wealth. Of course some versions of a homely sort had to be made for Catholic books of devotion, and I possessThe Evening Office of the Church in Latin and English(London, 1725), in which the Vesper hymns of the Roman Breviary are closely and roughly versified. It is notable that “the old hymns as they are generally sung in churches”—i.e., the hymns as they stood before the revision of 1631, are printed as an appendix to the book, showing how slow English Catholics were to accept the modernization of the hymns which the papacy had sanctioned nearly a century before.Mr. Orby Shipley, in hisAnnus Sanctus(London, 1884), gives a large number of these early versions from the Roman CatholicPrimersof 1619, 1684, 1685, and 1706; from theEvening Officeof 1710, 1725, and 1785; and from theDivine Officeof 1763 and 1780. The translations of 1619 have been ascribed to William Drummond, of Hawthornden, and those of 1706 to Dryden. Drummond was the first Scotchman who adopted English as the language of literature, and although a Protestant, he belonged to the Catholicizing party represented by William Forbes, the first Protestant bishop of Edinburgh. Three hymns are given in Sir Walter Scott’s edition of Dryden on the authority of English Roman Catholic tradition, the best known being his version of theVeni Creator Spiritus. These three are found in thePrimerof 1706, along with versions of the other hymns of the Roman Breviary sufficiently like them to suggest that they are all by the same hand. But this judgment is disputed.Among Protestants the neglect was as great. So profuse a writer of hymns for the Christian year as George Wither translated only theTe Deumand theVeni, Creator Spiritusinto English verse.[29]Tate and Brady, in theirSupplement(1703) to theirNew Version of the Psalms(1696), published a translation of theVeni, Creator Spiritus. But Bishop Symon Patrick was the only hymn-writer of that age who may be said to have given any special attention to Latin hymns. His hymns were chiefly translations from that source, especially Prudentius, and Lord Selborne mentions that ofAlleluia, dulce carmen, as the best.The Methodist revival, which did so much to enrich our store of hymns, and which called attention anew to those of Germany, accomplished nothing for us as regards Latin hymns. The Earl of Roscommon’s translation of theDies Irae(1717), and Dr. Johnson’s affecting reference to the stanza,Quaerens me sedisti lassus, ...stand almost alone in that age. It was not until the Romantic movement in Germany and then in England broke the bonds of amerely classic culture, taught the world the beauty of Gothic art, and obliged men to revise their estimate of the Middle Ages, that the singers of the praises which sounded through those earlier centuries had a fair chance to be judged at their real worth. The forerunner of that movement was Johann Gottfried von Herder, who indeed may be said to have anticipated the whole intellectual movement of the past century, Darwinism not excepted. From his friend and master Hamann, “the Magus of the North,” he had learned “the necessity for a complete and harmonious expression of all the varied faculties of man,” and that “whatever is isolated or the product of a single faculty is to be condemned.” This made him as much discontented with the eighteenth century and its literature and philosophy of the enlightened understanding, as Hamann himself was. It was the foundation for that Catholic taste which enabled him to appreciate the excellence of all those popular literatures which are the outflow of the life of whole peoples. HisVoices of the Peoplesdid for the Continent what Bishop Percy’sReliquesdid for England, and did it much better. He saw that “the people and a common sentiment are the foundations of a true poetry,” and the literature of the schools and that of polite society are equally condemned to sterility. For this reason he had small respect for that classic Latin literature at whose bar every modern production was impleaded. He found far more genuine life and power in the Latin poems of the Jesuit father, Jacob Balde, and still more in the hymns of the Latin Church. HisLetters for the Promotion of Humanity(1794-96) contain a passage of classic importance:“The hymns which Christianity introduced had for their basis those old Hebrew Psalms which very soon found their way into the Church, if not as songs or anthems, at any rate as prayers.... The songs of Mary and of Zacharias, the Angelic Salutation, theNunc Dimittisof Simeon, which open the New Testament, gave character more immediately to the Christian hymns. Their gentler voice was more suitable to the spirit of Christianity than even the loud trumpet note of that old jubilant Hallelujah, although that note was found capable of many applications, and was now strengthened with the words of prophet or psalmist, now adapted to gentler strains. Over the graves of the dead, whose resurrection was already present to the spirit’s vision, in caves and catacombs, first were heard these psalms of repentance and prayer, of sorrow and hope, until after the public establishment of Christianity, they stepped out of the dark into the light, out of solitude into splendid churches, before consecratedaltars, and now assumed a like splendor in their expression. There is hardly any one who can listen to theJam moesta quiesce querulaof Prudentius without feeling his heart touched by its moving strains, or who can hear the funeral sequenceDies irae, dies illa, without a shudder, or whom so many other hymns, each with its own character—e.g.,Veni, Redemptor gentium;Vexilla Regis prodeunt;Salvete flores Martyrum;Pange, lingua, gloriosi, etc., will fail to be carried into that frame of feeling which each seeks to awaken, and with all its humility of form and its churchly peculiarities, never fails to command. In one there sounds the voice of prayer; another could find its accompaniment only in the harp; in yet another the trumpet rings, or there sounds the thousand-voiced organ, and so on.“If we seek after the reason of this remarkable effect, which we feel in hearing these old Christian hymns, we find it somewhat peculiar. It is anything but the novelty of thethoughtswhich here touches and there shakes us. Thoughts in these hymns are found but sparingly. Many are merely solemn recitations of a well-known story, or they are familiar petitions and prayers. They nearly all repeat each other. Nor is it frequently surprisingly fine and novel sentiments with which they somehow permeate us; the novel and the fine are not objects in the hymns. What, then, is it that touches us?SimplicityandVeracity. Here sounds the speech of a general confession of one heart and one faith. Most of them are constructed either so as to be fit for use every day of the year, or so as to be used on the festivals of the various seasons. As these come round there comes with them in constant recurrence their rehearsal of Christian doctrines. There is nothing superfine in the hymns as regards either emotion, or duty, or consolation. There reigns in all of them a general popularity of content, expressed in great accents. He who seeks novel thoughts in aTe Deumor aSalve Reginalooks for them in the wrong place. It is just what is every day and always known, which here is to serve as the garb of truth. The hymn is meant to be an ambrosial offering of nature, deathless like that, and ever returning.“It follows that, as people in these Christian hymns did not look for the grace of classic expression or the pleasurable emotion of the instant—in a word, what we expect from a work of art, they produced the strangest effects at once after their introduction. Just as Christian hands overthrew the statues and temples of the gods in honor of the unseen God, so these hymns contained a germ which was to bring about the death of the pagan poetry. Not only were those hymns to gods and goddesses, heroes and geniuses, regarded by the Christians as the work of unbelievers or misbelievers, but the germ from which they sprang, the poetic and sportive fancy, the pleasure and rejoicing of the peoples in their national festivals, were condemned as a school of evil demons; yes, even the national pride, to which those songs appealed, was despised as a perilous though splendid sin. The old religion had outlived its time, the new had won its victory, when the absurdity of idol-worship and pagansuperstitions, the disorders and abominations which attended the festivals of Bacchus, Cybele, and Aphrodite, were brought to the light of day. Whatever of poetry was associated with these was a work of the devil. There began a new age for poetry, music, speech, the sciences, and indeed for the whole direction of human thought.”As the Romanticist movement gained ground in Germany, attention to the early hymns increased. Even Goethe, theweltkindamong the prophets, was influenced. Hence his use of theDies Iraein the first part ofFaust, although he was pagan enough to care for nothing at Assisi except the Roman remains. A. W. Schlegel made a number of translations for theMusen-Almanach. Then came the long series of German translators, of whom A. J. Rambach, A. L. Follen (brother of Professor Charles Follen of Harvard), Karl Simrock (1850 and 1866), and G. A. Koenigsfeld (1847 and 1865) are the most notable. Much more important to us are the German collectors: G. A. Björn (a Dane, 1818), J. C. von Zabuesnig (1822 and 1830), H. A. Daniel (Blüthenstrauss, 1840;Thesaurus, 1841-56), F. J. Mone (1853-55), C. B. Moll (1861 and 1868), P. Gall Morel (1866), Joseph Kehrein (1873). To the unwearied thoroughness of these editors, more than of any other laborers in this field, we owe our ampler access to the treasures of Latin hymnody. But what field of research is there in which the scholarship of Germany has not laid the rest of the world under obligations?In English literature the Romanticist movement begins properly with Sir Walter Scott. Himself a Presbyterian, he was brought up on the old Scotch Psalm-book, for which he entertained the same affection as did Burns, Edward Irving, Campbell, Carlyle, and Archdeacon Hare. He opposed any attempt to improve it, on the ground that it was, “with all its acknowledged occasional harshness, so beautiful that any alterations must eventually prove only so many blemishes.” But his literary tastes led him to a lofty appreciation of the Anglican liturgy—a circumstance which has led many to class him as an Episcopalian—and equally for the poetry of the mediaeval hymns. His vigorous version of a part of theDies Iraeinserted inThe Lady of the Lake(1805) gives him his smallest claim to mention in the history of hymnody. It was the new atmosphere he carried into the educated world, his fresh and hearty admiration of admirable things in the MiddleAges, which had been thought barbarous, that makes him important to us. He gave the English and Scottish people new weights and measures, new standards of critical judgment, which emancipated them from narrow, pseudo-Protestant traditions. He made the great Church of undivided Western Europe intelligible. No doubt many follies resulted from this novel lesson, the worst of all being contempt for Luther and his associates in the Reformation. The negations which attend such revolutions in opinion always are foolish exaggerations. It is the affirmations which are valuable and which remain. And Romanticism for more than half a century has been affecting the religious, the social, the intellectual life of Great Britain and America in a thousand ways, and with, on the whole, positive and beneficial results. Its most powerful manifestation was in the Oxford movement,[30]but both in its causes and its effects it has transcended the limits which separate the divided forces of Protestantism.Naturally the Oxford movement was the first to turn attention to the hymns of the Middle Ages, or what it regarded as such. We use this qualified expression because its leaders at the outset were much better poets than hymnological scholars, and welcomed anything in the shape of a Latin hymn as “primitive,” no matter what. Isaac Williams, in theBritish Magazinein 1830, published a series of translations of “primitive hymns” which he gathered into a volume in 1839. They were from the Paris Breviary, of whose hymns only one in fourteen were older than 1685, and most of them not yet a hundred years old. Rev. John Chandler, in hisHymns of the Primitive Church(1837), drew on Santeul and Coffin with equal freedom, evidently supposing he was going back to the early ages for his originals. Bishop Mant, in hisAncient Hymns from the Roman Breviary(1837), did a littlebetter, although not half-a-dozen hymns in that Breviary are unaltered from their primitive forms, and many are no older than the fifteenth or sixteenth century. Rev. Edward Caswall, an Oxford convert to the Church of Rome, naturally confined hisLyra Catholica(1849) to the Breviary hymns, supplementing those of Rome with some from Paris. The first collection published by Dr. Newman (Hymni Ecclesiae, Pars I., 1839) was confined to the Paris Breviary, but with the notice that they “had no equal claim to antiquity” with “the discarded collections of the ante-reform era.” But he claimed on rather slight ground that they “breathe an ancient spirit, and even where they are the work of one pen, are the joint and indivisible contribution of many ancient minds.” This is an opinion of the work of Santeul and Coffin in which neither Cardinal Newman nor the Gallican Church would agree to-day.In fact, these English scholars, with their constant habit of making Latin verse after classic models from their school-days, and their entire want of familiarity with post-classic Latin, found what pleased them best in the two Breviaries of Rome and Paris. With that they seemed likely to stop. It was Dr. John Mason Neale (1851-58) who, among translators, first broke these bounds, went to the older sources, and introduced to English readers, both by his collections and his translations, the great hymns of the Western Church. As a translator he leaves much to be desired. His ideas as to faithful reproduction of the form of his originals are vague. His hymns too often might be said to be based on the Latin text rather than to reproduce it. But they are spirited poems, whose own vigor and beauty sent readers to the original, and they were not disappointed.From that time we have had a series of excellent workers in this field—John Keble, Rev. W. J. Blew (1855), Mr. J. D. Chambers (1857 and 1866), Rev. J. W. Hewett (1859), Sir Henry Baker (1861 and 1868), Rev. Herbert Kynaston (1862), Rev. J. Trend (1862), Rev. P. S. Worsley (1863), Earl Nelson (1857 and 1868), Rev. Richard F. Littledale (1867), R. Campbell, of the Anglo-Catholicparty; and Dean Stanley, Mrs. Charles (1858 and 1866) and Dr. Hamilton Magill (1876) outside its ranks. Theirs have been no inconsiderable part of those labors which have made the last thirty years the golden age of English hymn-writing, surpassing even the era of the Methodist revival.In America the work was begun in 1840 with a modest little volume published at Auburn, in New York, and ascribed by Mr. Duffield to Dr. Henry Mills of Auburn Theological Seminary, who in 1856 also published a volume of translations of German hymns. His earlier book wasThe Hymn of Hildebert and the Ode of Xavier, with English Versions, and contained thirty-five duodecimo pages. Next in order came Dr. John Williams, Bishop of Connecticut, withAncient Hymns of the Holy Church(1845). Dr. William R. Williams of New York, in his address on “The Conservative Principle in our Literature,” delivered in 1843, made a reference to theDies Irae, which gave him the occasion to publish in an Appendix the literary history of the great hymn, giving the text along with Dr. Trench’s version and his own. This seems to have given the impulse which has made America so prolific in translations of that hymn, only Germany surpassing us in this respect. Dr. Abraham Coles may be said to have led off with his volume, containing thirteen translations in 1847. But it was not until after the war for the Union that the productive powers of American translators were brought into play. Much, no doubt, was due to foreign impulse, especially from Dr. Trench and Dr. Newman; but it is notable that in America far more work has been done outside than inside the Episcopalian communion.Dr. Coles again in 1866, Mr. Duffield in 1867, Chancellor Benedict in 1869, Hon. N. B. Smithers in 1879 and 1881, and Mr. John L. Hayes in 1887 published volumes of translations. But far more numerous are the poets whose versions of Latin hymns have appeared in various periodicals or in collections like Professor Coppée’sSongs of Praise(1866), Dr. Schaff’sChrist in Song(1869), Odenheimer and Bird’sSongs of the Spirit(1871), Dr. H. C. Fish’sHeaven in Song(1874), Frank Foxcroft’sResurgit(1879), and Dr. Schaff and Arthur Gilman’sLibrary of Sacred Poetry(1881 and 1886). Of these contributing poets we mention Dr. E. A. Washburn, whose translations have been collected in his posthumous volume,Voices from a Busy Life(1883); Dr.Ray Palmer, our chief sacred singer, whose versions of theO esca viatorumand theJesu dulcis memoriaare as classic as his “My faith looks up to Thee;” Dr. A. R. Thompson, to whom the present volume is under great obligations; Rev. J. Anketell, another of its benefactors; Rev. M. Woolsey Stryker, Rev. D. Y. Heisler, Rev. Franklin Johnson, D.D., and Rev. W. S. McKenzie, D.D. Besides these we may mention the anthology of translations published by the Rev. F. Wilson (1859), of texts by Professor F. A. March (1874 and 1883), and of both texts and translations by Judge C. C. Nott (1865 and subsequent years).It is not, however, only as literature, but in the actual use of the American churches, that the Latin hymns have made a place for themselves. Since 1859, when the Andover professors published theSabbath Hymn and Tune-Book, with original translations furnished by Dr. Ray Palmer, there has been a peaceful revolution in American hymnology. Every one of the larger denominations and many of the smaller have provided themselves with new hymn-books, in which the resources of English, foreign, and ancient hymnology have been employed freely, and with more exacting taste as to sense and form, than characterized the hymn-books of the era before the war. While the compilers have drawn freely upon Caswall, Neale, Chandler, and the AnglicanHymns Ancient and Modern(1861), in many cases original translations were given, as inHymns of the Churchfor the (Dutch) Reformed Church, of which Dr. A. R. Thompson was one of the editors; and Dr. Charles Robinson’sLaudes Domini(1884), to which Mr. Duffield contributed. And there is evidence that the hymns thus brought into Church use from the storehouse of the earlier Christian ages have helped thoughtful Christians to realize more fully the great principle of the Communion of the saints—to realize that all the faithful of the present are bound in spiritual brotherhood with those who held to the same Head and walked in the light of the same faith in bygone centuries, even though it was with stumbling and amid shadows, from which our path by God’s good providence has been set free.CHAPTER XXXII.BIBLIOGRAPHICAL NOTES.The first sources of the Latin hymns and sequences are the manuscript and printed breviaries and missals of the Western Church. Both these have been explored by the collectors from Clichtove to Kehrein, although it cannot be said that the examination has been exhaustive either as regards the manuscripts or the printed books.The following is an approximate list of the printed breviaries which have been examined by modern collectors:LOCAL BREVIARIES.Aberdonense,Aberdeen,1509-10,Daniel.Ambrosianum,Milan,1557,Neale, Morel, Zabuesnig.Argentinense,Strasburg,1520,Neale.Basiliense,Basel,1493,Morel.Bracharense,1494,Neale.Caduncense,Cahors,Neale.Coloniense,Koeln,1521,Zabuesnig.Constantiense,Konstanz,1504, 1516,Morel, Daniel.Cordubiense,Cordova,1583,Morel.Cracoviense,Krakau,1524,Morel.Curiense,Kur,c. 1500,Morel.Eboracense,York,Neale, Newman.Erfordense,Erfurt,1518,Daniel.Friburgense,Freiburg,Daniel.Gallicum,France,1527,Morel.Halberstadtense,Halberstadt,1515,Daniel.Havelbergense,Havelberg,1518,Daniel.Herefordense,Hereford,1505,Neale.Lengres,Daniel.Lundense,Lund,1517,Daniel.Magdeburgense,Magdeburg,1514,Daniel.Merseburgense,Merseburg,1504,Daniel.Mindense,Minden,1490,Daniel.Misniense,Meissen,1490,Daniel.Mozarabicum,Old Spanish,1775,Daniel.Parisiense vet.,Paris (old),1527,Neale.Parisiense,1736,Newman, Zabuesnig.Pictaviense,Poitou,1515,Daniel.Placentinum,Piacenza,1503,Morel.Romanum vet.,Rome (old),1481, 1484, 1520,Kehrein.1497,Daniel.1543,Morel.Romanum,Rome (new),1631,Zabuesnig, Daniel.Roschildense,Roeskild,1517,Daniel.Salisburgense,Salzburg,1515,Neale, Daniel.Sarisburense,Salisbury,1555,Neale, Daniel, Newman.Slesvicense,Schleswig,1512,Daniel.Spirense,Speier,1478,Zabuesnig.Tornacense,Tournay,1540,Neale.Tullense,Toul,1780,Daniel.MONASTIC BREVIARIES.Augustinianorum,1557,Morel, Zabuesnig, Neale.Benedictinorum,1518, 1543,Daniel, Zabuesnig.Canonum Reg. Augustini,Zabuesnig.Carmelitarum,1759,Daniel, Zabuesnig.Carthusianorum,1500,Daniel, Zabuesnig.Cisterciensium,1510, 1752,Daniel, Zabuesnig.Franciscanorum,1481, 1486, 1495,Daniel, Zabuesnig.Humiliatorum,1483,Neale.Praemonstratensium,1741,Daniel, Zabuesnig.Praedicatorum,1482,Daniel, Zabuesnig.Servorum Mariae,1643,Daniel, Zabuesnig.LOCAL MISSALS.Aboense,Abo,1488,Daniel, Neale.Ambianense,Amiens,1529,Neale.Aquiliense,Aquileia,Daniel.Argentinense,Strasburg,1520,Neale.Athanatense,St. Yrieix,1531,Morel.Atrebatense,Arras,1510,Neale.Augustense,Augsburg,1510,Kehrein.Brandenburgense,Brandenburg,C., 1500,Daniel.Bursfeldense,Bursfeld,1518,Kehrein.Coloniense,Koeln,1504, 1520,Daniel, Kehrein.EychstadenseEichstädt,1500,Daniel.Frisingense,Freysingen,1514,Daniel.Hafniense,Copenhagen,Neale.Halberstatense,Halberstadt,1511,Kehrein.Herbipolense,Würzburg,1509,Neale, Kehrein.Leodiense,Liege,1513,Neale.Lubecense,Lubeck,C., 1480,Wackernagel.Magdeburgense,Magdeburg,1493,Wackernagel.Mindense,Minden,1515,Daniel, Kehrein.Moguntinum,Mainz,1482, 1497,Mone, Wackernagel.1507, 1513,Kehrein, Neale.Morinense,Neale.Narbonense,Narbonne,1528,Neale.Nidriosense,Trondhjem,1519,Neale.Noviemsense,Noyon,1506,Neale.Numburgense,Naumburg,1501, 1507,Wackernagel, Daniel.Parisiense vet.,Paris (old),1516,Neale.Parisiense,1739,Newman.Pataviense,Padua,1491,Daniel.Pictaviense,Poitou,1524,Neale.Pragense,Prag,1507, 1522,Neale, Daniel, Kehrein.Ratisbonense,Regensburg,1492,Daniel, Neale.Redonense,Rennes,1523,Neale.Salisburgense,Salzburg,1515,Neale.SarisburenseSalisbury,1555,Neale.Spirense,Speier,1498,Neale.Strengnense,Strengnaes,1487,Neale.Tornacense,Tournay,1540,Neale.Trajectense,Utrecht,1513,Neale.Upsalense,Upsal,1513,Neale.Verdense,Verden,1500,Neale.XantonenseSaintes,1491,Neale.MONASTIC MISSALS.Benedictinorum,1498,Neale, Kehrein.Cistercensium,1504,Daniel.Franciscanorum,1520,Kehrein.Praemonstratensium,1530,Daniel.Praedicatorum,1500,Zabuesnig.Of lesser church-books Zabuesnig has used theProcessionaleof the Dominicans or Preachers, and Newman that of the Church of York. Morel has drawn upon the ParisHoraeof 1519, and Daniel on theCantionaleof Konstanz of 1607.Yet this shows that either only a minority of the printed church-books of the fifteenth and sixteenth centuries have been examined, or else that the majority yielded nothing new in return for such examination.We proceed with the bibliography of the collections and the historical treatises and discussions which bear on Latin Hymnology, together with the most important volumes of translations. These we shall give in chronological order, and where the initials S. W. D. are appended to the comments, it will be understood that these are by Mr. Duffield, not by his editor. The numbers marked with an asterisk (*) indicate works employed in the preparation of the present volume.1. Sequentiarum Textus cum optimo Commento. (S. l. e. a.)Printed at Koeln (Cologne) by Henry Quentell in 1492 or 1494. The following is bound up with the early editions of this as a kind of appendix, but afterward frequently printed by itself.2. Expositio Hymnorum cum notabili [seufamiliari] Commento. (S. l. e. a.)Also printed at Koeln by Henry Quentell in 1492 or 1494, and 1506. Later editions are: Hagenau, 1493; Basil, 1504; Koeln, 1596; and many others.For the full reference,videDaniel, I.: xvii. There were many of these, and the most famous was long regarded as indispensable to the study of the Latin hymns. It is that of Clichtove. S.W.D.3.Liber hymnorum in metra noviter redactorum. Apologia et defensio poeticae ac oratoriae maiestatis. Brevis expositio difficilium terminorum in hymnis ab aliis parum probe et erudite forsan interpretatorum per Henricum Bebelium I ustingensem edita poeticam et humaniores litteras publice profitentem in gymnasio Tubingensi. Annotationes eiusdem in quasdam vocabulorum interpretationes Mammetracti. Thubingen,1501.Henry Bebel was a humanist, and became professor at Tübingen in 1497. Zapf published a biography of him at Augsburg in 1801.4.Hymni et Sequentiae cum diligenti difficillimorum vocabulorum interpretatione omnibus et scholasticis et ecclesiasticis cognitu necessaria Hermanni Torrentini de omnibus puritatis lingue latine studiosis quam optime meriti.—Coloniae, MCCCCCXIII.Daniel says that a second edition (1550, 1536?) has so closely followed Clichtoveus that the first edition only is worthy of note.Hermann Torrentinus was a native of Zwolle, and belonged to the Brotherhood of the Common Life. He was professor at Groningen about 1490, and lived until about 1520. He was one of the group which gathered around John Wessel Gansfort, in whom Luther recognized a kindred spirit.5.De tempore et sanctis per totum annum hymnarius in metra ut ab Ambrosio, Sedulio, Prudentio ceterisque doctoribus hymni sunt compositi. Groningen phrisie iam noviter redactus incipit feliciter.6.Psalterium Davidis adiunctis hymnis felicem habet finem opera et impensis Melchior Lotters ducalis opidi Liptzensis concivis Anno Milesimo quingentesimo undecimo XVIII die Aprilis[1511].7.* Iodoci Clichtovaei Elucidatorium ecclesiasticum ad Officium Ecclesiae pertinentia planius exponens et quatuor Libros complectens. Primus Hymnos de Tempore et Sanctis per totum Annum. Secundus nonnulla Cantica, Antiphonas et Responsaria. Tertius ea quae ad Missae pertinet Officium, praesertim Praefationes. Quartus Prosas quae in sancti Altaris Sacrificio dicuntur continet. Paris, 1515; Basil, 1517 and 1519; Venice, 1555; Paris, 1556; Koeln, 1732.The best book of its time on the subject, and long indispensable to the hymnologist. Josse Clichtove was a Flemish theologian. He studied at Paris under the famous Lefevre d’Etaples, and enjoyed the friendship of Erasmus. He was a zealous opponent of Luther. He died in 1543. The Venice edition of hisElucidatorium—Hymni et Prosae, quae per totum Annum in Ecclesiâ leguntur—is much altered, and contains additional hymns from Italian, French, and Hungarian Breviaries, while it also omits others given by Clichtove.8.Hymni de tempore et de sanctis in eam formam qua a suis autoribus scripti sunt denuo redacti et secundum legem carminis diligenter emendati atque interpretati. Anno Domini, MDXIX.Jacob Wimpheling is the editor. He was an eminent theologian and humanist of Strasburg, and the first to edit Rabanus Maurus’sDe Laudibus Sanctae Crucis. Already in 1499 he had published a tract:De Hymnorum et Sequentiarum Auctoribus Generibusque Carminum quae in Hymnis inveniuntur. One authority gives 1511 as the date of hisHymni.9.Sequentiarum luculenta interpretatio nedum scholasticis sed et ecclesiasticis cognitu necessaria per Ioannem Adelphum physicum Argentinensem collecta. Anno Domini, MDXIX.10. Jakob van Meyer: Hymni aliquot ecclesiastici et Carmina Pia. Louvain, 1537.11. Liber ecclesiasticorum carminum, cum alijs Hymnis et Prosis exquisitissimis a sanctis orthodoxae fidei Patribus in usum piorum mentium compositis. Basil, B. Westhemerus, 1538.12. Laurentius Massorillus: Aureum Sacrorum Hymnorum Opus. Foligni, 1547.13.*Hymni ecclesiastici praesertim qui Ambrosiani dicuntur multis in locis recogniti et multorum hymnorum accessione locupletati. Cum Scholiis opportunis in locis adjectis et Hymnorum indice Georgii Cassandri. Et, Beda de Metrorum generibus ex primo libra de re metrica. Coloniae Anno MDLVI.This was reprinted in Cassander’s Works (Parisiis, 1616). Cassander was a Catholic, who sympathized with the Reformation, and his book was prohibited by the Roman Catholic Church. “In Romana ecclesia liber est vetitus,” says Daniel. With the drawback that his knowledge and opportunities were limited by the age in which he lived, it can still be said that this is a very valuable and helpful collection—the scholarly work of an earnest man. S. W. D.14. Cantiones Ecclesiasticae Latinae ac Synceriores quaedam praeculae Dominicis & Festis Diebus in Commemoratione Cenae Domini, per totius Anni Circulum cantandae ac perlegendae. Per Johannem Spangenbergium Ecclesiae Northusianae inspectorem. Magdeburg, 1543.15a. Carmina vetusta ante trecentos scripta, quae deplorant inscitiam Evangelii, et taxant abusus ceremoniarum, ac quae ostendunt doctrinam hujus temporis non esse novam. Fulsit enim semper et fulgebit in aliquibus vera Ecclesiae doctrina. Cum Praefatione Matthiae Flacii Illyrici. Wittemberg, 1548.15b. Pia quaedam vetustissima Poemata, partim Anti-Christum, ejusque spirituales Filiolos insectantia, partim etiam Christum, ejusque beneficium mira spiritus alacritate celebrantia. Cum praefatione Matthiae Flacii Illyrici. Magdeburg, 1552.15c. Varia Doctorum Piorumque Virorum de Corrupto Statu Ecclesiae Poemata. Ante nostram aetatem conscripta, ex quibus multa historiae quoque utiliter ac summa cum voluptate cognosci possunt. Cum Praefatione Matthiae Flacii Illyrici. Magdeburg, 1556. Reprinted 1754.These three collections are of importance to the hymnologist. From the first Wackernagel has extracted a number of fine hymns. The third contains Bernard of Cluny’sDe Contemptu Mundi.16. Hymni aliquot sacri veterum Patrum una cum eorum simplici Paraphrasi, brevibus argumentis, singulis Carminum generibus, & concinnis Melodijs ... Collectore Georgio Thymo. Goslar, 1552.17. Psalmodia, hoc est Cantica Sacra veteris Ecclesiae selecta. Quo ordine & Melodijs per totius anni curriculum cantari vsitate solent in templis de Deo, & de filio ejus Iesv Christo, ... Et de Spiritv Sancto.... Jam primum ad Ecclesiarum, & Scholarum vsum diligenter collecta, et brevibus et pijs Scholijs illustrata per Lucam Lossium Luneburgensem. Cum Praefatione Philippi Melanthonis. Wittemberg, 1552 and 1595; Nuremberg, 1553 and 1595.Die Hymni, oder geistlichen Lobgeseng, wie man die in der Cystertienser orden durchs gantz Jar singet. Mit hohem vleis verteutschet durch Leonhardum Kethnerum. Nurnberg, 1555.18. Hymni et Sequentiae, tam de Tempore quam de Sanctis, cum suis Melodijs, sicut olim sunt cantatae in Ecclesia Dei, & jam passim correcta, per M. Hermannum Bonnum, Superintendentem quondam Ecclesiae Lubecensis, in vsum Christianae juventutis scholasticae fideliter congesta & euulgata. Lubeck, 1559.19.Pauli Eberi, Psalmi seu cantica in ecclesia cantari solita. Witteburgiae, 1564.20.*Poetarum Veterum Ecclesiasticorum Opera Christiana et operum reliquiae atque fragmenta. Thesaurus catholicae et orthodoxae ecclesiae et antiquitatis religiosae ad utilitatem iuventutis scholasticae, collectus, emendatus, digestus et commentario quoque expositus diligentia et studio Georgii Fabricii Chemnicensis. Basileae per Ioannem Oporinum MDLXIIII.A second edition in 1572. George Fabricius, of Chemnitz, besides editing this important book, was the most prolific writer of Latin hymns the Lutheran Church possessed.21. Johann Leisentrit: Geistliche Lieder und Psalmen der alten Apostolischer recht und warglaubiger Christlicher Kirchen. 2 parts. Budissin, 1567.Used by Wackernagel. Although Leisentrit was the Roman Catholic dean of Budissin, his first part seems to have been censured as of Protestant tendency. The second is made up of hymns to Mary and the Saints. This part was reprinted in 1573 and 1584.22.Cantica Selecta Veteris Novique Testamenti cum Hymnis et Collectis seu orationibus purioribus quae in orthodoxa atque catholica ecclesia cantari solent. Addita dispositione et familiari expositione Christophori Corneri. Lipsiae cum privilegio MDLXVIII.A second edition in 1571, and a third in 1573.23. Cantica ex sacris literis in ecclesia cantari solita cum hymnis et collectis, etc., recognita et aucta per D. Georgium Maiorem. Wittemberg, 1570.23b. Hymni et Collectae, item Evangelia, Epistolae, etc., quae diebus dominicis et festivis leguntur. Koeln, 1573.24. Psalterium Davidis, etc., cum lemmatibus ac notis Adami Siberi. Accesserunt Hymni festorum dierum insignium. Lipsiae, Iohannes Rhamba excudebat Anno MDLXXVII.25.Hymnorum Ecclesiasticorum ab Andrea Ellingero V. Cl. emendatorum libri III, etc. MDLXXVIII. Francofurti ad moenum.Daniel calls this the most ample of all the collections, but he criticises the first two volumes severely for their arrangement, and the changes in text made for metrical reasons. The third volume he was able to use, but he felt unsafe in the others except when the editor positively stated in his notes what he considered the original and genuine text. S. W. D.26. Joh. Holthusius: Compendium Cantionum ecclesiasticarum. Augsburg, 1579.27.In hymnos ecclesiasticos ferme omnes Michaelis Timothei Gatensis brevis elucidatio. Venetiae, 1582.28. Hymni et Collectae. Koeln, 1585.29. Lorenza Strozzi: In singula totius Anni Solemnia Hymni. Florence, 1588.These hymns were adopted into the service-books of several dioceses, and were translated into French by Pavillon, and set to music by Maduit. The author was a Dominican nun of the famous Strozzi family.30. Collectio Hymnorum per totum Annum. Antwerp, Plantin, 1593.31. Francis Algermann: Ephemeris Hymnorum Ecclesiasticorum ex Patribus selecta. Helmstadt, 1596.With German translations.32. Vesperale et Matutinale, hoc est Cantica, Hymni & Collectae, seu Precationes ecclesiasticae quae in primis et secundis vesperis, itemque matutinis Precibus, per totius Anni circulum, in ecclesiis, & religiosis piorum congressibus cantari solent. 1599.The author, Matthew Luidke, was deacon of the Church in Havelberg, and aimed at the naturalization of the methods of the old church books among Lutherans. Daniel gives this book the palm among the Lutheran collections of the Latin hymns. Its author also published aMissale, and died in 1606.33.Divorum patrum et doctorum ecclesiae qui oratione ligata scripserunt Paraphrases et Meditationes in Evangelia dominicalia e diversis ipsorum scriptis collectae a. M. Ioach. Zehnero ecclesiae Schleusingensis pastore et Superintendente. Lipsiae, 1602,sumptibus Thomae Schureri.“Liber utilissimus,” Daniel. The author was a Protestant, and a diligent student of the old hymns. S. W. D.34.* Bernardi Morlanensis Monachi ordinis Cluniacensis De Vanitate Mundi, et Gloriâ Caelesti, Liber Aureus. Item alij ejusdem Libri Tres Ejusdem fermè Argumenti, Quibus cum primis in Curiae Romanae & Cleri horrenda scelera stylo Satyrico carmine Rhithmico Dactylico miro artificio ante annos fermè quingentos elaborato, gravissime invehitur. Editi recens, et plurimis locis emendati, studio & opera Eilh. Lubini. Rostochii, Typis Reusnerianis, Anno MDCX.One hundred and twenty unnumbered pages in duodecimo, of which three are filled by a dedicatory letter to Matthias Matthiae, Lutheran pastor at Schwensdorf. Professor Lubinus gives no account of the sources of his edition, but says of Bernard: “Vixit hic Bernardus Anno Christo 1130. Scripsit colloquium Gabrielis & Mariae. Item hosce, quos jam edimus, & non paucis locis correximus, libros.”35.Card. Ioannis Bonae, de divina Psalmodia, tractatus, sive psallentis Ecclesiae Harmonia.Rome, 1653; Antwerp and Koeln, 1677; Paris, 1678; Antwerp, 1723.Also in hisOpera, Turin, 1747.36. Charles Guyet: Heortologia, sive de Festis propriis Locorum et Ecclesiarum: Hymni propriae variarum Galliae Ecclesiarum revocati ad Carminis et Latinitatis Leges. Folio. Paris, 1657; Urbino, 1728; Venice, 1729.37a. David Greg. Corner: Grosz Katholisch Gesangbuch. Furth bei Ge., 1625.37b. D. G. Corner: Cantionale. 1655.37c. D. G. Corner: Promptuarium Catholicae Devotionis. Vienna, 1672.37d. D. G. Corner: Horologium Christianae Pietatis. Heidelberg, 1688.Contain many old Latin hymns. The third is used by Trench.38. Andreas Eschenbach: Dissertatio de Poetis sacris Christianis. Altdorf, 1685. (Reprinted in hisDissertationes Academicae. Nuremberg, 1705.)39. C. S. Schurzfleisch: Dissertatio de Hymnis veteris Ecclesiae. Wittemberg, 1685.40. Lud. Ant. Muratori: Anecdota quae ex Ambrosianae Bibliothecae Codicibus nunc primum eruit, notis et disquisitionibus auxit. 2 vols. in quarto. Milan, 1697-98.Contains the Bangor Antiphonary and the hymns of Paulinus of Nola.41. Hymni spirituales pro diversis Animae Christianae Statibus. Paris, 1713.42a. Polycarp Leyser: Dissertatio de ficta Medii Aevi Barbarie, imprimis circa Poesin Latinam. Helmstadt, 1719.42b. Pol. Leyser: Historia Poetarum et Poematum Medii Aevi. Halle, 1721.42c.* J. G. Walch: De Hymnis Ecclesiae Apostolicae. Jena, 1737. (Reprinted in his Miscellanea Sacra: Amsterdam, 1744.)43.*Josephi Mariae Thomasii S.R.E. Cardinalis Opera omnia.—Rome, 1741, in 6 vols., folio, and 1747 et seq. in 12 vols., 4to. (The Hymnarium is found in pages 351-434 of Vol. II., in the 4to edition.)“This book,” remarks Daniel, “is sufficiently rare in Germany, but the editor of sacred hymns can by no means do without it.” The reason is that Thomasius had access to the VaticanMSS., and was therefore able to unearth many rare and valuable texts. He also designated the probable authorship of a goodly number of the hymns—not always correctly, but usually with considerable truth. S. W. D.44. Peter Zorn: De Hymnorum ecclesiasticorum Latinorum Collectoribus. In his Opuscula Sacra, Altona, 1731 and 1743.44b. D. Galle: De Hymnis Ecclesiae veteris. Wittemberg, 1736. Pp. 16, 4to.45.I. H. a Seelen, de poesi Christ. non a tertio post. Chr. nat. seculo, etc., deducenda.—Lubecae, 1754.46. J. G. Baumann: De Hymnis et Hymnopoeis veteris et recentioris Ecclesiae. Bremen, 1765.47a. Mart. Gerbert: De Cantu et Musica Sacra, a prima Ecclesiae aetate usque ad praesens tempus. 2 vols., 4to. St. Blaise, 1774.47b. Mart. Gerbert: Scriptores Ecclesiastici de Musica Sacra, potessimum ex variis Italiae, Galliae et Germaniae Manuscriptis collecti, et nunc primum publicâ luce donati. 3 vols., 4to. St. Blaise, 1784.This product of unwearied research contains,inter alia, treatises by Alcuin, Notker Labeo, Odo of Cluny, Guido of Arezzo, Hermann the Lame, Engelbert of Admont. Martin Gerbert (1720-93) was prince-abbot of St. Blaise in the Black Forest.48a. Faustino Arevalo: Hymnodia Hispanica ad Cantus Latinitatis, Metrique leges revocata et aucta; praemittitur Dissertatio de Hymnis ecclesiasticis eorumque correctione atque optima constitutione; Accedunt Appendix de festo conversionis Gothorum instituendo; Breviarii Quignoniani fata, etc. Rome, 1786.48b. Faustino Arevalo: Poetate Christiani: Prudentius, Dracontius, Juvencus, et Sedulius. 5 vols., quarto. Rome, 1788-94.The former of these works has been much used by Neale and Daniel.49. (Walraff:) Corolla Hymnorum sacrorum publicae devotioni inservientium. Veteres electi sed mendis quibus iteratis in editionibus scatebant detersi, strophis adaucti. Novi adsumpti, recentes primum inserti. Koeln, 1806.Taken chiefly from thePsalteriolum Cantionumof the Society of Jesus, of which the sixteenth edition had appeared in 1792 in the same city.50.F. Münter: Ueber die älteste Christliche Poesie.—Kopenhagen, 1806.51.* Anthologie christlicher Gesänge aus allen Jahrhunderten der Kirche nach der Zeitfolge geordnet und mit geschichtlichen Bemerkungen begleitet. Von Aug. Jak. Rambach. 6 vols. Altona, 1817-33.The first volume is occupied with the early and Middle Ages of the Church, especially the Latin Hymns, the texts being given with translations and notes. It merits the high praise Daniel gives it:studia praeclara Rambachii. S. W. D.52. M. F. Jack: Psalmen und Gesänge, nebst den Hymnen der ältesten Kirche, uebersetzt. 2 vols. Freiburg, 1817.Other German-Catholic translators are George Witzel (1550), a Mönch of Hildesheim (1776), F. X. Jahn (1785), F. J. Weinzerl (1817 and 1821), J. Aigner (1825), Casper Ett (1837), A. A. Hnogek (1837), Deutschmann (1839), R. Lecke (1843), M. A. Nickel (1845), H. Bone (1847), J. Kehrein (1853), G. M. Pachtler (1853), H. Stadelmann (1855), a Priest of the diocese of Münster (1855), J. N. Stoeger (1857), Theodor Tilike (1862), G. M. Pachtler (1868), P. J. Belke (1869), and Fr. Hohmann (1872). Silbert, Zabuesnig, Simrock, and Schlosser are given in their proper places in this list.53.* G. A. Bjorn: Hymni veterum poetarum Christianorum ecclesiae latinae selecti. Copenhagen, 1818.Bjorn was the Lutheran pastor of Vemmetofte, in Denmark. His selection is confined to the very early writers: Victorinus, Damasus, Ambrose and his school, Prudentius (theKathemerinon), and Paulinus of Nola. He has a good introduction and notes.54.* Adolf Ludewig Follen: Alte christliche Lieder und Kirchengesänge teutsch und lateinisch, nebst einem Anhange. Elberfeld, 1819.Chiefly hymns of the later Middle Ages or by the Jesuits. The author, who was a brother of Professor Follen of Harvard, ascribes theDies Iraeto Malabranca, 1278, Bishop of Ostia, and accepts theRequiescat a laboreas a funeral hymn actually sung by Heloise and her nuns over Abelard.Other German-Protestant translators, besides those given in this list at their proper places, are H. Freyberg (1839), Ed. von Mildenstein (1854), H. von. Loeper (1869), H. F. Müller (1869), J. Linke (1884), and Jul. Thikotter (1888).55. J. P. Silbert: Dom heiliger Sanger, oder fromme Gesänge der Vorzeit. Mit Vorrede von Fr. von Schlegel. Vienna and Prague, 1820.56. F. J. Weinzerl: Hymni sacri ex pluribus Galliae diocesium Brevariis collecti. Augsburg, 1820.57. Poetae ecclesiasticae Latini. 4 vols., in 12mo. Cambray, 1821-26.Embraces Fortunatus, Prudentius, Cherius, Tertullian, Cyprian, Juvencus, Sedulius, Belisarius, Liberius, Prosper, Arator, Lactantius, and Dracontius.58.* Johann Christoph von Zabuesnig: Katholische Kirchengesänge in das Deutsche übertragen mit dem Latein zur Seite. 3 vols. Augsburg, 1822.A second edition, with a Preface by Carl Egger, Augsburg, 1830. The collection is a large one, made from fourteen breviaries, three missals, and other church-books and private collections, besides one manuscript antiphonary. Although a Catholic priest, Zabuesnig selects (from Christopher Corner, 1573) and translates hymns by Melanchthon and Camerarius.59a. Gottl. Ch. Fr. Mohnike: Kirchen- und Literar-historische Studien und Mittheilungen. Stralsund, 1824.59b. Gottl. Chr. Fr. Mohnike: Hymnologische Forschungen. 2 vols. Stralsund, 1831-32.60.* Ludwig Buchegger: De Origine sacrae Christianorum Poeseos Commentatio. Freiburg, 1827.61.* Sir Alexander Croke: An Essay on the Origin, Progress, and Decline of Rhyming Latin Verse; with many Specimens. Oxford, 1828.62.* Jakob Grimm: Hymnorum veteris Ecclesiae XXVI Interpretatio Theotisca nunc primum edita. 4to, pp. 1830.Grimm’s “Habilitationsschrift” on entering on his professorship at Göttingen. It is from the manuscript presented in the seventeenth century by Francis Junius to the University of Oxford, which contains twenty-six hymns by Ambrose and his school, with a prose version in Old High German of the eighth or ninth century. Four of the hymns had never appeared in any previous collection.63a. Rev. Isaac Williams: Thoughts in Past Years. London, 1831. A sixth edition in 1832.Contains twelve versions of Ambrosian and other primitive hymns.63.* Hoffmann von Fallersleben: Geschichte des deutschen Kirchenliedes bis auf Luther’s Zeit. Hannover, 1832. Second edition, 1854; third edition, *1861.Shows the transition from Latin to German in popular use, and discusses the history of forty-five Latin hymns in this connection.64. F. Martin: Specimens of Ancient Hymns of the Western Church, transcribed from anMS.in the University Library of Cambridge, with Appendix of other Ancient Hymns. Pp. 36, octavo. Norwich, 1835.Privately printed in fifty-six copies.65.* J. C. F. Bähr: Die Christlichen Dichter und Geschichtschreiber Roms. Eine literärhistorische Uebersicht. Carlsruhe, 1836. New edition, 1872.66a.* Rev. John Chandler: The Hymns of the Primitive Church, now first collected, translated, and arranged. London, 1837.Contains 108 Latin hymns with Chandler’s translation, several of which were adopted by the editors ofHymns Ancient and Modern. Mr. Chandler died, July 1st, 1876.66b.* Bishop Richard Mant: Ancient Hymns from the Roman Breviary. London, 1837. New edition, 1871 (272 pages).Dr. Mant was Bishop of Down and Connor in the Irish Established Church, and died November 2d, 1848. He was an original Latin poet of some note, and a writer of English hymns.67.* (J. H. Newman:) Hymni Ecclesiae. Pars I., e Breviario Parisiensi; Pars II., e Breviariis Romano, Sarisburiensi, Eboracensi et aliunde. Oxford, 1838.A new edition, London, 1865.This collection, sometimes known as the Oxford Hymns, was prepared by Cardinal Newman while he was still a presbyter of the Anglican Church, and exhibits everywhere his cultivated taste. Many of the hymns it includes are not to be found in other collections. This is especially true of the hymns from the Paris Breviary of 1736, which make up half the book. S. W. D.68.* Rev. Isaac Williams: Hymns translated from the Paris Breviary. London, 1839.These translations had already appeared inThe British Magazineabout 1830. Mr. Williams takes rank next after Keble among the poets of the Tractarian movement. He died in 1865.69.* Ioseph Kehrein: Lateinische Anthologie aus den christlichen Dichtern des Mittelalters. Für Gymnasien und Lyceen herausgegeben und mit Anmerkungen begleitet. Erster Theil. Die acht ersten christlichen Jahrhunderte. Frankfurt a. M., 1840.An anthology prepared with great labor and small judgment by a prosaic scholar. S. W. D.70a.* Friedrich Gustav Lisco: Dies Irae, Hymnus auf das Weltgericht. Als Beitrag zur Hymnologie. Pp. 156. Great 4to. Berlin, 1840.70b. Friedrich Gustav Lisco: Stabat Mater. Hymnus auf die Schmerzen Mariä. Nebst einem Nachtrage zu den Uebersetzungen des Hymnus Dies Irae. Zweiter Beitrag zur Hymnologie. Great 4to. Pp. 58. Berlin, 1843.71.* (Professor Henry Mills:) The Hymn of Hildebert, and the Ode of Xavier, with English Versions. Auburn, 1840.72.* Hermann Adalbert Daniel: Hymnologischer Blüthenstrauss aus dem Gebiete alt-lateinischer Kirchenpoesie. 12mo. Halle, 1840.Professor Daniel’s first appearance in a field in which he still is the highest authority. Besides his Thesaurus and this little precursor to it, and the dissertation mentioned below, he labored in German hymnology, editing anEvangelisches Kirchen-Gesangbuchin 1842, and Zinzendorf’s hymns in 1851. He also took part in the preparation of the standard German hymn-book of the Eisenach Conference, which is intended to put an end to the unlimited variety of hymn-books in the local churches of Germany. For Ersch and Gruber’s hugeEncyclopädie, he wrote the article “Gesangbuch,” which is reprinted in hisZerstreute Blätter(Halle, 1840). And besides all this he published in 1847-53 aCodex Liturgicus Ecclesiae Universae, and was a leading authority in Pedagogics and in Geography.73.* Ferdinand Wolf: Ueber die Lais, Sequenzen und Leiche. Ein Beitrag zur Geschichte der Rhythmischen Formen und Singweisen der Volkslieder und der Volksmässigen Kirchen- und Kunstlieder im Mittelalter. Mit VIII Facsimiles und IX Musikbeilagen. Heidelberg, 1841.74.* Hermann Adalbert Daniel: Thesaurus Hymnologicus sive hymnorum canticorum sequentiarum circa annum MD usitatarum collectio amplissima. Carmina collegit, apparatu critico ornavit, veterum interpretum notas selectas suasque adiecit. V Tomi. Leipzig, 1841-56.Still the chief text-book for the student of Latin hymnology. Vols. I. (1841) and IV. (1855) contain the Hymns. Vols. II. (1844) and V. (1856), the Sequences. Vol. III. (1846), Hymns of the Greek and Syrian Churches. To Vol. V. Dr. Neale contributes a Latin introduction on the nature of the Sequence.In the two last volumes Daniel uses freely and with acknowledgment the labors especially of Mone and Neale. The fifth volume contains also indices to all five volumes by first lines, and also a topical index. The worst defect of the book is the poorness of this latter. Next to that is its author’s very insufficient preparation for his work when he published his two first volumes; but that probably was unavoidable. Vols. IV. and V. show how much he had grown in his mastery of his field of labor. But his learning and his care give his book a place inferior to none.75.* K. E. P. Wackernagel: Das Deutsche Kirchenlied von Martin Luther bis auf Nicolaus Herman und Ambrosius Blaurer. Stuttgart, 1841.Wackernagel’s first and shorter work. Recognizing in the Latin hymns the starting-point of German hymnology, he begins his book with thirty-seven pages of Latin hymns and sequences, taken mostly from Lossius and Rambach, with some from theHymni et Collectaeof 1585.75b. A. D. Wackerbarth: Lyra Ecclesiastica: a Collection of Ancient and Godly Latin Hymns, with an English Translation. Two series. London, 1842-43.76a.* Edélestand du Meril: Poesies populaires latines anterieures au douzième siècle. Paris, 1843.This book, like the similar work of Thomas Aldis Wright, contains the popular Latin poetry of the Middle Ages previous to the twelfth century. But it also contains the first part of the hymns of Abelard, and it is from this volume that Trench and March took their examples of his poetry. The later discovery of the entire hymnarium prepared for the Abbey of the Paraclete emphasizes the importance of De Meril’s researches. S. W. D.76b. Edélestand du Meril: Poesies populaires latines du Moyen Age. Paris, 1847.A continuation of his first work of 1843. Both are used freely by Daniel in his later volumes and by Mone.77.* Jacques Paul Migne: Patrologiae Cursus Completus, sive Bibliotheca Universalis, Integra, Uniformis, Commoda, Oeconomica omnium Patrum, Doctorum Scriptorumque Ecclesiasticorum qui ab Aevo Apostolico ad Innocentii III Tempora floruerunt. CCXXI Tomi Paris, 1844-55. New edition begun in 1878.For the Christian Poets, see the following volumes: Abelard, 168; Adam of St. Victor, 196; Alan of Lisle, 210; Ambrose, 16 and 17; Anselm of Canterbury, 158; Bede, 94; Bernard of Clairvaux, 184; Damasus, 13; Drepanius Florus, 61; Elpis, 63; Ennodius, 63; Eugenius, 87; Florus, 110: Venantius Fortunatus, 88; Fulbert, 141; Godeschalk, 141; Gregory the Great, ——; the Emperor Henry, 140; Heribert of Eichstetten, 141; Hilary, 10; Hildebert, 171; Hincmar, 125; Innocent III., 217; Isidore, 83; John Scotus Erigena, 122; Juvencus, 19; Claudianus Mamertus, 53; Marbod, 171; Notker, 131; Odo of Cluny, 142; Paulinus of Nola, 61; Peter Damiani, 145; Peter of Cluny, 189; Prudentius, 59; Rabanus Maurus, 112; Robert II, 141; Ratpert of St. Gall, 87; Coelius Sedulius, 19; Walafried Strabo, 114; Tutilo of St. Gall, 87; Paul Warnefried, 95.Anonymous poems as follows: IId and IIId centuries, 2; IVth century, 7; Vth century, 61; VIIth century, 87; IXth century, 98; XIth century, 151; XIIth century, 190.78.* C. Fortlage: Gesänge Christl. Vorzeit. Auswahl der vorzüglichsten aus den Griechischen und Lateinischen übersetzt. Berlin, 1844.78a.* (John Williams): Ancient Hymns of Holy Church. Pp. 128, 12mo. Hartford, 1845.Contains original translations of forty Latin hymns, mostly Ambrosian and other early hymns in the abbreviated versions of the Roman Breviary. Twenty-two of Isaac Williams’s translations of hymns from the Paris Breviary are appended. The author was at the time rector of St. George’s church in Schenectady, and in 1851 became bishop of Connecticut.79.* K. I. Simrock: Lauda Syon, altchristliche Kirchenlieder und geistliche Gedichte, lateinisch und deutsch. Köln, 1846.A second edition in 1868. One of the most eminent Germanists, and an extremely felicitous translator (1802-76).80.* G. A. Königsfeld: Lateinische Hymnen und Gesänge aus dem Mittelalter, deutsch, unter Beibehaltung der Versmasse. Nebst Einleitung und Anmerkungen; unter brieflicher Bemerkungen und Uebersetzungen von A. W. Schlegel. Bonn, 1847.An admirably done piece of work. Specimens from twenty-five authors, with twenty anonymous hymns chiefly of the Jesuit school. A second series in 1865.81.* Richard Chenevix Trench: Sacred Latin Poetry. London, 1849. Second edition, 1864; third edition, 1878.Archbishop Trench’s little book has had a wide popularity, and many persons have been induced by it to take a deeper interest in the subject. But it is disfigured by its arrangement, which excludes everything that cannot be safely employed by Protestants. Lines are omitted from Hildebert; theStabat Materof Jacoponus is absent, and thePange linguaof Aquinas is also missing. Moreover the notes, which have been easily prepared from Latin sources, are scarcely satisfactory. Yet, take it for all in all, it is a volume that may be highly commended, for the archbishop is a poet, and has a poet’s appreciation of the beautiful. We are indebted to him for hymns from Marbod, Mauburn, W. Alard, Balde, Pistor, and Alan of Lisle, which are not readily found. S. W. D.There is much in the recent biography of Archbishop Trench which is of interest to hymnologists, especially his correspondence with Dr. Neale.82a.* Edward Caswall: Lyra Catholica: containing all the Hymns of the Roman Breviary and Missal, with others from various Sources. London, 1849; New York, 1851. New edition, London, 1884.Mr. Caswall was one of the clergymen who left the Church of England for the Roman communion with Dr. Newman. Some of his translations, especially of Bernard of Clairvaux, are among the most felicitous in the language. The American edition has an Appendix of “Hymns, Anthems, etc., appropriate to particular occasions of devotion.” It is this edition which has been abridged in the first volume of theHymns of the Ages(1858).82b. J. R. Beste: Church Hymns in English, that may be sung to the old church music. With approbation. London, 1849.83.* D. Ozanam: Documents inedits pour servir a l’Histoire litteraire de l’Italie depuis le VIIIe Siecle jusq’au XIIIe. Paris, 1850.Pages 221-57 is an account of a collection of two hundred and forty-three Latin hymns found in a Vatican manuscript, which he assigns to the ninth century, and to the Benedictines of Central Italy. He prints those not found in Daniel. Reprinted in Migne’sPatrologia: 151; 813ff.84. Hymnale secundum Usum insignis et praeclarae Ecclesiae Sarisburiensis. Littlemore, 1850.85.* Hymnarium Sarisburense, cum Rubricis et Notis Musicis. Variae inseruntur lectiones CodicumMSS.Anglicorum, cum iis quae a Geo. Cassandro, J. Clichtoveo, J. M. Thomasio, H. A. Daniel, e Codd. Germanis, Gallicis, Italis, erutae sunt. Accedunt etiam Hymni et Rubricae e Libris secundum usus Ecclesiarum Cantuariensis, Eboracensis, Wigornensis, Herefordensis, Gloucestrensis, aliisque Codd.MSS.Anglicanis excerpti. Pars prima. London and Cambridge, 1851.Gives hymns and various readings from twenty-six English manuscripts.86.* Joseph Stevenson: Latin Hymns of the Anglo-Saxon Church; with an Interlinear Anglo-Saxon Gloss, from a Manuscript of the Eleventh Century in Durham Library. Edited for the Surtees Society. London and Durham, 1851.Of some value as showing what hymns were used in the early English Church, before the Norman Conquest. The gloss is not Northumbrian, as might be supposed from its being found in the Library of the Dean and Chapter of Durham, but West-Saxon, probably from Winchester.86b. Boetticher: Hymns of the old Catholic Church of England. Halle, 1851.87.* Joh. F. H. Schlosser: Die Kirche in ihren Liedern durch all Jahrhunderte. 2 vols. Mainz, 1851-52. Second edition. Freiburg, 1863.Translations without texts, but some valuable notes, especially to later hymns. The first volume is devoted to the Latin hymns, and contains the beautiful fragment of a lost sequence which Schlosser heard from his brother in 1812. It represents the Apostle Paul weeping over the grave of Virgil at Puteoli:

Adjuvent nos eorum merita,Quos propria impediunt scelera?Excuset eorum intercessio,Quos propria accusat actio?At tu, qui eis tribuistiCoelestis palmam triumphi,Nobis veniam non deneges peccati.In the same spirit he and his associates edited the first great Protestant work on Church history—theMagdeburg Centuries(1559-74, in thirteen folio volumes). The first Protestants hadno more idea of surrendering the history of the Church to the champions of the Roman Catholic Church, than of giving up to them the New Testament. They held that down through all the ages ran a double current of pure Christianity and scholastic perversion of that, and that the Reformation succeeds to the former as the Tridentine Church to the latter. This especially as regards the great central point in controversy, the part of grace and of merit in the justification of the sinner. And they found the proof of this continuity especially in the devotions of the early Church. They found themselves in that great prayer of the Franciscan monk, which the Roman Missal puts into the mouth of her holiest members as they gather around the bier of the dead:Quid sum miser tunc dicturus,Quem patronum rogaturus,Quum vix justus sit securus?Rex tremendae majestatis,Qui salvandos salvas gratis,Salve me, fons pietatis!“Whenever in the Middle Ages,” says Albrecht Ritschl, “devotion, so far as it has found articulate expression, rises to the level of the thought that the value of the Christian life, even where it is fruitful of good works, is grounded not upon these as human merits, but upon the mercy of God ... then the same line of thought is entered upon as that in which the religious consciousness common to Luther and Zwingli was able to break through the connection which had subsisted between Catholic doctrine and the Church institutions for the application of salvation.... Whenever even the Church of Rome places herself in the attitude of prayer, it is inevitable that in the expression of her religious discernment, in thanksgiving and petition, all the benefits of salvation should be referred to God or to Christ; the daily need for new grace, accordingly, is not expressed in the form of a claim based upon merits, but in the form of reliance upon God.”[26]That the Latin hymns of those earlier centuries show a steadily increasing amount of unscriptural devotion to the mother of our Lord and to His saints, and of the materializing view of our Lord’s presence with His Church in the Communion, is undeniable. But even in these matters the hymns of the primitive and mediaeval Church are a witness that these and the like misbeliefs and mispractices are a later growth upon primitive faith and usage.The first generation of Protestants, to which Luther, Melanchthon, and Zwingli belong, had been brought up on the hymns of the Breviary and of the Missal, and they did not abandon their love for these when they ceased to regard the Latin tongue as the only fit speech for public worship. They showed their relish for the old hymns, by publishing collections of them, by translating them into the national languages, by writing Latin hymns in imitation of them, and even by continuing their use in public worship to a limited extent.As collectors and editors of the old Latin hymns, the Protestants of the sixteenth century surpassed the Roman Catholics of that age. Over against the names of Hermann Torrentinus (1513 and 1536), Jacob Wimpheling (1519), Joste Clichtove (1515-19), Jacob van Meyer (1535), Lorenzo Massorillo (1547), and George Cassander (1556), the Roman Catholic hymnologists of the half century which followed the Reformation, we may place the anonymous collector of Basel (1538), Johann Spangenberg (1545), Lucas Lossius (1552et seq., with Preface by Melanchthon), Paul Eber (1564), George Fabricius (1564), Christopher Corner (1568), Hermann Bonn (1569), George Major (1570), Andreas Ellinger (1573), Adam Siber (1577), Matthew Luidke (1589), and Francis Algerman (1596). All these, with the possible exception of the first, were Lutherans, trained in the humanistic school of Latin criticism and poetry; but only two of them found it needful or desirable to alter the hymns into conformity with the tastes of the age. The collections of Hermann Bonn, the first Lutheran superintendent of Lubeck, and that of George Fabricius, are especially important, as faithfully reproducing much that else might have been lost to us.The work of translating the old Latin hymns fell especially to the Lutherans. Roman Catholic preference was no stronger for the original Latin than that of the Reformed for the Psalms. Of the great German hymn-writers from Luther to Paul Gerhardt, nearly all made translations from the storehouse of Latin hymnody, Bernard of Clairvaux being the especial favorite with Johann Heermann, John Arndt, and Paul Gerhardt. And even in hymns which are not translations, the influence of the Latin hymns is seen in the epic tone, the healthy objectivity of the German hymns of this age, in contrast to the frequently morbid subjectivity of those which belong to the age of Pietism.More interesting to us are the early translations into English. The first are to be found in thePrimerof 1545, a book of private devotions after the model of the Breviary, published in Henry VIII.’s time both in English in 1545 and again in Latin (Orarium) in 1546. In the next reign a substitute for this in English alone was prepared by the more Protestant authorities of the Anglican Church, in which, besides sundry doctrinal changes, the hymns were omitted. But the scale inclined somewhat the other way after Elizabeth’s accession. The EnglishPrimerof 1559 and the LatinOrariumof 1560 are revised editions of her father’s, not of her brother’s publications. The parts devoted to the worship of Mary are omitted, but the prayers for the dead and the hymns are retained. These old versions are clumsy enough, but not without interest as the first of their kind. Here is one with the original text from theOrarium, differing from any other authority known to us:Rerum Creator omnium,Te poscimus hoc vesperiDefende nos per gratiamAb hostis nostri fraudibus.Nullo ludamur, Domine,Vel somnio vel phasmate:In Te cor nostrum vigilet,Nec dormiat in crimine.Summe Pater, per FiliumLargire quod Te poscimus:Cui per sanctum SpiritumAeterna detur gloria. Amen.O Lord, the Maker of all thing,We pray thee now in this eveningUs to defend, through thy mercy,From all deceit of our enemy.Let us neither deluded be,Good Lord, with dream nor phantasy.Our heart waking in thee thou keep,That we in sin fall not on sleep.O Father, through thy blessed Son,Grant us this our petition;To whom, with the Holy Ghost, alwaysIn heaven and earth be laud and praise. Amen.It is not wonderful that when the Anglo-Catholics sought to revive thePrimeras “the authorized book of Family and Private Prayer” on the same footing as the Prayer book, they took the liberty of substituting modern versions of the hymns for these “authorized” translations.[27]But thePrimer, whatever its authority, never possessed that much more important requisite to success—vitality. A very few editions sufficed for the demand, and Bishop Cosin’s attempt to revive it in Charles I.’s time only provoked a Puritan outcry against both him and it. Rev. Gerard Moultrie has attempted to revive it in our own time, as “the only book of private devotion which has received the sanction of the English Church,” and has not achieved even thus much of success. No Prynne has assailed him.In the Book of Common Prayer, besides such “canticles” as theGloria in Excelsisand theTe Deum, there is but one hymn, an English version of theVeni, Creator Spiritusin the Ordination Service. It is the wordiest of all known versions, rendering one hundred and five Latin by three hundred and fifty-seven English words, but is not without its old-fashioned felicities. The revisers of 1661 cut it down by omitting just half of it, and modernized the English in a number of places. Its very verbosity seems to have suggested Bishop Cosin’s terse version, containing but four morewords than the original, which, however, it somewhat abridges. This was inserted in 1661 as an alternate version. The author of the paraphrase in the Prayer-Book is unknown. It is not Bishop Coverdale, as his, although translated at second-hand from Luther, as, indeed, all his hymns are from some German source, is far closer and less wordy.[28]It also was adopted into the old Scottish Psalter of the Reformation, where it appears in the appendix, along with a metrical version of the Apostle’s Creed and other “uninspired compositions.”From the Reformation until about fifty years ago, there was among English-speaking people no interest in Latin hymnology worth speaking of. A few Catholic poets, like Crashaw and Dryden, honored their Church versions from the hymns of the Breviary. But even John Austin, a Catholic convert of 1640, when he prepared hisDevotions in the Ancient Way of Officesafter the model of the Breviary, wrote for it hymns of his own instead of translating from the Latin. Some of these (“Blessed be Thy love, dear Lord,” and “Hark, my soul, how everything”) have become a part of our general wealth. Of course some versions of a homely sort had to be made for Catholic books of devotion, and I possessThe Evening Office of the Church in Latin and English(London, 1725), in which the Vesper hymns of the Roman Breviary are closely and roughly versified. It is notable that “the old hymns as they are generally sung in churches”—i.e., the hymns as they stood before the revision of 1631, are printed as an appendix to the book, showing how slow English Catholics were to accept the modernization of the hymns which the papacy had sanctioned nearly a century before.Mr. Orby Shipley, in hisAnnus Sanctus(London, 1884), gives a large number of these early versions from the Roman CatholicPrimersof 1619, 1684, 1685, and 1706; from theEvening Officeof 1710, 1725, and 1785; and from theDivine Officeof 1763 and 1780. The translations of 1619 have been ascribed to William Drummond, of Hawthornden, and those of 1706 to Dryden. Drummond was the first Scotchman who adopted English as the language of literature, and although a Protestant, he belonged to the Catholicizing party represented by William Forbes, the first Protestant bishop of Edinburgh. Three hymns are given in Sir Walter Scott’s edition of Dryden on the authority of English Roman Catholic tradition, the best known being his version of theVeni Creator Spiritus. These three are found in thePrimerof 1706, along with versions of the other hymns of the Roman Breviary sufficiently like them to suggest that they are all by the same hand. But this judgment is disputed.Among Protestants the neglect was as great. So profuse a writer of hymns for the Christian year as George Wither translated only theTe Deumand theVeni, Creator Spiritusinto English verse.[29]Tate and Brady, in theirSupplement(1703) to theirNew Version of the Psalms(1696), published a translation of theVeni, Creator Spiritus. But Bishop Symon Patrick was the only hymn-writer of that age who may be said to have given any special attention to Latin hymns. His hymns were chiefly translations from that source, especially Prudentius, and Lord Selborne mentions that ofAlleluia, dulce carmen, as the best.The Methodist revival, which did so much to enrich our store of hymns, and which called attention anew to those of Germany, accomplished nothing for us as regards Latin hymns. The Earl of Roscommon’s translation of theDies Irae(1717), and Dr. Johnson’s affecting reference to the stanza,Quaerens me sedisti lassus, ...stand almost alone in that age. It was not until the Romantic movement in Germany and then in England broke the bonds of amerely classic culture, taught the world the beauty of Gothic art, and obliged men to revise their estimate of the Middle Ages, that the singers of the praises which sounded through those earlier centuries had a fair chance to be judged at their real worth. The forerunner of that movement was Johann Gottfried von Herder, who indeed may be said to have anticipated the whole intellectual movement of the past century, Darwinism not excepted. From his friend and master Hamann, “the Magus of the North,” he had learned “the necessity for a complete and harmonious expression of all the varied faculties of man,” and that “whatever is isolated or the product of a single faculty is to be condemned.” This made him as much discontented with the eighteenth century and its literature and philosophy of the enlightened understanding, as Hamann himself was. It was the foundation for that Catholic taste which enabled him to appreciate the excellence of all those popular literatures which are the outflow of the life of whole peoples. HisVoices of the Peoplesdid for the Continent what Bishop Percy’sReliquesdid for England, and did it much better. He saw that “the people and a common sentiment are the foundations of a true poetry,” and the literature of the schools and that of polite society are equally condemned to sterility. For this reason he had small respect for that classic Latin literature at whose bar every modern production was impleaded. He found far more genuine life and power in the Latin poems of the Jesuit father, Jacob Balde, and still more in the hymns of the Latin Church. HisLetters for the Promotion of Humanity(1794-96) contain a passage of classic importance:“The hymns which Christianity introduced had for their basis those old Hebrew Psalms which very soon found their way into the Church, if not as songs or anthems, at any rate as prayers.... The songs of Mary and of Zacharias, the Angelic Salutation, theNunc Dimittisof Simeon, which open the New Testament, gave character more immediately to the Christian hymns. Their gentler voice was more suitable to the spirit of Christianity than even the loud trumpet note of that old jubilant Hallelujah, although that note was found capable of many applications, and was now strengthened with the words of prophet or psalmist, now adapted to gentler strains. Over the graves of the dead, whose resurrection was already present to the spirit’s vision, in caves and catacombs, first were heard these psalms of repentance and prayer, of sorrow and hope, until after the public establishment of Christianity, they stepped out of the dark into the light, out of solitude into splendid churches, before consecratedaltars, and now assumed a like splendor in their expression. There is hardly any one who can listen to theJam moesta quiesce querulaof Prudentius without feeling his heart touched by its moving strains, or who can hear the funeral sequenceDies irae, dies illa, without a shudder, or whom so many other hymns, each with its own character—e.g.,Veni, Redemptor gentium;Vexilla Regis prodeunt;Salvete flores Martyrum;Pange, lingua, gloriosi, etc., will fail to be carried into that frame of feeling which each seeks to awaken, and with all its humility of form and its churchly peculiarities, never fails to command. In one there sounds the voice of prayer; another could find its accompaniment only in the harp; in yet another the trumpet rings, or there sounds the thousand-voiced organ, and so on.“If we seek after the reason of this remarkable effect, which we feel in hearing these old Christian hymns, we find it somewhat peculiar. It is anything but the novelty of thethoughtswhich here touches and there shakes us. Thoughts in these hymns are found but sparingly. Many are merely solemn recitations of a well-known story, or they are familiar petitions and prayers. They nearly all repeat each other. Nor is it frequently surprisingly fine and novel sentiments with which they somehow permeate us; the novel and the fine are not objects in the hymns. What, then, is it that touches us?SimplicityandVeracity. Here sounds the speech of a general confession of one heart and one faith. Most of them are constructed either so as to be fit for use every day of the year, or so as to be used on the festivals of the various seasons. As these come round there comes with them in constant recurrence their rehearsal of Christian doctrines. There is nothing superfine in the hymns as regards either emotion, or duty, or consolation. There reigns in all of them a general popularity of content, expressed in great accents. He who seeks novel thoughts in aTe Deumor aSalve Reginalooks for them in the wrong place. It is just what is every day and always known, which here is to serve as the garb of truth. The hymn is meant to be an ambrosial offering of nature, deathless like that, and ever returning.“It follows that, as people in these Christian hymns did not look for the grace of classic expression or the pleasurable emotion of the instant—in a word, what we expect from a work of art, they produced the strangest effects at once after their introduction. Just as Christian hands overthrew the statues and temples of the gods in honor of the unseen God, so these hymns contained a germ which was to bring about the death of the pagan poetry. Not only were those hymns to gods and goddesses, heroes and geniuses, regarded by the Christians as the work of unbelievers or misbelievers, but the germ from which they sprang, the poetic and sportive fancy, the pleasure and rejoicing of the peoples in their national festivals, were condemned as a school of evil demons; yes, even the national pride, to which those songs appealed, was despised as a perilous though splendid sin. The old religion had outlived its time, the new had won its victory, when the absurdity of idol-worship and pagansuperstitions, the disorders and abominations which attended the festivals of Bacchus, Cybele, and Aphrodite, were brought to the light of day. Whatever of poetry was associated with these was a work of the devil. There began a new age for poetry, music, speech, the sciences, and indeed for the whole direction of human thought.”As the Romanticist movement gained ground in Germany, attention to the early hymns increased. Even Goethe, theweltkindamong the prophets, was influenced. Hence his use of theDies Iraein the first part ofFaust, although he was pagan enough to care for nothing at Assisi except the Roman remains. A. W. Schlegel made a number of translations for theMusen-Almanach. Then came the long series of German translators, of whom A. J. Rambach, A. L. Follen (brother of Professor Charles Follen of Harvard), Karl Simrock (1850 and 1866), and G. A. Koenigsfeld (1847 and 1865) are the most notable. Much more important to us are the German collectors: G. A. Björn (a Dane, 1818), J. C. von Zabuesnig (1822 and 1830), H. A. Daniel (Blüthenstrauss, 1840;Thesaurus, 1841-56), F. J. Mone (1853-55), C. B. Moll (1861 and 1868), P. Gall Morel (1866), Joseph Kehrein (1873). To the unwearied thoroughness of these editors, more than of any other laborers in this field, we owe our ampler access to the treasures of Latin hymnody. But what field of research is there in which the scholarship of Germany has not laid the rest of the world under obligations?In English literature the Romanticist movement begins properly with Sir Walter Scott. Himself a Presbyterian, he was brought up on the old Scotch Psalm-book, for which he entertained the same affection as did Burns, Edward Irving, Campbell, Carlyle, and Archdeacon Hare. He opposed any attempt to improve it, on the ground that it was, “with all its acknowledged occasional harshness, so beautiful that any alterations must eventually prove only so many blemishes.” But his literary tastes led him to a lofty appreciation of the Anglican liturgy—a circumstance which has led many to class him as an Episcopalian—and equally for the poetry of the mediaeval hymns. His vigorous version of a part of theDies Iraeinserted inThe Lady of the Lake(1805) gives him his smallest claim to mention in the history of hymnody. It was the new atmosphere he carried into the educated world, his fresh and hearty admiration of admirable things in the MiddleAges, which had been thought barbarous, that makes him important to us. He gave the English and Scottish people new weights and measures, new standards of critical judgment, which emancipated them from narrow, pseudo-Protestant traditions. He made the great Church of undivided Western Europe intelligible. No doubt many follies resulted from this novel lesson, the worst of all being contempt for Luther and his associates in the Reformation. The negations which attend such revolutions in opinion always are foolish exaggerations. It is the affirmations which are valuable and which remain. And Romanticism for more than half a century has been affecting the religious, the social, the intellectual life of Great Britain and America in a thousand ways, and with, on the whole, positive and beneficial results. Its most powerful manifestation was in the Oxford movement,[30]but both in its causes and its effects it has transcended the limits which separate the divided forces of Protestantism.Naturally the Oxford movement was the first to turn attention to the hymns of the Middle Ages, or what it regarded as such. We use this qualified expression because its leaders at the outset were much better poets than hymnological scholars, and welcomed anything in the shape of a Latin hymn as “primitive,” no matter what. Isaac Williams, in theBritish Magazinein 1830, published a series of translations of “primitive hymns” which he gathered into a volume in 1839. They were from the Paris Breviary, of whose hymns only one in fourteen were older than 1685, and most of them not yet a hundred years old. Rev. John Chandler, in hisHymns of the Primitive Church(1837), drew on Santeul and Coffin with equal freedom, evidently supposing he was going back to the early ages for his originals. Bishop Mant, in hisAncient Hymns from the Roman Breviary(1837), did a littlebetter, although not half-a-dozen hymns in that Breviary are unaltered from their primitive forms, and many are no older than the fifteenth or sixteenth century. Rev. Edward Caswall, an Oxford convert to the Church of Rome, naturally confined hisLyra Catholica(1849) to the Breviary hymns, supplementing those of Rome with some from Paris. The first collection published by Dr. Newman (Hymni Ecclesiae, Pars I., 1839) was confined to the Paris Breviary, but with the notice that they “had no equal claim to antiquity” with “the discarded collections of the ante-reform era.” But he claimed on rather slight ground that they “breathe an ancient spirit, and even where they are the work of one pen, are the joint and indivisible contribution of many ancient minds.” This is an opinion of the work of Santeul and Coffin in which neither Cardinal Newman nor the Gallican Church would agree to-day.In fact, these English scholars, with their constant habit of making Latin verse after classic models from their school-days, and their entire want of familiarity with post-classic Latin, found what pleased them best in the two Breviaries of Rome and Paris. With that they seemed likely to stop. It was Dr. John Mason Neale (1851-58) who, among translators, first broke these bounds, went to the older sources, and introduced to English readers, both by his collections and his translations, the great hymns of the Western Church. As a translator he leaves much to be desired. His ideas as to faithful reproduction of the form of his originals are vague. His hymns too often might be said to be based on the Latin text rather than to reproduce it. But they are spirited poems, whose own vigor and beauty sent readers to the original, and they were not disappointed.From that time we have had a series of excellent workers in this field—John Keble, Rev. W. J. Blew (1855), Mr. J. D. Chambers (1857 and 1866), Rev. J. W. Hewett (1859), Sir Henry Baker (1861 and 1868), Rev. Herbert Kynaston (1862), Rev. J. Trend (1862), Rev. P. S. Worsley (1863), Earl Nelson (1857 and 1868), Rev. Richard F. Littledale (1867), R. Campbell, of the Anglo-Catholicparty; and Dean Stanley, Mrs. Charles (1858 and 1866) and Dr. Hamilton Magill (1876) outside its ranks. Theirs have been no inconsiderable part of those labors which have made the last thirty years the golden age of English hymn-writing, surpassing even the era of the Methodist revival.In America the work was begun in 1840 with a modest little volume published at Auburn, in New York, and ascribed by Mr. Duffield to Dr. Henry Mills of Auburn Theological Seminary, who in 1856 also published a volume of translations of German hymns. His earlier book wasThe Hymn of Hildebert and the Ode of Xavier, with English Versions, and contained thirty-five duodecimo pages. Next in order came Dr. John Williams, Bishop of Connecticut, withAncient Hymns of the Holy Church(1845). Dr. William R. Williams of New York, in his address on “The Conservative Principle in our Literature,” delivered in 1843, made a reference to theDies Irae, which gave him the occasion to publish in an Appendix the literary history of the great hymn, giving the text along with Dr. Trench’s version and his own. This seems to have given the impulse which has made America so prolific in translations of that hymn, only Germany surpassing us in this respect. Dr. Abraham Coles may be said to have led off with his volume, containing thirteen translations in 1847. But it was not until after the war for the Union that the productive powers of American translators were brought into play. Much, no doubt, was due to foreign impulse, especially from Dr. Trench and Dr. Newman; but it is notable that in America far more work has been done outside than inside the Episcopalian communion.Dr. Coles again in 1866, Mr. Duffield in 1867, Chancellor Benedict in 1869, Hon. N. B. Smithers in 1879 and 1881, and Mr. John L. Hayes in 1887 published volumes of translations. But far more numerous are the poets whose versions of Latin hymns have appeared in various periodicals or in collections like Professor Coppée’sSongs of Praise(1866), Dr. Schaff’sChrist in Song(1869), Odenheimer and Bird’sSongs of the Spirit(1871), Dr. H. C. Fish’sHeaven in Song(1874), Frank Foxcroft’sResurgit(1879), and Dr. Schaff and Arthur Gilman’sLibrary of Sacred Poetry(1881 and 1886). Of these contributing poets we mention Dr. E. A. Washburn, whose translations have been collected in his posthumous volume,Voices from a Busy Life(1883); Dr.Ray Palmer, our chief sacred singer, whose versions of theO esca viatorumand theJesu dulcis memoriaare as classic as his “My faith looks up to Thee;” Dr. A. R. Thompson, to whom the present volume is under great obligations; Rev. J. Anketell, another of its benefactors; Rev. M. Woolsey Stryker, Rev. D. Y. Heisler, Rev. Franklin Johnson, D.D., and Rev. W. S. McKenzie, D.D. Besides these we may mention the anthology of translations published by the Rev. F. Wilson (1859), of texts by Professor F. A. March (1874 and 1883), and of both texts and translations by Judge C. C. Nott (1865 and subsequent years).It is not, however, only as literature, but in the actual use of the American churches, that the Latin hymns have made a place for themselves. Since 1859, when the Andover professors published theSabbath Hymn and Tune-Book, with original translations furnished by Dr. Ray Palmer, there has been a peaceful revolution in American hymnology. Every one of the larger denominations and many of the smaller have provided themselves with new hymn-books, in which the resources of English, foreign, and ancient hymnology have been employed freely, and with more exacting taste as to sense and form, than characterized the hymn-books of the era before the war. While the compilers have drawn freely upon Caswall, Neale, Chandler, and the AnglicanHymns Ancient and Modern(1861), in many cases original translations were given, as inHymns of the Churchfor the (Dutch) Reformed Church, of which Dr. A. R. Thompson was one of the editors; and Dr. Charles Robinson’sLaudes Domini(1884), to which Mr. Duffield contributed. And there is evidence that the hymns thus brought into Church use from the storehouse of the earlier Christian ages have helped thoughtful Christians to realize more fully the great principle of the Communion of the saints—to realize that all the faithful of the present are bound in spiritual brotherhood with those who held to the same Head and walked in the light of the same faith in bygone centuries, even though it was with stumbling and amid shadows, from which our path by God’s good providence has been set free.CHAPTER XXXII.BIBLIOGRAPHICAL NOTES.The first sources of the Latin hymns and sequences are the manuscript and printed breviaries and missals of the Western Church. Both these have been explored by the collectors from Clichtove to Kehrein, although it cannot be said that the examination has been exhaustive either as regards the manuscripts or the printed books.The following is an approximate list of the printed breviaries which have been examined by modern collectors:LOCAL BREVIARIES.Aberdonense,Aberdeen,1509-10,Daniel.Ambrosianum,Milan,1557,Neale, Morel, Zabuesnig.Argentinense,Strasburg,1520,Neale.Basiliense,Basel,1493,Morel.Bracharense,1494,Neale.Caduncense,Cahors,Neale.Coloniense,Koeln,1521,Zabuesnig.Constantiense,Konstanz,1504, 1516,Morel, Daniel.Cordubiense,Cordova,1583,Morel.Cracoviense,Krakau,1524,Morel.Curiense,Kur,c. 1500,Morel.Eboracense,York,Neale, Newman.Erfordense,Erfurt,1518,Daniel.Friburgense,Freiburg,Daniel.Gallicum,France,1527,Morel.Halberstadtense,Halberstadt,1515,Daniel.Havelbergense,Havelberg,1518,Daniel.Herefordense,Hereford,1505,Neale.Lengres,Daniel.Lundense,Lund,1517,Daniel.Magdeburgense,Magdeburg,1514,Daniel.Merseburgense,Merseburg,1504,Daniel.Mindense,Minden,1490,Daniel.Misniense,Meissen,1490,Daniel.Mozarabicum,Old Spanish,1775,Daniel.Parisiense vet.,Paris (old),1527,Neale.Parisiense,1736,Newman, Zabuesnig.Pictaviense,Poitou,1515,Daniel.Placentinum,Piacenza,1503,Morel.Romanum vet.,Rome (old),1481, 1484, 1520,Kehrein.1497,Daniel.1543,Morel.Romanum,Rome (new),1631,Zabuesnig, Daniel.Roschildense,Roeskild,1517,Daniel.Salisburgense,Salzburg,1515,Neale, Daniel.Sarisburense,Salisbury,1555,Neale, Daniel, Newman.Slesvicense,Schleswig,1512,Daniel.Spirense,Speier,1478,Zabuesnig.Tornacense,Tournay,1540,Neale.Tullense,Toul,1780,Daniel.MONASTIC BREVIARIES.Augustinianorum,1557,Morel, Zabuesnig, Neale.Benedictinorum,1518, 1543,Daniel, Zabuesnig.Canonum Reg. Augustini,Zabuesnig.Carmelitarum,1759,Daniel, Zabuesnig.Carthusianorum,1500,Daniel, Zabuesnig.Cisterciensium,1510, 1752,Daniel, Zabuesnig.Franciscanorum,1481, 1486, 1495,Daniel, Zabuesnig.Humiliatorum,1483,Neale.Praemonstratensium,1741,Daniel, Zabuesnig.Praedicatorum,1482,Daniel, Zabuesnig.Servorum Mariae,1643,Daniel, Zabuesnig.LOCAL MISSALS.Aboense,Abo,1488,Daniel, Neale.Ambianense,Amiens,1529,Neale.Aquiliense,Aquileia,Daniel.Argentinense,Strasburg,1520,Neale.Athanatense,St. Yrieix,1531,Morel.Atrebatense,Arras,1510,Neale.Augustense,Augsburg,1510,Kehrein.Brandenburgense,Brandenburg,C., 1500,Daniel.Bursfeldense,Bursfeld,1518,Kehrein.Coloniense,Koeln,1504, 1520,Daniel, Kehrein.EychstadenseEichstädt,1500,Daniel.Frisingense,Freysingen,1514,Daniel.Hafniense,Copenhagen,Neale.Halberstatense,Halberstadt,1511,Kehrein.Herbipolense,Würzburg,1509,Neale, Kehrein.Leodiense,Liege,1513,Neale.Lubecense,Lubeck,C., 1480,Wackernagel.Magdeburgense,Magdeburg,1493,Wackernagel.Mindense,Minden,1515,Daniel, Kehrein.Moguntinum,Mainz,1482, 1497,Mone, Wackernagel.1507, 1513,Kehrein, Neale.Morinense,Neale.Narbonense,Narbonne,1528,Neale.Nidriosense,Trondhjem,1519,Neale.Noviemsense,Noyon,1506,Neale.Numburgense,Naumburg,1501, 1507,Wackernagel, Daniel.Parisiense vet.,Paris (old),1516,Neale.Parisiense,1739,Newman.Pataviense,Padua,1491,Daniel.Pictaviense,Poitou,1524,Neale.Pragense,Prag,1507, 1522,Neale, Daniel, Kehrein.Ratisbonense,Regensburg,1492,Daniel, Neale.Redonense,Rennes,1523,Neale.Salisburgense,Salzburg,1515,Neale.SarisburenseSalisbury,1555,Neale.Spirense,Speier,1498,Neale.Strengnense,Strengnaes,1487,Neale.Tornacense,Tournay,1540,Neale.Trajectense,Utrecht,1513,Neale.Upsalense,Upsal,1513,Neale.Verdense,Verden,1500,Neale.XantonenseSaintes,1491,Neale.MONASTIC MISSALS.Benedictinorum,1498,Neale, Kehrein.Cistercensium,1504,Daniel.Franciscanorum,1520,Kehrein.Praemonstratensium,1530,Daniel.Praedicatorum,1500,Zabuesnig.Of lesser church-books Zabuesnig has used theProcessionaleof the Dominicans or Preachers, and Newman that of the Church of York. Morel has drawn upon the ParisHoraeof 1519, and Daniel on theCantionaleof Konstanz of 1607.Yet this shows that either only a minority of the printed church-books of the fifteenth and sixteenth centuries have been examined, or else that the majority yielded nothing new in return for such examination.We proceed with the bibliography of the collections and the historical treatises and discussions which bear on Latin Hymnology, together with the most important volumes of translations. These we shall give in chronological order, and where the initials S. W. D. are appended to the comments, it will be understood that these are by Mr. Duffield, not by his editor. The numbers marked with an asterisk (*) indicate works employed in the preparation of the present volume.1. Sequentiarum Textus cum optimo Commento. (S. l. e. a.)Printed at Koeln (Cologne) by Henry Quentell in 1492 or 1494. The following is bound up with the early editions of this as a kind of appendix, but afterward frequently printed by itself.2. Expositio Hymnorum cum notabili [seufamiliari] Commento. (S. l. e. a.)Also printed at Koeln by Henry Quentell in 1492 or 1494, and 1506. Later editions are: Hagenau, 1493; Basil, 1504; Koeln, 1596; and many others.For the full reference,videDaniel, I.: xvii. There were many of these, and the most famous was long regarded as indispensable to the study of the Latin hymns. It is that of Clichtove. S.W.D.3.Liber hymnorum in metra noviter redactorum. Apologia et defensio poeticae ac oratoriae maiestatis. Brevis expositio difficilium terminorum in hymnis ab aliis parum probe et erudite forsan interpretatorum per Henricum Bebelium I ustingensem edita poeticam et humaniores litteras publice profitentem in gymnasio Tubingensi. Annotationes eiusdem in quasdam vocabulorum interpretationes Mammetracti. Thubingen,1501.Henry Bebel was a humanist, and became professor at Tübingen in 1497. Zapf published a biography of him at Augsburg in 1801.4.Hymni et Sequentiae cum diligenti difficillimorum vocabulorum interpretatione omnibus et scholasticis et ecclesiasticis cognitu necessaria Hermanni Torrentini de omnibus puritatis lingue latine studiosis quam optime meriti.—Coloniae, MCCCCCXIII.Daniel says that a second edition (1550, 1536?) has so closely followed Clichtoveus that the first edition only is worthy of note.Hermann Torrentinus was a native of Zwolle, and belonged to the Brotherhood of the Common Life. He was professor at Groningen about 1490, and lived until about 1520. He was one of the group which gathered around John Wessel Gansfort, in whom Luther recognized a kindred spirit.5.De tempore et sanctis per totum annum hymnarius in metra ut ab Ambrosio, Sedulio, Prudentio ceterisque doctoribus hymni sunt compositi. Groningen phrisie iam noviter redactus incipit feliciter.6.Psalterium Davidis adiunctis hymnis felicem habet finem opera et impensis Melchior Lotters ducalis opidi Liptzensis concivis Anno Milesimo quingentesimo undecimo XVIII die Aprilis[1511].7.* Iodoci Clichtovaei Elucidatorium ecclesiasticum ad Officium Ecclesiae pertinentia planius exponens et quatuor Libros complectens. Primus Hymnos de Tempore et Sanctis per totum Annum. Secundus nonnulla Cantica, Antiphonas et Responsaria. Tertius ea quae ad Missae pertinet Officium, praesertim Praefationes. Quartus Prosas quae in sancti Altaris Sacrificio dicuntur continet. Paris, 1515; Basil, 1517 and 1519; Venice, 1555; Paris, 1556; Koeln, 1732.The best book of its time on the subject, and long indispensable to the hymnologist. Josse Clichtove was a Flemish theologian. He studied at Paris under the famous Lefevre d’Etaples, and enjoyed the friendship of Erasmus. He was a zealous opponent of Luther. He died in 1543. The Venice edition of hisElucidatorium—Hymni et Prosae, quae per totum Annum in Ecclesiâ leguntur—is much altered, and contains additional hymns from Italian, French, and Hungarian Breviaries, while it also omits others given by Clichtove.8.Hymni de tempore et de sanctis in eam formam qua a suis autoribus scripti sunt denuo redacti et secundum legem carminis diligenter emendati atque interpretati. Anno Domini, MDXIX.Jacob Wimpheling is the editor. He was an eminent theologian and humanist of Strasburg, and the first to edit Rabanus Maurus’sDe Laudibus Sanctae Crucis. Already in 1499 he had published a tract:De Hymnorum et Sequentiarum Auctoribus Generibusque Carminum quae in Hymnis inveniuntur. One authority gives 1511 as the date of hisHymni.9.Sequentiarum luculenta interpretatio nedum scholasticis sed et ecclesiasticis cognitu necessaria per Ioannem Adelphum physicum Argentinensem collecta. Anno Domini, MDXIX.10. Jakob van Meyer: Hymni aliquot ecclesiastici et Carmina Pia. Louvain, 1537.11. Liber ecclesiasticorum carminum, cum alijs Hymnis et Prosis exquisitissimis a sanctis orthodoxae fidei Patribus in usum piorum mentium compositis. Basil, B. Westhemerus, 1538.12. Laurentius Massorillus: Aureum Sacrorum Hymnorum Opus. Foligni, 1547.13.*Hymni ecclesiastici praesertim qui Ambrosiani dicuntur multis in locis recogniti et multorum hymnorum accessione locupletati. Cum Scholiis opportunis in locis adjectis et Hymnorum indice Georgii Cassandri. Et, Beda de Metrorum generibus ex primo libra de re metrica. Coloniae Anno MDLVI.This was reprinted in Cassander’s Works (Parisiis, 1616). Cassander was a Catholic, who sympathized with the Reformation, and his book was prohibited by the Roman Catholic Church. “In Romana ecclesia liber est vetitus,” says Daniel. With the drawback that his knowledge and opportunities were limited by the age in which he lived, it can still be said that this is a very valuable and helpful collection—the scholarly work of an earnest man. S. W. D.14. Cantiones Ecclesiasticae Latinae ac Synceriores quaedam praeculae Dominicis & Festis Diebus in Commemoratione Cenae Domini, per totius Anni Circulum cantandae ac perlegendae. Per Johannem Spangenbergium Ecclesiae Northusianae inspectorem. Magdeburg, 1543.15a. Carmina vetusta ante trecentos scripta, quae deplorant inscitiam Evangelii, et taxant abusus ceremoniarum, ac quae ostendunt doctrinam hujus temporis non esse novam. Fulsit enim semper et fulgebit in aliquibus vera Ecclesiae doctrina. Cum Praefatione Matthiae Flacii Illyrici. Wittemberg, 1548.15b. Pia quaedam vetustissima Poemata, partim Anti-Christum, ejusque spirituales Filiolos insectantia, partim etiam Christum, ejusque beneficium mira spiritus alacritate celebrantia. Cum praefatione Matthiae Flacii Illyrici. Magdeburg, 1552.15c. Varia Doctorum Piorumque Virorum de Corrupto Statu Ecclesiae Poemata. Ante nostram aetatem conscripta, ex quibus multa historiae quoque utiliter ac summa cum voluptate cognosci possunt. Cum Praefatione Matthiae Flacii Illyrici. Magdeburg, 1556. Reprinted 1754.These three collections are of importance to the hymnologist. From the first Wackernagel has extracted a number of fine hymns. The third contains Bernard of Cluny’sDe Contemptu Mundi.16. Hymni aliquot sacri veterum Patrum una cum eorum simplici Paraphrasi, brevibus argumentis, singulis Carminum generibus, & concinnis Melodijs ... Collectore Georgio Thymo. Goslar, 1552.17. Psalmodia, hoc est Cantica Sacra veteris Ecclesiae selecta. Quo ordine & Melodijs per totius anni curriculum cantari vsitate solent in templis de Deo, & de filio ejus Iesv Christo, ... Et de Spiritv Sancto.... Jam primum ad Ecclesiarum, & Scholarum vsum diligenter collecta, et brevibus et pijs Scholijs illustrata per Lucam Lossium Luneburgensem. Cum Praefatione Philippi Melanthonis. Wittemberg, 1552 and 1595; Nuremberg, 1553 and 1595.Die Hymni, oder geistlichen Lobgeseng, wie man die in der Cystertienser orden durchs gantz Jar singet. Mit hohem vleis verteutschet durch Leonhardum Kethnerum. Nurnberg, 1555.18. Hymni et Sequentiae, tam de Tempore quam de Sanctis, cum suis Melodijs, sicut olim sunt cantatae in Ecclesia Dei, & jam passim correcta, per M. Hermannum Bonnum, Superintendentem quondam Ecclesiae Lubecensis, in vsum Christianae juventutis scholasticae fideliter congesta & euulgata. Lubeck, 1559.19.Pauli Eberi, Psalmi seu cantica in ecclesia cantari solita. Witteburgiae, 1564.20.*Poetarum Veterum Ecclesiasticorum Opera Christiana et operum reliquiae atque fragmenta. Thesaurus catholicae et orthodoxae ecclesiae et antiquitatis religiosae ad utilitatem iuventutis scholasticae, collectus, emendatus, digestus et commentario quoque expositus diligentia et studio Georgii Fabricii Chemnicensis. Basileae per Ioannem Oporinum MDLXIIII.A second edition in 1572. George Fabricius, of Chemnitz, besides editing this important book, was the most prolific writer of Latin hymns the Lutheran Church possessed.21. Johann Leisentrit: Geistliche Lieder und Psalmen der alten Apostolischer recht und warglaubiger Christlicher Kirchen. 2 parts. Budissin, 1567.Used by Wackernagel. Although Leisentrit was the Roman Catholic dean of Budissin, his first part seems to have been censured as of Protestant tendency. The second is made up of hymns to Mary and the Saints. This part was reprinted in 1573 and 1584.22.Cantica Selecta Veteris Novique Testamenti cum Hymnis et Collectis seu orationibus purioribus quae in orthodoxa atque catholica ecclesia cantari solent. Addita dispositione et familiari expositione Christophori Corneri. Lipsiae cum privilegio MDLXVIII.A second edition in 1571, and a third in 1573.23. Cantica ex sacris literis in ecclesia cantari solita cum hymnis et collectis, etc., recognita et aucta per D. Georgium Maiorem. Wittemberg, 1570.23b. Hymni et Collectae, item Evangelia, Epistolae, etc., quae diebus dominicis et festivis leguntur. Koeln, 1573.24. Psalterium Davidis, etc., cum lemmatibus ac notis Adami Siberi. Accesserunt Hymni festorum dierum insignium. Lipsiae, Iohannes Rhamba excudebat Anno MDLXXVII.25.Hymnorum Ecclesiasticorum ab Andrea Ellingero V. Cl. emendatorum libri III, etc. MDLXXVIII. Francofurti ad moenum.Daniel calls this the most ample of all the collections, but he criticises the first two volumes severely for their arrangement, and the changes in text made for metrical reasons. The third volume he was able to use, but he felt unsafe in the others except when the editor positively stated in his notes what he considered the original and genuine text. S. W. D.26. Joh. Holthusius: Compendium Cantionum ecclesiasticarum. Augsburg, 1579.27.In hymnos ecclesiasticos ferme omnes Michaelis Timothei Gatensis brevis elucidatio. Venetiae, 1582.28. Hymni et Collectae. Koeln, 1585.29. Lorenza Strozzi: In singula totius Anni Solemnia Hymni. Florence, 1588.These hymns were adopted into the service-books of several dioceses, and were translated into French by Pavillon, and set to music by Maduit. The author was a Dominican nun of the famous Strozzi family.30. Collectio Hymnorum per totum Annum. Antwerp, Plantin, 1593.31. Francis Algermann: Ephemeris Hymnorum Ecclesiasticorum ex Patribus selecta. Helmstadt, 1596.With German translations.32. Vesperale et Matutinale, hoc est Cantica, Hymni & Collectae, seu Precationes ecclesiasticae quae in primis et secundis vesperis, itemque matutinis Precibus, per totius Anni circulum, in ecclesiis, & religiosis piorum congressibus cantari solent. 1599.The author, Matthew Luidke, was deacon of the Church in Havelberg, and aimed at the naturalization of the methods of the old church books among Lutherans. Daniel gives this book the palm among the Lutheran collections of the Latin hymns. Its author also published aMissale, and died in 1606.33.Divorum patrum et doctorum ecclesiae qui oratione ligata scripserunt Paraphrases et Meditationes in Evangelia dominicalia e diversis ipsorum scriptis collectae a. M. Ioach. Zehnero ecclesiae Schleusingensis pastore et Superintendente. Lipsiae, 1602,sumptibus Thomae Schureri.“Liber utilissimus,” Daniel. The author was a Protestant, and a diligent student of the old hymns. S. W. D.34.* Bernardi Morlanensis Monachi ordinis Cluniacensis De Vanitate Mundi, et Gloriâ Caelesti, Liber Aureus. Item alij ejusdem Libri Tres Ejusdem fermè Argumenti, Quibus cum primis in Curiae Romanae & Cleri horrenda scelera stylo Satyrico carmine Rhithmico Dactylico miro artificio ante annos fermè quingentos elaborato, gravissime invehitur. Editi recens, et plurimis locis emendati, studio & opera Eilh. Lubini. Rostochii, Typis Reusnerianis, Anno MDCX.One hundred and twenty unnumbered pages in duodecimo, of which three are filled by a dedicatory letter to Matthias Matthiae, Lutheran pastor at Schwensdorf. Professor Lubinus gives no account of the sources of his edition, but says of Bernard: “Vixit hic Bernardus Anno Christo 1130. Scripsit colloquium Gabrielis & Mariae. Item hosce, quos jam edimus, & non paucis locis correximus, libros.”35.Card. Ioannis Bonae, de divina Psalmodia, tractatus, sive psallentis Ecclesiae Harmonia.Rome, 1653; Antwerp and Koeln, 1677; Paris, 1678; Antwerp, 1723.Also in hisOpera, Turin, 1747.36. Charles Guyet: Heortologia, sive de Festis propriis Locorum et Ecclesiarum: Hymni propriae variarum Galliae Ecclesiarum revocati ad Carminis et Latinitatis Leges. Folio. Paris, 1657; Urbino, 1728; Venice, 1729.37a. David Greg. Corner: Grosz Katholisch Gesangbuch. Furth bei Ge., 1625.37b. D. G. Corner: Cantionale. 1655.37c. D. G. Corner: Promptuarium Catholicae Devotionis. Vienna, 1672.37d. D. G. Corner: Horologium Christianae Pietatis. Heidelberg, 1688.Contain many old Latin hymns. The third is used by Trench.38. Andreas Eschenbach: Dissertatio de Poetis sacris Christianis. Altdorf, 1685. (Reprinted in hisDissertationes Academicae. Nuremberg, 1705.)39. C. S. Schurzfleisch: Dissertatio de Hymnis veteris Ecclesiae. Wittemberg, 1685.40. Lud. Ant. Muratori: Anecdota quae ex Ambrosianae Bibliothecae Codicibus nunc primum eruit, notis et disquisitionibus auxit. 2 vols. in quarto. Milan, 1697-98.Contains the Bangor Antiphonary and the hymns of Paulinus of Nola.41. Hymni spirituales pro diversis Animae Christianae Statibus. Paris, 1713.42a. Polycarp Leyser: Dissertatio de ficta Medii Aevi Barbarie, imprimis circa Poesin Latinam. Helmstadt, 1719.42b. Pol. Leyser: Historia Poetarum et Poematum Medii Aevi. Halle, 1721.42c.* J. G. Walch: De Hymnis Ecclesiae Apostolicae. Jena, 1737. (Reprinted in his Miscellanea Sacra: Amsterdam, 1744.)43.*Josephi Mariae Thomasii S.R.E. Cardinalis Opera omnia.—Rome, 1741, in 6 vols., folio, and 1747 et seq. in 12 vols., 4to. (The Hymnarium is found in pages 351-434 of Vol. II., in the 4to edition.)“This book,” remarks Daniel, “is sufficiently rare in Germany, but the editor of sacred hymns can by no means do without it.” The reason is that Thomasius had access to the VaticanMSS., and was therefore able to unearth many rare and valuable texts. He also designated the probable authorship of a goodly number of the hymns—not always correctly, but usually with considerable truth. S. W. D.44. Peter Zorn: De Hymnorum ecclesiasticorum Latinorum Collectoribus. In his Opuscula Sacra, Altona, 1731 and 1743.44b. D. Galle: De Hymnis Ecclesiae veteris. Wittemberg, 1736. Pp. 16, 4to.45.I. H. a Seelen, de poesi Christ. non a tertio post. Chr. nat. seculo, etc., deducenda.—Lubecae, 1754.46. J. G. Baumann: De Hymnis et Hymnopoeis veteris et recentioris Ecclesiae. Bremen, 1765.47a. Mart. Gerbert: De Cantu et Musica Sacra, a prima Ecclesiae aetate usque ad praesens tempus. 2 vols., 4to. St. Blaise, 1774.47b. Mart. Gerbert: Scriptores Ecclesiastici de Musica Sacra, potessimum ex variis Italiae, Galliae et Germaniae Manuscriptis collecti, et nunc primum publicâ luce donati. 3 vols., 4to. St. Blaise, 1784.This product of unwearied research contains,inter alia, treatises by Alcuin, Notker Labeo, Odo of Cluny, Guido of Arezzo, Hermann the Lame, Engelbert of Admont. Martin Gerbert (1720-93) was prince-abbot of St. Blaise in the Black Forest.48a. Faustino Arevalo: Hymnodia Hispanica ad Cantus Latinitatis, Metrique leges revocata et aucta; praemittitur Dissertatio de Hymnis ecclesiasticis eorumque correctione atque optima constitutione; Accedunt Appendix de festo conversionis Gothorum instituendo; Breviarii Quignoniani fata, etc. Rome, 1786.48b. Faustino Arevalo: Poetate Christiani: Prudentius, Dracontius, Juvencus, et Sedulius. 5 vols., quarto. Rome, 1788-94.The former of these works has been much used by Neale and Daniel.49. (Walraff:) Corolla Hymnorum sacrorum publicae devotioni inservientium. Veteres electi sed mendis quibus iteratis in editionibus scatebant detersi, strophis adaucti. Novi adsumpti, recentes primum inserti. Koeln, 1806.Taken chiefly from thePsalteriolum Cantionumof the Society of Jesus, of which the sixteenth edition had appeared in 1792 in the same city.50.F. Münter: Ueber die älteste Christliche Poesie.—Kopenhagen, 1806.51.* Anthologie christlicher Gesänge aus allen Jahrhunderten der Kirche nach der Zeitfolge geordnet und mit geschichtlichen Bemerkungen begleitet. Von Aug. Jak. Rambach. 6 vols. Altona, 1817-33.The first volume is occupied with the early and Middle Ages of the Church, especially the Latin Hymns, the texts being given with translations and notes. It merits the high praise Daniel gives it:studia praeclara Rambachii. S. W. D.52. M. F. Jack: Psalmen und Gesänge, nebst den Hymnen der ältesten Kirche, uebersetzt. 2 vols. Freiburg, 1817.Other German-Catholic translators are George Witzel (1550), a Mönch of Hildesheim (1776), F. X. Jahn (1785), F. J. Weinzerl (1817 and 1821), J. Aigner (1825), Casper Ett (1837), A. A. Hnogek (1837), Deutschmann (1839), R. Lecke (1843), M. A. Nickel (1845), H. Bone (1847), J. Kehrein (1853), G. M. Pachtler (1853), H. Stadelmann (1855), a Priest of the diocese of Münster (1855), J. N. Stoeger (1857), Theodor Tilike (1862), G. M. Pachtler (1868), P. J. Belke (1869), and Fr. Hohmann (1872). Silbert, Zabuesnig, Simrock, and Schlosser are given in their proper places in this list.53.* G. A. Bjorn: Hymni veterum poetarum Christianorum ecclesiae latinae selecti. Copenhagen, 1818.Bjorn was the Lutheran pastor of Vemmetofte, in Denmark. His selection is confined to the very early writers: Victorinus, Damasus, Ambrose and his school, Prudentius (theKathemerinon), and Paulinus of Nola. He has a good introduction and notes.54.* Adolf Ludewig Follen: Alte christliche Lieder und Kirchengesänge teutsch und lateinisch, nebst einem Anhange. Elberfeld, 1819.Chiefly hymns of the later Middle Ages or by the Jesuits. The author, who was a brother of Professor Follen of Harvard, ascribes theDies Iraeto Malabranca, 1278, Bishop of Ostia, and accepts theRequiescat a laboreas a funeral hymn actually sung by Heloise and her nuns over Abelard.Other German-Protestant translators, besides those given in this list at their proper places, are H. Freyberg (1839), Ed. von Mildenstein (1854), H. von. Loeper (1869), H. F. Müller (1869), J. Linke (1884), and Jul. Thikotter (1888).55. J. P. Silbert: Dom heiliger Sanger, oder fromme Gesänge der Vorzeit. Mit Vorrede von Fr. von Schlegel. Vienna and Prague, 1820.56. F. J. Weinzerl: Hymni sacri ex pluribus Galliae diocesium Brevariis collecti. Augsburg, 1820.57. Poetae ecclesiasticae Latini. 4 vols., in 12mo. Cambray, 1821-26.Embraces Fortunatus, Prudentius, Cherius, Tertullian, Cyprian, Juvencus, Sedulius, Belisarius, Liberius, Prosper, Arator, Lactantius, and Dracontius.58.* Johann Christoph von Zabuesnig: Katholische Kirchengesänge in das Deutsche übertragen mit dem Latein zur Seite. 3 vols. Augsburg, 1822.A second edition, with a Preface by Carl Egger, Augsburg, 1830. The collection is a large one, made from fourteen breviaries, three missals, and other church-books and private collections, besides one manuscript antiphonary. Although a Catholic priest, Zabuesnig selects (from Christopher Corner, 1573) and translates hymns by Melanchthon and Camerarius.59a. Gottl. Ch. Fr. Mohnike: Kirchen- und Literar-historische Studien und Mittheilungen. Stralsund, 1824.59b. Gottl. Chr. Fr. Mohnike: Hymnologische Forschungen. 2 vols. Stralsund, 1831-32.60.* Ludwig Buchegger: De Origine sacrae Christianorum Poeseos Commentatio. Freiburg, 1827.61.* Sir Alexander Croke: An Essay on the Origin, Progress, and Decline of Rhyming Latin Verse; with many Specimens. Oxford, 1828.62.* Jakob Grimm: Hymnorum veteris Ecclesiae XXVI Interpretatio Theotisca nunc primum edita. 4to, pp. 1830.Grimm’s “Habilitationsschrift” on entering on his professorship at Göttingen. It is from the manuscript presented in the seventeenth century by Francis Junius to the University of Oxford, which contains twenty-six hymns by Ambrose and his school, with a prose version in Old High German of the eighth or ninth century. Four of the hymns had never appeared in any previous collection.63a. Rev. Isaac Williams: Thoughts in Past Years. London, 1831. A sixth edition in 1832.Contains twelve versions of Ambrosian and other primitive hymns.63.* Hoffmann von Fallersleben: Geschichte des deutschen Kirchenliedes bis auf Luther’s Zeit. Hannover, 1832. Second edition, 1854; third edition, *1861.Shows the transition from Latin to German in popular use, and discusses the history of forty-five Latin hymns in this connection.64. F. Martin: Specimens of Ancient Hymns of the Western Church, transcribed from anMS.in the University Library of Cambridge, with Appendix of other Ancient Hymns. Pp. 36, octavo. Norwich, 1835.Privately printed in fifty-six copies.65.* J. C. F. Bähr: Die Christlichen Dichter und Geschichtschreiber Roms. Eine literärhistorische Uebersicht. Carlsruhe, 1836. New edition, 1872.66a.* Rev. John Chandler: The Hymns of the Primitive Church, now first collected, translated, and arranged. London, 1837.Contains 108 Latin hymns with Chandler’s translation, several of which were adopted by the editors ofHymns Ancient and Modern. Mr. Chandler died, July 1st, 1876.66b.* Bishop Richard Mant: Ancient Hymns from the Roman Breviary. London, 1837. New edition, 1871 (272 pages).Dr. Mant was Bishop of Down and Connor in the Irish Established Church, and died November 2d, 1848. He was an original Latin poet of some note, and a writer of English hymns.67.* (J. H. Newman:) Hymni Ecclesiae. Pars I., e Breviario Parisiensi; Pars II., e Breviariis Romano, Sarisburiensi, Eboracensi et aliunde. Oxford, 1838.A new edition, London, 1865.This collection, sometimes known as the Oxford Hymns, was prepared by Cardinal Newman while he was still a presbyter of the Anglican Church, and exhibits everywhere his cultivated taste. Many of the hymns it includes are not to be found in other collections. This is especially true of the hymns from the Paris Breviary of 1736, which make up half the book. S. W. D.68.* Rev. Isaac Williams: Hymns translated from the Paris Breviary. London, 1839.These translations had already appeared inThe British Magazineabout 1830. Mr. Williams takes rank next after Keble among the poets of the Tractarian movement. He died in 1865.69.* Ioseph Kehrein: Lateinische Anthologie aus den christlichen Dichtern des Mittelalters. Für Gymnasien und Lyceen herausgegeben und mit Anmerkungen begleitet. Erster Theil. Die acht ersten christlichen Jahrhunderte. Frankfurt a. M., 1840.An anthology prepared with great labor and small judgment by a prosaic scholar. S. W. D.70a.* Friedrich Gustav Lisco: Dies Irae, Hymnus auf das Weltgericht. Als Beitrag zur Hymnologie. Pp. 156. Great 4to. Berlin, 1840.70b. Friedrich Gustav Lisco: Stabat Mater. Hymnus auf die Schmerzen Mariä. Nebst einem Nachtrage zu den Uebersetzungen des Hymnus Dies Irae. Zweiter Beitrag zur Hymnologie. Great 4to. Pp. 58. Berlin, 1843.71.* (Professor Henry Mills:) The Hymn of Hildebert, and the Ode of Xavier, with English Versions. Auburn, 1840.72.* Hermann Adalbert Daniel: Hymnologischer Blüthenstrauss aus dem Gebiete alt-lateinischer Kirchenpoesie. 12mo. Halle, 1840.Professor Daniel’s first appearance in a field in which he still is the highest authority. Besides his Thesaurus and this little precursor to it, and the dissertation mentioned below, he labored in German hymnology, editing anEvangelisches Kirchen-Gesangbuchin 1842, and Zinzendorf’s hymns in 1851. He also took part in the preparation of the standard German hymn-book of the Eisenach Conference, which is intended to put an end to the unlimited variety of hymn-books in the local churches of Germany. For Ersch and Gruber’s hugeEncyclopädie, he wrote the article “Gesangbuch,” which is reprinted in hisZerstreute Blätter(Halle, 1840). And besides all this he published in 1847-53 aCodex Liturgicus Ecclesiae Universae, and was a leading authority in Pedagogics and in Geography.73.* Ferdinand Wolf: Ueber die Lais, Sequenzen und Leiche. Ein Beitrag zur Geschichte der Rhythmischen Formen und Singweisen der Volkslieder und der Volksmässigen Kirchen- und Kunstlieder im Mittelalter. Mit VIII Facsimiles und IX Musikbeilagen. Heidelberg, 1841.74.* Hermann Adalbert Daniel: Thesaurus Hymnologicus sive hymnorum canticorum sequentiarum circa annum MD usitatarum collectio amplissima. Carmina collegit, apparatu critico ornavit, veterum interpretum notas selectas suasque adiecit. V Tomi. Leipzig, 1841-56.Still the chief text-book for the student of Latin hymnology. Vols. I. (1841) and IV. (1855) contain the Hymns. Vols. II. (1844) and V. (1856), the Sequences. Vol. III. (1846), Hymns of the Greek and Syrian Churches. To Vol. V. Dr. Neale contributes a Latin introduction on the nature of the Sequence.In the two last volumes Daniel uses freely and with acknowledgment the labors especially of Mone and Neale. The fifth volume contains also indices to all five volumes by first lines, and also a topical index. The worst defect of the book is the poorness of this latter. Next to that is its author’s very insufficient preparation for his work when he published his two first volumes; but that probably was unavoidable. Vols. IV. and V. show how much he had grown in his mastery of his field of labor. But his learning and his care give his book a place inferior to none.75.* K. E. P. Wackernagel: Das Deutsche Kirchenlied von Martin Luther bis auf Nicolaus Herman und Ambrosius Blaurer. Stuttgart, 1841.Wackernagel’s first and shorter work. Recognizing in the Latin hymns the starting-point of German hymnology, he begins his book with thirty-seven pages of Latin hymns and sequences, taken mostly from Lossius and Rambach, with some from theHymni et Collectaeof 1585.75b. A. D. Wackerbarth: Lyra Ecclesiastica: a Collection of Ancient and Godly Latin Hymns, with an English Translation. Two series. London, 1842-43.76a.* Edélestand du Meril: Poesies populaires latines anterieures au douzième siècle. Paris, 1843.This book, like the similar work of Thomas Aldis Wright, contains the popular Latin poetry of the Middle Ages previous to the twelfth century. But it also contains the first part of the hymns of Abelard, and it is from this volume that Trench and March took their examples of his poetry. The later discovery of the entire hymnarium prepared for the Abbey of the Paraclete emphasizes the importance of De Meril’s researches. S. W. D.76b. Edélestand du Meril: Poesies populaires latines du Moyen Age. Paris, 1847.A continuation of his first work of 1843. Both are used freely by Daniel in his later volumes and by Mone.77.* Jacques Paul Migne: Patrologiae Cursus Completus, sive Bibliotheca Universalis, Integra, Uniformis, Commoda, Oeconomica omnium Patrum, Doctorum Scriptorumque Ecclesiasticorum qui ab Aevo Apostolico ad Innocentii III Tempora floruerunt. CCXXI Tomi Paris, 1844-55. New edition begun in 1878.For the Christian Poets, see the following volumes: Abelard, 168; Adam of St. Victor, 196; Alan of Lisle, 210; Ambrose, 16 and 17; Anselm of Canterbury, 158; Bede, 94; Bernard of Clairvaux, 184; Damasus, 13; Drepanius Florus, 61; Elpis, 63; Ennodius, 63; Eugenius, 87; Florus, 110: Venantius Fortunatus, 88; Fulbert, 141; Godeschalk, 141; Gregory the Great, ——; the Emperor Henry, 140; Heribert of Eichstetten, 141; Hilary, 10; Hildebert, 171; Hincmar, 125; Innocent III., 217; Isidore, 83; John Scotus Erigena, 122; Juvencus, 19; Claudianus Mamertus, 53; Marbod, 171; Notker, 131; Odo of Cluny, 142; Paulinus of Nola, 61; Peter Damiani, 145; Peter of Cluny, 189; Prudentius, 59; Rabanus Maurus, 112; Robert II, 141; Ratpert of St. Gall, 87; Coelius Sedulius, 19; Walafried Strabo, 114; Tutilo of St. Gall, 87; Paul Warnefried, 95.Anonymous poems as follows: IId and IIId centuries, 2; IVth century, 7; Vth century, 61; VIIth century, 87; IXth century, 98; XIth century, 151; XIIth century, 190.78.* C. Fortlage: Gesänge Christl. Vorzeit. Auswahl der vorzüglichsten aus den Griechischen und Lateinischen übersetzt. Berlin, 1844.78a.* (John Williams): Ancient Hymns of Holy Church. Pp. 128, 12mo. Hartford, 1845.Contains original translations of forty Latin hymns, mostly Ambrosian and other early hymns in the abbreviated versions of the Roman Breviary. Twenty-two of Isaac Williams’s translations of hymns from the Paris Breviary are appended. The author was at the time rector of St. George’s church in Schenectady, and in 1851 became bishop of Connecticut.79.* K. I. Simrock: Lauda Syon, altchristliche Kirchenlieder und geistliche Gedichte, lateinisch und deutsch. Köln, 1846.A second edition in 1868. One of the most eminent Germanists, and an extremely felicitous translator (1802-76).80.* G. A. Königsfeld: Lateinische Hymnen und Gesänge aus dem Mittelalter, deutsch, unter Beibehaltung der Versmasse. Nebst Einleitung und Anmerkungen; unter brieflicher Bemerkungen und Uebersetzungen von A. W. Schlegel. Bonn, 1847.An admirably done piece of work. Specimens from twenty-five authors, with twenty anonymous hymns chiefly of the Jesuit school. A second series in 1865.81.* Richard Chenevix Trench: Sacred Latin Poetry. London, 1849. Second edition, 1864; third edition, 1878.Archbishop Trench’s little book has had a wide popularity, and many persons have been induced by it to take a deeper interest in the subject. But it is disfigured by its arrangement, which excludes everything that cannot be safely employed by Protestants. Lines are omitted from Hildebert; theStabat Materof Jacoponus is absent, and thePange linguaof Aquinas is also missing. Moreover the notes, which have been easily prepared from Latin sources, are scarcely satisfactory. Yet, take it for all in all, it is a volume that may be highly commended, for the archbishop is a poet, and has a poet’s appreciation of the beautiful. We are indebted to him for hymns from Marbod, Mauburn, W. Alard, Balde, Pistor, and Alan of Lisle, which are not readily found. S. W. D.There is much in the recent biography of Archbishop Trench which is of interest to hymnologists, especially his correspondence with Dr. Neale.82a.* Edward Caswall: Lyra Catholica: containing all the Hymns of the Roman Breviary and Missal, with others from various Sources. London, 1849; New York, 1851. New edition, London, 1884.Mr. Caswall was one of the clergymen who left the Church of England for the Roman communion with Dr. Newman. Some of his translations, especially of Bernard of Clairvaux, are among the most felicitous in the language. The American edition has an Appendix of “Hymns, Anthems, etc., appropriate to particular occasions of devotion.” It is this edition which has been abridged in the first volume of theHymns of the Ages(1858).82b. J. R. Beste: Church Hymns in English, that may be sung to the old church music. With approbation. London, 1849.83.* D. Ozanam: Documents inedits pour servir a l’Histoire litteraire de l’Italie depuis le VIIIe Siecle jusq’au XIIIe. Paris, 1850.Pages 221-57 is an account of a collection of two hundred and forty-three Latin hymns found in a Vatican manuscript, which he assigns to the ninth century, and to the Benedictines of Central Italy. He prints those not found in Daniel. Reprinted in Migne’sPatrologia: 151; 813ff.84. Hymnale secundum Usum insignis et praeclarae Ecclesiae Sarisburiensis. Littlemore, 1850.85.* Hymnarium Sarisburense, cum Rubricis et Notis Musicis. Variae inseruntur lectiones CodicumMSS.Anglicorum, cum iis quae a Geo. Cassandro, J. Clichtoveo, J. M. Thomasio, H. A. Daniel, e Codd. Germanis, Gallicis, Italis, erutae sunt. Accedunt etiam Hymni et Rubricae e Libris secundum usus Ecclesiarum Cantuariensis, Eboracensis, Wigornensis, Herefordensis, Gloucestrensis, aliisque Codd.MSS.Anglicanis excerpti. Pars prima. London and Cambridge, 1851.Gives hymns and various readings from twenty-six English manuscripts.86.* Joseph Stevenson: Latin Hymns of the Anglo-Saxon Church; with an Interlinear Anglo-Saxon Gloss, from a Manuscript of the Eleventh Century in Durham Library. Edited for the Surtees Society. London and Durham, 1851.Of some value as showing what hymns were used in the early English Church, before the Norman Conquest. The gloss is not Northumbrian, as might be supposed from its being found in the Library of the Dean and Chapter of Durham, but West-Saxon, probably from Winchester.86b. Boetticher: Hymns of the old Catholic Church of England. Halle, 1851.87.* Joh. F. H. Schlosser: Die Kirche in ihren Liedern durch all Jahrhunderte. 2 vols. Mainz, 1851-52. Second edition. Freiburg, 1863.Translations without texts, but some valuable notes, especially to later hymns. The first volume is devoted to the Latin hymns, and contains the beautiful fragment of a lost sequence which Schlosser heard from his brother in 1812. It represents the Apostle Paul weeping over the grave of Virgil at Puteoli:

Adjuvent nos eorum merita,Quos propria impediunt scelera?Excuset eorum intercessio,Quos propria accusat actio?At tu, qui eis tribuistiCoelestis palmam triumphi,Nobis veniam non deneges peccati.In the same spirit he and his associates edited the first great Protestant work on Church history—theMagdeburg Centuries(1559-74, in thirteen folio volumes). The first Protestants hadno more idea of surrendering the history of the Church to the champions of the Roman Catholic Church, than of giving up to them the New Testament. They held that down through all the ages ran a double current of pure Christianity and scholastic perversion of that, and that the Reformation succeeds to the former as the Tridentine Church to the latter. This especially as regards the great central point in controversy, the part of grace and of merit in the justification of the sinner. And they found the proof of this continuity especially in the devotions of the early Church. They found themselves in that great prayer of the Franciscan monk, which the Roman Missal puts into the mouth of her holiest members as they gather around the bier of the dead:Quid sum miser tunc dicturus,Quem patronum rogaturus,Quum vix justus sit securus?Rex tremendae majestatis,Qui salvandos salvas gratis,Salve me, fons pietatis!“Whenever in the Middle Ages,” says Albrecht Ritschl, “devotion, so far as it has found articulate expression, rises to the level of the thought that the value of the Christian life, even where it is fruitful of good works, is grounded not upon these as human merits, but upon the mercy of God ... then the same line of thought is entered upon as that in which the religious consciousness common to Luther and Zwingli was able to break through the connection which had subsisted between Catholic doctrine and the Church institutions for the application of salvation.... Whenever even the Church of Rome places herself in the attitude of prayer, it is inevitable that in the expression of her religious discernment, in thanksgiving and petition, all the benefits of salvation should be referred to God or to Christ; the daily need for new grace, accordingly, is not expressed in the form of a claim based upon merits, but in the form of reliance upon God.”[26]That the Latin hymns of those earlier centuries show a steadily increasing amount of unscriptural devotion to the mother of our Lord and to His saints, and of the materializing view of our Lord’s presence with His Church in the Communion, is undeniable. But even in these matters the hymns of the primitive and mediaeval Church are a witness that these and the like misbeliefs and mispractices are a later growth upon primitive faith and usage.The first generation of Protestants, to which Luther, Melanchthon, and Zwingli belong, had been brought up on the hymns of the Breviary and of the Missal, and they did not abandon their love for these when they ceased to regard the Latin tongue as the only fit speech for public worship. They showed their relish for the old hymns, by publishing collections of them, by translating them into the national languages, by writing Latin hymns in imitation of them, and even by continuing their use in public worship to a limited extent.As collectors and editors of the old Latin hymns, the Protestants of the sixteenth century surpassed the Roman Catholics of that age. Over against the names of Hermann Torrentinus (1513 and 1536), Jacob Wimpheling (1519), Joste Clichtove (1515-19), Jacob van Meyer (1535), Lorenzo Massorillo (1547), and George Cassander (1556), the Roman Catholic hymnologists of the half century which followed the Reformation, we may place the anonymous collector of Basel (1538), Johann Spangenberg (1545), Lucas Lossius (1552et seq., with Preface by Melanchthon), Paul Eber (1564), George Fabricius (1564), Christopher Corner (1568), Hermann Bonn (1569), George Major (1570), Andreas Ellinger (1573), Adam Siber (1577), Matthew Luidke (1589), and Francis Algerman (1596). All these, with the possible exception of the first, were Lutherans, trained in the humanistic school of Latin criticism and poetry; but only two of them found it needful or desirable to alter the hymns into conformity with the tastes of the age. The collections of Hermann Bonn, the first Lutheran superintendent of Lubeck, and that of George Fabricius, are especially important, as faithfully reproducing much that else might have been lost to us.The work of translating the old Latin hymns fell especially to the Lutherans. Roman Catholic preference was no stronger for the original Latin than that of the Reformed for the Psalms. Of the great German hymn-writers from Luther to Paul Gerhardt, nearly all made translations from the storehouse of Latin hymnody, Bernard of Clairvaux being the especial favorite with Johann Heermann, John Arndt, and Paul Gerhardt. And even in hymns which are not translations, the influence of the Latin hymns is seen in the epic tone, the healthy objectivity of the German hymns of this age, in contrast to the frequently morbid subjectivity of those which belong to the age of Pietism.More interesting to us are the early translations into English. The first are to be found in thePrimerof 1545, a book of private devotions after the model of the Breviary, published in Henry VIII.’s time both in English in 1545 and again in Latin (Orarium) in 1546. In the next reign a substitute for this in English alone was prepared by the more Protestant authorities of the Anglican Church, in which, besides sundry doctrinal changes, the hymns were omitted. But the scale inclined somewhat the other way after Elizabeth’s accession. The EnglishPrimerof 1559 and the LatinOrariumof 1560 are revised editions of her father’s, not of her brother’s publications. The parts devoted to the worship of Mary are omitted, but the prayers for the dead and the hymns are retained. These old versions are clumsy enough, but not without interest as the first of their kind. Here is one with the original text from theOrarium, differing from any other authority known to us:Rerum Creator omnium,Te poscimus hoc vesperiDefende nos per gratiamAb hostis nostri fraudibus.Nullo ludamur, Domine,Vel somnio vel phasmate:In Te cor nostrum vigilet,Nec dormiat in crimine.Summe Pater, per FiliumLargire quod Te poscimus:Cui per sanctum SpiritumAeterna detur gloria. Amen.O Lord, the Maker of all thing,We pray thee now in this eveningUs to defend, through thy mercy,From all deceit of our enemy.Let us neither deluded be,Good Lord, with dream nor phantasy.Our heart waking in thee thou keep,That we in sin fall not on sleep.O Father, through thy blessed Son,Grant us this our petition;To whom, with the Holy Ghost, alwaysIn heaven and earth be laud and praise. Amen.It is not wonderful that when the Anglo-Catholics sought to revive thePrimeras “the authorized book of Family and Private Prayer” on the same footing as the Prayer book, they took the liberty of substituting modern versions of the hymns for these “authorized” translations.[27]But thePrimer, whatever its authority, never possessed that much more important requisite to success—vitality. A very few editions sufficed for the demand, and Bishop Cosin’s attempt to revive it in Charles I.’s time only provoked a Puritan outcry against both him and it. Rev. Gerard Moultrie has attempted to revive it in our own time, as “the only book of private devotion which has received the sanction of the English Church,” and has not achieved even thus much of success. No Prynne has assailed him.In the Book of Common Prayer, besides such “canticles” as theGloria in Excelsisand theTe Deum, there is but one hymn, an English version of theVeni, Creator Spiritusin the Ordination Service. It is the wordiest of all known versions, rendering one hundred and five Latin by three hundred and fifty-seven English words, but is not without its old-fashioned felicities. The revisers of 1661 cut it down by omitting just half of it, and modernized the English in a number of places. Its very verbosity seems to have suggested Bishop Cosin’s terse version, containing but four morewords than the original, which, however, it somewhat abridges. This was inserted in 1661 as an alternate version. The author of the paraphrase in the Prayer-Book is unknown. It is not Bishop Coverdale, as his, although translated at second-hand from Luther, as, indeed, all his hymns are from some German source, is far closer and less wordy.[28]It also was adopted into the old Scottish Psalter of the Reformation, where it appears in the appendix, along with a metrical version of the Apostle’s Creed and other “uninspired compositions.”From the Reformation until about fifty years ago, there was among English-speaking people no interest in Latin hymnology worth speaking of. A few Catholic poets, like Crashaw and Dryden, honored their Church versions from the hymns of the Breviary. But even John Austin, a Catholic convert of 1640, when he prepared hisDevotions in the Ancient Way of Officesafter the model of the Breviary, wrote for it hymns of his own instead of translating from the Latin. Some of these (“Blessed be Thy love, dear Lord,” and “Hark, my soul, how everything”) have become a part of our general wealth. Of course some versions of a homely sort had to be made for Catholic books of devotion, and I possessThe Evening Office of the Church in Latin and English(London, 1725), in which the Vesper hymns of the Roman Breviary are closely and roughly versified. It is notable that “the old hymns as they are generally sung in churches”—i.e., the hymns as they stood before the revision of 1631, are printed as an appendix to the book, showing how slow English Catholics were to accept the modernization of the hymns which the papacy had sanctioned nearly a century before.Mr. Orby Shipley, in hisAnnus Sanctus(London, 1884), gives a large number of these early versions from the Roman CatholicPrimersof 1619, 1684, 1685, and 1706; from theEvening Officeof 1710, 1725, and 1785; and from theDivine Officeof 1763 and 1780. The translations of 1619 have been ascribed to William Drummond, of Hawthornden, and those of 1706 to Dryden. Drummond was the first Scotchman who adopted English as the language of literature, and although a Protestant, he belonged to the Catholicizing party represented by William Forbes, the first Protestant bishop of Edinburgh. Three hymns are given in Sir Walter Scott’s edition of Dryden on the authority of English Roman Catholic tradition, the best known being his version of theVeni Creator Spiritus. These three are found in thePrimerof 1706, along with versions of the other hymns of the Roman Breviary sufficiently like them to suggest that they are all by the same hand. But this judgment is disputed.Among Protestants the neglect was as great. So profuse a writer of hymns for the Christian year as George Wither translated only theTe Deumand theVeni, Creator Spiritusinto English verse.[29]Tate and Brady, in theirSupplement(1703) to theirNew Version of the Psalms(1696), published a translation of theVeni, Creator Spiritus. But Bishop Symon Patrick was the only hymn-writer of that age who may be said to have given any special attention to Latin hymns. His hymns were chiefly translations from that source, especially Prudentius, and Lord Selborne mentions that ofAlleluia, dulce carmen, as the best.The Methodist revival, which did so much to enrich our store of hymns, and which called attention anew to those of Germany, accomplished nothing for us as regards Latin hymns. The Earl of Roscommon’s translation of theDies Irae(1717), and Dr. Johnson’s affecting reference to the stanza,Quaerens me sedisti lassus, ...stand almost alone in that age. It was not until the Romantic movement in Germany and then in England broke the bonds of amerely classic culture, taught the world the beauty of Gothic art, and obliged men to revise their estimate of the Middle Ages, that the singers of the praises which sounded through those earlier centuries had a fair chance to be judged at their real worth. The forerunner of that movement was Johann Gottfried von Herder, who indeed may be said to have anticipated the whole intellectual movement of the past century, Darwinism not excepted. From his friend and master Hamann, “the Magus of the North,” he had learned “the necessity for a complete and harmonious expression of all the varied faculties of man,” and that “whatever is isolated or the product of a single faculty is to be condemned.” This made him as much discontented with the eighteenth century and its literature and philosophy of the enlightened understanding, as Hamann himself was. It was the foundation for that Catholic taste which enabled him to appreciate the excellence of all those popular literatures which are the outflow of the life of whole peoples. HisVoices of the Peoplesdid for the Continent what Bishop Percy’sReliquesdid for England, and did it much better. He saw that “the people and a common sentiment are the foundations of a true poetry,” and the literature of the schools and that of polite society are equally condemned to sterility. For this reason he had small respect for that classic Latin literature at whose bar every modern production was impleaded. He found far more genuine life and power in the Latin poems of the Jesuit father, Jacob Balde, and still more in the hymns of the Latin Church. HisLetters for the Promotion of Humanity(1794-96) contain a passage of classic importance:“The hymns which Christianity introduced had for their basis those old Hebrew Psalms which very soon found their way into the Church, if not as songs or anthems, at any rate as prayers.... The songs of Mary and of Zacharias, the Angelic Salutation, theNunc Dimittisof Simeon, which open the New Testament, gave character more immediately to the Christian hymns. Their gentler voice was more suitable to the spirit of Christianity than even the loud trumpet note of that old jubilant Hallelujah, although that note was found capable of many applications, and was now strengthened with the words of prophet or psalmist, now adapted to gentler strains. Over the graves of the dead, whose resurrection was already present to the spirit’s vision, in caves and catacombs, first were heard these psalms of repentance and prayer, of sorrow and hope, until after the public establishment of Christianity, they stepped out of the dark into the light, out of solitude into splendid churches, before consecratedaltars, and now assumed a like splendor in their expression. There is hardly any one who can listen to theJam moesta quiesce querulaof Prudentius without feeling his heart touched by its moving strains, or who can hear the funeral sequenceDies irae, dies illa, without a shudder, or whom so many other hymns, each with its own character—e.g.,Veni, Redemptor gentium;Vexilla Regis prodeunt;Salvete flores Martyrum;Pange, lingua, gloriosi, etc., will fail to be carried into that frame of feeling which each seeks to awaken, and with all its humility of form and its churchly peculiarities, never fails to command. In one there sounds the voice of prayer; another could find its accompaniment only in the harp; in yet another the trumpet rings, or there sounds the thousand-voiced organ, and so on.“If we seek after the reason of this remarkable effect, which we feel in hearing these old Christian hymns, we find it somewhat peculiar. It is anything but the novelty of thethoughtswhich here touches and there shakes us. Thoughts in these hymns are found but sparingly. Many are merely solemn recitations of a well-known story, or they are familiar petitions and prayers. They nearly all repeat each other. Nor is it frequently surprisingly fine and novel sentiments with which they somehow permeate us; the novel and the fine are not objects in the hymns. What, then, is it that touches us?SimplicityandVeracity. Here sounds the speech of a general confession of one heart and one faith. Most of them are constructed either so as to be fit for use every day of the year, or so as to be used on the festivals of the various seasons. As these come round there comes with them in constant recurrence their rehearsal of Christian doctrines. There is nothing superfine in the hymns as regards either emotion, or duty, or consolation. There reigns in all of them a general popularity of content, expressed in great accents. He who seeks novel thoughts in aTe Deumor aSalve Reginalooks for them in the wrong place. It is just what is every day and always known, which here is to serve as the garb of truth. The hymn is meant to be an ambrosial offering of nature, deathless like that, and ever returning.“It follows that, as people in these Christian hymns did not look for the grace of classic expression or the pleasurable emotion of the instant—in a word, what we expect from a work of art, they produced the strangest effects at once after their introduction. Just as Christian hands overthrew the statues and temples of the gods in honor of the unseen God, so these hymns contained a germ which was to bring about the death of the pagan poetry. Not only were those hymns to gods and goddesses, heroes and geniuses, regarded by the Christians as the work of unbelievers or misbelievers, but the germ from which they sprang, the poetic and sportive fancy, the pleasure and rejoicing of the peoples in their national festivals, were condemned as a school of evil demons; yes, even the national pride, to which those songs appealed, was despised as a perilous though splendid sin. The old religion had outlived its time, the new had won its victory, when the absurdity of idol-worship and pagansuperstitions, the disorders and abominations which attended the festivals of Bacchus, Cybele, and Aphrodite, were brought to the light of day. Whatever of poetry was associated with these was a work of the devil. There began a new age for poetry, music, speech, the sciences, and indeed for the whole direction of human thought.”As the Romanticist movement gained ground in Germany, attention to the early hymns increased. Even Goethe, theweltkindamong the prophets, was influenced. Hence his use of theDies Iraein the first part ofFaust, although he was pagan enough to care for nothing at Assisi except the Roman remains. A. W. Schlegel made a number of translations for theMusen-Almanach. Then came the long series of German translators, of whom A. J. Rambach, A. L. Follen (brother of Professor Charles Follen of Harvard), Karl Simrock (1850 and 1866), and G. A. Koenigsfeld (1847 and 1865) are the most notable. Much more important to us are the German collectors: G. A. Björn (a Dane, 1818), J. C. von Zabuesnig (1822 and 1830), H. A. Daniel (Blüthenstrauss, 1840;Thesaurus, 1841-56), F. J. Mone (1853-55), C. B. Moll (1861 and 1868), P. Gall Morel (1866), Joseph Kehrein (1873). To the unwearied thoroughness of these editors, more than of any other laborers in this field, we owe our ampler access to the treasures of Latin hymnody. But what field of research is there in which the scholarship of Germany has not laid the rest of the world under obligations?In English literature the Romanticist movement begins properly with Sir Walter Scott. Himself a Presbyterian, he was brought up on the old Scotch Psalm-book, for which he entertained the same affection as did Burns, Edward Irving, Campbell, Carlyle, and Archdeacon Hare. He opposed any attempt to improve it, on the ground that it was, “with all its acknowledged occasional harshness, so beautiful that any alterations must eventually prove only so many blemishes.” But his literary tastes led him to a lofty appreciation of the Anglican liturgy—a circumstance which has led many to class him as an Episcopalian—and equally for the poetry of the mediaeval hymns. His vigorous version of a part of theDies Iraeinserted inThe Lady of the Lake(1805) gives him his smallest claim to mention in the history of hymnody. It was the new atmosphere he carried into the educated world, his fresh and hearty admiration of admirable things in the MiddleAges, which had been thought barbarous, that makes him important to us. He gave the English and Scottish people new weights and measures, new standards of critical judgment, which emancipated them from narrow, pseudo-Protestant traditions. He made the great Church of undivided Western Europe intelligible. No doubt many follies resulted from this novel lesson, the worst of all being contempt for Luther and his associates in the Reformation. The negations which attend such revolutions in opinion always are foolish exaggerations. It is the affirmations which are valuable and which remain. And Romanticism for more than half a century has been affecting the religious, the social, the intellectual life of Great Britain and America in a thousand ways, and with, on the whole, positive and beneficial results. Its most powerful manifestation was in the Oxford movement,[30]but both in its causes and its effects it has transcended the limits which separate the divided forces of Protestantism.Naturally the Oxford movement was the first to turn attention to the hymns of the Middle Ages, or what it regarded as such. We use this qualified expression because its leaders at the outset were much better poets than hymnological scholars, and welcomed anything in the shape of a Latin hymn as “primitive,” no matter what. Isaac Williams, in theBritish Magazinein 1830, published a series of translations of “primitive hymns” which he gathered into a volume in 1839. They were from the Paris Breviary, of whose hymns only one in fourteen were older than 1685, and most of them not yet a hundred years old. Rev. John Chandler, in hisHymns of the Primitive Church(1837), drew on Santeul and Coffin with equal freedom, evidently supposing he was going back to the early ages for his originals. Bishop Mant, in hisAncient Hymns from the Roman Breviary(1837), did a littlebetter, although not half-a-dozen hymns in that Breviary are unaltered from their primitive forms, and many are no older than the fifteenth or sixteenth century. Rev. Edward Caswall, an Oxford convert to the Church of Rome, naturally confined hisLyra Catholica(1849) to the Breviary hymns, supplementing those of Rome with some from Paris. The first collection published by Dr. Newman (Hymni Ecclesiae, Pars I., 1839) was confined to the Paris Breviary, but with the notice that they “had no equal claim to antiquity” with “the discarded collections of the ante-reform era.” But he claimed on rather slight ground that they “breathe an ancient spirit, and even where they are the work of one pen, are the joint and indivisible contribution of many ancient minds.” This is an opinion of the work of Santeul and Coffin in which neither Cardinal Newman nor the Gallican Church would agree to-day.In fact, these English scholars, with their constant habit of making Latin verse after classic models from their school-days, and their entire want of familiarity with post-classic Latin, found what pleased them best in the two Breviaries of Rome and Paris. With that they seemed likely to stop. It was Dr. John Mason Neale (1851-58) who, among translators, first broke these bounds, went to the older sources, and introduced to English readers, both by his collections and his translations, the great hymns of the Western Church. As a translator he leaves much to be desired. His ideas as to faithful reproduction of the form of his originals are vague. His hymns too often might be said to be based on the Latin text rather than to reproduce it. But they are spirited poems, whose own vigor and beauty sent readers to the original, and they were not disappointed.From that time we have had a series of excellent workers in this field—John Keble, Rev. W. J. Blew (1855), Mr. J. D. Chambers (1857 and 1866), Rev. J. W. Hewett (1859), Sir Henry Baker (1861 and 1868), Rev. Herbert Kynaston (1862), Rev. J. Trend (1862), Rev. P. S. Worsley (1863), Earl Nelson (1857 and 1868), Rev. Richard F. Littledale (1867), R. Campbell, of the Anglo-Catholicparty; and Dean Stanley, Mrs. Charles (1858 and 1866) and Dr. Hamilton Magill (1876) outside its ranks. Theirs have been no inconsiderable part of those labors which have made the last thirty years the golden age of English hymn-writing, surpassing even the era of the Methodist revival.In America the work was begun in 1840 with a modest little volume published at Auburn, in New York, and ascribed by Mr. Duffield to Dr. Henry Mills of Auburn Theological Seminary, who in 1856 also published a volume of translations of German hymns. His earlier book wasThe Hymn of Hildebert and the Ode of Xavier, with English Versions, and contained thirty-five duodecimo pages. Next in order came Dr. John Williams, Bishop of Connecticut, withAncient Hymns of the Holy Church(1845). Dr. William R. Williams of New York, in his address on “The Conservative Principle in our Literature,” delivered in 1843, made a reference to theDies Irae, which gave him the occasion to publish in an Appendix the literary history of the great hymn, giving the text along with Dr. Trench’s version and his own. This seems to have given the impulse which has made America so prolific in translations of that hymn, only Germany surpassing us in this respect. Dr. Abraham Coles may be said to have led off with his volume, containing thirteen translations in 1847. But it was not until after the war for the Union that the productive powers of American translators were brought into play. Much, no doubt, was due to foreign impulse, especially from Dr. Trench and Dr. Newman; but it is notable that in America far more work has been done outside than inside the Episcopalian communion.Dr. Coles again in 1866, Mr. Duffield in 1867, Chancellor Benedict in 1869, Hon. N. B. Smithers in 1879 and 1881, and Mr. John L. Hayes in 1887 published volumes of translations. But far more numerous are the poets whose versions of Latin hymns have appeared in various periodicals or in collections like Professor Coppée’sSongs of Praise(1866), Dr. Schaff’sChrist in Song(1869), Odenheimer and Bird’sSongs of the Spirit(1871), Dr. H. C. Fish’sHeaven in Song(1874), Frank Foxcroft’sResurgit(1879), and Dr. Schaff and Arthur Gilman’sLibrary of Sacred Poetry(1881 and 1886). Of these contributing poets we mention Dr. E. A. Washburn, whose translations have been collected in his posthumous volume,Voices from a Busy Life(1883); Dr.Ray Palmer, our chief sacred singer, whose versions of theO esca viatorumand theJesu dulcis memoriaare as classic as his “My faith looks up to Thee;” Dr. A. R. Thompson, to whom the present volume is under great obligations; Rev. J. Anketell, another of its benefactors; Rev. M. Woolsey Stryker, Rev. D. Y. Heisler, Rev. Franklin Johnson, D.D., and Rev. W. S. McKenzie, D.D. Besides these we may mention the anthology of translations published by the Rev. F. Wilson (1859), of texts by Professor F. A. March (1874 and 1883), and of both texts and translations by Judge C. C. Nott (1865 and subsequent years).It is not, however, only as literature, but in the actual use of the American churches, that the Latin hymns have made a place for themselves. Since 1859, when the Andover professors published theSabbath Hymn and Tune-Book, with original translations furnished by Dr. Ray Palmer, there has been a peaceful revolution in American hymnology. Every one of the larger denominations and many of the smaller have provided themselves with new hymn-books, in which the resources of English, foreign, and ancient hymnology have been employed freely, and with more exacting taste as to sense and form, than characterized the hymn-books of the era before the war. While the compilers have drawn freely upon Caswall, Neale, Chandler, and the AnglicanHymns Ancient and Modern(1861), in many cases original translations were given, as inHymns of the Churchfor the (Dutch) Reformed Church, of which Dr. A. R. Thompson was one of the editors; and Dr. Charles Robinson’sLaudes Domini(1884), to which Mr. Duffield contributed. And there is evidence that the hymns thus brought into Church use from the storehouse of the earlier Christian ages have helped thoughtful Christians to realize more fully the great principle of the Communion of the saints—to realize that all the faithful of the present are bound in spiritual brotherhood with those who held to the same Head and walked in the light of the same faith in bygone centuries, even though it was with stumbling and amid shadows, from which our path by God’s good providence has been set free.CHAPTER XXXII.BIBLIOGRAPHICAL NOTES.The first sources of the Latin hymns and sequences are the manuscript and printed breviaries and missals of the Western Church. Both these have been explored by the collectors from Clichtove to Kehrein, although it cannot be said that the examination has been exhaustive either as regards the manuscripts or the printed books.The following is an approximate list of the printed breviaries which have been examined by modern collectors:LOCAL BREVIARIES.Aberdonense,Aberdeen,1509-10,Daniel.Ambrosianum,Milan,1557,Neale, Morel, Zabuesnig.Argentinense,Strasburg,1520,Neale.Basiliense,Basel,1493,Morel.Bracharense,1494,Neale.Caduncense,Cahors,Neale.Coloniense,Koeln,1521,Zabuesnig.Constantiense,Konstanz,1504, 1516,Morel, Daniel.Cordubiense,Cordova,1583,Morel.Cracoviense,Krakau,1524,Morel.Curiense,Kur,c. 1500,Morel.Eboracense,York,Neale, Newman.Erfordense,Erfurt,1518,Daniel.Friburgense,Freiburg,Daniel.Gallicum,France,1527,Morel.Halberstadtense,Halberstadt,1515,Daniel.Havelbergense,Havelberg,1518,Daniel.Herefordense,Hereford,1505,Neale.Lengres,Daniel.Lundense,Lund,1517,Daniel.Magdeburgense,Magdeburg,1514,Daniel.Merseburgense,Merseburg,1504,Daniel.Mindense,Minden,1490,Daniel.Misniense,Meissen,1490,Daniel.Mozarabicum,Old Spanish,1775,Daniel.Parisiense vet.,Paris (old),1527,Neale.Parisiense,1736,Newman, Zabuesnig.Pictaviense,Poitou,1515,Daniel.Placentinum,Piacenza,1503,Morel.Romanum vet.,Rome (old),1481, 1484, 1520,Kehrein.1497,Daniel.1543,Morel.Romanum,Rome (new),1631,Zabuesnig, Daniel.Roschildense,Roeskild,1517,Daniel.Salisburgense,Salzburg,1515,Neale, Daniel.Sarisburense,Salisbury,1555,Neale, Daniel, Newman.Slesvicense,Schleswig,1512,Daniel.Spirense,Speier,1478,Zabuesnig.Tornacense,Tournay,1540,Neale.Tullense,Toul,1780,Daniel.MONASTIC BREVIARIES.Augustinianorum,1557,Morel, Zabuesnig, Neale.Benedictinorum,1518, 1543,Daniel, Zabuesnig.Canonum Reg. Augustini,Zabuesnig.Carmelitarum,1759,Daniel, Zabuesnig.Carthusianorum,1500,Daniel, Zabuesnig.Cisterciensium,1510, 1752,Daniel, Zabuesnig.Franciscanorum,1481, 1486, 1495,Daniel, Zabuesnig.Humiliatorum,1483,Neale.Praemonstratensium,1741,Daniel, Zabuesnig.Praedicatorum,1482,Daniel, Zabuesnig.Servorum Mariae,1643,Daniel, Zabuesnig.LOCAL MISSALS.Aboense,Abo,1488,Daniel, Neale.Ambianense,Amiens,1529,Neale.Aquiliense,Aquileia,Daniel.Argentinense,Strasburg,1520,Neale.Athanatense,St. Yrieix,1531,Morel.Atrebatense,Arras,1510,Neale.Augustense,Augsburg,1510,Kehrein.Brandenburgense,Brandenburg,C., 1500,Daniel.Bursfeldense,Bursfeld,1518,Kehrein.Coloniense,Koeln,1504, 1520,Daniel, Kehrein.EychstadenseEichstädt,1500,Daniel.Frisingense,Freysingen,1514,Daniel.Hafniense,Copenhagen,Neale.Halberstatense,Halberstadt,1511,Kehrein.Herbipolense,Würzburg,1509,Neale, Kehrein.Leodiense,Liege,1513,Neale.Lubecense,Lubeck,C., 1480,Wackernagel.Magdeburgense,Magdeburg,1493,Wackernagel.Mindense,Minden,1515,Daniel, Kehrein.Moguntinum,Mainz,1482, 1497,Mone, Wackernagel.1507, 1513,Kehrein, Neale.Morinense,Neale.Narbonense,Narbonne,1528,Neale.Nidriosense,Trondhjem,1519,Neale.Noviemsense,Noyon,1506,Neale.Numburgense,Naumburg,1501, 1507,Wackernagel, Daniel.Parisiense vet.,Paris (old),1516,Neale.Parisiense,1739,Newman.Pataviense,Padua,1491,Daniel.Pictaviense,Poitou,1524,Neale.Pragense,Prag,1507, 1522,Neale, Daniel, Kehrein.Ratisbonense,Regensburg,1492,Daniel, Neale.Redonense,Rennes,1523,Neale.Salisburgense,Salzburg,1515,Neale.SarisburenseSalisbury,1555,Neale.Spirense,Speier,1498,Neale.Strengnense,Strengnaes,1487,Neale.Tornacense,Tournay,1540,Neale.Trajectense,Utrecht,1513,Neale.Upsalense,Upsal,1513,Neale.Verdense,Verden,1500,Neale.XantonenseSaintes,1491,Neale.MONASTIC MISSALS.Benedictinorum,1498,Neale, Kehrein.Cistercensium,1504,Daniel.Franciscanorum,1520,Kehrein.Praemonstratensium,1530,Daniel.Praedicatorum,1500,Zabuesnig.Of lesser church-books Zabuesnig has used theProcessionaleof the Dominicans or Preachers, and Newman that of the Church of York. Morel has drawn upon the ParisHoraeof 1519, and Daniel on theCantionaleof Konstanz of 1607.Yet this shows that either only a minority of the printed church-books of the fifteenth and sixteenth centuries have been examined, or else that the majority yielded nothing new in return for such examination.We proceed with the bibliography of the collections and the historical treatises and discussions which bear on Latin Hymnology, together with the most important volumes of translations. These we shall give in chronological order, and where the initials S. W. D. are appended to the comments, it will be understood that these are by Mr. Duffield, not by his editor. The numbers marked with an asterisk (*) indicate works employed in the preparation of the present volume.1. Sequentiarum Textus cum optimo Commento. (S. l. e. a.)Printed at Koeln (Cologne) by Henry Quentell in 1492 or 1494. The following is bound up with the early editions of this as a kind of appendix, but afterward frequently printed by itself.2. Expositio Hymnorum cum notabili [seufamiliari] Commento. (S. l. e. a.)Also printed at Koeln by Henry Quentell in 1492 or 1494, and 1506. Later editions are: Hagenau, 1493; Basil, 1504; Koeln, 1596; and many others.For the full reference,videDaniel, I.: xvii. There were many of these, and the most famous was long regarded as indispensable to the study of the Latin hymns. It is that of Clichtove. S.W.D.3.Liber hymnorum in metra noviter redactorum. Apologia et defensio poeticae ac oratoriae maiestatis. Brevis expositio difficilium terminorum in hymnis ab aliis parum probe et erudite forsan interpretatorum per Henricum Bebelium I ustingensem edita poeticam et humaniores litteras publice profitentem in gymnasio Tubingensi. Annotationes eiusdem in quasdam vocabulorum interpretationes Mammetracti. Thubingen,1501.Henry Bebel was a humanist, and became professor at Tübingen in 1497. Zapf published a biography of him at Augsburg in 1801.4.Hymni et Sequentiae cum diligenti difficillimorum vocabulorum interpretatione omnibus et scholasticis et ecclesiasticis cognitu necessaria Hermanni Torrentini de omnibus puritatis lingue latine studiosis quam optime meriti.—Coloniae, MCCCCCXIII.Daniel says that a second edition (1550, 1536?) has so closely followed Clichtoveus that the first edition only is worthy of note.Hermann Torrentinus was a native of Zwolle, and belonged to the Brotherhood of the Common Life. He was professor at Groningen about 1490, and lived until about 1520. He was one of the group which gathered around John Wessel Gansfort, in whom Luther recognized a kindred spirit.5.De tempore et sanctis per totum annum hymnarius in metra ut ab Ambrosio, Sedulio, Prudentio ceterisque doctoribus hymni sunt compositi. Groningen phrisie iam noviter redactus incipit feliciter.6.Psalterium Davidis adiunctis hymnis felicem habet finem opera et impensis Melchior Lotters ducalis opidi Liptzensis concivis Anno Milesimo quingentesimo undecimo XVIII die Aprilis[1511].7.* Iodoci Clichtovaei Elucidatorium ecclesiasticum ad Officium Ecclesiae pertinentia planius exponens et quatuor Libros complectens. Primus Hymnos de Tempore et Sanctis per totum Annum. Secundus nonnulla Cantica, Antiphonas et Responsaria. Tertius ea quae ad Missae pertinet Officium, praesertim Praefationes. Quartus Prosas quae in sancti Altaris Sacrificio dicuntur continet. Paris, 1515; Basil, 1517 and 1519; Venice, 1555; Paris, 1556; Koeln, 1732.The best book of its time on the subject, and long indispensable to the hymnologist. Josse Clichtove was a Flemish theologian. He studied at Paris under the famous Lefevre d’Etaples, and enjoyed the friendship of Erasmus. He was a zealous opponent of Luther. He died in 1543. The Venice edition of hisElucidatorium—Hymni et Prosae, quae per totum Annum in Ecclesiâ leguntur—is much altered, and contains additional hymns from Italian, French, and Hungarian Breviaries, while it also omits others given by Clichtove.8.Hymni de tempore et de sanctis in eam formam qua a suis autoribus scripti sunt denuo redacti et secundum legem carminis diligenter emendati atque interpretati. Anno Domini, MDXIX.Jacob Wimpheling is the editor. He was an eminent theologian and humanist of Strasburg, and the first to edit Rabanus Maurus’sDe Laudibus Sanctae Crucis. Already in 1499 he had published a tract:De Hymnorum et Sequentiarum Auctoribus Generibusque Carminum quae in Hymnis inveniuntur. One authority gives 1511 as the date of hisHymni.9.Sequentiarum luculenta interpretatio nedum scholasticis sed et ecclesiasticis cognitu necessaria per Ioannem Adelphum physicum Argentinensem collecta. Anno Domini, MDXIX.10. Jakob van Meyer: Hymni aliquot ecclesiastici et Carmina Pia. Louvain, 1537.11. Liber ecclesiasticorum carminum, cum alijs Hymnis et Prosis exquisitissimis a sanctis orthodoxae fidei Patribus in usum piorum mentium compositis. Basil, B. Westhemerus, 1538.12. Laurentius Massorillus: Aureum Sacrorum Hymnorum Opus. Foligni, 1547.13.*Hymni ecclesiastici praesertim qui Ambrosiani dicuntur multis in locis recogniti et multorum hymnorum accessione locupletati. Cum Scholiis opportunis in locis adjectis et Hymnorum indice Georgii Cassandri. Et, Beda de Metrorum generibus ex primo libra de re metrica. Coloniae Anno MDLVI.This was reprinted in Cassander’s Works (Parisiis, 1616). Cassander was a Catholic, who sympathized with the Reformation, and his book was prohibited by the Roman Catholic Church. “In Romana ecclesia liber est vetitus,” says Daniel. With the drawback that his knowledge and opportunities were limited by the age in which he lived, it can still be said that this is a very valuable and helpful collection—the scholarly work of an earnest man. S. W. D.14. Cantiones Ecclesiasticae Latinae ac Synceriores quaedam praeculae Dominicis & Festis Diebus in Commemoratione Cenae Domini, per totius Anni Circulum cantandae ac perlegendae. Per Johannem Spangenbergium Ecclesiae Northusianae inspectorem. Magdeburg, 1543.15a. Carmina vetusta ante trecentos scripta, quae deplorant inscitiam Evangelii, et taxant abusus ceremoniarum, ac quae ostendunt doctrinam hujus temporis non esse novam. Fulsit enim semper et fulgebit in aliquibus vera Ecclesiae doctrina. Cum Praefatione Matthiae Flacii Illyrici. Wittemberg, 1548.15b. Pia quaedam vetustissima Poemata, partim Anti-Christum, ejusque spirituales Filiolos insectantia, partim etiam Christum, ejusque beneficium mira spiritus alacritate celebrantia. Cum praefatione Matthiae Flacii Illyrici. Magdeburg, 1552.15c. Varia Doctorum Piorumque Virorum de Corrupto Statu Ecclesiae Poemata. Ante nostram aetatem conscripta, ex quibus multa historiae quoque utiliter ac summa cum voluptate cognosci possunt. Cum Praefatione Matthiae Flacii Illyrici. Magdeburg, 1556. Reprinted 1754.These three collections are of importance to the hymnologist. From the first Wackernagel has extracted a number of fine hymns. The third contains Bernard of Cluny’sDe Contemptu Mundi.16. Hymni aliquot sacri veterum Patrum una cum eorum simplici Paraphrasi, brevibus argumentis, singulis Carminum generibus, & concinnis Melodijs ... Collectore Georgio Thymo. Goslar, 1552.17. Psalmodia, hoc est Cantica Sacra veteris Ecclesiae selecta. Quo ordine & Melodijs per totius anni curriculum cantari vsitate solent in templis de Deo, & de filio ejus Iesv Christo, ... Et de Spiritv Sancto.... Jam primum ad Ecclesiarum, & Scholarum vsum diligenter collecta, et brevibus et pijs Scholijs illustrata per Lucam Lossium Luneburgensem. Cum Praefatione Philippi Melanthonis. Wittemberg, 1552 and 1595; Nuremberg, 1553 and 1595.Die Hymni, oder geistlichen Lobgeseng, wie man die in der Cystertienser orden durchs gantz Jar singet. Mit hohem vleis verteutschet durch Leonhardum Kethnerum. Nurnberg, 1555.18. Hymni et Sequentiae, tam de Tempore quam de Sanctis, cum suis Melodijs, sicut olim sunt cantatae in Ecclesia Dei, & jam passim correcta, per M. Hermannum Bonnum, Superintendentem quondam Ecclesiae Lubecensis, in vsum Christianae juventutis scholasticae fideliter congesta & euulgata. Lubeck, 1559.19.Pauli Eberi, Psalmi seu cantica in ecclesia cantari solita. Witteburgiae, 1564.20.*Poetarum Veterum Ecclesiasticorum Opera Christiana et operum reliquiae atque fragmenta. Thesaurus catholicae et orthodoxae ecclesiae et antiquitatis religiosae ad utilitatem iuventutis scholasticae, collectus, emendatus, digestus et commentario quoque expositus diligentia et studio Georgii Fabricii Chemnicensis. Basileae per Ioannem Oporinum MDLXIIII.A second edition in 1572. George Fabricius, of Chemnitz, besides editing this important book, was the most prolific writer of Latin hymns the Lutheran Church possessed.21. Johann Leisentrit: Geistliche Lieder und Psalmen der alten Apostolischer recht und warglaubiger Christlicher Kirchen. 2 parts. Budissin, 1567.Used by Wackernagel. Although Leisentrit was the Roman Catholic dean of Budissin, his first part seems to have been censured as of Protestant tendency. The second is made up of hymns to Mary and the Saints. This part was reprinted in 1573 and 1584.22.Cantica Selecta Veteris Novique Testamenti cum Hymnis et Collectis seu orationibus purioribus quae in orthodoxa atque catholica ecclesia cantari solent. Addita dispositione et familiari expositione Christophori Corneri. Lipsiae cum privilegio MDLXVIII.A second edition in 1571, and a third in 1573.23. Cantica ex sacris literis in ecclesia cantari solita cum hymnis et collectis, etc., recognita et aucta per D. Georgium Maiorem. Wittemberg, 1570.23b. Hymni et Collectae, item Evangelia, Epistolae, etc., quae diebus dominicis et festivis leguntur. Koeln, 1573.24. Psalterium Davidis, etc., cum lemmatibus ac notis Adami Siberi. Accesserunt Hymni festorum dierum insignium. Lipsiae, Iohannes Rhamba excudebat Anno MDLXXVII.25.Hymnorum Ecclesiasticorum ab Andrea Ellingero V. Cl. emendatorum libri III, etc. MDLXXVIII. Francofurti ad moenum.Daniel calls this the most ample of all the collections, but he criticises the first two volumes severely for their arrangement, and the changes in text made for metrical reasons. The third volume he was able to use, but he felt unsafe in the others except when the editor positively stated in his notes what he considered the original and genuine text. S. W. D.26. Joh. Holthusius: Compendium Cantionum ecclesiasticarum. Augsburg, 1579.27.In hymnos ecclesiasticos ferme omnes Michaelis Timothei Gatensis brevis elucidatio. Venetiae, 1582.28. Hymni et Collectae. Koeln, 1585.29. Lorenza Strozzi: In singula totius Anni Solemnia Hymni. Florence, 1588.These hymns were adopted into the service-books of several dioceses, and were translated into French by Pavillon, and set to music by Maduit. The author was a Dominican nun of the famous Strozzi family.30. Collectio Hymnorum per totum Annum. Antwerp, Plantin, 1593.31. Francis Algermann: Ephemeris Hymnorum Ecclesiasticorum ex Patribus selecta. Helmstadt, 1596.With German translations.32. Vesperale et Matutinale, hoc est Cantica, Hymni & Collectae, seu Precationes ecclesiasticae quae in primis et secundis vesperis, itemque matutinis Precibus, per totius Anni circulum, in ecclesiis, & religiosis piorum congressibus cantari solent. 1599.The author, Matthew Luidke, was deacon of the Church in Havelberg, and aimed at the naturalization of the methods of the old church books among Lutherans. Daniel gives this book the palm among the Lutheran collections of the Latin hymns. Its author also published aMissale, and died in 1606.33.Divorum patrum et doctorum ecclesiae qui oratione ligata scripserunt Paraphrases et Meditationes in Evangelia dominicalia e diversis ipsorum scriptis collectae a. M. Ioach. Zehnero ecclesiae Schleusingensis pastore et Superintendente. Lipsiae, 1602,sumptibus Thomae Schureri.“Liber utilissimus,” Daniel. The author was a Protestant, and a diligent student of the old hymns. S. W. D.34.* Bernardi Morlanensis Monachi ordinis Cluniacensis De Vanitate Mundi, et Gloriâ Caelesti, Liber Aureus. Item alij ejusdem Libri Tres Ejusdem fermè Argumenti, Quibus cum primis in Curiae Romanae & Cleri horrenda scelera stylo Satyrico carmine Rhithmico Dactylico miro artificio ante annos fermè quingentos elaborato, gravissime invehitur. Editi recens, et plurimis locis emendati, studio & opera Eilh. Lubini. Rostochii, Typis Reusnerianis, Anno MDCX.One hundred and twenty unnumbered pages in duodecimo, of which three are filled by a dedicatory letter to Matthias Matthiae, Lutheran pastor at Schwensdorf. Professor Lubinus gives no account of the sources of his edition, but says of Bernard: “Vixit hic Bernardus Anno Christo 1130. Scripsit colloquium Gabrielis & Mariae. Item hosce, quos jam edimus, & non paucis locis correximus, libros.”35.Card. Ioannis Bonae, de divina Psalmodia, tractatus, sive psallentis Ecclesiae Harmonia.Rome, 1653; Antwerp and Koeln, 1677; Paris, 1678; Antwerp, 1723.Also in hisOpera, Turin, 1747.36. Charles Guyet: Heortologia, sive de Festis propriis Locorum et Ecclesiarum: Hymni propriae variarum Galliae Ecclesiarum revocati ad Carminis et Latinitatis Leges. Folio. Paris, 1657; Urbino, 1728; Venice, 1729.37a. David Greg. Corner: Grosz Katholisch Gesangbuch. Furth bei Ge., 1625.37b. D. G. Corner: Cantionale. 1655.37c. D. G. Corner: Promptuarium Catholicae Devotionis. Vienna, 1672.37d. D. G. Corner: Horologium Christianae Pietatis. Heidelberg, 1688.Contain many old Latin hymns. The third is used by Trench.38. Andreas Eschenbach: Dissertatio de Poetis sacris Christianis. Altdorf, 1685. (Reprinted in hisDissertationes Academicae. Nuremberg, 1705.)39. C. S. Schurzfleisch: Dissertatio de Hymnis veteris Ecclesiae. Wittemberg, 1685.40. Lud. Ant. Muratori: Anecdota quae ex Ambrosianae Bibliothecae Codicibus nunc primum eruit, notis et disquisitionibus auxit. 2 vols. in quarto. Milan, 1697-98.Contains the Bangor Antiphonary and the hymns of Paulinus of Nola.41. Hymni spirituales pro diversis Animae Christianae Statibus. Paris, 1713.42a. Polycarp Leyser: Dissertatio de ficta Medii Aevi Barbarie, imprimis circa Poesin Latinam. Helmstadt, 1719.42b. Pol. Leyser: Historia Poetarum et Poematum Medii Aevi. Halle, 1721.42c.* J. G. Walch: De Hymnis Ecclesiae Apostolicae. Jena, 1737. (Reprinted in his Miscellanea Sacra: Amsterdam, 1744.)43.*Josephi Mariae Thomasii S.R.E. Cardinalis Opera omnia.—Rome, 1741, in 6 vols., folio, and 1747 et seq. in 12 vols., 4to. (The Hymnarium is found in pages 351-434 of Vol. II., in the 4to edition.)“This book,” remarks Daniel, “is sufficiently rare in Germany, but the editor of sacred hymns can by no means do without it.” The reason is that Thomasius had access to the VaticanMSS., and was therefore able to unearth many rare and valuable texts. He also designated the probable authorship of a goodly number of the hymns—not always correctly, but usually with considerable truth. S. W. D.44. Peter Zorn: De Hymnorum ecclesiasticorum Latinorum Collectoribus. In his Opuscula Sacra, Altona, 1731 and 1743.44b. D. Galle: De Hymnis Ecclesiae veteris. Wittemberg, 1736. Pp. 16, 4to.45.I. H. a Seelen, de poesi Christ. non a tertio post. Chr. nat. seculo, etc., deducenda.—Lubecae, 1754.46. J. G. Baumann: De Hymnis et Hymnopoeis veteris et recentioris Ecclesiae. Bremen, 1765.47a. Mart. Gerbert: De Cantu et Musica Sacra, a prima Ecclesiae aetate usque ad praesens tempus. 2 vols., 4to. St. Blaise, 1774.47b. Mart. Gerbert: Scriptores Ecclesiastici de Musica Sacra, potessimum ex variis Italiae, Galliae et Germaniae Manuscriptis collecti, et nunc primum publicâ luce donati. 3 vols., 4to. St. Blaise, 1784.This product of unwearied research contains,inter alia, treatises by Alcuin, Notker Labeo, Odo of Cluny, Guido of Arezzo, Hermann the Lame, Engelbert of Admont. Martin Gerbert (1720-93) was prince-abbot of St. Blaise in the Black Forest.48a. Faustino Arevalo: Hymnodia Hispanica ad Cantus Latinitatis, Metrique leges revocata et aucta; praemittitur Dissertatio de Hymnis ecclesiasticis eorumque correctione atque optima constitutione; Accedunt Appendix de festo conversionis Gothorum instituendo; Breviarii Quignoniani fata, etc. Rome, 1786.48b. Faustino Arevalo: Poetate Christiani: Prudentius, Dracontius, Juvencus, et Sedulius. 5 vols., quarto. Rome, 1788-94.The former of these works has been much used by Neale and Daniel.49. (Walraff:) Corolla Hymnorum sacrorum publicae devotioni inservientium. Veteres electi sed mendis quibus iteratis in editionibus scatebant detersi, strophis adaucti. Novi adsumpti, recentes primum inserti. Koeln, 1806.Taken chiefly from thePsalteriolum Cantionumof the Society of Jesus, of which the sixteenth edition had appeared in 1792 in the same city.50.F. Münter: Ueber die älteste Christliche Poesie.—Kopenhagen, 1806.51.* Anthologie christlicher Gesänge aus allen Jahrhunderten der Kirche nach der Zeitfolge geordnet und mit geschichtlichen Bemerkungen begleitet. Von Aug. Jak. Rambach. 6 vols. Altona, 1817-33.The first volume is occupied with the early and Middle Ages of the Church, especially the Latin Hymns, the texts being given with translations and notes. It merits the high praise Daniel gives it:studia praeclara Rambachii. S. W. D.52. M. F. Jack: Psalmen und Gesänge, nebst den Hymnen der ältesten Kirche, uebersetzt. 2 vols. Freiburg, 1817.Other German-Catholic translators are George Witzel (1550), a Mönch of Hildesheim (1776), F. X. Jahn (1785), F. J. Weinzerl (1817 and 1821), J. Aigner (1825), Casper Ett (1837), A. A. Hnogek (1837), Deutschmann (1839), R. Lecke (1843), M. A. Nickel (1845), H. Bone (1847), J. Kehrein (1853), G. M. Pachtler (1853), H. Stadelmann (1855), a Priest of the diocese of Münster (1855), J. N. Stoeger (1857), Theodor Tilike (1862), G. M. Pachtler (1868), P. J. Belke (1869), and Fr. Hohmann (1872). Silbert, Zabuesnig, Simrock, and Schlosser are given in their proper places in this list.53.* G. A. Bjorn: Hymni veterum poetarum Christianorum ecclesiae latinae selecti. Copenhagen, 1818.Bjorn was the Lutheran pastor of Vemmetofte, in Denmark. His selection is confined to the very early writers: Victorinus, Damasus, Ambrose and his school, Prudentius (theKathemerinon), and Paulinus of Nola. He has a good introduction and notes.54.* Adolf Ludewig Follen: Alte christliche Lieder und Kirchengesänge teutsch und lateinisch, nebst einem Anhange. Elberfeld, 1819.Chiefly hymns of the later Middle Ages or by the Jesuits. The author, who was a brother of Professor Follen of Harvard, ascribes theDies Iraeto Malabranca, 1278, Bishop of Ostia, and accepts theRequiescat a laboreas a funeral hymn actually sung by Heloise and her nuns over Abelard.Other German-Protestant translators, besides those given in this list at their proper places, are H. Freyberg (1839), Ed. von Mildenstein (1854), H. von. Loeper (1869), H. F. Müller (1869), J. Linke (1884), and Jul. Thikotter (1888).55. J. P. Silbert: Dom heiliger Sanger, oder fromme Gesänge der Vorzeit. Mit Vorrede von Fr. von Schlegel. Vienna and Prague, 1820.56. F. J. Weinzerl: Hymni sacri ex pluribus Galliae diocesium Brevariis collecti. Augsburg, 1820.57. Poetae ecclesiasticae Latini. 4 vols., in 12mo. Cambray, 1821-26.Embraces Fortunatus, Prudentius, Cherius, Tertullian, Cyprian, Juvencus, Sedulius, Belisarius, Liberius, Prosper, Arator, Lactantius, and Dracontius.58.* Johann Christoph von Zabuesnig: Katholische Kirchengesänge in das Deutsche übertragen mit dem Latein zur Seite. 3 vols. Augsburg, 1822.A second edition, with a Preface by Carl Egger, Augsburg, 1830. The collection is a large one, made from fourteen breviaries, three missals, and other church-books and private collections, besides one manuscript antiphonary. Although a Catholic priest, Zabuesnig selects (from Christopher Corner, 1573) and translates hymns by Melanchthon and Camerarius.59a. Gottl. Ch. Fr. Mohnike: Kirchen- und Literar-historische Studien und Mittheilungen. Stralsund, 1824.59b. Gottl. Chr. Fr. Mohnike: Hymnologische Forschungen. 2 vols. Stralsund, 1831-32.60.* Ludwig Buchegger: De Origine sacrae Christianorum Poeseos Commentatio. Freiburg, 1827.61.* Sir Alexander Croke: An Essay on the Origin, Progress, and Decline of Rhyming Latin Verse; with many Specimens. Oxford, 1828.62.* Jakob Grimm: Hymnorum veteris Ecclesiae XXVI Interpretatio Theotisca nunc primum edita. 4to, pp. 1830.Grimm’s “Habilitationsschrift” on entering on his professorship at Göttingen. It is from the manuscript presented in the seventeenth century by Francis Junius to the University of Oxford, which contains twenty-six hymns by Ambrose and his school, with a prose version in Old High German of the eighth or ninth century. Four of the hymns had never appeared in any previous collection.63a. Rev. Isaac Williams: Thoughts in Past Years. London, 1831. A sixth edition in 1832.Contains twelve versions of Ambrosian and other primitive hymns.63.* Hoffmann von Fallersleben: Geschichte des deutschen Kirchenliedes bis auf Luther’s Zeit. Hannover, 1832. Second edition, 1854; third edition, *1861.Shows the transition from Latin to German in popular use, and discusses the history of forty-five Latin hymns in this connection.64. F. Martin: Specimens of Ancient Hymns of the Western Church, transcribed from anMS.in the University Library of Cambridge, with Appendix of other Ancient Hymns. Pp. 36, octavo. Norwich, 1835.Privately printed in fifty-six copies.65.* J. C. F. Bähr: Die Christlichen Dichter und Geschichtschreiber Roms. Eine literärhistorische Uebersicht. Carlsruhe, 1836. New edition, 1872.66a.* Rev. John Chandler: The Hymns of the Primitive Church, now first collected, translated, and arranged. London, 1837.Contains 108 Latin hymns with Chandler’s translation, several of which were adopted by the editors ofHymns Ancient and Modern. Mr. Chandler died, July 1st, 1876.66b.* Bishop Richard Mant: Ancient Hymns from the Roman Breviary. London, 1837. New edition, 1871 (272 pages).Dr. Mant was Bishop of Down and Connor in the Irish Established Church, and died November 2d, 1848. He was an original Latin poet of some note, and a writer of English hymns.67.* (J. H. Newman:) Hymni Ecclesiae. Pars I., e Breviario Parisiensi; Pars II., e Breviariis Romano, Sarisburiensi, Eboracensi et aliunde. Oxford, 1838.A new edition, London, 1865.This collection, sometimes known as the Oxford Hymns, was prepared by Cardinal Newman while he was still a presbyter of the Anglican Church, and exhibits everywhere his cultivated taste. Many of the hymns it includes are not to be found in other collections. This is especially true of the hymns from the Paris Breviary of 1736, which make up half the book. S. W. D.68.* Rev. Isaac Williams: Hymns translated from the Paris Breviary. London, 1839.These translations had already appeared inThe British Magazineabout 1830. Mr. Williams takes rank next after Keble among the poets of the Tractarian movement. He died in 1865.69.* Ioseph Kehrein: Lateinische Anthologie aus den christlichen Dichtern des Mittelalters. Für Gymnasien und Lyceen herausgegeben und mit Anmerkungen begleitet. Erster Theil. Die acht ersten christlichen Jahrhunderte. Frankfurt a. M., 1840.An anthology prepared with great labor and small judgment by a prosaic scholar. S. W. D.70a.* Friedrich Gustav Lisco: Dies Irae, Hymnus auf das Weltgericht. Als Beitrag zur Hymnologie. Pp. 156. Great 4to. Berlin, 1840.70b. Friedrich Gustav Lisco: Stabat Mater. Hymnus auf die Schmerzen Mariä. Nebst einem Nachtrage zu den Uebersetzungen des Hymnus Dies Irae. Zweiter Beitrag zur Hymnologie. Great 4to. Pp. 58. Berlin, 1843.71.* (Professor Henry Mills:) The Hymn of Hildebert, and the Ode of Xavier, with English Versions. Auburn, 1840.72.* Hermann Adalbert Daniel: Hymnologischer Blüthenstrauss aus dem Gebiete alt-lateinischer Kirchenpoesie. 12mo. Halle, 1840.Professor Daniel’s first appearance in a field in which he still is the highest authority. Besides his Thesaurus and this little precursor to it, and the dissertation mentioned below, he labored in German hymnology, editing anEvangelisches Kirchen-Gesangbuchin 1842, and Zinzendorf’s hymns in 1851. He also took part in the preparation of the standard German hymn-book of the Eisenach Conference, which is intended to put an end to the unlimited variety of hymn-books in the local churches of Germany. For Ersch and Gruber’s hugeEncyclopädie, he wrote the article “Gesangbuch,” which is reprinted in hisZerstreute Blätter(Halle, 1840). And besides all this he published in 1847-53 aCodex Liturgicus Ecclesiae Universae, and was a leading authority in Pedagogics and in Geography.73.* Ferdinand Wolf: Ueber die Lais, Sequenzen und Leiche. Ein Beitrag zur Geschichte der Rhythmischen Formen und Singweisen der Volkslieder und der Volksmässigen Kirchen- und Kunstlieder im Mittelalter. Mit VIII Facsimiles und IX Musikbeilagen. Heidelberg, 1841.74.* Hermann Adalbert Daniel: Thesaurus Hymnologicus sive hymnorum canticorum sequentiarum circa annum MD usitatarum collectio amplissima. Carmina collegit, apparatu critico ornavit, veterum interpretum notas selectas suasque adiecit. V Tomi. Leipzig, 1841-56.Still the chief text-book for the student of Latin hymnology. Vols. I. (1841) and IV. (1855) contain the Hymns. Vols. II. (1844) and V. (1856), the Sequences. Vol. III. (1846), Hymns of the Greek and Syrian Churches. To Vol. V. Dr. Neale contributes a Latin introduction on the nature of the Sequence.In the two last volumes Daniel uses freely and with acknowledgment the labors especially of Mone and Neale. The fifth volume contains also indices to all five volumes by first lines, and also a topical index. The worst defect of the book is the poorness of this latter. Next to that is its author’s very insufficient preparation for his work when he published his two first volumes; but that probably was unavoidable. Vols. IV. and V. show how much he had grown in his mastery of his field of labor. But his learning and his care give his book a place inferior to none.75.* K. E. P. Wackernagel: Das Deutsche Kirchenlied von Martin Luther bis auf Nicolaus Herman und Ambrosius Blaurer. Stuttgart, 1841.Wackernagel’s first and shorter work. Recognizing in the Latin hymns the starting-point of German hymnology, he begins his book with thirty-seven pages of Latin hymns and sequences, taken mostly from Lossius and Rambach, with some from theHymni et Collectaeof 1585.75b. A. D. Wackerbarth: Lyra Ecclesiastica: a Collection of Ancient and Godly Latin Hymns, with an English Translation. Two series. London, 1842-43.76a.* Edélestand du Meril: Poesies populaires latines anterieures au douzième siècle. Paris, 1843.This book, like the similar work of Thomas Aldis Wright, contains the popular Latin poetry of the Middle Ages previous to the twelfth century. But it also contains the first part of the hymns of Abelard, and it is from this volume that Trench and March took their examples of his poetry. The later discovery of the entire hymnarium prepared for the Abbey of the Paraclete emphasizes the importance of De Meril’s researches. S. W. D.76b. Edélestand du Meril: Poesies populaires latines du Moyen Age. Paris, 1847.A continuation of his first work of 1843. Both are used freely by Daniel in his later volumes and by Mone.77.* Jacques Paul Migne: Patrologiae Cursus Completus, sive Bibliotheca Universalis, Integra, Uniformis, Commoda, Oeconomica omnium Patrum, Doctorum Scriptorumque Ecclesiasticorum qui ab Aevo Apostolico ad Innocentii III Tempora floruerunt. CCXXI Tomi Paris, 1844-55. New edition begun in 1878.For the Christian Poets, see the following volumes: Abelard, 168; Adam of St. Victor, 196; Alan of Lisle, 210; Ambrose, 16 and 17; Anselm of Canterbury, 158; Bede, 94; Bernard of Clairvaux, 184; Damasus, 13; Drepanius Florus, 61; Elpis, 63; Ennodius, 63; Eugenius, 87; Florus, 110: Venantius Fortunatus, 88; Fulbert, 141; Godeschalk, 141; Gregory the Great, ——; the Emperor Henry, 140; Heribert of Eichstetten, 141; Hilary, 10; Hildebert, 171; Hincmar, 125; Innocent III., 217; Isidore, 83; John Scotus Erigena, 122; Juvencus, 19; Claudianus Mamertus, 53; Marbod, 171; Notker, 131; Odo of Cluny, 142; Paulinus of Nola, 61; Peter Damiani, 145; Peter of Cluny, 189; Prudentius, 59; Rabanus Maurus, 112; Robert II, 141; Ratpert of St. Gall, 87; Coelius Sedulius, 19; Walafried Strabo, 114; Tutilo of St. Gall, 87; Paul Warnefried, 95.Anonymous poems as follows: IId and IIId centuries, 2; IVth century, 7; Vth century, 61; VIIth century, 87; IXth century, 98; XIth century, 151; XIIth century, 190.78.* C. Fortlage: Gesänge Christl. Vorzeit. Auswahl der vorzüglichsten aus den Griechischen und Lateinischen übersetzt. Berlin, 1844.78a.* (John Williams): Ancient Hymns of Holy Church. Pp. 128, 12mo. Hartford, 1845.Contains original translations of forty Latin hymns, mostly Ambrosian and other early hymns in the abbreviated versions of the Roman Breviary. Twenty-two of Isaac Williams’s translations of hymns from the Paris Breviary are appended. The author was at the time rector of St. George’s church in Schenectady, and in 1851 became bishop of Connecticut.79.* K. I. Simrock: Lauda Syon, altchristliche Kirchenlieder und geistliche Gedichte, lateinisch und deutsch. Köln, 1846.A second edition in 1868. One of the most eminent Germanists, and an extremely felicitous translator (1802-76).80.* G. A. Königsfeld: Lateinische Hymnen und Gesänge aus dem Mittelalter, deutsch, unter Beibehaltung der Versmasse. Nebst Einleitung und Anmerkungen; unter brieflicher Bemerkungen und Uebersetzungen von A. W. Schlegel. Bonn, 1847.An admirably done piece of work. Specimens from twenty-five authors, with twenty anonymous hymns chiefly of the Jesuit school. A second series in 1865.81.* Richard Chenevix Trench: Sacred Latin Poetry. London, 1849. Second edition, 1864; third edition, 1878.Archbishop Trench’s little book has had a wide popularity, and many persons have been induced by it to take a deeper interest in the subject. But it is disfigured by its arrangement, which excludes everything that cannot be safely employed by Protestants. Lines are omitted from Hildebert; theStabat Materof Jacoponus is absent, and thePange linguaof Aquinas is also missing. Moreover the notes, which have been easily prepared from Latin sources, are scarcely satisfactory. Yet, take it for all in all, it is a volume that may be highly commended, for the archbishop is a poet, and has a poet’s appreciation of the beautiful. We are indebted to him for hymns from Marbod, Mauburn, W. Alard, Balde, Pistor, and Alan of Lisle, which are not readily found. S. W. D.There is much in the recent biography of Archbishop Trench which is of interest to hymnologists, especially his correspondence with Dr. Neale.82a.* Edward Caswall: Lyra Catholica: containing all the Hymns of the Roman Breviary and Missal, with others from various Sources. London, 1849; New York, 1851. New edition, London, 1884.Mr. Caswall was one of the clergymen who left the Church of England for the Roman communion with Dr. Newman. Some of his translations, especially of Bernard of Clairvaux, are among the most felicitous in the language. The American edition has an Appendix of “Hymns, Anthems, etc., appropriate to particular occasions of devotion.” It is this edition which has been abridged in the first volume of theHymns of the Ages(1858).82b. J. R. Beste: Church Hymns in English, that may be sung to the old church music. With approbation. London, 1849.83.* D. Ozanam: Documents inedits pour servir a l’Histoire litteraire de l’Italie depuis le VIIIe Siecle jusq’au XIIIe. Paris, 1850.Pages 221-57 is an account of a collection of two hundred and forty-three Latin hymns found in a Vatican manuscript, which he assigns to the ninth century, and to the Benedictines of Central Italy. He prints those not found in Daniel. Reprinted in Migne’sPatrologia: 151; 813ff.84. Hymnale secundum Usum insignis et praeclarae Ecclesiae Sarisburiensis. Littlemore, 1850.85.* Hymnarium Sarisburense, cum Rubricis et Notis Musicis. Variae inseruntur lectiones CodicumMSS.Anglicorum, cum iis quae a Geo. Cassandro, J. Clichtoveo, J. M. Thomasio, H. A. Daniel, e Codd. Germanis, Gallicis, Italis, erutae sunt. Accedunt etiam Hymni et Rubricae e Libris secundum usus Ecclesiarum Cantuariensis, Eboracensis, Wigornensis, Herefordensis, Gloucestrensis, aliisque Codd.MSS.Anglicanis excerpti. Pars prima. London and Cambridge, 1851.Gives hymns and various readings from twenty-six English manuscripts.86.* Joseph Stevenson: Latin Hymns of the Anglo-Saxon Church; with an Interlinear Anglo-Saxon Gloss, from a Manuscript of the Eleventh Century in Durham Library. Edited for the Surtees Society. London and Durham, 1851.Of some value as showing what hymns were used in the early English Church, before the Norman Conquest. The gloss is not Northumbrian, as might be supposed from its being found in the Library of the Dean and Chapter of Durham, but West-Saxon, probably from Winchester.86b. Boetticher: Hymns of the old Catholic Church of England. Halle, 1851.87.* Joh. F. H. Schlosser: Die Kirche in ihren Liedern durch all Jahrhunderte. 2 vols. Mainz, 1851-52. Second edition. Freiburg, 1863.Translations without texts, but some valuable notes, especially to later hymns. The first volume is devoted to the Latin hymns, and contains the beautiful fragment of a lost sequence which Schlosser heard from his brother in 1812. It represents the Apostle Paul weeping over the grave of Virgil at Puteoli:

Adjuvent nos eorum merita,Quos propria impediunt scelera?Excuset eorum intercessio,Quos propria accusat actio?At tu, qui eis tribuistiCoelestis palmam triumphi,Nobis veniam non deneges peccati.In the same spirit he and his associates edited the first great Protestant work on Church history—theMagdeburg Centuries(1559-74, in thirteen folio volumes). The first Protestants hadno more idea of surrendering the history of the Church to the champions of the Roman Catholic Church, than of giving up to them the New Testament. They held that down through all the ages ran a double current of pure Christianity and scholastic perversion of that, and that the Reformation succeeds to the former as the Tridentine Church to the latter. This especially as regards the great central point in controversy, the part of grace and of merit in the justification of the sinner. And they found the proof of this continuity especially in the devotions of the early Church. They found themselves in that great prayer of the Franciscan monk, which the Roman Missal puts into the mouth of her holiest members as they gather around the bier of the dead:Quid sum miser tunc dicturus,Quem patronum rogaturus,Quum vix justus sit securus?Rex tremendae majestatis,Qui salvandos salvas gratis,Salve me, fons pietatis!“Whenever in the Middle Ages,” says Albrecht Ritschl, “devotion, so far as it has found articulate expression, rises to the level of the thought that the value of the Christian life, even where it is fruitful of good works, is grounded not upon these as human merits, but upon the mercy of God ... then the same line of thought is entered upon as that in which the religious consciousness common to Luther and Zwingli was able to break through the connection which had subsisted between Catholic doctrine and the Church institutions for the application of salvation.... Whenever even the Church of Rome places herself in the attitude of prayer, it is inevitable that in the expression of her religious discernment, in thanksgiving and petition, all the benefits of salvation should be referred to God or to Christ; the daily need for new grace, accordingly, is not expressed in the form of a claim based upon merits, but in the form of reliance upon God.”[26]That the Latin hymns of those earlier centuries show a steadily increasing amount of unscriptural devotion to the mother of our Lord and to His saints, and of the materializing view of our Lord’s presence with His Church in the Communion, is undeniable. But even in these matters the hymns of the primitive and mediaeval Church are a witness that these and the like misbeliefs and mispractices are a later growth upon primitive faith and usage.The first generation of Protestants, to which Luther, Melanchthon, and Zwingli belong, had been brought up on the hymns of the Breviary and of the Missal, and they did not abandon their love for these when they ceased to regard the Latin tongue as the only fit speech for public worship. They showed their relish for the old hymns, by publishing collections of them, by translating them into the national languages, by writing Latin hymns in imitation of them, and even by continuing their use in public worship to a limited extent.As collectors and editors of the old Latin hymns, the Protestants of the sixteenth century surpassed the Roman Catholics of that age. Over against the names of Hermann Torrentinus (1513 and 1536), Jacob Wimpheling (1519), Joste Clichtove (1515-19), Jacob van Meyer (1535), Lorenzo Massorillo (1547), and George Cassander (1556), the Roman Catholic hymnologists of the half century which followed the Reformation, we may place the anonymous collector of Basel (1538), Johann Spangenberg (1545), Lucas Lossius (1552et seq., with Preface by Melanchthon), Paul Eber (1564), George Fabricius (1564), Christopher Corner (1568), Hermann Bonn (1569), George Major (1570), Andreas Ellinger (1573), Adam Siber (1577), Matthew Luidke (1589), and Francis Algerman (1596). All these, with the possible exception of the first, were Lutherans, trained in the humanistic school of Latin criticism and poetry; but only two of them found it needful or desirable to alter the hymns into conformity with the tastes of the age. The collections of Hermann Bonn, the first Lutheran superintendent of Lubeck, and that of George Fabricius, are especially important, as faithfully reproducing much that else might have been lost to us.The work of translating the old Latin hymns fell especially to the Lutherans. Roman Catholic preference was no stronger for the original Latin than that of the Reformed for the Psalms. Of the great German hymn-writers from Luther to Paul Gerhardt, nearly all made translations from the storehouse of Latin hymnody, Bernard of Clairvaux being the especial favorite with Johann Heermann, John Arndt, and Paul Gerhardt. And even in hymns which are not translations, the influence of the Latin hymns is seen in the epic tone, the healthy objectivity of the German hymns of this age, in contrast to the frequently morbid subjectivity of those which belong to the age of Pietism.More interesting to us are the early translations into English. The first are to be found in thePrimerof 1545, a book of private devotions after the model of the Breviary, published in Henry VIII.’s time both in English in 1545 and again in Latin (Orarium) in 1546. In the next reign a substitute for this in English alone was prepared by the more Protestant authorities of the Anglican Church, in which, besides sundry doctrinal changes, the hymns were omitted. But the scale inclined somewhat the other way after Elizabeth’s accession. The EnglishPrimerof 1559 and the LatinOrariumof 1560 are revised editions of her father’s, not of her brother’s publications. The parts devoted to the worship of Mary are omitted, but the prayers for the dead and the hymns are retained. These old versions are clumsy enough, but not without interest as the first of their kind. Here is one with the original text from theOrarium, differing from any other authority known to us:Rerum Creator omnium,Te poscimus hoc vesperiDefende nos per gratiamAb hostis nostri fraudibus.Nullo ludamur, Domine,Vel somnio vel phasmate:In Te cor nostrum vigilet,Nec dormiat in crimine.Summe Pater, per FiliumLargire quod Te poscimus:Cui per sanctum SpiritumAeterna detur gloria. Amen.O Lord, the Maker of all thing,We pray thee now in this eveningUs to defend, through thy mercy,From all deceit of our enemy.Let us neither deluded be,Good Lord, with dream nor phantasy.Our heart waking in thee thou keep,That we in sin fall not on sleep.O Father, through thy blessed Son,Grant us this our petition;To whom, with the Holy Ghost, alwaysIn heaven and earth be laud and praise. Amen.It is not wonderful that when the Anglo-Catholics sought to revive thePrimeras “the authorized book of Family and Private Prayer” on the same footing as the Prayer book, they took the liberty of substituting modern versions of the hymns for these “authorized” translations.[27]But thePrimer, whatever its authority, never possessed that much more important requisite to success—vitality. A very few editions sufficed for the demand, and Bishop Cosin’s attempt to revive it in Charles I.’s time only provoked a Puritan outcry against both him and it. Rev. Gerard Moultrie has attempted to revive it in our own time, as “the only book of private devotion which has received the sanction of the English Church,” and has not achieved even thus much of success. No Prynne has assailed him.In the Book of Common Prayer, besides such “canticles” as theGloria in Excelsisand theTe Deum, there is but one hymn, an English version of theVeni, Creator Spiritusin the Ordination Service. It is the wordiest of all known versions, rendering one hundred and five Latin by three hundred and fifty-seven English words, but is not without its old-fashioned felicities. The revisers of 1661 cut it down by omitting just half of it, and modernized the English in a number of places. Its very verbosity seems to have suggested Bishop Cosin’s terse version, containing but four morewords than the original, which, however, it somewhat abridges. This was inserted in 1661 as an alternate version. The author of the paraphrase in the Prayer-Book is unknown. It is not Bishop Coverdale, as his, although translated at second-hand from Luther, as, indeed, all his hymns are from some German source, is far closer and less wordy.[28]It also was adopted into the old Scottish Psalter of the Reformation, where it appears in the appendix, along with a metrical version of the Apostle’s Creed and other “uninspired compositions.”From the Reformation until about fifty years ago, there was among English-speaking people no interest in Latin hymnology worth speaking of. A few Catholic poets, like Crashaw and Dryden, honored their Church versions from the hymns of the Breviary. But even John Austin, a Catholic convert of 1640, when he prepared hisDevotions in the Ancient Way of Officesafter the model of the Breviary, wrote for it hymns of his own instead of translating from the Latin. Some of these (“Blessed be Thy love, dear Lord,” and “Hark, my soul, how everything”) have become a part of our general wealth. Of course some versions of a homely sort had to be made for Catholic books of devotion, and I possessThe Evening Office of the Church in Latin and English(London, 1725), in which the Vesper hymns of the Roman Breviary are closely and roughly versified. It is notable that “the old hymns as they are generally sung in churches”—i.e., the hymns as they stood before the revision of 1631, are printed as an appendix to the book, showing how slow English Catholics were to accept the modernization of the hymns which the papacy had sanctioned nearly a century before.Mr. Orby Shipley, in hisAnnus Sanctus(London, 1884), gives a large number of these early versions from the Roman CatholicPrimersof 1619, 1684, 1685, and 1706; from theEvening Officeof 1710, 1725, and 1785; and from theDivine Officeof 1763 and 1780. The translations of 1619 have been ascribed to William Drummond, of Hawthornden, and those of 1706 to Dryden. Drummond was the first Scotchman who adopted English as the language of literature, and although a Protestant, he belonged to the Catholicizing party represented by William Forbes, the first Protestant bishop of Edinburgh. Three hymns are given in Sir Walter Scott’s edition of Dryden on the authority of English Roman Catholic tradition, the best known being his version of theVeni Creator Spiritus. These three are found in thePrimerof 1706, along with versions of the other hymns of the Roman Breviary sufficiently like them to suggest that they are all by the same hand. But this judgment is disputed.Among Protestants the neglect was as great. So profuse a writer of hymns for the Christian year as George Wither translated only theTe Deumand theVeni, Creator Spiritusinto English verse.[29]Tate and Brady, in theirSupplement(1703) to theirNew Version of the Psalms(1696), published a translation of theVeni, Creator Spiritus. But Bishop Symon Patrick was the only hymn-writer of that age who may be said to have given any special attention to Latin hymns. His hymns were chiefly translations from that source, especially Prudentius, and Lord Selborne mentions that ofAlleluia, dulce carmen, as the best.The Methodist revival, which did so much to enrich our store of hymns, and which called attention anew to those of Germany, accomplished nothing for us as regards Latin hymns. The Earl of Roscommon’s translation of theDies Irae(1717), and Dr. Johnson’s affecting reference to the stanza,Quaerens me sedisti lassus, ...stand almost alone in that age. It was not until the Romantic movement in Germany and then in England broke the bonds of amerely classic culture, taught the world the beauty of Gothic art, and obliged men to revise their estimate of the Middle Ages, that the singers of the praises which sounded through those earlier centuries had a fair chance to be judged at their real worth. The forerunner of that movement was Johann Gottfried von Herder, who indeed may be said to have anticipated the whole intellectual movement of the past century, Darwinism not excepted. From his friend and master Hamann, “the Magus of the North,” he had learned “the necessity for a complete and harmonious expression of all the varied faculties of man,” and that “whatever is isolated or the product of a single faculty is to be condemned.” This made him as much discontented with the eighteenth century and its literature and philosophy of the enlightened understanding, as Hamann himself was. It was the foundation for that Catholic taste which enabled him to appreciate the excellence of all those popular literatures which are the outflow of the life of whole peoples. HisVoices of the Peoplesdid for the Continent what Bishop Percy’sReliquesdid for England, and did it much better. He saw that “the people and a common sentiment are the foundations of a true poetry,” and the literature of the schools and that of polite society are equally condemned to sterility. For this reason he had small respect for that classic Latin literature at whose bar every modern production was impleaded. He found far more genuine life and power in the Latin poems of the Jesuit father, Jacob Balde, and still more in the hymns of the Latin Church. HisLetters for the Promotion of Humanity(1794-96) contain a passage of classic importance:“The hymns which Christianity introduced had for their basis those old Hebrew Psalms which very soon found their way into the Church, if not as songs or anthems, at any rate as prayers.... The songs of Mary and of Zacharias, the Angelic Salutation, theNunc Dimittisof Simeon, which open the New Testament, gave character more immediately to the Christian hymns. Their gentler voice was more suitable to the spirit of Christianity than even the loud trumpet note of that old jubilant Hallelujah, although that note was found capable of many applications, and was now strengthened with the words of prophet or psalmist, now adapted to gentler strains. Over the graves of the dead, whose resurrection was already present to the spirit’s vision, in caves and catacombs, first were heard these psalms of repentance and prayer, of sorrow and hope, until after the public establishment of Christianity, they stepped out of the dark into the light, out of solitude into splendid churches, before consecratedaltars, and now assumed a like splendor in their expression. There is hardly any one who can listen to theJam moesta quiesce querulaof Prudentius without feeling his heart touched by its moving strains, or who can hear the funeral sequenceDies irae, dies illa, without a shudder, or whom so many other hymns, each with its own character—e.g.,Veni, Redemptor gentium;Vexilla Regis prodeunt;Salvete flores Martyrum;Pange, lingua, gloriosi, etc., will fail to be carried into that frame of feeling which each seeks to awaken, and with all its humility of form and its churchly peculiarities, never fails to command. In one there sounds the voice of prayer; another could find its accompaniment only in the harp; in yet another the trumpet rings, or there sounds the thousand-voiced organ, and so on.“If we seek after the reason of this remarkable effect, which we feel in hearing these old Christian hymns, we find it somewhat peculiar. It is anything but the novelty of thethoughtswhich here touches and there shakes us. Thoughts in these hymns are found but sparingly. Many are merely solemn recitations of a well-known story, or they are familiar petitions and prayers. They nearly all repeat each other. Nor is it frequently surprisingly fine and novel sentiments with which they somehow permeate us; the novel and the fine are not objects in the hymns. What, then, is it that touches us?SimplicityandVeracity. Here sounds the speech of a general confession of one heart and one faith. Most of them are constructed either so as to be fit for use every day of the year, or so as to be used on the festivals of the various seasons. As these come round there comes with them in constant recurrence their rehearsal of Christian doctrines. There is nothing superfine in the hymns as regards either emotion, or duty, or consolation. There reigns in all of them a general popularity of content, expressed in great accents. He who seeks novel thoughts in aTe Deumor aSalve Reginalooks for them in the wrong place. It is just what is every day and always known, which here is to serve as the garb of truth. The hymn is meant to be an ambrosial offering of nature, deathless like that, and ever returning.“It follows that, as people in these Christian hymns did not look for the grace of classic expression or the pleasurable emotion of the instant—in a word, what we expect from a work of art, they produced the strangest effects at once after their introduction. Just as Christian hands overthrew the statues and temples of the gods in honor of the unseen God, so these hymns contained a germ which was to bring about the death of the pagan poetry. Not only were those hymns to gods and goddesses, heroes and geniuses, regarded by the Christians as the work of unbelievers or misbelievers, but the germ from which they sprang, the poetic and sportive fancy, the pleasure and rejoicing of the peoples in their national festivals, were condemned as a school of evil demons; yes, even the national pride, to which those songs appealed, was despised as a perilous though splendid sin. The old religion had outlived its time, the new had won its victory, when the absurdity of idol-worship and pagansuperstitions, the disorders and abominations which attended the festivals of Bacchus, Cybele, and Aphrodite, were brought to the light of day. Whatever of poetry was associated with these was a work of the devil. There began a new age for poetry, music, speech, the sciences, and indeed for the whole direction of human thought.”As the Romanticist movement gained ground in Germany, attention to the early hymns increased. Even Goethe, theweltkindamong the prophets, was influenced. Hence his use of theDies Iraein the first part ofFaust, although he was pagan enough to care for nothing at Assisi except the Roman remains. A. W. Schlegel made a number of translations for theMusen-Almanach. Then came the long series of German translators, of whom A. J. Rambach, A. L. Follen (brother of Professor Charles Follen of Harvard), Karl Simrock (1850 and 1866), and G. A. Koenigsfeld (1847 and 1865) are the most notable. Much more important to us are the German collectors: G. A. Björn (a Dane, 1818), J. C. von Zabuesnig (1822 and 1830), H. A. Daniel (Blüthenstrauss, 1840;Thesaurus, 1841-56), F. J. Mone (1853-55), C. B. Moll (1861 and 1868), P. Gall Morel (1866), Joseph Kehrein (1873). To the unwearied thoroughness of these editors, more than of any other laborers in this field, we owe our ampler access to the treasures of Latin hymnody. But what field of research is there in which the scholarship of Germany has not laid the rest of the world under obligations?In English literature the Romanticist movement begins properly with Sir Walter Scott. Himself a Presbyterian, he was brought up on the old Scotch Psalm-book, for which he entertained the same affection as did Burns, Edward Irving, Campbell, Carlyle, and Archdeacon Hare. He opposed any attempt to improve it, on the ground that it was, “with all its acknowledged occasional harshness, so beautiful that any alterations must eventually prove only so many blemishes.” But his literary tastes led him to a lofty appreciation of the Anglican liturgy—a circumstance which has led many to class him as an Episcopalian—and equally for the poetry of the mediaeval hymns. His vigorous version of a part of theDies Iraeinserted inThe Lady of the Lake(1805) gives him his smallest claim to mention in the history of hymnody. It was the new atmosphere he carried into the educated world, his fresh and hearty admiration of admirable things in the MiddleAges, which had been thought barbarous, that makes him important to us. He gave the English and Scottish people new weights and measures, new standards of critical judgment, which emancipated them from narrow, pseudo-Protestant traditions. He made the great Church of undivided Western Europe intelligible. No doubt many follies resulted from this novel lesson, the worst of all being contempt for Luther and his associates in the Reformation. The negations which attend such revolutions in opinion always are foolish exaggerations. It is the affirmations which are valuable and which remain. And Romanticism for more than half a century has been affecting the religious, the social, the intellectual life of Great Britain and America in a thousand ways, and with, on the whole, positive and beneficial results. Its most powerful manifestation was in the Oxford movement,[30]but both in its causes and its effects it has transcended the limits which separate the divided forces of Protestantism.Naturally the Oxford movement was the first to turn attention to the hymns of the Middle Ages, or what it regarded as such. We use this qualified expression because its leaders at the outset were much better poets than hymnological scholars, and welcomed anything in the shape of a Latin hymn as “primitive,” no matter what. Isaac Williams, in theBritish Magazinein 1830, published a series of translations of “primitive hymns” which he gathered into a volume in 1839. They were from the Paris Breviary, of whose hymns only one in fourteen were older than 1685, and most of them not yet a hundred years old. Rev. John Chandler, in hisHymns of the Primitive Church(1837), drew on Santeul and Coffin with equal freedom, evidently supposing he was going back to the early ages for his originals. Bishop Mant, in hisAncient Hymns from the Roman Breviary(1837), did a littlebetter, although not half-a-dozen hymns in that Breviary are unaltered from their primitive forms, and many are no older than the fifteenth or sixteenth century. Rev. Edward Caswall, an Oxford convert to the Church of Rome, naturally confined hisLyra Catholica(1849) to the Breviary hymns, supplementing those of Rome with some from Paris. The first collection published by Dr. Newman (Hymni Ecclesiae, Pars I., 1839) was confined to the Paris Breviary, but with the notice that they “had no equal claim to antiquity” with “the discarded collections of the ante-reform era.” But he claimed on rather slight ground that they “breathe an ancient spirit, and even where they are the work of one pen, are the joint and indivisible contribution of many ancient minds.” This is an opinion of the work of Santeul and Coffin in which neither Cardinal Newman nor the Gallican Church would agree to-day.In fact, these English scholars, with their constant habit of making Latin verse after classic models from their school-days, and their entire want of familiarity with post-classic Latin, found what pleased them best in the two Breviaries of Rome and Paris. With that they seemed likely to stop. It was Dr. John Mason Neale (1851-58) who, among translators, first broke these bounds, went to the older sources, and introduced to English readers, both by his collections and his translations, the great hymns of the Western Church. As a translator he leaves much to be desired. His ideas as to faithful reproduction of the form of his originals are vague. His hymns too often might be said to be based on the Latin text rather than to reproduce it. But they are spirited poems, whose own vigor and beauty sent readers to the original, and they were not disappointed.From that time we have had a series of excellent workers in this field—John Keble, Rev. W. J. Blew (1855), Mr. J. D. Chambers (1857 and 1866), Rev. J. W. Hewett (1859), Sir Henry Baker (1861 and 1868), Rev. Herbert Kynaston (1862), Rev. J. Trend (1862), Rev. P. S. Worsley (1863), Earl Nelson (1857 and 1868), Rev. Richard F. Littledale (1867), R. Campbell, of the Anglo-Catholicparty; and Dean Stanley, Mrs. Charles (1858 and 1866) and Dr. Hamilton Magill (1876) outside its ranks. Theirs have been no inconsiderable part of those labors which have made the last thirty years the golden age of English hymn-writing, surpassing even the era of the Methodist revival.In America the work was begun in 1840 with a modest little volume published at Auburn, in New York, and ascribed by Mr. Duffield to Dr. Henry Mills of Auburn Theological Seminary, who in 1856 also published a volume of translations of German hymns. His earlier book wasThe Hymn of Hildebert and the Ode of Xavier, with English Versions, and contained thirty-five duodecimo pages. Next in order came Dr. John Williams, Bishop of Connecticut, withAncient Hymns of the Holy Church(1845). Dr. William R. Williams of New York, in his address on “The Conservative Principle in our Literature,” delivered in 1843, made a reference to theDies Irae, which gave him the occasion to publish in an Appendix the literary history of the great hymn, giving the text along with Dr. Trench’s version and his own. This seems to have given the impulse which has made America so prolific in translations of that hymn, only Germany surpassing us in this respect. Dr. Abraham Coles may be said to have led off with his volume, containing thirteen translations in 1847. But it was not until after the war for the Union that the productive powers of American translators were brought into play. Much, no doubt, was due to foreign impulse, especially from Dr. Trench and Dr. Newman; but it is notable that in America far more work has been done outside than inside the Episcopalian communion.Dr. Coles again in 1866, Mr. Duffield in 1867, Chancellor Benedict in 1869, Hon. N. B. Smithers in 1879 and 1881, and Mr. John L. Hayes in 1887 published volumes of translations. But far more numerous are the poets whose versions of Latin hymns have appeared in various periodicals or in collections like Professor Coppée’sSongs of Praise(1866), Dr. Schaff’sChrist in Song(1869), Odenheimer and Bird’sSongs of the Spirit(1871), Dr. H. C. Fish’sHeaven in Song(1874), Frank Foxcroft’sResurgit(1879), and Dr. Schaff and Arthur Gilman’sLibrary of Sacred Poetry(1881 and 1886). Of these contributing poets we mention Dr. E. A. Washburn, whose translations have been collected in his posthumous volume,Voices from a Busy Life(1883); Dr.Ray Palmer, our chief sacred singer, whose versions of theO esca viatorumand theJesu dulcis memoriaare as classic as his “My faith looks up to Thee;” Dr. A. R. Thompson, to whom the present volume is under great obligations; Rev. J. Anketell, another of its benefactors; Rev. M. Woolsey Stryker, Rev. D. Y. Heisler, Rev. Franklin Johnson, D.D., and Rev. W. S. McKenzie, D.D. Besides these we may mention the anthology of translations published by the Rev. F. Wilson (1859), of texts by Professor F. A. March (1874 and 1883), and of both texts and translations by Judge C. C. Nott (1865 and subsequent years).It is not, however, only as literature, but in the actual use of the American churches, that the Latin hymns have made a place for themselves. Since 1859, when the Andover professors published theSabbath Hymn and Tune-Book, with original translations furnished by Dr. Ray Palmer, there has been a peaceful revolution in American hymnology. Every one of the larger denominations and many of the smaller have provided themselves with new hymn-books, in which the resources of English, foreign, and ancient hymnology have been employed freely, and with more exacting taste as to sense and form, than characterized the hymn-books of the era before the war. While the compilers have drawn freely upon Caswall, Neale, Chandler, and the AnglicanHymns Ancient and Modern(1861), in many cases original translations were given, as inHymns of the Churchfor the (Dutch) Reformed Church, of which Dr. A. R. Thompson was one of the editors; and Dr. Charles Robinson’sLaudes Domini(1884), to which Mr. Duffield contributed. And there is evidence that the hymns thus brought into Church use from the storehouse of the earlier Christian ages have helped thoughtful Christians to realize more fully the great principle of the Communion of the saints—to realize that all the faithful of the present are bound in spiritual brotherhood with those who held to the same Head and walked in the light of the same faith in bygone centuries, even though it was with stumbling and amid shadows, from which our path by God’s good providence has been set free.CHAPTER XXXII.BIBLIOGRAPHICAL NOTES.The first sources of the Latin hymns and sequences are the manuscript and printed breviaries and missals of the Western Church. Both these have been explored by the collectors from Clichtove to Kehrein, although it cannot be said that the examination has been exhaustive either as regards the manuscripts or the printed books.The following is an approximate list of the printed breviaries which have been examined by modern collectors:LOCAL BREVIARIES.Aberdonense,Aberdeen,1509-10,Daniel.Ambrosianum,Milan,1557,Neale, Morel, Zabuesnig.Argentinense,Strasburg,1520,Neale.Basiliense,Basel,1493,Morel.Bracharense,1494,Neale.Caduncense,Cahors,Neale.Coloniense,Koeln,1521,Zabuesnig.Constantiense,Konstanz,1504, 1516,Morel, Daniel.Cordubiense,Cordova,1583,Morel.Cracoviense,Krakau,1524,Morel.Curiense,Kur,c. 1500,Morel.Eboracense,York,Neale, Newman.Erfordense,Erfurt,1518,Daniel.Friburgense,Freiburg,Daniel.Gallicum,France,1527,Morel.Halberstadtense,Halberstadt,1515,Daniel.Havelbergense,Havelberg,1518,Daniel.Herefordense,Hereford,1505,Neale.Lengres,Daniel.Lundense,Lund,1517,Daniel.Magdeburgense,Magdeburg,1514,Daniel.Merseburgense,Merseburg,1504,Daniel.Mindense,Minden,1490,Daniel.Misniense,Meissen,1490,Daniel.Mozarabicum,Old Spanish,1775,Daniel.Parisiense vet.,Paris (old),1527,Neale.Parisiense,1736,Newman, Zabuesnig.Pictaviense,Poitou,1515,Daniel.Placentinum,Piacenza,1503,Morel.Romanum vet.,Rome (old),1481, 1484, 1520,Kehrein.1497,Daniel.1543,Morel.Romanum,Rome (new),1631,Zabuesnig, Daniel.Roschildense,Roeskild,1517,Daniel.Salisburgense,Salzburg,1515,Neale, Daniel.Sarisburense,Salisbury,1555,Neale, Daniel, Newman.Slesvicense,Schleswig,1512,Daniel.Spirense,Speier,1478,Zabuesnig.Tornacense,Tournay,1540,Neale.Tullense,Toul,1780,Daniel.MONASTIC BREVIARIES.Augustinianorum,1557,Morel, Zabuesnig, Neale.Benedictinorum,1518, 1543,Daniel, Zabuesnig.Canonum Reg. Augustini,Zabuesnig.Carmelitarum,1759,Daniel, Zabuesnig.Carthusianorum,1500,Daniel, Zabuesnig.Cisterciensium,1510, 1752,Daniel, Zabuesnig.Franciscanorum,1481, 1486, 1495,Daniel, Zabuesnig.Humiliatorum,1483,Neale.Praemonstratensium,1741,Daniel, Zabuesnig.Praedicatorum,1482,Daniel, Zabuesnig.Servorum Mariae,1643,Daniel, Zabuesnig.LOCAL MISSALS.Aboense,Abo,1488,Daniel, Neale.Ambianense,Amiens,1529,Neale.Aquiliense,Aquileia,Daniel.Argentinense,Strasburg,1520,Neale.Athanatense,St. Yrieix,1531,Morel.Atrebatense,Arras,1510,Neale.Augustense,Augsburg,1510,Kehrein.Brandenburgense,Brandenburg,C., 1500,Daniel.Bursfeldense,Bursfeld,1518,Kehrein.Coloniense,Koeln,1504, 1520,Daniel, Kehrein.EychstadenseEichstädt,1500,Daniel.Frisingense,Freysingen,1514,Daniel.Hafniense,Copenhagen,Neale.Halberstatense,Halberstadt,1511,Kehrein.Herbipolense,Würzburg,1509,Neale, Kehrein.Leodiense,Liege,1513,Neale.Lubecense,Lubeck,C., 1480,Wackernagel.Magdeburgense,Magdeburg,1493,Wackernagel.Mindense,Minden,1515,Daniel, Kehrein.Moguntinum,Mainz,1482, 1497,Mone, Wackernagel.1507, 1513,Kehrein, Neale.Morinense,Neale.Narbonense,Narbonne,1528,Neale.Nidriosense,Trondhjem,1519,Neale.Noviemsense,Noyon,1506,Neale.Numburgense,Naumburg,1501, 1507,Wackernagel, Daniel.Parisiense vet.,Paris (old),1516,Neale.Parisiense,1739,Newman.Pataviense,Padua,1491,Daniel.Pictaviense,Poitou,1524,Neale.Pragense,Prag,1507, 1522,Neale, Daniel, Kehrein.Ratisbonense,Regensburg,1492,Daniel, Neale.Redonense,Rennes,1523,Neale.Salisburgense,Salzburg,1515,Neale.SarisburenseSalisbury,1555,Neale.Spirense,Speier,1498,Neale.Strengnense,Strengnaes,1487,Neale.Tornacense,Tournay,1540,Neale.Trajectense,Utrecht,1513,Neale.Upsalense,Upsal,1513,Neale.Verdense,Verden,1500,Neale.XantonenseSaintes,1491,Neale.MONASTIC MISSALS.Benedictinorum,1498,Neale, Kehrein.Cistercensium,1504,Daniel.Franciscanorum,1520,Kehrein.Praemonstratensium,1530,Daniel.Praedicatorum,1500,Zabuesnig.Of lesser church-books Zabuesnig has used theProcessionaleof the Dominicans or Preachers, and Newman that of the Church of York. Morel has drawn upon the ParisHoraeof 1519, and Daniel on theCantionaleof Konstanz of 1607.Yet this shows that either only a minority of the printed church-books of the fifteenth and sixteenth centuries have been examined, or else that the majority yielded nothing new in return for such examination.We proceed with the bibliography of the collections and the historical treatises and discussions which bear on Latin Hymnology, together with the most important volumes of translations. These we shall give in chronological order, and where the initials S. W. D. are appended to the comments, it will be understood that these are by Mr. Duffield, not by his editor. The numbers marked with an asterisk (*) indicate works employed in the preparation of the present volume.1. Sequentiarum Textus cum optimo Commento. (S. l. e. a.)Printed at Koeln (Cologne) by Henry Quentell in 1492 or 1494. The following is bound up with the early editions of this as a kind of appendix, but afterward frequently printed by itself.2. Expositio Hymnorum cum notabili [seufamiliari] Commento. (S. l. e. a.)Also printed at Koeln by Henry Quentell in 1492 or 1494, and 1506. Later editions are: Hagenau, 1493; Basil, 1504; Koeln, 1596; and many others.For the full reference,videDaniel, I.: xvii. There were many of these, and the most famous was long regarded as indispensable to the study of the Latin hymns. It is that of Clichtove. S.W.D.3.Liber hymnorum in metra noviter redactorum. Apologia et defensio poeticae ac oratoriae maiestatis. Brevis expositio difficilium terminorum in hymnis ab aliis parum probe et erudite forsan interpretatorum per Henricum Bebelium I ustingensem edita poeticam et humaniores litteras publice profitentem in gymnasio Tubingensi. Annotationes eiusdem in quasdam vocabulorum interpretationes Mammetracti. Thubingen,1501.Henry Bebel was a humanist, and became professor at Tübingen in 1497. Zapf published a biography of him at Augsburg in 1801.4.Hymni et Sequentiae cum diligenti difficillimorum vocabulorum interpretatione omnibus et scholasticis et ecclesiasticis cognitu necessaria Hermanni Torrentini de omnibus puritatis lingue latine studiosis quam optime meriti.—Coloniae, MCCCCCXIII.Daniel says that a second edition (1550, 1536?) has so closely followed Clichtoveus that the first edition only is worthy of note.Hermann Torrentinus was a native of Zwolle, and belonged to the Brotherhood of the Common Life. He was professor at Groningen about 1490, and lived until about 1520. He was one of the group which gathered around John Wessel Gansfort, in whom Luther recognized a kindred spirit.5.De tempore et sanctis per totum annum hymnarius in metra ut ab Ambrosio, Sedulio, Prudentio ceterisque doctoribus hymni sunt compositi. Groningen phrisie iam noviter redactus incipit feliciter.6.Psalterium Davidis adiunctis hymnis felicem habet finem opera et impensis Melchior Lotters ducalis opidi Liptzensis concivis Anno Milesimo quingentesimo undecimo XVIII die Aprilis[1511].7.* Iodoci Clichtovaei Elucidatorium ecclesiasticum ad Officium Ecclesiae pertinentia planius exponens et quatuor Libros complectens. Primus Hymnos de Tempore et Sanctis per totum Annum. Secundus nonnulla Cantica, Antiphonas et Responsaria. Tertius ea quae ad Missae pertinet Officium, praesertim Praefationes. Quartus Prosas quae in sancti Altaris Sacrificio dicuntur continet. Paris, 1515; Basil, 1517 and 1519; Venice, 1555; Paris, 1556; Koeln, 1732.The best book of its time on the subject, and long indispensable to the hymnologist. Josse Clichtove was a Flemish theologian. He studied at Paris under the famous Lefevre d’Etaples, and enjoyed the friendship of Erasmus. He was a zealous opponent of Luther. He died in 1543. The Venice edition of hisElucidatorium—Hymni et Prosae, quae per totum Annum in Ecclesiâ leguntur—is much altered, and contains additional hymns from Italian, French, and Hungarian Breviaries, while it also omits others given by Clichtove.8.Hymni de tempore et de sanctis in eam formam qua a suis autoribus scripti sunt denuo redacti et secundum legem carminis diligenter emendati atque interpretati. Anno Domini, MDXIX.Jacob Wimpheling is the editor. He was an eminent theologian and humanist of Strasburg, and the first to edit Rabanus Maurus’sDe Laudibus Sanctae Crucis. Already in 1499 he had published a tract:De Hymnorum et Sequentiarum Auctoribus Generibusque Carminum quae in Hymnis inveniuntur. One authority gives 1511 as the date of hisHymni.9.Sequentiarum luculenta interpretatio nedum scholasticis sed et ecclesiasticis cognitu necessaria per Ioannem Adelphum physicum Argentinensem collecta. Anno Domini, MDXIX.10. Jakob van Meyer: Hymni aliquot ecclesiastici et Carmina Pia. Louvain, 1537.11. Liber ecclesiasticorum carminum, cum alijs Hymnis et Prosis exquisitissimis a sanctis orthodoxae fidei Patribus in usum piorum mentium compositis. Basil, B. Westhemerus, 1538.12. Laurentius Massorillus: Aureum Sacrorum Hymnorum Opus. Foligni, 1547.13.*Hymni ecclesiastici praesertim qui Ambrosiani dicuntur multis in locis recogniti et multorum hymnorum accessione locupletati. Cum Scholiis opportunis in locis adjectis et Hymnorum indice Georgii Cassandri. Et, Beda de Metrorum generibus ex primo libra de re metrica. Coloniae Anno MDLVI.This was reprinted in Cassander’s Works (Parisiis, 1616). Cassander was a Catholic, who sympathized with the Reformation, and his book was prohibited by the Roman Catholic Church. “In Romana ecclesia liber est vetitus,” says Daniel. With the drawback that his knowledge and opportunities were limited by the age in which he lived, it can still be said that this is a very valuable and helpful collection—the scholarly work of an earnest man. S. W. D.14. Cantiones Ecclesiasticae Latinae ac Synceriores quaedam praeculae Dominicis & Festis Diebus in Commemoratione Cenae Domini, per totius Anni Circulum cantandae ac perlegendae. Per Johannem Spangenbergium Ecclesiae Northusianae inspectorem. Magdeburg, 1543.15a. Carmina vetusta ante trecentos scripta, quae deplorant inscitiam Evangelii, et taxant abusus ceremoniarum, ac quae ostendunt doctrinam hujus temporis non esse novam. Fulsit enim semper et fulgebit in aliquibus vera Ecclesiae doctrina. Cum Praefatione Matthiae Flacii Illyrici. Wittemberg, 1548.15b. Pia quaedam vetustissima Poemata, partim Anti-Christum, ejusque spirituales Filiolos insectantia, partim etiam Christum, ejusque beneficium mira spiritus alacritate celebrantia. Cum praefatione Matthiae Flacii Illyrici. Magdeburg, 1552.15c. Varia Doctorum Piorumque Virorum de Corrupto Statu Ecclesiae Poemata. Ante nostram aetatem conscripta, ex quibus multa historiae quoque utiliter ac summa cum voluptate cognosci possunt. Cum Praefatione Matthiae Flacii Illyrici. Magdeburg, 1556. Reprinted 1754.These three collections are of importance to the hymnologist. From the first Wackernagel has extracted a number of fine hymns. The third contains Bernard of Cluny’sDe Contemptu Mundi.16. Hymni aliquot sacri veterum Patrum una cum eorum simplici Paraphrasi, brevibus argumentis, singulis Carminum generibus, & concinnis Melodijs ... Collectore Georgio Thymo. Goslar, 1552.17. Psalmodia, hoc est Cantica Sacra veteris Ecclesiae selecta. Quo ordine & Melodijs per totius anni curriculum cantari vsitate solent in templis de Deo, & de filio ejus Iesv Christo, ... Et de Spiritv Sancto.... Jam primum ad Ecclesiarum, & Scholarum vsum diligenter collecta, et brevibus et pijs Scholijs illustrata per Lucam Lossium Luneburgensem. Cum Praefatione Philippi Melanthonis. Wittemberg, 1552 and 1595; Nuremberg, 1553 and 1595.Die Hymni, oder geistlichen Lobgeseng, wie man die in der Cystertienser orden durchs gantz Jar singet. Mit hohem vleis verteutschet durch Leonhardum Kethnerum. Nurnberg, 1555.18. Hymni et Sequentiae, tam de Tempore quam de Sanctis, cum suis Melodijs, sicut olim sunt cantatae in Ecclesia Dei, & jam passim correcta, per M. Hermannum Bonnum, Superintendentem quondam Ecclesiae Lubecensis, in vsum Christianae juventutis scholasticae fideliter congesta & euulgata. Lubeck, 1559.19.Pauli Eberi, Psalmi seu cantica in ecclesia cantari solita. Witteburgiae, 1564.20.*Poetarum Veterum Ecclesiasticorum Opera Christiana et operum reliquiae atque fragmenta. Thesaurus catholicae et orthodoxae ecclesiae et antiquitatis religiosae ad utilitatem iuventutis scholasticae, collectus, emendatus, digestus et commentario quoque expositus diligentia et studio Georgii Fabricii Chemnicensis. Basileae per Ioannem Oporinum MDLXIIII.A second edition in 1572. George Fabricius, of Chemnitz, besides editing this important book, was the most prolific writer of Latin hymns the Lutheran Church possessed.21. Johann Leisentrit: Geistliche Lieder und Psalmen der alten Apostolischer recht und warglaubiger Christlicher Kirchen. 2 parts. Budissin, 1567.Used by Wackernagel. Although Leisentrit was the Roman Catholic dean of Budissin, his first part seems to have been censured as of Protestant tendency. The second is made up of hymns to Mary and the Saints. This part was reprinted in 1573 and 1584.22.Cantica Selecta Veteris Novique Testamenti cum Hymnis et Collectis seu orationibus purioribus quae in orthodoxa atque catholica ecclesia cantari solent. Addita dispositione et familiari expositione Christophori Corneri. Lipsiae cum privilegio MDLXVIII.A second edition in 1571, and a third in 1573.23. Cantica ex sacris literis in ecclesia cantari solita cum hymnis et collectis, etc., recognita et aucta per D. Georgium Maiorem. Wittemberg, 1570.23b. Hymni et Collectae, item Evangelia, Epistolae, etc., quae diebus dominicis et festivis leguntur. Koeln, 1573.24. Psalterium Davidis, etc., cum lemmatibus ac notis Adami Siberi. Accesserunt Hymni festorum dierum insignium. Lipsiae, Iohannes Rhamba excudebat Anno MDLXXVII.25.Hymnorum Ecclesiasticorum ab Andrea Ellingero V. Cl. emendatorum libri III, etc. MDLXXVIII. Francofurti ad moenum.Daniel calls this the most ample of all the collections, but he criticises the first two volumes severely for their arrangement, and the changes in text made for metrical reasons. The third volume he was able to use, but he felt unsafe in the others except when the editor positively stated in his notes what he considered the original and genuine text. S. W. D.26. Joh. Holthusius: Compendium Cantionum ecclesiasticarum. Augsburg, 1579.27.In hymnos ecclesiasticos ferme omnes Michaelis Timothei Gatensis brevis elucidatio. Venetiae, 1582.28. Hymni et Collectae. Koeln, 1585.29. Lorenza Strozzi: In singula totius Anni Solemnia Hymni. Florence, 1588.These hymns were adopted into the service-books of several dioceses, and were translated into French by Pavillon, and set to music by Maduit. The author was a Dominican nun of the famous Strozzi family.30. Collectio Hymnorum per totum Annum. Antwerp, Plantin, 1593.31. Francis Algermann: Ephemeris Hymnorum Ecclesiasticorum ex Patribus selecta. Helmstadt, 1596.With German translations.32. Vesperale et Matutinale, hoc est Cantica, Hymni & Collectae, seu Precationes ecclesiasticae quae in primis et secundis vesperis, itemque matutinis Precibus, per totius Anni circulum, in ecclesiis, & religiosis piorum congressibus cantari solent. 1599.The author, Matthew Luidke, was deacon of the Church in Havelberg, and aimed at the naturalization of the methods of the old church books among Lutherans. Daniel gives this book the palm among the Lutheran collections of the Latin hymns. Its author also published aMissale, and died in 1606.33.Divorum patrum et doctorum ecclesiae qui oratione ligata scripserunt Paraphrases et Meditationes in Evangelia dominicalia e diversis ipsorum scriptis collectae a. M. Ioach. Zehnero ecclesiae Schleusingensis pastore et Superintendente. Lipsiae, 1602,sumptibus Thomae Schureri.“Liber utilissimus,” Daniel. The author was a Protestant, and a diligent student of the old hymns. S. W. D.34.* Bernardi Morlanensis Monachi ordinis Cluniacensis De Vanitate Mundi, et Gloriâ Caelesti, Liber Aureus. Item alij ejusdem Libri Tres Ejusdem fermè Argumenti, Quibus cum primis in Curiae Romanae & Cleri horrenda scelera stylo Satyrico carmine Rhithmico Dactylico miro artificio ante annos fermè quingentos elaborato, gravissime invehitur. Editi recens, et plurimis locis emendati, studio & opera Eilh. Lubini. Rostochii, Typis Reusnerianis, Anno MDCX.One hundred and twenty unnumbered pages in duodecimo, of which three are filled by a dedicatory letter to Matthias Matthiae, Lutheran pastor at Schwensdorf. Professor Lubinus gives no account of the sources of his edition, but says of Bernard: “Vixit hic Bernardus Anno Christo 1130. Scripsit colloquium Gabrielis & Mariae. Item hosce, quos jam edimus, & non paucis locis correximus, libros.”35.Card. Ioannis Bonae, de divina Psalmodia, tractatus, sive psallentis Ecclesiae Harmonia.Rome, 1653; Antwerp and Koeln, 1677; Paris, 1678; Antwerp, 1723.Also in hisOpera, Turin, 1747.36. Charles Guyet: Heortologia, sive de Festis propriis Locorum et Ecclesiarum: Hymni propriae variarum Galliae Ecclesiarum revocati ad Carminis et Latinitatis Leges. Folio. Paris, 1657; Urbino, 1728; Venice, 1729.37a. David Greg. Corner: Grosz Katholisch Gesangbuch. Furth bei Ge., 1625.37b. D. G. Corner: Cantionale. 1655.37c. D. G. Corner: Promptuarium Catholicae Devotionis. Vienna, 1672.37d. D. G. Corner: Horologium Christianae Pietatis. Heidelberg, 1688.Contain many old Latin hymns. The third is used by Trench.38. Andreas Eschenbach: Dissertatio de Poetis sacris Christianis. Altdorf, 1685. (Reprinted in hisDissertationes Academicae. Nuremberg, 1705.)39. C. S. Schurzfleisch: Dissertatio de Hymnis veteris Ecclesiae. Wittemberg, 1685.40. Lud. Ant. Muratori: Anecdota quae ex Ambrosianae Bibliothecae Codicibus nunc primum eruit, notis et disquisitionibus auxit. 2 vols. in quarto. Milan, 1697-98.Contains the Bangor Antiphonary and the hymns of Paulinus of Nola.41. Hymni spirituales pro diversis Animae Christianae Statibus. Paris, 1713.42a. Polycarp Leyser: Dissertatio de ficta Medii Aevi Barbarie, imprimis circa Poesin Latinam. Helmstadt, 1719.42b. Pol. Leyser: Historia Poetarum et Poematum Medii Aevi. Halle, 1721.42c.* J. G. Walch: De Hymnis Ecclesiae Apostolicae. Jena, 1737. (Reprinted in his Miscellanea Sacra: Amsterdam, 1744.)43.*Josephi Mariae Thomasii S.R.E. Cardinalis Opera omnia.—Rome, 1741, in 6 vols., folio, and 1747 et seq. in 12 vols., 4to. (The Hymnarium is found in pages 351-434 of Vol. II., in the 4to edition.)“This book,” remarks Daniel, “is sufficiently rare in Germany, but the editor of sacred hymns can by no means do without it.” The reason is that Thomasius had access to the VaticanMSS., and was therefore able to unearth many rare and valuable texts. He also designated the probable authorship of a goodly number of the hymns—not always correctly, but usually with considerable truth. S. W. D.44. Peter Zorn: De Hymnorum ecclesiasticorum Latinorum Collectoribus. In his Opuscula Sacra, Altona, 1731 and 1743.44b. D. Galle: De Hymnis Ecclesiae veteris. Wittemberg, 1736. Pp. 16, 4to.45.I. H. a Seelen, de poesi Christ. non a tertio post. Chr. nat. seculo, etc., deducenda.—Lubecae, 1754.46. J. G. Baumann: De Hymnis et Hymnopoeis veteris et recentioris Ecclesiae. Bremen, 1765.47a. Mart. Gerbert: De Cantu et Musica Sacra, a prima Ecclesiae aetate usque ad praesens tempus. 2 vols., 4to. St. Blaise, 1774.47b. Mart. Gerbert: Scriptores Ecclesiastici de Musica Sacra, potessimum ex variis Italiae, Galliae et Germaniae Manuscriptis collecti, et nunc primum publicâ luce donati. 3 vols., 4to. St. Blaise, 1784.This product of unwearied research contains,inter alia, treatises by Alcuin, Notker Labeo, Odo of Cluny, Guido of Arezzo, Hermann the Lame, Engelbert of Admont. Martin Gerbert (1720-93) was prince-abbot of St. Blaise in the Black Forest.48a. Faustino Arevalo: Hymnodia Hispanica ad Cantus Latinitatis, Metrique leges revocata et aucta; praemittitur Dissertatio de Hymnis ecclesiasticis eorumque correctione atque optima constitutione; Accedunt Appendix de festo conversionis Gothorum instituendo; Breviarii Quignoniani fata, etc. Rome, 1786.48b. Faustino Arevalo: Poetate Christiani: Prudentius, Dracontius, Juvencus, et Sedulius. 5 vols., quarto. Rome, 1788-94.The former of these works has been much used by Neale and Daniel.49. (Walraff:) Corolla Hymnorum sacrorum publicae devotioni inservientium. Veteres electi sed mendis quibus iteratis in editionibus scatebant detersi, strophis adaucti. Novi adsumpti, recentes primum inserti. Koeln, 1806.Taken chiefly from thePsalteriolum Cantionumof the Society of Jesus, of which the sixteenth edition had appeared in 1792 in the same city.50.F. Münter: Ueber die älteste Christliche Poesie.—Kopenhagen, 1806.51.* Anthologie christlicher Gesänge aus allen Jahrhunderten der Kirche nach der Zeitfolge geordnet und mit geschichtlichen Bemerkungen begleitet. Von Aug. Jak. Rambach. 6 vols. Altona, 1817-33.The first volume is occupied with the early and Middle Ages of the Church, especially the Latin Hymns, the texts being given with translations and notes. It merits the high praise Daniel gives it:studia praeclara Rambachii. S. W. D.52. M. F. Jack: Psalmen und Gesänge, nebst den Hymnen der ältesten Kirche, uebersetzt. 2 vols. Freiburg, 1817.Other German-Catholic translators are George Witzel (1550), a Mönch of Hildesheim (1776), F. X. Jahn (1785), F. J. Weinzerl (1817 and 1821), J. Aigner (1825), Casper Ett (1837), A. A. Hnogek (1837), Deutschmann (1839), R. Lecke (1843), M. A. Nickel (1845), H. Bone (1847), J. Kehrein (1853), G. M. Pachtler (1853), H. Stadelmann (1855), a Priest of the diocese of Münster (1855), J. N. Stoeger (1857), Theodor Tilike (1862), G. M. Pachtler (1868), P. J. Belke (1869), and Fr. Hohmann (1872). Silbert, Zabuesnig, Simrock, and Schlosser are given in their proper places in this list.53.* G. A. Bjorn: Hymni veterum poetarum Christianorum ecclesiae latinae selecti. Copenhagen, 1818.Bjorn was the Lutheran pastor of Vemmetofte, in Denmark. His selection is confined to the very early writers: Victorinus, Damasus, Ambrose and his school, Prudentius (theKathemerinon), and Paulinus of Nola. He has a good introduction and notes.54.* Adolf Ludewig Follen: Alte christliche Lieder und Kirchengesänge teutsch und lateinisch, nebst einem Anhange. Elberfeld, 1819.Chiefly hymns of the later Middle Ages or by the Jesuits. The author, who was a brother of Professor Follen of Harvard, ascribes theDies Iraeto Malabranca, 1278, Bishop of Ostia, and accepts theRequiescat a laboreas a funeral hymn actually sung by Heloise and her nuns over Abelard.Other German-Protestant translators, besides those given in this list at their proper places, are H. Freyberg (1839), Ed. von Mildenstein (1854), H. von. Loeper (1869), H. F. Müller (1869), J. Linke (1884), and Jul. Thikotter (1888).55. J. P. Silbert: Dom heiliger Sanger, oder fromme Gesänge der Vorzeit. Mit Vorrede von Fr. von Schlegel. Vienna and Prague, 1820.56. F. J. Weinzerl: Hymni sacri ex pluribus Galliae diocesium Brevariis collecti. Augsburg, 1820.57. Poetae ecclesiasticae Latini. 4 vols., in 12mo. Cambray, 1821-26.Embraces Fortunatus, Prudentius, Cherius, Tertullian, Cyprian, Juvencus, Sedulius, Belisarius, Liberius, Prosper, Arator, Lactantius, and Dracontius.58.* Johann Christoph von Zabuesnig: Katholische Kirchengesänge in das Deutsche übertragen mit dem Latein zur Seite. 3 vols. Augsburg, 1822.A second edition, with a Preface by Carl Egger, Augsburg, 1830. The collection is a large one, made from fourteen breviaries, three missals, and other church-books and private collections, besides one manuscript antiphonary. Although a Catholic priest, Zabuesnig selects (from Christopher Corner, 1573) and translates hymns by Melanchthon and Camerarius.59a. Gottl. Ch. Fr. Mohnike: Kirchen- und Literar-historische Studien und Mittheilungen. Stralsund, 1824.59b. Gottl. Chr. Fr. Mohnike: Hymnologische Forschungen. 2 vols. Stralsund, 1831-32.60.* Ludwig Buchegger: De Origine sacrae Christianorum Poeseos Commentatio. Freiburg, 1827.61.* Sir Alexander Croke: An Essay on the Origin, Progress, and Decline of Rhyming Latin Verse; with many Specimens. Oxford, 1828.62.* Jakob Grimm: Hymnorum veteris Ecclesiae XXVI Interpretatio Theotisca nunc primum edita. 4to, pp. 1830.Grimm’s “Habilitationsschrift” on entering on his professorship at Göttingen. It is from the manuscript presented in the seventeenth century by Francis Junius to the University of Oxford, which contains twenty-six hymns by Ambrose and his school, with a prose version in Old High German of the eighth or ninth century. Four of the hymns had never appeared in any previous collection.63a. Rev. Isaac Williams: Thoughts in Past Years. London, 1831. A sixth edition in 1832.Contains twelve versions of Ambrosian and other primitive hymns.63.* Hoffmann von Fallersleben: Geschichte des deutschen Kirchenliedes bis auf Luther’s Zeit. Hannover, 1832. Second edition, 1854; third edition, *1861.Shows the transition from Latin to German in popular use, and discusses the history of forty-five Latin hymns in this connection.64. F. Martin: Specimens of Ancient Hymns of the Western Church, transcribed from anMS.in the University Library of Cambridge, with Appendix of other Ancient Hymns. Pp. 36, octavo. Norwich, 1835.Privately printed in fifty-six copies.65.* J. C. F. Bähr: Die Christlichen Dichter und Geschichtschreiber Roms. Eine literärhistorische Uebersicht. Carlsruhe, 1836. New edition, 1872.66a.* Rev. John Chandler: The Hymns of the Primitive Church, now first collected, translated, and arranged. London, 1837.Contains 108 Latin hymns with Chandler’s translation, several of which were adopted by the editors ofHymns Ancient and Modern. Mr. Chandler died, July 1st, 1876.66b.* Bishop Richard Mant: Ancient Hymns from the Roman Breviary. London, 1837. New edition, 1871 (272 pages).Dr. Mant was Bishop of Down and Connor in the Irish Established Church, and died November 2d, 1848. He was an original Latin poet of some note, and a writer of English hymns.67.* (J. H. Newman:) Hymni Ecclesiae. Pars I., e Breviario Parisiensi; Pars II., e Breviariis Romano, Sarisburiensi, Eboracensi et aliunde. Oxford, 1838.A new edition, London, 1865.This collection, sometimes known as the Oxford Hymns, was prepared by Cardinal Newman while he was still a presbyter of the Anglican Church, and exhibits everywhere his cultivated taste. Many of the hymns it includes are not to be found in other collections. This is especially true of the hymns from the Paris Breviary of 1736, which make up half the book. S. W. D.68.* Rev. Isaac Williams: Hymns translated from the Paris Breviary. London, 1839.These translations had already appeared inThe British Magazineabout 1830. Mr. Williams takes rank next after Keble among the poets of the Tractarian movement. He died in 1865.69.* Ioseph Kehrein: Lateinische Anthologie aus den christlichen Dichtern des Mittelalters. Für Gymnasien und Lyceen herausgegeben und mit Anmerkungen begleitet. Erster Theil. Die acht ersten christlichen Jahrhunderte. Frankfurt a. M., 1840.An anthology prepared with great labor and small judgment by a prosaic scholar. S. W. D.70a.* Friedrich Gustav Lisco: Dies Irae, Hymnus auf das Weltgericht. Als Beitrag zur Hymnologie. Pp. 156. Great 4to. Berlin, 1840.70b. Friedrich Gustav Lisco: Stabat Mater. Hymnus auf die Schmerzen Mariä. Nebst einem Nachtrage zu den Uebersetzungen des Hymnus Dies Irae. Zweiter Beitrag zur Hymnologie. Great 4to. Pp. 58. Berlin, 1843.71.* (Professor Henry Mills:) The Hymn of Hildebert, and the Ode of Xavier, with English Versions. Auburn, 1840.72.* Hermann Adalbert Daniel: Hymnologischer Blüthenstrauss aus dem Gebiete alt-lateinischer Kirchenpoesie. 12mo. Halle, 1840.Professor Daniel’s first appearance in a field in which he still is the highest authority. Besides his Thesaurus and this little precursor to it, and the dissertation mentioned below, he labored in German hymnology, editing anEvangelisches Kirchen-Gesangbuchin 1842, and Zinzendorf’s hymns in 1851. He also took part in the preparation of the standard German hymn-book of the Eisenach Conference, which is intended to put an end to the unlimited variety of hymn-books in the local churches of Germany. For Ersch and Gruber’s hugeEncyclopädie, he wrote the article “Gesangbuch,” which is reprinted in hisZerstreute Blätter(Halle, 1840). And besides all this he published in 1847-53 aCodex Liturgicus Ecclesiae Universae, and was a leading authority in Pedagogics and in Geography.73.* Ferdinand Wolf: Ueber die Lais, Sequenzen und Leiche. Ein Beitrag zur Geschichte der Rhythmischen Formen und Singweisen der Volkslieder und der Volksmässigen Kirchen- und Kunstlieder im Mittelalter. Mit VIII Facsimiles und IX Musikbeilagen. Heidelberg, 1841.74.* Hermann Adalbert Daniel: Thesaurus Hymnologicus sive hymnorum canticorum sequentiarum circa annum MD usitatarum collectio amplissima. Carmina collegit, apparatu critico ornavit, veterum interpretum notas selectas suasque adiecit. V Tomi. Leipzig, 1841-56.Still the chief text-book for the student of Latin hymnology. Vols. I. (1841) and IV. (1855) contain the Hymns. Vols. II. (1844) and V. (1856), the Sequences. Vol. III. (1846), Hymns of the Greek and Syrian Churches. To Vol. V. Dr. Neale contributes a Latin introduction on the nature of the Sequence.In the two last volumes Daniel uses freely and with acknowledgment the labors especially of Mone and Neale. The fifth volume contains also indices to all five volumes by first lines, and also a topical index. The worst defect of the book is the poorness of this latter. Next to that is its author’s very insufficient preparation for his work when he published his two first volumes; but that probably was unavoidable. Vols. IV. and V. show how much he had grown in his mastery of his field of labor. But his learning and his care give his book a place inferior to none.75.* K. E. P. Wackernagel: Das Deutsche Kirchenlied von Martin Luther bis auf Nicolaus Herman und Ambrosius Blaurer. Stuttgart, 1841.Wackernagel’s first and shorter work. Recognizing in the Latin hymns the starting-point of German hymnology, he begins his book with thirty-seven pages of Latin hymns and sequences, taken mostly from Lossius and Rambach, with some from theHymni et Collectaeof 1585.75b. A. D. Wackerbarth: Lyra Ecclesiastica: a Collection of Ancient and Godly Latin Hymns, with an English Translation. Two series. London, 1842-43.76a.* Edélestand du Meril: Poesies populaires latines anterieures au douzième siècle. Paris, 1843.This book, like the similar work of Thomas Aldis Wright, contains the popular Latin poetry of the Middle Ages previous to the twelfth century. But it also contains the first part of the hymns of Abelard, and it is from this volume that Trench and March took their examples of his poetry. The later discovery of the entire hymnarium prepared for the Abbey of the Paraclete emphasizes the importance of De Meril’s researches. S. W. D.76b. Edélestand du Meril: Poesies populaires latines du Moyen Age. Paris, 1847.A continuation of his first work of 1843. Both are used freely by Daniel in his later volumes and by Mone.77.* Jacques Paul Migne: Patrologiae Cursus Completus, sive Bibliotheca Universalis, Integra, Uniformis, Commoda, Oeconomica omnium Patrum, Doctorum Scriptorumque Ecclesiasticorum qui ab Aevo Apostolico ad Innocentii III Tempora floruerunt. CCXXI Tomi Paris, 1844-55. New edition begun in 1878.For the Christian Poets, see the following volumes: Abelard, 168; Adam of St. Victor, 196; Alan of Lisle, 210; Ambrose, 16 and 17; Anselm of Canterbury, 158; Bede, 94; Bernard of Clairvaux, 184; Damasus, 13; Drepanius Florus, 61; Elpis, 63; Ennodius, 63; Eugenius, 87; Florus, 110: Venantius Fortunatus, 88; Fulbert, 141; Godeschalk, 141; Gregory the Great, ——; the Emperor Henry, 140; Heribert of Eichstetten, 141; Hilary, 10; Hildebert, 171; Hincmar, 125; Innocent III., 217; Isidore, 83; John Scotus Erigena, 122; Juvencus, 19; Claudianus Mamertus, 53; Marbod, 171; Notker, 131; Odo of Cluny, 142; Paulinus of Nola, 61; Peter Damiani, 145; Peter of Cluny, 189; Prudentius, 59; Rabanus Maurus, 112; Robert II, 141; Ratpert of St. Gall, 87; Coelius Sedulius, 19; Walafried Strabo, 114; Tutilo of St. Gall, 87; Paul Warnefried, 95.Anonymous poems as follows: IId and IIId centuries, 2; IVth century, 7; Vth century, 61; VIIth century, 87; IXth century, 98; XIth century, 151; XIIth century, 190.78.* C. Fortlage: Gesänge Christl. Vorzeit. Auswahl der vorzüglichsten aus den Griechischen und Lateinischen übersetzt. Berlin, 1844.78a.* (John Williams): Ancient Hymns of Holy Church. Pp. 128, 12mo. Hartford, 1845.Contains original translations of forty Latin hymns, mostly Ambrosian and other early hymns in the abbreviated versions of the Roman Breviary. Twenty-two of Isaac Williams’s translations of hymns from the Paris Breviary are appended. The author was at the time rector of St. George’s church in Schenectady, and in 1851 became bishop of Connecticut.79.* K. I. Simrock: Lauda Syon, altchristliche Kirchenlieder und geistliche Gedichte, lateinisch und deutsch. Köln, 1846.A second edition in 1868. One of the most eminent Germanists, and an extremely felicitous translator (1802-76).80.* G. A. Königsfeld: Lateinische Hymnen und Gesänge aus dem Mittelalter, deutsch, unter Beibehaltung der Versmasse. Nebst Einleitung und Anmerkungen; unter brieflicher Bemerkungen und Uebersetzungen von A. W. Schlegel. Bonn, 1847.An admirably done piece of work. Specimens from twenty-five authors, with twenty anonymous hymns chiefly of the Jesuit school. A second series in 1865.81.* Richard Chenevix Trench: Sacred Latin Poetry. London, 1849. Second edition, 1864; third edition, 1878.Archbishop Trench’s little book has had a wide popularity, and many persons have been induced by it to take a deeper interest in the subject. But it is disfigured by its arrangement, which excludes everything that cannot be safely employed by Protestants. Lines are omitted from Hildebert; theStabat Materof Jacoponus is absent, and thePange linguaof Aquinas is also missing. Moreover the notes, which have been easily prepared from Latin sources, are scarcely satisfactory. Yet, take it for all in all, it is a volume that may be highly commended, for the archbishop is a poet, and has a poet’s appreciation of the beautiful. We are indebted to him for hymns from Marbod, Mauburn, W. Alard, Balde, Pistor, and Alan of Lisle, which are not readily found. S. W. D.There is much in the recent biography of Archbishop Trench which is of interest to hymnologists, especially his correspondence with Dr. Neale.82a.* Edward Caswall: Lyra Catholica: containing all the Hymns of the Roman Breviary and Missal, with others from various Sources. London, 1849; New York, 1851. New edition, London, 1884.Mr. Caswall was one of the clergymen who left the Church of England for the Roman communion with Dr. Newman. Some of his translations, especially of Bernard of Clairvaux, are among the most felicitous in the language. The American edition has an Appendix of “Hymns, Anthems, etc., appropriate to particular occasions of devotion.” It is this edition which has been abridged in the first volume of theHymns of the Ages(1858).82b. J. R. Beste: Church Hymns in English, that may be sung to the old church music. With approbation. London, 1849.83.* D. Ozanam: Documents inedits pour servir a l’Histoire litteraire de l’Italie depuis le VIIIe Siecle jusq’au XIIIe. Paris, 1850.Pages 221-57 is an account of a collection of two hundred and forty-three Latin hymns found in a Vatican manuscript, which he assigns to the ninth century, and to the Benedictines of Central Italy. He prints those not found in Daniel. Reprinted in Migne’sPatrologia: 151; 813ff.84. Hymnale secundum Usum insignis et praeclarae Ecclesiae Sarisburiensis. Littlemore, 1850.85.* Hymnarium Sarisburense, cum Rubricis et Notis Musicis. Variae inseruntur lectiones CodicumMSS.Anglicorum, cum iis quae a Geo. Cassandro, J. Clichtoveo, J. M. Thomasio, H. A. Daniel, e Codd. Germanis, Gallicis, Italis, erutae sunt. Accedunt etiam Hymni et Rubricae e Libris secundum usus Ecclesiarum Cantuariensis, Eboracensis, Wigornensis, Herefordensis, Gloucestrensis, aliisque Codd.MSS.Anglicanis excerpti. Pars prima. London and Cambridge, 1851.Gives hymns and various readings from twenty-six English manuscripts.86.* Joseph Stevenson: Latin Hymns of the Anglo-Saxon Church; with an Interlinear Anglo-Saxon Gloss, from a Manuscript of the Eleventh Century in Durham Library. Edited for the Surtees Society. London and Durham, 1851.Of some value as showing what hymns were used in the early English Church, before the Norman Conquest. The gloss is not Northumbrian, as might be supposed from its being found in the Library of the Dean and Chapter of Durham, but West-Saxon, probably from Winchester.86b. Boetticher: Hymns of the old Catholic Church of England. Halle, 1851.87.* Joh. F. H. Schlosser: Die Kirche in ihren Liedern durch all Jahrhunderte. 2 vols. Mainz, 1851-52. Second edition. Freiburg, 1863.Translations without texts, but some valuable notes, especially to later hymns. The first volume is devoted to the Latin hymns, and contains the beautiful fragment of a lost sequence which Schlosser heard from his brother in 1812. It represents the Apostle Paul weeping over the grave of Virgil at Puteoli:

Adjuvent nos eorum merita,Quos propria impediunt scelera?Excuset eorum intercessio,Quos propria accusat actio?At tu, qui eis tribuistiCoelestis palmam triumphi,Nobis veniam non deneges peccati.In the same spirit he and his associates edited the first great Protestant work on Church history—theMagdeburg Centuries(1559-74, in thirteen folio volumes). The first Protestants hadno more idea of surrendering the history of the Church to the champions of the Roman Catholic Church, than of giving up to them the New Testament. They held that down through all the ages ran a double current of pure Christianity and scholastic perversion of that, and that the Reformation succeeds to the former as the Tridentine Church to the latter. This especially as regards the great central point in controversy, the part of grace and of merit in the justification of the sinner. And they found the proof of this continuity especially in the devotions of the early Church. They found themselves in that great prayer of the Franciscan monk, which the Roman Missal puts into the mouth of her holiest members as they gather around the bier of the dead:Quid sum miser tunc dicturus,Quem patronum rogaturus,Quum vix justus sit securus?Rex tremendae majestatis,Qui salvandos salvas gratis,Salve me, fons pietatis!“Whenever in the Middle Ages,” says Albrecht Ritschl, “devotion, so far as it has found articulate expression, rises to the level of the thought that the value of the Christian life, even where it is fruitful of good works, is grounded not upon these as human merits, but upon the mercy of God ... then the same line of thought is entered upon as that in which the religious consciousness common to Luther and Zwingli was able to break through the connection which had subsisted between Catholic doctrine and the Church institutions for the application of salvation.... Whenever even the Church of Rome places herself in the attitude of prayer, it is inevitable that in the expression of her religious discernment, in thanksgiving and petition, all the benefits of salvation should be referred to God or to Christ; the daily need for new grace, accordingly, is not expressed in the form of a claim based upon merits, but in the form of reliance upon God.”[26]That the Latin hymns of those earlier centuries show a steadily increasing amount of unscriptural devotion to the mother of our Lord and to His saints, and of the materializing view of our Lord’s presence with His Church in the Communion, is undeniable. But even in these matters the hymns of the primitive and mediaeval Church are a witness that these and the like misbeliefs and mispractices are a later growth upon primitive faith and usage.The first generation of Protestants, to which Luther, Melanchthon, and Zwingli belong, had been brought up on the hymns of the Breviary and of the Missal, and they did not abandon their love for these when they ceased to regard the Latin tongue as the only fit speech for public worship. They showed their relish for the old hymns, by publishing collections of them, by translating them into the national languages, by writing Latin hymns in imitation of them, and even by continuing their use in public worship to a limited extent.As collectors and editors of the old Latin hymns, the Protestants of the sixteenth century surpassed the Roman Catholics of that age. Over against the names of Hermann Torrentinus (1513 and 1536), Jacob Wimpheling (1519), Joste Clichtove (1515-19), Jacob van Meyer (1535), Lorenzo Massorillo (1547), and George Cassander (1556), the Roman Catholic hymnologists of the half century which followed the Reformation, we may place the anonymous collector of Basel (1538), Johann Spangenberg (1545), Lucas Lossius (1552et seq., with Preface by Melanchthon), Paul Eber (1564), George Fabricius (1564), Christopher Corner (1568), Hermann Bonn (1569), George Major (1570), Andreas Ellinger (1573), Adam Siber (1577), Matthew Luidke (1589), and Francis Algerman (1596). All these, with the possible exception of the first, were Lutherans, trained in the humanistic school of Latin criticism and poetry; but only two of them found it needful or desirable to alter the hymns into conformity with the tastes of the age. The collections of Hermann Bonn, the first Lutheran superintendent of Lubeck, and that of George Fabricius, are especially important, as faithfully reproducing much that else might have been lost to us.The work of translating the old Latin hymns fell especially to the Lutherans. Roman Catholic preference was no stronger for the original Latin than that of the Reformed for the Psalms. Of the great German hymn-writers from Luther to Paul Gerhardt, nearly all made translations from the storehouse of Latin hymnody, Bernard of Clairvaux being the especial favorite with Johann Heermann, John Arndt, and Paul Gerhardt. And even in hymns which are not translations, the influence of the Latin hymns is seen in the epic tone, the healthy objectivity of the German hymns of this age, in contrast to the frequently morbid subjectivity of those which belong to the age of Pietism.More interesting to us are the early translations into English. The first are to be found in thePrimerof 1545, a book of private devotions after the model of the Breviary, published in Henry VIII.’s time both in English in 1545 and again in Latin (Orarium) in 1546. In the next reign a substitute for this in English alone was prepared by the more Protestant authorities of the Anglican Church, in which, besides sundry doctrinal changes, the hymns were omitted. But the scale inclined somewhat the other way after Elizabeth’s accession. The EnglishPrimerof 1559 and the LatinOrariumof 1560 are revised editions of her father’s, not of her brother’s publications. The parts devoted to the worship of Mary are omitted, but the prayers for the dead and the hymns are retained. These old versions are clumsy enough, but not without interest as the first of their kind. Here is one with the original text from theOrarium, differing from any other authority known to us:Rerum Creator omnium,Te poscimus hoc vesperiDefende nos per gratiamAb hostis nostri fraudibus.Nullo ludamur, Domine,Vel somnio vel phasmate:In Te cor nostrum vigilet,Nec dormiat in crimine.Summe Pater, per FiliumLargire quod Te poscimus:Cui per sanctum SpiritumAeterna detur gloria. Amen.O Lord, the Maker of all thing,We pray thee now in this eveningUs to defend, through thy mercy,From all deceit of our enemy.Let us neither deluded be,Good Lord, with dream nor phantasy.Our heart waking in thee thou keep,That we in sin fall not on sleep.O Father, through thy blessed Son,Grant us this our petition;To whom, with the Holy Ghost, alwaysIn heaven and earth be laud and praise. Amen.It is not wonderful that when the Anglo-Catholics sought to revive thePrimeras “the authorized book of Family and Private Prayer” on the same footing as the Prayer book, they took the liberty of substituting modern versions of the hymns for these “authorized” translations.[27]But thePrimer, whatever its authority, never possessed that much more important requisite to success—vitality. A very few editions sufficed for the demand, and Bishop Cosin’s attempt to revive it in Charles I.’s time only provoked a Puritan outcry against both him and it. Rev. Gerard Moultrie has attempted to revive it in our own time, as “the only book of private devotion which has received the sanction of the English Church,” and has not achieved even thus much of success. No Prynne has assailed him.In the Book of Common Prayer, besides such “canticles” as theGloria in Excelsisand theTe Deum, there is but one hymn, an English version of theVeni, Creator Spiritusin the Ordination Service. It is the wordiest of all known versions, rendering one hundred and five Latin by three hundred and fifty-seven English words, but is not without its old-fashioned felicities. The revisers of 1661 cut it down by omitting just half of it, and modernized the English in a number of places. Its very verbosity seems to have suggested Bishop Cosin’s terse version, containing but four morewords than the original, which, however, it somewhat abridges. This was inserted in 1661 as an alternate version. The author of the paraphrase in the Prayer-Book is unknown. It is not Bishop Coverdale, as his, although translated at second-hand from Luther, as, indeed, all his hymns are from some German source, is far closer and less wordy.[28]It also was adopted into the old Scottish Psalter of the Reformation, where it appears in the appendix, along with a metrical version of the Apostle’s Creed and other “uninspired compositions.”From the Reformation until about fifty years ago, there was among English-speaking people no interest in Latin hymnology worth speaking of. A few Catholic poets, like Crashaw and Dryden, honored their Church versions from the hymns of the Breviary. But even John Austin, a Catholic convert of 1640, when he prepared hisDevotions in the Ancient Way of Officesafter the model of the Breviary, wrote for it hymns of his own instead of translating from the Latin. Some of these (“Blessed be Thy love, dear Lord,” and “Hark, my soul, how everything”) have become a part of our general wealth. Of course some versions of a homely sort had to be made for Catholic books of devotion, and I possessThe Evening Office of the Church in Latin and English(London, 1725), in which the Vesper hymns of the Roman Breviary are closely and roughly versified. It is notable that “the old hymns as they are generally sung in churches”—i.e., the hymns as they stood before the revision of 1631, are printed as an appendix to the book, showing how slow English Catholics were to accept the modernization of the hymns which the papacy had sanctioned nearly a century before.Mr. Orby Shipley, in hisAnnus Sanctus(London, 1884), gives a large number of these early versions from the Roman CatholicPrimersof 1619, 1684, 1685, and 1706; from theEvening Officeof 1710, 1725, and 1785; and from theDivine Officeof 1763 and 1780. The translations of 1619 have been ascribed to William Drummond, of Hawthornden, and those of 1706 to Dryden. Drummond was the first Scotchman who adopted English as the language of literature, and although a Protestant, he belonged to the Catholicizing party represented by William Forbes, the first Protestant bishop of Edinburgh. Three hymns are given in Sir Walter Scott’s edition of Dryden on the authority of English Roman Catholic tradition, the best known being his version of theVeni Creator Spiritus. These three are found in thePrimerof 1706, along with versions of the other hymns of the Roman Breviary sufficiently like them to suggest that they are all by the same hand. But this judgment is disputed.Among Protestants the neglect was as great. So profuse a writer of hymns for the Christian year as George Wither translated only theTe Deumand theVeni, Creator Spiritusinto English verse.[29]Tate and Brady, in theirSupplement(1703) to theirNew Version of the Psalms(1696), published a translation of theVeni, Creator Spiritus. But Bishop Symon Patrick was the only hymn-writer of that age who may be said to have given any special attention to Latin hymns. His hymns were chiefly translations from that source, especially Prudentius, and Lord Selborne mentions that ofAlleluia, dulce carmen, as the best.The Methodist revival, which did so much to enrich our store of hymns, and which called attention anew to those of Germany, accomplished nothing for us as regards Latin hymns. The Earl of Roscommon’s translation of theDies Irae(1717), and Dr. Johnson’s affecting reference to the stanza,Quaerens me sedisti lassus, ...stand almost alone in that age. It was not until the Romantic movement in Germany and then in England broke the bonds of amerely classic culture, taught the world the beauty of Gothic art, and obliged men to revise their estimate of the Middle Ages, that the singers of the praises which sounded through those earlier centuries had a fair chance to be judged at their real worth. The forerunner of that movement was Johann Gottfried von Herder, who indeed may be said to have anticipated the whole intellectual movement of the past century, Darwinism not excepted. From his friend and master Hamann, “the Magus of the North,” he had learned “the necessity for a complete and harmonious expression of all the varied faculties of man,” and that “whatever is isolated or the product of a single faculty is to be condemned.” This made him as much discontented with the eighteenth century and its literature and philosophy of the enlightened understanding, as Hamann himself was. It was the foundation for that Catholic taste which enabled him to appreciate the excellence of all those popular literatures which are the outflow of the life of whole peoples. HisVoices of the Peoplesdid for the Continent what Bishop Percy’sReliquesdid for England, and did it much better. He saw that “the people and a common sentiment are the foundations of a true poetry,” and the literature of the schools and that of polite society are equally condemned to sterility. For this reason he had small respect for that classic Latin literature at whose bar every modern production was impleaded. He found far more genuine life and power in the Latin poems of the Jesuit father, Jacob Balde, and still more in the hymns of the Latin Church. HisLetters for the Promotion of Humanity(1794-96) contain a passage of classic importance:“The hymns which Christianity introduced had for their basis those old Hebrew Psalms which very soon found their way into the Church, if not as songs or anthems, at any rate as prayers.... The songs of Mary and of Zacharias, the Angelic Salutation, theNunc Dimittisof Simeon, which open the New Testament, gave character more immediately to the Christian hymns. Their gentler voice was more suitable to the spirit of Christianity than even the loud trumpet note of that old jubilant Hallelujah, although that note was found capable of many applications, and was now strengthened with the words of prophet or psalmist, now adapted to gentler strains. Over the graves of the dead, whose resurrection was already present to the spirit’s vision, in caves and catacombs, first were heard these psalms of repentance and prayer, of sorrow and hope, until after the public establishment of Christianity, they stepped out of the dark into the light, out of solitude into splendid churches, before consecratedaltars, and now assumed a like splendor in their expression. There is hardly any one who can listen to theJam moesta quiesce querulaof Prudentius without feeling his heart touched by its moving strains, or who can hear the funeral sequenceDies irae, dies illa, without a shudder, or whom so many other hymns, each with its own character—e.g.,Veni, Redemptor gentium;Vexilla Regis prodeunt;Salvete flores Martyrum;Pange, lingua, gloriosi, etc., will fail to be carried into that frame of feeling which each seeks to awaken, and with all its humility of form and its churchly peculiarities, never fails to command. In one there sounds the voice of prayer; another could find its accompaniment only in the harp; in yet another the trumpet rings, or there sounds the thousand-voiced organ, and so on.“If we seek after the reason of this remarkable effect, which we feel in hearing these old Christian hymns, we find it somewhat peculiar. It is anything but the novelty of thethoughtswhich here touches and there shakes us. Thoughts in these hymns are found but sparingly. Many are merely solemn recitations of a well-known story, or they are familiar petitions and prayers. They nearly all repeat each other. Nor is it frequently surprisingly fine and novel sentiments with which they somehow permeate us; the novel and the fine are not objects in the hymns. What, then, is it that touches us?SimplicityandVeracity. Here sounds the speech of a general confession of one heart and one faith. Most of them are constructed either so as to be fit for use every day of the year, or so as to be used on the festivals of the various seasons. As these come round there comes with them in constant recurrence their rehearsal of Christian doctrines. There is nothing superfine in the hymns as regards either emotion, or duty, or consolation. There reigns in all of them a general popularity of content, expressed in great accents. He who seeks novel thoughts in aTe Deumor aSalve Reginalooks for them in the wrong place. It is just what is every day and always known, which here is to serve as the garb of truth. The hymn is meant to be an ambrosial offering of nature, deathless like that, and ever returning.“It follows that, as people in these Christian hymns did not look for the grace of classic expression or the pleasurable emotion of the instant—in a word, what we expect from a work of art, they produced the strangest effects at once after their introduction. Just as Christian hands overthrew the statues and temples of the gods in honor of the unseen God, so these hymns contained a germ which was to bring about the death of the pagan poetry. Not only were those hymns to gods and goddesses, heroes and geniuses, regarded by the Christians as the work of unbelievers or misbelievers, but the germ from which they sprang, the poetic and sportive fancy, the pleasure and rejoicing of the peoples in their national festivals, were condemned as a school of evil demons; yes, even the national pride, to which those songs appealed, was despised as a perilous though splendid sin. The old religion had outlived its time, the new had won its victory, when the absurdity of idol-worship and pagansuperstitions, the disorders and abominations which attended the festivals of Bacchus, Cybele, and Aphrodite, were brought to the light of day. Whatever of poetry was associated with these was a work of the devil. There began a new age for poetry, music, speech, the sciences, and indeed for the whole direction of human thought.”As the Romanticist movement gained ground in Germany, attention to the early hymns increased. Even Goethe, theweltkindamong the prophets, was influenced. Hence his use of theDies Iraein the first part ofFaust, although he was pagan enough to care for nothing at Assisi except the Roman remains. A. W. Schlegel made a number of translations for theMusen-Almanach. Then came the long series of German translators, of whom A. J. Rambach, A. L. Follen (brother of Professor Charles Follen of Harvard), Karl Simrock (1850 and 1866), and G. A. Koenigsfeld (1847 and 1865) are the most notable. Much more important to us are the German collectors: G. A. Björn (a Dane, 1818), J. C. von Zabuesnig (1822 and 1830), H. A. Daniel (Blüthenstrauss, 1840;Thesaurus, 1841-56), F. J. Mone (1853-55), C. B. Moll (1861 and 1868), P. Gall Morel (1866), Joseph Kehrein (1873). To the unwearied thoroughness of these editors, more than of any other laborers in this field, we owe our ampler access to the treasures of Latin hymnody. But what field of research is there in which the scholarship of Germany has not laid the rest of the world under obligations?In English literature the Romanticist movement begins properly with Sir Walter Scott. Himself a Presbyterian, he was brought up on the old Scotch Psalm-book, for which he entertained the same affection as did Burns, Edward Irving, Campbell, Carlyle, and Archdeacon Hare. He opposed any attempt to improve it, on the ground that it was, “with all its acknowledged occasional harshness, so beautiful that any alterations must eventually prove only so many blemishes.” But his literary tastes led him to a lofty appreciation of the Anglican liturgy—a circumstance which has led many to class him as an Episcopalian—and equally for the poetry of the mediaeval hymns. His vigorous version of a part of theDies Iraeinserted inThe Lady of the Lake(1805) gives him his smallest claim to mention in the history of hymnody. It was the new atmosphere he carried into the educated world, his fresh and hearty admiration of admirable things in the MiddleAges, which had been thought barbarous, that makes him important to us. He gave the English and Scottish people new weights and measures, new standards of critical judgment, which emancipated them from narrow, pseudo-Protestant traditions. He made the great Church of undivided Western Europe intelligible. No doubt many follies resulted from this novel lesson, the worst of all being contempt for Luther and his associates in the Reformation. The negations which attend such revolutions in opinion always are foolish exaggerations. It is the affirmations which are valuable and which remain. And Romanticism for more than half a century has been affecting the religious, the social, the intellectual life of Great Britain and America in a thousand ways, and with, on the whole, positive and beneficial results. Its most powerful manifestation was in the Oxford movement,[30]but both in its causes and its effects it has transcended the limits which separate the divided forces of Protestantism.Naturally the Oxford movement was the first to turn attention to the hymns of the Middle Ages, or what it regarded as such. We use this qualified expression because its leaders at the outset were much better poets than hymnological scholars, and welcomed anything in the shape of a Latin hymn as “primitive,” no matter what. Isaac Williams, in theBritish Magazinein 1830, published a series of translations of “primitive hymns” which he gathered into a volume in 1839. They were from the Paris Breviary, of whose hymns only one in fourteen were older than 1685, and most of them not yet a hundred years old. Rev. John Chandler, in hisHymns of the Primitive Church(1837), drew on Santeul and Coffin with equal freedom, evidently supposing he was going back to the early ages for his originals. Bishop Mant, in hisAncient Hymns from the Roman Breviary(1837), did a littlebetter, although not half-a-dozen hymns in that Breviary are unaltered from their primitive forms, and many are no older than the fifteenth or sixteenth century. Rev. Edward Caswall, an Oxford convert to the Church of Rome, naturally confined hisLyra Catholica(1849) to the Breviary hymns, supplementing those of Rome with some from Paris. The first collection published by Dr. Newman (Hymni Ecclesiae, Pars I., 1839) was confined to the Paris Breviary, but with the notice that they “had no equal claim to antiquity” with “the discarded collections of the ante-reform era.” But he claimed on rather slight ground that they “breathe an ancient spirit, and even where they are the work of one pen, are the joint and indivisible contribution of many ancient minds.” This is an opinion of the work of Santeul and Coffin in which neither Cardinal Newman nor the Gallican Church would agree to-day.In fact, these English scholars, with their constant habit of making Latin verse after classic models from their school-days, and their entire want of familiarity with post-classic Latin, found what pleased them best in the two Breviaries of Rome and Paris. With that they seemed likely to stop. It was Dr. John Mason Neale (1851-58) who, among translators, first broke these bounds, went to the older sources, and introduced to English readers, both by his collections and his translations, the great hymns of the Western Church. As a translator he leaves much to be desired. His ideas as to faithful reproduction of the form of his originals are vague. His hymns too often might be said to be based on the Latin text rather than to reproduce it. But they are spirited poems, whose own vigor and beauty sent readers to the original, and they were not disappointed.From that time we have had a series of excellent workers in this field—John Keble, Rev. W. J. Blew (1855), Mr. J. D. Chambers (1857 and 1866), Rev. J. W. Hewett (1859), Sir Henry Baker (1861 and 1868), Rev. Herbert Kynaston (1862), Rev. J. Trend (1862), Rev. P. S. Worsley (1863), Earl Nelson (1857 and 1868), Rev. Richard F. Littledale (1867), R. Campbell, of the Anglo-Catholicparty; and Dean Stanley, Mrs. Charles (1858 and 1866) and Dr. Hamilton Magill (1876) outside its ranks. Theirs have been no inconsiderable part of those labors which have made the last thirty years the golden age of English hymn-writing, surpassing even the era of the Methodist revival.In America the work was begun in 1840 with a modest little volume published at Auburn, in New York, and ascribed by Mr. Duffield to Dr. Henry Mills of Auburn Theological Seminary, who in 1856 also published a volume of translations of German hymns. His earlier book wasThe Hymn of Hildebert and the Ode of Xavier, with English Versions, and contained thirty-five duodecimo pages. Next in order came Dr. John Williams, Bishop of Connecticut, withAncient Hymns of the Holy Church(1845). Dr. William R. Williams of New York, in his address on “The Conservative Principle in our Literature,” delivered in 1843, made a reference to theDies Irae, which gave him the occasion to publish in an Appendix the literary history of the great hymn, giving the text along with Dr. Trench’s version and his own. This seems to have given the impulse which has made America so prolific in translations of that hymn, only Germany surpassing us in this respect. Dr. Abraham Coles may be said to have led off with his volume, containing thirteen translations in 1847. But it was not until after the war for the Union that the productive powers of American translators were brought into play. Much, no doubt, was due to foreign impulse, especially from Dr. Trench and Dr. Newman; but it is notable that in America far more work has been done outside than inside the Episcopalian communion.Dr. Coles again in 1866, Mr. Duffield in 1867, Chancellor Benedict in 1869, Hon. N. B. Smithers in 1879 and 1881, and Mr. John L. Hayes in 1887 published volumes of translations. But far more numerous are the poets whose versions of Latin hymns have appeared in various periodicals or in collections like Professor Coppée’sSongs of Praise(1866), Dr. Schaff’sChrist in Song(1869), Odenheimer and Bird’sSongs of the Spirit(1871), Dr. H. C. Fish’sHeaven in Song(1874), Frank Foxcroft’sResurgit(1879), and Dr. Schaff and Arthur Gilman’sLibrary of Sacred Poetry(1881 and 1886). Of these contributing poets we mention Dr. E. A. Washburn, whose translations have been collected in his posthumous volume,Voices from a Busy Life(1883); Dr.Ray Palmer, our chief sacred singer, whose versions of theO esca viatorumand theJesu dulcis memoriaare as classic as his “My faith looks up to Thee;” Dr. A. R. Thompson, to whom the present volume is under great obligations; Rev. J. Anketell, another of its benefactors; Rev. M. Woolsey Stryker, Rev. D. Y. Heisler, Rev. Franklin Johnson, D.D., and Rev. W. S. McKenzie, D.D. Besides these we may mention the anthology of translations published by the Rev. F. Wilson (1859), of texts by Professor F. A. March (1874 and 1883), and of both texts and translations by Judge C. C. Nott (1865 and subsequent years).It is not, however, only as literature, but in the actual use of the American churches, that the Latin hymns have made a place for themselves. Since 1859, when the Andover professors published theSabbath Hymn and Tune-Book, with original translations furnished by Dr. Ray Palmer, there has been a peaceful revolution in American hymnology. Every one of the larger denominations and many of the smaller have provided themselves with new hymn-books, in which the resources of English, foreign, and ancient hymnology have been employed freely, and with more exacting taste as to sense and form, than characterized the hymn-books of the era before the war. While the compilers have drawn freely upon Caswall, Neale, Chandler, and the AnglicanHymns Ancient and Modern(1861), in many cases original translations were given, as inHymns of the Churchfor the (Dutch) Reformed Church, of which Dr. A. R. Thompson was one of the editors; and Dr. Charles Robinson’sLaudes Domini(1884), to which Mr. Duffield contributed. And there is evidence that the hymns thus brought into Church use from the storehouse of the earlier Christian ages have helped thoughtful Christians to realize more fully the great principle of the Communion of the saints—to realize that all the faithful of the present are bound in spiritual brotherhood with those who held to the same Head and walked in the light of the same faith in bygone centuries, even though it was with stumbling and amid shadows, from which our path by God’s good providence has been set free.CHAPTER XXXII.BIBLIOGRAPHICAL NOTES.The first sources of the Latin hymns and sequences are the manuscript and printed breviaries and missals of the Western Church. Both these have been explored by the collectors from Clichtove to Kehrein, although it cannot be said that the examination has been exhaustive either as regards the manuscripts or the printed books.The following is an approximate list of the printed breviaries which have been examined by modern collectors:LOCAL BREVIARIES.Aberdonense,Aberdeen,1509-10,Daniel.Ambrosianum,Milan,1557,Neale, Morel, Zabuesnig.Argentinense,Strasburg,1520,Neale.Basiliense,Basel,1493,Morel.Bracharense,1494,Neale.Caduncense,Cahors,Neale.Coloniense,Koeln,1521,Zabuesnig.Constantiense,Konstanz,1504, 1516,Morel, Daniel.Cordubiense,Cordova,1583,Morel.Cracoviense,Krakau,1524,Morel.Curiense,Kur,c. 1500,Morel.Eboracense,York,Neale, Newman.Erfordense,Erfurt,1518,Daniel.Friburgense,Freiburg,Daniel.Gallicum,France,1527,Morel.Halberstadtense,Halberstadt,1515,Daniel.Havelbergense,Havelberg,1518,Daniel.Herefordense,Hereford,1505,Neale.Lengres,Daniel.Lundense,Lund,1517,Daniel.Magdeburgense,Magdeburg,1514,Daniel.Merseburgense,Merseburg,1504,Daniel.Mindense,Minden,1490,Daniel.Misniense,Meissen,1490,Daniel.Mozarabicum,Old Spanish,1775,Daniel.Parisiense vet.,Paris (old),1527,Neale.Parisiense,1736,Newman, Zabuesnig.Pictaviense,Poitou,1515,Daniel.Placentinum,Piacenza,1503,Morel.Romanum vet.,Rome (old),1481, 1484, 1520,Kehrein.1497,Daniel.1543,Morel.Romanum,Rome (new),1631,Zabuesnig, Daniel.Roschildense,Roeskild,1517,Daniel.Salisburgense,Salzburg,1515,Neale, Daniel.Sarisburense,Salisbury,1555,Neale, Daniel, Newman.Slesvicense,Schleswig,1512,Daniel.Spirense,Speier,1478,Zabuesnig.Tornacense,Tournay,1540,Neale.Tullense,Toul,1780,Daniel.MONASTIC BREVIARIES.Augustinianorum,1557,Morel, Zabuesnig, Neale.Benedictinorum,1518, 1543,Daniel, Zabuesnig.Canonum Reg. Augustini,Zabuesnig.Carmelitarum,1759,Daniel, Zabuesnig.Carthusianorum,1500,Daniel, Zabuesnig.Cisterciensium,1510, 1752,Daniel, Zabuesnig.Franciscanorum,1481, 1486, 1495,Daniel, Zabuesnig.Humiliatorum,1483,Neale.Praemonstratensium,1741,Daniel, Zabuesnig.Praedicatorum,1482,Daniel, Zabuesnig.Servorum Mariae,1643,Daniel, Zabuesnig.LOCAL MISSALS.Aboense,Abo,1488,Daniel, Neale.Ambianense,Amiens,1529,Neale.Aquiliense,Aquileia,Daniel.Argentinense,Strasburg,1520,Neale.Athanatense,St. Yrieix,1531,Morel.Atrebatense,Arras,1510,Neale.Augustense,Augsburg,1510,Kehrein.Brandenburgense,Brandenburg,C., 1500,Daniel.Bursfeldense,Bursfeld,1518,Kehrein.Coloniense,Koeln,1504, 1520,Daniel, Kehrein.EychstadenseEichstädt,1500,Daniel.Frisingense,Freysingen,1514,Daniel.Hafniense,Copenhagen,Neale.Halberstatense,Halberstadt,1511,Kehrein.Herbipolense,Würzburg,1509,Neale, Kehrein.Leodiense,Liege,1513,Neale.Lubecense,Lubeck,C., 1480,Wackernagel.Magdeburgense,Magdeburg,1493,Wackernagel.Mindense,Minden,1515,Daniel, Kehrein.Moguntinum,Mainz,1482, 1497,Mone, Wackernagel.1507, 1513,Kehrein, Neale.Morinense,Neale.Narbonense,Narbonne,1528,Neale.Nidriosense,Trondhjem,1519,Neale.Noviemsense,Noyon,1506,Neale.Numburgense,Naumburg,1501, 1507,Wackernagel, Daniel.Parisiense vet.,Paris (old),1516,Neale.Parisiense,1739,Newman.Pataviense,Padua,1491,Daniel.Pictaviense,Poitou,1524,Neale.Pragense,Prag,1507, 1522,Neale, Daniel, Kehrein.Ratisbonense,Regensburg,1492,Daniel, Neale.Redonense,Rennes,1523,Neale.Salisburgense,Salzburg,1515,Neale.SarisburenseSalisbury,1555,Neale.Spirense,Speier,1498,Neale.Strengnense,Strengnaes,1487,Neale.Tornacense,Tournay,1540,Neale.Trajectense,Utrecht,1513,Neale.Upsalense,Upsal,1513,Neale.Verdense,Verden,1500,Neale.XantonenseSaintes,1491,Neale.MONASTIC MISSALS.Benedictinorum,1498,Neale, Kehrein.Cistercensium,1504,Daniel.Franciscanorum,1520,Kehrein.Praemonstratensium,1530,Daniel.Praedicatorum,1500,Zabuesnig.Of lesser church-books Zabuesnig has used theProcessionaleof the Dominicans or Preachers, and Newman that of the Church of York. Morel has drawn upon the ParisHoraeof 1519, and Daniel on theCantionaleof Konstanz of 1607.Yet this shows that either only a minority of the printed church-books of the fifteenth and sixteenth centuries have been examined, or else that the majority yielded nothing new in return for such examination.We proceed with the bibliography of the collections and the historical treatises and discussions which bear on Latin Hymnology, together with the most important volumes of translations. These we shall give in chronological order, and where the initials S. W. D. are appended to the comments, it will be understood that these are by Mr. Duffield, not by his editor. The numbers marked with an asterisk (*) indicate works employed in the preparation of the present volume.1. Sequentiarum Textus cum optimo Commento. (S. l. e. a.)Printed at Koeln (Cologne) by Henry Quentell in 1492 or 1494. The following is bound up with the early editions of this as a kind of appendix, but afterward frequently printed by itself.2. Expositio Hymnorum cum notabili [seufamiliari] Commento. (S. l. e. a.)Also printed at Koeln by Henry Quentell in 1492 or 1494, and 1506. Later editions are: Hagenau, 1493; Basil, 1504; Koeln, 1596; and many others.For the full reference,videDaniel, I.: xvii. There were many of these, and the most famous was long regarded as indispensable to the study of the Latin hymns. It is that of Clichtove. S.W.D.3.Liber hymnorum in metra noviter redactorum. Apologia et defensio poeticae ac oratoriae maiestatis. Brevis expositio difficilium terminorum in hymnis ab aliis parum probe et erudite forsan interpretatorum per Henricum Bebelium I ustingensem edita poeticam et humaniores litteras publice profitentem in gymnasio Tubingensi. Annotationes eiusdem in quasdam vocabulorum interpretationes Mammetracti. Thubingen,1501.Henry Bebel was a humanist, and became professor at Tübingen in 1497. Zapf published a biography of him at Augsburg in 1801.4.Hymni et Sequentiae cum diligenti difficillimorum vocabulorum interpretatione omnibus et scholasticis et ecclesiasticis cognitu necessaria Hermanni Torrentini de omnibus puritatis lingue latine studiosis quam optime meriti.—Coloniae, MCCCCCXIII.Daniel says that a second edition (1550, 1536?) has so closely followed Clichtoveus that the first edition only is worthy of note.Hermann Torrentinus was a native of Zwolle, and belonged to the Brotherhood of the Common Life. He was professor at Groningen about 1490, and lived until about 1520. He was one of the group which gathered around John Wessel Gansfort, in whom Luther recognized a kindred spirit.5.De tempore et sanctis per totum annum hymnarius in metra ut ab Ambrosio, Sedulio, Prudentio ceterisque doctoribus hymni sunt compositi. Groningen phrisie iam noviter redactus incipit feliciter.6.Psalterium Davidis adiunctis hymnis felicem habet finem opera et impensis Melchior Lotters ducalis opidi Liptzensis concivis Anno Milesimo quingentesimo undecimo XVIII die Aprilis[1511].7.* Iodoci Clichtovaei Elucidatorium ecclesiasticum ad Officium Ecclesiae pertinentia planius exponens et quatuor Libros complectens. Primus Hymnos de Tempore et Sanctis per totum Annum. Secundus nonnulla Cantica, Antiphonas et Responsaria. Tertius ea quae ad Missae pertinet Officium, praesertim Praefationes. Quartus Prosas quae in sancti Altaris Sacrificio dicuntur continet. Paris, 1515; Basil, 1517 and 1519; Venice, 1555; Paris, 1556; Koeln, 1732.The best book of its time on the subject, and long indispensable to the hymnologist. Josse Clichtove was a Flemish theologian. He studied at Paris under the famous Lefevre d’Etaples, and enjoyed the friendship of Erasmus. He was a zealous opponent of Luther. He died in 1543. The Venice edition of hisElucidatorium—Hymni et Prosae, quae per totum Annum in Ecclesiâ leguntur—is much altered, and contains additional hymns from Italian, French, and Hungarian Breviaries, while it also omits others given by Clichtove.8.Hymni de tempore et de sanctis in eam formam qua a suis autoribus scripti sunt denuo redacti et secundum legem carminis diligenter emendati atque interpretati. Anno Domini, MDXIX.Jacob Wimpheling is the editor. He was an eminent theologian and humanist of Strasburg, and the first to edit Rabanus Maurus’sDe Laudibus Sanctae Crucis. Already in 1499 he had published a tract:De Hymnorum et Sequentiarum Auctoribus Generibusque Carminum quae in Hymnis inveniuntur. One authority gives 1511 as the date of hisHymni.9.Sequentiarum luculenta interpretatio nedum scholasticis sed et ecclesiasticis cognitu necessaria per Ioannem Adelphum physicum Argentinensem collecta. Anno Domini, MDXIX.10. Jakob van Meyer: Hymni aliquot ecclesiastici et Carmina Pia. Louvain, 1537.11. Liber ecclesiasticorum carminum, cum alijs Hymnis et Prosis exquisitissimis a sanctis orthodoxae fidei Patribus in usum piorum mentium compositis. Basil, B. Westhemerus, 1538.12. Laurentius Massorillus: Aureum Sacrorum Hymnorum Opus. Foligni, 1547.13.*Hymni ecclesiastici praesertim qui Ambrosiani dicuntur multis in locis recogniti et multorum hymnorum accessione locupletati. Cum Scholiis opportunis in locis adjectis et Hymnorum indice Georgii Cassandri. Et, Beda de Metrorum generibus ex primo libra de re metrica. Coloniae Anno MDLVI.This was reprinted in Cassander’s Works (Parisiis, 1616). Cassander was a Catholic, who sympathized with the Reformation, and his book was prohibited by the Roman Catholic Church. “In Romana ecclesia liber est vetitus,” says Daniel. With the drawback that his knowledge and opportunities were limited by the age in which he lived, it can still be said that this is a very valuable and helpful collection—the scholarly work of an earnest man. S. W. D.14. Cantiones Ecclesiasticae Latinae ac Synceriores quaedam praeculae Dominicis & Festis Diebus in Commemoratione Cenae Domini, per totius Anni Circulum cantandae ac perlegendae. Per Johannem Spangenbergium Ecclesiae Northusianae inspectorem. Magdeburg, 1543.15a. Carmina vetusta ante trecentos scripta, quae deplorant inscitiam Evangelii, et taxant abusus ceremoniarum, ac quae ostendunt doctrinam hujus temporis non esse novam. Fulsit enim semper et fulgebit in aliquibus vera Ecclesiae doctrina. Cum Praefatione Matthiae Flacii Illyrici. Wittemberg, 1548.15b. Pia quaedam vetustissima Poemata, partim Anti-Christum, ejusque spirituales Filiolos insectantia, partim etiam Christum, ejusque beneficium mira spiritus alacritate celebrantia. Cum praefatione Matthiae Flacii Illyrici. Magdeburg, 1552.15c. Varia Doctorum Piorumque Virorum de Corrupto Statu Ecclesiae Poemata. Ante nostram aetatem conscripta, ex quibus multa historiae quoque utiliter ac summa cum voluptate cognosci possunt. Cum Praefatione Matthiae Flacii Illyrici. Magdeburg, 1556. Reprinted 1754.These three collections are of importance to the hymnologist. From the first Wackernagel has extracted a number of fine hymns. The third contains Bernard of Cluny’sDe Contemptu Mundi.16. Hymni aliquot sacri veterum Patrum una cum eorum simplici Paraphrasi, brevibus argumentis, singulis Carminum generibus, & concinnis Melodijs ... Collectore Georgio Thymo. Goslar, 1552.17. Psalmodia, hoc est Cantica Sacra veteris Ecclesiae selecta. Quo ordine & Melodijs per totius anni curriculum cantari vsitate solent in templis de Deo, & de filio ejus Iesv Christo, ... Et de Spiritv Sancto.... Jam primum ad Ecclesiarum, & Scholarum vsum diligenter collecta, et brevibus et pijs Scholijs illustrata per Lucam Lossium Luneburgensem. Cum Praefatione Philippi Melanthonis. Wittemberg, 1552 and 1595; Nuremberg, 1553 and 1595.Die Hymni, oder geistlichen Lobgeseng, wie man die in der Cystertienser orden durchs gantz Jar singet. Mit hohem vleis verteutschet durch Leonhardum Kethnerum. Nurnberg, 1555.18. Hymni et Sequentiae, tam de Tempore quam de Sanctis, cum suis Melodijs, sicut olim sunt cantatae in Ecclesia Dei, & jam passim correcta, per M. Hermannum Bonnum, Superintendentem quondam Ecclesiae Lubecensis, in vsum Christianae juventutis scholasticae fideliter congesta & euulgata. Lubeck, 1559.19.Pauli Eberi, Psalmi seu cantica in ecclesia cantari solita. Witteburgiae, 1564.20.*Poetarum Veterum Ecclesiasticorum Opera Christiana et operum reliquiae atque fragmenta. Thesaurus catholicae et orthodoxae ecclesiae et antiquitatis religiosae ad utilitatem iuventutis scholasticae, collectus, emendatus, digestus et commentario quoque expositus diligentia et studio Georgii Fabricii Chemnicensis. Basileae per Ioannem Oporinum MDLXIIII.A second edition in 1572. George Fabricius, of Chemnitz, besides editing this important book, was the most prolific writer of Latin hymns the Lutheran Church possessed.21. Johann Leisentrit: Geistliche Lieder und Psalmen der alten Apostolischer recht und warglaubiger Christlicher Kirchen. 2 parts. Budissin, 1567.Used by Wackernagel. Although Leisentrit was the Roman Catholic dean of Budissin, his first part seems to have been censured as of Protestant tendency. The second is made up of hymns to Mary and the Saints. This part was reprinted in 1573 and 1584.22.Cantica Selecta Veteris Novique Testamenti cum Hymnis et Collectis seu orationibus purioribus quae in orthodoxa atque catholica ecclesia cantari solent. Addita dispositione et familiari expositione Christophori Corneri. Lipsiae cum privilegio MDLXVIII.A second edition in 1571, and a third in 1573.23. Cantica ex sacris literis in ecclesia cantari solita cum hymnis et collectis, etc., recognita et aucta per D. Georgium Maiorem. Wittemberg, 1570.23b. Hymni et Collectae, item Evangelia, Epistolae, etc., quae diebus dominicis et festivis leguntur. Koeln, 1573.24. Psalterium Davidis, etc., cum lemmatibus ac notis Adami Siberi. Accesserunt Hymni festorum dierum insignium. Lipsiae, Iohannes Rhamba excudebat Anno MDLXXVII.25.Hymnorum Ecclesiasticorum ab Andrea Ellingero V. Cl. emendatorum libri III, etc. MDLXXVIII. Francofurti ad moenum.Daniel calls this the most ample of all the collections, but he criticises the first two volumes severely for their arrangement, and the changes in text made for metrical reasons. The third volume he was able to use, but he felt unsafe in the others except when the editor positively stated in his notes what he considered the original and genuine text. S. W. D.26. Joh. Holthusius: Compendium Cantionum ecclesiasticarum. Augsburg, 1579.27.In hymnos ecclesiasticos ferme omnes Michaelis Timothei Gatensis brevis elucidatio. Venetiae, 1582.28. Hymni et Collectae. Koeln, 1585.29. Lorenza Strozzi: In singula totius Anni Solemnia Hymni. Florence, 1588.These hymns were adopted into the service-books of several dioceses, and were translated into French by Pavillon, and set to music by Maduit. The author was a Dominican nun of the famous Strozzi family.30. Collectio Hymnorum per totum Annum. Antwerp, Plantin, 1593.31. Francis Algermann: Ephemeris Hymnorum Ecclesiasticorum ex Patribus selecta. Helmstadt, 1596.With German translations.32. Vesperale et Matutinale, hoc est Cantica, Hymni & Collectae, seu Precationes ecclesiasticae quae in primis et secundis vesperis, itemque matutinis Precibus, per totius Anni circulum, in ecclesiis, & religiosis piorum congressibus cantari solent. 1599.The author, Matthew Luidke, was deacon of the Church in Havelberg, and aimed at the naturalization of the methods of the old church books among Lutherans. Daniel gives this book the palm among the Lutheran collections of the Latin hymns. Its author also published aMissale, and died in 1606.33.Divorum patrum et doctorum ecclesiae qui oratione ligata scripserunt Paraphrases et Meditationes in Evangelia dominicalia e diversis ipsorum scriptis collectae a. M. Ioach. Zehnero ecclesiae Schleusingensis pastore et Superintendente. Lipsiae, 1602,sumptibus Thomae Schureri.“Liber utilissimus,” Daniel. The author was a Protestant, and a diligent student of the old hymns. S. W. D.34.* Bernardi Morlanensis Monachi ordinis Cluniacensis De Vanitate Mundi, et Gloriâ Caelesti, Liber Aureus. Item alij ejusdem Libri Tres Ejusdem fermè Argumenti, Quibus cum primis in Curiae Romanae & Cleri horrenda scelera stylo Satyrico carmine Rhithmico Dactylico miro artificio ante annos fermè quingentos elaborato, gravissime invehitur. Editi recens, et plurimis locis emendati, studio & opera Eilh. Lubini. Rostochii, Typis Reusnerianis, Anno MDCX.One hundred and twenty unnumbered pages in duodecimo, of which three are filled by a dedicatory letter to Matthias Matthiae, Lutheran pastor at Schwensdorf. Professor Lubinus gives no account of the sources of his edition, but says of Bernard: “Vixit hic Bernardus Anno Christo 1130. Scripsit colloquium Gabrielis & Mariae. Item hosce, quos jam edimus, & non paucis locis correximus, libros.”35.Card. Ioannis Bonae, de divina Psalmodia, tractatus, sive psallentis Ecclesiae Harmonia.Rome, 1653; Antwerp and Koeln, 1677; Paris, 1678; Antwerp, 1723.Also in hisOpera, Turin, 1747.36. Charles Guyet: Heortologia, sive de Festis propriis Locorum et Ecclesiarum: Hymni propriae variarum Galliae Ecclesiarum revocati ad Carminis et Latinitatis Leges. Folio. Paris, 1657; Urbino, 1728; Venice, 1729.37a. David Greg. Corner: Grosz Katholisch Gesangbuch. Furth bei Ge., 1625.37b. D. G. Corner: Cantionale. 1655.37c. D. G. Corner: Promptuarium Catholicae Devotionis. Vienna, 1672.37d. D. G. Corner: Horologium Christianae Pietatis. Heidelberg, 1688.Contain many old Latin hymns. The third is used by Trench.38. Andreas Eschenbach: Dissertatio de Poetis sacris Christianis. Altdorf, 1685. (Reprinted in hisDissertationes Academicae. Nuremberg, 1705.)39. C. S. Schurzfleisch: Dissertatio de Hymnis veteris Ecclesiae. Wittemberg, 1685.40. Lud. Ant. Muratori: Anecdota quae ex Ambrosianae Bibliothecae Codicibus nunc primum eruit, notis et disquisitionibus auxit. 2 vols. in quarto. Milan, 1697-98.Contains the Bangor Antiphonary and the hymns of Paulinus of Nola.41. Hymni spirituales pro diversis Animae Christianae Statibus. Paris, 1713.42a. Polycarp Leyser: Dissertatio de ficta Medii Aevi Barbarie, imprimis circa Poesin Latinam. Helmstadt, 1719.42b. Pol. Leyser: Historia Poetarum et Poematum Medii Aevi. Halle, 1721.42c.* J. G. Walch: De Hymnis Ecclesiae Apostolicae. Jena, 1737. (Reprinted in his Miscellanea Sacra: Amsterdam, 1744.)43.*Josephi Mariae Thomasii S.R.E. Cardinalis Opera omnia.—Rome, 1741, in 6 vols., folio, and 1747 et seq. in 12 vols., 4to. (The Hymnarium is found in pages 351-434 of Vol. II., in the 4to edition.)“This book,” remarks Daniel, “is sufficiently rare in Germany, but the editor of sacred hymns can by no means do without it.” The reason is that Thomasius had access to the VaticanMSS., and was therefore able to unearth many rare and valuable texts. He also designated the probable authorship of a goodly number of the hymns—not always correctly, but usually with considerable truth. S. W. D.44. Peter Zorn: De Hymnorum ecclesiasticorum Latinorum Collectoribus. In his Opuscula Sacra, Altona, 1731 and 1743.44b. D. Galle: De Hymnis Ecclesiae veteris. Wittemberg, 1736. Pp. 16, 4to.45.I. H. a Seelen, de poesi Christ. non a tertio post. Chr. nat. seculo, etc., deducenda.—Lubecae, 1754.46. J. G. Baumann: De Hymnis et Hymnopoeis veteris et recentioris Ecclesiae. Bremen, 1765.47a. Mart. Gerbert: De Cantu et Musica Sacra, a prima Ecclesiae aetate usque ad praesens tempus. 2 vols., 4to. St. Blaise, 1774.47b. Mart. Gerbert: Scriptores Ecclesiastici de Musica Sacra, potessimum ex variis Italiae, Galliae et Germaniae Manuscriptis collecti, et nunc primum publicâ luce donati. 3 vols., 4to. St. Blaise, 1784.This product of unwearied research contains,inter alia, treatises by Alcuin, Notker Labeo, Odo of Cluny, Guido of Arezzo, Hermann the Lame, Engelbert of Admont. Martin Gerbert (1720-93) was prince-abbot of St. Blaise in the Black Forest.48a. Faustino Arevalo: Hymnodia Hispanica ad Cantus Latinitatis, Metrique leges revocata et aucta; praemittitur Dissertatio de Hymnis ecclesiasticis eorumque correctione atque optima constitutione; Accedunt Appendix de festo conversionis Gothorum instituendo; Breviarii Quignoniani fata, etc. Rome, 1786.48b. Faustino Arevalo: Poetate Christiani: Prudentius, Dracontius, Juvencus, et Sedulius. 5 vols., quarto. Rome, 1788-94.The former of these works has been much used by Neale and Daniel.49. (Walraff:) Corolla Hymnorum sacrorum publicae devotioni inservientium. Veteres electi sed mendis quibus iteratis in editionibus scatebant detersi, strophis adaucti. Novi adsumpti, recentes primum inserti. Koeln, 1806.Taken chiefly from thePsalteriolum Cantionumof the Society of Jesus, of which the sixteenth edition had appeared in 1792 in the same city.50.F. Münter: Ueber die älteste Christliche Poesie.—Kopenhagen, 1806.51.* Anthologie christlicher Gesänge aus allen Jahrhunderten der Kirche nach der Zeitfolge geordnet und mit geschichtlichen Bemerkungen begleitet. Von Aug. Jak. Rambach. 6 vols. Altona, 1817-33.The first volume is occupied with the early and Middle Ages of the Church, especially the Latin Hymns, the texts being given with translations and notes. It merits the high praise Daniel gives it:studia praeclara Rambachii. S. W. D.52. M. F. Jack: Psalmen und Gesänge, nebst den Hymnen der ältesten Kirche, uebersetzt. 2 vols. Freiburg, 1817.Other German-Catholic translators are George Witzel (1550), a Mönch of Hildesheim (1776), F. X. Jahn (1785), F. J. Weinzerl (1817 and 1821), J. Aigner (1825), Casper Ett (1837), A. A. Hnogek (1837), Deutschmann (1839), R. Lecke (1843), M. A. Nickel (1845), H. Bone (1847), J. Kehrein (1853), G. M. Pachtler (1853), H. Stadelmann (1855), a Priest of the diocese of Münster (1855), J. N. Stoeger (1857), Theodor Tilike (1862), G. M. Pachtler (1868), P. J. Belke (1869), and Fr. Hohmann (1872). Silbert, Zabuesnig, Simrock, and Schlosser are given in their proper places in this list.53.* G. A. Bjorn: Hymni veterum poetarum Christianorum ecclesiae latinae selecti. Copenhagen, 1818.Bjorn was the Lutheran pastor of Vemmetofte, in Denmark. His selection is confined to the very early writers: Victorinus, Damasus, Ambrose and his school, Prudentius (theKathemerinon), and Paulinus of Nola. He has a good introduction and notes.54.* Adolf Ludewig Follen: Alte christliche Lieder und Kirchengesänge teutsch und lateinisch, nebst einem Anhange. Elberfeld, 1819.Chiefly hymns of the later Middle Ages or by the Jesuits. The author, who was a brother of Professor Follen of Harvard, ascribes theDies Iraeto Malabranca, 1278, Bishop of Ostia, and accepts theRequiescat a laboreas a funeral hymn actually sung by Heloise and her nuns over Abelard.Other German-Protestant translators, besides those given in this list at their proper places, are H. Freyberg (1839), Ed. von Mildenstein (1854), H. von. Loeper (1869), H. F. Müller (1869), J. Linke (1884), and Jul. Thikotter (1888).55. J. P. Silbert: Dom heiliger Sanger, oder fromme Gesänge der Vorzeit. Mit Vorrede von Fr. von Schlegel. Vienna and Prague, 1820.56. F. J. Weinzerl: Hymni sacri ex pluribus Galliae diocesium Brevariis collecti. Augsburg, 1820.57. Poetae ecclesiasticae Latini. 4 vols., in 12mo. Cambray, 1821-26.Embraces Fortunatus, Prudentius, Cherius, Tertullian, Cyprian, Juvencus, Sedulius, Belisarius, Liberius, Prosper, Arator, Lactantius, and Dracontius.58.* Johann Christoph von Zabuesnig: Katholische Kirchengesänge in das Deutsche übertragen mit dem Latein zur Seite. 3 vols. Augsburg, 1822.A second edition, with a Preface by Carl Egger, Augsburg, 1830. The collection is a large one, made from fourteen breviaries, three missals, and other church-books and private collections, besides one manuscript antiphonary. Although a Catholic priest, Zabuesnig selects (from Christopher Corner, 1573) and translates hymns by Melanchthon and Camerarius.59a. Gottl. Ch. Fr. Mohnike: Kirchen- und Literar-historische Studien und Mittheilungen. Stralsund, 1824.59b. Gottl. Chr. Fr. Mohnike: Hymnologische Forschungen. 2 vols. Stralsund, 1831-32.60.* Ludwig Buchegger: De Origine sacrae Christianorum Poeseos Commentatio. Freiburg, 1827.61.* Sir Alexander Croke: An Essay on the Origin, Progress, and Decline of Rhyming Latin Verse; with many Specimens. Oxford, 1828.62.* Jakob Grimm: Hymnorum veteris Ecclesiae XXVI Interpretatio Theotisca nunc primum edita. 4to, pp. 1830.Grimm’s “Habilitationsschrift” on entering on his professorship at Göttingen. It is from the manuscript presented in the seventeenth century by Francis Junius to the University of Oxford, which contains twenty-six hymns by Ambrose and his school, with a prose version in Old High German of the eighth or ninth century. Four of the hymns had never appeared in any previous collection.63a. Rev. Isaac Williams: Thoughts in Past Years. London, 1831. A sixth edition in 1832.Contains twelve versions of Ambrosian and other primitive hymns.63.* Hoffmann von Fallersleben: Geschichte des deutschen Kirchenliedes bis auf Luther’s Zeit. Hannover, 1832. Second edition, 1854; third edition, *1861.Shows the transition from Latin to German in popular use, and discusses the history of forty-five Latin hymns in this connection.64. F. Martin: Specimens of Ancient Hymns of the Western Church, transcribed from anMS.in the University Library of Cambridge, with Appendix of other Ancient Hymns. Pp. 36, octavo. Norwich, 1835.Privately printed in fifty-six copies.65.* J. C. F. Bähr: Die Christlichen Dichter und Geschichtschreiber Roms. Eine literärhistorische Uebersicht. Carlsruhe, 1836. New edition, 1872.66a.* Rev. John Chandler: The Hymns of the Primitive Church, now first collected, translated, and arranged. London, 1837.Contains 108 Latin hymns with Chandler’s translation, several of which were adopted by the editors ofHymns Ancient and Modern. Mr. Chandler died, July 1st, 1876.66b.* Bishop Richard Mant: Ancient Hymns from the Roman Breviary. London, 1837. New edition, 1871 (272 pages).Dr. Mant was Bishop of Down and Connor in the Irish Established Church, and died November 2d, 1848. He was an original Latin poet of some note, and a writer of English hymns.67.* (J. H. Newman:) Hymni Ecclesiae. Pars I., e Breviario Parisiensi; Pars II., e Breviariis Romano, Sarisburiensi, Eboracensi et aliunde. Oxford, 1838.A new edition, London, 1865.This collection, sometimes known as the Oxford Hymns, was prepared by Cardinal Newman while he was still a presbyter of the Anglican Church, and exhibits everywhere his cultivated taste. Many of the hymns it includes are not to be found in other collections. This is especially true of the hymns from the Paris Breviary of 1736, which make up half the book. S. W. D.68.* Rev. Isaac Williams: Hymns translated from the Paris Breviary. London, 1839.These translations had already appeared inThe British Magazineabout 1830. Mr. Williams takes rank next after Keble among the poets of the Tractarian movement. He died in 1865.69.* Ioseph Kehrein: Lateinische Anthologie aus den christlichen Dichtern des Mittelalters. Für Gymnasien und Lyceen herausgegeben und mit Anmerkungen begleitet. Erster Theil. Die acht ersten christlichen Jahrhunderte. Frankfurt a. M., 1840.An anthology prepared with great labor and small judgment by a prosaic scholar. S. W. D.70a.* Friedrich Gustav Lisco: Dies Irae, Hymnus auf das Weltgericht. Als Beitrag zur Hymnologie. Pp. 156. Great 4to. Berlin, 1840.70b. Friedrich Gustav Lisco: Stabat Mater. Hymnus auf die Schmerzen Mariä. Nebst einem Nachtrage zu den Uebersetzungen des Hymnus Dies Irae. Zweiter Beitrag zur Hymnologie. Great 4to. Pp. 58. Berlin, 1843.71.* (Professor Henry Mills:) The Hymn of Hildebert, and the Ode of Xavier, with English Versions. Auburn, 1840.72.* Hermann Adalbert Daniel: Hymnologischer Blüthenstrauss aus dem Gebiete alt-lateinischer Kirchenpoesie. 12mo. Halle, 1840.Professor Daniel’s first appearance in a field in which he still is the highest authority. Besides his Thesaurus and this little precursor to it, and the dissertation mentioned below, he labored in German hymnology, editing anEvangelisches Kirchen-Gesangbuchin 1842, and Zinzendorf’s hymns in 1851. He also took part in the preparation of the standard German hymn-book of the Eisenach Conference, which is intended to put an end to the unlimited variety of hymn-books in the local churches of Germany. For Ersch and Gruber’s hugeEncyclopädie, he wrote the article “Gesangbuch,” which is reprinted in hisZerstreute Blätter(Halle, 1840). And besides all this he published in 1847-53 aCodex Liturgicus Ecclesiae Universae, and was a leading authority in Pedagogics and in Geography.73.* Ferdinand Wolf: Ueber die Lais, Sequenzen und Leiche. Ein Beitrag zur Geschichte der Rhythmischen Formen und Singweisen der Volkslieder und der Volksmässigen Kirchen- und Kunstlieder im Mittelalter. Mit VIII Facsimiles und IX Musikbeilagen. Heidelberg, 1841.74.* Hermann Adalbert Daniel: Thesaurus Hymnologicus sive hymnorum canticorum sequentiarum circa annum MD usitatarum collectio amplissima. Carmina collegit, apparatu critico ornavit, veterum interpretum notas selectas suasque adiecit. V Tomi. Leipzig, 1841-56.Still the chief text-book for the student of Latin hymnology. Vols. I. (1841) and IV. (1855) contain the Hymns. Vols. II. (1844) and V. (1856), the Sequences. Vol. III. (1846), Hymns of the Greek and Syrian Churches. To Vol. V. Dr. Neale contributes a Latin introduction on the nature of the Sequence.In the two last volumes Daniel uses freely and with acknowledgment the labors especially of Mone and Neale. The fifth volume contains also indices to all five volumes by first lines, and also a topical index. The worst defect of the book is the poorness of this latter. Next to that is its author’s very insufficient preparation for his work when he published his two first volumes; but that probably was unavoidable. Vols. IV. and V. show how much he had grown in his mastery of his field of labor. But his learning and his care give his book a place inferior to none.75.* K. E. P. Wackernagel: Das Deutsche Kirchenlied von Martin Luther bis auf Nicolaus Herman und Ambrosius Blaurer. Stuttgart, 1841.Wackernagel’s first and shorter work. Recognizing in the Latin hymns the starting-point of German hymnology, he begins his book with thirty-seven pages of Latin hymns and sequences, taken mostly from Lossius and Rambach, with some from theHymni et Collectaeof 1585.75b. A. D. Wackerbarth: Lyra Ecclesiastica: a Collection of Ancient and Godly Latin Hymns, with an English Translation. Two series. London, 1842-43.76a.* Edélestand du Meril: Poesies populaires latines anterieures au douzième siècle. Paris, 1843.This book, like the similar work of Thomas Aldis Wright, contains the popular Latin poetry of the Middle Ages previous to the twelfth century. But it also contains the first part of the hymns of Abelard, and it is from this volume that Trench and March took their examples of his poetry. The later discovery of the entire hymnarium prepared for the Abbey of the Paraclete emphasizes the importance of De Meril’s researches. S. W. D.76b. Edélestand du Meril: Poesies populaires latines du Moyen Age. Paris, 1847.A continuation of his first work of 1843. Both are used freely by Daniel in his later volumes and by Mone.77.* Jacques Paul Migne: Patrologiae Cursus Completus, sive Bibliotheca Universalis, Integra, Uniformis, Commoda, Oeconomica omnium Patrum, Doctorum Scriptorumque Ecclesiasticorum qui ab Aevo Apostolico ad Innocentii III Tempora floruerunt. CCXXI Tomi Paris, 1844-55. New edition begun in 1878.For the Christian Poets, see the following volumes: Abelard, 168; Adam of St. Victor, 196; Alan of Lisle, 210; Ambrose, 16 and 17; Anselm of Canterbury, 158; Bede, 94; Bernard of Clairvaux, 184; Damasus, 13; Drepanius Florus, 61; Elpis, 63; Ennodius, 63; Eugenius, 87; Florus, 110: Venantius Fortunatus, 88; Fulbert, 141; Godeschalk, 141; Gregory the Great, ——; the Emperor Henry, 140; Heribert of Eichstetten, 141; Hilary, 10; Hildebert, 171; Hincmar, 125; Innocent III., 217; Isidore, 83; John Scotus Erigena, 122; Juvencus, 19; Claudianus Mamertus, 53; Marbod, 171; Notker, 131; Odo of Cluny, 142; Paulinus of Nola, 61; Peter Damiani, 145; Peter of Cluny, 189; Prudentius, 59; Rabanus Maurus, 112; Robert II, 141; Ratpert of St. Gall, 87; Coelius Sedulius, 19; Walafried Strabo, 114; Tutilo of St. Gall, 87; Paul Warnefried, 95.Anonymous poems as follows: IId and IIId centuries, 2; IVth century, 7; Vth century, 61; VIIth century, 87; IXth century, 98; XIth century, 151; XIIth century, 190.78.* C. Fortlage: Gesänge Christl. Vorzeit. Auswahl der vorzüglichsten aus den Griechischen und Lateinischen übersetzt. Berlin, 1844.78a.* (John Williams): Ancient Hymns of Holy Church. Pp. 128, 12mo. Hartford, 1845.Contains original translations of forty Latin hymns, mostly Ambrosian and other early hymns in the abbreviated versions of the Roman Breviary. Twenty-two of Isaac Williams’s translations of hymns from the Paris Breviary are appended. The author was at the time rector of St. George’s church in Schenectady, and in 1851 became bishop of Connecticut.79.* K. I. Simrock: Lauda Syon, altchristliche Kirchenlieder und geistliche Gedichte, lateinisch und deutsch. Köln, 1846.A second edition in 1868. One of the most eminent Germanists, and an extremely felicitous translator (1802-76).80.* G. A. Königsfeld: Lateinische Hymnen und Gesänge aus dem Mittelalter, deutsch, unter Beibehaltung der Versmasse. Nebst Einleitung und Anmerkungen; unter brieflicher Bemerkungen und Uebersetzungen von A. W. Schlegel. Bonn, 1847.An admirably done piece of work. Specimens from twenty-five authors, with twenty anonymous hymns chiefly of the Jesuit school. A second series in 1865.81.* Richard Chenevix Trench: Sacred Latin Poetry. London, 1849. Second edition, 1864; third edition, 1878.Archbishop Trench’s little book has had a wide popularity, and many persons have been induced by it to take a deeper interest in the subject. But it is disfigured by its arrangement, which excludes everything that cannot be safely employed by Protestants. Lines are omitted from Hildebert; theStabat Materof Jacoponus is absent, and thePange linguaof Aquinas is also missing. Moreover the notes, which have been easily prepared from Latin sources, are scarcely satisfactory. Yet, take it for all in all, it is a volume that may be highly commended, for the archbishop is a poet, and has a poet’s appreciation of the beautiful. We are indebted to him for hymns from Marbod, Mauburn, W. Alard, Balde, Pistor, and Alan of Lisle, which are not readily found. S. W. D.There is much in the recent biography of Archbishop Trench which is of interest to hymnologists, especially his correspondence with Dr. Neale.82a.* Edward Caswall: Lyra Catholica: containing all the Hymns of the Roman Breviary and Missal, with others from various Sources. London, 1849; New York, 1851. New edition, London, 1884.Mr. Caswall was one of the clergymen who left the Church of England for the Roman communion with Dr. Newman. Some of his translations, especially of Bernard of Clairvaux, are among the most felicitous in the language. The American edition has an Appendix of “Hymns, Anthems, etc., appropriate to particular occasions of devotion.” It is this edition which has been abridged in the first volume of theHymns of the Ages(1858).82b. J. R. Beste: Church Hymns in English, that may be sung to the old church music. With approbation. London, 1849.83.* D. Ozanam: Documents inedits pour servir a l’Histoire litteraire de l’Italie depuis le VIIIe Siecle jusq’au XIIIe. Paris, 1850.Pages 221-57 is an account of a collection of two hundred and forty-three Latin hymns found in a Vatican manuscript, which he assigns to the ninth century, and to the Benedictines of Central Italy. He prints those not found in Daniel. Reprinted in Migne’sPatrologia: 151; 813ff.84. Hymnale secundum Usum insignis et praeclarae Ecclesiae Sarisburiensis. Littlemore, 1850.85.* Hymnarium Sarisburense, cum Rubricis et Notis Musicis. Variae inseruntur lectiones CodicumMSS.Anglicorum, cum iis quae a Geo. Cassandro, J. Clichtoveo, J. M. Thomasio, H. A. Daniel, e Codd. Germanis, Gallicis, Italis, erutae sunt. Accedunt etiam Hymni et Rubricae e Libris secundum usus Ecclesiarum Cantuariensis, Eboracensis, Wigornensis, Herefordensis, Gloucestrensis, aliisque Codd.MSS.Anglicanis excerpti. Pars prima. London and Cambridge, 1851.Gives hymns and various readings from twenty-six English manuscripts.86.* Joseph Stevenson: Latin Hymns of the Anglo-Saxon Church; with an Interlinear Anglo-Saxon Gloss, from a Manuscript of the Eleventh Century in Durham Library. Edited for the Surtees Society. London and Durham, 1851.Of some value as showing what hymns were used in the early English Church, before the Norman Conquest. The gloss is not Northumbrian, as might be supposed from its being found in the Library of the Dean and Chapter of Durham, but West-Saxon, probably from Winchester.86b. Boetticher: Hymns of the old Catholic Church of England. Halle, 1851.87.* Joh. F. H. Schlosser: Die Kirche in ihren Liedern durch all Jahrhunderte. 2 vols. Mainz, 1851-52. Second edition. Freiburg, 1863.Translations without texts, but some valuable notes, especially to later hymns. The first volume is devoted to the Latin hymns, and contains the beautiful fragment of a lost sequence which Schlosser heard from his brother in 1812. It represents the Apostle Paul weeping over the grave of Virgil at Puteoli:

Adjuvent nos eorum merita,Quos propria impediunt scelera?Excuset eorum intercessio,Quos propria accusat actio?At tu, qui eis tribuistiCoelestis palmam triumphi,Nobis veniam non deneges peccati.

Adjuvent nos eorum merita,

Quos propria impediunt scelera?

Excuset eorum intercessio,

Quos propria accusat actio?

At tu, qui eis tribuisti

Coelestis palmam triumphi,

Nobis veniam non deneges peccati.

In the same spirit he and his associates edited the first great Protestant work on Church history—theMagdeburg Centuries(1559-74, in thirteen folio volumes). The first Protestants hadno more idea of surrendering the history of the Church to the champions of the Roman Catholic Church, than of giving up to them the New Testament. They held that down through all the ages ran a double current of pure Christianity and scholastic perversion of that, and that the Reformation succeeds to the former as the Tridentine Church to the latter. This especially as regards the great central point in controversy, the part of grace and of merit in the justification of the sinner. And they found the proof of this continuity especially in the devotions of the early Church. They found themselves in that great prayer of the Franciscan monk, which the Roman Missal puts into the mouth of her holiest members as they gather around the bier of the dead:

Quid sum miser tunc dicturus,Quem patronum rogaturus,Quum vix justus sit securus?

Quid sum miser tunc dicturus,

Quem patronum rogaturus,

Quum vix justus sit securus?

Rex tremendae majestatis,Qui salvandos salvas gratis,Salve me, fons pietatis!

Rex tremendae majestatis,

Qui salvandos salvas gratis,

Salve me, fons pietatis!

“Whenever in the Middle Ages,” says Albrecht Ritschl, “devotion, so far as it has found articulate expression, rises to the level of the thought that the value of the Christian life, even where it is fruitful of good works, is grounded not upon these as human merits, but upon the mercy of God ... then the same line of thought is entered upon as that in which the religious consciousness common to Luther and Zwingli was able to break through the connection which had subsisted between Catholic doctrine and the Church institutions for the application of salvation.... Whenever even the Church of Rome places herself in the attitude of prayer, it is inevitable that in the expression of her religious discernment, in thanksgiving and petition, all the benefits of salvation should be referred to God or to Christ; the daily need for new grace, accordingly, is not expressed in the form of a claim based upon merits, but in the form of reliance upon God.”[26]

That the Latin hymns of those earlier centuries show a steadily increasing amount of unscriptural devotion to the mother of our Lord and to His saints, and of the materializing view of our Lord’s presence with His Church in the Communion, is undeniable. But even in these matters the hymns of the primitive and mediaeval Church are a witness that these and the like misbeliefs and mispractices are a later growth upon primitive faith and usage.

The first generation of Protestants, to which Luther, Melanchthon, and Zwingli belong, had been brought up on the hymns of the Breviary and of the Missal, and they did not abandon their love for these when they ceased to regard the Latin tongue as the only fit speech for public worship. They showed their relish for the old hymns, by publishing collections of them, by translating them into the national languages, by writing Latin hymns in imitation of them, and even by continuing their use in public worship to a limited extent.

As collectors and editors of the old Latin hymns, the Protestants of the sixteenth century surpassed the Roman Catholics of that age. Over against the names of Hermann Torrentinus (1513 and 1536), Jacob Wimpheling (1519), Joste Clichtove (1515-19), Jacob van Meyer (1535), Lorenzo Massorillo (1547), and George Cassander (1556), the Roman Catholic hymnologists of the half century which followed the Reformation, we may place the anonymous collector of Basel (1538), Johann Spangenberg (1545), Lucas Lossius (1552et seq., with Preface by Melanchthon), Paul Eber (1564), George Fabricius (1564), Christopher Corner (1568), Hermann Bonn (1569), George Major (1570), Andreas Ellinger (1573), Adam Siber (1577), Matthew Luidke (1589), and Francis Algerman (1596). All these, with the possible exception of the first, were Lutherans, trained in the humanistic school of Latin criticism and poetry; but only two of them found it needful or desirable to alter the hymns into conformity with the tastes of the age. The collections of Hermann Bonn, the first Lutheran superintendent of Lubeck, and that of George Fabricius, are especially important, as faithfully reproducing much that else might have been lost to us.

The work of translating the old Latin hymns fell especially to the Lutherans. Roman Catholic preference was no stronger for the original Latin than that of the Reformed for the Psalms. Of the great German hymn-writers from Luther to Paul Gerhardt, nearly all made translations from the storehouse of Latin hymnody, Bernard of Clairvaux being the especial favorite with Johann Heermann, John Arndt, and Paul Gerhardt. And even in hymns which are not translations, the influence of the Latin hymns is seen in the epic tone, the healthy objectivity of the German hymns of this age, in contrast to the frequently morbid subjectivity of those which belong to the age of Pietism.

More interesting to us are the early translations into English. The first are to be found in thePrimerof 1545, a book of private devotions after the model of the Breviary, published in Henry VIII.’s time both in English in 1545 and again in Latin (Orarium) in 1546. In the next reign a substitute for this in English alone was prepared by the more Protestant authorities of the Anglican Church, in which, besides sundry doctrinal changes, the hymns were omitted. But the scale inclined somewhat the other way after Elizabeth’s accession. The EnglishPrimerof 1559 and the LatinOrariumof 1560 are revised editions of her father’s, not of her brother’s publications. The parts devoted to the worship of Mary are omitted, but the prayers for the dead and the hymns are retained. These old versions are clumsy enough, but not without interest as the first of their kind. Here is one with the original text from theOrarium, differing from any other authority known to us:

Rerum Creator omnium,Te poscimus hoc vesperiDefende nos per gratiamAb hostis nostri fraudibus.

Rerum Creator omnium,

Te poscimus hoc vesperi

Defende nos per gratiam

Ab hostis nostri fraudibus.

Nullo ludamur, Domine,Vel somnio vel phasmate:In Te cor nostrum vigilet,Nec dormiat in crimine.

Nullo ludamur, Domine,

Vel somnio vel phasmate:

In Te cor nostrum vigilet,

Nec dormiat in crimine.

Summe Pater, per FiliumLargire quod Te poscimus:Cui per sanctum SpiritumAeterna detur gloria. Amen.

Summe Pater, per Filium

Largire quod Te poscimus:

Cui per sanctum Spiritum

Aeterna detur gloria. Amen.

O Lord, the Maker of all thing,We pray thee now in this eveningUs to defend, through thy mercy,From all deceit of our enemy.

O Lord, the Maker of all thing,

We pray thee now in this evening

Us to defend, through thy mercy,

From all deceit of our enemy.

Let us neither deluded be,Good Lord, with dream nor phantasy.Our heart waking in thee thou keep,That we in sin fall not on sleep.

Let us neither deluded be,

Good Lord, with dream nor phantasy.

Our heart waking in thee thou keep,

That we in sin fall not on sleep.

O Father, through thy blessed Son,Grant us this our petition;To whom, with the Holy Ghost, alwaysIn heaven and earth be laud and praise. Amen.

O Father, through thy blessed Son,

Grant us this our petition;

To whom, with the Holy Ghost, always

In heaven and earth be laud and praise. Amen.

It is not wonderful that when the Anglo-Catholics sought to revive thePrimeras “the authorized book of Family and Private Prayer” on the same footing as the Prayer book, they took the liberty of substituting modern versions of the hymns for these “authorized” translations.[27]But thePrimer, whatever its authority, never possessed that much more important requisite to success—vitality. A very few editions sufficed for the demand, and Bishop Cosin’s attempt to revive it in Charles I.’s time only provoked a Puritan outcry against both him and it. Rev. Gerard Moultrie has attempted to revive it in our own time, as “the only book of private devotion which has received the sanction of the English Church,” and has not achieved even thus much of success. No Prynne has assailed him.

In the Book of Common Prayer, besides such “canticles” as theGloria in Excelsisand theTe Deum, there is but one hymn, an English version of theVeni, Creator Spiritusin the Ordination Service. It is the wordiest of all known versions, rendering one hundred and five Latin by three hundred and fifty-seven English words, but is not without its old-fashioned felicities. The revisers of 1661 cut it down by omitting just half of it, and modernized the English in a number of places. Its very verbosity seems to have suggested Bishop Cosin’s terse version, containing but four morewords than the original, which, however, it somewhat abridges. This was inserted in 1661 as an alternate version. The author of the paraphrase in the Prayer-Book is unknown. It is not Bishop Coverdale, as his, although translated at second-hand from Luther, as, indeed, all his hymns are from some German source, is far closer and less wordy.[28]It also was adopted into the old Scottish Psalter of the Reformation, where it appears in the appendix, along with a metrical version of the Apostle’s Creed and other “uninspired compositions.”

From the Reformation until about fifty years ago, there was among English-speaking people no interest in Latin hymnology worth speaking of. A few Catholic poets, like Crashaw and Dryden, honored their Church versions from the hymns of the Breviary. But even John Austin, a Catholic convert of 1640, when he prepared hisDevotions in the Ancient Way of Officesafter the model of the Breviary, wrote for it hymns of his own instead of translating from the Latin. Some of these (“Blessed be Thy love, dear Lord,” and “Hark, my soul, how everything”) have become a part of our general wealth. Of course some versions of a homely sort had to be made for Catholic books of devotion, and I possessThe Evening Office of the Church in Latin and English(London, 1725), in which the Vesper hymns of the Roman Breviary are closely and roughly versified. It is notable that “the old hymns as they are generally sung in churches”—i.e., the hymns as they stood before the revision of 1631, are printed as an appendix to the book, showing how slow English Catholics were to accept the modernization of the hymns which the papacy had sanctioned nearly a century before.

Mr. Orby Shipley, in hisAnnus Sanctus(London, 1884), gives a large number of these early versions from the Roman CatholicPrimersof 1619, 1684, 1685, and 1706; from theEvening Officeof 1710, 1725, and 1785; and from theDivine Officeof 1763 and 1780. The translations of 1619 have been ascribed to William Drummond, of Hawthornden, and those of 1706 to Dryden. Drummond was the first Scotchman who adopted English as the language of literature, and although a Protestant, he belonged to the Catholicizing party represented by William Forbes, the first Protestant bishop of Edinburgh. Three hymns are given in Sir Walter Scott’s edition of Dryden on the authority of English Roman Catholic tradition, the best known being his version of theVeni Creator Spiritus. These three are found in thePrimerof 1706, along with versions of the other hymns of the Roman Breviary sufficiently like them to suggest that they are all by the same hand. But this judgment is disputed.

Among Protestants the neglect was as great. So profuse a writer of hymns for the Christian year as George Wither translated only theTe Deumand theVeni, Creator Spiritusinto English verse.[29]Tate and Brady, in theirSupplement(1703) to theirNew Version of the Psalms(1696), published a translation of theVeni, Creator Spiritus. But Bishop Symon Patrick was the only hymn-writer of that age who may be said to have given any special attention to Latin hymns. His hymns were chiefly translations from that source, especially Prudentius, and Lord Selborne mentions that ofAlleluia, dulce carmen, as the best.

The Methodist revival, which did so much to enrich our store of hymns, and which called attention anew to those of Germany, accomplished nothing for us as regards Latin hymns. The Earl of Roscommon’s translation of theDies Irae(1717), and Dr. Johnson’s affecting reference to the stanza,

stand almost alone in that age. It was not until the Romantic movement in Germany and then in England broke the bonds of amerely classic culture, taught the world the beauty of Gothic art, and obliged men to revise their estimate of the Middle Ages, that the singers of the praises which sounded through those earlier centuries had a fair chance to be judged at their real worth. The forerunner of that movement was Johann Gottfried von Herder, who indeed may be said to have anticipated the whole intellectual movement of the past century, Darwinism not excepted. From his friend and master Hamann, “the Magus of the North,” he had learned “the necessity for a complete and harmonious expression of all the varied faculties of man,” and that “whatever is isolated or the product of a single faculty is to be condemned.” This made him as much discontented with the eighteenth century and its literature and philosophy of the enlightened understanding, as Hamann himself was. It was the foundation for that Catholic taste which enabled him to appreciate the excellence of all those popular literatures which are the outflow of the life of whole peoples. HisVoices of the Peoplesdid for the Continent what Bishop Percy’sReliquesdid for England, and did it much better. He saw that “the people and a common sentiment are the foundations of a true poetry,” and the literature of the schools and that of polite society are equally condemned to sterility. For this reason he had small respect for that classic Latin literature at whose bar every modern production was impleaded. He found far more genuine life and power in the Latin poems of the Jesuit father, Jacob Balde, and still more in the hymns of the Latin Church. HisLetters for the Promotion of Humanity(1794-96) contain a passage of classic importance:

“The hymns which Christianity introduced had for their basis those old Hebrew Psalms which very soon found their way into the Church, if not as songs or anthems, at any rate as prayers.... The songs of Mary and of Zacharias, the Angelic Salutation, theNunc Dimittisof Simeon, which open the New Testament, gave character more immediately to the Christian hymns. Their gentler voice was more suitable to the spirit of Christianity than even the loud trumpet note of that old jubilant Hallelujah, although that note was found capable of many applications, and was now strengthened with the words of prophet or psalmist, now adapted to gentler strains. Over the graves of the dead, whose resurrection was already present to the spirit’s vision, in caves and catacombs, first were heard these psalms of repentance and prayer, of sorrow and hope, until after the public establishment of Christianity, they stepped out of the dark into the light, out of solitude into splendid churches, before consecratedaltars, and now assumed a like splendor in their expression. There is hardly any one who can listen to theJam moesta quiesce querulaof Prudentius without feeling his heart touched by its moving strains, or who can hear the funeral sequenceDies irae, dies illa, without a shudder, or whom so many other hymns, each with its own character—e.g.,Veni, Redemptor gentium;Vexilla Regis prodeunt;Salvete flores Martyrum;Pange, lingua, gloriosi, etc., will fail to be carried into that frame of feeling which each seeks to awaken, and with all its humility of form and its churchly peculiarities, never fails to command. In one there sounds the voice of prayer; another could find its accompaniment only in the harp; in yet another the trumpet rings, or there sounds the thousand-voiced organ, and so on.

“If we seek after the reason of this remarkable effect, which we feel in hearing these old Christian hymns, we find it somewhat peculiar. It is anything but the novelty of thethoughtswhich here touches and there shakes us. Thoughts in these hymns are found but sparingly. Many are merely solemn recitations of a well-known story, or they are familiar petitions and prayers. They nearly all repeat each other. Nor is it frequently surprisingly fine and novel sentiments with which they somehow permeate us; the novel and the fine are not objects in the hymns. What, then, is it that touches us?SimplicityandVeracity. Here sounds the speech of a general confession of one heart and one faith. Most of them are constructed either so as to be fit for use every day of the year, or so as to be used on the festivals of the various seasons. As these come round there comes with them in constant recurrence their rehearsal of Christian doctrines. There is nothing superfine in the hymns as regards either emotion, or duty, or consolation. There reigns in all of them a general popularity of content, expressed in great accents. He who seeks novel thoughts in aTe Deumor aSalve Reginalooks for them in the wrong place. It is just what is every day and always known, which here is to serve as the garb of truth. The hymn is meant to be an ambrosial offering of nature, deathless like that, and ever returning.

“It follows that, as people in these Christian hymns did not look for the grace of classic expression or the pleasurable emotion of the instant—in a word, what we expect from a work of art, they produced the strangest effects at once after their introduction. Just as Christian hands overthrew the statues and temples of the gods in honor of the unseen God, so these hymns contained a germ which was to bring about the death of the pagan poetry. Not only were those hymns to gods and goddesses, heroes and geniuses, regarded by the Christians as the work of unbelievers or misbelievers, but the germ from which they sprang, the poetic and sportive fancy, the pleasure and rejoicing of the peoples in their national festivals, were condemned as a school of evil demons; yes, even the national pride, to which those songs appealed, was despised as a perilous though splendid sin. The old religion had outlived its time, the new had won its victory, when the absurdity of idol-worship and pagansuperstitions, the disorders and abominations which attended the festivals of Bacchus, Cybele, and Aphrodite, were brought to the light of day. Whatever of poetry was associated with these was a work of the devil. There began a new age for poetry, music, speech, the sciences, and indeed for the whole direction of human thought.”

As the Romanticist movement gained ground in Germany, attention to the early hymns increased. Even Goethe, theweltkindamong the prophets, was influenced. Hence his use of theDies Iraein the first part ofFaust, although he was pagan enough to care for nothing at Assisi except the Roman remains. A. W. Schlegel made a number of translations for theMusen-Almanach. Then came the long series of German translators, of whom A. J. Rambach, A. L. Follen (brother of Professor Charles Follen of Harvard), Karl Simrock (1850 and 1866), and G. A. Koenigsfeld (1847 and 1865) are the most notable. Much more important to us are the German collectors: G. A. Björn (a Dane, 1818), J. C. von Zabuesnig (1822 and 1830), H. A. Daniel (Blüthenstrauss, 1840;Thesaurus, 1841-56), F. J. Mone (1853-55), C. B. Moll (1861 and 1868), P. Gall Morel (1866), Joseph Kehrein (1873). To the unwearied thoroughness of these editors, more than of any other laborers in this field, we owe our ampler access to the treasures of Latin hymnody. But what field of research is there in which the scholarship of Germany has not laid the rest of the world under obligations?

In English literature the Romanticist movement begins properly with Sir Walter Scott. Himself a Presbyterian, he was brought up on the old Scotch Psalm-book, for which he entertained the same affection as did Burns, Edward Irving, Campbell, Carlyle, and Archdeacon Hare. He opposed any attempt to improve it, on the ground that it was, “with all its acknowledged occasional harshness, so beautiful that any alterations must eventually prove only so many blemishes.” But his literary tastes led him to a lofty appreciation of the Anglican liturgy—a circumstance which has led many to class him as an Episcopalian—and equally for the poetry of the mediaeval hymns. His vigorous version of a part of theDies Iraeinserted inThe Lady of the Lake(1805) gives him his smallest claim to mention in the history of hymnody. It was the new atmosphere he carried into the educated world, his fresh and hearty admiration of admirable things in the MiddleAges, which had been thought barbarous, that makes him important to us. He gave the English and Scottish people new weights and measures, new standards of critical judgment, which emancipated them from narrow, pseudo-Protestant traditions. He made the great Church of undivided Western Europe intelligible. No doubt many follies resulted from this novel lesson, the worst of all being contempt for Luther and his associates in the Reformation. The negations which attend such revolutions in opinion always are foolish exaggerations. It is the affirmations which are valuable and which remain. And Romanticism for more than half a century has been affecting the religious, the social, the intellectual life of Great Britain and America in a thousand ways, and with, on the whole, positive and beneficial results. Its most powerful manifestation was in the Oxford movement,[30]but both in its causes and its effects it has transcended the limits which separate the divided forces of Protestantism.

Naturally the Oxford movement was the first to turn attention to the hymns of the Middle Ages, or what it regarded as such. We use this qualified expression because its leaders at the outset were much better poets than hymnological scholars, and welcomed anything in the shape of a Latin hymn as “primitive,” no matter what. Isaac Williams, in theBritish Magazinein 1830, published a series of translations of “primitive hymns” which he gathered into a volume in 1839. They were from the Paris Breviary, of whose hymns only one in fourteen were older than 1685, and most of them not yet a hundred years old. Rev. John Chandler, in hisHymns of the Primitive Church(1837), drew on Santeul and Coffin with equal freedom, evidently supposing he was going back to the early ages for his originals. Bishop Mant, in hisAncient Hymns from the Roman Breviary(1837), did a littlebetter, although not half-a-dozen hymns in that Breviary are unaltered from their primitive forms, and many are no older than the fifteenth or sixteenth century. Rev. Edward Caswall, an Oxford convert to the Church of Rome, naturally confined hisLyra Catholica(1849) to the Breviary hymns, supplementing those of Rome with some from Paris. The first collection published by Dr. Newman (Hymni Ecclesiae, Pars I., 1839) was confined to the Paris Breviary, but with the notice that they “had no equal claim to antiquity” with “the discarded collections of the ante-reform era.” But he claimed on rather slight ground that they “breathe an ancient spirit, and even where they are the work of one pen, are the joint and indivisible contribution of many ancient minds.” This is an opinion of the work of Santeul and Coffin in which neither Cardinal Newman nor the Gallican Church would agree to-day.

In fact, these English scholars, with their constant habit of making Latin verse after classic models from their school-days, and their entire want of familiarity with post-classic Latin, found what pleased them best in the two Breviaries of Rome and Paris. With that they seemed likely to stop. It was Dr. John Mason Neale (1851-58) who, among translators, first broke these bounds, went to the older sources, and introduced to English readers, both by his collections and his translations, the great hymns of the Western Church. As a translator he leaves much to be desired. His ideas as to faithful reproduction of the form of his originals are vague. His hymns too often might be said to be based on the Latin text rather than to reproduce it. But they are spirited poems, whose own vigor and beauty sent readers to the original, and they were not disappointed.

From that time we have had a series of excellent workers in this field—John Keble, Rev. W. J. Blew (1855), Mr. J. D. Chambers (1857 and 1866), Rev. J. W. Hewett (1859), Sir Henry Baker (1861 and 1868), Rev. Herbert Kynaston (1862), Rev. J. Trend (1862), Rev. P. S. Worsley (1863), Earl Nelson (1857 and 1868), Rev. Richard F. Littledale (1867), R. Campbell, of the Anglo-Catholicparty; and Dean Stanley, Mrs. Charles (1858 and 1866) and Dr. Hamilton Magill (1876) outside its ranks. Theirs have been no inconsiderable part of those labors which have made the last thirty years the golden age of English hymn-writing, surpassing even the era of the Methodist revival.

In America the work was begun in 1840 with a modest little volume published at Auburn, in New York, and ascribed by Mr. Duffield to Dr. Henry Mills of Auburn Theological Seminary, who in 1856 also published a volume of translations of German hymns. His earlier book wasThe Hymn of Hildebert and the Ode of Xavier, with English Versions, and contained thirty-five duodecimo pages. Next in order came Dr. John Williams, Bishop of Connecticut, withAncient Hymns of the Holy Church(1845). Dr. William R. Williams of New York, in his address on “The Conservative Principle in our Literature,” delivered in 1843, made a reference to theDies Irae, which gave him the occasion to publish in an Appendix the literary history of the great hymn, giving the text along with Dr. Trench’s version and his own. This seems to have given the impulse which has made America so prolific in translations of that hymn, only Germany surpassing us in this respect. Dr. Abraham Coles may be said to have led off with his volume, containing thirteen translations in 1847. But it was not until after the war for the Union that the productive powers of American translators were brought into play. Much, no doubt, was due to foreign impulse, especially from Dr. Trench and Dr. Newman; but it is notable that in America far more work has been done outside than inside the Episcopalian communion.

Dr. Coles again in 1866, Mr. Duffield in 1867, Chancellor Benedict in 1869, Hon. N. B. Smithers in 1879 and 1881, and Mr. John L. Hayes in 1887 published volumes of translations. But far more numerous are the poets whose versions of Latin hymns have appeared in various periodicals or in collections like Professor Coppée’sSongs of Praise(1866), Dr. Schaff’sChrist in Song(1869), Odenheimer and Bird’sSongs of the Spirit(1871), Dr. H. C. Fish’sHeaven in Song(1874), Frank Foxcroft’sResurgit(1879), and Dr. Schaff and Arthur Gilman’sLibrary of Sacred Poetry(1881 and 1886). Of these contributing poets we mention Dr. E. A. Washburn, whose translations have been collected in his posthumous volume,Voices from a Busy Life(1883); Dr.Ray Palmer, our chief sacred singer, whose versions of theO esca viatorumand theJesu dulcis memoriaare as classic as his “My faith looks up to Thee;” Dr. A. R. Thompson, to whom the present volume is under great obligations; Rev. J. Anketell, another of its benefactors; Rev. M. Woolsey Stryker, Rev. D. Y. Heisler, Rev. Franklin Johnson, D.D., and Rev. W. S. McKenzie, D.D. Besides these we may mention the anthology of translations published by the Rev. F. Wilson (1859), of texts by Professor F. A. March (1874 and 1883), and of both texts and translations by Judge C. C. Nott (1865 and subsequent years).

It is not, however, only as literature, but in the actual use of the American churches, that the Latin hymns have made a place for themselves. Since 1859, when the Andover professors published theSabbath Hymn and Tune-Book, with original translations furnished by Dr. Ray Palmer, there has been a peaceful revolution in American hymnology. Every one of the larger denominations and many of the smaller have provided themselves with new hymn-books, in which the resources of English, foreign, and ancient hymnology have been employed freely, and with more exacting taste as to sense and form, than characterized the hymn-books of the era before the war. While the compilers have drawn freely upon Caswall, Neale, Chandler, and the AnglicanHymns Ancient and Modern(1861), in many cases original translations were given, as inHymns of the Churchfor the (Dutch) Reformed Church, of which Dr. A. R. Thompson was one of the editors; and Dr. Charles Robinson’sLaudes Domini(1884), to which Mr. Duffield contributed. And there is evidence that the hymns thus brought into Church use from the storehouse of the earlier Christian ages have helped thoughtful Christians to realize more fully the great principle of the Communion of the saints—to realize that all the faithful of the present are bound in spiritual brotherhood with those who held to the same Head and walked in the light of the same faith in bygone centuries, even though it was with stumbling and amid shadows, from which our path by God’s good providence has been set free.

The first sources of the Latin hymns and sequences are the manuscript and printed breviaries and missals of the Western Church. Both these have been explored by the collectors from Clichtove to Kehrein, although it cannot be said that the examination has been exhaustive either as regards the manuscripts or the printed books.

The following is an approximate list of the printed breviaries which have been examined by modern collectors:

Of lesser church-books Zabuesnig has used theProcessionaleof the Dominicans or Preachers, and Newman that of the Church of York. Morel has drawn upon the ParisHoraeof 1519, and Daniel on theCantionaleof Konstanz of 1607.

Yet this shows that either only a minority of the printed church-books of the fifteenth and sixteenth centuries have been examined, or else that the majority yielded nothing new in return for such examination.

We proceed with the bibliography of the collections and the historical treatises and discussions which bear on Latin Hymnology, together with the most important volumes of translations. These we shall give in chronological order, and where the initials S. W. D. are appended to the comments, it will be understood that these are by Mr. Duffield, not by his editor. The numbers marked with an asterisk (*) indicate works employed in the preparation of the present volume.

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