ur Moody and Sankey. Even in convenwe have more dignified hymn-books for "church" as opposed to Sunday-school or S. C. E., and the like. And as our PriDepartment (of the Sunday-school) was ed over to the works of Fanny Crosby she write Roses in bloom, With perfume rich and rare. der? Anyhow, she wrote most of them), Ye monsters of the mighty deep, Up from the sands ye codlings peep, t the same period, their ancestors were Its tune is, to my thinking, bad: diffi and monotonous to hear. But in church that these poor French infant cently desecrating, a few hours, mo see a whole congregation chanting, sionless and awful reverence, Parce, Domine, parce populo tuo; nec irascaris nobis. Whoever has heard that well from crowded choir, nave, and tr coifed peasant and the trained sémin ing in unison (no staginess of there!), and has joined his voice to tudinous supplication, will not ceas that modern vulgarity is as Catho Protestant. It was the most delightful of I perversities to contend, in all seriou the Devil, driven out of an immem of his own near Lourdes by the adv spot of the Blessed Virgin, took revenge on the æsthetic sense of I He could no longer hold his filth [209] :ctural surroundings. Perhaps Huysmans have credited the modern Catholic unhesitatingly to the devil. certainly Moody and Sankey were not of Lourdes. Nor could the Presbyterho first sang the rhymed version of the y-Third Psalm to the air of "So bin ich sen, vergessen bin ich" be suspected of rt in the Devil's private feuds with the . Indeed, the particular Presbyterians I have heard sing it thus had not, I much more reverence for the one than e other. o not think that we can account for Gosymns No. 5 by the Huysmans formula. the hymn to St. Joseph, beloved of sodals, I believe, mere modern pandering to cultured majority: revivalism in essence, Moody and Sankey and the Salvation and Billy Sunday. But at least the Cathhave this advantage: that though they ve indulged in operatic music and have unk to "Vierge, notre espérance," they ear from their choirs the ancient music tim T Pro hun (M But me int and account for Gir smans for beloved of sodi ern pandering alism in essenc d the Salvation time. I used to think that the worst o Protestant hymns was their ignori human intelligence. Many giants great and tall, (My fortunate husband sang it in h But even that, while it could have meaning, I should say, only for a s intelligence, is not a deliberate and ex ance of the intellect of man. Verbum caro, panem verum Verbo carnem efficit: Ad firmandum cor sincerum Tantum ergo sacramentum Veneremur cernui, Et antiquum documentum Novo cedat ritui: Præstet fides supplementum Sensuum defectui. [211] m-mac-u-late, Im-mac-u-late" refrain. A even a religious poem, is good poetry or etry, and that is all there is to it. "From and's Icy Mountains" is a silly poem, The Son of God Goes Forth to War" is er fine poem; and Bishop Heber wrote But the permanent superiority of the latn the music to which it is set. One Presin sect sings, I believe, nothing but the -rather unfortunately metricized, to be and their church singing is the drearthe world. Yet the Psalms are rated "Onward, Christian Soldiers" gets its from Sir Arthur Sullivan and not from thor. I do not believe that "Nearer, My to Thee" would have been the favorite of the late President McKinley were it r the slow, swinging tempo, which needs little quickening to be an excellent waltz, ll the emotional appeal of good waltz the whole, Hymns Ancient and Mode far better, from the point of view of than Gospel Hymns, No. 5 — but cro M it. WO to Gr on tha to po |