provement in melody but not in rhyme, and, besides, it robs the stanza of its leading thoughtheaven and earth offsetting each other, and heavenly music drowning earthly noise—a thought that is missed even in the rich cantos of "Jerusalem the Golden."

THE TUNES.

Nearly the whole school of good short metre tunes, from "St. Thomas" to "Boylston" have offered their notes to Montgomery's “At Home in Heaven," but the two most commonly recognized as its property are "Mornington," named from Lord Mornington, its author, and I. B. Woodbury's familiar harmony, "Forever with the Lord."

Garret Colley Wellesley, Earl of Mornington, and ancestor of the Duke of Wellington, was born in Dagan, Ireland, July 19, 1735. Remarkable for musical talent when a child, he became a skilled violinist, organ-player and composer in boyhood, with little aid beyond his solitary study and practice. When scarcely twenty-one, the University of Dublin conferred on him the degree of Doctor of Music, and a professorship. He excelled as a composer of glees, but wrote also tunes and anthems for the church, some of which are still extant in the choir books of the Dublin Cathedral. Died March. 22, 1781.

"HARK! HARK, MY SOUL!"

The Methodist Reformation, while it had found no practical sympathy within the established church, left a deep sense of its reason and purpose in the minds of the more devout Episcopalians, and this feeling, instead of taking form in popular revival methods, prompted them to deeper sincerity and more spiritual fervor in their traditional rites of worship. Many of the next generation inherited this pious ecclesiasticism, and carried their loyalty to the old Christian culture to the extreme of devotion till they saw in the sacraments the highest good of the soul. It was Keble's "Christian Year" and his "Assize Sermon" that began the Tractarian movement at Oxford which brought to the front himself and such men as Henry Newman and Frederick William Faber.

The hymns and sacred poems of these sacramentarian Christians would certify to their earnest piety, even if their lives were unknown.

Faber's hymn "Hark, Hark My Soul," is welcomed and loved by every Christian sect for its religious spirit and its lyric beauty.

Hark! hark, my soul! angelic songs are swelling

O'er earth's green fields and ocean's wave-beat shore;
How sweet the truth those blessed strains are telling
Of that new life where sin shall be no mon

REFRAIN

Angels of Jesus, angels of light

Singing to welcome the pilgrims of the night.

Onward we go, for still we hear them singing
"Come, weary souls, for Jesus bids you come,'
And through the dark, its echoes sweetly ringing,
The music of the gospel leads us home.

Angels of Jesus.

Far, far away, like bells at evening pealing,
The voice of Jesus sounds o'er land and sea,
And laden souls, by thousands meekly stealing,
Kind Shepherd, turn their weary steps to Thee.
Angels of Jesus.

THE TUNES.

John B. Dykes and Henry Smart-both masters of hymn-tune construction-have set this hymn to music. "Vox Angelica" in B flat, the work of the former, is a noble composition for choir or congregation, but "Pilgrim," the other's interpretation, though not dissimilar in movement and vocal range, has, perhaps, the more sympathetic melody. It is, at least, the favorite in many localities. Some books print the two on adjacent pages as optionals. Another much-loved hymn of Faber's is—

REFRAIN

O Paradise, O Paradise!

Who doth not crave for rest?
Who would not see the happy land
Where they that loved are blest?

Where loyal hearts and true
Stand ever in the light,
All rapture through and through
In God's most holy sight.

O Paradise, O Paradise,
The world is growing old;

Who would not be at rest and free

Where love is never cold.

Where loyal hearts and true.

O Paradise, O Paradise,

I greatly long to see

The special place my dearest Lord,

In love prepares for me.

Where loyal hearts and true.

This aspiration, from the ardent soul of the poet has been interpreted in song by the same two musicians, and by Joseph Barnby-all with the title "Paradise." Their similarity of style and near equality of merit have compelled compilers to print at least two of them side by side for the singers' choice. A certain pathos in the strains of Barnby's composition gives it a peculiar charm to many, and in America it is probably the oftenest sung to the words.

Dr. David Breed, speaking of Faber's “unusual” imagination, says, "He got more out of language than any other poet of the English tongue, and used words-even simple words- so that they rendered him a service which no other poet ever secured from them." The above hymns are characteristic to a degree, but the telling simplicity of his style-almost quaint at times-is more marked in "There's a Wideness in God's Mercy," given on p. 234.