original hymns, out of several which have been communicated to the Editor, by the kindness of the authors, in manuscript. Upon the works of living authors generally, the Editor has not thought it expedient to draw with the same freedom, as upon those of earlier generations; although he has not deemed it necessary to forego altogether the advantage of including in his book specimens of those works, especially of such of them as have obtained general currency in popular hymn-books.

The arrangement which has been adopted in this volume (and upon which some care has been bestowed), may be explained in a few words. The Catholic Creeds, and the Lord's Prayer, presenting in their simplest forms, and in their natural order, all the fundamental points of Christianity, both objective and subjective, appeared to the Editor to be the best basis for a classification of those hymns of faith and devotion, which express feelings at all times appropriate to a Christian profession. These two groups of hymns constitute Parts I. and II. of the Collection. The Third Part consists of hymns distinguished chiefly from those of the two former classes, by having a special reference to particular times and occasions. In the Fourth Part will be found distributed, under

suitable heads, compositions of a kind intermediate between hymns for general use and private meditations; which (although the distinction is better marked in some cases than in others) seem to breathe, upon the whole, the accents of particular, rather than general, consciousness and experience. On this account, they are, for the most part, out of place in ordinary hymn-books, and unfit to be sung by public congregations; but their tone is not the less spiritual and real; and those who know anything of their own wants, and of the power of religion, can scarcely fail to be impressed with their beauty and truth.

The Editor is not sure, whether it may not appear to some to be an objection to this classification, that, by bringing closely together a number of hymns on one subject, a sense of repetition and monotony is created, which might have been avoided by a different method. The repetition, however, which will undoubtedly be met with in the works, not only of different, but even of the same hymn-writers, is of a kind appropriate to such compositions ; and, therefore, it ought not to be withdrawn from observation. All lovers of Art are familiar with the habitual repetition of Holy Families, and other sacred subjects, by the early painters,

down to and including Raffaelle. The constant enthusiastic contemplation of a few subjects, dear to the universal heart of Christendom, and embodying the highest conceptions of Divine purity and beauty, produced a simplicity, refinement, and spirituality of style, which never tires, notwithstanding its limited range. These are the hymns of painters, addressed to the sense of sight. A similar law has always governed, and to this day governs Christian Hymnody; binding together by the force of a central attraction, more powerful than all causes of difference, times ancient and modern, nations of various race and language, Churchmen and Nonconformists, Churches reformed and unreformed. It is refreshing to turn aside from the divisions of the Christian world, and to rest for a little time in the sense of that inward unity, which, after all, subsists among all good Christians, and which (is it too much to hope?) may perhaps receive some illustration, even from a volume like this.

Throughout the volume, the names of the authors, when known, are affixed to their hymns. When more authors than one have been concerned in the composition of a hymn, or when it is a cento or variation by one person from the work of another, the names of all the

writers concerned (so far as known) are given. The dates added to the names signify, when without brackets, the time at which each hymn is believed to have been first composed or published: when within brackets, the date of the edition or copy, from which the text of a hymn (known or believed to have been published at an earlier date, not correctly ascertained), has been taken by the Editor. The text has been verified by collation with the original work of the author, or an authentic copy, in every case, except those specified in the notes at the end of the volume. The notes also show in what cases the text consists of any selected parts or part, less than the whole, of an original work. When a double date is appended to a single name, it signifies that the work, published at the earlier date, was afterwards altered by the author himself, the text of the later date being that adopted.

The Editor cannot conclude without returning his thanks to many friends, and to some not personally known to him, for the kind assistance, and offers of assistance, which he has received from them, while this work was in progress. His obligations to some of them will be found specially acknowledged in the notes. He has also to thank the owners of copyrights in many

of the more modern hymns, which are included in the volume, for the consent which they have, in all cases when applied to, kindly given to the use of their works. And if, in any instances, he has, either through ignorance of the existence of a copyright, or for want of means of communication, made use of any work, in respect of which a similar permission ought to have been obtained, without actually obtaining it, he ventures to hope that the oversight may be excused, and the same liberality extended to him, as if a request for permission had been. previously made.