HYLO’DES. A genus of cystignathine frogs, about 50 species of which are known in tropical America, all small and like tree-frogs, with the fingers free and provided with undivided disks. A typical and familiar species of the West Indies (Hylodes Martinicensis) has some remarkable traits, described under Coqui.

HY'LOPHYTES (from Gk. van, hyle, forest, matter+puróv, phyton, plant). Plants which grow in the woods; forest plants. The hylophytes are contrasted with the poöphytes, i.e. the plants of grasslands.

HY'LOZO'ISM (from Gk. 2n, hyle, matter, wood + wov, zōon, animal). The assumption that the principle of all change is to be found in material substance, and that all matter is in stinct with life. The term is applied to the Ionic School (see GREEK PHILOSOPHY), which sought the explanation of the universe in terms of water, air, fire, etc., and thus assumed, withcut further investigation, that matter in one form or another had in it 'the promise and potency' of all change, including vital processes.

HYMANS, ê'män', LOUIS (1829-84). A Belgian historian, poet, and publicist, born at Rotterdam. He was editor of various papers, and director of the Echo du Parlement, a liberal journal. He was elected a member of the Belgian Chamber of Representatives for the city of Brussels (1859), held that post for eleven years, and showed himself an upright and conscientious politician. He was the author of several novels, of Lettres moscovites (1857); Histoire populaire de la Belgique (18th ed. 1880); Histoire populaire du règne de Léopold I. (1864); Histoire politique et parlementaire de la Belgique (186970); Notes et souvenirs (1876); Types et silhouettes (1877), reminiscences; and Bruxelles à travers les âges (1883-89).-His brother, HENRI SIMON (1836-), an author and critic, was born at Antwerp. He was appointed conservator of the Royal Library of Brussels, and became a constant contributor to art journals. His best-known work is Histoire de la gravure dans l'école de Rubens (1879).

HY'MEN, or HY'MENE'US (Lat., from Gk. Ὑμήν). The Greek god of marriage, whose name survived in the refrain of the marriage song, though the original meaning (begetter') was forgotten, and many legends devised to explain the occurrence in the hymn. The myths usually represent him as son of Apollo and a Muse, more rarely of Dionysus and Aphrodite. In art he is usually represented as a youth of delicate, almost feminine beauty, with a crown of flowers and a torch; more rarely with wings. Consult: Schmidt, De Hymenæo et Talasio (Kiel, 1886); Usener, Götternamen (Bonn, 1896).

HY'MENOCEPH'ALUS (Neo-Lat., from Gk.

ὑμήν, hymen, membrane + Kepah, kephale, head). A genus of small pelagic fishes of the tropics, of the family Macruride (see GRENADIER), noted for the papery nature of the bones of the cranium. The only known species (Hymenocephalus cavernous) is gray, with silvery tints on the sides, and was taken from deep water in the Gulf of Mexico. See Plate of CODFISH AND ALLIES.

HYMENOPHYLLITES, hi-men'ô-fil-li'těz, AND HY'MENOPHYLLUM (Neo-Lat. nom. pl., from Gk. výv, hymen, membrane + p22ov,

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phyllon, leaf). A genus of ferns, comprising the film ferns and lace ferns, found growing parasitically on roots of trees and in other like situations, and characterized by their delicate membranaceous leaves with cup-shaped spore-cases situated at the ends of the veins, and their creeping rootstocks. The family containing them is one of the most primitive of the modern ferns, and also one of the earliest to appear in the geological records; for fossil leaves, called Hymenophyllites, very similar to those of the mod ern living genus Hymenophyllum, are found in the Devonian rocks of Europe. It is also known in the coal-measure flora of Carboniferous time, and in the Eocene flora. The fossil fern genus Sphenopteris is very similar in form to Hymenophyllites, and can with difficulty be distinguished from the latter. See FERN.

HYMENOPTERA (Lat. nom. pl., from Gk. VμεVOTTEрos, hymenopteros, membrane-winged, from tuhy, hymen, membrane + Tεрóν, pteron, wing). An order of insects, containing the ants, bees, wasps, ichneumon-flies, saw-flies, gall-flies, and related insects, elsewhere described under their names. The order includes a very great number of species, estimated at about one-fourth of the whole class, of which some, as ants and bees, are singularly interesting and important. They have the mouth furnished with mandibles for cutting and tearing, but the other parts of the mouth are adapted for suction, and are generally narrow and elongated, often united into a kind of proboscis, as in bees. (See BEE.) The antennæ are generally slender, but often exhibit differences in the sexes of the same species. The wings are four in number, the first pair larger than the second, the wings of the same side united in flight by little hooks. The wings, when at rest, are laid over one another horizontally over the body. The wings are entirely membranous, not reticulated as in the Neuroptera, but with comparatively few nervures, the arrangement of which is so constant in the whole order that particular names have been given to them and to the space between them, and their diversities have been made use of in classification. The wings are wanting in the imperfectly developed females ('neuters')_of some. Besides the ordinary eyes, all the Hymenoptera have three small, simple eyes (ocelli), on the top of the head. The abdomen is generally united to the thorax by a slender pedicel. The abdomen of the females is generally furnished with an organ capable of being protruded, but for different purposes in different sections of the order, it being in some of the groups an ovipositor or borer, and in others a sting."

The Hymenoptera in their perfect state generally feed on honey, but some of them prey on other insects, which are the food of the larvæ feed on various vegetable substances. The metaof a greater number; while the larvæ of some morphoses of the insects of this order are perfect; the larvæ are generally-although not in all the families-destitute of feet; the pupa take the dilatation of the trachea or air-tubes into no food. The Hymenoptera are remarkable for ratory system. The instincts and even apparent vesicles, and the general perfection of the respiintelligence displayed by some of them-particularly the social kinds, which live in communities

have excited admiration from the earliest times. See INSECT, paragraph Social Insects.

FOSSIL HYMENOPTERA. These appear in the Mesozoic formations in small numbers. Only about a dozen species are known, mainly from the Jurassic limestones of Solenhofen, Bavaria. The oldest hymenopterans are ancestral to the modern ants. In the Tertiary deposits are found representatives of all the important families in fossil forms very close to the modern species. In America the best examples are found at Florissant in Colorado, and in Europe the fresh-water shales of Aix, Eningen, and Radoboj, and best of all, the amber of the Baltic Provinces, are noted localities. Consult Scudder, "Systematic Review of Our Present Knowledge of Insects," in United States Geological Survey Bulletin, No. 31 (Washington, 1886).

CLASSIFICATION. The order Hymenoptera is divided into two suborders, each containing several superfamilies, as follows:

Suborder Heterophaga.-Superfamilies: Apoi dea, true bees; Iphecoidea, solitary wasps; Proctotrypoidea, proctotrypoid parasites; Vespoidea, social wasps; Formicoidea, ants; Ichneumonoidea, ichneumon-flies; Cynipoidea, gall-flies; Chal. cidoidea, chalcis-flies.

Suborder Phytophaga.-Superfamilies: Siricoidea, horntails; Tenthredinoidea, saw-flies.

BIBLIOGRAPHY. Cresson, Catalogue and Synopsis of the North American Hymenoptera (Philadelphia, 1887); Ashmead, Superfamilies in the Hymenoptera (New York, 1899); Ashmead, The Habits of the Hymenoptera (Cambridge, 1893); Howard, The Insect Book (New York, 1901); Sharp, Cambridge Natural History, vol. v. (London, 1895).

A

HYMET TUS (Lat., from Gk. 'YunTTÓS). mountain range in Attica, about 3000 feet high, now called Trelo-Vuni, between four and five miles east of Athens, famous to-day, as well as anciently, for its honey of excellent flavor. There was also quarried at Hymettus a bluish-gray marble, much prized in antiquity.

HYMNOLOGY (Gk. iμvolovía, hymnologia, from Vuvoloyos, hymnologos, singing hymns, from tuvos, hymnos, hymn; connected with Skt. syuman, bond, Lat. suere, to sew, Gk. kao-ove, kas-syein, to make shoes, OChurch Slav. šiti, to sew, Goth. siujan, OHG. siuwan, AS. seowian, Eng. sew + Gk. -λoyla, -logia, account, from Aéyew, legein, to say). The science of hymns, or the collective body of hymns used at a particular time or place. In the most general sense a hymn is a religious ode or poem; more specifically it is a metrical composition divided into stanzas or verses, intended to be used in worship. In some variety or form the hymn has been thus employed throughout the ages. Lenormant publishes an old Accadian hymn, sung to the moongod Hurkis, that may have been used at Ur five thousand years ago. The Assyrian tablets furnish many specimens of the so-called penitential hymns. (Consult Records of the Past.) The religion of ancient Egypt produced hymns of beauty and power. (Consult Renouf, Religion of Ancient Egypt.) In India on anniversary days and in processions there are songs sung to the gods, but these are not of a high character. The Vedic hymns are many of them productions of worth. Buddhist hymns seem to be chiefly for recital or meditation, not for worship. Confucius made a collection of poetry, forty pieces of which are called 'praise songs' or 'songs of the temple

and altar.' The Mohammedans have no hymns; they have invocations and addresses. Greece was the land of song, and there was heard a song on every occasion by every class to celebrate every event. The so-called Homeric hymns cousist of brief addresses to the gods. Callinus, the father of elegy (c. 700 B.C.), and Archilochus, a contemporary, wrote hymns, but none of them have reached us. Simonides, Tyrtæus, Solon of Athens, Alcæus, and Sappho wrote lyric poetry. Roman worship was silent and reverential, but the priests used songs, and the poets wrote odes and lyrics. Of the hymns of the New World we know but little. Reville gives a sample of the hymns used in the time of the Incas in South America. The hymns, or rather incantations, of the North American Indians are inferior in quality, though not lacking in weirdness.

It is the Hebrew race which produced the highest development of worship poetry before the Christian Era, and it is a generally conceded fact that the Hebrew Psalter has never been equaled as a whole. We get glimpses of the kindred arts, music and poetry, very early in the Hebrew Scriptures. Jubal was "the father of all such as handle the harp and organ" (Gen. iv. 21). And in the same connection we hear of the song of Lamech (Gen. iv. 23-24), perhaps the earliest song of Scripture. The song of Miriam (Ex. xv. 21) is the only one preserved of many possible improvisations that she may have produced. The Ninetieth Psalm has been attributed to Moses, and has been aptly described as the 'swan song of Moses.' In the Book of Numbers (xxi. 14) we find the mention of the "Book of the Wars of the Lord," which some suppose to be a collecfire. In the same chapter (xxi. 17-18) is given tion of songs and ballads composed by the campthe song "Spring Up, O Well." One of the great songs of the Old Testament is that of Deborah and Barak (Judges v.). It is cast in a distinctly metrical form. The song of Hannah (I. Sam. ii.) reminds of the song of Mary (Luke i. 46-55) and it might be called the Magnificat of the Old Testament. The schools of the prophets knew of the soothing influence of music and used it in prophecy, and with it they may have used song also. With the founding of the Temple was founded the temple of Hebrew song. Scholars are not agreed as to the number of psalms composed by David. The estimate runs from ninetyfive down to none. Solomon is said to have written 1005 songs, but only two Psalms (1xxii. and cxiii.) have his name prefixed to them. other poetical productions are rather didactic than lyrical. The Psalms contain many of the poetical productions of exilic and post-exilic times. Jonah ii., Isaiah xii., and Habakkuk iii. are also poetical productions. Robert Lowth was the discoverer of the metrical arrangement of Hebrew poetry, first publishing his discovery in 1753. Michaelis, Herder, Rosenmüller, De Wette, Gesenius, Rau, Hollmann, Gustav Bickel, and others have contributed something to the understanding of the subject.

His

In the New Testament the hymn note is changed. The centre is a person, not a race. The Magnificat of Mary (Luke i. 46-55) is a witness to her talent as a daughter of David, and her piety as a true Israelite. Her song has been much used by the Church, rarely, however, in metrical form. The best metrical version is that of W. J. Irons. The song of Elizabeth

(Luke i. 42-45), sometimes called the lesser Benedictus, and the song of Zacharias (Luke i. 68-79), the Benedictus, were in use in the Church as early as the time of Saint Augustine. The Nunc Dimittis of Simeon (Luke ii. 29-32) was used in Christian worship as early as the sixth century. The Gloria in Excelsis of the angels (Luke ii. 14) in its present form appears in the Codex Alexandrinus of the fourth century, thus proving its early use. The Epistles of Paul contain hymns. In Colossians iii. 16 we have a reference to the use of Psalms in public worship. Other hymns are found in Ephesians v. 14; I. Timothy iii. 16; vi. 15-16; II. Timothy ii. 11-13; the parallelism of this last passage is very marked. In the Apocalypse the language is naturally poetic, and there are several passages which might have been hymns; i. 4-8; v. 9-10, 12-14; xi. 15, 17, 18; xv. 3, 4; xxi. 10-14; xxii. 17.

One of the earliest references to be found in regard to the worship of the early Church is in the famous letter of Pliny to Trajan (A.D. 103) in these words: "They [the Christians] had been accustomed to come together on a fixed day before daylight, and to sing responsively a song to Christ as God." What this song was we do not know. Unfortunately, the first hymn-book of the Church is lost. This book was compiled and largely written by Justin Martyr. It was entitled Psaltes, and is mentioned by Eusebius, Jerome, and Gennadius. The Ante-Nicene Fathers bear testimony that hymns were used by the Church. We have one hymn entire appended to The Instructor of Clement of Alexandria (c.200 A.D.). It is the earliest Christian hymn extant, and may be Clement's, though by some sup posed to be earlier than his time. It is entitled A Hymn to Christ the Saviour. The best translation is by Dean Plumptre, but the most common one is by Henry M. Dexter, beginning "Shepherd of tender youth." The next hymn is that mentioned by Saint Basil (c.330-379) in his treatise On the Spirit, and sometimes called the Candlelight Hymn, because sung in church at the lighting of the lamps. It begins "Joyful light of the holy glory." It has been translated many times. The best known translations are those of John Keble and Henry W. Longfellow. The chief Eastern liturgies contain the well-known Cherubic Hymn, beginning "Let us who mystically represent the Cherubim," dating from the time of Justinian (527-565). Methodius, who suffered martyrdom in the year 312, composed a hymn which is found in the Banquet of the Ten Virgins (Discourse xi. ch. 2), beginning "Up, maidens, the sound of the cry that raiseth the dead." The Gnostics composed many hymns to further the spread of their doctrines. Valentinus (d. 160) wrote many of the most profound. Bardesanes (d. 223) is said to have composed one hundred and fifty hymns. His son, Harmonius, was also a writer of hymns. They are sometimes called the fathers of Syrian hymnology. But that honor really belongs to Ephraem Syrus (d. 378), a poet of no mean order, who wrote to counteract the work of the Gnostics, as a little later Chrysostom (d. 407) did to counteract the work of Arius. With Ambrose (d. 397) begins a great uplift of the art of hymn-writing. To him is attributed the hymn Te Deum laudamus, though probably written in part at least at a much later date. There are ninety-two of the hymns of the Ambrosian school yet in existence. Ambrose also reformed

the music of the Church, and his form of chant was used until the introduction by Gregory the Great (d. 604) of the Gregorian chant.

Both Greek and Latin hymnologists were active during the Middle Ages. In the Greek Church Saint Andrew of Crete (660-732), Saint John of Damascus (d. 787), and his foster-brother Cosmas (d. 760), were followed by the poets of the Studium, Saint Theodore (d. 826), Saint Theophanes (c.800-850), and Saint Joseph (c. 840), the most prolific of them all. The Church is greatly indebted to John Mason Neale (181866) for his translations from Greek sources, which however, were by no means close; indeed, he greatly improved upon his originals. In the Latin Church Aurelius Clemens Prudentius (d. c.413) was a prolific writer of hymns. Cœlius Sedulius (fl. 450) was the next writer of note. Ennodius (c.473-521) composed a few hymns. Venantius Fortunatus (d. 600) was a writer of much power. He is best known to us by his passiontide hymn Vexilla regis prodeunt, which in the translation of John Chandler begins, "The royal banner is unfurled." We are under obligation to Robert II., King of France (d.1031), for Veni, Sancte Spiritus ("Come, Holy Spirit"), and three other hymns. The great hymn Veni, Creator Spiritus ("Come, Creator Spirit") is sometimes attributed to Charlemagne, to Ambrose, Gregory the Great, or Rabanus Maurus. The last-named writer did compose hymns of merit, but this is not to be included. Saint Bernard of Clairvaux (d. 1153) is a name that belongs to the whole Church. He contributed a long poem on the "Name of Jesus." This contains several passages that have been used for hymns. Saint Bernard of Cluny (d. 1156) is not so well known personally, yet we can never sing of heaven in the highest strain without using John Mason Neale's translation of a part of his De contemptu mundi, which he called Bernard's Rhythm on the Celestial Country, especially the verses beginning "Jerusalem the golden." Thomas of Celano (fl. 1220), the friend of Saint Francis of Assisi, has given us the marvelous judgment hymn Dies Ira ("Day of Wrath"). Saint Thomas Aquinas the Schoolman (d. 1274) wrote Pange, lingua, gloriosi corporis mysterium ("Sing, tongue, the mystery of the glorious body"). To Jacopone, the Italian Franciscan monk, we owe the Stabat Mater ("The Mother [i.e. the Virgin Mary] stood"). These hymns were the principal great hymns before the time of the Reformation. One of the great results of the Reformation was the use of the vernacular in Church worship. Luther was the first hymn-writer of the German Church, enriching its worship with no less than thirty-seven hymns. The best-known is Ein' feste Burg ist unser Gott ("A Mighty Fortress is our God"). The first evangelical hymn-book of 1524 contained eight hymns. Subsequent editions contained more and more until that of 1553 contains one hundred and thirty-one. Co-workers with Luther added much to the hymnology of the Church. Justus Jonas (1493-1555); Paul Eber (1511-1569); Erasmus Alber (d. 1553); Lazarus Spengler (1479-1534); Hans Sachs, the shoemaker poet of Nuremberg (1494-1576); Paul Speratus (1484-1551); and others among the early Reformers published hymns of value. The Bohemian Brethren, notably Michael Weisse (d. 1534), furnished a number of hymns in this period. Their hymns breathed a deep spiritual atmosphere. The French Reformation produced the

poetical translation of the Psalms by Clément Marot (d. 1544) and Theodore Beza (d. 1605); the German Reformed hymn-book of 1540 published at Zurich; and the Genevan Psalter of Calvin of 1562. In England the Reformers issued Miles Coverdale's Goostly Psalmes and Spiritualle Songes (London, 1539); Robert Crowley's versification of the Psalter and Litany (1549); and, last and most famous of all, the rendering of the Psalms by Thomas Sternhold and John Hopkins (1560).

The time of the Thirty Years' War was marked by the production of many fine German hymns of a more or less martial character. The principal composers were Martin Opitz (1597-1639); Johann Heermann (1585-1647); Johann Michael Altenburg (1584-1640), who composed part of the battle hymn of Gustavus Adolphus, "Fear not, O little flock, the foe;" Paul Fleming (160940), author of the Pilgrim Hymn, beginning "In all my deeds;" and Martin Rinkart (1586-1649), who composed the German Te Deum Nun danket alle Gott ("Now thank we all our God").

Germany continued to produce great hymns and hymn-writers after this period. Paul Gerhardt (1607-76) wrote one hundred and twentythree hymns. Many have been translated into English, and some are in common use. Probably the most familiar is "O sacred head once wounded," translated by John Wesley. Johann Franck (1618-77), burgomaster of Guben, anticipated the Pietists in his mysticism as shown in his hymns. Johann Rist (1607-77) produced 610 hymns, a few having merit. Johann Scheffler, known as 'Angelus Silesius' (1624-77), was a writer of force, and some of his hymns are yet used. All the hymns of the period are somewhat mystical in their teachings.

Pietism was a reaction against Protestant Scholasticism, and swung to the other extreme of Mysticism. The leaders of the movement, Philipp Jacob Spener (1635-1705), and August Hermann Francke (1663-1727), wrote a few hymns. Christian Friedrich Richter (16761711) wrote thirty-three hymns. Johann Anastasius Freylinghausen (1670-1739) wrote a few hymns, and published the first hymn-book of the movement at Halle in 1704. Gottfried Arnold (1666-1714), the Church historian, wrote several hymns of value. Joachim Lange (1670-1744), a friend of Francke, wrote the morning hymn, O Jesu, süsses Licht ("O Jesus, sweet light"). Johann Friedrich Starck (1680-1756) of Frankfort wrote 939 hymns. Karl Heinrich Bogatzsky (1690-1774) wrote hymns, as well as devotional works. Philipp Friedrich Hiller (1699-1769) of Württemberg wrote many hymns. The Moravian Church has produced many fine hymns, some of which have been translated by John Wesley, Miss Catherine Winkworth, and others. Count Nicolaus Ludwig Zinzendorf (1700-60) produced 2000 hymns. "Jesus, Thy blood and righteousness," and "I thirst, thou wounded lamb of God," have been favorite translations from his hymns. Bishop August Gottlieb Spangenberg (1704-92) wrote ten hymns. That on Christian simplicity, beginning "Holy simplicity, miracle of grace," written as a birthday hymn for his sister, is considered his best. Christian Gregor (1723-1801) compiled the Moravian hymn-book of 1778, published at Barby, still in use. To this he contributed several hymns. The inspiration of the hymnology of the Evangelical Revival in England can be

traced directly to the Moravian Brethren. To this period belong a few other hymn-writers of note, such as Joachim Neander (1650-80), sometimes called the 'Psalmist of the New Covenant,' and Friedrich Adolph Lampe (1683-1729), the author of thirty hymns. Gerhard Tersteegen (1697-1769), a ribbon-weaver, produced one hundred and eleven hymns, some of which are worthy to be placed in the first rank. From the writers of this school we have the first introspective hymns of value.

The hymns of the Evangelical Revival are not by any means the first great hymns produced in England. The Elizabethan period produced the hymn by F. B. P. (the initials may stand for Francis Baker, pater, i.e. priest), "Jerusalem, my happy home," translated from the Latin; also the first English hymn-book. This was by George Wither, and was published in London in 1623. The Puritans produced as hymn-writers, Robert Herrick (1591-1674); John Milton (1608-74); Henry Vaughan (1622-95); and Jeremy Taylor (1613-67). In the Restoration period Samuel Crossman published The Young Man's Meditation (1664), which contains several hymns, a good specimen of which can be seen in Lord Selborne's (Sir Roundell Palmer) Book of Praise (1863). Henry More in his Divine Dialogues (1668) published seven long hymns on the festivals of the Church. But the greatest lyric poet of the period was Thomas Ken (1637-1711), the good Bishop of Bath and Wells. His evening, morning, and midnight hymns stand at the head of all worship poetry of the English language. The first two have never been surpassed, and hardly approached. Joseph Addison, his contemporary, furnished a few hymns of an exalted character. In 1683 John Mason published Songs of Praise, a hymn-book which went through many editions. Benjamin Keach published Spiritual Melody (1691), the first Baptist hymn-book. Among Independents the first hymn-book used was A Collection of Divine Hymns (1690). The metrical version of the Psalms by Sternhold and Hopkins was followed by that of Francis Rouse (1646), and that in turn by Nahum Tate and Nicholas Brady (1696), which exerted a great influence. The tendency, however, came to be less and less to base hymns on the Hebrew Psalter for a whole hymn-book. A preparation for the work of Isaac Watts (1674-1748), sometimes called the 'father of English hymnody,' was thus made. His hymns have been more widely sung than those of any other English writer, with the possible exception of Charles Wesley. His first work, Hora Lyricæ, appeared in 1706; Hymns and Spiritual Songs in 1707. Besides these he published Divine and Moral Songs for Children (1720), long extremely popular. To the school of Watts belongs Philip Doddridge (1702-51). His hymns were almost all written to follow sermons, reënforcing the truth which had been preached. The Wesley family, and the men who gathered about them, both in and out of the Church of England, were prolific writers, and produced some of the best hymns in the history of the Church. Samuel Wesley (1662-1735) was no mean poet. His son, John (1703-91), translated several hymns, and mended many more. Samuel, Jr. (1691-1739), wrote some hymns. To Charles (1707-88), however, we must turn as the leader of the lyrical forces of the Evangelical Revival. He wrote over 6000 hymns. Out

of three hundred and twenty-five standard hymns James King assigns twenty-two to Charles Wesley, a larger number than ascribed to any other writer. At the present time not far from four hundred of his hymns are in common use. They include a wider range of subjects than those of any other writer of hymns. They chronicle the events of the time as well as the devotional experiences of the writer. Some were impromptu. Many have bits of personal history as a background. Around some hymns have grown beautiful stories, the historical data for which is exceedingly slight. The original hymn-books of the Wesleys were issued in thirteen volumes under the direction of George Osborn (London, 186872). Thomas Olivers (1725-99), John Cennick (1718-55), Edward Perronet (1721-92), and John Bakewell (born 1721), were of the Wesleyan party; while John Gambold, the Moravian (171171), Joseph Hart (c.1712-68), Miss Anne Steele (1717-78), John Newton (1725-1807), William Cowper (1731-1800), Robert Robinson (173590), John Fawcett (1740-1817), Augustus Montagu Toplady (1740-78), Joseph Swain (176196), William Williams (1717-91), and still others were more or less affected by the movement. The hymns of the movement are characterized by greater breadth of view than any previously issued. They include hymns of all kinds, but very few didactic hymns.

Hymns of modern days seem to have been produced by small groups of men representing some movement or belief. (a) The missionary movement produced James Montgomery (1771-1854) as its first hymn-writer and Reginald Heber (17831826) as its ablest. Both produced many hymns other than missionary. (b) The Oxford movement was characterized by its hymnological productions, as well as its works of devotion and argument. John Keble (1792-1866), with his Christian Year, Frederick William Faber (1814-1863), Edward Caswall (1814-78), John Henry Newman (1801-90), author of "Lead, kindly light,” and Isaac Williams (1802-65) were the singers of this group. Their work evinced not only a deep piety, but an unsurpassed scholarly finish. (c) The Sunday-school movement has produced a great many hymns. Among the first publications was William Batchelder Bradbury's Golden Chain (New York, 1861). (d) The evangelistic movement of Messrs. Moody and Sankey brought into the Church a class of hymns entirely different from those produced by any other movement. Many were not of high order, in fact were a disgrace to the Church, but they were so widely used that this article would be incomplete without a notice of them. Beginning with Select Hymns, The Gospel Hymns in six numbers (1875-95) were followed by hymn-books whose name is legion and whose copies are millions. The most voluminous writer of this movement has been 'Fanny Crosby' (Mrs. Frances Jane [Crosby] Van Alstine). (e) The Salvation Army has not added much to the hymnology of the Church; it has, however, changed the class of music used, and not for the better.

In an article of this kind there must of necessity be many omissions. Only a few of the greatest hymn-writers can be mentioned. Four women have written hymns any one of which is worth a lifetime to produce. Mrs. Sarah Flower Adams (1805-48), "Nearer, My God, to Thee;" Miss Charlotte Elliot (1789-1871), "Just as I am

without one plea;" Miss Phœbe Cary (1824-71), "One sweetly solemn thought;" and Mrs. Phoebe H. Brown (1783-1861), "I Love to Steal Awhile Away." The Unitarians have produced some remarkable hymn-writers, such as John Pierpont (1785-1866), Henry Ware, Jr. (1794-1843), William Bourne Oliver Peabody (1744-1847), William Cullen Bryant (1794-1874), the Longfellows (Henry Wadsworth, 1807-82, and Samuel, 181992), Edmund Hamilton Sears (1810-76), Theodore Parker (1810-60), Stephen Greenleaf Bulfinch (1809-70), James Thomas Fields (1817-81), and Thomas Wentworth Higginson (1823-). The Protestant Episcopal Church has to offer the names of Bishop George Washington Doane (1799-1859), Bishop Phillips Brooks (1835-93), Bishop George Burgess (1819-66), and the Rev. Dr. William Augustus Muhlenberg (1796-1879). The Presbyterian Church has the names of Samuel Occam (1723-92), Samuel Davies (1723-61), Thomas Hastirgs (1784-1872), the Alexanders (James Waddell, 1894-59, Joseph Addison, 180960), Thomas Mackellar (1812-), Mrs. Elizabeth Prentiss (1818-78), and Charles Seymour Robinson (1829-99), the compiler of Songs for the Sanctuary and Laudes Domini. The Congregationalists have enrolled the names of Timothy Dwight (1752-1817), Joel Barlow (17551812), Nehemiah Adams (1806-78), Ray Palmer (1808-87), author of the immortal "My faith looks up to Thee," Henry Martin Dexter (1821-90), Jeremiah Eames Rankin (1828-), and Horatio Richmond Palmer (1834-). The Baptists furnish a long list with the names of Oliver Holden (1765-1844), Adoniram Judson (1788-1850), Mrs. Lydia Sigourney (1791-1865), Robert Lowrie (1826-), William Howard Doane (1831--), and Samuel Francis Smith (1808-95), author of "My country, 'tis of thee." The Methodists produced the first hymnologist of the American Church, David Creamer ( (born 1812). His Methodist Hymnology appeared in New York in 1848. Other Methodist hymn-writers are Miss Hannah Flagg Gould (1789-1865), Thomas Hewlings Stockton (180868), William Hunter (1811-1877), Thomas Osmund Summers (1812-82), Robert Arthur West (1809-66), President William Fairfield Warren (1833-), and Professor Caleb Thomas Winchester (1847-). Other American hymn-writers are John Greenleaf Whittier (1807-92), Hosea Ballou (1771-1852), Edwin Hubbell Chapin (181480), Charles Dexter Cleveland (1802-69), Miss Lucy Larcom (1826-93), Mrs. Emily Miller (1833-). The later writers of the Church of England include the names of Christopher Wordsworth (1807-85), Henry Alford (1810-71), John Samuel Bewley Monsell (1811-75), William Josiah Irons (1812-83), Arthur Penrhyn Stanley (1815-81), John Mason Neale (1818-66), Sir Henry Williams Baker (1821-77), Edward Hayes Plumptre (1821-91), John Ellerton (1826-93), William Walsham How (1823-97), and Samuel John Stone (1839-), and these are only a few of many. Other English writers of note are Horatius Bonar (1808-90), Frances Ridley Havergal (183679), James Drummond Burns (1823-64), Thomas Toke Lynch (1818-71), Norman Macleod (181272), Andrew Young (1807-89), John Burton (1803-77), Henry Francis Lyte (1793-1847), Sir Edward Denny (1796-1889), Josiah Conder (1789-1855), Henry Kirke White (1785-1806), Sir Robert Grant (1785-1838), Bernard Barton