tions we may be as thankful as for his brother's original productions. The choir opened by Watts is now fullvoiced, and the music has ever since been growing richer and more varied. It is very pleasant to remember that these great and holy singers were brought into very close and blessed fellowship on the death-bed of John Wesley. The very last words that passed from his lips were those of Dr. Watts-"I'll praise my Maker with my breath," and it was as he was struggling to say, "I'll praise-I'll praise," that his spirit passed away to join "the choir invisible."

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CHAPTER XI.

THE AGE OF ECHOES.

WE have now reached a time in which the song of the Church finds expression through many voices. The lyric fervour of Watts and Wesley stirred the dormant flame of many a soul; whilst, at the same time, the place which hymns had won for themselves in the actual worship of the Church, has proved an additional influence to lead those with any hymnic gifts to its exercise. The demand had much to do with creating the supply. In earlier times, if hymns were written, no place was open for their use in worship. But now, hymn writers felt that their hymns might, if they approved themselves to the public taste, be used as the vehicle for worshipping feeling. This seems to me to account for the fact that a large number now entered the ranks of the hymnists, most of whom were men (together with a few women) touched by the new religious fervour, and associated with the churches in which hymns formed an important part of the worship. Many of these, it is true, were mere imitators of Watts and Wesley, especially the former, since he was far easier to imitate than the more lyric Methodist. These were mere echoes, and, like echoes, had neither the force nor fervour of the voices they prolonged. Still, here and there a distinct note was

struck, vibrating with the individuality of the singer; but for the most part, until we reach the "Olney Hymns" of John Newton and William Cowper, there are but few hymnists of any great originality to be found.

Contemporary with the Wesleys was Joseph Grigg, who died in 1768. He wrote a few hymns, but is chiefly remarkable as having written, at ten years of age, the well-known "Jesus, and can it ever be," which first appeared in the Gospel Magazine for April, 1774, with the title, "Shame of Jesus conquered by love: by a youth of ten years." To the same author we owe another hymn of similar style and fervour, "Behold a Stranger at the door." He wrote altogether some forty hymns, but all save those we have mentioned have dropped out of sight.

Thomas Scott, a Presbyterian minister at Ipswich (who died about 1776), and who must not be confounded with the well-known Commentator of the same name, wrote many hymns and poems, but is now remembered only by two, the better known of which is "Hasten, O sinner, to be wise," a hymn of earnest invitation and warning against delay, and "Angels, roll the rock away."

William Hammond, B.A. (who died in 1783), at first a Calvinistic preacher, but in later life a member of the Moravian body, wrote and published "Psalms, Hymns, and Spiritual Songs." His hymn "Awake and sing the song" has found its way into a very large number of hymnals. There is in it considerable vigour. however

The verse,

attributes to sacred song a power even greater than it possesses. His hymn beginning "Lord, we come before Thee now " is in a much more subdued and tender strain, and still retains a place in the Church's song.

James Grant (died 1785), a distinguished layman connected with the Church of Scotland, who wrote many hymns for use with Scotch melodies, for which he had a great affection, is now remembered, and even that remembrance is growing fainter, by one beginning "O Zion, afflicted with wave upon wave."

Daniel Turner, M.A. (1710-1798), Elizabeth Scott (circa 1764), John Needham, and Benjamin Wallin, fill too small a place in modern hymnody to demand more than the mention of their names.

Joseph Hart (1712-1768), minister of Jewin Street Independent Church, though possessing, in our judgment, little merit as a hymnist, has enjoyed a considerable popularity, especially with persons inclining to the Calvinistic view of Christianity, and his hymn book still finds purchasers and admirers. He is largely represented in "Our Own Hymn Book," edited by the Rev. C. H. Spurgeon for the use of his congregation at the Metropolitan Tabernacle. His Christian experience was of rather a striking nature, and is reflected in his hymns. The most popular, undoubtedly, is "Come, Holy Spirit, come," which is not without merit, though a good deal like other hymns addressed to the Holy Spirit. "Come ye sinners, poor and wretched," used to be a great favourite, but is so steeped in the extreme spirit of his day-a spirit which is now the exception rather than the rule that its popularity is rapidly waning. It belongs

to a class of hymns which are addressed, not to the Divine Being, but to the congregation, or rather to those who are supposed specially to need such exhortation. There is a kind of incongruity in such hymns which is increasingly felt, and which leads to their disuse in public worship.

To Dr. John Hawkesworth (1715-1773), compiler of the Parliamentary debates in the Gentleman's Magazine, we owe a hymn of some merit, "In sleep's serene oblivion laid; " to James Hutton (1715-1795), a cousin of Sir Isaac Newton, a bookseller, and deacon of the Moravian Church, a hymn of fine sentiment, "O teach us more of Thy blest ways;" and to Christopher Batty (1715-1797), "Captain of Thine enlisted host." All these three, it will be noted, were born in the same year.

Anne Steele (1716-1778), who, all her life, was a great sufferer, through an accident in childhood, and whose course was marked by many sorrows, has enjoyed considerable fame as a hymnist, not, in our judgment, quite justified by the quality of her productions. She is, perhaps, the first English woman who contributed hymns of any importance to the Church's treasury of song. Her hymn, "Father, whate'er of earthly bliss," is the expression of a life troubled as was hers, and is, indeed, remarkable for its tone of quiet resignation. In the original it begins with the verse, "When I survey life's varied scene." Touched with a similar spirit is her hymn, "Far from these narrow scenes of night."

John Berridge (1716-1793), vicar of Everton, and friend of Wesley and Whitfield, a quaint and racy preacher, published "A Collection of Divine Songs," but,