could be ascertained, to the genuine uncorrupted text of the authors themselves. Great pains

have been taken to trace out and ascertain the true authorship of such hymns, as were either without names of authors, or attributed to authors by whom they were not really written, in the books from which the Editor in the first instance took them. This was a task, which he could himself scarcely have undertaken, and in which he certainly could not have hoped to succeed, but for the assistance of Mr. Sedgwick, of No. 81, Sun Street, Bishopsgate; who has bestowed much time and attention on this branch of literature, and has attained to a knowledge of it, probably not possessed by any other Englishman. By his valuable help, the authorship of all but twelve of the compositions here collected has been traced, and the text collated with the original works of the authors. Thus aided, the Editor has been enabled, before finally completing his selection, to go through all, or almost all, the original publications containing hymns or sacred poetry of (amongst others), George Herbert, Sandys, Wither, Quarles, Crashaw, John Austin, Baxter, Bishop Taylor, Bishop Patrick, Bishop Ken, John Mason, Thomas Shepherd, Samuel Crossman, and Lancelot Addison (of the seventeenth century); Joseph Addison, Watts, Simon Browne,

Ralph Erskine, Doddridge, Hammond, John and Charles Wesley, Cennick, Seagrave, Grigg, Berridge, Olivers, William Williams, Toplady, Cowper, John Newton, Anne Steele, Hart, Gibbons, Michael Bruce, Logan, Byrom, Skelton, Swain, Daniel Turner, Ryland, Stennett, Needham, Beddome, Medley, Henry Moore, and Mrs. Barbauld (of the eighteenth century); Gisborne, Kirke White, Anne Flowerdew, Drennan, Bowdler, Kelly, James Montgomery, Sir Robert Grant, Bishop Heber, Bishop Mant, Bathurst, Lyte, Edmeston, Bernard Barton, Grinfield, and Chandler (of the present century); besides other writers, still living, whom it is unnecessary to name; and many miscellaneous collections, old and modern. Of the names thus enumerated, several are not represented at all in this collection; as the Editor did not find anything in their works which appeared to him to be suitable for his purpose, and equal to the general standard of merit, which he desired to maintain. But of the great majority, as well as of some other writers whose works are not accessible in a collected form, specimens more or less numerous will be found. A few examples of successful variations or centoes (in all instances but two, by known authors) from earlier compositions, have also been included; together with three

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 dis-> tinction 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; bind ing 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 Noncon formists, 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