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is there sung and by that sweet harmony both to excite them to prayer and devotion, and also to put them in remembrance of the heavenly triumphant Church; where is everlasting joy, continual laud and praise to God." Page 26.

Queen Elizabeth's Injunctions to the Clergy, 1559, contain the following words, "For the comforting of such as delight in music, it may be permitted, that in the beginning or in the end of common prayer, either at morning or evening, there may be sung a hymn, or such-like song, to the praise of Almighty God, in the best melody and music that may be conveniently devised, having respect that the sentence of the hymn may be understood and perceived." (Sparrow, Collect. Art. Can. 4to. 1684.) This last clause has by some persons been considered as a concession in favour of metrical Psalmody; but the expression, "Hymns or such-like songs," is certainly obscure and indefinite.

The first instance of the introduction of metrical Psalmody into the public worship of the Church occurs in the case of the Old Version, published in 1562, by J. Sternhold, T. Hopkins, and others. Of this version, Heylin, in his Church History, observes that no allowance for its use can any where be found by such as have been most diligent and concerned in the search. Mr. Wharton also observes, "Not to insist on the barbarism of its style, it should be remembered, that it was never admitted into our Church by lawful authority, but by connivance, and never received any royal approbation or parliamentary sanction."

King James the First composed a version of the Psalms, which was recommended and allowed by his

There is a copy of it in the library of

successor. York Minster.

In 1623, George Wither published "Hymns and Songs of the Church." These received the royal license of King James the First.

The version of Tate and Brady received the royal license of King William in 1696, by which this version is allowed and permitted to be used in all such Churches, Chapels, and congregations, as shall think fit to receive the same.

In 1720, Sir Richard Blackmore's version of the Psalms received the royal license of George I. It was recommended by the two Archbishops and sixteen Bishops, but did not find admission into Parish Churches.

About the same period, Dr. Patrick also published "The Psalms of David in Metre, with the Tunes used in Parish Churches."

The following observations on the general subject are transcribed from Dr. Tattersall's preface to his improved Psalmody. 1794.

Alterations, both partial and general, have already been allowed without ill consequence; and most of the rulers of the Church have seen and declared the necessity of some further amendment."

Archbishop Secker observes, "It is very true, the verse translation generally used is void of ornament, and hath expressions often low and flat, and sometimes obsolete: I wish a better substituted in its place."

Dr. Lowth, late Bishop of London, always honoured Mr. Merrick, by corresponding with him on his translation of the Psalms, and furnishing him with his own remarks to forward its success.

Dr. Horne, late Bishop of Norwich, was desirous

that the version of Mr. Merrick should be adopted; and introduced several Psalms from it into the University Church of St. Mary's, Oxford.

Dr. Wilson, Bishop of Bristol, expressed his earnest wishes to see a good version of the Psalms perfected for the use of a parochial congregation.

It was remarked by the Rev. Dr. Vincent, that in the versification of Sternhold and Hopkins, there are few stanzas which do not give offence or exeite ridicule. Dr. Brown observes of the New Version of Brady and Tate, that ́" Though not excellent, it is not intolerable." It has also been remarked, that if Psalmody were once restored to its original rank and estimation, it would become an object of regard to the ruling powers to have this whole matter reconsidered and revised, and that in that case it would not be difficult to form a collection from different authors, which would do honour to our own, or any other Church. Such a collection also might be acceptable to the retirement of domestic life, and assist the master of a family in the high gratification of seeing his children and dependants form a choir to the glory of their Creator and Redeemer. (Dr. Vincent's Considerations on Parochial Music. 1787.)

The use of the New Version seems to be rapidly declining. It has been frequently and justly objected to it, that it is frigid, often unconnected, inanimate, and defective in presenting that view of the Christian Church, and the sufferings and triumph of the Messiah, which adapts the Book of Psalms to Christian worship. This deficiency has been so strongly felt, that hymns appropriated to the New Testament dispensation have been added as an Appendix to

the Old and New Versions. The Society for promoting Christian Knowledge has printed, separately, as a supplement to the New Version, Hymns of prayer and praise to the Holy Spirit, with others on the Nativity, Resurrection, and Holy Communion, and also the Benedictus, Magnificat, &c.

In the year 1814, Mr. Gardiner published "Psalms and Hymns adapted to sacred Melodies, allowed to be sung in Churches." His present Majesty, at that time Prince Regent, and the Archbishops of Canterbury and York, are patrons of the work: it was also dedicated by permission to His Royal Highness.

In the year 1815, were published by the Rev. Messrs. Maltby, Tillard, and Banks, "Psalms and Hymns, selected for the use of Congregations in the United Church of England and Ireland." This selection was sanctioned by the high authority of Bishop Tomline, then presiding over the Diocese of Lincoln. It was introduced at Buckden Church and in other neighbouring Parishes.

In 1820," A selection of Psalms and Hymns for Public Worship," was sanctioned at York by the Archbishop of that province. This publication appeared in consequence of proceedings in the consistorial Court of York against a selection of Psalms and Hymns introduced at the Parish Church of St. Paul's, Sheffield. The decision was referred to the Archbishop; and His Grace, as a promoter of peace and union, undertook to compile a new selection of Psalms and Hymns for the use of that Church, and took upon himself the expence of the printing.

This circumstance, while it is highly honourable to the character of the Archbishop, affords an additional testimony in favour of the modern practice of

introducing into the Church, selections of Psalms and Hymns. Upon this occasion the Chancellor of York, G. V. Vernon, Esq. remarked, “Much advantage accrues from the prevalent usage of introducing into the Church service Hymns and versions of Psalms, more edifying and acceptable than any compositions which have received the sanction of competent authority; and the practice is adopted by a majority of the established Clergy."

It has frequently been asserted that the introduction of metrical Psalms and Hymns is a violation of the Act of Uniformity, Caroli II. 1662. But it may be justly asked, Upon what part of the Act can this objection be established, when no reference whatever is made by that Act to any metrical Psalms and Hymns, and no recognition occurs of the version of Sternhold and Hopkins, which at that period was in ordinary use? It therefore follows, that neither the Old or New Version, or any other version, can plead the protection of the Act of Uniformity, till it shall be established by Parliamentary authority.

The Editor has observed with pain the levity of expression, the unbecoming familiarity of language, the want of solemnity, and the introduction of controversial points in theology, with which many modern compositions of this description are justly chargeable, and it has been his earnest endeavour to guard against errors of this kind.

The first metre of each of the 150 Psalms is original. Where a second or third metre occurs, as in the instance of Psalms 23, 48, 63, &c. it has been selected from the Old and New Versions, Merrick, and other authors.

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