(1784-1849), and Mrs. Felicia Dorothea Hemans (1793-1835).
Hymns, Ancient and Modern, originally com- piled by u comiiiittce of wliiuli Sir H. W. Baker was secretary, and publisliod in Lniulon in ISlil, with supplemental liynuis pul)lished in ISS'J; and 'J In- Cnii()rty(iliuiial I'udliiiisl (1858), edited by Henry Allon, and Church Hymns (1871), edited by Canun John Kllerton. are the greatest hymn- books of England. Laudcs Domini (New York, 1884), edited by Charles .Seymour Robinson; 77ic Plymouth C'o//ec/ioH ( 18.55) . by Henry Ward Beccher; The Kningcliciil Hymnal (1880), of Charles Cuthbert .fail and .Sigisniund l.asar: the Protestant Kpisroj)al Hymnal ( 1871 ) ; the Baptist Praise Hook (1871 I ; and the Milhorlist Hymnal (18781 are notewortliv Aineriean hymnals. HinLio(iR.riiT. It has been estimated that there arc at least 40O.O00 hymns in all languages, of which the greatest nunilier are in German, and the next greatest number arc in English. The literature or the subject is conse- quently Incoming quite large. The great thesaurus of intormation is J. .Julian's Dictionary of Hymnolmjy (London and New York. lS!f2). the labor of many years and of many hyninologists. It covers the entire field and contains separate articles upon the hymnol- ogy of the different periods and lands. .. F. W. Fischer's Kirchrnlicdcr-l.cj-icon (Gotha, 1878- 79) is also very good. For the study of early Greek and Latin hymns the standard work is H. A. Daniel's Thesaurus Hymnologicus (Leip- zig, 1855), which gives the text of many hymns; for the Latin mediieval hymns, a work of simi- lar rank is F. .T. Mone's Lateinische Hymnen dvs Mittclaltcrs (Freiburg, 1853). For German Protestant hymnology to the seventeenth century the great work is P. Wackernagel, Das deutsche hirchcnlicd fon drr ultestrn Zcit bis cu An fang des XYII. ./o/ir/ii/»i(/cr/s( Leipzig. 1864-77 ) . J. M. Xeale, bj- his Mcdiwral Hymns and Scguences (London. 1851), Hymns of the Eastern Church (London, 1802). and other similar works, con- tributed much to a knowledge of the hymnology of the Eastern and Western Churches of the Middle Ages. A fairly creditable book on Latin hymns is S. W. Dullield's Latin Hymn-irriters and Their Hymns (New York. 1889). The following books are recommended, but the list makes no pretension to completeness, only the greater books being named. On the general subject: .Tosiah Miller, fiingers and Songs of the Church (Xcw York. 1809) : J. E. Prescott, Chris- tian Hymns and Hi/mn-irriters (Ix)ndon, 188.3) ; W. G. ilorder. The Hymn Lover (London, 1889) ; Duncan Morrison. The Great Hymns of the Church: Their Origin and Authorship (London, 1890) ; A. E. C, Hi/mns and Their Stories (Xew York. 1894); R. E. Welsh and F. G. Edwards, Romances of Psalter and Hi/mnal (Xew York, 189G) ; W. T. Stead. Hymns' that Hare Helped (Xew York, 1897): Duncan Camplx>ll. Hymns and Hymn-makers (London. 1898). For the biog- raphy of a hymnologist. consult H. Housman, John Fllerton: A Collrrlion of His Writings on Hymnology : With a Sketch of His Life (London, 1896). On (jierman hymnologj', consult: Wink- xvorth, Lyra Germanica (London. 1855) ; and id.. Christian Singers of Germany (ib., 1869) ; and for the hymns of Luther especially. Bacon, Hymtis of' Martin Luther (Xew York. 1883). There are several commentaries on hvmns that are very well done. Hyde, Hymnal Sermon Pic- tures (Xew York, 1899), does what is done no- where else, and is most complete in the analysis of the hvmns he discusses. Commentaries un denominational collections are: Big Hymns, Ancient and Modern (London, 1807), givuig an- notations on the hymns of the Church of Eng- land; Xntter, Hymn Studies (Xew York, 1884,
- id ed. 1902), based on the .merican Methodist
Hymnal; Bnrrage, Baptist Hymn Writers and 7'Atiri/yHiM«( Portland. 'Maine, 1888) ; Tillet,Onr Hymns and Their Authors (Xashville, Tenn., 18S9) ; the annotated edition of the Hymnal of the Methodist Episcopal Churcli. .South ; Robinson, Annotations upon Popular Hymns (Xcw York, 1893). based on his Laudrs Domini; .Stevenson, The [British] Methodist Hymn-Hook, illustrated (London, 1883), from which S. W. Duffield drew many of the facts and anecdotes given in his Eng- lish Hymnsi'Sew York. 1880), intended as a com- mentary on Robinson's Laudes Domini. The best anthologies of religious lyric poetry are: The Book of Praise (London, 1802; many subse- quent editions), by Sir Roundel) Palmer (Lord Selborne) : and 7"/ic Treasury of Sarrid Song (London, 1889), by Francis Turner Palgrave. HYMNS, X.TioxAi„ See Xatioxal Hymns. HYMN TUNES, The authentic historj- of hymn tunes begins with Hilary of Poitiers, who died in 3ti8. His music was simpler than that of the ordinary jubilations, each syllable of the text being given but one, or. at the most, two musical tones. Saint Ambrose (died 397) and, later. Pope Gregory the (Jreat (died 004). in- troduced radical reforms in the style and singing of hynms (see AjniRosiAX Chant ; Gbeuoria.v CilA.Nr), and the im]K>tus given by them to the plain-chant (q.v. ) carried that form along for centuries. It is noteworthy tlmt, even so early, in many cases the author of the words also wrote the accompanying melodies. With the growth of polyphonic music the.se old chant-s were used as cant I fermi upon which the more elaborate forms of masses and motets were constructed. Under Palestrina (q.v.. died 1594) the polyphonic hymn reached its highest development. Around the historic plain-chants he embroidered a wealth of contrapuntal devices, yet preserving throughout their original smoothness and beauty. The dilB- culty of the music is the one objection against their more genera! use. Meanwhile a reaction had arisen again.st the heavy, sombre music which had heretofore been the sole style of hymn tunes. Between the acts of Mysterj- Plavs. and especially at thase given at Christmas time, it was customary to sing songs whose general trend was religious, but whose music was light and popular. The Reformation was imminent and Luther appre- ciated and seized the opportunity for an innova- tion in Church music, (.i- adapted some of these popular tunes to Gemian translations of Latin Ijymns. wrote some original 'vords. and the whole was set for four, five, or six voices by .Johannes Walther. Most important in il.is connection is the fact that for the first time ir the history of hymn tunes the music was rhythmic. This va8 the beginning of the chorale (q.v.), wl-i"!- be- came immediately and widely popular. Thf n^xt great period in fJermany begins with .Johann Vp- bastian Bach (1085-1750). who. while emphasi/.- ing the rhythmic element, at the same time ie-
