Also the Italian Chorale book, entitled 'Sessanta Salmi di David, tradotti in rime volgari italiene, etc. De la stampa di Giovanni Battista,' Pinerolo, 1566, contains, besides a number of new tunes, several which have evidently been borrowed from the French work.

Again, the first edition of metrical psalms with musical notation for the Church of England, by Sternhold and Hopkins, London, 1562, contains several tunes derived from the Calvinists and Lutherans on the Continent. This edition has merely the melodies without any harmonious accompaniment, not even a bass. They were intended, as the title-page informs us, "to be sung in churches of the people together, before and after evening prayer, as also before and after sermon; and moreover in private houses, for their godly solace and comfort, laying apart all ungodly songs and ballads, which tend only to the nourishment of vice and corrupting of youth." In an edition dating from the year 1607 the syllables of the Solmisation are annexed to the musical notation, as we find it in Marot's version with Goudimel's music. This was intended as an assistance to unmusical singers; or, as the English publisher says, "that thou maiest the more easily, by the viewing of these letters, come to the knowledge of perfect solfayeng whereby thou mayest sing the psalms the more speedilie and easilie." Even the tablature of the lute is used in combination with the notation, in a curious English book entitled 'Sacred Hymns, consisting of fifty select Psalms of David and others, paraphrastically turned into English Verse, and by Robert Tailovr set to be sung in five parts, as also on the Viole and Lute or Orpharion. Published for the vse of such as delight in the exercise of Mvsic in hir original honour,' London, 1615.

The 'Chorale Book for England,' edited by W. S. Bennett and O. Goldschmidt, London, 1865, contains in a Supplement some tunes of English composers of the seventeenth and eighteenth centuries; while the great majority of the tunes of which the work is compiled have been taken from the famous old Chorale books of the Lutheran Church. It rather shows how, in the opinion of the compilers, the congregational music of the Church of England ought to be, than how it actually is at the present day. At all events, it cannot be regarded as a repository of the most favourite tunes of the majority of the congregations. The tunes preferred are often without originality, rather morbidly-sentimental, not unlike modern secular airs of a low kind. The collection of the tunes used by a congregation is not unfrequently a compilation by the organist. Many of the organists are but superficial musicians, while the clergymen generally know nothing about music. Performances of elaborate compositions are attempted, which would tax the power of well-trained professional musicians, and which the congregations would not think of attempting if they possessed musical knowledge. In fact, the only vocal music which a congregation is competent to perform in an edifying manner is a simple tune in a small compass, like the old Chorales, sung in unison,—or, more strictly speaking, sung by male and female voices in octaves,—while the organ accompanies in four-part harmony. To execute a tune well even thus, is more difficult than many imagine; but, if it is accomplished by the whole congregation, the effect is very solemn and impressive. The inquirer ought, of course, to examine the most popular collections of the present day, such as 'Hymns Ancient and Modern;' 'Church Hymns with Tunes,' edited by A. Sullivan, published under the direction of the Tract Committee of the Society for Promoting Christian Knowledge; and the comprehensive 'Hymnary' edited by J. Barnby. Moreover, regard should be taken to the preference given to certain kinds of musical performances by the several congregations of worshippers belonging to the Anglican Church, such as the High, the Low, the Broad Church-men.

The admission of secular tunes into the hymnology, which in the Anglican Church finds advocates even in the present century, has caused the publication of several curious collections of sacred poetry set to melodies taken from secular compositions of Haydn, Mozart, Beethoven, and other celebrated musicians, and often painfully distorted to adapt them to the metre of the verses. True, the adaptation of secular melodies for sacred songs is not a new expedient. It was resorted to by our estimable composers of chorales and promoters of congregational singing at the time of the Reformation. The old secular songs from which some of the chorales have been derived are still known, and it appears probable that several chorales, the origin of which is obscure, likewise emanated from this source. The secular origin of such old tunes does not detract from their suitableness for devotional service, since their secular ancestors are no longer popular, and also because three hundred years ago there was not the difference between the style of sacred and secular music which exists in our day. It is a very different thing to apply to sacred words a modern secular tune the secular words of which are well known.

Still, something similar was done by the Netherlandish composers of church music even long before chorales were constructed from secular tunes. These composers introduced the airs of popular songs into their Masses, to render their labours in counterpoint more attractive to the multitude.

About the middle of the sixteenth century, some noteworthy metrical versions of the psalms in Dutch were published in Antwerp. All the tunes of these psalms, given in notation, are derived from secular popular Dutch songs. Of this description is Symon Cock's publication, entitled 'Souter Liedekens ghemaect ter eeren Gods op alle die psalmen van David;' anno 1540. The most important work of the kind, however, was brought out by Tielman Susato. It probably comprises most of the secular airs and dance-tunes which were popular in the Netherlands during the sixteenth century. Tielman is supposed to have been a native of Soest, a town in Westphalia, Germany, which the citizens called in Latin Susatum; hence his adopted name Susato. His work consists of six small volumes, in oblong octavo, containing in all 245 tunes. The first volume is entitled: 'Het ierste musyck boexken mit vier Partyen daer inne begrepen zyn XXVIII. nieuue amoreuse liedekens in onser neder duytscher talen, gecomponeert by diuersche componisten, zeer lustig om singen en spelen op alle musicale Instrumenten. Ghedruckt Tantuuerpen by Tielman Susato vuonende uoer die nieuue vuaghe Inden Cromhorn. Cum Gratia et Privilegio. Anno MCCCCCLI.' ("The first Music Book, in four parts, wherein are contained 28 new lovely songs in our Low Dutch language, composed by different composers, very pleasant to sing and to play upon all kinds of musical instruments. Printed at Antwerp by Tielman Susato, dwelling in the Cromhorn over against the new Weighing house, anno 1551.") The Cromhorn (German, Krummhorn; Italian, Cormorne), an old wind-instrument of the bassoon family, was evidently used by Tielman Susato as a sign for his office, just as we find with the English music-sellers some centuries ago the sign of the "Base Viol," the "Golden Viol," &c. Volume II. contains likewise secular songs in four-part harmony. Volume III. contains a collection of dance tunes, called on the title-page "Basse dansen, Ronden, Allemaingien, Pauanen, Gaillarden," etc., and appeared with the preceding ones in the year 1551. The old Dutch dances were generally walked, or trodden, and the dancers sang at the same time.

Volume IV. bears the title: 'Sovter Liedekens, I. Het vierde musyck boexken mit dry Parthien, waer inne begrepen syn die Ierste XLI. psalmen van Dauid, Gecomponeert by Jacobus Clement non papa, den Tenor altyt houdende die voise van gemeyne bekende liedekens; Seer lustich om singen ter eeren Gods. Gedruckt Tantwerpen by Tielman Susato wonende voer die Nyeuwe waghe Inden Cromhorn. Anno 1556.' ("Sweet Songs, I. The fourth music book, in three parts, wherein are contained the first 41 Psalms of David, composed by Jacobus Clement non papa, the Tenor always having the air of commonly-known songs; very pleasant to sing to the honour of God. Printed at Antwerp, by Tielman Susato, dwelling in the Cromhorn over against the New Weighing house, anno 1556.") The other volumes likewise contain psalms with secular tunes arranged in the same way. Clement was a celebrated musical composer, who obtained the addition of non papa to his name, to guard against the possibility of his being mistaken for Pope Clement VII. his contemporary. The secular song from the air of which the three-part music has been constructed, is always indicated in the heading, by the first line of the secular song. For instance: 'Den eersten Psalm, Beatus vir qui non, etc.; Nae die wyse, Het was een clercxken dat ginck ter scholen.' ("To the air: He was a little scholar who went to school.") 'Den XVIII. Psalm; Nae die wyse, Ick had een ghestadich minneken.' ("To the air: I had a stately sweet-heart.")

Moreover, not only secular music, but also sometimes the poetry of a popular secular song, was altered for sacred use. H. Knaust published, in the year 1571, in Frankfurt: 'Gassenhawer, Reuter vnd Berglidlin Christlich moraliter vnnd sittlich verendert,' etc. ("Low Street Songs, Soldiers' and Miners' Songs, altered into Christian and moral Songs.")

No sect probably has been more extraordinary in the adoption of secular tunes than the Muggletonians in England. Lodowicke Muggleton and John Reeve founded this sect, in the year 1651. Macaulay, in his History of England, (London, 1854, Vol. I., Chap. 2) notices the former in terms by no means complimentary. He says: "A mad tailor, named Lodowicke Muggleton, wandered from pothouse to pothouse, tippling ale, and denouncing eternal torments against those who refused to believe, on his testimony, that the Supreme Being was only six feet high, and that the sun was just four miles from the earth." In the year 1829 Joseph and Isaac Frost published in London 'Divine Songs of the Muggletonians, in grateful praise to the Only True God the Lord Jesus Christ.' Many of the hymns are written to secular tunes, such as—By a prattling stream on a midsummer's eve;—When I spent all my money I gained in the wars;—Cupid, god of soft persuasions;—Dear Cloe, come give me sweet kisses; etc. The following commencements of a few of the hymns will suffice to show their character:—

Song VI.