and of these it need only be said that they were lamentable. Yet, amazing as it may seem now, they became not only popular, but perhaps the most notorious of them, once known familiarly as "Jackson in F," retained its hold on the affections of the people until well into the nineteenth century. Happily, the revival was near at hand, and, as densest darkness heralds the dawn, so the birth of Samuel Wesley, in this worst period, proved to be the event that signalised its coming. English Church music was to be restored, if not in the splendour of its ancient originality, at least in a form that was at once dignified and worthy of its mission.
A profound student of the works of Bach, he brought enthusiasm, tempered by deep learning, to bear upon everything he wrote.
The impress, not only of the great German master, but of the still earlier writers of the English school at its most glorious period, was stamped on it, and it is an interesting fact that the Mass he wrote, when entering the Roman Communion, bears every evidence of its illustrious descent. With the birth of his son, this memorable revival was not only to become assured of permanence, but was destined to be an epoch of profound significance in the history of English Church music.
The works by which Samuel Sebastian Wesley enriched the world, and restored England to its kingdom in sacred music again, including the noble anthems, "Ascribe unto the Lord," "Blessed be the God and Father," and, perhaps above all, "The Wilderness," seem as if secure
of lasting as long as the Christian religion is the dominant factor in human life. It only remains to be said that many noble works of later origin make for the assurance that English music, as represented in the Church to-day, will never again look back.
FOOTNOTES:
[20] It may be noted here that the excitement caused, during the South African war, by the relief of Mafeking, was not so unprecedented in our history as was generally supposed.