The style of singing at funerals, as well as the character of the hymns, has greatly changed—if, 562 / 498 indeed, music continues to be a part of the service, as frequently, in ordinary cases, it is not. “China” with its comforting words—and terrifying chords—is forever obsolete, and not only that, but Dr. Muhlenberg's, “I Would Not Live Alway,” with its sadly sentimental tune of “Frederick,” has passed out of common use. Anna Steele's “So Fades the Lovely, Blooming Flower,” on the death of a child, is occasionally heard, and now and then Dr. S.F. Smith's, “Sister, Thou Wast Mild and Lovely,” (with its gentle air of “Mt. Vernon,”) on the death of a young lady. Standard hymns like Watts', “Unveil Thy Bosom, Faithful Tomb,” to the slow, tender melody of the “Dead March,” (from Handel's oratorio of “Saul”) and Montgomery's “Servant of God, Well Done,” to “Olmutz,” or Woodbury's “Forever with the Lord,” still retain their prestige, the music of the former being played on steeple-chimes on some burial occasions in cities, during the procession—
Nor pain nor grief nor anxious fear
Invade thy bounds; no mortal woes
Can reach the peaceful sleeper here
While angels watch the soft repose.
[The latter hymn] (Montgomery's) is biographical—as described on [page 301]—
Servant of God, well done;
Rest from thy loved employ;
The battle fought, the victory won,