In the following pages no pretence is made of selecting all the best and most-used hymns, but the purpose has been to notice as many as possible of the standard pieces—and a few others which seem to add or re-shape a useful thought or introduce a new strain.
To present each hymn with its tune appeared the natural and most satisfactory way, as in most cases it is impossible to dissociate the two. The melody is the psychological coëfficient of the metrical text. Without it the verse of a seraph would be smothered praise. Like a flower and its fragrance, hymn and tune are one creature, and stand for a whole value and a full effect. With this normal combination a complete descriptive list of the hymns and tunes would be a historic dictionary. Such a book may one day be made, but the present volume is an attempt to the same end within easier limits. 21 / 1
CHAPTER I.
HYMNS OF PRAISE AND WORSHIP.
“TE DEUM LAUDAMUS.”
This famous church confession in song was composed A.D. 387 by Ambrose, Bishop of Milan, probably both words and music.
Te Deum laudamus, Te Dominum confitemur
Te aeternum Patrem omnis terra veneratur