hymns" and "to compose chants." Since 1834, it will be found, his original muse, amid the "encircling gloom," had been entirely silent, but once emerging into the light of the true faith, it struck the lyre again with those most lovely notes of "Candlemas"—

In 1849 appeared his most original and pathetic "Pilgrim Queen," or No. 38, Regina Apostolorum, in the Hymn Book, the sweet music thereto being his own composition, (or in part adaptation?)

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In 1850 came two more exquisite hymns in honour of the Mother of God, i.e., the "Month of Mary," and the "Queen of Seasons," both headed Rosa Mystica in the hymn-book. The hymns and tunes of two others, of No. 51. "Regulars and St. Philip," (an expressive melody),

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and No. 81, "Night" ("The red sun is gone," from the Breviary),

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are also by him; and there may be others. And though this tune to No. 81 has been irreverently referred to as being "just like an old sailor's song," the same critic has extolled its effect, and told us how he loved to sing its long note at eventide. No. 61, "Conversion," is Father Faber's hymn, "I was wandering and weary" (No. 66 in the London Oratory Hymn Book[49]), but the original air in both Oratory books is the same, and the composition of Cardinal Newman.

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Its peculiar merits grow upon familiar acquaintance, and a devoted lover of plain chant, rather to our surprise, once expressed his affection for it. It has been termed "briny," like No. 81. Its expressiveness and "go" are unquestionable,[50] and it is becoming popular without the public in general knowing who the composer is. The study of the application of music to words was interesting enough, as the Cardinal remarked in April, 1886. Sometimes the music could not quite fit in with the words,[51] and one or other had to give way, and on our referring to this music to Father Faber's hymn "Conversion," he said he had an idea that the words had been somewhat altered to suit his tune. The reverse would appear to be the case. At least the refrain, "O silly souls," &c., is not identical in the Birmingham and London books.

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Birmingham.

London.

Mr. W. Pitts, the compiler of the latter, sends us word that "the melody only came into my hands, and it stands in the London book exactly as I received it. I think it was sent by one of the Birmingham Fathers, or by Mr. Edward Plater." This is satisfactory, and points to a smoother and far more effective version of the refrain by the composer himself.[52]

Altogether we have ever felt that there is an indescribable brightness, a radiant cheerfulness, which might have pleased St. Philip, about the Birmingham selection of hymns and tunes, with Beethoven, Mozart, Mendelssohn, Pleyell, Crookall, Webbe, Moorat, and others laid under contribution. In the Saint's time, we know, "there were sung at the Oratory many Laudi, motets, madrigals, and sacred songs in the vulgar tongue, and these gave scope for composers to essay a simpler, and more popular and stirring style of music."[53] Take up then the Father's book, hear the people at the May devotions sing such winning songs as the "Pilgrim Queen" (No. 38, Regina Apostolorum), and the "Month of Mary" (No. 32, Rosa Mystica), or listen during St. Philip's Novena, to "St. Philip in his School" (No. 49), "in his Mission" (No. 50), "in Himself" (No. 51, "Regulars and St. Philip"), and "in his Disciples" (No. 54, "Philip and the Poor"), and we conclude that, as with the Saint, so with his distinguished son, it has been his