6 



NOTES AND QtlERIES. 



[2-1 S. VII. JAff. 1. '59. 



I was Parson of West Ildesley in Berks, where I 

 continued near 30 years ; and in neither of my 

 parishes (I prayse God for it) I had (1°) not a 

 beggar. (2°) Not an Ale house. (3°) Not a 

 suite in law. (4°) Not a quarrell. (5°) Not a 

 spenthrift. (6°) In the weeke dayes noe labour- 

 ing man ever wanted a dayes worke. (7°) On 

 the Sunday noe poor man dined at his owne 

 Howse, but was ever invited. (8°) Noe man was 

 ever presented for fornication, or any great crime. 

 (9°) Noe murder, robbery, or Felonie ever com- 

 mitted in the Parish. (10°) Noe man ever came 

 to a violent death. (11°) I never had any houses 

 burnt in my Parish. (12°) I never had two men 

 that dyed of the plague in my parishes, until M' 

 Newbery had his sequestration, and then a plague 

 came, and a fire burnt all my Parish in effect, and 

 when I gavd him orders ther, he brought the small 

 pox there. 



" ' [Signed] Godpb. Goodman, Glouc'.' " 



I do not know what may have been the popula- 

 tion of Stapleford Abbots and of West Ildesley 

 respectively in the days of Bishop Goodman ; but 

 I see that the Clergy List for 1856 assigns to the 

 former place 492, and to the latter 406 inhabitants. 

 The statement seems to me to be well worthy of 

 consideration, and one which it is almost as hard 

 to believe as to disbelieve. S. R. Maitland. 



THE CHAPEL ROYAL HVMNS, AND HINTS FOR THE 

 HISTORY OF ENGLISH HYMNODY. 



Metrical psahns and metrical hymns are not to 

 be classed together, and although Dr. Richard 

 Watson inveighed against " the sacrilegious use of 

 metrical psalms," and John Muirhead and others 

 have written sharply on the metrical psalter of 

 Isaac Watts, no scholar has denounced the use of 

 the hymn. The celebrated Keach and Marlowe 

 controversy was rather a question who should 

 sing, than what should be sung ; and although 

 Bradbery, when compelled to use Watts's hymns 

 against his inclination, insisted on announcing 

 " Let us sing one of Dr. Watts's whims" it was 

 the dislike rather to the specimen than the genus. 

 The history of British psalmists has been well 

 done by Mr. Holland, but as yet there is no 

 history of English hymns, for the little work by 

 Mr. Gadsby can hardly claim that distinction. 



Mr. Blew, in his recent work on Hymns and 

 Hymnhooks, has, with his usual erudition, pointed 

 out the sources of the hymn. The hymnbook of 

 the English gentleman would be, as a matter of 

 course, the hymnbook of his forefathers; and 

 unless he could find better, this he would be in no 

 hurry to resign. The publications by Norman, 

 Chambers, Christie, Marriott, Trench, Newman, 

 Neale, Caswell, and Blew, have put our ances- 

 tors' church songs in the foremost place, and as a 



whole the modern hymnbook is a sad affair in 

 comparison with the old hymnbook. 



It is generally supposed that the hymn went out 

 of the church on the appearance of our Prayer- 

 book, but a reference to the words of the music 

 sung in the Chapel Royal shows that the fact is 

 not so with respect to the order before the 

 Sovereign. The work of James Clifford in the 

 reign of Charles II. contains some very curious 

 and unknown hymns, the authorship of which 

 would be an interesting inquiry, and so also by 

 what means, and by whom, they were excluded 

 from the later editions of the Words book. The 

 last edition edited by Dr. Charles Wesley has 

 them not, nor does the preface allude to them, 

 although they are far more in character with the 

 hymns of Charles Wesley, his grandfather, than 

 anything of the kind now in the book. 



Our early Orariums and Tudor office manuals 

 will offer specimens of English hymns, and after 

 these the different works on " Private Devotion," 

 such as those by Cosin, Wm. and John Austin, 

 Sir George Wheler, Dr. Geoi-ge Hickes, Nicholas 

 Ferrar, and others. Nor must George Wither be 

 forgotten. There is a rare hymnbook, entitled, 

 " Lyra Davidica ; a collection of Songs and 

 Hymns, partly new composed, partly translated 

 from the High German and Latin tunes." This 

 appeared with the music in 1708, and as it con- 

 tains our Easter Hymn tune, it is manifest Dr. 

 Worgan can no longer be thought the composer of 

 this bold melody. 



The Foundry-books of the Wesleys and the 

 Watts and Lady Huntingdon collections were the 

 stock books until the appearance of those by Wil- 

 liams and Jones of Southwark. But mention 

 should be made of those strange medleys the 

 metrical Songs for the Magdalen, of which some 

 of the editions are very curious and remarkable. 



The list of our hymn-makers is a long one, and 

 I subjoin the names of those whose compositions 

 form the contents of two modern hymnbooks 

 now in considerable use : — 



Adams, Addison, Ainslie, Bradbery, Balfour, 

 Berridge, Bowring, Boyce, Barbauld, Burn, Bur- 

 der. Barton, Bathurst, Bowles, Beddo:ne, Bulmer, 

 Blackmore, Beck, Boden, Brewer, Browne, Carr, 

 Cowper, Collyer, Cawood, Campbell, Clark, Crut- 

 tenden, Cottle, Cennick, Cobbin, Cotterill, Conder, 

 De Courcy, De Fleury, Dale, Doddridge, Drum- 

 mond, Davies, Doane, Duncan, Dryden, Deacon, 

 Edmeston, Evans, Francis, Fawcett, Fry, Ford, 

 Fountain, Glenelg, Grinfield, Gerhard, Greville, 

 Gilbert, Greene, Gibbons, Gregg, Giles, Groser, 

 Heber, Home, Hart, Haweis, Hawksworth, Ham- 

 mond, Hodgson, Hemans, Hyde, R. Hill, Huie, 

 Heginbotham, Jesse, Ken, Keble, Kelly, Kirk- 

 ham, Logan, Lawson, Lyte, Leech, Longford, 

 Madan, Milman, Merrick, Morell, Mason, March, 

 Masters, Mackay, Marriott, Maxwell, Mont- 



