2nd s. No 28., July 12. '56.] 



NOTES AND QUERIES. 



35 



tion, having perished at Lyons in the Massacre of St. 

 Bartholomew, in the year 1672." — P. 13. 



And it 13 added, in a note in p. 14. : 



" The Rev. W, Havergal, in his Old Church Psalmody, 

 states that it was first published in England in Day's 

 Psalter, A.D. 1563. Handel's belief, to which he alludes, 

 that Luther composed the tune, is not a little singular ; 

 inasmuch as it is found in none of the collections published 

 by that great Reformer, and, in point of fact, the melody 

 is to this day but little known or used in the Lutheran 

 Churches." 



These two facts seem to render the notion that 

 Luther composed it quite untenable. 



Goudimel was music-director at Lyons, and 

 appears to have been a musical co-adjutor of 

 Theodore Beza and Clement Marot in the adap- 

 tation of the Psalms to congregational use. The 

 tune in question was originally composed, and is 

 to this day sung in the Reformed Churches of 

 France and Switzerland, not to the 100th, but 

 to the 134th psalm (Latrobe's Introd., p. 31.). 



A corrupt version of the latter part of the 

 melody is getting into very general use. Assum- 

 ing the key to be G, the last strain is often given 

 thus : DBGABCAG: but it ought to be, 

 BBGACBAG. The latter is the form in 

 most, if not in all, of the old collections of psalmody 

 in common use, and is adopted in the Moravian 

 book. Mr. Latrobe says it " is evidently the 

 original one " (Introd., p. 31.). I can produce as 

 authorities two ancient copies : one from the 

 Psalms of the Reformed Churches of France, and 

 the other from an old copy of Sternhold and 

 Hopkins, in both of which this is the reading found. 



There is another matter connected with the 

 tune, to which perhaps I may be allowed to call 

 attention, and that is the funereal pace at which it 

 is usually sung. The psalms to which it has been 

 specially appropriated, the 100th and 134th, are 

 not penitential, but joyful and jubilant ; and 

 assuming either that it was, as Mr. Latrobe says, 

 first composed to the latter psalm, or that the 

 appropriation was in accordance with some early 

 tradition, we may infer that the composer did not 

 intend the tune to be sung in a heavy, drawling, 

 and doleful manner, as we often hear it now. It 

 evidently was not regarded as a mournful or even 

 as a grave tune in the time of Tate and Brady : for 

 in the " Directions" annexed to their version, it 

 is said that psalms of what we now call long 

 ^letre, " if psalms of praise or cheerfulness, may 

 properly be sung as the old 100th psalm." 



J. W. Phillips. 



Haverfordwest. 



This tune if not of Lutheran, but Huguenot ori- 

 gin; it has been ascribed to Luther, and this mistake 

 arose from the circumstance that one of Luther's 

 tunes commences with ty|same phrase as that of the 

 Old Hundredth. Whoever might have composed 



the Old Hundredth, it is manifest he made it from 

 this tune of Luther ; but it was not the work of 

 any German, because the tune does not appear 

 in the early editions of Luther's Chorals, nor do 

 the Germans themselves ascribe it to Luther. 

 Luther's first book appeared in 1519, and I ima- 

 gine (I am writing Irom recollection only) that 

 the Old Hundredth did not appear in Germany 

 for nearly forty years after this period. The 

 earliest printed copy we know appears with the 

 harmony of Goudimel, and in the French rhythm, 

 thus : 



— \ \y \^ \J y./ I — — 1 — 



Such rhythm is adverse to the supposition of a 

 Lutheran origin. Tliose of your readers who 

 may wish to compare Luther's tune with the Old 

 Hundredth will find both in Bach's Choralge- 

 sange (Becker's edition), the former to the hymn 

 "Nun lob mein Seel den Herren," in pp. 8. 13. 

 67. 155. and 171.; the latter to the hymn " Herr 

 Gott dich loben alle wir," in pp. 164. and 191. 

 The Old Hundredth does not ap])ear in the 

 earliest editions of the Psalter by Sternhold and 

 Hopkins. The tunes that therein appear are all 

 of foreign manufacture. The tunes which subse- 

 quently enlarged that collection, and of English 

 manufacture, bear the name of some cathedral 

 city, or some English town of importance. The 

 Old Hundredth, having no English name, is 

 clearly a foreign importation, and not the com- 

 position of any Anglican organist. It has been 

 ascribed to Dowland, but Dowland was only the 

 author of the four-part harmony. The Tudor 

 harmonists affixed their names to the " common 

 tunes," as they were called, as an announcement 

 that they composed the choir harmonies, but they 

 intended no more by such application of the name. 

 We exceedingly dislike the tune, and it never would 

 have attained its popularity in England had it not 

 been constantly used to the psalm sung at the 

 Holy Eucharist ; its application to the Hundredth 

 Psalm was a remove, and hence its more general 

 adoption as the metrical Jubilate of the Pro- 

 testants in this country. As a jubilate, however, 

 it is the most melancholy of all joyful ditties. 



H. J. G. 



Michael Este in his collection published 1592, 

 ascribes this psalm tune to his contemporary, 

 John Dowland ; so that if there is any truth in 

 its French origin, Dowland must have borrowed 

 it. J. C. J. 



NOTES ON REGIMENTS. 



(S"'' S. i. 422.) 



The skull and cross bones on the Lancers' caps is a 

 species of rather indifferent rebus. Mr. Macken- 

 zie Walcott will find that over the device in ques- 



