2. The =next stage= of the sacred song took the Canticles instead of the Psalter as its model. The spiritual marriage of the soul is its main theme. Feeling and fancy are predominant, and often degenerate into sentimentality and trifling. It obtained a new impulse from the addition of a mystical element. =Angelus Silesius= (§ 156, 4) was the most distinguished representative of this school, and while Protestant he composed several beautiful songs; _e.g._ “O Love, who formedst me to wear;” “Thou holiest Love, whom most I love;” “Loving Shepherd, kind and true.” =Christian Knorr v. Rosenroth=, who died at Sulzbach A.D. 1689, wrote “Dayspring of eternity.” =Ludämilie Elizabeth=, Countess of Schwarzburg-Rudolstadt, who died in A.D. 1672, wrote 215 “Songs of Jesus.” =Caspar Neumann=, professor and pastor at Breslau, died A.D. 1715, wrote, “Lord, on earth I dwell in pain.” 3. =Those of Spener’s Time and Spirit=, men who longed for the regeneration of the church by practical Christianity. Their hymns are for the most part characterized by healthy piety and deep godliness. Spener’s own poems are of slight importance. =J. Jac. Schütz=, Spener’s friend, a lawyer in Frankfort, who died A.D. 1690, composed only one, but that a very beautiful hymn: “All praise and thanks to God most high.” =Samuel Rodigast=, rector in Berlin, died A.D. 1708, wrote, “Whate’er my God ordains is right.” =Laurentius Laurentii=, musical director at Bremen, died A.D. 1722, wrote, “Is my heart athirst to know?” “O thou essential Word.”--=Gottfried Arnold=, died A.D. 1714, wrote, “Thou who breakest every chain;” “How blest to all thy followers, Lord, the road!”-- In Denmark, where previously translations of German hymns were used, =Thomas Kingo=, from A.D. 1677 Bishop of Fünen, died A.D. 1703, was the much-honoured founder of Danish national hymnology.[471]--Continuation, § 167, 6.