felt freedom (of mind) to whistle and sing. * * * * * “Public opinion having ... released itself from a passion for French Revolutionary Musick and Song, experienced a vacuum in that particular, which was immediately supplied by the new, National American Song of ‘Hail Columbia happy Land,’ written in ’98, by Joseph Hopkinson, Esq.[237] of this city, and the measure adapted by him very judiciously, to the almost forgotten President’s March. Even since 1798, the song of Hail Columbia, by Joseph Hopkinson, and the President’s March, by _Johannes_ Roat, being indiscriminately called for, have become, in a manner synonymous to the public ear and understanding, when they are actually and totally distinct in their origin, as above mentioned. “Such was the popularity of the song, that very frequently has Mr. Gillingham, Leader of the Band, [Orchestra], been forced to come to a full stop in the _foreign_ music, he had arranged for the evening by the deafening calls for this march, or song to the march.”[238] In the first place, we wish to pick out a few errors, which will show why we must use this testimony with caution. The writer says that Roth was “well known traditionally,” evidentially not personally known to him. Again he says that the “President’s March” at the time “Hail Columbia” was written was “almost forgotten,” but on the contrary the actor, Gilbert Fox, urged Joseph Hopkinson to set words to that tune on account of its popularity. Thirdly, he says that the march was written by _Johannes_ Roat. This is evidently an error in the Christian name due to traditions as we will try to show. We have gone carefully through the city directories from 1785 (when they were first printed,) to 1806; also the newspapers of that time, and wills and letters of administration but find no record of a “Johannes” Roat. We find a _Philip_ Roth, and we shall strive now to give proof that they were one and the same, as so far there has been no adequate statement of this fact. To recapitulate: Philip Roth, we have already discovered, was a Band Master in a British regiment in Philadelphia, and wrote an overture in 1771.[239] All trace of him is lost during the war, but he probably continued to fill his position in the British Army, or possibly the same position in the U. S. army. In 1785 there is the name Philip Roots in the city directory. In 1788 he has an advertisement in the newspaper,[240] while in 1789 we have the following: “Mr. Roth, Music Master, In Pennington Alley running from Race to Vine Streets, between Fourth and Fifth Streets. “Teaches all kinds of Instrumental Music in the shortest manner, viz. Harpsichord or Piano Forte, Guitar, Flute, Hautboy, Clarinet, Bassoon, French Horn, Harp and Thorough-Bass, which is the Ground of Music, etc.”[241]