Wesley's adaptations of two--"Lo! God is here; let us adore," and "Thou hidden Love of God, whose source"--are well known. Among those translated by Miss Winkworth, "O God, O Spirit, Light of all that live," and "Come, brethren, let us go," are specimens which exhibit favourably his manner and power. Miss Cox speaks of him as "a gentle heaven-inspired soul, whose hymns are the reflection of a heavenly, happy life, his mind being full of a child-like simplicity"; and his own poem on the child-character, which Miss Winkworth has appropriately connected with Innocents' day ("Dear Soul, couldst thou become a child")--one of his best compositions, exquisitely conceived and expressed--shows that this was in truth the ideal which he sought to realize. The hymns of Zinzendorf are often disfigured by excess in the application of the language and imagery of human affections to divine objects; and this blemish is also found in many later Moravian hymns. But one hymn, at least, of Zinzendorf may be mentioned with unqualified praise, as uniting the merits of force, simplicity and brevity--"Jesu, geh voran" ("Jesus, lead the way"), which is taught to most children of religious parents in Germany. Wesley's "Jesus, Thy blood and righteousness" is a translation from Zinzendorf. Gellert. The transition from Tersteegen and Zinzendorf to Gellert and Klopstock marks strongly the reaction against Pietism which took place towards the middle of the 18th century. The _Geistlichen Oden und Lieder_ of Christian F. Gellert were published in 1757, and are said to have been received with an enthusiasm almost like that which "greeted Luther's hymns on their first appearance." It is a proof of the moderation both of the author and of his times that they were largely used, not only by Protestant congregations, but in those German Roman Catholic churches in which vernacular services had been established through the influence of the emperor Joseph II. They became the model which was followed by most succeeding hymn-writers, and exceeded all others in popularity till the close of the century, when a new wave of thought was generated by the movement which produced the French Revolution. Since that time they have been, perhaps, too much depreciated. They are, indeed, cold and didactic, as compared with Scheffler or Tersteegen; but there is nevertheless in them a spirit of genuine practical piety; and, if not marked by genius, they are pure in taste, and often terse, vigorous and graceful. Klopstock. Klopstock, the author of the _Messiah_, cannot be considered great as a hymn-writer, though his "Sabbath Hymn" (of which there is a version in _Hymns from the Land of Luther_) is simple and good. Generally his hymns (ten of which are translated in Sheppard's _Foreign Sacred Lyre_) are artificial and much too elaborate. Fouqué.