The order in council of 1703 is the latest act of any public authority by which an express sanction has been given to the use of psalms or hymns in the Church of England. At the end, indeed, of many Prayer-books, till about the middle of the 19th century, there were commonly found, besides some of the hymns sanctioned by that order in council, or of those contained in the book of 1562, a sacramental and a Christmas hymn by Doddridge; a Christmas hymn (varied by Martin Madan) from Charles Wesley; an Easter hymn of the 18th century, beginning "Jesus Christ has risen to-day"; and abridgments Bishop Ken's Morning and Evening Hymns. These additions first began to be made in or about 1791, in London editions of the Prayer-book and Psalter, at the mere will and pleasure (so far as appears) of the printers. They had no sort of authority. English congregational hymnody. In the state of authority, opinion and practice disclosed by the preceding narrative may be found the true explanation of the fact that, in the country of Chaucer, Spenser, Shakespeare and Milton, and notwithstanding the example of Germany, no native congregational hymnody worthy of the name arose till after the commencement of the 18th century. Yet there was no want of appreciation of the power and value of congregational church music. Milton could write, before 1645:-- "There let the pealing organ blow To the full-voiced quire below In service high, and anthems clear, As may with sweetness through mine ear Dissolve me into ecstasies, And bring all Heaven before mine eyes." Thomas Mace, in his _Music's Monument_ (1676), thus described the effect of psalm-singing before sermons by the congregation in York Minster on Sundays, during the siege of 1644: "When that vast concording unity of the whole congregational chorus came thundering in, even so as it made the very ground shake under us, oh, the unutterable ravishing soul's delight! in the which I was so transported and wrapt up in high contemplations that there was no room left in my whole man, body, soul and spirit, for anything below divine and heavenly raptures; nor could there possibly be anything to which that very singing might be truly compared, except the right apprehension or conceiving of that glorious and miraculous quire, recorded in the scriptures at the dedication of the temple." Nor was there any want of men well qualified, and by the turn of their minds predisposed, to shine in this branch of literature. Some (like Sandys, Boyd and Barton) devoted themselves altogether to paraphrases of other scriptures as well as the psalms. Others (like George Herbert, and Francis and John Quarles) moralized, meditated, soliloquized and allegorized in verse. Without reckoning these, there were a few, even before the Restoration, who came very near to the ideal of hymnody. Wedderburn.