different parts of his works (where they were not disfigured by his general quaintness), constructed several hymns of more than average excellence. Three other eminent names of the 17th century remain to be mentioned, John Dryden, Bishop Ken and Bishop Simon Patrick; with which may be associated that of Addison, though he wrote in the 18th century. Dryden, Ken. Patrick Addison. Dryden's translation of "Veni Creator" a cold and laboured performance, is to be met with in many hymn-books. Abridgments of Ken's morning and evening hymns are in all. These, with the midnight hymn, which is not inferior to them, first appeared In 1697, appended to the third edition of the author's _Manual of Prayers for Winchester Scholars_. Between these and a large number of other hymns (on the attributes of God, and for the festivals of the church) published by Bishop Ken after 1703 the contrast is remarkable. The universal acceptance of the morning and evening hymns is due to their transparent simplicity, warm but not overstrained devotion, and extremely popular style. Those afterwards published have no such qualities. They are mystical, florid, stiff, didactic and seldom poetical, and deserve the neglect into which they have fallen. Bishop Patrick's hymns were chiefly translations from the Latin, most of them from Prudentius. The best is a version of "Alleluia dulce carmen." Of the five attributed to Addison, not more than three are adapted to public singing; one ("The spacious firmament on high") is a very perfect and finished composition, taking rank among the best hymns in the English language.[3] From the preface to Simon Browne's hymns, published in 1720, we learn that down to the time of Dr Watts the only hymns known to be "in common use, either in private families or in Christian assemblies," were those of Barton, Mason and Shepherd, together with "an attempt to turn some of George Herbert's poems into common metre," and a few sacramental hymns by authors now forgotten, named Joseph Boyse (1660-1728) and Joseph Stennett. Of the 1410 authors of original British hymns enumerated in Daniel Sedgwick's catalogue, published in 1863, 1213 are of later date than 1707; and, if any correct enumeration could be made of the total number of hymns of all kinds published in Great Britain before and after that date, the proportion subsequent to 1707 would be very much larger. The English Independents, as represented by Dr Isaac Watts, have a just claim to be considered the real founders of modern English hymnody. Watts was the first to understand the nature of the want, and, by the publication of his _Hymns_ in 1707-1709, and _Psalms_ (not translations, but hymns founded on psalms) in 1709, he led the way in providing for it. His immediate followers were Simon Browne and Philip Doddridge. Later in the 18th century, Joseph Hart, Thomas Gibbons, Miss Anne Steele, Samuel Medley, Samuel Stennett, John Ryland, Benjamin Beddome and Joseph Swain succeeded to them.