While all conversant with the subject will readily admit that both the Roman and the Parisian Breviary contain some noble verses, English versions of which are to be found in the writings of Williams, Chandler, Mant, Caswall, and Newman, as also in “Hymns Ancient and Modern,” the conviction is both general and well-founded that the principles and practice of liturgical revisionists have not been favourable to the interests of purity and simplicity in the case of ancient Latin hymnody. Coming now to the relation in which Latin hymnology stands to the movement and Churches of the Reformation, it is to be noted that Luther showed his appreciation of what was good in the Church of his childhood when he rendered into the language of the Fatherland sixteen old hymns, twelve of these being taken from the Latin and the remaining four from the Old German of the Middle Ages. In his _Colloquia Mensalia_, the sturdy Protestant is to be heard censuring Ambrose as a wordy poet, but extolling the _Rex Christe Factor omnium_ of Pope Gregory as the best hymn ever written. As with Luther, so with Melancthon and Zwingli and their immediate followers. They published collections and translations of the old Latin hymns, and they continued the use of such compositions in their public worship to a limited extent, even after they had ceased to employ the Latin tongue in Church services. It is well known, at least to Anglican clergymen, that the Church of England Book of Common Prayer contains certain “Canticles,” to be used on Sundays and week days. Thus, after the Old Testament lesson has been read, the rubric provides that “there shall be said or sung in English the hymn called _Te Deum laudamus_ daily throughout the year.” As an alternative to this great Creed hymn of Western Christendom there may be said or sung “this canticle, _Benedicite, omnia opera_,” that is, the Song of the Three Children, a part of the Greek addition to the third chapter of Daniel, and a paraphrase or expansion of the 148th Psalm. Then in the Ordinal of the Church of England, which provides for “the ordering of Priests” and “the consecration of Bishops,” there is a stage at which there is to be sung or said, _Veni, Creator Spiritus_. Of this hymn two English metrical versions are given in the Prayer Book of 1662—that presently in use, an older and more diffuse rendering, and one more terse and spirited, the product of Bishop Cosin. But it may not be generally known that many of the earliest service-books of the Continental and Scottish Churches had hymns appended to the Psalms in metre, some of which were versions in the vernacular of old Latin compositions. The French Psalter, edited by Marot in 1543, had the _Ave Maria_ along with the Decalogue, the Belief, and the Lord’s Prayer. The Dutch Psalter of 1640 had the _Te Deum_, as well as metrical renderings of the Decalogue, the Song of Zacharias, of Mary, of Simeon, and of Elizabeth.