With the opening of the eighteenth century the characteristics of the English anthem of the present day were virtually fixed. The full, the verse, and the solo anthem were all in use, and the accompanied style had once for all taken the place of the _a capella_. During the eighteenth and early part of the nineteenth centuries English choir music offers nothing especially noteworthy, unless we except the Te Deums and so-called anthems of Händel, whose style is, however, that of the oratorio rather than church music in the proper sense. The works of Hayes, Attwood, Boyce, Greene, Battishill, Crotch, and others belonging to the period between the middle of the eighteenth and the middle of the nineteenth centuries are solid and respectable, but as a rule dry and perfunctory. A new era began with the passing of the first third of the nineteenth century, when a higher inspiration seized English church music. The work of the English cathedral school of the second half of the nineteenth century is highly honorable to the English Church and people. A vast amount of it is certainly the barrenest and most unpromising of routine manufacture, for every incumbent of an organist’s post throughout the kingdom, however obscure, feels that his dignity requires him to contribute his quota to the enormously swollen accumulation of anthems and “services.” But in this numerous company we find the names of such men as Goss, Bennett, Hopkins, Monk, Barnby, Sullivan, Smart, Tours, Stainer, Garrett, Martin, Bridge, Stanford, Mackenzie, and others not less worthy, who have endowed the choral service with richer color and more varied and appealing expression. This brilliant advance may be connected with the revival of spirituality and zeal in the English Church which early in the nineteenth century succeeded to the drowsy indifference of the eighteenth; but we must not push such coincidences too far. The church musician must always draw some of his inspiration from within the institution which he serves, but we have seen that while the religious folk-song is stimulated only by deep and widespread enthusiasm, the artistic music of the Church is dependent rather upon the condition of music at large. The later progress in English church music is identified with the forward movement in all European music which began with the symphonies of Beethoven, the operas of Weber and the French masters, and the songs of Schubert, and which was continued in Berlioz, Wagner, Schumann, Mendelssohn, Chopin, and the still more recent national schools. England has shared this uplift of taste and creative activity; her composers are also men of the new time. English cathedral music enters the world-current which sets towards a more intense and personal expression. The austere traditions of the Anglican Church restrain efforts after the brilliant and emotional within distinctly marked boundaries. Its music can never, as the Catholic mass