No accession to the form of the anthem has been made since the beginning of the eighteenth century. All the forms now in use--the full, the verse, the solo--were well established in the public esteem and the old unaccompanied style had been permanently abandoned in favor of instrumental accompaniment. The eighteenth century was a period of general religious and intellectual apathy and this condition of thought brooded over English church-music. After the spontaneous and melodious Purcell, the compositions of the best church musicians of the eighteenth and first half of the nineteenth centuries (constituting the third period of English church-music) sound dry and perfunctory, although admirable in construction and solid and worthy in content. If we except the Te Deums and anthems of Handel, this period presents nothing of striking worth. The composers of this period, the best of whose anthems are still to be found in the repertory of present-day choirs, include Maurice Greene (1696?-1755), William Hayes (1706-1777), William Boyce (1710-1779), and Jonathan Battishill (1738-1801), whose ‘Call to Remembrance’ is a work of eminent beauty, modern in conception beyond its time. English psalmody of the eighteenth century, both among the Non-conformists and in the Established Church, had likewise fallen into melancholy ways. Although the good old solid psalm-tunes were still in the Psalters, the interest in them declined, the number in actual use gradually dwindled, the singing became dry and perfunctory, and the curious custom of ‘lining out’ the psalms became general. Especially in the Non-conformist services frivolous tunes were employed which smacked of the Italian opera style; and vocal flourishes were introduced in which several tones would be sung to a single syllable. But in the Church of England the gradual rise of the hymn to an independent place in the Psalter at the very beginning of the century served to keep alive the pure flame of sacred song and to inaugurate the long-delayed period of real English hymnody, a full century and a half after the corresponding outburst of sacred song among the Germans. Gawthorn’s _Harmonica Perfecta_ of 1730 included a large portion of the fine psalm-tunes of the Ravenscroft Psalter, together with some older ones and many new ones. These new hymn-tunes were in the main as solid and satisfying as the best of the old psalm-tunes, yet with more rhythmic freedom. The Church of England, however, was slow to give full recognition to the hymn, the first church hymn-book for general use (Madan’s ‘Collection of Psalms and Hymns,’ better known as the Lock Hospital Collection) not being published until 1769. The devotional hymns of Watts and Doddridge were just beginning to reach the public heart, when they received a magnificent accession from the Wesleyan movement, which, starting in the middle of the century, took full advantage of the liberty of worship newly conferred upon