Anglican ritual-music of the nineteenth century falls into two natural groups. The first group comprises the compositions up to about 1850 which complete the third period of English church-music (see page 93) overlapping from the preceding century; the second group begins with the evidences of new life that crept into English church-music about the middle of the century and brought to it refreshing vigor and regeneration. Most of the anthems and ‘services’ of the first half of the century repeat the colorless and listless style of the preceding century, yet several composers produced music of real worth, dignity, and solidity. Such were William Crotch (1775-1847); Thomas Attwood (1765-1838), a pupil of Mozart and a close friend of Mendelssohn (to whom the latter dedicated his three preludes and fugues for organ), whose ‘I was glad,’ written for the coronation of George IV with full orchestral accompaniment, is a remarkably fine work of imposing breadth; and Thomas Attwood Walmisley (1814-1856). Among the most representative examples of the work of this group of composers will be found the following anthems: Attwood’s ‘Withdraw not Thou’ and ‘Grant we beseech Thee,’ Walmisley’s ‘Remember, O Lord’ and ‘O give thanks.’ With the melodious music of Sir John Goss (1800-1880) and the notable series of anthems and ‘services’ by Rev. S. S. Wesley (1810-1876) and Sir George A. Macfarren (1813-1887), what might be called the middle modern school of English anthem-music comes to an end. On the whole academic and respectable rather than inspired, the religious music of this period is only the outward expression of the drowsy and apathetic inner life of the Church. The motets of the nineteenth century and the decades just preceding have, in the main, far closer kinship to the sacred cantata than to the typical form whose name they assume. Beautiful as the motets of Haydn, Mozart, and Cherubini are as music, they are far removed from the old motet in spirit, even though they were written to be sung at High Mass. The best motets written for the German Evangelical service were attempts to revive the glories of Bach’s motet style. In this field Mendelssohn achieved noteworthy success (see page 151) and the well-known motets of Moritz Hauptmann (1792-1868), cantor of the Thomasschule at Leipzig for over twenty years, attest how deeply he imbibed the spirit of his great predecessor. The motets of these two composers represent the best examples of this form in the period covered by this chapter. But as the years move on, the old motet is becoming more and more archaic.