See Appendix. [Illustration: AUGUSTUS TOPLADY. ] Toplady we should regard as the chief singer of the Revival, after Charles Wesley, although entirely of another order; not so social as meditative, and reminding us, in many of his pieces, of the characteristics we have attributed to Watts. His midnight hymn is a piece of uncommon sublimity; portions of it seem almost unfit for congregational singing; but for inward plaintive meditation, for reading in the evening family prayer, when the hushed stillness of night is over the household, and the pilgrim of life is about to commit himself to the unconsciousness of sleep, the verses seem tenderly suggestive: “Thy ministering spirits descend, And watch while Thy saints are asleep; By day and by night they attend, The heirs of salvation to keep. Bright seraphs despatched from the throne, Fly swift to their stations assigned; And angels elect are sent down To guard the elect of mankind. “Their worship no interval knows; Their fervour is still on the wing; And, while they protect my repose, They chant to the praise of my King. I, too, at the season ordained, Their chorus forever shall join, And love and adore without end, Their gracious Creator and mine.” We have noticed in a previous chapter that when Whitefield separated himself from Wesley, the Revival took two distinctly different routes. We only refer to this again for the purpose of remarking that as Toplady was intensely Calvinistic in his method of Divine grace, so his hymns, also, reflect in all its fulness that creed; yet they are full of tenderness, and well calculated frequently to arouse dormant devotion. “Your harps, ye trembling saints;” “Emptied of earth I fain would be;” “When languor and disease invade;” “Jesus, immutably the same;” “A debtor to mercy alone,” and many another, leave nothing to be desired either on the score of devotion, poetry, or melody.