The writing of Latin hymns by no means died out with the medieval era in the sixteenth century. The great prestige of Latin studies fostered by the Renaissance alone would have been sufficient to perpetuate the practice. The Church, too, was engaged in a movement to standardize and improve the Latinity of the breviary hymns which resulted in the Trentine cycle as we know it today. A concurrent movement toward uniformity of rites appreciably reduced the number of breviaries and the variety of their hymns, but those breviaries which maintained an independent existence had their own complete cycles. Such were the Cluniac Breviary of 1686 and the Paris Breviary of 1736 for which new hymns were written and sung side by side with those of medieval origin. Among post-Renaissance poets represented in these collections were the Frenchmen Jean-Baptiste de Santuil and his brothers Claude and Baptiste. Freshly inspired by classical studies, the new hymn writers repudiated medieval ruggedness and stylistic neglect in favor of the smooth and finished Latinity affected by contemporary poets. From the substantial body of verse produced in these centuries, _Adeste fideles_, “O come, all ye faithful,” has proved a favorite. Sometimes classified as a hymn, sometimes as a carol, it originated in the English colony at Douay about the year 1740, from the pen of John Francis Wade.[21] The continuity of the Roman Use, however, was not disturbed. The Roman Breviary had acquired its cycle of hymns in the processes of evolution which have been traced in the preceding chapters. Trentine revisions under the guidance of Pope Urban VIII, (1623-1644), made with the highest motives but often deplored by later scholars, transformed the medieval originals into products of the Renaissance. The Trentine Breviary contains many of the finest medieval hymns which, although they have suffered alterations, have carried the traditional heritage into modern times.[22] By virtue of its prestige and its world-wide circulation, the Roman Breviary has been the vehicle by which the Latin hymn has penetrated into the modern vernacular languages in translations. It is a subject of frequent comment that the full treasury of hymns has not been drawn upon by the Catholic Church since the hymns of the Roman Breviary have monopolized the field. The historical reason for this is clear and also for the fact that in the Roman Missal only five sequences, each of recognized superiority, have been retained. The restriction of Latin hymns in Roman Catholic liturgical usage to a relatively small number allows certain exceptions. The Benedictine and other religious orders use their own cycle of breviary hymns and present-day Catholic hymnals in popular use often contain translations of hymns and sequences additional to those of the Roman Breviary and Missal.