Bishop Fulbert, known in the Roman and in the Protestant ritualistic churches as St. Fulbert of Chartres, was a man of brilliant and versatile mind, and one of the most eminent prelates of his time. He was a contemporary of Robert II, and his intimate friend, continuing so after the Pope (Gregory V.) excommunicated the king for marrying a cousin, which was forbidden by the canons of the church. Fulbert was for some time head of the Theological College at Chartres, a cathedral town of France, anciently the capital of Celtic Gaul, and afterwards he was consecrated as Bishop of that diocese. He died about 1029. _THE TUNE._ The modern tone-interpreter of Fulbert's hymn bears the name "La Spezia" in some collections, and was composed by James Taylor about the time the hymn was translated into English by Robert Campbell. Research might discover the ancient tune--for the hymn is said to have been sung in the English church during Fulbert's lifetime--but the older was little likely to be the better music. "La Spezia" is a choral of enlivening but easy chords, and a tread of triumph in its musical motion that suits the march of "Judah's Lion": His ransomed hosts pursue their way Where Jesus goes before. James Taylor, born 1833, is a Doctor of Music, organist of the University of Oxford and Director of the Oxford Philharmonic Society. Robert Campbell, the translator, was a Scotch lawyer, born in Edinburgh, who besides his work as an advocate wrote original hymns, and in other ways exercised a natural literary gift. He compiled the excellent Hymnal of the diocese of St. Andrews, and this was his best work. The date of his death is given as Dec. 29, 1868. THOMAS OF CELANO. Dies irae! dies illa, Solvet saeclum in favilla, Teste David cum Sybilla. Day of wrath! that day of burning, All the world to ashes turning, Sung by prophets far discerning. Latin ecclesiastical poetry reached its high water mark in that awful hymn. The solitaire of its sphere and time in the novelty of its rhythmic triplets, it stood a wonder to the church and hierarchy accustomed to the slow spondees of the ancient chant. There could be such a thing as a trochaic hymn!--and majestic, too! It was a discovery that did not stale. The compelling grandeur of the poem placed it distinct and alone, and the very difficulty of staffing it for vocal and instrumental use gave it a zest, and helped to keep it unique through the ages.