e near me,
My sheep should never fear me,
I am the Shepherd true,
I am the Shepherd true.

_London._

O silly souls come near me,
My sheep should never fear me,
I am the Shepherd true,
I am the Shepherd true.]

Mr. W. Pitts, the compiler of the latter, sends us word that "the
melody _only_ came into my hands, and it stands in the London book
exactly as I received it. I think it was sent by one of the Birmingham
Fathers, or by Mr. Edward Plater." This is satisfactory, and points to
a smoother and far more effective version of the refrain by the
composer himself.[52]

[Footnote 52: Mr. Pitts' chords are generally good, but might be
considerably improved (more especially at the words "I am the Shepherd
true"), by some contrary motion in the harmony.]

Altogether we have ever felt that there is an indescribable
brightness, a radiant cheerfulness, which might have pleased St.
Philip, about the Birmingham selection of hymns and tunes, with
Beethoven, Mozart, Mendelssohn, Pleyell, Crookall, Webbe, Moorat, and
others laid under contribution. In the Saint's time, we know, "there
were sung at the Oratory many _Laudi_, motets, madrigals, and sacred
songs in the vulgar tongue, and these gave scope for composers to
essay a simpler, and more popular and stirring style of music."[53]
Take up then the Father's book, hear the people at the May devotions
sing such winning songs as the "Pilgrim Queen" (No. 38, _Regina
Apostolorum_), and the "Month of Mary" (No. 32, _Rosa Mystica_), or
listen during St. Philip's Novena, to "St. Philip in his School" (No.
49), "in his Mission" (No. 50), "in Himself" (No. 51, "Regulars and
St. Philip"), and "in his Disciples" (No. 54, "Philip and the Poor"),
and we conclude that, as with the Saint, so with his distinguished
son, it has been his "aim to make sacred music popular;"[54] and may
we not further say that the Cardinal, without any parade whatever, but
in the simplest fashion, has somehow succeeded at Birmingham in his
aim?

[Footnote 53: Pope, _Capecelatro_, ii. 88. Father Gigli to Tarugi at
Naples, about the Roman Oratory, 1587: "Our feast passed off most
joyously, and with admirable music.... We had three choirs--two in the
galleries, besides one in its accustomed place." (_Ibid._ ii. 103.)]

[Footnote 54: _Ibid._ 99.]

The Birmingham Oratory Book, with the tunes, only privately printed
for local use, came, nevertheless, as a surprise to Messrs. Bu