even,
At noon and midnight hour,
The choral harmonies of heaven
Earth's Babel tongues o'erpower.

The last line has been changed to read--

Seraphic music pour,

--and finally the hymnals have dropped the verse and substituted others.
The new line is an improvement in melody but not in rhyme, and,
besides, it robs the stanza of its leading thought--heaven and earth
offsetting each other, and heavenly music drowning earthly noise--a
thought that is missed even in the rich cantos of "Jerusalem the
Golden."

_THE TUNES._

Nearly the whole school of good short metre tunes, from "St. Thomas" to
"Boylston" have offered their notes to Montgomery's "At Home in Heaven,"
but the two most commonly recognized as its property are "Mornington,"
named from Lord Mornington, its author, and I.B. Woodbury's familiar
harmony, "Forever with the Lord."

Garret Colley Wellesley, Earl of Mornington, and ancestor of the Duke of
Wellington, was born in Dagan, Ireland, July 19, 1735. Remarkable for
musical talent when a child, he became a skilled violinist, organ-player
and composer in boyhood, with little aid beyond his solitary study and
practice. When scarcely twenty-one, the University of Dublin conferred
on him the degree of Doctor of Music, and a professorship. He excelled
as a composer of glees, but wrote also tunes and anthems for the church,
some of which are still extant in the choir books of the Dublin
Cathedral Died March 22, 1781.

"HARK! HARK, MY SOUL!"

The Methodist Reformation, while it had found no practical sympathy
within the established church, left a deep sense of its reason and
purpose in the minds of the more devout Episcopalians, and this feeling,
instead of taking form in popular revival methods, prompted them to
deeper sincerity and more spiritual fervor in their traditional rites of
worship. Many of the next generation inherited this pious
ecclesiasticism, and carried their loyalty to the old Christian culture
to the extreme of devotion till they saw in the sacraments the highest
good of the soul. It was Keble's "Christian Year" and his "Assize
Sermon" that began the Tractarian movement at Oxford which brought to
the front himself and such men as Henry Newman and Frederick William
Faber.

The hymns and sacred poems of these sacramentarian Christians would
certify to their earnest piety, even if their lives were unknown.

Faber's hymn "Hark, Hark My Soul," is welcomed and loved b