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COTTISH .aiETRICALSSALTER
OV A.D. 1635, REPRINTED IN FULL FROM THE ORIGINAL WORK;
The Additional Matter and Various Readings found in the Editions of 1565, &c. being appended,
AND THE WHOLE ILLUSTRATED BY
DISSERTATIONS, NOTES, & FACSIMILES,
EDITED BY THE
REV. NEIL LIVINGSTON.
PRINTED FROM STONE, BY
MACLURE & MACDONALD, LITHOGRAPHERS TO THE QUEEN,
GLASGOW.
1864.
Inscribed to
WILLIAM EUING. ESQ
Glasgow 1864
Digitized by the Internet Archive
in 2010 with funding from
Boston Public Library
http://www.archive.org/details/scottishmetricalOOIivi
PREFACE.
The present century has witnessed an extensive resuscitation of the Antiquarian Literature of Britain. By the enterprise of individuals in some instances, and of Societies in others, manuscripts and rare pubHcations, stretching far into the depths of the past, have been dragged from obscurity, illustrated by the results of careful research, and rendered available to public inspection in forms fitted to ensure their perpetuation for centuries to come. In this work of exploration and reproduction Scotland has taken a proportionate share. In addition to numerous private undertakings, the labours of the Bannatyne, Maitland, Spalding, Wodrow, and other Societies have resulted in a large assemblage of volumes, fraught with matter of varied interest, and pouring a flood of light upon the social condition, the literature, and the history civil and rehgious, of the Scottish people in the olden time.
Why the Scottish Church Psalter, here reprinted, should have failed to secure the patronage of any of these Societies, is not easily explained. The claims of this rehc of their Reformation era upon the remembrance of Protestants in this part of the kingdom, could hardly be regarded as inconsiderable. It seemed specially congenial to the sphere of selection which the Wodrow Society had appropriated. In England a precedent had been furnished by the Musical Antiquarian Society, in the re-publication of the Music of Este's Psalter of a.d. 1592. The Maitland Club had printed the Breviarium Aberdonense, and, in conjunction with the Bannatyne, had assisted in the publication of Mr. Dauney's volume upon the Scottish National Melodies and the Skene Manuscript. But though such circumstances seemed to point to the project, the fact remained that none of these Societies disturbed the repose to which the old Book had been consigned. Nor has this neglect been compensated by private enterprise. The example presented by the Rev. Mr. Havergal, in his re-issue of the Tunes of Ravenscroft's Psalter, has hitherto found no imitator on this side of the Border.
My acquaintance with the Scottish Psalter arose not from any special predilection for Antiquai-ian studies. I had been privileged to take part in the measures employed in recent years for promoting the cultivation of Church Music in Scotland ; and as usually happens to those who enter with any degree of earnestness into the study of such Music, ray enquiries were led back to the century following the Reformation, as its golden age. More especially, having found it necessary to examine the work referred to, from its relation to the practical objects I had in view, the opinion became strongly impressed upon my mind that so venerable a legacy of past ages should, both in its literary and musical elements, be rescued from the oblivion which had long been deepening over it, and in a trustworthy and creditable form, brought within reach of the general community.
The grounds on which this opinion rested appear more fully in the preliminary Dissertations, but may be here stated in outline. 1. In point of Antiquarian interest — the Tunes constitute the earliest printed music of any description which Scotland possesses, and its only collection of sacred music belonging to the Reformation period: while the poetry, though interesting from age and associations, has almost entirely vanished from popular remembrance. As regards rarity, while even the later editions have become very scarce, of the earlier only two or three copies are known to survive. In point of antiquity, three centuries have been completed since the publication of the first edition, and two years more since the General Assembly, out of its scanty resources, devoted a sum to assist their printer in preparing it: 229 years have passed since the last editorial preface was furnished; 224 since the appearance of the last known edition; and 214 since the old version was set aside. 2. In point of Ecclbsiastical interest — the Psalter was not a private performance, but a portion of the publicly recognized standards of the National Church — the materials being to a large extent borrowed, yet revised, modified, and supplemented by that Church for its own purposes ; so that to Scotland a considerable proportion of the literary, and a large proportion of the musical subject-matter are fairly ascribable. It continued in actual use as the vehicle of religious worship over the whole country, and during three successive generations. Its music, moreover, is the only collection which in the history of the church has held an authoritatively recognized position. 3. In point of Practical interest — though the harmonies, in common with all others of that age, must be regarded as superseded, yet many of the melodies are of a high order of excellence, are worthy of renewed examination, and are fitted to impart not only an impulse, but a pure and wholesome character to the movement now in progress for the improvement of Psalmody. And if the old version of the Psalms should serve no other purpose, it demonstrates its superiority in variety of metrical forms to that by which it has been succeeded; and suggests the question whether something should not speedily be done to repair a defect which is becoming more deeply felt as the cultivation of Congregational Music advances?
But how was the project of republication to be carried into execution? Though wilHng to devote the literary labour required, I could not pretend to grapple with the pecuniary hazard. And what pubhsher could be expected to incur that hazard amidst the apathy regarding church music, either old or new, which basso long and so largely characterized my native land? The problem, however, was opportunely solved by the highly esteemed friend to whom the work is inscribed, (a gentleman to whose varied accomplishments and excellencies of character I rejoice in bearing my sincere though humble testimony,) who, with a liberality and an appreciation of the object equally rare, took the responsibihty of that element of the case entirely upon himself. It only remained to determine the plan of procedure, of which the leading features are these:—!. Of the various editions of the original work that of a. d. 1635 has been selected as, though not the earliest, yet the most complete, being the only one in which the tunes are harmonized. The additional matter and various readings furnished by other editions of importance are collected in an Appendix, so that the entire contents of the Psalter, from first to last, are exhibited to view. 2. In its sub)'ect-matter the work is a strict verbatim reprint, in imitation, as far as practicable, of the antique typography; and, in order to extend this imitation to the music, the expensive expedient has been resorted to of executing the whole materials in lithography, the letter-press portions being transferred from the type to the stone. 3. In regard to arrangement it was judged advisable to adopt a size of page larger than that of the original, in order that the harmonic parts might be placed in score, and as much as possible of each tune placed at once under the eye. This necessitated the disposition of the letterpress in double columns. The original arrangement, however, is exhibited in the fac-similies. 4. At least 100 copies are to be gratuitously deposited in public Libraries of importance at home and abroad, in order to secure in some measure the object of perpetuation. The remainder of a moderate impression is oifered for public sale on the lowest practicable terms.
In supervising the Reprint great care has been taken to insure accuracy, which in a work of this nature is of primary importance; and I think that, in this respect, examination may be challenged. Besides my own, the entire work has undergone the scrutiny of one, and the musical portion that of two friends; both being fully conversant with music, and the former equally so with printing.
In regard to the historical and explanatory accompaniments I have to crave indulgence on several accounts. The line of enquiry has been to a considerable extent in the Literary, and almost entirely in the Musical department, a new one ; so that I have felt myself very much in the condition of a traveller explorino' an unknown territory. My secluded situation also, at a distance from many of the books which I required to consult, has occasioned much inconvenience and delay, and has frequently suggested the wish that the work had fallen to the lot of some one more favourably located. And as matter illustrative of facts accumulated beyond my original calculations, I found it requisite to look more to condensation than elegance of expression; and to exclude, with a few exceptions, the comments and reflections which constantly presented themselves: perhaps in this pi'esuming somewhat on the prescriptive right of antiquarianism to be dry. Amono" so many references and minute notices some mistakes may be expected, but I feel assured they are not numerous nor important.
To the Librarians of the Signet and Advocates' Libraries, Edinburgh; the University, Glasgow; the Bodleian, Oxford; and the British Museum, London; I beg to record my acknowledgments for the facilities they have aiforded me. Obligations of a more private description are referred to elsewhere.
Four years ago the Tricentenary of the Scottish Reformation was celebrated amid general demon- strations of deep and grateful interest; and as the Psalter embodied the results of that reformation, so far as concerned the religious service of Praise, its reappearance will, I trust, be accepted as a not inappropriate though somewhat late contribution to the work of commemoration. It is scarcely possible to look upon this manual of Reformation worship without being vividly reminded of Reformation times, and the worthies who in those times performed so conspicuous a part. It was in these long-forgotten strains that Knox, Welsh, Melvill, Rutherfobd, Henderson, and many more whose names are dear to Scotland, sung the praises of their God and Saviour, and found consolation amid perplexities and dangers.
Freb-Chuech Manse of Stair, by Ayr, 1864.
CONTENTS.
I.— ILLUSTRATIVE DISSERTATIONS, &c.
1. Principles embodied in the Scottish Psalter, 2
(1.) Relating to the Poetry and Music, 2
(2.) " ' Poetry, 3
(3.) " " Music, 5
2. History of the Psalter, 8
(1.) From beginning of Reformation till 1562, .... 9
(2.) " 1562 till 1600; 12
(S.) /' 1600 till 1655, .........18
3. The Literary Materials 24
(1.) Tlie Metrical Psalms- — Authorship, Progress,
Variations, Merits, ....25
(2.) Appendages to the Psalms — Spiritual Songs — Prose Version — Conclusions — Prayers — Contents, &c., 33
4. The Musical Materials, 38
(1.) Classification and Progress, 39
(2.) Sources, 41
(3.) Characteristics, 44
(4.) Merits, 46
(5.) Agency, ^ 47
5. Various Correlative Topics, 50
(1.) The Musical Notation, 50
(2.) Wood's MSS., 54
(3.) Chapel Royal, &c., 55
(4.) Typography, Errors, &c., ,..56
(5.) Concluding Observations, 58
6. Notes, 60
7. Fac-simile Specimens — yarious editions, 71
II.— REPRINT OF EDITION OF 1635.
1. Conclusion Verses— in fac-simile, 76
2. The Common Tunes, .» I.
3. Tunes in Reports, IX.
4. Preface by E. M XVL
5. The whole Book of Psalms in Verse, with
Contents and Proper Tune to each Psalm, and accompanied on the margin by the prose version from the Geneva Bible, 1
6. Spiritual Songs, 220
7. Index to Psalms and Spiritual Songs, 228
III.— APPENDIX, Containing additional matter and various readings found in other editions of the Psalter.
1. Division — Literary.
Page
n.
(I.) Introductory Matter,
(2.) Metrical and Prose Versions, ///.
(3.) Spiritual Songs, IV.
(4.) Contents of the Psalms — Edition 1.595 V.
(5.) Conclusions to the Psalms — do. VI.
(6.) Prayers upon the Psalms — do. IX.
(7.) Authorship XVIII.
2. Division — Musical.
Paga
(1.) Common Tunes — Melodies XIX.
(2.) Common Tunes — Harmonized, XX.
(3.) Tunes in Reports, XXIII.
(4.) Proper Tunes, ,
(5.) References to Proper Tunes, XXV.
(6 .) Various Readings of Proper Tunes,
(7.) Relative Extracts, XXX.
[*^ There are four series of pages, reckoned thus : 1 . Dissertations, ijfc. in sloped figures ; 2. Common Times, ij-c. in Romau numerals • 3, Psalms . in upright figures ; 4. Ajypendix, in italic numerals. The first at the top, the others at the bottom of the page.
AUTHORITIES.
To those who may wish to consult the English and Foreign authorities referred to in the Dissertations, the following notices may be useful. Only the older and rarer works are included, and some are omitted because it was not known where copies are to be found. The Scottish are specified in the text.
CONTINENTAX.
1538. Bohemian Hymn Book. The copy mentioned by the musical historian Burney as possessed by himself, and as at one time the property of Sebastian Bach (V. III., p. 31), is now in the possession of the Rev. W. H. Havergal of Wolverhampton.
1540. Dutch Psalter, Latin prose version on margin ; tunes seem secular ; many scripture songs.
British Museum.
1543 and 1545. Luther's Geistliche Lieder, 2 editions, different to some extent.
Brit. Museum.
1543. Cinquante Pseaumes de David, par Clement Marot, aveo epistre aux Dames de la France, 1543. No tunes.
Mr. George Offor, Hackney, London. Tunes seem to have been added about 1545 or 6.
1555. Attached to a Bible, " Chez Jean Crespin," psalms in the same case as in Edition 1559, but the 7 additional are wanting. Contains Old 100th tune.
W. Eidng, Esq., Glasgow, Mr. Offor.
1559. French Psalter, unfinished, (Disser.IV.,p. 42,) attached to a Bible.
Mr. AucMerlonie, teacher, Glasgow.
1561. Hondert Psalmen. London, Day ; printed for refugees from the Low Countries ; tunes from French Psalter with some German ; limited to 100 psalms, but not continuous.
Musettm; W. Euing, Esq., Glasgow.
1562. French Psalter, with tunes and prose version, first com- plete edition.
Mr. Offor, London; Rev. W. H. Havergal, Wolverhampton.
Another edition, without the prose, bound with New Testa- ment, by A. Caen, " quaranteneuf by C. Marot;" rest by Beza. Mr. M' George, writer, Glasgow.
1563. The same. A. Lyon. 8vo.
Mr. D. Laing, Edinburgh . Later editions are more common, but are much the same.
1565. French Psalter Tunes, harmonized by Goudimel.
Mr. Warren, organist, Chelsea.
1579. Psalmen. T'hantwerpen. Hymns added. Many German Tunes.
Brit. Museum.
ENGLISH.
1538. Coverdale's Psalms and Spiritual Songs, with Tunes. Queen^s College, Oxford. Republished by Parker Society, but without the Tune s.
1549. Sternhold & Hopkins — 44 psalms without tunes.
Public Library, Cambridge.
Reprinted several times, 1551-53.
Bodleian, i&c.
1556. Crespin, Geneva, 51 psalms, with tune to each. Bodleian ; Pub. Lib., Cambridge ; Advocates'', Edinburgh.
1660. 65 psalms with tunes — London, Jugge & Cawoode,
probably.
Christ Church, Oxford.
1560. (Supposed.) Archb. Parker's Psalter, 9 tunes. Bodleian and Brazen Nose, Oxford; Brit. Museum; Lam- beth ; Britwell Library, Buckinghamshire.
1561. Geneva, by Durand, 87 psalms, with 66 tunes.
St. PauVs Lib., London.
There was another edition of this work, without place or printer's name, but probably printed in England. It closely resembles the Genevan.
Britwell Lib., Buck.
There was a Continental reprint of the Genevan work of 1561, including the prose documents, and the 87 psalms as before, but having the remaining psalms taken from the English Psalter as a supplement. " Imprim^, pour Henrile Mareschal. m.d.lxvi." No place.
1562. Complete English Psalter, first edition, small 4to, Old English letter, long lines. Title has ornamental edging. Entire at both ends, but one or two leaves wanting in middle. There seems to be only one copy of this edition remaining which is in possession of
Francis Fry, Esq., Coiham, BristoL
1563. Same work, 2d edition. Lea Wilson supposed this to be the earliest, but this is proved to have been a mistake. From the description he has left of it, however, it appears to have been substantially identical with that of the preceding year, though not corresponding, page for page. It had several second versions appended which were wanting in the 1562. The title adds after ' Aldersgate ' " benethe Saint Martins."
Since the statements in p. 42, &c. were written it has been ascertained on the best authority that Wilson's copy of this work is now the property of
James Lenox, Esq., New York.
1563. Psalm Tunes, in four parts, with specimen verses, each part making a separate oblong volume. London, Day. The oldest known harmony of English psalm tunes. Supposed to have been edited by William Parsons.
Brazen Nose, Oxford; Britioell Lib., Buckinghamshire; Dr. Rimbault, London ; and two parts in Brit. Museum.
1565. English Psalter, small folio. London, Day. Here the second versions are inserted according to their numbers, and the set of hymns completed. Bound up with Liturgy. Melodies without harmony.
Brit. Museum.; Francis Fry, Esq., Bristol. Later editions, with melodies only, are very numerous.
Brit. Museum, Bodleian, <&c.
1575. Brieff Discours, &c. — P. 10., Disser. II. — Reasons for assigning the authorship to Whittingham, by Professor M'Crie, are presented in the Introduction to a reprint of the work by Petheram, London, 1846.
1579. The Psalter Tunes harmonized, in four parts. London, Day. Known as Daman's Psalter. Preface by Edward Hake.
Brit. Museum.
An improved edition in 1591, in which the melody is assigned to the Treble voice, being the first instance of this in British psalmody.
1592. Este's Psalter, being the psalms with the tunes harmon- ized. (Diss. IV., p. 40.)
Brit. Museum; W. Euing, Esq., Glasgow.
The tunes have been republished by the Antiquarian Musical Society, edited by Dr. Rimbault. 1844.
1599. The Psalter Tunes, in four parts, edited by Alison. The melody given to the Treble.
Brit. Museum ; Mr. T. L. Hately, Edinburgh.
The title of this work led to the mistake of representing it in Disser. I., p. 7, as containing the entire psalms. It has only specimen verses to the tunes.
1621. English Psalms and Tunes, in parts. Melody to the Tenor. By Ravenscroft.
Euing, Glasgow; Laing, Edinburgh. Tnnes republished by Novello, edited by Havergal. 1845.
DISSERTATIONS.
The following Dissertations exhibit as full and accurate a survey as it has been in the Editor's power to furnish of the origin, history, materials, partial variations, merits, authorship, and official position of the Scottish Protestant Church Psalter ; together with an account of the priaciples upon which it was constructed, and of those incidents in the history of the people with which it was more especially associated. Various collateral topics are introduced but are pursued no farther than seemed necessary for the elucidation of the primary theme; though several of them, as for example, the history of the cotemporary English Psalter, invited a more lengthened treatment The subject matter has been distributed under several heads, which plan, though it may involve something of repetition and of reference from one division to another, seemed on the whole preferable to that of deaUng with it in the aggregate. In most instances the quotations are drawn from original sources, and have been verified by personal inspection.
DISSERTATION I.
PRINCIPLES EMBODIED IN THE SCOTTISH PSALTER.
The term psalmody is usually understood to describe the Book of Psalms considered as material to be suiig in religious worsliip. Hence it includes two ingredients : primarily and of chief importance, the words ; subordinately but yet essentially, the music. For though it is possible that a spiritual worship may be rendered without either of these elements, it is admitted by all except a small section of professing Christians that the ordinance of praise when the fvdl Scriptural idea of it is realized, involves not only the inward exercise of the heart and ruiderstanding, but also the outward embodiment of sijeech and musical utterance. Of the poetical and musical thus combined, either may sometimes be found treated of as psalmody, but its relation to the other is implied and proceeded upon. When a Church is called to deal practically with the employment of psalmody in worship, various questions present themselves in regard both to words and music. Must the psabns alone be selected for this purpose, or may other Scriptural passages be added, or may the range of choice extend also to human compositions if consonant to Scripture 1 Shall the material adopted be used in a prose or a metrical form, or in both ? And, if metrical, what poetic drapery should be preferred as most suitable ? The musical element, which has been left to the discretion and taste of man, in subjection to the general principles and spirit of the Bible, presents an equally wide field of enquiry. There are three forms in which music may be made available for social worship. 1. That of the Chant, adapted to rhythmic prose. The structure of the poetic portions of Scripture, as consisting of paraUel clauses, admits of this variety of musical application, which may be defined as a tune for prose. 2. ITiat of the Metrical Tune, suited to a particular form of regular poetic stanza. Both of these agree in this respect that they are not meant to be confined to particular words, but may be carried over a succession of verses of the same general character. 3. That of the Motet or Anthem, -in which the words are more frequently in prose, though verse is also admissible — and of which the distinctive peculiarity is that it is limited to the passage for which it is composed, and incapable of transference to any other. From this difi'erence between the Anthem on the one hand, and the Chant and Metrical Tune on the other, an important practical result follows— that the former is capable of expressing all the minute shades of emotion which a passage may contain, and of exhibiting these in their relative force and iatensity ; while the latter cannot pretend to more than the expression of the general spirit of a passage as upon the whole marked by solemnity, cheerfulness, or some other inilividual emotion. Besides the question of selecting from or coinbin- ing these methods, the further enqxiiry arises whether the singing should be performed by the whole body of the people, or confined to a select and specially qualified company, mth whom others may unite mentally, in accordance vnth. the method generally employed in social prayer ; or whether both methods maybe used in different portions of public devotional service? Dependent upon such C[uestions others present themselves relative to the style and qualities of the music. What all are to sing must be simpler in structure than that which is intended for the more skilful few ; and music boimd to particular words may contain features which would be out of place in that which is meant to shift from verse to verse. An additional point of discussion stUl, is the employment of instrumental music in connection with the vocal.
Such subjects necessarily fell under the consideration of the founders of the Protestant Churches, who, moved by the gross abuses prevalent in the Church of Eome in iiuB as in other branches of religious duty, proceeded to examine them in the light of Scripture and' of primitive practice. All did not, however, arrive at precisely the same conclu- sions ; and thus diversities of usage to some extent arose, and stUl continue to exist, amongst protestant communities. TTie immediate subject does not allow a detailed notice of these diversities, as it is concerned only with the views which were acted upon in Scotland, and by those with whom the Scottish Reformers stood in specially close relationship. It is plain that in worship, as in other matters, Knox and his followers looked to the church foimded by Calvin as their model ; and that the principles of psalmody adopted by them were Substantially those which had previously been established at Geneva It is shown in the next Dissertation, p.lOth , that in tliis imita- tion they were joined by the congregation of English exiles formed at Geneva in 1.555, of whom Whittingham may be considered the representative. While these two parties, however, must be regarded as adopting rather than origi- nating the principles referred to, it is sufficiently clear that they bestowed upon them an independent examination j and that then- decision was the result, not of blind impidse or weak compliance, but of enlightened preference and conscientious conviction.
The evidence upon which the following statements are based is chiefly derived from the old Psalter itself Little more is required. It is plain from the inspection of the work what the views of its framers must have been. But there is also historical evidence, which though altogether silent in some particulars, and not ample in any, yet on the whole sheds a considerable amount of light upon those which are most important. The plan observed is to notice — I. Such principles as apply to both poetry and music ; II. and III. Such as refer to each of these considered separately. It wUl be observed that some remarks are interspersed respecting the suitableness of these principles to present times, though for obvious reasons lengthened discussion has been avoided.
I. — Peinoiples Mlating to Poetry and Music.
Under the first head, the most noticeable principle is that the singing in worship should be performed by the body of the peoj^le. This accorded with the general tenor of the Eeformation movement. The Kterary and musical materials were prejjared or chosen in subordination thereto. The earliest historical notices of public praise exhibit it in full operation. But the most explicit evidence, is found in the Book of Common Order, or first Directory for Worship adopted in Scotland. In connection with various branches of public service, which it is unnecessary to specify, the following directions occur in the edition 1.556: —
"The people fyng a Pfalme and departe." "This done, the people finge a Pfalme all together, in a playne tune." ■' Then the people finge a Pfalme which ended " &c. " The people finge the 103 Pfal. My foule giue laud &c. or fome other of thancks glnynge."
Besides laying down this principle, the means of working it out also obtained some measure of attention. The first requisite was to provide the people with psalm books ; and from the number of editions printed, and the extent of the impressions as indicated by the inventories of publishers in the Bannatyna Miscellany, it must be inferred that this
object was to a large extent attained. The notices else- where quoted of the proceedings of Assembly manifest care and diligence in securing an adequate supplj' of printing agency, and it is a fact too well known to require proof that great efforts were made to provide for the education of the young. In connection with this the following passage in Lightfoot's Journal of the Westminster Assembly deserves notice : — " Then was our Directory read over to the Soots Commissioners, who were absent at the passing of it ; and Mr. Henderson disliked our permission of any to read the psalm Une by line, and this business held us in some debate." It is evident that reading the lines in siuging psalms was one of those points to which the Scottish divines submitted ia accommodation to the English, and that it had not been previously practised in Scotland. There is there- fore ground for the conclusion that the people generally possessed psalm books and were able to use them. That the Unes were not read \inder the old psalter regime appears also from the following passage in Steuart of Purdivan's Collections, Book II., 1., § 26: —
" It was an ancient practice of the cliuroh, for the minister or prnceator to read over as much of the psalm in metre together as was intended to be sung at once, and then the harmony and melody followed without inteiTupti(m, and people did either learn to read or get most of the psalms by heart; but &c."
Provision for teaching music existed in the " Sang Schules" maintained ia the burgh towns. These would no doubt be supplemented in rural districts by itinerant or local teachers. The practice of remunerating a class of men for leading the church singing (termed the "up-takers of the psalms,") seems to have been of ancient standing, and many of them would certainly be more or less employed in musical teaching. Notices of these agencies are furnished in the nest Dissertation.
With whatever defects the church singing of Scotland has been chargeable in later times, it has all along continued to be, with a few exceptions, congregational. The rival method of conducting praise is that in which a select number sing, and the remainder join mentally but are vocally silent. It -would be too much to deny that it is possible to obtain devotional edification by this method, and it may be admitted that such power as music adds to language is thereby more fully developed. But if music pass much beyond the ability of the hearer to join with it vocally, or at least to understand and appreciate its relation to the words, it is very apt to be listened to simply as a performance, while the great ends of \vorship are forgotten. And though the singing of the select company be more artistically perfect, it wants the volume and mass imparted by the combination of hundreds of voices, and which are fitted to confer sublimity upon the simplest strains. Tlien, as music admits of the combination of an indefinite number, it is a reasonable inference that it was meant to invite to, and to form the audible manifestation of, union in the worship of the Most High. This method also accords best mth the spirit of those calls to praise which the Scriptures present, such as that with which the Book of Psahns con- cludes— " Let every thing that hath breath praise the Lord." 2. The principle of Church action in psalmody, or super- mtendence thereof by the ruling authority in the church, is conspicuous during the Reformation period. (1.) As regards the version of the psalms, the stamp of church authority is left upon the title page of its first edition (fac- simile 1.) ; it is bound up with the other public documents which formed the recognized standards of the church ; and further evidence is found in the historical account of its preparation and supervision hereafter submitted. This principle the church has continued to adhere to, so far as the psalms are concerned. The version now in use and adopted in 16.50, rests upon the same sanction as the former. The matter has ever stood upon a looser footing in the Church of England; in which various versions were per- mitted, and usage was for along time divided between two; while an endless number of selections have been employed in particular congregations. (2.) The music also formed an object of church care, inasmuch as tunes were provided for the psalms and printed along with them. How far this superintendence of the music was continued during the latter portion of the history of the psalter does not appear very clearly ; but there is reason to believe that it did not altogether cease, notwithstanding the incessant troubles in which the chtirch was involved, tUl the new version of the
psalms was received, as part of the system of uniformity constructed by the Westminster Assembly. Why the church left the musical element uncared for at that juncture is uncertain. It might be to reduce the price of psaktt books, or because a lower sense of the importance of regulating the music was entertained ; but there is ground to suspect that it was partly from deference to parties in England with whom they anticipated pennanent union, but whose views in this matter tended to extremes. The expedient was available ef printing tunes separately from the psalms, but there is no reason to- suppose that any thing of the sort was provided. The result was that the follow- ing century might be termed the " dark age " of church music in Scotland, dtiring which scarcely a single book of tunes seems to have been printed; and that the next oentury thereafter might be regarded as the "age of confusion," as numerous collections were issued according to individual preferences, with diverse materials and con- flicting harmonies; while the old psalter tunes were almost totally obUterated from the national memory.
In recent years the principle of church action in psalmody music has again been to some extent resorted to, but amid the ecclesiastical divisions now existing it can only afford a partial remedy for prevailing evils. The most that can be done is that each denomination should make suitable provision for its own adherents, and several have begun to move in that direction, the Free Church leading the way. From long-continued apathy and forget- fulness, followed by its inevdtable consequences, ignorance and inaptitude, it had become the settled habit of church court dignitaries to look upon every thing that related to the selection and cultivation of music for worship as insignificant, and unworthy of central superintendence or encouragement. Each congregation was left to shift for itself as best it could, and, as might be expected, four-fifths sunk to barbarism, and the remainder rushed into extrava- gancies and follies. If the " desolations of many genera- tions" are to be repaired, it can only be by restoring the old principle to its rightful supremacy. The tunes of the French Psalter are stiU pnnted as they were at first; and in Germany church tunes continue to be distinguished by the first words of the hymns to which they are severally attached.
It is a natural deduction from this principle that a church should confine itself tonne collection of tunes. There was but one known in Scotland during the period of the Psalter. Much more is such limitation requisite when a large amount of migration from one part of the country to another is ever going forward. If a change of residence entail the purchase of another book, and the acquisition of other tunes and harmonic parts, the effect must be detri- mental. It happens that the one point in which the old Psalter fails to set a full example, is that in which it affords a warning. Harmony was not supplied in a printed form tin 1635, and the result, as stated in E M.'s preface, was that " sundrie Tribles, Bases, and Counters, set by diverse authors, being sung upon * * the same Tenor, did discord- ingly rub each upon another, &c." Of this discordance, which is worse than the absence of part-singing altogether, Scotland has had its fall share in recent years. Where choirs engross the singing, this evil may be less felt; but where tne poptilar cultivation of harmony in public worship is aimed at, it becomes intolerable.
(3.) Superintendence by the church includes also public directions and exhortations, of which nature is the following from the First Book of DiscipHne 1560.
'' Moreover, men, women, and children wald be exhorted to exercife thame felvis in the pialmes, that when the Churche con- venith, and dois fing, thai may be the mo'e abill togither with commoun heart and voice to prayfe God."
See also several public injunctions quoted under the History of the Psalter.
II. — Principles relating to the Poetry.
Following the definition of psalmody above offered the next division of the subject consists of the opinions held and acted upon by the framers of the Psalter in regard to the Literary Material suitable to the purposes of worship; and, 1, That such material should be in che vernacular language of the worshippers was the result of a pervading principle of protestantism, affecting every thing connected
with religion no less than what concerned the duty of praise. The mummery of the unknown tongue was there- fore swept off, root-and branch, from the service of the Scottish Church; except that in some editions of the Psalter the first words of each psabn were retained as a title thereto, chiefly, it may be supposed, for the convenience of the learned. — See quotation from Preface to Wedder- bum's Psalms, p. Bit.
2. That the psalms formed the exclusive or all but exclusive material for worship. In the Genevan pnbhcations of 1556-61, described in the following Dissertation, a few Spiritual Songs are appended to the psalms; hut in the first issue of the comiolete Psalter for Scotland in 1564-5 these are all left out, and nothing is found but the psalms themselves. In 1 595, however, and probably for some years previous, some of these and similar songs were included, and the number was afterwards increased. It is also true that they were furnished with, or referred to, suitable times. Yet there seems to be good ground for the conclusion that they were used only for private purposes. (1.) In the directions for public worship, baptism, marriage, &c. which precede the Psalter, the singing of psalms is repeatedly prescribed, but in no instance is the existence of any other composition for such purpose hinted at. (2.) Amongst all the examples of congregational singing mentioned by the historian Calder- wood and others, no case of hymn singing appears to occur. -(3.) There is reason to think that three of these pieces at all events were intended chiefly for the instruction of the young. The following is found in Calderwood (1608) as part of a group of overtures prepared for the General Assembly of the Church : — " That it be of new enacted, that aU ministers examine young children of the age of six yeeres, and try that they have the Lord's Prayer, and Articles of BeKefe with the Commandements. In the which their parents sail be holdin to instruct them before the said yeeres, together with some .short forme of Grace before and after meate, as also, some short morning and evening prayer." The phrase " of new " implies the exis- tence of an early enactment, and the title " Articles of BeUefe," being that of one of the Spiritual Songs, renders it probable, though it may not be altogether certain, that the reference is to the documents in the versified form. (4.) The ecUtions of Smj^h, 1599, and Hart, 1611, small, (fac-simile 12 Ih ,) both intended evidently for the common people, have no hjonns; but they could not thus be dispensed with if in general use. Even the larger edition of 1611 has only three, and the Song of Moses is intro- duced in 1615 in such terms (Appendix, p 4th. ) as to indicate that publishers considered themselves warranted to exercise some amount of discretion in these matters, notmthstanding the warning afforded by the case of Bassandyne, Disser. II., p. 13 th
It must be remembered that singing of compositions relating to rehgion — some more strictly devotional and doctrinal, others levelled at the abuses of popery — was a conspicuous feature in the Reformation movement. But the distinction between use in worship and private ends seems to have been generally recognized. Even in Germany where hymns abounded, only a limited selection was admitted into the books prepared for the church. The " Godly BaUates," (p. ',)th. below) may be regarded as including specimens of both sorts of material. This dis- tinction being understood, it is not surprising that a few things intended for private instruction and edification, should for convenience sake be appended to the Psalter.
Some things may be said, however, in favour of the opinion that during the latter portion at least of the Psalter period these song* were occasionally used in pubhc worship. The strongest is founded upon the following passage in the Acts of Assembly 1647: "And the Assembly doth further recommend that Mr. Zachary Boyd be at the paines to translate the other scriptural songs in meeter, and to report his travels also to the Commission of Assembly," &o. This direction goes along -with those for the revisal of the new version of the psalms, and may imply that public worship was contemplated, and that it was not considered any innovation to employ the songs in that manner. Ifet there is nothing in the terms made use of to render this certain. It may stni have been the understanding that these songs, though they were con- sidered susceptible of improvement, were to be used for private purposes.
The Conclusions to the psalms which appear in Edition 1595 are considered i' Disser. III., p. 35-37.) The. only information respecting them is that furnished in the paper by Robert BaUlie, who flourished at the close of the Psalter period. That they were then generally used and approved of by the church is the inference which that paper warrants, and yet when it is considered that the editions of the Psalter subsequent to 1595 wanted these Conclusions, that in Edition 1635 only those for Common Metre were reprinted, and that BaHlie speaks of only one of the Conclusions provided for that metre, it looks as if the usage had been confined to the single verse which stands last in fac-simile 20th, There seems no reason to suppose that these Conclusions were employed prior to 1595 — but whether they were then introduced gradually or at once — whether their adoption was in compliance with court pressure for approximation to Episcopal practices, or from a spontaneous movement of the church, are doubtful questions. i;\. : -liy the "yeomen" addressed by Baillie may have represented a considerable portion of the Scottish people who entertained scruples respecting this usage, and this portion would probably be larger at an earher period.
Amongst all the topics relating to the ordinance of praise, there is none which has received so much attention in Scotland in modern times as the question how far hymns and metrical versions of other portions of Scripture, in addition to the psalms, are allowable or expedient. There is the less need, therefore, to enter upon it in this place, more especially as the subject is extensive, and public practice has for many years been proceeding in the direction of the affirmative view. Nevertheless the procedure of the Reformation Church is entitled to deferential consideration. As to the modern use of doxologies, the reasoning of Baillie deserves attention, in connection with the question whether it would not form an interesting variety in the Scottish form of worship 1
3. That the psalms should be used only in the metrical form. Two reasons for preferring this are set forth in the preface to the 1556 instalment of the Psalter, as quoted p. 11th. below. (1.) The pattern set in the original Hebrew. (2.) Facility of recollection. The former seems to have Iseen regarded as containing in itself something of the nature of a divine injunction, but as resting upon, and explained by, the practical advantage intimated in the latter. That these reasons continued to be held valid when the Psalter was carried into completion cannot be doubted. More was contemplated than singing the psalms from a book. Committing them more or less fully to memory was also regarded desirable, and the fitness of the metrical form to facilitate this object was one reason for preferring it. Another reason doubtless was the superior litness of the metrical form for popular singing, as noticed below.
The prose version of the psalms was indeed introduced into the Scottish Psalter ilfter the lapse of about 40 years ; but it is placed on the margin, and was obviously intended merely to verify the fidelity of the metrical rendering, and to assist in understanding it. There is no pointing, or arrangement by clauses, or music fitted for chanting, or anything to excite the suspicion that such a method of singing had ever been thought of And even during the period when that whimsical compound of pedantry, silliness, and tyranny, King James, was, by a series of most discreditable measures, forcing prelatic elements upon the Scottish 'Church, it does not seem that chanting found a lodgement anywhere except in the Chapel Royal. In one instance it was introdiiced at the conclusion of a General Assembly, as recorded by Calderwood, 1610: "So the Assemblie was dissolved, no new Assemblie appointed and the 133 Psalme chanted."
4. That varieties of metre should be provided. In this respect the Scottish Psalter greatly transcends the cotem- porary English one, and also its own successor. It deserves notice that diversity was aimed at all through the successive stages of the compilation, from 1556 till 1564. Of the 44 psaims by Sternhold and Hopkins, which were adopted at Geneva, all but two are in common metre, while of the 43 additions made in''1556, 1560, and 1561, mostly by Wliittingham and Kethe, all deviate from that metre except 11. In like manner the 42 psalms bj; Hopkins, &c. taken from the English Psalter of 1562, are all or nearly all in conunon metre, while of the 21 by Pont anrl Craig, which completed the Scottish Psalter,
16 are thrown into otter forms. The general result is that out of the 41 cases of different translations in the English and Scottish, the latter exhibits 34 deviations from the common metre ; and that on comparing the version now used in Scotland with its predecessor, the latter contains 61 instances of other metres, and the former only 1 3 ; while in the former ease the forms of metre are 29, and in the latter 6, For particulars see Disser. III.
These facts could not arise from accident. They prove that it was one of the principles upon wliich the construction of the Psalter proceeded, that there should be considerable variety of poetic dress. And it is to be observed that there were no duplicate versions, so that psalms behoved to be sung in the selected metre or not at all. It cannot be disputed that this is a sound principle of metrical psalmody. The nature of the subjects allows or rather demands diversity in the 'irapery in which they are arrayed. The rhythmic faculty is part of man's constitution, and lyric poetry is not fitted to produce its full effect upon his mind if all be cast into one mould. The latter consideration applies with equal force to the tunes connected with such poetry. The operation of the principle, however, has its hmits. The diversity must not be too gi'eat, else it will surpass the powers of ordinary congregations to acquire the tunes. The Psalter seems to have been very judiciously managed in this respect. Two-thirds of the psalms are in one form of metre, showing that the principle of practicability by the people was not lost sight of — and one-third, con- sisting of numerous other forms, relieves the tameness of unbroken uniformity.
III. — Principles relating to the Mcsic.
The remaining point of inquiry concerns the principles upon which the tunes were selected or composed- The following are the mo.st obvious : —
1. That the music should be simple, or level to the capacity of the general population. Keeping in view the principle already noticed, that the people as a whole should take part in the ser^T-ce of song, it necessarily followed that easy music should be provided. K young and old — the more and the less skilful — are to unite in the exercise, scientific niceties and all difficulties of execution must be excluded. Even when a considerable amount of training has been expe- rienced, simple material only is fitted for the miUiou. The operation of this principle occasioned, (1.) The rejection of anthems. The specimens then existing were fitted for choirs alone, and the employment of these would be felt to militate against the principle that all should sing. How far it was possible for the people to acquire easy anthems was scarcely a practical question in the circumstances.
(2.) The rejection of chanting. The chant, applied to the rhytlmiic prose of the psalms, is no doubt much more workable than anthems, but is certainly much less so than the regular metrical tune , as an instrument of popidar worship. At the present day there seems a disposition to subject this opinion to a renewed scrutiny. But whatever may be found attainable with the advantages enjoyed in modern times, few will question that, in the circumstances of the Scottish people 300 years ago, the choice made was con- ducive to the easy and general performance of the musical service. The remarks of Mr. J. A. Latrobe upon this topic in his Treatise on "The Music of the Church" (of England) may be quoted as a judicious view of this question : " The chant is better adapted for congregational singing than the anthem, and less scr than the psalm tune. It * * * * for general use yields precedence to the psahn tune, which better humours the voice of an undisciplined multitude," p. 254. " Simple as is its structure the ehant does not readily accommodate itself to the united voices of the people. The slow moving mass is unequal to keep pace with the rapid articulation of the first part of the clause," p. 268.
The abuse of anthems and chanting by the Church of Kome would certainly be a leading cause of their rejection, and it has often been supposed that the step resulted merely from the antipathy and prejudice thus created. But men of less penetration than the Keformers may see in the plan of popidar peiformance an important security against such abuse. Let music be too difficult for the people, and it falls into the hands of a choir. It is then prone to
become on the part of the latter a piece of professionalism, degenerating into formality, elaboration, display, and other forms of corruption; and to the former imediJfying, unin- teresting, or a matter of auricular gratification and criticism. The Reformers, therefore, having traced the abuses of their time to the silencing of the people as the source, adapted the materials of worship to the popular ability as the be.st expedient for preventing their recurrence ; and thus showed that in this, as in many other instances, they saw a great deal more clearly than many who have charged them with blindness.
But " simple " is merely a relative term, and it is by no means intended to foreclose the questions, what is practi- cable by the people under the increased facilities of moderii times 1 and how far is it possible to secure any advantages which chants and anthems may involve .while avoiding the abuses to which they fomierly led? Much less is it meant to insinuate that there is anything objectionable in chants or anthems considered in themselves. But the voice of the past sounds the note of warning, and calls upon all who woidd move from the old position to examine the ground well before they advance.
(3.) The adoption of plain and easy chorales. In modern times numerous compositions of a considerably elaborate character have been submitted to the world imder the name of metrical times; and the explanation is that they were intended not for congregations but for choirs only. . Those contained in the Psalter contrast with such to a degree which cannot fail to satisfy every one that the latter were prepared under the fuU influence both of the principle under consideration, and the collateral one already noticed that all should join in performing them.
(4.) The addition of common tunes. The rise and progress of these fall to be narrated afterwards, (Disser. IV., p. I-U, ) But it is proper here to state that it must have been the number rather than the inherent difficulty of the Proper tunes which mainly led to the origination of the order of the Common. Except in being shorter the latter are not materially easier than the former. But the invention of this class, as soon as experience proved that proper times taxed the popular abihty too heavily, shows that the prin- ciple of deference to that abihty continued to operate.
(5.) The same principle regulates the construction of the harmony of both proper and common tunes, which is in plain counterpoint. The tunes in Reports are of an exceptional character. Disser. IVr, p. -11.
Tills principle it may be added is (hstinctly recognized in the Dedication to Este's English Psalter. "And regarding chief ely to help the simple, curiositie is shunned." "Curious" was a term often used in those times to describe the more elaborate description of harmonized music.
2. The syllabic partition of the music would be preferred partly on account of its simplicity, as it doubtless facilitates both committal to memory and performance by masses of people ; but probably its adoption rested also upon other gi-ounds. It imparts much greater distinctness to the utterance of the words than the plan of combining two or more notes to a number of the syllables. Indeed it is obvious that the more florid music becomes, the more are the words absorbed and smothered. One note to a syllable therefore, ensui-es the most efficient enunciation ; and thus combines in the highest attainable measure the advantages of music and speech. Tliere is reason to think that in the Reformation period the object of giving prominence to the words sung, and making them tell in the performance, was more attended to than it has been .since. In Queen Elizabeth's injunctions to her clergy the following passage occurs, the former part relating to chanting, but the latter to metrical music : " She also' willeth and commandeth that there maj^ be a modest and distinct song, so used in aU the Common Prayers of the Church that the same may be plainly understood as if it were without singing." * * * * "In the beginning or end of common prayer, there may be sung an hymn in the best melody and music that may conveniently be devised, having respect that the sentence of the hymn may be perceived and underatood." Still earUer appears a recognition of this object as connected with the syllabic style, in the report of Cranmer to Henry VIII. upon translating the Liturgy into English : " The song made thereunto should not be fuU of notes, but as near as may be for every syllable a note, so that it may be sung distinctly and devoutly."
Doubtless these views were acted upon throughout all the Reformed Churches, as this style was universal. Much inay be said for it however upon its general merits. It is every way desirable and proper that music consecrated to the lofty uses of religion shoidd have characteristics which may distinguish it from that which is intended for inferior purposes — that there should, in short, be an ecclesiastical style; and syllabic partition, or the rule of one note to a syllable, furnishes an important contribution to the accom- plishment of that object. The best judges have borne testimony to its superiority for congregational use, and the best compilers and composers who had that end in view have honoured it with their preference. It may be regarded as a crowning tribute to its claims that after a long period of neglect, during which an inferior taste was in the ascendant, and Psalmodists luxuriated in runs and warbling, there has recently been manifested both in Britain and America a return to its use, and a revived appreciation of its elegance and fitness as the classic form lit' Congregational Music.
This style of tune has been charged with want of spirit and want of variety. The point of variety will be adverted to immediately. The other charge has nothing to rest upon except a drawling manner of performance for which of course the tune is not accountable. It is admitted by all who have studied the subject that the old rate of singing was not slow — (Disser. V., p. 52. ) Such would not have consisted well ■with the desire to give effect to the utterance of the words just adverted to. Probably a second was about the average duration intended for the minim, which rate of speed would be shghtly retarded or accelerated according to the sentiment of the passage sung. Let this rate be maintained and the charge of tameness will vanish. Indeed it is easy to prove that such a mode of performance is much more spirited than that which reqiiires two or more acts of the vocal organs for each syllable. The one reaches the point in view by a direct line, the other by winding tlirough a series of tortuosities.
It may be allowed, however, that it would scarcely be advisable in these days to push the principle of syllabic partition so far as not to admit a slight mixture of floridity in a limited number of instances. Some allowance may reasonably be made for diversity of taste.
3. Purity is a characteristic of the Psalter Music. By this term is meant freedom from whatever is incongruous and unsuitable to the nature and objects of the metrical jfcune; as in arcliitecture the Grecian style is pui-e when unmixed with the elements of any other. There are two principal forms in which purity has been frequently violated in recent years. (1.). By composing tunes in imitation of the peculiar mannerism of certain classes of secular music. Some of these are so gross as to be almost beneath notice, such as imitation of the military march ; others are more plausible, as serving up the old nhrases of Scottish national melodies. But the psalm tune, standing firm on the basis of its own principles, should rise above this cringing to secularism, and tower aloft in independent grandeur and majesty. It is a somewhat curious fact that at the time when many of these ancient airs, with all their peculiar sweetness and pathos, must have been at the height of their popularity, very few traces of resemblance t" their special mannerism are to be found even in those of the Psalter tunes, which have the best claim to be regarded as of native origin. (2.) A still more frequent encroachment upon purity ■ consists in attaching to the plain chorale features which are compatible only with the higher forms of Sacred Miisic. Wliat numbers of modern tunes are seen — like the jay strutting Lu the peacock's feathers — garnished with fugues, repeats, solos, &c., which are ■ entirely out of place, and altogether inconsistent with the powers which tunes possess, and the objects for which alone they are adequate ! The essential difference between the psalm tune and the anthem is clearly developed liy the Eev. J. J. Waite of England, in an Essay on Congregational Psalmody. The substance only of his statemeiit can be given here. The anthem is limited to certain definite words. It is therefore able to enter into all the lights and shades of expression which these words include, and to accomplish this, all the various devices of solo, duett, piano and forte passages, &c., may be legitimately employed. The tune is not thus Uniited. It is meant for any passage of, a certain measure, and a certain emotional character. Therefore, as it moves
from verse to verse, and as the specialties of one verse may not be found in the next — it is incapable of entering into specialties at all ; and thus all the devices resorted to for that object can serve no purjaose except to occasion incon- gruity. The function of the anthem is special, that of the tune only general — and the inference follows with full sweep and inevitable effect that psalm tunes have nothing to do with anthem peculiarities. Now, in this respect also, the Psalter tunes, in common with others of their era, manifest the most perfect purity. None of these misplaced decorations are found upon them. One instance only of a line twice repeated occurs in one of the tunes to the Spiritual Songs. The tunes in Reports may also be con- sidered exceptions, but in these the peculiarity lies chiefly in the collocation of the parts, as each taken separately sings the words right forward. It is also to be remembered that they had no place in the original contents of the Psalter, and were added at a time when many innovations were forced upon the church by the exercise of arbitrary power. 4. The Adaptation of tunes to psalms in regard to senti- ment or feeling was suitably attended to. This must have for its foimdation a sufficient diversity, and it has been assumed by some that the resources for this must he slender in the absence of the objectionable styles of tune above referred to. It is better to have less variety than to increase it by objectionable means. But the actual variety seems sufficient. A good deal is obtained by diversified sequences of long and short notes — (Disser. V., p. 54. ) — by the general strain of the composition, and by different rates of rapidity; but the chief source of diversity is the Modeswhich are referred to elsewhere. Besides the major and minor of modern times, there are various others, and whatever may be thought of these modes now, each was then regarded as invested with a specific emotional character; and it can- not be doubted that by the manner of harmonizing, the style of performance, and the peculiarity of the melody combined, each would be made to produce a particular sort of effect. In the Psalter ascribed to Archbishop Parker, and supposed to be of date 1560, these modes are set down as the basis of an emotional classification of the psalms, and one tune is provided in each mode and for each class. They are eight in number, and the character of each is described in Latin and English. The English lines are as foUow : —
Dorian, The first is meek, devout to see;
Hypodorian, The second sad, in maiesty;
Phrygian, The third doth rage, and roughly bray'th;
Hypophryffian, The fourth doth fawn and flatt'ry play'th;
Lydian, The fifth delight'th and laugh 'th the more;
Hypolydian, The sixth bewayleth, it weepeth full sore;
Mixolydian, The seventh treadeth stout, in froward race ;
Hypomixolydian,... The eyghth goeth milde, in modest pace;
The next point is the actual application of tunes to psalms; and, as regards Common tunes, all that can be said is that variety was provided. As expressed in E. M.'s preface. there are " some grave some Hght," e. g. " Marytrs" as compared with " The Stilt." But that the subject of adaptation even in this class of tunes was not neglected in those times may be inferred from another passage in Parker's Psalter.
" For the coniunction of Psalmes and Tunes." "First ye ought to conioyne a sad tune or song with a sad Psalme, And a ioyfull tune and song with a ioyfoU Psalme, And an indifferent tune and song with a psalme which goeth indifferentlie."
In the case of the Proper tunes the materials are applied, and thus every one has the means of forming an opinion respecting the fitness of the adaptations. It wiU not be denied that many of them are felicitous. For example, how much of majesty rests upon the 29th ! 'Wliat chastened exultation breathes through the 1 24th ! What tender pathos in the IS'^'th ! Sweetness in the 119th ! Boldness in the 46th ! and plaintiveness in the 51st and 109th ! And how thoroughly in each case does the feeling of the poetry accord with that of the music !
It is not known what was done when the sentiment varied in the course of a psalm, but it is not unlikely that the tune would be accommodated to the change by altering the degree of force or rapidity or both. Three rules for general expression are given by Eavenscroft, (1621,) that plaintive psalms are to be sung softly and slowly : joyfid psalms loudly and swiftly, and others at a medium rate in both respects.
This fixed connection between psalm and tune was lost both ill Scotland and England when their old Psalters were laid aside. The residt has shown this to be a cause of regret. How miserably the business of adaptation was managed in the majority of Scottish congregations till within the last few years is notorious to all who have paid the slightest attention to the subject. Whether it is possible to make a partial return to the old method of combiuing tunes with individual psalms, and how far it is superior to the modern practice, are questions worthy of examination. But at all events the care bestowed upon this departmynt of psalmody at the Eeformation reproves the negligence of subsequent times, and holds up an interesting example for the present and the future.
5. Another principle, which forms the basis of the adaptation just noticed, and lies deep in the philosophy of man's constitution, is the power of music over emotion. This is distinctly recognized in the first paragraph extracted from the preface to the 15.56 Collection of Psalms (Disser. IL p. 11.) in which the term "songe" is used as equivalent to music, and is said to "intlam.e the heart" &c. In recent times it seemed to have been very generally forgotten in Scotland that the operation of this principle extends to the religious emotions. Probably it was the prevalent idea that music served no higher purpose in worship than to enable a multitude to give simultaneous utterance to the same words. But in the passage referred to it is regarded as occupying a place in the system of divinely appointed means for the spiritual benefit of man, and as exercising the special function of stimulating the emotional suscepti- bilities of the renewed heart. If this view be correct, the same practical inferences follow as in parallel cases. The means must be recognized, honoured, regulated and rendered as efficient as possible by christian commimities; and dihgentiy and faithfully employed by congregations and individuals.
6. The question how far the practice of vocal Harmony was authorized and encoiiiaged by the western Protestant Churches requires some degree of consideration. At first sight appearances are uniavouiuble. There was no har- monized edition of the Scottish Psalter tiU the year 1635. The first eilitions of the French were also destitute of harmony. Eeproach has been tiirown upon Calvin for this by such writers as Burney, who in the whole departrment of psalmody manifests a thoughtlessness and rashness utterly unworthy of a historian; his statements of fact being frequently erroneous, and his opinions scarcely entitled to serious notice. !N o one who considers the cir- cumstances can be at all sm'prised that the first issues of the French Psalms sho\dd have been accompanied by melodies only. And, after all, no great length of time elapsed tdl harmonized sets were provided by Bourgeois, Goudimel, and others. In England a collection of tunes, in four parts, and folkTwing pretty much the order of the psalms, appeared in 1563, and another by Daman in 1579. But these are not properly Psalters. There is a marked difference between them and the editions prepared for ordinary church use. They do not contain the body of the psalms but simply specimen verses attached to the tunes. Great editorial liberties are taken in regard to the selections. The 1563 edition often presents two or more tunes to the same psalm, or the same tune arranged variously. Daman's shows a good deal of the same character. Both were evidently private undertakings intended for choirs and musical practitioners. The harmonized Psalters of Este, Allison, and Piavenscroft, embody the -^hole psalms, but the description of the others is applicable to them in part. There does not seem to have been any edition of the English Psalter parallel to the Scottish of 1635, having the ordinary Proper tunes and no more, but accompanied Avith harmonic parts. It is plain, however, that harmony was practised in England from the first formation of the Protestant Church; and was probably considered so much a matter of course as to require no express sanction or regulation. It seems, in short, to have been left very much to take its course under the charge of the professional musicians. And though the Puritan party objected to much of the cathedral service, it does not seem that they had any scruples respectmg the attachment of harmony to the psalm tunes. Probably they regarded the whole system of Metrical Psalmody, this included, as one of the features by which they were more especially distingilisiied as a party.
In Scotland the case was to some extent the same. If the Psalters were without harmony, it was in all probability . to lessen their cost. There is no reason to think that the practice of part-singing was discouraged by the Church, or neglected in congregations. Copies of the parts were multipUed by the pen. The following respecting the M S. of Wood, who styles himself vicar of St. Andrews, appears in the Introduction to Johnson's Music.il Museum.
" It appears that Wood in the year 1666 employed himself in writing 4 ditiereut volumes, each containing a distinct part of tlie music fur the Psalms, &c. used in this country after the Refor- mation. Wood himself records that the task occupied him four years, and it seems to have been a laborious employment, from the care whicli he took to adorn the volumes."
The next extract is from James Mehdlle's Diary under 1574. "Treables" it will be noticed refers to one nf the harmonic parts.
" Mairower, in these yeirs I learned my miisic, wherein I tuk graitter delyt, of an Alexander Smiths, servant to the Primarius of our Collage, wha had been treaned upe amangls the Mounks in the Abbay . I lerned of him the gam, plean-song, and monie of the treables of the Psalmes, wherof simi I could weil' sing in the Kirk."
The 124th psalm used at Durie's return to Edinburgh (1582) is expressly said to have been sung in four parts. And E. M., in his preface to the 1635 Scottish Psalter, speaks of various sets of harmony as in use, but as occasioning confusion by their diversity. Such notices show that the practice of part singing had been allowed from the first, and regarded as a natural attendant upon, if not constituent part of, Metrical Psalmody ; though it does not appear that the printing press had been employed in circulating the requisite materials.
Finally, the upside-down position of the parts of Common tunes (fac-simile 16,) shows that part-singing was really expected and ])rovided for. It is clear that four persons were meant to sing from one copy — each his part — seated two and two on opposite sides of the same bench.
7. It is notorious that the Reformed Church of Scotland rejected the use of Tnstnmiental music in its worship; and if some encroachments were made upon this principle during the Episcopal period, they were clearly the result of compulsion, and contrary to the preferences of the body of the people. Calderwood connects the first introduction of organs into Scotland with the reign of King James L During the period of about 130 years which preceded the Eeformation it is not likely, considering the poverty of the country and the turbulent course of the national history, that these instruments had ever been very generally diffused ; and this may assist in explaining the fact that the Eeformers seem to have experienced little difficidtj' in setting them aside. In adopting this course they were donbtless moved, partly by the ccmviction that it was in accordance with the teaching of the Xew Testament and the spirit of the Christian dispensation, and jjartly by the revulsion arising from the glaring abuses prevalent in Popish worship. Similar views were entertained by a large party in England. As early as 1536 a protestation to the king, by the clergy of the Lower House, in the province of Canterbmy, styles "the playing at the Organyes a foolish vanitie." Several subsequent attempts to effect their removal are recorded, one of which failed in the Lower House of Convocation onlj' by a single vote. And so late as 1586 a pamphlet, representing the sentiments of the puritans, proposes " that all Cathedral Churches may be put down where the service of God is grievously abused by piping with organs, singing, ringing, and trowKng of psalms from one side of the choir to another, * * * * imitating the fashion and manner of Anti..-hrist the Pope, that man of sin," &c.
Scottish presbyterians have continued tiU the present day to conduct their worship without the aid of instru- ments ; but many are now inclineil to dispute the soimdness of the view which rests this exclusion upon the teaching of Scriptirre. Without entering upon this, however, there is another question, which deserves to be carefully weighed before advocating any change; namely, how far experience has shown the use of instruments to have a favourable effect or the reverse upon the cultivation of congregational singing ] It can scarcely bo supposed that the Eeformers, in the position they occupied, looked very closely at this element of the case, but it would be as inexcusable as
foolish, to leave it out of view at the present day. In very « munerous instances in England and America the spectacle is seen of a congregation sitting in silence, and listening to the music of an OTgan accompanied by a choir or a company of school children ! Surely it is more like public worship to find the congregation generally uniting in the singing, though the music produced should be of a more homely character! But does the organ necessarily produce this result? Some think not, and refer to examples of the contrary. It is not meant to pronounce any decision upon the point, but certainly various parties who have given attention to it are disposed to maintain that in their bearing upon the ieauty, efficiency, and extension of vocal music in churches, Lustruments are fitted to do more harm than good. It is to be hoped that the Scottish mind will take care to satisfy itself upon this question, ere it propose a deviation from ancient practice. If there is one priuciple in Scottish Psalmody especially entitled to the rank of fundamental, it is that it should be performed by the mass of the congregation.
8. Two features of the Psalter music are of the nature of facts rather than principles, viz. the Tonal modes, and that method of harmonizing which assigned the melody to the Tenor; (Disser. TV., p. 4i (->.) but they may be shortly noticed, as they suggest the enquiry whether either of these peculiarities is worthy of restoration? Some older writers seem to have indulged in extravagant eulogy of the modes, and to have thro'wn an air of mystery around them, besides loading them with a jargon of high-sounding terms. Some of the modems, on the other hand, regard them as worthless, and even treat them with ridicule. A good specimen of the different lights in which they appear to competent critics is furnished in the ■writings of two of the ablest modern authors upon the science of music — Dr. Marx and Mr. Gfodfrey Weber, both of Germany.
The two opinions thus represented are to this effect — (1.) that the -major and minor modes now in use are sufficient for every possible purpose, and that others only occasion theoretical complication without any practical benefit; (2.) that while these two should be principally cultivated, the others produce effects to some extent peculiar, and add a special enrichnient to the stores of musical art, especially in the solemn and grave department. Without entering into discussion the Editor takes the liberty of stating that he rather inclines to the latter of these views. It is certainly advisable to presei-ve many of the old chorals composed in the obsolete modes, for it is generally admitted that they are of unrivalled excellence. Along with this it is necessary to retain the essentials of the harmonic features of these modes, as otherwise the compositions lose their original character. But these ■peculiarities cannot well be preserved without maintaining some knowledge of the system from which they sprung. Such knowledge had almost vanished from Scotland till
very recently. Thus the tune " Martyrs," the only Psalter tune in the Dorian mode which continued to be printed, was a standing source of perplexity to Editors, till at last it was spoiled by altering it so as to reduce it to the Minor mode ; an outrage -from wMch it has but lately been rescued by the re-issue of the original version in the " Scottish Psalmody," the Musical Text-Book of the Free Church. It may be added that of these modes the Dorian, and next to that the Phrygian, seem to possess the strongest claims to preservation.
The plan of assigning the melody to the tenor voice has found advocates at the present day, and Mr. Hullah inti- mates in the preface to his Psalter that he was so strongly impressed in its favour as to contemplate the revival of it in that work, though for reasons there stated he relinquished this idea. So far as Scotland is concerned it is not likely that the practical result would be greatly affected by the restoration of the old method. At present the bulk of most congregations, men, women and children, sing the melody^ and there can be no doubt that they did so in Psalter times, and would continue to do so though the change in c[uestion were made. The chief difference would be that the treble would possess the distinction which the tenor now enjoys of standing out in its purity as a part of the harmony. The old method is stUl so far retained that a male voice is usually employed to lead the melody.
In aU other branches of vocal music the system which gives the melody to the treble voice is conclusively established, and rests on the principle that, as the highest tones tell most powerfully upon the ear, they are most proper for the leading part. It is desirable that Congre- gational music should be conformed to the general law as far as possible, and if the practice of part-singing were general, the propriety of this arrangement could scarcely be questioned. As matters stand at present, however, there is room for some diversity of opinion.
The principles or \'iews thus surveyed form the basis on which the structure of the Scottish Eeformation psalmody was reared. That structure was solid and symmetrical, and did not easily admit of addition or deduction -svithout injury to its proportions. But, for a century and a half at least, it has resembled one of the ancient Gothic erections of which some portion continues to be of service while the remainder lies in ruins. Some of these principles are still either openly recognized or operating tacitly, but the greater number have been encroached upon or have become altogether dormant. Protestants are not bound to the past, except where Scripture pronounces a distinct deliverance; but all at the present day who long for improvement in the performance of praise in worship would do well to examine the old foundations, and to enquire whether it is not the best and the most practicable course, to undertake the resto- ration of the ruined fabric according to its original design ?
DISSERTATIOIS^ 11.
HISTORY OF THE SCOTTISH PSALTER.
The official existence of the Psalter comprehends a period of 86 years, dating from the year 1564, ■when the first complete edition, so far as is kno'vvn, was issued, and closing in 1650, when the Metrical Version of the Psalms which still continues in use, was adopted in its room. This period may be divided into portions by the dates of three leading editions — 1595, 1615, and 1635. But as a part of the Psalter was in use for some years prior to 1564, and as a few years subsequent to 1650 would be required for effecting the transition from the old version to the new, the entire history extends to at least a hundred years. During this period there was only one protestant denomina- tion in Scotland, and only one manual employed in the ordinance of praise. In the re-issue of the manual itself therefore, and the illustrative matter now attached to it, the reader is put in possession of everything material relating to that branch of worship, as observed in Scotland throughout the post-reformation century.
The number of editions of the Psalter issued .during the period thus referred to, and of which either specimens or some historical trace remains, may be estimated at about forty. Most of these are afterwards described in the order of their dates, but it is proper to notice here the classes into which they fall 1. There are a few editions, besides that now reprinted, which are the most carefully executed, or possess distinctive features in regard to subject matter. Of these, fac-simile specimens are furnished, and it is from them chiefly that the materials of the Appendix are derived. 2. There is a series of editions of small size, obviously adapted to the circumstances of the poorer portion of the people. 3. There are various editions of large size, intended to be bound up ■s\'ith bibles. 4. The remainder are less definable ; see list, p. 12 & IS .
Of these editions, the -greater number were printed in Edinburgh ; but many also in Aberdeen, London, Middle- berg, and Dort. The Editor of the present Reprint has
carefully collated those belonging to the fii-st of the above classes, and has examined, , as far as seemed necessary, a considerable number of the others. For those that remain lais authorities are intimated.
In most cases, the Psalter was preceded by a Calendar and a series of prose documents relative to church order, which, with the Books of Discipline, formed the standards of the Church of Scotland, These it is not necessary to describe at length. They embraced a brief Confession of Faith — regulations for Electing ilinisters, Puhhc Worship, Discipline, Visitation of the Sick, Buiial, Baptism, the Lord's Supper, Marriage, Fasting, &c., — a considerable number of Prayers — and Calvin's Catechism. Much of this material jvas retained from the Service Book of the English Congregation at Geneva as afterwards noticed.
I. — From beginning of Eeformation till 1562. Origin of Psalter, ^c.
In tracing the progress of the Psalters both of England and Scotland three stages are observable. 1. The appear- ance of Coverdale's psalms in the former and of Wedder- burn's in the latter country ; 1538-40. 2. The 44 psalms by Sternhold and Hopkins in their original form and without tunes; 1549-5.3. 3. The Genevan publications with tunes; .1556-61.
The " Goostly Psalmes and Spiritual Songes" of Cover- dale were, as stated in the first edition of " Foxe's Martyrs," condemned to the flames in 1539. The date of their publication isjuncertain, but was probably not more than a year or two previous. They could not, therefore, have been very generally known ; but they would at least serve to prepare the way for the more successful enterprise of Sternhold and his coadjutor.?. These compositions were set to Gregorian Tones and German Chorals, including the famous Ein Feste Burg. The number of psabns is 13, but 2 of them have second versions. The songs are 26, but in several cases there are two on the same suliject.
The suppression of this book was quite in harmony with other tyrannical proceedings in matters of religion during the reign of Henry VIII. It seems to have had the effect of preventing the appearance of any such effusions during the eight remaining years of that monarch's life. Sternhold, who comes next into view^ as a psalmodist, held a situation in his household, and received a legacy at his death, but at whatever date he may have commenced his labours, no publicity was given to them, so far as is known, tdl the accession of Edward VI.
In Scotland the Eeformation had made considerable progress before the year 1540, but no notice appears to exist of the use of metrical psalms previously to that time. Soon after, however, evidence presents itself that a metrical version of a number of the psalms — how many is uncer- tain— had originated and come into use to some extent in that country. The historian Calderwood, under the year 1540, gives an account of three brothers of the name of Wedderburne, belonging to Dundee ; and concerning John, the second of the three, he makes the affirmation that " he translated manie of Luther's dytements into Sootish meeter, and the Psalmes of David;" and that these performances were put into print about this time appears to be borne out by the statement of Eow, the church historian, that amongst "the more partieulare means whereby many in Scotland got some knowledge, Ac, there were some bookf seti oat, such as * * * Wedderburn's Psalmes, and Godlie Ballads, changeing many of the old Popish songs unto godlie purposes." This collection is referred to by James Melville in such terms as also imply its being in print in 1570. "He {i.e. a 'post,' or common carrier) schew me first Wedderburn's Songs, whereof I learned diverse jmr ceiir with great diversitie of toones." Ko copy of the early editions remains, but, from comparison of titles and other considerations, it is evident that a book still existing, and entitled " Ane Compendious Booke of Godly and Spiritval Songs" &c., is a reprint — though, as intimated in the title, with some additions. The date of the copy in the Advocates' Libraiy, Edinburgh, is 1621. Copies of earlier editions are said to exist, but as this is described as " newHe corrected and amended by the first originall copie," it may be regarded as authoritative. The number of psalms is about 20, and they are not interspersed amongst the songs, but occupy a separate division.
The more private ends intended to be served by these compilations are plainly indicated in their respective pre- faces. One of them was the displacing of unclean and othervsrise objectionable atmgs. Thus Coverdale : "Would that our minstrels had none other thmg to play upon, neither our carters and ploughmen other thing to whistle upon, save Psalms, Hymns, and such godly songs as David is occupied withal. And, if women sitting at their rocks or spinning at the wheels, had none other songs to pass their time withal than such as Moses' sister, Elkanah's wife, Deborah, and Mary, the mother of Christ, have sung before them, they should be better occupied than with hey nony nony, hey troly loly, and such like fantasies." Ajiother end wras the increase of Scriptm-e knowledge. The preface to the Scottish Collection, after quoting (.lolossians in. 16, proceeds " We have heir an plain text that the word of God incressis plenteously in vs by singing of psalms and spiritual songs, and that specially amang young persons and sik as are not exercised in the Scriptures. For they will sooner consaue the true word nor quhen they heir it sung in Latine the quhUk they wot noght what it is. But quhen they heir it sung, or singe it themselues into their vulgar toung with sweet melody ; then sail they lone theu' God, with hart and minde. * ■' * Praise to God, Amen."
The more directly religious use of these effusions in worship, though not exphcitly declared, seems to be implied. Coverdale speaks much of thankfulness, and exclaims " O that men's lips were so opened that their mouths might shew the praise of God." It is evident also from the use of the word ' we ' in some of the hymns that they were intended for meetings ; e. g. " Now seyenge we are come together." The same construction may reasonably be put upon the psalms at least, in the Scottish Collection. The latter is however destitute of tunes. The Songs are evidently constructed for common secular melodies, but no indication is afforded of What music should be used for the "jjsalms, except in one instance, vrhich is proposed for the tune of Exaudi Deus Orationem Meam, (Psahn 55th,) probably a Gregorian Tone adapted. It may therefore be inferred that every one was left to supply the defect as he best might.
The following incident in the year 1546 shows that Wedderburne's Psalms were then in use, at least in private. "The Martyr Wishart, on the evening previous to his appre- hension, before retiring to rest, said to his friends at Ormestoim ' WUl we sing a psalm,' and so he appointed the 51st Psabne, which was put in Scotische meter, and begane thus —
Have mercy on me now good Lord After thy great mercy," &c.
Knox's History, Book I.
These lines begin the second stanza of Psalm 51st in the Collection, a proof of its identity with that Icaown in the days of Wishart.
Fouj years later, it is stated in Fox's Account of the Martyrdom of Adam Wallace, that he " passed oner that night in singing, and lauding God to the eares of diuers hearers, having learned the Psalter of Dauid without booke to his consolation." It is probable, though not certain, that the same series of psalms is here referred to. At all events the incident affords another instance of the private devotional use of the psalms at this period.
■Before taking leave of the Collection, it may be added that it seems to have been largely used even after it had been laid aside for the purpose of worship. In the Inven- tory of Smyth, printer, Edinburgh, of date 1602, there occurs the item, 1234 copies of " Dundie Psalms." Dundee was Wedderburne's native place, and Smyth had issued an edition of the Collection under consideration two years before, so that the indentity seems miquestionable.
Eeverting to England, the following clause occurs in the First Act for the Uniformity of Divine Service imder Edward VL, 1548:—
It shall be lawful for all men as well in Churches, Chapels, Oratories, or other places to use openly any psalm or prayer taken out of the Bible, at any due time, not letting or omitting thereby the service or any part thereof.
Though the tenn psalm here is not expressly defined as metrical, yet various wTiters of authority, as Strj'pe and Burnet, so understand it ; and therefore refer to this passage as the first public sanction to the use of such psalms in
worship. In regard to the question whose renderings are referred to, Strype supposes they are those of Sternhold, and adds —
It is certain that Sternhold composed several at first for his own solace ; for he set and sung them to his organ. Which music King Edward VI. sometime hearing (for Sternhold was a gentleman of his privy chamher) was much delighted with them, which occasioned his puhlication and dedication of them to the said King.
Another author quoted by Holland (Psalmists of Britain I. 94) addresses Ejig Edward thus —
Your majesty hath already geven a notahle exhample in causying the psalmes hrought in fine Englysh metea:, hy your godly disposed seruant Thomas Sternholde, to be song openly before your grace in the heaiying of all your subjectes.
Viewing these extracts in connection with the "fact that Sternhold published 1 9 psalms some time before his death * in 1549, (Disser. Ill, p. 25. ) the following inferences appear highly probable — that these psalms appeared in 1547, or at least a considerable time before the Act of 1548 — that the King appointed or allowed the use of them in the Royal Chapel — that there is a tacit reference to them in the Act — and that many woidd soon after imitate the example of the Sovereign by employing them in worship. The collection was in 1549 enlarged to 44 psalms, including seven by Hopkins, as stated in Disser. III. p. 2 j . To this period Burnet seems to refer when he speaks of psalms translated into verse, "which were much sung by all who loved theEeformation, and in many places used inchiu'ches." (Hist, of Reform, part II. Book I.) Doubtless all trace of this progress would disappear from the Established Church liuring the reign of Mary.
1555. Knox, in relating the death of Elizabeth Adam- son, states that " A liteU befoir hir departyure she desyred hir sisteris and some otheris that war besyd hir, to sing a Psalme ; and amonges others she appoiuted the 103. Psalme, beginnyng ' My saule praise thuw the Lord alwyes.' " Tliis psalm is not in the Wedderbui-n collection as it now stands, and if held to be of Scottish origin, it is necessary to suppose that psalms were in circidation at this date which have not been preserved. But the quotation agrees with the first line of Psalm 146 in the collection of 44 abeady noticed, being one of the seven contributed by Hop- kins; (Table, Disser. III. p.28) and it may be presumed that the historian has merely mistaken the nimiber. It is a reasonable inference that tliis little collection, which proved to be the foundation of both the English and Scottish Psalters, had already obtained some degree of currency in Scotland.
Passing from the more private to the public or , congre- gational use of metrical psalms iu Scotland during the years thus glanced over — a decisive testimony thereto occurs in the " Brieff Discours off the troubles begonne at Eranckford ;" ascribed with much probability to William Whittingham, but at all events written by one personally concerned in the transactions narrated. The violence of persecution under the reign of Mary of England ha-vdng driven many of her jsrotestant subjects into exile, those of them who took refuge in Frankfort-upon-the-Maine pro- ceeded, in 1554, to arrange a form of public worship, and the foUo-ndng among other points was agreed upon : " The people to singe a psalme in meetre in a plain time, as was and is accustomed in the Frenche, Dutche, Italian, Spanishe, and Seottische churches."
But though the practice in Scotland must have been as thus indicated, for at least a few years prior to 1554, neither Knox nor Calderwood mentions any express instance of psalm singing in connection with public preaching. ISTothing is said of the manner in which worship was conducted at the meetings held by Wishart, Bough, Knox, WUlock, and others, previously to 1556; which, strictly speaking, forms the starting point in the history of Scottish Psalmody, considered as a matter of Ecclesiastical Order. Similar silence is maintained respecting the more private religious meetings of the protestants. Tlius Calderwood under 1555 —
The professours of Edinburgh had their privat conventiouus this yeere, in the feilds in sommer, in housses in winter. William Hariaw and Johne Willocke were their teachers; sometimes Paul Methven, and Johne Dowglas. They had their owne elders and deacons, * * * * The small number increassed day lie, untill the time of publick reformatioun.
JO
Dr. M'Crie, however, (Life of Knox, vol. I., note K.) speaking of Wedderburn's psalms, observes that " they were commonly sung in the assemblies of the protestants in the year 1556." But it does not appear on what authority the statement is made.
Differences of opinion soon arose at Frankfort respecting the order of pubHc worship, one portion urging adherence to the English Liturgy, and another contending for a simpler form of service. John Knox of Scotland, at that time residing at Geneva, was invited, along vnth two others, to undertake the pastoral charge of the congregation ; and having complied with the proposal, he soon found himself deeply involved in the prevailing dissensions. Of several attempts made to unite parties it is only necessary here to notice one, which is thus recorded in the " Brieff Discours " already referred to : —
■' The Congregation coulde not agree vpon anie certeine Order ; till after longe debatinge to and fro, it was concluded, that Maister Knox, Maister Whittingham, MaisterGilby, Maister Fox, and Maister T. Cole, shulde drawe forthe some Order meete for their state and time; whiche thinge was by them accomplished and oSred to the Congregation (beinge the same Order of Geneva whiche is nowe in print.) This Order was verie well liked of many; but suche as were bent to the Booke of Englande coulde not abide it; * * * * * In th'onde, an other waie was taken," &c.
This occurred early in 1555, and in March of that year Knox found it prudent to withdraw from Frankfort ; and after residing for some time at Geneva, he returned to Scotland. Meanwhile Whittingham who, though from England, acted closely with Kiiox in these transactions, seeing no prospect of an adjustment of differences, carried out the project of removing to Geneva with such of the refugees as adhered to his views. An English congregation was thus formed there in November, 1555, which made choice of Knox and Goodman as co-pastors; and Knox, in compliance with their invitation, returned to Geneva in September, 1556.
It was for the use of this congregation, and rmder the auspices of its leaders, that the work was published which is entitled " The Forme of Prayers and Ministration of the Sacraments, &c, vsed in the Englishe Congregation at Geneua, * * * * M. D. LVI." At the end of the volume, and also at the end of the preface, tlie year is repeated, with the addition " the tenthe of february." This " Forme " is expressly stated in the passage above quoted to be the, same with that prepared for, though not adopted by, the Frankfort refugees. In the " Contentes of the Booke" 12 pieces are enumerated. The first 10 relate to Chirrch Doctrine, Worship, and Discipline, and to these the title properly refers, as the remaining two have separate titles. This " Forme " came afterwards to be termed the " Order of Geneva," not from its relation to the native Protestant Church, but because it Avas first used by the English congregation in that city. It was- also designated "Tlie_ Book of Common Order." The 12th document is Calvin's Catechism, and the 1 1th, with which the present enqiriry is chiefly concerned, bears the following special title : —
" One and Fiftie Psalmes of David in Englishe Metre, wherof 37. were made by Thomas Sterneholde: ad the rest by others. Coferred with the Hebrewe, and in certeyn places corrected as the text and sens of the Prophete required." Device. " Jam. V. If any be afflicted," &c.
The 51 psalms consist of the 44 by Sternhold and Hopkins, (1549-53,) but considerably altered, with the 'addition of seven furnished by Whittingham. It does not appear whether this compilation of psalms formed part of the arrangements proposed for the congregation at Frankfort, or at what precise time the resolution to prepare it was entered upon. But the germ of it seems to lie in the resolu- tion of that congregation in the year of its formation (1554): — "the people to singe a Psalme in meetre," &c., as above quoted, and again, " the people to singe ane other Psalme as afore."
To this volume a somewhat copious preface is attached, which, on good gromids, is attributed to Whittingham. The portion relating to the psalms is here extracted, as it throws a clear light upon the views according to which the psalmody of the English Church at Geneva was moidded, and which were afterwards more fully developed in the Psalter of the Church of Scotland.
Jl
" But because prayers are after two maner of sortes, that is, either in wordes only, or els with songe joyned therunto ; and thys latter part, as well for lack of the true use therof, as due consideration of the same, is called by many into dout, whether it may be used in a reformed church ; it is expedient that we note briefly a fewe thinges perteyning therunto. S. Paul geving a rule how men shulde singe, first saith, ' I will singe in voice, and I will sing with understanding.' And in an other place, shewing what songes shulde be songe, eshorteth the Ephesians to ' edifle one an other with psalmes, songes of praise, and such as are spirituall, singinge in their heartcs to the Lord with thankes geving.' As if the holy ghoste wolde saye, that the songe did inflame the heart to call upon god, and praise him with a more fervent and lyvely zeale. And as musike or singinge is naturall unto us, and therfore every man deliteth -therein ; so our mercifull God setteth before our eyes, how we may rejoyce and singe to the glorie of his name, recreation of our spirits, and profit of our selves.
" But as ther is no gift of god so precious or excellent, that Satan hath not after a sort drawen to himself and corrupt, so hath he most impudentlye abused this notable gifte of singinge, chieflye by the papistes his ministers, in disfiguring it, partly by strange language, that can not edifie, and partly by a curious wanton sort, hyringe men to tickle the eares and flatter the phantasies, not esteminge it as a gifte approved by the worde of god, profitable for the churche, and confirmed by all anti- quitie. As, besides other places, is most manifest by the wordes of Plinius, called the younger, who, when he was depute in .4sia unto the Euiperour Trajan, and had receyved charge to enquire out the Christians to put them to deathe, writ eraongs other thinges, touchinge the Christians, ' That their maners were to singe verses or psalmes early in the morninge to Christ their god.' ***** Seinge therfore god's woorde dothe approve it, antiquitie beareth witenes therof, and best reformed Churches have recej'ved the same, no man can reprove it, except he will contemme God's Worde, despice Antiquitie, and utterlie ogndemne the godlie reformed Churches.
" And there are no songes more meete then the Psalmes of the Prophet David, which the holy ghoste hath framed to the same use, and commended to the Churche, as conteininge the effect of the whole Scriptures, that hereby our heartes might be more lyvelie touched, as appereth by Moses, Ezechias, Judith., Debora, Marie, Zacharie, and others, who by songes and metre, rather then in their commune speache and prose, gave thankes to god for suche comfort as he sent them.
"Here it were to longe to intreate of the metre; but for asmuche as the learned doubt not therof, and it is playnly proven that the psalmes are not only metre, and conteyne juste Cesures, but also have grace and majestie in the verse more then any other places of the Scriptures, we nede not to enter into any probation. For they that are skilfull in the hebrewe tounge, by comparinge the psalmes with the reste of the scriptures, easelie may perceyve the metre. And to wliome is it not knowen, how the holy ghoste by all means soght to helpe our memorie, when he facioned many psalmes accordinge to the letters of the alphabet ; so that every verse beginneth with the lettres therof in ordre. Sometimes A. beginneth the halfe verse, and B. the other halfe ; and in an other place, thre verses, yea and eight verses with one letter, even the psalrae throughout; as if all men shulde be inflamed with the love therof, bothe for varietie of matter, and also briefenes, easines, and delectation.
Nowe, to make you prlvie also whj' we altered the ryme in certeyne places of h}Tn, whome for the gyftes that God had gevyn him, we estemed and reverenced, thys may sufSce: that in this entreprise, we did onely set God before our eyes, and therfore wayed the wordes and sense of the Prophete, rather consideringe the meanyng therof then what any man had wrytt. And chiefly beinge in this place, where as moste perfite and godly judgement dyd assure us, and exhortations to the same encorage us, we thoght it better to frame the ryme to the Hebrewe sense, then to bynde that sense to the Englishe meter : and so either altered for the better, in such places as he had not attayned unto, or els where he had escaped parte of the verse, or some t}Tnes the whole, we added the same, not as men desyrous to finde fautes, but onely as suche which covvete to hyde theym, as the learned can judge."
This collection is interesting, inasmuch as all the psalms it contains, and 41. of the tunes, were subsequently incor- porated without change into the Scottish Psalter, which thus virtually begins its history at this point. Here also, the divergence of the Scottish from the English Psalter takes its rise.
The prose documents in the volutae include various directions respecting the singing of psalms in connection vrith public religious services. See Disser. I. p. 2. Xp.15.
The next topic is the introduction of this vrork into Scotland. The explanation is mainly to be found in the harmony of religious sentiment between the English exiles in Geneva and the Scottish protestants. But the agency of Knox, as the connecting 1inV between these parties,
constitutes a prominent feature in the case He was one of the five who originally framed the " Order" for the Frankfort congregation, which differed little from that under consideration ; and it is evident, from the history already referred to, that the part he took in the work was at least as conspicuous as that of any of the others. He had subsequently visited Scotland, where his influence with the protestant party was paramount : and it is obvious, that, though absent from that portion of the exiles who accompanied Whittingham to Geneva, his intercourse with them was not interrupted. Indeed the speedy resumption of the pastoral relationsliip indicates that, on both sides, it was regarded as suspended rather than dissolved. It may be assumed that the task of preparing the psalms under consideration devolved upon Whittingham. Being the author of the additional seven, there can be little doubt that he made the emendations upon the others referred to in the title. But Knox must have concurred in the steps thus taken, as the opisosite supposition is inconsistent both with his position as pastor, and the part he had taken in preparing the accompanying documents. Most probably he and other leading parties in Scotland had the object in view, which was afterwards realized, of providing a manual of worship suitable for their own country.
Some obscurity, however, involves the questions, when this collection came into public use in Scotland; and whether Wedderbirrn's continued in possession tUl supplanted by this ; or the 44 by Sternhold and Hopkins had been used intermediatelj''? Probably the practice was various in different congregations or districts. The following seem to be the chief items of information obtainable upon these points. In the "Ordour of the Electioun of Elderis in the Kirk of Edinburgh," framed in 1558, (compare Vol. L, p, 300, with Vol. IL, p. 151, of Knox's Works, by Lauig,) direction is given to sing "thisportioun of the 103 Psalme, ver. 19, TliQ hevins hie ar maid the seat and so forth." These words are from the verMon by Sternliold, which was included in the 1556 publication, but as it had also been one of the previous collection of 44 j)salms, it cannot be positively affirmed which of the two is referred to. In precisely the same position is the 128th psalm, appointed to be sung in the Form of Marriage iu the Order of Geneva 1556, and the identity of which is also settled by a quotation. Similar uncertainty attends the statement by Knox, that after the St. GUes' uproar in Edinburgh in the year 1558, " the brethern assembled themselfes in such sort in Companyes synging psalmes and prasing God, that the proudast of the ennemies war astonied." But it is very probable, considering the cu'cumstances above noticed, that by this time the 1556 collection had been adopted, at least in Edinburgh
There is authority for stating that in 1558 another edition of the "Forme of Praiers,"&c. " was issued at Geneva, but no copy of it is known to remain. In 1559 Knox returned finally to Scotland. The Eeformation there advanced rapidly, and in 1560 the first General Assembly of the protestant Church was held In this year was dravm up the " Forme " for Election of Superuitendentc and Ministers, Avhich concludes with directiLg the 23d I'salm to be sung; and as that psalm first appeared in the collection of 1556, a decisive recognition of that collection is thus afforded. In the same year the " First Book of Discipline" was framed, which recognises the "Forme of Prayers" as "owre book of Common Ordour," and "the Ordour of Geneva whilk now is used in some of oure 'Kirks.'" The immediate reference is to the prose documents in the voliune, but it must be inferred that the psalms are included, and that they were, at this date, current in Scotland.
In this year, moreover, the collection of 51 psalms was extended to 6c. and in that following to 87. The particu- lars of these additions fall to be considered under subsequent Dissertations, but it is proper to state here that they were evidently made under the auspices of the same parties as were concerned in the publication of 1556; (for proof see Disser. III., p. 2. 5 ) and as they were soon after incorporated .intire into the Scottish Psalter, they may be regarded as .'irtually steps in its progress. Whether these enlarged collections obtained immediate circulation in Scotland is not quite apparent, though it must be considered probable. In December, 1562, the General Assembly directed "that an uniforme Order should be keeped in Ministration of
]2
the Sacraments ***** according to the Booke of Geneva," and it is reasonable to suppose that this wovild be understood to inchide the use of the .psalms as they stood at that date. The word " bokes " in the title of the com- plete Psalter (fac-simile 1.) must also refer to more than one previous edition. There seems to be on the whole fair grounds for regarding the course of things to have been this: — that from about 1540 tiU about 1550 Wedderburn's Psalms were used — frorii 1550 tUl 1557 the 44 by Sternhold and Hopkins — from 1557 tiU 1561 the same, with Whittingham's first alterations and addi- tions, and from 1561 tUl 1564 this, with the enlargements above mentioned.
The following passage is from the tract entitled " A Historie of the Estate of Scotland," {Miscellany of Wodroiu Society) and describes the proceedings of the combination of protestants designated " The Congregation," on return- ing from their negotiation with the Queen Eegent in 1559 :
Where they found in their way any kirks or ohappells, incontinent they purged them, brekin down the altars and idoUs in all places where they come. And so praising God continually, in singing of psalmes and spirituall songs, they rejoiced that the Lord wrought thus happUy with them.
It may be supposed that the psalmes were those of Geneva, and the songs those of Wedderburn.
In England, after Elizabeth ascended the throne, the state of church music under Edward VI. was restored. In 1559 a series of Injunctions was issued regarding Ecclesiastical matters, in which, after the continuance and regidation of the Liturgical music is provided for, it is added —
And yet neverthelesse for the comforting of such as delite in musicke, it may be permytted that in the begynninge or in thend of oomraou prayers, either at mornynge or evenynge, there may be sunge an hymne or such lyke songe, to the prayse of Almighty God, in the best sorte of melodye and musicke that may be conveniently devyssed.
As in the case of the act under Edward, versified psalms are not expressly sjjecified here, but they have always been regarded as included ; and there appears to be no authority for the use of metrical compositions in the Church of England, except these two enactments.
The foUowng passages from Strype, &c. furnish examples of the actual use of such psalms in London, 1559-60.
" Mr. Veron, a Frenchman by birth, but a learned protestant and parson of St. Martin's, Ludgate, preached at St. Paul's Cross before the Mayor and Aldermen, and, after sermon done, they all sung in common a psalm in metre, as it seems now was frequently done, the custom being brought to us from abroad by the Exiles."
" The new morning prayer began at St. Antholine's, the bell beginning to ring at five, when a psalm was sung after the Geneva fashion, all the congregation, men, women, and boys, singing together."
Grindal, the new Bishop of London, preached at St. Paul's Cross, the Mayor and Aldermen present, and a great auditory. And after sermon a psahn was sung (which was the common practice of the Beformed Churches abroad) wherein the people also joined their voices.
" Religion is now somewhat more established than it was. The people are everywhere exceedingly inclined to the better part. The practice of joining in popular church music has very much conduced to this. For as soon as they had commenced singing in public in one little church in London, immediately not only the churches in the neighbourhood, but even the tow:is far distant, began to vie with each other in the practice. You may now sometimes see at Paul's Cross, after the service, six thousand persons, old and young, of both sexes, all singing together, and praising God. This sadly annoys the mass priests, for they per- ceive that by this means the sacred discourses sink more deeply into the minds of men, and that their kingdom is weakened and shaken at almost every verse."'
It can hardly be doubted that the book used on these occasions would be the Genevan of 1556, which seems also to have been known in London even during Mary's reign, as it is most probably the one referred to in the defence of the Separatists before the Bishops in 1567.
Remembering that in Queen Mary's days there was a congre- gation, not only of exiles abroad, but in the city of London, which used a book differing from the Book of Common Prayer, we resolved to meet privately and use the same book.
In closing the period of incomplete Psalters, it may be proper to notice two incidents relating to Mary of Scotland. On the night of her arrival at Holyrood from France (1561) there came under her window, says Brantome, " cinq ou six cent marauds de la ville, luy donner, aubade de meschants
violons et petits rebecs, dont il n'y en- a faute en ce pays-la; et se mirrent a chanter pseaumes, tant mal chantez et si mal acc9rdez, que rien plus. He ! quelle musique ? " It is doubtful, from this account, how far the instrumental and vocal elements were combined; but that such a number should attempt to sing psalms in parts on such an occasion, out of the population of Edinbm'gh and neighbourhood at that period, indicates pretty general cultivation of church miisic — though it may weL. be supposed that if tried by the professional standard of France the performance woidd appear coarse. Calderwood relates the incident thus —
" Some honest oitioens went accompanied with some musicians and saluted her at her chamber window with musicke. She was so wein pleased with the melodie, as she alledged, that she willed the same to be continued some nights after."
A few weeks later, on returning to Ediiib\irgh after a short absence, the Queen was received with much pageantry. The following is from the " Diurnal of Occurrents in Scot- land," p. 68 : —
" Thair was aue port made of tymber * * * « upon the quhilk port was singand certane barneis in the maiet hevinlie wyis ; under the quhilk port thair wes ane cloud opynnand with four levis, in the quhilk was put ane bony barne. And quhen the queues hienes was cumand throw the said port, the said cloud opynnit, and the barne discendit doun as it had beene ane angell, and deliueret to her hieness thekeyisofthetoun, togidder with ane BybUl and ane Psalme Bulk, couerit with fyne purpourit veluot," &c.
The " Psalme Bulk " would doubtless be the Genevan one of 1560 or 1561, probably the latter, for as this took place in October there might be ample time for importation.
IL— From 1562 till 1600. 1. — Ldst of EdiUoJis.
The Psalter which was employed by the Church of England generally, till the appearance of Tate and Brady's version in 1696, and in greater or less measure for a long period thereafter, was fixst published in a complete form in the year 1562 ; but though the older authoritie.s, as Warton and Hawkins, specified that year, some recent inqirirers called the fact in cj[uestion, as no copy of such an edition was known to remain. This doubt, however, has been removed, as a copy has lately emerged into view, which the present 'writer has enjoyed th-; pri-vilege of examining. The particulars of the Literary and Musical subject-matter of this compilation ^vill be found under subsequent Dissertations.
The steps taken for pro'viding a complete Psalter for the Church of Scotland cannot be stated in detaU, as the early Records of the General Assembly have rmfortunately perished. The following statement, however, occurs in a paper ascribed to Calderwood the historian, and dra'wn up in opposition to the reception by the Church of the Metrical Version avowedly prepared by King James VI. "In the General Assemblj' conveened at Edinburgh in Dec. 1562, for printing of the Psahnes, the Eirk lent Eobert Likprivick printer twa himdredth punds to help to buy irons, ink and paj^er, and to fie craftsmen for printing." From this it may be inferred that as soon as the proceedings relatmg to the Book of Discipline had been completed, that is, in the course of the year 1561, the attention of the chui'ch had been dhected to the subject of the Psalter. The expression " for printing the Psalmes " seems to imply that at the previous meeting in June the intention had been formed of taking action in this matter; and at the- same time the collection of 87 psalms published at Geneva in 1561 may have been approved of, and a committee appointed to procure materials for completing the work. This com- mittee wordd certainly include Kjiox, on account of the cu'ciunstances already referred to, and Messrs. Eobert Pont and John Craig, who supplied a considerable portion of the required material. During the ensuing six months, there woidd be adequate opportunity of inspecting the recently published English Psalter. It is probable, that at the Assembly of December, the committee reported their proceedings, and that these were formally sanctioned; or at all events, that the course to be followed was then decided upon. Wliat tliis coiu'se was appears from the result. The 87 psalms of Geneva were retained — 42 were selected from the lately published portion of the English Psalter — and
J3
21 were newly farnished by Pont and Craig. For the modifications made, see Disser. III., p. 30.
The process of printing was completed previous to the Assembly of December 1564, but subsequently to the June Assembly of tbat year, as is plain from the following . entry in the Buik of the Universal Kirk.
" Sess. 2d holdin the 26 of December, 1564. It was ordained that evene Minister, Exhorter, and Reader sail have one of the Psalme Bookes lateUe printed in Edinburgh, and use the order contained therein in prayers," Ac.
With this accords tlie statement in the " Eeasons against th( Eeception of King James's Metaphrase," referred to above, that the " Psalmes allowed by the (J-eneral Asseni- bHe should be sung in the Kirks of Scotland as they have been since 1564."
The only copy of this impression,- known to remain, is preserved in the Library of Corpus Christi CoUege, Oxford. There is a copy of an impression of the following year in the Advocates' Library, Edinburgh — (Fac-similes 1 and 2) — ^being the earliest left in Scotland. Another copy of the latter is in St. John's, Cambridge, erroneously described by Dr. Cotton as of the former year. These two impressions are found to be entirely alike, so that they may be regarded as forming one edition, which is therefore designated that of 1564—5. Further particulars respecting it are given in the Appendix and in Disser. III. & IV. The prose docu- ments previously recognized in Scotland as jointly forming the "Order of Geneva" are retained, with considerable additions, as intimated m the title page. — (Fac-simiLe 1.) Calvin's Catechism is also attached, and the whole pre- ceded by "A KaUender with an Almanack for 12 yeres." The psalms occupy pp. 1-460, and a page contains about 25 lines, divided as in the Eeprint.
On comparing the Scottish with the English Psalter, important differences aj^pear. 1. The former adheres out and out to the last pubUcation by the Exiles in 1561, whereas the latter departs from it in 20 instances. 2. The psalms added to complete the respective works differ m 21 mstances, making 41 in all. 3. The Scottish exhibits a much greater variety of metre. 4. Even in those cases in which the translations are in substance the same, the variations in words, hnes, and even entire verses, are very numerous. (Disser. III., p. 30.) 5. The English is accom- panied by about 20 hyinns, while the other at this stage has no such appendage. 6. The tunes in the English are 6'., of which 18 are to hymns. The Scotti.sh has 1"5.
Apparently nothing, except conjectiu-e, can be offered in explanation of the departure by the Enghsh Editors from the previous course of the Psalter. It may have been supposed that, with fewer tunes and forms of metre, the work would be better adapted to the mass of the people; or that an instrument of praise, which was to be combined with others included in the Liturgical service, required less variety than if it .^itood alone Something, also, may have been due to a change of management. The Scottish Church adhered strictly to the Psalter of the Exiles so far as it had gone, and completed it on the same principles, besides retaining the prose Standards by which it had been accom- panied. The governing body continued unchanged, and the Church was virtually an expansion of that of the Exiles. But in England the Genevan party, after the return, was mixed with the Puritan body at large, and these with others whose views were widely different. It is not unlikely that the influences thus arising may have led to a modified policy in regard to the Psalter.
Whether any individual specially conducted the editorial work connected with the first appearance of the complete Scottish Psalter seems to be quite imknown. If, as assumed above, a Cormnittee of Assembly prepared the materials, there would be little left to do, except to secure accurate printing. The name of William Stewart appears as the author of a prefatory Sonnet, and the writer of some explanations regarding the Calendar, &o. (Appen. p. 2) Nothing is known of him, but it may be supposed that he was an Elder of the church, and that he had less or more to do vrith the preparation of the volume. The edition is executed vrith great accuracy, both in the Mterary and musical divisions.
The same want of knowledge respecting editorial super- intendence characterises the whole series of subsequent editions till that of 1635 is arrived at. Many of these, however, are mere reissues, in which correct printing was
the chief object required; but though this object has been j tolerably well attended to as regards the words, the case is in many instances very different in reference to the tunes.
In February 1565, Lekprevik obtained a letter under ! the Privy Seal authorizing Mm to print the Psalms of David in Scottish Metre ; from which it may be inferred that he had acted only by the authority of the Church in preparmg the impression of the previous year. In 1567 he was constituted printer to the King for 20 years, and others were forbidden to print the " Psalmes of David " and some other books, or "to bring hither the same out of uthir cuntries." This grant was confirmed in 1570.
In 1568 an edition of the " Psalme Booke " was issued in Edinburgh, by Thomas Bassandjnie, to which the General Assembly took exception on account of a song " eallit Welcum Fortoun " appended to it ; and this, besides another book with an objectionable title, he is charged with having " prentit without hcence of the Magistrate or reviseing of the Kirk. Therfor the haUl Assemblie ordainit the said Thomas to call in agam all the said bookes that he hes sauld, and keep the rest unsauld untill he alter the forsaid title, and also that he delete the said song out of the end of the psalme book. And farther that he abstaine, in all tyme coming, fra farther printmg of any thing without licence of the supreme magistrate, and reveseing of sick things as pertain to reUgioun be some of the Kirk appointed for that purpose." — Book of Univ. Kirk. No copyof this edition, or of the song objected to, is kno\^Ti to remain.
The CL. Psalmes of David in English metre. With the Forme of Prayers, and Ministration of the Sacraments &c. vsed in the Churche of Scotland. Whereunto besydes that was in the former bookes, are added also sundrie other Prayers, with a newe & exact Kallender for xvi. yeres next to come.
[Reference to Contents, and Printer's device.] Printed- at Edinburgh by Thomas Bassandine dwelling at the nether Bow. 1575. Cvm privilegio. The Bodleian copy of this edition wants the psalms. Another copy, having the Psalter complete, is in the possession of Mr. David Laing, Edinburgh. It includes Calvin's Catechism, with printer's name, and the date 1575. The general title is wanting, but the date of the volume is ascertained by comparison with the Bodleian copy. There has been no special title to the psalms. The size of the letterpress page is about five by three mches — 32 lines of the psahns in a page, arranged in eights, with spaces, as in other ethtions — ij^a as large as that of 1635 — psalms occupy 498 pages — printing good. The references to tunes are m a peculiar script-like type, which occurs in no other edition, and of which the fi dlowing is a specimen : —
■^'"^ ^J'* 'I* ^y< 10' |af"<'"i'.
Contents of the psalms n Koinaii type larger than in 1565 — no Latin titles — music neatly printed. There are the following spiritual songs ■ — The Lord's Prayer, the X. Commandinents with the prayer following them, and the Second Lamentation : also Veni Creator, separate from the others. This is the earliest appearance of any of these songs in the Scottish Psalter, so far as yet discovered. Another origmality is a ' Conclusion' to Ps. 148th, which is placed at the very end of the book. It is the same as that for Ps. 136th, in Edition 1595, Appen. p. 9.
Another edition, ]jy Bassandyne, of 1578, is given in Appendix to Dr. Lee's Memorial, a.- m his own possession; but no particulars concerning it nre stated, except that it was pubhshed at the Nether Bow, Edinburgh, (cum pnvilegio) In his last Will " Ane psalmes of Dauid price xviiid" is mentioned. From the price this must have been a small edition. Also "323 Douglas psalmes the pece vid." It is not known what these were. Further " Six greit psalmes Inglis prent, bund, the pece iiiis., and 141 of the same unbund, the pece liis." This may have been an edition of the English Psalter, but more probably it was one of the Scottish, printed in England.
Bassandyne died in 1577. but Arbuthnot, who had previousl}'' entered into partnership with him, continued the business, and was constituted King's printer in August, 1579. He had, six months previously, received license for seven years to print the psalm book, &c. — printing or importa- tion being prohibited to all others. It cannot be doubted that something would result from this grant, but no specimen or account of an edition by this printer is known.
14:'
Another Edinburgh printer, named Eoss, cotemporary with Bassandyne, must have produced one or more editions. In his last Will are mentioned as part of his stock "27 psahne buikes with the noittis, half bund, 8s. the piece, 40 little psahne buikes vnbund quhit paper, 6s. 8d, and 300 litteU psalme buikes vnbund, price of the peice thre s, vi d" And in Bassandyne's Will, whose stock in business seems to have been considerably extensive, is specified " Ane of John Eos psahnes of Uttil volume 5s,, and 211 of John Eos psalmas unbund, the pece vis." These editions may be regarded as extinct.
1587. Special Title. The Psalmbs op David in Metre, with Divers Notes and Tones augmented to thenL James V. If any, &c. (Device.) Imprinted at London, by Thomas VautroUier dwelUng in the Blackfriars. Cum priuelegio. An. M.D lxxxvu.
Latin titles in small Eoman — Contents in italic much like that of 1635 — page deeper than the 1575 edition, and contains 26 lines — pages occupied by psalms 259-752.
The. number of spiritual songs is here found to be the same as in the edition of 1595 (Appen. p. 4), but the Veni Creator stands first. The ' Conclusion' noticed under 1575 is continued, but is placed after the psalm to which it belongs. There is no other Conclusion in either of these editions, nor prose version of psalms, nor prayers upon the psalms. — Mr. D. Laing, Edin.
In the same year another edition in 12mo was "imprinted at London by VautroUier. With Licence." Said, by Lea Wilson, to be in an exceedingly small and beautiful type. — Brit. Museum, and Lambeth.
An imperfect copy remains of an edition which resembles the larger one by VautroUier in several particulars, especiaUy in having the same number of lines in the respective pages aU through. It is probably of earlier date, and as VautroUier is said to have had a printing estabUshment in Edinburgh in 1584-5, it may be referable to that period It has aU the songs of 1687 except the Veni Creator.
1589. John Gibson, Edinburgh, obtained the Eoyal authority for jwinting bibles and psalm books, (Lee's Memorial,) and probably he avaUed himself of the privi- lege ; but no edition of the Psalter from his press, at this period, seems to be known.
Of the foUowing, copies remain in Glasgow University Library, and that of Trinity CoUege, Dublin.
" The Pfalmes of David in Metre, with divers Notes and Tunes augmented to them. James V. 13. If any be afflifted, &c. Middleburgh. Imprinted by Richard Schilders, printer to the States of Zealand. 1594."
Device on title page, a printing press in operation, with inscription Geru iii 19. Latin titles to psalms. Size of page somewhat larger than that of 1564-5, and tunes the same so far as examined The Spiritual Songs are the same, and with the same tunes as in the edition of 1595, mentioned below. — See App. p. 4, and Disser. IIL p. 34 . According to Lowndes, a copy was sold in London at .£10.
Henry Charteris was established as a printer in Edinburgh some time before 1582, as he printed certain acts of parlia- ment in that year. In 1594 he produced an edition of the Psalter, a copy of which is mentioned in the Ust of those possessed by the late Principal Lee of Edinburgh, but of which no further information can be furnished In the foUowing year however, an edition issued from his press, which must rank amongst the first in importance, and forms one of the leading stages in the history of the Psalter. The general title to the volume is as foUows : —
The CL. Pfalmes of David in Meter with prayers and Catechifme, according to the form vied in the Kirk of Scotland. With fundrie other things quhilk fall be de- clared in the Table next following the Kalender:
Edinbvrgh, printed be Henrie Charteris 1596. Cum priuelegio regali.
For special Title to Psalms see fac-simOe 3. The date is a year earher than that of the prose part of the volume. The latter also presents a different arrangement of the several doctunents from that of previous editions, the object being, as explained in the preface, to admit of the separate sale of two or more portions. Two of the reasons assigned are— •
"The eis of men in travel, and being from thair home quha glaidlie iruald carie ane thin huik (as this of the prayers is)
that can not efilie carie the haill Pfalmes ***** Beftdes that ilk puir child can not attein to the hying of the haill Pfalmes he may haif the famin •with ye Catechifme of ejie price." — Appen. p. 2.
This edition is distinguished from aU others by a remark- able series of prayers in the Scottish dialect, one being appended to each psaJm, and " agreing with the meiiing thairof." It also presents for the first time, so far as appears, the set of Metrical Doxologies termed ' Con- clusions,' one adapted to each form of metre ; the intention being that eaeh psalm should be terminated by one of these formulas. Both Prayers and Conclusions are quoted in fuU in the Appendix, as also the ten Spiritual Songs, which are extracted from this in preference to the Middleburgh Edition of 1594, as it is doubtful how far the latter was intended for Scottish usage. The edition has this further peculiarity that the contents to the psalms are greatly abridged, (App. p. 5, 6.) Further remarks upon these special features are reserved for Disser. III. So far as the tunes are concerned, this edition is of inferior authority, the inaccuracies being very numerous. A copy in exceUent preservation,, and of which the Editor has been kindly aUowed the use, is in possession of Mr. Laing, Edinburgh. Cotton refers to Public Library, Cambridge.
1596. Lee's Memorial mentions a copy as in his possession. Included also in Lea Wilson's Catalogue. Probably the same with that of which William Euing, Esq., Glasgow, possesses a copy. Title as VautroUier's, quoted above. Printed by Eichard SchOders, printer to the States of Zealand, 1596. Edging round title is shown fac-simUe lltL Type smaU, and prose documents wanting ; from which it may be inferred that it was intended to be bound with bibles. Spiritual Songs, in number and order, as in VautroUier's, 1587. Prose version of psalms wanting.
The above Memorial also notices a Middleburg edition of 1697, concerning which no particulars have been ascertained, but in aU probabUity it resembled that last described.
1596. Lee's Memorial, p. 49. Dr. Cotton has mistaken t)T. Lee in this instance, and applies to this edition the description given of Gibson's, which falls to be next noticed.
In July, 1599, a royal order appears, of which the foUowing is part : —
His hienes being perfy tlie infonnit how Johne Gibfoun his hienes buik binder hes vpoun bis awin grit charges and be his priuate meane and deuyfe caufit imprent within Middilburgh in Flanderis ane new pfalme buik in litill volume contening baith the Pfalmes in verfe as lykwayis the famyn in profc vpoun the margine thairof In ane forme never praAizit nor devifit in any heirtofoir And tending gritlie to the fortherance of the trew religion and the particular weill of the profeflburis thairof within this realme. Quhairfore to the intent he be not fruftrat of the commoditie due to his faid inventioun and deburfement Thairfoir gevand and grantand his hienes full frie and onlie Licence and Libertie to him his airis and affignais To caus bring hame the faid haill impreffioun of the p&lmes in the toirlaid forme Sell and Dilpone thairon to his hienes liegis at conuenient pryces and ufe thame euerie way to his behove.
AU others are then discharged, under penalties, from bringing 'hame' or selling any of the said impression. It is at this point that the feature of the prose version on the margin first occurs in the history of the Psalter. Dr. Lee states that his Middleberg editions of 1596 and 97 do not answer to the description here quoted ; from which it may be inferred that they wanted the prose version. This is also the case with the 1594 edition above noticed. There seems to be no trace therefore of this edition, vinless it be the same with that specified in Lea Wilson's Catalogue under 1599, as a 16mo, printed by Schilders, having the Genevan prose. This is indeed described as Stemhold's version, and for the use of the English church, but proba- bly that church made use of the Scottish variety of the Psalter. Wilson's copy, however, cannot now be referred to, and no other seems to be known, so that the matter remains uncertain.
1599. A Ucence was aUowed to Eobert Smyth, Edin- burgh, " to imprent be himself his servandis and vtheris in his name within this realme * * * * and psalme buik als oft as occasion sail serve," &c. A copy of an edition in 12mo, by this printer, is to be found in the British Museum. General Title as foUows : —
L™
15
The CL. psalmes of David in meiter with the form of prayeris and administratioun of the Sacraments &c. usit in the Kirk of Scotland. Quhair unto ar addit sundry other prayeris with the CatechiBme of M. Johne Calvin, and ane Kalendar. (Ornament.) Edinburgh ^ Printed be Robert Smyth dwelling at the nether Bow. 1599. Cum privilegio regah.
This edition has no songs except the Second Lamentation, and of that only three stanzas. Page about four inches deep, containing 32 lines. Latin titles but no contents to the psalms. The spelling is adapted in numerous words to the Scottish vernacular pronunciation.
Smyth died in 1602, and in his Inventory occurs the item "50 Psalme buikis."
Notwithstanding the grant to Lekprivick, there is no certain knowledge of any subsequent edition of the Psalter from his press ; but there is one in the possession of the Antiquarian Society in Edinburgh, conjectured, from the appearance of the type, to have been his, and from MS. jottings to be of date 1578. Small 8vo — large black letter — title wanting — psalms 448 pages — usual prose documents— no contents to psalms — one spiritual Song, The Lamentation, '0 Lord in theej six stanzas.
These two editions have the peculiarity of being without tunes. Both were doubtless intended for the poorer class of purchasers.
2. — Publie Action, Ecclesiastical and Civil.
Under this title, it is meant to present such information as is available in reference to those features of the Reforma- tion ChiU'ch and portions of its procedure, as also those steps taken by Civil authorities, which bore upon the actual use of the Psalter and the cultivation of its music.
And (1.) in regard to Enactments. Though the " Book of Discipline " had been published, the " Book of Common Order" was still retained as a church standard, and its directions respecting psalm singing, partly quoted at p. 2, thus remained in force. In regard to ordinary puhlic worship, instructions are given that the people after prayer " sing a psalme altogether in a plaine tune," and that the minister after another prayer "proceedeth to the sermon :" next, that after sermon come a prayer, in- cluding at the end the Lord's Prayer and Creed — and that " then the people sing a psalme, which ended, the minister pronounceth one of these blessings, and so the congre- gation departeth."
The following also occur in relation to certain special services —
After the appointment of ministers, elders or deacons; " The people syng a psalme and departe." In 1560 the 23rd psahn is specified for this purpose.
After the administration of the Lord's Supper; " The people shall sing the ciii. psalme, or some other of thanksgiving." After this the blessing, " and so they rj'se from the Table and departe."
Nothing said of a succession of tables. If there were, it is probable each would be closed in this manner.
After maniage; " Then is songe the 128 psalme or some other, apperteynyng to the same purpose."
In the "Treatise of Fasting," 1565, the public services on the Sabbath appointed for that exercise were to be concluded thiis —
Forenoon — " The fiftie one psalme shall be sung whole." Afternoon — " The VI. psalme shall be sung."
In the " Order of Excommunication and PubUck Eepentance," 1567, the following directions occur: —
In case of Repentance; " Then after shall the church sing the cm. psalme so much as they think expedient."
In case of Obstinacy; " The assembly sail be dismissed, after they have sung the lOlst psalme, or one portion therof, as it sail please the Congregation."
In case of Restoration; " Then sail ane psalme of thanksgiving be sung,"
In the " Book of Discipline," besides the passage already quoted, (p. 3 above,) there occurs another, which draws a distinction between things "so necessarie that without the same thair is no face of ane visible kirk," and other things less strictly essential. Amongst the latter is classed the singing of psalmes, " for in some churches the psalmes may be conveniently sung, in utheris, perchance they can not." On the subject of Buryall the foUovring instruction is given : —
For avoyding all inconvenientis we judge it best that neather singing nor reading be at the Buryall : for albeit thingis song and red may admonishe some of the leving to prepair thame eelfis for death, yit shall some superstitious and ignorant personis ever think that the workis synging or reading of the leving do and may proffat the dead. And thairfor, we think it most expedient that the Dead be convoyed to the place of buriall with some honest cumpany of the churche, without eathir singing or reading; &c.
In the Second Book of Discipline, 1581, the "Takers up of the psalmes" are twice mentioned in the list of classes entitled to receive a share of the revenues of the Kirk.
The steps taken by the church in furthemnce of the printing and diffusion of Bibles, PsaJm Books, &c. deserve notice in this connection. These are very fuUy stated in the Memorial for Bible Societies, 1824. One of the Articles in a petition, presented by the Assembly to the Regent in 1574, relates to a proposal to bring to Scotland a French printer of celebrity, who had been banished from his coimtry ; and entreats his grace to consider his offer and take order therewith. And in " Articles proponed to his Majestie and CoimseU," 1580, there occurs the following, which concerns one of the publishers of the Psalter. — See list of editions, p. 14.
" Because there is greyt necessitie of a prenter within the countrie, and there is a stranger banished for religioun, called Vautrolier, quha offers to employ his labour in the said vocatioun, for the Weill of the countrie, it will please your Grace and Counsell to tak order herein as your Grace thinks guid, and to give license and privilege to him to that effect, if it sail be thought expedient be your Grace and Counsell."
The following are Acts of the Scottish Parliament, 1579 : — First, it was " statute and ordeaned that aU Gentlemen worth 300 merks of yearlie rent, and all substantious yeomen, &c. worth 500 pounds ui lands or goods be holden to have ane bible and psalme booke under the paines con- teaned in the said act." This law seems to have been enforced in Edinburgh at least, where parties were ordered " for eschewing of all fraude" to " bring their bybills and psalm bulks, to have their names writtin and subscryvit be the Clerk." And in November, 1580, there was an order to pursue all persons " that has incurrit the payne " of this act.
The other Statute is of considerable interest — " For the instruction of the youth in the art of musik and singing, quhOk is almaist deoayit, and sail schortly decay, with- out tymous remeid be providit, our Soverane Lord, with avise of hiB thrie estatis of this present parliament, requeistis the provest, baOlies, counsale, and communitie of the maist speciall burrowis of this realme, and of the patronis and provestis of the coUegis, quhair sang scuihs are foundit, to erect and sett up ane sang scuOl, with ane maister sufficient and able for instructioun of the yowth in the said science of musik, as they will answer to his hienes upoun the perrell of their fimdationis, and in perform- ing of his hienes requeist do unto his majestie acceptable and gude plesure."
(2.) The points that remain to be noticed are of the nature of Institutions or Agency.
The designation of the leader of the singing in public worship was that of " Uptaker of the psalme." This office was combined in many instances with that of Reader, and in others with that of Teacher of the " Sang or Musick Schule." Defective supply in some places was obviously the explanation of the passage in the First Book of Discip- line quoted above. Of the expedients resorted to a specimen is furnished in MelviU's Diary, 1570: —
The Lard of Done, mentioned befor, dwelt oft in the town, and of his charitie enterteined a blind man, wha haid a singular guid voice, him he causit the doctor of our schoU [Music School, Montrose,] to teatohe the whoU Psalmes in miter, with the tones thairof, and sing tham in the kirk, be heiring of whome I was sa delyted, that I lemit manie of the Psalmes and toones thairof in miter, quhilk I haiff thought ever sen syne a grait blessing and comfort.
The " Sang Schules " existed prior to the Reformation. They would arise from the necessities of popish worship. Boys behoved to be trained for chanting, and those so employed required to be able to read Latin, so far at least as the church services were concerned. The " Sang Schule," therefore, was the Elementary Seminary, as com- pared with the "Grammar Schule;" and the two in combination seem to have formed the preparatory course to attendance upon CoUege. While primarily intended for
16
church students they were also open to others, and it looks as if a considerable number had taken advantage of them. The '' Sanf Schule " seems also to have included the depart- ments of -writing and arithmetic, and probably reading in the vernacular. After the Eeformation, when it was no longer deemed essential to maintain a company of singing boys, besides an adult choir, in every considerable place of worship, and when the dissemination of knowledge in reading and writing had become a primary object to the church, it is natural to suppose that the musical element in these Seminaries would descend, and the other elementary branches rise in public estimation. But it may be inferred that the edict of James would tend to arrest the progress of decline in musical teaching, and would lead to an increase of the number of the " Sang Sohules." There is no definite information respecting tlie musical materials employed in these ' Schules ' during this period, but it can- not be doubted that the tunes of the Church Psalter would form a leading ingredient. Two of the persons mentioned in the old preface to the following lieprint as amongst the original haimonizers of the^e tunes were teachers of " Sang Schules,"' (Disser. TY., p. 49 . ) which circumstance shows that that branch of music received attention from such functionaries. See also the above passage from Melvill.
The position which the ordinance of praise occupied in public worship may be understood from the account given of it in the " Seveii days' Conference," by Cowper, Bishop of Galloway. The writer was one of those who consented to accept the Episcopate in the reign of James VI., and may be regarded as perhaps the best of the company. He died in 1619. Though his description relates to his own day, it seems also to be applicable to the whole period intervening from the Reformation ; for there is little reason fo.r sup posing that, even dm-ing the time of Episcopal ascendancy, the ordinary com-se of the Sabbath service was much altered. A countryman is introduced as informing a Romanist concerning protestant worship. Attention is first called 'to the preliminary service conducted by the Reader. After noticing the prayers the following occm-s : —
Every one is preparing, as you see, their psalm books, that aH of theto with one heart and mouth may sing unto the Lord. There is the psalm which the reader hath proclaimed. If you please you can sing with them; or if you cannot, follow them in your heart.
The reading of Scripture is next adverted to, and the description proceeds —
These are the three exercises, which are used in aU our congregations every Sabbath, one hour before the preacher comes in; first prayer, then psalms, then reading of the holy scripture * * * You hear the third bell ringing, and at. the end of the bell- ringing, the preacher will come.
After some converse, the preacher's service is described more shortly : —
First he will conceive a prayer * * * then he falls to the preaching, which some hear with their heads covered, some otherwise, * * * a thanksgiving [prayer.] After which there is a psalm sung by the whole congi'egation. And then the minister hlesseth the people, &c.
Cowper, as Dean of the Chapel Royal, officiated in the Abbey Church in Edinburgh, and " he speaks of this manner of worship as having been general."
Amongst the endless variety of officials in the Romish Church that of Reader seems to have been included; and this circiunstance may have led to the employment of such functionaries after the Reformation, in places for which ministers could not be provided . (See list in Miscellanj'^ of "Wodiwy Society, 1574.) Their public duty was to read the prayers in the Book of Common Order — to read portions of Scripture — and to announce the psalms to be sup.g. In 1580-1 steps were taken to abolish the order, but they continued to be employed, in the capacity of assistants to ministers of the more important congregations, tiU. the adoption of the Westminster standards. In this position the Reader occupied the first hour of public worship on Sabbath, and was often employed in simdar service during the week, Singing of psalms seems to have taken up a reasonable proportion of the time. Where there was no minister, the Reader had a second diet similar to the first. His place was the desk below the pulpit, also used by the precentor. In tlic First Book of Discipline there are various passages relating lo this order.
llie Minister's part of public worship embraced two diets, one immediately following the Reader's service, and the other after an interval The latter was, in rural districts at least, frequently devoted to catechizing. How often psalms were sung during each diet is not quite evident : but there was one before the close of the service, and at least one more diuing the earlier part of it. Weekday services were also common, and were conducted m the same manner.
Among the institutions of the church family worship may appropriately be included. It seems to have been inculcated and practised by protestants itom the beginning of the Reformation ; and in times of difficulty would often be maintained when publio worship was impracticable. The singing of psalms was from the first a constituent element of this service, and the daily practice of church tunes, in the private form, must have largely contributed to facility in the performance of them on the coniTrfgational scale. The passage from the Book of Discipline, quoted p. 3, obviously refers to private exercises, and immediately after it is added —
In private housses we think it e:i:pedient, that the most grave and discreate persoun use the Commoun prayeris at mome and at nycht, for the comriut and instructioun of uthiris.
Ajid amongst the prose materials forming the Book of ComiAon Order there is " A Forme of Prayers to be ufed in priuate houfes, euerie morning and euening."
These more general appointments are elucidated by others of a local description by Church Courts and Burghs , such as the following : —
Ayr, Burgh, May, 1559. Quo die, Comperit in jugement George Cocherane, and he being dischargit of his service and feaU foirsaid; delyuerit to James Keimedy, Dein of Gild, the key of the organe loft, protestand that throw his non-service within the kirk of Ayr, in tymeis cuming as he has done in tymeis hygane, it be nocht aUegit that he, of benevolence, left the said cure for ony oppinioun, hot be vertue of his discharge foirsaid.
Ditto Nov. 20. Appoints John Or to teaclie the airt of grammar to the baimis of this burght, with maneris convenient, and in absence of Cliristopher Guidman. sail say and reid the Common Prayens and minister the sacrament. * * * Allows him " 20 pundis in the yeir of fie, and xiis. in the yeir for Uka bairn." Other teachers prohibited.
Aberdeen., Kirk-Seesion 1574. Admonition wes gewen to Johne Cumyng, and to the maister of the sang schole, that they give no play nor any priwoledge to theyr scholars, in the dayes dedicated to superstition in papistrie, but shal reteyne them those dayes at theyr lessonis.
That the organis with all expeditioun be removit out of the kirk, and maid profeit of to the vse and support of the pure.
Aberdeen, Burgh, 1570. Aneut the supplicatioune exhibeit and presentit to the Consel be Androw Kempt; anent the teychfe- ing and instructing of the childryne and baimis of the sang scoU, quhOk presenthe is destitut of all exercitioune, * * * the haill consojU present for the tyme, all in ane voice, in respeck that Schir Jolinne Blak, quha was anes maister of the said sang sooill, is presentlie absent of the realme, and na esercitioun of musick vsit in the said scoill, lyk as thair lies heme na exer- citioune thairin thii diuerse yeris bygane, * * * reyplie aduysit, acoeptit and admyttit (induring thair will) the said Androw Kempt to the said office, to teiche and instruct thair youththeidand cheildreine inthesaid facultay of mwsoik,meauers, and wertew, for payment of sic lesum dewetie as wse lies beine, and as he appoyntis witht the parentis and freindis of the baimis,
1577. The said day, the consell grantit the soume of four pundis to the support of James Symsoune doctour of their Sang Souill, under Sir Johnne Blak, to help to by him cloythis, for his guid seruice the tym bygane and in houp of his contineuance in tym to cum.
Item, to the maister of the sang schoih, for his fee of the twa termis xiiij. h. xiijs. iiijd.
1687. John Andersoun admitted " master of the sang ecuill, now vaOcand be deoeiss of John Blak- to haue for his stipend yeirly, tlie soumc of tuentie pundis monee of this realme."
1596. To the maister of the sang school for his pensioun of the saids tua termes 80 lib.
1598. Gevin to Patrick Walter for the uptaoking of the psalme in the new kirk, according to ane Act of Counsall, of the dait the xvii day of Januar, 3 lib. 6s. 8d.
Aug. 1597. To be na uther school within the bui^ht, except the music school, bot sic as sal be subalteme to the maister of the grammar school.
Non. 1597. The prouest baifiies and consell findis that maister William Skene, maister of the sang school, sail serve
/'/
bayth the kirkis in uptacking of the psalme theirin everie Sonday ; the ane kirk be himselff and the nther be the dootour or sum of his disfiippallis that can discharge liimselfF theirin sufficientlie. They add "ten merkis to his stipend of sexscoir merkis."
1598. The said day, the prouest, baillies, and counsall, inrespect that Maister Willeam Skene, last maister of the sang scliooll of this burght, is laitlie departit this lyti", and considdering gif the said scliool be dissolvit and akaillit, it will tend to the preiudice of youth of this town, and vnderstanding Johne Leslye, in Kyntor, to be a qualefeit mvsician, albeit he can not instruct his scholeris in playing, theirfor to the effect that the schooll suld nocht dissolve, and quhill a qualefeit man be pro vy ditto occupie the place, hes appoyntit and nominat the said Johne Leslye to teich the musick schooll of this burgh, quhill the feist of Candil- mes nixt to cum allanerlie, and ordanit him to hawe the sowme of tuentie merkis for his panis during the said space, to be payit to him be the thesaurer of this burght, besyd the scholedgedeutie to be takin be him of his scholeris, conforme to vse and wount, and the said Johne Leslye being present, acceptit the charge forsaid in and vpon him, vpon conditionis aboue speoifeit, and promittit fa}'thfullie to leaue the said charge quhensoever the prouest, baillies, and consell thinkis expedient.
A subsequent entry assigns Leslye 13 lb. 6s. 8d. as his salary from Nov. 12th till the following Candlemas.
Couper, Burgh, 1581. Item, to the maister of the sing scolc fie, vj. li. xiijs. iiijd.
Dumfries; 1590. To the reaser of the psalmis Is.
1574. General Kirk of Edinhurgli, The kirk ordanis Edward Hendersoun and his sonne, to sing the salmis on the preching dayis in sic touns as are maist colmoun for the kirk.
Jan. 1599. Ordanit to pay the sowme of fyue merkis money to Patrick Walter for the uptacking of the psalme in the new kirk this yeir bygaue.
Bnrtjh of Canongcde Edinburgh, 1584. The quliilk day the baillies and coimsall hes appointed and agreeit with Walter Broune to serve in the kirk in reiding the prayeris, uptaking of the salmes, and serve as ane clerk in the sessioune for the space of ane yeir fra Witsounday nixt to cum for x. li. of fie allanerlie. Begynnand the iirst payment at Martimes nixtocum.
Glasgow, Burgh, 1577. Item to Sir Willia Struyis for male of ane chalmer to be ane sang sohole the said year, xi.'-
1579. SimOar, to Duncan Finlaye.
1594. Mr. David Weems and Mr. John Coupar having engaged for the Session, to pay to the Toun Thesaurer 80 merks yearly, for a sangster, Mr. Weems repeits that Mr. John Bell hath obtained a gift from the Toun of the douties of the new Kirk, upon which tlie Session engagis for the said 80 merks.
Glasgow, Kirk Session., 1587. " Ordean Mr. William Struthers, teacher of musick, shall sing in the High Kirk, from tlie ringing of the first bell to the minister's coming in; and appoint four men to sit beside him, beneath the pulpit ; and, in the mean time, that the chapters be read by the reader suc- cessively to the singing." Sep. 21. That all persons in time of prayer bend their knee to the ground.
1588. That the sangsters in toun sing with Mr. William Struthers on Sunday.
1597. The Session thinks it good there be a psalm sung in the Laigh Kirk it being the paroch Kirk of Glasgow on the sabbath, both before and after sermon according to the use in the like within the High Kirk.
1596. Presbytery of Glasgow. The presbiterie ordenis that thair be na thing red or sung in the new kirk be Johne Buochane reidare thair, bot that quhilk is oontenit in the word of God.
3. — Illnstratim Incidents.
Calderwood ia recording some of the sajdngs of Knox inclndes the following :— ^
1565-7. To her (Queen Mary's) husband (Darnley) sitting in the Kinge's scate in the Great Kirk, he said " Have yee, for the pleasure of that dame, cast the psalme-booke in the fire? the Lord sail strike both head and taile."
1570. James Melvill relates of himself that in his 16th year he was much exercised in mind respecting the further prosecution of his studies, and after earnest prayer rose from the ground mth "joy and grait contentment in hart." — " returning and praising his God siaging sum psalmes."
1 572. Describing his studies at St. Andrew's he thus speaks regarding the Primarius.
Bol, the graittest benefit I had of him was his daylie doctrine at the prayiirs in the kfa'k, everie morning; for he past throw the twa huiks of Samuel, and twa of the Kings, very pleanlie and substautiuslie quhilk I rememberit the better ever since. He causit bing comounlie the 44 and 79 Psalmes, quhilk I lernit par ceur, for that was the yen: of the bludie massacres in France, and grait troubles in this countrey.
1574. The next passage immediately follows that quoted in Disser. I., p. 7,
My naturalitie and easie lerning by the eai maid me the mair unsolide and unreadie to use the forme of the art. I lovit singing and playiug on instruments passing weill, and wald gladlie spend tyme whar the exerceiso thairof was within the Collage ; for twa or thrie of our condisciples played fellon weill on the virginals, and another on the lut and githorn. Our Regent haid also the pinalds in his chalmer, and lernit some thing, and I eftir him; bot perceaving me ower mikle oaried efter that, he dishauted and left of. It was the grait meroie of my God that keipit me from anie grait progress in singing and playing on instruments; for, giff I haid atteined to anie reasonable missure thairin, I haid never don guid utherwayes.
1579. On the 17th of October the King made a pubhc entry into Edinbiirgh, and was received by the Magistrates with much display. Amongst the ceremonies was one resembling that made use of in the case of the Queen his mother, as above noticed In connection with this it is stated that " the musicians song the xx. psalme, and others played upon the viols." Whether this playing was an accompaniment to the singing, or a separate performance is not clear. There followed a service in the Great Kirk which was concluded by again singing " the xx. psahne."
From the Testament of Edward Henrysoun " Maister of the Sang Scole of Edinburgh and Prebendare of St. GeUs Queir."
Thair wes awin to the said umqubile Edward Henrysoun, be the gude toun of Edinburgh for bigging of the Sang Scole xlj lib.
Melvill describes the procedure of Andrew MelviU, Smeaton, and others who lodged with John Durie on public occasions in Edinburgh.
In tyme of mealies was reasoning upon guid purposes, namlie, maters in hand; thairefter ernest and lang prayer; thairefter a chaptour read, and everie man about gaiff his not and observa- tion thairof: — Thairefter was sung a psalme.
Under the same year (1579) he continues —
Far graitter and sweittar haid 1 in Glasgw of a gentUman's houss in the town, wha interteined maist expert singars and playars, and brought upe all his berns thairin.
1582. The following is . Galder wood's account of the return of Durie to Edinburgh after a temporary banishment, vol. viii., p. 226, Wodrow edition: —
John Durie cometh to Leith at night the 3d of September. Upon Tuesday the 4th of September, as he is coming to Edin- burgh, there met him at the Gallowgreen 200, but ere he came to the Netherbow their number increased to 400; but they were no sooner entered but they encreased to 600 or 700, and ■within short space the whole street was replenished even to Saint Geiles Kirk: the number was esteemed to 2000. At the Netherbow they took up the 124 Psalme, " Noio Israel may say, " &c., and sung in such a pleasant tune in fom' parts, known to the most part of the people, that coming up the street all bareheaded till they entered in the Kirk, with such a great soimd and majestic, that it moved both themselves and all the huge multitude of the beholders, looking out at the shots and over stairs, with admiration and astonishment: the Duke himself beheld, and reave his beard for anger : he was more afirayed of this sight than anie thing that ever he had seene before in Scotland. When they came to the kirk, Mr James Lowsone made a short exhortation in the Reader's place, to move the multitude to thankfulnes. Thereafter a psalm being sung, they departed with great joy.
Melvill describes the occurrence thus —
Going upe the streit with bear heads and loud voices, sang to the praise of God and testifeing of grait joy and consolation, * * * till heavin and erthe resoundit. This noyes when the Due, being in the town, hard, and ludgit in the Hie-gat, luiked out and saw, he rave his berde for anger, and hasted him af the town.
Of the two times attached, in the fono\^'ing Reprint, to the psalm chosen on this occasion, there can be Httle doubt that the former, which is composed in the Major mode, was the one made use of. This tune was adopted from the French Psalter for this psalm when first pubhshed, and was continued as its proper tune through all the editions of the Scottish Psalter till that of 1635 ; when, besides this, a second tune, in the Minor mode, was published for the psabn. The latter, therefore, did not see the light, so far as is known, till 53 years after the return of Durie.
In reference to the night immediately following, Calder- wood adds, Vol. III., p. 647—
Some of the best affected citiceus watched, to the number of two or three hundreth, in the backe of the kirk, for the safetie of their ministers. The proveist and James Adamsone, with threatnings, commanded them to goe home to their houses: but they continued watching and singing psalmes all the mght-
JS'
1584. Melvill was one of the ministers who, with certain of the nobility, were forced, by an outburst of Court despotism, to take refuge for a short time at New- castle, in England. He was employed to draw up a set of regulations for the spiritu.al edification and government of the company thus formed. The following are included: —
" Ther salbe at everie meaU, immediatlie after thanksgifflng at denner and supper, a Chapter read of the historie of the Bible, and handlit sohortlie as tyme and occasion sail requyre ; and therefter a Psalrae, or reasonable section thairof, being lang, salbe soung. " * * * " And this mikle for the exerceis of doctrin and prayer; for the quhilk it is necessar that everie an, that can reid, haiff a Byble and Psalme Buik. "
1585. In the account of his return from this banish- ment he observes —
As in going, sa in returning, we fund the bountifall and gratius hand of our God with us, sa that we haid occasion divers tymes to sing unto the praise of our God that 126 Psalme, with manie ma.
1584. The following ^.re by Calderwood. The first is from his account of the death of Mr. James Lowsone, one of the most notable ministers of the period : —
He being tried, as in a fiarie furnace, the space of thrittie-foure dayes, never uttered so muche as one impatient word, but most comfortable and zealous sentences, more moving (with his eyes lifted up to heaven, his hands stretched out) than anie gesture or beha,viour of a most zealous preacher in the pulpit can expresse; not onlie preaching, as if he had beene in pulpit, but also singing psalmes, and provoking others to sing with him-. Three dayes before his death, he caused sing the 103d Psalme ; and again immediatlie few houres before his death. Wlien voice could not serve, his lippes were perceaved labouring to utter the words which were sung.
1591. King James, after his escape from the attempt of BothweU upon his life on the 27th of December, went to the Great Kirk of Edinburgh on the following day. Mr. Patrick Galloway discoursed upon the delivery " and declared the King was come to give pubHct thanks to God for the same." * '"' * * " The 124th Psalme being sung, they dissolved."
1594. Upon Fryday, the third of May, the King's horsemen mustered at Leith, before noone. The king asked everie man's surname; and finding one among them called Christesone, he said, " If yee were in St. Giles' Kirk, and a Psalme Book in your hand, yee would be called an holie man." Such profane speeches were frequent in his mouth.
In the account of proceedings connected with the Baptism of Prince Henrie these notices are found —
Therafter, the musicians sung the 21st psalme. * * * The bankett ended, thankes being gi's'ing to God, there was sung the 128th psalrae, with diverse voices and toones, and musical instruments playing.
III.— From 1600 till 1655. 1. List of Editions contirmed.
The following Title is fi-om Dr. Cotton's work, p. 404: —
" The CL. PsALMES of David in profe and meter. For the ule of the Kirk of Scotland. At Dort, printed by Abraham Canin, at the expenfes of the aires of Henrie Charteris and Andrew Hart. i6oi. Cum privilegio."
Size 16mo. Tlie usual prose accompaniments. Psalms occupy 408 pages. Mr. Lea Wilson had a copy. This seems to be the first edition definitely ascertained to possess the prose version on the margin. Sold at £4, 13s. Lovmdes.
Another edition of 1601 in smaU 8vo, at Dort, printed by Isaac Canin, " with diuerse notes and tunes," is mentioned in Lea Wilson's Catalogue. " DUigentUe corrected from many faults escaped heertofore : and now lastlie deuided into parts as they are to be sung in the KLrk of Scotland, at the expenses," &c., as in last case. " Cum privilegio regali." Small type — double columns — wanted the prose version, and was adapted to an edition of the Bible. Dr. Lee had a copy, and describes the edition as beautiful.
In these cases the peculiarity appears of Ediaburgh pub- lishers employing foreign printers in preparing Psalters for sale Ln Scotland. But a trade in importation of continental books had been previously carried on, (Lee's Memorial,) and these transactions were only an additional step in the same direction. Doubtless there was a reason in the quality or the terms of the foreign workmanship. This was urged in the trial of Archbishop Laud in defence of his interferenee vrith the importation of books into England.
By the numerous coming over of Bibles, * * * * from Amsterdam, there was a great and a just fear conceived, that, by little and little, printing would quite be carried out of the Kingdom ; for the books that came thence were better print, better bound, better paper, and for all the charges of brinoing, sold better cheap. Trials and Troubles of Laud.
Edition 1602. Middlebui-gh. "imprinted by Schilders," has the Latin titles, the prose version on the margin, and the ten spiritual songs of Edition 1594. The longer psalms are divided into portions. The three tunes, afterwards called Common, found in Edition 1611 (Diss. IV. p. 40. ) are also to be met vAth. here, disposed of in much the same manner. Other musical features also are substantially alike. The description therefore of Eiiition 1611 may be applied to this, which seems to have been its prototype. (App. p.3,19,and24-5) The copy examined by the Editor is in the British Museum. The size of page is enlarged by the addition of the prose version, so that this edition resembles in this respiect those of 1615, &c., (fac-simdes.) On the general title page is the Eoyal Arms of Scotland, and on that for the psalms King David with harp. According to Lowndes, copies have realized £4, 4s. and £9, 17& M. — Lambetli; Balliol Col.
1603. R Charteris, Edinburgh, 18mo. " The division of the meter that in uther Bookes is noted be the distance between the lynes, is in this Booke knovvne by this marke" " Lea Wilson and Dr. Lee. Probably the same described by Lovnides as 24mo. Another edition of this year, printed at Dort, is mentioned as in Dr. Lee's collection.
In 1606 Thomas Findlasone, Edinburgh, was empowered under the privy seal to print the " Auld and New Testa- ments in oure viilgare toung in haiU or in pieces and in quhatsumever volumes greit or small with the Psalme buik baith in prois and metour and in quhatsumever volume greit or small, the dowbiU and singill Catechise," &c. : but no results as regards the Psalter are knovm.
Andrew Hart, Edinburgh, now appears as the leading printer of the Psalter. Lovmdes notes an edition by him of 1609, size 4to, which probably was intended to bind with some imported edition of the. Bible, as Hart's own edition of 1610 was in folio.
1611. There are two editions of this year by this printer. One of smaU size and type, with the prose on the margin. The tunes abound with gross mistakes. Yet this little volume has two pecrdiarities, App. p. 2 and 3 , also Diss. III. p. 38 . The other edition is of the size of 1615. In various respects it differs from other surviving native editions, though most of these variations were anticipated in that of Middleburgh 1602. They are — 1. Literary. The prayers and conclusions of 1595 disappear. The ten hymns are reduced to three. The longer psalms are liivided into portions. The Genevan prose version is given on the margin. App. p. 3 and 4 . 2. Mimcal Three tunes of four lines are set to a number of psalms each, while many of the proper tunes are suppressed. Three proper tunes are adopted from the Enghsh Psalter. The printing of the music is very faulty. For details see App. p.lK, '2 5 and 27 and Diss. IV. p. 40 . A copy brought £3, 7s. Lowndes. Copies of both of the editions of this date are in the possession of Mr. David Laing, Edinburgh. The larger is also in the Bodleian Library.
1614. Edition in 12mo, by Andrew Hart, Edinburgh, " after the forme that they are vsed to be sung in the Kirk of Scotland." Mentioned in Lea Wilson's list.
In 1616 a handsome and well printed edition of the Psalter issued from the press of " Andro Hart," Edinburgh. General title : —
The CL. Palmes of David in prose and raeeter with their whole usuall Tunes, newly corrected and amended. Herevnto IS ADDED the whole Church Discipline, with many godly prayers, and an exact Kalendar for xxv yeeres; and also the Song of Moses in meeter neuer before this time in print. David with Harp as in fac-siraile. Edimbvkgh, printed by Andro Hart, Anno 1615. Special title the same, wanting the second sentence.
In the Literary department the divisions of the psabns are dropt — the Contents to psalms accord with 1564-5 — and some additions are made to the Spiritual Songs. — Diss. IIL and fac-suidle 5th.
In the Musical department this is one of the most correctly printed editions. It sets aside the interferences of 1611 with the proper tunes, and restores the greater portion as in 1564-5. There are a few changes, however.
and a special feafciu'e of the edition is the equahzation of the length of the notes in almost all cases. — App. p. 2 7 •
A still more striiing peculiarity, in comparison with preceding editions, is the formal introduction of a distinct class of tunes, entitled ' Common,' Dis. IV., p. 40 . On considering this step some Ught appears to be thrown upon the deriations of 1602 and 1611 from preceding impressions, and the return to the former arrangement in those that followed. The need would be felt for shorter tunes than those belonging to individual psalms, and hence would arise the encroacliments upon the ' Proper ' system, and the approaches to the ' Common,' which these two editions exhibit, and which were doubt- less di'awn from the example of the English Psalters of Este and Allison Probably the Scottish Psalter would have retained the form it assumed in 1611, had not the expedient been adopted of forming the common tunes into a new class; by which the double object was served of allowing the Proper tunes to remain in all their original fulness, and of providing for the convenience of those who required something more simple. All parties were thus at liberty to use either the one or the other or both to what- ever extent they pleased. App. p. 1 8.
Copies of this edition are to be found in the Advocates , Edinburgh, and several other leading libraries of Britain, and also in the possession of the Editor and various other private individuals.
There is a 1615 edition in 4*o, iatended for binding with bibles, and often found in connection with those of London of that year.
An edition of 1617 by A. Hart, included in the list fur- nished in Principal Lee's Memorial, the Editor has not seen. He has however examined another of Hart's of 1621 belonging to Mr. David Laing. It is very much a reprint of 1615, but inferior in execution, and probably intended to sell at a lower price. One or two differences in the com- mon tunes are noticed in App. p. 29..
Up tin this time it does not appear that any edition of the Psalter had been printed in any part of Scotland except its Capital. But several editions were now produced in Aberifeen, by Edward Eaban, who is said to have been the first who conducted the business of printing in that city, and to have settled there about the year 1 622. Kennedy, in his Annals of Aberdeen, affirms that he issued a "pocket prayer book for the service of the Church in the year 1625, with the Kalendar, and the psalms set to music." There does not seem to be any corroboration of tliis statement ; but in 1629 there appeared from his press two editions — one for bibles, and another in 16mo. Pickering's sale cata- logue and Lea Wilson mention an 18mo edition of 1632. Another of 1633 without the prose version, and probably for bibles, is noticed in Lee's Hst.
The title of the Bible edition of 1629, 4to, runs thus—
The CL. psalmes of the princelie prophet David in English ' metre, according as they are sung in the Church of Scotland, with many godly prayers &c printed in Aberdeene by Edward Raban for David MelviU. Anno Domini 1629.
But the best known and most irnpoii-ant of Eaban's Psalters, is that to which reference is repeatedly made in the Appendix, and of wliich fac-simile specimens are frrr- nishecl. It revives the ' Conclusions ' in full, but con- siderably modernized in spelling, and it stands alone in presenting upon the margin the prose version from the authorized translation of King James, the Genevan version being adhered to in aU other cases, (Disser. 111. p. 35.) The music is carefully printed on the whole, and, so far as concerns the proper tunes, has evidently been based upon the original edition of 1564-5. It however continues the 12 common tunes of 1615 and makes some additions. A stiU more emphatic peculiarity is the appearance of harmony, which however extends only to the Common tunes. Two of them are in Eeports. App. p. 20 and 2 3,
A copy of this edition is in the possession of William Euiug, Esq., Glasgow. Principal Lee's copy is said to have sold for £5. — In various Public, Libraries.
There remains a copy (minus the title) of a small edition, which the following notice shows to be one of Eaban's : —
Here follow the Common Tunes, in foure parts, in more perfect /ornie tlwM ever heere-to-/ore: Together with the Tunes to the whole psalmes, diligently revised and amended, By the most expert. M-iisicians in Aberdene.
As this edition wants one of the two times in Eeports found in 1633, and gives the Genevan version of the prose
psalms, it must be earher than that date; and may bo presumed to be that either of 1629 or 1632. There are
15 Common Tunes, of Vrfhich the first 12 are the same, and in the same order as in 1615. The last is Bon Accord, said to be "■for the xii. psalme." No. 13 is the tune 'Munros' of 1635, here termed 'Montrose,' not Glasgow, as it is in 1633. No. 14 is Elgin. The Common Tunes are harmonized in four jjarts and Bon Accord in Eeports, this tune having the same peculiarity as in 1633 — that the Church part is the Treble. The harmonic arrange- ments are not quite the same as those of 1633, but, though somewhat earlier, the quality of the edition does not seem to call for theu' production in fuU. One or two specimens are given. App. p. 1' b I Mr. D. Laing. i No contents to psalms — Common Metre Conclusions as in 1635, but none for other metres; Spiritual Songs as in 1615, except that the Song of Moses is wanting, and the order alike with one excejDtion.
Andrew Hart of Edinburgh died in 1621, but several subsequent editions of the Psalter bear to have been printed by his heirs. One is a 16mo of 1630 in prose and metr^, one an Bvo of 1632, and another in metre only, and pro- bably for bibles, in 1633, (See Lee's Memorial.) An edition of the very small size, dated 1634, (British Museum, ^c.,) merits a fuller notice. The common tunes are increased to
16 (App. p. 20 ) and are harmonized, the arrangements being very like to those of 1635. Dumfermling is in foui- parts, as in Edition 1633. Each tune fills a page. The proper tunes are without harmony, and Psalm 46th has the old melody. The Spiiritual Songs are much as in 1635, and the older ones are furnished with the tunes of earlier editions. The Argiunent and scripture passages of 1 633 and 1640 are also given. — App. p. 2 and 3
This brmgs the history up to the date of the edition which has been selected for reprinting, and in which the Psalter reaches its climax by the increase of Common tunes, and the addition of harmony to the entire musical materials. But it is mtnecessary to describe what it is put in the power of the reader to inspteot for himseK. See however the remaining dissertations, fac-similes, notes, and appendix. A considerable number of specimens of this edition remain in public libraries, and in the hands of indiidduals — e. g. Mrs. Johnstone, Dumfries, a descendant of William, brother of John Knox ; Messrs. Wdliam Euing, Glasgow; T. L. Hately, Edinburgh; Professor M'Crie, London; Eev. Mr. Knight, Weymis, &c.
There is a small edition of the same year printed by EobertYoimg,his Majesty's printer, Edinbui'gh. Eph.v., 18 and 19, quoted. No tunes. — Rev. Mr. Roger. AucMnleck.
Only two editions appear to have been issued after 1635. One consists simply of remaining copies of Hart's, 1634, with new title, &c.
" The CL. Psalmes of David in prose and meeter with their whole usual Tunes newly corrected and amended — (Device, a Thistle.) Edinburgh, printed by James Bryson, and are to be sold at his shop, a little above the Kirk- Stile at the sign of the Golden-angel. 1640." '
■ Diss. IV., p. 41 . Copies, Mr. T. L. Hately and Mr. D. Laing, Edinburgh.
The other is of the same date, and by the same printer. It is in'4to, and must have been intended for bibles only.
In the Catalogue of the Abbotsford Library (Maitland Club) a copy of this edition is mentioned as bound with a bible in crimson velvet, with silver embroidered ornaments and silver clasps. This bible had belonged to Mrs. Hali- buxton of Newmaius, Sir Walter Scott's great-great-grand- mother, who died in 1747, aged 97.
The following notices of stock are from the last Wills of Booksellers, already referred to : —
1603. Mrs. Charteris. 300 psalme bulks with the prois on the margen at 6s. the pece. 300 small, of ane uther sort at 5s.
1606. Charteris. 456 psalmes in Octauo, fyne prent at xiijs. iiijd. the pece. 216 [similar] at 12s. 264 m Oct. picall letter at 7s. 34 [same] in tillettis at 29s. 4 [same] ouergilt at 4s. 4d. 2380 quhairof 320 printed at London"3s.
1642 . James Brysson. Testaments and psalmes mentioned as if bound together. 450 psahnes in folio, 300 for Bibles. &> .
Some of the editions referred to in these WiUs seem to be different from any of those described in the above cata- logue. There is indeed reason to suppose that many editions were printed of which no trace remains.
ZO
2. — Public Action Continued.
1601. Proposals were submitted in the General Assembly for improving the common translation of the Bible, (Genevan,) the metrical version of the psalms, and the prayers usually bound up therewith. The King himself favoured the assembly -svith a speech in support of these measures. " As for the translation of the psahnes in metre, it was ordeaned that the same be revised by Mr. Eobert Pont, and that his traveUs be revised at the nixt Assemblie." Since no further notice is taken of this project, it may be inferred that it was silently dropped. The King seems, however, to have sometime afterwards formed the intention of employing his own pen ia producing a new version. But it was not till the year 1631 that such a performance was actually submitted to the church. Charles was then on the throne, and the pseudo-Episcopacy forced upon the church was in full operation. The matter is thus stated by Eow —
There was also a report that the King would have the Psalms of King David, translated and paraphrased by King James his father, to be receaved and sung in all the kirks of Scotland; and some of the hooks were delyvered to presbyteries, that ministers might advise conoorningthe goodness or badness of the translation, and report their judgments (not to the Generall Assemblie, for, oh I "that great bulwark of our Kirk was demolished,) but to the Diocesan assemblies; yit that mater was laid asyde for a while. The work was commonlie thought to be rather Sir William Alexander's of Meustrie than the King's; howbeit, it is most probable that both hes had an hand in it.
Mr. Holland, in his notices of King James and Sir William Alexander of Meustrie (ultimately Earl of Stirling), has pretty conclusively disposed of the claims of the former to the authorsliip of the version which has borne his name ; ' and has confirmed the opinion generally entertained by those who have looked into the question, that to the latter the work is all but entirely ilue. Bishop Wdliams, who cannot be suspected of understating the case, says, in his sermon upon the death of James — " This work was staid in the one and thirty psabn." That nimiber accords with the contents of a manuscript in the British Museum in the handwriting of James. Evidence is afforded to prove that the remaining psalms, amounting to four-fifths of the whole, were translated by Sir "William. But it is further shown that even those on which the Eoyal mind had laboured were so much amended and recast by the same "trustie and weUbeloved" coadjutor, that it must have required all the filial partiality of Charles to discover their identity.
The reception of this new version was opposed by the body of the church and ministers. The grounds of oppo- sition are summed up in a document usually ascribed to Calderwood, and preserved in the Bannatyne Miscellany. Some portions of it are quoted elsewhere in these Disserta- tions, and the foUoiving is the substance of what remains : —
The church has a prescriptive right to the existing psalms — Both pastors and people be long custome are so acquainted with, the Psalraes and the Tunes thereof, that as the pastors are able to direct a psalme to be sung agrieable to the doctrine to be delyvered, so he that taketh vp the psalme is able to sing anie and the people for the maist part to follow — Both pastors and people have some psalmes or parts of psalmes be heart, as may best serve for ther different disposition and case of con- ecience, and for the changes of their externall condition — In other Reformed Kirks ther psalmes are not absolutely perfect, yet they wiU not reject them for a small blo^or mae — If psalmes be removed other things might follow as Confession of Faith &c. — -It would be ungrateful to estinguish the memory of so many worthy men, by whose care and paines God had vouchsafed so niany benefites vpon his Kirk.— This labour was vndertaken without direction and approbation of the Kirk. — The people are acquainted with the old Metaphrase more than any book in scripture, yea some can sing all or the most pairt without bulk, and some that can not read can sing some psalmes. Therefore our Kirk would not accept of anie other. Howbeit some pairts might be bettered, yet they would not admit that the whole sould be changed. Referring to the appointment of Pont to revise the psalms, it is argued that if that faithful! man, who was both hohe and learned, had found any just cause of alteration, nether he^ nor the Assemblie who should have taken compt of his diligence would have suffered that mater to be buried in obhvion— Montgomerie and som others pruicipalls of Enghsh poesie in ther t3maes, as they gave ther essays of som psalms yet extant, so they offered to translate the whole book frielie without any price for ther paines. — This work is hohe and strict and abydes not any youthfull or heathenish libertie, hot haue we not such in this
new metaphrase. Tak these for a taste. Ps. 72'6. "Or like soft pearles of quickning showers." Ps.78'20. " Soe wounded rookes gave cristall blood." Ps. 148'3. "You flaming Lord of light * * * pale Lady of the night," &c. — The people must be taught to understand French Latin and hard English tearmes, before they can sing with understanding, as " regall, brandisht, guerdoned, sinistrous," — vther kirkes will call us light headed Sootts. — The verie privat use aught to be suppressed, because some persons will labour to haue them by heart, who sould rather haue these which are soong in the Church, for who sail studie to both? — The oountrie sail be burdened with the loss of 300000 buiks of the old, and with the cost of 600000 of this new meeter, during the piivelege which we hear is to be granted to the chief author.
Whether on account of the general dislike shown towards it, or from a conviction that it required re^dsal, the new version was not pressed at that time. " The Bishops," says Stevenson, " were ashamed to push the receiving and using thereof; and so it was laid aside." But the project was not abandoned. In December, 1634, Charles "being fully convinced of the exactnesse " of the translation, enjoined the Privy Council of Scotland " that no other psalmes of any edition whatsoever be either printed heir- efter within that our Kingdom, or imported thither, either bound by themselff or otherwaye, from any forrayne parts." Meanwhile the version was subjected to a process of emendation, many portions being largely altered or entirely re written, and in this improved form it was re-issued in 1636, and attached to the new Service Book prepared for Scotland, imder the dictation of the King and his Prelatic advisers. But suddenly these and other elements of the system, forced so pertinaciously upon a reluctant church and people, went down like a house of cards before the onslaught led by Janet Geddes, and the proceedings of the Glasgow General Assembly of 1638.
Though the substitute proposed by King Charles I. was so decidedly rejected, the imperfections of the old version, and the question of superseding it by a better, must have attracted general attention soon afterwards. George Gillespie, in his speech to the General Assembly of 1 647, uses the expression, " AU grant that there is a necessitie of the change of the old paraphrase," which may be imder- stood as expressing the state of opinion for some years previous. A similar feeling arose amongst the more educated class in England, where the various metrical translations of the psalms which had appeared, especially those of Withers and Sandys, together with the general progress of literature, had doubtless elevated the standard of taste in sacred poetry. But the grand impelling motive was that expectation of realizing uniformity of Church order throughout the three kingdoms, wliich arose out of the combination of the Scottish Covenanters with the English Parliamentarians in 1640-3. The existing Psalter."' were not compatible with such uniformity, as reckoning entire psalms, verses, and lines, they differed to the extent of about one third.
As early as 1641 an important document was drawn up and transmitted to parties in England, by Alexander Henderson, as representing the Scottish Church, entitled, " Ou7' desires concerning unity in Religion" <^-c.; in which mention is made of " One Directory for all the parts of the public worship of God." Some negotiation had taken place prior to 1643, as in that year Eobert Baillie, when looking forward to the Westminster dehberations, antici- pates that "one of the points of their conference would be anent a new Psalter."
It does not belong to the object at present in hand to give a detailed account of the rise and progress of that' version of the psalms which in 1650 was adopted Ly the Scottish Church, and continues in use to the present day. The proceedings of the Westminster Divines, of the English Parliament, of the Scottish Assembly, and finally of the Committee of Estates, in the prosecution of this enterprise, though falling within the last years of the old Psalter period, really pertain to the history of its successor. After very careful preparation, the new version received the sanction of the Commission of Assembly, " to be the only paraphrase of the Psalms of David to be sung in the Kirk of Scotland" — -the old and every other paraphrase being discharged, either for congregation or family use, after the first day of May, 1650.
Fyftene day of May 1650. At quhilk day and tyme the new psalme buikes wer red and ordanit to be sung throw all the kingdome. — NicoVs Diary.
21
It cannot be doubted, however, that in the remoter portions of Scotland, some years must have elapsed before the old Psalter was fully displaced by the new. But probably the revolution was fully carried out before 1656, in which year BaUlie is found exclaiming, Lu a letter to Francis Eous, the author of the original draft of the version — " Why is not your Psalter in England practised as it is here, and no other'? Will you there never come to any order? "
For the reason just stated no notice is here taken of the measures nf the Scottish Assembly in 1648-50 relative to Scriptural Songs — or of the Directory for Pubhc Worsliip, framed at Westminster. Eespecting the conclusions to the Psalms, and the Chapel Eoyal, see Diss. III., p. 35 , and Disser.V., p. 65.
When the office of Eeader was brought under discussion by the Westminster Assembly the decision was against its retention. BaUlie states (Letters 1645) that the members were personally inclined otherwise, but " could find no warrand for such ane officer in the Church." It is well kno^vn that the Scottish Church, though disappointed in their hope of uniformity, proceeded faithfully to carry out the Westminster arrangements. The abolition of the Eeader's functions occasioned the following entry in Nicol's Diary under 1653: —
It wald be rememberit that, in the yeir of God 1645, the reiding of Chapteris in the Kirk, by the Common reidar, and singing of psaltnes wer dischargit; and in place thairof come in the lectureis, quhilk indured till the incuming of the Englische airmy. This did not content the pepill beoaus thair wes no reiding of chapteris nor singing of psalmes on the Saboth day; quhairfoir the niinisteris thocht it guid to restoir the wonted custome of singing of psalmes, as als the exercise of the Catechisme * * * fra the secound beU to the thrid for the edification of the pepill. This began in October 1653.
The statement here is plainly confined to the hour formerly allowed to the Eeader, ending with the third bell, when the minister's service began.
, The order of public worship seems to have continued unchanged till 1 645. There are traces of an afternoon as well as a morning hour for prayer, that is, a short service by the Eeader, but probably this would only be main- tained in towns. Thus, Glasgow Kirk Session Eecord, 1619, mentions two Eeaders, one of them appointed "to read daily as well the morning as the evening prayere from April to October, at seven morning and five evening, and the other part at eight and six." The General Kirk of Edinburgh, 1574, appoint an alteration of hours for the same purpose to seven and five; and that of Stirling, 1&2-9, from these hours to eight and four. The first of these extracts seems to refer to week days. Daily prayers in " greit tomiis" were recommended in the First Book of Discipline, but during the time of Episcopacy, the practice of the Enghsh Cathedrals may have been adopted, in having public prayers twee daily in the seats of Diocesan authority.
Family worship is so frequently incidcated by Church Courts, lower and higher, that instances are almost super- fluous. A single specimen foUows —
1647. Intimation is made, that every family have family worship morniDg and evening, and such who have it not, are to be debarred from the Commimion. — Glasgow, Kirk-Session.
The Acts of Assembly 1639, 1642, and 1647 may also be referred to. The last especially is important, both from its minuteness and the circumstances out of which it arose. In the records of the Kirk Session of Stirling, 1639, complaints are entered of "religious meetings protracted for great pairt of the night" — occupied -with prayers, singing psalms, exponing scripture, * * * and conducted by strangers froin England and Ireland. Baillie speaks as if these censures were judged too severe. But it was deemed necessary to frame an act by which private worship might be judiciously regulated, and the task was committed to Alexander Henderson.
Eeferences to family worship may also be found in the sermons of those times. One example from that of Welsh of Ayr on the Second Commandment may suffice.
I beseech as many of you as make conscience of the worship of Gud that ye use the private means in your house at the least morning and evening everj' day. I wot well some of you have found the blessing of God there in your families.
From such sources it is probable that many passages could be adduced in reference to the duty of praise in
general. There are several in the sennons of Eobert Bruce, e.g. the following in that on Ps. 40th —
Only God putteth the song of praise in our mouth, and maketh us to sing this new song in our heart; for by nature none hath knowledge to praise him nor will praise him. It is not possible that the heart can praise him except it have a taste of his sweet- ness. All the benefits of the Lord, whether they be spiritual or temporal, shoidd be as many occasions of praise, &c.
Two writers of this period respectively apply the terms Precentor and Clerk to the leader of the Church singing. The expressions " reaser of the psalms" and " he that takes up the line" are also found.
There appear few traces of Choirs in the church service during the entire Psalter period. Former experience had led them to be considered as substitutes for congregational singing ; and the possibility of their proving helpers to it may not have been realized. The amount of part-singing maintaiued, therefore, may have been chiefly by indi- viduals dispersed amongst their fellow worshippers. Yet the notices from the Glasgow Session Eecord, 1587-88, (p. 17 above,) seem to refer to a company of choristers, and it is impossible to saj' how many such instances may have existed. It may be supposed that they increased during the sway of Episcopacy, as the influence of the Chapel Eoyal and of the Bishops would operate in that direction. The Psalter of 1635 may be regarded as prepared, amongst other ends, for the convenience of choirs, from the peculiar manner in which the parts of the common tunes and those in Eeports are disposed. (Fac-simde 18th.) It appears that the pupils of the " Sang Schules" were in some cases seated beside the precentor to assist in the psalmody. — Stirling Session Eecord, 1621, quoted below.
The publications of the Maitland Club furnish what remain of the results of an enquiry, appointed by the General Assembly, into the state of Education. The date is 1627. The following relate to musical teaching: —
Page 54. " Ane schoole we haue as it is neidfull hot no mantenance. Yit thair wes provydit ane rent for twa, ane to teatche the grammer and ane vther mwsick, flbr ane Halkerstoun provest of Creichtoim dotit ane tenement of land in Edinburgh quhilk belangit to him in heretage to the Colledge of Creichtoun, quhilk ludging wes eftirward fewit to vmquhili Johnne Jobnstoun bey his brother Mr. Adame Johnstoun Provest of Creichtoun out of the quhilk the teatcher of the grammer had twentie foure merkis and the teatcher of the mwsick als mutche. Quhilk moneyis vmquhili Mr. Alexander Andro and Mr. Ritchert Kene wryter wes last possessouris thairof, the ane being pre- bendar of the grammer schoole the vther of the mwsick schoole without dischairging of the dewtie. Now the Provest and bailyies of Edinburch possessis the said ludging sauld to thame be the airis of vmquhili Johnne Johnstoun."
Page 76. " Item thair is ane musick schoole in Mussilburgh, quhairvnto vmquhile King James quha kit deceissit of worthie memorie giftit iij'=- merkis money furth of the yeirlie dewtie of the erectit Lordschip of Newbotle. This pensioun wes gevin be the vmquhile Kingis Majestie to vmquhile Mr. Andro Blakhall Minister for the tyme at the said kirk of Mussilburgh, and to his sone Mr. Andro Blakhall present Minister at Abirlady, to the vse and behove of the said musick schoole, and the said Mr. Andi-o hes sauld and disponit the said pensioun, Sua that the paroohine and the schoole is frustrat of his Majesties gift."
^Notices of an earlier visitation of parishes are fui-nished in M'Crie's Life of Melville, II., Note T. There were various legal enactments fi'om 1600 tUl 1655, amongst which that of 1616 is somewhat prominent; but there is no reference to musical teaching. The " Sang Schules" contioue to be mentioned in public records. In Aberdeen, and- probably in other considerable towns, a school for Writing had been formed distinctly from the ' Sang' or elementary school, but the latter may still have retained the teaching of EngHsh reading, though it cannot be doubted that that branch would also be taught in other schools of a private description.
A few additional extracts from the proceedings, first of Burghs and next of Church Courts, are appended —
Aberdeen; 1600. To pay the sowme of fyue merkis money to Patrick Walter for the vptacking of the psalme in the new Kirk this yeir bygane.
1601. A long proclamation was issued by King James appointing the " fyft of August in all tymes and ages to cum" as a day of thanksgiving throughout the kingdom for his delivery from the Gowrie Conspiracy. The Council accordingly prohibit all business, and direct that " everie ane efter the preitching and thankisgeving, spend the rest of the day in all lauchful and honest_ gladnes, and acoompanie thair magistrattis throw the toune in singing of psalmes and prasing of God."
zz
1605. " The houB callit the Kirk ludge" to be " devydit in thrie houesis," for " the sang school, and the twa Inglis schoolis, teichit be the twa reidaris." The Council however explain that they " ar onlie obleist to find a gi-ammer schooll and ane sang school, and nawayes to find ony Inglische schoolis."
The deliverance of the King from the Gunpowder plot ordered to be celebrated. "■Buerie maister of houshold to accompanie the magistratis and ministrie, passing throw the haill streittis and singing of psalmes, and magnefeing the Lord for the said benefitt." Ayr. 1627. To the maister of the Musik for teaching and taking vp of the psalmes in the kirk x. bollis victuall and 13 lb. 6s. 8d. of silver. The maill of the Musik School 8 lbs.
Banf. 1628. For reiding of the prayers and uptaking of the psalmes xx. 1.
Craill. 1622. For the vptaker of the Psalme xx li. Coupei\ 1601-2. Gevin to Johne Nicholson, be vertew of ahe ordinance of Counsall for the maill of the Sang School of the Martemas and Witsonday terms, 18 lib. 1628. To Mr. Alex- ander Tyllideaphe, Maister of the niusick sool, j'-li.
Dumbarton. 1621. To the teioher of the Inglische Schoole and musick j"- li.
Dumfries. 1633. To the readar and Maister of the Sang Schoole iiij"- lib.
Dunbar. 1621. To the teicher of the Inglische Schoole and musick j°- li.
Dundee. 1602. To the master of the Sang Scule Ixxx. lib. 1621 . To Mr. John Mow, Mr. of the Music Schoole for his fee and hous maill ccl. li.
1628 & 1634. To the same ij'=- Ixvj. li. xiijs. iiijd. Elgin. 1622. To the Master of the Music Schole j" li. 1633-4. Maister of the grammer and Musick Schuillis ij"- XXX. li. A payment in 1622 recognizes separate masters for these. Glasgow, 1608. Gifin upon the third day of Merche, 1608, to Jon Buchan, Mr. of the Sang Scole, for Witsond.ay and Martyiiies termes, maill of his hours, [house,] . . xx £.
1626. The provest and baillies aggreit with James Sanderis to instruct the haill bairues within this burghe that is put to his schole, musik for ten shillings ilk quarter to himself, and fortie pennies to his man ; and thairfoir the said provest and baillies discharges all other sangsters within this burghe, to teache musik in tyme coming during thair will allanerlie.
1638. Forsameikle as of befoir thair was ane act sett doun in favouris of James Sanderis, reidder, that na maner of persone sould be permittit to teiche musik within this brught, or keip ane schole to that effect, except himself allanerlie, as the act in the self bearis. And now, seing that the musik school is altogidder dekayit within this said brught, to the grait discredit of this citie, and discontentment of sundrie honest men within the samin, who has bairnies whom they wold have instructit in that ait : And that Duncan Birnet, who sometime of befoir teat- chit musik within this brught, is desyrous to tak up the said soholl againe and teitche musik thairin; quhairupon the said baillies and counsall convenit the said James Sanderis befoir thaim, and eiftir deliberatioun thairanent, they, with consent of the said James Sanderis, (in respect of the former act sett doun in his favour) hes grantit licence to the said Duncan Birnet to tak up ane musik schoU within this brught, during thair will and pleasour; ho taking fra the toun bairnis such skoUegis as is contenit in the act set doun of befoir.
1646. Anent Jon. Cant, Musician, it is inactit, concludit, and agriet, that the Provest, Baylzies, and thair successors in ofSce, sail pay to him zeirlie, for the space of fyve zeirs, efter Witsonday last, quhHk was his entrie, for to raise the psalmes in the Hie Kirk on the Saboth, and in the Blackfreirs at the weik sermones, and for keipping of ane musick schole, fourtie punds moneye ; and, with all, recommends him to the Kirk Sessione, that he get the eight scoire merks zeirlie the saids fyve zeirs, usit to be payit of befoir to James Sanders, with fourtie merks farder quhairunto they by thir presents present him, he always teaching the tonnes bairnes vocall musick for threttie schillinges in the quarter, and both vocall and instrumentall musick for fourtie schillinges. Inverness. 1628. Giffin to Master of the Music Scuil xxxvj. li. Irving. 1633. Our doctour and musiciner j°- li. Lanark. 1628. To ane uther soholemaister that teichis the musick iij"vj. li. xiijs. iiijd.
St. Andreivs. 1627. To the maister of ^he Musik Scholl, and for taking up of the psalme at preacheing and prayeris, of fie ij"- li. The same for 1632.
Tayne. 1628. To Mr. Johne Tullidef, reider and master of the musick schooll, j°- li.
Wigton. 1633. Imprimis gevin to ane Schoolmaister for teiching the grammer schoole, reiding and raising the psalmeis in the kirk yeirlie, iij"' merkis.
Aberdeen Kirh Session, 1604, July. The haill famelie sail keep halie the Saboth day, and that by abstinence from play and corporall labour thairon; sail resort to thair awin paroche kirk, heir all the sermones thairin, and quha can reid sail lerne to sing and prais God publiotlie.
1604, October. All men and women in this burgh quha can reid, and ar of famous report and habUitie sail hawe bybles and psalme buikes of their awiu, and sail bring the same with thame to thair paroche kirkis thairon to reid and praise God.
1610. The samen day, the sessioun findis fault that the psalme is not sung ordinarlie befoir and efter the morning prayeris on the Sabboth day as wes wount to be done of befoir; and thair- foir ordanis the master of the sang school to tak vp the psalme ewerie Saboth in the morning, both befoir and efter the prayeris in tyme ouming, according to auld vse and wount; and ordanis the kirk bfficier to intimat this ordinance to James Sandei'is, present maister of the musick schooll, and to charge him to giwe obedience to the same.
1611. The said day, David Bonaldsoun is ordanit to disburs threttie sex s., for bying of a new psalme buik, to Mr. Richard Ross, redar in the auld kirk, quhilk psalme booke the said Mr. Richard is prdanit to mak furth cummand to the towne.
Glasgoio Kirk Session, 1604. A sark and a bonnet, and after- wards a coat, to be bought to him that carryes up the line in the High Kirk. 1608, he that takes up the line in the High Kirk to get 20 merks quarterly. 1646, John Cant is chosen by the Session to be reader in the High Ivii-k, and at the weekdaye's sermons. 1648, Baptism and singing of psalms, to be after sermons on week dayes, and the dores closed that none go out from the baptism. 1653, &c. the Session payes the precentor's quarter fiall, 26 pounds, 13 shillings, 4 pense; and to a year's precenting in the Gutter Kirk, 40 pounds.
1618. Stirling Kirk Session. Johnne Sharar and Johnne Johiisono bealleis reportis that the magistratis and councell of this burgh hes tliocht meit that Mr. Johne Row sail have for uptaking of the psalme yeirlie x. merkis money; the ane half therof to be payit be the townis thesaurer, and the uther half be the kirk furth of ther penalteis; quherunto the brcthrein of this assemblie aggreis.
The present Assemblie undirstanding that thair is ane imgodlie custume usit be sindrie honest men in ganging in the Uttir kirk uponc the Sabboth befoir the minister enter in the pulpet. quhen God his word is red publictlie and the salmis sung in the Inner kirk, quherby the said holie word is nocht rever- enced as beoumis ; and therfor the present assemblie dischairgis all sic perambulatione in tymes cuming, and commandis that all the accustomat doaris therof sail, incontinent after the entrie within the uttir kirk, repair to thair awin accustomat seatis and give cairfull attendence to the preaching and reeding of God his word and praising of his holie name, be singing of psalmes in all tyme cuming.
1620. The quhilk day the brethrein of the kirk, at des)^ of the Magistratis and Councell, consentis to give David Murray musitiouar, for uptaking of the psalme in the kirk and teaching of ane mwsick sohooU in this toun, xx. merk yeirlie during liis service.
1621. The brethrein of the kirk, be advyse of my Lord Provest, thinkis meit that the pulpet and Recderis letrun salbe taine douae and reedefeit againe; and therfore thay ordeiu that the samin be done he Johnne Johnsone and Duncan Watsone maisteris of the kirk wark be advyse of my Lord Provest, the Minister, Johne Sharar Dean of GM, and Johne Williamsone toun clerk; and that they mak commodious seattis about the fit thairof meit for the maister of the sang schooll and his bairnis to sit on, for singing of the psalmes in the tyme of the holie serveice of the kirk.
3. — Incidents Continued.
The following relates to Jolin Welsh, minister in Ayr, during the first years of the 1 7th century : —
His manner was, after he had ended a skirmish amongst his neighbours, and reconciled these bitter enemies, to cause cover a table upon the street, and there brought the enemies together ; and beginning with prayer, he persuaded them to profess them- selves friends, and then to eat and di-ink together. Then last of all he ended the work with singing a psalm. — Life of Welsh.
1605. Welsh and others being taken from the Castle of Blackness to be tried at Linlithgow for his offence in asserting the liberties of the Kirk, " the guard came to the castle to fetch them very early in the morning."'
So soon as Mr. Welsh heard the trumpet at the gate, he sprang out of his bed, and called to the rest, '' courage, now brethren, let us sing," and began himself,