os. 2, 6, 7, 18, 41, 46, 56, 58, 59,
60, 66, 68, 69, 70, 72, 74, 75, 77, 78, 82, 84, 86, 117, 129, 135,
136, 139, 140, 142, 146, have not yet been identified by the present
writer. (See _Lyra Catholica_, 1849, by Father Caswall, &c.) How
beautifully, by the by, has not the late Father Bittleston rendered
St. Anselm's hymn. For example:

_Haec Regina,
Nos divina,
Illustravit gratia._
She the Queen who decks her subjects,
With the light of God's own grace.]

Like St. Philip, too, "he took the word music in its widest sense, and
made use of both vocal and instrumental music, and of their blended
harmony."[56] While we believe that he would have been the first to
admit the beauty of large portions of the old chant, its incomparable
hymns in the liturgy, the familiar _accentus_ dear to every Catholic
ear, for the Preface, the _Pater noster_, &c., the modes for Holy
week, the tones for the Psalms of the Divine Office, &c., we question
whether he could have made much of a mass of antiphons that seem to
illustrate the sacred text, "All we like sheep have gone astray." "In
Gregorian music," said a writer in 1890, speaking more positively than
we are able to do, "Newman could see no beauty whatever--none, at any
rate, in the usual antiphons and 'tones.' An exception must be made in
favour of those familiar chants occurring in the Mass.... I recollect
his telling me, after we had heard one of Cherubini's Masses admirably
performed at a Birmingham Festival, that the music, though so
beautiful, needed the interspersing of those quaint old chants to make
it really devotional," but "I believe," writes a friend, "it is very
difficult for one who has heard only Mozart and Beethoven, &c., in all
his early years ever to get a liking for Gregorian tones. It used to
drive Canon Oakeley wild when he heard his nephew, the present Sir H.
Oakeley, play a fugue of Bach's even on the organ. The Cardinal,
however, liked the _modus peregrinus_ to the _In exitu Israel_ (that
was only natural), and I remember once he seemed quite put out because
once we followed the Rubrics in Easter week (when the _In exitu_ is
used) by having all the Psalms to one tone. For a moment it seemed as
if he would contradict himself in his strict rule of going by
authority against what he liked, and would change the tones so as to
have the _peregrinus_." He somewhere, however, calls Gregorian an
"inchoate science." Coul