assionate affection for it--in connection with Father
Faber, and I always used to think that when I came to die, I should
like to have it sung to me; and I want you to play it for me." Would a
harmonium do? "Yes, a harmonium would be just the thing; perhaps one
could be spared me."

[Footnote 64: There was nothing, however, so really "magnificent," he
said once (speaking of the wind instruments of brass and wood), as a
military band.]

[Footnote 65: The following have set "Lead, kindly Light" to music:
Canon J. Ballantine-Dykes, Rev. H. Earle Bulwer, Dr. G.A. Macfarren,
Dr. S.S. Wesley, Dr. A.R. Gaul, Dr. C.J.B. Meacham, Sir A. Sullivan,
J. Barnby, F. Tozer, C. Pinsuti, W. Hamilton, W. Hume, M.A. Wood (Mrs.
Harvey), Katharine Rowley, C.T. Gatty, T.W. Barth, A. Allen, F.G.
Pincott, H.C. Layton, J. Tilleard, J. Otter, W.H. Walter, J.A.
Gardiner, W. Nicholson, J.W.R., and three anonymous composers. We may
add that Mr. Rowton has musically essayed the _Dream of Gerontius_;
"J.W.R.," "Warnings" from the _Lyra Apostolica_; Dr. Macfarren a duet,
"O God, Who canst not change" (breviary translation); "R.S.," "All is
divine which the Highest has made;" E.W., "Softly and gently, dearly
ransomed soul;" the Rev. C.E. Butler, "Praise to the Holiest;" Maria
Tiddeman, the same; Mr. Bellasis, the "Haven," "Consolation," "Waiting
for the Morning," "The Two Worlds," "The Watchman," and "Heathen
Greece;" and an anonymous composer, "The Pilgrim Queen," "There sat a
Lady," &c.]

[Footnote 66: From the _Lyra Apostolica_, and a striking little poem,
as indeed are all the few signed [Greek: b], the music by a pupil of
the Cardinal.]

[Footnote 67: _Verses on Various Occasions_, pp. 80, 319; the latter
written in 1862, the music by a pupil, and according to the Father
"better than my words." The words also appear in the Birmingham book
as a hymn (No. 67), entitled "Sacrifice."]

[Footnote 68: Father Faber's _Poems_, No. 135, pp. 379-381, new edit.
1861. This is not in the London Oratory Hymn Book, but under the
heading "Eternity" six of the quatrains (Nos. 1, 8, 9, 11, 15, 16)
appear in the Birmingham book as No. 73, and are set to a tune in the
minor from Beethoven's sixth trio (for flute, viola, and violoncello),
taken _andante_.]

So, when evening had set in, a harmonium was put in the passage
between his two rooms, a Father knelt at his side reciting each verse,
while two others played and sang the "Eternal Years."

[Music: BEETHOV