ied. It adds a
pathos to its history that "Federal St." was sung at her burial.

This first of Oliver's tunes was followed by "Harmony Grove," "Morning,"
"Walnut Grove," "Merton," "Hudson," "Bosworth," "Salisbury Plain,"
several anthems and motets, and a "Te Deum."

In his old age, at the great Peace Jubilee in Boston, 1872, the baton
was put into his hands, and the gray-haired composer conducted the
chorus of ten thousand voices as they sang the words and music of his
noble harmony. The incident made "Federal St." more than ever a feature
of New England history. Oliver died in 1885.

"MY GOD, HOW ENDLESS IS THY LOVE."

The spirited tune to this hymn of Watts, by Frederick Lampe, variously
named "Kent" and "Devonshire," historically reaches back so near to the
poet's time that it must have been one of the earliest expressions of
his fervent words.

Johan Friedrich Lampe, born 1693, in Saxony, was educated in music at
Helmstadt, and came to England in 1725 as a band musician and composer
to Covent Garden Theater. His best-known secular piece is the music
written to Henry Carey's burlesque, "The Dragon of Wantley."

Mrs. Rich, wife of the lessee of the theater, was converted under the
preaching of the Methodists, and after her husband's death her house
became the home of Lampe and his wife, where Charles Wesley often met
him.

The influence of Wesley won him to more serious work, and he became one
of the evangelist's helpers, supplying tunes to his singing campaigns.
Wesley became attached to him, and after his death--in Edinburgh,
1752--commemorated the musician in a funeral hymn.

In popular favor Bradbury's tune of "Rolland" has now superseded the old
music sung to Watts' lines--

My God, how endless is Thy love,
Thy gifts are every evening new,
And morning mercies from above
Gently distil like early dew.

* * * * *

I yield my powers to Thy command;
To Thee I consecrate my days;
Perpetual blessings from Thy hand
Demand perpetual songs of praise.

William Batchelder Bradbury, a pupil of Dr. Lowell Mason, and the
pioneer in publishing Sunday-school music, was born 1816, in York, Me.
His father, a veteran of the Revolution, was a choir leader, and
William's love of music was inherited. He left his father's farm, and
came to Boston, where he first heard a church-organ. Encouraged by Mason
and others to follow music as a profession,