A new electric Microseismograph, suggested and planned by Rev. F. L. Odenbach, S.J., was installed last year at the Meteorological Observatory of St. Ignatius College, Cleveland, Ohio.

The foregoing sketch gives some idea of the exhibit presented in St. Louis by the Manila Observatory, which had the honor of representing the scientific section of the large Philippine exhibit. The Philippine International Jury of Awards recognized its worth and awarded it three Grand Prizes; one for the maps, another for the model-station, and a third for the Barocyclonometer, Nephoscope and Microseismograph. A gold medal was given for the Seismometric Pendulum of Father Suarez. The judges did not pass upon the merits of the two Ceraunographs because they were not from the Philippines. A number of gold medals and other smaller prizes were given for many of the other exhibits of the Philippine Weather Bureau and to the Filipinos connected with the model-station. (1) Moreover a gold medal was awarded to Creighton University, Omaha, Neb., and another to the Colegio de Belen, Havana. The total number, therefore, of awards given to the Jesuit exhibits of the Louisiana Purchase Exposition amounted to forty-three. Both the building and the large out-door map were honored by the visits of many learned and distinguished persons who admired not only the completeness of the Meteorological-Seismical Station, but also the skill shown by the Filipinos in preparing the relief maps. In order that the climatological and seismical conditions of the Philippines might be more universally known, two pamphlets were distributed to inquiring visitors, viz.: The Climate of the Philippine Islands, by Rev. José Algué, S.J., and Volcanoes and Seismic Centres of the Philippine Archipelago, by the department of Commerce and Labor.

JOSÉ CORONAS, S.J.

(1) The Jesuits of the Philippines received in all the following awards: Three grand prizes, eleven gold medals, ten silver medals, three bronze medals and four honorable mentions. Of these there were granted to Father Algué and to the Manila Observatory, three grand prizes, six gold medals, three silver medals, one bronze medal and an honorable mention. The remainder were awarded to other colleges of the Order. See "Report of the Philippine Exposition Board to the Louisiana Purchase Exposition, and the Official List of Awards granted by the Philippine International Jury of the Philippine Government Exposition, World's Fair. St. Louis, Mo."

THE CRY OF THE EXILE.

I.

OH, God! for one hour on an Irish hill,

'Neath the blue of an Irish sky,

With a heart as light as the glancing rill
That babbles and splashes and rushes by

To its home on the Shannon's breast;
Where the tall green corn in the sunlight waves,
Like an emerald sea through the valley sweet,
Rippling and flowing until it laves

With its shimmering wavelets the brown hills' feet.
In my dream-haunted Isle of the West.

II.

Oh! to stand in the cot where we danced of yore,
When Shaun of the Hill and Roseen Dhu,
With Dermot and Maurya "took the floor,"
With a grace that only the wild fawns knew
To the twirl of the piper's tune.

Bright laughing eyes, gold hair and brown,
White teeth that gleam when the red lip parts,
Feet twinkling 'neath cotton or russet gown
God's grace on their warm young Irish hearts,
Fresh as the buds in June.

III.

Oh, Erin! black was the dreary day

When the grey mist rose twixt my eyes and thee
And I saw thy green shore far, far away—
Like a gleam of light on a sullen sea-

Fade out from my yearning gaze,

The stranger's heart may be warm and true,
And the stranger's land may be fair and bright,
But I sigh for the heather wet with dew,

And the Shannon's gleam in the morning light

And one hour of the bygone days.

CAHAL O'BYRNE.

LATIN HYMNS AND HYMN WRITERS.

IT was the Reverend Richard Trench, afterward Protestant Archbishop of Dublin, who, in 1849, first offered to "the members of our English Church a collection of the best sacred Latin poetry," (1) first made known, that is, to a non-Catholic, if not antiCatholic communion, the treasures of poetry and devotion lying hidden and unrecognized in the works of monkish authors whose very names had been forgotten. I say first, advisedly, for Dr. Neale, in the preface to the first edition of his translation of the Rhythm of Bernard of Cluny-known as "The Celestial Country "-datedthe translation, that is, 1858, tells how it was Dean Trench's inclusion of a very beautiful cento from Bernard's poems which first led him to translate the whole of "The Celestial Country," the first part, in fact, of Bernard's famous "De Contemptu Mundi.”

To this remarkable and most beautiful translation I hope to refer again, in due course, and to give it, in some slight measure, the importance which it certainly merits. Of Trench's work, as of Lord Bute's Breviary in English, it may surely be said that it revealed to such Catholics who had eyes to see or hearts to appreciate the treasures to which they, and they alone, were the true and rightful heirs. If, in both cases, those not nominally of the Household of Faith proved worthier such treasures than their lawful owners, what is this but another sign of that utter lack of the Church's spirit all too prevalent among the Church's children?

Trench, of course, wrote not for Tractarians, still less for Catholics, but for Anglicans of an older, more uncompromising school, distinctly anti-Roman, if not professedly Protestant, in the strictest sense. The phrase, "our English church," marks a distinct phase of Anglo-Roman controversy, one which, indeed, is only now yielding, slowly but surely, to that which gives to "Rome" the truer title of our Mother, the Holy Roman Church." He is careful to

(1) Preface, p. 1.

Sacred Latin Poetry: Richard Chevenix Trench, M.A. London, 1849.
Hymns, Hymnody, Hymnology: Encyclopædia Britannica: Sub voc.

The Rhythm of Bernard of Cluny: John Mason Neale, D.D. London, J. T. Hayes, 17 Henrietta Street, Covent Garden.

assert that this collection shall contain nothing "which is inconsistent with their faith and fealty to their own spiritual mother." (1) This, in his view, excludes "all hymns which in any way imply the Romish doctrine of transubstantiation," as also those "which involve any creature worship," (2) worship," be it noted, being synonymous, in the ordinary non-Catholic mind, with adoration. Which is a matter that, even to-day, demands clear and definite explanation if we would convince our separated brethren that we do not "worship," our Lady or the Saints, in their sense of the word.

Nor has he any toleration for such "adaptation" as apparently was in vogue at that stage of the "Anglo-Catholic Anglo-Catholic" movement, homeward and Romeward, though its leaders wist not of it, but followed God's guidance, as did Abraham of old, "not knowing whither they went." "Nor, surely," our author writes, (3) "can there be a greater mistake than to suppose that we have really 'adapted such works to the use of our Church when we have lopped off here and there a few offensive excrescences," meaning thereby, presumably, what were then deemed distinctly "Roman" doctrines;

while that far more potent, because far subtler and more impalpable, element of a life which is not her life remains interfused through the whole." (4) Strong witness surely, stronger because unwilling, to the power of the True Church's spirit, the spirit of her Lord. All the bride's garments "smell of myrrh, aloes and cassia," (5) and none but she may wear them. Did not Thackeray say that Westminster Abbey preached "Popery" more efficaciously than a hundred sermons?

Enough has, however, been adduced to show Trench's very definite limitations, the introduction which precedes the collection will prove his fitness for the task undertaken. His intention, as he states it, is chiefly to trace the relation in which sacred Latin poetry stands to the forms of the classic poetry of Rome; (6) "the characteristic differences between the forms of the earlier and heathen art and the later and Christian art." Speaking of the processes which were going forward during the rise and growth of the Latin poetry of the Christian Church, he notes two in particular: "the first, the disintegration of the old prosodical system of Latin verse, under the gradual substitution of accent for quantity; and the second, the em

ployment of rhyme within or at the close of the verse, as a means for marking rhythm, and as a resource for the producing of melody." (1) Which use came first it would be hard to say, though such familiar phrases as: "Ad societatem civium supernorum, Perducat nos Rex Angelorum," would seem to point to melody in sound as the origin of rhyme in verse; that it should serve to accentuate the rhythm would, in this case, be an incidental advantage, to be improved and insisted on.

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The Church, our author remarks, found the metrical forms of the classical poetry of Rome "made ready to her hand." (2) But, he adds, a true instinct must have told her at once, or after a very few trials, that these were not the metrical forms which she required." The consequences of such a discovery were natural and inevitable. "A struggle therefore commenced from the first between the form and the spirit-between the old heathen form and the new Christian spirit;" (3) between-to use the gospel simile to which Trench himself aptly alludes the new wine and the old bottles. "As the old classical Roman element grew daily weaker in the new Christian world as poetry became popular again," (4) the confinement and bondage of "stereotyped forms" became less and less endurable.

The influence of association, moreover, could not be overlooked "when we are estimating the causes which combined to alienate the poets and hymnologists of the Christian Church ever more and more from the classical, and especially from the lyrical, metres of antiquity, and urged them to seek more appropriate forms of their own. In those the heathen gods had been celebrated and sung, the whole impure mythology had been arrayed and tricked out." (5) They were deemed, in fact, as unsuitable for Christian use, in Christian worship, as we are now at long last beginning to consider the use of profane and secular music. Nor surely is there any influence so strong with the mass of humanity for good or for evil as that of association.

A new metre, or one at least untainted with evil associationscould such be found-was, therefore, necessary wherein the poets. of the early Church might give expression to their pious thoughts and aspirations. 'And here it may be fitly observed that the wonderful and abiding success of the hymns of St. Ambrose, and of

(1) Ibid.

(2) Ibid., p. 7.

(3) Ibid., p. 10.

(4) Ibid, p. 11.

(5) Ibid., p. 13.