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for of the Broadway Tabernacle (Congregational), New York, 1872. He was Lyman Beecher lecturer in Yale Seminary, 1876 and 1886; L. P. Stone lecturer in Princeton Seminary, 1880; and editor of The Christian at Work, 18?6-80. He was a preacher in the front rank, and enjoyed an international reputation. He was compelled by a stroke of paralysis to retire in 1893. He was the author of Life Truths: Being Discourses on Christian Doctrine and Duty (Liverpool, 1862); The Miracles: Helps to Faith, not Hindrances (Edinburgh, 1865); The Lost Found, and the Wanderer Welcomed (1870); David, King of Israel (New York, 1875); Elijah the Prophet (1876); The Ministry of the Word (Yale Lectures; 1876); Peter the Apostle (1876); Daniel the Beloved (1878); Moses the Lawgiver (1879) ; The Gospel Miracles in their Relation to Christ and Christianity (Princeton lectures; 1880) ; The Limitations of Life, and Other Sermons (1880); Paul the Missionary (1881); Contrary Winds, and other Sermons (1883); John Knox, a Biography (1885); The Parables of our Savior; Expounded and Illustrated (1886); Joseph, the Prime Minister (1886); The Scottish Pulpit from the Reformation to the Present Day (1887); The Miracles of our Savior, Expounded and Illustrated (1890); Ruth, the Cleaner; Esther, the Queen (1891); Paul the Missionary (1892); and The Boy Jesus, and Other Sermons (1893).

TE DEUM: The title of the so-called Ambroaian hymn, taken from the opening words: Te Deum laudamus. This hymn has been regarded from early times as the classic expression of Christian faith and placed on a par with the liturgical confessions. In the Roman hymnals it bears the designation: " Hymn in honor of the Holy Trinity " and " Hymn of St. Ambrose and St. Augustine," the former in reference to its contents and the latter in agreement with the legend that, at the time of the baptism of Augustine, in 387, Ambrose intoned the hymn and sang it alternately with Augustine. That Ambrose and Augustine were the originators of the hymn, in the sense of the legend that, carried away by the inspiration of the incident, they improvised it, can not be held, though it is possible that the memory of a real event on that memorable occasion endured, especially if it was a hymn new to the community and one that had been borrowed by Ambrose from the Eastern Church, and was first used in public on that occasion.

The hymn in its present form is no original and strictly uniform creation. Verses 1-21 are composed in rhythmic prose and the other verses in ordinary , prose (Lejay, in Revue Critique, 1893, i. 192). Verses 1-21 are therefore probably of earlier date than the rest. It is consequently no mistake to regard these verses (as far as numerari) as the foundation of the Te Deum, which then appears as a psalm with an antiphon, in about the following form:

1. Te Deum laudaumus, to Dominum eonfitemur. 2. Te sternum patrem omnis terra venerator. 3. Tzbi omnes anpeli, tabi eceli et universal potentates, 4. Tibi Cherubim et Seraphim incessabili voce proclamant, 5. Sanctus, sanctus, aanctus Dominos Deus Sabaoth. 6. Pleni aunt cwli et terra majestatis loan. (7. Te glorioaus apoatolorum chorus, 8. Te prophdarum Iaudabilia numerua, 9. Te martyrum candidatua Zaudat exercitus.) 10. Te per orbem terrarum sancta tanpetur ecclesia, 11. Patrem immense majestatis. 12.

Venerandum loom venom unigenitum·Filium, 13. Sanctum quoque paraclitum SPiritum. 14. Tu rex ploriat Chriate. 15. Tu Patria aempiternus es filius. 18. Tu ad liberandum auscepturus hominem non horruiati virginia uterum. 17. Tu deuicto mortis aculeo aperuisti credentibua regna cwlorum. 18. Tu ad dexteram Dei seder in gloraa Patria. 19. Judea crederis ease venlurus. 20. Te ergo quiesumua nobis tuffs famulis subveni quos preeioso sanguine redimiati. (Antiphon:) 21. sterna lac cum sanctis tuffs in gloria numerart.

Verses 22 to the end are derived from the Scriptures (Ps. xxvii. 9, cxlv. 2, exxiii. 3a, xxxiii. 22, xxxi. 2a), and Dom Pothier believes that the verses were originally a kind of preces in the matins, such as are still recited in the Roman offices at prime and compline, and that only later were they incorporated in the Te Deum (Den gregorianische Choral, p. 229, Tournai, 1881). If the melody of the words sterna fac cum sanetis tuffs . . . ceterytum, as well as the close: In to Domine, was taken from an introit of an old Greek mass of Dionysius the Areopagite, which has been sung up to modern times at St. Denis near Paris during the octave of the festival of this saint, to the words: Kyrie theos basileu ouranie paten pantokrator, it would be natural to seek the origin of the Te Deum in the Eastern Church, even though no hymn has been found in the Greek language which can be determined to be the Greek original of the Te Deum. The Greek versions mentioned in Julian (Hymnology, pp. 1125 sqq.) are evidently translations into Greek of the already existing Latin hymn, made at the beginning of the sixth century. It is possible that it may have been present to the mind of the poet Prudentius (q.v.) in his Apotheosis, lines 1019-20, where he connects the verbs suscipere, liberare, horrere, precisely in the same way as in verse 16 of the hymn. If the words of Cyprian of Carthage (De mortalitate, xxvi.) : Illic apostolorum gloriosus chorus, illie prophetarum exultantium numerus,. illie martyrium innumirabilis numerus, are either an intentional or unintentional allusion to verses 7-9, the original form of the hymn must have been familiar to the Church of the third century. It may have been a psalm of thanksgiving which guided the newly baptized from baptism to the Eucharist. Nicetas of Remesiana and Ambrose of Milan (qq.v.) may share in the honor of the liturgical adaptation and the introduction of the hymn.

The Te Deum belongs to the service of hours; the Benedictine rule concludes therewith the third nocturn on all Sundays and festivals. In the Roman offices it has its place in the matins after the ninth lesson, as a prayer of thanksgiving on all days wherein the festival celebration is a joyous one, therefore on all Sundays (except from Septuageaima to Easter), on all festivals (except the festivals of the Holy Innocents), on the festival octaves and during the entire Easter time. Besides this, it was employed on special occasions " to render thanks to God for the bestowal of great blessings." A German translation existed as early as the ninth century, and there is a prose translation of 1389, and one in Low German. Poetical versions first appeared after Luther's example (see below). The German translation of the text gradually led to its transformation into the form of the song. All others were supplanted by the so-called German Te