The domestic wants of the Oratory, too, keep alive the feeling that something of the sort was needed: though at the same time the author’s ignorance of music appeared in some measure to disqualify him for the work of supplying the defect.” As translations, they do not express Saxon thought and feelings, and consequently the poor do not seem to take to them. The few in the Garden of the Soul were all that were at hand, and of course they were not numerous enough to furnish the requisite variety. Philip should feel the want of a collection of English Catholic hymns fitted for singing. In the preface to his book Jesus and Mary: Catholic Hymns for Singing and Reading (1849), Faber describes the origins of his interest in hymn writing: “It was natural then that an English son of St. His hymns, however, were published only after he became a Roman Catholic. 1857), and The Rosary and Other Poems (1845). He also published a number of literary works during his Anglican years, including Cherwell Waterlily and Other Poems (1840), The Styrian Lake, and Other Poems (1842), Sir Lancelot: A Legend of the Middle Ages (1842, rev. Philip of Neri, with John Henry Newman, a priest and hymn writer who also followed the path from Canterbury to Rome.īefore seceding, Faber published a number of statements in defense of the Church of England. Moving to London in 1849, he established the Oratorians, also known as Priests of the Congregation of St. But in that same year, he seceded to the Roman Catholic Church, one of several 19th-century Englishmen to make this ecclesial shift. Following his education at Balliol College, Oxford, he became a Fellow at Oxford and in 1837 took Holy Orders as a priest in the Church of England.įaber’s appointment to a parish in Elton, Huntingdonshire, in 1843 seemed to seal his destiny as an Anglican priest. Frederick Faber (1814-1863) grew up in a vicarage and seemed destined for priesthood in the Anglican Church.
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