"That simple grace": Lonsdale and the Old High tradition in the later 19th century

To end our readings from The Life of John Lonsdale (1868) - Bishop of Lichfield 1843-67 and exemplar of the Old High tradition - two extracts from sermons preached by Lonsdale in the last years of his life. Both extracts point to the Old High tradition continuing to present in English parish, over three decades after the beginning of the Oxford Movement. 

The first sermon was delivered at the restoration of a parish church in 1863. It is implied in the sermon that the restoration followed Victorian norms, moving away from some 18th century features.  Despite this, Lonsdale emphasised a continuation of simplicity:

And still the work is of a simple kind: it is still ... characterized by that simple grace which best becomes the sacred edifices of the Church of England; simple, solemnly simple, as that Church is in its ritual, and forms of worship.

Here was the authentic voice of the Old High tradition, rejoicing in - rather than mocking and rejecting - the modest, quiet liturgical style of 18th century Anglicanism: the reverend simplicity of parish church and liturgy affirmed and celebrated. 

The second extract comes from Lonsdale's final sermon before his death the following day, preached at the opening of a new organ in a parish church:

Well then to adapt our Church music to its high and holy purpose, with especial relation to its use in our parish churches, to make it at once correct and simple, solemn and spirit-stirring, popular but not vulgar, devotional, and at the same time congregational, must needs be a work of wisdom and of piety.

This, I say, should be aimed at, especially in our parish churches (our cathedrals will take care of themselves); for the popular life of our Church, if I may so speak, is there. If the musical part of the services therein be such as to interest the worshippers, and to lead them to join in it heartily, devoutly, and intelligently, so that the Psalmist's precept, 'sing ye praises with understanding,' may be realized, we may well hope that it will be helpful, not only to increased attachment to our Church, but to the growth of the Christian life among our people. Unless the music in our parochial churches be of this character, it will fail of attaining its proper aim and end.

Of particular note here is Lonsdale's view that music in parish churches is not to attempt to replicate cathedrals. Yes, Barchester does come to mind: "The services were decently and demurely read in their parish churches, chanting was confined to the cathedral". Music in parish churches was to be of a "congregational" nature, "simple", allowing parishioners to "join in it heartily". Implied here we see the Old High tradition developing, embracing hymnody, and moving beyond its earlier insistence on metrical psalms only. Indeed, as The Life notes, Lonsdale had been encouraging the use of hymns for some time, including hymns from the Dissenting tradition, not sharing earlier Old High prejudices on this matter.

Which brings me to one very final extract from The Life, an indication of how the Old High tradition exemplified by Lonsdale could shed older prejudices and more fully embody that peace and quietness which it sought for the Church catholic:

The Independent minister at Eccleshall, with whom the Bishop was on friendly terms, joined his funeral procession, and put his own chapel in mourning for his death.