largely untrained choir. A great quantity of simple tunes were published in the 18th and early 19th century for their use. From the mid-18th century, accompaniment began to be provided by a "parish band" of instruments such as the violin, cello, clarinet, flute and bassoon. These musicians would often sit in a gallery at the west end of the church, giving rise to the later term, "west gallery music". The tradition of a robed choir of men and boys was virtually unknown in Anglican parish churches until the early 19th century. Around 1839, a choral revival took hold in England, partially fuelled by the Oxford Movement, which sought to revive Catholic liturgical practice in Anglican churches. Despite opposition from more Puritan-minded Anglicans, ancient practices such as intoning the versicles and responses and chanted Psalms were introduced. The 16th century setting by John Merbecke for the Communion Service was revived in the 1840s and was almost universally adopted in parish churches. Composers active around this time included Samuel Sebastian Wesley and Charles Villiers Stanford. A number of grandiose settings of the Anglican morning and evening canticles for choir and organ were composed in the late 19th and early 20th century, including settings by Thomas Attwood Walmisley, Charles Wood, Thomas Tertius Noble, Basil Harwood and George Dyson, works which remain part of the Anglican choral repertoire today. The singing of hymns was popularised within Anglicanism by the evangelical Methodist movement of the mid-18th century, but hymns, as opposed to metrical psalms, were not officially sanctioned as an integral part of Anglican Orders of Service until the early nineteenth century. From about 1800 parish churches started to use different hymn collections in informal service like the Lock Hospital Collection (1769) by Martin Madan, the Olney hymns (1779) by John Newton and William Cowper and A Collection of Hymns for the Use of The People Called Methodists (1779) by John Wesley and Charles Wesley. In 1820, the parishioners of a church in Sheffield took their parish priest to court when he tried to introduce hymns into Sunday worship; the judgement was ambiguous, but the matter was settled in the same year by Vernon Harcourt, the Archbishop of York, who sanctioned their use at services. Anglican hymnody was revitalised by the Oxford Movement and led to the publication hymnals such as Hymns Ancient and Modern (1861). The English Hymnal, edited by Percy Dearmer and Ralph