The spurious letter to his imaginary daughter Abra was apparently written with the ingenious purpose of fathering upon Hilary the morning hymn, Lucis Largitor splendide. This is a hymn of considerable beauty, in the same metre as the genuine Ambrosian hymns. But there is this essential difference, that while in the latter the rules of classical versification as regards the length of syllables are scrupulously followed, in the former these rules are ignored, and rhythm takes the place of quantity. This is a sufficient proof that the hymn is of a later date than Ambrose, and, a fortiori, than Hilary. There remains the so-called evening hymn, which has been supposed to be the companion to the last Printed in full by Mai, Patrum Nova Bibliotheca, p. 490. He suspends judgment, and will not say that it is unworthy of Hilary. The Benedictine editor, Coustant, gives a few stanzas as specimens, and summarily rejects it.. This, again, is alphabetical, and contains in twenty-three stanzas a confession of sin, an appeal to Christ and an assertion of orthodoxy. The rules of metre are neglected in favour of an uncouth attempt at rhythm. Latin appears to have been a dead language to the writer The four quarters of the universe are ortus, occasus, aquilo, septentrio; one of these last must mean the south. This would point to some German land as the home of the author; in no country of Romance tongue could such an error have been perpetrated. Perire is used for perdere, but this is not unparalleled., who adorns his lines with little pieces of pagan mythology, and whose taste is indicated by his description of heretics as ‘barking Sabellius and grunting Simon.’ The hymn is probably the work of some bombastic monk, perhaps of the time of Charles the Great; unlike the other four, it cannot possibly date from Hilary’s generation.