This is because the editor of that edition chose to revert to citing many of the scriptural passages that Lowth uses as examples, and some of the annotations by Michaelis) and others, in Latin.

Much admired in the late 18th and early 19th centuries, it was set to music by the English composer John Wall Callcott.

Lowth's library was sold by auction by R. H. Evans on 15 January 1823 and five following days, along with the books of his son (also Robert, Rector of Hinton Ampnor, d. 1822).

Lowth seems to have been the first modern Bible scholar to notice or draw attention to the poetic structure of the Psalms and much of the prophetic literature of the Old Testament.

In Lecture 19 he sets out the classic statement of parallelism, which remains the most fundamental category for understanding Hebrew poetry.

He identifies three forms of parallelism, the synonymous, antithetic and synthetic (i.e., balance only in the manner of expression without either synonymy or antithesis).

Prompted by the absence of simple and pedagogical grammar textbooks in his day, Lowth set out to remedy the situation.

Lowth's grammar is the source of many of the prescriptive shibboleths that are studied in schools, and established him as the first of a long line of usage commentators who judge the English language in addition to describing it.

Lowth's method included criticising "false syntax"; his examples of false syntax were culled from Shakespeare, the King James Bible, John Donne, John Milton, Jonathan Swift, Alexander Pope, and other famous writers.

His understanding of grammar, like that of all linguists of his period, was influenced by the study of Latin, though he was aware that this was problematic and condemned "forcing the English under the rules of a foreign Language"1.