HISTORY of the CHRISTIAN CHURCH*

CHAPTER X.

WORSHIP AND CEREMONIES.

Comp. vol. III. ch. VII., and Neander III. 123–140; 425–455 (Boston ed.).

 § 92. The Mass.

Comp. vol. III. § 96–101 and the liturgical Lit. there quoted; also the works on Christian and Ecclesiastical Antiquities, e.g. Siegel III. 361–411.

The public worship centered in the celebration of the mass as an actual, though unbloody, repetition of the sacrifice of Christ for the sins of the world. In this respect the Eastern and Western churches are fully agreed to this day. They surround this ordinance with all the solemnity of a mysterious symbolism. They differ only in minor details.

Pope Gregory I. improved the Latin liturgy, and gave it that shape which it substantially retains in the Roman church.421  He was filled with the idea that the eucharist embodies the reconciliation of heaven and earth, of eternity and time, and is fraught with spiritual benefit for the living and the pious dead in one unbroken communion. When the priest offers the unbloody sacrifice to God, the heavens are opened, the angel are present, and the visible and invisible worlds united.422

Gregory introduced masses for the dead,423 in connection with the doctrine of purgatory which he developed and popularized. They were based upon the older custom of praying for the departed, and were intended to alleviate and abridge the penal sufferings of those who died in the Catholic faith, but in need of purification from remaining infirmities. Very few Catholics are supposed to be prepared for heaven; and hence such masses were often ordered beforehand by the dying, or provided by friends.424  They furnished a large income to priests. The Oriental church has no clearly defined doctrine of purgatory, but likewise holds that the departed are benefited by prayers of the living, "especially such as are offered in union with the oblation of the bloodless sacrifice of the body and blood of Christ, and by works of mercy done in faith for their memory."425

The high estimate of the efficacy of the sacrament led also to the abuse of solitary masses, where the priest celebrates without attendants.426  This destroys the original character of the institution as a feast of communion with the Redeemer and the redeemed. Several synods in the age of Charlemagne protested against the practice. The Synod of Mainz in 813 decreed: "No presbyter, as it seems to us, can sing masses alone rightly, for how will he say sursum corda! or Dominus vobiscum! when there is no one with him?"  A reformatory Synod of Paris, 829, prohibits these masses, and calls them a "reprehensible practice," which has crept in "partly through neglect, partly through avarice."427

The mysterious character of the eucharist was changed into the miraculous and even the magical with the spread of the belief in the doctrine of transubstantiation. But the doctrine was contested in two controversies before it triumphed in the eleventh century.428

The language of the mass was Greek in the Eastern, Latin in the Western church. The Latin was an unknown tongue to the barbarian races of Europe. It gradually went out of use among the descendants of the Romans, and gave place to the Romanic languages. But the papal church, sacrificing the interests of the people to the priesthood, and rational or spiritual worship429 to external unity, retained the Latin language in the celebration of the mass to this day, as the sacred language of the church. The Council of Trent went so far as to put even the uninspired Latin Vulgate practically on an equality with the inspired Hebrew and Greek Scriptures^.430

 § 93. The Sermon.

As the chief part of divine service was unintelligible to the people, it was all the more important to supplement it by preaching and catechetical instruction in the vernacular tongues. But this is the weak spot in the church of the middle ages.431

Pope Gregory I. preached occasionally with great earnestness, but few popes followed his example. It was the duty of bishops to preach, but they often neglected it. The Council of Clovesho, near London, which met in 747 under Cuthbert, archbishop of Canterbury, for the reformation of abuses, decreed that the bishops should annually visit their parishes, instruct and exhort the abbots and monks, and that all presbyters should be able to explain the Apostles’ Creed, the Lord’s Prayer, the mass, and the office of baptism to the people in the vernacular.432  A Synod of Tours, held in the year 813, and a Synod of Mainz, held under Rabanus Maurus in 847, decreed that every bishop should have a collection of homilies and translate them clearly "in rusticam Romanam linguam aut Theotiscam, i.e. into French (Romance) or German," "in order that all may understand them."433

The great majority of priests were too ignorant to prepare a sermon, and barely understood the Latin liturgical forms. A Synod of Aix, 802, prescribed that they should learn the Athanasian and Apostles’ Creed, the Lord’s Prayer with exposition, the Sacramentarium or canon of the mass, the formula of exorcism, the commendatio animae, the Penitential, the Calendar and the Roman cantus; they should learn to understand the homilies for Sundays and holy days as models of preaching, and read the pastoral theology of Pope Gregory. This was the sum and substance of clerical learning.434  The study of the Greek Testament and the Hebrew Scriptures was out of the question, and there was hardly a Western bishop or pope in the middle ages who was able to study the divine oracles in the original.

The best, therefore, that the priests and deacons, and even most of the bishops could do was to read the sermons of the fathers. Augustin had given this advice to those who were not skilled in composition. It became a recognized practice in France and England. Hence the collection of homilies, called Homiliaria, for the Gospels and Epistles of Sundays and holy days. They are mostly patristic compilations. Bede’s collection, called Homilice de Tempore, contains thirty-three homilies for the summer, fifteen for the winter, twenty-two for Lent, besides sermons on saints’ days. Charlemagne commissioned Paulus Diaconus or Paul Warnefrid (a monk of Monte Cassino and one of his chaplains, the historian of the Lombards, and writer of poems on saints) to prepare a Homiliarium (or Omiliarius) about a.d. 780, and recommended it for adoption in the churches of France. It follows the order of Sundays and festivals, is based on the text of the Vulgate, and continued in use more or less for several centuries.435  Other collections were made in later times, and even the Reformed church of England under Edward VI. and Queen Elizabeth found it necessary to provide ignorant clergymen with two Books of Homilies adapted to the doctrines of the Reformation.

In this connection we must allude again to the poetic reproductions of the Bible history, namely, the divine epos of Caedmon, the Northumbrian monk (680), the Saxon Heliand" (Heiland, i.e. Saviour, about 880), and the "Christ" or Gospel Harmony of Otfrid (a pupil of Rabanus Maurus, about 870). These works were effective popular sermons on the history of redemption, and are at the same time the most valuable remains of the Anglo-Saxon and old high German dialects of the Teutonic language.436

It was, however, not till the Reformation of the sixteenth century that the sermon and the didactic element were restored and fully recognized in their dignity and importance as regular and essential parts of public worship. I say, worship, for to expound the oracles of God, and devoutly to listen to such exposition is or ought to be worship both on the part of the preacher and on the part of the hearer, as well as praying and singing.

 § 94. Church Poetry. Greek Hymns and Hymnists.

See the Lit. in vol. III. § 113 (p. 575 sq.) and § 114 (p. 578), and add the following:

Cardinal Pitra: Hymnographie de l’église grecque. Rome 1867. By the same: Analecta Sacra Spicilegio Solesmensi parata, T. I. Par. 1876.

Wilhelm Christ et M. Paranikas: Anthologia Graeca carminum Christianorum. Lips. 1871. CXLIV and 268 pages. The Greek text with learned Prolegomena in Latin. Christ was aided by Paranikas, a member of the Greek church. Comp. Christ: Beiträge zur kirchlichen Literatur der Byzantiner. München 1870.

[?]. L. Jacobi (Prof. of Church Hist. in Halle): Zur Geschichte der griechischen Kirchenliedes (a review of Pitra’s Analecta), in Brieger’s "Zeitschrift für Kirchengesch., "vol. V. Heft 2, p. 177–250 (Gotha 1881).

For a small selection of Greek hymns in the original see the third volume of Daniel’s Thesaurus Hymnologicus (1855), and Bässler’s Auswahl altchristlicher Lieder (1858), p. 153–166.

For English versions see especially J. M. Neale: Hymns of the Eastern Church (Lond. 1862, third ed. 1866, 159 pages; new ed. 1876, in larger print 250 pages); also Schaff: Christ in Song (1869), which gives versions of 14 Greek (and 73 Latin) hymns. German translations in Bässler, l.c. p. 3–25.

[Syrian Hymnology. To the lit. mentioned vol. III. 580 add: Gust. Bickell: S. Ephraemi Syri Carmina Nisibena, additis prolegomenis et supplemento lexicorum syriacorum edidit, vertit, explicavit. Lips.] 1866. Carl Macke: Hymnen aus dem Zweiströmeland. Dichtungen des heil. Ephrem des Syrers aus dem syr. Urtext in’s Deutsche übertragen, etc. Mainz 1882. 270 pages. Macke is a pupil of Bickell and a successor of Zingerle as translator of Syrian church poetry.]

The general church histories mostly neglect or ignore hymnology, which is the best reflection of Christian life and worship.

The classical period of Greek church poetry extends from about 650 to 820, and nearly coincides with the iconoclastic controversy. The enthusiasm for the worship of saints and images kindled a poetic inspiration, and the chief advocates of that worship were also the chief hymnists.437  Their memory is kept sacred in the Eastern church. Their works are incorporated in the ritual books, especially the Menaea, which contain in twelve volumes (one for each month) the daily devotions and correspond to the Latin Breviary.438  Many are still unpublished and preserved in convent libraries. They celebrate the holy Trinity and the Incarnation, the great festivals, and especially also the Virgin Mary, the saints and martyrs, and sacred icons.

The Greek church poetry is not metrical and rhymed, but written in rhythmical prose for chanting, like the Psalms, the hymns of the New Testament, the Gloria in Excelsis and the Te Deum. The older hymnists were also melodists and composed the music.439  The stanzas are called troparia;440 the first troparion is named hirmos, because it strikes the tune and draws the others after it.441  Three or more stanzas form an ode; three little odes are a triodion; nine odes or three triodia form a canon. The odes usually end with a doxology (doxa) and a stanza in praise of Mary the Mother of God (theotokion).442  A hymn with a tune of its own is called an idiomelon.443

This poetry fills, according to Neale, more than nine tenths or four fifths of the Greek service books. It has been heretofore very little known and appreciated in the West, but is now made accessible.444  It contains some precious gems of genuine Christian hymns, buried in a vast mass of monotonous, bombastic and tasteless laudations of unknown confessors and martyrs, and wonder-working images.445

The Greek church poetry begins properly with the anonymous but universally accepted and truly immortal Gloria in Excelsis of the third century.446  The poems of Gregory of Nazianzus (d. 390), and Synesius of Cyrene (d. about 414), who used the ordinary classical measures, are not adapted and were not intended for public worship.447

The first hymnist of the Byzantine period, is Anatolius patriarch of Constantinople (d. about 458). He struck out the new path of harmonious prose, and may be compared to Venantius Fortunatus in the West.448

We now proceed to the classical period of Greek church poetry.

In the front rank of Greek hymnists stands St. John Of Damascus, surnamed Mansur (d. in extreme old age about 780). He is the greatest systematic theologian of the Eastern church and chief champion of image-worship against iconoclasm under the reigns of Leo the Isaurian (717–741), and Constantinus Copronymus (741–775). He spent a part of his life in the convent of Mar Sâba (or St. Sabas) in the desolate valley of the Kedron, between Jerusalem and the Dead Sea.449  He was thought to have been especially inspired by the Virgin Mary, the patron of that Convent, to consecrate his muse to the praise of Christ. He wrote a great part of the Octoechus, which contains the Sunday services of the Eastern church. His canon for Easter Day is called "the golden Canon" or "the queen of Canons," and is sung at midnight before Easter, beginning with the shout of joy, "Christ is risen," and the response, "Christ is risen indeed."  His memory is celebrated December 4.450

Next to him, and as melodist even above him in the estimation of the Byzantine writers, is St. Cosmas Of Jerusalem, called the Melodist. He is, as Neale says, "the most learned of the Greek poets, and the Oriental Adam of St. Victor."  Cosmas and John of Damascus were foster-brothers, friends and fellow-monks at Mar Sâba, and corrected each other’s compositions. Cosmas was against his will consecrated bishop of Maiuma near Gaza in Southern Palestine, by John, patriarch of Jerusalem. He died about 760 and is commemorated on the 14th of October. The stichos prefixed to his life says:

"Where perfect sweetness dwells, is Cosmas gone;

But his sweet lays to cheer the church live on."451

The third rank is occupied by St. Theophanes, surnamed the Branded,452 one of the most fruitful poets. He attended the second Council of Nicaea (787). During the reign of Leo the Arminian (813) he suffered imprisonment, banishment and mutilation for his devotion to the Icons, and died about 820. His "Chronography" is one of the chief sources for the history of the image-controversy.453

The following specimen from Adam’s lament of his fall is interesting:

"Adam sat right against the Eastern gate,

By many a storm of sad remembrance tost:

O me! so ruined by the serpent’s hate!

O me! so glorious once, and now so lost!

So mad that bitter lot to choose!

Beguil’d of all I had to lose!

Must I then, gladness of my eyes, —

Must I then leave thee, Paradise,

And as an exile go?

And must I never cease to grieve

How once my God, at cool of eve,

Came down to walk below?

O Merciful! on Thee I call:

O Pitiful! forgive my fall!"

The other Byzantine hymnists who preceded or succeeded those three masters, are the following. Their chronology is mostly uncertain or disputed.

Sergius, patriarch of Constantinople in the reign of Heracleus (610–641), figures in the beginning of the Monotheletic controversy, and probably suggested the union formula to that emperor. He is supposed by Christ to be the author of a famous and favorite hymn Akathistos, in praise of Mary as the deliverer of Constantinople from the siege of the Persians (630), but it is usually ascribed to Georgius Pisida.454

Sophronius, patriarch of Jerusalem (629), celebrated in Anacreontic metres the praises of Christ, the apostles, and martyrs, and wrote idiomela with music for the church service 455

Maximus The Confessor (580–662), the leader and martyr of the orthodox dyotheletic doctrine in the Monotheletic controversy, one of the profoundest divines and mystics of the Eastern Church, wrote a few hymns.456

Germanus (634–734), bishop of Cyzicus, then patriarch of Constantinople (715), was deposed, 730, for refusing to comply with the iconoclastic edicts of the Emperor Leo the Isaurian (717–741), and died in private life, aged about one hundred years. He is "regarded by the Greeks as one of their most glorious Confessors" (Neale). Among his few poetical compositions are stanzas on Symeon the Stylite, on the prophet Elijah, on the Decollation of John the Baptist, and a canon on the wonder-working Image in Edessa.457

Andrew Of Crete (660–732) was born at Damascus, became monk at Jerusalem, deacon at Constantinople, archbishop of Crete, took part in the Monotheletic Synod of 712, but afterwards returned to orthodoxy. In view of this change and his advocacy of the images, he was numbered among the saints. He is regarded as the inventor of the Canons. His "Great Canon" is sung right through on the Thursday of Mid-Lent week, which is called from that hymn. It is a confession of sin and an invocation of divine mercy. It contains no less than two hundred and fifty (Neale says, three hundred) stanzas.458

John of Damascus reduced the unreasonable length of the canons.

Another Andrew, called  jAndreva" Purov" or Purrov", is credited with eight idiomela in the Menaea, from which Christ has selected the praise of Peter and Paul as the best.459

Stephen The Sabaite (725–794) was a nephew of John of Damascus, and spent fifty-nine years in the convent of Mar Sâba, which is pitched, like an eagle’s nest, on the wild rocks of the Kedron valley. He is commemorated on the 13th of July. He struck the key-note of Neale’s exquisite hymn of comfort, "Art thou weary," which is found in some editions of the Octoechus. He is the inspirer rather than the author of that hymn, which is worthy of a place in every book of devotional poetry.460

Romanus, deacon in Berytus, afterwards priest in Constantinople, is one of the most original and fruitful among the older poets. Petra ascribes to him twenty-five hymns. He assigned him to the reign of Anastasius I. (491–518), but Christ to the reign of Anastasius II. (713–719), and Jacobi with greater probability to the time of Constantinus Pogonatus (681–685).461

Theodore Of The Studium (a celebrated convent near Constantinople) is distinguished for his sufferings in the iconoclastic controversy, and died in exile, 826, on the eleventh of November. He wrote canons for Lent and odes for the festivals of saints. The spirited canon on Sunday of Orthodoxy in celebration of the final triumph of image-worship in 842, is ascribed to him, but must be of later date as he died before that victory.462

Joseph Of The Studium, a brother of Theodore, and monk of that convent, afterwards Archbishop of Thessalonica (hence also called Thessalonicensis), died in prison in consequence of tortures inflicted on him by order of the Emperor Theophilus (829–842). He is sometimes confounded (even by Neale) with Joseph Hymnographus; but they are distinguished by Nicephorus and commemorated on different days.463

Theoctistus Of The Studium (about 890) is the author of a "Suppliant Canon to Jesus," the only thing known of him, but the sweetest Jesus-hymn of the Greek Church.464

Joseph, called Hymnographus (880), is the most prolific, most bombastic, and most tedious of Greek hymn-writers. He was a Sicilian by birth, at last superintendent of sacred vessels in a church at Constantinople. He was a friend of Photius, and followed him into exile. He is credited with a very large number of canons in the Mencaea and the Octoechus.465

Tarasius, patriarch of Constantinople (784), was the chief mover in the restoration of Icons and the second Council of Nicaea (787). He died Feb. 25, 806. His hymns are Unimportant.466

EUTHYMIUS, usually known as Syngelus or Syncellus (died about 910), is the author of a penitential canon to the Virgin Mary, which is much esteemed in the East.467

Elias, bishop of Jerusalem about 761, and Orestes, bishop of the same city, 996–1012, have been brought to light as poets by the researches of Pitra from the libraries of Grotta Ferrata, and other convents.

In addition to these may be mentioned Methodius (846)468 Photius, Patriarch of Constantinople (d. 891), Metrophanes of Smyrna (900), Leo VI., or the Philosopher, who troubled the Eastern Church by a fourth marriage (886–917), Symeon Metaphrastes (Secretary and Chancellor of the Imperial Court at Constantinople, about 900), Kasias, Nilus Xanthopulus, Joannes Geometra, and Mauropus (1060). With the last the Greek hymnody well nigh ceased. A considerable number of hymns cannot be traced to a known author.469

We give in conclusion the best specimens of Greek hymnody as reproduced and adapted to modern use by Dr. Neale.

’Tis the Day of Resurrection.
( jAnastavsew" hJmevra.)

By St. John of Damascus.

’Tis the Day of Resurrection,
Earth, tell it out abroad!

The Passover of gladness,
The Passover of God!

From death to life eternal,
From earth unto the sky,

Our Christ hath brought us over,
With hymns of victory.

Our hearts be pure from evil,
That we may see aright

The Lord in rays eternal
Of resurrection light:

And, listening to His accents,
May hear, so calm and plain,

His own "All hail!"—and hearing,
May raise the victor strain.

Now let the heavens be!
Let earth her song begin!

Let the round world keep triumph,
And all that is therein:

In grateful exultation
Their notes let all things blend,

For Christ the Lord hath risen,
Our joy that hath no end.

––––––––––

Jesu, name all names above.

(!Ihsou' glukuvtate.)

By St. Theoctistus of the Studium.

Jesu, name all names above,
Jesu, best and dearest,

Jesu, Fount of perfect love,
Holiest, tenderest, nearest!

Jesu, source of grace completest,

Jesu truest, Jesu sweetest,
Jesu, Well of power divine,
Make me, keep me, seal me Thine!

Jesu, open me the gate
Which the sinner entered,

Who in his last dying state
Wholly on Thee ventured.

Thou whose wounds are ever pleading,

And Thy passion interceding,
From my misery let me rise
To a home in Paradise!

Thou didst call the prodigal;
Thou didst pardon Mary:

Thou whose words can never fall
Love can never vary,

Lord, amidst my lost condition

Give—for Thou canst give—contrition!
Thou canst pardon all mine ill
If Thou wilt: O say, "I will!"

Woe, that I have turned aside
After fleshly pleasure!

Woe, that I have never tried
For the heavenly treasure!

Treasure, safe in homes supernal;

Incorruptible, eternal!
Treasure no less price hath won
Than the Passion of the Son!

Jesu, crowned with thorns for me,
Scourged for my transgression!

Witnessing, through agony,
That Thy good confession;

Jesu, clad in purple raiment,

For my evils making payment;
Let not all thy woe and pain,
Let not Calvary be in vain!

When I reach Death’s bitter sea,
And its waves roll higher,

Help the more forsaking me,
As the storm draws nigher:

Jesu, leave me not to languish,

Helpless, hopeless, full of anguish!
Tell me,—"Verily, I say,
Thou shalt be with me to-day!"

Art thou weary?

(Kovpon te kai; kavmaton.)

By St. Stephen The Sabaite.

Art thou weary, art thou languid,
Art thou sore distrest?

"Come to me"—saith One—"and coming
Be at rest!"

Hath He marks to lead me to Him,
If He be my Guide?

"In His feet and hands are wound-prints,
And His side."

Is there diadem, as Monarch,
That His brow adorns?

"Yea, a crown in very surety,
But of thorns!"

If I find Him, if I follow,
What His guerdon here?

"Many a sorrow, many a labor,
Many a tear."

If I still hold closely to Him,
What hath He at last?

Sorrow vanquished, labor ended,
Jordan past!"

If I ask Him to receive me,
Will He say me nay?

Not till earth, and not till heaven
Pass away!"

Finding, following, keeping, struggling
Is He sure to bless?

Angels, martyrs, prophets, virgins,
Answer, Yes!"

 § 95. Latin Hymnody. Literature.

See vol. III. 585 sqq. The following list covers the whole mediaeval period of Latin hymnody.

I. Latin Collections.

The Breviaries and Missals. The hymnological collections of Clichtovaeus (Paris 1515, Bas. 1517 and 1519.), Cassander (Col. 1556), Ellinger (Frankf. a. M. 1578), Georg Fabricius (Poetarum Veterum ecclesiasticorum Opera, Bas. 1564). See the full titles of Breviaries and these older collections in Daniel, vol. I. XIII-XXII. and vol. II. VIII-XIV.

Cardinal Jos. Maria Thomasius (Tomasi, 1649–1713, one of the chief expounders of the liturgy and ceremonies of the Roman church): Opera Omnia. Rom. 1741 sqq., 7 vols. The second volume, p. 351–403, contains the Hymnarium de anni circulo, etc., for which he compared the oldest Vatican and other Italian MSS. of hymns down to the eighth century. The same vol. includes the Breviarium Psalterii. The fourth (1749) contains the Responsorialia et antiphonaria Romanae ecclesia, and the sixth vol. (1751) a collection of Missals. Thomasius is still very valuable. Daniel calls his book "fons primarius."

Aug. Jak. Rambach (Luth. Pastor in Hamburg, b. 1777, d. 1851): Anthologie christlicher Gesänge aus alien Jahrh. der christl. Kirche. Altona and Leipzig 1817–1833, 6 vols. The first vol. contains Latin hymns with German translations and notes. The other volumes contain only German hymns, especially since the Reformation. Rambach was a pioneer in hymnology.

Job. Kehrein (R.C.): Lat. Anthologie aus den christl. Dichtern des Mittelalters. Frankfurt a. m. 1840. See his larger work below.

[John Henry Newman, Anglican, joined the Rom. Ch. 1845]: Hymni Ecclesiae. Lond. (Macmillan) 1838; new ed. 1865 (401 pages). Contains only hymns from the Paris, Roman, and Anglican Breviaries. The preface to the first part is signed "J. H. N." and dated Febr. 21, 1838, but no name appears on the title page. About the same time Card. N. made his translations of Breviary hymns, which are noticed below, sub. III.

H. A. Daniel (Lutheran, d. 1871): Thesaurus Hymnologicus. Lips. 1841–1856, 5 Tomi. The first, second, fourth and fifth vols. contain Lat. hymns, the fourth Greek and Syrian h. A rich standard collection, but in need of revision

P. J. Mone (R. Cath. d. 1871): Lateinische Hymnen des Mittelalters. Freiburg i. B. 1853–’55, 3 vols. From MSS with notes. Contains in all 1215 hymns divided into three divisions of almost equal size; (1) Hymns to God and the angels (461 pages); (2) Hymns to the Virgin Mary, (457 pages); (3) Hymns to saints (579 pages).

D. Ozanam: Documents inédits pour servir a l’histoire littéraire de l’Italie. Paris 1850. Contains a collection of old Latin hymns, reprinted in Migne’s "Patrol. Lat." vol. 151, fol. 813–824.

Joseph Stevenson: Latin Hymns of the Anglo-Saxon Church; with an Interlinear Anglo-Saxon Gloss, from a MS. of the eleventh century in Durham Library. 1851 (Surtees Soc.).

J. M. Neale (Warden of Sackville College, high Anglican, d. 1866): Sequentiae ex Missalibus Germanicis, Anglicis, Gallicis, aliisque medii aevi collectae. Lond. 1852. 284 pages. Contains 125 sequences.

Felix Clément: Carmina e Poetis Christianis excerpta. Parisiis (Gaume Fratres) 1854. 564 pages. The Latin texts of hymns from the 4th to the 14th century, with French notes.

R. Ch. Trench (Archbishop of Dublin): Sacred Latin Poetry, chiefly Lyrical. Lond. and Cambridge, 1849; 2d ed. 1864; 3rd ed. revised and improved, 1874. (342 pages). With an instructive Introduction and notes.

Ans. Schubiger: Die Sängerschule St. Gallens vom 8ten bis 12ten Jahrh. Einsiedeln 1858. Gives sixty texts with the old music and facsimiles.

P. Gall Morel (R.C.): Lat. Hymnen des Mittelalters, grösstentheils aus Handschriften schweizerischer Klöster. Einsiedeln (Benziger) 1868 (341 pages). Mostly Marienlieder and Heiligenlieder (p. 30–325). Supplementary to Daniel and Mone.

Phil. Wackernagel (Luth., d. 1877): Das deutsche Kirchenlied von der ältesten Zeit bis zum Anfang des XVII. Jahrh. Leipz. 1864–1877, 5 vols. (the last vol. ed. by his two sons). This is the largest monumental collection of older German hymns; but the first vol. contains Latin hymns and sequences from the fourth to the sixteenth century.

Karl Bartsch (Prof of Germ. and Romanic philology in Rostock): Die lateinischen Sequenzen des Mittelalters in musikalischer und rhythmischer Beziehung dargestellt. Rostock 1868.

Chs. Buchanan Pierson: Sequences from the Sarum Missal. London 1871.

Joseph Kehrein (R.C.): Lateinische Sequenzen des Mittelalters aus Handschriften und Drucken. Mainz 1873 (620 pages). The most complete collection of Sequences (over 800). He divides the sequences, like Mone the hymns, according to the subject (Lieder an Gott, Engellieder, Marienlieder, Heiligenlieder). Comp. also his earlier work noticed above.

Francis A. March: Latin Hymns, with English Notes. N. York, 1874.

W. McIlvaine: Lyra Sacra Hibernica. Belfast, 1879. (Contains hymns of St. Patrick, Columba, and Sedulius).

E. Dümmler: Poëtae Latini Aevi Carolini. Berol. 1880–’84, 2 vols. Contains also hymns, II. p. 244–258.

Special editions of Adam of St. Victor: L. Gautier: La aeuvres poétiques d’ Adam de S. Victor. Par. 1858 and 1859, 2 vols. Digby S. Wrangham (of St. John’s College, Oxford): The Liturgical Poetry of Adam of St. Victor. Lond. 1881, 3 vols. (The Latin text of Gautier with E. Version in the original metres and with short notes). On the Dies Irae see the monograph of Lisco (Berlin 1840). It has often been separately published, e.g. by Franklin Johnson, Cambridge, Mass. 1883. So also the Stabat Mater, and the hymn of Bernard of Cluny De Contemptu Mundi (which furnished the thoughts for Neale’s New Jerusalem hymns). The hymns of St. Bernard, Abelard, Thomas Aquinas, Bonaventura, are in the complete editions of their works. For St. Bernard see Migne’s "Patrol. Lat." vol. 184, fol. 1307–1330; for Abelard, vol. 178, fol. 1759–1824.

II. Historical and Critical.

Polyc. Leyser: Historia Poëtarum et Poëmatum Medii Aevi. Halae 1721.

Friedr. Münter: Ueber die älteste christl. Poesie. Kopenhagen 1806.

Edélstand Du Méril: Poésies populaires Latines anterieures au douzième siècle. Paris 1843. Poésies populaire’s Latines du moyen âge. Paris 1847.

Trench: Introd. to his S. Lat. Poetry. See above.

Baehr: Die christl. Dichter und Geschichtschreiber Roms. Karlsruhe 1836 , 2nd ed., revised, 1872 (with bibliography).

Edward Emil Koch: Geschichte des Kirchenlieds und Kirchengesangs in der christlichen, insbesondere der deutschen evangel. Kirche. Stuttgart, third ed. rev. and enlarged 1866–1876, 7 vols. This very instructive and valuable work treats of Latin hymnology, but rather superficially, in vol. I. 40–153.

Ad. Ebert: Allgem. Gesch. der Lit. des Mittelalters im Abendlande, vol. I. (Leipz. 1874), the third book (p. 516 sqq.), and vol. II. (1880) which embraces the age of Charlemagne and his successors.

Joh. Kayser (R.C.): Beiträge zur Geschichte und Erklärung der ältesten Kirchenhymnen. Paderborn, 2d ed. 1881. 477 pages, comes down only to the sixth century and closes with Fortunatus. See also his article Der Text des Hymnus Stabat Mater dolorosa, in the Tübingen "Theol. Quartalschrift" for 1884, No. I. p. 85–103.

III. English translations.

John Chandler (Anglican, d. July 1, 1876): The Hymns of the Primitive Church, now first collected, translated and arranged. London 1837. Contains 108 Latin hymns with Chandler’s translations.

Richard Mant (Lord Bishop of Down and Connor, d. Nov. 2, 1848): Ancient Hymns from the Roman Breviary. 1837. New ed. Lond. and Oxf. 1871. (272 pages)

John Henry Newman:] Verses on Various Occasions. London 1868 (reprinted in Boston, by Patrick Donahue). The Preface is dated Dec. 21, 1867, and signed J. H. N. The book contains the original poems of the Cardinal, and his translations of the Roman Breviary Hymns and two from the Parisian Breviary, which, as stated in a note on p. 186, were all made in 1836–38, i.e. eight years before he left the Church of England.

Isaac Williams (formerly of Trinity College, Oxford, d. 1865): Hymns translated from the Parisian Breviary. London 1839.

Edward Caswall (Anglican, joined the R.C. Church 1847, d. Jan. 2, 1878): Lyra Catholica. Containing all the Breviary and Missal Hymns together with some other hymns. Lond. 1849. (311 pages). Reprinted N. Y. 1851. Admirable translations. They are also included in his Hymns and Poems, original and translated. London 2d ed. 1873.

John David Chambers (Recorder of New Sarum): Lauda Syon. Ancient Latin Hymns in the English and other Churches, translated into corresponding metres. Lond. 1857 (116 pages.)

J. M. Neale: Mediaeval Hymns and Sequences. Lond. 1862; 3d ed. 1867. (224 pages). Neale is the greatest master of free reproduction of Latin as well as Greek hymns. He published also separately his translation of the new Jerusalem hymns: The Rhythm of Bernard de Morlaix, Monk of Cluny, on the Celestial Country. Lond. 1858, 7th ed. 1865, with the Latin text as far as translated (48 pages). Also Stabat Mater Speciosa, Full of Beauty stood the Mother (1866).

The Seven Great Hymns of the Mediaeval Church. N. York (A. D. F. Randolph & Co.) 1866; seventh ed. enlarged, 1883. 154 pages. This anonymous work (by Judge C. C. Nott, Washington) contains translations by various authors of Bernard’s Celestial Country, the Dies Irae, the Mater Dolorosa, the Mater Speciosa, the Veni Sancte Spiritus, the Veni Creator Spiritus, the Vexilla Regis, and the Alleluiatic Sequence of Godescalcus. The originals are also given.

Philip Schaff: Christ in Song. N. Y. 1868; Lond. 1869. Contains translations of seventy-three Latin hymns by various authors.

W. H. Odenheimer and Frederic M. Bird: Songs of the Spirit. N. York 1871. Contains translations of twenty-three Latin hymns on the Holy Spirit, with a much larger number of English hymns. Erastus C. Benedict (Judge in N. Y., d. 1878): The Hymn of Hildebert and other Mediaeval Hymns, with translations. N. York 1869.

Abraham Coles (M. D.): Latin Hymns, with Original Translations. N. York 1868. Contains 13 translations of the Dies Irae, which were also separately published in 1859.

Hamilton M. Macgill, D. D. (of the United Presb. Ch. of Scotland): Songs of the Christian Creed and Life selected from Eighteen Centuries. Lond. and  Edinb. 1879. Contains translations of a number of Latin and a few Greek hymns with the originals, also translations of English hymns into Latin.

The Roman Breviary. Transl. out of Latin into English by John Marquess of Bute, K. T. Edinb. and Lond. 1879, 2 vols. The best translations of the hymns scattered through this book are by the ex-Anglicans Caswall and Cardinal Newman. The Marquess of Bute is himself a convert to Rome from the Church of England.

D. F. Morgan: Hymns and other Poetry of the Latin Church. Oxf. 1880. 100 versions arranged according to the Anglican Calendar.

Edward A. Washburn (Rector of Calvary Church, N. Y. d. Feb. 2, 1881): Voices from a Busy Life. N. York 1883. Contains, besides original poems, felicitous versions of 32 Latin hymns, several of which had appeared before in Schaff’s Christ in Song.

Samuel W. Duffield: The Latin Hymn Writers and their Hymns (in course of preparation and to be published, New York 1885. This work will cover the entire range of Latin hymnology, and include translations of the more celebrated hymns).

IV. German translations of Latin hymns: (Mostly accompanied by the original text) are very numerous, e.g. by Rambach, 1817 sqq. (see above); C. Fortlage (Gesänge christl. Vorzeit, 1844); Karl Simrock (Lauda Sion, 1850); Ed. Kauffer (Jesus-Hymnen, Sammlung altkirchl. lat. Gesänge, etc. Leipz. 1854, 65 pages); H. Stadelmann (Altchristl. Hymnen und Lieder. Augsb. 1855); Bässler (1858); J. Fr. H. Schlosser (Die Kirche in ihren Liedern, Freiburg i. B. 1863, 2 vols); G. A. Königsfeld (Lat. Hymnen und Gesänge, Bonn 1847, new series, 1865, both with the original and notes).

 § 96. Latin Hymns and Hymnists.

The Latin church poetry of the middle ages is much better known than the Greek, and remains to this day a rich source of devotion in the Roman church and as far as poetic genius and religious fervor are appreciated. The best Latin hymns have passed into the Breviary and Missal (some with misimprovements), and have been often reproduced in modern languages. The number of truly classical hymns, however, which were inspired by pure love to Christ and can be used with profit by Christians of every name, is comparatively small. The poetry of the Latin church is as full of Mariolatry and hagiolatry as the poetry of the Greek church. It is astonishing what an amount of chivalrous and enthusiastic devotion the blessed Mother of our Lord absorbed in the middle ages. In Mone’s collection the hymns to the Virgin fill a whole volume of 457 pages, the hymns to saints another volume of 579 pages, while the first volume of only 461 pages is divided between hymns to God and to the angels. The poets intended to glorify Christ through his mother, but the mother overshadows the child, as in the pictures of the Madonna. She was made the mediatrix of all divine grace, and was almost substituted for Christ, who was thought to occupy a throne of majesty too high for sinful man to reach without the aid of his mother and her tender human sympathies. She is addressed with every epithet of praise, as Mater Dei, Dei Genitrix, Mater summi Domini, Mater misericordiae, Mater bonitatis, Mater dolorosa, Mater jucundosa, Mater speciosa, Maris Stella, Mundi domina, Mundi spes, Porta paradisi, Regina coeli, Radix gratiae, Virgo virginum, Virgo regia Dei. Even the Te Deum was adapted to her by the distinguished St. Bonaventura so as to read "Te Matrem laudamus, Te Virginem confitemur."470

The Latin, as the Greek, hymnists were nearly all monks; but an emperor (Charlemagne?) and a king (Robert of France) claim a place of honor among them.

The sacred poetry of the Latin church may be divided into three periods: 1, The patristic period from Hilary (d. 368) and Ambrose (d. 397) to Venantius Fortunatus (d. about 609) and Gregory I. (d. 604); 2, the early mediaeval period to Peter Damiani (d. 1072); 3, the classical period to the thirteenth century. The first period we have considered in a previous volume. Its most precious legacy to the church universal is the Te Deum laudamus. It is popularly ascribed to Ambrose of Milan (or Ambrose and Augustin jointly), but in its present completed form does not appear before the first half of the sixth century, although portions of it may be traced to earlier Greek origin; it is, like the Apostles’ Creed, and the Greek Gloria in Excelsis, a gradual growth of the church rather than the production of any individual.471 The third period embraces the greatest Latin hymnists, as Bernard of Morlaix (monk of Cluny about 1150), Bernard of Clairvaux (d. 1153), Adam of St. Victor (d. 1192), Bonaventura (d. 1274), Thomas Aquinas (d. 1274), Thomas a Celano (about 1250), Jacopone (d. 1306), and produced the last and the best Catholic hymns which can never die, as Hora Novisasima; Jesu dulcis memoria; Salve caput cruentatum; Stabat Mater; and Dies Irae. In this volume we are concerned with the second period.

Venantius Fortunatus, of Poitiers, and his cotemporary, Pope Gregory I., form the transition from the patristic poetry of Sedulius and Prudentius to the classic poetry of the middle ages.

Fortunatus (about 600)472 was the fashionable poet of his day. A native Italian, he emigrated to Gaul, travelled extensively, became intimate with St. Gregory of Tours, and the widowed queen Radegund when she lived in ascetic retirement, and died as bishop of Poitiers. He was the first master of the trochaic tetrameter, and author of three hundred poems, chief among which are the two famous passion hymns:

"Vexilla regis prodeunt,"

"The Royal Banners forward go;"

and

"Pange, lingua, gloriosi proelium certaminis,"

"Sing, my tongue, the glorious battle."

Both have a place in the Roman Breviary.473

Gregory I. (d. 604), though far inferior to Fortunatus in poetic genius, occupies a prominent rank both in church poetry and church music. He followed Ambrose in the metrical form, the prayer-like tone, and the churchly spirit, and wrote for practical use. He composed about a dozen hymns, several of which have found a place in the Roman Breviary.474  The best is his Sunday hymn:

"Primo dierum omnium,"

"On this first day when heaven on earth,"

or, as it has been changed in the Breviary,

"Primo die quo Trinitas,"

"To-day the Blessed Three in One
Began the earth and skies;

To-day a Conqueror, God the Son,
Did from the grave arise;

We too will wake, and, in despite

Of sloth and languor, all unite,

As Psalmists bid, through the dim night
Waiting with wistful eyes."475

The Venerable Bede (d. 735) wrote a beautiful ascension hymn

"Hymnum canamus gloriae,"

"A hymn of glory let us sing;"

and a hymn for the Holy innocents,

"Hymnum canentes Martyrum,"

"The hymn of conquering martyrs raise."476

Rabanus Maurus, a native of Mainz (Mayence) on the Rhine, a pupil of Alcuin, monk and abbot in the convent of Fulda, archbishop of Mainz from 847 to 856, was the chief Poet of the Carolingian age, and the first German who wrote Latin hymns. Some of them have passed into the Breviary.477

He is probably the author of the pentecostal Veni, Creator Spiritus.478  It outweighs all his other poems. It is one of the classical Latin hymns, and still used in the Catholic church on the most solemn occasions, as the opening of Synods, the creating of popes and the crowning of kings. It was invested with a superstitious charm. It is the only Breviary hymn which passed into the Anglican liturgy as part of the office for ordaining priests and consecrating bishops.479  The authorship has been variously ascribed to Charlemagne,480 to Gregory the Great,481 also to Alcuin, and even to Ambrose, without any good reason. It appears first in 898, is found in the MS. containing the Poems of Rabanus Maurus, and in all the old German Breviaries; it was early and repeatedly translated into German482 and agrees very well in thought and expression with his treatise on the Holy Spirit.483

We give the original with two translations.484

Veni, Creator Spiritus,
Mentes tuorum visita.
 Imple superna gratia
 Quo tu creasti pectora.

Creator, Spirit, Lord of Grace,
O make our hearts Thy dwelling-place,
And with Thy might celestial aid
The souls of those whom Thou hast made.

Qui Paracletus diceris,
Donum Dei altissimi,
Fons vivus, ignis, charitas,
Et spiritalis unctio.

Come from the throne of God above,
O Paraclete, O Holy Dove,
Come, Oil of gladness, cleansing Fire,
And Living Spring of pure desire.

Tu septiformis munere,
Dextrae Dei tu digitus,
Tu rite Promissum Patris,
Sermone ditans guttura.

O Finger of the Hand Divine,
The sevenfold gifts of Grace are Thine,
And touched by Thee the lips proclaim
All praise to God’s most holy Name.

Accende lumen sensibus,
Infunde amorem cordibus;
Infirma nostri corporis,
Virtute firmans perpetim.485

Then to our souls Thy light impart,
And give Thy Love to every heart
Turn all our weakness into might,
O Thou, the Source of Life and Light.

Hostem repellas longius,
Pacemque dones protinus.
Ductore sic te praevio,
Vitemus omne noxium.

Protect us from the assailing foe,
And Peace, the fruit of Love, bestow;
Upheld by Thee, our Strength and Guide,
No evil can our steps betide.

Per te sciamus, da Patrem,
Noscamus atque Filium,
Te utriusque Spiritum,
Credamus omni tempore.

Spirit of Faith, on us bestow
The Father and the Son to know;
And, of the Twain, the Spirit, Thee;
Eternal One, Eternal Three.

[Sit laus Patri cum Filio,
Sancto simul Paracleto,
Nobisque mittat Filius
Charisma Sancti Spiritus.]486

To God the Father let us sing;
To God the Son, our risen King;
And equally with These adore
The Spirit, God for evermore.

[Praesta hoc Pater piissime,
Patrique compar unice,
Cum Spiritu Paracleto,
Regnans per omne saeculum.] See note above.

O Holy Ghost, Creator come!
Thy people's minds pervade;

And fill, with Thy supernatural grace,
The souls which Thou hast made.

Kindle our senses to a flame,
And fill our hearts with love,

And, through our bdies' weakness,
still

Pour valor from above!

Thou who art called the Paraclete,
The gift of God most high–

Thou living fount, and fire and love,
Our spirit's pure ally;

Drive further off our enemy,
And straightway give us peace;

That with Thyself as such a guide,
We may from evil cease.

Thou sevenfold giver of all good;
Finger of God's right hand;

Thou promise of the Father, rich
In words for every land;

Through Thee may we the Father
    know,
And thus confess the Son;

For Thee, from both the Holy
     Ghost,
We praise while time shall run.

In this connection we mention the Veni, Sancte Spiritus, the other great pentecostal hymn of the middle ages. It is generally ascribed to King Robert of France (970–1031), the son and success or of Hugh Capet.487  He was distinguished for piety and charity, like his more famous successor, St. Louis IX., and better fitted for the cloister than the throne. He was disciplined by the pope (998) for marrying a distant cousin, and obeyed by effecting a divorce. He loved music and poetry, founded convents and churches, and supported three hundred paupers. His hymn reveals in terse and musical language an experimental knowledge of the gifts and operations of the Holy Spirit upon the heart. It is superior to the companion hymn, Veni, Creator Spiritus. Trench calls it "the loveliest" of all the Latin hymns, but we would give this praise rather to St. Bernard’s Jesu dulcis memoria ("Jesus, the very thought of Thee"). The hymn contains ten half-stanzas of three lines each with a refrain in ium. Each line has seven syllables, and ends with a double or triple rhyme; the third line rhymes with the third line of the following half-stanza. Neale has reproduced the double ending of each third line (as "brilliancy"—"radiancy").

Veni, Sancte Spiritus,
Et emittee coelitus
Lucis tuae radium.

Holy Spirit, God of light!
Come, and on our inner sight
Pour Thy bright and heavenly ray!

Veni, Pater pauperum,
Veni, dator munerum,
Veni, lumen cordium.

Father of the lowly! come;
Here, Great Giver! be Thy home,
Sunshine of our hearts, for aye!

Consolator optime,
Dulcis hospes animae,
Dulce refrigerium:

Inmost Comforter and best!
Of our souls the dearest Guest,
Sweetly all their thirst allay;

In labore requies,
In aestu temperies,
In fletu solatium.

In our toils be our retreat,
Be our shadow in the heat,
Come and wipe our tears away.

O lux beatissima,
Reple cordis intima,
Tuorum fidelium.

O Thou Light, all pure and blest!
Fill with joy this weary breast,
Turning darkness into day.

Sine tuo numine
Nihil est in homine
Nihil est innoxium,

For without Thee nought we find,
Pure or strong in human kind,
Nought that has not gone astray.

Lava quod est sordidum,
Riga quod est aridum,
Sana quod est saucium.

Wash us from the stains of sin,
Gently soften all within,
Wounded spirits heal and stay.

Flecte quod est rigidum,
Fove quod est languidum,
Rege quod est devium.

What is hard and stubborn bend,
What is feeble soothe and tend,
What is erring gently sway.

Da tuis fidelibus,
In te confitentibus,
Sacrum septenarium;

To Thy faithful servants give,
Taught by Thee to trust and live,
Sevenfold blessing from this day;

Da virtutis meritum,
Da salutis exitum,
Da perenne gaudium.488

Make our title clear, we pray,
When we drop this mortal clay;
Then,—O give us joy for aye.⁴⁸⁹

The following is a felicitous version by an American divine.490

Come, O Spirit!  Fount of grace!
From thy heavenly dwelling-place
One bright morning beam impart:

Come, O Father of the poor;
Come, O Source of bounties sure;
Come, O Sunshine of the heart!

O! thrice blessed light divine!
Come, the spirit’s inmost shrine
With Thy holy presence fill;

Of Thy brooding love bereft,
Naught to hopeless man is left;
Naught is his but evil still.

Comforter of man the best!
Making the sad soul thy guest;
Sweet refreshing in our fears,

In our labor a retreat,
Cooling shadow in the heat,
Solace in our falling tears.

Wash away each earthly stain,
Flow o’er this parched waste again,
Real the wounds of conscience sore,

Bind the stubborn will within,
Thaw the icy chains of sin,
Guide us, that we stray no more.

Give to Thy believers, give,
In Thy holy hope who live,
All Thy sevenfold dower of love;
Give the sure reward of faith,

Give the love that conquers death,
Give unfailing joy above.

Notker, surnamed the Older, or Balbulus ("the little Stammerer, "from a slight lisp in his speech), was born about 850 of a noble family in Switzerland, educated in the convent of St. Gall, founded by Irish missionaries, and lived there as an humble monk. He died about 912, and was canonized in 1512.491

He is famous as the reputed author of the Sequences (Sequentiae), a class of hymns in rythmical prose, hence also called Proses (Prosae). They arose from the custom of prolonging the last syllable in singing the Allelu-ia of the Gradual, between the Epistle and the Gospel, while the deacon was ascending from the altar to the rood-loft (organ-loft), that he might thence sing the Gospel. This prolongation was called jubilatio or jubilus, or laudes, on account of its jubilant tone, and sometimes sequentia (Greek ajkolouqiva), because it followed the reading of the Epistle or the Alleluia. Mystical interpreters made this unmeaning prolongation of a mere sound the echo of the jubilant music of heaven. A further development was to set words to these notes in rythmical prose for chanting. The name sequence was then applied to the text and in a wider sense also to regular metrical and rhymed hymns. The book in which Sequences were collected was called Sequentiale.492

Notker marks the transition from the unmeaning musical sequence to the literary or poetic sequence. Over thirty poems bear his name. His first, attempt begins with the line

"Laudes Deo concinat orbis ubique totus."

More widely circulated is his Sequence of the Holy Spirit:

"Sancti Spiritus adsit nobis gratia."

"The grace of the Holy Spirit be present with us."493

The best of all his compositions, which is said to have been inspired by the sight of the builders of a bridge over an abyss in the Martinstobe, is a meditation on death (Antiphona de morte):

"Media vita in morte sumus:

Quem quaerimus adiutorem nisi te, Domine,

Qui pro peccatis nostris juste irasceris?

Sancte Deus, sancte fortis,

Sancte et misericors Salvator:

Amarae morti ne tradas nos."494

This solemn prayer is incorporated in many burial services. In the Book of Common Prayer it is thus enlarged:

"In the midst of life we be in death:
Of whom may we seek for succour, but of Thee,

O Lord, which for our sins justly art moved?
Yet, O Lord God most holy, O Lord most mighty,

O holy and most merciful Saviour,
Deliver us not into the bitter pains of eternal death.

Thou knowest, Lord, the secrets of our hearts.
Shut not up thy merciful eyes to our prayers:

But spare us, Lord most holy,
O God most mighty,

O holy and merciful Saviour,
Thou most worthy Judge eternal,

Suffer us not, at our last hour,
For any pains of death,

To fall from Thee."495

Peter Damiani (d. 1072), a friend of Hildebrand and promoter of his hierarchical refrms, wrote a solemn hymn on the day of death:

"Gravi me terrore pulsas vitae dies ultima,"496
"With what heavy fear thou smitest."

He is perhaps also the author of the better known descriptive poem on the Glory and Delights of Paradise, which is usually assigned to St. Augustin:

"Ad perennis vitae fontem mens sitivit arida,

Claustra carnis praesto frangi clausa quaerit anima:

Gliscit, ambit, eluctatur exsul frui patria."497

The subordinate hymn-writers of our period are the following:498

Isidor of Seville (Isidoris Hispalensis, 560–636). A hymn on St. Agatha: "Festum insigne prodiit."

Cyxilla of Spain. Hymnus de S. Thurso et sociis: Exulta nimium turba fidelium."

Eugenius of Toledo. Oratio S. Eugenii Toletani Episcopi: "Rex Deus."

Paulus Diaconus (720–800), of Monte Casino, chaplain of Charlemagne, historian of the Lombards, and author of a famous collection of homilies. On John the Baptist ("Ut queant laxis),499 and on the Miracles of St. Benedict (Fratres alacri pectore).

Odo of Cluny (d. 941). A hymn on St. Mary Magdalene day, "Lauda, Mater Ecclesiae," translated by Neale: "Exalt, O mother Church, to-day, The clemency of Christ, thy Lord."  It found its way into the York Breviary.

Godescalcus (Gottschalk, d. about 950, not to be confounded with his predestinarian namesake, who lived in the ninth century), is next to Notker, the best writer of sequences or proses, as "Laus Tibi, Christe" ("Praise be to Thee, O Christ"), and Coeli enarrant ("The heavens declare the glory"), both translated by Neale.

Fulbert Of Chartres (died about 1029) wrote a paschal hymn adopted in several Breviaries: "Chorus novae Jerusalem" ("Ye choirs of New Jerusalem"), translated by Neale.

A few of the choicest hymns of our period, from the sixth to the twelfth century are anonymous.500  To these belong:

"Hymnum dicat turba fratrum."  A morning hymn mentioned by Bede as a fine specimen of the trochaic tetrameter.

"Sancti venite."  A communion hymn.

"Urbs beata Jerusalem."501  It is from the eighth century, and one of those touching New Jerusalem hymns which take their inspiration from the last chapter of St. John’s Apocalypse, and express the Christian’s home-sickness after heaven. The following is the first stanza (with Neale’s translation):

"Urbs beata Jerusalem,
Dicta pacis visio,

Quae construitur in coelo
Vivis ex lapidibus,

Et angelis coronata
Ut sponsata comite."

Blessed City, Heavenly Salem,
Vision dear of Peace and Love,

Who, of living stones upbuilded,
Art the joy of Heav'n above,

And, with angel cohorts circled,
As a bride to earth dost move!"

"Apparebit repentina."  An alphabetic and acrostic poem on the Day of Judgment, based on Matt. 25:31–36; from the seventh century; first mentioned by Bede, then long lost sight of; the forerunner of the Dies Irae, more narrative than lyrical, less sublime and terrific, but equally solemn. The following are the first lines in Neale’s admirable translation:502

"That great Day of wrath and terror,

That last Day of woe and doom,

Like a thief that comes at midnight,

On the sons of men shall come;

When the pride and pomp of ages

All shall utterly have passed,

And they stand in anguish, owning

That the end is here at last;

And the trumpet’s pealing clangor,

Through the earth’s four quarters spread,

Waxing loud and ever louder,

Shall convoke the quick and dead:

And the King of heavenly glory

Shall assume His throne on high,

And the cohorts of His angels

Shall be near Him in the sky:

And the sun shall turn to sackcloth,

And the moon be red as blood,

And the stars shall fall from heaven,

Whelm’d beneath destruction’s flood.

Flame and fire, and desolation

At the Judge’s feet shall go:

Earth and sea, and all abysses

Shall His mighty sentence know."

"Ave, Maris Stella." This is the favorite mediaeval Mary hymn, and perhaps the very best of the large number devoted to the worship of the "Queen of heaven," which entered so deeply into the piety and devotion of the Catholic church both in the East and the West. It is therefore given here in full with the version of Edward Caswall.503

"Ave, Maris Stella,504
Dei Mater alma
Atque semper Virgo,
Felix coeli porta.

Hail, thou Star-of-Ocean,
Portal of the sky,
Ever-Virgin Mother
Of the Lord Most High!

Sumens illud Ave
Gabrielis ore,
Funda nos in pace,
Mutans nomen Evae.505

Oh, by Gabriel’s Ave
Uttered long ago
Eva’s name reversing,
’Stablish peace below!

Solve vincla reis
Profer lumen coecis,
Mala nostra pelle,
Bona cuncta posce.

Break the captive’s fetters,
Light on blindness pour,
All our ills expelling,
Every bliss implore.

Monstra te esse matrem,506
Sumat per te precem,
Qui pro nobis natus
Tulit esse tuus.

Show thyself a mother,
Offer Him our sighs,
Who, for us Incarnate,
Did not thee despise.

Virgo singularis,
Inter omnes mitis,
Nos culpis solutos
Mites facet castos.

Virgin of all virgins!
To thy shelter take us—
Gentlest of the gentle!
Chaste and gentle make us.

Vitam praesta puram
Iter para tutum,
Ut videntes Iesum
Semper collaetemur.

Still as on we journey,
Help our weak endeavor,
Till with thee and Jesus,
We rejoice for ever.

Sit laus Deo Patri,
Summo Christo decus,
Spiritui Sancto
Honor trinus et unus.

Through the highest heaven
To the Almighty Three,
Father, Son, and Spirit,
One same glory be.

The Latin hymnody was only, for priests and monks, and those few who understood the Latin language. The people listened to it as they do to the mass, and responded with the Kyrie eleison, Christe eleison, which passed from the Greek church into the Western litanies. As the modern languages of Europe developed themselves out of the Latin, and out of the Teutonic, a popular poetry arose during the thirteenth and fourteenth centuries, and afterwards received a powerful impulse from the Reformation. Since that time the Protestant churches, especially in Germany and England, have produced the richest hymnody, which speaks to the heart of the people in their own familiar tongue, and is, next to the Psalter, the chief feeder of public and private devotion. In this body of evangelical hymns the choicest Greek and Latin hymns in various translations, reproductions, and transformations occupy an honored place and serve as connecting links between past and modern times in the worship of the same God and Saviour.

 § 97. The Seven Sacraments.

Mediaeval Christianity was intensely sacramental, sacerdotal and hierarchical. The ideas of priest, sacrifice, and altar are closely connected. The sacraments were regarded as the channels of all grace and the chief food of the soul. They accompanied human life from the cradle to the grave. The child was saluted into this world by the sacrament of baptism; the old man was provided with the viaticum on his journey to the other world.

The chief sacraments were baptism and the eucharist. Baptism was regarded as the sacrament of the new birth which opens the door to the kingdom of heaven the eucharist as the sacrament of sanctification which maintains and nourishes the new life.

Beyond these two sacraments several other rites were dignified with that name, but there was no agreement as to the number before the scholastic period. The Latin sacramentum, like the Greek mystery (of which it is the translation in the Vulgate), was long used in a loose and indefinite way for sacred and mysterious doctrines and rites. Rabanus Maurus and Paschasius Radbertus count four sacraments, Dionysius Areopagita, six; Damiani, as many as twelve. By the authority chiefly of Peter the Lombard and Thomas Aquinas the sacred number seven was at last determined upon, and justified by various analogies with the number of virtues, and the number of sins, and the necessities of human life.507

But seven sacraments existed as sacred rites long before the church was agreed on the number. We find them with only slight variations independently among the Greeks under the name of "mysteries" as well as among the Latins. They are, besides baptism and the eucharist (which is a sacrifice as well as a sacrament): confirmation, penance (confession and absolution), marriage, ordination, and extreme unction.

Confirmation was closely connected with baptism as a sort of supplement. It assumed a more independent character in the case of baptized infants and took place later. It may be performed in the Greek church by any priest, in the Latin only by the bishop.508

Penance was deemed necessary for sins after baptism.509

Ordination is the sacrament of the hierarchy and indispensable for the government of the church.

Marriage lies at the basis of the family and society in church and state, and was most closely and jealously guarded by the church against facility of divorce, against mixed marriages, and marriages between near relatives.

Extreme unction with prayer (first mentioned among the sacraments by a synod of Pavia in 850, and by Damiani) was the viaticum for the departure into the other world, and based on the direction of St. James 5:14, 15 (Comp. Mark 6:13; 16:18). At first it was applied in every sickness, by layman as well as priest, as a medical cure and as a substitute for amulets and forms of incantation; but the Latin church afterwards confined it to of extreme danger.

The efficacy of the sacrament was defined by the scholastic term ex opere operato, that is, the sacrament has its intended effect by virtue of its institution and inherent power, independently of the moral character of the priest and of the recipient, provided only that it be performed in the prescribed manner and with the proper intention and provided that the recipient throw no obstacle in the way.510

Three of the Sacraments, namely baptism, confirmation, and ordination, have in addition the effect of conferring an indelible character.511  Once baptized always baptized, though the benefit may be forfeited for ever; once ordained always ordained, though a priest may be deposed and excommunicated.

 § 98. The Organ and the Bell.

To the external auxiliaries of worship were added the organ and the bell.

The Organ,512 in the sense of a particular instrument (which dates from the time of St. Augustin), is a development of the Syrinx or Pandean pipe, and in its earliest form consisted of a small box with a row of pipes in the top, which were inflated by the performer with the mouth through means of a tube at one end. It has in the course of time undergone considerable improvements. The use of organs in churches is ascribed to Pope Vitalian (657–672). Constantine Copronymos sent an organ with other presents to King Pepin of France in 767. Charlemagne received one as a present from the Caliph Haroun al Rashid, and had it put up in the cathedral of Aix-la-Chapelle. The art of organ-building was cultivated chiefly in Germany. Pope John VIII. (872–882) requested Bishop Anno of Freising to send him an organ and an organist.

The attitude of the churches towards the organ varies. It shared to some extent the fate of images, except that it never was an object of worship. The poetic legend which Raphael has immortalized by one of his master-pieces, ascribes its invention to St. Cecilia, the patron of sacred music. The Greek church disapproves the use of organs. The Latin church introduced it pretty generally, but not without the protest of eminent men, so that even in the Council of Trent a motion was made, though not carried, to prohibit the organ at least in the mass. The Lutheran church retained, the Calvinistic churches rejected it, especially in Switzerland and Scotland; but in recent times the opposition has largely ceased.513

The Bell is said to have been invented by Paulinus of Nola (d. 431) in Campania;514 but he never mentions it in his description of churches. Various sonorous instruments were used since the time of Constantine the Great for announcing the commencement of public worship. Gregory of Tours mentions a "signum" for calling monks to prayer. The Irish used chiefly hand-bells from the time of St. Patrick, who himself distributed them freely. St. Columba is reported to have gone to church when the bell rang (pulsante campana) at midnight. Bede mentions the bell for prayer at funerals. St. Sturm of Fulda ordered in his dying hours all the bells of the convent to be rung (779). In the reign of Charlemagne the use of bells was common in the empire. He encouraged the art of bel-founding, and entertained bell-founders at his court. Tancho, a monk of St. Gall, cast a fine bell, weighing from four hundred to five hundred pounds, for the cathedral at Aix-la-Chapelle. In the East, church bells are not mentioned before the end of the ninth century.

Bells, like other church-furniture, were consecrated for sacred use by liturgical forms of benediction. They were sometimes even baptized; but Charlemagne, in a capitulary of 789, forbids this abuse.515  The office of bell-ringers516 was so highly esteemed in that age that even abbots and bishops coveted it. Popular superstition ascribed to bells a magical effect in quieting storms and expelling pestilence. Special towers were built for them.517  The use of church bells is expressed in the old lines which are inscribed in many of them:

"Lauda Deum verum, plebem voco, congrego clerum,

Defunctos ploro, pestem fugo, festaque honoro."518

 § 99. The Worship of Saints.

Comp. vol. III. §§ 81–87 (p. 409–460).

The Worship of Saints, handed down from the Nicene age, was a Christian substitute for heathen idolatry and hero-worship, and well suited to the taste and antecedents of the barbarian races, but was equally popular among the cultivated Greeks. The scholastics made a distinction between three grades of worship: 1) adoration (latreiva), which belongs to God alone; 2) veneration (douleiva), which is due to the saints as those whom God himself has honored, and who reign with him in heaven; 3) special veneration (uJperdouleiva), which is due to the Virgin Mary as the mother of the Saviour and the queen of all saints. But the people did not always mind this distinction, and the priests rather encouraged the excesses of saint-worship. Prayers were freely addressed to the saints, though not as the givers of the blessings desired, but as intercessors and advocates. Hence the form "Pray for us" (Ora pro nobis).

The number of saints and their festivals multiplied very rapidly. Each nation, country, province or city chose its patron saint, as Peter and Paul in Rome, St. Ambrose in Milan, St. Martin, St. Denys (Dionysius) and St. Germain in France, St. George in England, St. Patrick in Ireland, St. Boniface in Germany, and especially the Virgin Mary, who has innumerable localities and churches under her care and protection. The fact of saintship was at first decided by the voice of the people, which was obeyed as the voice of God. Great and good men and women who lived in the odor of sanctity and did eminent service to the cause of religion as missionaries or martyrs or bishops or monks or nuns, were gratefully remembered after their death; they became patron saints of the country or province of their labors and sufferings, and their worship spread gradually over the entire church. Their relics were held sacred; their tombs were visited by pilgrims. The metropolitans usually decided on the claims of saintship for their province down to a.d. 1153.519  But to check the increase and to prevent mistakes, the popes, since Alexander III. a.d. 1170, claimed the exclusive right of declaring the fact, and prescribing the worship of a saint throughout the whole (Latin) Catholic church.520  This was done by a solemn act called canonization. From this was afterwards distinguished the act of beatification, which simply declares that a departed Catholic Christian is blessed (beatus) in heaven, and which within certain limits permits (but does not prescribe) his veneration.521

The first known example of a papal canonization is the canonization of Ulrich, bishop of Augsburg (d. 973), by John XV. who, at a Lateran synod composed of nineteen dignitaries, in 993, declared him a saint at the request of Luitolph (Leuthold), his successor in the see of Augsburg, after hearing his report in person on the life and miracles of Ulrich. His chief merit was the deliverance of Southern Germany from the invasion of the barbarous Magyars, and his devotion to the interests of his large diocese. He used to make tours of visitation on an ox-cart, surrounded by a crowd of beggars and cripples. He made two pilgrimages to Rome, the second in his eighty-first year, and died as an humble penitent on the bare floor. The bull puts the worship of the saints on the ground that it redounds to the glory of Christ who identifies himself with his saints, but it makes no clear distinction between the different degrees of worship. It threatens all who disregard this decree with the anathema of the apostolic see.522

A mild interpretation of the papal prerogative of canonization reduces it to a mere declaration of a fact preceded by a careful examination of the merits of a case before the Congregation of Rites. But nothing short of a divine revelation can make such a fact known to mortal man. The examination is conducted by a regular process of law in which one acts as Advocatus Diaboli or accuser of the candidate for canonization, and another as Advocatus Dei. Success depends on the proof that the candidate must have possessed the highest sanctity and the power of working miracles either during his life, or through his dead bones, or through invocation of his aid. A proverb says that it requires a miracle to prove a miracle. Nevertheless it is done by papal decree on such evidence as is satisfactory to Roman Catholic believers.523

The question, how the saints and the Virgin Mary can hear so many thousands of prayers addressed to them simultaneously in so many different places, without being clothed with the divine attributes of omniscience and omnipresence, did not disturb the faith of the people. The scholastic divines usually tried to solve it by the assumption that the saints read those prayers in the omniscient mind of God. Then why not address God directly?

In addition to the commemoration days of particular saints, two festivals were instituted for the commemoration of all the departed.

The Festival of All Saints524 was introduced in the West by Pope Boniface IV. on occasion of the dedication of the Pantheon in Rome, which was originally built by Agrippa in honor of the victory of Augustus at Actium, and dedicated to Jupiter Vindex; it survived the old heathen temples, and was presented to the pope by the Emperor Phocas, a.d. 607; whereupon it was cleansed, restored and dedicated to the service of God in the name of the ever-Virgin Mary and all martyrs. Baronius tells us that at the time of dedication on May 13 the bones of martyrs from the various cemeteries were in solemn procession transferred to the church in twenty-eight carriages.525  From Rome the festival spread during the ninth century over the West, and Gregory IV. induced Lewis the Pious in 835 to make it general in the Empire. The celebration was fixed on the first of November for the convenience of the people who after harvest had a time of leisure, and were disposed to give thanks to God for all his mercies.

The Festival of All Souls526 is a kind of supplement to that of All Saints, and is celebrated on the day following (Nov. 2). Its introduction is traced to Odilo, Abbot of Cluny, in the tenth century. It spread very soon without a special order, and appealed to the sympathies of that age for the sufferings of the souls in purgatory. The worshippers appear in mourning; the mass for the dead is celebrated with the "Dies irae, Dies illa," and the oft-repeated "Requiem aeternam dona eis, Domine."  In some places (e.g. in Munich) the custom prevails of covering the graves on that day with the last flowers of the season.

The festival of Michael the Archangel,527 the leader of the angelic host, was dedicated to the worship of angels,528 on the 29th of September.529  It rests on no doctrine and no fact, but on the sandy foundation of miraculous legends.530  We find it first in the East. Several churches in and near Constantinople were dedicated to St. Michael, and Justinian rebuilt two which had become dilapidated. In the West it is first mentioned by a Council of Mentz in 813, as the "dedicatio S. Michaelis," among the festivals to be observed; and from that time it spread throughout the Church in spite of the apostolic warning against angelolatry (Col. 2:18; Rev. 19:10; 22:8, 9).531

 § 100. The Worship of Images. Literature. Different Theories.

Comp. Vol. II., chs. vi. (p.266 sqq.) and vii. (p. 285); Vol. III. §§109–111 (p. 560 sqq.).

(I.) John of Damascus (chief defender of image-worship, about 750): Lovgoi ajpologhtikoi; pro;" tou;" diabavllonta" ta;" aJgiva" eijkovna" (ed. Le Quien I. 305). Nicephorus (Patriarch of Constantinople, d. 828): Breviarium Hist. (to a.d. 769), ed. Petavius, Paris, 1616. Theophanes (Confessor and almost martyr of image-worship, d. c. 820): Chronographia, cum notis Goari et Combefisii, Par., 1655, Ven. 1729, and in the Bonn ed. of the Byzant. historians, 1839, Tom. I. (reprinted in Migne’s "Patrol. Graeca," Tom. 108). The later Byzantine historians, who notice the controversy, draw chiefly from Theophanes; so also Anastasius (Historia Eccles.) and Paulus Diaconus (Historia miscella and Hist. Longobardorum).

The letters of the popes, and the acts of synods, especially the Acta Concilii Nicaeni II. (a.d. 787) in Mansi, Tom. XIII., and Harduin, Tom. IV.

M. H. Goldast: Imperialia Decreta de Cultu Imaginum in utroque imperio promulgata. Frankf., 1608.

The sources are nearly all on the orthodox side. The seventh oecumenical council (787) ordered in the fifth session that all the books against images should be destroyed.

(II.) J. Dalleus (Calvinist): De Imaginibus. Lugd. Bat., 1642.

L. Maimbourg (Jesuit): Histoire de l’hérésie des iconoclastes. Paris, 1679 and 1683, 2 vols. (Hefele, III. 371, calls this work "nicht ganz zuverlässig," not quite reliable).

Fr. Spanheim (Calvinist): Historia Imaginum restituta. Lugd. Bat. 1686 (in Opera, II. 707).

Chr. W. Fr. Walch (Lutheran): Ketzerhistorie. Leipz., 1762 sqq., vol. X. (1782) p. 65–828, and the whole of vol. XI. (ed. by Spittler, 1785). Very thorough, impartial, and tedious.

F. Ch. Schlosser:  Geschichte der bilderstürmenden Kaiser des oströmischen Reichs. Frankf. a. M., 1812.

J. Marx (R.C.): Der Bilderstreit der Byzant. Kaiser. Trier, 1839.

Bishop Hefele: Conciliengesch. vol III. 366–490; 694–716 (revised ed., Freib. i. B. 1877).

R. Schenk: Kaiser Leo III. Ein Beitrag zur Geschichte des Bilderstreites. Halle, 1880.

General Church Histories: 1) R. Cath.: Baronius, Pagi, Natalis Alexander, Alzog, Hergenröther (I. 121–143; 152–168). 2) Protest.: Basnage, Gibbon (ch. 49), Schröckh (vol. XX.), Neander (III. 197–243; 532–553, Bost. ed.; fall and fair); Gieseler (II. 13–19, too short).

The literature on the image-controversy is much colored by the doctrinal stand-point of the writers. Gibbon treats it with cold philosophical indifference, and chiefly in its bearing on the political fortunes of the Byzantine empire.

With the worship of saints is closely, connected a subordinate worship of their images and relics. The latter is the legitimate application of the former. But while the mediaeval churches of the East and West—with the exception of a few protesting voices—were agreed on the worship of saints, there was a violent controversy about the images which kept the Eastern church in commotion for more than a century (a.d. 724–842), and hastened the decline of the Byzantine empire.

The abstract question of the use of images is connected with the general subject of the relation of art to worship. Christianity claims to be the perfect and universal religion; it pervades with its leavening power all the faculties of man and all departments of life. It is foreign to nothing which God has made. It is in harmony with all that is true, and beautiful, and good. It is friendly to philosophy, science, and art, and takes them into its service. Poetry, music, and architecture achieve their highest mission as handmaids of religion, and have derived the inspiration for their noblest works from the Bible. Why then should painting or sculpture or any other art which comes from God, be excluded from the use of the Church?  Why should not Bible history as well as all other history admit of pictorial and sculptured representation for the instruction and enjoyment of children and adults who have a taste for beauty?  Whatever proceeds from God must return to God and spread his glory.

But from the use of images for ornament, instruction and enjoyment there is a vast step to the worship of images, and experience proves that the former can exist without a trace of the latter. In the middle ages, however, owing to the prevailing saint-worship, the two were inseparable. The pictures were introduced into churches not as works of art, but as aids and objects of devotion. The image-controversy was therefore a, purely practical question of worship, and not a philosophical or artistic question. To a rude imagination an ugly and revolting picture served the devotional purpose even better than one of beauty and grace. It was only towards the close of the middle ages that the art of Christian painting began to produce works of high merit. Moreover the image-controversy was complicated with the second commandment of the decalogue which clearly and wisely forbids, if not all kinds of figurative representations of the Deity, at all events every idolatrous and superstitious use of pictures. It was also beset by the difficulty that we have no authentic pictures of Christ, the Madonna and the Apostles or any other biblical character.

We have traced in previous volumes the gradual introduction of sacred images from the Roman Catacombs to the close of the sixth century. The use of symbols and pictures was at first quite innocent and spread imperceptibly with the growth of the worship of saints. The East which inherited a love for art from the old Greeks, was chiefly devoted to images, the Western barbarians who could not appreciate works of art, cared more for relics.

We may distinguish three theories, of which two came into open conflict and disputed the ground till the year 842.

1. The theory of Image-Worship. It is the orthodox theory, denounced by the opponents as a species of idolatry,532 but strongly supported by the people, the monks, the poets, the women, the Empresses Irene and Theodora, sanctioned by the seventh oecumenical Council (787) and by the popes (Gregory II., Gregory III. and Hadrian I). It maintained the right and duty of using and worshipping images of Christ, the Virgin, and the saints, but indignantly rejected the charge of idolatry, and made a distinction (often disregarded in practice) between a limited worship due to pictures,533 and adoration proper due to God alone.534  Images are a pictorial Bible, and speak to the eye even more eloquently than the word speaks to the ear. They are of special value to the common people who cannot read the Holy Scriptures. The honors of the living originals in heaven were gradually transferred to their wooden pictures on earth; the pictures were reverently kissed and surrounded by the pagan rites of genuflexion, luminaries, and incense; and prayers were thought to be more effective if said before them. Enthusiasm for pictures went hand in hand with the worship of saints, and was almost inseparable from it. It kindled a poetic inspiration which enriched the service books of the Greek church. The chief hymnists, John of Damascus, Cosmas of Jerusalem, Germanus, Theophanes, Theodore of the Studium, were all patrons of images, and some of them suffered deposition, imprisonment, and mutilation for their zeal; but the Iconoclasts did not furnish a single poet.535

The chief argument against this theory was the second commandment. It was answered in various ways. The prohibition was understood to be merely temporary till the appearance of Christ, or to apply only to graven images, or to the making of images for idolatrous purposes.

On the other hand, the cherubim over the ark, and the brazen serpent in the wilderness were appealed to as examples of visible symbols in the Mosaic worship. The incarnation of the Son of God furnished the divine warrant for pictures of Christ. Since Christ revealed himself in human form it can be no sin to represent him in that form. The significant silence of the Gospels concerning his personal appearance was supplied by fictitious pictures ascribed to St. Luke, and St. Veronica, and that of Edessa. A superstitious fancy even invented stories of wonder-working pictures, and ascribed to them motion, speech, and action.

It should be added that the Eastern church confines images to colored representations on a plane surface, and mosaics, but excludes sculptures and statues from objects of worship. The Roman church makes no such restriction.

2. The Iconoclastic theory occupies the opposite extreme. Its advocates were called image-breakers.536  It was maintained by the energetic Greek emperors, Leo III. and his son Constantine, who saved the tottering empire against the invasion of the Saracens; it was popular in the army, and received the sanction of the Constantinopolitan Synod of 754. It appealed first and last to the second commandment in the decalogue in its strict sense as understood by the Jews and the primitive Christians. It was considerably strengthened by the successes of the Mohammedans who, like the Jews, charged the Christians with the great sin of idolatry, and conquered the cities of Syria, Palestine, and Egypt in spite of the sacred images which were relied on for protection and miraculous interposition. The iconoclastic Synod of 754 denounced image-worship as a relapse into heathen idolatry, which the devil had smuggled into the church in the place of the worship of God alone in spirit and in truth.

The iconoclastic party, however, was not consistent; for it adhered to saint-worship which is the root of image-worship, and instead of sweeping away all religious symbols, it retained the sign of the cross with all its superstitious uses, and justified this exception by the Scripture passages on the efficacy of the cross, though these refer to the sacrifice of the cross, and not to the sign.

The chief defect of iconoclasm and the cause of its failure was its negative character. It furnished no substitute for image-worship, and left nothing but empty walls which could not satisfy the religious wants of the Greek race. It was very different from the iconoclasm of the evangelical Reformation, which put in the place of images the richer intellectual and spiritual instruction from the Word of God.

3. The Moderate theory sought a via media between image-worship and image-hatred, by distinguishing between the sign and the thing, the use and the abuse. It allowed the representation of Christ and the saints as aids to devotion by calling to remembrance the persons and facts set forth to the eye. Pope Gregory I. presented to a hermit at his wish a picture of Christ, of Mary, and of St. Peter and St. Paul, with a letter in which he approves of the natural desire to have a visible reminder of an object of reverence and love, but at the same time warned him against superstitious use. "We do not," he says, "kneel down before the picture as a divinity, but we adore Him whose birth or passion or sitting on the t