The only thing we find more of the " Nunc dimittis" is in the Life of Maria Ægyptiaca,' who died about the year 525, of whom it is said, that a little before her death she received the eucharist, repeated the creed, and the Lord's prayer, and sung the "Nunc dimittis," "Lord, now lettest thou thy servant depart in peace according to thy word." But this was only an act of private devotion, and whether it was then received into the public offices of the Church, remains uncertain. SECT. 6. Of the " Benedicile," or the Song of the Three Children. But we are more certain of the use of the hymn, called "Benedicite," or song of the three children in the burning fiery furnace. For not only Athanasius directs virgins to use it in their private devotions, but the fourth Council of Toledo says, it was used in the Church over all the world, and therefore orders it to be sung by the clergy of Spain and Gallicia every Lord's day, and on the festivals of the martyrs, under pain of excommunication. Lestrange thinks this is the first time there is any mention made of this hymn as of public use in the Church: but Chrysostom lived two hundred years before this Council, and he makes the same observation as the Council does, that it was sung in all places throughout the world, and would continue to be sung in future generations. The Lectionarium Gallicanum, published by Mabillon, appoints this hymn to be sung after the reading of the prophets, much after the same manner as it is now ordered to be sung between the first and second lesson in the liturgy of our Church. Vita Mariæ Ægypt. ap. Durantum de Ritibus. lib. i. cap. xvi. n. 9. * Athan. de Virgin. p. 1057. 9 Con. Tolet. iv. can. 13. Hymnum quoque trium puerorum, in quo universa cœli terræque creatura Deum collaudat, et quem Ecclesia Catholica per totum orbem diffusa celebrat, quidam sacerdotes in Missâ Dominicorum dierum et in solennitatibus martyrum canere negligunt. Proinde sanctum Concilium instituit, ut per omnes Hispaniæ Ecclesias vel Galliciæ, in omnium missarum solennitate idem in publico (al. Pulpito) decantetur, &c. Lestrange Alliance of Div. Offic. chap. iii. p. 79. 5 Chrys. Quod nemo læditur nisi à seipso, tom. iv. Ρ. 593. Ὠδὴν πανταχῆ τῆς οἰκεμένης ἀδομένην, καὶ ἀσθησομένην εἰς τὰς μετὰ 6 Mabillon. de Liturg. Gallic. lib. ii. p. 108, ταῦτα γενεὰς. SECT. 7.-Of the “ Magnificat," or Song of the Holy Virgin, The use of the “ Magnificat," or Song of the Holy Virgin, "My soul doth magnify the Lord, &c." is not quite so ancient: for the first time we meet with it, as prescribed for public use, is in the rules of Cæsarius Arelatensis and Aurelian,' who order it to be sung in the French Churches at morning service. And that was about the year 506, SECT. 8.-When first the Creed began to be sung as an Hymn in the Church. Some learned persons reckon the singing of the Creed into the psalmody of the Church, and speak of it as an ancient custom but herein they mistake by suffering themselves to be imposed upon by modern authors. Bishop Wettenhal says, "it is no improbable conjecture, that the hymn, which the primitive Christians are said by Pliny to have sung to Christ as God, was their Creed; and that it is certain, the Nicene Creed has been sung in the Church in a manner from the very compiling of it." For this he cites Platina in the Life of Pope Mark, who affirms, that it was ordained by that pope, that on all solemn days, immediately after the Gospel, the Creed should be sung with a loud voice by the clergy and people, in that form wherein it was explained by the Nicene Council. When yet it is certain on the other hand, that the Creed was never so much as barely repeated in the Roman Church in time of divine service, till the year 1014, when Benedict the Eighth brought it into use, to comply with the practice of the French and Spanish Churches, as has been shewn at large in a former book, where we have noted, that it was never read publicly in the Greek Church, but once a year, till Peter Fullo brought it into the Church of Antioch, Anno 471, and Timotheus into the Church of Constantinople, Anno 511, from whose example it was taken by the third Council of Toledo, Anno 589, and brought into custom in Apud Mabillon. de Cursu Gallican. p. 407. Gift of Singing, chap. iii. p. 330. 2 Wettenhal, 3 Book x, chap. iv. sect. 17, the Spanish Churches. After which it was four whole centuries before it gained admittance in the Church of Rome. So little reason is there to depend upon the authority of modern authors, in cases where they plainly contradict the testimony of more ancient and credible writers. And this is a good argument, as bishop Stillingfleet well urges it;' to shew the differences betwixt the old Gallican and Roman offices, and that the Church of England did not follow precisely the model of the Roman offices, but those that were more anciently received in the general practice of the Gallican and British Churches. SECT. 9.-Of the Author and Original of the Hymn, " Te Deum.” There remains one hymn more, the "Te Deum," which is now in use among us, the author and original of which are variously disputed. The common opinion ascribes it to St. Ambrose and St. Austin jointly; others to St. Ambrose singly, because he is known to have composed hymns for the use of the Church. Two things are chiefly said in favour of these opinions, which have no real weight or force in them. 1. That the chronicle of Dacius, one of St. Ambrose's successors, says, he composed it. 2. That it is approved as his hymn in the fourth Council of Toledo, Anno 633. But to the first it is replied by learned men, that the pretended Chronicon of Dacius is a mere counterfeit, and altogether spurious, Mabillon3 proves it to be at least five hundred years younger than its reputed author: whence the story, that is so formally told in it, is concluded to be a mere fiction, and invention of later ages. The story is this, as Spondanus, a favourer of it, reports it out of Dacius: "That, when St. Austin was baptised by St. Ambrose, whilst they were at the font, they sung this hymn by inspiration, as the Spirit gave them utterance, and so published it in the sight and audience of all the people." But the au Stilling. Orig. Britan. chap. iv. p. 237. 2 Comber of Liturgies. p. 180. 8 Mabil. Analecta Veterum. tom. i. p. 5. 4 Spondan. an. 388. n. 9. In quibus fontibus prout Spiritus Sanctus dabat eloqui illis, Te deum laudamus,' cantantes, cunctis qui aderant audientibus et videntibus, ediderunt. Ex Chronico Dacii. lib. i. c. 10. thority of the story, resting merely upon the foundation of this fabulous writer, there is no credit to be given to it. Neither is there any greater weight to be laid upon what is alleged from the Council of Toledo: for the Council only says, that some hymns were composed for the use of the Church by St. Hilary and St. Ambrose, without any particular mention of this hymn; so that it might as well be ascribed to St. Hilary, as St. Ambrose, for any thing that is said in that Council. The truth of the matter is, that it was composed by a French writer about an hundred years after St. Ambrose's death, for the use of the Gallican Church. Pagi says, Gavantus found it in some MSS. ascribed to St. Abundius; and others have the name of Sisebutus prefixed to it. Bishop Usher found it in two MSS. ascribed to Nicettus, bishop of Triers, who lived about the year 535. And he is now by learned men generally reputed the author of it. The learned Benedictins, who lately published St. Ambrose's works, judge St. Ambrose not to be the author of it: and Dr. Cave, though he was once of a different judgment, yet upon maturer consideration subscribes to their opinion. Wherefore the most rational conclusion, is that of Bishop Stillingfleet, that it was composed by Nicettus, and that we must look on this hymn as owing its original to the Gallican Church; since not long after the time of Nicettus it is mentioned in the rule of St. Benedict, cap. xi. and the rule of Cæsarius Arelatensis, cap. xxi. and the rule of Aurelian, where they prescribe the use of it but Menardus is confident, there is no mention of this hymn in any writers of credit before them. SECT. 10.-The Hymns of St. Ambrose. But though St. Ambrose cannot be allowed to be the author of this hymn, yet there is no doubt to be made but that he composed hymns for the use of the Church, some Pagi Critic. in Baron. an. 388. n. 11, 8 Cave Hist. Liter. vol. i. p. 215. 2 Usser. de Symbolo. p. 3. 4 Id. Hist. Liter. vol. ii. p. 75. Ambrosii esse, nullo idoneo testimonio probari potest, et fabulam pro origine habere videtur. 5 Stillingfl. Orig. Britan. chap. iv. p. 222. Menard. Not. in Gregor. Sacramentar. p. 351. of which are yet extant. For St. Austin' mentions one of his evening hymns in several places," Deus Creator omnium, &c." Which I forbear to relate here at length, because I have done it in the former book. Again, St. Austin in his Retractations speaks of another hymn composed by St. Ambrose upon the repentance of Peter, after the crowing of the cock, part of which he there relates, and says, it was used to be sung by many in his time. Du Pin thinks,* most of those hymns, which are now the daily office of the Roman service, are taken from St. Ambrose, but that the rest are in a different style, and owing to other authors. Particularly that the hymn, " Vexilla Regis prodeunt," is none of his, which is now used in the Romish Church in the fourth week of Lent, so notorious for their kneeling down to the cross, and worshipping it in these words:5" Hail, Cross, our only hope, in this time of passion, increase the righteousness of the pious, and grant pardon of sins to the guilty." We are sure this could not be the composition of St. Ambrose, nor any writer of that age; being so much the reverse of the practice of the ancient Church, in whose hymns or other devotions there is not the least footstep of worshipping the cross, or any material image of God, as has been demonstrated in a former part of this work, where the history of images has been handled ex professo, in considering the way of adorning the ancient Churches. SECT. 11.-The Hymns of St. Hilary, Claudianus, Mamercus, and others. There were many other hymns, and some whole books of hymns composed by other writers of the Church, of which Aug. Retract. lib. i. cap. 12. Ambrosii, ubi de gallo gallįculpam diluit.' Aug. Confess. lib. ix. cap. 12. It. de Musicâ lib. vi. cap. 2, et 17. * Book. xiii. chap. v. sect. 7. Cantatur ore multorem in versibus Beatissimi naceo ait,' Hoc, ipsâ Petrâ Ecclesiâ canente, * Du Pin, Bibliothec. Cent. iv. p. 231. iv. Quadragesimæ. Die Sabbati. O Crux ave spes unica, Book viii. chap. viii. sect. 6. &c. 5 Breviar. Rom. Hebdom |