which was interrupted from 1773 till 1820. In 1792 the French admiral, Truquet, attempted to land at Cagliari but was repulsed. In the following years there were several attempts to throw off the power of the Piedmontese. King Charles Emmanuel IV took refuge in the island from 1799 till 1806, when his domains were invaded by the French. The Congress of Vienna gave the Republic of Genoa to the Sardinians. The kingdom then contained thirty-seven provinces. Between 1820 and 1848 feudalism, which in 1807 had caused widespread rebellion of the burgesses against the nobles, was abolished. Another project was the construction of a vast network of roads which were greatly needed. In general however the Savoy and Italian Governments have neglected the wants and interests of the Sardinians. In 1861 after the annexation of almost all the peninsula the Kingdom of Italy was proclaimed at Florence and that of Sardinia came to an end. The following is a list of the kings: Victor Amadeus II (1718-30), who abdicated in favour of his son Charles Emmanuel III (1730-73), regretting which he was imprisoned at Moncalieri where he died (1732), Charles Emmanuel to conquer the Milanese allied himself with France and Spain, in the War of the Polish Succession; he was frequently victorious but only obtained the region on the right of the Ticino (1738). He took part in the War of the Austrian Succession; gained splendid victories (the siege of Toulon, 1746; the battle of Col dell' Assietta, 1747), but with very little profit, gaining only the county of Angera and Arona, the valley of Ossola, Vigevano, and Bobbio. Victor Amadeus III (1773-96), for having crushed the nationalist movement in Savoy (1791) with excessive severity, was overthrown by the revolutionary army which captured Savoy and Nizza. He allied himself with Austria and the campaign was conducted with varying fortunes, but when Bonaparte took command of the French troops Victor Amadeus had to agree to a humiliating peace. Charles Emmanuel IV (1796-1802) made an offensive treaty with France, whereupon his subjects revolted. The rebellion was crushed with severity and thousands of democrats emigrated either into France or to the Cisalpine Republic, whence they returned in arms. The royalists having obtained the upper hand, France intervened and obliged the king to abandon his possessions on the mainland (19 December, 1798). Charles Emmanuel withdrew to Sardinia; and in 1802 abdicated in favour of his brother Victor Emmanuel I (1802-21), who in 1814 was returned to Turin and saw his dominions increased by the inclusion of Genoa. As happened elsewhere the restoration did not do justice to the legitimate aspirations of the democrats. There followed the revolution of 1821 caused by a demand for a Constitution and for war with Austria to obtain possession of Lombardy, which Piedmont had coveted for centuries. As the king had agreed with Austria and Naples not to grant the Constitution, he abdicated in favour of Charles Felix, his brother, who was absent at the time; Charles Albert, Prince of Carignano, assumed the regency and on 13 March, 1821, promulgated the Constitution of Spain, which was not accepted by Charles Felix (1821-31). Meanwhile, the revolutionary party had joined in the movement for Italian unity, but there was difference of opinion as to the form of that unity, whether there should be a great republic, or a federation of republics, or again a single monarchy or a federation of principalities. Many however were indifferent to the form. In 1831, therefore, disturbances began in Central Italy but were easily suppressed. The same year Charles Felix died without offspring and was succeeded by Charles Albert (1831-48). The Piedmontese then decided in favour of a United Kingdom of Italy under the House of Savoy, and to that end all the efforts of the Sardinian Government were henceforward di rected. In 1847 Charles Albert granted freedom of the press and other liberal institutions. On 8 February he promulgated the statute which still remains the fundamental law of the Kingdom of Italy. One month later he declared war on Austria in order to come to the rescue of the Lombards who were eager to throw off the Austrian yoke at once. Though victorious in the first engagements, he suffered a severe defeat at Custoza and, after the armistice of Salasco, was again defeated at Novara (1849). The King of Sardinia had for the time being to abandon his idea of conquest. Charles Albert abdicated in favour of his son Victor Emmanuel II (1849-78) and withdrew to Oporto where he died the same year. There followed ten years of military preparations, which were tested in the Crimean War, and vigorous diplomatic and sectarian operations to the detriment of the other Italian rulers, carried out under the direction and inspiration of Count di Cavour, who did not hesitate to enter into league with Mazzini, the head of the Republicans, knowing well that the latter's principles while bringing about the destruction of the other Italian states on the one hand, could not. on the other, serve as a basis for a permanent political organization. In 1859 the Sardinian Government, aided by France, declared war on Austria and captured all Lombardy with the exception of Mantua. At the same time in Tuscany, the Duchies of Parma and Modena, the legations, the marquisates, and in Umbria the national committees established provisional governments and declared the supremacy of the House of Savoy. Garibaldi landed in Sicily and passed thence into Calabria. The royal armies everywhere joined with the revolutionary party and on 27 March, 1861, the Kingdom of Italy was proclaimed which included all the peninsula except Venice and the Patrimony of St. Peter. The King of Sardinia was confirmed by Pope Benedict XIII in his right of nominating bishops and other high dignitaries, a right conceded previously by Nicholas V to the dukes of Savoy. În 1742 a concordat was concluded between the Sardinian Government and the Holy See, which granted extensive privileges to the Government, which were increased further by Clement XIV and Pius VI. As the Italian Concordat of 1803 was extended to Piedmont after the restoration there was no doubt as to the validity of the old and the new treaties. Consequently in 1816 Pius VII made suitable provisions, and in 1824 an agreement concerning the administration and distribution of ecclesiastical property was arrived at. In 1854 attempts were made to have a new concordat, but as on the one hand, the demands of the Government were too exorbitant, and, on the other, the civil authorities had enacted laws injurious to the Church, nothing was done. After the promulgation of the Constitution of the Kingdom of Sardinia the following dioceses were founded or else re-established: in Sardinia, Iglesias (1764); Galtelli-Nuoro (1780); Bisarchio (1805); Ogliastro (1824); on the peninsula: Pinerolo (1748), Susa (1772), Cuneo (1817), Biella (1772). During the Revolutionary epoch (1805) the dioceses of Alba, Fossano, Alessandria, Pinerolo, Susa, Biella, Aosta, Bobbio, Tortona, were suppressed. In 1817 Vercelli became an archiepiscopal see. Cossu, La Sardegna (Rome, 1901); BRESCIANI, I costumi della Sardegna (Milan, 1890): CIMBALI, La Sardegna è in Italia? MATTEI. Sardinia Sacra (Rome, 1761); PINTUS, Sardinia Sacra, I (Iglesias, 1904): BOGGIO, La Chiesa e lo Stato di Sardegna dal 1000 al 1854 (Turin, 1854); MANNO, Storia di Sardegna (3rd ed.. Turin, 1835). Sardis. See SARDES. U. BENIGNI. Sarepta, a titular see in Phoenicia Prima, suffragan of Tyre. It is mentioned for the first time in the voyage of an Egyptian in the fourteenth century B.C. Chabas, "Voyage d'un Egyptien" (Châlons, 1866), 20, 161, 163. `Abdias (i, 20), says it was the northern to write many excellent works. He will always be boundary of Chanaan. Sennacherib captured it in SMITH, Dict. of Greek and Roman Geog., s. v.; RENAN, Mission de Phénicie (Paris, 1864), 663-66; VIGOUROUX in Dict. de la Bible, s. v.; GUERIN, Description de la Palestine. Galilée, II (Paris, 1880), 478-81. S. VAILHÉ. Sarlat. See PÉRIGUEUX, DIOCESE OF. Sarnelli, JANUARIUS MARIA, one of S. Alphonsus's earliest companions, fourth son of Baron Angelo Sarnelli of Ciorani, b. in Naples 12 Sept., 1702; d. 30 June, 1744. From his childhood he was remarkable for modesty, self-denial, piety, and great diligence in his studies. At the age of fourteen he desired to become a Jesuit, but his father objected and directed him to study law. He succeeded admirably in the legal profession, while daily Mass, visits to the Blessed Sacrament, and attendance on the sick in the hospital of incurables filled up all his spare time. At twenty-six he abandoned the bar and became a cleric. His zeal showed itself at once in his labours for children, whom he catechized with wonderful success. Admirable instructions on this most important matter may be found in his works for ecclesiastics. He was ordained priest in 1732 and immediately became a member of the Propaganda of Naples, a congregation of secular priests devoted to Apostolic work. A year later he went to Scala and became one of the earliest companions of S. Alphonsus in founding the Congregation of the Most Holy Redeemer. Both these holy men worked together and gave missions along the coast of Amalfi till 1735, when Ven. Sarnelli's health gave way. He had to return to Naples, where he spent nine years in a poor apartment with one lay brother as companion. Scarcely had his health improved than he began a crusade against the immorality of his time which has rarely been surpassed in boldness. In his writings he laid the responsibility at the doors of ministers of state, while by his exhortations he created a public opinion which helped him on to success; and God evidently protected him in the dangers to which his zeal exposed him. His triumph was complete. His labours amongst the lowly and abandoned were continual; yet he found time morte. He died in his forty-second year. His first biographer, S. Alphonsus, writes: "As soon as he had breathed his last breath, his countenance suddenly became beautiful-and his body exhaled a sweet odour-which remained in the room long after the interment." ." His body reposes in a side chapel in the Redemptorist church in Naples. He was declared Venerable in 1874. A decree on his heroic virtues was published in 1906, and now only miracles are Vita de Gennaro P. D. M. Sarnelli S. Alfonso, tr. in Companions of S. Alphonsus, Oratorian Series; DUMORTIER, Le Vénérable Serviteur de Dieu, Le Père Janvier-Marie Sarnelli (Paris, 1886)-Introductio causa. See ALPHONSUS LIGUORI, ST. J. MAGNIER. Sarno. See CAVA AND SARNO, DIOCESE OF. Sarpi, PAOLO, a Servite and anti-papal historian and statesman, b. at Venice, 14 August, 1552; d. there 14 or 15 January, 1623. At the age of 13 he joined the Servite Order, exchanging his baptismal name of Pietro for that of Paolo. He was appointed professor of theology and canon law when he was only twenty. After four years he spent a short time at Milan and then taught philosophy in his monastery at Venice. Having been ordained in 1574, he was elected provincial of his order for the Venetian Republic in 1579, and held the office of procurator general, with residence in Rome, from 1585 to 1588. Returning to Venice he devoted himself chiefly to literary pursuits, and about this time his anti-ecclesiastical tendencies became manifest. His intimacy with Protestants and statesmen hostile to the Church caused on various occasions complaints to be lodged against him before the Venetian inquisitor. His hatred of Rome was further in creased when on three different occasions the Roman Curia rejected his nomination for an episcopal see by the Republic of Venice. The three sees to which Venice had nominated him were Milopotamo in 1593, Caorle in 1600, and Nona in Dalmatia in 1601. The more he hated Rome, the more acceptable he was to Doge Leonardo Donato and the Venetian senate, which by a special decree guaranteed him protection against Rome and appointed him theological consultor of the state with an annual salary of two hundred ducats. In this capacity he effected the enactment of various anti-ecclesiastical laws, and it was chiefly due to the influence of "the terrible friar" that the interdict which Paul V placed upon Venice (1606) remained without effect and was revoked (21 April, 1607). A murderous assault made upon him on 5 October, 1607, is often ascribed to his ecclesiastical enemies, but there is not sufficient testimony for their complicity (see the authentic testimony of the witnesses, edited by Bazzoni in "Archivio Storico Italiano", third series, XII, I, Florence, 1870, 8 sq.). When peace had been restored between BIANCHI-GIOVINI, Biografia di Fra Sarpi (Brussels, 1836); CAMPBELL, Vita di Fra P. Sarpi (Turin, 1875); CAPPASO, P. Sarpi e l'Interdetto di Venezia (Florence, 1880); BALAN, Fra P. Sarpi (Venice, 1887); PASCOLATO, Fra P. Sarpi (Milan, 1893); TROLLOPE, Paul the Pope and Paul the Friar (London, 1860); ROBERTSON, Fra Paolo Sarpi (London, 1894), extremely antipapal, compare MURPHY in Irish Eccl. Review, XV (1894), 52440; CAMPBELL, The Terrible Friar in The Messenger, fifth series, V (New York, 1904), 243-59; REIN, Paolo Sarpi und die Protestanten (Helsingfors, 1904); concerning the sources of his history of the Council of Trent see EHSES in Historisches Jahrbuch, XXVI (Munich, 1905), 299-313; XXVII (1906), 66-74. MICHAEL OTT. Sarsfield, PATRICK, b. at Lucan near Dublin, about 1650; d. at Huy in Belgium, 1693. On his mother's side he was descended from the O'Mores, princes of Leix, his grandfather being Roger More, the ablest of the leaders who planned the rebellion of 1641; on his father's side from Anglo-Norman stock. One of his ancestors was mayor of Dublin in 1566 and was knighted by Sir Henry Sidney for valuable services rendered to the Government against Shane O'Neill. Another Sarsfield, in the reign of Charles I, became a peer with the title of Lord Kilmallock. His father left him landed property bringing an income of £2000 a year. His elder brother was married to an illegitimate daughter of Charles II, sister of the Duke of Monmouth, and it was as an ensign in Monmouth's Regiment of Foot that Sarsfield first saw service in the army of Luxembourg; but at Sedgemoor, where he was wounded, Sarsfield was on the king's side. In 1688 he followed James II to France, and landed with him at Kinsale in the following year. James recognized his bravery, but thought him incapable of high command. Nevertheless in 1689 he captured Sligo and secured all Connaught for the king. At the Boyne he was compelled to inactivity, and when James fled to Dublin he took Sarsfield with him. After James's departure for France, it was largely through Sarsfield that Limerick was defended so well, and it was he who destroyed William's siege train, the most brilliant exploit of the whole war. James was so well pleased with him that he created him Earl of Lucan. In the campaign of 1691 he held a subordinate position under St. Ruth. The two often disagreed, and at Aughrim St. Ruth allowed Sarsfield no active share in the battle, leaving him in command of the cavalry reserve. When St. Ruth fell Sarsfield could not turn defeat into victory, but he saved the Irish from utter destruction. In the second siege of Limerick he was again prominent, but finding prolonged resistance impossible assented to the Treaty of Limerick, which ended the war. He then joined the army of France, in which with the Irish Brigade he saw much service. At Landen in 1693, he commanded the left wing of Luxembourg's army, and there received his death wound. There is a tradition that as he lay mortally wounded he put his hand to his wound, and drawing it forth covered with blood, he lamented that the blood was not shed for Ireland. He was carried to Huy where he lingered for a few days. His widow married the Duke of Berwick. O'CALLAGHAN, Irish Brigades in the Service of France (Glasgow, 1870); KELLY, Macaria Excidium, ed. O'CALLAGHAN (Dublin, 1850); D'ALTON, King James's Army List (London, 1861); TODHUNTER, Life of Sarsfield (London, 1895); CLARKE, Memoirs of James II (London, 1816); STORY, Wars of Ireland (London, 1693) D'ALTON, History of Ireland (London, 1910). E. A. D'ALTON. Province of Forlì, Italy. Besides agriculture and catSarsina, DIOCESE OF (SARSINATENSIS), in Æmilia, tle-raising, the principal employments of the population are the sulphur and maganese industries. There are some deposits of fossilized carbon and various sulphur springs. Ruins of temples, baths, and fortifications; and urns, pillars, bronze objects, etc., show that this town, the birthplace of Plautus, was important in ancient days. It was an Umbrian city, was captured by Cornelius Scipio in 271 and was later a municipium. In the tenth century the bishops obtained the temporal sovereignty of the city and the surrounding district. From 1327 till 1400 it was disputed for by the Ordelaffi of Forlì, the popes, and the bishops. In the fifteenth century it was subject in turn to the Malatesta of Cesena, and then to those of Rimini, from whom it was taken by Cæsar Borgia (1500-03), on whose death it was captured by the Venetians (1503-09). In 1518 it was enfeoffed to the Pio di Meldola, passing later to the Aldobrandini. The cathedral is a noteworthy monument of the eighth century. The patron of the city is St. Vicinus, believed to have been bishop about the year 300; another We may also bishop was St. Rufinus (fifth century). mention: Benno (770), who erected the cathedral; St. Apollinaris (1158), monk; Guido (1255), who defended the rights of his church and was killed for so doing; Francesco Calboli (1327), had to defend the city by force of arms against Francesco Ordelaffi; Benedetto Mateucci Accorselli (1385), the last prince bishop; Gianfilippo Negusanti (1398), renowned for his piety and erudition; Raffaele degli Alessi (1524), reformed the discipline and the morals of the people; Nicolò Branzi (1602) was imprisoned in the Castle of S. Angelo but liberated later. In 1807 Napoleon suppressed the see, which, having been re-established in 1817, was in 1824 united to that of Bertinoro; but in 1853 was again re-established. The diocese is suffragan of Ravenna, and contains 34 parishes, with 90 secular priests, 32,000 inhabitants, and 2 houses of monks. Sarto, ANDREA DEL (ANDREA D'AGNOLO), b. at Florence in 1486; d. there in 1531. He received the surname Sarto from the fact that he was the son of a tailor. At first he was the pupil of an obscure master, G. Barile, but in 1498 he entered the studio of Piero di Cosimo. He visited Rome for a short time. Vasari says, that had he remained there long enough to study its masterpieces, he would have "surpassed all the artists of his day". Naturally diffident, he felt himself a stranger there, and hastened to return to Florence. Despite his brief career, he produced a large number of frescoes and easel pictures. In 1509 he began the fresco decoration of the little cloister of the Annunziata, connected with the Servite church and convent at Florence. He depicted five scenes from the life of St. Philip Benizi, General of the Servites; "His Charity to a Leper"; "The Smiting of the Blasphemers"; "The Cure of the Woman Possessed with a Devil"; "The Resurrection of Two Children near the Tomb of the Saint"; "The Veneration of his Relics". Later he added the "Adoration of the Magi" (1511) and the "Nativity of the Virgin" (1514). In 1525, by way of farewell, he painted for this convent the masterpiece, "The Madonna of the Sack", so called because in it St. Joseph is represented leaning against a sack. In 1514, in the cloister of the Scalzo, he executed a series of ten frescoes, recounting the history of St. John the Baptist. Four allegorical figures, Faith, Hope, Charity, and Justice, complete the decorative cycle. The influence of Albrecht Dürer has been traced in several, but that of Ghirlandajo has been recognized in this as well as in the preceding cycle, though here Andrea displays a more original bent. In Poggio's villa at Cajano he painted the fresco (1521), "Cæsar receiving the Tribute of the Animal World", by way of complimenting the zoological tastes of Lorenzo the Magnificent. The work was finished in 1582 by Al. Allori. A beautifully executed series of figures, especially those of Sts. Agnes, Catherine, and Margaret, were painted (1524) in the cathedral of Pisa. His last fresco, "The Last Supper", was done for the refectory in the convent of San Salvi, at the gates of Florence. Here Andrea drew his inspiration from Leonardo da Vinci. The beautiful work shows lively and varied colouring, but lacks the perfection of drawing and especially the dramatic quality of the "Last Supper" of Milan. coquette, he squandered the money and did not return to Paris. He has left several portraits of himself (Pitti Palace, Uffizi, and National Gallery). Andrea del Sarto owes much to Fra Bartolommeo, borrowing from him the architectural arrangement of his compositions, as in "Charity" of the Louvre, where triangle grouping is used. Andrea was above all a colourist, "the greatest colourist of the sixteenth century, in the region south of the Apennines" (Burckhardt). In this also he resembles Bartolommeo but shows more care for chiaroscuro. Like Leonardo da Vinci he excels in sfumato. His drawings, many of which are preserved at the Uffizi and the Louvre, are characterized by a melting softness which recalls Correggio's delicate execution, but this excessive love of colour led him to neglect the superior beauty of expression; his pictures lack con viction and character. Not understanding the true character which each face should express, he usually confines himself to repeating the same type of Madonnas and Infant Christs, and thus produces an effect of coldness and artificiality. VASARI, Le vite de' più eccellenti pittori, ed. MILANESI, V (Florence, 1880), 5-72; REUMONT, Andrea del Sarto (Leipzig, 1835); CROWE AND CAVALCASELLE, History of Painting in Italy, III (London, 1866), 542; MANTZ, Gazette des Beaux Arts (1876), I, 465; (1877), I, 38, 261, 338; CHAMPLIN, Cyclopedia of Painters and Paintings, IV (New York and London, 1888); MÜNTZ, Hist. de l'art pendant la Renaissance, III (Paris, 1895), 508-10; GUINNESS, Andrea del Sarto (London, 1899); KNAPP, Andrea del Sarto (Bielefeld, 1907); PÉRATÉ, Andrea del Sarto in MICHEL, Hist. de l'Art, IV (Paris, 1909), 382-86. GASTON SORTAIS. Sarto, GIUSEPPE MELCHIORRE. See PIUS X, POPE. Sarum Rite (more accurately SARUM USE), the manner of regulating the details SELF-PORTRAIT OF ANDREA DEL SARTO of the Roman Liturgy that obUffizi Gallery, Florence tained in pre-Reformation times in the south of England and was thence propagated over the greater part of Scotland and of Ireland. Other, though not very dissimilar Uses, those of York, Lincoln, Bangor, and Hereford, prevailed in the north of England and in Wales. The Christian Anglo-Saxons knew no other Liturgy than that of the Mother Church of Rome. Their celebrated Synod of Clovesho (747) lays down: "That in one and the same manner we all celebrate the Sacred Festivals pertaining to Our Lord's coming in the Flesh; and so in everything, in the way we confer Baptism, in our celebration of Mass, and in our manner of singing. All has to be done according to the pattern which we have received in writing from the Roman Church" (Canon 13).-"That the Seven Canonical Hours be everywhere gone through with the fitting Psalmody and with the proper chant; and that no one presume to sing or to read aught save what custom admits, what comes down to us with the authority of Holy Scripture, and what the usage of the Roman Church allows to be sung or read" (Canon 15). His principal pictures are: at the Pitti Palace, "The Annunciation" (1513); "Madonna with Sts. Francis and John the Evangelist" (1517); "Disputation concerning the Trinity" (1517), a very careful painting in which the artist " comes closest to intellectual expression" (Burckhardt); "Descent from the Cross" (1524); "Madonna with four saints" (1524); "The Assumption" (1526), of which there are two variations; at the Uffizi "Madonna of the Harpies, with St. Francis and St. John" (1517), so called because of the decorations on the pedestal on which the Blessed Virgin stands with the Infant Jesus in her arms; at the Museum of Berlin, "The Virgin with Saints" (1528); in the Dresden Gallery, "The Sacrifice of Abraham"; "The Marriage of St. Catherine"; at the Hermitage Museum, St. Petersburg, "Madonna between Sts. Catherine and Elizabeth"; at the Museum of Vienna, "The Pietà" (1517); at the Louvre, "The Virgin with the Infant Jesus, St. Elizabeth and St. John," which is an imitation of Raphael's "Madonna Canigiani"; "Charity". These two pictures were purchased by Francis I. According to Vasari, the King of France was charmed with his talent and induced him to come to Paris. His portrait of the dauphin and "Charity" must have been painted during his stay at the court. Obtaining permission to visit Florence, he departed, with money to collect works of art for Francis I; but, being of weak character and dominated by his wife, a beautiful and unscrupulous St. Osmund, a Norman nobleman, who came over to England with William the Conqueror, and was by him made Bishop of Sarum or Salisbury (1078), compiled the books corresponding to our Missal, Breviary, and Ritual, which revised and fixed the Anglo-Saxon readings of the Roman Rite. With these he appears very naturally to have incorporated certain liturgical traditions of his Norman fellowcountrymen, who, however, equally with the conquered English, ever sought to do all things in church exactly as was done in Rome. In appreciating the wide-spread Sarum Use, concerning which the extant literature is very copious, it is well to bear in mind that just as the Roman Rite itself has always been patient of laudable local customs, so, in medieval times the adopting of the Sarum Service Books did not necessarily mean the rejecting of existing ceremonial usages in favour of those in vogue at Salisbury, but only the fitting thereof into the framework outlined in the Sarum Missal, Breviary, and other liturgical manuals. Again, it must not be forgotten that the Sarum Use represents in the main the Roman Rite as carried out in the eleventh century, and that the reforms introduced by Gregory VII and his immediate successors which culminated in the thirteenthcentury Franciscan revision of the Breviary, only very slowly and very partially found their way into the service books of the Gallic and British Churches. Hence, the marked resemblance of the Sarum Use to those of the Dominicans, Calced Carmelites, and other medieval religious orders. The following are the more noticeable variants of the Use of Sarum from the developed Roman Rite of our own times. (1) At Mass, as in the Dominican Use, the Sarum priest began by saying a verse of the psalm "Confitemini", with a shortened Confiteor followed by the verse Adjutorium nostrum in nomine Domini", Nevertheless, at Salisbury every celebrant was bound to have recited the whole psalm "Judica me Deus" in the sacristy before coming to the foot of the altar. The prayer "Aufer a nobis' was said, but not that which now follows it, in lieu of which the priest simply made the sign of the cross and proceeded to read the Officium, or as we call it, the Introit, repeating it not only after its Gloria Patri but also after the psalm-verse which precedes the latter. From the Kyrie to the Offertory the deviations from our actual usage are slight, though on festival days this section of the sacred rite was often enormously lengthened by varied and prolix sequences. Like the Dominican and other contemporaneous Uses, that of Sarum supposes the previous preparation of the chalice (put by the Sarum Missal between the Epistle and Gospel), and thereby materially abbreviates the Offertory ceremonial. According to an archaic usage, still familiar to ourselves from the Roman Good-Friday Rite, the prayer "In spiritu humilitatis" followed in place of preceding the washing of the priest's hands, and the psalm "Lavabo" was omitted, so also to the "Orate Fratres" (at Sarum, "Orate Fratres et Sorores") no audible response was made. From the Preface onward through the Canon, the Sarum Mass was word for word and gesture by gesture that of our own Missals, except that a profound inclination of head and shoulders took the place of the modern genuflection and that during the first prayer after the Elevation the celebrant stood with arms stretched out in the form of a cross. As in France and generally in Northern and Western Europe the Benediction given at the breaking of the Sacred Host was not curtailed to the mere pronouncing of the words "Pax Domini sit semper vobiscum" but, more particularly when a bishop officiated, was very solemnly given with a formula varying according to the festival. The Agnus Dei in the Sarum Use was said as by the Dominicans after and not before the Commingling, but the prayers before the priest's Communion were other than those with which we are familiar. The kiss of peace was given as with us but there was no "Domine non sum dignus". The words pronounced by the celebrant at the moment of his own Communion are striking and seem peculiar to the Sarum Missal. They may therefore be fittingly quoted: "Hail for evermore, Thou most holy Flesh of Christ; sweet to me before and beyond all things beside. To me a sinner may the Body of our Lord Jesus Christ be the Way and the Life." The "Quod ore sumpsimus" and some other prayers accompanied the taking of the ablutions, and the Communion and Postcommunion followed as now. But no Blessing was given and the beginning of the Gospel of St. John was recited by the priest on his way from the sanctuary to the sacristy. (2) The Sarum Breviary, like the Sarum Missal, is essentially Roman. The Psalter is distributed through the seven Canonical Hours for weekly recitation exactly as with us, though naturally the psalms (XXI-XXV) left over from the Sunday Matins and assigned by Pius V for the Prime of different ferias are, as in the Dominican and Carmelite Breviaries, marked to be recited together on Sundays in their old place at the beginning of that Canonical Hour. Nor in the Sarum Matins do there occur the short prayers termed Absolutions. On the other hand, a ninth Responsory always preceded the Te Deum which was followed by the so-called "Versus Sacerdotalis", that is to say, a versicle intoned by the officiating priest and not by a cantor. At least on festival days, a Responsory was sung between the Little Chapter and Hymn of Vespers. When there were Commemorations or Memories as they are called in the Sarum, Dominican and allied Uses, the "Benedicamus Domino" of Vespers and Lauds was twice sung; once after the first Collect, and once after the last of the Commemorations. Compline began with the verse "Converte nos Deus", the hymn followed instead of preceding the Little Chapter, and the Confiteor, as at Prime, was said among the Preces. The Compline Antiphons, hymn, etc., varied with the ecclesiastical seasons; but the introduction of a final Antiphon and Prayer of Our Blessed Lady closing the Divine Office (Divine Service, it was called at Sarum) is posterior to Sarum times. The Antiphons of the Sarum Offices differ considerably from those in the actual Roman Breviary; but both from the literary and from the devotional point of view the latter are in most instances preferable to those they have superseded. The proper psalms for the various Commons of Saints and for feast days are nearly always the same as now; but for the First Vespers of the greater solemnities the five psalms beginning with the word "Laudate" were appointed as in the Dominican Breviary. The order of the reading of Holy Scripture at Matins is practically identical with that of the Breviary of Pius V, though in the Middle Ages the First Nocturn was not as now reserved for these Lections only. An interesting feature of the Sarum Breviary is its inclusion of Scripture Lections for the ferias of Lent. The Lections taken from the writings of the Fathers and from the Legends of the Saints were often disproportionately long and obviously needed the drastic re vision they received after the Council of Trent. The Sarum hymns are in the main those of the Roman Breviary as sung before their revision under Urban VIII and comprise by consequence the famous "Veni Redemptor" of Christmas Vespers and the "O quam glorifica" of the Assumption with one or two others in like manner now obsolete. (3) Very striking in the Sarum Use is the elaborate splendour of the accompanying ceremonial, which contrasts vividly with the comparative simplicity of Roman practice. Three, five, seven deacons and as many subdeacons, two or more thurifers, three crossbearers and so on are often prescribed or at least contemplated. Two or four priests vested in copes, termed Rectores Chori or Rulers of the Choir, presided over the sacred chants. There was censing of many altars, and even during the reading of the Lections at Matins priests in their vestments offered incense at the high altar. Processions were frequent, and that preceding the High Mass on Sundays was specially magnificent. On the altar itself rarely more than two or at the most four candlesticks were placed, but |