CHAP III.
ON THE DIVINE OFFICE, AND THE OFFICE OF TENEBRAE IN PARTICULAR.
CONTENTS.
PART 1. Introductory. Breviary—Divine office, its origin—performed by the early Christians—ancient and modern editions of the breviary. PART 2. Descriptive. Office of Tenebræ—Matins and Lauds—extinction of the lights—meaning of this ceremony—chant, lamentations—conclusions of the office—Miserere, its music—Card. Penitentiary at S. Mary Major's. Trinità dei Pellegrini.
"I will bless the Lord at all times: his praise shall always be in my mouth". Ps. XXXIII, 2.
"He humbled himself, becoming obedient unto death, even the death of the cross". Phil. II, 8.
P. I. Breviary.
We shall not hesitate to borrow the following account of the church office contained in the Roman Breviary from a Protestant divine (Tracts of the Times no. 75). "The word Breviarum first occurs in the work of an author of the eleventh century (Micrologus) and it is used to denote a compendium or systematic arrangement of the devotional offices of the church. Till that time they were contained in several independent volumes, according to the nature of each. Such, for instance, were the Psalteria, Homilaria, Hymnaria, and the like, to be used in the service in due course. But at his memorable era, and under the auspices of the Pontiff who makes it memorable, Gregory VII, an Order was drawn up, for the use of the Roman church, containing in one all these different collections, introducing the separate members of each in its proper place, and harmonising them together by the use of rubrics.
Divine office, its origin.
"Gregory VII did but restore and harmonise these offices; which seem to have existed more or less the same in constituent parts, though not in order and system, from Apostolic times. In their present shape they are appointed for seven distinct seasons in the twenty four hours, and consist of prayers, praises and thanksgivings of various forms; and, as regards both contents and hours, are the continuation of a system of worship observed by the Apostles and their converts. As to contents, the Breviary service consists of the Psalms; of Hymns and Canticles; of Lessons and Texts from inspired and Ecclesiastical authors; of Antiphons, Verses and Responses, and Sentences; and of Collects. And analogous to this seems to have been the usage of the Corinthian Christians, whom St. Paul blames for refusing to agree in some common order of worship, when they came together, every one of them having a Psalm, or a doctrine, a tongue, a revelation, an interpretation (1 Cor. XIV, 26). On the other hand, the catholic seasons of devotion are certainly derived from apostolic usage. The Jewish observance of the third, sixth and ninth hours for prayer, was continued by the inspired founders of the Christian church. What Daniel had practised, even when the decree was signed forbidding it, "kneeling on his knees three times a day, and praying and giving thanks unto his God", S. Peter and the other Apostles were solicitous in preserving. It was when "they were all with one accord in one place", at "the third hour of the day", that the Holy Ghost came down upon them at Pentecost. It was at the sixth hour, that St. Peter "went up upon the house-top to pray" and saw the vision revealing to him the admission of the gentiles into church. And it was at the ninth hour that "Peter and John went up together into the temple", being "the hour of prayer". But though these were the more remarkable seasons of devotion, there certainly were others besides them in the first age of the church. After our Saviour's departure, the Apostles, we are informed, "all continued with one accord in prayer and supplication, with the women, and Mary the mother of Jesus, and with His brethren": and with this accords the repealed exhortation to pray together without ceasing, which occurs in St. Paul's epistles. It will be observed that he insists in one passage on prayer to the abridgment of sleep (Eph. VI, 18); and one recorded passage of his life exemplifies his precept: "And at midnight Paul and Silas prayed, and sang praises unto God, and the prisoners heard them".
In subsequent times the Hours of prayer were gradually developed from the three, or (with midnight) the four seasons above enumerated, to seven, viz. by the addition of Prime (the first hour), Vespers (the evening), and Compline (bedtime); according to the words of the Psalm, "Seven times a day do I praise Thee, because of Thy righteous judgment. Other pious and instructive reasons existed, or have since been perceived for this number".[46] Thus far our Protestant author, with whose remarks we are too well pleased to go out of our way to dispute with him the truth of some other portions of his tract, which are objectionable.
Performed by the early Christians.
That the early Christians continued after the time of the apostles to observe the hours of prayer above enumerated is proved by Martene (De Ant. Eccl. Rit. T. 3) who has collected many decisive passages from the Greek and Latin Fathers. We shall content ourselves with one taken from a work on prayer by S. Cyprian, bishop of Carthage in the third century. Having mentioned Daniel's practice of praying three times a day, he observes, that it is manifest that there was something mysterious or symbolical in the ancient practice. "For the holy Ghost descended on the disciples at the third hour; at the sixth hour Peter going to the house-top was instructed by God to admit all to the grace of salvation; and the Lord, who was crucified at the sixth hour, washed away our sins with his blood at the ninth hour, and completed the victory by his passion. For us however, besides the hours anciently observed, the times and also the symbols of prayer have increased. For we must pray in the morning, to celebrate the resurrection of the Lord; also when the sun recedes and the day ceases; for Christ is the true sun and the true day, and when we pray that the light of Christ may again come upon us, we pray that his coming may impart to us the grace of eternal light: and let us who are always in Christ, that is, in the light, not cease from prayer at night". See also Dr. Cave's Primitive Christianity Part. 1, c. 9.
Editions of the breviary.
"The old Roman breviary" says the author of Tract 75 above quoted "had long before Gregory VII's time been received in various parts of Europe; and in England since the time of Gregory the great who after the pattern of Leo and Gelasius before him had been a reformer of it". The people used anciently to join with the clergy in offering this, constant tribute of praise to God; but the duty of daily reciting it is obligatory only upon the Catholic clergy, and religious orders. S. Benedict shortened it considerably, (as Grancolas observes, Com. Hist. in Brev. Rom.) New editions and emendations of it were published successively by the authority of St. Gregory VII, Nicholas III, and Clement VII, and finally the Roman Breviary at present used was restored by order of the Council of Trent, published by Pope Pius V, and revised by Clement VIII, and Urban VIII. It follows closely, as Merati observes, that first adopted by the regular-clerks in the 16th century, and resembles the edition published by Haymo, general of the Franciscans, and authorised by Nicholas III (A.D. 1278). Hence it is called by the author of Tract 75 the Franciscan Breviary. It is however founded upon the old Roman Breviary, which the Franciscans by the direction of their holy founder had adopted: for according to Rodolfo, dean of Tongres Cap. XXII, when the Popes dwelt at the Lateran, the office of the Papal chapel was much shorter than that of the other churches of Rome; it was composed by Innocent III, and was adopted by the Franciscans instituted at his time. Nicolas III ordered that all the Roman churches should use the Franciscan Breviary as reformed by Haymo, in 1241. "Our own daily service", says the above-mentioned minister of the church of England is confessedly formed upon the Breviary".
P. II. Office of Tenebræ.
Having premised thus much on the office in general, we may now return to holy-week. Besides palm-sunday, three other days in the week are particularly devoted to the commemoration of the history of our redemption; holy-thursday, because on it our Lord instituted the blessed Eucharist, and his passion began; good-friday, on which He was crucified and died; and holy saturday, on which His sacred body remained in the tomb. The church commences her solemn service of each of these days with that part of the divine office called matins and lauds, and at this time Tenebrae from the darkness with which it concludes. It used of old to be celebrated at night, as it still is by some religious communities[47]; but it now takes place on the afternoon preceding each of those three days. Nor is this unusual: for "the ecclesiastical day is considered to begin with the evening or Vesper service, according to the Jewish reckoning, as alluded to in the text. "In the evening and morning and at noon day will I pray, and that instantly". (Tracts of the Times, No. 75).
Matins and Lauds.
The office of Matin so called from Matuta or Aurora consists at Tenebræ of three nocturns. Each of these is composed of three appropriate psalms with their anthems, followed by three lessons taken from scripture or the fathers. Immediately after matins, Lauds or the praises of God are sung: they consist of five psalms besides the Benedictus or canticle of Zachary, to which succeeds the Miserere or 50th psalm. Some of the short prayers usually said are omitted: for the church during this season of mourning strips her liturgy as well as her altars of their usual ornaments[48].
Extinction of the lights.
A triangular candlestick, upon which are placed fifteen candles, corresponding to the number of psalms recited before the Miserere, is peculiar to this solemn office, and is placed at the epistle-side of the altar. After each psalm one of the candles is extinguished by a Master of ceremonies, and after the Benedictus the candle placed on the top of the triangular candlestick is not extinguished, but is concealed behind the altar and brought out at the end of the service; while that canticle is sung, the six candles on the altar also are extinguished, as well as those above the cancellata or rails[49].
Meaning of this ceremony.
Lamps and candelabra were presented to the sanctuary by the faithful during the first ages of persecution; and in more tranquil times to the basilicas by Constantine and others who erected or dedicated them. They were lighted, as S. Jerome observes, in the day time "not to drive away darkness, but as a sign of joy": and therefore the custom of gradually extinguishing them at the office of Tenebrae we may justly consider with Amalarius as a sign of mourning, or of the sympathy of the church with her divine and suffering Spouse. The precise number of lights is determined by that of the psalms, which is the same as at ordinary matins of three nocturns.
The custom of concealing behind the altar during the last part of the office the last and most elevated candle, and of bringing it forward burning at the end of the service, is a manifest allusion to the death and resurrection of Christ, whose light, as Micrologus observes, is represented by our burning tapers. "I am the light of the world". John VIII. 12[50]. In the same manner the other candles extinguished one after another may represent the prophets successively put to death before their divine Lord: and if we consider that the psalms of the old Testament are recited at the time, this explanation may appear more satisfactory than others, which would refer them to the blessed Virgin, the apostles and disciples of Christ[51]. In the triangular form of the candlestick is contained an evident allusion to the B. Trinity. This candlestick is mentioned in a MS. Ordo of the 7th century published by Mabillon.
Chant, lamentations.
The anthems and psalms, with the exception of the Miserere which is the last psalm at Lauds, most of the lessons and other parts of the office, are sung in plain chant. From the middle of the 15th century the three lamentations or first three lessons of each day used to be sung in canto figurato in the papal chapel: but by order of Sixtus V, only the first lamentation of each day is thus sung, and even it is much shortened, as Clement XII directed: the two others are sung in canto piano according to Guidetti's method. The first lamentation both of the first and second day is by the celebrated Pierluigi da Palestrina: that of the third day by Allegri. Baini observes, that the first lamentation of the second day is considered the finest: Palestrina composed it for four voices, besides a bass, which entering at the pathetic apostrophe 'Jerusalem, Jerusalem, be converted to the Lord' "every year makes all the hearers and singers, who have a soul, change colour". Bayni, Mem. Stor. T. 1. The lamentations of Jeremiah have the form of an acrostic, that is, the verses begin with the letters of the Hebrew alphabet in regular order, the first with Aleph, the second with Beth, and so in succession. It was difficult to observe a similar order in the Latin Vulgate: but to preserve some vestige of it, the name of the Hebrew letter, with which each verse begins in the original, is sung before the same verse in the translation.
Conclusion of the office.
When the Benedictus or canticle of Zachary and its anthem are finished, the choir sings the verse "Christ was made for us obedient even unto death": on the second night they add "even unto the death of the cross": and on the third, "for which reason God hath exalted him, and hath given him a name, which is above all names". The heart of the christian is melted to devotion by these words, sung on so solemn an occasion: he kneels before his crucified Redeemer, and recites that prayer of love, that prayer of a child to his Father which He that man of sorrows dictated to His beloved disciples; and then remembering those sins, by which he offended that dear and agonising parent, and touched with sorrow and repentance, yet more and more excited by the music, I might almost call it celestial, his heart calls loudly for that mercy to obtain which Jesus died. He joins with God's minister in fervently repeating the prayer imploring God's blessing on those for whom Christ suffered and died: the noise which follows it recals to his mind the confusion of nature at the death of her creator; the lighted candle once more appearing reminds him that His death was only temporary: and he departs in silence impressed with pious sentiments, and inflamed with devout affections.
Miserere, its music.
They who have assisted at the office of Tenebræ will not be surprised at the saying of a philosopher, that for the advantage of his soul he would wish, that when he was about to render it up to God, he might hear sung the Miserere of the Pope's chapel. In no other place has this celebrated music succeeded. Baini the director of the Pontifical choir, in a note to his life of Palestrina, observes that Paride de Grassi, Master of ceremonies to Leo X, mentions that on holy wednesday (A.D. 1519), the singers chanted the Miserere in a new and unaccustomed manner, alternately singing the verses in symphony. This seems to be the origin of the far-famed Miserere. Various authors, whom Baini enumerates, afterwards composed Miserere[52]; but the celebrated composition of Gregorio Allegri a Roman, who entered the Papal college of singers in 1629, was the most successful, and was for some time sung on all the three days of Tenebræ. Then one composed by Alessandro Scarlatti, or that of Felice Anerio, used to be sung on holy thursday: but these were eclipsed by the Miserere, composed in 1214 by Tommase Bai a Bolognese, director of the choir of S. Peter's. From that time only Allegri's and Bai's were sung in the Pope's chapel; till Pius VII directed the celebrated Baini to compose a new Miserere, which has received well-merited applause. Since the year 1821 all three, viz. Baini's, Bai's, and Allegri's Misereres are sung on the three successive days, and generally in the order in which we have mentioned them: the two latter are sometimes blended together. The first verse is sung in harmony, the second in plain chant, and so successively till the last verse, which alone is sung in harmony by both the choirs, into which the singers are divided; only one choir sings the other verses[53].
Cardinal penitentiary
Trinità dei Pellegrini
On Wednesday-afternoon, the Cardinal great Penitentiary goes in state to S. Mary Major's, where the minor Penitentiaries are Dominicans. For an account of this custom see the preceding chapter. On Wednesday, Thursday and Friday evenings, Christians may be edified at the Trinità dei Pellegrini[54] by the sight of Cardinals, princes, prelates and others, washing in good earnest, and afterwards kissing the feet of poor pilgrims, while they recite with them the Our Father, Hail Mary, Glory be to the Father, and other beautiful prayers, such as;
Gesù, Giuseppe, Maria,
Vi dono il cuore e l' anima mia.
Gesù, Giuseppe, Maria,
Assisteleci nell' ultima agonia, etc.
They afterwards wait on them at table, and accompany them to their beds, reciting other devout prayers. In another part of that establishment, princesses and other ladies practise the same offices of charity towards the female pilgrims. Here might we fancy that the primitive christians were before us, those men of charity, simplicity, and lowliness: and when in the same place, a few years ago, that devout Pontiff Leo XII on his knees washed and kissed the feet of pilgrims, who had journeyed from afar; who that saw him did not call to mind with tears the lowliness and charity of his predecessor Peter, and of a greater than Peter, who "washed the feet of his disciples, and who wiped them with the towel wherewith he was girded".
Marius mourned over the ruins of Carthage; but his was the sorrow of disappointed, selfish ambition. Jeremiah lamented the fall and desolation of Jerusalem: and his plaintive accents were inspired by genuine patriotism and religion. Observe his venerable figure in the Sixtine chapel; there he sits pensive and disconsolate, with his legs crossed, his wearied head resting upon his hand, and his eyes rivetted on the ground, as if nothing could engage his attention but the woes of the daughter of Sion[55]. Then listen to the lamentations of this inspired and afflicted prophet: they are full of deepest pathos, and uttered in notes sweet as the warblings of philomel. Turn now, O Christian soul, to a more sublime and mournful spectacle. Jesus in the garden of Gethsemani and on mount Calvary mourned not for a single city or nation: he sorrowed over the ruins of a world, not as of old Noah may have done, when secure from danger he looked down upon the waters which overspread the earth; but "He was wounded for our iniquities, and he was bruised for our sins: and the Lord hath laid on him the iniquities of us all", He suffered and died for us. The moral ruins of the world, our sins and their awful consequences, caused all the pangs and sorrows of Jesus. Come then let us cast ourselves at the foot of that cross, and cry aloud for mercy with a contrite and humble heart, which He will never despise. To Thee alone, shall we say, have we sinned, and have done evil before thee; yet have mercy on us, O God, according to thy great mercy. And thou, O blessed Virgin and Mother, who standest in silent anguish beneath the cross of thy agonising Son[56], would that we could feel love and sorrow like unto thine.
Eja mater fons amoris
Me sentire vim doloris
Fac, ut tecum lugeam.
Fac, ut ardeat cor meum
In amando Christum Deum,
Ut sibi complaceam. Amen.
Footnote 46: [(return)]
See also Palmer's Origines Liturgicæ, Vol. 1 Antiq. of the English ritual c. 1, p. 1. Both writers do not hesitate to admit that the breviary is the great source of the Church of England's Morning and Evening prayer.
Footnote 47: [(return)]
Our divine Lord sometimes passed the night in prayer; and the early Christians, as Pliny informs his master Trajan, used to assemble before the light to sing a hymn to Christ. Lucian as well as Ammianus Marcellinus complained of their spending the night in singing hymns. S. Jerome in fine writes to Eustoch. (Ep. 22) that besides the daily hours of prayers we should rise twice and thrice at night.
Footnote 48: [(return)]
In the mass and office for the dead several prayers and ceremonies otherwise prescribed are omitted: so on this occasion, says Benedict XIV, "the church forgetting all things else thinks only of bewailing the sins of mankind, and condoling with Christ our Redeemer in His sufferings". As for the antiquity of this service, Martene remarks (lib. IV, c. 22) that the order of the nocturnal and diurnal offices of holy-thursday is found, such as we now observe it, in the ancient Antiphonarium of the Roman church, and in that of S. Gregory published by B. Tommasi, so that there has been scarcely any variation during the last thirteen hundred years.
Footnote 49: [(return)]
When the Pope officiates, the eight candles over the cancellata are lighted: six are lighted for a Cardinal, and four for a Bishop. Amalarius priest of Metz in the ninth century (De ordine antiphonarii), mentions the extinction of the lights in the office of these three days. It would seem however, that it was not then customary at Rome, for Theodore, archdeacon of the Roman church, in answer to his enquiries had said to him "I am usually with the Apostolic Lord at the Lateran, when the office of Coena Domini (Holy Thursday) is celebrated, and it is not customary to extinguish the lights. On Good Friday there is no light of lamps or tapers in the church in Jerusalem (Santa Croce) as long as the Apostolic Lord offers up solemn prayers there, or when the cross is saluted". This latter custom is still continued.
Footnote 50: [(return)]
In confirmation of this explanation we may observe, that the candle is placed behind the altar after the Benedictus during the anthem alluding to Christ's passion, and remains there while the verse 'Christ became obedient unto death' the psalm Miserere, and the prayer which mentions the crucifixion, are sung.
Footnote 51: [(return)]
See such opinions ap. Benedict. XIV, De festis Lib. 1, c. 5. The system of Du Vert, who would reject all mystical and symbolical significations attributed to the church-ceremonies, has been satisfactorily confuted by Langlet, Le Brun, Tournely and other divines.
Footnote 52: [(return)]
Tartini's and Pisari's lasted only one year each.
Footnote 53: [(return)]
Persons, who go immediately after the service in the Sixtine chapel to S. Peter's, are generally in time for part if not the whole of the Miserere sung in that Basilic. The compositions of Fioravanti the late, Basili the present, master, and Zingarelli, are sung there.
Footnote 54: [(return)]
See Reminiscences of Rome. Letter 4th. London, 1838 On pilgrimages and pilgrims see Mores Catholici Book 4th, ch. 5th. S. Philip Neri founded the Confraternity of Trinità dei Pellegrini.
Footnote 55: [(return)]
... lia fatto alla guancia
Della sua palma sospirando letto. Dante Pur. VII.
Sed frons læta parum et dejecto lumina vultu. Virg. Æu. VI, 863. See the learned canon. De Jorio's Munica degli antichi, art. Dolore, Mestizia. We may add that conquered provinces are often represented in a similar attitude as statues, on bas-reliefs, and on medals. See for instance, Judæa Capta, a reverse of Vespasian, ap. Addison, Dialogues on ancient medals.
Footnote 56: [(return)]
"Now there stood by the cross of Jesus his mother". John XIX, 25.