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042 - 11 The Public Services · Short History of the Christian Church

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  Speaker 1: Part two, Chapter eleven of Short History of the Christian
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  Speaker 1: Church by John Fletcher Hurst. This LibriVox recording is in
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  Speaker 1: the public domain, Chapter eleven the Public Services. During the
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  Speaker 1: period of aggressive missionary life, the sermon assumed a larger
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  Speaker 1: place than usual. The missionary was compelled to teach orally
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  Speaker 1: in order to instruct the people in the rudiments of
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  Speaker 1: Christian doctrine. Charlemagne saw the inaptitude of the Frankish preachers
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  Speaker 1: for their public office, and to remedy the difficulty, commanded
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  Speaker 1: Peter Diachinus to prepare a homilarium, or collection of sermons
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  Speaker 1: from the fathers. This was to be a model for
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  Speaker 1: homiletic composition, if not a work which the preachers might
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  Speaker 1: directly use in preaching. This is the first instance of
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  Speaker 1: which we have account in which encouragement was given from
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  Speaker 1: an authoritative source for the homiletic fracture of the eighth command.
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  Speaker 1: The homilarium was designed to be used especially on Sundays
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  Speaker 1: and feast days. Down to and beyond the Reformation, this
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  Speaker 1: book continued to be used extensively in the Roman Catholic Church.
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  Speaker 1: There was no pulpit as yet the preacher continued to
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  Speaker 1: stand on the platform in front of the high altar pulpits. However,
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  Speaker 1: of the greatest artistic interest, belonging to the thirteenth and
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  Speaker 1: fourteenth centuries have been found in England and on the continent.
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  Speaker 1: Music was diligently cultivated. The old Gregorian chant was supplanted
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  Speaker 1: by the Ambrosian melody. In Germany during the latter part
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  Speaker 1: of the ninth century, short verses in the rude German
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  Speaker 1: tongue were sung by the people. This was the earliest
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  Speaker 1: trace we have of the later Rich German hymnology. Charlemagne
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  Speaker 1: paid great attention to music. He founded singing schools throughout
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  Speaker 1: his dominions, especially at Metz Soisson or Leon, Paris, Leon
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  Speaker 1: and other central places. The first knowledge we have of
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  Speaker 1: an organ in the West was the gift of one
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  Speaker 1: to Pepin in seven fifty seven by the Byzantine emperor Kopronimus.
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  Speaker 1: Another Byzantine emperor, Michael the First, made a present of
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  Speaker 1: one to Charlemagne, who placed it in the Imperial Church
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  Speaker 1: at Ala Chapel. These instruments were of robust quality, as
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  Speaker 1: they had but twelve keys and required the vigorous use
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  Speaker 1: of the performer's fist to make the keys produce the
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  Speaker 1: desired melody. Charlemagne gave strict orders that the people should
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  Speaker 1: unite in the singing at the public service, especially in
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  Speaker 1: the Gloria and Sanctus, but his orders had only small effect.
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  Speaker 1: Among the more noted hymn writers between the seventh and
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  Speaker 1: ninth centuries were Paul Wernfried, Theodolph of Orlean all Owen,
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  Speaker 1: and Rabanus ma r S. The pentecost hymn Veni sanc
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  Speaker 1: de spiritus was popularly ascribed to Robert of France, who
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  Speaker 1: died in the year ten thirty one. Veni sancti spiritus
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  Speaker 1: at em te colitus lusis tue ridium, veni pater paparnum,
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  Speaker 1: veni do tormnurum, veni lumincordium, consola tor opdime, dulces, host
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  Speaker 1: space anime dulce refrigerium and labore requis and east do
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  Speaker 1: tempeace inflatu solatium o lux beettissima, replay cordes intima, torridum,
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  Speaker 1: fidelium sneto nomine nihil as dinhomine nihil ast inoxium, lava
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  Speaker 1: quad est sordidum, riga quad st aridam sana quaud est
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  Speaker 1: sassium fleck de quad ast reggidum fauve quad ast frite
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  Speaker 1: jit reg ja quote ast devium da TUIs fedalibus and
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  Speaker 1: te confidentibus socrum septinarium da vertutus maritum da salutus exitum
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  Speaker 1: da purene gaudium ahmen. This hymn is well known in
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  Speaker 1: the translation of Ray Palmer Come Holy Ghost in love.
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  Speaker 1: The older pentecost him veni creatorispiritus was formerly ascribed to Charlemagne,
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  Speaker 1: but now with more reason to Gregory the Great died
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  Speaker 1: six oh one. The great increase in relics and the
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  Speaker 1: enlargement of the number of saints led to a multiplication
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  Speaker 1: of chapels. Each chapel had its name according to the
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  Speaker 1: saint to whom it had been dedicated. No confessionals had
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  Speaker 1: as yet been erected, though Leo the Great died for
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  Speaker 1: sixty one, had officially recognized private confession as a li
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  Speaker 1: legal institution, and in the eighth and ninth centuries the
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  Speaker 1: practice was made compulsory. With all the increase in superstition,
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  Speaker 1: this masterpiece of decline had not as yet been invented.
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  Speaker 1: The baptistry, which had previously been outside of the church building,
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  Speaker 1: now began to be included within the church. Bells came
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  Speaker 1: into use. The tower, which had hitherto been an independent structure,
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  Speaker 1: became connected with the church edifice. The christening of bells
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  Speaker 1: in churches was an ecclesiastical usage throughout the Middle Ages.
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  Speaker 1: A capitulary of Charlemagne seven eighty seven forbids the Baptism
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  Speaker 1: of Cloaquy, by which is probably meant the small bells
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  Speaker 1: in everyday use. At any rate, the order was never observed.
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  Speaker 1: In the tenth century, it became customary to give the
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  Speaker 1: bells a name. In nine sixty eight, Pope John the
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  Speaker 1: thirteenth consecrated the great bell of the Church of the
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  Speaker 1: Lateran and gave it his own name, Joannas the arts
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  Speaker 1: were now departing from the Classic models and undergoing the
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  Speaker 1: influence of the new Northern nations, the Byzantine architecture, as
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  Speaker 1: exemplified in the rich buildings of Ravenna, was employed to
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  Speaker 1: some extent, generally in Italy, the basilica still prevailed. North
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  Speaker 1: of the Alps, there was no disposition to be confined
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  Speaker 1: to either Roman or Byzantine style. Einhard, the court builder
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  Speaker 1: of Charlemagne, was the most celebrated architect of the times.
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  Speaker 1: Shrines for relics, candelabra, and other adornments of the sacred
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  Speaker 1: buildings were of elaborate and rich workmanship. The Imperial treasury
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  Speaker 1: spared nothing in order to add to the splendor of
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  Speaker 1: the sanctuary and the copiousness of the ritual. Great wealth
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  Speaker 1: was expended in copying the scriptures. The miniature paintings in
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  Speaker 1: the devotional books of the Times were models of painstaking
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  Speaker 1: and costly outlay. Even in the British Isles, much care
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  Speaker 1: was bestowed on the copies of the favorite authors of
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  Speaker 1: the Patristic times. The Irish monasteries produced some of the
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  Speaker 1: finest specimens of early Christian art, which have come down
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  Speaker 1: to our own times. On the continent, the monasteries of
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  Speaker 1: Saint Gall and Fulda took the lead as patrons of
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  Speaker 1: the arts. Tutiolo died nine twelve of Saint Gall was architect, painter, sculptor,
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  Speaker 1: poet and scholar. The Michelangelo of his age end of
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  Speaker 1: chapter eleven