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 SANCTUARY

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SANCTUARY

e. g. the '"Festivis resonent compita vocibus" (Most Precious Blood), the "Te Joseph celebrent agmina ccelitum", and the ''Sacris solemniis" (q. v.) in rhyth- mic imitation. Dom Johner ("A New School of Gregorian Chant", New York, 1906, p. 89) places h>Tiins in this measure among those "in which the verbal accent preponderates and the metrical accent only makes itself noticeable in certain places (par- ticularly in the fourth line and when a line closes with a word accentuated on the penultimate)". He illustrates the rhythmical stress by italics. Apjilying his scheme to the Asclepiadic lines we should have: Sa-ncto-rum mc-ri-tis in-cly-ta gau-di-a. His illustra- tion of the fourth line (Glyconic) is: Vi-cto-rum ge-nus o-pti-m\mi. The "Grammar of Plainsong" by the Benedictines of Stanbrook (London, 1905, p. 61) remarks that the long verses have the accents on the third, seventh, and tenth syllables; and the short verse, on the third and sixth syllables; and illus- trates this scheme by the last two lines of the stanza (the acute accent marking the rhythmical stress): Gliscens fert animus pr6mere cdntibus Victoriim genus Optimum. In the following illustration (Holly, "Elementary Grammar of Gregorian Chant", New York, 1904, p. 44) the acute accent indicates the tonic accent of the word; the grave accent, the place where the rhj-thmical or metrical accent falls; the circumflex, the concurrence on a syllable of both metrical and tonic accents:

Sanctorum meritis incl^a gaudia

Pangamus socii, gestaque fortia;

Gliscens fert animus pr6mere cantibus Victorum genus optimum. Obviously, the metre is refractory for singing or pubhc recitation. Dreves (loc. cit., pp. 18^1) notes that several references are made to the hymn by Hincmar of Reims, one of the most interesting being his objection to the theology of the last stanza ("Te trina Deltas", subsequently changed into the present form: "Te summa O Deltas"). Hincmar admits that he knew not the author of the hymn which ".some people end w4th the chant or rather blasphemy [a quibusdam cantatur vel potius blas- phematur] 'Te trina deltas'." The phrase objected to was nevertheless sung in the doxology of the hymn down to the revision of Urban VIII, and the Church still sings it in the doxology of the "Sacris Bolemniis" (q. v.) of the Angelic Doctor. The Paris Breviary kept the metre but entirely recast the hymn, writing the first stanza thus:

Christi martyribus debita nos decet,

Virtutis memores, promere cantica;

Quos nee blanditiis, nee potuit minis Fallax vincere sa^culum. To the list of translators given by Juhan ("Diet, of Hymnol.", 2nd ed., London, 1907, pp. 993, 1698) should be added Bagshawe ("Breviary Hymns and Mi.ssal Sequencers", London, 1900, p. 164: "Let us sing, dear companions, the joys of the saints"). The CJialtimore) "Manual of Prayers" gives the translation of the Anglican hymnologist. Dr. Neale. Thf-re are twelve translations in English. The text is found in many MSS. of the tenth century (cf. Dreves, "Analecta hymnica", L, 204-.5); Hincmar, "De una et non trina Deitatc" in P. L., CXXV,478, 498, 500). For Latin text fomitting second and third stanzas) and English translation, plainsong, and modern mu.sical setting, see "Hymns Ancient and Modern, Historical Edition" (London, 1909 pp. 289-^XJ), which notes that Dreves assigns the hymn to Rabanus Maums in his " Hymnologische Studien zu VenantiiiH f'ortunatus und Rabanus Maurus" (Munich, HK)8, p. i:«), "in spite of the fact that Raban wrote to Hincmar disapproving of the phrase 'Te trina Deltas'." The approved plain- song will appear in the forthcoming Vatican Antiph-

onary. Pothier ("IMelodies Gregoriennes " Tour- nai, 18S0) illustrates the Asclepiadic metre by the "Sanctorum meritis", places the accents on the third, seventh, and tenth syllables of the Asclei:)iads and on the third and sixth of the Glyconic, and re- marks that "in singing the Asclepiad and the (ily- conic, the first three syllables should be gone over slowly, and the accents should be well marked, es- pecially the last" (p. 199). Egcrton ("A Handbook of Church Music", New York, 1909, p. ISO) places the principal accent on the tenth syllable, and second- ary accents on the third and seventh, with a "mora vocis" after the sixth. Delaporte ("Les Hymnes du br6viaire romain" in the "Rassegna Gregoriana", Nov.-Dec, 1907, col. 501) remarks that, when the edition of 1602 of the Roman Breviary was in prep- aration. Cardinal Gesualdo in 1588 wrote to various nuncios to get suggestions for emendations. The nuncio at Paris consulted "alcuui principali dclla Sorbona", with some curious results, one of which was the criticism demanding a change in the doxology of the "Sacris solemniis" (q. v.) from "Te trina Deltas" to "Te summa Deltas", for the reason that "it is impious to call the Deity, or the essence of God, threefold". As noted above, the Church still sings "Te Deltas" in the "Sacris solemniis" of the "Angel of the Schools", although it has changed the phrase in the doxology of the "Sanctorum meritis". H. T. Henry.

Sanctuary, a consecrated place giving protection to those fleeing from justice or persecution; or, the privilege of taking refuge in such consecrated place. The right of sanctuary was based on the inviolability attaching t o things sacred, and not, as some have held, on the ex- ample set by the Hebrew cities of refuge. It was recog- nized under the Code of Theo- dosius (399) and later by that of Justin- ian. Papal sanction was first given to it

by Leo I, about Thk Sanctuary op St. Menas, Eoypt 460 though Ivory Carving, Museum, Milan

the first Council of Orange had dealt with the matter in 441. The earliest mention of sanctuary in England was in a code of laws promulgated by King Ethelbert in 600. The right of asylum was originally confined to the church itself, but in course of time its limits were extended to the precincts, and sometimes even to a larger area. Thus, at Beverley and Hexham, the boundaries of sanctuary extended throughout a radius of a mile from the church, the limits being marked by ".sanctuary cro.sses", some of which still remain. In Norman times there were two kinds of s.anctuary in England, one belonging to every church by prescription and the other by special royal charter. The latter was considered to afford a much safer asylum and was enjoyed by at least twenty-two churches, including Battle, Beverley, Colchester. Durham, Hexham, Norwich, Ripon, Wells, Winchesfr-r, Westminster, and York. A fugitive convictcfl of felony and taking the benefit of sanctuary was afforderl protection for from thirty to forty days, after which, subject to certain severe