crosses.

At Vespers when the Host DIAGRAM 19.-Interplay of Forces in Church at Vespers. and Chalice are not present on the altar, the candles and the tabernacle (or altar) cross act as receivers for the force called down as soon as the candles are lighted, for each point of fire establishes a line of connection to the Head of a Ray. They separate this flow of force into its seven component streams and send them rushing through the consecrated jewels in the candlestick shields toward the altar-stone jewels and across the church to the Ray also formed between the latter and the altar-stone Other lines of connection are The Ray crosses, and indeed all the consecrated objects in the church, meanwhile jewels. are radiating force upon the people. When the Host and Chalice are on the altar (see Diagram 8) the force flows into the church through Them, and then affects first the altar-jewels and At Vespers the force is drawn down first second (and to a lesser extent) the candlesticks. through the flame of the candles and then proceeds to intensify the altar-jewels and the Ray(In the two diagrams the varying heaviness of the lines represents the relative intensity of the interplaying forces.) The material soon gathers round the altar, and the vortex begins to form. That vortex appears first as a tiny swirl a few inches in diameter directly over the jewels in the altar-stone, but soon includes the whole altar, the priest and his assistants. (See Plate 26.)

crosses.

end of Matins and just before Lauds. As we at present recite neither of these morning Offices, we have borrowed the Te Deum for use at Vespers, and have found it eminently suitable for that position. In its original form it is among the most ancient of the Church's hymns. There is a tradition that it was spontaneously composed and sung in alternate verses by St. Ambrose and St. Augustine on the night of the latter's baptism in the year 387, but this story is rejected by scholars. Its authorship is uncertain, and it is probable that it grew up gradually, and passed through various modifications. The first ten verses are ascribed to Pope Anicetus, who died A.D. 168; but it is supposed to have been put together in the form in which it now appears in Roman books (and in the Anglican prayerbook) by Nicetas, bishop of Remesiana in Roumania, about the year 400. It has also been attributed to Athanasius, to Hilary of Poitiers, to Hilary of Arles, to Nicetius of Trêves and to Abondius. Koch asserts it to be an evening hymn of primitive antiquity originally written in Greek, translated into Latin by St. Ambrose for the use of his church at Milan, and subsequently introduced into the North African churches by St. Augustine. He further states that it is to be found in its Greek form in one of the earlier manuscripts of the sixth century. St. Benedict, in his Rule, directs that it shall be sung in the nocturnal Office for Sundays, so we are making no serious innovation in using it at Vespers. It has undoubtedly been in daily use in English cathedrals, abbeys and churches since the Norman Conquest, except when the Benedicite was

PLATE 26.-Vortex and Shaft formed at Vespers. (a) Force flowing towards altar from people; (b) Vortex formed in Sanctuary, within the centre of which at the base are seen the priest, his assistants, and the altar; (c) Shaft of force shooting upwards; (d) Downpouring of force ensheathing the shaft. Opp. page 484.

substituted for it, as it often is in Advent and Lent. Its title is, as usual, the Latin form of the opening words.

Unfortunately after its fifteenth verse the original Te Deum somewhat changes its character, and becomes first a kind of historical retrospect or confession of faith, and ends by degenerating into the ordinary abject appeals for mercy; though even in that part the spirit of joy and praise irresistibly breaks out in two or three verses. That descent into the minor key being distinctly unsuitable for the inner purpose which the great hymn has to subserve, we have ventured to substitute more joyous verses for these which are less in keeping with its general tone.

During the singing of the Te Deum it is an old custom to kindle additional lights upon the altar, as many as possible, to assist in the gathering and radiation of the power (Dia. 19). The altar is solemnly censed, as are the clergy, choir and people; the assistant priests group themselves around and behind the officiant who stands on the footpace before the middle of the altar; and behind them in turn stand two thurifers, swinging their censers alternately at the full length of the chain. Incense is always efficient in attracting the attention of any Angels who may happen to be in the neighbourhood -though indeed that is done by the doxology to the hymn, and even by the invocation of the Trinity at the beginning of the service. The Angels are not specially called at Vespers, as they are at the Holy Eucharist, but I have never seen a properly rendered service at which they failed to put

Holy