editions) are to be had separately, on large or small paper, and that they will be suitable for insertion in the Sarum Missale (of which the fourth or concluding part is, we hope, nearly ready) or in Mr. A. H. Pearson's translation of the same. Other books of Sarum Use are interesting because they contain much that the compilers of our Book of Common Prayer have preserved. The Processional has its importance rather as the representative of what was swept away. It was perhaps supposed that the constant use of prayers, praises, and readings, in the vulgar tongue, would supply the place of the popular processions. The Sarum Processional, all things considered, is hardly so rare a book as might have been supposed. In 1850, Mr. Dickinson gave a list of fifty-nine copies, representing about fourteen editions. We know of eight or nine other copies. One which has come to our knowledge only this month, has, we regret to say, been generally overlooked. It is earlier than the Rouen edition of 1508, which Dr. Henderson supposes to be the first known. The copy to which we refer was printed by R. Pynson, in 1502, on vellum. It is now in the library of S. John's College, Oxford. The title is wanting, but the colophon (kindly transcribed for us by the Rev. J. W. Stanbridge) is as follows: 'Processionalibus (diligenti cura ac industria correct: ad usum insignis preclareque ecclesie Sarum impressisque per Rychardum Pynson signo georgii in Fletestrete commorantem) finis felix adhibitus pridie ydus Nouembris anno salut. mil° ccccc.ii. : Monumenta Ritualia Ecclesiæ Anglicana. The Occasional Offices of the Church of England according to the Old Use of Salisbury, the Prymer in English, and other Prayers and Forms, with Dissertations and Notes. By WILLIAM MASKELL, M.A. 3 vols. Second edition. (Oxford: Clarendon Press, 1882.) THE first edition of this work, published by Mr. Pickering (1846–7), has done so much for the enlightenment of two generations with respect to the ritual and offices of the Church of England that we need do little more than give a hearty welcome to this new edition, and point out how far it differs from its predecessor. Volume I. contains, as before, the offices from the Sarum Manual and Pontifical, which correspond with the part of our Prayer-Book from the Order of Baptism to that of Burial of the Dead. The old form for making a Will, which appeared in the Appendix of 1847, here takes its proper place. The Order of a Synod, preceded by various Benedictions (that for a foundation-stone not having appeared in ed. 1), and the Consecration of a Churchyard, completes the text of the volume; but the Reconciliation of a Church or Churchyard is here very properly appended to the Consecration Service instead of standing as it used to do in the third volume. The famous dissertation on Service Books heads the volume. It contains these new items: Agonal, Albus liber, Collationum liber, Confessionale, Exultet rolls, Festivalis, Ministerialis (= Pontificale), Obsequiale, Postilla, Responsorium, Tabula, Viola sanctorum. Volume II. in the new edition contains the ceremonies of Coro nation, Ordination, Enthronization, Pall, Royal and Episcopal Receptions, Banners and Ring; in other words, the contents of vol. iii. in the first edition. Then follow the forms of Degradation and Restoration, Excommunication, Absolution, and Reconciliation. The new matter here is the Litany sung at the coronation of Queen Matilda, pp. 85-88, which (as Mr. Maskell notes) has been already printed by Dr. Henderson in the York Pontifical. The Defensorium Directorii keeps its old place at the end of vol. ii. It is a pity that there was not room for the Crede Michi, which certainly ought to accompany it. But there are 550 pages in the volume as it is. Volume III. is practically vol. ii. of the old edition. It comprises the Prymer in English with its dissertation slightly enlarged. We observe extracts in the notes from two Additional MSS., a new note on Antiphona (p. 66), a reference to the Cornish word to hele.1 Among the miscellanies in the text are a fragment of a metrical calendar, versions of the Ten Commandments and the Athanasian Creed, The manner to Make a Nun, from a Cotton MS., Office for King Henry VI., and two Indulgences in the vernacular. We are happy to say that the work still keeps the form of an aid to the student of our Book of Common Prayer. A close observer may notice the omission of a few passages; or he may see a few criticisms on the reformed Church of England. Mr. Maskell remarks in the Preface on the necessity of ritual appearing as an evidence of a 'claim to teach with certainty what is true and what is not true.' He quotes a passage which we have often thought to be particularly interesting at the present time, as giving either the testimony of a foreigner that copes and chasubles were worn among us early in the eighteenth century, or at least the interpretation put upon the Ornaments Rubric by an eminent Gallican ritualist at that period, Grancolas, 'Comment. Hist. in Romanum Breviarium,' lib. i. cap. xii. We will conclude by thanking Mr. Maskell for his frank apology (i. 113; iii. 107, 124, 403) for the English Book of Common Prayer against certain ignorant criticisms which have been made upon it. Coptic Morning Service for the Lord's Day. (London: Masters, 1882.) THE Marquess of Bute has done a useful and unpretending piece of liturgical work in this translation. A short preface gives a few words on each of the following subjects: the Offices of the Egyptian Church, certain modern practices, the structure and arrangement of Egyptian churches, and the pronunciation of Coptic. The main book, which is for the most part printed in parallel columns of Coptic or Greek and English, contains first the Prayer of the Morning Incense preparatory to the Liturgy; then the Coptic Liturgy of S. Basil the Great, with a few liturgical notes; and an appendix on the Canonical Hours of the Divine Office. Lord Bute's aim, he tells us, has been to provide a portable handbook for English travellers in Egypt, to enable them to follow intelligently the Sunday morning service of the Coptic Christians. 1 The old explanation of 'beltidum,' criticized by Professor Stubbs, Councils, III. 585, has not been abandoned, III. liv. n. 87. THE CHURCH QUARTERLY REVIEW. N° XXVIII. JULY 1882. ART. I.-THE EARLY MASTERS OF COLOGNE. 1. A History of Flemish Painting. By J. A. CROWE and G. B. CAVALCASELLE. (London.) 2. Geschichte der Christlichen Malerei. Dr. HOTHO. (Stuttgart, 1867.) 3. Nachrichten v. d. Leben u. d. Werken Kölnischer Künstler. Dr. MERLO. (Cologne, 1850–52.) 4. Geschichte der Bildenden Künste. Dr. KARL SCHNAASE. (Düsseldorf, 1845-64.) 5. Kleine Schriften und Studien zur Kunstgeschichte. FRANZ KUGLER. (Stuttgart, 1853-54) We are so much accustomed to think of early German art as hard and prosaic, purely realistic in tone and devoid of grace and sweetness, that we are apt to overlook the work of those German masters who had a true feeling for beauty, and were prompted by a genuine inspiration. In the whole range of northern art, perhaps no school is more full of interest than that which flourished at Cologne in the fourteenth and fifteenth centuries. The history of its painters is involved in obscurity; their very names are almost unknown but in German cities their pictures still gladden the eye and refresh the mind of the traveller wearied with looking at endless specimens of Rubens and Guido. Essentially Teutonic in character, this school is distinguished by an ideal beauty and nobleness of type, a refinement and delicacy, wanting in ordinary German art. All that was fairest and best in the age when it flourished, the graceful and elevated spirit of chivalry, the rare and tender charm that breathes in the lays of the Minnesänger, the quiet joys of burgher life, find reflection in the works of Meister VOL. XIV.NO. XXVIII. S Wilhelm and Stephan and the scholars who trod in their steps, while the deeper emotions and more exalted aims which animate the higher forms of art are never absent from their conceptions. The ancient and historic city of Cologne was the centre where this fair flower of medieval art blossomed under northern skies. Founded by the legions of Augustus, on the banks of the Rhine, where the fort of the conquered Eburones had stood, illustrious in Roman times as the birthplace of the Empress Agrippina, who gave the infant colony her name, Cologne had already a great past behind her. Above all she was rich in Christian traditions and memories of martyred saints. As early as 94 A.D. her first bishop, Maternus, had raised a church in honour of S. Cecilia. Within her gatesso said the legend-Ursula and her virgins had died for the faith, and Gereon and the Theban legion had laid down their lives rather than give up the Cross at the command of Maximinian. Future generations had vied with each other in paying honours to their memory. The mother of Constantine had herself erected a church to S. Gereon, which was soon followed by the building of another in commemoration of S. Ursula; and under Charles the Great countless pious foundations enriched Cologne. Celebrated as the holy city, the Rome of the North, it became her boast that she counted as many churches as days in the year within her walls, while her archbishops were personages of political importance, and her merchants carried the German name into distant countries. Qui non vidit Coloniam,' so the common saying ran, 'non vidit Germaniam.' All these causes combined to render Cologne a home for art, and from Roman days painting seems to have been cultivated by her sons. As civilization receded before the barbarians, whatever fragments of culture remained in the Rhineland found shelter in convents, and the illumination of missals and choir-books was almost the only form of art which survived the general wreck. With Charles the Great came the first dawn of a better day. The Rhineland was the seat of his court, and the best artists from all parts of the civilized world were summoned to adorn his cathedral at Aachen and hundred-pillared palace at Ingelheim. The warlike expeditions of the Saxon Othos into Italy, and the marriage of Otho II. with the Greek Princess, Theophania, had the effect of introducing that Byzantine influence which is visible in the rude art of the period, but it is not till the fourteenth century that any great advance becomes evident. Before that time the Crusades, more perhaps than any other cause, had contributed to mould the national character. Not only was the sight of foreign climes and strange people, and the assembly of men of all nations under the same banner, calculated to break down old barriers and open new realms of thought, but the common enthusiasm which had seized hold of men became the means of developing in a remarkable manner two of the strongest sentiments that ever stirred the German breast-the chivalrous worship of women, and the love of Fatherland. The same passion swayed the heart of the true knight, whether he looked with reverent eyes on the face of the mistress to whom the service of his sword was pledged, or whether he knelt before the shrine of the Virgin whose protection he sought in the perils of the field. His love for that divine lady might be of a spiritual nature, purified from all earthly motives, but it was still Das Ewig-weibliche which attracted him and remained the object of his worship. And when, strong with a courage into which all the intensity of his love had passed, he had gone out to the holy wars, and, amid the tumult and dangers of battle-scenes in that far East, the sweet thought of wife and child came back to him, the yearning for home and kin, for the safe accustomed place and sure welcome awaiting him by his own hearth, sank deep into his soul, and the love of Vaterland became a conscious part of the national mind. Then German life and German language began to move freely; a national poetry, a national style of architecture arose. The minstrel sang his all-absorbing devotion to the 'süss-innigliche Minne,' the severe solemnity of the Romanesque pillar gave place to the graceful Gothic shaft, and the worn-out remnants of debased classic art dropped off, leaving the young national thought free to express itself in its own rude but vigorous and independent form. Nowhere are greater facilities afforded us for the study of these first steps of German art than at Cologne, one of the first cities which became renowned for her painters, as early as 1200. Wolfram von Eschenbach in his Rittergedicht of Parsifal, speaks of them as men of well-known repute in Germany. 'Es haette kein Maler zu Koeln oder Maestricht, Eine Kriegergestalt gemalt so schoen Als der Knap zu Ross war anzusehn.' Specimens of their work at this time are still to be seen |