that each should examine his conscience, repent, believe, and renounce all malice. There follows the assertion that, if conscience assures of this frame of mind, you are accepted of God, and may come to this Sacrament. It is next pointed out that natural temptations are not to prevent those that hate evil and love the Lord, since the Sacrament is "une médecine pour les paovres malades." Faith in Christ's promises is then taught; also an instruction, directing the recipient to look beyond the bread and wine to a heavenly nourishment accomplished within the soul; the sacrament being taken as a pledge of the merit (iustice) imputed by Christ's death and passion. The people are then exhorted to lift up their souls to Jesus Christ in the glory of the Father; to avoid the error of contemplating the tangible signs as if He were in them; but to seek the truth spiritually.

After this the ministers distribute the bread and the cup to the people, these being warned to come with reverence and in good order. Meanwhile psalms are sung or a suitable portion of scripture read. At the end, thanks are formally given. The distribution is prescribed with more detail in the edition of 1545. The minister is to receive first both bread and wine; then he administers to the deacon, and thereafter to the whole congregation (Église), saying:-"Take, eat, the body of Jesus, which was given over to death for you," ("Prenez, mangez, le corps de Jésus, qui à esté livré à mort pour vous.") The deacon administers the cup saying :— "This is the cup of the New Testament with the blood of Jesus, which was shed for you" ("C'est le calice du nouveau Testament au sang de Jésus, qui a esté respandu pour vous.") Meanwhile the congregation sings the Psalm "I will give thanks unto Thee" ("Louange et grace ie te etc...." Ps. 138 de la première édition.) A form of thanksgiving is set out (in 1545), which acknowledges the benefit of Christ's death and communion, and asks for continued benefit, to the glory of the Trinity; after this the Chant of Simeon is prescribed, and then the minister is to dismiss the people with a benediction.

The book closes with a long paragraph, apparently not part of the service, claiming that they had restored the true and ancient Sacrament, not destroyed it.

Two very early French openings of the "Cantique de Siméon" are given in Douen's "Clément Marot et le Psautier Huguenot" (1878), Tome. I, p. 632.

and

Main te- nant Seigneur Dieu, As don - né

en moy lieu.

How far the above Liturgy was adopted by the Meaux Gospellers, or Church, of 1546, will perhaps never be conclusively proved. It is so extraordinarily close in date, and in the circumstances of the history, that one can hardly err in attributing to them the use "once or twice" of this very striking religious service.

NOTE 30:

As to adherents of these views among the country people compare Note 15; See also Rochard's account, (translation, p. 44).

NOTE 31:

It was remarked by a friend who heard this passage, that it showed these people were Calvinists. The inuendo here was, obviously, to fix on the Gospellers the doctrine of Predestination; which doctrine was indeed soon after (i.e. in 1562) even professed by the English Clergy in their XVIIth Article of Religion.

There is every reason to suppose that the Meaux congregation accepted generally Calvin's theology. The statement in the text would, however, most likely befit any religion that taught trust in a Supreme Being. Resignation to the Divine Will would, I suppose, seem dutiful, to such determined and convinced readers of the Gospel history of the Passion. This attitude of mind does not mark attachment to either side in the metaphysical, and therefore chronic, question of Free Will.

Michelet, in thoughtful and eloquent sentences, describes the passionate yearning for some firm comfort in the desperately troubled sixteenth century: a feeling which doubtless was at first soothed at Meaux by the gentle preachings of Briçonnet, but took a more definite intellectual form in the sombre confidence of Calvinism. [Cf: Michelet "Histoire de France," 1857, Vol. VIII, pp. 15, 144, 180, 199.]

NOTE 32:

Another account of the proceedings and execution, containing many peculiar details, and substantially agreeing with this, is contained in Rochard's MS. [See translation above.] Rochard seems to treat the event from a point of view opposed to the sufferers. See also Toussaints du Plessis, [translation above].

NOTE 33:

"Magistratus eius vrbis." This was the "Lieutenant général civil et criminel," Philip Rhumet. (See Carro, p. 205; also Rochard.)

NOTE 34:

'Praepositus." The "prévôt de la Ville"; Mâitre Adrien de la Personne. (Cf. Carro, pp. 205, 214; and Rochard.)

NOTE 35:

That is, the "Prévôt des Maréchaux"; or Provost Marshal. (Cf. Carro, p. 205, and Rochard.) This was Gilles Berthelot: (See p. 40, above, and Note 57.)

NOTE 36:

The higher officials also included the "Procureur du Roi," or King's Attorney, Louis Cosset, who had consulted with the Lieutenant Général beforehand. The historian of Meaux attributes to "Louis Cosset, procureur du roi," in 1572, an active and greedy part in the St. Bartholomew massacre at that town. (Carro, pp. 205, 229-231.)

NOTE 37:

The reader is here specially invited to compare Rochard's detailed account of the raid; and the sketch plan. (See p. 44; and Notes 93, 95.)

NOTE 38:

Quaesitor." The "Histoire des Martyrs," 1582, says: "Puis le Lieutenant leur demanda.....". Sismondi notices the appointment, in 1515, of "Enquêteurs" to the different Courts of Baillis and Seneschals. [Hist. des Fr. Tome XVI, 15.]

NOTE 39:

The number of persons apprehended has been variously

given. It was certainly about sixty. [See translations, pp. 38, 45, 48, 50; also Toussaints du Plessis, Vol. II, p. 292. La France Protestante (pièces justificatives); Fox, edition 1846, Vol. I. p. 134.]

NOTE 40:

Doubtless the Château, or Castle, mentioned by Rochard. [Cf. p. 44; and note 95. See sketch-plan.]

NOTE 41:

Though there is some difficulty in finding an authentic version of the 79th Psalm, with tune, before the Bourgeois Bible of 1560, yet a comparison of various authorities seems to justify a confident surmise that the following words and tune were used by the Meaux captives, or their friends, on this striking occasion. This version is taken from the "Pseaumes de Dauid, Mis en Rime par Clément Marot et Théodore de Besze," appearing at the end of "La Bible" printed by Iaquy, Daudeau, and Bourgeois, (1560). I am informed that it also occurs in the edition of " La Bible" of Barbier and Courteau, 1559. Further, a high literary authority at Geneva tells me that, while Pierre Davantes' edition of the Psalms with music, (1560), bears upon its title a distinct reference to an older and less easy method for singing the Psalms of Marot and de Bèze, the identical tune in question may well have been published or adopted even so soon as 1543. A copy of the Davantes Psalter, 1560, above named, is, or recently was, in possession of Mr. R. S. Faber, hon. sec. of the Huguenot Society of London.

Riggenbach's "Der Kirchengesang in Basel seit der Reformation," (Basel, 1870,) refers to the "Forme des prières etc." (Geneva, 1542), [which he calls A]; to the same book (Strasburg, 1545) [called B]; and to the " Lyons Psalter," (1549) [called C]; as well as to another Lyons edition by de Tournes (1563) [called D]. [See Riggenbach ibid: p. 172]. He says on page 181 that Psalm 79 fails to appear in A; while B and D entirely agree together; and C varies only in the first note instead of O.

Now a comparison of the version of de Tournes 1563 (Lyons), with that of Bourgeois 1560, exhibits no variation between them beyond the mere spelling of the words. And, since Riggenbach, in the passage above referred to, asserts the agree ment of de Tournes 1563 with the Strasburg edition of 1545, we must conclude that the Meaux correspondents with Strasburg, in 1545-6, probably sang their Psalm, with rhymes and

tune, as reprinted later by Bourgeois. It seems that, at least in the Strasburg Refugee Church, there was an official musician; which indicates considerable attention to music in that Church. [Cf: Note 25a.]

Another writer, of great authority, has handled this subject itself. M. Douen contributes to the "Bulletin" of the "Société de l'histoire du Protestantisme Français," Tom xxviii, an article which, dealing with the Psalm sung at Meaux, and commenting on the vigorous character of the melody, says that it was sung in unison and not yet harmonized in 1546; that the words were by Clément Marot (verses 1 and 6) (1543), melody by Louis Bourgeois (1544). Two stanzas "Les gens entrés sont" etc are then quoted; but the article unfortunately does not quote the actual music. However, this same writer, in his studious book "Clément Marot et le Psautier Huguenot", gives (Tome I, p. 726), among his comparisons, the first eight notes (in a different clef) of the tune printed below, as the opening of the 79th Psalm [Bourgeois], and collates with it Attaignant's "Secourez moy Madame."

Perhaps the reader will excuse the length of the above observations, if he bears in mind the difficulty of fixing, for certain, details so transient, with materials so rare. Nay, some Psalters of about that date may well be lost altogether. The conclusion from such facts as I can command is nearly irresistible, that the tune and words sung by the Meaux captives, or their friends in the street, on the 8th of September, 1546, were those here given. [See p. 98.]

NOTE 42:

"Sabbatha": in the sense of pagan or profane assemblies. In this controversy each side charged the other with heathen observances. (See above, pp: 36, 43, 51, 54; also Notes 77, 78, 107c.)

NOTE 43:

Compare Translations, pp: 48, 51, 52, 53, 54; also Note 107c, and Note 29.

NOTE 44:

The "Histoire des Martyrs," (1582,) says:-"fut autant troublé qu' Herodes iadis."

NOTE 45:

"Quàm ad culinam ventris colendam tuendámque com

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