Note 245 — 1100. A SCENE IN A PLAY. (continued 3)

The words in the choir-book are thus identified by Mr. Eastlake (see a very interesting letter to the Times, 17th August 1891).

On the left-hand page:—

Kom Heiliger Geyst herzegott erfüll mit deiner gnaden und (?) deiner gleubge hertz mut un sin dein brustig lib entzüd in ihn.

O herz durch deines lichtes glast (?) züdem glaube versamlet hast das volck aller welt zunge ...(?) dir herzu lob gesungen ... gesungen ...

On the right-hand page:—

"It seems to have been assumed," adds Mr. Eastlake, "that the choir-book is a Protestant one, and therefore inconsistent with the presence of the silver crucifix recently revealed in the left-hand upper corner of the picture. But it is evident that the hymn or anthem above mentioned is merely a paraphrase of the well-known 'Veni Sancte Spiritus,' which for ages past has appeared in the Roman Catholic breviary for use on Whit Sunday or the Feast of Pentecost, and still survives in the Anglican Ordination Service." The music in the book has been identified by Mr. W. B. Squire, of the British Museum, as the counterpoint sung by the tenor in Johann Walther's setting for the Wittenberg hymn-book of 1524. Mr. Squire adds his opinion that Holbein chose those compositions for copying in the picture, "on account of the bearing which the words had upon either the individuals portrayed, or some incident connected with them, and intended to be commemorated" (Letter to the Times, 14th November 1891). Miss Hervey finds an explanation in the fact that the Bishop of Lavaur was devoted to the cause of religious re-union between the Roman Catholic and the Reformed Churches. The doctrine expressed by the two hymns was common to all the churches.