TANNER
445
TANTUM
hi' was at Rome, boing then probably in Holy orders,
and entered the SocMety of Jesus; ;if(er a year in the
Roman College he was sent to Dillingen University
in 1567, and became doctor of divinity. His health,
however, failed and he left the Society. In 1574
he was again at Rome, and the See of Cork and Cloyne
being vacant, he was appointed thereto, 5 Novem-
ber, 1574, and was consecrated at Rome. In May,
1575, he set out for Ireland with exceptional facul-
ties for his own diocese and for those of Cashel,
Dublin, and its suffragan sees in the absence of their
respective prelates. Not long after his reaching
Ireland he was captured while exercising his functions
at Clonmel, and was thrown into prison; here, as
Holing tells, he was visited by a schismatical bishop
whom he reconciled to the Church. A few days
later he was himself released through the influence of
a noble earl. Thereafter he did not venture into his
own diocese, but as commissary- Apostolic he traversed
the other districts assigned him, administering the
sacraments and discharging in secret the other
duties of his office. Foiu' years he laboured thus in
continual peril and distress, and at length succumbed
to his privations and fatigues in the Diocese of Ossory,
4 June, 1579. Bruodin states that he died in Dublin
Castle after eighteen months of imprisormient and
cruel torture.
HoGAN, Distinguished Irishmen of the 16th Century (London, ISVH) : Brady, Episcopal Succession in Great Britain and Ire- land (Rome. 1876-1877); Moras; Spicitegium Ossoriense, I (Dublin, 1874) ; Bruodin, Propuynaculuin catholicm veritatis (Prague, 1669).
CH.4RLES McNEIIiL.
Tanner, Matthias, b. at Pilsen in Bohemia, 28 Feb., I(i;i0; d. at Prague, 8 Feb., 1692. He entered the Society of Jesus in 1646. The greatest part of his life was spent at Prague, where he taught humanities, philosophy, theology, and Scripture, was made rector of the imperial university, and guided for si.x years the Bohemian province of his order. Not only did Tan- ner burn to imitate the apostles and martjTS of the Society, but, to awaken in his brethren a like desire, he employed his leisure hours in recounting to them the lives and deaths of the most prominent sons of St. Ignatius. His two works, "Societas Jesu ad sanguinis et vitoe profusionem miUtans" (a history of the hves and deaths of those Jesuits who suffered martyrdom for the faith) and " Societas Jesu Aposto- lorum imitatrix" (describing the heroic deeds and vir- tues of the Jesuits who laboured in all parts of the world with extraordinary success for the salvation of souls) were written in this spirit. He paid special attention to reverence and devotion during the holy sacrifice of the Mass. According to his biographer, he used to celebrate with such living piety that he was like a iodestone, attracting the faithful to the altar where he offered the sacrifice. To foster this reverence in others, he WTote two other works, "Explanation of the Bloody Sacrifice of Christ in the Unbloody Sacrifice of the Mass", which was re-edited three times, and a pamphlet proclaiming God's WTath against those who should dare to desecrate holy temples by their mis- behaviour. His name became more widely known through his work, "Dialogus controversisticus" on the validity of the Holy orders conferred on Andrew Frommens during the lifetime of his wife.
SoMMEBvooEi, Bihl. de la C. de J., VII. 1858-61; de Gnil/- HERMY, Menologe. Assistance de Germanic, I, 1.32-34; Feller, Diet, hist., VIII. .3.W-58; Hcrteb, Nomenclator, I, 254; II. 561.
A. C. Cotter.
Tantum Ergo, the opening words of the penulti- mate stanza of the Vesper hymn (see Pange Lingua Gloriosi, II) of CorjJUs Chri.sti. This stanza and the closing one, or doxology ("Genitori" etc.), form a separate hymn which is prescribed for Benediction of the Ble.s.sed Sacrament (q. v.).
In private exposition, where permission has
been obtained to give benediction with the pyx,
the two stanzas are recited by the priest (or
sung by a choir, if this is feasible: "si fieri
potest, optandum est", says Van der Stappen). In
other expositions they must always be sung. Cus-
toms vary in respect of the method of singing. In
some places the choir sings the stanzas; in others, the
celebrant sings the opening words of each stanza, the
choir continuing. The Ritual (Tit. IX, c. 5) speaks
of all the clergy present singing the stanzas, and Scho-
ber (C;eremonia! missarum solemnium et pontifica-
lium), commenting on this, suggests that either the
celebrant and assisting clergy should intone the first
line of the stanza, or the choir alone should sing both
stanzas. A profound inclination of the head is made
at the words "veneremurcernui" (Wapelhorst). The
"American Ecclesiastical Review" (XXI, 1889, 644)
points out that the rubrics do not prescribe
an inclination of the head at the words "venere-
mur cernui ", although the practice is frequent. " Gar-
dellini, in his "Commentary on the Clementine In-
struction" (XXIV, 9-10), cites the custom of the
churches of Rome; and the Rituals before his day
make mention of the profound inclination at the Tan-
tum ergo down to the word " cernui " : "nam in verbo
cernui eompletur dictionis sensus, qui inclinationem
postulat". Authorities differ as to the time for in-
censing. Martinucci directs the jjlacing of incense in
the thurible before "Tantum ergo" and the incensing
after "veneremur cernui". De Carpo suggests both
either before "Tantum ergo" or after "veneremur
cernui", according to the custom of the particular
church. Wapelhorst, following De Herdt, directs
that both take place when "Genitori" is intoned.
The "magnificent doxology" (W. A. Shoults in Julian, "Diet, of HjTnnol.") is a fitting climax to the great hymn. It borrows, however, the expressions "Genitori Genitoque" — "Procedenti ab utroque, Compar" from a Pentecost sequence by Adam of St- Victor. Dreves, "Analecta hymnica", IV, 70, gives a sequence in honour of St. Agnes, in which occurs the stanza: —
Genitori Genitoque, Psallat nostra concio; Procedenti ab utroque Compar sit laudatio; Virginalis ipsum quoque Laudet benedictio.
Of the musical settings, which are very 'abundant, the appropriate word must be one of caution in view of the direction of Pius X in his Instruc- tion on Sacred Music (22 Nov., 1903, §IV): "In the hymns of the Church the traditional form of the hymn is to be preserved. It is not lawful, therefore, to compose, for instance, a Ttmium ergo in such wise that the first strophe presents a rnmanza, a cavatina, an adagio, and the Genitori a,n allegro." .Singenber- ger, "Guide to CathoUc Church Music" (,St. Francis, Wisconsin, 1905), gives grade, voices, composer, etc., of more than six hundred settings of the "Tantum ergo" and the " Pange lingua ", almost wholly of t he German Cecilian School. Since 190.3 many settings, also lit- urgicallv correct, have appeared bv composers of other nationalities. The Vatican Graduale (1908) give." two plainchant melodies, or rather two forms of the same melody.
Neale, "Mediaeval Hymns and Sequences" (3rd ed., London, 1867, 178-81), discusses transl.ationa of the "Pange lingua", and, speaking of the penulti- mate stanza, remarks that t he lines ' ' Pnestet fidessup- plementum Sensuum defectui" are "avoided by all" the four authors he mentions, and notes that "Cjis- wall's translation, imshacklcd by rhyme, is nearest" to the original Latin: " Faith for all defects supplying, Where the feeble .senses fail". Neale's own tran.sla- tion of this stanza is given, with slight alterations, in
