certain; viz., that in some cases the liturgical forms grew, like a living thing, under the hands of the artist who shaped them. The general plan and outline of any particular service was considered and determined; but it seems plain that in working out the details there was considerable freedom within the limits prescribed by liturgical form. There was nearly always room for the exercise of judgment and discrimination, of skill, adroitness, and literary taste; while at times we feel that it was nothing short of the creative power of genius that has left its mark not only on the larger designs of structure, but on the minuter workmanship of the constituent parts. Special attention is called to the discussion in Appendix A (p. 227). Pursuing a line of study already indicated in Mr. Burbidge's Liturgies and Offices of the Church, the writer ventures to believe that he has lighted on the very edition of the Greek text of the Liturgy of St. Chrysostom which Archbishop Cranmer had before him. I have to express my obligations to Dr. H. J. Lawlor, Professor of Ecclesiastical History in the University of Dublin, for several valuable suggestions. CONTENTS PAGE The Principles of the English Liturgical Reform--The The Influence of Luther, Melancthon, and Bucer on the The Litany-Historical Occasion of the first English Litany-Notices of Historical Associations - The Prayer of St. Chrysostom-Possible Influence of the Liturgy of St. Chrysostom in suggesting some of the The English of the Prayer Book-Its Literary Style- Additional Note to Chapter XVII. on some differences Reasons for thinking that the Venice edition (1528) of the Liturgy of St. Chrysostom was the main source of |