son, there are
only eight responsories. At the end of the third, sixth and eighth
lesson the _Gloria Patri_ with a repetition of part of the responsory is
said. It is said in the second responsory in offices of three lessons
only. In Passiontide the _Gloria Patri_ is not said, but the responsory
is repeated _ab initio_. In the Requiem Office _Gloria Patri_ is
replaced by "_requiem aeternam_." In the Sundays of Advent, Sundays
after Septuagesima until Palm Sunday, and in the triduum before Easter,
there are nine responsories recited.

Perhaps an explanation of the rubric may not be useless. The asterisk
(*) indicates the part which should be repeated first after the verse
and immediately after the _Gloria Patri_. The _Gloria Patri_ should be
said to include the word _sancto_, and _sicut erat_ should not be said.
Some responsories have two or three asterisks, and then the repetitions
should be made from one asterisk to another and not as far as the verse
ending. Examples may be seen in the responsories for the first Sunday
of Advent and in the _Libera nos_ of the Requiem Office. The
responsories of the Requiem Office--which is almost the only Office
which missionary priests have an opportunity of reciting in choir--are
highly praised for their beauty of thought and expression. They were
compiled by Maurice de Sully (circa 1196), Bishop of Paris.

_Symbolism of the Rubric._ The responsories are placed after the
lessons, the old writers on liturgy say, to excite attention and
devotion, to thank God for the instruction given in the lessons, to make
us realise and practise what has been read and to teach us that "Blessed
are they who hear the word of God and keep it." Again, those writers
knew why the chanter said only one verse and the worshippers replied in
chorus--to show that all their souls were united and free from schism.

_Te Deum_ (Title XXXI.). _Author._ In the Breviary prior to the reform
of Pius X., this hymn was printed under the words "Hymnus SS. Ambrosii
et Augustini." However, "no one thinks now of attributing this canto to
either St. Ambrose or St. Augustine" (Battifol, _op. cit._, p. 110).
Formerly, it was piously believed to have been composed and sung by
these saints on the evening of Augustine's baptism. The question of the
authorship of this hymn has led to much study and much controversy. Some
scholars attribute it to St. Hilary, others to Sisebut, a Benedictine;
others to Nicetas, Bishop of Treves, i