bounde . . .
scorged. Cf. Matt. 27.26, Mark 15.15,
John 19.1.
Matt. 27.26, Mark 15.15,
John 19.1
The corporescloth [1531]
sindon . . .
buryed. Cf. Matt. 27.59.
] Matthew
The altare [1531]
amice . . .
handes. The use of allegory in explaining the vestments and
gestures of the celebrant of the Mass goes back to the Carolingian
epoch, especially to Amalar of Metz, De ecclesiasticis
officiis (PL 105.985–1242). Rupert of Deutz (d.
1135) set the pattern for connecting each vestment with an
event of Jesus' passion. William Durandus' Rationale
divinorum officiorum (late 13c) was the source for numerous
popularizations. Cf. Jungmann 1.87–91, 107–18, 177f. More claims that
Durandus was Tyndale's source (cf. CWM 8/1.111/7 and n).
Gabriel Biel devotes one preliminary chapter to relating the vestments
allegorically to events in the passion of Jesus and
another to a tropological account connecting the vestments to the
virtues of Jesus set forth for imitation. Cf. Canonis
Missae expositio (Reutlingen , 1488; seven further
printings before 1530), ed. H.A. Oberman and
W. J. Courtenay, 1 (Wiesbaden: Steiner,
1963) 86–99. The earliest
German explanation of the whole Mass (c1480)
offers a lengthy table of the different allegorical meanings ascribed by
the author to the parts of the Mass. Cf. Die älteste
deutsche Gesamtausle-
gung der Messe, ed. F.A. Reichert, CC 29
(Münster: Aschendorff, 1967) XCIII-CVII.
splayenge . . .
crosse. Cf. Matt. 27.35, Mark 15.24,
Luke 23.33, John
19.18.
Matt. 27.35, Mark 15.24,
Luke 23.33, John 19.18
Candels [1531]
Mat. 5. [1531]
ye . . .
heven. Matt. 5.14 and 16.
] Matthew
salt. Cf. Matt.
5.13, Mark 9.50, Luke 14.34.
Matt. 5.13, Mark 9.50, Luke 14.34
Salt [1531]
is] ed., his [1531], [1573]
[Hand] [1531]