Another short story, this one based on the hymn "Draw nigh and take the Body of the Lord" and how it came to be written, lost, discovered and translated to English.
Sancti Venite: A Lammas Discovery
In 1851, John Mason Neale pored over an ancient Latin text. He was studying Muratori’s published “Anecdota Latina” volumes on this one hymn. He knew the story well, and he would recast the hymn in an English idiom, so that the ancient words could breathe again in a modern church setting. And as he translated, he reflected and marvelled at the story of how it had nearly been lost and had been rediscovered, almost by chance, but perhaps more so by God’s providence. And in his mind’s eye, he imagined Ludovico Antonio Muratori finding the manuscript.
Ludovico Antonio Muratori sat in the hushed stillness of the Ambrosian Library, the lamps casting warm pools of light across the long oak table. Outside, Milan simmered in the late‑summer heat of 1695, but here, among manuscripts, dust motes, and the faint scent of vellum,he felt suspended in time. Before him lay a small, weather‑worn parchment codex, its binding fragile, its pages unevenly darkened by centuries of travel. He had opened it expecting a minor liturgical fragment. Instead, he found a voice from a world long vanished, deeply buried within the library’s massive collection of ancient texts .
Sancti venite, Christi corpus sumite… The words rose from the page like a chant half‑remembered. Muratori whispered them aloud, tasting their cadence. They were simple, direct, and profoundly Eucharistic, an invitation to draw near, to take the Body of the Lord, to drink the holy Blood poured out. Yet beneath their simplicity he sensed an older rhythm, something shaped by the rugged spirituality of Ireland’s early church.
Draw near and take the body of your Lord,
and drink the holy blood for you outpoured.
Saved by his body and his holy blood,
with souls refreshed we give our thanks to God. Muratori closed his eyes and imagined the hymn in its birthplace: the monastery at Bangor, perched on the edge of the Irish Sea. He pictured monks in rough woollen habits gathering at dawn, their voices rising in the dim light as they approached the altar. Bread, made from the grain of their own fields, was lifted high. The hymn was not merely sung; it was lived. It sanctified the daily labour of sowing, harvesting, and baking. It turned the ordinary into the holy.
Muratori’s fingers rested lightly on the page. He knew the history: that dreadful year of 824 AD when the great monastery at Bangor was sacked and destroyed by Viking raiders. Monks fled and carried the book across Europe for safety. The community was scattered . Yet someone, some nameless monk, had taken this antiphonary and fled into the night. He imagined him clutching the manuscript beneath his cloak as longships loomed on the horizon, the smoke of Bangor rising behind him.
The codex must have travelled by ship, by cart, by hand, passed from monastery to monastery, perhaps carried by pilgrims who never knew its worth. It rested for a while safely kept at the famous Bobbio Abbey in northern Italy, a monastery originally founded by the Irish missionary Saint Columbanus. And then : Cardinal Federigo Borromeo founded the Ambrosian Library in Milan. He rowed through Italy buying up historical library collections, transferring the manuscript from Bobbio to Milan.
Muratori was working as a young, newly appointed research librarian at the Ambrosian Library in Milan. He was specifically hunting through the library's unedited, ancient manuscript vaults to find forgotten historical documents. The library was packed with boxes of texts transferred decades earlier from old monasteries like Bobbio Abbey. And there it had sat undisturbed on the shelves for nearly a century until he found it. At once he recognised the Insular script which was a style unique to early Irish monks. He held a hymn of praise in his hands and a victory hard won.
Christ our Redeemer, God’s eternal Son,
has by his cross and blood the vict’ry won.
He gave his life for greatest and for least,
himself the off’ring and himself the priest.
A hymn born in Ireland, carried across seas, hidden from raiders, preserved by generations of monks, now rediscovered in the Ambrosian Library. It felt like a small miracle.
Lammas Day approached, “Loaf‑Mass”, the blessing of first fruits. Muratori had always loved its symbolism: the first bread of the harvest offered to God, a Christian sanctification of older rites that once honoured the grain spirits and the turning of the seasons.
The Church had not erased those customs; it had transformed them. Bread that once belonged to pagan feasts now became Eucharistic bread, lifted in thanksgiving to God. The Sancti Venite, with its quiet insistence on drawing near to Christ’s table, seemed perfectly suited to Lammas, its pledges of salvation in the bread and wine.
Let us approach with faithful hearts sincere
and take the pledges of salvation here.
Christ, who in this life all the saints defends,
gives all believers life that never ends. He imagined attending Mass in a few days’ time, the nave filled with the scent of fresh loaves brought by the faithful. Perhaps one day he would hear the Sancti Venite chanted, rising beneath the vaulted ceiling, its ancient words mingling with the warm fragrance of bread. A hymn carried across centuries returning to a feast of bread and blessing.
Muratori closed the manuscript gently, almost reverently. “Your journey was long,” he murmured, “but you have found a home.” And as he stepped out into the warm Milan night, he carried with him the quiet, steadfast Latin words of monks long gone, and the promise of Lammas morning, when the great feast of love would be celebrated in the Mass again.
With heav’nly bread he makes the hungry whole,
gives living waters to the thirsting soul.
Lord of the nations, to whom all must bow,
in this great feast of love be with us now.
Neale paused from his reverie, laid down his pen. The past had met with the present, and would be there for the future. His translation was complete. The work was done, and tomorrow it could be sung anew for the great feast day of Lammas.
And in time, when Athelstan Riley (who would later come to Jersey and live at Trinity Manor) sat down to compile the highly influential The English Hymnal in 1906, he specifically selected J.M. Neale’s translation of this very hymn to be included as a standard for churches. It would be set to various tunes, but one of the most popular was the tune Lammas.