Editing Lancelot Andrewes (section)

== Legacy ==

[[File:Wenceslas Hollar - Lancelot Andrewes (State 1).jpg|right|thumb|Portrait of Andrewes by Hollar]]
[[File:Memorial to Lancelot Andrewes in Winchester Cathedral.jpg|thumb|Memorial in [[Winchester Cathedral]]]]
Two generations later, [[Richard Crashaw]] caught up the universal sentiment, when in his lines "Upon Bishop Andrewes' Picture before his Sermons" he exclaims:

:: This reverend shadow cast that setting sun,
:: Whose glorious course through our horizon run,
:: Left the dim face of this dull hemisphere,
:: All one great eye, all drown'd in one great teare.

Andrewes was a friend of [[Grotius|Hugo Grotius]], and one of the foremost contemporary scholars, but is chiefly remembered for his style of preaching. As a churchman he was typically [[Anglican]], equally removed from the [[Puritan]] and the Roman positions. A good summary of his position is found in his ''First Answer to Cardinal Perron'', who had challenged James I's use of the title "[[Catholic]]". His position in regard to the [[Eucharist]] is naturally more mature than that of the first reformers.

<blockquote>As to the Real Presence we are agreed; our controversy is as to the mode of it. As to the mode we define nothing rashly, nor anxiously investigate, any more than in the Incarnation of Christ we ask how the human is united to the divine nature in One Person. There is a real change in the elements—we allow ''ut panis iam consecratus non-sit panis quem natura formavit; sed, quem benedictio consecravit, et consecrando etiam immutavit'' [i.e., "that the bread once consecrated is not the bread which nature has formed, but that which the blessing has consecrated and, by consecrating it, has also changed"]. (''Responsio'', p. 263).
</blockquote>

<blockquote>Adoration is permitted, and the use of the terms "sacrifice" and "altar" maintained as being consonant with scripture and antiquity. Christ is "a sacrifice—so, to be slain; a propitiatory sacrifice—so, to be eaten." (''Sermons'', vol. ii. p. 296).</blockquote>

<blockquote>By the same rules that the Passover was, by the same may ours be termed a sacrifice. In rigour of speech, neither of them; for to speak after the exact manner of divinity, there is but one only sacrifice, ''veri nominis'', that is Christ's death. And that sacrifice but once actually performed at His death, but ever before represented in figure, from the beginning; and ever since repeated in memory to the world's end. That only absolute, all else relative to it, representative of it, operative by it ... Hence it is that what names theirs carried, ours do the like, and the Fathers make no scruple at it—no more need we.(''Sermons,'' vol. ii. p. 300).</blockquote>

[[File:Lancelot Andrewes (Stained glass, Chester Cathedral).JPG|thumb|left|Lancelot Andrewes memorial stained glass window in the cloister of [[Chester Cathedral]]]]

Andrewes preached regularly and submissively before James I and his court on the anniversaries of the [[Gowrie Conspiracy]] and the Gunpowder Plot. These sermons were used to promulgate the doctrine of the [[Divine Right of Kings]].

His ''Life'' was written by [[Alexander Whyte]] (Edinburgh, 1896), M. Wood (New York, 1898), and [[Robert Lawrence Ottley]] (Boston, 1894). His services to his church have been summed up thus: (1) he has a keen sense of the proportion of the faith and maintains a clear distinction between what is fundamental, needing ecclesiastical commands, and subsidiary, needing only ecclesiastical guidance and suggestion; (2) as distinguished from the earlier protesting standpoint, e.g. of the [[Thirty-nine Articles]], he emphasised a positive and constructive statement of the Anglican position.

His best-known work is the ''Preces Privatae'' or ''Private Prayers'', edited by [[Alexander Whyte]] (1896),{{sfn|Whyte|1896|p=}} which has widespread appeal and has remained in print since renewed interest in Andrewes developed in the 19th century. The ''Preces Privatae'' were first published by R. Drake in 1648; an improved edition by [[F. E. Brightman]] appeared in 1903.{{sfn|Cross|1957|p=50}} [[John Rutter]] set some of those prayers to music. Andrewes's other works occupy eight volumes in the ''[[Library of Anglo-Catholic Theology]]'' (1841–1854). Ninety-six of his sermons were published in 1631 by command of [[Charles I of England|Charles I]], have been occasionally reprinted, and are considered among the most rhetorically developed and polished sermons of the late-sixteenth and early-seventeenth centuries. Because of these, Andrewes has been commemorated by literary greats including [[T. S. Eliot]].

Andrewes was considered, next to [[James Ussher]], to be the most learned churchman of his day, and enjoyed a great reputation as an eloquent and impassioned preacher, but the stiffness and artificiality of his style render his sermons unsuited to modern taste. Nevertheless, there are passages of extraordinary beauty and profundity. His doctrine was [[High Church]], and in his life he was humble, pious and charitable. He continues to influence religious thinkers to the present day, and was cited as an influence by T. S. Eliot, among others. Eliot borrowed, almost word for word and without his usual acknowledgement, a passage from Andrewes' 1622 Christmas Day sermon for the opening of his poem "[[Journey of the Magi]]". In his 1997 novel ''Timequake'', [[Kurt Vonnegut]] suggested that Andrewes was "the greatest writer in the English language", citing as proof the first few verses of the [[Psalm 23|23rd Psalm]]. His translation work has also led him to appear as a character in three plays dealing with the [[King James Bible]], Howard Brenton's ''[[Anne Boleyn (play)|Anne Boleyn]]'' (2010), Jonathan Holmes' ''[[Into Thy Hands]]'' (2011) and David Edgar's ''[[Written on the Heart]]'' (2011).

He has an academic cap named after him, known as the [[Bishop Andrewes cap]], which is like a [[mortarboard]] but made of velvet, floppy and has a tump or tuff instead of a tassel. This was in fact the ancient version of the mortarboard before the top square was stiffened and the tump replaced by a tassel and button. This cap is still used by Cambridge DDs and at certain institutions as part of their [[academic dress]].

A block of flats in the [https://www.barbicanliving.co.uk/ Barbican Residential Estate], central London, is named [https://www.barbicanliving.co.uk/blocks/andrewes-house/ Andrewes House]. All the Barbican's residential buildings are named after famous people with a connection to the locale.

There is a stained glass window depicting Bishop Andrewes in [https://www.graysinn.org.uk/the-inn/history/the-historic-estate/stained-glass/ Grays Inn Chapel], central London