There is a long biography of him, written some years after his death, but it is short on the kind of dry biographical detail that is valued in the modern West and long on the stories of personalities, feuds, injustice, divine assistance and eventual vindication which may well be true (there is no reason for them not to be) but which do not accord well with our current ideas of what history ought to be. Even the date of Gregory’s death is uncertain. By 594 he was no longer Bishop, but whether this was due to death, dismissal or retirement, nobody knows.

  On the other hand, the “Gregory of Agrigentum” who wrote the exposition on Ecclesiastes which appears among the Second Readings may be another Gregory of Agrigentum from the late seventh, and not the late sixth, century. Or he may even be someone else altogether, from later still.

  Faced with such rich material for controversy among scholars, this is one of those cases when it is better not to worry too much about the exact authorship, instead absorbing and deriving spiritual benefit from the rich line of interpretation which this work provides. It is the quality of the Exposition on Ecclesiastes, not the identity of its author, which has secured it its place in the Liturgy of the Hours.

  In the earliest centuries all vestments were white – the white of baptismal purity and of the robes worn by the armies of the redeemed in the Apocalypse, washed white in the blood of the Lamb. As the Church grew secure enough to be able to plan her liturgy, she began to use colour so that our sense of sight could deepen our experience of the mysteries of salvation, just as incense recruits our sense of smell and music that of hearing. Over the centuries various schemes of colour for feasts and seasons were worked out, and it is only as late as the 19th century that they were harmonized into their present form.