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Diaconal Ordinations at the Beda

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Eleven students from the Pontifical Beda College in Rome were ordained to the diaconate on Wednesday by Cardinal James Harvey. The ordination took place at the Basilica of St Paul's outside the Walls where Cardinal Harvey is the Archpriest. Cardinal Pell was also present. The eleven students, of whom two are religious and the rest diocesan, are from Great Britain, Australia, Ghana, Holland and Singapore. All have reached the end of their third year of Theology at the Pontifical Beda College. Among the newly-ordained is Paul Gillham, formerly Director of Music at St Etheldreda's, Ely Place, London and also fondly remembered as an inspiring singing teacher by many pupils at the Cardinal Vaughan School.

Ad multos annos!




Photos of Corpus Christi at Heiligenkreuz

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From the Cistercian Monastery of Stift Heligenkreuz in Austria, our friend Sancrucensis has some very nice photos of a Corpus Christi procession with various stations. Click over to him for the full set.






Historical Images of Corpus Christi Processions

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I stumbled across an Italian blog which I think our readers will find very interesting, called Scuola Ecclesia Mater. The author of it has created some very nice and very big collections of images on various themes; here are just a few from two of his recent posts, one on historical images of the Papal Corpus Christi procession, and another on Corpus Christi processions in general.

Giovanni Maria Morandi, Alexander VII Chigi in the Corpus Christ procession held on May 27, 1655, Musée des Beaux-Arts, Nancy
Ferdinando Cavalleri, Corpus Christi Procession with Pope Gregory XVI in the Vatican. (This is the staircase which descends from the Sistine Chapel to St. Peter's Square)
Giovanni Bellini, Corpus Christi Procession in St Mark's Square, Venice.
 

Corpus Christi Photopost

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Readers: we are looking forward to receiving your photos of liturgies on the feast of Corpus Christi, including Masses, the Office, and of course, processions.

Please send to photopost@newliturgicalmovement.org

An Art Deco Chasuble

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A friend brought to my attention this unexpectedly quite good chasuble and stole set he discovered on the online auction site eBay. It really is a stunning piece, and a reminder of some of the intermittently remarkable ecclesiastical design that characterized much of the design work taken in the first forty or so years of the previous century. I remember, on a visit to a monastery some time ago, discovering the sacristy had what seemed to be scores of fine vestments from that period which only occasionally now saw the light of day. I pray this set gets a good and worthy home, and is put back to work soon!

NLM Exclusive: Archbishop Cordileone on the Sacred Liturgy

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Courtesy of Fr. Samuel F. Weber, O.S.B., Director of the Benedict XVI Institute for Sacred Music and Divine Worship, the Most Rev. Salvatore Cordileone, Archbishop of San Francisco, has graciously agreed to share with the readers of New Liturgical Movement a portion of the conference he gave to seminarians of St. Patrick’s Seminary, Menlo Park, on February 12, 2014, entitled “Doing the ‘Pastoral Thing’ Will Always Be Harder, but Right.” The portion reproduced below is where the Archbishop addresses liturgical issues.
*          *          *

“Doing the ‘Pastoral Thing’ Will Always Be Harder, but Right”

The Most Reverend Salvatore Cordileone

Some of the directives in these documents [Sacrosanctum Concilium and The General Instruction of the Roman Missal] have been observed in the life of the Church on the local level, but others have been ignored or misunderstood. So I would like to cite some passages to give some examples of where we need to focus our efforts to make our worship more in line with what the Church is asking us to do.
First of all, Sacrosanctum Concilium states at n. 36:
… the use of the Latin language is to be preserved in the Latin rites. But since the use of the mother tongue, whether in the Mass, the administration of the sacraments, or other parts of the liturgy, frequently may be of great advantage to the people, the limits of its employment may be extended. This will apply in the first place to the readings and directives, and to some of the prayers and chants … 
So we can see that it was not the mind of the Council to abolish the use of Latin in the liturgy by any means; quite the contrary. But a more generous use of the vernacular was allowed in order to engage the people in the liturgy more conscientiously. It later has this to say about music (n. 116):
The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given first place in liturgical services. But other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations, so long as they accord with the spirit of the liturgical action.
Again here, the intention of the Council was quite contrary to abolishing the Church repertoire of sacred music from her worship. The General Instruction of the Roman Missal repeats this passage from Sacrosanctum Concilium at number 41, and then goes on to add: “Since faithful from different countries come together ever more frequently, it is fitting that they know how to sing together at least some parts of the Ordinary of the Mass in Latin, especially the Creed and the Lord’s Prayer, set to the simpler melodies.” In 1974, Pope Paul VI even issued a little booklet, Iubilate Deo, containing these more classic chants and sent it to all the bishops of the world in order to help implement this vision. And how appropriate it is for us here in the Bay Area, where every Sunday in many of our parishes, and certainly in Masses at the diocesan level, people from different cultural and language backgrounds come together to worship.

We have to remember that, in addition to its practical purpose as a means of communication, language also has a symbolic value. When I was installed as the Bishop of Oakland, the first reading for the Mass was in Tigrinya. Never heard of it? Neither had I before then. Tigrinya is the language of Eritrea. Now, with all of the bishops and priests present there (older priests!), more people in the Oakland Cathedral that day would have understood the first reading if it had been in Latin than in Tigrinya. But Tigrinya had a symbolic value: the East Bay prides itself on its cultural diversity (as we all do here in the Bay Area), and there is a small but vibrant community of people from Eritrea living there, who have their own priest with their own rite. It was a powerful symbol of the universality of the Church which is quite visible here on the local level.

Likewise, Latin – which I once heard the late Cardinal Hickey refer to as the Church’s “old vernacular” – has both a practical and symbolic value. The practical value is that it is the common patrimony of all Catholics, and so a way that people of different languages can worship together, using texts and formulas that have been preserved from antiquity. But it also has a symbolic value: precisely because it is our common patrimony, belonging to all Catholics of all cultures and languages – indeed, it is constituent of our common Catholic culture – it teaches us that the liturgy is not ours to with as we will. No, the liturgy is a given; it is our job to celebrate it well and faithfully, not tinker with it for the sake of “creativity” or “self-expression.” This once again is a matter of succumbing to the culture of narcissism. We hear much talk today about “servant leadership.” To have credibility, we have to model that first and foremost at the liturgy: we are the servants of the liturgy, not its creators. This takes a great deal of discipline, restraint and humility on the part of the liturgical ministers, and most especially the celebrant.

Let’s hear more from Sacrosanctum Concilum about music in the liturgy, this time about the use of instruments (n. 120):
In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man’s mind to God and to higher things. But other instruments also may be admitted for use in divine worship ... This may be done, however, only on condition that the instruments are suitable, or can be made suitable, for sacred use, accord with the dignity of the temple, and truly contribute to the edification of the faithful.
A very important instruction on sacred music issued in 1967, Musicam Sacram, repeats this passage from Sacrosanctum Concilium, and then adds the following:
63. In permitting and using musical instruments, the culture and traditions of individual peoples must be taken into account. However, those instruments which are, by common opinion and use, suitable for secular music only, are to be altogether prohibited from every liturgical celebration and from popular devotions.
       Any musical instrument permitted in divine worship should be used in such a way that it meets the needs of the liturgical celebration, and is in the interests both of the beauty of worship and the edification of the faithful.
       64. The use of musical instruments to accompany the singing can act as a support to the voices, render participation easier, and achieve a deeper union in the assembly. However, their sound should not so overwhelm the voices that it is difficult to make out the text; and when some part is proclaimed aloud by the priest or a minister by virtue of his role, they should be silent.
It is true that, given the broader sense of enculturation of the liturgy that we have today, it is much more common to utilize other instruments which in some cultures are associated with worship in the mindset and practice of the people. Nonetheless, the basic liturgical principles enunciated here are timeless, and still apply as much today as they did the day they were written, namely: (1) the primary purpose of instrumentation is to support the singing of the assembly, and therefore it should not overpower the voices of the people, both in terms of volume (the number of instruments employed should therefore not be exaggerated) and of style (showy musical embellishments more appropriate to a performance should be avoided); (2) instruments commonly associated with secular use must be incorporated in such a way as to be consistent with the sacred character of the liturgy, and not simply reproduce the profane in a sacred context; and (3) there nonetheless remain some instruments that, by their very nature, cannot be suitably adapted into a sacred context.

In the Parish Context 

Now, some people might say that this is all fine and dandy, but it’s irrelevant because it’s not what’s happening in our parishes. Well, if you see a discrepancy between what is in the pages of the Church’s documents and what is going on in our parishes’ liturgies, it’s not because the documents are wrong!

This is where the three approaches can be so easily illustrated. The ideologue will simply start mandating changes without talking to people, seeking to understand them, and, most importantly, teaching them. He’s in charge, so he does what he wants, and even if what he wants is what the Church says we should be doing, he alienates people. The lazy priest simply lets things drift off on their own, and get further and further away from what the Church teaches about how we are to worship. This, too, will inevitably begin to affect how and what his people believe, and so weaken their faith. But the pastoral priest will educate his people about what the Church teaches, what the Council really had in mind for authentic liturgical reform; he will begin to introduce changes gradually, probably targeting one principal Sunday Mass to build it up as the one with special solemnity. He also will not take anything away from his people; he will keep the contemporary music at the other Masses, and teach the musicians how to do it well. In this way, he will facilitate liturgical renewal organically. And it can be done. I’ve seen it done. I know pastors who inherited a parish in shambles (in one of them, the kids’ swing set was in the pastor’s back yard!), and, by approaching it precisely this way, they have completely transformed their parishes: the Masses are full, there are long lines for confessions, the full spectrum of ministries abound – even including the teaching of Natural Family Planning – and people are on fire for their faith.

This won’t happen with the ideologue or the slouch. When the ideologue discovers that the high school kid is having a great time banging away at the drums at Mass, he’ll tell him to take a hike. Never mind that this was his one connection to the Church, and maybe even hope for keeping out of trouble. Of course, the slouch will just let it continue, maybe even encourage it, and pretend as if it’s enjoyable. The true pastor will befriend the young man, guide him as to how he can use his instrument in a way that supports the singing rather than drown it out, and begin to sensitize the musicians to their proper role. When the young man graduates and leaves for college, there is an opportunity to make a subtle change of direction.

This pastoral, organic approach is what we are trying to model here at St. Patrick’s Seminary. Gregorian chant is to have the first place in music for worship; one day a week and one Sunday a month is hardly “first place.” But it’s a start in educating you in this rich patrimony of the Church. If you are going to implement what the Church is asking us to do, you first need to understand it and appreciate it so that you have the vision; you then need to learn how to do it in a pastoral way. But if you don’t have the vision, it will never happen. This is an institution dedicated to the formation of Catholic priests; how could anyone consider it unreasonable that it wants to educate you in Gregorian chant? You are – God willing – going to be Catholic priests! Catholic priests should not know Gregorian chant?

At the same time, you all need to be familiar with classic hymnody. There is a certain repertoire of hymns that all Catholics should know. You need to know this repertoire and appreciate it yourself, if you are going to inculcate it in the people of your parish. And, yes, it is true that, at the majority of our parishes’ Masses, it’s contemporary music that is used. You need to know how to use that well; you need a lot of discernment here. There is just simply a lot of bad music out there; you need to know how to distinguish bad music from good. And you also have to pay attention to the words, because there is also a lot of bad theology. For example, a lot of popular contemporary Church songs use the phrase, “we are the body of Christ.” That is not Catholic theology, and it is not scriptural. St. Paul says that we are “one body in Christ.” “We are the body of Christ” says that this is our body to do with as we will. Sound like a familiar argument? There we see narcissism reeling its ugly head again. There is one song that even explicitly endorses narcissism. The refrain goes like this: “Behold the Body of Christ, Jesus our Savior and Life! Rejoice O people of God! We are the Body of Christ!” You have all studied logic, so do the syllogism: major premise – behold the body of Christ; minor premise – we are the body of Christ; conclusion – let us behold ourselves. But if we are one body in Christ, with him as our head and we the members of the body under him our head, that is something quite different. We are under his authority and dominion. It’s his Church, and he gave her to us for our sanctification, not to do with as we will.

In addition to paying attention to the quality of the music and the words, you also have to be sensitive to the liturgical season of the year. What the Church really envisions us doing at Mass is singing the propers at the entrance, at the preparation rite, and at Communion. In fact, the General Instruction of the Roman Missal lists the options, in order of preference, this way (n. 48; cf. nn. 74 and 87):
(1) the antiphon from the Roman Missal or the Psalm from the Roman Gradual as set to music there or in another musical setting; (2) the seasonal antiphon and Psalm of the Simple Gradual; (3) a song from another collection of psalms and antiphons; (4) a suitable liturgical song … approved by the Conference of Bishops or the diocesan Bishop.
Notice how the lowest preference is the one that is almost always done. This can’t be changed overnight, but it is possible to pick hymns and songs conducive to the season, and perhaps even to the given entrance and Communion antiphon from the Roman Missal for the given Mass. Besides the ones with bad theology, there are also a lot of contemporary songs that are straight from Scripture, especially the psalms. There will be times that you can find a wellknown contemporary song that is taken from the same psalm (or other Scripture passage) as one or both of the antiphons from the Mass of that day.

A Processional Cross by Philippe Lefebvre

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Here is a newly completed wood polychrome and gilded processional cross made by Frenchman Philippe Lefebvre. I love the balance of naturalism and subtle abstraction that he has incorporated into this.

In Mediator Dei, Pius XII said, you may recall: 'Modern art should be given free scope in the due and reverent service of the church and the sacred rites, provided that they preserve a correct balance between styles tending neither to extreme realism nor to excessive "symbolism," and that the needs of the Christian community are taken into consideration rather than the particular taste or talent of the individual artist.'

He is telling us that the Christian artist must represent natural appearances and through the medium he chooses reveal also the invisible truths of the human person ('symbolism'). There is wide scope for individual interpretation of how this might be done, even when working within the forms of an established tradition. It is incumbent upon each artist to find the balance that appeals to people of his day. This may mean working precisely in the way of the past, or adapting and building on the past in order to achieve this end and create something new. In doing so he must avoid the errors of straying too far in either direction, towards extreme naturalism ('realism') or abstraction.

When I see this work by Philippe it strikes a chord with me - it is almost as though it is a three-dimensional Fra Angelico.





First Mass on Trinity Sunday at Saints Peter and Paul Cathedral, Philadelphia

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A full Cathedral
Father James Fryar, FSSP, preaches
The Elevation of the Sacred Host
Father Joseph Heffernan with the clergy, seminarians, servers and Knights of Columbus

More pictures and a wonderful slide show can be found at
www.totustuusfamily.blogspot.com

One Faith: East and West International Art Exhibition in NYC

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For those who are within striking distance of New York City, there is an exhibition of sacred art at the NYU Catholic Center, 238 Thompson Street, this week. Entitled One Faith: East and West it features works of by working artists such as Ken Woo, John C. Traynor, Dony Mac Manus, Sister Eliseea Papaciòc, Carl Fougerousse, Ladislav Zaborsky, Linus Meldrum, Ioan Gotia and Clemens Fuchs (whose work was recently featured on this site). The exhibition includes sculpture, stained glass and paintings in a range of naturalistic, iconographic and gothic styles. After this week it goes on tour and moves Steuvenville, OH in the Fall and thereafter leaves the US and goes to Beijing and Moscow and finally returns to NYC in a year's time.

There is a series of lunchtime and evening talks at the center about sacred art and the works on show at the exhibition by the curator, Jennifer Healy. For information go to http://onefaithexhibition.org/. The Facebook page has the same name as the exhibition - One Faith: East and West.

This exhibition is organized by the Language & Catechetical Institute located in Gaming, Austria. All proceeds will fund student scholarships for young Catholics from Eastern Europe, China, and Russia. (www.lciaustria.org)and sponsored by Our Sunday Visitor.



Study for an Apostle by Clemens Fuchs

Bishop Paparocki's Pastoral Letter on the "Ars Celebrandi et Adorandi"

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Many of our readers have undoubtedly already heard about the pastoral letter issued on the feast of Corpus Christi by the Most Rev. Thomas J. Paprocki, Bishop of Springfield, Illinois, with the auspicious title “Ars celebrandi et adorandi”. His Excellency makes several very good points in the letter, which can be read in full at the website of the diocese. Most notable is his direction to restore to the main sanctuary of the church any tabernacle which had been moved to a side chapel that was too small or lacking in prominence within the building.
...in order that more of the faithful will be able to spend time in adoration and prayer in the presence of the Eucharistic Lord, I direct that in the churches and chapels of our diocese, tabernacles that were formerly in the center of the sanctuary, but have been moved, are to be returned as soon as possible to the center of the sanctuary in accord with the original architectural design. Tabernacles that are not in the center of the sanctuary or are otherwise not in a visible, prominent and noble space are to be moved to the center of the sanctuary; tabernacles that are not in the center of the sanctuary but are in a visible, prominent and noble space may remain.
Bishop Paprocki rightly notes that the removal of tabernacles to side chapels on the analogy of what is done at St Peter’s in Rome (and many other churches in Europe) is quite incorrect, inasmuch as the Sacrament Chapel of St Peter’s is more than large enough to accommodate all those who wish to pray there, while the Eucharistic chapels in some churches today are repurposed supply closets. Just as important, His Excellency “strongly encourages” the clergy to keep churches open, in order that the faithful may more readily be able pray.
This deep-seated desire to be in the presence of the Lord resounds in the heart of every person, even if they cannot at first name this desire for what it truly is. We should therefore do all that we can to help them encounter the Lord who waits for them to seek and find him. In this regard, I strongly encourage keeping our churches open to the public in so far as can be done with the safety of people and the building in mind. Pope Francis spoke about this in his Apostolic Exhortation on the Joy of the Gospel, Evangelii Gaudium: “The Church is called to be the house of the Father, with doors always wide open. One concrete sign of such openness is that our church doors should always be open, so that if someone, moved by the Spirit, comes there looking for God, he or she will not find a closed door.” (no. 47)
He also offers this very nice explanation of the reason why genuflecting is more appropriate gesture before the tabernacle.
To genuflect means, literally, “to bend the knee.” In the ancient world the knee symbolized the strength of a man. If a man is struck in the knee, he stumbles and falls; his strength is taken from him. When we genuflect before the Lord, our strength is not taken from us; rather, we willingly bend our strength to the Lord and place ourselves humbly in his service. When we bend our knee to the Lord of heaven and earth we should hear the words of the Psalmist ever in our hearts, “Lord, I am your servant,” remembering that before the Lord every knee must bend (Psalm 116:16; cf. Philippians 2:10).
Let us pray that more bishops will follow Bishop Paprocki’s example in encouraging similar norms within their dioceses.

Chant Workshop - Flint, MI - This Saturday

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I received one of my first real tastes of gregorian chant at a similar workshop in my own home diocese. If you have been wanting to learn more about sacred music, and the church's principal music of the liturgy, I would encourage you to check this event out.



Chant Workshop


Juventutem Michigan invites everyone in the Brighton-Flint-Saginaw area and beyond to attend a chant workshop this Saturday, June 28th, 2014, at St. Matthew, Flint.  All ages and experience levels are welcome. 40 have registered, so far.

8:30 a.m. - 4:00 p.m.  Lunch is included.  $18.00 for advance, online registration; $25.00 at the door.

The main presenter will be Joseph Balistreri, the Director of Music for the Archdiocese of Detroit, who has assisted at several of Juventutem Michigan's monthly Mass & dinner gatherings.

The workshop will be in the "field house" at St. Matthew and will run from 8:30 a.m. to 4:00 p.m. on Saturday.  The subsidized cost (without Missal) will be $18.00, for those who register in advance.

The workshop will include instruction in both Latin and English Gregorian chant - with the goal of helping both beginners and those with experience to sing the Ordinary Form Mass and the Extraordinary Form (Latin) Mass with beauty and confidence.  All ages are welcome.

As able, attendees will be encouraged to assist with sacred music at both 6/28's Vigil (OF) Mass at St. Matthew's and 6/29's Missa Cantata at All Saints, Flint.

Questions: contact at JuventutemMichigan dot com

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Ordinariate Congregation Moving to Washington D.C.

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We have received this news from a parishioner of the Ordinariate Church of St Luke in Bladensburg, Maryland:

St. Luke’s Church in Bladensburg, Maryland, which came into the Catholic Church in October, 2011, will be moving into the District of Columbia this autumn. Upon moving, St Luke’s will become the first congregation of the Ordinariate of the Chair of St. Peter in the nation’s Capital.

The Archdiocese of Washington has arranged for the Ordinariate community to relocate to the Church of the Immaculate Conception, located at 1315 8th Street, NW (at the corner of 8th and N Streets, NW) in the fast-growing Shaw neighborhood of Washington, DC. The beautiful church, which is celebrating its 150th anniversary this year, is listed on the National Register of Historic Places. The interior is well-suited to Ordinariate worship, and features a fine organ, an altar rail, and an eastward-facing high altar.

Immaculate Conception’s location offers the Ordinariate community a remarkable opportunity to continue its liturgical and evangelical work in the very heart of the DC metro area.

This coming Saturday, June 28th, the Pastor of St Luke’s Church, Fr. Mark Lewis, will celebrate a Low Mass at Immaculate Conception at 10:00 AM. Following the Mass, Fr. Mark will lead a tour of the church and host a question-and-answer session with members of the legacy DC-area Ordinariate discernment groups and anyone else who is interested in learning more about the Ordinariate.

For more information, please contact Fr. Mark Lewis at frmarklewis@gmail.com.

The Church of the Immaculate Conception

Pontifical Mass at the Throne this Sunday in Wisconsin

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I am very happy to announce that Bishop Robert Morlino, my bishop, will be celebrating a Pontifical Mass at the Throne in Madison, WI, in the chapel of the Bishop O’Connor Center on Sunday, June 29, 2014, at 1:00 p.m.
Bishop Robert Morlino
All those in the southern Wisconsin area are cordially invited to attend, and seminarians and clergy are welcome to sit in choir (though please email me first so we will have space). Priests from around the diocese will be assisting, and both the Knights of Divine Mercy Schola Cantorum and the Cathedral Parish Schola Cantorum will be singing.

If you have not assisted at a pontifical Mass before, and you are within driving distance of Madison, I would highly encourage you to. It is a very beautiful ceremony, the fullness of the Roman Rite.

EF Mass at St. Theresa's Church in Trumbull, Connecticut, for the Feast of Ss. Peter and Paul

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Fr. Brian Gannon, pastor of St. Theresa’s Church in Trumbull, CT, (5301 Main Street) will celebrate Solemn Mass in the Extraordinary Form on the Feast of Sts. Peter and Paul, Sunday June 29th, at 2:30pm. This will be Fr. Gannon’s first public celebration of the Extraordinary Form, and the first time in over 40 years that such a Mass will be said at this church. The deacon for the Mass will be Fr. Shawn Cutler, the parochial vicar; a reception, hosted by the parish's young adults group, will follow in the school gym.


Benediction at St. Theresa’s after the recent Corpus Christ procession.

The Theology of the Offertory - Part 6: Prolepsis in the Offertory

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This is the sixth article in an ongoing series. The previous parts can be read here: part 1, part 2, part 3, part 4, part 5.
In rhetoric, the term “prolepsis” refers to giving something a name before that name properly belongs to it. In Genesis 3:20 it is stated that Adam “called the name of the woman Eve, because she was the mother of all the living,” even before the birth of their first child. (The name “Eve” and “life” are etymologically related in Hebrew.) Likewise, Genesis 14:14 states that Abraham pursued the captors of his nephew Lot “as far as (the city of) Dan”, even though the city was then called Laish, and only given the name Dan when the tribe of the same name seized it, as recorded in Judges 18:29.

The sacrificial language of the Offertory, “receive… this immaculate victim … we offer Thee, Lord, the chalice … receive this offering” is an example of prolepsis, referring to the Sacrifice before what is actually sacrificed is present, namely, the Body and Blood of Christ. The literal Latin equivalent of prolepsis is “anticipation”, and it was dislike of this anticipation of the Sacrifice that ultimately led to the radical overhaul of the Offertory in the Novus Ordo. Fr Aidan Nichols writes about this beautifully in his book Lost in Wonder: Essays on Liturgy and the Arts. (pp. 40-41; chapter 3 “Eucharistic Theology and the Rite of Mass.”)
Though disliked by people with tidy Germanic minds, the anticipation of the Anaphora… is a frequent feature of historic liturgy. It is even more pronounced in the Byzantine Rite… as the dedicated bread and wine are transferred to the altar at the Great Entrance, the choir sings ‘Let us … now lay aside every earthly care, so that we may welcome the King of the universe, who comes escorted by invisible armies of angels’, even though that ‘King’ only ‘comes’ in the sense that the dedicated gifts are now brought in so that they may be offered in the Holy Sacrifice… to the worshipping mind of the Byzantine Christian they are, however, already images of the Lord’s body and blood, and, proleptically, the King does come with them, since he will come in them at the Consecration. Liturgical time is not ordinary time…
The proleptic use of the term “sacrifice” and related concepts before the actual Sacrifice takes place is extremely ancient, being found first of all in the Canon of the Mass itself. In the Te igitur, the priest asks God “to accept and bless these gifts, these offerings, these holy, unblemished sacrifices.” (“haec dona, haec munera, haec sancta sacrificia illibata.” The word “munus” can also mean “sacrifice.”) It is also found in a great number of the Secrets of the Mass, which before the Offertory was fixed as a part of the rite, served as the only kind of Offertory prayers. At the Third Mass of Christmas, the Secret says “By the new birth of Thy only-Begotten Son, sanctify, o Lord, the sacrifices offered (oblata); and cleanse us from the stains of our sins.” “Oblata” is the past participle of the highly irregular verb “offerre – to offer”, and refers to that which will be offered in the action of the Canon as if it were already offered. This, despite the fact that Latin has a common future passive participle which might have be chosen, to say “…sanctify the sacrifices which will be offered.” (The form in this case would be “offerenda.”)

There are many other examples which might be drawn from the Secrets of various Masses written in all periods. With them should also be included the very title of the Secret commonly found in the ancient sacramentaries, maintained by the Ambrosian Rite, and restored to general use in the Missal of Paul VI, namely, “Super oblata – the prayer over the things that have been offered,” where it might just as well have been called “Super offerenda – over the things which will be offered.” There is no warrant for imagining that the proleptic use of the past tense form “sacrificed” or any similar terms indicates a belief that the Eucharistic Sacrifice, or some other adjunct sacrifice, took place before the Canon. The presence of such language in the Offertory simply extends backwards by a few minutes a traditional way of speaking which has been almost universally a part of Christian worship from the most ancient times.

There is also, however, a broader meaning of the term “prolepsis”, which is given by the Roman rhetorician Quintilian in The Institutions of Oratory. (Book 9, chapter 2, 16-18)
Anticipation, or, as the Greeks call it, prolepsis, whereby we forestall objections, is of extraordinary value in pleading; it is frequently employed in all parts of a speech, but is especially useful in the beginning. However, it forms a genus in itself, and has several different species. (After listing some of the specific types of prolepsis) … And, most frequent of all, there is preparation, whereby we state fully why we are going to do something or have done it. Anticipation may also be employed to establish the meaning or propriety of words,
In the first article in this series, I cited an essay by Bruce D. Marshall, who points out that the theological writers of the Scholastic period paid much more attention to the question of the Real Presence than they did to that of the Sacrifice of the Mass. While “the sacrificial character of the Eucharist had never been contested in the Western church, (or the Eastern, for that matter) at the time when Bonaventure and Aquinas wrote”, the Real Presence had been “a regular subject of theological dispute in the West for several hundred years”. (Rediscovering Aquinas and the Sacraments: Studies in Sacramental Theology, p.42; edd. Matthew Levering and Michael Dauphinais; Liturgy Training Publications, 2009)

For this reason, we find that in his Book of Sentences, the principle theology textbook of the High Middle Ages, Peter Lombard devotes but a single article to the question of the Sacrifice of the Mass. (Lib. IV, dist. 12.5) Both St. Bonaventure and St. Thomas Aquinas, in their commentaries on the Sentences (the medieval equivalent of a doctoral thesis), do not comment on this article, although they refer to it in passing elsewhere. Marshall describes the situation thus: “Thomas, it seems, does not so much deliberately ignore the sacrificial side of the Eucharist as follow an established pattern that does not see this as a problem needing special attention.” (ibid.)

On the other hand, prominent heresies about the Real Presence have arisen at several points in the Church’s history. At the very beginning of the Scholastic period, Berengarius of Tours (999-1088) caused a huge controversy by attacking St Paschasius Radbertus’ teachings on the Real Presence, an attack for which he was condemned, imprisoned and forced to retract. St Norbert, who founded the Premonstratensian Order in 1119, famously combatted and extirpated the heresies of Tanchelm, which included the complete denial of the Real Presence. In the following generation, St. Bernard identified among the errors of Peter Abelard “his opinion…on the Sacrament of the altar,” summed up as the ninth on the list of the latter’s heresies. (Epistle 188.2; cf. 189.2) Less than 30 years after the death of St. Thomas Aquinas, the Dominican John of Paris, considered by his contemporaries one of the greatest theologians at the University of Paris, tentatively proposed that belief in transubstantiation was not de fide, and put forth a theory of “impanation,” looking back to some of the ideas of Berengarius’ followers. In our own times, Pope Paul VI found it necessary in the encyclical Mysterium Fidei to reassert the Council of Trent’s teaching on transubstantiation, and reject by name the new heresies of “transignification” and “transfinalization”, as well as the proposition that “Christ the Lord is no longer present in the consecrated hosts which remain once the celebration of the sacrifice of the Mass is finished.” (parag. 11)

Now although the Offertory prayers predate the Scholastics, we may fairly say that their position in the liturgy of the Mass was consolidated in the Scholastic period, the era in which the missal would displace the use of the earlier sacramentaries, lectionaries and graduals. The medieval missals have various forms of the Offertory, some simpler and some more complex, but to take the most widely used example, that of the Roman Missal refers to “sacrifice” in various ways, but never uses the term “bread.” The most commonly used Offertory prayer Suscipe sancta Trinitas is found in many medieval missals that have none of the other Roman prayers, and also makes no reference to bread.

This constant use of “sacrifice” without “bread” is a prolepsis in the broader sense given by Quintilian; it establishes the proper meaning of terms, excluding in anticipation any idea that the liturgical act of offering offers bread. This declares in advance, against the many Eucharistic heresies past and present, what the Canon does not do. It is then left it to the Canon itself, the older part of the Mass of the Faithful, to declare right before the consecration what it does do, namely, make present “for us the Body and Blood ... of the Lord Jesus Christ.”

A leaf of an early Premonstratensian Missal, ca. 1150, with the Offertory prayer Suscipe sancta Trinitas on the lower part of the left hand column, and the common forms of the Preface on the right. (Bibliothèque nationale de France, Département des manuscrits, Latin 833)

Photographs from Valaam Monastery

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I just stumbled across the website of Valaam Monastery, a Russian Orthodox foundation located on a large island in Lake Ladoga, the largest lake in Europe, to the north of St. Petersburg and the Karelian Isthmus. The monastery established a photographic studio in the 1850’s, and has evidently amassed an enormous archive; the website has a special section dedicated to photography, with links to eleven different collections. In addition to a section of historical images, the works of a number of talented individual artists are highlighted, including two members of the community. Here is just a tiny selection, made more or less at random; the site is very much worth perusing. Valaam is also the home of a special kind of liturgical music, and the website provides a number of links to recordings. (h/t P.A.G.)






Sts. Peter and Paul Photopost Request

Another Modern: New Gargoyles on a Gothic Chapel

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The humor website Cracked.com just published an article called “7 Awesome Buildings That Look Like They’re Designed by Kids”. One of these (#5) is a small Gothic chapel near the French city of Nantes, the Chapelle de Bethléem. In the course of a restoration done between 1993 and 1995, the decision was made to replace the lost pinnacles at the corners of the building, and the statues on them; a sculptor named Jean-Louis Boistel was then allowed to create a thematic sculptural program for each pinnacle. So for example, the “pinnacle of memory” has statues of the Four Evangelists.

The symbols of St. Matthew, Luke and John on the pinnacle of memory. Image from the chapel’s website
This is not the why the chapel was noted in the Cracked article, however. This is:


Yes, that is Gizmo from the movie Gremlins. And of course, if you feed him after midnight....


Gizmo and the bad Gremlin share the “pinnacle of the reckless” with a character from a Japanese anime popular in France in the 1990s, a good and heroic robot called Goldorak.


The program of the “pinnacle of origins” includes a rather unique representation of “nothingness” or “the void”, understood as a rival to God inasmuch as it wants to destroy what God has created, but will be defeated by God.


One would assume that there could only be one church in the world which has a representation of the xenomorph from the Alien movies... but one would be wrong. Paisley Abbey in Scotland was decorated with one at almost the same time as the Chapelle de Bethléem. (This appears to be the baby alien when it makes its altogether memorable entrance... or rather, exit.)


For a time the famous astronaut on the door of the New Cathedral in Salamance looked liked his arm was bitten of during an encounter with a xenomorph...


but it has subsequently been fixed.

Ordinations this morning at the Cathedral of Chartres

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This Saturday, June 28, on the vigil of the Feast of Saints Peter and Paul, His Excellency Marc Aillet, Bishop of Bayonne, Oloron & Lescat (France), conducted the ordination of three new French priests for the Fraternity of St. Peter (FSSP): Fr. Jean de Massia, Fr. Olivier de Nedde and Fr. Thibault Paris. The ceremony took place for the first time in the magnificent Cathedral of Chartres, still in restoration (the choir is now achieved).

  02 Imposition des mains à l'Abbé Paris par le pontife © François N20 A l'offertoire de la messe - vue du chœur nouvellement restauré de la cathédrale © François N07 Sur le parvis de la cathédrale de Chartres, après la cérémonie, ultime bénédiction par Mgr Aillet © François N

More pictures here.

Corpus Christi Photopost 2014 - 1/2

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We have so many parishes this time that I will be splitting the Corpus Christi Photopost into two posts. Look for the second post tomorrow!

Holy Family Church, Singapore


Budapest, Hungary


All Saints, Minneapolis, MN




St. Raphael Cathedral Parish - Bishop Robert Morlino, Madison, WI


Barcelona


St. Mary's Parish, Pine Bluff, WI (my parish!)


Holy Innocents, NY


St. Paul Parish, Bergen, Norway


St. Martin of Tours Church, Louisville, KY


Saint Benedict Catholic Church, Richmond, Virginia


Immaculate Conception, London


St. Stanislaus Oratory (ICRSP) in Milwaukee, WI


St. Mary, Norwalk, CT


St. Catherine of Siena, New York


Duarte, California


St. Peter Church, Chillicothe, OH


Cathedral of Saint Mary of the Immaculate Conception, Peoria, IL
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