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Juventutem Louisville Conference with Fr. Z

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Juventutem Louisville is hosting a one-day conference with Fr. John Zuhlsdorf at St. Martin of Tours Catholic Church, 639. S. Shelby St, Louisville KY on Saturday, August 16. Father Zuhlsdorf will celebrate Solemn High Mass for the feast of St. Joachim, and the parish choir will sing Hassler’s Missa Secunda. Admission is free, and there is an option for a lunch for $10 (tickets must be purchased by August 8th). For more info, please see the flyer and the chapter website (including lunch information).


The Theology of the Offertory - Part 7.3 - Medieval English Uses

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In England at the time of the Reformation, there were five different liturgical Uses, those of Sarum, York, Hereford, Lincoln and Bangor. Here I shall describe the Offertory according to the Missals of the first three, Sarum being the predominant Use in the south of England, passing thence to Scotland and Ireland, while that of York prevailed in the north. The Offertory of the Use of Bangor is almost identical to that of Sarum, while that of York is very similar, the influence of Sarum being very strong on the others. The texts are taken from Francis Dickison’s annotated edition of the Sarum Missal (1883), the Surtees Society’s edition of the York Missal (1872) and William Maskell’s The Ancient Liturgy of the Church of England (1846).

The Sarum Use

As in many other medieval Uses, at Sarum the wine and water are put in the chalice after the singing of the Epistle. The subdeacon asks the priest to bless the water by saying simply “Benedicite”, as in the Dominican Use; the blessing is “Ab eo sit benedicta, de cujus latere exivit sanguis et aqua. In nomine Patris etc. – May it be blessed by Him, from whose side came forth blood and water. In the name of the Father etc.”

At the Offertory, therefore, the priest receives the already-filled chalice with the paten and host on top of it from the deacon; he places them in the middle of the corporal, bows, and then lifts them and says the Suscipe sancta Trinitas; as in the Dominican Use, the Sarum version of this prayer is much shorter than typical. (The variants of the use of York are also noted here.)
Suscipe, sancta Trinitas, unus Deus, hanc oblationem, quam ego (York: miser et) indignus peccator offero in honore tuo, beatæ Mariæ et omnium Sanctorum tuorum, pro peccatis et offensionibus meis, et pro salute vivorum, et requie omnium fidelium defunctorum. (“omnium” omitted at York)
In nomine Patris, et Filii et Spiritus Sancti, acceptum sit omnipotenti Deo hoc sacrificium novum.
Receive, Holy Trinity, one God, this offering, which I an unworthy (York “wretched and unworthy”) sinner offer in honor of Thee, of the blessed Mary, and all Thy Saints, for my sins and offenses and for the salvation of the living, and the repose of (all) the faithful departed.
In the name of the Father, and of the Son, and of the Holy Spirit, may this new sacrifice be acceptable to Almighty God.
He lowers and covers the chalice, places the host before it on the corporal, kisses the paten, and places it to the right. He receives the thurible from the deacon, and incenses the host and chalice, making a cross with the thurible over them three times, then swinging it in a circle around them three times, and then to either side of the offerings. As in the Carthusian Use, the words which he says are shorter than what is said in the Roman Rite: “Let my prayer, o Lord, be directed as incense in thy sight.”

The priest is incensed by the deacon, after which, the subdeacon brings him the Gospel book to kiss. An acolyte takes the thurifer and censes the choir, but only if the Creed has been sung at that Mass.
The words which the priest says while washing of the hands are completely different from those of the Roman Rite.
Munda me Domine, ab omni inquinamento mentis et corporis; ut possim mundus implere opus sanctum Domini. - Cleanse me, o Lord, from every impurity of mind and body, that I may be able to complete the holy work of the Lord in purity.
Returning to the middle of the altar, he bows low and says In spiritu humilitatis, with the same variant found in the Dominican Use: “In a spirit of humility, and in contrite heart, may we be received by Thee, o Lord; and so may our sacrifice take place in Thy sight this day, that it may be received by Thee, and please Thee, o Lord, my God.”

He now kisses the altar to the right of the corporal, and blesses the elements, saying “In the name of the Father etc.”, then turns to the people and says in a low voice, “Orate fratres et sorores, pro me, ut meum pariterque vestrum acceptum sit Domino Deo nostro sacrificium. – Pray, brothers and sisters, for me, that my sacrifice, which is equally yours, may be accepted by the Lord, our God.” The clergy answer, “Spiritus Sanctus gratia illuminet cor tuum et labia tua, et accipiat Dominus digne hoc sacrificium laudis de manibus tuis, pro peccatis et offensionibus nostris. - May the grace of the Holy Spirit enlighten thy heart and thy lips, and may the Lord worthily accept this sacrifice of praise from thy hands, for our sins and offenses.”

The frontispiece of a Sarum Missal printed at Paris in 1555.
The Requiem Mass

The Use of Sarum has an interesting variant for the Offertory at a Requiem Mass celebrated with the body of the deceased present, and likewise on the monthmind and anniversary Masses. The choir begins the Offertory chant “Domine Jesu Christe, Rex gloriae” as normal, as far as the words “Quam olim Abrahae promisisti et semini ejus,” while the priest performs the Offertory ritual as far as the washing of the hands. The priest then sings the first words of the second part of the Offertory chant, “Hostias et preces tibi Domine offerimus”, which the choir continues. The response to the Orate fratres is substitued with the continuation of the Offertory chant, “Requiem aeternam dona eis Domine, et lux perpetua lucet eis. Quam olim Abrahae promisisti et semini ejus.” (Eternal rest grant to them, o Lord, and may perpetual light shine upon them, which Thou didst once promise to Abraham and his descent.)

The Use of York

The Use of York presents only a few minor differences from that of Sarum. The priest begins the Offertory by washing his hand in silence. He places the host on the corporal, and says the Suscipe sancta Trinitas, with the variants noted above. He takes the chalice and says “May this sacrifice be acceptable to Almighty God. In the name of the Father, and of the Son, and of the Holy Spirit. Amen.” He then washes his hands again, and says from Psalm 25 only one verse, “I will wash my hands, among the innocent, and encompass thy altar, o Lord,” followed by the hymn Veni Sancte Spiritus.

Returning to the middle of altar, he says In spiritu humilitatis as at Sarum, with a slight variation, omitting the words “in thy sight.” The Orate fratres is likewise the same, except for the addition of one word “… pro me peccatore – … for me a sinner”. The response, however, is completely different, consisting in the first three verses of Psalm 19, “May the Lord hear thee in the day of tribulation: may the name of the God of Jacob protect thee. May he send thee help from the sanctuary: and defend thee out of Sion. May he be mindful of all thy sacrifices.”

York Minster seen from the walls of the city. 
The Use of Hereford

At Hereford, the chalice was not prepared during the Epistle; the Offertory therefore begins with the deacon saying “Benedicite, and the blessing of the water, similar to that of the Sarum Use noted above: “Ab ipso sis benedicta, de cujus latere exivit sanguis et aqua. In nomine Patris etc. – May thou be blessed by Him, from whose side came forth blood and water. In the name of the Father etc.” The priest places the paten with the host on the chalice, and lifts them up, saying this the same version of the Suscipe sancta Trinitas used by the Dominicans.
Suscipe, sancta Trinitas, hanc oblationem, quam tibi offero in memoriam passionis Domini nostri Jesu Christi; et præsta ut in conspectu tuo tibi placens ascendat, et meam et omnium fidelium salutem operetur æternam.
Receive, o Holy Trinity, this offering, which I offer to Thee in memory of the passion of our Lord, Jesus Christ; and grant that in Thy sight it may be pleasing and ascend to Thee, and effect my eternal salvation and that of all the faithful.
Laying them down, he places the host before the chalice, kisses the paten, and places it to the right as at Sarum. He then washes his hands, saying the hymn Veni Sancte Spiritus, but omitting the stanza which in medieval uses was considered the proper doxology of Pentecost. (Dudum sacrata pectora.) This is followed by the versicle “Send forth thy Spirit, and they shall be created. And thou shalt renew the face of the earth.” and the following prayer.
Oremus. Ure igne Sancti Spiritus renes nostros et cor nostrum, Domine: ut tibi casto corpore serviamus, et mundo corde placeamus. Per Christum Dominum nostrum. R. Amen.
Let us pray. Kindle our reins and our heart, O Lord, with the fire of the Holy Spiritt, that we may serve thee with a chaste body and please thee with a pure heart. Through Christ our Lord. Amen.
He bows low and says the In spiritu humilitatis, then kisses the altar to the right of the chalice. Next, he holds his hands joined over the chalice and says “Veni, sanctificator, omnipotens aeterne Deus. – Come, o sanctifier, almighty and eternal God.” He then makes the sign of the cross over the chalice as he says the rest of the prayer, “Benedic + et sanctifica hoc sacrifium, quod tibi est praeparatum. – Bless and sanctify this sacrifice, which has been prepared unto Thee.” He signs himself “In the name of the Father etc.”, and says the Orate fratres, slightly different from that of Sarum. “Orate fratres ad Dominum, ut meum pariter et vestrum in conspectu Domini acceptum sit sacrificium. – Pray, brethren, to the Lord, that my sacrifice, which is equally yours, may be accepted in the sight of the Lord.” No response is made.

The choir-screen of Hereford Cathedral.

A Talk on the Anglican Ordinariate

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Holy Rosary Church in Portland, Oregon, has posted to youtube the talk which we announced recently, which was given on August 5th by Fr Carl Reid, a priest of the Anglican Ordinariate, entitled “The Ordinariate: A Gift to be Shared from Benedict XVI.”

Vigil of Prayer for Peace in NYC - Monday, August 11

Pontifical Mass at the Throne for the Assumption

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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 Friday, August 15, 2014, at noon.
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 have space). Priests and seminarians from around the diocese will be assisting, and both the St. Dominic Chamber Choir 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.



ICKSP Ordinations in St Louis, Missouri

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On Tuesday, August 5th, His Eminence Raymond Cardinal Burke, Prefect of the Apostolic Segnatura, ordained four American deacons of the Institute of Christ the King to the priesthood at the Oratory of St Francis de Sales in St Louis, Missouri. Archbishop Salvatore Cordileone of San Francisco, Bishop Robert Finn of Kansas City, and Bishop Joseph Perry, Auxiliary of Chicago, were also present. A report of the event from the St Louis Post-Dispatch, can be read here; a photoset from their website can be seen here. The website of the Institute itself has a nice photoset which you can see here.


Mr Philip Roussin has also post a set of photos to his flickr account; our thanks to him for permission to reproduce them here. We offer our congratulations to the Institute and to the newly ordained priests, Francis Altiere, Benjamin Coggeshall, Joel Estrada and Andrew Todd.



Blessing of an Organ at FSSP Church in Chesapeake, Virginia

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The Fraternity of St Peter’s church in Chesapeake, Virginia, St. Benedict’s, will have a blessing of a new organ, followed by an organ Prelude and then Solemn High Mass, on August 22nd, the feast of the Immaculate Heart of Mary (EF), starting at 7 p.m. A reception will follow the Mass. The website of the Berghaus Pipe Organ Builders, the company that built and installed the organ, has a number of pictures documenting the various phases of the project, from design to construction and installation.



The Blessing of an Organ, from the Roman Ritual

V. Our help is in the name of the Lord
R. Who made heaven and earth.
Psalm 150
Praise ye the Lord in his holy places: * praise him in the firmament of his power.
Praise him for his mighty acts: * praise him according to the multitude of his greatness.
Praise him with sound of trumpet: * praise him with psaltery and harp.
Praise him with timbrel and choir: * praise him with strings and organs.
Praise him on high sounding cymbals: praise him on cymbals of joy: * let every spirit praise the Lord.
Glory be. As it was.
V. Praise the Lord with timbrel and choir.
R. Praise him with strings and organs.
V. The Lord be with you.
R. And with thy spirit.
Let us pray. God, who though Thy servant Moses, commanded that trumpets be made to be sounded over the sacrifices that would be offered to Thy name, and Who though the sons of Israel, willed that the praise of Thy name be sung with trumpets and cymbals: bless +, we ask Thee, this instrument of the organ, dedicated to Thy worship; and grant that Thy faithful, rejoicing in spiritual canticles upon this earth, may merit to come to eternal joys in heaven. Through our Lord Jesus Christ, Thy Son etc. (The organ is sprinkled with holy water.)

(Deus, qui per Moysen famulum tuum tubas ad canendum super sacrificiis, nomini tuo offerendis, facere praecepisti, quique per filios Israel in tubis et cymbalis laudem tui nominis decantari voluisti: bene+dic, quaesumus, hoc instrumentum organi, cultui tuo dedicatum; et praesta, ut fideles tui in canticis spirituilibus jubilantes in terris, ad gaudia aeterna pervenire mereantur in caelis. Per Dominum etc.)

Review: New Translation of Durand’s Rationale divinorum officiorum

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Readers with an interest in liturgical and sacramental theology, the history of the liturgy and its symbolism, and developments in the medieval period in particular, will recognize the name of William Durand or Durandus (1230–1296), Bishop of Mende, and author of the Rationale divinorum officiorum or “Rationale for the Divine Offices.” This work is one of the most important, famous, and plentiful commentaries on the material and spiritual aspects of the Mass, the Office, and the sacramental rites—including the church building, its furnishings and decorations, the altar, bells, the cemetery, with substantial theological reflection on consecrations, unctions, and sacraments (Book 1); the ranks and orders of ministry, from the cantor up to the bishop (Book 2); the clergy’s garments and equipment, including Mass vestments, stockings, sandals, gloves, miter, ring, staff, pallium, and the liturgical colors (Book 3); “the Mass and each action pertaining to it,” from the preparations for Mass and Introit through the whole Mass of the Catechumens and Mass of the Faithful, until the final blessing (Book 4); the canonical hours of the Divine Office (Book 5); the Proper of the Time (Book 6); the Proper of Saints (Book 7), and the ecclesiastical calendar and its determinations (Book 8).

A new translation of the Rationale into English has been appearing book by book for a number of years, thanks to Dr. Timothy M. Thibodeau, Professor of History at Nazareth College in Rochester. Book 1 had not been translated into English for almost two centuries and Book 3 in over a century; Books 2, 4, and 5, as well as the prologue to the whole, had never been translated at all. This is particularly surprising for a work that became, as the translator notes in his various introductions, by far the most widely distributed and influential commentary of its kind throughout Europe for centuries—a work without which it is well-nigh impossible to access the riches of the medieval understanding and celebration of the liturgy of the Latin Church.

As a collaborator with Fr. Anselme Davril, O.S.B., on the first modern critical edition of the Rationale (published in the Corpus Christianorum Continuatio Mediaevalis, 3 vols., Brepols, 1995–2000), Dr. Thibodeau is well suited to the work of translating, annotating, and introducing Durand. He has published his translation with various publishers: The Rationale divinorum officiorum of William Durand of Mende: A New Translation of the Prologue and Book One(Columbia University Press, 2007); On the Clergy and Their Vestments: A New Translation of Books 2–3 of the Rationale divinorum officiorum (University of Scranton Press, 2010); and Rationale IV: On the Mass and Each Action Pertaining to It (Brepols, 2013). Book 5 is slated to appear next year (also Brepols). Although books from Brepols are notoriously pricey, I would recommend that a serious student of the liturgy break the piggy bank on Book 4 of the Rationale. It’s hard to beat these 500 pages for sheer magnificence; it’s like the Ghent Altarpiece in prose.

To give a sense of the scope and level of detail of the Rationale, Durand devotes 5 pages to bells, 4 pages to the maniple, 10 pages to the pallium, 22 pages to the Introit and Entrance Procession, 15 pages to the Collect, 23 pages to the Gospel, and—highly pertinent to Gregory DiPippo’s multi-part series on the Offertory—a luxurious 37 pages to the Offertory rite, including a wonderful explanation and defense of the practice of praying the Secret and the Canon silently (see my article here for some further reflections on this topic). Durand’s commentary on the Roman Canon alone is a 123-page treatise that is so fascinating it is hard to put down, and shows the depth of theology and spirituality that our medieval forefathers derived from every last detail of word and ceremony.

Most characteristic of Durand is his delight and skill in elaborating the symbolism of each phrase and action of the sacred liturgy. The Mass, for him, is analogous to Sacred Scripture: it has a literal sense, to be sure, but built on that literal sense are allegorical, moral, and anagogical senses as well. A certain ritual can have its practical purpose while at the same time pointing to Christ, illustrating a moral lesson, and turning the mind to heaven. Actually, it is not merely that room can be found for these spiritual senses, but rather, precisely because of the unity of salvation history in the Person of Jesus Christ and the centrality of His Passion in the whole scheme of the universe, the practical things we do in worship necessarily bear a likeness to Him, drawing our minds to Him, showing us how we must live, and pointing to our eternal destiny.

These connections are not self-evident, however, since they are founded on divine revelation, which is not native to the human mind, and they have been elaborated over the centuries by our ancestors in the faith—an elaboration of symbolic vocabulary that is no more native to the mind than the mysteries they symbolize. The Christian, whether cleric or layman, must be trained in understanding them. (This is what Vatican II referred to as “liturgical instruction” and “liturgical formation”: see Sacrosanctum Concilium 14–19.) Without a thorough education in the “language of worship,” we are bound to derive far less benefit than we could otherwise do, and risk going through the motions without appreciating their significance; or worse, we might jettison whole portions of that Catholic language of worship simply because “we don’t understand it any more.” That, of course, is what the liturgical reformers did in the 1960s, and that is why one may consider this 13th-century bishop’s Rationale essential reading for those who wish to preserve and promote our great liturgical tradition—especially bishops, priests, deacons, and catechists, who have the task of passing on the faith and explaining it. Durand himself, with a pastor’s heart, wrote the book for just this purpose.

Along those lines, allow me to make a final observation (or really, an appeal). The seeds of countless good homilies lie hidden in these pages. Clergy who wish to preach more often on the liturgy or include it in catechism classes will find much insight and inspiration in Durand’s “summa of the liturgy.”

The Rationale for the Divine Offices is available at:

Book 1publisher siteAmazon
Books 2 & 3 — publisher siteAmazon 
Book 4publisher siteAmazon
Book 5 (forthcoming)




Assumption 2014 - Photopost Request

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Salve Regina! It's that time of year again! I cordially invite you to send in photos from your liturgies, including Masses and celebrations of the Office to me at photopost@newliturgicalmovement.org for inclusion in this year's Assumption photopost.

nb: Please ensure you send them to the photopost address, not my main NLM address in the sidebar, so that they can be sorted out properly, and ensure that your photos get through!

Reminder: Solemn Mass, Assumption of Our Lady

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Readers in Rhode Island and the surrounding area are reminded that Solemn Mass in the Extraordinary Form will begin at 7:00 pm on the Feast of the Assumption, Friday, August 15th, at Holy Ghost Church in Tiverton, R.I. Under the leadership of its pastor and my friend Father Jay Finelli (the “iPadre”), Holy Ghost has become a showpiece of the new liturgical movement: ad orientem for both the Ordinary and Extraordinary forms, generous use of Latin and Gregorian chant, quality music, Communion at the altar rail, sacred vessels and vestments worthy of the divine Sacrifice, doctrinally meaty preaching and catechesis, etc. (see HERE and HERE).

The Nativity in the Initial P, c. 1395, by Don Silvestro dei Gherarducci (1339 – 1399), by Dr Caroline Farey

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Art, as the Catechism tells us, can communicate through beauty aspects of the truth that words alone cannot. In this posting Dr Caroline Farey of the School of the Annunciation, Buckfast Abbey, Devon, England describes why this image was chosen to exemplify and communicate the idea of the via pulchritudinis - the pathway of beauty that leads to Beauty itself and which is itself beautiful. This is an important aspect of the School's newly launched Diploma in New Evangelization, a distance-learning, interactive online course.
Dr Farey also leads the School of the Annunciation summer school in ‘Finding Faith through Sacred Art’, August 14-17th at the same magnificent location and its not too late to enrol for that too. You can enrol through their website.

She writes: 'This picture and the whole page ‘evangelise’, that is, ‘proclaim the Good News’ and the artist friar, Don Silvestro, has chosen to proclaim it in glorious gold and exuberant life and colour!   The musical notes too join the joyous proclamation on the page to that of the choir who will sing from it.  The first two notes are an interval of a fifth, an uplifting interval, an interval used for the joyous moments in the Church’s liturgy. This illuminated capital letter ‘P’ is a depiction of the Good News that Jesus Christ, Son of God, was born of the Virgin Mary.  You can see that the P is the first letter of ‘Puer’ ‘boy child’. God is born a boy child, born of a virgin  ‘betrothed to a man to a man whose name was Joseph, of the house of David; and the virgin’s name was Mary.’  Luke chapter 1:27.  

'No ‘news’, no facts, no truth, can compare with this.  No other religion ever claimed that Almighty God, Creator of the universe chose to enter his created world and its history, as a human being, at a specified time and place in a particular family that could be verified with parents, Grandparents and cousins.
Let us look closely at the Latin words. On this page we find that these do not come from the New Testament (as the image portrays), but from the Old, from the prophet Isaiah (Is 9:6)
·         ‘Puer nat(us) est nob(is)  ‘A child is born for us,
·         Et filius datus e nobis - and a son is given to us,
·         Cuius imperium - whose government  - (next page not shown) is upon his shoulder’. 
'Here we have perfectly portrayed the unity of the Old and the New Testaments in Jesus.  As the Catechism tells us (CCC.102): ‘Through all the words of Sacred Scripture, God speaks only one single Word, his one utterance in whom he expresses himself completely’.   That is Jesus, the Son and Word and Image of God.   The Good News of God becoming man has been proclaimed in a hidden way throughout the whole of the Sacred Scriptures. 

The Incarnation: a cosmic event

'Let us now look again at the miniature painting itself. This image portrays the event that changed everything, the whole of creation.  The open cave depicts the hard earth opening to let the love of God enter in and ‘dwell’ in our midst.  It follows the prophet Ezekiel (36:26) who speaks of our hearts like hearts of stone that need to be opened and replaced with hearts of flesh, hearts that receive the divine love of God by receiving the child Jesus. 
It is a cosmic event, affecting all levels of creation.  Starting from the lowest level of inanimate and plant life we see that:
·         From the grey rock a tree breaks into leaf and blossom and red and white flowers sprinkle the barren earth like life newly bursting forth.  
·         The animal kingdom is also affected, where, as Isaiah prophesied, ‘the ox knows its creator and the ass its Master’s crib;’.  (Is 1:3)
·         'Mankind is portrayed by Mary and Joseph and the shepherds.  Mary and Joseph show us in their attitudes, the way to heaven. They show what to do in the presence of God made man.  Mary ‘carries’ the Christ child, not letting him go and holding him in such a way that he is available for others.  Joseph faithfully follows the instructions of the psalm, ‘come in let us bow and bend low, let us kneel before the God who made us’ (Ps 94:6).  He kisses the baby’s feet as he adores him as God, following the first commandment : ‘you shall love the Lord your God with all your heart, and with all your soul and with all your might’  (Deut 6:5) 
'You will find the shepherds in various stages of their journey.  The closest is appearing from behind the rock cave.  Others are at the bottom of the page: on the right one is still sitting absorbed with playing a bag and pipe of some kind. Others in the left corner are startled by an angel and the sheep are wandering in a  confused state through the decorative border.   
·         As we move up the levels of the created world we see the angels here too, singing and dancing with Joy on the roof of the stable.   
·         Both as the sky and as heaven, the shining gold background suggests rejoicing in heaven and on earth, ‘the glory of the Lord shone around them ...’and suddenly there was with the angel a multitude of the heavenly host praising God and saying  ‘Glory to God in the highest and on earth peace among men with whom he is well pleased’ (Luke 2:9 & 14).
'Let us look again at Joseph.  Here he is not portrayed sitting to one side, as in many images of this time.  Here he is taking the flesh of the feet of the child on his lips – what does this remind you of?  Yes, of receiving Christ in Holy Communion.  We must remember that this is a book for the liturgy of the Mass.  This page is the opening page of the Introit (opening prayer) for the Mass of Christmas Day.   Even as Mass begins, the image portrays that what happened on the first Christmas Day is the same as that which takes place at Mass, hence, of course, the name of the feast, ’ Christ’s Mass’.
'Lets look again at Mary.  Her inner dress and Joseph’s are the same colour – they are both human.  Mary is not divine.  Over her humanity, however, she has a mantle of blue indicating the ‘overshadowing’ of God the Most High (Lk 1:35) and the singular graces given to her for this moment.    Jesus’ garment matches the colour of the heavens, the glory of God.  
'You will notice too that Mary is sitting on a most elaborate cushion with diamond decoration.   This suddenly reveals the artist’s concern to show Mary with the riches of a Queen, for the newborn King in gold on her lap, as well as to show her as Mother.   
'In conclusion, we have the Good News portrayed here from the Old Testament prophesy to the New Testament event of the birth of Christ.  The Good News includes the ultimate Queenship of Mary as mother of the King of Kings and all of this is proclaimed for us liturgically with words and music, and eucharistically with Joseph’s adoration.'  


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Solemn EF Mass for the Assumption in St Petersburg, Florida

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For the feast of the Assumption, there will be a Solemn High Mass at the Cathedral of St. Jude the Apostle in St. Petersburg, Florida, this Friday at 7:00 pm, in the main cathedral church. This is an historic event since it is the first time since 1964 that the Traditional Latin Mass has been offered in the main cathedral church - the Extraordinary Form is usually celebrated in the daily Mass chapel.

Mater Ecclesiae's 14th Annual Assumption Mass

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Mater Ecclesiae Roman Catholic Church, Berlin, NJ, Diocese of Camden, welcomes you to attend the 14th Annual Assumption Mass. The Mass, in the Extraordinary Form, will take place on Friday, August 15, at 7:00 PM, at the Cathedral Basilica of Saints Peter and Paul, 18th Street and the Benjamin Franklin Parkway, Philadelphia, PA 19103. There is a parking lot next to the Cathedral and there is an underground garage at the Sheraton Hotel on 17th Street.
     The celebrant of the Mass, who will also deliver the sermon, is Monsignor Andrew Wadsworth. Msgr. Wadsworth, originally a priest of the Archdiocese of Westminster, London, is now the superior of the Oratorian Community of St. Philip Neri, an oratory in formation in the Archdiocese of Washington, D.C. Since 2009, he has been Executive Director of the International Commission for English in the Liturgy (ICEL), responsible for the proposal of English translations of Latin liturgical texts for use in places where the liturgy is celebrated in English. Msgr. Wadsworth has written and lectured widely on both forms of the Roman Rite and the 'ars celebrandi'.
     This Mass was begun fourteen years ago to thank and honor our Lady for the establishment of Mater Ecclesiae. We also wanted to feature some of the greatest works of orchestral/choral music ever written for the Sacred Liturgy. Under the direction of Dr. Timothy McDonnell, the setting for the Ordinary of the Mass is the "Missa in Angustiis," or "Lord Nelson Mass," by Franz Joseph Haydn sung with full orchestra. Other works include the motets "Salve Regina" by Antonio Salieri (1750-1825), the "Salutatio D.N.I.C." by Ludwig Senfl (1486-1543),  the "Beata Viscera" by Gregor Aichinger (1565-1628), the "Adagio" from Concerto for 2 oboes in G Major by Tomaso Albinoni (1671-1751), the "Hodie Maria Virgo" by Luca Marenzio (1553-1599), the "Tantum Ergo" by Wolfgang A Mozart (1756-1791) and a Postlude, "Concerto for 2 trumpets in D Major", by Giuseppe Maria Jacchini (1663 - 1727). The traditional hymns, "O Sanctissima and Hail Holy Queen," arranged by Dr McDonnell, will also be sung.
     We wish to thank His Excellency, Archbishop Charles Chaput, as well as the rector of the Cathedral Basilica, Father G. Dennis Gill, for the great privilege of celebrating this Mass in the Cathedral Basilica of Saints Peter and Paul. Please spread the word about this grand celebration of Our Lady's Assumption. 

Amazing Things Happening in Madison, Wisconsin

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I try not to be focused too much on my own diocese and parish when I post on NLM, but this post, I’m going to depart from that. I firmly believe that my bishop, Bishop Robert Morlino, is one of the best in the country. As “exhibit A” of this statement, I want to tell you about the recent seminarian gathering that took place.

This year's solemn Mass
Once a year, the 35 or so seminarians of the diocese gather for over a week to spend time together socializing with each other and with the bishop, learning, and praying together, before heading their separate ways for school. One of the things that is always included is a celebration (or more) in the Extraordinary Form (EF), thanks to Bishop Morlino’s love of the old form, and desire to see it spread. Last year, the low Mass was followed by a talk by our Bishop to the seminarians, where he told them they would all learn the EF before being ordained,which is absolutely fantastic.

While I am not a seminarian myself, I am often around assisting in various capacities (last year, I was MC for this Mass, this year, I sang for the Mass). Yesterday, there was a Solemn Mass celebrated for them, and all the seminarians either served or sat in choir, which allowed them to experience this different, less common form of celebration. It was an absolutely beautiful experience seeing all of them worshiping God, and also being exposed to some of the rich liturgical traditions of our Catholic faith.

Last year’s low Mass
The liturgical (and I dare say, pastoral) outlook of these wonderful men makes me thrilled for the future of the church and particularly the Diocese of Madison. I think I can safely say they are receiving some of the best formation in the country. I know in my diocese, knowing most of these awesome men personally, the Diocese of Madison will be a truly amazing place in 20 years when the are pastors, working for the salvation of souls and restoration of sanity and beauty in the liturgy. I hope and pray that more dioceses follow in our footsteps and help future priests learn an appreciation for both forms of the Roman Rite. In addition to that, he has frequently celebrated his public feast day Masses in the EF (for example, and another one), in an effort to expose more people to it as well. And currently, he has been celebrating a pontifical Mass at the throne multiple times a year, with hopes to continue the pattern.

And while I'm sure many of you who read NLM are people who love the EF, he has not neglected to being sanity and beauty to the ordinary form as well. The diocese has sponsored workshops on gregorian chant for musicians, strong homilies on the truths of the faith, beautiful examples of vestments even in the ordinary form both on special occasions and typical Sundays, and as someone who sees musicam saram as important, he very frequently chants his prayers and dialogs.
A recent ordination (OF)

Another amazing point about Bishop Morlino: he has brought with him a huge boom in vocations. When he came to the diocese in 2003, there was just a handful of seminarians (two or thee maybe!). The previous bishop ordained about that number during his whole ten year tenure as bishop of the diocese. But since then, we are now up to 33 seminarians, and steadily growing. A close friend of mine just finished his first year as a class of two, and is heading to school this year as part of a class of six. Men have been flocking to join thanks to the excellent leadership he has shown.

There's a reason he's now affectionately called "The Extraordinary Ordinary" by many.

There are truly some amazing things happening here. Good people, pray for your seminarians, that they be prepared well to serve the church. Pray for your priests, that they may labor well for the salvation of souls now and in the future. And pray for your bishops, who help and lead the priests in this mission, and guide and form the future priests of the diocese.

A Special Hymn for the Assumption

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In the Roman Rite, there are traditionally only three hymns generally used on feasts of the Virgin Mary. These are Ave Maris stella, which is sung at Vespers, Quem terra at Matins, and O gloriosa Domina at Lauds; the second and third of these were originally two parts of the same hymn, divided for liturgical use. Among the many other hymns composed in the Middle Ages in honor of the Virgin, a standout is O quam glorifica, an anonymous composition of the ninth century, possibly earlier, which was adopted by several churches for use on the Assumption. At Sarum, it was sung at First Vespers of the feast, while the Parisian Use placed it at Matins, and from these extended it to the Little Office of the Virgin. It was incorporated into the Latin version of the Liturgy of the Hours, although it was not assigned to the Assumption, but at Lauds of Our Lady’s Queenship on August 22, which is now the de facto octave of the Assumption. This is a piece whose complex Latin meter makes for a rather odd word order, and a prime example of a work to which translation perhaps does more than a little injustice. It is here sung by the Trappist monks of Gethsemane Abbey in Kentucky, in a recording from 1958.


O quam glorifica luce coruscas,               O with how glorious light thou shinest,
Stirpis Davidicae regia proles!                  royal offspring of David’s race!
Sublimis residens, Virgo Maria,               dwelling on high, O Virgin Mary,
Supra caeligenas aetheris omnes.             Above all the regions of heaven.

Tu cum virgineo mater honore,                Thou, chaste mother with virginal honor,
Caelorum Domino pectoris aulam            prepared in thy holy womb
Sacris visceribus casta parasti;                 a dwelling place for the Lord of heaven;
Natus hinc Deus est corpore Christus.     hence God, Christ, was born in a body.

Quem cunctus venerans orbis adorat,      Whom all the word adores in veneration,
Cui nunc rite genuflectitur omne;              before whom every knee rightfully bends,
A quo te, petimus, subveniente,                From whom we ask, as thou comest to help,
Abjectis tenebris, gaudia lucis.      the joys of light, and the casting away of darkness.

Hoc largire Pater luminis omnis,               Grant this, Father of all light,
Natum per proprium, Flamine sacro,       Through thine own Son, by the Holy Spirit,
Qui tecum nitida vivit in aethra                 who with liveth in the bright heaven,
Regnans, ac moderans saecula cuncta.     ruling and governing all the ages. Amen.
Amen.

A new recording of Catholic Liturgical Music from the St Joseph Cappella, Detroit

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The St. Joseph Cappella, an all-volunteer church choir at Mother of Divine Mercy Parish - St. Joseph Church (located on Jay Street off Gratiot near Eastern Market) in Detroit, Michigan, has released its first album of sacred music entitled Liturgical Year Latin Motets. The first 12 tracks take the listener on a journey through the Catholic liturgical year, with translations and commentary on the pieces including their relation to both the Ordinary Form and Extraordinary Form Liturgical Calendars. Most of the music is a cappella, while a few pieces are accompanied by organ played by the Director of Music, Michael Semaan. The final five tracks are a Mass setting by prolific Italian composer Baldassare Galuppi (1706-1785). In addition to pieces by well-known composers such as Mozart and Palestrina, two of the tracks were written specifically for the St. Joseph Cappella by the late Thomas M. Kuras who founded the choir and served as the Director of Music at St. Joseph from 1974 - 1997.

The CD includes a 16-page color booklet full of stunning images of the architecture, stained glass windows, statutes, altars, and organ of St. Joseph Church, along with translations, commentary, and a history of St. Joseph. "The combination of sacred art and music in Liturgical Year Latin Motets is truly a feast for the soul," said Rev. Gregory Tokarski, pastor of Mother of Divine Mercy Parish. "We are blessed by the sacred music the St. Joseph Cappella presents throughout the year during Holy Mass at St. Joseph, and I am so pleased that more people now are able to hear this heavenly music. After listening, I hope they will be moved to visit and pray with us."

One may purchase the CD directly at Mother of Divine Mercy Parish or by emailing stjosephcappella@gmail.com. The recording is also available for sale from www.cdbaby.com/cd/stjosephcappella (physical CD and digital), iTunes and other major online digital retailers, local Catholic bookstores in the Detroit metro area, and more retailers to come.

St. Joseph Church is known for its musical heritage and traditional worship, and proceeds from the sale of the CD will be used to maintain a vibrant music program at St. Joseph Church. St. Joseph is one of the oldest churches in Detroit and is the only one in Detroit to be listed in the National Register of Historic Places at the “national level of significance.” Designed by German-American architect Francis G. Himpler, the church was dedicated in 1873.

The seventeen tracks on Liturgical Year Latin Motets are as follows:

1. Ave Maria - Joseph Bonnet

2. O Magnum Mysterium - Tomás Luis de Victoria
3. Scriptum est - Thomas M Kuras
4. O Bone Jesu - Marco Antonio Ingegneri

5. Sicut cervus - Giovanni Pierluigi da Palestrina
6. Regina Coeli - Gregor Aichinger

7. Jubilate Deo - Wolfgang Amadeus Mozart
8. Ego Sum Pastor Bonus - Thomas M Kuras

9. Cantate Domino - Giuseppe Pitoni
10. Factus est repente - Gregor Aichinger
11. Panis Angelicus - Claudio Casciolini

12. Ave Verum - Camille Saint-Saëns

13. Missa in C: Kyrie - Baldassare Galuppi

14. Missa in C: Gloria - Baldassare Galuppi

15. Missa in C: Credo - Baldassare Galuppi
16. Missa in C: Sanctus & Benedictus - Baldassare Galuppi
17. Missa in C: Agnus Dei - Baldassare Galuppi

Mother of Divine Mercy Parish - St. Joseph Church Detroit, Michigan

www.motherofdivinemercy.com

Burial Rites of the Theotokos

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St. John Paul II offered a reflection on the death of the Theotokos in a General Audience in 1997:
My Venerable Predecessor Pius XII, made no pronouncement on the question of Mary’s death. Nevertheless, Pius XII did not intend to deny the fact of her death, but merely did not judge it opportune to affirm solemnly the death of the Mother of God as a truth to be accepted by all believers. Some theologians have in fact maintained that the Blessed Virgin did not die and and was immediately raised from earthly life to heavenly glory. However, this opinion was unknown until the 17th century, whereas a common tradition actually exists which sees Mary's death as her entry into heavenly glory. Could Mary of Nazareth have experienced the drama of death in her own flesh? Reflecting on Mary’s destiny and her relationship with her divine Son, it seems legitimate to answer in the affirmative: since Christ died, it would be difficult to maintain the contrary for his Mother. The Fathers of the Church, who had no doubts in this regard, reasoned along these lines.
Icon of the Dormition of the Theotokos.  Mary lies on
 the bier, while carried in procession to the tomb.
Christ holds her soul in his arms.

For an Eastern Christian, it is not possible to celebrate the feast of the Dormition of the Mother of God, and not ponder her death.  For two weeks we have been preparing for this, the last of the 12 Great Feasts of the Liturgical Year.  (The first of those feasts is the birth of the Theotokos on Sept. 8).  Serving as a bookend to the Church year, the Dormition also serves as an occasion for us to reflect on the end that must come to us all.  Yet at the same time we are consoled, knowing that for a Christian to die is less about the biological process and more about falling asleep in the Lord.  In the words of John Donne, "One short sleep past, we wake eternally.  And death shall be no more; Death thou shalt die."

Our preparation for this feast that celebrates the end of death, began August 1st, with a solemn procession with the Cross of Christ.  Traditionally, this was due to the increase of disease and death in the blistering hot Augusts of Constantinople.  As a way to pray for healing and/or to prepare for the coming death, the priests of the Great City would process
Procession of the Holy and Life Giving Cross,
August 1.
through the streets with the relic of the Cross, everyday until the middle of August.  For those of us not dwelling in plague stricken urban climes, the procession invites us to follow the Cross through the two weeks of fasting, penance, and prayer that we undergo to prepare for the coming of Christian death.

At the same time, Christians of the Kievan-Rus' tradition also remember their baptism on August first, and thereby recall that is through being baptized into the death of Christ that we are able to gloriously enter into his resurrection.
Lesser Blessing of the Water,
August 1st.

To highlight the link between the Cross and Baptism, the waters are blessed on August first through a short ceremony that is a "lesser" version of the great blessings of the waters done on Theophany.  In the lesser service, a cross is three times submerged into a large vessel of water.

Throughout the remaining time, the Christian faithful are traditionally called to a period of fasting stricter than any but Great Lent, although such ascetical observances are rare in today's setting.  All of this preparation culminates in the liturgical celebration of the feast of our Lady's Dormition, and the still developing liturgical observance is amazing to behold.  In fact, the Liturgical celebration of the feast is a wonderful example of the ongoing organic life of the Byzantine Liturgical tradition.

The feast of the Dormition has been observed since at least the sixth century, although the Patriarch Juvenal testified in the fifth century that the Christians of Jerusalem had preserved the tradition of Mary's immaculate assumption into heaven, and he even sent the grave wrappings of the Theotokos to the Empress Pulcheria.  We are told that by the end of the 7th century, a Church had been built atop Mary's tomb in Gethsemane, but there are no traces of that Church today.  The current Church has been both attacked and developed since the 9th century, and now claims to house not only the tomb of the Virgin, but the tombs of St. Joachim, St. Anne, and St. Joseph.  While we assume that there was a tradition of liturgical devotion in this Church, the subsequent invasions of pagans and Crusaders has left us little trace of first millenium Jerusalem's observances for the feast.
Tomb of the Blessed Virgin in Jerusalem
In the second millenium, the Russian Chuch's 1438 rubrics evidence a tendency to observe the vigil of August 15th in ways that were analogous to the Holy Saturday observance.  Thus, it is suggested that if the rector wishes, he can have a "tomb" placed before the iconostasis, and the chanting for Matins can take place before this tomb.  Further, churches dedicated to the Feast of the Dormition are allowed to place the icon of the feast in the tomb, again, as an analogue to the Church's placement of the icon of Christ in the tomb on Holy Saturday.

In 15th century Jerusalem, the "Lamentations of Christ for Great and Holy Saturday" were introduced into the Matins service.  These lamentations alternate with each verse of psalm 118/119, and are set to a solemn melody, serving as an extended mediation on Christ's mournful burial and triumphant descent into Hades.

Following the lamentations, the Jerusalem Church kept her older tradition of placing the Shroud of Christ on the back of the priest, and then processing outside as a symbol of Christ's soul's descent into the abode of the dead.  This procession also allowed the faithful to take part in a traditional funeral procession as they would at the death of any loved one.  Following the procession, the shroud was laid in a tomb that had been constructed in front of the iconostasis.  Vigil was then kept at the tomb until the Vesperal Liturgy on Holy Saturday evening.

Epitaphios of Christ Used
In Holy Saturday Procession

The Epitaphios carried in procession in front of the "tomb"

Around a hundred years after the composition of the Lamentations of Christ, Metropolitan Dionysios of Old Patras composed the Lamentations of the Theoktokos in 1541.  The Lamentations correspond thematically, liturgically, and musically to the lamentations of Christ.  They were intended to be chanted at the Matins of the All-Night Vigil for the Dormition.  Like the Lamentations of Christ, they were to be chanted alternately with the verses of Ps. 118/119.  And like the Holy Saturday Matins, the lamentations were to conclude with a procession.  In this case, Met. Dionysios expected the procession to be made with the icon of the Dormition depicted at the top of this post, and he expected this observance to take place only in parishes and shrines dedicated to the Dormition.

The Lamentations of the Theotokos were adopted by the Jerusalem Church as part of her liturgical observance. In susbequent years it spread to Patmos.  At some point the lamentations were translated from Greek into Slavonic in Kiev.  Antiochene parishes also began to adopt the observance.  While the lamentations are not chanted on either Mt. Athos nor in the Ecumenical Patriarchate of Constantinople, they are becoming increasingly common throughout various parishes of the Byzantine tradition.

In addition, churches are increasingly adopting a burial shroud of the Theotokos to be used in the vigil procession instead of the traditional icon.  The churches that adopt this form of the funeral procession then lay the shroud in a tomb constructed before the iconostasis or even in front of the Church.


Funeral procession with the shroud of the Theotokos

The Entombment of the Theotokos
This ongoing development within the Byzantine tradition is by no means universal, but it fits well with  the shorthand reference to the Dormition Fast and Feast as Summer Lent, and Summer Pascha. Like Great Lent, the Dormition Fast has a feast for the Holy Cross, and it is in part devoting to a renewal of one's baptismal promises. The fasting observances are more similar to Great Lent than either of the other fasting seasons, the culmination of both seasons is an all night vigil focused on bodily resurrection.  The feast of the Dormition points to the ultimate fruition of the Feast of Pascha.  Christ conquers death definitively in both His Physical Body, and in those united to him in His Mystical Body.  The feast of Dormition, therefore, expresses not only the exceptional holiness of the Theotokos, but also the Church's hope that Mary is the exemplar of us all.  She is the pledge of the resurrection of the body; the proof that Christ's redemption will break forth onto all those united to him.

The texts for the lamentations beautifully capture the mood of the feast.  The first verse parallels the verse the lamentations of Christ.  On Holy Saturday we chant:
O Life, how can You die? How can You dwell in a tomb? Yet by Your death You have destroyed the reign of death and raised all the dead from Hell.
Last night we sang:
In a grave they laid Thee / O my Life and my Christ / and now also the Mother of Life / a strange sight  both to angels and men.
Each of the three sets of verses continues to ponder the meaning of this strange death.  On the one hand, the humanity that gave birth to the Theotokos is invited to come and rejoice at the sight:
Come with me, O Anna / Come and stand with us now / lead us in the festive praises of Mary / thine own  daughter, the Mother of God.
Now Joachim rejoiceth / seeing the great glory of his only child / who indeed didst bear a divine Child / truly inexplicable and inspired!
Adam and Eve came out / to behold the glory / of their own Virgin offspring.
On the other, the sadness highlighted in the first verse mingles with terror at the awe-inspiring nature of what is taking place:
Shudder, O ye heavens! / and, O earth, give ear unto these words: / God descended once before for our sake / He descends again today for His Mother. 
But, it is in the third stanza that brings the full weight of the cosmic significance of the event to the fore, while also ending with the personal dialogue between the Mother and her Son:
Ev’ry generation / to thy grave comes bringing / its dirge of praises, O Virgin. All of creation / to the grave comes bringing / a farewell hymn to our Lady. Christ’s holy Disciples / tend to the body / of Mary, Mother of my God. Orders of Angels / and Archangels / invisibly hymn her presence. Pious Women / with the Apostles / now cry out their lamentations. She who was at Cana / at the marriage / hath been called with the Apostles. The Master descendeth / to Gethsemane / with countless hosts of heaven. The choir of the Disicples / seeing the Lord descend / in glory greatly rejoiceth.. Let the earth leap for joy / as it beholdeth / our God from heaven descending.  Let us go out quickly / meeting the Lord Jesus / Who cometh once more among us. Let us be attentive / God now speaketh / with His most pure Mother: "Most sweet Mother / come and rejoice with / thine own most sweet Child, Jesus." Behold now thy Son / cometh to bring thee / into His home in the heavens. "Come, My most lovely one / and enjoy the beauty / of thine own Son thy Maker. Come indeed, My Mother / come into divine joy / and enter into the kingdom." "What will I bring Thee / O my Son, the God-Man" / the Maiden cried to the Master. "What will I bring Thee / O my God in heaven / except my soul and body. The Father I glorify / to the Son I sing a hymn / the Holy Spirit I worship."


Petition to Save Holy Innocents Church in Manhattan

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Many of our readers have undoubtedly heard that Holy Innocents Church, the only church in Manhattan where the Extraordinary Form is celebrated daily, faces the possibility of closure by the Archdiocese of New York. Via Rorate Caeli, which has reported on the situation several times, the following brief video published by our friends at Regina Magazine, shows several nice images of the church’s vibrant pastoral life, and ends with a link to a petition to Cardinal Dolan to keep the church open and operating. You can access the petition directly by clicking here.


(The combox is open; be respectful.)

Mater Ecclesiae’s Assumption Mass

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As many of you know the 14th annual Assumption Mass was celebrated this year at the Cathedral Basilica of Saints Peter and Paul in Philadelphia. Even though Mater Ecclesiae is in the Diocese of Camden, across the Delaware river in New Jersey, we were privileged and honored to be given permission to bring this grand celebration to the historic Cathedral Basilica begun by Saint John Neumann. Special thanks are given to His Excellency, Archbishop Charles Chaput for giving permission and to Fr Dennis Gill, Rector of the Cathedral, for his support, kindness and wonderful hospitality.


This celebration has become an anticipated spiritual event for the whole Delaware Valley and beyond. Parish groups came from the Dioceses of Trenton, NJ, Allentown, PA, Wilmington, DE, Harrisburg, PA, Camden, NJ, and the Archdioceses of Philadelphia and Washington, DC. The Cathedral was full. The procession was filled with Knights of Columbus, Knights and Ladies of the Holy Sepulchre, members of the Sovereign Order of Malta, members of the TFP, the Blessed Imelda Society, the Maidens of the Miraculous Medal, the Catholic Scouts known as the Federation of North American Explorers, altar servers from across the region, and seminarians and priests. The choir under the direction of Dr Timothy McDonnell, music department chair at Ave Maria University, and the schola cantorum, under the direction of Mr Nicholas Beck, music director at Mater Ecclesiae, prayed the music of the Mass flawlessly. A seventy-two page booklet filled with descriptions, explanations, lists of donors and ads of patrons, prepared by Miss Barbara Rodio, was given out to the participants. Msgr Andrew Wadsworth, celebrant of the Mass, delivered a beautiful sermon on our Blessed Lady. It was a devout and grand celebration of Our Lady’s Assumption and a magnificent participation in the greatness of Catholic culture.




There are still many daunting challenges for those who love the traditional rites of the Church, but we have come such a long way and we must never stop moving forward. Love for the traditional Mass and rites is a youth movement. Those involved are on fire with the Catholic Faith. One thousand people spent two hours and fifteen minutes in church, on a beautiful Friday evening in August. They could have gone to a sea shore resort, to a baseball game, to a night club or to any diversion; instead they immersed themselves in prayer, relished in the Sacred Liturgy, honored Our Lady, and praised God; and they went out into the world filled with grace and joy. What a blessed event!


   
     DEO GRATIAS!

A Young Father at Mass in Linz, circa 2000

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Kartause in Gaming
One of the joys of being a chronic scribbler is that, by means of jottings, journals, drafts, and diaries, one can take a look at what one was thinking years ago, at a different stage in one’s life, perhaps under very different circumstances.

I discovered the traditional Latin Mass fairly late in life. In senior year of highschool I attended a single Mass out of curiosity, and came away puzzled but intrigued. College brought several more exposures, increasing in frequency towards the end. There was a strong curiosity, the fascination of an outsider looking in, but I did not experience a steady pull and total conversion until my graduate school years in Washington, D.C., when I began attending Mass St. Mary Mother of God in Chinatown on a regular basis. Then, quietly and without a struggle, it all “clicked” for me: the richness of the prayers, the beauty of the chant, the splendor of the ceremonial, the overall earnestness of worship—not to mention the palpable spirit of devotion and strong commitment to living the Faith among those who attended and who, as time went on, became friends. With my heart captivated, I knew it was time to feed the intellect; and as I delved more and more into the subject, I came to realize what an incredible treasure this Mass was, and how tragically and unjustly it had been taken from the people.

My love for the old Mass grew even stronger, its place in my spiritual life more central, after I moved with my wife to Austria in 1998 to begin teaching at the International Theological Institute (at that time located in the town of Gaming, where the Franciscan University of Steubenville still runs a study abroad program). We were privileged to be able to attend the ancient Mass daily for several years in the upper chapel of the Kartause church (see photo). The utter stillness, the intense tranquility of those early morning Low Masses is something I will never forget. The spiritual formation that that daily immersion in the old rite gave me has never evaporated or lost its saltiness.

On many Sundays, we would travel to Linz or Vienna to attend a Missa cantata or Missa solemnis offered at one of the apostolates of the Fraternity of Saint Peter—which brings me around, at last, to a scrap of writing from that period. I did not write down the exact date, but I’m fairly confident it was in the year 2000, from the reference to my then-fidgety son.
*          *          *
Minoritenkirche (site of FSSP apostolate)
YESTERDAY at Mass in Linz, three aspects of the liturgy impressed themselves upon me with utter clarity, though I was not intending to think about liturgical theology but was merely intent on praying and keeping Julian quiet. This shows, perhaps, how strongly these aspects are woven into the fabric of the classical liturgy, thereby giving them a transparency that one does not even need to look hard for.

1. The integrity of its parts. The whole is a flowing river, a seamless garment, a landscape in which the various distinct objects are gathered together into a natural unity of environment (think of mountains covered with pine trees—one can see many individual items, but the whole view is utterly one). There is no awkward transition or lack of transition from part to part; there is simply the flow of one great action of Christ the High Priest, teaching, ruling, sanctifying. Afterwards I feel like I have done one thing, not many things from a checklist. It is a complex thing and yet wonderfully unified. What makes it so?

2. The spirit of adoration. The entire liturgy is imbued to its innermost depths with the spirit of adoration: praising, blessing, adoring, giving thanks to God. There is no mistaking the essential, overwhelming, all-encompassing manner and purpose of the liturgy—one might even speak of its “mood,” its “character” in the sense of a person’s moral character. From the arrival of the priest at the steps and the preparatory prayers before he ascends, all the way to the Last Gospel with its genuflection, everything remains focused on Christ, on God. It is the action of someone in love with God and divine things, someone for whom these mysteries are utterly real and primary. There would not be any other way to make sense of the action. It is not directed to the people but to God, and therefore has value for the people, whose greatest need is to worship God.

3. The seriousness with which the priesthood is treated. The difference between the priest as an individual and the priest as alter Christus, image of the archetype, which is seen clearly in the custom (perhaps it is peculiar to Austria or the Germanic lands or Europe? I do not know) of the priest removing his maniple and chasuble before he ascends the pulpit to read the readings in the vernacular and preach on them, after which he descends, resumes those vestments, and continues the Holy Sacrifice.[*See note.] Yet in spite of this seeming interruption, the flow of the liturgy is not in any way affected. I suppose that is because of the underlying seriousness with which everything is endowed in the old liturgy. There is no sense of the priest’s personality ever asserting itself for its own sake, even when he makes a symbolic statement that it is now he, as an individual, who is going to expound the Word of God, to the best of his ability.

Minoritenkirche
Clearly this is a healthy distinction to make. In every other part of the Mass, it is Christ primarily acting, and the priest is following His lead, conforming to His pattern. At the time of the homily, it is the individual priest who comes to the fore and acts in propria persona, since his words, his actions, are no longer precisely those of Christ—symbolized by the Latin language, the formality, the unchanging prayers, the appointed readings in a sacred tongue, the Canon or Rule which brings the entire people to the foot of the Cross on Calvary and communicates to them none other than the Body and Blood of the Lord Jesus Himself, who as true God and true man is at once the sacrifice offered, the priest offering it, and He who receives it.

In the new liturgy, the homily becomes too much a part of the liturgy, not only making the “liturgy of the word” balloon into something disproportionate to the liturgy of the Eucharist, but also dissolving the distinction between what Christ, through His Church, directly teaches us in the prayers and readings, and what the priest, as an individual, as a private theologian, proposes to us as an understanding of what the Church teaches. When the priest removes his chasuble and preaches with alb and stole, it is clear that he is both a man having authority and a mere man—not the very image of the God-Man offering the sacrifice at the high altar.

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* Note added for this article:Apropos the removal of chasuble and maniple: I later learned that the ICRSS do that in Italy as well, but the FSSP do not. And while I have seen here in the United States that the priest will remove his maniple and place it on the missal before genuflecting and moving to the ambo for the readings and the homily, and then take up the maniple at the Credo, I have never seen the removal of the chasuble at that point. It seems that the original reason for removing the chasuble and/or maniple was that, back in the day, when homilies were much lengthier and more energetic affairs, the priest did not want to ruin the decorations by rubbing them too much against the pulpit’s edges, and, at the same time, welcomed a break from wearing the additional garments (more of an issue in hot climates in the summer). In any case, the maniple is worn only for the actual ritual of Mass; for example, when there is a procession after Mass, it is taken off. As we know, however, the original “literal” meaning of a certain gesture becomes the basis for a legitimate “spiritual” meaning, as occurred with the lifting of the chasuble at the consecrations, which were initially to assist the priest in raising the host, but later came to symbolize the woman’s touching of the holy garment of Christ in order to be healed.

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