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Call for Participation - Society for Catholic Liturgy October 2015 Conference - NYC

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A Call for Papers for the 2015 Meeting of the Society for Catholic Liturgy

The Liturgy: It is Right and Just
October 1-3, 2015
New York City

Keynote speaker: Archbishop Salvatore J. Cordileone

At the Sheen Center and the
Basilica of St. Patrick’s Old Cathedral

​The Society for Catholic Liturgy will celebrate its twentieth anniversary in the heart of Manhattan ​with a conference exploring how the Church’s sacred worship is dignum et iustum, right and just.
​ ​
​​Questions arising from this topic may include but are not limited to:

A. Translation:
What is the history of the phrase dignum et iustum in the Western liturgical tradition?
What are the principles of sound liturgical translation?
Issues surrounding the 2011 translation of the Roman Missal
Issues surrounding the translation of the Lectionary
Issues surrounding the translation of the Liturgy of the Hours

B. The Rightness and Justice of Sacred Liturgy:
What does it mean to say that giving thanks to the Lord is “right” and “just”?
Liturgy and morality are usually treated as unrelated subjects. How is liturgical worship “just”?
How does one “do justice” to God with sacred art, sacred music, or sacred architecture?
Dignum means “meet” or “right,” but it also means “appropriate, suitable, worthy.”
What is “appropriate” worship, or what is worship that is worthy of God?
What is “appropriate” in sacred art, sacred music, or sacred architecture?

Other proposals will be considered, but primary consideration will be given to proposals that are related to the conference’s theme.

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Submissions: Paper proposals of approximately 250 words should be emailed to secretary@liturgysociety.org or mailed to Mr. Christopher Carstens, Board Secretary – Society of Catholic Liturgy, Diocese of La Crosse, PO Box 4004, La Crosse, WI 54602-4004.

Proposals must be received by June 30, 2015.

Presentations will be 45 minutes in length, followed by 15 minutes of discussion. Papers presented will be considered for publication in Antiphon.

Presenters must register for the conference and will be responsible for their own expenses.

A Roman Pilgrim at the Station Churches 2015 (Part 10)

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Tuesday of Passion Week - Station at Santa Maria in Via Lata
The original station church for this day, Saint Cyriacus, was demolished in the late 15th-century, and the station transferred to nearby Santa Maria in Via Lata. The crypt of this church (seen in the first photo) is believed to be part of a building where St Paul lived. The icon of the Virgin Mary over the altar dates to the late 13th-century.



Wednesday of Passion Week  - Station at Saint Marcellus
This station fell on March 25th, so the Mass was that of the Annunciation, rather than the Lenten feria. By a happy coincidence, the painting over the main altar is of the Annunciation.




Thursday of Passion Week  - Station at Saint Apollinaris



Friday of Passion Week  - Station at Saint Stephen on the Caelian Hill (Round Saint Stephen’s)
The evening Masses at the Lenten Stations are organized by the diocese of Rome and the Pontifical Commission for the Cult of the Martyrs. This is an especially important station for the latter group, since the walls of the church, which goes back to the fifth-century, were painted in the later 16-century with vivid (too vivid, in the opinion of many), depictions of early Christian martyrdoms. 







Palm Sunday 2015

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A great multitude that was met together at the festival cried out to the Lord: Blessed is He that cometh in the name of the Lord: Hosanna in the highest! (Processional antiphon of Palm Sunday)

The Entry of Christ into Jerusalem, by Pedro Orrente, ca. 1620, now in the Hermitage in St Petersburg
Turba multa, quae convenerat ad diem festum, clamabat Domino: benedictus qui venit in nomine Domini, hosanna in excelsis!

(Don't forget to send in photographs of your Palm Sunday ceremonies! photopost@newliturgicalmovement.org

Is Lack of Solemnity a Cause or a Symptom of Our Problems?

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The Ordinary Form at the Sacred Music Colloquium
The first chapter in my recently-published book is entitled “Solemnity: The Crux of the Matter.” Part of my argument therein is that when the liturgy is not celebrated “with due solemnity,” as St. Thomas would say, it falls short of its very essence as our participation in the heavenly liturgy, it grows slack in its power to sanctify us by forming our minds and hearts, and it fails to give to Almighty God the full measure of glory He ought to receive from His creatures. Thus, a failure to cultivate appropriately solemn liturgy causes the Mass, as well as the Divine Office (really, in either form of the Roman Rite), to become problematic, to be a cause of problems in the life of the Church and of the Christian.

When this essay first appeared in The Latin Mass back in 2008, a reader at the time submitted the following critique:
Lack of solemnity isn’t the cause of the problem with the Mass. It is a symptom of the problem with the Mass. Kwasniewski lays out the alternatives well enough: either a “fault endemic to the Ordinary Form of the Roman rite of the Mass, that which follows the Missal of Paul VI”, or a “problem with the people and their shepherds.” He wastes little time deciding on the latter.
          But not so fast. I cannot bring myself to believe that the problem is that for the past forty years we have been failing miserably the lofty standards set for us by Annibale Bugnini and his Mighty Fifteen. Kwasniewski is not saying that either, of course, but he is hewing to a course that leads us in that direction.
          Briefly, human behavior does not change in a vacuum. Devotion to liturgy does not evaporate unless the liturgy has itself evaporated, or at least become so eviscerated that people no longer know what constitutes proper response.
          The joy joy joy of participation theme comes right from Vatican II and its aftermath. It is most definitely NOT merely a failing of random weakly-trained priests, bishops, and laity. Joy and solemnity are note antipodes, as some seem to think, but neither are they compatible in any obvious way. We were exhorted to joyous participation, and we responded with pleasantry, diffidence, and informality—they call that being “welcoming.”
          Unsolemnity grew naturally and inevitably from the lack of rubric, lack of a sense of the need for discipline, and the proliferation of one “option” after another. Don’t like chant? Howzabout a little strummin’ for Jesus? This gospel passage a little strong for you? Bracket it and omit it. Don’t like this canon? Too long? Too many saints’ names? No prob — try this one, or this one — or do what 99.9% of American priests do: stick with the real short one. Reception on the tongue a bit yucky? Take it in the hand. Want a little wine with that?
          What you end up with is not a liturgy, but an anti-liturgy. That is, a “liturgy” which destroys itself by allowing so many options and so much innovation that there is little left to be solemn about.
          In other words, to a large extent Professor Kwasniewski has put the cart before the horse. It is the Novus Ordo liturgy and its lack of rubric that invites bad behavior, much more than it is bad behavior which spoils good liturgy. A solemn, “proper” Novus Ordo is, at best, a cosmetic solution to a much more serious problem.
I sympathize with what this writer is saying; so much of it is obviously true. Indeed, I had once thought that it was going to be easier to apply the hermeneutic of continuity to the Ordinary Form than it has proved to be, for the simple reason that there are as many versions of the modern Roman liturgy as there are dioceses, religious orders, and priests who use it, and almost no one agrees about anything definite. Inculturation has led to babelization. Catholic clergy, religious, and laity who have gratefully embraced Benedict XVI’s vision of a Reform of the Reform have not yet been able to prevail over institutionalized mediocrity and the inertia of bad habit. While there is no question that the Benedictine renewal is here to stay, especially among younger clergy, we cannot kid ourselves: the revival of an authentic liturgical spirit and the defeat of the malleable modernist model of the Mass is going to be a long drawn-out war, like the trench warfare of World War I.


One point on which I wholeheartedly agree with my critic is when he says: “Unsolemnity grew naturally and inevitably from the lack of rubric, lack of a sense of the need for discipline, and the proliferation of one ‘option’ after another.” Only a priest classically trained, with deep religious sensibilities, would be able to approach a liturgy so formless, so laden with options, and manage to celebrate it with solemnity — or let us say, invest that ritual with the solemnity that the Mass ought to have, patterning his ars celebrandi after the pre-rupture paradigm.

The Novus Ordo does not require solemnity, it merely permits it. For example, the Propers of the Mass are not required but permitted; traditional sacred music is not required but permitted; worship facing eastwards, the stance of nearly 2,000 years of Christian worship, is not required but permitted (although seldom seen); communion on the tongue, kneeling, is not required but permitted; and so forth. In general, continuity with the great tradition of Catholic worship is theoretically permissible, but almost never mandated — and rarely witnessed on the ground. To paraphrase Martin Mosebach, the problem with the new liturgy is that it may be celebrated reverently. (There’s more to that statement than meets the eye...)

The revolutionary change in the liturgy in 1969/1970, no matter what one thinks of its particulars, gave a lot of people the carte-blanche excuse they were apparently waiting for (or, in some cases, not waiting for as they rushed ahead with unauthoriazed experiments): now everything is up for grabs and we can do whatever we want with the liturgy. This, surely, is contrary to the very idea of a Missal or of rubrics at all. In a healthier period not so hell-bent on self-destruction, among clergy still animated with the fear of the Lord, the Novus Ordo Missae, for all its admitted faults, could have been the point of departure for dependably reverent celebrations, as can actually be seen in such rare groups as the Community of St. Martin, the Oratorians, or the Church Music Association of America. One might perhaps say that if you do not bring to the Novus Ordo Missae the spirit of reverence (presumably developed elsewhere, e.g., from the usus antiquior or from private devotions faithfully practiced), you will not find that spirit in its slim modern profile and minimalist requirements.

It would certainly be mistaken, however, to claim that the “joy joy joy of participation theme” comes from Vatican II. Rather, Vatican II was content to transmit the emphasis on active participation (participatio actuosa) that one finds in the exhortations of St. Pius X, Pius XI, and Pius XII, themselves echoing the original Liturgical Movement’s earnest desire to have the people take rightful possession of the liturgy inasmuch as it pertains to them — following the prayers of the liturgy with understanding, chanting the responses and the Ordinary of the Mass, joining in public Vespers, and so forth. Having seen that the liturgy had become the specialized province of the clergy, Holy Mother Church rightly wished to remind the laity that the liturgy is theirs as well, the most sublime, pleasing, and sanctifying prayer for all Christians.

But this preconciliar program was premised on a fundamental truth: the liturgy is a gift to us from God through the generations that have preceded us, one that we must gratefully receive and enter into more and more fully. Participation thus meant entering into something already present in our midst, prior to our cogitation and volition; a transmitted body of symbols, cross-textured with words, melodies, gestures, actions, endowed with supernatural vitality and inexhaustible richness. It most definitely could not mean that we fashion something ourselves which, being in some way the image of our own mentality and our own age, we then “participate in,” as we create athletic games or board games that we then throw ourselves into.

The radical distortion of the concept of active participation is only slightly visible in Sacrosanctum Concilium, in the overemphasis on having people DO-SAY-SING stuff, as if this were always necessary at every step or as if, in and of itself, it guarantees true immersion in the liturgical act. Nevertheless, in most respects — including its insistence that participation is first interior before it is exterior and that the entire success of liturgical renewal depends on sound formation — this document is in continuity with the better tendencies of the Church-approved Liturgical Movement.

To return, then, to my critic, here is my agreement and my disagreement. The Novus Ordo is partly, but not exclusively, responsible for the loss of solemnity, and there is plenty of work that we can and should do, in regard to both forms of the Roman Rite, to intensify and elevate the solemnity of our liturgical celebrations. The ultimate solution, if we’re talking about a “Reform of the Reform,” can only be a Missal that is in deep and manifest continuity with the classical Roman rite. Indeed, as is generally acknowledged, even the Missal of 1962, as excellent as it is, already embodies the massive rupture of the post-1948 Holy Week ceremonies. Perhaps the distant path to liturgical peace and coherence will go by way of the 1962 Missal as the base text, with a restored pre-1948 Holy Week, and a few additional Prefaces, votive Masses, and saints’ feasts, so that the Missal is both up to date and manifestly Roman.

Ah, but now we are daydreaming. Our immediate work is somehow both simpler and more demanding: to offer the Sacrifice of Praise in both forms of the Roman Rite, as they now exist, with as much solemnity as possible, according to our circumstances, in continuity with the best of our tradition. Surely, in whatever capacity we serve our Lord, we may consciously strive, in all the ways at our disposal, for the “due solemnity” that befits the celebration of the Church’s sacraments and liturgies. Nothing less is worthy of our King to receive, nothing less is fitting for man to give.

Tenebrae at St Thomas Apostle DC

Lenten Art Commentaries by Fr Michael Morris

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Here is an excellent series of recorded commentaries on works of art by Fr Michael Morris of the Dominican School of Philosophy and Theology. Fr Morris, who is on the full-time faculty of the school, heads their Religion and the Arts program, and writes the sacred art meditations for the monthly Magnificat magazine. He has been posting one a week during Lent, and they can be viewed here.  I encourage readers to visit this site watch these videos. At the end of this article is his meditation on the Ecce Homo by the Flemish artist Quentin Massys; the original painting is in the Prado in Madrid.

This does raise the question of what is purpose of such meditations? How do we make use of all the great information they contain? Do they help our participation in the liturgy? If so, how? If we cannot answer these questions satisfactorily then perhaps what we have here is just a bit of pious relaxation, one step up from vegging out in front of a documentary on the television - Catholic PBS!

The first point for each of us to ask ourselves, I suggest, is this: am I doing this as an exercise in understanding the work of art, or treating the work of art as a means for enhancing my knowledge and understanding of the Word? If it is the former, (and I speak for myself here), then I am indulging in intellectual pride or a cultural affectation. I might as well be be taking a benign secular art history course which, while acknowledging the Catholic intentions of the artist, is detached from them.

Even if my goal is the latter - enhancing knowledge and understanding of the Word - then unless it is conformed to the ultimate end, it becomes another form of intellectual pride in which I am seeking theological knowledge and understanding, rather than artistic.

The answer has to be that, like all other human activity, it can be ordered to the purpose of deepening my participation in the Sacred Liturgy, But how? Here is my approach:

I suggest that it is analogous to the study of Scripture, which when done well, internalizes what is learned so that our worship of God is more worthy. This last point raises yet another additional question. If meditation on art is analogous to study of Scripture, why bother with the study of art at all? Why not just study Scripture directly?

The answer is given to us in the Catechism. In the first item that comes under the heading Truth, Beauty and Sacred Art, we read, “Truth is beautiful in itself. Truth in words, the rational expression of the knowledge of created and uncreated reality, is necessary to man, who is endowed with intellect. But truth can also find other complementary forms of human expression, above all when it is a matter of evoking what is beyond words: the depths of the human heart, the exaltations of the soul, the mystery of God.” (CCC 2500)

This suggests that the words of the art meditation are just a first step. They lead us into a receptivity of those aspects of the work of art that are not said in the mediation, and which are “beyond words”. This is a passive, contemplative mode of study. It is, when understood in this way, a sort of visual lectio divina. This is not a new idea; St. Claire of Assisi, for example, is often credited with the development of a technique of meditating on art in this way. I suggest that in fact, unless art is studied in conjunction with this contemplative mode, then one might as well just be reading the truths of theology from a written script; we are not gaining anything beyond the words by looking at the picture.

And then we must go further still. Just as Benedictine spirituality as outlined in the Rule does not end with lectio divina but rather with the Opus Dei, the work of God - worshiping him in the Sacred Liturgy - so our meditation and contemplation of art must be directed towards this higher goal.

There are two ways in which this can be so, I suggest. The first, is an intellectual process that transforms us - those aspects of the Word that have been internalized by both meditation and contemplation are brought to the altar and affect our response in the Eucharist.

The second is that the meditation and contemplation of the art has developed our faculties of meditation and contemplation to a higher place. So when our worship is done in conjunction with appropriate holy images we use those faculties within the context of worship and are more engaged with that imagery in a way that raises our hearts and minds to God in our worship. Those truths that are beyond words are with us in the liturgy too.

This last point presupposes, of course, that there is some decent liturgical art where the liturgy is taking place!

As students, we are more likely to make this connection right up the hierarchy of ends and put it into practice if we are made aware by our teachers and develop the habit of using art work in our prayer and especially in the liturgy. Without this there is a real danger that such meditations will be just the empty intellectual exercises that give academia a bad name.

The Church tells us that when it offers a Catholic education, “A school is a privileged place in which, through a living encounter with a cultural inheritance, integral formation occurs.” ( The Catholic School, 26; pub. The Sacred Congregation for Catholic Education, 1977) This encounter with our cultural inheritance is not a “living” encounter that provides “integral formation” unless it is in conformity with its highest purpose - the worship of God in the Sacred Liturgy. It is the job of those us who teach to transmit to our students how to use well the information we give, in conformity with our ultimate end; otherwise we let them down...and waste many wonderful resources such as those provided by Fr Morris.


Don't forget the Way of Beauty online courses www.Pontifex.University (go to the Catalog) for college credit, for continuing ed. units, or for audit. A formation through an encounter with a cultural heritage - for artists, architects, priests and seminarians, and all interested in contributing to the 'new epiphany of beauty'.

The Theology of the Offertory - Part 7.8 - Two Prayers from the 1565 Missal of Seville

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As noted in the most recent articles of this series, the Missals of Toledo and Seville are quite unusual in having preserved so late as the mid-16th century a type of prayer called an “Apologia”, in which the priest protests his unworthiness to approach the altar and offer the Eucharistic sacrifice. At Toledo, two of them remained in the place which they originally had when they were created, as part of the Offertory, although their use was optional. In the Missal of Seville, which has four of them, they are printed between the prayers said before the altar at the beginning of Mass and the blessing before the Gospel. This missal has far fewer rubrics than that of Toledo, and gives no indication as to when these prayers were to be said. Only the last one has a rubric before it, which states that the priest says it “before the sacred things, or when he wishes.”

It was a custom in some places in the Middle Ages for the priest to say prayers silently when he was seated and the choir was singing. The prayer Summe sacerdos et vere Pontifex, a common prayer of preparation for Mass, is preceded in some editions of the Sarum Missal by a rubric which says that it is “to be said during the Mass (‘in missa’) while the Office (the Sarum term for the Introit), Kyrie, Gloria and Creed are sung.” (It continues by saying “or the whole prayer is said before the Mass, which is better.”) That such a custom should have arisen is not surprising, given the extreme length of many polyphonic works of the 15th and 16th centuries.

The retable of the high altar of Seville Cathedral, showing various episodes from the Life of Christ. The project was begun by a Flemish artist, Pierre Dancart, in 1482, who continued worked on it for ten years. It was continued by others after his death and completed in 1564. (Image from wikipedia by Shawn Lipowski.)
The position in which the Apologias are printed in the Missal of Seville indicates that they were used in the same way, as optional prayers to say if the singing was very long. The first prayer is labelled as “A Prayer of St. Ambrose”, as was commonly done in the Middle Ages. It comes from the 9th-century manuscript known as the Sacramentary of St. Gatien of Tours in France, and is also found in the Missal of Sarum inter alia.

Deus, qui de indignis dignos, de peccatoribus justos, de immundis facis mundos; munda cor meum et corpus meum ab omni sorde et cogitatione peccati: et fac me dignum atque strenuum sanctis altaribus ministrum: et praesta, ut in hoc altari ad quod indignus accedere praesumo, acceptabiles tibi hostias offeram pro peccatis et offensionibus, et innumeris quotidianis meis excessibus, et pro peccatis omnium viventium, et defunctorum fidelium, et eorum qui se meis commendaverunt orationibus: et per eum tibi meum sit acceptabile votum: qui se tibi Deo Patri pro nobis obtulit in sacrificium: qui est omnium opifex et solus sine peccati macula Pontifex, Jesus Christus Filius tuus Dominus noster. Qui tecum etc.

O God, who makest worthy men of the unworthy, just men of sinners, and clean of the unclean: cleanse my heart and my body from all filth and thought of sin: and make me a fitting and vigorous minister for Thy Holy Altars: and grant that upon this altar, which I, though unworthy, dare to approach, I may offer Thee acceptable sacrifices for my sins and offenses, and my daily and innumerable excesses, and for the sins of all the living, and of the faithful departed, and of those that have commended themselves to my prayers, and may my prayer be acceptable to Thee, through Him who for us offered Himself in sacrifice to Thee, God the Father, who is the maker of all things, and the only High Priest without the stain of sin: Jesus Christ, Your Son, our Lord. Who lives etc.

This is followed by a brief prayer of a different type, and then another Apologia.

Domine Jesu Christe, Fili Dei vivi, immensam clementiam tuam humili devotione deposco, ne irascaris mihi indigno famulo tuo, pro eo quod immundus mente et corpore domum tuam sanctam intrare, et ad corpus sanguinemque tuum sumendum accedere praesumo indignus, et multis flagitiis obrutus. Sed reconciliare mihi, Domine Jesu Christe, Fili Dei vivi, qui mulierem fluxum sanguinis patientem a tactu gloriosissimae fimbriae vestimenti tui non prohibuisti. Illam quoque peccatricem ac paenitentem a sanctorum pedum tuorum osculo non sprevisti. Ita nec me, Domine, pro innumerabilibus sceleribus meis a communione tanti mysterii velut immundum repellas, sed paenitentiam mihi dignam agere, fontemque lacrimarum habere concedas; ut pura mente et casto corpore, non jam ad judicium, sed ad remissionem omnium peccatorum meorum te miserante illud percipere merear, Salvator mundi. Qui cum Patre etc.

Lord Jesus Christ, son of the Living God, with humble devotion I ask Thy boundless clemency; that Thou be not wroth with me, Thy unworthy servant, that unclean in mind and body, I presume to enter Thy holy house, and come to receive Thy body and blood, though unworthy and overwhelmed by many shameful deeds. But be Thou reconciled to me, Lord Jesus Christ, son of the Living God, who kept not the woman that suffered the issue of blood from the touch of the most glorious hem of Thy garment. Thou also didst not spurn the sinful and penitent woman from the kiss of Thy holy feet. So also drive me not away, o Lord, as one unclean because of my innumerable crimes from partaking in so great a mystery, but grant me to do worthy penance, and have a fount of tears; that with pure mind and chaste body, I may merit to receive it no longer unto judgment, but unto the remission of all my sins, in Thy mercy, o Savior of the world. Who with the Father etc.

After this comes the Apologia prayer Si tantum Domine, which I have already given in Latin and English à propos of the Missal of Toledo. Unlike that of Toledo, the Missal of Seville does include Suscipe Sancta Trinitas, the medieval Offertory prayer par excellence, and in fact has a second version of it, which I believe is unique to that Use, which is to be said at Requiem Masses. Seville is also unique in placing both versions among the Apologias, and not in the Offertory; they are given in Latin and English in the previous article of this series. This group of prayers concludes with another Apologia, Deus, qui non mortem, which has also been given previously in Latin and English from the Missal of Toledo.

Solemn Mass (EF), Easter Sunday

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Readers in southern New England may want to know that Solemn Mass in the usus antiquior will be celebrated on Easter Sunday, April 5th, at Holy Ghost Church in Tiverton, Rhode Island, at 9:00 am. Barring any technical difficulties, the Mass will be live streamed; to watch, click HERE. A sung “Ordinary Form” Mass will follow.
    All Masses at Holy Ghost are celebrated ad orientem and with the greatest decorum. The traditional Latin Mass is offered on the first Sunday of each month and on Monday evenings in Advent and Lent. Sunday OF Masses feature plainchant Ordinaries and Propers (in Latin and English), traditional hymns, and incense at the principal Mass. Extraordinary ministers of Holy Communion are just that: extraordinary (as in not ordinarily used), and the faithful may receive the Eucharist kneeling at the Communion rail if they so choose, without fear of reprimand from Father Getwithit.

Palm Sunday 2015 - Your Photos

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Every year, our photographs of Palm Sunday ceremonies show a mix of violet and red vestments, the two colors used between the Ordinary and Extraordinary Forms of the Roman Rite. This year, I decided to start off with a new color, green, which is used by many Slavic Byzantine churches. Our thanks to all those who sent in photographs for this post - we will be very happy to add any late submissions over the next few days. Don’t forget to send in pictures of your Triduum and Easter liturgies as well!

St John the Baptist Ukrainian Greek-Catholic Church - Pittsburgh, Pennsylvania

The Gospel
The blessing and dismissal
Veneration of the icon of the Entry of Our Lord into Jerusalem, anointing with holy oil and distribution of blessed bread after Divine Liturgy
Church of St Peter - Volo, Illinois





Immaculate Conception - Omaha, Nebraska (FSSP)





St Peter Ukrainian Greek-Catholic Church - Ukiah, California






Church of the Nativity of the Virgin Mary - La Londe Les Maures, France
(Fraternity of St Joseph the Guardian - The first four photos are of the EF, the last three of the OF.)








Holy Innocents - New York City





Church of St Agnes - New York City
courtesy of Mr Arrys Ortanez - click here to see the complete photoset





St Mary’s Church - Norwalk, Connecticut
courtesy of Stuart Chessman - click here to see more on the blog of the Society of St Hugh of Cluny





Bishop Simon Bruté College Seminary - Indianapolis, Indiana







Pontifical Mass at the Throne - Annunciation 2015 - Madison, WI

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On March 25, Bishop Robert Morlino celebrated a Pontifical Mass at the Throne for the feast of the Annunciation. More photos can be found here. The music sung at the Mass included:

Gregorian chant

Polyphony
Hymns
  • Entrance: Praise We the Lord This Day (Swabia) — 6 vv.
  • Exit: The God Whom Earth and Sea and Sky (Eisenach) — 4 vv





Dominican Rite Triduum Services, SF Bay Area

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A schedule of Dominican Rite Triduum Services at the Carmel of the Holy Family in Kensington (north Berkeley) CA may be found here.

Holy Week Schedules : Detroit, Palo Alto, Hong Kong

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On the blog Te Deum Laudamus, Diane Korzeniewski has posted the schedule for EF Holy Week services at Assumption Grotto in Detroit, along with some nice pictures of last year’s ceremonies. Click here to see the full schedule.

The Easter Vigil last year at Assumption Grotto
The Saint Anne Chapel in Palo Alto, California, (541 Melville Ave.) will host a Tenebrae service this evening, with the Lamentations of Jeremiah by in the setting by Victoria. There will also be services at the church of St Thomas Aquinas, 751 Waverly St. with chant and polyphony, including works of Byrd, Morales and Palestrina, on each day of the Triduum, and two services on Easter Sunday (Mass and Vespers) at St Ann’s. Click here for the full schedule.

The Tridentine Liturgy Community Catholic Diocese of Hong Kong will hold the ceremonies of the Sacred Triduum at St. Jude’s Mass Centre, Kam Tin (207, Kat Hing Wai, Kam Tin, New Territories, HK): Maundy Thursday at 8 pm, Good Friday at 7 pm, Holy Saturday at 8 pm. (St. Jude’s is a 5-minute walk from Exit B, Kam Sheung Road MTR Station (West Rail Line - see map below. Takes 25 minutes approximately from Hung Hom to Kam Sheung Road (West Rail Line)

On Easter Sunday, Mass will be celebrated at 12:30 pm at Mary Help of Christians Church (16 Tin Kwong Road, Ma Tau Wai, Kowloon, HK)


Easter in Hong Kong in 2011


Spy Wednesday 2015

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When Jesus was in Bethania, in the house of Simon the leper, there came to him a woman having an alabaster box of precious ointment, and poured it on his head as he was at table. And the disciples seeing it, had indignation, saying, “To what purpose is this waste? For this might have been sold for much, and given to the poor.” And Jesus knowing it, said to them, “Why do you trouble this woman? for she hath wrought a good work upon me. For the poor you have always with you: but me you have not always. For she in pouring this ointment upon my body, hath done it for my burial. Amen I say to you, wheresoever this gospel shall be preached in the whole world, that also which she hath done, shall be told for a memory of her.” Then went one of the twelve, who was called Judas Iscariot, to the chief priests, and said to them, “What will you give me, and I will deliver him unto you?” But they appointed him thirty pieces of silver. And from thenceforth he sought opportunity to betray him. (Matthew 26, 6-16, the Gospel sung at Vespers of the Presanctified Gifts on Spy Wednesday in the Byzantine Rite.)

The Betrayal of Judas, as depicted by Giotto in the Scrovegni Chapel in Padua, Italy, 1304-06. 
On the following day, the Divine Liturgy of the Lord’s Supper is sung together with Vespers; the Stichera, sung between verses of Psalm 140 while the church is incensed, are a series of poetic compositions about the betrayal of Judas, several of which also refer to the woman who anointed the feet of Christ.

Judas the transgressor, o Lord, who dipped his hand with Thee in the dish at the supper, lawlessly stretched out his hands to take the silver pieces; and he that reckoned up the price of the myrrh, did not shudder to sell Thee, that art beyond price; he who stretched out his feet to be washed, deceitfully kissed the Master to betray him to the lawless; cast from the choir of Apostles, and having cast away the thirty silver pieces, he did not see Thy Resurrection on the third day; through which have mercy on us.

Judas the slave and deceiver, the disciple and plotter, the friend and accuser, was revealed by his deeds; for he followed the Teacher and with himself he plotted the betrayal; he said to himself, ‘I shall hand him over, and gain the money that has been agreed upon.’ He sought for the myrrh to be sold, and Jesus to be taken by guile; he gave a greeting; he handed over Christ; and like a sheep to the slaughter so did He follow, that alone is compassionate and loveth mankind.

Judas is truly of the generation of vipers who ate the manna in the desert and murmured against the One who nourished them; for while the food was yet in their mouths, the ungrateful ones spoke against God; and he, the impious one, while bearing in his mouth the heavenly Bread, devised betrayal against the Savior. O insatiable mind, and inhuman daring! He sold the One who nourished him and handed over to death the Master whom he kissed; truly the transgressor is their son, and with them he has inherited destruction. But deliver, o Lord, our souls from such inhumanity, Who art alone boundless in long-suffering.

Holy Thursday 2015

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Receive me today, o Son of God, as a partaker of Thy mystical Supper; for I will not tell of the mystery to Thy enemies, I will not give Thee a kiss as did Judas; but like the thief, I confess to Thee: Remember me, o Lord, in Thy kingdom!

The Last Supper, by Simon Ushakov, 1685 
In the Byzantine Rite, these words are sung at the Divine Liturgy of Holy Thursday in place of the Cherubic Hymn, and at the distribution of Communion, when they may be repeated several times. These are the the Greek and Old Church Slavonic versions; the traditional Slavonic music is particularly beautiful.

Τοῦ Δείπνου σου τοῦ μυστικοῦ σήμερον, Υἱὲ Θεοῦ, κοινωνόν με παράλαβε· οὐ μὴ γὰρ τοῖς ἐχθροῖς σου τὸ μυστήριον εἴπω· οὐ φίλημά σοι δώσω, καθάπερ ὁ Ἰούδας· ἀλλ᾿ ὡς ὁ Λῃστὴς ὁμολογῶ σοι· Μνήσθητί μου, Κύριε, ἐν τῇ βασιλείᾳ σου.


Вечери Твоея Тайныя днесь, Сыне Божий, причастника мя приими: не бо врагом Твоим тайну повем, ни лобзания Ти дам яко Иуда, но яко разбойник исповедаю Тя: помяни мя Господи во Царствии Твоем.


The Ambrosian Liturgy adopted this text for the antiphon “after the Gospel” at the Mass of the Lord’s, with a few slight variations to the text. (The traditional Ambrosian liturgy also shares with the Byzantine Rite the custom of celebrating this Mass together with Vespers, as I have described previously.)

Coenae tuae mirabili hodie, Filius Dei, socium me accipis. Non enim inimicis tuis hoc mysterium dicam, non tibi dabo osculum, sicuti et Judas: sed sicut latro confitendo te: Memento mei, Domine, in regno tuo.


Thou receivest me today, o Son of God, as a companion at Thy wondrous Supper; for I will not tell of this mystery to Thy enemies, I will not give Thee a kiss as did Judas; but like the thief, confessing Thee, (I say): Remember me, o Lord, in Thy kingdom!

Tenebrae at Holy Innocents, New York

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Today, Thursday April 2nd, there will be Tenebrae of Good Friday at 10:30pm at The Church of the Holy Innocents. Fr. Leonard Villa will celebrate. The music will be sung by the Schola and Choir of Holy Innocents Church.


Maundy Thursday at the London Oratory in pictures

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Here are some photographs taken at the London Oratory this evening. The first photograph, taken before Mass, shows the Altar of Repose in readiness for the Blessed Sacrament. Photographs follow of Solemn Mass of the Lord's Supper, the Mandatum, the Procession to the Altar of Repose and the Stripping of the Altars.


































Roman Sacrament Altars, Holy Thursday 2015

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The last time I did this was in 2013; this year I took a different route, and visited some new churches. As always, there were pilgrims from all over the world, praying alongside the clergy and the native Romans. Members of Rome’s Filippino community were doing the stations of the Cross by visiting fourteen different Roman churches; they stopped in at the Russian College while the Matins of the Twelve Gospels was being sung, and I ran into them again later on at San Marcello al Corso. The church of Saint Chrysogonus, run by the Trinitarian Order, deserves a special mention for having very much improved their “sepolcro”, as the Italians call it, from what they had the last time I saw it several years ago, replacing a giant cut-out of Christ and the Apostles at the Last Supper with a much more traditional arrangement. I was also able to visit one of the most famous Sacrament altars in Rome, at the Madonna dell’Orto, with a spectacular display of over 200 candles. The altar at Saint Benedict ‘in Piscinula’ is also noteworthy for being set up in a the room where St Benedict had his cell when he was living in Rome.
Santa Maria Maggiore
Saint Peter in Chains 
The Paschal moon, seen through a gap in the upper stage of the nearby Colosseum.
San Marcello al Corso

Members of the Roman Filippino community, just after finishing the Stations of the Cross 
Santa Maria sopra Minerva (Dominicans)
Santi Biagio e Carlo ai Catinari (Barnabites)
Santissima Trinità dei Pellegrini (F.S.S.P.)

Tenebrae
Saint Agatha in Trastevere
Saint Chrysogonus (Trinitarians)

Saint Benedict ‘in Piscinula’
Saint Cecilia in Trastevere
Madonna dell’Orto

San Francesco a Ripa
Saint Anthony Abbot (The church of the Pontifical Russian College, or ‘Russicum’)
This is not, of course, a Sacrament altar, the use of which is not part of the Byzantine liturgical tradition. The Cross set in the middle of the church becomes the focal point of many of the celebrations of Good Friday and Holy Saturday. At Matins of Good Friday, traditionally anticipated on the evening of Holy Thursday, twelve Gospel readings of the Passion are sung from the lectern seen here. On Good Friday, a large table is set in front of the Cross; at Vespers, an icon of the burial of Christ, usually an elaborately decorated cloth, is carried from the main Sanctuary and laid on the table, while a priest carrying the Gospel book walks under it.
Gospel book in Old Church Slavonic

Good Friday at the London Oratory

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Good Friday at the London Oratory. The first two pictures were taken at Tenebrae this morning, the rest were taken at the Passion this afternoon.




















Holy Saturday 2015

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Behold how the just man dieth, and no one perceiveth in his heart; and the just men are taken away, and no one considereth; the just man has been taken away from before iniquity, * and his memory shall be in peace. V. Like a lamb before his shearer he kept silent, and opened not his mouth; He was taken away from distress, and from judgment. And his memory shall be in peace. Behold how the just man dieth... (Tenebrae of Holy Saturday, 6th responsory.)

The Entombment of Christ, Rogier van der Weyden, 1450
R. Ecce quomodo moritur justus, et nemo percipit corde: et viri justi tolluntur, et nemo considerat: a facie iniquitatis sublatus est justus: * Et erit in pace memoria ejus. V. Tamquam agnus coram tondente se obmutuit, et non aperuit os suum: de angustia, et de judicio sublatus est. Et erit in pace memoria ejus. Ecce quomodo moritur justus...

Easter Sunday

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Scimus Christum surrexisse a mortuis vere. Tu nobis Victor Rex, miserere! Amen, alleluia.

We wish all our readers, their family and friends, and all Christians throughout the world an Easter filled with joy and every blessing from the Risen Lord - He is Truly Risen!
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