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Reader Question: Mass During Exposition

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A priestly reader sends in the following questions. Perhaps some of our ceremoniere can be of assistance. Please use the comments:

I wonder if I might ask whether you or any of your readers know the rubrics concerning the celebration of Mass (EF of course) at a side altar in a Church where Exposition of the Blessed Sacrament is in progress? For example, is a Missa cantata allowed? Are bells rung? What Masses are actually allowed, Mass of the day or only of peace or votive of the Blessed Sacrament? and so forth. No reference to the Clementine Instruction that I have found so far has been terribly helpful on these points so any help you or your readers can give would be much appreciated.

Comments? Suggestions/

Please provide references if you can.

Book Notice: Singing the Mass, by the Monks of Solesmes

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Our readers may be interested to know of the following new offerings from the Abbey of Solesmes (which is being available in North America through Paraclete Press): Singing the Mass: Sung Order of Mass in English and Latin.

Here is some information on what you can expect in the title:

To coincide with the new English translation of the Missal, Solesmes has published a new book – Singing the Mass – containing all the chants of the Order of Mass in English and Latin on facing pages. Singing the Mass is for use by the people, and serves to encourage sung celebrations of the Vatican II Mass.

Features of Singing the Mass

  • English and Latin on facing pages, to accommodate Vatican II Masses celebrated entirely in English, entirely in Latin, or in English interspersed with Latin
  • All the dialogues and acclamations in which the people are called to participate
  • Both solemn tones and simple tones
  • English Mass Setting from the Roman Missal
  • Shorter Kyriale with 9 complete Mass Settings in Greek/Latin
  • Chants in English and Latin for the sprinkling of Holy Water
  • Various alternative settings of the Lord’s Prayer, including well-known settings in the US (Snow), the UK (Rimsky-Korsakov) and Australia
  • Clear typesetting in the Solesmes style
  • Text of Eucharistic Prayers I-IV

The volume is hardcover and sells for $39.99 USD.




A Young Man's Labours

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With Laetare Sunday coming up, I am provided with an opportunity not only to show another rose vestment we have not shown here before, but also to show some new vestment work.

This particular set is the work of a 29 year old Italian man from Savona, Simone Silvagno.

I am told that it was out of his love for the sacred liturgy, specifically the usus antiquior, that this young man was inspired to learn the art of vestment making. I mention this point because I think this is precisely one of fruits which can and should flow from our love of the sacred liturgy and I wished to take a moment to highlight it -- not to mention to highlight the fact that such is indeed happening.

Craftsmen, just as composers, inspired by that love will naturally rise up, seeking to beautify the liturgy through their arts, clothing it in the fruits of their labours. The splendour of the liturgy and of our liturgical patrimony has this power to inspire in so many ways; spiritually of course, but also artistically and culturally. By the very same token, these pursuits not only have the effect of beautifying the liturgy, they also have an effect on us; they teach us of its dignity, solemnity and importance and assist us by drawing us ever more deeply into its mysteries and realities. Such is the evangelical power of beauty.

Returning specifically to Mr. Silvagno's work, seen below, the result is quite beautiful and very tasteful I think. I hope that he will continue to pursue his new found craft.



Fr. Armand de Malleray: Clergy Pilgrimage to Catholic Bavaria

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Father Armand de Malleray, FSSP, is leading a "Clergy pilgrimage to Catholic Bavaria" this May, and as that is coming up rather quickly, I thought I had better let some of our clergy know sooner rather than later.

Here is the information:

Clergy Pilgrimage to Catholic Bavaria


Pugin’s Church Becomes Official Shrine of St Augustine

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This press release was issued yesterday by the Catholic Bishops Conference of England and Wales:

Pugin’s Church becomes Official Shrine of St Augustine

Archbishop Peter Smith of Southwark has formally established Pugin’s church of St Augustine in Ramsgate as a shrine of ‘the Apostle of the English’. In an official decree the Archbishop grants the shrine canonical privileges and designates it as a place of pilgrimage.

The establishment of this new pilgrimage site fills a five hundred year gap created when the last shrine of Augustine was destroyed in the 16th century. A shrine to St Augustine existed on the Isle of Thanet before the Reformation and so this new place of pilgrimage recovers an ancient tradition. St Augustine’s is a Catholic church already dedicated to the saint and stands closer than any other to the place of Augustine’s landing, his first preaching and his momentous encounter with King Ethelbert of Kent in 597AD.

The official day on which the foundation of the shrine will be remembered is 1st March. This is Pugin’s birthday and recently the day of popular bicentenary celebrations in his honour. This day links the erection of the shrine with the church’s founder who is buried within. The cult of St Augustine is fully in tune with the heart and mind of Augustus Welby Northmore Pugin (1812-1852). He states in his letters that he selected the Ramsgate site because ‘blessed Austin landed nearby’ and he personally chose the dedication name and wanted the church to be a memorial to the founding identity of Christian England and its early saints.

There already exists a strong local interest and devotion to the saint. His feast day each year is celebrated in Ramsgate with a festival of Catholic history and culture called ‘St Augustine’s week’. Prayers are said and hymns sung in his honour. St Augustine’s has already functioned as a quasi-shrine and pilgrims already journey there from all over England and beyond to learn about the conversion of the English and the beginnings of Christianity in this land. In 1997 thousands descended upon the St Augustine’s site to celebrate 1500th anniversary of the Augustine landing. Hundreds of Monks joined Cardinal Hume and Archbishop Bowen in the pilgrimage. In the year 2000 St Augustine’s was a ‘Jubilee Shrine’ and had special indulgences attached. This continued a long pilgrimage tradition surrounding St Augustine in Ramsgate and Thanet.

St Augustine’s attracts a huge number of Christians from other churches and communities who are interested in learning about common roots in the faith of Christ. Many secular visitors come to enjoy the architecture, the art and the atmosphere of the place and thereby enhance their relations with the Catholic Church. Local schools have a visiting programme and come to learn about the saints and about Pugin. The building is highly catechetical and new resources help to make a visit to St Augustine’s an opportunity to deepen one’s faith. The church is adorned with a collection of images of St Augustine in the finest stone and stained glass including a ‘Hardman Powell’ series of windows above Pugin’s tomb relating the story of Augustine’s mission and especially the moment of setting foot on a land explicitly demarcated as ‘Thanet’.

Fr Marcus Holden, the parish priest and custodian of St Augustine’s, commented “This is amazing news for us. Pugin’s church is secured by this added living identity which also fulfils many of his own dreams in honouring the English saints and St Augustine in particular. There was need here not only to rescue the church as a great work of art but also to find a fitting spiritual significance for the future of the site. Through his decree, the Archbishop has done just that. The shrine will now draw pilgrims keen to learn about the early saints and to pray for a conversion of England in our own times”.

The church is presently being restored and brought back to its former glory and major celebrations are planned this year surrounding the feast day of St Augustine. The shrine will highlight the close bond between Rome and England as St Augustine was sent on his mission directly by Pope Gregory the Great. One of the pastoral recommendations of the Holy See for the upcoming year of faith proclaimed by Pope Benedict XVI is precisely to ‘work toward the dissemination of a knowledge of the local Saints’ because the saints give an ‘authentic witness to the faith’. In renewing devotion to England’s apostle, Archbishop Smith is responding directly to the Holy Father’s call for a new evangelisation and a deepening of faith.

Here is a historical photograph of the sanctuary of Pugin's great church:

Practice Resources for the Exsultet (New English Translation)

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The Easter Vigil is coming up more quickly than one might think, and so I thought some of our readers might be interested to know (for the sake of knowing and practicing), that Corpus Christi Watershed has made available the following page which present the Exsultet chant according to the new English translation of the Roman Missal.

They have a couple of variants you can listen to, a lower pitch version, and a higher pitch version.

Here, for example, is the lower pitch version:

Easter Proclamation (Exsultet) - LOWER RECORDING - New Translation (Roman Missal 3rd Edition) from Corpus Christi Watershed on Vimeo.



The sheet music can be downloaded from the ICEL musical settings website. 

There is also a version here using traditional Gregorian notation.

Finally, organ accompaniments are also available for other parts of the Mass.

Looking Again at the Monastère Saint-Benoît, Fréjus-Toulon

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It was just about a month ago that we published an interview with the prior of the a new monastery attached to the usus antiquior in the diocese of Fréjus-Toulon, France, the Monastère Saint-Benoît.

Always interested in keeping up with these sorts of monasteries and giving our readers an "inside look" at them, I thought I would share a little news published on their site yesterday involving the blessing of a new refectory crucifix.

While not liturgical, the photos give a bit more of a sense of the day to day life and setting of the new monastery.


Thanks to a very generous benefactor and to the added kindness of the company 4.crucifix.com our refectory now has a splendid oak and linden wood 42 inch crucifix. It was blessed before luncheon today.

[...]

Our refectory now contains three significant benefactions: the crucifix, the refectory table and the statue of Saint Benedict.


Retribuere, dignare, Domine, omnibus,
nobis bona facientibus propter nomen tuum, vitam aeternam.

Deign, O Lord, to grant eternal life
to all who do good works for the sake of your name. Amen.



The Samaritan Woman in the Liturgy of Lent

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In the lectionaries of the various Latin rites, one of the most prominent Gospels of the Lenten season is that of the Samaritan woman who spoke to Christ at the well of Jacob (St. John 4, 5-42). Although the Roman, Ambrosian and Byzantine Rites each read this Gospel on a different day, it appears in all three as a lesson of particular importance for the preparation of those who will be baptized at Easter or Pentecost.

In the Roman Rite, it is read on the Friday of the third week, joined with one of the most important epistles of Lent, Numbers 20, 1-13, in which Moses makes water run from the rock in the desert. This story was understood by the early Christians as a prefiguration of the sacrament of baptism, starting with St. Paul himself, who tells us that “our fathers were all under the cloud, and all passed through the sea. And all in Moses were baptized, in the cloud, and in the sea: And did all eat the same spiritual food, And all drank the same spiritual drink; and they drank of the spiritual rock that followed them, and the rock was Christ.” (1 Cor. 10, 1-4) Moses striking the rock to make the water run from it is one of the most frequently depicted Biblical scenes in early Christian art; just in the paintings of the Roman catacombs, it appears over 70 times, along with numerous other representations on ancient sarcophagi.

Moses making the water run from the rock in a fourth-century fresco in the Catacomb of St. Callixtus
On the previous Sunday, the Lenten station is kept at the church of St. Lawrence outside-the-Walls, where anciently the catechumens underwent a formal examination of their Christian faith, the ritual known as the scrutiny. The Gelasian Sacramentary contains a beautiful prayer for them to be said on that day, “that they may worthily and wisely come to the confession of Thy praise; so that through Thy glory they may be reformed to the former dignity which they had lost in the original transgression.” At the same Mass, the Memento of the living has an interpolation to pray for their future godparents, and during the Hanc igitur, the names of the catechumens were read out loud. On the following Friday, the station is kept at another church of Rome’s most venerated martyr, St. Lawrence ‘in Lucina’, nicknamed, like so many sacred places in the city, for the woman upon whose property it was originally built. Here, they would hear Christ speaking to the Samaritan woman of the “living water … springing up unto life everlasting”, and understand His words as a clear reference to baptism.

A piece of the gridiron of St. Lawrence's martyrdom, preserved in a reliquary in a side-altar of San Lorenzo in Lucina. Photo courtesy of Orbis Catholicus.
In his treatise on the Gospel of St. John (tract 15, 10), Saint Augustine explains the woman as a type of the Church, “not yet justified, but waiting to be justified”, like the catechumens themselves. He also reminds us that the Samaritans were not part of the Jewish people; indeed, the Bible itself says that they were a mixed nation of Jews and pagans, observing the customs of both. (4 Kings 17, 24-41) So too, the early Church was a mixture of Jews and pagans, now united in Christ in whom “there is neither Jew nor Greek … for you are all one in Christ Jesus.” (Galatians 3, 28) Augustine then continues, saying, “Therefore, in her, let us hear ourselves (spoken of), and in her, let us recognize ourselves, and in her, let us give thanks to God for ourselves.” (i.e. for what He has done for us.)

The dedicatory inscription on the counter-façade of Santa Sabina in Rome, the only part of the church's original mosaic decoration which survives, ca. 425 A.D. The two figures on the sides are “the church from the circumcision” on the left, and “the church from the gentiles” on the right. Photo courtesy of Fr. Lawrence Lew, O.P.
In the Ambrosian Rite, the first Sunday of Lent is called “in capite jejunii – at the beginning of the fast”, a title also used for Ash Wednesday in medieval liturgical books of the Roman Rite. The remaining Sundays are named for their gospels, all taken from St. John, the second Sunday being that of the Samaritan woman, the third ‘of Abraham’ (chap. 8, 31-59), the fourth ‘of the man born blind, (9, 1-38), the fifth of Lazarus (11, 1-45) and the sixth ‘of the Palms’ (11, 55 – 12, 11). On the second Sunday, the following antiphon is sung after the Gospel, while the deacon spreads the corporal on the altar in preparation for the Offertory. (As in the Roman Rite, most of the Mass propers use the Old Latin version of the Scriptures.)
For I will take you from among the Gentiles, and I will pour upon you clean water; you shall be cleansed from all your iniquities. I will give you a new heart, and renew a righteous spirit within you. (Ezechiel 36, 24, 25 and 26.)
In the Roman Rite, the same prophecy of Ezechiel (though not exactly the same words) provides both the introit and the first epistle of the Mass of the Wednesday of the fourth week of Lent, on which day the catechumens were exorcized and blessed at the tomb of St. Paul, the great Apostle of the gentiles.

The Ambrosian Missal contains proper prefaces for nearly every Mass of the temporal cycle, generally rather longer than the those of the Roman Rite. The Lenten prefaces of the Sundays are each based on the Gospel of the day, and that of the Samaritan woman reads as follows:
Truly it is worthy and just…through Christ our Lord. Who, to instill (in us) the mystery of His humility, being tired, sat at the well, and * asked of the Samaritan woman that a drink of water be given Him, even He that had created the gift of faith in her; and so He deigned to thirst for her faith, so that, as He asked water of her, He might enkindle in her the fire of divine love. * We therefore beseech Thy boundless compassion, that defying the dark depths of vice, and leaving behind the vessel of harmful desires, we may ever thirst for Thee, that art the fountain of life, and source of all goodness, and may please Thee by the observance of our fast. Through the same etc.
The words here noted between the stars form the basis of a Preface used in the Ordinary Form of the Roman Rite in the first year of the three-year lectionary cycle, when the story of the Samaritan woman is read on the third Sunday of Lent. Since this crucial passage is not included among the readings of the second and third years, a rubric provides that it may be read on Sunday in place of the Gospels assigned to those years, or it may displace one of the ferial Gospels; a similar provision is made for the blind man and Lazarus.

The Orthodox church of Jacob's Well, also known as St. Photini's, in the city of Nablus on the West Bank. The current church is the fifth structure to stand over the site, which has been venerated by Christians as the Well of Jacob since the fourth century.
In the Byzantine tradition, the story of the Samaritan woman is read in Eastertide rather than Lent, as is that of the man born blind; however, the association of it with the sacrament of baptism is just as clear as in the Latin rites. On the fifth Sunday of Easter, the following three exapostilaria are sung at the end of Matins; the first is that of the Easter season, the second relates to the Gospel of the day’s Divine Liturgy, and the third to the feast of Mid-Pentecost. (This latter is a particular custom of the Byzantine rite which celebrates the half-way point between Easter and Pentecost, the Wednesday before the Fifth Sunday.)
Exapostilarion of Easter  Having fallen asleep in the flesh as a mortal, O King and Lord, You rose again on the third day, raising up Adam from corruption, and abolishing death. O Pascha of incorruption, O salvation of the world!
of the Samaritan Woman  You reached Samaria, and talking with a woman, sought water to drink, my all-powerful Savior, who poured out water for the Hebrews from a sharp rock, and led her to belief in you: and now she enjoys life eternally in heaven.
of Mid-Pentecost  At the mid-point of the feast, Lover of mankind, you came to the temple and said: You who are full of thirst, come to me and draw living water welling up, through which you will all revel in delight and grace and immortal life.
Note how the exapostilarion of the Samaritan woman makes the same association between the Lord’s revelations to her and the episode of the water running from the rock that is made in the Roman Rite by the readings of the Mass. This reference to the waters of baptism continues in the third text, which quotes Christ’s second reference to the “living waters” in the Gospel of John, when He speaks in the temple during the feast of Tabernacles. (chapter 7, 37-39.)

The text of this second Gospel of the “living waters” is deferred by the Byzantine Rite to Pentecost itself, a custom which it shares with the Ambrosian and Roman Rites in different ways. The church of Milan preserves to this very day an ancient custom of celebrating two Masses on both Easter and Pentecost, the traditional days for the administration of baptism; one is the Mass “of the solemnity” itself, and another “for the (newly) baptized.” On Easter Sunday, the Gospel at the Mass for the baptized is John 7, 37-39, with the second part of the last verse omitted.
On great day of the festivity, the Lord Jesus stood and cried, saying: If any man thirst, let him come to me, and drink. He that believeth in me, as the scripture saith, Out of his belly shall flow rivers of living water. Now this he said of the Spirit which they should receive, who believed in him.
At the Mass for the baptized on Pentecost, this Gospel is repeated, adding the final words of verse 39 which are not said on Easter, “for as yet the Spirit was not given, because Jesus was not yet glorified.” In the Roman Rite, the same text provides the Communion antiphon for the Mass of the vigil of Pentecost, although the Gospel itself is read on the Monday of Passion Week.
The Byzantine Rite has traditionally honored the Samaritan woman as a saint, and she was often called both an Apostle and Evangelist. Her legend states that she, her five sisters and two sons were among those baptized by St. Peter and the other Apostles on the first Pentecost, and afterwards traveled to preach in many places; after evangelizing Carthage, they came to Rome, where they were martyred under Nero. Her given name is Photeine (or “Photini” in the modern pronunciation), the Greek word for “bright”; the cognate “photistes – illuminator” is used in the Byzantine tradition as a title for the saint who first evangelizes a people, the best-known example of this being perhaps St. Gregory the Illuminator of Armenia. With the latinized form of her name, Photina, she was added to the Tridentine edition of the Roman Martyrology by Cardinal Baronius, along with her family members, on March 20th, the day of her feast in the Byzantine Rite. Her troparion makes the same association between the waters of baptism and the coming of the Holy Spirit on Pentecost indicated by the placement of her Gospel on the Sunday after Mid-Pentecost.
Wholly illuminated by the divine Spirit, and sated of your thirst by the springs, you drank deeply of the water of salvation from Christ the Savior, all praiseworthy one, and shared it abundantly with them that thirst; o Great Martyr and Equal to the Apostles, Photini, entreat Christ our God to save our souls.

Nina Somerset at St Silas the Martyr, London

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The following works of art were brought to my attention by a reader. They are by a lady who was otherwise unknown to me (though NLM has featured her altar card work here before); she died in 1982: Nina Somerset.

The website of the church in which these appear, St Silas the Martyr, says talks about a devout Christian who was a daily communicant (I can't see any direct reference on the site, but I am guessing that this is a high Anglican church and not Catholic. The website for the church is here). It says that she trained as an art student in the Bournemouth in the 1920s. I would describe her style as derived from the pre-Raphaelite and the Victorian neo-gothic movement.

These movements took their inspiration from the late gothic period, prior to the High Renaissance. I am not always enamoured with the art of this inspiration (although I do like the neo-gothic arthitecture very much). Pre-Raphaelite painting in particular is too naturalistic to achieve the gothic look, which is much stylised, and it comes across as too sentimental. Nina Somerset's art works, I feel because she is working so as to try to remove as far as possible the illusion of depth. This two-demensionality offsets the naturalism. My taste is for the yet more austere original gothic style and these are still a little on the sentimental side for my liking. Nevertheless the result is still well worth looking at, I feel, and anyway it's only my opinion. I present them with the thought that some readers will enjoy them without such reservations.

Sentimentality is the scourge of naturalistic sacred art from the 19th century onwards. Since that time, the mainstream has moved more and more towards the ugliness and distorted naturalism or abstraction that best incarnates the materialist secular worldview. The visual vocabulary associated with these styles has great power in communicating this distorted world view, but if we try to communicate something good by the same means it is weak and sappy. As an illustration of this think how poor Christian rock is at communicating Christian values compared with the power with which the original communicates the hedonism of a lifestyle focussed on sex, drugs and rock'n'roll.

It seems that all of us today are affected by this imagery, whether we like it or not. Even if we are trying to communicate something genuinely good we cannot help be affected in some subtle way by the style of mainstream art. To the degree that we are, sentimentality creeps in. Often we cannot see what it is we have done, but we can see the sentimetality that results from it. Therefore the artist today must anticipate that it is probably going to creep in and deliberately try to offset this tendency in his work. One way is to use media that give flatter, more two-dimensional images. Egg tempera, embroidery, gouache, mosaic and fresco, will always look flatter than oil paintings even if the colours are placed in an identical way. This arises from different interaction with light - they reflect and refract it differently. Even if you use oil paint, if you can avoid using thin, translucent glazes will create that effect more. (The other side of this is that oil and water colour are much better for if you want to create the illusion of depth - for example if I was painting a landscape.)

So, here we have the work of Nina Somerset.









Laetare Sunday, Graduale Romanum

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Yes, the Sunday gets its name from the Introit. The rest of the propers are just as amazing.








Laetare, Simple English Propers

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If you aren't prepared to sing the Gregorian originals, at least offer music that helps account for why this is called Laetare Sunday.







More New Vestment Work (And Some Laetare Sunday Photos)

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Further to our recent post showing the work of a young Italian man on a new rose vestment, I wanted to share with you another new rose vestment set, this time, executed by the Canons Regular of the New Jerusalem in the United States. (And yes, to anticipate the question which usually comes with such posts, the Canons are indeed open to receiving orders for custom made vestments of this sort.)


The orphreys come off very well and I was very glad to see the entire vestment trimmed with the same. I hope we'll see more of this sort of thing in the future.

Here is a closer detail which shows both the material used for the orphreys and the design generally:


Since vestments are best shown being worn, I asked for a few of photographs that were specifically taken to model them. Here they are, and I think they show that they are very graceful and in very good proportions. They strike me as having the benefits of the graceful folds and feel of the conical chasuble, but without the usual challenges that many clergy comment upon because of the ampleness of the full conical form:




Now, as an added bonus, here they are in actual liturgical use this past Laetare Sunday:







Very nicely done.

Laetare in Genoa, Italy

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A reader sends in the following photos which show the Mass of Laetare Sunday from the chapel of the Turchine nuns in Genoa, Italy. The celebrant was Don Massimo Moroncelli, chaplain.






Photos courtesy of Ermanno Longo

Sights and Sounds from the Abbey of Le Barroux

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For those of you who, like myself, share a passion for monasticism, I would encourage you to watch the following video which incorporates chants from the Abbey of Le Barroux along with a photo montage from the same. There are a number of photographs seen herein which I know I haven't seen before, showing the liturgical life of the Abbey. Enjoy.

Usus Antiquior in Japan

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I have noted before how interested I am to hear from Catholics attached to the usus antiquior in parts of the world within the Eastern hemisphere, and so I was particularly pleased to recently be contacted by Una Voce Japan who sent in some photos taken this past Sunday from Wakaba house in Tokyo.

Every third Sunday of the month, this group has organized a Mass in the usus antiquior, celebrated by Fr. Augustin Toshio Ikeda, SSP. Here are a few photos:




In addition, here are a few other photographs I found from this blog, taken earlier this year.







The Chinese Work of Dom Adelbert Gresnigt, OSB

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Further to our look earlier today at the usus antiquior in Japan, another item of interest came our way recently from this region of the world, this time in relation to Catholic China. It is work that was published in the Bulletin of the Catholic University of Peking in the 1920's. Specifically, the work of Dom Adelbert Gresnigt, OSB (1877-1965), a Benedictine who was invited from the Abbey of Maredsous in Belgium to China in the mid 1920's. Dom Adelbert worked in such a way to blend certain Western Christian features into a Chinese context and style.

Below are a few examples of his designs -- photographed from the aforementioned Bulletin and sent in by one of our readers.

Unfortunately, very little other information is available about Dom Adelbert (also spelled 'Adalbert' in other sources), at least that I am yet able to find. If any of our readers has any further information they would like to share, or further references, please do send it in.


An altar designed by Dom Adelbert Gresnigt in a Chinese style


A design requested of Dom Adelbert Gresnigt which looked to convert a neo-gothic church into one of a Chinese style


An episcopal throne designed by Dom Adelbert Gresnigt for the Chinese bishop Melchior Sun, Vicar Apostolic of Li Hsien

* * *

If you find this topic interesting, you may also want to review some previous postings on this sort of thing:

Historical Examples of Inculturation in Catholic China (May 2010)

Liturgical Arts Quarterly 1935: "Christian Art in the Far East" (April 2010)

Japanese Madonnas (April 2010)

Gammarelli's Launches Website

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By way of John Sonnen I learned that the famed Roman ecclesiastical tailors, Gammarelli's, now have a web presence:


Here is a little sampling of some of the vestments their site shows (and, perhaps a sign of the times, the site makes certain to note that amongst the pieces it comes with, it includes the maniple).



Don Nicola Bux Personally Appeals to the SSPX: "This is the appropriate moment..."

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As many of you have no doubt heard already, last week the Holy See issued a communique around the talks with the Society of St. Pius X, wherein it was noted that "moved by concern to avoid an ecclesial rupture of painful and incalculable consequences, the superior general of the Society of St. Pius X was invited to clarify his position in order to be able to heal the existing rift, as is the desire of Pope Benedict XVI."

Our friends over at Rorate Caeli yesterday translated an important letter on this same subject, a personal appeal in fact, by the well known and respected Don Nicola Bux, consultor to the Congregation for the Doctrine of the Faith, made to the Society of St. Pius X.

Here is Rorate's translation in its entirety -- and I would note, the letter carries a number of interesting points both related to the specifics of the situation with regard to the SSPX, but also generally.


To His Excellency, Bishop Bernard Fellay, and to the Priests of the Society of Saint Pius X

Your Excellency,
Most dear Brothers,

Christian brotherhood is stronger than flesh and blood because it offers us, thanks to the divine Eucharist, a foretaste of heaven.

Christ invited us to experience communion, this is what our "I" is made of. Communion means loving one's neighbor a priori, because we have the one Savior in common with him. Based on this fact, communion is ready for every sacrifice in the name of unity; and this unity must be visible, as the last petition addressed by Our Lord to his Father teaches us - "ut unum sint, ut credat mundus" -, because this is the decisive testimony of Christ's friends.

It is undeniable that numerous facts of Vatican II and of the period that followed it, related to the human dimension of this event, have represented true calamities and have caused intense pain to many great Churchmen. But God does not allow His Holy Church to reach self-destruction.

We cannot consider the severity of the human factor without having confidence in the divine factor, that is to say, in Providence, who guides history and, in particular, the history of the Church, while respecting human freedom.

The Church is at once a divine institution, divinely protected, and a product of men. Her divine aspect does not deny her human one - personality and freedom - and does not necessarily hinder it; her human aspect, while remaining whole and even compromising, never denies her divine one.

For reasons of Faith, but also due to the confirmations, albeit slow ones, that we are able observe at the historical level, we believe that God has prepared and continues to prepare, throughout these years, men who are worthy of rectifying the errors and the ommissions we all deplore. Holy works already exist, and will appear in still greater numbers, that are isolated ones from the others but that a divine strategy links at a distance and whose actions add up to a well-ordered design, as it miraculously happened at the time of the painful Lutheran rebellion.

These divine interventions seem to grow in proportion to the complexity of the facts. The future will make it clear, as we are convinced, and it seems dawn is almost at hand.

During some moments, the uncertain dawn struggles with darkness, which fades slowly, but when it appears we know that the sun is there, and that it will invariably pursue its course in the heavens.

With Saint Catherine of Siena, we wish to say: "Come to Rome in complete safety," next to the house of the common Father who was given to us as the visible and perpetual principle and foundation of Catholic unity.

Come take part in this blessed future in which we can already foresee dawn, despite the persistant darkness. Your refusal would increase darkness, not light. And yet the sparks of light we can already admire are numerous, beginning with those of the great liturgical restoration effected by the motu proprio "Summorum Pontificum". It stirs up, throughout the whole world, a large movement of adherence from all those who wish to increase the worship of God, particularly the young.

How to ignore the other concrete gestures, full of meaning, of the Holy Father, such as the lifting of the excommunications of the bishops ordained by Abp. Lefebvre, the opening of a public debate on the interpretation of Vatican II in light of Tradition, and, for this purpose, the renewal of the Ecclesia Dei Commission?

Perplexities certainly remain, points to be deepened or detailed, as those regarding ecumenism and interreligious dialogue (which has been, for that matter, already the object of an important clarification given by the declaration Dominus Iesus, of the Congregation for the Doctrine of the Faith, of August 6, 2000), or regarding the way in which religious liberty is to be understood.

Also on these matters, your canonically assured presence within the Church will help bring more light.

How not to think of the contribution you could give to the welfare of the whole Church, thanks to your pastoral and doctrinal resources, your capabilities and your sensibility?

This is the appropriate moment, the favorable time to come. Timete Dominum transeuntem: let not the occasion of grace the Lord offers you pass by, let it not pass by your side without recognizing it.

Will the Lord grant another one? Will not we all one day appear before His Court and answer not only for the evil we have done, but above all for the good we might have accomplished but did not?

The Holy Father's heart trembles: he awaits you anxiously because he loves you, because the Church needs you for a common profession of faith before a world that is each day more secularized and that seems to turn its back to its Creator and Savior hopelessly.

In the full ecclesial communion with the great family that is the Catholic Church, your voice will no longer be stifled, your contribution will be neither ignorable nor ignored, but will be able to bring forth, with that of so many others, abundant fruits which would otherwise go to waste.

The Immaculate teaches us that too many graces are lost because they are not asked for; we are convinced that, by answering the offer of the Holy Father favorably, the Society of Saint Pius X will become an instrument to enkindle new rays from the fingers of our Heavenly Mother.

On this day dedicated to him, may Saint Joseph, spouse of the Blessed Virgin Mary, Patron of the Universal Church, inspire and sustain your resolutions: "Come to Rome in all safety".

Rome, March 19, 2012.
Feast of Saint Joseph

d. Nicola Bux

Pax Inter Spinas

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A Blessed Man of Peace

On this day c. 542, St Benedict of Nursia, father of Western monasticism, was called home to God. His feast is kept on this day in the Extraordinary Form, but in the Ordinary Form it is kept on 11 July, which is the day his relics were translated to the monastery of St Benoit-sur-Loire in France.

This bronze relief of St Benedict is by Bryan Neale, and it was unveiled in Westminster Cathedral in 1999. Following the express desire of Basil Cardinal Hume, the saint is depicted holding his blessed Rule, and its presence in the cathedral commemorates England's debt of gratitude to the sons of St Benedict who first evangelized England, and who continue to educate and minister to the Catholics of England. Cardinal Hume himself was a Benedictine, had been educated at Ampleforth Abbey by the Benedictines and had become abbot of that monastery before being called to be Archbishop of Westminster. The Cardinal died on 17 June 1999, so this bronze relief of St Benedict also remembers him. His episcopal motto was 'Pax Inter Spinas', Peace among thorns, which also features on this relief.

This motto is one that is dear to the Benedictines who follow the example of St Benedict. This saint lived in a time of considerable turmoil and upheaval in Europe, but despite the thorns of life, he sought and found peace in Christ through humble prayer and worshipful service. So, citing psalm 33[34] in his Rule, St Benedict reminds the monk to "Turn away from evil and do good; seek after peace and pursue it". This pursuit of peace, primarily the peace of a soul that is reconciled in Christ to God, is the monk's life-long quest; it is a quest mediated by St Benedict's Rule. The motto may also be related to an incident in St Benedict's life, where it is said that to quell the lusts of the flesh, he threw himself into a thorn bush, and thus, peace was restored to his soul.

The Church of St. John's Abbey, Collegeville: Before

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Many will doubtless be familiar with St. John's Abbey in Collegeville, Minnesota including its present, very 'industrial' abbey church architecture.

However what many of you may not be so familiar with is the former abbey church which was an absolute jewel, showing forth some of the very best fruits of the 20th century Liturgical Movement in my estimation.

Here is an image of the former sanctuary which one of our readers sent in:


(Here is an angled view which better shows the ciborium:)


The paintings you see behind the altar and ciborium are by an artist of the Beuronese school, Br. Clement Frischauf, OSB (1869-1944). As the historical abbey church was converted into a "great hall", whatever else has been lost, at very least some of Frischauf's work remains to be seen yet today:


One can well imagine how magnificent this abbey church would have been, and how well suited and dignified a setting it was for the solemn liturgical rites of the Church.
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