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Articles on this Page
- 10/05/16--10:07: _The Feast of St Thé...
- 10/06/16--00:08: _Upcoming Events wit...
- 10/05/16--13:00: _Introibo: A New App...
- 10/06/16--10:16: _The Feast of St Thé...
- 10/06/16--14:18: _The Charterhouse of...
- 10/07/16--10:27: _Pope Leo XIII on th...
- 10/08/16--10:29: _The Carthusian Rosary
- 10/10/16--05:00: _Missals from Silver...
- 10/11/16--05:00: _Abp Sample to Celeb...
- 10/11/16--11:10: _Spanish-Language Wo...
- 10/12/16--01:32: _St Augustine and th...
- 10/12/16--04:00: _An Invitation to th...
- 10/12/16--07:00: _All Saints and All ...
- 10/12/16--11:38: _An Anglo-Catholic P...
- 10/13/16--12:08: _Fr. Hunwicke Visits...
- 10/13/16--12:14: _Lecture in NYC on t...
- 10/14/16--08:08: _Edward the Confesso...
- 10/14/16--12:11: _The Antiquity of Li...
- 10/15/16--12:32: _New Apostolate for ...
- 10/17/16--09:21: _Missals from Silver...
- 10/05/16--10:07: The Feast of St Thérèse at the Little Flower Basilica in Michigan
- 10/06/16--00:08: Upcoming Events with Bishop Schneider in the Eastern US
- 10/05/16--13:00: Introibo: A New App for EF Altar Servers
- 10/06/16--10:16: The Feast of St Thérèse in Madera, California
- 10/06/16--14:18: The Charterhouse of Pavia
- 10/07/16--10:27: Pope Leo XIII on the Holy Rosary 2016
- 10/08/16--10:29: The Carthusian Rosary
- 10/12/16--01:32: St Augustine and the Translation of His Relics
- 10/12/16--07:00: All Saints and All Souls in Philadelphia
- 10/12/16--11:38: An Anglo-Catholic Prayer Card of the Angelus
- 10/13/16--12:08: Fr. Hunwicke Visits Norwalk, NYC
- 10/13/16--12:14: Lecture in NYC on the English Martyrs Next Monday
- 10/14/16--08:08: Edward the Confessor and John the Evangelist
- 10/15/16--12:32: New Apostolate for the ICK in Detroit - First Mass This Sunday
- 10/17/16--09:21: Missals from Silverstream Priory (2): Regensburg
Following a Rosary with meditations in honor of St. Thérèse, a Solemn High Mass in the Extraordinary Form was celebrated by Fr. Ryan Adams, the associate pastor of the Shrine Basilica, with Fr. Robert Slaton serving as deacon, and Fr. Joseph Tuskiewicz as subdeacon. The altar servers were from St. Josaphat Church, which is part of the Mother of Divine Mercy Parish in Detroit, and from the St. Benedict Tridentine Catholic Community in Windsor, Ontario. The St. Joseph Cappella, Chant Schola and Soloists (also from Mother of Divine Mercy Parish, but very soon to be of St. Joseph Oratory, along with said St. Josaphat altar servers) sang as guests in the Shrine Basilica.
Following the Holy Mass were devotions in honor of St. Thérèse, an outdoor procession of the Blessed Sacrament around the basilica, Benediction, and veneration of a relic of St. Thérèse. About 500 people attended this incredible evening; as the flyer for the event stated, it was truly an “evening of exquisite beauty and reverence giving glory to God,” celebrating “the Holy Mass in the same form as our the church’s patroness of the Church herself used to pray.” The National Shrine of the Little Flower was granted the title of Minor Basilica by Pope Francis; founded in 1926, and dedicated on October 3, 1936, the church was one of the first named after St. Thérèse, who was canonized in 1925.
(Our thanks to reader Theresa Chisolm for sending us the description of the ceremony and these beautiful photos; in the 5th and 6th ones you can see the preacher at the rather unusual pulpit.)
Tuesday, 18 October 2016, 6:00 PM
Pontifical Low Mass, Dinner & Conference, St. Titus Church
Wednesday, 19 October 2016, 2:00 PM
Lecture, St. Vincent de Paul Church
Berkeley Springs, WV
Thursday, 20 October 2016, 6:00 PM
Lecture, Cosmos Club
Friday, 21 October 2016, 7:00 PM (Feast Day of Blessed Karl of Austria)
Solemn Pontifical Mass & Reception, St. Mary Mother of God Church
Saturday, 22 October 2016, 8:30 AM
Pontifical Low Mass & Morning of Recollection, St. Thomas Apostle Church
Sunday, 23 October 2016, 10:30 AM
Solemn Pontifical Mass & Conference, Mater Ecclesiae Church
Monday, 24 October 2016, 6:00 PM
Solemn Pontifical Mass, Church of the Holy Innocents
Tuesday, 25 October 2016, 6:00 PM
Pontifical Low Mass & Conference, Church of the Holy Innocents
Thursday, 27 October 2016, 10:00 AM
Solemn Pontifical Mass, St. Peter Church
Steubenville, OH (Evening lecture.)
Back in 1995, he produced (under the auspicies of Una Voce Pittsburgh) an audio cassette tape of the Latin prayers and responses of the Mass. On Side One both the priest’s and server’s part were heard. The apprentice server practiced by reciting the responses along with the voice of the server on the tape. With Side Two of the tape, the new server would test himself. There, only the priest’s parts are recorded, and the server practiced by reciting the responses alone.
Over the course of several years, hundreds of the tapes were sold by mail order, with virtually no advertising. In 2001 or so, the Pittsburgh Latin Mass Community Inc. began distributing the same recordings on audio CDs. The recordings and accompanying pamphlet have long been available for free downloading from the Internet, at UnaVocePittsburgh.com.
Last summer, the same recordings were be integrated into an application for tablet computers; as of September 3, 2016, the first version of this new app, named “Introibo”, was released to the public in the Apple App Store. It costs nothing, and can be installed on almost any iPad (those running version 8.0 or newer of iOS; that covers 97% of iPads, according to Apple).
If you’d like to see screenshots of the Introibo app, please visit this page: two5two.com.
Also, the App Store link: https://itunes.apple.com/us/app/introibo/id1144724679?ls=1&mt=8
|The main entrance to the complex, which was originally with the park of a fortress of the Visconti; the fortress itself no longer exists.|
|The rising sun in the middle of the ceiling, the symbol of the Visconti, is also present in several places in the Duomo of Milan, another project of Gian Galeazzo.|
|Although the central nave and side aisles are relatively simply, each of the side chapels in the latter is fully decorated.|
|This metal screen separates the nave from the transepts and the main choir. The cross seen above it stand over a marble portal at the entrance to the choir, which is shown in another photo below.|
|The cupola seen from behind the metal screen.|
|The entrance to the choir.|
|The altar of the choir.|
|The tomb of Gian Galeazzo Visconti|
|If you look carefully, you can see a cleverly playful painting of a man peeping into the church from one of the windows.|
|The church seen from the cloister|
|The individual cells of the monks are seen from within the great cloister|
|Just above the main entrance.|
|The Charterhouse of Pavia seen from a distance.|
|The Madonna of the Rosary, by Guido Reni, 1598|
So far from this derogating in any way from the honour due to God, as though it indicated that we placed greater confidence in Mary’s patronage than in God’s power, it is rather this which especially moves God, and wins His mercy for us. We are taught by the Catholic faith that we may pray not only to God himself, but also to the Blessed in heaven (Conc. Trid. Sess. xxv.), though in different manner; because we ask from God as from the Source of all good, but from the Saints as from intercessors. “Prayer,” says St. Thomas, “is offered to a person in two ways – one as though to be granted by himself; another, as to be obtained through him. In the first way we pray to God alone, because all our prayers ought to be directed to obtaining grace and glory, which God alone gives, according to those words of Psalm 83, 12, “The Lord will give grace and glory.” But in the second way we pray to holy angels and men, not that God may learn our petition through them, but that by their prayers and merits our prayers may be efficacious. Wherefore, it is said in the Apocalypse (8, 4), “The smoke of the incense of the prayers of the Saints ascended up before God from the hand of the angel.” (Summa Theol. 2a 2ae, q. 83. a. 4.).
Now, of all the blessed in heaven, who can compare with the august Mother of God in obtaining grace? Who sees more clearly in the Eternal Word what troubles oppress us, what are our needs? Who is allowed more power in moving God? Who can compare with her in maternal affection? We do not pray to the Blessed in the same way as to God; for we ask the Holy Trinity to have mercy on us, but we ask all the Saints to pray for us (Ibid.). Yet our manner of praying to the Blessed Virgin has something in common with our worship of God, so that the Church even addresses to her the words with which we pray to God: “Have mercy on sinners.”
(Addressing the bishops) We have gladly blessed this devotion, and We earnestly desire that you would sedulously and strenuously encourage its growth. We cherish the strongest hope that these prayers and praises, rising incessantly from the lips and hearts of so great a multitude, will be most efficacious. Alternately rising by night and by day, throughout the different nations of the earth, they combine a harmony of vocal prayer with meditation upon the divine mysteries. In ages long past this perennial stream of praise and prayer was foretold in those inspired words with which Ozias in his song addressed Judith: “Blessed art thou, O daughter, by the Lord, the Most High God, above all women upon the earth... because He hath so magnified thy name this day that thy praise shall not depart out of the mouth of man.” And all the people of Israel acclaimed him in these words: “So be it, so be it!”(Judith 13, 25 et seq.)
The Carthusian Rosary, with the austerity which characterizes everything about the Order’s way of life, has 50 Aves, and a different “mystery” for each one. In some places, it is the custom to interpolate into the Hail Mary a few words which refer to the particular mystery, as e.g. “Ave Maria, gratia plena... Jesus, qui resurrexit a mortuis. Sancta Maria etc.” for the Resurrection, or “Jesus, quem Virgo concepisti” for the Annunciation. In the article, you can find a list of fifty such interpolations, along with a bit more history of the Carthusian rosary; here are just the first three.
2. … Jesus, who together with you who has conceived him, visits Saint Elizabeth.
3. … Jesus, to whom you, virgin in body and soul, have given birth with joy.
From our post in last July of historical images from the Charterhouse of Barcelona, these photos show Carthusians with their rosaries, in choir in the first image, and in the cell in the second.
Today's featured missal is a magnificent altar missal published in 1931 under the auspices of the Benedictine monastery of Maria Laach, which, as many will recognize, played an important role in the early phase of the Liturgical Movement. When we look at this missal, we see a number of noteworthy features. First, its artwork, though based on traditional models, is distinctively modern; it can be taken as an example of "the Other Modern." Second, the craftsmanship is impeccable, sturdy, meant to last for centuries. Third, the content of the missal, its age-old prayers, is treated with what might be called artistic reverence: initials are beautifully decorated, texts are laid out thoughtfully and proportionately, and the images, where they appear, are bold and refreshing. It shows the original Liturgical Movement's deep love for the Church's traditional liturgy -- that is, the actual inheritance of our rite, instead of the thought experiments of innovators -- and the desire to rediscover it, re-present it to a new generation as the treasure it is and will always be.
|The preface by Abbot Ildefons Herwegen|
 If one searches NLM archives with the keyword "other modern," one can find many interesting articles about architecture, vestments, vessels, furnishings, and books.
The Mass will be at St. Stephen Roman Catholic Church, located at 1112 SE 41st Avenue.
More details can be found on a Facebook page for the event, here.
St Stephen’s Church was the place where the archdiocese held a conference on the liturgy just over a year ago, at which Archbishop Sample spoke and celebrated Mass. You can read his address to the conference, and see more pictures, in the report from Fr Eric Andersen which was posted on the New Liturgical Movement shortly afterwards, here.
“La Belleza de la Liturgia”
La Parroquia de Nuestra Santo Redentor
37 South Ocean Drive, Freeport, NY
Viernes 14, 21, y 28 de Octubre
Sábado, 29 de Octubre
No se necesita tener experiencia música. ¡Todos están bienvenido!
Presentador: Sr. Heitor Caballero (Director de Música Sacra, Santa Inés, Manhattan)
|The calendar for October from a Premonstratensian Breviary printed in 1490. The Translation of St Augustine is marked on the 11th; note that because the octave day, the 18th, is permanently impeded by the feast of St Luke the Evangelist, it is permanently anticipated to the 17th. (This may seem like an odd thing to do, but it was a common enough practice once upon a time, and the same is done with St Ursula and Companions on the 21st, since their octave is impeded by Ss Simon and Jude.)|
From about 1360 to 1400, a monumental reliquary tomb for the Saint was made, of the type which is called an “arc.” (‘Arca’ in Italian; in the past we have shown similar arcs made for Ss Dominic and Peter Martyr.) It is attributed to a group of sculptors working under the brothers Matteo and Bonino da Campione, and Balduccio da Pisa. Originally kept in the sacristy, it was dismantled during the Napoleonic wars, and reassembled as the church’s altarpiece only in 1900. At four meters high, and covered with 90 statues, it is one of the most impressive monuments of late Gothic sculpture in Italy, with a remarkable richness of iconography. These photos were all taken by Nicola de’ Grandi.
Inside the altar is a silver box made by Liutprand for the relics of St Augustine, which were moved to a reliquary in 1833. They are exposed for the veneration of the faithful twice a year, on his principal feast day, August 28th, and the feast of his Conversion, April 24.
Inside the central register of the arc is depicted the death of St Augustine, who is shown in pontifical robes, with a Bible in his hand, surrounded by six deacons who hold his funeral veil. Above him, on the “ceiling”, as it were, of the open space, Christ appears to him, surrounded by Angels and Saints who are about to receive him into heaven. (Details can be seen by clicking the photo to enlarge it.)
The lower register shows the virtues of Faith (with the upside-down cross of the church’s titular Saint, the Apostle Peter, and a chalice), Hope (looking up to heaven), Charity (with a baby) and Religion, (founded on a rock, another reference to Peter.) On the panels between them are paired Ss Peter and John, James the Lesser and Andrew, Thomas and Bartholomew, each holding a scroll with a few words of the Apostles’ Creed. On the upper register are the episodes of St Augustine’s conversion: listening to the preaching of St Ambrose; the famous “Tolle, lege” episode; and the reading of St Paul’s words “Put ye on the Lord Jesus Christ, and make not provision for the flesh in its concupiscences.” (Romans 13, 14) In the triangles at top are shown various miracles of St Augustine.
St Ambrose died 33 years before Augustine; he is represented as present, along with Ss Jerome and Gregory the Great on the opposite side, to make up the company of the four Saints first recognized as Doctors of the Church. (St Jerome died about 10 years before Augustine, while Gregory was born about a century after his death.)
At the back of the arc, the four Philosophical Virtues are depicted: Prudence, with three faces; Justice with sword and scales; Temperance, carefully pouring water from one vessel to another without spilling it; and Fortitude in a lion skin; between them, the remaining Apostles in pairs. Above the funeral scene are the funeral of St Monica, Augustine reading his rule to his disciples, and Augustine as bishop, catechizing and then baptizing the faithful. In the left triangle, he is shown in prayer, and then in the middle disputing with three people who have the feet of chickens, a curious medieval device to indicate the heretics Arius, Donatus and Pelagius, whose errors St Augustine did so much to combat.
The stone marking the tomb of Liutprand, who reigned as king of the Lombards, and hence much of northern Italy, from 712-744.
The church of San Pietro in Ciel d’Oro houses the relics of another Saint, whose feast day is coming up later this month; pictures will be posted on the feast day.
After the Mass, members of the clergy are cordially invited to gather for a standing lunch at the Palazzo Cesi (via della Conciliazione, 55) with the celebrants and Archbishop Guido Pozzo, Secretary of the Pontifical Commission Ecclesia Dei. All priests, religious and seminarians are welcome, but are asked to sign up by October 15, in order to help the organizers prepare for the event.
Please follow the link and fill in the online module:
This beautiful card with the Angelus on one side, and the Regina caeli on the other, was made in the 1910s or ’20s by the Society of Ss Peter and Paul, an Anglo-Catholic publishing company (now-defunct), which also produced the original Anglican Missal. The decorative border is obviously made from the same stamp on both sides, but the illustration accompanying the two prayers is different, the Annunciation with the Angelus, the appearance of Christ to the women at the tomb with Regina caeli. (Many thanks to Mr Richard Hawker for sharing this with us.)
It is really a pity that decorative elements of this sort have essentially disappeared from liturgical books; many medieval Missals and Breviaries have them on almost every page, a tradition which carried over into the early printed editions of the 15th century, and the first editions of the Tridentine period. Here, for example, is the first page of liturgical text in a Premonstratensian Missal printed in 1578, which has at least one such decoration, very often two or three, on almost every page.
Popular blogger and eminent classicist the Rev. John Hunwicke is visiting the Northeast this weekend and into next week for two talks, sponsored by the St. Hugh of Cluny Society.
|A Catholic Requiem Mass celebrated at the shrine of St Edward in Westminster Abbey in 2013 (from an NLM post by Charles Cole.)|
The pilgrims, cleverly described in the breviary as “apostolic legates”, returned to the king, delivering both the message and the ring. And indeed, St Edward took ill on Christmas night of that year, and by Childermas, was too sick to attend the consecration ceremony of the abbey of St Peter, which he himself had founded and built. The original Romanesque building was replaced by the famous Gothic church now known as Westminster Abbey in the mid-13th century. The only surviving representation of the original church is in the section of the Bayeux Tapestry which shows the body of King Edward being brought into it for burial.
|“Here the body of King Edward is brought to the church of St Peter the Apostle.”|
This article is mostly the work of our Ambrosian writer Nicola de’ Grandi; I translated it from Italian, and added the paragraphs on the Ambrosian arrangement of the Sundays after Pentecost, and the Roman Rite’s use of the pericope of the adulteress.
This past Sunday, the second of October, is named in the most ancient Ambrosian missals “the Sunday before the Dedication,” or else “before the Transmigration of the church.” Until the middle of the 16th century, the city of Milan had two cathedrals, on either end of the great modern Piazza del Duomo. The second title, “ante Transmigrationem Ecclesiae”, refers to an ancient tradition, attested in the 12th century Ambrosian Ordo of Beroldus, that placed on the Sunday of the Dedication one of the liturgical year’s most solemn events. All of the liturgical furnishings and books were taken in a grand procession, led by archbishop, from one of the two cathedrals, in this case the “summer church” dedicated to St Thecla, to the “winter church”, dedicated to the Virgin Mary. The other such occasion was no less than Easter itself, on which the procession was reversed.
|A page of an Ambrosian Missal printed in 1522; the Mass of the Sunday before the Dedication.|
What makes this a witness of such exceptional importance is that St Ambrose comments upon the same passage in the so-called “Second Apology for King David,” a stenographer’s record of sermons which he preached over two or three days in the year 388. At the very beginning, he says “The reading of the Gospel … in which you heard of the adulteress brought before Christ, and sent away without condemnation … (Apol. David altera 1,1).
St Ambrose creates a parallel between the David’s adultery with Bathsheba, in which he sees a prefiguration of Christ’s love for the Church, and the adultery of the sinful woman justified by Christ. He justified the adulteress of many husbands, as he says, because she is a figure of the Church, (in the broader sense of God’s people, in the Old and New Testaments) that sought the Word of God in many places until she found it in Christ, and was absolved and purified by Him.
|Christ and the Adulteress, by Rocco Marconi, ca. 1525|
The ecclesiological interpretation which St Ambrose gives to this passage is also suggested by its placement in the traditional Roman lectionary, on the Saturday of the third week of Lent. The Epistle at that Mass is the longest in the entire Missal, the story of Susanna (Daniel 13), who already in the early third century was seen as a symbol of the Church, and the two elders who wish to seduce her as a symbol of Church’s persecutors. Susanna. Therefore, is the symbol of the Church in her fidelity to Christ, and the adulteress of the Church redeemed by Christ when she has been unfaithful to him.
But even more noteworthy is the fact that St Ambrose, as he continues his preaching, then cites the Gospel passage John 10, 22-30, in which Christ pronounces the words “I and the Father are one”, which the Ambrosian Missal assigns the following Sunday of the Dedication of the Church. This episode takes place during the Jewish feast of the dedication of the temple in Jerusalem, known in Greek as “Encænia – the renewal.” As St Ambrose explains it, “What belongs to the nature of divinity is set forth in the reading of the Gospel, which you have devoutly followed, when you heard read out the word of the Son of God, ‘I and the Father are one.’ ” The same passages, with the same interpretation, and similarly placed next to each other, are therefore found in the writings of St Ambrose himself, before the long gap in the written sources after the 4th century, only to reappear after this long silence in the 7th century “libellus” contained with the codex at San Gallen.
This forms an exceptional witness to the Milanese church’s ability to jealously guard and preserve not only the essential characteristics of its own order of readings, but also the traditional interpretation of the scriptural passages contained therein, even over the course of the centuries from which no written liturgical source survives.
|The Preaching of St Ambrose, by Bernaerd van Orley, 1515-20|
Our thanks once again to Teresa Chisholm, this time for sending in this report on the newest apostolate of the Institute of Christ the King, in the Archdiocese of Detroit. A special first Mass will with some very good music be celebrated tomorrow in the St Joseph Oratory (details in the article and in the poster below); the church has been featured many times in our photoposts for their exemplary Masses in both forms of the Roman Rite.
From the press release: “We are grateful for the Institute of Christ the King Sovereign Priest and the dedication they have to evangelizing through use of the Extraordinary Form,” said Archbishop Vigneron. “The Institute has shown tremendous energy in conveying a sense of the sacred through their ministry around the country and the world. We are especially encouraged that their ministry may also be instrumental in preserving St. Joseph, one of the Archdiocese of Detroit’s most beautiful and historic worship sites.”
St. Joseph Oratory is the Institute’s thirteenth church in the United States. Rev. Canon Michael Stein has been appointed rector, assisted by Deacon Jonathon Fehrenbacher. They will reside in the rectory, a stately building dating to 1896 which has not been home to a priest in over ten years, since St. Joseph was clustered in 2004 and then merged in 2013 with two historic Polish churches in Detroit, St. Josaphat and Sweetest Heart of Mary.
|The rectory and church|
|Rev. Canon Michael Stein and Deacon Jonathon Fehrenbacher arrived in Detroit on October 11.|
St. Joseph was founded in 1855 by German immigrants. The present church, dedicated in 1873, was designed by German-American architect Franz Georg Himpler, whose works include, among others, Ss Peter and Paul in St. Louis (located a mile and a half from the Institute’s St. Francis de Sales Oratory) and St. Francis de Sales in Cincinnati.
|side altar of the Virgin Mary|
|Final Latin Novus Ordo Sunday Mass on October 9|
|side altar of St Joseph|
For an explanation of this series, see this article from last week.
Friedrich Pustet, but judging from the artistic style and the use of color printing, it is likely from the 1920s or 30s. (It certainly must predate the dogmatic definition of the Assumption, for reasons that will become clear later.)
I wonder: Could we ever commission another such missal, where every saint had his or her proper emblem, where each solemnity was graced with an illumination? Perhaps one day, in better times, it will happen again -- once we are no longer fighting about such arcane questions as whether sacramental marriage is between one man and one woman for life, or whether it is permissible to murder unborn humans (or to elect officials who think it is). We need a little Pax Romana first. But I digress...
|It is charming to see how the Gospel of the day is often worked in.|
|A perfect image of the “Sursum corda” of the Mass.|
|I love how the serpent is entwined around the initial.|
|St John Damascene with an icon; the introit reminds us of his miraculously restored hand.|
|St. Paul of the Cross, with the introit perfectly illustrating both the saint and the text.|
|St. Boniface: the image recalls his chopping down of a “sacred tree.”|
|St. Camillus shown caring for the sick.|
|S. Anne teaching the Virgin Mary the Ten Commandments.|
|(Note how the old Assumption prayers are crossed out, because of the new Propers of 1950.)|
|For the Nativity of the Virgin Mary.|
|This is one of my favorites: only black, with the “lion” of the Offertory.|
|The Prophet Isaiah looking a bit like a hippie street preacher|
|The Holy Innocents: their bodies in black below, their souls in red above.|
|Joseph and Jesus building the letter E while Mary spins the distaff|
|The illumination for Passion Sunday|
|Holy Thursday: mandatum, institution, and Judas on the outside|
|Look closely at the left side: Abel, Abraham, Melchisedek, the Passover, and the Crucifixion|
Next up: an Augustinian Missal from 1716.