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Articles on this Page
- 10/28/16--07:22: _New Nominations to ...
- 10/28/16--12:00: _Conference on Beaut...
- 10/28/16--14:50: _The Legends of Sain...
- 10/29/16--05:00: _Why Did Caravaggio ...
- 10/29/16--15:11: _All Souls Announcem...
- 10/30/16--15:36: _A Purge at CDW? Imp...
- 10/31/16--04:00: _Sacred Music Worksh...
- 10/31/16--05:00: _Missals from Silver...
- 10/31/16--15:56: _All Saints and All ...
- 11/01/16--05:00: _Postscript - the An...
- 11/01/16--09:00: _Photopost Request: ...
- 11/01/16--16:07: _The Feast of All Sa...
- 11/02/16--05:00: _Perspective Without...
- 11/02/16--13:00: _The Feast of All Sa...
- 11/02/16--16:29: _From the Archive: O...
- 11/03/16--07:38: _In Memoriam: The Ba...
- 11/03/16--16:50: _The Feast of All Sa...
- 11/04/16--05:53: _Bishop Schneider’s ...
- 11/04/16--12:00: _Peter Kwasniewski t...
- 11/04/16--17:00: _The Feast of All Sa...
- 10/28/16--07:22: New Nominations to CDW, Including Archbishop Piero Marini
- 10/28/16--14:50: The Legends of Saints Simon and Jude
- 10/29/16--05:00: Why Did Caravaggio Paint a Beardless Christ?
- 10/29/16--15:11: All Souls Announcements: Tulsa, North Jackson OH, and Vancouver
- 10/30/16--15:36: A Purge at CDW? Important Commentary from the Catholic Herald
- 10/31/16--04:00: Sacred Music Workshop on Long Island
- 11/01/16--05:00: Postscript - the Anglican Restoration of Medieval Rood Screens
- 11/01/16--09:00: Photopost Request: All Saints and All Souls 2016
- 11/01/16--16:07: The Feast of All Saints - 2016
- 11/02/16--05:00: Perspective Without A Vanishing Point?
- 11/02/16--13:00: The Feast of All Saints 2016 - The Beatific Vision
- 11/02/16--16:29: From the Archive: On the Use of Black Vestments
- 11/03/16--07:38: In Memoriam: The Basilica of Norcia
- 11/03/16--16:50: The Feast of All Saints 2016 - The Virgin Mary and Holy Women
- 11/04/16--05:53: Bishop Schneider’s Pontifical Mass at Holy Innocents NYC
- 11/04/16--12:00: Peter Kwasniewski to Speak in Vancouver, November 12
- 11/04/16--17:00: The Feast of All Saints 2016 - The Angelic Choirs
- Domenico Sorrentino, the Archbishop of Assisi‑Nocera Umbra‑Gualdo Tadino, who served as Secretary of said Congregation from August of 2003 until November 2005
- Piero Marini, titular Archbishop of Martirano and President of the Pontifical Commitee for International Eucharistic Congresses, also formerly the Papal Master of Ceremonies
- Arthur Joseph Serratelli, Bishop of Paterson, New Jersey
- Alan Stephen Hopes, Bishop of East Anglia, U.K.
- Charles Morerod, Bishop of Lausanne, Geneva and Fribourg in Switzerland.
There is a long list of high-profile invited speakers, including my new favorite on the subject of beauty and culture (and a few other things besides!), Sir Roger Scruton, along with Mgr Timothy Verdon, Alasdair MacIntyre, Mary Ann Glendon, Elizabeth Lev, Dony McManus, and Etsuro Sotoo, sculptor of the Nativity Façade of the Sagrada Família Basilica, Barcelona, Spain.
I will be attending, and am speaking at one of the panel sessions on the Saturday morning, so perhaps we’ll see some of you there!
The pre-Tridentine Roman Breviary, on the other hand, gives a much more elaborate account of their lives after the Lord’s Ascension. St. Simon is said to have preached the Gospel in many places, which are not specifically named. When St. James the Less was killed by King Herod in 44 A.D., Simon was chosen by the other Apostles to succeed him as bishop of Jerusalem. Having governed the mother church of Christianity for many years, and reached the age of one-hundred and twenty, he was tortured and crucified under the Emperor Trajan. In reality, these stories derive from the life of a different saint with a similar name, Symeon of Jerusalem, who is mentioned by Eusebius of Caesarea (ca. 260-340) in the third book of his Ecclesiastical History.
Chapter 11. After the martyrdom of James and the conquest of Jerusalem … it is said that those of the Apostles and disciples of the Lord that were still living came together from all directions with those that were related to the Lord according to the flesh … to take counsel as to who was worthy to succeed James. They all with one consent pronounced Symeon, the son of Clopas, of whom the Gospel also makes mention, to be worthy of the episcopal throne … He was a cousin, as they say, of the Savior; for Hegesippus records that Clopas was a brother of Joseph.
Chapter 32. (Citing Hegesippus again) Speaking of certain heretics, he adds that Symeon was accused by them at this time; and since it was clear that he was a Christian, he was tortured in various ways for many days, and astonished even the judge himself and his attendants in the highest degree, and finally he suffered a death similar to that of our Lord. But there is nothing like hearing the historian himself, who writes as follows: “Certain of these heretics brought accusation against Symeon, the son of Clopas, on the ground that he was a descendant of David and a Christian; and thus he suffered martyrdom, at the age of one hundred and twenty years, while Trajan was emperor and Atticus governor. … And after being tortured for many days he suffered martyrdom, and all, including even the proconsul, marveled that, at the age of one hundred and twenty years, he could endure so much. And orders were given that he should be crucified.”
|The Martyrdom of Saints Simon and Jude|
In each of the Synoptic Gospels, when the Evangelists give the names of the Twelve Apostles, Simon and Jude appear together at the end of the list, right before Judas Iscariot; Sts. Matthew (chapter 10) and Mark (chapter 3) give his name as Thaddeus, but St. Luke (chapter 6) calls him Jude. St. John does not give a list of the names of the Twelve, but recounts in chapter 14 that Jude “not the Iscariot” at the Last Supper asked Christ, “Lord, how is it, that thou wilt manifest thyself to us, and not to the world?” It with the name Thaddeus that he is mentioned in the Communicantes of the Roman Canon, and by this name he also came to be associated with one of the most beloved stories of the Christian tradition, the legend of King Abgar, and the painting of the Holy Face of Edessa.
|The Holy Face of Edessa, often called the Mandylion from the Syriac word for the cloth on which the image was made.|
By the late fifth-century, the so-called Gelasian decree, in the section “on books to be received and not to be received”, (i.e., which may be used in the liturgy), already notes the spurious character of the letters exchanged between Christ and King Abgar. (The decree itself would later be spuriously attributed to Pope Gelasius I, and is commonly called after him.) As is the case with many apocryphal writings, formal rejection did not in the least diminish the popularity of the story, which continued to be embellished in various ways. The Doctrine of Addai simply adds that Abgar’s messenger made a picture of Christ’s face to bring back to the King; by the Bl. Jacopo’s time, the legend states that on receiving the reply of Christ, King Abgar sent a painter to make an image of the Lord’s Face on a piece of cloth. The painter was unable to do this himself, however, “because of the exceeding brightness that came forth from His face”; the Lord Himself therefore took the cloth and laid it over His own face, leaving an impression of the image upon the cloth, which was then taken to Abgar. Among Byzantine Christians especially, the Holy Face of Christ is still to this day the object of great veneration; it is known as the Holy Mandylion, a word which derives from the Syriac “mandil – a cloth.” Although Eusebius clearly says that the Thaddeus of the Abgar legend is one of the seventy disciples, and not one of the twelve Apostles, the Golden Legend and the Roman Breviary of 1529 both identify him with the Apostle called Thaddeus in the Gospels of Matthew and Mark, and Jude in those of Luke and John. Because of the association with the King Abgar legend, he is sometimes shown holding an image of the Lord’s face.
In modern times, a new devotion has emerged to Saint Jude as the Patron Saint of Lost Causes, the origins of which are quite obscure. There are many variations of the following prayer to ask for his intercession, and it is still a fairly common custom to thank the Saint publicly for his intercession by placing a message of thanksgiving in a newspaper.
Oh glorious Apostle St. Jude, faithful servant and friend of Jesus, the name of the traitor who delivered thy beloved Master into the hands of His enemies has caused thee to be forgotten by many, but the Church honors and invokes thee universally as the patron of hopeless cases--of things despaired of. Pray for me who am so miserable; make use, I implore thee, of that particular privilege accorded thee of bringing visible and speedy help where help is almost despaired of. Come to my assistance in this great need, that I may receive the consolations and succor of heaven in all my necessities, tribulations and sufferings, particularly (mention your request), and that I may bless God with thee and all the elect throughout eternity. I promise thee, O blessed St. Jude, to be ever mindful of this great favor, and I will never cease to honor thee as my special and powerful patron, and to do all in my power to encourage devotion to thee. Amen.
It is the third in a series of six that he is presenting about how the first Michelangelo inspired the work of the second, Michelangelo Merisi da Caravaggio. As usual, he helps us with some adept use of photoshop to place the works of the two artists side-by-side.
At 6 pm, the FSSP will celebrate a Solemn Requiem Mass in the Cathedral of the Holy Family in Tulsa, Oklahoma, at which H.E. Edward Slattery, Bishop Emeritus of the Diocese of Tulsa, will preach. The cathedral is located at the corner of 8th Street and Boulder Avenue.
The Basilica and National Shrine of Our Lady of Lebanon, located at 2759 North Lipkey Road in North Jackson, Ohio, will have a TLM Missa cantata at 7 pm, followed by the Absolution at the Catafalque. Music provided by the Basilica Schola and Choir. (www.ourladyoflebanonshrine.com)
The Cathedral of the Holy Rosary, located at 646 Richards St. in Vancouver, British Columbia, will have an EF Requiem Mass at 7 pm.
“While the appointment of 27 new members to a single congregation is bound to have an impact on its character, it must be noted that the Vatican announcement failed to mention which of the current members of the congregation would be staying on. This has not stopped instant and vociferous internet speculation from taking off, with some websites insisting that Cardinals Burke, Pell, Ouellet, and Scola were all leaving the congregation. This speculation, for that is all that it is at the moment, is being framed as a removal of the ‘Ratzingerians’ and a purge of the traditionalists from the congregation. Meanwhile the new Rome based members are being pitched as arch-modernists who will leave Cardinal Sarah effectively isolated at the top of his own congregation. Wild interpretations of this sort should be taken with a large measure of salt.
“In the first place, none of the supposedly departing ‘Ratzingerians’ has actually been confirmed as yet. Even if these so far unconfirmed reports are true, they fail to account for the considerable depth of experienced members of whom nothing has yet been said, and who can be assumed to be carrying on until we hear otherwise. These include formidable minds and characters like Cardinal Peter Erdö, the Relator General of the Synod of Bishops’ General Assembly; Cardinal Malcolm Ranjith, the Archbishop of Columbo and former Secretary of the CDW; Cardinal Mauro Piacenza, former Prefect of the Congregation for Clergy and current head of the Apostolic Penitentiary; and Cardinal Angelo Bagnasco, the head of the Italian Bishops’ Conference.
“While the simultaneous appointment of 27 new members to any congregation represents a real changing of guard, as with so many of the acts of this pontificate there has been an instinctive rush to interpret events through the most ecclesiastically partisan lens to be found.”
I will be offering a sacred music workshop at Our Holy Redeemer Roman Catholic Church in Freeport, New York,on Saturday, November 19th.
The afternoon workshop will include study of the rhythmic understanding of the “classical” Solesmes school, conducting, and the chants for the feast of Christ the King. All are welcome, including beginners. There is no charge for the workshop, but those who wish to attend are asked to RSVP to Fr. Alessandro da Luz by calling (516) 378-0665, or emailing him at firstname.lastname@example.org.
Today, instead of basking in beauty, we will come face to face with the diabolic disorientation of the Church in the mid- to late 1960s, when prayers and practices of half a millennium’s duration or longer were being discarded and burned like so much chaff. Not even the Roman Canon, that ancient pristine shrine of Romanitas, was safe from this barbarian appetite for conquest, this insatiable lust for violating the sacred under the guise of “simplification” and “modernization.”
|Too much kissing!|
In the liturgical sphere, this took the form of standing in arrogant judgment over centuries of the most holy practices of faith and laying profane hands on a sacred inheritance, following the principle (if it can be called a principle) of “might makes right.” In the sphere of religious life, it took the form of abandoning the choral office and high Mass, casting off habits and veils, diluting constitutions, softening rules, and losing one’s supernatural identity by amalgamation with secular social work and civil rights. The so-called “superiors” who guided the process were guilty of the same libido dominandi as the liturgical revolutionaries, and left in their wake a similar post-nuclear desolation.
What was important for the Catholic radicals of the mid-twentieth century was to shatter, bit by bit, the taboo of an untouchable liturgy, an object of collective veneration transmitted from generation to generation. They started by messing with the existing prayers and rubrics, as if to say: “See what we can get away with! We haven’t been struck dead by lightning yet. You see now that all these things must be merely human inventions; we can do as we please. Suppress or invent rubrics; omit, rearrange, bawdlerize, or make up new texts; throw out the entire aesthetic of ‘awe’ and replace it with one of ‘brotherhood’ or ‘caring community’ — we must do all this and more, quickly, before our game’s called and our time’s up.” Their eventual success, more complete than they could ever have dreamed at first, is a remarkable testimony to the limits to which Divine Providence permits evil, in order to demonstrate His power in bringing forth good from it and in spite of it, as the phoenix rises from the ashes.
To me, a poignant sign of that Providence is the fact that Catholics are returning in growing numbers to the use of just those liturgical books that were placed on the butcher’s block half a century ago, and are now praying those very prayers that were canceled out and pasted over. The Benedictines have a motto: Succisa virescit — cut down, it grows back again. It’s a variation on one of the oldest sayings of all: sanguis martyrum semen christianorum. Perhaps there is a special fruitfulness in the blood that, over the centuries, so many priests and faithful have shed (literally or metaphorically) as their Catholic worship was attacked by iconoclasm, be it of the Byzantine, Protestant, or Modernist variety.
The movement to recover and restore Catholic worship cannot be eradicated. That has been tried and it failed. It can be cut down by persecution or lack of support, but its roots remain and the new growth will be taller and stronger.
Below are additional photos from this melancholy "interimized" missal.
 Before you write in the comments that the liturgy has never been untouchable and that there have been countless little changes down through the centuries, pause for a moment and ask yourself whether it is likely that I am unaware of this fact. What I am talking about is a general attitude of conservatism and respect for the liturgical rites, such that even archaic elements whose function or meaning may no longer be clear to us (or may have acquired a different, allegorical meaning over time) are jealously preserved. The trend was almost always towards retaining what had been added over the centuries; and certainly the magnitude of the modifications from the 1950s and 1960s has nothing remotely like it in the entire history of the Catholic Church.
|A comparison of two similar missals -- one defaced, one unharmed|
|Comparison, take two.|
|Bracketing out some of the prayers at the foot of the altar|
|We wouldn't want to bow our heads during the Gloria, now, would we?|
|The purging of the cross|
|Still too much kissing!|
The St Ann Choir will sing Victoria’s Mass Simile est regnum caelorum on the feast of All Saints, and the Gregorian Requiem propers, along with Reniassance motets, on All Souls’ Day, at the church of St Thomas Aquinas in Palo Alto, California. (Details in the posters.)
The church of St Agnes in St Paul, Minnesota, will have its annual Mass for the Commemoration of All the Faithful Departed with the famous Requiem Mass of Wolfgang Amadeus Mozart. (Details in poster.)
The Norfolk screen shown in your interesting article is that at Tunstead. For a selection of pictures (not mine), including the saints on the screen, see here.
We know when the screen was made and also when it was painted. Over 35 years ago I turned up a series of late 15th century Norfolk wills containing bequests to this; it was called ‘new’ in a will of 1470, and money was left for its painting between 1474 and 1490.
By the way, no mediaeval rood groups survive in situ in English (or Welsh or Scottish) churches. Any you see today are replacements between the late 19th century and c. 1960 (when they became vieux jeu to church architects). I’ve attached a jpeg of Comper’s [Sir Ninian Comper] restored rood group (c. 1930) to the mediaeval screen (substantially its original colouring and gilding) at Eye in Suffolk. Comper also provided the canopy of honour, in the mediaeval style.
And once again, whether its cathedrals, railway stations, rood screens, telephone boxes, or a charming English village in its familiar pastoral setting, we see that so much that is good in the world has come from the inspiration of the liturgical forms of High Anglicanism. How much more powerful it will be, with the Real Presence at its heart, when the Anglican Ordinariate develops its own cultural voice rooted in its Catholic liturgy.
Some readers pointed out that the medieval screens would probably have had curtains. I’m guessing that the extremely ornately carved High Anglican screens would not have done. I don’t feel they are lacking anything for this. The ornate, almost filigree carving that you see on the screens creates a general image of a gossamer like veil before the altar which I personally find appropriate and appealing.
The final photograph is of a high altar and reredos, also by Sir Ninian Comper at Wymondham Abbey in Norfolk (added by me!).
(From last year’s All Saints and All Souls photopost - the absolution at the catafalque after a Dominican solemn Mass at the Dominican House of Studies in Washington, D.C., and the deacon entering for the Mass of All Saints at the Shrine of Our Lady of Mt Carmel in Hsinchu, Taiwan.)
From the Breviary according to the use of the Roman Curia, 1529, the beginning of the sermon for the seventh day in the Octave of All Saints.
|The altar of the Pantheon decorated for the feast day today.|
When All Saints was granted an octave by Pope Sixtus IV in the early 1480s, each day of the octave was assigned a different sermon with the same structure, covering the first eight of the nine lessons at Matins. Each year, we commemorate All Saints and its octave with one of these lessons, taking them this year from from the sermon assigned to be read on November 7th.
Just a few minutes’ walk away, the church of the FSSP, Santissima Trinità dei Pellegrini, celebrates the feast of All Saints every year by decorated the high altar with many of its relics. The large busts in the upper tier are of Ss Gregory the Great, Augustine, Pius V and Charles Borromeo, made for the canonization of the last of them in 1610. On the second tier, relics of the Apostles Peter, Paul, Matthew and John are enclosed in bases which support bronze statues of them (which are unbelievably heavy, with a variety of small relics between them. The relics of arm-bones of two martyrs from the catacombs are enclosed in reliquaries shaped like the forearms, with their hands holding the palm branch of martyrdom.
|The Fraternity welcomed their Superior general, Fr John Berg, for the celebration of the high Mass on today’s great feast.|
|M.C. Escher, Relativity, 1953|
In the end, this is the reason we favor tradition, and the reason a faithful, obedient, reverent liturgy is so important. It’s not stuffy intellectualism, snobbery toward popular culture, love of old things, ethnocentrism, or a tendency toward familiarity; it is, rather, the perspective we must take up in order to see Jesus himself and properly fulfill our obligation to our neighbor. We must once again turn toward the Lord, who, in the Eucharist, is the "source and summit" of our life. And it’s so simple. “Remain in me, and I in you, and you will bear much fruit” (John 15:4).
From the Breviary according to the use of the Roman Curia, 1529, the continuation of the sermon for the seventh day in the Octave of All Saints.
|The Beatific Vision - from the Hours of Étienne Chevalier, 1452-60|
From time to time, it’s nice to look back at some of the articles in our archives (currently over 12,000 items!) For All Souls’ Day, here is a great piece about black vestments posted by our founding editor Shawn Tribe in November of 2005, when NLM was less than four month old. This was a year and half before Summorum Pontificum, and I think it probably not too optimistic to think that opposition to the use of black vestments has weakened even further, now that more people will have used in the EF Requiem Mass, where they are mandatory.
Often black vestments have been excluded in practice (though not necessarily in law) -- enough so that there are entire generations who will have never seen a black vestment worn, let alone know of its existence as a liturgical colour. For example, in the modern rite, red is now worn on Good Friday instead of black, which is still used in the classical rite of course. White will typically be worn for funerals. Sometimes purple will be used.
Now let us get it straight: this is not a liturgical abuse as these are options which the Church has given, or in the case of Good Friday, changes that have been made. There are some, however, for whom this is not simply aesthetic (nor should it be), nor a question of common practice in a diocese, but is actually an ideological opposition aimed at the perceived “negativity” of black. This latter idea is a problem. I wish to address in a roundabout way both the problem with the former way of thinking, but also I want to make a case for why I believe the effective disappearance of black is not desirable, even when we are just exercising another legitimate liturgical option as a norm.
The use of black is representative of some fundamental Christian realities. While Christians are a people of hope (the oft used argument for those wishing to exclude black), we are also a people aware of the reality of sin and judgement. We do not presume to know the state of our loved one’s soul. Too often even some parish priests themselves acquiesce to this idea that our achieving of our heavenly reward is a fait accompli. While we indeed hope and pray that our loved one has attained his or her heavenly reward, it is not a hope that is without reservations or loving concern. As Christians we are hopeful and yet also have a humble realism. We know that we are sinful creatures and we do not always meet the mark, nor necessarily repent of our sins. As such, we both hope and pray.
Black, with its echoes of mourning and reserve, both acknowledges our own emotional response to the loss of a loved one, and is further representative of our need to pray for the repose of our loved one’s soul. It also is a reminder and symbol of our belief in Purgatory wherein the suffering souls require our prayers and especially Masses. After all, Requiem masses are not merely memorials made for the living -- tools for our psychological and emotional comfort -- but are first and foremost powerful prayers and graces for the repose of our dearly beloved. If we approach the afterlife of heaven as “automatic” or as a given, who will take seriously the need to pray for the souls of Purgatory or our departed loved one? Eventually, who will see the need to have a funeral Mass? Black represents our mourning and also that there is work yet to be done -- the work of prayer, the graces of the Mass. The gold or silver which adorns the decoration of a black vestment gives us that silver-lining of Christian hope which we have for the resurrection of our loved one, and eventually ourselves, into Our Father’s House.
From a cultural perspective, this lack represents a divide from the common cultural sentiment expressed at death which has been informed by religious principles for generations -- one cannot help but notice that black is still the colour of mourning among most people at a funeral. If we are truly interested in speaking to people in symbols and language they can understand and relate to, the use of black at a funeral cannot be surpassed in this regard. (I am not suggesting that culture must inform liturgical practice; in this case, I think the Faith has informed the culture and the culture still retains this formation on a deep level.)
There really is nothing to stop a priest from re-introducing black vestments into the sacred liturgy when the rubrics allow for it -- and this I would heartily recommend to parish priests who read this weblog.
That being said, I receive many emails from readers on this weblog asking advice on how to approach such questions in there parishes. Often they are facing situations where there is little interest in the liturgy, or at least, little interest in the goals of the reform of the reform -- which may go in an opposite direction from where their parish is heading.
In such instances, getting black vestments re-instituted may be a non-starter with their parish clergy -- but as I say, there is a surprising openness to them from many of the younger clergy. If you don't have that situation, don’t worry, there may yet be hope. While you may not get black vestments instituted in your parish, there is another option that comes halfway at least, and may be more acceptable in such a situation and would help begin to restore this balance of hope, mourning and prayers for the dead.
Here is my proposal for a pastor that can’t yet (or won’t) re-institute black vestments: a white (or preferably off-white cream colour) vestment, with a large, substantial band of black brocade going up the centre of the vestment -- or also with the traditional Y-orphrey. The key is making the black noticeable.
These churches were places where I have prayed so many times, on so many visits to the monks and the monastery that is my spiritual home (to the extent that one can be said to have a home here in this vale of tears and land of exile). The basilica is where I fell in love with the traditional Divine Office, where I gloried in the splendor of the Mass of the Roman Rite, where I discerned a calling to become a Benedictine oblate, where I learned best what it means to have roots as a Catholic, worshiping in and above the crypt where, by tradition, Saints Benedict and Scholastica were born. Seeing the huge structure as a pile of rubble brought home to me, perhaps more than anything else has ever done, the transiency, fragility, and mutability of all our human works. The most solid structures we can build are still precarious houses of cards compared to the power of the unmoved Mover latent in the cosmos.
It does not occur to me to blame God. He is as He always is: whispering His Word into our ears, our hearts, our sacraments, our churches, infusing His Spirit into the feeble and fallible works of our hands and minds as we strive to serve Him in fear and trembling, in chaste and filial love. "For whom the Lord loveth, he chastiseth; and he scourgeth every son whom he receiveth. Persevere under discipline. God dealeth with you as with his sons" (Heb 12:6-7). It is a long journey from our fallen human condition to the day of our perfect configuration to the only-begotten Son of God, and there is no telling what kind of sufferings or privations will be visited upon us to make our imitatio Christi more real.
But there is a time for words and a time for silence. Now is more of a time for the latter. I will share some photographs that my son Julian and I took of this beloved place. (Any good photos are his work, while the blurry ones are mine.) The noble basilica depicted here now rests in pieces. I hope and pray that someday it will rise up in resurrection.
|The roof, seen from the bell tower|
|In the bell tower|
|This portico was along the side|
|Looking towards the western side with the little organ|
|One of the side altars|
|Missa cantata this past July|
|A fresco near the entrance|
|Byzantine Divine Liturgy by a visiting priest in the crypt|
|The birthplace of SS. Benedict & Scholastica|
Please consider making a contribution to help the monks rebuild.
From the Breviary according to the use of the Roman Curia, 1529, the continuation of the sermon for the seventh day in the Octave of All Saints.
|Virgo inter Virgines (The Virgin Mary among the other holy virgins) by the anonymous Netherlandish painter known as the Master of the St Lucy Legend, ca. 1490. (Click to enlarge.) - Furthest on the left, St Apollonia dressed in white, holds a tooth with a pair of pincers; she had all of her teeth knocked out in her martyrdom, and is the patron Saint of dentists. St Ursula, in a black and gold robe, reads a book; an arrow, the instrument of her martyrdom, is under the folds of her skirt St Lucy, in green, holds a golden plate with two eyes on it. St Dorothy, at the rear in brown and blue, holds a crown and bell. St Catherine receives a ring from the baby Jesus; her red cloak is covered with her symbol, the wheel. St Mary Magdalene, kneeling, wears white over read, and presents to Him a golden pot of ointment; the myrrh for the anointing of His body. St Barbara holds baby Jesus’ other hand of Jesus; her black cloak is covered with her symbol, the tower. St Agnes, in red and sitting on the ground, holds a lamb, and in her other hand a ring. St Margaret, in a black hat, holds a cross and a book; in the background, St George slays a dragon, as Margaret also did. St Agatha in blue holds a pincers with a breast, a reference to her martyrdom. St Cunera, patron of the Rhenen area near Utrecht, holds a cradle and an arrow; she was said be one of the 11,000 companions of St Ursula.|
From the Breviary according to the use of the Roman Curia, 1529, the continuation of the sermon for the seventh day in the Octave of All Saints.
|Late 18th or early 19th century Russian icon, made for the principle feast of the Angels, the “Synaxis of the Bodiless Powers”, celebrated on November 8th.|