Articles on this Page
- 10/18/17--19:03: _USA Tour - Schola C...
- 10/19/17--06:36: _EF Pontifical Mass ...
- 10/19/17--14:16: _Santa Maria Antiqua...
- 10/20/17--12:08: _St Nicholas Upgrade...
- 10/21/17--01:06: _St. Thomas’ Earlies...
- 10/21/17--12:10: _Three-Dimensional W...
- 10/23/17--05:00: _New Sacred Music: R...
- 10/23/17--16:24: _Liturgy, Authority,...
- 10/24/17--05:00: _The Art of Making A...
- 10/24/17--16:47: _Photopost Catch-Up:...
- 10/25/17--05:00: _Liturgical Linens: ...
- 10/25/17--09:05: _EF Christ the King ...
- 10/25/17--13:23: _Three Historic Ambr...
- 10/26/17--05:24: _Young People™
- 10/26/17--14:21: _40 Hours at Holy In...
- 10/26/17--15:50: _Ancient Sacramentar...
- 10/27/17--05:11: _Icon of Blessed Kar...
- 10/27/17--09:57: _Mozart’s Requiem fo...
- 10/27/17--15:51: _The Prayers of Prep...
- 10/29/17--21:02: _Sacred Music Worksh...
- 10/18/17--19:03: USA Tour - Schola Cantorum of London Oratory School
- 10/19/17--14:16: Santa Maria Antiqua in the Roman Forum
- 10/20/17--12:08: St Nicholas Upgraded in Italy
- Summa theologiae (8 hardcover vols.): normally $360, on sale for $180
- Commentaries on Paul (5 hardcover vols.): normally $225, on sale for $112.50
- Commentaries on Matthew and John (4 hardcover vols.): normally $180, on sale for $90
- Commentary on Job (1 hardcover): normally $45, on sale for $22.50
- Commentary on Book IV of the Sentences (4 hardcovers--the first in print, the others to follow over the coming year): each volume normally $45, on sale for $22.50
- 10/21/17--12:10: Three-Dimensional Wooden Crucifix Icon by Francis Koerber
- 10/23/17--05:00: New Sacred Music: Recordings and Remarks
- Catechism of the Catholic Church. With Modifications from the Editio Typica, Doubleday, 1997.
- Fuller, Deb. “A Brief History of Linen.” The Thread, Fabric-store.com, April 2, 2015, www.fabrics-store.com/blog/2015/04/02/a-brief-history-of-linen/ . Accessed on September 22, 2017
- Missale Romanum 4o. Editio Iuxta Typicam. Benzinger Brothers, Inc., 1962
- Morgan, Elizabeth. Sewing Church Linens, 1997. ---. Church Linens and Vestments.www.churchlinens.com .
- Smith, Lynne. Altar Linens by Lynne Smith, 2017. www.altarlinens.com .
- The Catholic Encyclopedia. Volume I, www.books.google.com/books?id=THEqAAAAMAAJ . Accessed on September 22, 2017.
- The Catholic Encyclopedia. Volume IV, www.books.google.com/books?id=u08sAAAAIAAJ . Accessed on September 22, 2017.
- The Holy Bible. Revised Standard Version, Second Catholic Edition, Ignatius Press, 2006.
- The Roman Missal. Amended Third Latin Typical Edition, 2008. Magnificat, 2011.
- 10/24/17--16:47: Photopost Catch-Up: October 2017
- 10/25/17--05:00: Liturgical Linens: Making Purificators, and Completed Projects
- 10/25/17--09:05: EF Christ the King at St Agnes in New York
- 10/25/17--13:23: Three Historic Ambrosian Missals
- 10/26/17--05:24: Young People™
- 10/26/17--14:21: 40 Hours at Holy Innocents in NYC, Oct. 27-29
- 10/26/17--15:50: Ancient Sacramentaries in the Bibliothèque Nationale de France
- 10/27/17--05:11: Icon of Blessed Karl of Austria Presented to the Pope
- 10/27/17--09:57: Mozart’s Requiem for All Souls’ Day at St Agnes in St Paul, MN
- 10/27/17--15:51: The Prayers of Preparation and Thanksgiving for Mass
- 10/29/17--21:02: Sacred Music Workshop - Long Island, NY
Those in the northeast will be delighted to learn of the upcoming USA tour of the Schola Cantorum of the London Oratory School. The Schola is undoubtedly one of the finest choirs in the world, and certainly should be an occasion of joy for anyone who loves Catholic sacred music. Too, the Schola is a model for the spiritual and musical formation of children at the service of the worship of God in the sacred liturgy.
Santa Maria Antiqua contains a remarkable amount of Byzantine fresco work from several different periods of its brief (by Roman standards) life. Many of these are in fairly bad shape, but many others are remarkably well preserved, considering how long they lay buried and neglected, and they give us an interesting sense of what Christian churches might have looked like in antiquity. Our thanks to Fr Alex Schrenk, a priest of the Diocese of Pittsburgh, for sharing with us these photos taken during a recent visit.
The roofed structure next to the trees on the right is an Oratory dedicated to the Forty Martyrs of Sebaste; Santa Maria Antiqua is to the right of it from this point of view.
the feast of St Peter’s Chains. The Byzantine tradition holds that Eleazar, whose martyrdom is recounted in 2 Maccabees 6, 18-31, was her husband and the father of her seven sons, although this is not stated in the Biblical text.
“supplication”, with Christ between the Virgin Mary and St John the Baptist.
/ra For this reason, a new church called Santa Maria Nova (New St Mary, now Santa Francesca Romana) was erected nearby by Pope Leo IV, on a portion of the ruined temple of Temple of Venus and Roma, where once stood a chapel commemorating the fall of Simon Magus. Santa Maria Antiqua suffered further damages during the Norman Sack of Rome (1084). The church of Santa Maria Liberatrice (Sancta Maria libera nos a poenis inferni) was built in 1617 on its ruins, but then demolished in 1900 to bring the remains of the old church to light.
|Altarpiece of Saint Nicolas, by the Master of the Legend of Saint Lucy (active ca. 1480-1510 in Bruges).|
In the beautiful Byzantine custom of giving distinctive epithets to the more important Saints, that of St Nicholas is “thaumatourgos – wonderworker.” The liturgy refers to this repeatedly, as for example this text from the beginning of Orthros: “Thou shinest forth upon the earth with the rays of miracles, wise Nicholas, and movest every tongue to the glory and praise of Him who glorified Thee upon the earth; do Thou, elect among the Fathers, beseech Him, that those who honor thy memory with love and faith may be delievered from every pain.”
The traditional Roman Collect for his feast also refers to this tradition: “O God, Who didst glorify the blessed Bishop Nicholas with innumerable miracles; grant, we beseech Thee, that, by his merits and prayers, we may be saved from the fires of hell.” In the post-conciliar reform, it was determined that Modern Man™ is better off not hearing about miracles or hell when at prayer, and a shiny new Collect was put in the Missal to replace the dusty old one: “We humbly beseech Thy mercy, o Lord, and, by the intervention of the blessed bishop Nicholas’ prayer, keep us safe in all dangers, that the way of salvation may lie freely open to us.” It often seems to me that the ecumenical implications of such reforms were hardly considered, back when this sort of thing seemed like a good idea; and likewise, that we should give more attention to the ecumenical implications of Pope Benedict’s achievement in giving the traditional texts back to the Church by the motu proprio Summorum Pontificum. It is much to be hoped for that this decree will be made general for the whole Roman Rite.
After years of work under an NEH grant, The Aquinas Institute is happy to announce that the edition of Book IV of St. Thomas's early masterpiece, the Scriptum super Sententiarum or Commentary on the Sentences of Peter Lombard, is starting to be available in print, with volume 1, distinctions 1-13, just released. If you order this book directly from The Aquinas Institute, you can get it at a 50% discount (more on that below).
This past July I had the privilege of teaching the Albertus Magnus Summer Program in Norcia, devoted to the subjects of sacraments in general, baptism, and the Eucharist, using a preliminary copy of this volume. It was a great experience getting into the youthful Aquinas's wrestling with major questions of his day (and of ours, such as his treatment of whether and when sinners, and what kind of sinners, should be admitted to holy communion!). Once again, as with my own collection of parts of the Scriptum on love and charity, I found that reading the Scriptum on sacraments significantly enriched and enhanced my understanding not only of Aquinas's process of thinking and maturation, but, more importantly, of the sacred realities themselves, which are the end of all theology. It was a true intellectual banquet, and one that I highly recommend to readers with a serious interest in scholastic theology. (Earlier at NLM, I published a portion of text from this volume: St. Thomas's "division" of the Mass into its parts.)
Also worth of note is that the Latin edition of the Scriptum that is printed in this volume (and that will be used for all the volumes of the Scriptum) is derived from the classic Mandonnet-Moos volumes and corrected against the not-yet-released critical edition of the Leonine Commission, with whom the Aquinas Institute is collaborating. That feature makes these volumes the best Latin editions as well as the only English editions.
Please note, as well, that there is a 50% sale on all Aquinas Institute books during October only:
The Aquinas Institute is well under way with Books II and III, with a new NEH grant. Other works will appear from time and time. Their publication will be duly noted here and at Thomistica.net.
Here are some photos of the new volume of the Opera Omnia.
The woods utilized are, back, quarter sawn oak; crucifix, Brazilian cherry; corpus; quarter sawn oak; hair and beard, walnut; halo, cherry; loincloth, poplar; Mary: outer garment, walnut; inner garment, cherry; hand and shoes, light cherry; St. John: cherry, hair, walnut; headplate and footplate, cherry. The colors of the wood are all natural; Koerber does not use paints or stains (the only paint is the crimson blood). A clear coating of Tung oil brings out the subtleties of the color and grain of the wood simply by accentuating what is already there.
On one of Koerber's many websites, Teton Craftworks, he shares with the reader the process of putting together this icon. I will post only a few of the photos here; the rest may be viewed there.
The artist wrote the following to me:
My basic philosophy on Catholic Art is that I value the tradition of iconography from the Byzantine (Russian and Greek) schools. In my opinion, the religious art from the Middle Ages and beyond fell into the decay of anthropomorphism, which for me, presents more of an opaque view into spiritual realities. I prefer the transparent view of those earlier styles which allows one to see ‘through’ the artwork into the spiritual realm. For me, it is a purer art form. This is not a hard and fast rule because you can certainly find wonderful works of sacred art that aren’t a part of those early traditions, but in general, I believe it is true. I think this ideology also mirrors the anthropomorphism of the liturgy, where the music has also become opaque, the end of its own means, and is heavily marked by a sense of time and gravity (Mozart for instance) that weighs one down. The polyphony of the earlier years maintains the same artistic transparency of the iconography of the East.This account from Koerber largely parallels that given by Ratzinger in The Spirit of the Liturgy when he defends the suitability of Byzantine, Gothic, and (to a lesser extent) Baroque styles for sacred visual art, and severely critiques the Renaissance. In the sphere of music, as Koerber notes, we would have to say that medieval, Renaissance, and Baroque music are better suited for the liturgy and for prayer than the later Classical and Romantic styles. David Clayton also goes into these topics in his book The Way of Beauty, which we use at Wyoming Catholic College as one of our texts for the Visual Arts in the Western Tradition course that all seniors take.
This admirable wooden icon is available for purchase; please contact Francis Koerber if you are interested or if you would like to discuss a commission.
You can find out more about Francis Koerber's creative activities at his main website. He has a composer website (I particularly love his A minor prelude and fugue for organ), a performer website, and a site for fine handmade rosaries, among others.
We made a professional recording of the final rehearsal as well as the concert and are planning to release a CD from these materials, but the project will naturally take some time to complete. In the mean time, my son has combined some of the recordings with scrolling scores or video footage, and these I wanted to share with NLM readers, along with some remarks about what I was intending to do with each particular piece of music.
Lord, Dost Thou Wash My Feet?
Lord, dost thou wash my feet? Jesus answered and said: If I wash not thy feet, thou hast no part in me. He came therefore unto Simon Peter, and Peter said unto him: Lord, dost thou wash my feet? Jesus answered and said: If I wash not thy feet, thou hast no part in me. What I do, thou knowest not now: but thou shalt know hereafter. Lord, dost thou wash my feet? Jesus answered and said: If I wash not thy feet, thou hast no part in me. (John 13, vv. 6, 7, 8)This is the third of a set of seven Mandatum Antiphons (antiphons for the washing of the feet on Maundy Thursday), composed in 2010 and dedicated to Arvo Pärt on the occasion of his 75th birthday. The score was sent to Maestro Pärt in Estonia by his agent at Universal Edition in Vienna, and Pärt did me the great honor of calling me on the telephone to accept the dedication and to thank me for the music.
In this antiphon, I want to express the shock and dismay of Peter when the Lord stoops to wash his feet. In a way reminiscent of his initial reaction to Jesus, "Lord, depart from me, for I am a sinful man," it is almost as if Peter is saying: "Lord, depart from me, for I am your servant, not your master." The difficult emotions through which Peter is going are expressed by the uncertain, conflicted, and clashing harmonies. The response of Jesus is authoritative and unwavering, expressed in ringing consonant chords. In the antiphon as given by the Church, Peter asks three times, "Lord, dost Thou wash my feet?" (as Jesus was to ask him three times after the resurrection, "Peter, lovest thou Me?"), each time with a greater intensity, as if to say: "Are you really quite serious about this footwashing?"
Christus natus est nobis: venite, adoremus.This Christmas motet was commissioned by Heath Morber for the Choirs of St. John's Catholic Newman Center Chapel at the University of Illinois at Urbana-Champaign. The Latin text is drawn from Dom Gueranger's The Liturgical Year and is derived from old Gallican sources. As befits a song of joy, the pace is fleet and the mood is festal, with a contrasting turn at "miserere nobis" before the return of the opening theme, which is now presented with elaboration and syncopation. I listen a great deal to Giovanni Gabrieli and I'm sure he was an influence at some points.
Hodie lumen mundi, hodie Salvator Israel natus est nobis.
Illi clamemus: Qui natus es de Virgine, miserere nobis.
Christus natus est nobis: venite, adoremus. Alleluia.
(Christ is born unto us: come, let us adore.
Today the light of the world, today the Savior of Israel is born unto us.
To Him let us cry out: Thou who wast born of the Virgin, have mercy on us.
Christ is born unto us: come, let us adore. Alleluia.)
The Coventry Carol
The haunting melody of the Coventry Carol has long been a favorite for arrangers of choral music. In this arrangement, I bring out the eeriness of the juxtaposition of a lullaby with the lamentation over the slaughtered infants by using polytonality and some "false relations." During the verses, the lower voices are chanting "vita mutatur, non tollitur," from the Preface of the Mass of the Dead. At the end, while the sopranos and basses sing "Amen," the inner voices sing "Orate pro nobis."
My Jesus, Mercy
King of creation,This hymn is dedicated to the memory of Dr. Roy Horton, my composition teacher and choirmaster from 1985-1989. I wrote both the lyrics and the music. One never fully knows why a piece takes on the form it does, but it may be that the fact that Dr. Horton was a Methodist who loved four-part hymnody and who often spoke of the beauty of this repertoire prompted me to remember him with a work of that kind.
Thy Body torn for me,
Thy Blood poured out for me,
Jesus, my Savior, My Jesus, mercy.
Jesus, my Savior, My Jesus, mercy.
wounds ever pleading,
Lamb slain before all time,
Love stronger than all crime:
Jesus, my Ransom, My Jesus, mercy.
Jesus, my Ransom, My Jesus, mercy.
Good Shepherd, guide me,
safe refuge, hide me,
True Prophet, Light from Light,
Shine through my inward sight:
Jesus, my Glory, My Jesus, mercy.
Jesus, my Glory, My Jesus, mercy.
I fall before Thee,
Christ, I adore Thee,
Be Thou my sovereign Lord,
Be Thou my sure reward:
Jesus, my Treasure, Joy without measure.
Jesus, my Treasure, Joy without measure.
Another performance of this piece, by the Scottish ensemble Cantiones Sacrae, may be found here, with a scrolling score.
My YouTube channel has a number of other performances of choral music as well as of the Wyoming Catholic College Choir and (why not?) lute music -- but I can take no credit for the lute music.
He also addresses the question of the Church’s authority to change the liturgy, a question whose importance is all the more crucial in light of the way the post-Conciliar reform was done, purportedly on the authority of Vatican II, but in open defiance of its intentions. As Fr Bouyer wrote in The Decomposition of Catholicism, a passage which Dom Reid cites, “Perhaps in no other area is there a greater distance (and even formal opposition) between what the Council worked out and what we actually have.”
“Where was authority in respect of the implementation of the liturgical reform? It is clear that the authority of the Constitution on the Sacred Liturgy itself was all too easily set aside as key players sought to have initiatives and even personal enthusiasms endorsed in its name, at times in spite of such initiatives having nothing whatsoever to do with the Council or the Constitution itself. First amongst these reforms aimed at creating a new liturgy for the modern world was the total vernacularisation of the liturgy mentioned earlier. The rapid promotion of Mass celebrated facing the people, the enthusiastic introduction of new Eucharistic prayers, and the creeping concession of permission for the reception of Holy Communion in the hand are but three other examples.
Each of these ‘reforms’ was effected, ironically, by the utterly premodern exercise of absolute papal positivism. For the papal positivist the Pope’s will is sovereign and unquestionable. This positivism (ultramontanism by another name)—which is alive and well down to our own times—is a critical factor in the study of the implementation of the reform. Paul VI personally approved the details of the reform in forma specifica. To obtain his signature was to win the day.
Too few people are aware of the extent of the politics and of the spirit of opportunism in which the reform was affected. Any yet it was a reality. ...
If we ask whether the resultant compromise, the Missal of Paul VI promulgated in 1970, is an example of authority acting in regard to the Sacred Liturgy in a manner that respects and is utterly consonant with its nature so as to optimise the good of souls, we must take pause. For there is much evidence that those responsible for what the supreme authority promulgated had their eyes fixed more on modernity, certain related ideologies, and their own personal preferences rather than on Christ alive and acting in the millennial liturgical tradition of the Church. The resultant product (we may even say “products”, for the same reality is more or less true mutatis mutandis of the reform of the other liturgical books) betray a self-conscious desire to conform to modernity rather than the pursuit of a judicious development of the rite so as to give it renewed vigor in the light of the circumstances and needs of modern times. The distinction is subtle, but real: in the liturgical reform following the Council the tail of modernity wagged the dog, and not the dog the tail.”
There is a great deal of food for thought in this piece, and very much worth your time. I add only this passage, suggesting that it be included in a future Magna carta for truly Catholic liturgical reform.
“Catholic liturgy, then, intentionally has its eyes firmly focussed on Almighy God and not modernity, postmodernity, or any other culture or philosophy. It has, as Sacrosanctum Concilium taught, a fundamental place in the Christian life as the source and summit of the life and mission of the Church (see: n. 10). Catholic liturgy is normative for the life of the Christian, and enjoys an objectivity in that its content is not subject to the passing fashions of each generation – or to the peculiar tastes of given priests or bishops – but is handed down in tradition with integrity whilst being proportionately persuadable according to true pastoral need.”
Linen: The Liturgical Fabric
The invention and common use of artificial fabrics is relatively new in the history of the world, and materials such as rayon and polyester are very accessible and can be made into exquisitely beautiful fabrics. Even though Holy Mother Church has allowed for the use of other fabrics, the significance of linen as related to Christ’s Passion and its Scriptural basis should not be overlooked when choosing material to use for the Sacred Liturgy.
Cotton also seems like an advantageous choice because it is more readily available. It is a natural fabric and absorbs moisture better than polyester and rayon, although not as well as linen. Stains do come out of it and bleach can be sparingly used on cotton. To make it as unwrinkled as possible, it can be partially dried and then ironed, but it will never have the crisp, precise, and smooth effect that well cared-for linen can achieve. In working with all of these fabrics, it became clear to me that God chose linen as the liturgical fabric for a reason. Wax and other stains come out more easily, it meets the needs of absorbing moisture efficiently, and is durable when cared for correctly. Linen takes a little bit more work to launder and iron, and needs ironing more often, but when finished, is more beautiful and satisfying than any other commonly used fabric.
This same technique can be used to form patterns not immediately along the hem as well. For the set of linens for the newly ordained priest, I made a single pattern around the entire Corporal, a double pattern along the two short ends of the Purificator, and a double pattern plus an extra double pattern about a half-inch above it on the two short ends of the Lavabo towel.
To fix this, I devised a way of sewing the cut-out in the linen to make it fit the Altar correctly. Even though I could have used a variety of materials and methods of doing this, I wanted to use the linen’s own fabric to bind the edge of the cut-out so that it would shrink and stretch in the same manner during washing, ironing, and general use as the rest of the linen. First, I cut a rectangle from the center of the linen one half-inch smaller in dimension than the finished need. The Tabernacle needs a four inch by twenty-three and one-half inch area, so I cut a rectangle three and one-half by twenty-two and one-half inches. This allowed for one half-inch seam allowance on each side.
Then, I took out the hem in the piece that I had cut, ironed it flat, and cut two “L” shaped pieces to be a facing for the cut-out. Each “L” was six inches in depth, thirteen and three-quarters inches in length, and two inches wide along the entire piece. After sewing the two facing pieces together at the long ends of the “L” to form a “[” shaped piece, I stitched the facing to the linen with the right-sides together. I then turned the facing to the inside, ironed the seam so that it lay flat, and turned under the raw edges of the facing to sew them down on the linen. On the right side of the linen, all that is visible is a line of stitching one inch from the edge of the cut out. The finished product was a linen that fit the Altar and Tabernacle perfectly.
Photos courtesy of Saveria Rose Symons
the then relatively new feast of Corpus Christi, which is first attested in the Ambrosian Rite in this book. Under the figure of Christ in majesty, he is shown celbrating Mass, the inscription says “The Lord Robert Visconti, archpriest of the major church of Milan, had this missal made.” The other side of the page shows the Preface Dialogue and the common form of the Preface, which varies far more in the Ambrosian Rite than in the Roman.
|From the World Meeting of Families 2018 Twitter feed.|
(Shamelessly stolen from KP and MTK!)
|“Vere dignum et justum est, aequum et salutare” (folio 4r)|
|The Sanctus (folio 6r)|
|The beginning of the Canon (folio 6v)|
|The first page of text (folio 1v): “In the name of Our Lord Jesus Christ, here begins the Sacramentary.” The ancient Roman sacramentaries typically began as this one does with Christmas Eve.|
|Part of the Solemn Prayer at the Mass of the Presanctified on Good Friday (folio 54v)|
|Part of the Preface and the beginning of the Canon (folio 143v). The Sanctus is written in red letters, in Latin, but with Greek letters.|
|The Preface (folio 7v). Part of the text on the other side of the page is visible through the parchment.|
|The beginning of the Canon (folio 8r)|
|The prayers of Easter (folio 50v)|
|Preface dialog and the beginning of the Preface (folio 17v)|
|End of the Preface (folio 19r)|
|Beginning of the Canon (folio 20v)|
|Preface dialog and the beginning of the Preface (folio 2v)|
|Preface (folio 3r)|
|Beginning of the Canon (folio 4r)|
|“Vere dignum et justum est, aequum et salutare” (folio 20v)|
|“Te igitur clementissime” (folio 23r)|
|“Vere dignum et justum est, aequum et salutare” (folio 7v)|
|Te igitur clementissime Pater (folio 8v)|
|Preface dialog (folio 9r)|
|Preface (folio 9v)|
|Beginning of the Canon (folio 10r)|
|The Lamb of God, with a very clever illustration of the words of Psalm 84, “Truth has risen from the earth, and justice has looked down from heaven.” (folio 13r)|
|The beginning of the Sacramentary, and a very brief and almost useless succinct Ordo Missae (folio 17v)|
|VD for “Vere dignum” (folio 19r)|
|The first word of the Canon, “Te” (folio 20r). The use of a whole sheet for a single word of two letters indicates that this is also a luxury production.|
|Ivory carvings on the cover, which is contemporary to the manuscript itself.|
|The Sanctus (folio 15r)|
|“Te igitur” (folio 15v)|
|Prayer on the feast of the Purification (folio 38r). Note the lovely illustration of the Presentation of Christ in the Temple, worked into the first letter of the prayer.|
from the League’s website: “Blessed Karl is shown in arrested movement. He is portrayed in stillness because he is becalmed by God. His eyes are shown in an open gaze because they are keenly and prayerfully aware of our world. His lips are closed, expressing true contemplation which requires total silence. Karl is surrounded by a halo of radiating light and is standing against a sheet of gold, showing that he is living in the light of God.
In one hand Karl bears a budded Cross. The four arms with four buds symbolize the four Evangelists and invite discipleship in Christ's ministry. The softness of the buds evoke peace and recall Karl's tireless work for peace during WWI. His left hand is open, inviting contemplation of Christ's salvific work through the Cross.
Above Karl, angels present two crowns. The angel on the left clothed in red, the color of royalty, presents the Crown of Saint Stephen, worn by Karl for his Coronation as King of Hungry on December 30, 1916. The angel on the right clothed in blue and green, the colors of life and heaven, bears a crown of thorns, recalling the suffering that Karl bore working for peace for his country and peoples. Together, both crowns recall Karl's view of his Kingship as Divine Right and the sufferings and sacrifice he was called to make throughout his office and life.”
Your annual assembly in Rome takes place in the context of the centenary of the initiative for peace undertaken by Pope Benedict XV and, among political leaders, supported only by Blessed Emperor Karl, with the strong desire to bring an end to the slaughter of the First World War. The three aims of the League for Prayers underlined by your president – to seek and observe God’s will, to be committed to promoting peace and justice, to atone for the injustice of history – were, so to say, the recurrent motif of the life of Blessed Karl as a statesman, as a husband and father, and as a son of the Church. Delivering himself to God’s will, he accepted suffering and offered his own life as a sacrifice for peace, always sustained by the love and faithfulness of his wife, Servant of God Zita.
The challenges of our time require the collaboration of all men of good will and, in particular, prayer and sacrifice. I invite you, therefore, to keep your promise to take part, with prayer and personal commitment, in the many efforts of the Pope in favour of peace. Without the support of the prayer of the faithful, Peter’s Successor cannot fulfil his mission in the world. I count on you too. I entrust you to the maternal protection of Mary Most Holy and to the intercession of Blessed Emperor Karl, and heartily impart my apostolic blessing to you and your loved ones.”
last year’s All Saints and All Souls photopost, here are a couple of great pictures taken at St Agnes during the ceremony.
Some of these prayers are included in the Missal of the Novus Ordo, but the antiphons Ne reminiscaris and Trium puerorum, and the psalms, versicles, and collects that go with them are omitted, only heaven knows why.
On Saturday, December 2nd, Heitor Caballero, the director of sacred music at St. Agnes Church in NYC, will present a sacred music workshop at Our Holy Redeemer Parish in Freeport, NY.