Articles on this Page
- 09/25/18--13:00: _Blessed Hermann the...
- 09/26/18--07:26: _Pray for Rain and D...
- 09/26/18--16:04: _An FSSP First Mass ...
- 09/27/18--04:45: _Trends in Church Ar...
- 09/27/18--09:43: _Missa Cantata for t...
- 09/27/18--18:50: _The Legend of Ss Co...
- 09/28/18--18:54: _Dominican Vocation ...
- 09/29/18--03:08: _A Private Shrine of...
- 09/29/18--08:32: _All-Night Vigil at ...
- 09/29/18--17:45: _Liturgical Notes on...
- 10/01/18--09:14: _St. Thérèse of Lisi...
- 10/01/18--15:19: _Dr Kwasniewski’s Up...
- 10/02/18--08:44: _Benedictine Monasti...
- 10/02/18--09:44: _St Robert Bellarmin...
- 10/03/18--06:00: _EF Pontifical Mass ...
- 10/03/18--09:00: _Authenticity of St ...
- 10/04/18--06:04: _Blessing of the FSV...
- 10/04/18--06:03: _Catholic Arts Exhib...
- 10/04/18--12:19: _Dominican Rite Miss...
- 10/04/18--23:14: _Liturgical Books fo...
- 09/25/18--13:00: Blessed Hermann the Cripple
- 09/26/18--16:04: An FSSP First Mass in Italy
- 09/27/18--04:45: Trends in Church Architecture - The Return to Tradition
- 09/27/18--18:50: The Legend of Ss Cosmas and Damian
- 09/28/18--18:54: Dominican Vocation Film from 1960
- 09/29/18--03:08: A Private Shrine of Ss Cosmas and Damian
- 09/29/18--08:32: All-Night Vigil at Our Lady of Mt Carmel in Manhattan, Oct. 5-6
- 09/29/18--17:45: Liturgical Notes on the Feast of St Michael and All Angels
- 10/01/18--09:14: St. Thérèse of Lisieux on the Sacristans of Her Convent
- 10/01/18--15:19: Dr Kwasniewski’s Upcoming Lectures in England
- 10/02/18--09:44: St Robert Bellarmine’s Hymn for the Guardian Angels
- 10/03/18--06:00: EF Pontifical Mass in Paterson, New Jersey, Oct. 13
- 10/03/18--09:00: Authenticity of St Ambrose’s Relics Confirmed
- 10/04/18--06:04: Blessing of the FSVF’s New Church
- 10/04/18--12:19: Dominican Rite Missa Cantata, October 6, Oakland CA
- 10/04/18--23:14: Liturgical Books for Sale
Although he was barely able to move without assistance, he was a polymath and a genius, well-versed in theology, music, astronomy, mathematics, Latin, Greek and Arabic. Students came to learn from him many parts of Europe, and his intellectual achievements were such that he was known as the wonder of his age. Among his works are the earliest surviving medieval chronicle of the whole of human history, and a treatise on mathematics and astronomy; he was also able somehow to build both musical and astronomical instruments. Above all, however, his name will live in blessed remembrance as that of the composer of the Marian antiphons Alma Redemptoris Mater and Salve Regina. His cultus was officially approved by the Holy See in 1863. Beate Hermanne, ora pro nobis!
|A manuscript illustration of one of Bl. Herman’s treatises on astronomy.|
The best I could do was suggest the following to her as my personal approach to dealing with it. I can’t promise it will work for everyone, but it has always worked for me, so it might be of help to some of you out there who a facing a similar situation too.
1. Stick to a routine
Schedule the time and paint, regardless of how you feel, and just do your best. Put pen to paper, fingers to the keyboard (as I am doing now), or brush to canvas, and make it happen. Painting engages the intellect, and I find that usually my work isn’t actually affected by how I feel very much. Also, the action of painting will induce a particular feeling more in harmony with the activity, and so it will be more enjoyable once I actually get going. Aside from scheduled breaks (which are a good idea), during your scheduled time never give up and go and do something else instead, such as washing the dishes...or teaching yourself to juggle (which is what I did while studying for my finals at university - I learned to juggle, but I’m not convinced it did much to raise my degree classification.) This is where past discipline and practice help. The more ingrained the good habits and skills are, the better the quality of the work, regardless of mood. In a totally different context, the South African golfer, Gary Player always used to say something that is nevertheless apropos: ‘The more I practice, the luckier I get.’
2. Set up an icon corner and pray
Create your prayer corner in the traditional form (Mary on the left, Crucifixion in the center, risen Christ on the right) and pray to it (look at the icons, stand, bow for the doxology etc).
Here’s a simple icon corner I created for my courtyard garden where I live. The plants are fairly new so I am waiting for them to mature - and for the vines to climb up the frames - but it’s getting there.
In the name of the Father Son and the Holy Spirit. Amen
Glory to you O God , Glory to You!
Prayer to Holy Spirit: O Heavenly King, Comforter, the Spirit of Truth, present in all places and filling all things, Treasury of Goodness and Giver of life: come and abide in us. Cleanse us from every stain of sin and save our souls, O Gracious Lord.
Trisagion Prayer: Holy God. Holy Mighty. Holy Immortal Have mercy on us.(3)
Glory be to the Father, and the Son and the Holy Spirit, both now and ever and unto ages of ages. Amen
All Holy Trinity, have mercy on us. Lord, forgive our sins. Master, pardon our transgressions. Holy One, visit and heal our infirmities, for the glory of Your Name.
Lord, have mercy.(3)
Lord have mercy (3)
Way of Beauty prayer: God be in my thoughts and words and deeds. Send your Holy Spirit that I many complete your will, grace responding to grace. May the beauty of my work inspire those who see it to love as Christ loved, that through worship of you and charity to others, all may know His peace and joy.
3. A spiritual exercise for anxiety reduction
If I were to summarize the approach, two sayings come to mind:
Pray for rain and dig for water! or
Work like it depends on you, pray like it depends on God.
And finally, if none of that works, then try the secular method: stare at the blank canvas, or blank page, and think of a clever justification for it, as it is, as a work of art. Ideally, this will be peppered with pseudo-intellectual jargon. Then call yourself a cutting-edge Minimalist.
The quality of the work is as good as the justification you create - and remember it doesn’t actually have to make sense, so you’ll get away with any old gobbledygook as long as you can keep a straight face as you do it. After, all, that’s what most other people have done for last 100 years.
‘What is it? is a stupid question’ - a blank canvas named by David Clayton (copyright 2018)
|Blessing of water on Epiphany|
the Canon of the Roman Mass and the traditional form of the Litany of the Saints; along with four other Unmercenaries, (Cyrus and John, Panteleimon and Hermolaus), they are also named in the Preparation Rite of the Byzantine Divine Liturgy. The Emperor Justinian I (527-565) attributed to their intercession his recovery from a serious illness, and granted special privileges to the city of Cyrrhus in Syria, where their relics had been brought after their martyrdom. Many churches now claim to have their relics, among them the Jesuit church of St Michael the Archangel in Munich.
|The main panel of the San Marco altarpiece, by Blessed Fra Angelico, 1438-40|
Since they refuse to worship the idol, the brothers are chained up and thrown into the sea, but are rescued from drowning by an angel. Lysias attributes their deliverance to sorcery, and asks them to teach him their magic, promising to become one of their followers. At this, he is immediately attacked by two demons, which depart at the brothers’ prayer.
Back in July, we shared a vocational film made for the Franciscans in 1962, starring Jack Nicholson, who was then 25 year old, as a young friar looking back on his path to priestly ordination.
The central panel of The Last Judgment, by Rogier van der Weyden, 1446-52, showing Christ above, and below, St Michael weighing the souls of the dead.
The Communion is taken from the Old Latin version of the canticle Benedicite, “Bless the Lord, ye angels of the Lord: sing a hymn, and exalt him above all forever.” (Daniel 3, 58)
The collect of the Mass makes no reference to St Michael at all: “O God, who in wondrous order assign the duties of Angels and of men: mercifully grant that our life on earth be guarded by those who continually stand in Thy presence and minister to Thee in heaven.”
The Lauds hymn of the Office speaks in its first stanza of all the Angels, and in the following three of Ss Michael, Gabriel and Raphael, the only Archangels specifically named in the Bible. In the Greek version of the book of Tobias (12, 15), however, St Raphael refers to himself as “one of the seven holy Angels, who present the prayers of the saints, and who go in before the glory of the Holy One.” This gave rise to a Byzantine custom of depicting seven Archangels standing together around the Lord; many icons of this motif give names to the remaining four from various apocryphal sources. One is called Uriel, who is mentioned several times in the Book of Enoch which St Jude quotes in his epistle (verses 14-15). The names of the remaining three are not the same in all sources; in the 19th century Russian icon seen below, they are given as Jegudiel, Selaphiel and Barachiel.
The Byzantine feast of all the Angels is kept on November 8th, and like the Roman feast, originated with the dedication of a church; this was a basilica in Constantinople known as the Michaelion, traditionally said to have been built by Constantine himself. The formal title of the feast is “The Synaxis of the Great Commanders (ἀρχιστρατήγων) Michael and Gabriel, and the rest of the Bodiless Powers.” Curiously, the liturgical texts of the feast make no reference to St Raphael, nor to any of the other Angels, nor to the origin of the celebration.
In the Middle Ages, many places imitated the Roman custom of celebrating a second feast of St Michael, commemorating the famous apparition which led to the building of the shrine on Mt Gargano. In northern Europe, however, we find instead the feast of “St Michael on Mount Tumba”, the Latin name of the celebrated Mont-St-Michel, as for example in the Use of Sarum, which kept it on October 16th. A votive Mass of all the Angels was already in common use in the early ninth century, as attested by Alcuin of York, and is present among the votive Masses in every medieval missal. However, only very rarely does one find a feast of St Gabriel or of the Guardian Angels in the pre-Tridentine period; a Mass of St Raphael is sometimes found among the votive Masses especially to be said for the sick, but I have seen no reference to an actual feast day for him in the Medieval period.
In the year 1670, Pope Clement X added to the general Calendar of the Roman Rite a feast of the Guardian Angels, which had been granted to the Austrian Empire by Paul V at the beginning of the century. The feast was kept in some places on the first Sunday of September, but the common date, October 2, was chosen as the first free day after the feast of St Michael.
|The Three Archangels and Tobias, by Francesco Botticini, 1470|
Carthusian Nuns and the Use of the Maniple and Stole”).
A photo that is much less known, and which I myself saw only for the first time recently, shows Thérèse with, if I may so say, her liturgical assistants in November 1896. Three of them are her blood sisters Marie, Pauline, and Céline (Sr. Marie of the Sacred Heart, Mother Agnes of Jesus, and St. Geneviève of the Holy Face) and one is her aunt Marie Guérin (Sr. Marie of the Eucharist). Sr. Marie of the Eucharist, Sr. Marie of the Angels (not in the photo), and St. Thérèse were the sacristans, while her three blood sisters were altar bread bakers:
In the same month of November 1896, she wrote a poem called “The Sacristans of Carmel,” in rhyming octosyllabic verse, which I wish to share with readers in honor of the Little Flower’s feast (whether you are celebrating it today on the new calendar or two days from now on the old calendar).
The poem was written for Sr. Marie Philomena, who had asked Thérèse for something she could sing while baking; but it was first read by her aunt. Later, all of the sacristans and altar bread bakers got to know the poem, and apparently sang it regularly in their work, to whatever familiar tune they chose that would match the meter. In this we see a splendid example of the genre of a “work song” that has nearly disappeared from the world of mass-marketed and passively consumed entertainment. One may hope such work songs still survive in the Carmels.
The religious and theological content of the song are quite worth of attention. Here is the ICS translation, slightly modified to make it more literal:
1. Here below our sweet office
Is to prepare for the altar
The bread and wine of the Sacrifice
Which brings to earth—“Heaven”!
2. Heaven, O supreme mystery!,
Hides itself under humble bread,
For Heaven, it is Jesus Himself,
Coming to us each morning.
3. There are no queens on earth
Who are happier than we.
Our office is a prayer
Which unites us to our Spouse.
4. This greatest honors of this world
To the peace, profound and heavenly,
Which Jesus lets us savor.
5. We bring a holy envy
For the work of our hands,
For the little white host
Which is to veil our divine Lamb.
6. But his love has chosen us.
He is our Spouse, our Friend.
We are also hosts
Which Jesus wants to change into Himself.
7. Sublime mission of the Priest,
You become our mission here below.
Transformed by the Divine Master,
It is He who guides our steps.
8. We must help the apostles
By our prayers, our love.
Their battlefields are ours.
For them we fight each day.
9. The hidden God of the tabernacle
Who also hides in our hearts,
O what a miracle! at our voice
Deigns to pardon sinners!
10. Our happiness and our glory
Is to work for Jesus.
His beautiful Heaven is the ciborium
We want to fill with souls!...
|The original draft|
The sacristans are the untiring agents of this mysterious exchange [between heaven and earth]. In this poem, they readily call to mind something like Jacob’s ladder. These stanzas are full of “gentleness.” There is the discreet gentleness of the “housewife,” if we dare call it that: of the spouse “happier than a queen” whose heart remains attentive to her Husband, while her hands are diligently working for Him. There is also the discreet gentleness of the Carmelite nun, who is associated with the apostle at the altar in the role that is hers, that of the hidden companion. In both cases, the assistant becomes like the one she assists. …In fact, if we may use the awkward expression “holy envy,” it will always be the case that each Christian vocation has reason to admire the goods of every other, since these goods are not, simply speaking, compatible with one another. The priest may well “envy” the female religious her total and silent dedication to prayer, which he will almost never attain in his active ministry; the married man or woman may “envy” the consecrated soul its undivided attentiveness or availability for the things of the Lord (cf. 1 Cor 7); the consecrated man or woman may “envy” the married their sacramental realization of the faithful, fruitful union of Christ and the Church, which brings new immortal souls into the world, to complete the number of the elect. In the Mother of God alone do we find united that which nature cannot unite, combining and exceeding all Christian states of life: she is the wife unwed, the child-bearing virgin, mother inviolate, mediatrix of all grace as the inseparable minister of the High Priest. In her all vocations are at one, like white light before it splinters into a spectrum of colors. For the rest of us, the individual colors are distinct, complementary, and beautiful, as they are intended to be, for our individual benefit and for the common good of the Church.
Here she [Thérèse] sings of her concrete way of sharing immediately in the “sublime mission of the Priest.” “Transformed” into Jesus by the Eucharist, “changed” into Him, does she not then also become an “alter Christus”…? She cannot leave her cloister to “preach the Gospel,” but Jesus, the first Missionary, walks in her and through her. He “guides her steps,” as He does those of the apostles she prays for, loves, and struggles for.
She cannot absolve from sins. But Jesus present in her through the Eucharist gives her a share in his ministry of reconciling sinners.
She will never fill the ciborium with consecrated hosts. But she is spending her life “filling Heaven with souls”—living hosts in which Christ lives alone from then on. …
So Thérèse has no inferiority complex toward “men” or priests. She has no presumption either. For her, it is Jesus who acts in collaboration with men—and women. Even in 1892, she wrote to Céline: “I find that our share is really beautiful; what have we to envy in priests?”
St. Thérèse’s poem serves as a profitable meditation on several intertwined mysteries: the unique, exalted, and irreplaceable nature of the ministerial priesthood; the lofty participation in Christ the High Priest enjoyed by all who are baptized into His sacerdotal and royal dignity; the special position of consecrated religious, who follow the priestly and sacrificial Lamb whithersoever He goeth; and the value in God’s sight of the quiet, humble work done by sacristans whenever they reverently prepare the materials and environs required for worthily offering the sacrifice of praise.
 For this and other details, I am indebted to the excellent commentary in The Poetry of Saint Thérèse of Lisieux, trans. Donald Kinney, OCD (Washington, DC: ICS Publications, 1996), 169–70.
 The translation is found in Kinney, Poetry, 170–71, as well as at this website. The French is contained in Kinney, pp. 301–302.
 Kinney, Poetry, 169–70.
|The fair copy|
I shall be giving five lectures from October 26th to October 30th at five different locations: Oxford, Aylesford Priory, Ramsgate, and two in London. All details are listed below, as well as in the attached posters from the LMS.
In addition, two new choral compositions will receive their world premieres by the ensemble Cantus Magnus, under the direction of Matthew Schellhorn: a motet “Ego Mater Pulchrae Dilectionis” (SATB) on October 27th and the Missa Rex in Æternum (ATB) on October 28th; these will be joined by three UK premieres of other motets.
My thanks in a special way to the Latin Mass Society of England & Wales and to Cantus Magnus for the invitation and preparations. I certainly look forward to meeting the attendees at each of the events.
|SS Gregory & Augustine, Oxford|
6:00 pm – Votive High Mass for St Gregory the Great
7:30 pm – Refreshments
8:00 pm – Lecture by Dr Kwasniewski: “Pillar and Ground of the Roman Rite: The Roman Canon as Doctrinal and Moral Norm”
8:30 pm – Signing of Tradition and Sanity: Conversations & Dialogues of a Postconciliar Exile (Angelico, 2018)
12:45 pm – Confessions (Fr Neil Brett)
1:30 pm – Missa Cantata (Votive Mass of the Blessed Virgin Mary) Fr Matthew Goddard FSSP
de Rivera, Missa a cuatro voces
Kwasniewski, “Benedicta et venerabilis” UK PREMIERE
Kwasniewski, “Ego mater” WORLD PREMIERE
(All sung by Cantus Magnus under the direction of Matthew Schellhorn)
3:00 pm – Talk by Dr Kwasniewski: “The Spirit and Spirituality of Gregorian Chant”
3:45 pm – Enrolment in the Brown Scapular
4:15 pm – Vespers (Little Office of Our Lady) and Benediction
|Shrine of St Augustine (designed by Pugin)|
12:00 pm – High Mass for the Feast of Christ the King
Kwasniewski, Missa Rex in Æternum WORLD PREMIERE
Kwasniewski, “Christus vincit” UK PREMIERE
Kwasniewski, “Jesu dulcis memoria” UK PREMIERE
(All sung by Cantus Magnus under the direction of Matthew Schellhorn)
2:30 pm – Lecture by Dr Kwasniewski: “On Living Tradition: The Basic Good of Catholic Culture and the Spiritual Discipline of Fine Art”
Sunday, October 28th – Church of St Anne Line, South Woodford, London
6:00 pm – High Mass for the Feast of Christ the King
7:30 pm – Talk by Dr Kwasniewski in Parish Hall (7 Grove Crescent, South Woodford, London, E18 2JR): “Tradition as Ultimate Norm: Clearing up Confusion about Essentials and Incidentals”
|Our Lady of the Assumption & St Gregory|
6:00 pm – Vespers with Palestrina’s Magnificat quinti toni
(Sung by Cantus Magnus under the direction of Matthew Schellhorn)
6:30 pm – Lecture by Dr Kwasniewski: “Liturgical Reform, Ars Celebrandi, and the Crisis on Marriage and Family”
7:30 pm – Signing of Tradition and Sanity: Conversations & Dialogues of a Postconciliar Exile (Angelico, 2018)
This is regular event which has been appreciated in the past, and I am happy to pass on details again.
Fr Dunstan explains more about it in a video at the bottom, with another great opening line (he has a knack for these): “If you want to change the world, think big and act little!”
|St Robert Bellarmine (Public domainimage from Wikipedia.)|
Ancient Greek and Latin poetry was not based on rhyme, which was considered a blemish on verse in antiquity, but on alternations of long and short syllables, according to various established patterns. The oldest Christian hymns, such as those of St Ambrose or Venantius Fortunatus, were similarly constructed, although often rather more loosely than in the classical period. In the Middle Ages, when Latin vowel quantities were mostly not heard or pronounced, rhyme established itself as the norm for new liturgical composition, and even extended itself beyond the various types of hymns into non-metrical forms like responsories. The Renaissance, however, which sought to imitate the classical world in all the arts, rejected rhyme and returned to metrical composition based on vowel quantity; this classicizing spirit in the use of Latin lasted much longer than the Renaissance itself did, and is found in new liturgical compositions of every period, up to and including the most recent texts of the post-Conciliar rite. In the same spirit, Pope Urban VIII (1623-44) had the whole corpus of hymns in the Roman Breviary revised and classicized, giving rise to the famous remark “Accessit Latinitas, recessit pietas - Latinity came in, piety went out.”
To judge by St Robert’s compositions for the Guardian Angels, it is a pity that he did not live to contribute to Pope Urban’s project, which might have been more successful with his input. His vocabulary is almost entirely within established usage of Christian Latinity. The metrical form is one used by Horace in his odes, called the Third Asclepiadean, but he mostly avoids the contorted word order which the classical poets and their later imitators often employed. Here is a splendid recording by the Ensemble Venance Fortunat, in alternating chant and polyphony; a pure Gregorian version sung by the Gloriae Dei Cantores, alternating women’s and men’s voices, is given below. The English translation is that of Alan Gordon McDougall (1896-1965).
Custodes hominum, psallimus
Naturae fragili quos Pater addi-
Caelestis comites, insidianti-
Ne succumberet hostibus.
|Angel guardians of men,
spirits and powers we sing,
Whom our Father hath sent,
aids to our weakly frame,
Heavenly friends and guides,
help from on high to bring,
Lest we fail through
the foeman’s wile.
Nam, quod corruerit proditor
Concessis merito pulsus hono-
Ardens invidia pellere nititur
Quos caelo Deus advocat.
|He, the spoiler of souls,
angel-traitor of old,
Cast in merited wrath out
of his honoured place,
Burns with envy and hate,
seeking their souls to gain
Whom God’s mercy
invites to heaven.
Huc, custos, igitur pervigil ad-
Avertens patria de tibi credita
Tam morbis animi quam requi-
Quidquid non sinit incolas.
|Therefore come to our help,
watchful ward of our lives:
Turn aside from the land,
God to thy care confides
Sickness and woe of soul,
yea, and what else of ill
Peace of heart
to its folk denies.
Sanctae sit Triadi laus pia jugi-
Cujus perpetuo numine machi-
Triplex haec regitur, cujus in
Regnat gloria saecula. Amen.
|Now to the Holy Three
praise evermore resound:
Under whose hand divine
resteth the triple world
Governed in wondrous wise:
glory be theirs and might
While the ages unending run.
A different and somewhat looser English version, by Fr Edward Caswall. (Fr Caswall, born in 1814, was an Anglican clergyman who converted to Catholicism in 1847. After the sudden death of his wife in 1849, he entered the Birmingham Oratory in 1850; he was ordained priest two years later, and died in 1878. He was a talented poet, and many of his English translations of the traditional Latin hymns were incorporated by John Crighton-Stuart, the Third Marquess of Bute, into his monumental English version of the Roman Breviary, including this one.)
Praise we those ministers celestial
Whom the dread Father chose
To be defenders of our nature frail,
Against our scheming foes.
For, since that from his glory in the skies
Th’ Apostate Angel fell,
Burning with envy, evermore he tries
To drown our souls in Hell.
Then hither, watchful Spirit, bend thy wing,
Our country’s Guardian blest!
Avert her threatening ills; expel each thing
That hindereth her rest.
Praise to the trinal Majesty, whose strength
This mighty fabric sways;
Whose glory reigns beyond the utmost length
Of everlasting days. Amen.
|The relics of St Ambrose, in the middle, in the white of Confessors, and Ss Gervasius and Protasius, in the red of the martyrs, to either side of him. Photograph by Shawn Tribe, from this article published in 2012.|
|Christ Cannot be Kept Out of the History of Man, by John Del Monte|
|Christ Our Teacher by David and Suzann Miriello|
|Coptic Martyrs of Libya, by Jordan Hainsey|
|Fiat Mihi Secundum Verbum Tuum, by Manuel Farrugia|
|Mary with the Stolen Chibok Girl, by Janet McKenzie|
|Regina Caeli, Laetare, by Margaret Farr|
The celebrant will be Fr. Christopher Wetzel, O.P., who was ordained last June. The music and servers will be provided by the student friars of the Western Dominican Province. The St Albert the Great Priory Chapel is located at 6170 Chabot Road in Oakland, with ample parking available on the street or the basketball-court parking lot.
1. Missale Romanum, Mame Publisher (Printed in France), 1962 edition, 270 pages, plus index and American supplement, large altar size, red leather, gold stamped and edged, 8 ribbons, excellent condition, $450.
2. Missale Romanum, New York, Benziger Brothers, 1962, 276 pages, plus appendix and American supplement, Special Masses and Particular Prefaces, large altar size, red leather, gold stamped and edged, 8 ribbons, good condition, $300.
3. Missale Romanum (chapel size), New York, Benziger Brothers, 1957, red leather and gold stamped, 807 pages plus 215+ pages of supplements, 6 ribbons, good condition, $225.
4. Ordo Hebdomadae Sanctae Instauratus, New York, Benziger Brothers, 1956, 143 pages, altar size, red leather, gold stamped and edged, 2 ribbons, excellent condition, $225.
5. Ordo Hebdomadae Sanctae Instauratus, Mame Publisher (Printed in France), 1956, 126 pages, embossed, red edges, ribbon, good condition, $175.
6. Ritus Solemnis pro Dedicatione Ecclesiae, Frederic Pustet (Printer), 1890, 171 pages, large size, red leather, gold stamped and edged, good condition, $300.
7. Pontificale Romanum, boxed set (3 volumes), plus Appendix, Frederic Pustet (Printer), 1888, black leather, gold stamped and edged, ribbons, very good condition, $375.
8. Pontificale Romanum (with slip case), Marietti (Published in Italy), 1962, 355 pages, red leather, gold stamped and edged, 3 ribbons, excellent condition, $275.
9. Ceremoniale Episcoporum, H. Dessain (Publisher), 1906, 305 pages, black leather, gold stamped and edged, very good condition, $140.
10. Liber Usualis, Belgium, Desclee Company, (Publisher), 1961-62, 1882 pages, plus appendix and supplements, good condition, $125.
11. Ritus Celebrandi Matrimonii Sacramentum, New York, Benziger (Publisher), 1941, 45 pages, red leather, gold stamped and edged, 2 ribbons, very good condition, $80.
12. Collectio Rituum (Latin & English), Ritual approved by the National Conference of Bishops of the USA, New York, Benziger (Publisher), 1964, 343 pages, black leather, 2 ribbons, very good condition, $50.
13. Collectio Rituum (Latin & English), For Dioceses in the USA, Milwaukee, Bruce Publishing Company, 1954, 263 pages, black leather, gold edges, 2 ribbons, very good condition, $45.
14. The Roman Ritual (Complete Edition), Philip T. Weller, Milwaukee, Bruce Publishing Company, 1964, 777 pages, red embossed and gold stamped cover, 3 ribbons, fair condition, $50.
Also: A. The Roman Missal in Latin and English for Holy Week and Easter, Collegeville, The Liturgical Press, 1966, 268 pages, leatherette binding, gold stamped, 3 ribbons, excellent condition, $75.
B. The Roman Missal in Latin and English for Masses for the Dead, Collegeville, The Liturgical Press, 1966, 68 pages, leatherette binding, gold stamped, 3 ribbons, excellent condition, $50.