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Processions

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I am no longer certain which book this illustration came from, but I was interested to see some of the historical costumes and appointments of the ecclesiastical processions shown within it. (Aside from the ecclesiastical there are some other curious inclusions which might have been illuminated by the context from whence this engraving came.)


(Click to enlarge)


Carmelite Rite in Troy, New York

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Long time and even recent readers will well know NLM's interest in and committment to the fostering of the other liturgical rites and uses of the Latin rite, and as such, I was quite interested to be told of this recently [NLM emphases]:

We are very happy to announce that each Monday in July Fr. Romaeus Cooney O.Carm. will celebrate the Carmelite Rite Liturgy at St. Joseph's Church (www.the-latinmass.com), 416 3rd Street, Troy NY. There will also be a Carmelite Rite Missa Cantata on Sunday the 15th to commemorate the Feast of Our Lady of Mount Carmel.Each of these liturgies is at 12pm.

Coinciding with this announcement is the following story found in The Carmelite Review, "Celebrating the Rite Again" by the same Fr. Romaeus Cooney, O.Carm. (I attach enlargeable images of the story, but do consider going directly to the site where you can read the story on page 19 and page 20):


Of course, all of this probably will raise the question for some, "what is the present status of the liturgical books of the religious orders? how were they or weren't they affected by the motu proprio Summorum Pontificum?"

The answer is found in paragraph 34 of Universae Ecclesiae, the instruction on the implementation of the same motu proprio:

The Rites of Religious Orders

34. The use of the liturgical books proper to the Religious Orders which were in effect in 1962 is permitted.

In short, the liturgical books of the religious orders (e.g. Carmelite, Dominican, Premonstratensian, Carthusian, etc.) are as freely available to use of priests in those religious orders as are the Roman liturgical books of 1962.

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Official Photographs of Pontifical Mass, Fota Liturgical Conference

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The official photos from the Pontifical Mass offered as part of the Fota Liturgical Conference in Cork, Ireland have now been sent our way, so here are some of them.


















Photo credits: William A. Thomas

Two Historic Chant Recordings

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1904 Recording, Dom Pothier directs the Choir of the Benedictines of San Anselmo



1904 Recording, Dom André Mocquereau conducts Pupils of French Seminary in Rome

Polychrome 16th-century Gothic Sculpture - How Could We Learn to Sculpt in this Style Today?

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Here is some sculpture from France dating from the early 16th century. It is called The Burial of Jesus and is attributed to a sculptor who until I saw these I had not heard of called Froc-Robert. They are in the Cathedral of Saint-Corentin in the Region of Brittany. I am told that they are made from limestone although I am not certain of this, and because they are polychrome, it is difficult to tell from the photos.

At a personal level I love the fact that they are highly coloured. So here's a request for all sculptors and patrons out there: can we work to reclaim polychrome for the liturgical traditions? At the moment it conjures images of sentimental kitsch plastic figurines in a Catholic gift shop? The gothic, as exemplified here, and the baroque (I'm thinking here of Spanish wood carvers such as Alonso Cano) demonstrate that it needn't be so.

If we were to colour, we have to work even harder to avoid sentimentality in the style. So how might we go about learning to sculpt in, for example, this late gothic style. One answer is to go and apprentice yourself to a master sculptor who carves in this style. If we were talking about painting, the answer would be to go through a long training of imitation. For the skilled painter whose eye and skills are already developed and has the ability to analyse well what he is seeing then he might be able to adopt a chosen style by looking carefully and working out some working principles to guide him.

I thought I would ask Andrew Wilson Smith what he did. He is a sculptor who has broken away from a neo-classical, academic style. Readers of this blog will be familiar with his work because of his commissions for Our Lady of Clear Creek Abbey. He worked out some principles and stuck to them. It is interesting to me that he analysed Romanesque art. The end result reminds me (and this is not a criticism in any way) of the work of Andrea Pisano, which I would call gothic. I suppose the division between the two styles is continuum rather than a sharp boundary. And however we classify it, I like Andrew's style. Here's what he told me when I asked him about this (you can see the work of his that he refers to at the website accesible through his name, above):

My preparation for my ongoing work at Our Lady of the Annunciation Abbey at Clear Creek consisted of several things. First, I had to familiarize myself with the tools and techniques of the stone carving discipline. I was lucky enough to become acquainted with two stone masons/artists who had worked on St. John the Divine Episcopal Cathedral in the 1980's when there was an effort to train a new generation of carvers and get some work done on the building. From working with these gentlemen, I was able to get started as a carver, learning the principles of the art and how it differed from my earlier training in techniques of modeling sculptures in clay, followed by casting in bronze or other materials.

During this time, I also started to study the various manifestations of Romanesque sculpture. I realized the Romanesque cannot be reduced to a canon of set forms and principles to the extent that Gothic or classical work may be. There can be no 'Romanesque Manifesto' and the style should be thought of as a period of time including diverse bodies of work. This is liberating because it allows me to find at least one or two precedents for just about anything that I might want to do. In my opinion, the unifying principles of the Romanesque are to be found in the philosophy and worldview held by the artists and scholars of the 10th-12th centuries. Therefore, I tried to saturate myself in the literature of the period, as well as its imagery.

One major theme in medieval thought is the idea that nature, history, and morality are all mirrors through which to study God. As we cannot study God directly, we may come to a better understanding of His nature through the created world. I have tried to keep this state of mind foremost in my approach to this work.

When I was starting to design the actual sculptures for this project I had a major decision to make. One approach would have been to fix upon a particular sub-category of Romanesque sculpture and imitate it directly to try to make works of art that might be mistaken for things of a particular time and place. I decided against this approach, as it did not seem appropriate in the context of my work at the Abbey. Also, I do not like that approach in general, as its result tend to be rather flat and dry. (If you are doing restoration work on an antique building, by all means be as historically-accurate and principled as you can, but for new work, "Sing a new song to the Lord".)

Instead, my approach has been to channel several Romanesque idioms into my general manner of working, which is usually more classical. I try to take the elements that I find to be the most delightful and incorporate them into my own style. One example of this is the approach to faces. You will find that in most archaic modes of art, attention is given more to the individual features of a face than to an understanding of the face as a whole. As a result you end up with large eyes, noses, mouths, and ears on top of a relatively ill-defined head. The same principle is found in large hands and feet attached to small bodies. I have tried to find a balance and to make my figures reflect this attitude to a certain extent. However, I design a figure that is more naturalistic, albeit with an overly-large head with somewhat exaggerated features.

Another element of concern is posture and the realization that the work will always be seen from a distance. I think it was the Italian sculptor Pisano who wished that he could have a 100-foot long chisel and carve sculptures from the same perspective from which they would be viewed. As this is impractical, masons working on architectural carvings have always had to do certain things to make their work plainly visible from a distance. I have tried to adopt various Romanesque techniques to deal with the perspective; these include angling the work towards the viewer, using exaggerated gestures in the pose, and shifting the proportions of a figure, gradually making the lower parts smaller and the upper body/head larger than they are in nature.









A New Resource for Ambrosian Chant

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Recently, a cultural association has been founded in the city of Milan to promote the liturgical patrimony of the Ambrosian Rite, with the name Signum Ambrosianum. Among their various activities, the association has begun a project to reprint several of the books necessary for the celebration of the traditional Ambrosian liturgy. The first of these is the “Antiphonale Missarum”, the Ambrosian equivalent of the Graduale Romanum; the new edition contains all of the Masses of the Temporal cycle, plus those of the principal Saints’ feasts, as well as the ordinary of the Mass and associated chants. The new Signum Ambrosianum edition is a reproduction of the last pre-Conciliar version, the work of the Benedictine chant scholar Dom Gregory Suñol, published in 1935 at the behest of the Blessed Card. Ildephonse Schuster. The book also includes a table which explains which chants may be used in the reformed Ambrosian Rite wherever the traditional arrangement is no longer appropriate, similar to the 1974 Ordo Cantus Missae in the post-Conciliar Roman Rite. Their website offers a fuller explanation of the edition in English, as well as a preview. Those who are interested in acquiring this hitherto extremely rare book may contact the association at the following address for information on shipping and availability: info@signumambrosianum.it  For the time being, Signum Ambrosianum is offering copies of the first print at the special price of 25 euros, rather than 40. In the future, other chant books such as the Vesperale will also be offered, as well as a bilingual missal for the faithful (in Latin and Italian; for a preview, click here.)
Although the chant of the Ambrosian Rite is quite different from that of the Roman, there is no reason why parts of the Ambrosian repertoire might not be judiciously incorporated into the celebration of the Roman Rite in either the Ordinary or Extraordinary forms, especially as additional music for the Offertory or Communion. Many editions of the Liber Usualis include an Ambrosian version of the Gloria in excelsis, and the special Lenten litanies “Divinae pacis” and “Dicamus omnes” are in the Cantus Selecti. (I once attended a Roman Novus Ordo in which the latter of these two litanies was used as the Prayers of the Faithful.) Over the centuries, there have been many such exchanges between the Roman and Ambrosian Rites; the re-publication of the “Antiphonale Missarum” represents an opportunity not just for scholars, but for choirs all over the world to increase their knowledge of this important part of the Latin liturgical patrimony.

English Propers, 15th Sunday

Report on the Papers Delivered at the 5th Fota International Liturgy Conference (Part 1)

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Last week we showed our readers some of the images and video coming from the pontifical liturgy celebrated at the Fota liturgy conference. Today we are pleased to present a summary of the papers which were presented at the conference.

This is the first of two parts.

(Photos courtesy William A. Thomas)

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Report of the Fifth Fota International Liturgy Conference

Clarion Hotel, Cork City, Ireland
7-9 July 2012

Part I


The theme for the fifth Fota International Liturgy Conference was Celebrating the Eucharist: Sacrifice and Communion. The subject was chosen in the light of a theological discussion on the Eucharist as sacrifice and/or communion which arose in German theological circles in the early twentieth century and to which Romano Guardini made a significant contribution in 1939 with his his introduction into theological discourse in relation to the Eucharist of the concepts Gestalt and Gehalt. That contribution subsequently drew the attention of Joseph Ratzinger who maintained that an inaccurate understanding of these concepts lay at the heart of much of the problems affecting renewal of the liturgy. His critique of the discussion and of Guardini's contribution was ultimately published in his book Feast of Faith. The Conference dwelt on this contribution as well as on its scriptural and patristic background and on some of its consequences for the liturgy and for the spiritual life.

The key note address of the Conference was given by His Eminence Raymond Cardinal Burke who addressed the question of The Holy Eucharist as Sacrifice in Canonical Discipline. A summary of the address has been prepared separately.

The Conference was opened by Prof. D. Vincent Twomey, SVD. He spoke to the subject Rubrics and Ritual – the letter v. the spirit? Influenced by the post-Enlightenment culture, the Liturgical Movement from the 18th century on stressed the intelligibility of the liturgy. Unsurprisingly, the initial reform of the liturgy after the Council also stressed intelligibly. But this, it is argued in this paper, was often to the detriment of the nature of liturgy as ritual, making it difficult to achieve that active participation desired by the Council. Stressing the “intelligibility” of the Liturgy, the prescribed rubrics tended not to be taken seriously. Instead “creativity” and “intelligibility” became the norm in the “new liturgy”. By way of contrast, Joseph Ratzinger pointed to the essentially mysterious, non-arbitrary, “given-not-made” nature of the Liturgy. It is God’s work, not our fabrication. The non-arbitrary nature of ritual is common to all religions, as Ratzinger has pointed out. It is expressed in rubrics, be they oral or written.

Anthropologists such as Victor Turner recently discovered the true nature of ritual (and so rubrics) through his fieldwork in Africa. It is the means by which communities renew themselves through their experience of the Holy in symbolic form. Participants experience this encounter with the sacred as a form of death and rebirth. Their total involvement in the ritual (active participation?) gives to their lives the meaning needed to face every day life. Ritual forms and upholds community.

For Ratzinger the Christian sacraments are rooted in such rituals (natural sacraments, as it were), which have been purified, perfected, and transformed by becoming the means of sacramentally effecting the memoria of God’s intervention in history that culminated in the Pascal Mystery. Christian sacraments create the community that is the Church universal and local. But, as stipulated by SC 22, the liturgical expression of sacraments retains its ritual character; the rubrics express (authorized by the Church’s apostolic authority) are the concrete manifestation of that given-ness and so are not at the disposal of the celebrating priest.

There is yet another obstacle to authentic “active participation.” In his classical work on leisure and cult, the philosopher, Josef Pieper, claims that modern man is incapable of enjoying true leisure, since modern culture overvalues work (activity) to the detriment of leisure. Leisure is essentially enjoyment of what is literally “useless”: beauty, goodness, truth. Leisure is what active participation in the liturgy should achieve. Leisure too is experienced as something given not made. Aristotle reminds us the contemplation is the highest form of activity. The modern emphasis on activity contributed to a false understanding of active participation as “doing things”.

But, for Pieper, there is another obstacle to true celebration: life for many today has become existentially meaningless – absurd – so that modern man no longer knows how to celebrate a feast because he can no longer affirm life as good and meaningful. Sunday is, for Pieper, the feast par excellence, resting in the goodness of creation now restored. At the core of Sunday is our ritual encounter with that eternal Love which overcame all evil in the world: the sacrifice of Jesus Christ. Now we can truly give thanks to God and affirm the goodness of living despite the difficulties of daily life.

The Mass makes possible that encounter with the Holy, the Real Presence of Christ’s sacrifice that enables us “lift up our hearts”. For the duration of the ritual, we are taken out of the realm of the mundane and experience the realm of the thrice Holy – so that we can say “Yes” to life: Amen. This was (and still is) the case with the pre-Conciliar Mass (at least for those familiar with it), what is now called the Extraordinary Form of the Latin Rite, when celebrated in the true spirit. The question is: to what extent does the actual ritual of the Novus Ordo promote that active participation which is nothing less than our encounter with Christ? One thing is clear: a conditio sine qua non for this to happen is that the celebrant in particular has the humility to abide by the prescribed rubrics, whatever his personal preferences.

The ritual of the liturgy is given not made.

The verum sacrificium of Christ and of Christians according to St. Augustine was the title of Fr. Daniel Jones’s exposition of St. Augustine’s idea of sacrifice as contained in the de Civitate Dei. At the climax of his polemic against pagan civic and Neoplatonic cults in Book 10 of The City of God, St. Augustine proposes a classic definition of the true sacrifice of Christians as a means of demonstrating the superiority of the Christian religion. The verum sacrificium is articulated in three distinct yet inseparable sacrificial actions which together form the one and only sacrifice by which human beings can be purified and united to God: (i.) the sacrifice of Christ, offered once for all on earth, but now presented eternally in heaven (the origin of the true sacrifice); (ii.) the interior sacrifice of each member of the Body of Christ; and (iii.) the Eucharistic sacrifice, the sacrament which represents for the Body on earth the one sacrifice of Christ. These three elements are able to form one single true sacrifice because Christ opened the mystery of his one sacrifice to his whole Body, allowing them to receive and participate in it, in three moments: i.) by transposing his once-for-all earthly sacrifice into the true and eternal sanctuary of heaven; ii.) by creating a priestly Body inseparably united to himself and his continued offering; and iii.) by establishing a visible representation of his sacrifice on earth whereby the earthly members are drawn into it. The Eucharistic representation of Christ’s sacrifice teaches his members to conform and unite themselves to his offering through the complementary virtues of humility and rightly-ordered love, which together articulate the heart of their offering, and thus define Christian identity.

In a written communication sent to the Conference by Fr. Robert Abeynaike, O.Cist., a native of Sri Lanka and currently assigned to the General House in Rome, an extensive commentary on the concept of sacrifice in the Letter to the Hebrews was expounded. The paper, entitled The sacrificial character of the Eucharistic Celebration based on an exegesis of the Letter to the Hebrews, concentrated on a showing that the Letter to the Hebrews could be read as a commentary on the words of institution from a view point closely familiar with the cultic ritual of the Temple in Jerusalem. In this view of sacrifice, what was of importance was not the destruction of the elements offered in sacrifice but in the offering of those elements to God.

Mariusz Biliniewicz’s paper, Reasonable Worship (Rm 12:1): Joseph Ratzinger’s Theology of Sacrifice, presented the main highlights of Joseph Ratzinger’s theology of sacrifice and placed them in the context of his thought and in the context of contemporary theological discussion. The paper began with a short introduction showing the importance of the topic of sacrifice in the writings of Joseph Ratzinger and outlined the reasons for his interest in this subject. Biliniewicz continued by presenting Ratzinger’s understanding of sacrifice in pre-Christian religions and in the Old Testament. Turning to the New Testament, he showed Ratzinger’s understanding of the Christ event as the fulfilment of the promises and expectations of Israel and of the whole of humanity; and Ratzinger’s view of the Eucharist as the actualization of Christ’s unique and ultimate sacrifice for the people of all times and places. Biliniewicz concluded by assessing the importance of Ratzinger’s theology of sacrifice for the contemporary Church in the light of his election to the Chair of Peter.

Fr. Patrick Gorevan spoke to the subject O sacrum convivium: St Thomas on the Eucharist. Starting with St Thomas Aquinas’ antiphon from the Office of Corpus Christi, O sacrum convivium. Fr. Gorevan commented on its popularity and its continuing role in the liturgy. While the antiphon is short, it can offer a survey of Eucharistic theology, evoking past (‘the memory of the Passion’) present (‘the soul filled with grace’) and future (‘pledge of future glory’). It points, too to the Eucharistic flavour of authentic Christian spirituality, always remembering the self-giving of the Saviour ‘for us’, becoming what we have received in the Eucharist, and straining forward towards a goal whose foretaste is ever on our lips. On other occasions Aquinas points to these three dimensions of the sacraments, which have their source in the passion of Christ, their content in the effect achieved in the soul and their fulfilment in the glory of communion with God.

Fr. Neil Xavier O’Donoghue delivered a study entitled Sacrifice and Communion in the Eucharist in Pre-Norman Ireland. He noted that earlier generations of scholars tended to see in early Ireland somewhat of an exception to what was typical in Western Christendom and in the field of the liturgy a separate “Celtic Rite” was often posited. In his paper, Fr. O’Donoghue proposed that no “Celtic Rite” ever existed and that Irish liturgy was actually quite similar to other area of Western Europe, initially following the Gallican rite and thereafter enthusiastically adopting the Roman Rite. Therefore the evidence of Pre-Norman Irish liturgy belongs to the patrimony of early Western Eucharistic practice and deserves to be incorporated into general historical studies of the liturgy of the period. The treatment of sacrifice in Pre-Norman Ireland is a case I point. Looking at the idea of sacrifice in the Stowe Missal, the early Irish Penitentials and various other texts, it becomes clear that Pre-Norman Ireland is true to the Western European context. A case could even be made that the Pre-Norman Irish Church gave a particular emphasis to the words of institution and the sacrificial nature of the Blessed Sacrament, before such an emphasis was common throughout the West.

In a paper entitled The Eucharistic Magisterium of Blessed John Paul II: An Overview’, Fr. Thomas McGovern focused on the three major Eucharistic documents of John Paul II: his letter Dominicae Coenae (1980); his encyclical ‘The Eucharist and the Church (2003); and his letter Stay with us Lord (2004). Fr. McGovern emphasised John Paul II’s contribution to the theology of the Eucharist, and his development of Eucharistic piety. He also examined the social dimension of the Eucharist in John Paul II as well as his ongoing concern about the abuses in Eucharistic celebrations and their correction.

- End of Part One -



Eastern Christian "Introduction to the Liturgy" (Part 2)

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On June 21st we shared with readers the first part of Archbishop Lazar Puhalo's introduction to the liturgy. Here, now, is the second part of this talk.

Vestments of Downside Abbey

Report on the Papers Delivered at the 5th Fota International Liturgy Conference (Part 2)

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Report of the Fifth Fota International Liturgy Conference

Clarion Hotel, Cork City, Ireland
7-9 July 2012

Part II


Fr Gerard Deighan read a paper entitled: Continuity in Sacrifice: from Old Testament to New. His overall aim was to make the connections between the many and varied animal sacrifices of the Old Testament and the one sacrifice of the New. The Council of Trent asserted that the Mass was indeed a sacrifice, but it is hard to define what a sacrifice is without understanding the nature of sacrifice as practised in Israel. The most venerable of the ancient sacrifices was the Passover, celebrated only once a year. Then there were the regular sacrifices outlined in Leviticus 1–7, classifiable as holocausts, communion sacrifices, and expiatory sacrifices. Human sacrifice was also mentioned. Though never considered legitimate in Israel, the practice of redeeming the first-born son acted as a reminder that somehow even human life should be offered to God. The common feature of all animal sacrifices was the separation of the flesh and blood of the animal. These were then offered at the altar in different ways. Although the death of the animal was necessary, it was not central to the sacrifice, but rather the offering of flesh and blood; the layman could kill the victim, but only the priest could offer it at the altar. Turning to an examination of the Last Supper, Fr Deighan demonstrated that essentially what Christ did there was to present his flesh and blood in a state of separation, and so offered a true and proper sacrifice. In doing this he was sacramentalising, or translating into ritual form, the sacrifice which he would offer the next day on Calvary; it is the same sacramental sacrifice which is offered at every Mass. Fr Deighan then went through the various categories of sacrifice earlier enumerated and showed how each of them was fulfilled in the one sacrifice of Christ. It is this same sacrifice which the Church now offers. It consists very simply in the offering to the Father of the body and blood of the Son, in the power of the Spirit. We are able to offer this sacrifice by virtue of our becoming one with Christ in baptism, through the ministry of the priest who acts in persona Christi. It is a sacrifice in full continuity with those of the Old Testament, but at the same time radically superior to them, since it is the very sacrifice of the Son of God, and so of infinite value.

Monsignor Joesph Murphy’s paper gave a presentation of Father Divo Barsotti (1914-2006), one of the most important spiritual writers in twentieth century Italy. Barsotti's work is rooted in profound personal experience of the spiritual life and in Scripture, the Fathers and the great writings of the Christian tradition, including those of Russian Christianity. Central to his thought is the notion of the Christian Mystery which is ultimately the Mystery of Christ. Christ's Act of death and resurrection is the culmination of God's saving plan and thus the central and supreme moment of history. It is made present at every celebration of the Eucharist so as to allow people of every time and place enter into contact with Christ's Act and thus offer themselves with Him to the Father. Barsotti's elevated theological and spiritual understanding of the Eucharist represents a significant contribution to genuine and effective renewal of Eucharistic doctrine and celebration, such as has been called for by Blessed John Paul II and Benedict XVI. It is hoped that this contribution will help to increase interest in Barsotti's thought in the English speaking world and perhaps lead to the translation of some of his works.

Professor Dr. Manfred Hauke of Lugano delivered a paper entitled What is the Holy Mass? The Systematical Discussion on the “Essence” of Eucharistic Sacrifice. Among other subjects, the paper examined the subjects of : The sacrifice of Christ as “basic structure”; Brief historical setting of the topic; The concept of “sacrifice” - “A true sacrifice is every good work done in order that we may cling to God in holy fellowship” (Augustine); “The sacrifice that is offered outwardly represents the inward spiritual sacrifice, whereby the soul offers itself to God” (Thomas Aquinas); Importance of the social and visible dimension of the ritual (in liturgy); “A ‘sacrifice’, properly speaking, requires that something be done to the thing which is offered to God (quando circa res Deo oblatas aliquid fit) …” (Thomas Aquinas). The Thomist school uses here the Latin term of immutatio. Later on, in relation to the Eucharistic sacrifice, we shall find the terminological differentiation between “immolation” (immolatio), where some modification is operated, and “oblation” (oblatio), without any change in the object which is offered. In the various theories on the sacrifice of the Mass, one basic current presupposes an “immolation”, whereas another tendency prefers to speak of an “oblation”.

In the situation of a sinful world, sacrifice must integrate the scope of expiation which is especially important. The passion of Christ operates its effect as sacrifice “in so far as we are reconciled with God” (Thomas Aquinas).

On the subject of the sacrifice of Christ represented in the sacrifice of the Mass Prof. Hauke began by referring to the Council of Trent which states that the Holy Mass is “a true and proper sacrifice” and refutes the opinion “that to be offered means no more than that Christ is given to us to eat”. With the order, “Do this in memory of me”, Christ instituted “the Apostles as priests”, ordaining them “that they and other priests offer his Body and Blood”. Christ offered himself once and for all on the altar of the Cross, but “because his priesthood was not to be extinguished by his death (…), at the Last Supper … [he] offered his Body and Blood to God the Father under the appearance of bread and wine. He did this in order to leave his beloved Bride the Church a visible sacrifice as the nature of the human race demands, a visible sacrifice by which that bloody sacrifice to be accomplished once and for all on the Cross might be represented (representaretur) and in memorial (memoria) remain until the end of the world, and so that its saving power might be applied (applicaretur) to the remission of those sins that we commit daily”.

“The victim is one and the same, the same who then offered himself on the Cross now offering by the ministry of priests, only the manner of offering being different. Indeed the fruits of this bloody oblation are abundantly received through this unbloody oblation”.

Contemporary theology usually speaks of the numerical unity of the sacrificial act of Christ on the Cross and in the Holy Mass. On the other side, the sacramental action cannot be detached from the distinct operation of Christ so that Pius XII noted in 1954: “As far as the offering of the Eucharistic sacrifice is concerned, there are as many actions of Christ the High Priest as there are celebrating priests …”

“The visible sacrifice is the sacrament, that is the holy sign, of an invisible sacrifice” (Augustine).

In his concluding remarks, Prof. Hauke noted that the Mass, as sacrifice, is the sacramental representation or memorial of the sacrifice of Christ offered at the Cross. Christ himself makes present his unique offering by the ministry of the ordained priest in the consecration of bread and wine into his Body and Blood. He is also, with his permanent oblation in heaven, the principal author of the sacramental act that applies the fruits of the Redemptive offering on Calvary for the spiritual benefit of the Church and of all humanity called to receive salvation. The salvation offered “for all” at the Cross is realized “for many” by the celebration of the Holy Mass during the subsequent history. The consecration establishes the “visible sacrifice” instituted by Christ. At the same time, it is the heart of every spiritual sacrifice offered by the Church in the Eucharistic celebration. It is prepared especially by the offertory and finds its expression in the prayers and liturgical signs of offering that are concluded by the sacred banquet.

Professor Dr. Klaus Berger’s lecture was entitled Divine Liturgy in the Revelation of St. John. Critical Questions for the Western Understanding of Liturgy. The Heidelberg professor pointed to the liturgical principles to be found in St. John’s Apocalypse and showed how these underlie much of both the Western and Eastern liturgical traditions. In Christ, we enter into the Holy of Holies in definitive fashion. The earthly liturgy thereby becoming part of the heavenly liturgy in which the angels and the saints participate. He showed the significance of proskynesis –and its reduced form of genuflection in the West- as an expression of worship of God.

The Mystery of Eucharist in the Systematic Theology of Matthias Joseph Scheeben was the title of Professor Dr. Michael Stickelbroek’s paper. The relation places the Eucharist in straight connection with the root-mystery of Trinity and me mystery of incarnation, before treating the sacrifice of mass. The Eucharistic communion leads to a deeper incorporation into Christ, yet initiated by baptism, and to incorporation into the body of the church.

Christ can represent all men in a perfect manner with regard to the fact, that all of them are incorporated in him as their head by the assumption of human flesh, the gift of oblation, in his own person. This is of great importance for understanding the extension of his sacrifice on the cross.

A study in the sacrifice of mass according to Scheeben has to deal with the question: Can the church exercise the act of offering in the mass? Or can she only receive the sacrifice of Christ?

The concept of “incorporation into Christ” is the key for the solution: By virtue of the union with Christ, constituted in baptism, the believers do not simply passively receive the fruits of the mass-offering. Instead, they are authorized to participate in the sacrifice of Christ and to exercise a real “co-offer”. Because the offerings of bread and wine are symbolic representations of the believers, the latter can enter into the sacrifice of Christ: “[…] lie the bread that in reality turns into the sacrificed body of Christ, we should […] by substantial communion with Christ re-create in ourselves his sacrifice of live and death.” (Mysterien, 417) Mass is in the first place oblatio: The church brings – under eulogical prayer – her gifts to God and through and within these gifts she offers herself to God – a movement that is only possible in branch connection with the self-giving of Christ to the father.
Conceiving the oblation of the church in this way, the church cannot be a second, self-consistent, independent subject of sacrifice next Christ. Nevertheless, she can enter into the sacrifice of Christ, with whom she forms a unity of body. This can only happen in this way, that the idem offerens of Trent (DH 1743) does not lose anything of its exactingness.

The relation also intends to deepen the pneumatological aspect of the sacrifice of mass, by discussing some questions about the importance of epiclesis. The conversion of the gifts is the proper act of sacrifice, in which the acting of Christ comes more forward than the acting of the church. To underline that it is also an oblation of the church, a post-consecratory epiclesis is necessary. The church has her own act in the Eucharistic sacrifice, an act that forms an organic unity with God’s acting, but cannot be stated and exercised in the same moment an in the same gasp.

The sacrifice of the church can only consist in the sacrifice of Christ, that perennitates in heaven. Therefore “the transferring of her offered gift into the heavenly body of Christ […] forms the objective, oblatory act, by which the oblation of the church is really presented to God”. The church asks for the real elevation (Hinaufnahme) in the sacrifice of Christ. She asks for the “perlatio per manus sancti Angeli” – the Holy Spirit himself, who mediates the connection between Christ and “his priestly bride on earth”. (Studien II)

In the post-consecratory epiclesis, the church wants to connect her own oblation with the objective “perlatio” of the heavenly Christ. The Holy Spirit is the sacrificing fire (Operfeuer) that transforms the oblation of the church into the sacrifice of Christ.

Further Photos from the FSSP Saint Francis Xavier Mission Trip, Dominican Republic

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We have already shown our readers a few photos from this FSSP mission trip to the Dominican Republic, but recently we were sent a link to their full photo album. Here are a selection of their photos.

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Embroidered Arms of the Cardinal Duke of York, Henry Benedict Stuart (1725-1807)

Fota Liturgy Conference: Summary of the Keynote Address of Cardinal Burke

Feast of Our Lady of Mt. Carmel, St. Gabriel's, Stamford, Connecticut

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The following photographs come from St. Gabriel's Church in Stamford, Connecticut showing the feast of Our Lady of Mount Carmel celebrated according to the usus antiquior. The Mass was set to Victoria's Missa Ave Maris Stella.







Incidentally, the splendid vestments are by Gammarelli's. Here is a closer look.


Cope, Avila Cathedral

Supporting Our Artists and Craftsman: Part of a New Liturgical Movement

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Artist Daniel Mitsui is offering a special sale on his work to raise funds for an upcoming move to a new home.

Several of his original drawings are on sale for prices reduced by 30 to 40 percent, including a Chi-Rho Monogram in the style of the early mediaeval Northumbro-Irish art, an Annunciation based on 14th century French manuscripts, a black and white Crucifixion, and a newly-completed image of Christ in Majesty.

Signed giclée prints of Mitsui's drawings are, as part of the sale, being offered four for the price of three. The available prints include a series of five illustrations done on commission for the Vatican's Vox Clara Committee (Crucifixion, Last Supper, Presentation, Pentecost, and Christ the High Priest), and a new depiction of the Adoration of the Magi.

Visit Mitsui's most recent newsletter for details, prices and the full list of available drawings and prints. Here are a few of the original works he is offering for sale.


"Ecce Quam Bonum", Ink on calfskin, $390


"Memento Mori", Ink on calfskin, $375


"Tree of Jesse", Ink on Bristol board, $480

The High Altar in the Abbey of Our Lady of Tongerlo (1858-2011): Part 3

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This article is a continuation and conclusion of a three part series on the high altar of Tongerlo Abbey by Frater Anselm Gribbin, O.Praem. See: Part 1, Part 2.

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Guest article by Frater Anselm J. Gribbin, O.Praem.

3. A Permanent Altar

In 1930 the ‘World Exhibition’ took place at Antwerp, and among the items on display in the ‘Pavilion of Catholic Life’ was a beautiful marble altar. Abbot Lamy decided to buy this for the abbey church, and by 1936 it was installed. It is made of Italian Carte D’Or marble, and consists of a plain altar-table resting on round pillars and a central support, decorated with vine branches and with grapes, a ‘Chio Rho’ symbol and, at the front (from the choir), the words, ‘Sancte Norberte ora pro nobis’.


The high altar, as it appeared from 1935 to 1958. Note the ‘sanctus candle’ at the Gospel side, and the ‘angels’ heads’ on the pillars of the ciborium. The famous replica of ‘The Last Supper’ of Da Vinci can be see in the background.

It was a fine addition to the church, but, when it was bought, it lacked a ciborium. Therefore a new ciborium was designed by Jules Ghobert (d. 1971), who had originally designed the ambos which were already in place in the abbey church of Tongerlo.

The ciborium was a magnificent structure, built on four pillars, crowned with pinnacles and an eight sided crown of copper, with a diameter of 2,40 m.


The altar and ciborium, from the nave and the choir before 1958.


The upper interior of the ciborium was decorated by mosaics, of four angels, which included the heraldic shields of the Order of Prémontré, Abbot Lamy, the abbey of Tongerlo, and of the Congo mission – a good many canons had worked as missionaries in the Belgian Congo, until as recently as 2012.


Angel mosaic from the ciborium, with the shield of Abbot Lamy. These mosaics may now be found in the vestiarium.


Angel mosaic from the ciborium, with the shield of the Congo mission.


Angel mosaic from the ciborium, with the shield of Tongerlo Abbey.


Angel mosaic from the ciborium, with the shield of the Order of Prémontré.

Carvings of ‘angel heads’ were also added to the pillars.


An ‘angel head’ from the ciborium. These may now be found in the vestiarium.

The work was completed by 24 December 1935. In the abbey magazine of 1936, it was related that

...the sons of St. Norbert have through the centuries given honour to the Blessed Sacrament, by building beautiful churches and the erection of magnificent altars. By the erection of this altar (in Tongerlo) the abbot of Tongerlo again gives testimony that for them (the Premonstratensians), nothing can be beautiful enough for the worship of Christ in the Blessed Sacrament.

Another feature added to the altar was a large ‘sanctus’ candlestick (1936), made of light-green ‘Ringborg’ marble, for use during the celebration of Holy Mass. This is still in use today, though only for the paschal candle during Easter. In 1948 the altar was consecrated by Cardinal Van Roey, archbishop of Mechelen (Malines) and the primate of Belgium, and, among the relics enclosed in the altar, was one of St. Norbert. This new altar was to become the centre of the canons’ liturgical life, from the daily ‘Missa Summa’, for professions, ordinations and abbatial blessings.


Scene from a Pontifical Mass between 1954 and 1958.


The abbatial blessing of Abbot Joost Boel, 30 June 1953. Note also the new cross and candlesticks, made from copper.

Further features added to the church included new, oak choir stalls – with room for 82 – and a simpler stall for the abbot, erected in the church in 1958. This was largely the work of Br. Evermodus Van Overveld (d. 1994) and Br. Paulinus Fijneman (d. 1965), under the guidance of Lode Van den Brande, a woodcarver from Mechelen.


A new statue of Our Lady, by Francis Rooms, was given to the abbey in 1958 and placed on the south wall.

4. Further reconstruction and restoration (1990’s)

After the Second Vatican Council, the changes made to the liturgy that were affecting the Church at large also profoundly affected our Order and abbey community. Religious life also experienced profound change. Much that was of perennial value was needlessly abandoned in the rush to ‘update’ according to the ‘spirit of the council’ which may, or may not, have reflected what the council actually said. As far as the high altar was concerned, ‘architectural’ change did not take place immediately. Perhaps this was due to the fact that Mass could easily be celebrated ‘versus populum’, which was, as Pope Benedict XVI pointed out in The Spirit of the Liturgy, mistakingly viewed as ‘the characteristic fruit of Vatican II’s liturgical renewal’. Whereas, beforehand, a cross and six candles stood on the altar, the cross was now removed to the side and smaller candlesticks were used. By the 1990’s the abbey church was badly in need of a thorough restoration. For five years the interior and exterior was restored. However this very practical and necessary restoration, completed in 1999, took into account two other factors. Permission was obtained to remove the beautiful ciborium – the ambos had to remain in place - in order to reveal more clearly the neo-gothic architectural style of the church and to more easily facilitate ‘the participation of the faithful in the liturgical services’ (abbey magazine, 1999). The choir and the area around the altar was also restored to the original floor-level, partly for the same reasons. The altar was re-consecrated, this time by the (previous) abbot, which is a privilege of the Order, and a new cross was hung directly above the altar. Eventually candlesticks were placed either side of the altar.


View of the altar during the solemn profession of Frater Anselm, 2012.


The High Altar today


The high altar, taken from the choir, 2012.


View of the altar from the choir stalls, 2007.


New crucifix above the high altar, by Egino Weinert from Cologne.

5. Conclusion

The present abbey church, and the high altar of Tongerlo has undergone significant changes in its history. Practical considerations, such as the need for more space - in what was the largest community of religious in the Low Countries – played an important role in the development of the high altar and the interior architectural layout of the church. However we can also see, more importantly, that Tongerlo strove to implement, for most of the twentieth century, the ideals of the ‘old liturgical movement’ with a profound love for the Blessed Sacrament and the liturgical life, which is central to the canonical life. The ‘old liturgical movement’, in which Tongerlo played its part, was important in bringing about a greater awareness of the nature and substance of the liturgy to priests and people, among other things. However this movement, and its liturgical aftermath following the Second Vatican Council, was certainly not flawless. Indeed we could, in hindsight, legitimately question the wisdom of a number of the liturgical and architectural alterations we have seen in these articles, albeit well-intentioned. The same could, of course, also be said for a good many monastic churches, cathedrals and parish churches throughout the world. And yet, considering the present ‘renaissance’ or ‘rediscovery’ of the spirit and theology of the liturgy and of the rich liturgical patrimony of the Latin Church, which is beginning to make inroads in the present pontificate – and also in our Flemish abbey Deo gratias - it is unlikely that we have seen the end of the story of Tongerlo’s high altar and the rediscovery of the liturgy. The future of the ‘new liturgical movement’ lies with God, who asks us to co-operate with his divine grace, in charity.

Andrei Rublev (ca. 1360-1427)

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From Wikipedia:

There is little information about his life. It is not known where he was born. Andrei Rublev probably lived in the Trinity-St. Sergius Lavra near Moscow under Nikon of Radonezh, who became hegumen after the death of Sergii Radonezhsky (1392).

The first mention of Rublev is in 1405 when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Theophanes the Greek and Prokhor of Gorodets. His name was the last of the list of masters as the junior both by rank and by age. Theophanes was an important Byzantine master who moved to Russia, and is considered to have trained Rublev.

Chronicles tell us that in 1408 he painted (together with Daniil Cherni) the Assumption Cathedral in Vladimir and in 1425–1427 the Cathedral of St. Trinity in the Trinity-St. Sergius Lavra. After Daniil's death Andrei came to Moscow's Andronikov Monastery where he painted his last work, the frescoes of the Savior Cathedral.

He is also believed to have painted at least one of the miniatures in the Khitrovo Gospels.

The only work authenticated as entirely his is the icon of the Trinity, ca. 1410 (shown at right), currently in the Tretyakov Gallery, Moscow. It is based upon an earlier icon known as the "Hospitality of Abraham" (illustrating Genesis 18). Rublev removed the figures of Abraham and Sarah from the scene, and through a subtle use of composition and symbolism changed the subject to focus on the Mystery of the Trinity.

In Rublev's art two traditions are combined: the highest asceticism and the classic harmony of Byzantine mannerism. The characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Church painting and of Orthodox iconography.

Other Modern: Chasuble #2715, Fraefel & Co.

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