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UK Ordinariate celebrates Newman with Choral Evensong and Benediction

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The Personal Ordinariate of Our Lady of Walsingham celebrated Solemn Evensong and Benediction at the beautiful London church of St James', Spanish Place, on Sunday evening in honour of the Blessed John Henry Newman. The feast of the patron, which falls this week, presented the opportunity to invite the Very Reverend Daniel Seward Cong. Orat., the Provost of the Oxford Oratory, to preach on Newman and the call the sanctity (sermon on the website).

The canticles were sung to the Collegium Regale setting by Herbert Howells, whilst the Introit was O nata lux by Thomas Tallis, and the anthem was O thou the central orb by Charles Wood. The choir of St James's, Spanish Place provided the music for the celebrations. The Preces and Responses, and the Psalms, were sung to traditional Anglican settings.

The Ordinary, Mgr Keith Newton, presided at the office and gave Pontifical Benediction, assisted in choir by priests from the Personal Ordinariate and the Archdiocese of Westminster.







(You may read the text of Fr. Seward's sermon here.)



Photo Source: Personal Ordinariate of Our Lady of Walsingham

Annual Mass of the Catholic Artists Society

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The Catholic Artists Society have recently published some highlights from their annual Mass which took place at the Church of Our Saviour in New York City.

The Mass was offered in accordance with the modern Roman liturgical books (aka the Ordinary Form of the Roman Rite) by Fr. Joseph Koterski, SJ.






Drawing from the readings of the day (Numbers 11:25-29; James 5:1-6 and Mark 9: 38-43, 47-48), Father Koterski's homily focused on the question of the artist's striving for personal holiness as both the end of and a compliment to his creative work. Repeating Christ's words in the day's gospel, "Whoever is not against us is for us", Father Koterski went on to speak about the importance of friendship and spiritual conversation as means by which the faithful may help others towards reconciliation with Christ and His Church. He pointed out that spiritual conversation is especially strong and necessary among artists. He related the fascinating story of Pope John XXIII's unlikely friendship with the Italian sculptor, Giacomo Montzù, encouraging artists to engage those with whom they work, and to avail themselves of the means by which they may attain personal holiness - especially the Eucharist - so that, refreshed and sanctified, they may aid in the reconciliation and conversion of others.

The Catholic Artists Society have made some audio clips available of the full text of the homily, as well as some of the sacred music from the liturgy.

Photos: Joel Pidel

Ordination and First Mass, St. Olav Domkirke, Oslo, Norway

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We were informed recently of the ordination of a young priest in Norway, Fr. Ole Martin Stamnestrø. The ordination took place in St. Olaf's Cathedral (St. Olav domkirke) in the capital city of Norway, Oslo on September 29th:



Fr. Stamnestrø celebrated his first Mass in the cathedral church on September 30th:






A brief bit of video can be seen here.

Photo source: Ordination, First Mass

Review: The Collected Letters of A. W. N. Pugin, Volume 4

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The following book review has been written by Fr. Anthony Symondson, S.J., who is the author of various books and writings on sacred architecture.

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The Collected Letters of A. W. N. Pugin, volume 4 1849 to 1850

Edited with Notes and an Introduction by Margaret Belcher

Oxford University Press, £142.50


‘I am so sick of passing my life doing miserable buildings & getting abused for them afterwards,’ wrote A. W. N. Pugin dejectedly to John Hardman in 1849, ‘that I want to employ the few years of life left to make at any rate good designs, it is horrible to be taunted on all sides for buildings in which everything is cut down to the Last shilling – give me an employer with money & I will work for him – but no more poor jobs.’

This quotation is taken from the first letter in the fourth volume of Pugin’s Collected Letters for the years 1849-50. For the last ten years admirers of Pugin’s work have enjoyed the monumental endeavour of the publication of his correspondence, impeccably edited by Muriel Belcher. This constitutes one of the major achievements in the literature of the Gothic Revival. The present volume is not only the longest of the series so far published but also the most detailed in the range of Pugin’s work and preoccupations. In comparison with the success of his earlier years it records a professionally bleak period marked by the ebbing away of significant architectural commissions and their replacement by designs for stained glass, church furniture and metalwork, precious and base. The furnishing and decoration of the New Palace of Westminster dragged on. ‘To be architect to one grate or one fireplace’ was, so he assured Hardman, worse ‘than keeping a fish stall – for one may get a few shillings by a deal in whiting.’

No critic could be more savage in their estimation of his work than Pugin himself but he resented criticism because few knew the constraints under which he was sometimes forced to work. Accusations of thinness of structure, weak elevations, and poor materials were made regardless of circumstances. Even the consecration of St Augustine’s, Ramsgate, on 14 August 1850, disappointed him. ‘The church was blest this morning,’ he informed Hardman, ‘& mass sung, the altar Looked wretched, we had nothing, the weather dreadful, a heavy gale from the N. blowing everything into the church the moment a door was opened. … I have been a great fool ever to begin such a Large work without better materials to work it, the chairs &c Look beastly - & building has lost immensely inside by the benches …’. St Augustine’s crippled Pugin for the rest of his life; in the meanwhile, Mrs Pugin had to endure a course of cod liver oil which did little for domestic contentment. Yet here his beliefs, as an architect and Catholic, converged. In 1850 he had mellowed and wrote to John Rouse Bloxam, inviting him to Ramsgate, saying that ‘The interior of the church is most solemn & would delight you much’.

These were the years of reversals of Pugin’s principles not only by wary bishops but by zealous converts seeking authenticity in Baroque Catholicism. Of these the main culprits were the Oratorians who were disliked and feared by Pugin. ‘I never looked on a Puritan with half the disgust that I do on Oratorians, they are the worst enemies of religion that England has seen for many a day … we have never had such miserable prospects never so low in hopes.’ While in return Newman deplored Pugin’s ‘haughty and domineering tone’. It is, perhaps, ironical that the brass furniture on Newman’s coffin was designed by Pugin years before and made as a standard design by Hardman. Moreover, in 1849 Newman had bought Gothic church metalwork from his firm.

Pugin’s stained glass was used by many architects, including Carpenter, Butterfield, and Woodyer, among others, but the return was ‘nothing’; ‘the windows neither pay me nor you’, he observed to Hardman. Nevertheless, he was able to buy his boat, the Caroline, which gave him endless pleasure and he illustrated another of the letters to Hardman with the yacht in full sail. Today Pugin’s glass is regarded as one of his greatest achievements.

The survival of the Hardman archive has enabled the greater part of Pugin’s surviving letters to be preserved. But there is other correspondence, including personal letters to Jane, his wife, Crace, his decorator, architects, his clients and sundry correspondents, including bellicose letters to the press. He welcomed the re-establishment of the Catholic hierarchy in 1850. In 1849 he published Floriated Ornament, the most beautiful of his books, and towards the end of 1850 collected material for his treatise on Screens.

All of this activity was accomplished against the background of domestic security and comfort, the birth of his youngest child, Margaret, and the marriage of his eldest daughter, Anne, to J. H. Powell which further cemented the link between Pugin and Hardman. Pugin’s artistic touchiness found full expression in his letters, many written in a towering rage, and they are invaluable not merely for shedding light on his work but also his life and times. In the copious footnotes, which are marvels of scholarship, we further discover Pugin as he really was, rather than as the subject of prejudiced assumptions.

-- Anthony Symondson SJ

Vestment Exhibition in Philadelphia

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For those of you in the Philadelphia area who are interested in the vestment arts, you may find yourself interested in attending the following exhibition at St. Clement's, an Episcopal church in the Anglo-Catholic tradition:

St. Clement's Episcopal Church is an Anglo-Catholic Parish in Center City Philadelphia, with a 150-year history of lavish liturgical settings and appointments. For the first time we will exhibit our expansive collection of vestments, and other ecclesiastical textiles and associated treasures, many featuring intricate needlework or handmade lace. Also included: a tour of the church highlighting its history and architecture. A unique opportunity to experience traditional ecclesiastical design in context. Exhibition on view October 7-14, 2012.


The following video preview has also been made:


For more information: St. Clement's, Philadelphia

Mensis Eucharisticus: A New Edition

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Mensis Eucharisticus is a collection of 31 scripturally based meditations for priests as preparation for celebrating Mass and thanksgiving following, written probably in the 18th century by the Italian Jesuit Father Xavier Lercari.  Several editions have appeared over the years (giving various spellings of Father Lercari's name, as a Google Books search will attest), the most recent edition having just been published by Newman House Press on the eve of the Year of Faith.  From the Introduction by Father Peter Stravinskas, general editor and publisher:
The immediate impetus for this edition is the 2011 new translation of the Roman Missal, the fiftieth anniversary of Vatican II and the Year of Faith proclaimed by Pope Benedict XVI as part of the drive toward a new evangelization. An even broader context exists in the Year of the Eucharist (2004-2005) and the Year of the Priest (2009-2010). ...
[S]o much of the liturgical experience rises and falls on the priest’s proper disposition.  Based on the regular re-surfacing of this little work for nearly two centuries, it must have something to offer in this regard. Thus, it is to be hoped that during this Year of Faith, priests will commit themselves to highlighting the Holy Eucharist in their catechetical formation of our young and in adult education programs, to preparing homilies and sermons which probe the depths of eucharistic theology, and to honing their personal ars celebrandi, so that those committed to their pastoral care may enter more profoundly into the mysterium tremendum et fascinans.
This English-language edition offers the original Latin. The Nova Vulgata, the official Latin scriptural text for the Sacred Liturgy, is the base text; English citations are based on the Revised Standard Version.  The editor has thoughtfully appended a list of suggested readings on the Priesthood and the Holy Eucharist.
Mensis Eucharisticus (96 pp.) sells for $10 US + $2 shipping; bulk rates are available for five (5) copies or more.

The Liturgical Work of Igor Derevyanyy

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One of our readers sent some photos of the painting and carving work of Igor Derevyanyy of Artasacrum. Igor works in both Eastern and Western styles and contexts from what I understand -- and from what I can myself see here. I am also told that all of the carved work you see here is handcarved.









For more information:

ARTSACRUM llc
8023 Catherine ln, Suite #101
Louisville, KY 40222

Phone: 502 475-3793
Email: artsacrum@insightbb.com

Photographs published with the written consent of Igor Derevyanyy

The Doctors of the Church in the Liturgy

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This past Sunday, the Holy Father declared two new Doctors of the Church, the German Benedictine nun St. Hildegard of Bingen (1098-1179) and St. John of Avila, (1500-1569), a Spanish secular priest and renowned preacher. By this decree, the company of the Doctors is increased to 35, and the number of women among them to four; Saints Catherine of Siena and Theresa of Avila (a supporter of John of Avila in the reform of the Spanish Church) were made the first female Doctors in 1970, and St. Therese of Lisieux was given the title by Bl. John Paul II in 1997, a few days before the centenary of her death.

A banner with an image of St. Hildegard, here called a prophetess, suspended from the façade of St. Peter’s for the ceremony in which she was proclaimed a Doctor of the Church.
It is often stated that the first four Doctors of the Church, Saints Ambrose, Jerome, Augustine, and Gregory the Great, were proclaimed as such by Pope Boniface VIII in 1298. It is more accurate to say that the Pope formalized a long-established custom by ordering that their feasts be celebrated throughout the Latin Church with the same liturgical rank as the feasts of the Apostles and Evangelists. Already in the 8th century, the Venerable Bede cites the four of them as “most outstanding” among the Fathers of the Church, and the “most worthy” sources for his commentary on the Gospel of St. Luke, an assessment shared by many other writers in the following centuries. In art they are often associated with the four Evangelists; the medieval fondness for numerical symbolism in theology also tended to designate each one of them as the principal expounder of one of the four senses of the Sacred Scriptures. (See the introduction to the first volume of Henri Card. De Lubac’s Medieval Exegesis, pp. 4-7.)

In the liturgical tradition of the Roman Rite, the four Doctors are also associated with the four Evangelists in the collections of homilies read at Matins, in which each appears as the principal (but by no means sole) commentator on one of the four Gospels. Broadly speaking, St. Jerome’s Commentary on Matthew, St. Ambrose’s Exposition of the Gospel according to Luke, and St. Augustine’s Treatises on the Gospel of John are commonly read in all uses of the Divine Office. St. Mark rarely appears in the traditional Mass-lectionary of the Roman Rite, but does provide the Gospel on the greatest feast of the year, Easter, and on the Ascension; on both of these feasts, the homily at Matins in most uses is taken from St. Gregory. Therefore, the first sense in which a Father might be called a Doctor was the frequent use of his writings in the Church’s public worship.
St. Mark the Evangelist, with his traditional symbol, a winged lion, on the left, and St. Gregory the Great on the right, and a book of his sermons. From the ceiling of the church of Sant’Agostino in Cremona, Italy, by Bonfazio Bembo, 1452.
Of course, many other Fathers are frequently read in the Office; outside the Use of Rome, St. Bede is foremost among them in the medieval breviaries. As he himself notes in the prologue to the commentary mentioned above, he often borrows from the earlier Doctors; his gathering of the best passages from earlier writers makes his commentaries ideal for use in prayer services. So much of Bede’s writing is taken almost word for word from other works that the medieval copyists of liturgical manuscripts often confused his writings with his sources, and accidentally added passages from the latter back into his texts.

Also prominent in the public prayer of the Church are the writings of Saints Leo the Great, Hilary of Poitier (especially in France), and Maximus of Turin. Bede, Leo and Hilary have all subsequently been made Doctors themselves; St. Maximus, on the other hand, has been the object of almost no liturgical devotion, although he is noted in the Martyrology as a man “most celebrated for his learning and sanctity.” Indeed, his writings often appear in the breviaries under the name of some other saint, usually Augustine. In the 13th century, many of the writings of St. John Chrysostom were translated into Latin, and began to find their way into the Office; in the Roman Breviary of 1529, sermons by him are read on three of the four Sundays of Lent.
The Four Doctors of the Church, by Pier Francesco Sacchi, ca. 1516. Note that each is accompanied by a symbol of one of the four Evangelists.
The terms of Pope Boniface’s decree were carried over into the liturgical books of the Tridentine reform, which also added five other Doctors. Four of these were early Fathers of the Eastern church: Ss. Athanasius, John Chrysostom, Basil the Great, and Gregory of Nazianzen. (The third Cappadocian Father, Basil’s brother Gregory of Nyssa, has never been venerated liturgically by the Latin Church.) All of them appear in various pre-Tridentine liturgical books, but the feasts of Basil and Gregory are extremely rare. In the Counter-Reformation, the Catholic Church was greatly concerned to assert that its teachings were those held “always, everywhere and by all”, and not medieval corruptions introduced by the “Romish Church”; the pairing of four Eastern Doctors with the traditional four Western Doctors therefore asserts the universality of the teachings held by Rome and defended by the Council of Trent. Three of them also have special connections to Rome and the Papacy. During the second of his five exiles, St. Athanasius was a guest of Pope St. Julius I, who defended him against the Arian heretics; relics of Ss. John Chrysostom and Gregory of Nazianzen were saved from the iconoclasts in the 8th century and brought to Rome, later to be placed in St. Peter’s Basilica.
The Chair of St. Peter in the Vatican Basilica, by Gian Lorenzo Bernini, 1655-61. The Doctors standing further from the chair and wearing mitres are Saints Ambrose and Augustine, those closer but without mitres are Saints Athanasius and John Chrysostom.
To this group the Dominican Pope St. Pius V added a new Doctor, his confrere St. Thomas Aquinas. Like many great theologians of the medieval period, Thomas was frequently referred to as a Doctor both in liturgical contexts and elsewhere; thus we find the calendar of a 1477 Dominican Missal noting his feast day, “Thomas, Confessor and Doctor, of the Order of Preachers.” A famous story is told that during the process of his canonization, the devil’s advocate objected that he had worked no miracles, to which a cardinal replied “Tot miracula quot articula – there are as many miracles as there are articles (in the two Summas).” During the Council of Trent, his Summa Theologica was placed on the altar of the church alongside the Bible and the Decretals (the medieval canon law code, a copy of which was also burnt by Luther, along with his bull of excommunication.) Thus did the Council assert that its teachings, and those of the medieval tradition of both law and theology, were indeed in harmony with the teachings of Christ in the Gospel.

In 1588, Pope Sixtus V, a Franciscan and former vicar apostolic of his order, declared his confrere St. Bonaventure, the contemporary of St. Thomas, the tenth Doctor of the Church. Although another Franciscan, Duns Scotus, generally known as the “Subtle Doctor”, was far more influential at Trent, he had not been canonized; this emphasizes the fact that a Doctor of the Church in the formal sense must be recognized not only for his learning, but also for the sanctity of his life. Bonaventure had been canonized in 1472 by an earlier Franciscan Pope, Sixtus IV, (more famously the builder of the Sistine Chapel), in whose honor Sixtus V had chosen his papal name. (Duns Scotus was declared a Blessed in 1993.)

St. Bonaventure shows the Saints to Dante, from Canto 12 of the Paradise of the Divine Comedy. The majority of figures pointed out to Dante in this passage are famous theologians: St. Augustine, Hugh of St. Victor, Peter Comestor, Chrysostom, Anselm, and Rabanus Maurus. (Manuscript illumination by Giovanni di Paolo, 1450)
In 1720, Pope Clement XI added a new Doctor of the Church, St. Anselm of Canterbury. This may seem a strange choice, given the many more prominent Fathers of the Church such as Leo and Bede who had not yet received the title. The Catholic Encyclopedia points out that Anselm’s contribution to Scholastic theology is like the foundation of a building: hidden but necessary, and present to every part. It seems however that at the time, the creation of the first new Doctor in 140 years was not seen as a matter of such great importance; it is not even mentioned in the official collection of Pope Clement’s acts, spanning a reign of over 20 years.

St. Anselm was quickly followed by two other new Doctors; St. Isidore of Seville, the great encyclopedist of the Middle Ages, was given the title in 1722 by Innocent XIII, and St. Peter Chrysologus by Benedict XIII in 1729. After a break of 35 years, Benedict XIV, one of the Church’s greatest scholars of hagiography, bestowed the title on St. Leo the Great, to whom more than any other of the Latin Fathers the honor was long overdue.

There then followed a pause of more than 70 years, until St. Peter Damian was given the title in 1828 by Pope Leo XII; subsequently, almost every Pope has declared at least one Doctor. (The exceptions are Gregory XVI, St. Pius X and the short-lived John Paul I.) Blessed Pius IX actually made three, including the first “modern”, St. Alphonse Liguori (1696-1787), but the record is four each by Leo XIII and Pius XI. The former’s Doctors are all of the Patristic era (including another long overdue honor, to St. Bede), while the latter recognized the fruits of the Counter-Reformation in two Jesuits, Ss. Robert Bellarmine and Peter Canisius, balanced with a Dominican, St. Albert the Great, the teacher of St. Thomas.

Dante meets Ss. Thomas Aquinas and Albert the Great in Canto 10 of the Paradise, among the lovers of divine wisdom. Beneath them are Boethius, St. Denis the Areopagite, Gratian, Peter Lombard, Paul Orosius, Solomon, St. Isidore of Seville, the Venerable Bede, Richard of St. Victor and Siger of Brabant. (Giovanni di Paolo, 1450. Note that Siger, the last figure on the right, who was regarded by many as a heretic, has been partly scratched out.)
Like Hildegard of Bingen, Albert was declared both a Saint and a Doctor of the Church at the time. The parallels between these two Germans are striking. Both were extremely learned in many different fields of study, and famous in their own lifetimes, so much so that Albert was often called “the Universal Doctor”, and Hildegard “the Sibyl of the Rhine”. For both, a formal process of canonization was begun repeatedly but never completed (7 times between them); and both were rather unexpectedly canonized equivalently by papal granting of the title “Doctor” and the extension of their feasts to the General Calendar. (See the Catholic Encyclopedia article on “Beatification and canonization”, for an explanation of ‘equivalent canonization’.)
A famous vision of the Cosmic Man from the Book of the Divine Works by St. Hildegard of Bingen. (Biblioteca Statale, Lucca, Italy, 13th century)
The traditional Office of a Doctor is that of a Confessor Bishop or a simple Confessor, with a few proper features; namely, the readings of Matins, the responsory In medio Ecclesiae, (borrowed from the Office of St. John the Evangelist), and the antiphon of the Magnificat at both Vespers, O Doctor optime. The Missal of St. Pius V contains a single Mass for Doctors, also called In medio Ecclesiae from its introit; but several of their feasts have their own propers or borrow them from other Masses. Many saints have been informally recognized as Doctors within a particular place or religious order by the use of these texts on their feast days; In medio was sung as by the Cistercians as the introit of St. Bernard long before he was formally declared a Doctor in 1830, and several parts of the same Mass are used by the Dominicans on the feasts of St. Dominic and the great canon lawyer St. Raymund of Penyafort.

One notable point of difference between the pre- and post-conciliar liturgies is the absence in the former of any reference to the title of Doctor being given to women. If at some point in the future provision is made in the Extraordinary Form for the new class of Virgin Doctors, it would be sensible to use texts from traditional sources, such as the many medieval antiphons that refer to the “wise virgins” in St. Matthew 25. Another excellent source would be the proper Carmelite Office of St. Theresa of Avila, who was also spoken of informally as a Doctor by her own order long before the title was made official by the Pope. (E.g., all the chapters of her Office come from the same epistle that is read on the feast of St. Thomas Aquinas.) At the Magnificat of First Vespers, the Carmelites sing “I sought to take her to Me as my spouse, for she is the teacher (doctrix) of God’s discipline, and the chooser of His works.”, and at Second Vespers, “The nations will tell of her wisdom, and the Church will proclaim her praise.”

The Primitive Cistercian Breviary

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We have mentioned this book before, but I wanted to draw your attention to it again.

The Primitive Cistercian Breviary by Chrysogonus Waddell, OCSO

(Staatsbibliothek zu Berlin, Preussischer Kulturbesitz, MS.LAT.OCT. 402)

With Variants from The "Bernardine" Cistercian Breviary

Collection: Spicilegium Friburgense, Volume 44

The manuscript Ms. Lat. Oct. 402 from the Staatsbibliothek zu Berlin Preußischer Kulturbesitz is foremost among the sources for an understanding of the Cistercian Divine Office in its origins and in its 12th-century evolution. Dating from 1132, it is the sole extant breviary known to have survived the massive liturgical reform carried out in the Cistercian Order under the general direction of St. Bernard and his collaborators, a reform which ended around 1147. For the first time we have the means of knowing exactly the texts used in the Divine Office in the early days of the Order; and for the first time we have a means of identifying precisely the texts revised by Bernard and his fellow-editors. We can thus gain an insight into the mind and spirit of those responsible for the shaping up of the Order’s Office.

728 pages, paperback,
Fr. 125.- / EUR 80.-
ISBN 978-3-7278-1561-4

Source: Academic Press Fribourg

Floor tiles from Cleeve Abbey in Somerset, England

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Here are some pictures of 13th century tiles from Cleeve Abbey in England. They are a combination of geometric and pictorial designs. The latter employing heraldic and literary themes rather than scriptural. The form will be familiar to some through the Victorian neo-gothic tiles that are more common today, and which were based on designs from this period. I am admirer of the later forms as well, incidentally. I view as an authentic re-establishment of a past tradition and worth looking at not only for the architecture and tiles of the period, but also as case study on how to look to the past in a constructive way.

Thanks to Deacon Iacono of the Fra Angelico Institute of Sacred Art who brought them to my attention by referring me to an historical account given in the L'Historien Errant blog.



Above: the abbey church floor; and below: the refectory floor. The rest are details from the refectory.







La Naval de Manila

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Soon after the Battle of Lepanto in 1571, Dominican friars in the Philippines propagated devotion to Our Lady of the Holy Rosary, to whom was ascribed victory in that historic battle.

The image of the Virgin and infant Jesus that they commissioned in 1593 was carved from ivory by a Chinese artisan who later converted to the Faith; it is said to be the oldest ivory carving in the Philippines.

 In 1646, when Protestant Dutch forces tried to gain possession of the Philippines, five naval battles were fought in Manila Bay, and the Dutch were finally repulsed. As at the naval battle of Lepanto, victory was ascribed to Our Lady of the Rosary, and specifically to the ivory image in the care of the Dominicans.

Henceforth, she was also known as La Naval de Manila. In 1662, a local council held in Manila declared that the victories were miraculous, and that these miracles were to be "celebrated, preached and held in festivities, and to be recounted among the miracles wrought by the Lady of the Rosary for the greater devotion of the faithful to Our Most Blessed Virgin Mary and her Holy Rosary".

Since then, annual processions and novena Masses have been celebrated with great joy, fervour and beauty in Manila. The image is still housed in the Dominican church of Santo Domingo, relocated to Quezon City (which is part of the megalopolis that is Manila) after the Second World War in 1954.

In 1907 Pope Saint Pius X authorized that the image be canonically crowned, and in 1973 she was declared patroness of Quezon City, and of the Philippine nation.

Below are photos from this year's festivities, which begin with the enthronement of the miraculous statue of La Naval, and the Enthronement Mass. Given the great popularity of this devotion, and the widespread media coverage that the Novena of Masses receives, the influence of the La Naval liturgies in propagating a reform of the Reform is considerable, and worth noting here.










Photographs from the La Naval de Manila Facebook page.

English Propers, 28th Sunday of the Year

A Few Roman Missals For Sale

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(The fall clean-up continues, this time with some spare Roman liturgical books up for grabs.)

Missale Romanum, 1960
Price: $225.00 USD


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Missale Romanum, 1956
Price: $200.00 USD


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Missale Romanum / Roman Missal, 1965
Price: $100.00 USD


(One of the few more decorative editions of the oft spoken of "1965 Roman Missal"; often these were published in standard clothbound formats, but this particular edition is bound exactly as you'd expect a missal to be bound, complete with deep tooling of the cover design and gilding.)


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Missae Defunctorum, 1948
Price: $100.00 USD


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Ordo Hebdomadae Sanctae Instauratus, 1956
Price: $100.00 USD


(Very handy for Holy Week use!)


Email if interested: stribe@newliturgicalmovement.org

(If more than one of you come for the same title in short order, I will as you to make your "best offer")

160th Anniversary of St. Mary's, Clapham

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One of our British readers let us know about a Mass celebrated in the usus antiquior yesterday at St. Mary's Church, Clapham, to mark the 160th anniversary of said church.

The Mass was celebrated by Fr. Dominic O'Toole CSSR -- his first EF Mass - assisted by Fr. Peter Gee and Br. Gerry Carroll, CSSR.

Music was provided by the St. George's Cathedral Choir, Southwark, under the direction of Nick Gale.








Source: dominiccssr (Flickr)

Books Still Available (Including Two Missale Romanum's)

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STILL AVAILABLE

(The fall clean-up continues, this time with some spare Roman liturgical books up for grabs.)

Missale Romanum, 1960
Price: $200.00 USD


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Missale Romanum, 1956
Price: $200.00 USD


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Rouen Martyrology (Martyrologium Rothomagensis) from 1670.



It's a unique item, about 8" x 10" in size.

Price: $100.00

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The Gregorian Sacramentary.

Le Sacramentaire Gregorien: Ses Principales Formes d'Apres les Plus Anciens Manuscrits (ed. Jean Deshusses. 3 volumes from the "Spicilegium Friburgense" series. Editions Universitaires Fribourg Suisse) - The Latin liturgical texts with some French comments/prefaces. The set is in fantastic shape. The volumes retail new at $285.00 USD. Asking Price: $200.00 USD.


Email if interested: stribe@newliturgicalmovement.org

(If more than one of you come for the same title in short order, I will as you to make your "best offer")

A New Monastery in the Midwest

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My contributions here been a bit scarce of late but our readers will be pleased to hear that I have a very good reason for my silence. Some time ago, I accepted a position at Cram and Ferguson Architects in Concord, Massachusetts. We have had, in this difficult economic time, the blessing of being quite busy. One of the most exciting new projects to come into the firm during this time is a new design for a monastery in Wisconsin. It will be the new home of the nuns of Valley of Our Lady Monastery. It has been a great pleasure to be a member of the design team working on this project.

Valley of Our Lady has attracted a significant number of new vocations in the past decade. Its Cistercian sisters wear the habit, pray the Liturgy of the Hours with great devotion, and live a simple, cloistered life in common. They maintain themselves through the making of altar breads and other craft products. Firm principal Ethan Anthony, who has undertaken multiple visits to the historic “Three Sisters of Provence”— the ancient Cistercian monasteries of Le Thoronet, Sénanque, and Silvacane—has worked closely with the sisters to ensure the new monastery fulfils both their spiritual and practical needs. One of the largest projects undertaken by the firm in recent years, it is, to my knowledge, the first new traditional ecclesiastical project to draw on the simplicity and balance of Cistercian monastic architecture, and the first ever undertaken in the United States.


The roots of Cistercian architecture lie in the order’s first great expansion under St. Bernard of Clairvaux in the second quarter of the twelfth century. Seeking to avoid Cluniac bombast, the order set forth clear and concise recommendations for the layout and design of Citeaux’s numerous daughter houses. While St. Bernard must be considered the father, or at least godfather, of Cistercian architecture, it is the time-tested product of the accumulated historical experience of the order. Cistercian architecture has eschewed superfluous decoration in favor of a beauty built on harmonious shapes, enduring materials, and a web of interrelated proportions. Symbolic ornament is always sparing and, when added, its content and placement is carefully attuned to the order’s liturgical spirituality. The standardized building layout was conditioned by a desire to balance the order’s contemplative mission with its robust tradition of work-as-prayer. Cistercian monasteries in Europe have included, alongside church and refectory, forges, water-mills and barns of surprising beauty. In drawing on these models, Cram and Ferguson Architects does not merely seek to imitate the medieval past. Instead, we have sought to create a sense of organic continuity with St. Bernard’s vision, adapted to the requirements of modern construction and budget, as well as the demanding climate of the region. The structure is not a copy, but a literate and thoughtful projection of the Cistercian ideal forward into the present and future.


The monastery, which will house 35 sisters, is dramatically placed atop a hill, but is sufficiently screened from nearby roads to ensure privacy. It is arranged around three courtyards; the principal cloister is centered on a fountain whose shape is inspired by the St. Benedict medal, while the other two form spaces are linked programmatically to the monastery bakery and the church. A guest-house for family and aspirants forms two sides of the church cloister. The library, refectory and infirmary lie off the main cloister, the latter two with superb views of the rolling countryside. An octagonal chapter-house is located near the north transept of the church. The church, which includes both screened choir seating for the nuns and a small section for lay visitors, was the result of months of detailed study by the firm. Ethan Anthony was particularly concerned to ensure that the interior should be designed to ensure the best natural lighting, like its European cousins, a challenge with Wisconsin’s high latitude and long winter nights. The architecture of the interior is simple but beautifully-proportioned, and the entire building, save the vaults, will be faced with stone. A two-stage lantern will house bells and admit daylight into a domical crossing-vault. A small closed gallery in the transept will allow the infirm to participate in the liturgical Hours.


The remainder of the complex, while simpler in its vocabulary and detailing, is nonetheless governed by the same rules and harmonious design. Water will run throughout the entire complex in the forms of fountains and interlinked channels, giving a welcome note of movement and sound to its gardens. The second storey includes a patio above the main courtyard and a smaller upper cloister ringed with the nuns’ simple cells. The bakery, located to the west of the complex, is the most utilitarian of the complex’s structures, but features a large, top-lit production area intended to provide a simple but pleasing workspace for the sisters, who will spend much of their day-to-day life within its walls.


As can be seen from these images, the design is far advanced, but still under continual refinement and development. More images can be see at Cram and Ferguson Architects' website. Regular updates about the monastery project, as well as information for potential aspirants and donors, can be found at this website: http://www.valleyofourlady.org/. Other information about the monastery can be found at: http://nunocist.org/. On completion, the new Valley of Our Lady will be a fitting addition to the long tradition of Cistercian simplicity and a worthy place for prayer, contemplation, and Godly work.

The Confiteor in the Carthusian Liturgy

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Preparatory Prayers

The position of the celebrant during these [preparatory] prayers is unusual, although it is found in the customs of Cluny and in the mediaeval use of Westminster Abbey. The priest stands on the gospel side of the sanctuary facing the seat (cathedra), and the deacon remains in his stall. At a private Mass, the server kneels on the opposite side to the priest, facing the middle or gospel corner of the altar.

-- Archdale King, Liturgies of the Religious Orders

The Source and Summit (by Dr. Peter Kwasniewski)

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As part of observing the Year of Faith, Dr. Peter Kwasniewski of Wyoming Catholic College has written the following article for an upcoming issue of The Latin Mass Magazine. NLM is happy to be able to provide our readers with that article with the kind permission of the editors of the Latin Mass Magazine. (And while you'll have read the article here first, it is that magazine which is formally publishing it, so do make sure to go and browse some of their other offerings.)

Returning to the article in question, it concerns itself with the spirituality of the Mass seen from a number of angles.

The Source and Summit of the Christian Life

Various Examples of Italian Antependia

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The purpose of a frontal is threefold.

(1) It is a covering of honour for the body of the altar which, as we have already seen from the liturgical books, represents Christ Himself; and if further proof is necessary, it is provided by the five crosses incised upon the upper surface of the altar, representing the five wounds in Our Lord's Body on the cross. Van der Stappen, Sacra Liturgia, ed. 2, vol. iii, Q. 42, i., says, "For the altar is Christ, therefore, on account of its dignity, it is clothed in precious vestments, as the Pontifical says in the ordination of sub-deacons." Moreover, on Maundy Thursday this frontal and the cloths are stripped off during the recitation of the psalm, Deus, Deus meus, in which the verse foretelling the parting of Our Lord's garments occurs...

(2)The frontal is a means of employing colour to bring out the full meaning of the very beautiful symbolism in that same office of ordination of subdeacons which speaks of "the faithful with whom the Lord is clothed as with costly garments." The red frontal, for instance, reveals the victory of the Rex Martyrum, realized afresh in yet another of His members...

Our Lord, as represented by His consecrated altar, puts on robes of majesty to identify Himself with those in whom His victory has borne fruit; His own purity reproduced again in the white robe of the virgin saint; His own heroic fortitude in the red robe of the martyr: and thereby additional emphasis is given to His invitation to be approach through the intercession of the saint with whose colour the altar is robed. And when the Robes of Majesty are all removed on Holy Thursday, more is indicated than the removal of His garments. His faithful, His costly garments, His disciples, are all stripped from Him; and His desolation is made the more evident by this complete annihilation of colour. But in addition to emphasizing the union of the Head with the saint commemorated by the feast of the day, the coloured frontal also serves to bring into clear prominence the union of the Head with His ministers of the altar, who are vested in the same colour...

The instinct to provide colour seems less vigorous today than in most other centuries, and one doubts whether its place is sufficiently realized as one instrument of a concerted orchestra, in whose harmony its omission forms a gap. Cardinal Schuster dwells on this accumulated harmony when describing the Introit for Whit-Sunday: "It is well known," he says, "that all the present texts of the Missal and of the Breviary have beautiful melodies attached to them. As no one, for instance, would desire to judge of an opera simply by reading the libretto of the author, but would wish also to hear the music and see the full effect of the mise en scène, so, in order thoroughly to appreciate the sense of beauty and inspiration, the powerful influence produced by the sacred liturgy on the Christian people, it is necessary to see it performed in the full splendour of its architectural setting, of the clergy in their vestments, of the music, the singing and the ritual, and not to judge it merely from a curtailed and simplified presentment."

(3) The frontal serves to give to the altar that architectural promimnence which its central position in the liturgy requires...

-- Geoffrey Webb, The Liturgical Altar

Historical Image from the Second Vatican Council

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One of our readers sent in the following image of the Byzantine Divine Liturgy being celebrated during the Second Vatican Council. I hadn't seen this image before myself, and it was rather high quality, so I thought I would share it with our readers.


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