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Some English Coptic Icons

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Here are some neo-Coptic icons  at the Coptic Cathedral of St George at Stevenage in England.

I discovered this by trying to get hold of pictures of art by an English-Egyptian icon painter called Fadi Mikhail. He trained at the Slade art school in London and then did an apprenticeship with an icon painter in California, called Isaac Fanous. His website is here. I would have included more pictures of his work, but his website doesn't allow me to copy and save the images. Here's a tip for artists out there. You may worry about people making use of images by barring the copying, but you also stop people who are very happy to promote your work from doing so effectively! i think that in the end the artist loses more than he gains by doing this. So in the end I took some examples from the cathedral website. But Fadi, if you're reading, I like your work and would have happily featured more if I could have done!




I love the loose but well directed brush work in this one above


Breaking: Pope to Resign; Conclave to be Called Soon

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Many have asked, what will the liturgical future look like after Pope Benedict XVI? Well you are about to find out, because the Pope announced yesterday that he is renouncing the Office of Peter due to considerations of health.

You can read the statement of the Pope on Sandro Magister's site. Here's things in a nutshell:

Dear Brothers,

I have convoked you to this Consistory, not only for the three canonizations, but also to communicate to you a decision of great importance for the life of the Church.

After having repeatedly examined my conscience before God, I have come to the certainty that my strengths, due to an advanced age, are no longer suited to an adequate exercise of the Petrine ministry. I am well aware that this ministry, due to its essential spiritual nature, must be carried out not only with words and deeds, but no less with prayer and suffering. However, in today’s world, subject to so many rapid changes and shaken by questions of deep relevance for the life of faith, in order to govern the bark of Saint Peter and proclaim the Gospel, both strength of mind and body are necessary, strength which in the last few months, has deteriorated in me to the extent that I have had to recognize my incapacity to adequately fulfill the ministry entrusted to me.

For this reason, and well aware of the seriousness of this act, with full freedom I declare that I renounce the ministry of Bishop of Rome, Successor of Saint Peter, entrusted to me by the Cardinals on 19 April 2005, in such a way, that as from 28 February 2013, at 20:00 hours, the See of Rome, the See of Saint Peter, will be vacant and a Conclave to elect the new Supreme Pontiff will have to be convoked by those whose competence it is.

Compendium of the 1961 Revision of the Pontificale Romanum - Part 2.1: The Dedication of a Church (1595, part 1)

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The very long rite for the dedication of a church will be presented in several parts. I anticipate that some people may find things a bit confusing, since the ceremony is not only radically abbreviated in 1961, but also re-ordered in places; the combox is open, please feel free to ask questions. As mentioned before, many of the less relevant details, such as the constant removal and replacement of the bishop’s miter, will be omitted. An exhaustive (and exhausting) explanation of the ceremony in every detail can be read in Fr. Augustine Shulte’s Consecranda, available for consultation and download in various formats here.

The evening before the dedication, the relics which are to be placed in the altar are brought to a nearby chapel or sacristy, if one is available; otherwise a tent is set up for this purpose. The bishop seals them in their reliquary, after which the clergy present sing (or recite) Matins and Lauds of Several Martyrs as a votive Office in honor of the Saints. Traditionally, people would then keep watch in the place until the relics were brought into the church during the dedication ceremony.

The following morning, the bishop goes to the chapel or tent, and dresses while the cantors recite the seven Penitential Psalms, the bishop himself intoning the antiphon Ne reminiscaris with which they are normally said. The liturgical color is white. He and the ministers then approach the door of the church, where the bishop intones the first antiphon of Matins of the Holy Trinity, “Be present, one God almighty, the Father, the Son, and the Holy Spirit.” It is completed by the choir.

The bishop then says the prayer Actiones nostras, after which all kneel and the Litany of the Saints is sung, as far as the invocation “Propitius esto, exaudi nos, Domine.” The rest is omitted here, since the Litany will be said again in full later on. The bishop blesses holy water, with the regular blessing found in the Rituale Romanum; he begins the Antiphon Asperges me, (as at High Mass on Sunday), and sprinkles himself and all those around him, as the schola continues the antiphon.

He then sprinkles the upper part of the exterior walls of the church, starting on the right and going around, making the form of a cross and saying continually, “In the name of the Father and of the Son, and of the Holy Spirit.” (If the cemetery is next to the church, he sprinkles it as well.) The choir sings the following responsory as this is done, the second of Matins of the Dedication of a Church.
R. The house of the Lord is founded upon the height of the mountains, and exalted above all the hills, and all the nations shall come to it say, * and say, Glory to Thee, o Lord. V. And as they come, they shall come with joyfulness, carrying their sheaves. And say, Glory to Thee, o Lord.
Arriving before the doors, the bishop sings “Oremus”; the deacon sings “Flectamus genua”, and the subdeacon, after a pause, “Levate”, after which the bishop sings this prayer.
Almighty and everlasting God, who in every place of Thy dominion art wholly present, and workest all works, be present to our supplications, and be the protector of this house, of which Thou art the founder; here let no malice of the opposing power prevail, but by the work and might of the Holy Spirit, may there ever be shown to Thee here pure service, and free devotion. Through Christ our Lord. R. Amen.
Coming to the door, the bishop strikes it once just above the threshold with his crook, and says “Lift up your gates, O ye princes, and be ye lifted up, O eternal gates: and the King of Glory shall enter in.” A deacon stationed inside the church answers, “Who is this king of glory?”, to which the bishop alone replies, “The Lord strong and mighty: the Lord mighty in battle.” (These words are the fourth- and third-to-last verses of Psalm 23; they are later repeated after another aspersion of the walls. The final two verses of the psalm are said after a third aspersion, completing the dialogue.)
H.E. Rev. Fabian Bruskewitz, bishop of Lincoln, Nebraska, (now emeritus), blessing the external walls of the chapel of Our Lady of Guadalupe Seminary, in Denton, Nebraska, March 3, 2010. Photo © 2010 F.S.S.P. - www.fssp.org.
The bishop now circles the church again, going once more to the right, sprinkling the walls of the church a second time, but near the foundations (and the cemetery, as before), continually saying “In the name of the Father etc.” As soon as he begins, the choir starts another responsory, the third of Matins of the Dedication of a Church.
R. Bless, o Lord, this house, which I have built unto Thy name. Of those who come to this place, * hear the prayers, upon the lofty throne of Thy glory. V. O Lord, if thy people be converted, and pray at Thy sanctuary. Hear the prayers upon the lofty throne of Thy glory.
Arriving before the doors, the bishop sings “Oremus”; the deacon and subdeacon answer as before, and the bishop sings this prayer.
Almighty and everlasting God, who through Thy Son, even Him that is the corner-stone, hast united two walls that come together from diverse parts, the one from the circumcision, the other from the foreskin, and two flocks of sheep under one and the same Shepherd; grant to Thy servants, through these offices of our devotion, an unbreakable bond of charity, so that they may not be separated by any division of mind, or difference of (i.e. brought about by) wrong belief, whom the one flock holdeth under the rule of the one Shepherd, within the walls of the one sheepfold which Thou keepest. Through the same Christ our Lord. R. Amen.
The ritual of striking the door and saying “Lift up your heads etc.” is repeatedly exactly as before. The bishop now circles the church again, but this time going to the left, sprinkling the walls of the church a third time, but in the middle, (and the cemetery, as before), continually saying “In the name of the Father etc.” Note that in circling the church in this order, twice to the right and once to the left, the bishop imitates the order in which the thurible is swung around the chalice during the incensation at the Offertory of the Mass.

As soon as he begins, the choir starts another responsory, the twelfth of those which are sung in October with the readings from the Books of Maccabees.
R. Thou, O Lord of all things, who wantest nothing, didst will that Thy temple should be amongst us, * keep this house unstained forever, o Lord. V. Thou didst choose, o Lord, this house, that Thy name may be invoked therein, that it may be a house of prayer and supplication for Thy people. Keep this house unstained forever, o Lord.
Arriving before the doors, the bishop sings “Oremus”; the deacon and subdeacon answer as before, and the bishop sings this prayer, also used in the blessing of a church’s corner-stone.
Almighty and merciful God, who hast given to Thy priests above others such great grace, that whatsoever is done worthily and perfectly by them in Thy name, is believed to be done by Thee; we ask Thy immense clemency, that Thou may visit what we are now about to visit, and bless all that we are about to bless; and at the entrance of our humility, by the merits of Thy Saints, may the demons be put to flight, and the Angel of peace come in. Through Christ our Lord. R. Amen.
Coming then to the door, the bishop strikes it a third time with his crook, and says the words of Psalm 23: “Lift up your gates, O ye princes, and be ye lifted up, O eternal gates: and the King of Glory shall enter in.” The deacon inside the church answers, “Who is this king of glory?”, to which the bishop replies, and all the clergy present with him, completing the end of the Psalm, “The Lord of hosts, He is the king of glory!”, and adding “Open, ye! Open, ye! Open, ye!” The bishop makes the sign of the Cross on the door with his crook, just above the lintel, saying, “Behold the sign of the Cross, let all phantoms (i.e. demons) flee.”

The deacon within opens the doors. As the bishop enters with the deacon and subdeacon, he says “Peace be to this house”, to which the other deacon already in the church replies, “At thy entrance”, and all the clergy answer, “Amen.” All those who must participate in the ceremony (major and minor ministers, cantors etc.) enter the church, and only they; the doors are closed and locked, and the rest of the clergy and people wait outside. As the bishop and servers process to a faldstool placed in the middle of the church, the cantors sing the following two antiphons. The first is also used at the blessing of a corner-stone; the second is sung with the Benedictus at Lauds of the Dedication of a Church.
Ant. Eternal peace from the Eternal One unto this house; the Peace everlasting, the Word of the Father, be peace unto this house; may the Holy Consoler grant peace unto this house.
Ant.
Zacheus, make haste and come down; for this day I must abide in thy house. And he made haste and came down; and received him with joy into his house. This day is salvation come from God to this house.

Book Notice: Benedict XVI and the Roman Missal

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Janet E. Rutherford & James O'Brien, editors

Contents:


D.V. Twomey SVD (NUIM),
Ratzinger’s Sacramental Theology

Dieter Böhler SJ,
The Church’s Eucharist, the Lord’s Supper, Israel’s Sacrifice

Sven Conrad FSSP,
Liturgy as a ‘Transcending Movement’

Cassian Folsom OSB (Norcia),
The Roman Missal in Summorum Pontificum

Paul Gunter OSB,
The History and Development of the Roman Missal

Manfred Hauke (Lugano),
The ‘Basic Structure’ of the Eucharistic Celebration according to Joseph Ratzinger

Helmut Hoping (U Freiburg),
The Ordo Missae (1965) and the Liturgical Renewal

Uwe Michael Lang (Consultor to the Office for the Liturgical Celebrations of the Supreme Pontiff),
Translating the Missale Romanum

William Mahrt (U Stanford),
Music and the Sacrality of the Two Forms

Lauren Pristas (Caldwell College),
The Post-Vatican II Revision of the Collects of the Roman Missal

George Cardinal Pell (Archbishop of Sydney),
Why a New Translation of the Missal?

Janet Rutherford,
The Anglican Patrimony

Daniel Gallagher (Vatican Secretariat of State),
The Philosophical Foundations of Liturgical Translations

Arthur Serratelli (Bishop of Paterson, NJ and Chairman of the International Commission on English in the Liturgy),
The New Roman Missal

Raymond Cardinal Burke,
Ius Divinum and the Sacred Liturgy


Hardback
240pp. March 2013
ISBN:
978-1-84682-371-8
Catalogue Price: €30.00
Available at Euro 24.90 including shipping here:
www.bookdepository.com/Benedict-XVI-Roman-Missal-Janet-Rutherford/9781846823718

Quo Vadis?: The New Liturgical Movement Post-Benedict XVI

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The announcement of the resignation of Pope Benedict XVI was understandably met with great surprise and shock throughout not only the Catholic world, but the world generally. Speaking liturgically, Pope Benedict's resignation brings the temptation to speculate on questions such as these:

"What will the future of the new liturgical movement be under the next pope?"

"Will the next pope continue the liturgical direction of Pope Benedict XVI, fostering liturgical continuity and giving an important witness and voice to a new liturgical movement?"


These questions are understandable given both recent history and given the great emphasis this particular pope has given to the sacred liturgy in both word and deed -- indeed, I have commented before that I believe Pope Benedict XVI could be rightly called "the father of the new liturgical movement" and in that regard (as well as others) his presence 'at the helm' will certainly be missed by many.

Such questions have been raised over and over since the pope's election and have often attended each and every positive liturgical development we have seen over the course of that time (which have indeed been many). However, my intent here is not to give any real consideration to such questions insofar as they are specifically tied to the person of the future pope -- for, until we know who that pope is, it seems to me rather pointless to speculate about such things.

However, what surely isn't pointless is to give voice to our hopes as we look toward the future of the new liturgical movement. Where should our efforts be focused and what do we hope to see from the Pope on down as we move forward?

Here are just a few of my own thoughts which I have quickly cobbled together -- and which are by no means comprehensive.

1. Liturgical Orientation - I would propose that we need to see a continued and, ideally, increased emphasis on this matter of liturgical orientation as the new liturgical movement moves forward in future years; we should hope to see this manifest through the continuation of the "Benedictine arrangement" and also through an ever widening practice of ad orientem liturgicum. These thoughts are general, but with specific regard to papal liturgical practice, this is manifest most visibly as it is within the context of the Roman basilicas, which means we should hope to see the continued use of the traditional cross and candlestick arrangement on those altars. Outside of these architectural contexts, we should certainly hope to see the "Benedictine arrangement" used, as well as "ad orientem liturgicum."

2. Orienting the Liturgy through the Proper Chants of the Mass - The use of chanted propers, particularly with regard to the introit and offertory, as I have commented before, also has an "orienting" affect and provides the further and enriching benefit of the liturgical texts themselves. I would not care to suggest there is no place for hymns whatsoever within a liturgical context, however I would like to suggest that these propers most certainly need to be more normative than they presently are. While by no means an easy thing, this needs to somehow be concretely effected. This too would be important to see reflected in future papal liturgies, and that is certainly my own hope.

3. The Ancient Liturgical Usages - The gains of Summorum Pontificum should continue to be actively fostered both for its own merits as well as a sort 'continuity point' and 'continuity reference' for the broader Church. With regard the ancient Roman liturgical books, it would appear that Pope Benedict XVI determined the time was not prudent for him to publicly celebrate Mass according to the usus antiquior. I think this decision should be respected and if we are honest, I think it is entirely understandable given the climate that we know can yet exist. That said, it would be my hope that at some point within the next pontificate this witness might finally be able to be manifest by way of a Missa coram Summo Pontifice which could be a particularly important and valuable gesture.

4. Liturgical Language - With regard to the Western liturgical books, we should hope to see the continued expression of the place that Latin has within a modern liturgical context, particularly where it relates to the great treasury of sacred music. This too we should hope to see continued on within the context of the papal liturgies. As regards the vernacular, there should be a continued re-approach to this question to ensure that wherever vernacular is employed within the liturgy, that it should be a faithful translation and within a hieratic form. In addition, a better approach to vernacular forms of liturgical music (namely as expressed in polyphonic and chant modes) desperately to be actively promoted and fostered.

5. Liturgical Arts - We should hope to see a continued promotion of the liturgical arts in general, inclusive of sacred art, architecture and music. This revival should promote quality of craftsmanship, beauty, continuity with tradition, shunning neither traditional expressions nor an appropriate form of modern (or in other words, the 'other modern'). Pope Benedict XVI put in place some initiatives specific to these areas, which I would hope to see furthered by future pontiffs.

6. Liturgical Catechesis - As Cardinal Canizares has often pointed out, there is a great lacking in liturgical catechesis that needs to be addressed within the Church. We should certainly hope to see these areas addressed by future popes in their own catecheses, as well as by way of other official teaching organs of the Church.

As I have noted already, this list is by no means comprehensive and excludes some other very important areas, but I offer them as a beginning set of considerations, proposals and hopes.

I'd invite readers to share their own thoughts in the comments.

The Debate Over the Council Continues

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I saw this piece a few days ago on Chiesa and it struck me as not merely interesting but as rather important. I say this because, wherever one might fall with regard to these particular questions, this particular debate is both important and necessary.

In brief, the question comes down to one of continuity and rupture; assuming we accept rupture is "not good" the question then becomes whether the rupture is to be found within the post-conciliar reforms or whether it is to be found within the very Council itself. This really reaches to the heart of the debates which we see occuring amongst those like Marchetto, de Mattei, Gherardini and others.

Here is a taste of Sandro Magister's piece, which introduces two further names into the debate; that of Fr. Divo Barsotti and Professor Enrico Maria Radaelli.

Fr. Barsotti wrote:

"I am perplexed with regard to the Council: the plethora of documents, their length, often their language, these frightened me. They are documents that bear witness to a purely human assurance more than two a simple firmness of faith. But above all I am outraged by the behavior of the theologians.”

"The Council is the supreme exercise of the magisterium, and is justified only by a supreme necessity. Could not the fearful gravity of the present situation of the Church stem precisely from the foolishness of having wanted to provoke and tempt the Lord? Was there the desire, perhaps, to constrain God to speak when there was not this supreme necessity? Is that the way it is? In order to justify a Council that presumed to renew all things, it had to be affirmed that everything was going poorly, something that is done constantly, if not by the episcopate then by the theologians.”

"Nothing seems to me more grave, contrary to the holiness of God, than the presumption of clerics who believe, with a pride that is purely diabolical, that they can manipulate the truth, who presume to renew the Church and to save the world without renewing themselves. In all the history of the Church nothing is comparable to the latest Council, at which the Catholic episcopate believed that it could renew all things by obeying nothing other than its own pride, without the effort of holiness, in such open opposition to the law of the gospel that it requires us to believe how the humanity of Christ was the instrument of the omnipotence of the love that saves, in his death.”

These words of Fr. Divo Barsotti are striking in two respects.

First of all, these criticisms come from a person of profound theological vision, with the reputation of sanctity, most obedient to the Church.

And in the second place, the criticisms are not aimed against the deviations following the Council, but against the Council in itself.

They are the same two impressions that can be gathered from reading the new book by Radaelli, entitled: “The tomorrow - terrible or radiant? - of dogma.”

*

In Radaelli's view, the current crisis of the Church is not the result of a mistaken application of the Council, but of an original sin committed by the Council itself.

Compendium of the 1961 Revision of the Pontificale Romanum - Part 2.2: The Dedication of a Church (1961, Part 1)

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For a description of this part of the ceremony in the Pontifical of Clement VIII, click here.
As in the Pontifical of Clement VIII, the evening before the dedication, the relics which are to be placed in the altar are brought to a nearby chapel or sacristy, if one is available; otherwise a tent is set up for this purpose. The bishop seals them in their reliquary, after which the clergy present sing (or recite) Matins of Several Martyrs in honor of the Saints; this is no longer considered a votive office, but displaces the office of the day for those who recite it. Lauds is no longer mentioned in the rubrics, since the anticipation of Lauds the evening before is prohibited by the 1960 rubrics.

The following morning, the bishop goes to the chapel or tent, and dresses; the liturgical color is now violet instead of white. The antiphon Ne reminiscaris and the Penitential Psalms are no longer said. The bishop intones the first antiphon of Matins of the Holy Trinity, which is completed by the choir, and then says the prayer Actiones nostras. (These were formerly said before the door of the church.)

The bishop now comes to the door of the church, and sings, as at the beginning of the Hours, “Oh God, come to my assistance”; those who are present respond “Lord, make haste to help me” and “Glory be,” but Alleluia is not said. These are not part of the previous version of the rite.

He then blesses water. In the 1595 version, the water is blessed at this point with the regular blessing found in the Rituale, and commonly used for the Asperges and the holy water kept in fonts near the door. Later, another much more complicated blessing of water is done, in which wine and ashes are also blessed and mixed with water, in addition to the usual salt; this is commonly referred to as “Gregorian water”, and is used inside the church for the sprinkling of the walls and the altar. In the revised version, Gregorian water is blessed at the beginning and used throughout the ceremony. It may also be blessed before the ceremony, and the blessing may be delegated by the bishop to a simple priest. (The blessing of Gregorian water will be described later in a separate pair of articles.)

Once the Gregorian water is made, the bishop proceeds immediately to the sprinkling of the walls of the church on the outside, starting from the right, and making a single complete circuit. He no longer says, “In the name of the Father and of the Son, and of the Holy Spirit” as he does this; the rubrics make no mention of the cemetery, which in the previous version is also sprinkled if it is next to the church building. The antiphon Asperges me and the sprinkling of the people are omitted.

While he does this, the choir sings the fourth antiphon of Lauds of the Dedication of a Church, “The house of the Lord is well founded upon a mighty rock”, and with it Psalm 86 Fundamenta ejus, (sung at Matins of the same Office, but with a different antiphon.) The antiphon is repeated after every two verses; “Gloria Patri” is not sung at the end. The three responsories which formerly accompanied this part of the rite are suppressed.

When the bishop has returned to the doors of the church, he says the following prayer; formerly introduced by the penitential formula “Oremus – Flectamus genua – Levate”, it is now introduced by “Dominus vobiscum. Oremus.” (This seems to be in conflict with the change of vestments from festal white to penitential violet.) The prayer itself and its conclusion are unchanged.
Almighty and everlasting God, who in every place of Thy dominion art wholly present, and workest all works, be present to our supplications, and be the protector of this house, of which Thou art the founder; here let no malice of the opposing power prevail, but by the work and might of the Holy Spirit, may there ever be shown to Thee here pure service, and free devotion. Through Christ our Lord. R. Amen.
The two other circuits and aspersions of the walls, the chants which accompanied them, and the prayers which followed them are all suppressed. The ritual of knocking on the church’s door with the crook and reciting the dialogue from the end of Psalm 23 was formerly done three times, one at the end of each circuit of the walls; it now perforce done only once. The bishop approaches and knocks with his crook three times, saying “Lift up your gates, O ye princes, and be ye lifted up, O eternal gates: and the King of Glory shall enter in.” A deacon stationed inside the church answers, “Who is this king of glory?”, to which the bishop replies, and all the clergy present with him, “The Lord of hosts, He is the king of glory!” “Open, ye!” is then said only once by all, including the faithful. The door is opened, and the bishop makes the sign of the Cross on the lintel, saying, “Behold the sign of the Cross, let all phantoms (i.e. demons) flee.” (This cross was formerly made on the door itself, before it was opened.)

As the bishop enters with the deacon and subdeacon, he says “Peace be to this house”, to which the other deacon already in the church replies, “At thy entrance”, and all the clergy and people answer, “Amen.” All now enter the church, where previous only those who participates in the ceremony (major and minor ministers, cantors etc.) entered. The bishop and servers process to a faldstool placed in the middle of the church; the two antiphons formerly sung at this point are suppressed.

A deacon opens the door of the church for the Bishop Bruskewitz to enter, during the Dedication of the chapel of Our Lady of Guadalupe seminary in Denton, Nebraska. Photo © 2010 Fraternitas Sacerdotalis Sancti Petri - www.fssp.org

In Utroque Usu from Argentina

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The following was sent in to us by a priest in the diocese of San Luis, the pastor of the parish of San Antonio de Padua in Potrero de los Funes, Argentina. There he tells us that he celebrates according to both forms of the Roman liturgy, as well as ad orientem.

In addition (and take note of this), he also offers Sung Vespers in his parish on Monday, Wednesday, Friday and Saturday evenings, as well as Sung Lauds on Tuesday, Thursday, Saturday and Sunday mornings. These are offered according to the Liturgia Horarum and employ Latin and the vernacular, as well as Gregorian chant.

Here are a few photos.





Portable Altar Cards for the Dominican Rite

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I am pleased to announce that The Society for the Preservation of Roman Catholic Heritage has sent me a sample set of their new portable altar cards for the Dominican Rite.  They have also upgraded their previously published set of portable cards for the Extraordinary Form of the Roman Rite.  Here is a photo of the new cover for the Roman Rite cards:
The Dominican Rite set has a white leatherette cover printed with a decorative gold cross. Here are images of the text of the middle card for the Dominican Rite:
And here are the two side cards:
The Roman Cards can be ordered here. The Dominican cards are not yet up on the SPORCH site. They may be ordered by sending an email inquiry to sporch3@aol.com or by writing to their address: Society for the Preservation of Roman Catholic Heritage Box 147 Englewood, Ohio 45322 The current list price is $69.00. A discount is available for bulk orders.

The English Missal

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A number of readers were interested last summer in the discussion of the potentialities of the English Missal within the Ordinariate context -- not to mention as a potential model for vernacular forms of the liturgy.

At any rate, I thought some lucky reader might be interested to know that Luzar Vestments, who occasionally sell books, happens to have a copy of the English Missal up for sale at the very reasonable price of £75.00:


There are some other interesting books there as well, including Roulin's Vestments and Vesture and Berthod's Dictionnaire des Arts Liturgique.

Final Public Papal Mass of Pope Benedict XVI

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We have shown many of Pope Benedict XVI's papal Masses before, including his first, and so it only seems appropriate to now share the following from his final public Mass as Pope, taken yesterday in St. Peter's Basilica, Rome, Ash Wednesday.

St. Valentine (NLM Reprint)

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With St. Valentine's Day being so prominent in the secular calendar of events, it seems a brief consideration of this day in its more properly ecclesiastical and liturgical aspect is in order.

Here is what we read in the 1961 edition of the Roman Martyrology for today:
At Rome, on the Via Flaminia, the birthday of St. Valentine, Priest and Martyr, who, after many wondrous works of healing and teaching, was scourged with rods and beheaded under Claudius Caesar.

[...]

At Terni, St. Valentine, Bishop and Martyr, who, after lengthy ill-treatment was imprisoned; and since he could not be overcome, he was brought out of his prison in the silence of midnight and beheaded, at the command of Placidus, prefect of the city.
-- The Roman Martyrology, February 14th

We read this in the Catholic Encyclopedia:
At least three different Saint Valentines, all of them martyrs, are mentioned in the early martyrologies under date of 14 February. One is described as a priest at Rome, another as bishop of Interamna (modern Terni), and these two seem both to have suffered in the second half of the third century and to have been buried on the Flaminian Way, but at different distances from the city. In William of Malmesbury's time what was known to the ancients as the Flaminian Gate of Rome and is now the Porta del Popolo, was called the Gate of St. Valentine. The name seems to have been taken from a small church dedicated to the saint which was in the immediate neighborhood. Of both these St. Valentines some sort of Acta are preserved but they are of relatively late date and of no historical value. Of the third Saint Valentine, who suffered in Africa with a number of companions, nothing further is known.

Saint Valentine's Day

The popular customs associated with Saint Valentine's Day undoubtedly had their origin in a conventional belief generally received in England and France during the Middle Ages, that on 14 February, i.e. half way through the second month of the year, the birds began to pair. Thus in Chaucer's Parliament of Foules we read:

"For this was sent on Seynt Valentyne's day
Whan every foul cometh ther to choose his mate."


For this reason the day was looked upon as specially consecrated to lovers and as a proper occasion for writing love letters and sending lovers' tokens...

While St. Valentine is no longer found within the general liturgical calendar that is used within the modern Roman liturgy (it is still found in the liturgical calendar of the usus antiquior of course), it is worth noting that the recent 2004 edition of the Martyrlogium Romanum still lists a St. Valentine, martyr, for this day: "Romae via Flaminia iuxta pontem Milvium, sancti Valentini, martyris."

In the Byzantine East, Saint Valentine, priest and martyr, is commemorated on July 6th, and Saint Valentine, bishop and martyr, on July 30th.


Relics of St. Valentine in the church of Santa Maria in Cosmedin, Rome, decorated for February 14th
(Photo by Br. Lawrence Lew, O.P.)

Pope Benedict's Future Residence

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For those of you who might like to see the building in which Pope Benedict XVI will retire to, Robert Duncan of CNS has produced the following video which shows some outside views of it:

Benedict XVI: Vatican II as I saw it

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Recently there has been some vigorous discussion around the question of the Council, continuity and rupture. Yesterday, Pope Benedict XVI shared his own reflections on this subject, which has been published on the Vatican Radio website here: Pope Benedict's Last Great Master Class: Vatican II, as I saw it.

The entire address can be read over there, but I thought I would publish the following excerpts which should be of particular interest to NLM readers:

... we went to the Council not only with joy, but with enthusiasm. The expectation was incredible. We hoped that everything would be renewed, that a new Pentecost really would come, a new era of the Church, because the Church was not robust enough at that time: the Sunday practice was still good, even vocations to the priesthood and religious life were already somewhat fewer, but still sufficient. But nevertheless, there was the feeling that the Church was going on, but getting smaller, that somehow it seemed like a reality of the past and not the bearer of the future. And now, we hoped that this relationship would be renewed, changed, that the Church would once again source of strength for today and tomorrow.

[...]

The French and the Germans - he observed - had many interests in common, even with quite different nuances. Their initial intention - seemingly simple - "was the reform of the liturgy, which had begun with Pius XII," which had already reformed Holy Week; their second intention was ecclesiology; their third the Word of God, Revelation, and then also ecumenism. The French, much more than the Germans - he noted - still had the problem of dealing with the situation of the relationship between the Church and the world.

Referring to the reform of the liturgy, the Pope recalled that "after the First World War, a liturgical movement had grown in Western Central Europe," as "the rediscovery of the richness and depth of the liturgy," which hitherto was almost locked within the priest’s Roman Missal, while the people prayed with their prayer books "that were made according to the heart of the people", so that "the task was to translate the high content, the language of the classical liturgy, into more moving words, that were closer to the heart of the people. But they were almost two parallel liturgies: the priest with the altar servers, who celebrated the Mass according to the Missal and the lay people who prayed the Mass with their prayer books”. " Now - he continued - "The beauty, the depth, the Missal’s wealth of human and spiritual history " was rediscovered as well as the need more than one representative of the people, a small altar boy, to respond "Et cum spiritu your" etc. , to allow for "a real dialogue between priest and people," so that the liturgy of the altar and the liturgy of the people really were "one single liturgy, one active participation": "and so it was that the liturgy was rediscovered, renewed."

The Pope said he saw the fact that the Council started with the liturgy as a very positive sign, because in this way "the primacy of God” was self evident”. Some – he noted - criticized the Council because it spoke about many things, but not about God: instead, it spoke of God and its first act was to speak of God and open to the entire holy people the possibility of worshiping God, in the common celebration of the liturgy of the Body and Blood of Christ. In this sense - he observed - beyond the practical factors that advised against immediately starting with controversial issues, it was actually "an act of Providence" that the Council began with the liturgy, God, Adoration.

[...]

The Council also pondered the principals of the intelligibility of the Liturgy - instead of being locked up in an unknown language, which was no longer spoken - and active participation. "Unfortunately – he said - these principles were also poorly understood." In fact, intelligibility does not mean "banalizing" because the great texts of the liturgy - even in the spoken languages ​​ - are not easily intelligible, "they require an ongoing formation of the Christian, so that he may grow and enter deeper into the depths of the mystery, and thus comprehend". And also concerning the Word of God - he asked - who can honestly say they understand the texts of Scripture, simply because they are in their own language? "Only a permanent formation of the heart and mind can actually create intelligibility and participation which is more than one external activity, which is an entering of the person, of his or her being into communion with the Church and thus in fellowship with Christ."

[...]

I would now like to add yet a third point: there was the Council of the Fathers - the true Council - but there was also the Council of the media. It was almost a Council in and of itself, and the world perceived the Council through them, through the media. So the immediately efficiently Council that got thorough to the people, was that of the media, not that of the Fathers. And while the Council of the Fathers evolved within the faith, it was a Council of the faith that sought the intellectus, that sought to understand and try to understand the signs of God at that moment, that tried to meet the challenge of God in this time to find the words for today and tomorrow. So while the whole council - as I said - moved within the faith, as fides quaerens intellectum, the Council of journalists did not, naturally, take place within the world of faith but within the categories of the media of today, that is outside of the faith, with different hermeneutics. It was a hermeneutic of politics. The media saw the Council as a political struggle, a struggle for power between different currents within the Church. It was obvious that the media would take the side of whatever faction best suited their world. There were those who sought a decentralization of the Church, power for the bishops and then, through the Word for the "people of God", the power of the people, the laity. There was this triple issue: the power of the Pope, then transferred to the power of the bishops and then the power of all ... popular sovereignty. Naturally they saw this as the part to be approved, to promulgate, to help. This was the case for the liturgy: there was no interest in the liturgy as an act of faith, but as a something to be made understandable, similar to a community activity, something profane. And we know that there was a trend, which was also historically based, that said: "Sacredness is a pagan thing, possibly even from the Old Testament. In the New Testament the only important thing is that Christ died outside: that is, outside the gates, that is, in the secular world". Sacredness ended up as profanity even in worship: worship is not worship but an act that brings people together, communal participation and thus participation as activity. And these translations, trivializing the idea of ​​the Council, were virulent in the practice of implementing the liturgical reform, born in a vision of the Council outside of its own key vision of faith. And it was so, also in the matter of Scripture: Scripture is a book, historical, to treat historically and nothing else, and so on.

And we know that this Council of the media was accessible to all. So, dominant, more efficient, this Council created many calamities, so many problems, so much misery, in reality: seminaries closed, convents closed liturgy trivialized ... and the true Council has struggled to materialize, to be realized: the virtual Council was stronger than the real Council. But the real strength of the Council was present and slowly it has emerged and is becoming the real power which is also true reform, true renewal of the Church. It seems to me that 50 years after the Council, we see how this Virtual Council is breaking down, getting lost and the true Council is emerging with all its spiritual strength. And it is our task, in this Year of Faith, starting from this Year of Faith, to work so that the true Council with the power of the Holy Spirit is realized and Church is really renewed. We hope that the Lord will help us. I, retired in prayer, will always be with you, and together we will move ahead with the Lord in certainty. The Lord is victorious. Thank you.

Question about Fra Angelico's Work for NLM Readers

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Recently a reader contacted me with a question about Fra Angelico's fresco of the Last Supper. Is there a particular reason why some of the figures are kneeling and others not? And who is the female figure present? In answer to the first, I assumed that he was emphasising that the Last Supper is the Mass I don't know if there is any tradition that governs who knelt and who sat. (I find it interesting that Judas, with the black halo is kneeling in line.) I guessed that the lady present is Our Lady (or perhaps Mary Magdalene) but didn't really know. Ordinarily the names would be present (in accordance with the theology of Theodore the Studite from the 9th century). So this is an additional question: does anybody know who she is and also, do you know if Fra Angelico put the names of those portrayed somewhere as part of this painting? If not I would be curious to know why not as names are necessary to make an image worthy of veneration.


I found two other Last Supper images by Fra Angelico. One has keeling figures. The Latin inscription gives the connection with the wording of the Mass (I'm at my limits on Latin here, so please correct/translate anyone who is inclined!). Neither has a female figure.



The Musical Legacy of Pope Benedict XVI

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At Crisis Magazine the other day, I offered some extended reflections on the musical challenge that faced Benedict XVI and his approaches to dealing with it. This was a very old problem, one that long predated the Second Vatican Council and one that the Council itself attempt to fix. The entire agenda turned out to be a case study in intentions that produce opposite results. For forty years, Catholic music has largely wandered in the desert, until this Pope pointed to the way out. The problem is far from resolved but the ideals have been restored and it is clear where history is headed.

Compendium of the 1961 Revision of the Pontificale Romanum - Part 2.3: The Dedication of a Church (Part 2)

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This article includes the continuation of the dedication ceremony as found in the Pontifical of 1595, and the revision of this part made in 1961. The earlier sections can be read here and here.
When the bishop has come to the faldstool, he intones the hymn Veni, Creator Spiritus, which is then sung by the choir. Meanwhile, one of the servers sprinkles ashes on the floor of the church in the form of a cross, making two lines roughly a hand-span in width, from corner to corner, crossing in the middle. (If the church is very large, the lines can be can be made in separate sections for each letter of the two alphabets, Greek and Latin.)

The bishop then kneels at the faldstool, and the choir sings the Litany of the Saints; the names of the Saint to whom the church is dedicated and those whose relics are to be placed in the altar are added to it, and each sung twice. After the invocation “That Thou may deign to grant eternal rest to all the faithful departed,” the bishop rises, and takes his crook in hand; he then sings the invocations “That Thou may deign to visit this place,” and “That Thou may deign to assign therein the guarding of the Angels;” to both the choir answers “We ask Thee, hear us.”

The bishop then adds “That Thou may deign to + bless this church and altar that shall be consecrated to Thy honor, and the name of Saint N.” The choir answers as before. He adds, “That Thou may deign to + bless and sancti + fy this church and altar that shall be consecrated to Thy honor, and the name of Saint N.”, and again, “That Thou may deign to + bless, sancti + fy and conse + crate this church and altar that shall be consecrated to Thy honor, and the name of Saint N.” Each time he makes the sign of the Cross over the church and altar with his right hand, at the places marked in red; the choir answers “We ask Thee, hear us” each time, and then finishes the Litany.

When the Litany is ended, the bishop rises, and facing the main altar, says, “Oremus”, the deacon “Flectamus genua”, and the subdeacon “Levate”, after which the bishop sings the following two prayers.
May Thy mercy go before us, we beseech Thee, o Lord, and by the intercession of all Thy Saints, may Thy clement indulgence come before our voices. Through Christ our Lord. R. Amen.
Let us pray. Be Thou magnified, o Lord, our God, in Thy Saints, and appear in this temple built unto Thee, so that Thou who workest all things in the children of adoption, may always be praised in Thy inheritance. Through Christ our Lord. R. Amen.
The schola now sings the following antiphon, from second Vespers of the Dedication of a Church, with the canticle Benedictus, repeating it after each verse:
O how fearful is this place; truly this is no other than the house of God, and the gate of Heaven!
While they are singing, the bishop writes the letters of the Greek alphabet in the ashes with his crook, starting from the left of the door and going to the back of the church on the right, and then Latin alphabet on the other line, starting from the right of the door and going to the back of the church on the left.

Pope Urban VIII draws the letters of the Latin alphabet in the ashes during the consecration of St. Peter’s Basilica on November 18, 1626, the 1300th anniversary of the origin church's consecration by Pope St. Sylvester I. (Roman tapestry, ca. 1660)
In the traditional Pontifical, the bishop then blesses the so-called Gregorian water, a blessing which will be described in its own article. This water is then used to bless the altar and the walls of the church, as will also be described in a later article.

In the 1961 revision, the Veni, Creator Spiritus is suppressed. The Litany of the Saints begins as soon as the bishop comes and kneels at the faldstool; it is shortened by the removal of twenty Saints, and the removal of fourteen invocations in the second part. The name of the Saint to whom the church is dedicated and those whose relics are to be placed in the altar are added to it; the former is now sung three times, rather than twice, but the latter are sung only once. The additions to the Litany sung by the bishop himself are unaltered, and it concludes as usual.
When the Litany is ended, the bishop rises and says “Let us pray.” The deacon and subdeacon do not say “Flectamus genua” and “Levate”; the bishop then says only the second of the two prayers noted above, “Be Thou magnified.” (It should be noted that as in the Missal, the prayers of the Pontifical are almost always preceded by either “Dominus vobiscum” or “Oremus. Flectamus genua. Levate.”, and “Oremus” by itself is very unusual.)
The sprinkling of the ashes on the floor of the church and the writing of two alphabets is moved from its traditional place before the making of the Gregorian water and the aspersion of the internal walls, to after. (For the sake of convenience, I shall describe how it is done here.) Where the previous rubric said that ash was to be used, the 1961 rubric says “ash or sand”. It is no longer spread out in such a way that it fills the church in two lines from corner to corner; rather, it is laid down “before the gates of the sanctuary, or, if the multitude of the faithful assisting at the sacred action may permit that this be done, in the middle of the church, … each (line) about three meters long (i.e. just under ten feet), and about twenty centimeters wide. (i.e. just about 7 inches)” As the bishop writes the alphabet, the choir sings the antiphon “O how fearful is this place”, but with psalm 47 Magnus Dominus, rather than with the Benedictus. No mention is made of repeating the antiphon.

News from the FSSP in North America

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It has been awhile since we last checked in the with the North American branch of the FSSP. They have recently reported that Bishop James Timlin, Bishop Emeritus of the Diocese of Scranton, "traveled to Our Lady of Guadalupe Seminary on Saturday, February 9, 2013 to confer the Major Order of Subdiaconate upon five seminarians."

This gives us another opportunity to look at their lovely new chapel.







True Knowledge is Being Struck by an Arrow of Beauty that Wounds Man

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I recently wrote a small piece in which I highlighted the value of beauty in education, Beauty Communicates Something that Words Cannot. In this I quoted Augustine referring to the value of the beauty of music in transmitting truth 'beyond words' and suggested that exactly the same would apply to visual beauty. Well my friend Steve C put me onto this piece on Fr Kimel's blog, Eclectic Orthodoxy. It is an excerpt from from Pope Benedict's book On the Way to Jesus Christ (p36) in he refers directly to the power of the beauty of art and he says it, of course, far more eloquently than ever could:  
True knowledge is being struck by the arrow of beauty that wounds man: being touched by reality, “by the personal presence of Christ himself,” as Nicholas Cabasilas puts it. Being overcome by the beauty of Christ is a more real, more profound knowledge than mere rational deduction. Of course we must not underestimate the importance of theological reflection, of exact and careful theological thought; it is still absolutely necessary. But to despise, on that account, the impact produced by the heart’s encounter with beauty, or to reject it as a true form of knowledge, would impoverish us and dry up both faith and theology. We must rediscover this form of knowledge—it is an urgent demand of the present hour. …
The encounter with beauty can become the wound of the arrow that strikes the soul and thus makes it see clearly, so that henceforth it has criteria, based on what it has experienced, and can now weigh the arguments correctly. For me an unforgettable experience was the Bach concert that Leonard Bernstein conducted in Munich after the sudden death of Karl Richter. I was sitting next to the Lutheran Bishop Hanselmann. After the last note of one of the great Thomas Kantor cantatas triumphantly faded away, we looked at each other spontaneously and just as spontaneously said: “Anyone who has heard this knows that the faith is true.” Such an extraordinary force of present reality had become audible in the music that the audience knew, no longer through deduction, but by the impact that it could not have come nothing; it could only have been born through the power of the truth that makes itself present in the composer’s inspiration. Is the same thing not evident when we allow ourselves to be moved by the icon of the Trinity by Rublev. In the art of the icons, as well as in the great Western paintings of the Romanesque and Gothic periods, the experience described by Cabasilas has gone from an interior event to being an external form and thus has become communicable.
Pavel Evdokimov has demonstrated incisively the interior path that an icon presupposes. An icon does not simply reproduce what can be perceived by the senses, but rather it presupposes, as he says, “a fasting of sight.” Interior perception must free itself from merely sensible impressions and learn through prayer and ascetical practices a new and more profound kind of seeing; it must manage to make the transition from what is merely external to the depth of reality, so that the artist sees what the senses as such do not see—even though it does appear in the objects of the senses: the splendor of God’s glory, the “glory of God in the face of Christ” (2 Cor 4:6).
Looking at icons, and in general at the great masterpieces of Christian art, leads us on an interior way, a way of transcendence, and thus brings us, in this purification of sight that is a purification of the heart, face to face with beauty, or at least with a ray of it. In this way it brings us into contact with the power of the truth. I have often said that I am convinced that the true apologetics for the Christian message, the most persuasive proof of its truth, offsetting everything that may appear negative, are the saints, on the one hand, and the beauty that the faith has generated, on the other. For faith to grow today, we must lead ourselves and the persons we meet to encounter the saints and to come in contact with the beautiful.
Joseph Cardinal Ratzinger

Arms of Benedict XVI by Matthew Alderman

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For those of you looking for a way to commemorate the pontificate of Pope Benedict XVI, I recently saw that Matt Alderman has done up a lovely rendition of Benedict's papal coat of arms -- which came as a result of a commission for the same from Paul Tiseo of Theandric Music -- which he has made available on his Zazzle site. You can get everything from a traditional print for framing, to the usual mugs and t-shirts, as well as an iPhone or iPad case.

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