Regarding the beginning of the ceremony, the Pope, once having entered the Basilica, will head to the Confession (St. Peter’s tomb under the high altar) while trumpets will announce the “Tu es Petrus”. The Pope will venerate the tomb of St. Peter, together with the Patriarchs and Major Archbishops of the Eastern Rite Catholic Churches (ten in number, four of whom are cardinals). He will then be presented with the Pallium, Ring, and Book of the Gospels that were placed at St. Peter’s tomb the night before.

The Holy Father will then come back up from the Confession to the main floor of the Basilica, from which the procession continues. The “Laudes Regiae” (Christ is King) will be chanted, with some invocations taken from the Vatican II document on the Church, “Lumen Gentium”. In the Litany of Saints are particularly to be noted, after the Apostles, the Holy Roman Pontiffs who have been canonized up to the most recent: St. Pius X. Fr. Lombardi clarified that these are only the pontiffs who have been named as saints, not those who have been beatified. The procession will then make its entrance into the square.

[...]

Before the Mass begins there are the rites specific to the beginning of the Bishop of Rome's Petrine Ministry. These include:

The Imposition of the Pallium:
Made of lamb’s wool and sheep’s wool, the Pallium is placed on the Pope's shoulders recalling the Good Shepherd who carries the lost sheep on his shoulders. The Pope’s Pallium has five red crosses while the Metropolitans’ Palliums have five black crosses. The one used by Francis is the same one that Benedict XVI used. It is placed on the Pope’s shoulders by Cardinal proto-deacon Tauran and, after the imposition, there is a prayer recited by Cardinal proto-presbyter Daneels.

The Fisherman’s Ring:
Peter is the fisherman Apostle, called to be a “fisher of men”. The ring is presented to the Pope by Cardinal Deacon Sodano (first of the Order of Bishops). It bears the image of St. Peter with the keys. It was designed by Enrico Manfrini The ring was in the possession of Archbishop Macchi, Pope Paul VI's personal secretary, and then Msgr. Malnati, who proposed it to Pope Francis through Cardinal Re. It is made of silver and gold.

The “Obedience”:
Six cardinals, two from each order, among the first of those present approach the Pope to make an act of obedience. Note that all the Cardinal electors already made an act of obedience in the Sistine Chapel at the end of the Conclave and that all the cardinals were able to meet the Pope in the following day’s audience in the Clementine Hall. Also, at the moment of “taking possession” of the Cathedral of Rome—St. John Lateran—it is expected that the act of obedience will be made by representatives of the various members of the People of God.

The Mass will be that of the Solemnity of St. Joseph, which has its own readings (therefore they are not directly related to the rite of the Inauguration of the Pontificate). The Gospel will be proclaimed in Greek, as at the highest solemnities, to show that the universal Church is made up of the great traditions of the East and the West. “Latin,” Fr. Lombardi said, “is already abundantly present in the other prayers and Mass parts.”

The Pope will give his homily in Italian and, as is his style, it probably will not follow the written text strictly, but will contain improvisations.

Fr. Lombardi said that the Master of Celebrations expects that the ceremony will not last much more than two hours and, always with the intention of simplification and not making the rite overly long, there will not be an Offertory procession. The Eucharistic gifts will be brought to the altar by the ministers who prepare the altar. Also, the Pope will not distribute Communion, which will be done by the deacons on the “Sagrato” and, in the various areas of the piazza, by priests.

Regarding the music for the ceremony, several moments are notable. When the Pope enters the Basilica silver trumpets will ring out the “Tu es Petrus”. The Laudes Regiae will be chanted during the procession from St. Peter’s tomb to the “Sagrato”. A 14 piece brass ensemble will play at various moments of the celebration. During the Offertory the “Tu es pastor ovium” (You Are the Shepherd of the Sheep) motet composed by Pierluigi da Palestrina precisely for the Inauguration of the Pontificate will be sung. At the conclusion, the “Te Deum” will be sung with verses alternating between Gregorian chant and a melody by Tomas Luis de Victoria. As it will not be held on a Sunday, there will be no Angelus after the Mass.

[...]

Papal Coat of Arms:
The last topic that Fr. Lombardi covered was the now pontiff's papal coat of arms and motto. These are the same that he used as bishop. The shield has a bright blue background, at the centre top of which is a yellow radiant sun with the IHS christogram on it representing Jesus (it is also the Jesuit logo). The IHS monogram, as well as a cross that pierces the H, are in red with three black nails directly under them. Under that, to the left, is a star representing Mary, Mother of Christ and the Church. To the right of the star is a nard flower representing Joseph, Patron of the Universal Church. With these symbols the Pope demonstrates his love for the Holy Family.

What distinguishes his coat of arms as pontiff is that, instead of the wide-brimmed, red cardinal's hat atop the shield, it is now crowned by the papal tiara and crossed keys.

His motto—“miserando atque eligendo” (because he saw him through the eyes of mercy and chose him)—is taken from the Venerable Bede's homily on the Gospel account of the call of Matthew. It holds special meaning for the Pope because—when he was only 17-years-old, after going to confession on the Feast of St. Matthew in 1953—he perceived God's mercy in his life and felt the call to the priesthood, following the example of St. Ignatius of Loyola.

'Oriented toward gregorian chant'? What does this phrase mean?

By Sr. Joan L. Roccasalvo, C.S.J.

It’s so beautiful, I could faint! This will surely be your response if you should want to visit the website of Corpus Christi Watershed (http://www.ccwatershed.org/blog/categories/loft/). The music is not Gregorian chant but contemporary sacred music composed in a way that is oriented toward the chant. Http://www.chantcafe.com/ and http://www.newliturgicalmovement.org are two other websites filled with information about beautiful liturgical music and ways to make it available to parish communities. Here you will find many links to composers, who, for years, have been inspired by the Church’s ideal of bringing to the faithful beautiful sacred music that is easy to sing and music that is synonymous with prayer. Much has been written about the phrase, ‘oriented toward Gregorian chant,’ but it calls for explanation.

Characteristics of Music ‘Oriented toward Gregorian Chant’

To begin with, music of the liturgy must sound different from street music, music of a rock concert, music sung in a discotheque, or music for the movies. It differs from the sounds typically associated with romantic music. It is prayer that is sung, prayer that bears the imprint of silence. Orientation toward Gregorian chant involves melody, rhythm, types of sound and harmonization.

[...]

There is a renewed emphasis in two main directions, both essential to the full participation of the faithful in the Mass. First, we are witnessing a renewal in singing the Mass. This means singing the Ordinary parts: Kyrie, Gloria, Sanctus, and the Agnus Dei. There are eighteen Mass settings of Gregorian chant Ordinaries in the Liber Usualis, the liturgical book containing the complete Latin settings of Gregorian chant for every Mass of the year. The easiest Mass settings are Mass XVI and Mass XVIII which can be sung during Lent and Advent.

Second, there is a renewed interest in singing the Proper (changeable) parts of the Mass in English because of the rich texts from the Old and New Testaments. Post-conciliar years saw many parishes drop the prescribed Proper parts of the Mass: the Entrance or Introit, the Gradual, the Communion.

Composers of Corpus Christi Watershed

If you wish to hear music whose orientation closely aligns with that of Gregorian chant, you can find it in the music of Kevin Allen, Fr. Samuel Weber Bruce E. Ford, Jeff Ostrowski, Aristotle A. Esguerra, Adam Bartlett, Arlene Oost-Zinner, Brian Michael Page, Richard Rice, Ian Williams, Kathy Pluth, David Frill, Chris Mueller, Richard Clark, Noel Jones, Charles Culbreth, Jacob Brancke, and other composers. Their music is modern, accessible, and beautiful.

[...]

The Missalette and the Vatican II Hymnal

There is a growing revulsion among pastors, clergy, and laity at the use of missalettes to which most parishes subscribe. More and more, they see them as a bad investment, a waste of parish funds, already stretched to the limit. These flimsy, disposable paperbacks must be changed a few times a year for the entire parish community. The cost is prohibitive.

These shabby, unattractive throw-aways with God’s word printed between the covers would make a rabbi gasp in disbelief, for the Torah is encased in precious jewels. So too is the book of the Gospels in the Christian East. In the Roman Rite, the Sacramentary and Lectionary are reasonably attractive books. What image does a missalette project? Texts are printed on cheap paper, and most music is unsuitable for worship. “We are teaching ugliness to our Catholics,” writes Alice von Hildebrand, dismayed. Why shouldn’t the faithful hold in their hands a beautifully-bound book containing the word of God from which to sing?

The Vatican II Hymnal is the first hymnal since the Second Vatican Council to include the texts of the sung Propers for every Sunday and major feast. A newly-minted missal, it is beautiful to look at with beautiful music notated within. A parish community can feel proud to hold this splendid example of the Church’s treasury of sacred music, both traditional and contemporary. The paper is of the highest quality with a resilient binding, the designs, beautifully appointed. It has the readings for all Sundays and feast days – the complete cycles, A, B,C. It will be about twenty years or perhaps thirty before another translation is made. Here is music for the new evangelization. Vatican II Hymnal serves as a musical ambassador for Christ.

Benedict XVI Put Liturgy Front and Center

NEWS ANALYSIS: The pope emeritus’ words and deeds regarding the Mass led the faithful closer to God.

by TRENT BEATTIE 03/20/2013


Pope Benedict XVI’s keen liturgical interest is well known to devout Catholics. Even before his papacy, books by Cardinal Joseph Ratzinger, such as The Feast of Faith and The Spirit of the Liturgy, were formative for many of the faithful in search of true liturgical principles.

During Benedict’s papacy, documents such as the 2007 apostolic exhortation Sacramentum Caritatis continued Benedict’s catechesis on the source and summit of the Christian life. While these writings have been highly significant for the Church, priests and bishops near the now-retired Holy Father believe his example has been even more so.

Msgr. James Moroney had the privilege of working with Pope Benedict on the completion of the new English translation of the Roman Missal, which was implemented in Advent 2011.

The effort was begun by Pope John Paul II, who appointed Msgr. Moroney as a consultor to the Congregation for Divine Worship and the Discipline of the Sacraments. He is also executive secretary to the Vox Clara Committee, founded for the purpose of assisting the congregation in issuing a new English translation of liturgical texts.

Msgr. Moroney, currently rector of St. John Seminary in Boston, believes that Pope Benedict XVI is, in many respects, the best articulator of the post-conciliar liturgical reform.

“This was true even before his papacy,” Msgr. Moroney said. “As head of the Congregation for the Doctrine of the Faith, he was a leader in correcting popular misconceptions about what the Council Fathers said on many topics, the liturgy included.”

“The revivification of true liturgical reform was inspired not so much by the Holy Father’s words, as important as they were,” he said. “It was primarily inspired by his actions. He had a devotion to the liturgy that was manifested in the joyful and solemn way he celebrated it. He knew it was the source and summit of the Christian life, so this understanding brought joy and wonder to his heart, which was noticeable on his face.”


Three-Part Contribution

At the center of Pope Benedict’s liturgical legacy, according to Msgr. Moroney, is the proper definition of “full and active (or actual) participation by all the people,” recommended in the Second Vatican Council’s constitution on the sacred liturgy, Sacrosanctum Concilium. Msgr. Moroney believes the Holy Father’s contribution to the understanding of what it means to participate in the liturgy can be summarized in three parts.

“The first,” he said, “is Benedict’s emphasis on interior participation in the liturgy. Our participation is not comprised mainly of exterior actions, but interior ones. Proper celebration of the liturgy is only possible when a grasp of the paschal mystery is present. That grasp is the heart of true liturgical participation.”

The second part is Benedict’s “exceptional support” of the re-translation of the Roman Missal into English. He continued his predecessor’s work, due to a desire for “an ever deeper, fuller participation of the faithful,” made possible with a more accurate translation.

“The third part,” Msgr. Moroney said, “of Benedict’s contribution to the proper definition of participation in the liturgy is his promotion of mystery and solemnity inherent in the Church’s official worship. He knew the liturgy was not something we invent, but something we receive, and that it was an encounter with the living God, the source of our well-being.”


Vatican II’s Authentic Interpretation

Norbertine Father Ambrose Criste currently serves as the novice master for St. Michael’s Abbey in Silverado, Calif. Priests from the abbey offer both the Novus Ordo and the traditional Latin Mass. In fact, many of the Sunday Masses offered in the extraordinary form in Southern California are done so by Norbertine priests who venture to parishes outside the abbey.

Father Criste, like Msgr. Moroney, believes Pope Benedict’s greatest contribution to the sacred liturgy is the authentic interpretation of the writings of the Fathers of the Second Vatican Council.

“So many false ideas about the liturgy were spread after the Council. It was refreshing to have Pope Benedict clarify things, which he actually started to do long before his papacy,” Father Criste said.

After Cardinal Ratzinger became Pope Benedict XVI, he went one step further in making his previous liturgical teachings apparent, according to Father Criste. In 2007, he issued Summorum Pontificum, which allowed the faithful greater access to the traditional Latin Mass. In the letter accompanying the motu proprio, the Holy Father made it clear that the Mass offered according to the 1962 Missal was never abrogated.

“This was highly significant,” Father Criste said, “because authentic liturgy is never a matter of breaking with the past, but a continuation of it. There can be legitimate developments, to be sure, but to make something up without any connection to what preceded it is decidedly un-Catholic.”

Father Criste was honored to serve as the Holy Father’s deacon at two Masses. Of those occasions, he said, “The humility and reverence with which Benedict conducted himself were remarkable. There was nothing casual about what he did. Rather, you could see that he was deeply, prayerfully devoted to the sacred liturgy. He knew it was not a matter of creativity or novelty, but faithfulness and tradition.”

“Benedict has successfully shown that Vatican II was all about faithfulness and tradition, as well,” Father Criste added. “For a correct interpretation of the ‘spirit of the Council,’ he recommended a reading of the letter of the Council. This has been happening gradually over the years, and we’re getting closer to what the Council Fathers intended regarding the liturgy.”


Bishop Conley

Bishop James Conley of Lincoln, Neb., sees Pope Benedict’s promotion of the beauty of the liturgy as his primary legacy.

“When I first came to Rome in 1989 as a priest-student, I was fortunate to witness many of Cardinal Ratzinger’s Masses,” the former Denver auxiliary said. “They were in the ordinary form, but in Latin. They were always done reverently, due to the cardinal’s perception of the transcendent nature of the liturgy. He knew that when you encounter the Almighty casualness was not acceptable.”

“He knew, even before his days as Cardinal Ratzinger, that without reverence — which is intimately linked with faithfulness to the rubrics — you are not allowing the liturgy to influence your soul,” Bishop Conley said. “Instead, you are the one creating your own liturgy in your own image.”

Bishop Conley believes the release of Summorum Pontificum was a huge turning point in the modern liturgical life of the Church because it made the extraordinary form of the Roman rite more accessible to the faithful and removed any shadows that might have been associated with it. This has influenced not only those attending the extraordinary form, but those attending the ordinary form as well.

“It has become more common to witness the use of the Latin language, the pipe organ and Gregorian chant in the ordinary form,” the Lincoln bishop pointed out. “Benedict wanted to demonstrate that the two forms are very much connected. This reality had been blurred in most places following the Council because the writings of the Council Fathers often went unheeded. Benedict wanted to make it clear that, at its core, the Church’s liturgy is one, although it does have various forms.”

“For any form of the liturgy to be effective, it must express the order, harmony and appeal of God. Beauty is not optional, but essential, for proper liturgy,” Bishop Conley explained. “This was taught by the Council Fathers in a very particular way to bishops in Article 124 of Sacrosanctum Concilium, which reads: ‘Let bishops carefully remove from the house of God and from other sacred places those works of artists which are repugnant to faith, morals and Christian piety and which offend true religious sense, either by depraved forms or by lack of artistic worth, mediocrity and pretense.’”


The Majesty of God

Bishop Conley said that Benedict knew sacred art was not about self-expression, but pointing to the source of beauty — almighty God. Sacred art, whether visual or auditory, enables us to transcend our daily lives and encounter the living God in a way that is often far more effective than merely stating facts about God.

“Benedict thought the most powerful arguments for the faith were Christian art and the lives of the saints,” Bishop Conley stated. “These two entities are very closely related, because the saints received the graces necessary for their exemplary lives through the liturgy of the Church, which is the wellspring of Christian art.

“We are indebted to Pope Benedict for many things. Within the liturgy specifically, I think his most outstanding contribution was drawing our attention to the majesty of God. This was done through his writings and actions, which directed our aim outside our own circle and toward a more complete relationship with our Creator, Redeemer and Sanctifier.”

Register correspondent Trent Beattie writes from Seattle.

“

R

On 8 May 1899 Edmund Bishop (1846-1917), the liturgiologist, delivered a paper to the Historical Research Society at Archbishop’s House, Westminster, on ‘The Genius of the Roman Rite’ which maintained that the two chief characteristics of the Roman Rite (when divested of Gallican accretions) were ‘soberness’ and ‘sense’. Bishop was received into the Church in 1867 at the age of twenty-one and hoped to become a monk at Downside Abbey but his intention was frustrated by bad health. He maintained a close connection with Downside where he made the friendship of Dom Aidan Gasquet, who shared his liturgical interests. Bishop’s research in the British Museum underpinned Gasquet’s own research and his best books were deeply indebted to him. But Bishop’s most notable contributions to liturgical scholarship lay in his investigations in the early history of the Roman liturgy, especially the text of the Canon Missae and the history of the Gregorian Sacramentary.

This essay had a profound influence on 20th century liturgical scholarship and gave rise to the ambiguous phrase ‘noble simplicity’ prescribed as a hallmark of authentic liturgical ceremonial and church planning; it has been much misunderstood ever since. In our time ‘noble simplicity’ has been interpreted as whatever we want it to be. And it has given rise to some adverse developments since the Second Vatican Council of which most readers of the New Liturgical Movement’s website will be well aware. Further elaboration is needless and comments are unnecessary, we know. But what does this phrase mean in the setting of Bishop’s definition of ‘soberness’ and ‘sense’ as characteristic of the Roman Rite and how did he and his successors understand the implications of his research and their ceremonial and architectural expression?

Bishop’s own taste was romantic and Puginian and his love of the Gothic style of architecture was permanent. He deplored the choice of the Byzantine style for Westminster Cathedral, designed by J. F. Bentley in 1892. In a letter to Everard Green he wrote, ‘My own summing up of the building is that it spells … the end of that romanticism which carried many of us to “Rome” and a good many to Romanism.’ Westminster marked for him the death of Puginian hope. He described himself as ‘simply “Goth” and “Roman” both, and never got over the “Romanticism” and enthusiasms of days long since departed, and the hopes that go with them.’

His hopes were unexpectedly raised when Thomas Garner, the architectural partner of G. F. Bodley, the leading English church architect of the Gothic Revival, was given the commission to build the choir of Downside Abbey, the crowning work of his life. Garner had been received into the Church in 1896. ‘Much time is spent – or wasted if you will – in the bare rising choir … I shall never have another chance again of seeing a building such as this rising and growing now rapidly to completion … a dreamlike realization of a dream – and yet there is the hard stone, all concrete and material … and in a manner better, nobler than had been first conceived – I do not get over my wonder.’ Garner had worked closely with Bishop on his design and together they discussed plans for the completion. ‘He was two hours with me.’ Bishop recalled, ‘and the half dozen plans for the future.’ But Garner died in 1906 (he is buried in the abbey church) at the point when they were discussing the high altar and none of these plans came to fruition. Bishop did not appreciate what replaced them.

So what does this tell us of ‘noble simplicity’ in the contemporary setting of the litiurgiologist who established the principles behind what became a misunderstood shibboleth? At the heart of Bishop’s aesthetic preferences lay austerity and reserve informed by canons of beauty expressed in the developed Gothic style. He greatly admired the rich but controlled beauty of Gothic vestments designed by the young Ninian Comper, Francis Davenport (himself a convert), the manager of Watts & Co in their heights, and Garner himself. The vestments they designed for Downside (which still exist) illuminate his fastidious taste. It was the refined, aspirational aesthetic of the late Gothic Revival that he admired and saw as an ideal setting for liturgical worship.

(Above Right: A Cope by Sir Ninian Comper)

But Bishop was the principal advocate of the ciborium magnum as an integral member of the Christian altar. It is significant that he published his learned paper, ‘On the History of the Christian Altar’, in the Downside Review in July 1905 at the time when he and Garner were discussing the completion of the Downside monastic choir. And it is entirely due to Bishop that the great ciborium magnum of Westminster Cathedral came into being as a modern interpretation of an Early Christian precedent achieved against Bentley’s instinctive suspicions. ‘I was hammering at that for months together,’ Bishop recalled, ‘for J. F. Bentley’s behoof. He was as obstinate as only that obstinate “he” could be. I pelted him with texts and examples of all ages.’ Westminster Cathedral embodied the taste of Adrian Fortescue who applied Bishop’s liturgical principles to his own church, St Hugh’s, Letchworth, when he commissioned a severe classical ciborium from F. L. Griggs.

If you want to see what ‘noble simplicity’ meant to the minds of these great scholars then one need only look so far as Downside and Westminster Cathedral and the worship conducted within them. At Downside they still wear fine Gothic Revival vestments and the servers apparelled amices and albs; and at Westminster they maintain the severe Roman tradition applied to the modern Roman liturgy, and Latin chasubles continue to be laid out for priests who want to use them. Soberness and sense, indeed, resulting in noble simplicity.

While it would be absurd to expect the Second Vatican Council to have embraced the Gothic Revival, there is no harm in knowing Bishop’s expectations when he coined terms that led to such contradictory results.

Whether you like symbolic ritual or not, the Roman rite is essentially not ritualistic... If you want symbolic ritual you must go to the Eastern rites. They have plenty of it. Symbolism and deliberate ornament are suited to the expansive Eastern mind. They loved stately processions and gorgeous rites. The old Gallican rite, too, was grand and full of mystic ceremonies... The Roman rite has always been exceedingly plain, almost bald. Nothing was ever done for effect... We have no gorgeous procession at the grand entrance, as in the Byzantine rite; no such dramatic anticipations as their Cherubikon...

The character of ancient Rome -- stern, plain, sensible, rather than poetic -- shows in the Roman rite, just as Eastern effusiveness shows in the Eastern rites.

In Germany, whenever there is a debate about the great Catholic liturgical tradition, it only needs someone to utter the accusation of 'aestheticism', and it is all over.

[...]

The German vice -- philosophy -- has firmly fixed the idea of a distinction between content and form in the minds of very diverse people. According to this doctrine, the content and form can be separated from one another. What it regards as the authentic reality it calls the content: abstraction, the theoretical abstract. By contrast, it regards bodies of flesh and blood, physical and tangible structures, as mere form, expendable and shadowy images. The idea is that those who occupy themselves with this external form remain at the peripheral level, the level of accidents, whereas those who go beyond the form reach the realm of eternal abstractions and so attain the light of truth. In this view, forms have become something arbitrary... Anyone who perceives the form and takes it seriously is in danger of being deceived. This is the trouble with the aesthete. He looks for truth in the wrong place, that is, in the realm of what can be seen, and he looks for it with the wrong (and forbidden!) means, that is, with his senses, taste, experience and intellect. This philosophical rebellion against everything self-evident has given birth to the basic attitude of our generation, namely, an all-pervading distrust of every kind of beauty and perfection. Nowadays, the most withering condemnation is to say that something is 'merely beautiful'.

[...]

The crushing power of this contemporary attitude has inhibited Catholics and made them fearful and uncertain, faced with the task of defending their traditional form of prayer and sacrifice. This form, this mighty architecture composed of language, music, and gesture was too visual, too full of concrete significance: it was bound to provoke the vehement opposition of our contemporaries.

[...]

We cannot just laugh this off. It is difficult, if not impossible, to break out from one's time, and sometimes it seems as if there is hardly anyone left unscathed, untouched by this guilt feeling on account of liturgical beauty...

-- The Heresy of Formlessness, p. 104-6

The whole priestly influence is exercised on the members of the Church only by means of sensible, authentic forms, which are its vehicle. Formulas, readings, chants, rites, material elements, in short, all the externals of the Liturgy, are indispensable for sharing in the thoughts, the teachings, the acts of adoration, the sentiments, the graces which Christ and His visible priesthood destine for us. Hence, to minimize this visible contact under the pretext that the soul can then better achieve something interior, or that invisible communion suffices, is at the same time to diminish the priestly influence of the hierarchy and consequently the action of Christ in our souls.

-- Liturgy the Life of the Church, p. 17

Over 70 priests from the Personal Ordinariate of Our Lady of Walsingham gathered with the Ordinary, Mgr Keith Newton, at the annual Chrism Mass today. The Mass, celebrated by the Apostolic Nuncio, Archbishop Antonio Mennini, was the first to be held in the new central London church in the care of the Ordinariate, Our Lady of the Assumption, Warwick Street.

Just under 300 faithful attended the ceremony with their priests, a ceremony which was enriched by the beauty of fine music drawn from the Catholic and Anglican traditions.