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Exhibition of Drawings of Church Altars from the Late 19th Century in St Vincent Archabbey, Pennsylvania

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Co curator Jordan Hainsey wrote the following in connection with the exhibition at St Vincent Benedictine abbey in Pennsylvania of drawings by Br Cosmas Wolf OSB who was a monk at the abbey in the latter half of the 19th century. His work is neo-gothic. Details of the abbey and exhibition, which runs from now through to February can be found at the exhibition website, here.

'After returning to Saint Vincent Archabbey (in Pennsylvania) from studying at the Royal Academy of Art in Munich, Archabbot Boniface Wimmer O.S.B., sent him to Covington, Kentucky, where he began the "Covington Altar Building Stock Company," which designed and furnished churches for the influx of german and irish who came to call America home. Serving as artistic vision, Br. Cosmas assembled a band of liturgical artists and artisans who worked in the neo-gothic style. One of Br. Cosmas' apprentices, Frank Duveneck (then 16), would become a famed American-impressionist painter. Together, Br. Cosmas and his group designed and created everything from altars and statues, to croziers and sacred vessels. This exhibition brings together 45 framed drawings and carvings from the hand of Br. Cosmas, including his last artistic triumph, the "Adoration of the Magi" altarpiece. Several completed works are juxtaposed with their preliminary sketches. We also worked with Fr. Robert Keffer O.C.S.O., an artisan monk, who completed restored a baptismal font to it's original splendor. Visitors to the Gallery receive a complimentary 100-page catalog that explores Br. Cosmas and his intrinsic role in the liturgical arts. The exhibition's primary goal is to awaken in visitors the meaning, importance, and sacredness of traditional liturgical art.'

Captions refer to photographs below:

Altar: Completed by Br. Cosmas Wolf in 1894, this high altar was located in a Chapel on the Archabbey's retreat grounds. The altar was paired with the "Adoration of the Magi" altarpiece and statues of "Sts. Benedict and Boniface" to recreate the original altar-statue-grouping, rescued from a fire in 1963. This reassembled altar will be installed in a chapel at the Arch


Pulpit Drawing: This is a drawing of a neo-gothic pulpit by Br. Cosmas Wolf, ca. 1857-1862.


Adoration of the Magi Altar Drawing: Drawn by Br. Cosmas between 1890-92, this drawing would serve as the preliminary sketch for the altarpiece-grouping that exists today.


Quincy Altar Drawing: This design was for the high altar at Saint Boniface Church in Quincy, Illionois, ca. 1863-64. Though executed, the altar was later lost to a devastating fire.

Exhibition Expanse: This photo shows an expansive view of the Saint Vincent Gallery's exhibition space.


High Mass Candlestick/Drawing: Completed in 1883, this to-scale drawing of a high mass altar candlestick, would serve as a blueprint in making the existing, carved/gilded candlestickabbey after the exhibition



Cardinal Castrillon Hoyos: "Pope Francis ... has no problem with the old rite..."

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From CWN:

Cardinal assures traditionalists of Pope’s support for Extraordinary Form

The former prefect of the Congregation for the Clergy has told a traditionalist group that Pope Francis has no intention of restricting access to the Extraordinary Form of the Latin liturgy.

“I met Pope Francis very recently and he told me that he has no problem with the old rite, and neither does he have any problem with lay groups and associations like yours that promote it,” Cardinal Dario Castrillon Hoyos told members of Una Voce International (FIUV), who were in Rome for a general assembly.

Responding to questions from FIUV members about tensions within the Friars of the Immaculate, the Colombian cardinal said that the Pope moved to insist on the use of the Novus Ordo in that religious community only because of internal dissension, and not because of any negative judgment on the traditional liturgy.

At its general assembly, FIUV elected a new president: James Bogle, a lawyer, author, and chairman of the Catholic Union of Great Britain. “We are very grateful to His Eminence Cardinal Castrillon Hoyos, His Eminence Cardinal Brandmüller, and to Archbishop Pozzo for taking part in our General Assembly of the International Federation Una Voce,” Bogle said in a brief statement to CWN. “We are very pleased with the way the celebration of the traditional Mass is now going worldwide. We are obviously very grateful to Benedict XVI and also our present Pope Francis for all the support that they have given us in our right to worship in the traditional Roman rite.”

The Traditional Mass and the Christian East: A Series by Joseph Shaw of the Latin Mass Society

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The chairman of the Latin Mass Society of England and Wales, Mr. Joseph Shaw, has published on his personal blog an interesting series of articles on the Traditional Latin Mass and the Christian East. Mr Shaw does a nice job in the first article of pointing out that the post-Conciliar liturgical reform contains within its working principles an implied critique of the liturgical traditional shared by both Catholic and Orthodox of the Byzantine Rite.
In the meantime, of course, we had the liturgical reform of the West. Out goes (nearly all) silent prayer by the priest. Out goes worship ad orientem. Out goes the use of the West's ancient liturgical language. Out goes (a lot of) proskenesis, which in the West usually takes the form of kneeling and genuflections. Out goes the mystery, the awe, the timelessness and otherworldliness of the liturgy, and liturgical texts which anticipate the consecration (referring to the unconsecrated Host as 'this spotless Victim' in the Offertory). Out goes (a lot of) the sense of the sinfulness of the priest. Out goes the sharp distinction between Sanctuary and Nave, marked in modern times in the West by steps and rails. In comes a lot of new things like lay people distributing the Blessed Sacrament, secular musical styles, and so on.

None of these things were, in fact, called for by the Second Vatican Council, with the partial exception of the use of the vernacular, but they happened, they were officially promulgated or, at least, permitted, and the theological rationales for them gained currency even if they were never explicitly endorsed by the Magisterium.

Thus, Bugnini and his friends said that the pre-Conciliar Latin liturgy was illogical, that the stuff about sinfulness was 'negative' and unpastoral, that Latin, silence, and worship ad orientem excluded the Faithful and made them 'dumb spectators' at Mass, and that its historical development was a matter of 'accretions' which obscured the true, pastoral, and logical shape of the primitive liturgy.

If this is true, then it is true in the East as well as the West: you don't cross some invisible line in the Balkans and suddenly find that human nature, logic, and the principles of historical development flip upside-down.
The second article points out a specific document of the Congregation for the Oriental Churches, “Observations on: ‘The Order of the Holy Mass of the Syro-Malabar Church 1981’ ” which was published in 1984. The purpose of this document was to correct some liturgical reforms introduced into that rite in the 1950s, inspired by Western liturgical scholarship, and the post-Conciliar reform. Among several highly noteworthy quotes:
On Ex tempore prayers. Spontaneous prayers are not to be admitted. This Western experiment has opened the door to mediocrity and banality. Very few people have the talent for spontaneous public prayer, and one person’s “spontaneous” prayers always sound the same.  ...  Spontaneity in liturgy is found in the movements of hearts as they respond to grace, not in the liberty of individual priests to impose their personal piety on the common prayer of all.

On spontaneous bidding prayers: If other, particular intentions are added to suit special necessities, these are to be submitted to the priest before the liturgy and are to be formulated in conformity with the pattern of the karozutha petitions. Spontaneous petitions from the congregation are to be avoided. (Privately composed litanies, generally unsatisfactory in both theology and expression, are one of the least successful aspects of the Western reform. There is no need to imitate the failures of others.)
The third article quotes a more recent document of the same congregation from 1996, referring again to the safeguarding of the proper liturgical traditions of the East. One cannot avoid the implication that the same traditions out to be safeguarded in the West as well, as many have discovered, for example, in regard to the question of orientation in the liturgy.
This rich and fascinating interpretation also explains the reason for which the celebrant who presides in the liturgical celebration prays facing the east, just as the people who participate. It is not a question, as is often claimed, of presiding the celebration with the back turned to the people, but rather of guiding the people in pilgrimage toward the Kingdom, invoked in prayer until the return of the Lord.
Such practice, threatened in numerous Eastern Catholic Churches by a new and recent Latin influence, is thus of profound value and should be safeguarded as truly coherent with the Eastern liturgical spirituality.
The full articles are well worth your time; follow the links given above.

EF Requiem Mass at St Philip's School

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Here are some photographs of the annual EF Requiem Mass for St Philip's School which took place earlier today at the Little Oratory in London. The Celebrant was the School Chaplain, Fr Dominic Jacob Cong.Orat. (Photos: Ping Mould)







Requiem for Founding Benefactors

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This may be of interest to NLM Readers in Scotland. The Dominican community at St Albert the Great, three of whom serve as chaplains to three of Edinburgh's universities, will commemorate the Founding Benefactors of their priory on Saturday 23 November at 4pm with a sung Requiem Mass in the Dominican rite. The Mass will be celebrated by fr. Lawrence Lew OP, with the Prior, fr. Dermot Morrin OP preaching. Music from the Dominican Graduale will be sung by a schola of singers led on this occasion by James MacMillan CBE.

November Events with Juventutem Boston

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News of two upcoming events comes to us from Juventutem Boston:

An Evening on the Requiem with Juventutem Boston
This Friday, Fr. Kevin O'Leary, Rector of the Cathedral of the Holy Cross, is graciously hosting the young people of Juventutem Boston for an evening of recollection on the requiem.

Friday, November 15, Juventutem Boston is hosting a spiritual conference and a Solemn High Requiem Mass. The evening will begin with a talk by Fr. Joseph Zwosta of the Diocese of Brooklyn about the theology of the Requiem. A Solemn High Requiem Mass be celebrated after the talk, and then all young men and women and clergy are invited to join us for dinner.

Schedule:
5:30 PM Conference on the theology of the Requiem Mass
6:00 PM Q & A with a panel of priests
6:30 PM Confessions
7:00 PM Solemn Requiem Mass with Absolution over the Catafalque
8:15 PM (following Mass) dinner at a local restaurant

More info here.
Directions to the Cathedral (1400 Washington St., Boston) here.

Sunday Mass
Fr. Kwang Lee, longtime friend of Juventutem Boston, will be celebrating his first ever Sung Mass (aka Missa Cantata). 

Sunday, November 24, at 7:00 PM. 
St. Paul's Church (29 Mt. Auburn St., Cambridge)
This is also the first time Juventutem will be able to hold Mass on Sunday (and we're grateful to the Harvard Catholic Center and Fr. Michael Drea for sponsoring this Mass with us). All are warmly encouraged to bring friends. Deo gratias!


Cardinal Bartolucci Interviewed on the Liturgical Reform and Sacred Music - An NLM Exclusive

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We were saddened to learn of the death on Monday of Domenico Cardinal Bartolucci, Director Emeritus of the Sistine Chapel Choir, who was for many years a strenuous defender of the great Catholic tradition of sacred music. Earlier this year, His Eminence granted a written interview to Mr. Wilfrid Jones, who is studying music at New College, Oxford. This interview was conducted as part of Mr. Jones’ research on a dissertation on the effects of the Second Vatican Council on music in St Peter’s Basilica. We are extremely grateful for his permission to publish this interview, and wish thereby also to honor Cardinal Bartolucci’s legacy. Although it is a bit long, we are certain that our readers will find it extremely interesting from beginning to end. The interview was conducted mostly in Italian, and the original version is published simultaneously on the Italian blog Messa in Latino.
His Eminence Domenico Card. Bartolucci conducts the singing of the Creed during a Solemn Pontifical Mass in the Extraordinary Form celebrated in St. Peter’s Basilica by H.E. Walter Card. Brandmüller on May 15, 2011. Photo courtesy of Orbis Catholicus Secundus.
A Research Interview with Domenico Cardinal Bartolucci from June 2013 - Conducted by Wilfrid Jones, Student reading music at New College, Oxford

What was the intention of the Fathers of the Second Vatican Council? How did they change liturgical music?

The Fathers of the Council had no intention of changing the liturgy, and therefore also (did not intend to change) sacred music in its relationship to it, and in its form, which indeed were both confirmed in the post-Conciliar period. Pope Pius XII had begun the reform of Holy Week, but in Mediator Dei had also expressed clear indications and laid out the principles for an authentic understanding of the liturgy, which were unfortunately disregarded later on. Also, knowing John XXIII, I am sure he would not have permitted all the changes which have extremely impoverished the liturgical life of the Church. I personally recall that the Sistine Choir sang very often during the assemblies of the Fathers, and the applause and approval which it received were the most profound testimony of how we were appreciated for our role in the liturgy.

Speaking of music, how was the Council’s request for “participatio actuosa” (active participation) put into practice?

“Participatio actuosa” was unfortunately misunderstood. The objective which they were trying to reach with this expression was authentic understanding (by the laity), an idea which moreover was not born at the Council. It was absolutely not the exterior objective of involving people in doing something within the celebration, and feeling themselves thereby to be more the protagonists, reading, singing, or doing who knows what. Unfortunately, however, this (latter) distorted, “pragmatic” understanding prevailed, supported also by many incompetent liturgists who were the first to misunderstand it, and in fact were the first to suggest it. Clear and definitive words in this regard are those set forth by then-Cardinal Ratzinger in his book Introduction to the Spirit of the Liturgy, which I fully agree with, and which recall us to the authentic sense of the participation of the faithful in the action of God, who makes Himself present in the liturgy by means of His word, and above all by means of His Body and Blood. This is the action in which the faithful are called to participate actively, uniting themselves to the celebration of the mystery.

According to you, it is correct to say that paragraph 121 (see below) of Sacrosanctum Concilium should be understood in the context of paragraph 14?

I would say that one is dealing with two different contexts. Paragraph 14 emphasizes the liturgical formation of the clergy and the faithful, which is necessary to participate in the liturgy and the Christian life with awareness, following the responsibilities taken on at baptism. The objective of this formation is essential above all for the clergy, but there are still many deficiencies (in it). It is well known that the documents of the Magisterium and not always absorbed and followed. For example, there are many problems with the education which candidates for the priesthood receive in the seminaries.

Paragraph 121 makes a specific exhortation to musicians, one which should be received and shared. In regard to the involvement of the whole assembly of the faithful, necessary clarifications must be made, and above all, it must not be understood as the criterion by which one chooses which music is suitable for the liturgy or not. There are indeed moments in which the whole people sings together, such as the Marian antiphons, and some well-known Gregorian chants. But on the other hand, there are moments in which the singing should be reserved for the Scholas, in order to reach a level of art, of solemnity and of beauty appropriate to the rite which is being celebrated. This is most certainly not to the detriment of the congregation, but rather helps it in its spiritual edification, and emphasizes the gift (of music) which the Lord has given to some, and which is used for the good of all. I myself have written many pieces of music in Italian for use in parishes, and I have always loved the singing of the people, but some contexts, like that of the Papal liturgy, where the Sistine Choir is present, should exalt and give glory to God by means of great art.

Can one understand paragraph 114 of Sacrosanctum Concilium in such a way as to not lose the sense of “participatio actuosa” ?

Paragraph 114 make a clear exhortation to increase the patrimony of sacred music, and promote the scholae cantorum, above all in the contexts to which I was referring earlier. In practice, however, after the Council there was revealed a certain disdain for the scholae cantorum, which the Council itself wished to maintain and promote. A consistent reading of the document on the liturgy makes it clear that in practice, what was done did not correspond to the Fathers’ wishes. There was a great banalization of our worship, which was encouraged by a pragmatic and incomplete manner of interpretation (of Sacrosanctum Concilium).

In the implementation of Sacrosanctum Concilium’s precepts on music, what went well, and what went badly?

[His Eminence declined to answer this question.]

Could you talk about the music at Papal liturgies in St Peter’s Basilica before the Second Vatican Council?

Before the Council, music had a fundamental role in the liturgical celebrations, and above all in the ceremonies where the Pope presided. The Sistine Choir performed the great repertoire of Gregorian chant and polyphony, handed down through the ages, with the masses of Palestrina at the center (of the repertoire). The place of music in the ancient liturgy was very great, and our role was not to amuse the faithful, but a true liturgical ministry. We were often accused of wanting to do concerts during the celebrations, but I do not believe that those who share this position have understood the role of sacred music in the liturgy.

What impact did the Council and the Constitution Sacrosanctum Consilium have on music at Papal liturgies?

In reality, neither the Council nor the Constitution on the liturgy had any practical effect on sacred music. If the ideas of the Fathers and of Sacrosanctum Concilium had really been followed, the results would have been very different, and very much in line with the tradition. In reality, I would say that all of the changes that were produced, and which in my judgment are negative, were determined by the work of application of the documents of the Council. This was done by a commission (the Consilium ad exsequendam Constitutionem de sacra Liturgia) which was not up to its role, and on which there worked people who wanted to impose their own ideas, distancing themselves from the official ideas of the documents. The way in which this commission worked has been analyzed in a very accurate study by Nicola Giampietro, O.F.M. Cap., based on the diaries of Cardinal Ferdinando Antonelli, which analyzed the developments of the liturgical reform from 1948 to 1970. This scholarly contribution has put a lot of light on the commissions actions, on the poor formation of its members, and the lack of professionalism with which they went about dismantling the liturgical patrimony which the Church had always jealously guarded in its liturgical life. As the cardinal observed in his personal notes: “liturgical law, which until the Council was sacred, for many no longer exists. Everyone considers himself authorized to do what he likes, and many of the young do exactly that. […] On the Consilium there are few bishops who have any particular competence in liturgy, very few who are real theologians. The most acute deficiency in the whole Consilium is that of the theologians. […] We are in the reign of confusion. I regret this, because the consequences will be sad.”

During the Council, was there any pressure to modify the Papal liturgies?

No, I would not say that during the Council’s work, there was any pressure to modify the Papal liturgies. Certainly, it would have been fine if certain aesthetic excesses had dropped out of use. This is part of the natural process of change that moves with the tastes and sensibilities of each era, but no one thought to change the liturgies, or banalize them, as was later imposed.

Once the Council was finished, what impact did the implementation of Sacrosanctum Consilium have on Papal liturgies from 1964 to 1997?

After the Council, and after the various experiments which unfortunately were permitted (as if the Church’s liturgy were something to experiment with, or make up on a drawing-board), a liturgy was produced which was substantially new. The consequences for sacred music were devastating. Sacrosanctum Concilium in paragraph 112 affirms that the musical tradition of the Church forms a patrimony of inestimable value, which exceeds all other expressions of art, especially because sacred music, united to the word, is a necessary and integral part of the solemn liturgy. Can you tell me where this “patrimony of inestimable value” is to be found today? The great polyphonic masses, the noble Gregorian chant: all put in the archives. Were these the intentions of the Council? Absolutely not. I myself had to struggle intensely to maintain something in the Papal liturgies, but with few results: an occasion motet, and every once in a while a gracious concession to do a Gloria in polyphony. I remember that one of the first requests made to me was to write music in Italian... Then, Monsignor (Virgilio) Noè (Papal master of ceremonies from 1970-1982) wanted the masses in alternating Gregorian chant, in place of those in polyphony. After a while, those were also gotten rid of, so that we could always sing the Missa de angelis in Gregorian chant, taking turns with a congregation which in reality was a group of nuns and priests… I was obliged to do this in my role as director of the Sistine Choir. I was able to save our great repertoire only in concert performances.

Did Pope Paul VI have anything to do with music?

Paul VI was tone-deaf, and not a great connoisseur of sacred music. One time, when he was still a cardinal, we sang the Missa Papae Marcelli in Saint Peter’s. After the celebration, at which he himself had presided, we met, and he complimented me heartily on the very beautiful performance which he had enjoyed so much. Then he said to me: “Maestro, why don’t you also give us some pastoral music!” I confess that I was quite chilled by what he said, and I replied: “Your Eminence, did you not just tell me that you enjoyed this very beautiful performance of one of Palestrina’s masterpieces?” Ideas of this sort about sacred music continued to be spread about, and Paul VI realized too late what had happened.

From 1969 to (early) 1976, Fr. (Annibale) Bugnini was the secretary of the congregation for Divine Worship. What impact did Fr. Bugnini have directly on your work as director of the Sistina?

Bugnini and I were on two different, and I would even say opposed, wavelengths, and we had a number of clashes. Much of the responsibility for what happened to the liturgy after the Council is his, and he often worked to promote his personal ideas. The great confidence the Pope placed in him certainly played to his favor, even though at the end Paul VI nominated him pro-nuncio to Iran….

Did this change under Mgr. Noé?

Mons. Noè was more of a moderate, but I remember that he also would accompany the Pope to the parishes, where he would celebrate Mass in Italian, singing the Gregorian melodies in the vernacular: a ridiculous and unworthy thing. As I said before, for the Papal liturgies, he asked me for Masses to be sung in alternation, (i.e., between the choir and the congregation) but even those did not last long. Once, he wanted us to sing Requiem aeternam, and I pointed out that even that had been abolished. You can imagine how badly things were compromised at that point.

Could you tell me about your interactions and involvement with the Consilium?

As Master of the Pontifical Choir, I was not included among the members of the Consilium; the same is true of Mons. Lavinio Virgili, who was director of the Choir of Saint John in the Lateran. We musicians were looked on with suspicion by the reformers. They thought us anchored in the past, and of course, if we had been present, they would not have had such an easy time of their work. My appointment was made when it was all already over, and at that point I wanted to refuse, but people convinced me to accept so as not to create any bad feelings. In the end, the few indications which I gave were not taken into consideration. For example, together with the head of the Pontifical Institute for Sacred Music, Mons. (Higini) Anglès, we tried to save at least the Sunday Mass in the basilicas, cathedrals and monasteries iuxta veterem consuetudinem. (“according to the ancient custom”). But this article, which seemed as if it had been accepted, (and indeed, Mons. Anglès wanted to thank the Pope for it), disappeared from the Instructio (de Musica Sacra, 5 March 1967).

(translation by Gregory DiPippo)

Sacrosanctum Concilium 121: Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures. Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be sung only by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful. The texts intended to be sung must always be in conformity with Catholic doctrine; indeed they should be drawn chiefly from holy scripture and from liturgical sources.

A twentieth century masterpiece: Britten's Missa brevis

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Benjamin Britten
2013 marks the 100th anniversary of the birth of Benjamin Britten (1913-1976), one of the greatest English composers of the twentieth century. Across the world a vast number of concerts and events are taking place to mark the centenary. These events reach their peak next Friday, 22 November, the Feast of St Cecilia, Patron Saint of Music and Musicians, and appropriately the birthday of Benjamin Britten. One of my choirs, the Schola Cantorum of the London Oratory School, will be singing a number of works by Britten at a centenary concert at St Peter’s, Eaton Square in London that day (see below) including his famous Missa brevis written for the choristers of Westminster Cathedral. The second part of the concert will be a performance of Duruflé’s Requiem.

Earlier today the Schola sang the Duruflé at the school’s annual Memorial Mass at the Oratory Church and we recently sang Britten’s Missa brevis in a liturgical context for the Annual First Form Mass at the Oratory. I chose the Britten for a number of reasons, not least because it is aimed at children, who love both to sing and hear it, but equally because being technically challenging, it is a piece from which a young singer can learn a great deal. To further the experience, I invited the present Master of Music at Westminster Cathedral, Martin Baker, to come to the school and work with the Oratory boys on the Mass.

Martin Baker rehearsing the London Oratory choristers
In the 1950s, the Master of Music at the Cathedral was George Malcolm. Britten attended a Carol Service there in 1958 at which the choristers sang his Ceremony of Carols. Greatly impressed by the boys and their sound, Britten offered to write something for the choir. Malcolm asked him to write a practical weekday Mass for boys' voices, a piece which could be used in the everyday routine at the Cathedral.

Later, in 1959, Britten heard that Malcolm had tendered his resignation to Cardinal Godfrey, and so, realising that time was short, he invited Malcolm down to his home in Aldeburgh to discuss the proposed Mass. Malcolm stayed for a few days and explained to Britten the theology of the Mass. Britten then wrote the Mass very swiftly, over the course of a day or so, which in part explains why it is so concise. The result, in the words of composer Colin Mawby, was 'one of the greatest pieces of liturgical music written in the 20th century'.

The Gloria takes its thematic material from the Plainchant Mass XV (Dominatur Deus). This Mode IV Gloria centres around three pitches, Mi, So and La which ascend and fall in mirror image to form a series of short palindromic phrases, in effect a series of musical arches. Britten's setting turns this figure into a rhythmic driving force, an ever-present ostinato which urges the piece onwards, only pausing briefly in the centre of the work for the more tender solo moments at 'Qui tollis peccata mundi'. The Kyrie uses the same Gregorian pitches, which first appear in reverse order, making an impassioned plea for mercy. This same cry for mercy reappears in the 'miserere nobis' and 'dona nobis pacem' of the Agnus Dei, a series of implorations which build over a repeating rising figure in the pedals before dying away to a quiet reverence which is left suspended in an unresolved second inversion chord.

The Sanctus is a very concise work in which the theme, a note row (the use of every pitch underlining the universality of the Church) sounds as a vivid carillon of chimes, suggesting the Sanctus bell itself. During the triplet rhythms at ‘Pleni sunt caeli’ the theme is heard in the pedals and then the manuals during the triumphal ‘Hosanna’. The charming Benedictus, a dialogue between two treble soloists, leads into the ‘Hosanna’ which is a brief ‘telescoped’ reiteration of the music of the Sanctus.


The inventive nature of a genius like Britten makes us look again at the nature of what is taking place during the course of the Mass. Through his eyes and creativity he comes up with a unique and extraordinary take on the mystery of the Eucharist. Composer James MacMillan: ‘Whether or not they are Catholic, liturgical composers need to do their research and gain an understanding of the Mass. This is particularly important because through their music they are able to tease out meaning which the words alone cannot.' MacMillan’s own Mass written for Westminster Cathedral sets the entire Eucharistic prayer and contains a powerful innovation whereby the celebrant sings the actual words of consecration down a sixth, recalling the Passion settings in which the part of Christ is sung by a bass. And so musically, as well as theologically, the celebrant actually becomes Christ.

The first performance of Britten's Missa brevis took place during Mass at Westminster Cathedral on 22 July 1959, during the last few weeks of George Malcolm's tenure as Master of Music. The lay clerks sang the plainchant propers from the Apse as usual that day, accompanied by Colin Mawby; however, the trebles sang from the Grand Organ tribune at the West end, unconducted, with George Malcolm sitting between them at the organ console. Decca made a live recording of the Mass which they released as a 45, although the Sanctus was replaced by a recording made at Mass the following day which was deemed to be better. The combination of the boys’ tangible sense of connection with the music, the focus of their musical intent and the ‘Malcolm sound' add up to a very compelling experience. You can listen to it below.

Britten’s Missa brevis is a piece which boys take to with great enthusiasm both from a singing and listening perspective. Children’s minds are wide open to new experiences but they are nevertheless discerning, being drawn to quality and things which engage and stimulate them. As adults, we tend to develop individual tastes and rely on particular comforts, so it can be tempting to reject music of a more challenging nature. But even if you are someone for whom Britten’s Missa brevis represents a less than optimal aesthetic experience, try to listen to it through the ears of your own childhood, and see what you rediscover.



Did the Roman Rite Anciently Have Three Readings?

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Pursuant to Dr. Kwasniewski’s recent article on the Scriptural readings of the Roman Rite, I propose to follow up with a small series of articles on the historical tradition of the Roman Mass lectionary. The first question which I wish to address is, “Did the Roman Rite anciently have three readings, which were later cut back to two?” The corollary question which inevitably rises from this is, “Does the three-reading system of the post-Conciliar lectionary represent a return to the ancient practice of the Church?” A positive answer is, of course, not a definitive argument in favor of a three-reading system, and a negative answer is not a definitive argument against it.

The short answer, however, is No.

Like so much of the post-Conciliar reform, the theory derives in no small part from the close proximity of the Roman Rite to the Ambrosian. In the Ambrosian liturgy, the standard pattern for the readings on Sundays and major feasts is:
1. Prophecy
2. Psalmellus (the Ambrosian equivalent of the Gradual)
3. Epistle
4. Alleluia (always spelled “Halleluiah” in Ambrosian liturgical books)
5. Gospel.

The Psalmellus is constructed similarly to the Gradual in both form and text, which is most often taken from the Psalms. In Lent, the Halleluiah is substituted by a “Cantus”, as the Roman Rite substitutes a Tract. The most notable difference is that the Psalmellus is not changed to a Halleluiah in Eastertide; but even in the Roman Rite, this change is made not on Easter itself, but on Low Saturday.

On the basis of this pattern, the assumption was made that the Roman Rite originally also had a Prophecy, followed by Gradual, Epistle, Alleluia and Gospel. At some point, (usually said to be the sixth century, as e.g. Fr. Keith Pecklers’ Genius of the Roman Rite, p. 12; Burns and Oates, 2009), the Prophecy was dropped, and the Gradual transposed after the Epistle.

Several arguments might be adduced from various other sources in favor of this idea. Three readings “remains” the pattern in the Roman Rite on a very limited number of days, understood to be holdovers of the more ancient practice. (These are Good Friday, and the Wednesdays of the Embertides, of the fourth week of Lent, and of Holy Week.) The Mozarabic Rite follows a similar pattern with three readings, although Alleluia is sung after the Gospel. The Gallican liturgy used in France before Charlemagne’s time had three readings. The ancient church of Saint Clement in Rome, along with a few others like it, has three ambos; it was believed that each one was for one of the three readings. Some Eastern Rites, such as the Syriac and Coptic, have two or even three readings before the Gospel. The Byzantine Liturgy has only the Epistle, Alleluia and Gospel, suggesting perhaps a prior form in which both the Prophecy and the chant that followed it were allowed to drop. Certain passages from the Fathers refer to, or may be understood to refer to, the presence of more than one reading before the Gospel. Lastly, all historical Christian liturgies are in agreement that whatever arrangement and number of readings, the Gospel comes last, a point which seemed to indicate a common tradition.

Taken all together, these arguments seemed to close the case. The (formerly) definitive formulation of the theory was made by Msgr. Louis Duchesne in the book The Origins of Christian Worship: A Study of the Latin Liturgy before Charlemagne. (Origines du culte chrétien: étude sur la liturgie latine avant Charlemagne, Paris 1898.) His conclusions were almost universally accepted. We find him cited repeatedly, for example, by Fr. Adrian Fortescue, who writes in the original Catholic Encyclopedia entry on Lessons in the Liturgy, “The Roman Rite also certainly once had these three lessons at every Mass.”

Duchesne’s theory has only two significant drawbacks: a complete lack of manuscript evidence, and the complete lack of any conclusive point in its favor.

The placement of the Gospel as the culmination of any series of Biblical readings in a Christian liturgy is too obvious a choice to prove anything; there is no need to posit any specific common liturgical tradition from which it must derive. The Patristic sources are neither conclusive or very specific about the arrangement of readings at the Mass; some appear to suggest that there were two, and others three. The Eastern liturgies shed no real light on the question as it relates to the Roman Rite. Even the most cursory look at the Byzantine lectionary, and the chants sung before and between the two readings, show that they derive from a completely independent tradition. The same holds true for the Mozarabic and Gallican Rite.

The three ambos in St. Clement’s are a very weak point for Duchesne’s theory. It was formerly explained that of the two on the right side of the church, the lower was for the Prophecy, and the higher for the Epistle. The lower one, however, faces the door of the church, while the higher faces the altar. It should be obvious that if there were a Prophecy before the Epistle, it would also be read facing the altar, which represents Christ, to demonstrate that the Old Testament is about Christ. The Church Fathers took great pains to assert this very point against the heresies which denied the value of the Old Testament, and to assuage doubts about it of the sort which St. Augustine mentions in the Confessions. (IX, 5) For this and other reasons, scholars now agree that the “third” ambo was actually for the leader of the schola cantorum.
The two ambos of the 8th-century church of Santa Maria in Cosmedin in Rome; that seen here on the left is for the Epistle, and the one on the right, with the stand for the Paschal next to it, is for the Gospel. The arrangement of the choir is very similar to that of San Clemente.
Of the seven days on which there are two readings at the Mass before the Gospel, six are Wednesdays, and one is Good Friday. Here it is hard to understand how scholars like Duchesne and Fortescue could have thought that the Church of Rome would throw out an ancient pattern of readings almost entirely, but keep it on such a purely random selection of days. In the same entry of the Catholic Encyclopedia cited above, Fr. Fortescue writes, “At Rome, too, the lessons were reduced to two since the sixth century (‘Liber Pontificalis’, ed. Duchesne, Paris, 1884, I, 230), except on certain rare occasions.” (my emphasis). The passage cited from Duchesne’s famous edition of the Liber Pontificalis says exactly the opposite of what he supposes it does: “Celestine (I, 422-32) … established that before the Sacrifice, the 150 Psalms of David (i.e. texts from them) should be sung in alternation by all. This was not done before, but there were recited only the Epistle of blessed Paul, and the Holy Gospel.” (To be fair, the Latin of the Liber Pontificalis is atrocious, and the manuscripts full of variants.)

In point of fact, what these Masses have is not an older pattern of readings, but an interpolation into the standard order of Mass. The interpolation must, however, be understood as not just an extra reading, but a group of three elements: a collect, precede by “Oremus. Flectamus genua. Levate.”, a reading, and a gradual. These three elements are inserted as a unit after the Kyrie, once on the aforementioned Wednesdays, and five times on the Ember Saturdays. On Good Friday, the interpolation appears in the Missal of St. Pius V in an attenuated form, without the first prayer (or the “Oremus etc.” before it); a slightly mangled version of it was restored in the reform of Pius XII. In Pentecost week, the genuflection is dropped, and the Gradual is substituted by an Alleluia, in keeping with the customs of Eastertide. At none of these Masses is the second reading from an Epistle of the New Testament.

The final point to make here, and the one which should have been decisive against Duchesne’s theory, is that there is not a single liturgical manuscript of any kind which refers in any way to a putative system of three readings in the Roman Rite. All surviving lectionaries of the Roman Rite, and all other manuscripts which refer to the readings, agree on the two reading pattern. This point should carry the argument, because although lectionaries occasionally contain other elements, they are primarily anthologies of the Sacred Scriptures. As such, they were treated with the same reverence as the Bible itself, and are among the most likely to be carefully preserved; and indeed, among the very oldest surviving liturgical manuscripts of the Roman Rite is the famous lectionary of Wurzburg, written about the year 700. (Likewise, it may also be noted that the other liturgical books of the pre-Carolingian Gallican Mass are too few and too incomplete to permit a reconstruction of it, but several lectionaries of that rite do survive.)

The first lesson of the 9th century book of Epistles known as the “Lectionary of Alcuin”, Romans 1, 1-6, to be read at the Mass of Christmas Eve Day, as also in the Missal of St. Pius V. (Early Roman lectionaries usually begin with Christmas, and place Advent at the end.) Bibliothèque Nationale de France, Département des Manuscrits, Latin 9452


In the next article in this series, I will consider the evidence of the Ambrosian liturgy in relation to this question.

Pilgrimage Mass, Christus Rex Pilgrimage, Victoria, Australia

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article by Fr Terence Mary Naughtin, OFM Conv.:

The 2013 Christus Rex Pilgrimage saw over 200 pilgrims process from Ballarat to Bendigo, in honour of Christ the King.

Now in it's 23rd year, the Pilgrimage follows in similar traditions to its inspiration, the Paris to Chartres Pentecost Pilgrimage; Mass is celebrated in the extraordinary form daily, rosaries, prayers and hymns on the road which enable the Pilgrims to partake in fellowship in giving praise to the kingship of Christ.

Starting at St Patrick's Cathedral in Ballarat for a blessing, Pilgrims leave the country town to enter into the State Forest; a route change introduced last year which has become a highlight of the road experience. Over the following days Pilgrims walk through the small country towns of Creswick, Smeaton, Campbelltown, Newstead - sprinting up 'Heartbreak Hill' just outside of Lockwood South - before finally arriving on the steps of the majestic Sacred Heart Cathedral in Bendigo for the final Mass in honour of Christ the King.

As like last year, the Archdiocese of Sydney kindly loaned their Eucharistic Tent for the outdoor Mass in the woods of the small town of Campbelltown midway of the pilgrimage.

This year, we are very grateful to 3 bishops who shared part of the journey with us:
His Lordship, Bishop Paul Bird CSsR, bishop of Ballarat diocese, conferred the blessing to Pilgrims before sending them on their way;
His Lordship, Bishop Les Tomlinson, bishop of Sandhurst, received Pilgrims upon their arrival at Bendigo, Sacred Heart Cathedral, to welcome them home from their travels, and finally
His Lordship, Bishop Peter Elliot, auxillary bishop of the archdiocese of Melbourne, celebrated the Solemn High Mass in honour of Christ the King.

Furthermore, we were blessed to be joined by 12 priests along our journey, 2 of which were newly ordained, Fathers Ashley Caldow and James Kerr - what a wonderful surprise and grace for Pilgrims to be able to receive not just 1 but 2 blessings from the new ordinants! The participation of these great priests are a testimony that this Pilgrimage has become engrained in the Catholic community of Australia; for priests to leave their parish communities for 3 days to join with the Pilgrims in prayer and legwork!

The 24th annual Christus Rex Pilgrimage will be held on 24th to 26th October 2014. For more information and photos visit the website www.crex.org



Indeterminacy and Optionitis

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A difficulty that confronts all who wish to do serious research in the area of the liturgy and contribute to the progress of the new liturgical movement is what may be called the indeterminacy of the Ordinary Form. The Novus Ordo is pluriform by design, different in different places. Your experience of the Novus Ordo may be radically different from mine, and both of ours from that of another person. As convenient as it is linguistically to speak of “the Ordinary Form,” it is not always clear that we are talking about the same thing, the same rite, in practice. How did this situation come about?

There are at least three levels at which the Ordinary Form can be evaluated, each one bringing with it a new level of instability and indeterminacy.

1. The Ordinary Form can be viewed against the backdrop of what the Fathers of the Second Vatican Council called for in the Constitution Sacrosanctum Concilium when supporting the renewal or restoration of the liturgy—namely, generally modest changes to the inherited Latin liturgical tradition, which was seen as an obvious good to be preserved. The “marching orders” given by the Council were both detailed and limited, so it is easy for us to trace the many ways in which the Consilium’s subsequent work trespassed those details and limits. And yet, as Michael Davies, Christopher Ferrara, and many others have pointed out, the Constitution has enough loopholes to drive several moderately-sized Italian trucks through.

2. Then there is what the authentic text of the Novus Ordo Missae calls for, in tandem with the General Instruction of the Roman Missal (one might call this “the letter of the Novus Ordo”). Here we are already in problematic territory, since even if one stays within the rubrics, there is plenty of room for each celebrant to make himself the master of each liturgical celebration, such that no two Masses need be alike. In contrast, in the traditional Mass the priest was plainly the servant of the stipulated text and its prescribed ritual.

3. Lastly, there is the reality at the parish level. This, as we know, often goes far beyond (or falls far beneath) what is permitted or required either by the Missal or by anything that could be described as Catholic tradition. Here we are dealing with what might be called “the spirit of the Novus Ordo,” which in the past forty-three years has tended in various directions: experimentation, anarchy, laxity, minimalism, sentimentalism, moralistic idiosyncracy.

As we ponder how we got from 1 to 2 and then from 2 to 3, we should reflect on the fact that there is so much more involved in the liturgical crisis than the liturgy itself or any edition of the Missale Romanum.

First of all, many of the clergy at all levels are infected with the mentality of modern liberalism, which exalts freedom and individual expression at the expense of community tradition and law-abidingness. In ages past, there was an instinctive, if waning, tendency to adhere to the larger tradition—“the way things had always been done”—and to follow the law precisely because it was the law. This mindset was already endangered before Vatican II convened. The Council itself offered the Catholic world a pretext for throwing everything overboard in a huge adolescent fit of raw emotional energy.

Consequently, what the Council actually taught meant and still means absolutely nothing for most Catholics, whether laity or clergy. It’s a sad spectacle to see the Vatican, year in and year out, refuting heretics by quoting Lumen Gentium, Dei Verbum, and other conciliar documents, when these heretics couldn’t care less. They never saw Vatican II as a body of authoritative teachings to be carried out; for them, it was (as they explicitly say) an “event” with a “spirit,” a certain program or inspiration or ideology that was meant to be creatively evolved until a new Church came into being. In the area of liturgy, too, the new Missal was, from the beginning, not so much a real concrete path to be diligently followed, as a new attitude, a sounding board, a suggested point of departure for personal and communal self-expression. And this is the innermost problem—a problem of spirituality, of priestly identity and holiness, of the very meaning of the ministerial priesthood in its service of the altar and the people.

Any liturgy requires holy priests, not in order to be valid, indeed, but in order to be edifying and, in the long run, nourishing for the people. Some of us have seen the old Mass rushed through in an unedifying manner. And some have seen the new Mass offered with great reverence by holy priests. Priests well-formed in piety and sound theology will find the new Missal a serviceable resource; they will choose the best options and incorporate traditional elements as much as possible. Unfortunately, not only are many clergy unformed in piety, they are all too often deformed in theology; and even with the best intentions or the best seminary training, there is little obvious public tradition left to which they could adhere with confidence.

I’m not at all a relativist about rites. I find the old rite preferable to the new. I find the new Missal troubling in many details; I think that certain members of the Consilium had a wicked agenda, and it is past denying that they took advantage of Pope Paul VI. Yet in spite of this, I feel certain that the debate is misplaced if we look at rites or Missals in a vacuum. We must take into account the larger context: clerical formation, seminary discipline, episcopal vigilance, and the maintenance of a living tradition, a living praxis. The living tradition of liturgical piety could largely have been carried over even across the rather large divide that separates the old Missal from the new; but at that time, in the 1970s, few wanted to do that. The spirit of the liturgical movement died, just when it had supposedly reached its peak of vigor. It was like a bride dying on the day of her wedding: so much promise, and such a tragedy.

Let’s return to our starting point. It is hard to talk about “the Ordinary Form” with any definiteness because it allows so much creativity and spontaneity. Optionitis is a disease of which the world needs to be rid to make it safe for liturgy. Even when men are well disposed and properly taught, it is expecting too much of human nature to think that they will freely choose the best or the better when given a number of options along the spectrum. Many will succumb to laziness or a false notion of efficiency. Those who are holy and learned can arrive at strange practices that disturb the rhythm and shape of the liturgy. As we know, priests very often avoid the Roman Canon because it’s “too long,” yet always seem to find time for long homilies or the Prayer of the Faithful.

The long-term solution to our present malaise, then, will necessarily involve the abolition of options and the re-establishment of clear and detailed rubrics that foster a most profound reverence for the Blessed Sacrament and a leisurely embrace of all the ritual involved in enacting the sacraments and honoring the Word of God. Founders of religious orders wrote detailed rules instead of just saying, “Form holy monks and religious and they’ll instinctively know what to do.” Everyone has his own opinions and private preferences about things. No matter how well one trains a priest, and no matter how holy he might be, if the missal allows him to translate his personal opinions and preferences into the arena of public worship, he will inevitably come to see himself as the master of the liturgy instead of its servant. 

Several Historical Postconciliar Missals Now Online for Viewing

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Corpus Christi Watershed seems to have done it again, helping us understand our short-term liturgical history. Thanks to them, the 1965 Missal is now online, as well as the 1966 Sacramentary, as well as an insert that many priests used containing the newly composed Eucharistic prayers 2-4, released in 1969

It seems with these documents, we have a veritable time capsule, letting us take a deeper look into what really happened during those turbulent times. I'd highly encourage you to check out all these documents HERE.

40 Hours, Mass of Deposition - Assumption Grotto

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Many readers may be familiar with the Assumption Grotto in Detroit. They recently completed a full 40 Hours Devotion in their parish (which is becoming increasingly rare these days), and well known parishioner Diane Korzeniewski provides us with pictures from the Mass celebrated at the end of the devotions.

Take note of the interesting liturgical situation, not commonly seen: Mass celebrated concurrently with exposition of the Blessed Sacrament, ending with Benediction and reposition.

More pictures can be viewed here.







The Dedication of Siena Cathedral

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On the general liturgical calendar, November 18th is the dedication feast of the Basilicas of St. Peter in the Vatican and St. Paul on the Ostian Way in Rome. It also traditionally the anniversary of the dedication of another very important Italian church, the cathedral of Siena. The date is attested by a canon of the cathedral in an Ordo written in 1215; much later is the tradition that the ceremony was done by the Sienese Pope Alexander III Bandinelli, one of the greatest Popes of the Middle Ages, in 1179. A banner with his coat of arms is still to this day hung from the ceiling of the cathedral’s sanctuary on November 18th, and through the octave of the feast.

The cathedral of Siena is generally regarded as one of the most beautiful in all of Italy, and is indisputably one of the richest in art works. The list of sculptors who have worked on it is practically a textbook of the art of sculpture: Nicola and Giovanni Pisano, Jacopo della Quercia, Donatello, Lorenzo Ghiberti, Michelangelo and Bernini, to name but a few. It was formerly the home of one of the greatest paintings of the early Renaissance, the famous Maestà by Duccio di Buoninsegna, now unfortunately removed from its original frame and displayed (although very nicely so) in the Cathedral Museum. The famous frescoes of the Piccolomini library, an amazing collection of illuminated choir books, are one of the great achievements of a much later artist, Pinturicchio, an important associate of Raphael. Our own Gregor Kollmorgen posted several pictures of the church two years ago, but it is rich enough in art and general interest to merit its own blog, so here are a few more.

Many visitors to Siena are perplexed to see this structure on the right side of the church.

These arches are the only parts that were ever built of the right nave of the so-called New Cathedral; on the right is the “big façade”, in Italian, “la facciatona”. They are the result of an attempt by Siena to outdo the gigantic cathedral of her principal rival, Florence, by turning what was then the cathedral into the transept of a much larger cathedral. Only Tuscans could have the self-confidence to think that such a project could ever be pulled off; it was abandoned in 1355, only 16 years after it was first proposed, partly because of the enormous expense involved, partly because of the Black Death, which hit Siena particularly hard in 1348, and partly for fear that the sheer weight of the structure thus expanded would cause the hill on which it sits to collapse.
The Cathedral, and proposed transept of the New Cathedral, seen from the facciatona.

The upper internal arch of the facciatona.

The view of the Piazza del Campo, the main civic square of Siena. On the right, the famous Torre della Mangia, the bell-tower and look-out post of the Palazzo Pubblico, Siena’s city hall.
The cathedral is also famous for its extraordinarily rich pavement, a perfect realization of the phenomenon so beautifully described by the great scholar Émile Mâle in his book “The Gothic Image”. A huge panoply of the human experience, sacred and secular, stories from the Bible, civic emblems, the Ages of Man, etc., is represented in it. Among the most interesting of these are the eight Sibyls in the side-aisles. These pagan prophetesses were popularly believed to have foretold the coming of Christ to the pagans, as the Biblical prophets had foretold Him to the Jews, a belief already well-known in St. Augustine’s time.
Image from Wikipedia
The plaque to her left names this one as “the Erythraean Sibyl, whom Apollodorus says was of his city”; her prophecy reads “From His dwelling on high in heaven, the Lord hath looked up His lowly ones, and will be born in the latter days of a Hebrew virgin, in the cradle of the earth.”

The wooden beam in the upper right of this photograph is one of the two draw-bars of a medieval battle-wagon called a carroccio; the other is attached to the pillar on the opposite side. In Medieval Italy, armies were often accompanied by such a wagon, which held the city’s standard, and an altar on which Mass would be said before, and sometimes during, a battle. The carroccio was the rallying point for the troops, and its loss in battle was considered a definitive sign of defeat: a more elaborate and serious version of Capture-the-Flag.
After the great Battle of Montaperti in 1260, in which Siena defeated Florence heavily, the draw-bars of the carroccio were fixed here to honor the Virgin Mary, to Whom Siena had vowed itself before the battle. The carroccio itself was usually kept chained to one of the pillars of the nave when not in use.

The main altar.
The cathedral of Siena has two baptisteries. This one within the cathedral itself contains this beautiful statue of St. John the Baptist by Donatello. A second, much larger baptistery, about five stories tall by modern standards, sits below the church’s liturgical choir, serving also to support the weight of the back part of the church.
Against the counter-façade sits this statue of Pope Marcellus II, born of a Sienese family, and the last Pope to keep his baptismal name. He reigned for 22 days in April of 1555, the sixth shortest Papal reign! Palestrina’s Missa Papae Marcelli is named after him. His nephew, St. Robert Bellarmine, remains along with St. Charles Borromeo a powerful argument in favor of Papal and ecclesiastical nepotism.

Most of the walls and pillars of the church are faced over in alternating stripes of white and black marble. These help to create the illusion that the space is much taller than it really is. They are also the traditional colors of the Republic of Siena’s shield, known as the “balzana”, still to this day omnipresent as the emblem of the city. Under the architrave may be seen the busts of all the Popes from St. Peter to Alexander III’s successor, Lucius III. Until 1601, a figure labelled “Ioannes VIII, Femina ex Anglia - John VIII, a woman of England”, was included among them; another example of how the ludicrous story of the female Pope was once widely accepted, even among Catholics.

Among the huge number of sculptures on the façade, Biblical figures dominate, but the two figures on the right side of this corner are Plato with crown on his head, and the Prophet Habakkuk next to him. (Aristotle is on the corner of the opposite side.) Again, as Émile Mâle notes, these secular figures indicate whole of humanity’s knowledge, wisdom and experience is incorporated into the life of both the Church and society.

The right door of the cathedral is the church’s Jubilee door, known as the “Porta del Perdono - the Door of Forgiveness”. The inscription over it reads, “The hundredth year at Rome is always a Jubilee, crimes are forgiven; these things are given to him that repents. Boniface declare these things and strengthened them,” referring to the official proclamation of the first Jubilee by Pope Boniface in 1300.

Devotion to the Holy Name of Jesus, expressed by the prominent display of the IHS monogram in public places like the main door of a cathedral, was first promoted by a native son of Siena, the Franciscan St. Bernardine. He was called to preach throughout Italy against the internal faction-fighting that was tearing many of the great cities apart, and was so successful that he often had to preach in the public squares for lack of a church big enough to hold the crowds that came to hear him ... despite the fact that he no teeth.


A lion-shaped waterspout helps keep Plato dry.

Update on the Publication of the Opera Omnia of Thomas Aquinas

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Although this post is not strictly related to liturgy, it fits in well with one of the general aims of NLM, namely, the need for a return to the great theological sources so that the new liturgical movement may remain firmly grounded in the Catholic Tradition. Indeed, one of the tragedies of the original liturgical movement, particularly as it entered its cancer phase in the 1960s, seems to have been an inadequate and inconsistent rootedness in dogmatic theology, as the craze for antiquity took over and blinded many to the profound contributions of the scholastics.

The Aquinas Institute for the Study of Sacred Doctrine, located in Lander, Wyoming, embarked a few years ago on a monumental project to publish the complete works of Saint Thomas in a uniform edition. The text is given in parallel Latin-English columns (the Latin edition is the best one available and the English translations have been reviewed by an editorial team for accuracy). The volumes are hardcovers with sewn bindings and gold-stamped covers and spines. We have completed the first phase of our publishing project with the following sets:
The Summa Theologiae (8 vols.)
The masterful Scripture commentaries of the Angelic Doctor—greatly praised by Leo XIII and many other popes, acknowledged as the pinnacle of their genre, and yet bizarrely hard to come by until now, if available at all—are the first projects we took on, in recognition of the primacy of the Word of God in sacred theology. Future plans include all of Thomas’s Old Testament commentaries as well. Preachers, take note: rarely will you find more penetrating and useful comments on the Lectionary readings than what you get in the pages of St. Thomas!

Having published Matthew, John, Paul, and the Summa, we are now turning our attention to the rest of the Opera Omnia—and here is where we can definitely use your help! We keep the cost of our volumes low to make them widely available, but as a result, the only way we can manage the initial print run of volumes is to obtain funding through donations. Donors receive a complimentary copy of the volumes they help to fund.

Go to our website to use your donation as a vote for what will be printed next—and to be among the first to receive a copy of that set. Once a volume has been funded, this offer of a complimentary copy will cease for that volume, and we will then sell it via Amazon. (For multi-volume sets like the Sentences commentary, donors will receive each volume as it is printed. We are starting with Book IV, which contains Thomas's lengthiest treatment of the sacraments and the liturgy. Work on Book IV is, in fact, well under way.)

We have editors and translators lined up for most of the works of Aquinas, but we will focus our efforts on the works that are most funded by you, our readers. Please spread the word by sharing this article with any of your colleagues or friends who might be interested. (Below are some photos from the Summa and Pauline volumes.)

Ite ad Thomam!

The Aquinas Institute
www.theaquinasinstitute.org









Has Pope Francis Saved Western Culture?

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A recent change to the stated mission of the Anglican Ordinariate was instituted by Pope Francis over the summer. As the Ordinariate Use liturgy takes shape, I wonder if it could have a profound effect on how it participates in the Church's mission of evangelisation and on English speaking culture?

When I was at the Sacra Liturgia Conference this past summer, speaker after speaker emphasised the importance of Latin as the norm in the Roman rite. Nevertheless, a warm welcome was given also to several priests from the Anglican Ordinariate, which will rarely offer Mass in Latin, and it was offered the platform when Mgr Andrew Newton gave a talk in which he described progress in establishing the precise form of the Ordinariate liturgy. I heard no one say that they saw any contradiction in this. Similarly, the developments in the Ordinariate Use liturgy are, apparently enthusiastically, reported on this site as they occur and have been ever since it was created. The fact that the Ordinariate Use is taken seriously by all these traditionally minded Latin-orientated Catholics seems to me to indicate a recognition of the general point, that the vernacular does have an important place in the liturgy; and more particularly that English has a privileged position amongst vernaculars. Where might this be going in the future, I wondered?

Then shortly after returning from Rome I read in Damian Thompson's blog in the Telegraph an article that was headed Pope Francis Embraces the Ordinariate and Increases Its Power to Evangelise. In it he said: 'Francis has widened the remit of the Ordinariates in Britain, America and Australia. Until now, only ex-Anglicans and their family members could join the new body. But, thanks to a new paragraph inserted into the Ordinariate's constitution by Francis, nominal Catholics who were baptised but not confirmed can join the structure. Indeed, the Holy Father wants the Ordinariates to go out and evangelise such people.'
The paragraph he referred to was Complementary Norms, Article 5 §2: 'A person who has been baptised in the Catholic Church but who has not completed the Sacraments of Initiation, and subsequently returns to the faith and practice of the Church as a result of the evangelising mission of the Ordinariate, may be admitted to membership in the Ordinariate and receive the Sacrament of Confirmation or the Sacrament of the Eucharist or both. This confirms the place of the Personal Ordinariates within the mission of the wider Catholic Church, not simply as a jurisdiction for those from the Anglican tradition, but as a contributor to the urgent work of the New Evangelisation. As noted by the Congregation for the Doctrine of the Faith, enrolment into a Personal Ordinariate remains linked to an objective criterion of incomplete initiation (i.e. baptism, eucharist, or confirmation are lacking), meaning that Catholics may not become members of a Personal Ordinariate for purely subjective motives or personal preference.’

I have no special inside knowledge on the Ordinariate or the intentions for it. But I am struck by the potential for a profound affect on the wider culture globally for the good of what has happened recently. This is because of the relationship between liturgy and culture. Again, at Sacra Liturgia 2013, many speakers echoing Pope Benedict in the Spirit of the Liturgy, emphasised the connection between liturgy and culture. We were told for example, that an education in art, architecture, music and literature was necessary for the development of one's 'liturgical instincts'. The forms of the culture that we should study, therefore, are those that point us to liturgical forms (Catholic educators take note!); and those liturgical forms ought to be a 'liturgical high culture' - elevated cultural forms that draw us upwards but are nevertheless accessible and easily grasped.

The connection between the liturgy and culture is profound. Man is made to worship God; his worship is what establishes and shapes that relationship with God; and this, in turn influences all our human interactions and is the most significant factor in contributing to the grace and beauty of our actions and interactions. The culture might be viewed as the aggregate, the vector sum of these and is a reflection of - or incarnation of - our core values, priorities and beliefs.

While this connection can be conceived as a symbiotic dynamic, with each - liturgy and culture -simultaneously reflecting and nourishing the other, the relationship between the two is not a partnership of equals. The liturgy is a more powerful influence on the culture than the culture is on the liturgy. So in consideration of a reform of the culture, we should always look to ourselves first and strive for liturgical orthodoxy and purity. Accordingly we should strive to have liturgical culture high culture that is noble and naturally accessible. This is a culture that it makes high demands of those who create these forms - the writers, artists, composers and architects - but never of those who see it and hear it. It should touch people and then draw them upwards through the beauty of its forms, in harmony with worship. This accessible divine beauty can touch the soul in a way 'beyond words' (I'm thinking of St Augustine here).

In his book on the liturgy published first in 1918, the Spirit of the Liturgy, Romano Guardini tells us that liturgical forms are necessarily reflective of a high culture: 'Culture enables religion to express itself and helps distinguish the essential from the non-essential...as a rule, the spiritual life should be impregnated with a genuine and lofty culture... If the cultural element of prayer declines, the ideas become impoverished, the language coarse, the imagery clumsy and monotonous and the emotional paltry and artificial.' (p34)
He also describes the influence in the other direction, that the appropriate forms in the liturgy inspire and sustain a vibrant and beautiful contemporary culture: "The liturgy possesses a tremendously compelling form of expression, which is a school of religious training and development to the Catholic who rightly understands it and which is bound to appear to the impartial observer as a cultural formation of the most lofty and elevated kind." (p47; pub Herder and Herder).

Historically, if we look at the art, music and architecture we can see how the liturgical forms have influenced the culture. The baroque of the 17th century, for example, started off as part of the renewal of the Catholic counter-reformation and then the liturgical forms became the models in style for the profane (as in not explicitly sacred) forms as well.. So powerfully striking and beautiful was the wider culture created by this, that it became the standard throughout Europe, even in the protestant lands, for example, the Netherlands and England. The public buildings, the portraits and landscapes of their artists and even the music took inspiration from the Catholic liturgical culture.

The effect can be negative as well. If the liturgy is not beautiful and the cultural forms that are associated with it are deliberately made to take their inspiration from the wider secular culture that is not derived from liturgical forms, then a downward spiral is created in which the culture of faith and contemporary culture in turn cause the decline of the other. This is what we have seen most strikingly in modern times, accelerating in the 20th century (although the signs were there before that).

Catholics cannot ignore this question of contemporary culture. Even if we imagine a situation in which you have healthy and beautiful liturgical culture and that is also somehow disconnected from the wider culture and stable (a situation I can't imagine would ever be the case) we would still have a duty to try to transform the contemporary culture into one that reflected this liturgical culture. This is because those who do not go to church will not see the liturgy, which is our most powerful tool in evangelisation. But they do see the wider contemporary culture every day of their lives. If the wider culture reflects the beauty of the cosmos nourished by the liturgy, then its power will draw people to God and to His Church and provoke a curiosity and receptivity to the Word. This is the message of recent Popes in emphasising the power of beauty (for example Pope Benedict in his discussion of the via pulchritundinis). This is why incidentally, on a blog about liturgy, I consider it relevant to consider how this connects with secular culture - in my opinion we must not separate the two.

And what of the Ordinariate Use liturgy? Latin liturgy can stimulate a beautiful Catholic culture in any language of course but, I believe, the opening up of the traditional Anglican forms adapted for use in the Ordinariate supports this in a new and powerful way. The Anglican Ordinariate has elevated liturgical forms that do not look to modern secular culture for inspiration (unlike many of those in other vernacular liturgies), but rather, to the authentic Roman Church tradition and English high culture of the past. Therefore it can act powerfully to evangelise the culture of English speakers.

Why the special focus on English? I suggest that the influence of English in the world is great and is steadily increasing and hand in hand with this is English speaking culture, for good or ill. One might say that English is the lingua vulgata - the common language - of our age, and who knows for how long afterwards, perhaps centuries. It is the second most spoken (after Mandarin) as a first language and if you take second languages into account the gap is narrowed and getting narrower, for English is the international language of business and technology. This was emphasised to me recently when listening to Venezuelan radio and a discussion in Spanish (translated by my wife) about the fact that English is beginning to influence the way that Spanish is spoken by the general population as it incorporates its vocabulary and idioms.

It therefore becomes vital that we evangelise Western culture which is spreading globally, and a liturgy rooted in English language is a powerful means of doing this. Now that the Ordinariate Use is free to reach out beyond former Anglicans this can be at the centre of this. It might not be only through direct effect - one could envisage the situation where it's forms might also have an impact on the Roman Rite in English which is the not Ordinariate Use. At Thomas More College of Liberal Arts, where I teach, we regularly have the Extraordinary Form, and the Ordinary Form in English and Latin. We also sing the Liturgy of the Hours daily, with the psalms most commonly sung in English. For our vernacular liturgies we look to these Anglican forms of music and prayer in our vernacular liturgy for inspiration, even though it is not Ordinariate Use.
Incidentally I have heard some argue openly that they do not like to see a well done vernacular, or even Latin Novus Ordo, because they feel that the worse the alternatives are, the more likely it is that the Extraordinary Form will dominate. I do not accept this approach at all. In my mind, we should strive to make our participation in all liturgy (vernacular or not, Ordinariate Use of not) dignified and beautiful; in my mind this supports rather than diminishes the re-establishment of Latin in the liturgy in such a way that participation is active (in the proper sense of the word).

If we are to evangelise the English speaking world, which increasingly means the whole world, in a powerful way it could be a through a contemporary culture of the English. This contemporary culture could develop powerfully out of a beautiful English language liturgy that points to that of Shakespeare and Donne; and musical forms that are derived from the pre-reformation Sarum Liturgy. I would hope to see a flourishing of creativity inspired by this in which noble and accessible forms of both liturgical and contemporary culture are produced (in the way the Shakespeare was the popular culture of his day). It seems possible to me that the Anglican Ordinariate could be a force the good in this area.

Gwyneth Holsten to Speak on Sacred Art in Boston this Sunday

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Gwyneth Holston, who wrote an article recently highlighted on the NLM by Jennifer Donelson, will be giving a lecture on the story behind sacred art from the Gothic era through the Pre-Raphaelite. It is taking place this coming Sunday, on November 24th at 12:30PM in the church basement of Mary Immaculate of Lourdes Church in Newton, MA, (where the Extraordinary Form is celebrated at 10.30am every Sunday).

Each work discussed will have a link to the Advent season and the traditional feast days for the month of December. Some of the featured works include: The Last Judgment by Hans Memling, The Immaculate Conception by Tiepolo, The Portinari Altarpiece by Hugo van der Goes (shown below).


High Mass - National Shrine of Mary, Help of Christians - December 11, 2013

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A reader sends the following report for an event of interest in the South East area of Wisconsin:
Come celebrate the New Evangelization and experience the beauty and mystery of the Extraordinary Form of the Roman Rite.

A Missa Cantata in the Extraordinary Form will be celebrated by Rev. Canon Benoit Jayr on December 11, 2013 at 6:30 p.m. at the National Shrine of Mary, Help of Christians (Upper Church) (1525 Carmel Road, Hubertus, WI 53033).
This Mass is important for the area because it is one of the first Masses in the Extraordinary Form at this church since the council, and one of the few (other than those at the EF parish) in the Diocese.

Yours truly will be assisting in the loft in the schola or as a cantor. For musically minded readers, in addition to the propers and ordinary, several Kevin Allen pieces will be sung, as well as other pieces.

The 2014 Musica Sacra St Louis Conference

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The 2014 Musica Sacra St. Louis Conference, Thursday 13 February - Saturday 15 February 2014, will take place at St. Louis University's Manresa Center. This year's faculty includes Dr. Horst Buchholz, Director of Sacred Music for the Archdiocese of St. Louis, and Mr. Scott Turkington, highly regarded as one of the American Masters of Chant. This conference is open to anyone interested in incorporating Chant into the musical life of their parish. Registration for the conference is $125.00 ($75.00 single day option available). Lodging for participants is available at a rate of $70.00 for the entire conference. For more information, please visit archstl.org/music. Online Registration is now open.

The Ambrosian Rite and the Traditional Lectionary

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Continuing to follow up on Dr. Kwasniewski’s recent post about the Mass lectionary, I shall here offer some considerations of the relationship between the three-reading system of the revised Roman Rite, and its most important putative model, the lectionary of the Ambrosian Rite.

The traditional Ambrosian liturgy of the Mass bears a number of very notable resemblances to the traditional Roman Mass. The most important of these is the use of a single canon, a custom which they alone share among historical Christian liturgies, the Ambrosian being essentially the Roman Canon, with a number of variants. The Mass of the Catechumens is superficially similar in structure, as is the Offertory, and of course, both rites are celebrated in Latin. Many prayers and readings of the Mass, much of the temporal cycle, and a large number of feasts are common to the two. The external accoutrements, such as architecture and vestments, are also essentially the same; vestments made for the Ambrosian Rite could easily be used in the Roman, and vice versa, and apart from the presence or absence of the cappino, no one would be the wiser.

For these and various other reasons, there was a time when some scholars believed that the Ambrosian Rite was simply an archaic form of the Roman. In an article published in La Civiltà Cattolica in 1896, the prefect of the Ambrosian Library, Msgr. Antonio Ceriani, is quoted thus in his work on the Ordinary of the Ambrosian Mass:
“I would confidently say that the Ambrosian liturgy and the Roman were originally one and the same, and that (the Ambrosian) was brought here (to Milan) from Rome, and … already established in the form which it has now.”
And the following year, in his preface to Msgr. Marco Magistretti’s edition of the pre-Tridentine Ambrosian Pontifical:
“Although the Ambrosian manuscripts yield in antiquity to those of the Roman Liturgy, by comparing them it can be proved that the Ambrosian ones have continued the oldest Roman use, … both in the Mass and in the other most important parts, (in which the variations are secondary) and which can provide help in recognizing and determining the traces of the oldest uses in the West.”
Of course, if the Ambrosian Rite were an archaic form of the Roman Rite, its Mass lectionary would be an archaic form of the Roman lectionary. At the time when this theory was commonly held, (from the later part of the 19th to the middle of the 20th), Duchesne’s theory about the original presence of three readings in the Roman Rite predominated, as we have seen earlier. The similarity on several points between the two rites seemed to provide the lynchpin of the theory, especially since no other lectionary tradition with three readings has so much in common with the Roman.

To give an example, since this past Sunday was the beginning of Advent in Milan: of the seven Gospels read at the various Masses of Ambrosian Advent, five are read in the Roman Rite in Advent, and one (Matthew 24) on the last Sunday after Pentecost, although four of these are shorter in the Roman version. The seventh, Matthew 21, 1-9, is found in Advent in various medieval uses of the Roman Rite; it was read at Sarum, and passed thence into the traditional form of the Book of Common Prayer. Only one of the Roman Gospels is missing, that of the first Sunday (Luke 21, 25-33). Of the five Pauline Epistles in Roman Advent, three are read in a longer form in the Ambrosian.
The antiphon “in choro” from Vespers of the First Sunday of Advent in the Ambrosian Rite

Fragmentary coincidences of this sort are numerous. The Roman Gospels of the 3rd and 4th Sundays after Pentecost are those of the 8th and 9th Sundays in the Ambrosian; those of the 15th Sunday are the same. A correspondence only slightly less exact is found at the end of the year, where the Roman Gospels of the 19th, 21st and 22nd Sundays are the last three of the Ambrosian liturgical year. The concluding Gospel of the Roman year is the first of Ambrosian Advent.

Despite these examples, and many others which might be adduced from various parts of the liturgy, the differences between the two traditions greatly outnumber the similarities. Thus, for example, of the seven lessons from Isaiah read on the Ember Days, only two are found (again in a longer form) in the Ambrosian Missal. Many of these arise not from a common liturgical tradition, but rather from a common exegetical tradition, or more simply, common sense. It should be obvious that the most important Gospels pertaining to St. John the Baptist (Matthew 11, John 1 and Luke 3) would play a prominent role in Advent, alongside the Annunciation and Visitation.

The lack of similarity in several important places is even more notable. During Holy Week, for example, the Gospels are arranged in the Ambrosian Rite in a manner entirely different from the Roman; the Passions of St. Mark, Luke and John are read only in the Divine Office. The Gospels of Easter Week are not all the same as the Roman ones, and those that are common to them both are in a completely different order. On Holy Saturday and through the Octave of Easter, the church of Milan celebrates two Masses each day, one “of the solemnity”, and another “for the (newly) baptized.” Of the 32 non-Gospel readings assigned to these Masses, only three are read within the same period in the Roman Rite, none of them on the same day. For the rest of Eastertide, the only non-Gospel reading of the Ambrosian Rite that corresponds with the Roman is the lesson from Acts 2 on Pentecost.

The principal, and to my mind, insuperable objection to Msgr. Ceriani’s theory is as follows. Supposing that the Milanese liturgy did come from Rome, and is, as Bl. Ildephonse Schuster once said, more Roman in origin than the current Roman Rite itself: when and why did it begin to consistently reject all subsequent changes made to the Roman Rite, changes which are manifestly not “secondary”, when they were accepted by absolutely everyone else who used that rite? A host of similar objections might also be raised, such as the completely different chant, and the radically different structure of the Divine Office.

The theory now being happily abandoned, it can no longer be claimed that the Ambrosian lectionary is an archaic form of the Roman lectionary either.

Two leaves of an Ambrosian Missal printed in 1499, showing the Ingressa, the Oratio super Populum (Collect), Prophecy, Psalmellus, Alleluia and the beginning of the Gospel, with the chapter annotated incorrectly, for the First Sunday of Advent. Milanese Advent begins on the Sunday after the feast of St. Martin. This missal puts with the feasts which can occur in Advent first, so the first column and a half are part of the Mass of St. Thomas the Apostle.
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