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The Ancient Origins of the Nativity Scene - Part 2

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Even though St. Matthew does not specify in his Gospel how many Magi came from the East to worship the Christ Child, the customary representation of three of them is one of the most solidly consistent and ancient traditions of Christian art. A very small number of early images have more than three, and one painting in the catacomb of Ss. Peter and Marcellinus has only two, but these are mere anomalies. It is commonly supposed that artists settled on three Magi to correspond to their three gifts, which, in turn, have been read from very ancient times as symbols of Christ’s divinity, mortality and regality. This is undoubtedly true, but there is another, equal important reason for showing three. As far back as the pre-Socratic philosophers, the Greeks, following the Babylonians, divided the world into three parts, Asia, Africa and Europe. This division predates Christianity, but was received by Christians and Jews as part of their sacred history; each continent was believed to be populated by the descendents of one of the sons of Noah, Asians from Shem, Africans from Ham, and Europeans from Japheth. (The word ‘Semite’ derives from the name ‘Shem’, and the term ‘Hamito-semitic’, formerly used for the Afro-asiatic linguistic family, derives from Ham and Shem.)

The three Magi are therefore the symbolic representatives of the three parts of world, coming to worship the Creator and Savior. As Pope St. Leo the Great writes in his first sermon on the Epiphany (from the Breviary of St. Pius V):
(I)t concerns the salvation of all men, that the infancy of the Mediator between God and men was already being declared to the whole world, while it was yet confined within a small village. For although He had chosen the people of Israel, and of that people, a single family, whence He might take upon Himself the nature of all mankind; nevertheless He did not want the first dawn of His rising to lie hidden within the narrow walls of His Mother’s abode; but rather, He wished to be acknowledged at once by all, He who deigned to be born for all.
Despite the varying quality of early Christian images, from roughly scratched inscriptions on funerary stones to elaborate sarcophagi and frescoes, nearly all early images of the Magi show them moving towards Christ, as he sits in the lap of the enthroned Virgin; this also represents the calling of all of the nations of the earth to conversion and redemption.

A funerary slab of the third century from the Vatican Museums' Pio 
In the rougher sorts of images, such as the one shown above, with the general lack of detail, the three Magi are not distinguished from one another, although their offerings are. In the Catacomb of Priscilla, however, one of the frescos shows each of the three in a different color, one from each of the three parts of the world. This image of the third-century is especially important because it is in the funeral chapel of a very wealthy family; the many paintings within it were of a very high quality, though they have deteriorated greatly over the centuries. It is safe to say, therefore, that they were conceived among the most educated Christians, and it is not surprising to find artistic ideas born in such an environment flourishing in the great churches built in early centuries after the end of the persecutions.

Particularly in Rome, where people from every part of the Empire lived, such an image represents the revelation of Christ as the Redeemer of all men, and the coming all peoples to salvation. This is reflected in many texts of the Roman liturgy of Epiphany, such as the following antiphons of Matins:
from Psalm 28: Bring to the Lord, O ye children of God: adore ye the Lord in his holy court.
from Psalm 65: Let all the earth adore thee, and sing to thee: let it sing a psalm to thy name, o Lord.
from Psalm 85: All the nations thou hast made shall come, and adore before thee, O Lord.
A relief from a sarcophagus of the 4th century, originally in the Catacomb of St. Agnes, now in the Vatican Museums. In the Roman world, many kinds of sculpture were originally painted, although the paints have worn off over the centuries. It possible that the Three Magi paint were originally distinguished from each other in this way, as they are above in the fresco; note that they are holding three different gifts.

In the sixth century, a new element is introduced, that of the Three Ages of Man, a concept derived from Aristotle. (Rhetoric II.12) In the 6th-century mosaics of Sant’Apollinare Nuovo in Ravenna, the Magi are represented one as a youth, one as a adult, one as an elderly man. Here, the idea of the universality of Christ’s salvation is expanded to refer not only to all nations, but all aspects of humanity. For the same reason, the Magi are leading a procession of 22 sainted virgins towards the Madonna and Child, while 26 male saints are shown coming towards an adult Christ on the opposite side of the church.

In all of these images, the Magi are shown wearing the clothes of “barbarians”, i.e., non-Romans, the Phrygian cap, and elaborately decorated garments with pants and sleeves, instead of the looser and simpler Roman togas. This tradition continues into the Carolingian period, as seen here in the lowest part this ivory panel from the British Museum.

By the last quarter of the 10th century, however, a new tradition had emerged of showing the Magi as kings, as seen in this page of the Benedictional of St. Aethelwold, made in the 970s. (Click for a larger and clearer view.)

Where the Carolingian era looked back to older artistic models of the late antique Roman tradition, the Romanesque period seems to be following more closely the words of the liturgy; in particular, the sixtieth chapter of Isaiah, and the seventy-first Psalm, both associated with the Epiphany from very early times. The first six lines of the former is the traditional Epistle of the Roman Mass, clearly chosen for the beginning words “Arise, be enlightened, O Jerusalem: for thy light is come, and the glory of the Lord is risen upon thee.”, and for the reference to two of the three gifts of the Magi at the end, “all they from Saba shall come, bringing gold and frankincense: and showing forth praise to the Lord.” The third verse of the same passage reads, “And the gentiles shall walk in thy light, and kings in the brightness of thy rising.” Psalm 71 is one of the five “Messianic psalms”, along with Psalms 2, 44, 88 and 109, traditionally regarded as important prophecies of the coming of the Messiah. All five are sung in the Office of Christmas, but 71 is also sung at Matins of the Epiphany, with the tenth verse as its antiphon, “The kings of Tharsis and the islands shall offer presents: the kings of the Arabians and of Saba shall bring gifts.” Both passages refer to gifts, the land of Saba (Sheba), and kings, and so they were naturally understood to refer to each other; hence the givers of these gifts were understood to be kings. This idea is reinforced by several other passages of Isaiah which refer to kings in a context that would naturally lead them to be associated with the Epiphany:
Kings shall see, and princes shall rise up, and adore for the Lord's sake, because he is faithful, and for the Holy One of Israel, who hath chosen thee. (chapter 49, 7)

And kings shall be thy nursing fathers, and queens thy nurses: they shall worship thee with their face toward the earth. (49, 23)

The Lord hath prepared his holy arm in the sight of all the gentiles: and all the ends of the earth shall see the salvation of our God. … He shall sprinkle many nations, kings shall shut their mouth at him: for they to whom it was not told of him, have seen: and they that heard not, have beheld. (52, 10 and 15)

And the gentiles shall see thy just one, and all kings thy glorious one. (62, 2)
The later part of the fifteenth century saw the emergence of a new motif, the placement of the Nativity scene amid the ruins of a large building, or with a ruined building in the background. On a purely technical level, this reflects the interest of Renaissance artists in Roman antiquities, as part of the general revival of Roman learning and art. Theologically, the ruins also represent the world, which Christ came to renew, as He says in the Apocalypse, “Behold, I make all things new.” The artists of the period thus associated their renewal of the intellectual and artistic achievements of the Classical world with what Christ did for the whole human race in the Incarnation.
The Adoration of the Magi, by Albrecht Altdorfer, ca. 1530. Note the confluence of the various traditions discussed above - the three Kings, the three Ages of Man, the very elaborate clothes, and the ruined building. The European and Asian Magi are not distinguished from each other as clearly as they are from the African; people of African origin were known to Europeans throughout history, but a 16th century German would not be likely to have ever seen an Asian.
A traditional Neapolitan Nativity scene of the 18th century, now on permanent display at the Roman church of Saints Cosmas and Damian. The ruins visible on the right side are the Column of Phocas and the Temple of Saturn, both in the Roman Forum, barely 200 meters from the ancient entrance to the church. The panoply of human activity of every kind represents the sanctification of all of human life and endeavor by the union of God and man in Christ.

The Holy Family within the ruins of a Roman building, part of the Nativity scene of the Augustinian church of St. Maurice in Fribourg, Switzerland. The chapel in the background is a representation of a real chapel dedicated to Our Lady of Loreto, which sits on a cliff and can be seen from most of the lower part of the city; the Nativity is thus presented to the viewers as if it were taking place in their own parish church.

Solemn Mass, Legnano

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The following photos show the Mass of a young ICRSS priest, Don Federico Pozza, who offered solemn Mass in Legnano.









Photos courtesy of Don Michele Somaschini

The Meaning and Prayers of the Mass: Church of Our Saviour

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A series of two free lectures on "The Meaning and Prayers of the Mass" will be presented in the Undercroft of the Church of Our Saviour on consecutive Saturdays, January 14 and 21 from 1:30-2:30 PM.

Thomas Vaniotis will use the texts of the new translation of the Roman Missal to explore the historical, spiritual, and theological content of the prayers of the Mass as a guide to greater understanding and deeper participation. The first lecture will focus on the Liturgy of the Word, the second on the Liturgy of the Eucharist.

Thomas Vaniotis is one of the Masters of Ceremonies overseeing the altar servers at liturgies at the Church of Our Saviour and is a parish catechist. He studied music, philosophy, and medieval studies at the University of Rochester.

The Church of Our Saviour is located at 59 Park Avenue at the corner of East 38th Street, two blocks south of Grand Central Terminal in New York City. The parish website is http://www.oursaviournyc.org/

Please feel free to share this announcement with other interested parties.

Wood Carvings by Johannes Kirchmayer

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Here are some photos of carvings by the German born American Johannes Kirchmayer. He lived from 1860-1930 and his Wikipedia entry is here. He lived and worked most of his life in the Boston area and his work is in the American gothic churches of New England. There are some who consider the neo-gothic of the 19th and early 20th century to be faux gothic, that is, just a poor pastiche of earlier styles. I am not of this opinion. While the sacred painting of this period is not so good, I think that in the areas of architecture and sculpture particularly we have a case study of how the study of the past has inspired a tradition that characterises its age in its own way. In fact the writings of AW Pugin, the architect who did so much to inspire the whole movement at the beginning of the 19th century, provide a case study in how study the past in order to establish a living tradition. Pugin who converted to Catholicism in his early 2os and this directly affected his approach to architecture. I think of 19th century gothic not as derivative in an inferior way, but rather as a tradition in its own right that should be taken seriously.

The city of Boston has many fine examples of churches in the American gothic style. There are some also who feel that this style is not an authentic New England style, citing the earlier colonial as more genuinely of New England. This I do not agree with this assertion either. In architecture at least, each is a style based upon timeless principles. If anything it is the 19th century gothic that is more clearly a Catholic Christian tradition, owing so much to the work of Pugin. And like all earlier liturgical traditions, it became the standard for the protestant churches too.

These wood carvings are in the protestant Unity Church, Easton, Massachussetts.


Magister on the Neocatechumenal Way Liturgy

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From Sandro Magister today, a piece about the liturgy of the Neocatechumenal Way movement. It is worth a read.


"Placet" or "Non placet"? The wager of Carmen and Kiko

The founders of the Neocatechumenal Way aim to obtain definitive Vatican approval for their "convivial" way of celebrating the Mass. The document is ready. But it could be modified or blocked in extremis. The verdict on January 20

by Sandro Magister

ROME, January 13, 2012 – As on other occasions in the past, this January as well, on Friday the 20th, Benedict XVI will meet in the audience hall of the Vatican with thousands of members of the Neocatechumenal Way, with their founders and leaders, the Spaniards Francisco "Kiko" Argüello and Carmen Hernández.

One year ago, at the audience of January 17, 2011, the pope told the enthusiastic audience that the thirteen volumes of the catechism in use in their communities had received the longed-for approval, after a very lengthy examination begun in 1997 by the congregation for the doctrine of the faith, and after numerous corrections had been introduced, with about 2000 references to parallel passages of the official catechism of the Catholic Church.

Next January 20, however, the leaders and members of the Way expect from the supreme authorities of the Church an even more ardently desired "placet." The official and definitive approval of what is their most visible, but also most controversial, distinctive trait: the way in which they celebrate the Mass.


THE FOUR ELEMENTS

The Masses of the Neocatechumenal communities have always been distinguished by at least four elements.

1. They are celebrated in small groups, corresponding to the different stages of advancement on the catechetical journey. If in a parish, for example, there are twelve Neocatechumenal communities, each at a different stage, there will be twelve Masses, celebrated in separate places more or less at the same time, preferably on Saturday evening.

2. The surroundings and furnishings trace out the image of a banquet: a table with the participants seated around it. Even when the Neocatechumenals celebrate the Mass not in a parish hall but in a church, they ignore the altar. They put a table in the middle and sit around it in a circle.

3. Each of the biblical readings of the Mass is preceded by an extensive "monition" on the part of one or the other of the catechists who lead the community and is followed, especially after the Gospel, by "resonances," or personal reflections by a substantial number of those present. The priest's homily is added to the "resonances" without being distinguished from them.

4. Communion also takes place in banquet form. The consecrated bread – a large unleavened loaf, two thirds white flour and one third whole wheat flour, prepared and baked according to detailed rules established by Kiko – is broken and distributed to those present, who remain in their places. After the distribution, it is eaten at the same time by all, including the priest. After this, the priest goes from one person to the next with the chalice of consecrated wine, which everyone drinks.

There are also other peculiarities, but these four are enough to understand how different in form and substance the Masses of the Neocatechumenals are from those celebrated according to the general liturgical rules. A difference that is certainly more pronounced than that between the Masses in the ancient Roman rite and in the modern rite.

The Vatican authorities have repeatedly sought to bring the Neocatechumenals back to greater fidelity to the "lex orandi" in effect in the Catholic Church. But with a weak pulse and almost no results.

The strongest reminder came with the promulgation of the definitive statutes of the Way, approved in 2008.

In them, at article 13, the Vatican authorities established that the Masses of the communities must be "open also to other faithful"; that communion must be received "standing"; that for the biblical readings, only "brief monitions" of introduction are permitted, apart from the homily.

There is no trace of the "resonances" (permitted in the previous, provisional statutes of 2002) in this same article 13 dedicated to the celebration of the Mass. It is mentioned only in article 11, which, however, concerns the weekday celebrations of the Word, which each community holds with its own catechists.

The fact is that there has been very little change between the way in which the Neocatechumenals celebrate the Mass today and the way in which they celebrated it until a few years ago, when, moreover, the cups of consecrated wine were passed festively from hand to hand.

It is only in theory that their group Masses have been opened to other faithful as well.

Standing or seated, their convivial way of distributing communion is still the same.

The personal "resonances" of those present continue to invade and overwhelm the first part of the Mass.

Not only that. Kiko, Carmen, and their followers are counting on coming out of the audience with Benedict XVI next January 20 with explicit approval of all of this.

An approval with all the official blessings. Promulgated by the Vatican congregation for divine worship.


RATZINGERIAN AND ANTIPAPAL

With a Francis Arinze as cardinal prefect of the congregation, and above all with a Malcolm Ranjith as its secretary- as it was until a few years ago – such approval would have been unthinkable.

Cardinal Arinze, now retired, was the protagonist in 2006 of a memorable clash with the heads of the Way, when he enjoined on them by letter a series of corrections, which they blatantly disobeyed.

As for Ranjith – now back in Sri Lanka, as archbishop of Colombo – it is difficult to find a cardinal more seasoned in defending fidelity to the liturgical tradition. In the field of the liturgy, Cardinal Ranjith has the reputation of being more Ratzingerian than Ratzinger himself, his mentor.

At the head of the congregation for divine worship today is another cardinal who also passes as a staunch Ratzingerian, the Spaniard Antonio Cañizares Llovera.

But to judge by the document that he is believed to have ready for next January 20, this would not seem to be the case at all.

In fact, his giving the go-ahead to the liturgical "creativity" of the Neocatechumenals would only harm the wise and patient work of reconstruction of the Catholic liturgy that Pope Benedict has been carrying out for years, with a courage equal to the great solitude that surrounds him.

And it would provide another point for the accusations of the traditionalists, not to mention the Lefebvrists.


BETWEEN SHREWDNESS AND INDULGENCE

There is a shrewdness that the Neocatechumenals adopt when popes, bishops, or cardinals participate in or are present at their Masses: that of adhering to the general liturgical rules.

Cardinal Cañizares is not the only one to have fallen into this trap. Or to have believed that the liturgical excesses of the Way, if any, are minimal and forgivable, in comparison with the fervor of faith of those who participate in them.

Like him, many other cardinals and bishops look kindly on the Neocatechumenals, particularly in Spain. In the Vatican curia, they have a fiery supporter in the prefect of "Propaganda Fide," Fernando Filoni, previously the substitute secretary of state.

Thus, while with the other Catholic movements the Vatican authorities are inflexible in demanding respect for the liturgical norms, with the Neocatechumenals they are more indulgent. For example, it is tolerated that, in their Masses, the "resonances" should continue to overflow, when instead the more powerful Community of Saint Egidio was ordered, years ago, to have the homily delivered exclusively by the priest, and no longer – as took place previously – by the founder, Andrea Riccardi, or by other lay leaders of the community.

This widespread indulgence toward the liturgical licenses of the Neocatechumenals has an explanation that stretches back to the beginning of the movement, and that it is helpful to recall.


"LUTHER WAS RIGHT"

In the liturgical field, more than Kiko, it has been the co-founder Carmen Hernández who has shaped the Neocatechumenal "rite."

During the years of Vatican Council II and immediately afterward, when she still wore the religious habit of the Misioneras de Cristo Jesús and was studying to obtain her degree in theology, Carmen became an enthusiast of liturgical renewal. Her teachers and inspiration were the liturgist Pedro Farnés Scherer in Spain and Fr. Luigi della Torre in Rome, also a prominent liturgist, pastor of the Church of the Nativity on Via Gallia, which was one of the movement's first locations in Rome, and Archbishop Annibale Bugnini, at the time the powerful secretary of the Vatican congregation for divine worship and the main architect of the postconciliar liturgical reform.

It was precisely Bugnini, at the beginning of the 1970's, who congratulated himself over the way in which the first communities founded by Kiko and Carmen celebrated the Mass. He wrote about it in "Notitiæ," the official magazine of the congregation for divine worship. And it was again him, together with the co-founders, who decided to call the newborn movement "Neocatechumenal Way."

From visiting with these liturgists and from loosely reworking their ideas, Kiko and Carmen drew their own personal conception of the Catholic liturgy, which they put into practice in the Masses of their communities.

There is a book by a Ligurian priest of the Way, Piergiovanni Devoto, that uses previously unpublished texts of Kiko and Carmen to make public this bizarre conception of theirs.

The book, published in 2004 with the title "Il neocatecumenato. Un’iniziazione cristiana per adulti," and given a warm presentation by Paul Josef Cordes, at the time the president of the pontifical council "Cor Unum," now a cardinal, was printed by Chirico, the Naples-based publishing house that also published the only work translated into Italian by Farnés Scherer, the liturgist who was the first to inspire Carmen.

Here are some of the passages of the book, taken from pages 71-77.

"Over the course of the centuries, the eucharist has been fragmented and crusted over, repackaged to the point at which we did not see anywhere in our mass the resurrection of Jesus Christ . . .

"In the 4th century, with the conversion of Constantine, the emperor and his court also went to church to celebrate the eucharist: thus were born the rites of entrance solemnified by songs and psalms which were eliminated over time, leaving only the antiphon, which constitutes a real and true absurdity . . .

"Analogously, place was made for offertory processions, in which there emerged the conception of natural religiosity, which tends to placate the divinity through gifts and offerings . . .

"The Church has tolerated inauthentic forms for centuries. The 'Gloria,' which was part of the liturgy of the hours recited by the monks, entered into the mass when a single celebration was made of the two actions, and that the 'Credo' emerged with the appearance of heresies and apostasies. Even the 'Orate Fratres' is a culminating example of the prayers with which the mass was stuffed full . . .

"With the passage of the centuries, private prayers were inserted into the mass in notable quantities. The assembly was no more, and the mass had taken on a penitential tone, in stark contrast with the paschal exultation from which it had emerged . . .

"And while the people lived out the privatization of the mass, the erudite elaborated rational theologies which, although they contain the essence of revelation ‘in nuce,’ are wrapped in philosophical garments foreign to Christ and the apostles . . .

"So it is understandable why Luther emerged, making a clean break with everything he believed was a purely human addition or tradition . . .

"Luther, who never doubted the real presence of Christ in the eucharist, rejected 'transubstantiation,' because it was bound to the Aristotelian-Thomistic concept of substance, which is foreign to the Church of the apostles and the Fathers . . .

"The rigidity and fixity of the Council of Trent generated a static mentality in the liturgy, which has persisted to our day, quick to be scandalized by any change or transformation. And this is an error, because the liturgy is life, a reality of the Spirit living among men. For this reason, it can never be bottled up . . .

"Having emerged from a legalistic and rigid mentality, we witnessed at Vatican II a profound renewal of the liturgy. The cloaks that had covered the eucharist were removed from it. It is interesting to see that originally, the anaphora [the prayer of consecration] was not written, but was improvised by the presider . . .

"The celebration of the eucharist on Saturday evening is not intended to facilitate Sunday recreation, but to go back to the roots: the day of rest for the Jews begins with the sighting of the first three stars on Friday, and the first vespers of Sunday for the entire Church have always been on Saturday evening . . .

"On Saturday, we join the feast with our whole being, to sit at the table of the Great King and taste even now the banquet of eternal life. After the supper, the day concludes with a cordial and friendly celebration . . ."


A QUESTION

Is this supposed to be "the spirit of the liturgy" – the title of a key work by Joseph Ratzinger – that the Vatican authorities are believed to be about to confirm, with the practice that derives from it?

Second Sunday, Simple English Propers

The Benedictine Arrangement in Homiletic and Pastoral Review

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I was very pleased to discover an article by Fr. Stefan Heid posted on the first of this year over at the Homiletic and Pastoral Review website entitled "Cross, Altar and the Right Way of Praying," encouraging the revival of the Roman practice of placing the crucifix on the altar even for versus populum celebrations. Here's just a taste to get you interested:
There will no doubt be some clashes with liturgical committees, when pastors, choosing to follow Roman custom, begin taking their altar crosses out of the closet. In order to forestall precipitous reactions in these debates, we would like to establish the larger context in which the discussion belongs. There are a number of liturgical practices that have disappeared from use over centuries. Without a reflective look at these rituals, however, it could easily happen that even the loveliest of liturgical directives would shrivel into meaningless formalism.

The sacrificial action of the Eucharist takes place on the altar, within a continuous current of prayer: from the prayer over the gifts, through the Eucharistic Prayer, to the Our Father. In this respect, the Eucharistic action is markedly different from the liturgy of the Word that precedes it. The ambo is, strictly speaking, not a place of prayer; the Opening Prayer is better placed at the celebrant’s chair. In the usus antiquior, the priest is always standing at the altar, and almost always praying! The silent prayers are neither private prayers nor mere time-fillers (i.e., horror vacui), but rather to make the altar a place of unceasing prayer.

Once this point has been acknowledged, the implication is that the priest at the altar takes on a different attitude, or mindset, than he has anywhere else. Here he stands, first and foremost, as one who prays. Christianity recognizes this distinctive prayer posture where the priest raises his hands, as well as his eyes. The raising of hands and eyes belongs, inseparably, to the gesture of early Christian prayer, just as Jesus himself practiced in the Jewish tradition. Standing in prayer is also part of this tradition, seen as a fundamental posture for one in prayer; on one’s knees praying, likewise, uses elevated hands and eyes, all dating back to early Christianity. Since the Middle Ages, this prayer posture, with hands and eyes raised, has faded somewhat from practice. Now, it is only the priest raising his hands (and eyes for only a few short moments) because he is reading prayers. He does look up, for instance, in the Roman canon at the time of the consecration while speaking the words: “et elevatis oculis in coelum”. Therefore, Jesus inaugurates the Eucharist “with eyes raised to heaven.”

Even in the ordo novus, the rubric at this point reads: “He (the priest) raises his eyes.” But where exactly is the priest supposed to be looking, at the church ceiling? So when the priest in reciting a prayer is required to look upward, rather than simply staring into space, the obvious focal point is a high-standing cross on the main altar.

Of course, the practice of having a cross on the altar facing the priest is not only needed for a few isolated moments. It has a more general purpose. When the priest stands at the altar in unceasing prayer to God, he will be gazing at God’s Son, through whom his every petition, his every word of praise, is, in fact, offered.

Since God is creator, the world is not chaotic, but a universe divinely fashioned and providentially ordered. There is an “above” and a “below,” or in scriptural terms, upon the heavens his throne is set, earth is his footstool. (Source.)
There are a number of important ideas in play here. First, at a larger level, it strikes me as Fr. Heid has the knack of thinking symbolically, and inhabiting the larger universe of signs that makes authentic liturgy both theologically and intellectually such a joyous experience, something which modern man has largely lost, or, in some instances, exchanged for a dry literalism that sees symbolism as a rather superficial affair of one-to-one correspondences. Secondly, he is interpreting the directives of the liturgy in a larger context, that of their rubrical and historical development--essentially a nutshell version of "mutual enrichment," and a sure medicine against the tendency to reinvent the wheel that even tradition-minded priests may fall into when considering the modern form of the mass in a vacuum.

These are very positive developments, and show, for all our murmurationes about the slow pace of liturgical reform, just how far the spirit of Summorum Pontificium has begun to permeate the way we think about both forms of the Roman liturgy. The whole article is definitely worth your time.

One final digression: Fr. Heid's comments are a good opportunity to bring up the fact that the altar crucifix spoken of in the IGMR is, historically speaking, somewhat different in provenance from the enormous sanctuary crosses that have become the norm in most American churches over the past century. Fr. Heid points out:
Finally, it is further objected that an altar cross creates a doubling of crucifixes, in the case that a cross already hangs above or behind the altar. However, the cross on the altar is for the priest, facing him with its corpus, while the faithful look at their cross above the altar.
The two are functionally different items, and even when a large crucifix was hung over the altar in the context of the Usus Antiquior, a smaller crucifix was permitted for the priest's "private" use as part of the altar's furnishings. While rubrically, it might be dispensed with if indeed the altarpiece was ornamented with a painting or sculpture of the crucifixion, the fact the dispensation was granted at all would appear to indicate that it was more normative to have an altar cross rather than to have a large reredos displaying the crucifixion, and to have both was no redundancy. Even today the current IGMR does not forbid several images of Our Lord in a church, and has considerably softened its stance on the multiplication of other images. (Though, of course, the tatty clutter of 19th century kitsch ought not to simply be substituted for the barren void of twentieth century faddiness. Let us not turn our churches into dioramas entitled The History of Tacky, but rather strike for balance, clarity and noble beauty.) Church-builders and clergy should remember that, while a large altarpiece with the crucifixion is a good and fine thing, it is still something of a historical and geographical novelty. In the end it is the crucifix on the altar which is the most pure expression of traditional liturgical praxis.

A "Conference Room Tomb" outside Turin

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Our readers may be interested to see an article I wrote for the most recent Sacred Architecture analyzing Mario Botta's church of the Santo Volto outside Turin:

That churches are still being built in Italy, a nation where regular mass-goers make up less than 30 percent of the population and that possesses a birthrate that would make your Sicilian grandmother weep, is news not unlike Dr. Johnson’s comment about a dog walking on its hind legs: one is surprised it is being done at all, never mind questions about quality. Yet Mario Botta’s 2006 Chiesa del Santo Volto, dedicated to the Holy Face of Christ, is, at first glance, at least interesting, if austerely modernistic.

Built at a cost of 5 million euro in a former industrial neighborhood of Turin with the Frank Herbert-ish name of Spina 3 (literally, “Thorn 3”), it adjoins an office complex for the archdiocesan curia. It is the centerpiece of a larger town center complex repurposing the buildings of an abandoned set of steel mills―a heartening and humane urban gesture―and the church uses a number of recycled elements as well. As a consequence, a disconcertingly industrial feeling pervades the design. ...

In an English description of the church, the translation speaks of “a conference room tomb” under the main level―presumably a crypt-level parish hall, but the Freudian slip nonetheless accurately describes the entire project. The industrial aesthetic that pervades the project is partially justified by the site’s history.

Such tropes, if they are insisted upon, can be worked into sacred buildings without traumatizing the faithful too much. Edward Schulte’s mid-century modern-traditional cathedral at Salina, Kansas, draws on the Hollywood Midwest cliché of grain elevators in its design. It helps that the interior is embellished with genuine iconography and built on an authentic liturgical plan. The result is, nonetheless, not without problems. While something like this can be done, it ought not to be done often. The Great Plains are more than grain elevators, and presumably the good Christians of Thorn 3 are more than their Bogaro steel mills. Do people who live in an industrial park need to be so thoroughly reminded of the fact? ... [Read More]

Antependium, Santa Maria Della Salute, Venice

Anglican Ordinariate in England Celebrates 1st Anniversary at St. James, Spanish Place

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The Personal Ordinariate of Our Lady of Walsingham recently celebrated its first anniversary with Solemn Evensong, Benediction and a Eucharistic procession at St. James, Spanish Place. The event was presided over by Msgr. Keith Newton, the Ordinary of the personal Ordinariate. Music from the Anglican choral tradition was used.

Amongst the estimated 500 people in attendance were various representatives of the Knights of Malta and Bishop Peter Elliott.










(Photos © Mazur/catholicnews.org.uk)

Here is the full text of the sermon of Msgr. Keith Newton:

Msgr. Keith Newton Sermon on Occasion of 1st Anniversary of Ordinariate


St. Cecilia in Stained Glass

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For those of you curious as to what Matthew Alderman has been up to in the real world, you may be interested to hear of my recent collaboration with Lightworks Stained Glass of Lancashire, England. Founder Daniel Burke writes:

By pure chance, we recently came across the beautiful work of the American liturgical illustrator and designer Matthew Alderman and it immediately struck us how perfectly suited his illustrations would be as cartoons from which to produce stained glass. Having made contact with the [...] artist, who admitted to being greatly inspired by renowned Irish stained glass artist Harry Clarke, Matthew was extremely excited at the prospect of seeing one of his original works physically transformed into stained glass and immediately gave his permission for us to begin work on a producing a sample panel.

The result which can be seen on the right is taken from Matthew’s original illustration entitled St. Cecilia.

[...]

Having completed this initial sample, we are now jointly promoting the work with a view to securing future stained glass commissions in both the UK and USA. Such commissions, having been designed by Matthew and produced by Lightworks, will proudly bare the makers mark “MAS – LSG”.

I cannot stress just how happy I am with the result. Lightworks does exemplary work, and I am extremely impressed at how they took my tiny sketch and transformed it into a vibrant rainbow of color. I very much look forward to future trans-Atlantic ventures with the talented craftsmen of Lightworks.

John Hunwicke's Latin Sermon from Newman's Pulpit at St. Mary the Virgin, Oxford

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From the personal ordinariate of Our Lady of Walshingham comes another bit of good news today, this time about our friend John Hunwicke:

A former Anglican priest and member of the Personal Ordinariate of Our Lady of Walsingham gave the Latin Sermon at the University of Oxford this weekend. John Hunwicke, who is well known for his erudite writing on liturgy and Classics, gave the sermon -­‐ not a sermon in the usual ecclesiastical sense -­‐ in the University Church of St Mary the Virgin on Sunday 15 January, the first anniversary of the establishment of the Personal Ordinariate of Our Lady of Walsingham, with the permission and blessing of the Ordinary. Whilst still an Anglican, Blessed John Henry Newman (who is the patron of the Ordinariate) was the Vicar of St Mary's and it was from the same pulpit that he preached and John Keble gave his Assize Sermon, that the Latin Sermon is given. John Hunwicke joins other Catholics, including Professor Richard Parish, in giving the Latin Sermon.

Here, below, is the same press release, but if you scroll down, you will see the original Latin sermon and an English paraphrase of the same.

Latin Sermon of John Hunwicke, St. Mary the Virgin, Oxford

The Two Feasts of St. Peter's Chair

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The feast of St. Peter’s Chair was originally kept on one of two dates. Some sources, going back to the fourth century, attest to it on January 18th, among them, an ancient Martyrology formerly attributed to St. Jerome. Other sources place it on February 22nd, such as the Philocalian Calendar, which contains an equally ancient list of liturgical celebrations. It is not at all clear why exactly the same feast is found on two different dates, and even less clear why a surprising number of early Roman sacramentaries and lectionaries make no reference to it at all. However, in the later Middle Ages, the January 18th observance had been completely forgotten, and the liturgical books of the period before the Council of Trent, even those of the Ambrosian and Mozarabic Rites, are unanimous in keeping the feast on February 22.

In 1558, Pope Paul IV, (pictured right) a strong promoter of the Counter-Reformation, added a second feast of St. Peter’s Chair to the calendar, on January 18; a response, of course, to the early Protestant Reformers’ rejection of the governing authority of the see of St. Peter and the bishop of Rome. The newly restored feast was assigned to the day given in the ancient manuscripts, particularly the Martyrology “of St. Jerome”; the scholars of the era regarded it as an especially important witness to the traditions of the Roman Church, where Jerome had once live and acted as secretary to the Pope.

Although it was then a very new custom to keep two feasts of St. Peter’s Chair, both were included in the revised Breviary called for by the Council of Trent, and issued at Rome in 1568 under the authority of Pope St. Pius V. January 18th was now qualified, in accordance with the evidence of certain manuscripts, as the feast of St. Peter’s Chair in Rome, while February 22 is renamed St. Peter’s Chair at Antioch, where the prince of the Apostles was also the first bishop, and where “the disciples were first given the name Christian.” (Acts 11, 25) It should be noted that although the January feast was the more recent in terms of the liturgical practice of not just Rome, but the entire Latin Rite, the more important of the two titles is assigned to it, rather than to the better-established feast in February.

January 18th falls eight days before the Conversion of St. Paul; the restoration of a feast of St. Peter to this day was also certainly intended to reinforce the traditional liturgical association of the two Apostolic founders of the church in Rome. The early Protestants claimed justification for their teachings in the writings of St. Paul, several of which became for Luther a “canon within the canon” of the Bible. The two feasts, therefore, form a unit by which overemphasis on Paul is corrected by a renewed emphasis on the ministry of Peter. In accordance with the same tradition, the Use of Rome has always added to each feast of either Apostle a commemoration of the other; thus, the eight day period from January 18 to 25 begins with a feast of Peter and commemoration of Paul, and ends with a feast of Paul and commemoration of Peter.

The same day is also the feast of St. Prisca, who remains in the Tridentine Breviary as a commemoration. It is possible, though by no means certain, that an ancient relic believed to be the actual chair of St. Peter was first kept at or near the same catacomb where this obscure Roman martyr was buried, and later moved to the church on the Aventine hill dedicated to her. This basilica keeps its dedication feast on February 22; it is probably more than chance that both the feast and the dedication of St. Prisca should be on days associated with St. Peter’s Chair.
The former cathedral of Venice, San Pietro in Castello, also claims to possess a chair of St. Peter, that of Antioch. Regardless of the relic's authenticity, the writing on it is certainly Islamic, and of the 13th century.

The Breviary of St. Pius V also added on January 24th a feast found in many medieval Calendars, which, however, had not previously been kept at Rome itself, that of St. Paul’s disciple Timothy. The addressee of two of the Pastoral Epistles, and companion of the Apostle in so much of his missionary work, St. Timothy is very often called an Apostle himself in medieval liturgical books, like St. Barnabas. In the Tridentine Breviary and Missal, he is given the titles Bishop and Martyr; he was beaten to death by a mob in his episcopal city of Ephesus, many years after St. Paul’s death. His feast forms a kind of vigil to the Conversion of St. Paul; by this addition, each of the two great Apostles is accompanied, so to speak, by another Saint prominently associated with him.

Whether by coincidence or design, an interesting group of feasts occurs between that Ss. Peter and Prisca on the one end, and Timothy and Paul on the other. January 19th is the feast of a group of Persian martyrs, Ss. Marius and Martha, and their sons Audifax and Abacum. They were said to have come to Rome in the reign of the Emperor Claudius II, (268-70), and after ministering to the martyrs in various ways, were themselves martyred on the Via Cornelia by decapitation.

January 20th is traditionally kept as the feast of two Saints who died in Rome on the same day, but many years apart. The first is Pope Fabian, who was elected in 236, although a laymen and a stranger to the city. According to Eusebius (Church History 6, 29), he entered the place where the election was being held, and a dove landed on his head; this was taken as a sign that he was the choice of the Holy Spirit, and he was forthwith made Pope. Fourteen years later, at the beginning of the first general persecution under the Emperor Decius, he was one of the first to be martyred. He shares his feast with St. Sebastian, said to be a soldier of Milanese origin, as attested by St. Ambrose himself, but martyred in Rome in 286. The relics of St. Fabian are kept in one of the chapels of the church of St. Sebastian, built over the latter’s grave in the mid-fourth century.

On the following day, the Church has kept since the fourth century the feast of one of Rome’s greatest martyrs, St. Agnes, who was killed in the persecution of Diocletian at the age of twelve or thirteen. She is named in the canon of the Mass, and a basilica built near her grave was one of the very first public churches in Rome, a project of the Emperor Constantine himself, along with those of Ss. Peter and Paul, the Holy Cross, and St. Lawrence.

St. Vincent of Saragossa, another martyr of the last general persecution, has long been held in a special place of honor by the Church, along with his fellow deacons Ss. Stephen and Lawrence, all three of them having been killed in particularly painful ways. The church of Rome added to his feast on January 22 a martyr from three centuries later, St. Anastasius; he was a Persian who converted to Christianity after seeing the relics of the True Cross, which had been stolen from Jerusalem by the Persian king. This is a proper custom of the city of Rome itself; I have not found his feast in any other pre-Tridentine liturgical calendar. A church was built in his honor by the middle of the 10th century, directly across from the future site of one of the city’s most impressive monuments, the Trevi Fountain.

The 23rd of January was long dedicated to St. Emerentiana, the foster-sister of St. Agnes, whose murderers she bravely rebuked. While praying at her sister’s tomb two days after the latter’s martyrdom, she was spotted by a gang of pagan thugs, who stoned her to death. She was still a catechumen, but the Roman Breviary of 1529 states, “There is no doubt that she was baptized by her own blood, because she steadfastly accepted death for the defense of justice, while she confessed the Lord.” The mortal remains of both women are currently kept in a silver urn underneath the main altar of the church of St. Agnes outside-the-Walls on the via Nomentana, and thus, on the very site of Emerentiana’s martyrdom. (Her feast is now a commemoration on the feast of St. Raymond of Penyafort.)
The Martyrdom of St. Emerentiana, shown on a 15th century cup in the British Museum.
To sum up, therefore, Peter is accompanied by a Roman martyr, Paul by a martyr of one of the oldest Greek churches, that of Ephesus, where both he and St. John the Evangelist had lived and preached. Between their two feasts are celebrated martyrs from the two extremes of the Christian world in antiquity, Persia and Spain; native Romans, one the highest authority in the Catholic Church, and one the least and last of its members; a Roman soldier from the venerable see of Milan, representing the might of the Empire, subjected to Christ; and a young woman who in the pagan world was a person of no standing at all, but in the Church is honored as one of its greatest and most heroic figures. The eight day period from January 18-25, then, becomes a celebration not just of the two Apostles who founded the church in the Eternal City, but of the universality of that church’s mission to “preside in charity” over the whole Church, as St. Ignatius of Antioch says, and bring every person of whatever condition to salvation in Christ.

The Entrance Defines Space and Time

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Laetare, Gaudete, Requiem: even now, these words exist as part of the Catholic lexicon. We hear them but most Catholics have no idea where they come from. They are the first words of the entrance chants for, in order, the fourth Sunday in Lent, the third Sunday in Advent, and the funeral Mass. But there’s no particular reason why we should focus on these days instead of others throughout the year. Every Mass has an appointed entrance chant - and these chants have been largely stable since the end of the first millennium.

The new book by Jason McFarland, Announcing the Feast (Liturgical Press, 2011) makes the case that by dropping the text and music, replacing it with something else, we are removing an integral part of the Roman Rite. The entrance chant is not there merely to foreshadow the readings of the day; it is there to build a theological and aesthetic foundation for the entire liturgical experience of the particular Mass that is being celebrated.

The book is hugely significant in many ways. It comes to what might be called “traditionalist” conclusions but does so within the contemporary liturgical context. He points out repeatedly that the Missal is not the only liturgical book for Mass; there is also the Graduale Romanum, which is the musical framework for the Mass. It cannot be neglected. It is not up to us to make up the music we use. The music is given to us in an official book. We need to rediscover it.

The McFarland book covers vast history and offers detailed and subtle arguments for the entrance (or introit). For many people, especially Catholic musicians, this will be the first they have heard of this issue. It will be a surprise. And certainly its use would amount to a dramatic departure from the existing practice of most parishes.

How practical is it to use the entrance? For a parish with a schola (trained or in training), and a community that has already warmed to the depth and meaning of the Latin, it is extremely practical. From my own experience in using it, I can say that it really does prepare the space for the mysteries that follow, and that nothing else quite achieves that precise result as fully and effectively. But how many parishes have the proper groundwork laid to make this possible? I would say: not that many. Perhaps 5%, maybe 10%. Most have no schola. Most congregations are nowhere near prepared to be hit with a big Latin text upon arriving at Mass.

McFarland is aware of this. But he cautions: anytime you change the Latin to English, or you departure from the given melody in favor of something else, you are losing something important. He understands that singing the Gregorian introit is not really an option for most parishes right away. It is not merely a matter of turning a switch or pushing a button. There is much work to be done. So a large part of the book also involves the exploration of viable alternatives. He does a fine but incomplete job here. Even since his work was completed, several wonderful collections of alternatives to the Gregorian have been published, and right now many people are working on more. Some of the names involved: Adam Bartlett, Richard Rice, Adam Wood, Kathy Pluth, Samuel Weber. There are many others. The time of the introit may have finally arrived.

But what of the pastoral considerations? Can it really be so easy to replace the familiar “gathering hymn” with a real piece of liturgical music, even it is in English, even if it has a modern feel to it, even if the people are welcomed to join in the singing? The truth is that many pastors are very afraid to do this. They fear a kind of uprising. They worry that it will put people in a bad mood for the remainder of Mass. Just the prospect introduces anxiety for them and so they decide against it. This is very common.

The other day, I was visiting with a priest who has a very serious music problem in his parish - and I’ll spare you the details because you can probably guess. Hint: it’s the usual problem. In any case, he is ready for a change. He told me that he wants to be begin with introducing an English chant at communion, then move to offertory.

We would never discourage any progress and these are fine ideas. But there is a real problem here. Why are we waiting until the end or the middle of Mass to actually introduce music that is genuinely liturgical?

After a popular and bouncy entrance about some other topic (one or another version of “we are a happy people”), a popular and bouncy Gloria (“here is our happy song”), and probably a nice performance piece stuck into the intermission between the homily and the Eucharistic prayer, it can be jarring and strange to suddenly introduce something serious and meaningful. In fact, I can imagine that this is potentially dangerous from a strategic point of view. You put the chant at risk when you try to sneak it in as if you are adding medicine to soup you are serving a child.

Consider that the entrance might be the best way to begin the reform process. For the most part, people do not arrive at Mass prepared to reflect, pray, and experience the mysterious touch of time becoming eternity. They arrive carrying a gigantic satchel of emotional and mental baggage from the affairs of the week. They are carrying secular concerns in their head, secular tunes in their head, secular thoughts and ideas.

A poorly chosen “gathering song” only says to the congregation: hey, don’t worry about it. Nothing here is really different. This is pretty much the same kind of thing that has happened to you all week. This is more of the same: just another meeting, just another thing to do, just another place to be as you carry out your tedious obligations in life. You are doing this for the kids or maybe to reinforce some religious identity that your parents attached to you from birth. Otherwise, nothing is expected of you and nor should you expect anything to happen to you. It is all going to be over in an hour and you can go about your business.

These are the messages send by the very first piece of music that is heard at Mass. If this is so, how can you expect the homily to penetrate? How can you expect people to really listen to the prayers of the priest? How can you expect people to take the sacrifice on the altar seriously? How can you expect people to get serious about receiving the body of Christ?

It seems that there is wisdom in the Church’s idea to the introit. From the very outset, we hear the words of Christ in the Psalms proclaimed to us. From the Sunday forthcoming: “Let all the earth worship you and praise you, O God. May it sing in praise of your name, Oh Most High.” Then the Psalm verses follow. “Cry out with joy to God, all the earth; O sing to the glory of his name. O render him glorious praise. Say to God, ‘How awesome your deeds!’ “Because of the greatness of your strength, your enemies fawn upon you. Before you all the earth shall bow down, shall sing to you, sing to your name!”

Now imagine this text set to chant so that the text is very clear, proclaimed with confidence. No mixed messages, no yada-yada about the community, no dance beats, no forced rhythms. Now, that’s an entrance. Does it produce some degree of discomfort? Probably it does. Thinking about God and eternity tends to do that. But it works as a kind of stimulus to the spiritual mind and to the soul. It gets us on the right track. It prepares us to understand and be changed by what follows. Why would we ever decline to open Mass with this goal in mind?

There is the issue of whether people will sing along or whether this is a schola chant only. I happen to believe that this whole issue is overwrought. Most people do not arrive at Mass with an itch to belt out a pop tune or sing much of anything immediately. This is why the opening hymn is notoriously undersung by people. There is nothing wrong and much right about letting people just stand and watch the procession without having to fiddle with a book.

But even if this is an issue, there is absolutely nothing wrong with having the people join in to sing the chant, even the Gregorian chant. There is nothing forbidden about that. But neither is there anything wrong with not making it a religious obligation.

The entrance might be the perfect way to begin the reform process. The beginning is sometimes the very best place to start.

The Sacred Liturgy in New France

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From the "Chant in Colonial Canada" page of the Gregorian Institute of Canada come the following interesting images. (Do go over there for more information and further images.)

Rituel du diocèse de Québec, 1703


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Graduel Romain à l’Usage du Diocèse de Québec, 1800


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Guillaume-Gabriel Nivers - In festo Vitae interioris Domini Nostri Iesu Christi, 1668




"This is one of the earliest chant editions specially destined to the Seminary of Saint-Sulpice, comprising the office and mass to be celebrated on the occasion of three feasts: Vitae interioris Domini Nostri Iesu Christi (celebrated on the Thursday following the second Sunday after Easter); Divini Sacerdotii Domini Nostri Iesu Christi (celebrated on August 30); and Vitae interioris B. Mariae Virginis (celebrated on October 19)."


Superior of Spanish Priestly Society on the Promotion of the Usus Antiquior

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Yesterday, I received an email from the English edition of Paix Liturgique; in it came this interview with Padre Manuel María de Jesús, the superior of the Fraternidad de Cristo Sacerdote y Santa María Reina, which fraternity we have featured numerous times here on NLM.


A SPANISH PRIEST AT THE SERVICE OF THE MOTU PROPRIO

A few months ago in Spain the superior of the Fraternidad de Cristo Sacerdote y Santa María Reina, Padre Manuel María de Jesús, published a little book titled "Motu Proprio Summorum Pontificum, Problem or Asset?" This work was soon translated into Portuguese, showing the interest it has garnered in the Iberian peninsula.

This self-published book goes straight to the crux of the issue and is actually breaking the silence surrounding Benedict XVI's liberation of the traditional Mass in Spain as in Portugal. This great silence has been quantified in the survey polls conducted in those countries: in Portugal, according to the 2010 Harris Interactive survey, 74% of Catholics had never heard of the Motu Proprio; in Spain, according to the 2011 Ipsos survey, the proportion reaches 81.7%.

Father Manuel's work is deserving. For this reason, we propose the following interview for you to discover the spirit that motivates him; it is deeply concerned with obeying the Holy Father and is filled with joy and gratitude for the discovery of the traditional liturgy.


The Portuguese cover of Fr. Manuel's book


I – INTERVIEW WITH PADRE MANUEL

1) Father Manuel, would you introduce yourself to our readers?

Father Manuel: My name is Manuel Folgar Otero--Father Manuel María de Jesús in religion. I was ordained in 1988 for the diocese of Santiago de Compostela where for ten years I was an assistant priest at Saint Joseph of Pontevedra, as well as a hospital chaplain, director of the Legion of Mary Curia and spiritual director of a section of the Ladies' Night Adoration. I taught Religion in middle school for twelve years. I have also been the administrator for a number of rural parishes for the past fifteen years and, finally, founder of a private lay association, the Fraternity of Christ the Priest and of Saint Mary Queen (Fraternidad de Cristo Sacerdote y Santa María Reina). From this fraternity came the Missionaries of the Fraternity of Christ the Priest and of Saint Mary Queen, a public clerical association (editor's note: like the Community of Saint Martin) which is also in formation. It is located in Toledo and I have been its superior since 2009.


2) What is your experience of the extraordinary form of the Roman rite and of the place held by the Motu proprio Summorum Pontificum in your life as a priest?

Father Manuel: Given my age--I was born in 1962--I have no memory of the traditional Mass in my childhood, not to mention my youth or later. The first time I ever attended a celebration of holy Mass according to what is now called the extraordinary form was after the year 2000. It was only from 2004-2005 that I got to know the traditional liturgy, during my visits to the monastery of Le Barroux. And in 2007 I was also able to discover the international seminary of the Institute of Christ the King, in Gricigliano, and Cardinal Cañizares who was conferring priestly ordinations there at the time. In fact, it was only after 2007, when the Motu Proprio Summorum Pontificum was published, that I began regularly celebrating the extraordinary form. In October of that year, during an unforgettable audience, Cardinal Castrillón Hoyos, president of the Ecclesia Dei commission, encouraged us.

Today the extraordinary form is a characteristic of our community and is acknowledged as such in our statutes.

My experience has been very positive and, in certain respects, even exciting. I have travelled along the path of discovery of this marvelous treasure that had been hidden from us in the company of my community's brothers as well as with my parishioners. For the older ones it was a rediscovery; for the younger ones, a total novelty. In my various parishes I have never encountered the slightest aversion or resistance against the traditional Mass. This may surprise some people, but it is so. My faithful and I, together, have lived in our own flesh the experience mentioned in the Gospel of the father, a householder, "who bringeth forth out of his treasure new things and old" (Mt 13:52). For us this father was His Holiness Benedict XVI, who opened up to us this marvelous treasure, old yet always renewed, that is the Church's 2000-year-old liturgy, an authentic monument of faith and piety.

In my priestly life it has meant an enrichment at all levels: in doctrine, prayer, identification with Christ priest and victim, etc. And also in so many other aspects I need not get in to today. I'll take this opportunity to point out an error. Some people acknowledge that the traditional liturgy can enrich the priest who celebrates it, but deem it to be detrimental to the faithful on the grounds that it would impoverish them spiritually by markedly decreasing or even preventing their participation and understanding of the liturgy. I must humbly say that this does not correspond to my own experience, quite to the contrary.

The celebration of the traditional liturgy compels the priest to give greater pastoral attention to the faithful, in the sense of devoting more time and energy to their doctrinal and spiritual formation. This permanent formation rests on teaching the true meaning of "actuosa participatio": the interior disposition to uniting oneself to Christ the Victim through the priest as the intermediary who, as minister of Christ and the Church, renews and offers the Holy Sacrifice. It also rests on the greater care with which one forms one's faithful liturgically and mystagogically. What right or basis do we have to underestimate the laity's capacity to participate in the Church's twice-millennial liturgy worthily and fruitfully? There are laymen with little education from simple backgrounds who could tell a thing or two to any number of those who think themselves learned. These are laymen who have never set foot in a school of theology yet who know by heart the content of the faith and who live out the Eucharistic mystery incredibly deeply and in profound union with Christ the Priest. They draw from their participation in the Holy Sacrifice the force and the inspiration to offer themselves up in turn, in their daily life, as living hosts, holy and agreeable to God.

Today, thank God, the faithful can read and follow the texts of the Holy Mass in their missal. They thus associate themselves more perfectly to the Prayers of the Holy Liturgy. This demands a greater concentration and attention than among those who rest content with listening.

Behind many of the objections to the Motu Proprio, one finds more ideology than legitimate reasons.


3) In the introduction to your book, you justify your work by the lack of knowledge regarding the Motu Proprio among Spanish priests and, to an even greater degree, laymen. So you are not surprised by the result of the Ipsos survey that Paix Liturgique commissioned just before the WYD, which indicates that 69.5% of Spanish practicing Catholics had never heard of it?

Father Manuel: I am not surprised at all. As a matter of fact I find that the result seems to fall short of the reality. I am convinced that the overwhelming majority of the faithful has never heard of the Motu Proprio. And that those who have heard something of it, including priests, do not know its content. There is little to be read about it. The idea that predominates, which is totally distorted, is that the Pope has authorized the Latin mass for Bishop Lefebvre's followers, period. Many are those who spread this equivocation with a view to soft-pedaling the Pope's teaching and to minimizing the importance of the Motu Proprio which, by the way, has force of law for the universal Church and which, as such, dictates authentic rights and duties to be respected by all.

Unfortunately, many people satisfy themselves with the sensational headlines that certain media offer and which distort the reality and truth of the report's content.


4) So your book--and its form as well as its content bear this out--principally seeks to make the text of the Motu Proprio and the Pope's desire in liturgy better known. What reception did it have in Spain?

Father Manuel: I've tried to do my best. The reception among those whom the book could reach has been very good, even though our means were limited. I self-published the book and, beyond my personal contacts, the book did not elicit much response besides a few sites on the internet.

For this type of subject you cannot count on Catholic publishers. They are not interested, it doesn't fit in with their editorial line . . . . Think only that when Bishop Schneider's fabulous book, Dominus Est--which is said to have been so pleasing to the Holy Father--was offered to different Spanish editors for minimal copyrights, none was willing to publish it. I don't know how that would go today . . . . And I am here speaking of Catholic publishers, some of whom are reputed to be "conservative". There again, ideology prevails. It's as though they wanted people not to know too much, not to think for themselves, and to bow to the dominant way of thinking. As sad as it is, it is so. Benedict XVI has often denounced the dictatorship of relativism. Well, one could just as well, I suppose, say that there is a dictatorship of single thought that is present and very powerful in certain circles.

Why do some people show so much fear at the idea that people might know, experience, and decide for themselves? Hasn't there been, for many years, a much-proclaimed notion that the laity are now adults? Couldn't we let the faithful decide, and stop throwing spanners into the Holy Father's decisions?


5) In your chapter 9,you insist on the necessary unity of local churches with Rome. Only one Spanish prelate, Bishop Ureña Pastor, has celebrated the extraordinary form in his diocese yet. Can one hope that other bishops will soon follow his example?

Father Manuel: To date, two other Spanish bishops seem also to have actually celebrated the extraordinary form, although this took place in near-secrecy: during WYD. No announcement, no reports. Nearly the only ones who attended were those who were sure to do so as they belonged to groups linked to the extraordinary form. I do not know whose responsibility this situation was, but I won't allow myself to believe that this was done in bad faith.

I don't imagine that other bishops will soon celebrate the traditional Mass in their dioceses, especially since there does not exist any significant demand on the part of the faithful, the religious, or priests. Yet many priests acknowledge that they dare neither learn nor celebrate it out of fear of uncomprehending criticism. In Spain, we are at the Nicodemus stage: we learn to celebrate secretly . . . .

There is no arguing against facts. And the facts tell us that it is up to the most determined and convinced laymen and priests to move things along. I do not know the Holy Father's innermost thoughts, but it seems that with the Motu Proprio the Pope has freed the argument from bishops' arbitrary decisions. These last years Rome has consistently insisted on the "right of the faithful" to participate in the traditional liturgy, not on the right of the bishops to authorize it or not. The highest liturgical authority is the Pope. It is Benedict XVI who promulgated the Motu Proprio and seized the occasion to recall that the traditional Mass was never officially forbidden. This leads me to think that wherever it was in effect forbidden, this was in defiance of the law.

Local churches are called to live in affective and effective communion with the Mother Church of Rome. This communion is expressed and manifested in an excellent way through the liturgy. Without a doubt, in every diocese, the bishop is the supreme responsible person for the liturgy, an office he must fulfill in perfect communion and harmony with the Apostolic See. This is precisely why the Motu Proprio in no way diminishes the bishops' authority.

Another monumental outrage consists in claiming that the coexistence of different liturgical forms jeopardizes ecclesial communion. This argumentation is easily refuted both from an historical point of view and from concrete reality. It is enough to consider the richness of the diverse Oriental and Latin rites. Who can seriously claim that such diversity jeopardizes the unity of the Church? On the contrary, the unity of the Church is under attack when truths of the Faith are denied, when the Magisterium is questioned, when the Vicar of Christ is disobeyed or whenever someone appropriates the liturgy for himself as though it belonged to him, "making it up" for himself outside of the Church's laws.

There are also some bishops who explain that in reality there isn't a sufficient number of the faithful requesting celebration in the extraordinary form. This sometimes happens to be true, at least in Spain. It is also true, however, that one cannot ask for what one does not know. Now, today, many are those who are unaware of the very existence of the extraordinary form and, for that reason, cannot freely express an opinion.


6) Getting back to the Ipsos survey conducted for Paix Liturgique: what do you think of the figure of 50.4% of practicing Catholics who declare themselves ready to attend the extraordinary form at least monthly if it were celebrated in their parish, without taking the place of the ordinary form?

Father Manuel: It does not surprise me per se. I even believe that the actual percentage of attendance might be higher, as I have noticed that wherever the extraordinary form is celebrated--after forty years!--the faithful are filled with wonder and ask to be able to attend again. They do not understand how such a treasure can remain hidden behind a bolted door. And I am speaking of laymen of all ages. It is very strange to see how much children like the extraordinary form. The traditional Mass is especially attractive to altar servers; likewise to young people who are particularly sensitive and disposed to beauty, the sense of mystery, adoration and contemplative silence.

I must also say that a preliminary formation and a veritable liturgical catechesis are required to rediscover all the symbolic, doctrinal, and spiritual wealth of this liturgy. The faithful are delighted by it.


7) Any last comments?

Father Manuel: I'd like to thank Paix Liturgique for this interview. As its name indicates, it seeks to attain liturgical peace and, above all, peace among hearts, which is the fruit of justice. And it is a work of justice to respect the rights of the faithful and to give the traditional liturgy its rightful place! This is how our dearly beloved Pope, Benedict XVI, puts it in the letter accompanying the Motu Proprio Summorum Pontificum: "What earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful. It behooves all of us to preserve the riches which have developed in the Church’s faith and prayer, and to give them their proper place."


To obtain the book (in its original Spanish version), you can send an email to: santamariarenet@hotmail.com or call at: 0034 619 011 226.

Sint-Andriesabdij, Bruges

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We have shown our readers a few images from the stunning Benedictine abbey church of Sint-Andriesabdij near Bruges before, but these photos are spectacular and show forth many exquisite details. I want to thank Rev. James Bradley of the Personal Ordinariate of Our Lady of Walsingham (who took the photos) for sending them into NLM this past autumn.

The church has an interesting mixture of styles within it, from echoes of the Roman basilicas to aspects of "other modern."















Russian Liturgical Chant

Maryvale Institute Offers Course on Sacred Art at its New Centre in the USA

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This is the same course that I developed with the faculty of the Maryvale Institute in Birmingham, England before moving to the United States three years ago. It is now offered in the US as well through the Maryvale Centre at the Diocese of Kansas City, Kansas.

The Maryvale Institute is the only graduate and post-graduate level educational institution with pontifical status in the English speaking world. It is good news that itss courses are now offered in the US via the Diocese of Kansas City, Kansas. This is not your standard online course - the Maryvale Institute has developed its own method of teaching at a distance through use of expertly designed coursebooks and attendance periodically at residential weekends. Termed 'collaborative learning' that is so effective that they view it as superior to the education recieved at conventional full time courses. The recent awarding of pontifical status - it has been created a Higher Institute of Religious Sciences by the Congregation of Catholic Education in Rome - is recognition of not only of its faithfulness to the Magisterium of the Church, but also the standard of excellence in the teaching offered.

The opening residential weekend for their course, Art, Inspiration and Beauty in a Catholic Perspective takes place in Kansas in July is intended both for working artists and those interested in art (with the thought that you might become the future knowledgeable patrons of the art). The weekend is run by course director Dr Caroline Farey with whom I worked closely in Birmingham when the course was first launched and I will teach too. Maryvale's mission is to deliver degree level education to working, mature students. As such it is designed so that no previous qualification is required in order to attend this course. The teaching method works from first principles and so anyone with the innate ability, almost regardless of previous levels of education, will flourish.

European readers should be aware that the course is still offered through the Birmingham campus of the Maryvale Institute in England.

For further details contact ecat2@archkck.org and information about this and other courses offered by the Maryvale Institute Centre in Kansas City can be found here.

NLM Quiz no. 10: What is this Book?

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It seems about time for another of our NLM quizzes. The following is a detail from the title page of a book. What book is it? Use the comments (and as we always suggest, please make your answer first before reading the other commenters comments to make it more interesting.)


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