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A Roman Pilgrim at the Station Churches - Part 10

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Friday of the Fourth Week of Lent - Sant’Eusebio
This church was chosen as the Station for the Mass at which the Gospel of the Raising of Lazarus (St. John 11, 1-45) was traditionally read, because immediately in front of the site was a very ancient burial area, the Campus Esquilinus.

This plaque in the portico notes that Pope Gregory IX (1227-1241) consecrated the church on the day of the Lenten Station in 1238. (March 19th)
Passiontide veils, making not just a comeback, but an early appearance...
 



Saturday of the Fourth Week of Lent - San Nicola in Carcere
The Station for this day was originally at Saint Lawrence Outside-the-Walls, but later transferred into the city at the church with the peculiar name of “Santa Clause in Prison”. This stems for a legend that St Nicholas of Myra was brought to Rome by the Emperor Constantius II for his opposition to Arianism, and imprisoned in the basement of one of the three small Roman temples on which the church now sits.
This notice board for the Stations appeared out of nowhere for the first time on Saturday of the Fourth Week of Lent. Note that the day is referred to by its traditional liturgical name, “Sitientes”, the first word of the Introit. It was formerly a day commonly chosen for ordinations. In the Middle Ages, the station for the following day was announced by one of the Papal notaries at the Mass, with the words, “Holy Father, tomorrow the station will take place at such-and-such a church”, to which the Pope himself would reply, “Thanks be to God.”
 






The same day (April 5th), the Feast of St. Vincent Ferrer - Sung Mass in the Dominican Rite at Santissima Trinità dei Pellegrini
Earlier in the day, our correspondent Agnese was at the FSSP parish in Rome, and took some photographs of a Sung Mass in the Dominican Rite for the feast of St Vincent Ferrer. At the end of the Mass, holy water was blessed with a relic of St Vincent, which was presented to the faithful to be kissed. The “Vincentian water” is commonly used to bless the sick, since St Vincent performed innumerable miraculous cures in his lifetime and afterwards. 
   

The Dominican Rite (Use) has preserved one of the most beautiful customs commonly held in the Middle Ages, by which the priest of the  which we have commented on many times before, dd caption
 

EF Triduum in Philadelphia

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The Sacred Triduum will be celebrated in the Extraordinary Form at Holy Trinity Roman Catholic Church in Philadelphia, with the Holy Thursday Liturgy on April 17 at 7 p.m., the Good Friday Liturgy on April 18 at 5:00 p.m. and the Holy Saturday Liturgy (the Easter Vigil) on April 19 at 5:00 p.m. Holy Trinity is the only church in the Archdiocese of Philadelphia where the Sacred Triduum will be celebrated in the Extraordinary Form.
First Sunday of Lent
Holy Trinity Church has been designated as the permanent worship site for the Extraordinary Form in Center City Philadelphia by His Grace, Charles Chaput, O.F.M Cap., Archbishop of Philadelphia. A Missa Cantata is celebrated every Sunday at noon, preceded by confession and public recitation of the rosary at 11:30 a.m. All are welcome.
Holy Trinity Church is located at the corner of 6th and Spruce Sts., Philadelphia, PA 19106. Free on-street parking is available on Sundays and for the Triduum with a parking placard, which may be obtained at the church. The on-street parking is available on the opposite side of Sixth Street from Pine Street to Washington Square, and on the opposite side of Spruce Street from Fifth Street to Seventh Streets. The parking relaxations for the Triduum on Holy Thursday is 6-10 p.m., 
Good Friday 4-9 p.m., 
and Holy Saturday 4-9 p.m.
The Reverend Ronald W. Check is the Chaplain and Coordinator for the Traditional Latin Mass Community. He and a rota of diocesan priests celebrate the Sunday and feast day Masses. Music is provided by the Schola Cantorum under the direction of Michael Lawrence, organist and director of music. Music for Mass includes congregational hymns, the Gregorian propers and a polyphonic setting of the ordinary, which are taken from the traditional repertoire, with motets and additional music for organ.
Historic Holy Trinity Church was established in 1784 and is the third oldest Catholic church in Philadelphia. The church’s equally historic Hook and Hastings pipe organ was installed in 1892 and continues to be used. For more information about the Traditional Latin Mass Community at Holy Trinity, please visit holytrinitytlm.org. (Submitted by Anthony Corvaia, Jr., Latin Liturgy Association, Philadelphia Chapter, www.latinliturgy.org/phila)
Absolution at the Catafalque, All Souls’ 2013
Candlemas Procession 2014

A New Series: Pope John XXIII in His Own Words

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(1) Introduction

With renewed attention being paid to the Pope who summoned the Second Vatican Council and, on its very eve, promulgated the last editio typica of the traditional Roman Missal (1962), it seems important that we strive to understand this man better, lest we lazily accept the mainstream media’s depiction of him as the herald of the “contemporary church.” (See my article last week for several compelling reasons to think that this could be the Caricature of the Century.)

Reading, many years ago, his spiritual diaries, published as Journal of a Soul, innoculated me against the now-common portrait of John XXIII as a proto-modernist. I highly recommend this eye-opener of a book. The reader will discover in John XXIII a thoroughly traditional Catholic—one who would be vastly more at home today in a Fraternity of Saint Peter parish or an Institute of Christ the King chapel than in the overwhelming majority of postconciliar Catholic parishes. Indeed, inasmuch as Journal of a Soul conveys a coherent Catholic worldview and sensibility regarding life, culture, and religion, a unified vision that has largely perished, it seems to me fair to say that Blessed John XXIII would not have recognized, and would strongly repudiate, much of what has been done over the past half-century in the name of the Council he convoked.

I will also wager that few if any progressives, liberals, or modernists will be citing from this book (or, for that matter, from John XXIII’s papal encyclicals, much less his Apostolic Letter Veterum Sapientia) in all the chatter surrounding the April canonizations. After all, it is so much better for their cause to quote obiter dicta, informal remarks, balcony speeches, and other casual expressions of the mind of John XXIII, while generally ignoring his interior understanding of what he was doing and his formal pronounce¬ments that he knew bore great weight as expressions of the Magisterium. It will therefore fall to sites like New Liturgical Movement to perform a search and rescue operation for Papa Roncalli.

My plan is to publish weekly installments during April of texts I have gathered over a number of years, but I would like to ask NLM readers also to send me any passages from John XXIII that particularly appeal(ed) to them in their intellectual journey or spiritual life. If all goes well, it should be a wonderful opportunity to get to know aspects of this saintly pontiff and of his teaching that are at risk of being ignored.
As a teaser, let me offer two passages.

The first, courtesy of Rorate, surely merits a more widespread diffusion. Here is how Pope John XXIII spoke on January 25, 1959, when he first publicly announced that there would be an Ecumenical Council. Based on the past 50 years, one might have guessed that the announcement would sound a cheery note of rapprochement with modernity together with a desire to adapt (read: water down) Catholic practice and doctrine to suit the people of our time, much as Cardinal Kasper and his allies are advocating right now, in the name of “mercy,” a soft-pedaling of the Commandments and the Gospel. But that’s not quite what John XXIII had to say back in 1959 in his allocution to the Cardinals at Saint Paul Outside the Walls:
All of this—we mean, this [modern] progress—while distracting from the pursuit of higher gifts, weakens the energies of the spirit, leads to the softening of the structure, of the discipline, and of the good ancient order, to great detriment of that which constituted the strength of the resistance of the Church and of her sons to errors, which, in reality, always in the history of Christianity, led to fatal and pernicious divisions, to spiritual and moral decay, to the ruin of nations.
        This assessment awakens in the heart of the humble priest, whom the manifest choice of Divine Providence led, though most unworthy, to this highness of the Supreme Pontificate, it awakens, we say, a resolution influenced by the memory of some ancient forms of doctrinal affirmation and of wise orientations of ecclesiastical discipline which, in the history of the Church, at times of renewal, brought forth fruits of extraordinary efficacy, for the clarity of thought, for the compactness of religious unity, for the livelier fire of Christian fervor, which we continue to recognize, also in reference to the welfare of life down here, as an abundant wealth “de rore caeli et de pinguedine terrae” (Gen. XXVII, 28).
        Venerable Brothers and our dear children! We pronounce before you, certainly trembling somewhat out of emotion, but also with humble resolve of purpose, the name and the proposal of the double celebration: of a Diocesan Synod for the City [of Rome], and that of an Ecumenical Council for the universal Church.  
Here the Pope referred to himself as “the humble priest” who seeks “clarity of thought, compactness of religious unity, and the livelier fire of Christian fervor”—and it is not hard to see, in an entry in Pope John’s diary almost three years later, the very same genuine humility, clarity, and fervor:
It gives me joy to keep faithful to my religious practices: Holy Mass, the Divine Office, the whole rosary, with meditation on the mysteries, constant preoccupation with God and with spiritual things.
        In order that what I say may be not superficial but full of substance, I wish to become more familiar with the writings of the great Popes of old. In recent months I have felt very much at home with St. Leo the Great and with Innocent III. It is a pity that so few ecclesiastics study these writers, who abound in theological and pastoral doctrine. I shall never tire of drawing from these sources, so rich in sacred learning and sublime and delightful poetry. (Journal of a Soul, 319, between 26 Nov. and 2 Dec. 1961)
It is not surprising that we see Pope John’s encyclicals shot through with brilliant quotations from the Popes of the past, the Fathers and Doctors of the Church: they were the authors he read and loved and promoted. It is not surprising he strongly mandated the study of Latin and the dignity and splendor of the liturgy. This was his spirituality; this was his faith; this was the Tradition he cherished. It was left to others after him to transmogrify, repudiate, or even proscribe the very things Papa Roncalli himself thrived upon.

Could We Paint A Wall Street Trader at Prayer in the Style of the Gothic? ...or Is It Only Suitable for Knights in Chainmail?

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I have just completed a class at Thomas More College in which I taught students to paint in the English gothic style of the illuminated manuscripts of the School of St Albans. The images you see are from that class and are egg tempera on high quality paper. The gothic style, though clearly derived from the earlier Romanesque - a form of the iconographic tradition - is nevertheless distinct from it. For one thing it is more naturalistic (though not so naturalistic as the baroque of the 17th century of course).

This naturalism in style reflects a greater interest in the pilgrimage to heaven in this life. This leads not only to the development in style as mentioned, but also to a wider range of subjects painted. We see not only what one would expect in all sacred art - saints and biblical scenes for example (the example shown is the Visitation) - but also the portrayal of scenes from everyday life. Psalters of the periods would have illustrations of people working the fields and engaged in all the working activities of the time. The Westminster Psalter, which was produced in the 13th century, has a picture of a pious knight kneeling before his king.

I do not know anything about this man in particular so would speculate that this represents a model of the chivalric code of the time and the ideal that there is a natural hierarchy of being and that this should all be ordered in conformity with the common good and the Church. At this time of the crusades, knights were conscious of their role of preserving Christendom and of their need for God's protection and grace. Also, they were aware of the grey area that existed in some aspects of the life with all its temptations that a soldier of the time would lead and the Christian ideal of virtue. They exerted pressure on religious communities to pray for them and had an interested in the purity and orthodoxy communities - that they wanted to know that were good and pious religious people so that their prayer would be effective.

My source of information in this latter detail is the series of recorded lectures on the Church in the middle ages by historian Thomas Madden.

My hope is to see this gothic tradition develop in the Western Catholic Church and re-establish itself just as the Eastern Church re-established the iconographic tradition so successfully in the middle of the 20th century. Part of this process is the guided copying of past works. When enough are copied by an artist, then it becomes the natural style of the artist, so that even when drawing from nature it appears in this form.

We copied such images in the class trying to understand what we are painting as we go. I gave students a selection of four images and they were free to choose whichever they preferred. As we were painting the picture of the knight, it occurred to me that to the 13th century reader of the psalter, this would have a picture of a contemporary figure. We must aim to make this style of its time in the same way. It is only when we can look at a similar contemporary figure painted in such holy styles and it seems natural that we will have truly established a Christian culture. As an artist trying to play my part, it will not be until a can portray the pious Wall Street banker (they do exist if any doubt it) at prayer in a pin-stripe suit in the gothic style so that it looks natural.

Any who wish to play their part, there will be more classes in the next few months: July 7th-11th and July 14-18th in Kansas City, Kansas, students are free to do either or both. For those who do both, we will make sure that the second builds on what is learnt in the first: contact Kimberly Rode on kimberlyrode@gmail.com;

Also, there will be another course in New Hampshire at Thomas More College this summer, July 27th-August 2nd: visit thomasmorecollege.edu/SummerProgram/ for more details and see poster below.

In addition, we are just finalizing details for a course in Calgary, Canada in the week of July 21st-25th; and in Pennsylvania in September. For further details as they become available, email me through this website.




Treasures of the Abbey of St. Maurice at the Louvre

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The website of FranceTV reports on a very interesting exhibition at the Musée du Louvre: for the first time in its history, the Abbey of St. Maurice in Canton Valais, Switzerland, is loaning out some of its treasures to be seen in a museum. The Abbey is one of the oldest sites of Christian worship in the world, founded by the bishop St. Theodore in the later decades of the fourth century, on the site of the martyrdom of the St. Maurice and the Theban Legion. It has accumulated and preserved some remarkable pieces over the centuries, including a number of beautiful medieval reliquaries and liturgical items. The exhibition runs until June 14th.
A reliquary box from the first half of the 7th century.
The “Cup of St. Martin”; the sardonyx vessel was made in the 1st century B.C., but the stand and lip are from the 6th century A.D.
A reliquary bust of St. Candidus, one of the Theban Legion, made in 1165. Image from Wikimedia Commons

A Roman Pilgrim at the Station Churches - Part 11

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On Passion Sunday, (the 5th Sunday of Lent) the station is kept at St Peter’s; however, the main event for the pilgrims attending the Station church devotion is not a Mass, but Vespers, after which, the Veil of St. Veronica is exposed for the veneration of the faithful. (We have reported on this before, most recently in 2012.)

The procession before Vespers takes place entirely within the church. When the Litany of the Saints is sung, the names of both St Peter and St Paul are sung twice, according the church’s ancient custom. 
 

When Vespers are finished, the canons and attending clergy descend from the sanctuary and stand in a large circle around the main altar to witness the exposition of the Veil of St Veronica.
 


Whenever a station is held at St Peter’s, the main altar is covered with relics as seen above.
My thanks to Fausto, another friend and fellow parishioner at Trinità dei Pellegrini, for this unique picture of the Basilica taken from the balcony of the Veronica.
Monday of Passion Week - Saint Chrysogonus



Tuesday of Passion Week - Saint Cyricacus
The church of Saint Cyriacus was demolished in 1491 to make way for the construction of Santa Maria in Via Lata, to which the station for today was transferrred.
The crypt, seen here and in the following two photographs, is partly the remains of an ancient house traditionally said to be one of the places where St Paul stayed when he was in Rome.
 



The Exsultet in English -

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We now have a much better English translation of one of our greatest liturgical treasures. This is only the second year it will be in use, so get ahead of the game and start practicing!




Holy Week Schedules in Rome - EF and Byzantine

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The F.S.S.P. parish in Rome, Santissima Trinità dei Pellegrini, has announced the following schedule for the principal services of Holy Week. On the days not listed below, the normal schedule applies, with daily Masses at 7:30 a.m. and 6:30 p.m. Any readers who may be in Rome should know that the Passions of St. Matthew on Palm Sunday, and of Saint John on Good Friday, are sung with the “turba”, the parts that represent the crowd, in the polyphonic settings of Victoria, a major highlight of two very impressive ceremonies; Trinità dei Pellegrini also makes one of the most beautiful altars for the Blessed Sacrament in the whole city.

April 13, Palm Sunday: 9:00 a.m. Low Mass
10:30 a.m. Blessing of Palms, Procession and Pontifical Mass, celebrated by His Excellency François Bacqué, titular Archbishop of Gradisca and Apostolic Nuncio. (Please note that this is a half-hour in advance of the usual Sunday High Mass.)
5:30 p.m. Vespers and Benediction
6:30 p.m. Low Mass

April 16, Spy Wednesday: 8:30 p.m. Tenebræ

April 17, Holy Thursday: 6:30 p.m. Mass of the Lord’s Supper
8:30 p.m. Tenebræ (after the Mass)

April 18, Good Friday: 3 p.m. Stations of the Cross, and Veneration of the Relic of the Cross
6:30 p.m. Commemoration of the Passion and Death of our Lord Jesus Christ
8:30 p.m. Tenebræ (after the Good Friday liturgy)

April 19, Holy Saturday: 10: 30 p.m. Easter Vigil.

April 20, Easter Sunday: 9:00 a.m. Low Mass
11:00 a.m. Solemn High Mass
5:30 p.m. Vespers and Benediction
6:30 p.m. Low Mass
If you are visiting Rome in this period, keep in mind that Easter Monday is a legal holiday, as is April 25th, which is the Friday of the Easter Octave this year. Low Sunday will see the canonization of the Blessed Popes John XXIII and John Paul II; expect significant crowds!

The Pontifical Russian College has the following schedule. The choir of the Russicum is joined for Holy Week and Easter Sunday each year by a choir from Switzerland, the “Romanos der Melode Chor”; the music is among the finest to be heard in the Eternal City.

April 12, Saturday of Lazarus the Just: 7 a.m. Divine Liturgy
6:00 p.m. Night Vigil (celebrated every Saturday while the college is in session, from roughly mid-October to June.)

April 13, Palm Sunday: 10 a.m. Divine Liturgy (the regular Sunday schedule)

April 14-16, Holy Monday, Tuesday and Wednesday: 6 p.m. Vespers of the Presanctified Gifts.

April 17, Holy Thursday: 6 p.m. Divine Liturgy of St. Basil the Great and Vespers. The church will remains open until midnight, as do the majority of the churches of Rome.

April 18, Good Friday: 10 a.m. Matins of the Twelve Gospels
2:00 p.m. Vespers of the Holy Shroud
6:00 p.m. Canon of the Crucifixion of the Lord and the Lamentation of the Mother of God. (Jerusalem Matins)
Last year’s table of the Epitaphios, or “Plashchanitsa”.
April 19, Holy Saturday: 10 a.m. Divine Liturgy of St. Basil the Great and Vespers
10:00 p.m. Reading of the Acts of the Apostles
11:00 p.m. Matins of the Paschal Canon (followed immediately by the Divine Liturgy)

April 20, Easter Sunday: Midnight, Divine Liturgy celebrated by His Excellency Cyril Vasyl,Secretary of the Congregation for the Oriental Churches.
6:00 p.m. Vespers with the reading of the Resurrection Gospel (note that there is no Divine Liturgy at 10 a.m.)

April 21, Easter Monday: 10 a.m. Divine Liturgy

"Deriving Beauty" - An Exhibition on Aurelius Stehle OSB

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The St. Vincent Gallery, on the campus of St Vincent Archabbey and College in Latrobe, Pennsylvania, is holding an exhibition to celebrate Archabbot Aurelius Stehle, elected in 1918 to head the oldest Benedictine monastery in the United States, and author of a well-regarded Manual of Episcopal Ceremonies. The creator of the display, Mr, Jordan Haisey, has written this summary of Archabbot Stehle’s life.
Aurelius Stehle was born in Pittsburgh in 1877, and as a child moved with his family to Greensburg, Pennsylvania. There he attended the parochial school attached to the Benedictine church of the Most Blessed Sacrament and at the age of thirteen entered the scholasticate at Saint Vincent. Completing his studies at the college and seminary in 1899, Aurelius Stehle was ordained to the priesthood by Bishop Richard Phelan of Pittsburgh and for the next nineteen years served at the archabbey in various capacities, first as professor in the classical (college) course, and then, after 1911, as prefect and professor of Latin and Greek in the seminary. He was an accomplished Latinist and for twenty-five years (since his novitiate) had also been master of ceremonies in the monastery, in which capacity he had overseen the monastic celebrations of the liturgy. Aurelius was instrumental in the implementation of Pope Saint Pius X’s 1903 “motu proprio” (Tre le sollecitudini) on church music that restored Gregorian chant to the monastic liturgy. Throughout this time, Aurelius gained a reputation both at Saint Vincent and among churchmen throughout the United States as an expert on liturgy and was often sought out by diocesan liturgists around the country for advice on liturgical matters. In 1915 Aurelius published his “Manual for Episcopal Ceremonies.” While other such manuals were in circulation, this manual was lauded for its clarity and ability to be used and understood by sacristans, masters of ceremonies, seminarians, priests, and bishops. Bishop Canevin of Pittsburgh noted, “[Aurelius] has...not sacrificed clearness for the sake of brevity, nor has he spared labor in his endeavors to find the most reliable interpretations of obscure and doubtful points.”
This display at the Saint Vincent Gallery brings together Aurelius’ “Manual of Episcopal Ceremonies,” letters of correspondence, and liturgical items worn and used by him that highlight the beauty and splendor of the liturgy, as well as his role in the proper celebration of liturgical rites. For more information, visit: http://gallery.stvincent.edu/current_exhibition
Corpus Christ Procession, 1920
 

Some of the liturgical items used by Archabbot Stehle, including a copy of his Manual of Episcopal Ceremonies.
 


A portrait of Archabbot Stehle
A Solemn Profession at St Vincent in 1920

Why can't all Primary Schools have music like this one?

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There can’t be many Primary Schools capable of putting on a Passion Play like the one I attended last night. Arriving at Our Lady of Victories Primary School in Kensington, London, one has an immediate sense of a truly Catholic institution. Housed in a well cared-for building with spotless corridors, immaculately behaved children and a pervading air of respect, there is a tangible Catholic ethos. The calm yet authoritative Head Teacher spoke beforehand of her pride in the children before asking us to refrain from applause at the end. On the walls of the hall were beautiful Stations of the Cross painted by the pupils, and as the children filed onto the stage in their wonderful costumes, there was a real sense of care in the preparation.

But it was the music which particularly caught my attention. As the story of the Passion unfolded, it was interspersed with hymns and choral music sung by the choir of children in Years 4-6 (ages 8-11). All of the music, which included contemporary settings as well as older ones, was beautifully sung, with a real sense of line and exquisite ensemble. Mrs Nicolaou, the Director of Music who had invited me, had chosen some singularly ambitious music, much of it dividing into several parts. She and the choir had clearly worked incredibly hard and the result was that the children, inevitably in such a supportive environment, rose to the challenge. Particularly impressive were Quando corpus morietur and the Amen from Pergolesi’s Stabat mater. This is not music one will often, if ever, hear in a Primary School and the power of good it will have done the children cannot adequately be put into words. Two extremely accomplished former pupils, now at the equally impressive Cardinal Vaughan School (where I was privileged to work for many years) returned to sing a Bach duet. It is no surprise that a school like this inspires such a sense of loyalty. Speaking to the Head Teacher, Mrs Sarah McBennett, afterwards, she told me that they are blessed with incredible parents who support the school. That is the sort of thing Head Teachers will often say, but there can be no doubt that this one says it truthfully.

Triduum Schedules: Hong Kong and Budapest

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The Tridentine Liturgy Community of Hong Kong will have celebration for two days of the Triduum in the Extraordinary Form, the first time since 1969. The celebrant of both Maundy Thursday and Good Friday will be His Eminence Joseph Cardinal Zen, Bishop Emeritus of Hong Kong.

The Capitulum Laicorum Sancti Michaelis Archangeli in Hungary has announced the following Triduum schedule. All services will be held in the old parish church of St John Nepomuk in Gyömrő. (googlemaps link here.)

April 16, Spy Wednesday : 9 p.m. Tenebrae

April 17, Holy Thursday : 5 p.m. Mass of the Lord’s Supper
9 p.m. Tenebrae

April 18, Good Friday : 5 p.m. Liturgy of the Passion
9 p.m. Tenebrae

April 19, Holy Saturday : 7 p.m. Easter Vigil

April 20, Easter Sunday : 8 a.m. Easter Mass

April First Saturday Dominican Rite Mass, Oakland CA

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Through the kindness of the students of the Western Dominican Province, I have the pleasure of publishing some photographs of the Missa Cantata of the Immaculate Heart of Mary celebrated as part of the First Saturday Devotions at St. Albert the Great Priory in Oakland.

The celebrant was Fr. Bryan Kromholtz, O.P., Regent of Studies of the Western Province, and it was his first public celebration of the sung Mass in the traditional Rite.  The servers were Rev. Brother Peter Hannah, O.P., and Brother Christopher Brannan, O.P.  The thurifer was Brother Andrew Dominic Yang, O.P.  Music was provided by a schola of the brothers.

The Father Bryan Intones the Gloria
Blessing the Incense at the Offertory
The Servers bow to each other on returning from the Lavabo.
Communion of the lay faithful (about 30 were in attendence)
For more on this Mass and other new about our students, click here.

A Traditional Missal for Young Catholics [UPDATE]

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When I posted recently about the availability of A Traditional Missal for Young Catholics, I was pleasantly surprised at the positive reaction -- to judge from emails people sent, messages on Facebook, etc., it seems to have responded to a genuine need out there.

Two people wrote to me to suggest that I try publishing the book with CreateSpace, since Lulu is more expensive for full-color publishing. I went ahead and set up the same book at CreateSpace, and having received my proof copy yesterday, I am happy to say that it turned out rather well. The cost is definitely lower -- $12.49 instead of $18.87.

In the interests of accuracy (and to console those who splurged for the Lulu version), I will note that the Lulu version has nicer, heavier, glossy paper that shows off the artwork to better effect, and, on the whole, feels heavier in the hand and more durable. The CreateSpace version is on thinner, grainier paper, but the printing is just as sharp. Due to the differences between the two publishing services, I went with a different cover on CreateSpace. Below are some photos.

So, here are the two links. Please note that, while the covers differ, the internal content is identical.

A Traditional Missal for Young Catholics
(full color, glossy heavy paper) $18.87

A Missal for Young Catholics
(full color, lighter matte paper) $12.49
[photographed below]

Technical Difficulties

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You may have noticed that the “Recent New and Articles” section under the banner, and the “Other Recent Articles” towards the bottom of the page have been empty for the last few days. We haven’t changed our format or gotten rid of these features, but there is an internal issue within blogger which we are working to correct. We are hoping to get everything back to normal within the next few days. The NLM internal search feature and comments are both working normally.
Our technicians frantically at work...

A Roman Pilgrim at the Station Churches - Part 12

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Wednesday of Passion Week - San Marcello al Corso




Thursday of Passion Week - Sant’Apollinare



Friday of Passion Week - Santo Stefano Rotondo
This church has the peculiar name of “Round St. Stephen’s” because it was the only round church built in Rome in antiquity. (The Pantheon is also round, and as a church was also known as “Round St. Mary’s”, but was not of course originally built as a church.) The building originally had three rings, but the outermost was removed in a 12th-century restoration.
In the background on the left is one of a series of 34 frescos which graphically illustrate the deaths of the early martyrs. These were done by the painter Pomarancio for Pope Gregory XIII (1571-85), in whose reign was also published the first post-Tridentine edition of the Martyrology; they have sometimes been called “the Martyrology of Pomarancio.” In the early decades of the Counter-Reformation, these paintings (like the revised Martyrology) were intended to demonstrate that the martyrs in every age bear witness to the same Faith professed in the New Testament by the very first martyr. This, in answer to the claims of the early Protestants, who at that same time were dismantling the devotion which the Church had shown to the martyrs from the very beginning. - In the middle is a side chapel dedicated to Ss Primus and Felician, two brothers martyred at Nomentum in the persecution of Diocletian; their relics were brought to this chapel in the early 7th-century, and still repose in the altar.
 


Saturday of Passion Week - Saint John at the Latin Gate
The building seen here is not Saint John at the Latin Gate, but a small oratory next to it known as “Saint John in oleo - in the oil.” According to a tradition known to Tertullian, and repeated by St Jerome, St John the Evangelist came to Rome some time after the death of Saints Peter and Paul; under the Emperor Domitian, he was boiled in a pot of oil, but emerged from it not only unscathed, but healthier than he had been. He was then banished to the Greek island of Patmos, where he wrote the Apocalypse; a feast commemorating this attempted martyrdom of the Apostle was on the general Calendar until 1960. The oratory is said to be on the very spot where the pot of oil was set up; it is attributed to Donatello Bramante, the original architect in charge of rebuilding St Peter’s Basilica in the early 16th-century.
 




Holy Week Schedules in Paris - EF and Byzantine

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The church of Saint Eugène in Paris has announced the following schedule for Holy Week. (Facebook event listing here.) Our own Henri de Villiers is of course the leader of the École Sainte-Cécile, which sings at Saint Eugène, and also directs the choir of the Russian Catholic church listed below.

April 13, Palm Sunday: 11:00 a.m. Blessing of Palms, Procession, and Mass with the chanting of the Passion of St. Mattthew.

April 16, Spy Wednesday: 8:00 p.m. (roughly; after the 7 pm Low Mass) Tenebræ, with the Responsories of Padre Martini.

April 17, Holy Thursday: 9:00 p.m. Mass of the Lord’s Supper - Washing of the Feet - Stripping of the Altars.
11:00 p.m. (roughly; after the other ceremonies) Tenebræ, with the Responsories of Padre Martini.

April 18, Good Friday: 7 p.m. Commemoration of the Passion and Death of our Lord Jesus Christ, with the chanting of the Passion of St John. The Miserere of Allegri will be sung at Communion.
9:00 p.m. (roughly; after the other ceremonies) Tenebræ, with the Responsories of Padre Martini.

April 19, Holy Saturday: 9:00 p.m. Easter Vigil.

April 20, Easter Sunday: 11:00 a.m. Mass of the Resurrection, with trumpet ensemble. Mass Exsultate Deo by François Cosset – Victimæ Pascali by Canon Revert – Dextera Domini by César Franck.

During the Easter Octave, there will be a sung Mass Monday through Friday at 7pm, on Saturday at 9:30 a.m.

The Russian Catholic Parish of the Most Holy Trinity (directions) has the following schedule.

April 13, Palm Sunday: 8:55 a.m. Matins, with Blessing of the Palms, Divine Liturgy

April 14-16, Holy Monday, Tuesday and Wednesday: 6:15 p.m. Typica
6:30 p.m. Vespers of the Presanctified Gifts.

April 17, Holy Thursday: 12 p.m. Vespers and Divine Liturgy of St. Basil the Great.
7 p.m. Matins of the Twelve Gospels

April 18, Good Friday: 10 a.m. Royal Hours
12:00 p.m. Vespers of the Holy Shroud
19:00 p.m. Matins
April 19, Holy Saturday: 10 a.m. Vespers and Divine Liturgy of St. Basil the Great
9:30 p.m. Little Night Office
10:00 p.m. Matins of the Paschal Canon (followed immediately by the Divine Liturgy)

April 20, Easter Sunday: Midnight, Divine Liturgy celebrated by His Excellency Cyril Vasyl,Secretary of the Congregation for the Oriental Churches.
6:00 p.m. Vespers with the reading of the Resurrection Gospel (note that there is no Divine Liturgy at 10 a.m.)

April 21, Easter Monday: 10 a.m. Divine Liturgy

Passiontide Veils - Your Photos

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Thanks to everyone who sent in photographs of their churches with veils for Passiontide. We are looking forward to seeing your pictures of Palm Sunday and the rest of Holy Week.

Church of the Holy Ghost - Tiverton, R.I. (Fr. Jay Finelli, a.k.a. iPadre)

Holy Trinity - Kuldiga, Latvia

Hermitage Chapel of Our Lady of the Garden Enclosed - Warfhuizen, Groningen province, Netherlands
The person who submitted this photograph also tells us that the statue of the Virgin Mary in this shrine is never covered because it is a “Genadebeeld”, a statue (or picture) that is the focus of a pilgrimage. Note, however, that she is covered in black; a similar custom is common in Italy. The hermitage is actually inhabited by a hermit, whom the members of a confraternity help to veil the shrine. The second photograph shows what the chapel looks like without the veils.


Old St Mary’s  - Cincinnati, Ohio


Chapelle du Sacré-Coeur de Lindthout, Brussels, Belgium

Oratory of Ss. Gregory and Augustine - St. Louis, Missouri

Abbey of St Gregory the Great (Downside Abbey) - Downside, Somerset England
Downside Abbey has continuously maintained the custom of veiling the statues and pictures in Passiontide, even in the refectory and sacristy, as seen below in the 2nd and 3rd pictures. (The chapel of St Sebastian by Comper is currently in this state because of restoration work being done on the roof.) In religious houses of all kinds, pictures and statues were traditionally veiled throughout in all the buildings, not just in the church itself.



St. Catherine Labouré - Middletown NJ

St Anthony of Padua - Cody, Wyoming

St. Mary of Perpetual Help - Chicago, Illinois

St Mary’s - Remson, Iowa

St Theresa - Corpus Christi, Texas

Church of Our Savior - New York City

Our Lady, Star of the Sea - Bremerton, Washington

St Joseph’s, Longsight - Manchester, England

John XXIII in His Own Words (2): The Mass and the Priesthood

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Pope John XXIII celebrating Mass
A reader of Pope John XXIII’s writings will often find him quoting or paraphrasing the text of the Holy Mass—in the only form in which he knew it, of course: the traditional Latin Mass, that inexhaustible nourishment of the saints. I will bring together here a few poignant examples.

In Pope John’s inaugural encyclical Ad Petri Cathedram—a majestic exposition of the truth, peace, and unity that are found in and through the Catholic Church alone, to which the Pope graciously invites all mankind and especially Christians not in full communion with the Church (no wishy-washy ecumenism here)—we find a succinct treatment of the Church’s “unity of worship,” a reality that was at that time very perceptible across the world.
74. As for unity of worship, the Catholic Church has had seven sacraments, neither more nor less, from her beginning right down to the present day. Jesus Christ left her these sacraments as a sacred legacy, and she had never ceased to administer them throughout the Catholic world and thus to feed and foster the supernatural life of the faithful.
        75. All this is common knowledge, and it is also common knowledge that only one sacrifice is offered in the Church. In this Eucharistic sacrifice Christ Himself, our Salvation and our Redeemer, immolates Himself each day for all of us and mercifully pours out on us the countless riches of His grace. No blood is shed, but the sacrifice is real, just as real as when Christ hung from a cross of Calvary.
        76. And so Saint Cyprian had good reason to remark: “It would be impossible to set up another altar or to create a new priesthood over and above this one altar and this one priesthood.”
        77. Obviously, of course, this fact does not prevent the presence in the Catholic Church of a variety of approved rites, which simply enhance her beauty. Like a king’s daughter, the Church wears robes of rich embroidery.
        78. All men are to have part in this true unity; and so, when a Catholic priest offers the Eucharistic Sacrifice, he presents our merciful God with a spotless Victim and prays to Him especially “for Thy holy Catholic Church, that it may please Thee to grant her peace, to protect, unite, and govern her throughout the world, together with Thy servant our Pope, and all who truly believe and profess the Catholic and Apostolic faith.”
Pope John seemed especially drawn to the Offertory prayers of the Roman Missal, which were abolished by his successor in 1969. Here are two passages from his diaries in which he spontaneously expresses himself in the words of the offering of the chalice.
My failings and incapacities, and my “countless sins, offences and negligences” for which I offer my daily Mass, are a cause of constant interior mortification, which prevents me from indulging in any kind of self-glorification but does not weaken my confidence and trust in God, whose caressing hand I feel upon me, sustaining and encouraging.  Nor do I ever feel tempted to vanity or complacency.  “What little I know about myself is enough to make me feel ashamed.”  What a fine saying that is, which Manzoni put in the mouth of Cardinal Federico [in The Betrothed, ch. 26].  (p. 301; between 27 Nov. and 3 Dec. 1960)
First of all: “I confess to Almighty God.”
        During my whole life I have kept faithful to my practice of weekly confession.  Several times during my life I have renewed my general confession.  So now I content myself with a more general examination, without precise details, but in the words of the offertory prayer of my daily Mass: thinking of my “countless sins, offences and negligences,” all of which have already been confessed in their turn but are still mourned and detested. …
        The vivid memory of the failings of my life, eighty years long, and of my “countless sins, offences and negligences” was the general matter for my holy confession which I renewed this morning to my spiritual director, Mgr. Alfredo Cavagna, here in my bedroom where my predecessors Pius XI and Pius XII slept, and where in fact Pius XII died on 9 October, 1958, until now the only pope to die here at Castel Gandolfo, in the summer residence.
Lord Jesus, as you assure me of your great and eternal forgiveness, so continue to have pity on me.  (pp. 304-5, 11 August 1961)

The Priest and the Eucharistic Sacrifice


John XXIII celebrating the Papal Mass
The most outstanding public testament to Pope John’s deep and abiding love of the Mass is his encyclical on the priesthood, Sacerdotii Nostri Primordia, of August 1, 1959, for the centenary of the death of St. John Vianney.
The devotion to prayer of St. John Mary Vianney, who was to spend almost the whole of the last thirty years of his life in Church caring for the crowds of penitents who flocked to him, had one special characteristic—it was specially directed toward the Eucharist.
        It is almost unbelievable how ardent his devotion to Christ hidden beneath the veils of the Eucharist really was.“He is the one,” he said, “Who has loved us so much; why shouldn’t we love Him in return?” He was devoted to the adorable Sacrament of the altar with a burning charity and his soul was drawn to the sacred Tabernacle by a heavenly force that could not be resisted.
        This is how he taught his faithful to pray: “You do not need many words when you pray. We believe on faith that the good and gracious God is there in the tabernacle; we open our souls to Him; and feel happy that He allows us to come before Him; this is the best way to pray.” He did everything that there was to be done to stir up the reverence and love of the faithful for Christ hidden in the Sacrament of the Eucharist and to bring them to share in the riches of the divine Synaxis; the example of his devotion was ever before them. “To be convinced of this”—witnesses tell us—“all that was necessary was to see him carrying out the sacred ceremonies or simply to see him genuflect when he passed the tabernacle.”
        As Our predecessor of immortal memory, Pius XII, has said: “The wonderful example of St. John Mary Vianney retains all of its force for our times.” For the lengthy prayer of a priest before the adorable Sacrament of the Altar has a dignity and an effectiveness that cannot be found elsewhere nor be replaced. And so when the priest adores Christ Our Lord and gives thanks to Him, or offers satisfaction for his own sins and those of others, or finally when he prays constantly that God keep special watch over the causes committed to his care, he is inflamed with a more ardent love for the Divine Redeemer to whom he has sworn allegiance and for those to whom he is devoting his pastoral care. And a devotion to the Eucharist that is ardent, constant and that carries over into works also has the effect of nourishing and fostering the inner perfection of his soul and assuring him, as he carries out his apostolic duties, of an abundance of the supernatural powers that the strongest workers for Christ must have. …
        If it is obviously true that a priest receives his priesthood so as to serve at the altar and that he enters upon this office by offering the Eucharistic Sacrifice, then it is equally true that for as long as he lives as God’s minister, the Eucharistic Sacrifice will be the source and origin of the holiness that he attains and of the apostolic activity to which he devotes himself. All of these things came to pass in the fullest possible way in the case of St. John Vianney.
        For, if you give careful consideration to all of the activity of a priest, what is the main point of his apostolate if not seeing to it that wherever the Church lives, a people who are joined by the bonds of faith, regenerated by holy Baptism and cleansed of their faults will be gathered together around the sacred altar? It is then that the priest, using the sacred power he has received, offers the divine Sacrifice in which Jesus Christ renews the unique immolation which He completed on Calvary for the redemption of mankind and for the glory of His heavenly Father. It is then that the Christians who have gathered together, acting through the ministry of the priest, present the divine Victim and offer themselves to the supreme and eternal God as a “sacrifice, living, holy, pleasing to God” (Rom 12:1). There it is that the people of God are taught the doctrines and precepts of faith and are nourished with the Body of Christ, and there it is that they find a means to gain supernatural life, to grow in it, and if need be to regain unity. And there besides, the Mystical Body of Christ, which is the Church, grows with spiritual increase throughout the world down to the end of time. …
        Speaking as a Father, We urge Our beloved priests to set aside a time to examine themselves on how they celebrate the divine mysteries, what their dispositions of soul and external attitude are as they ascend the altar and what fruit they are trying to gain from it. . . .
        When We gaze from this height of the Supreme Pontificate to which We have been raised by the secret counsels of Divine Providence and turn Our mind to what souls are hoping for and expecting, or to the many areas of the earth that have not yet been brightened by the light of the Gospel, or last of all to the many needs of the Christian people, the figure of the priest is always before Our eyes. If there were no priests or if they were not doing their daily work, what use would all these apostolic undertakings be, even those which seem best suited to the present age? Of what use would be the laymen who work so zealously and generously to help in the activities of the apostolate? (nn. 45-48, 52-53, 59, 98-99)
Pope John Celebrating the Divine Liturgy
We see here a Pope whose Eucharistic theology and piety are utterly traditional, at one with the Church Fathers, St. Thomas Aquinas, the Council of Trent, and all that is best in the medieval and early modern periods. What we do not catch sight of, ever, in his diaries or in his papal writings is that querulous modernist spirit that downplays, relativizes, or even denies outright the sacrificial character of the Mass, the real presence of Our Lord in the Blessed Sacrament, the value of Eucharistic Adoration, the fittingness of solemnity, reverence, and beauty in the carrying out of the liturgy, and—to sum it up handily—all that Pius XII authoritatively taught in his 1947 encyclical Mediator Dei, of which, not surprisingly, John XXIII has this to say:
It is not Our intention at this time [in Sacerdotii Nostri Primordia] to enter upon a lengthy treatment of the Church’s teaching on the priesthood and on the Eucharistic Sacrifice as it has been handed down from antiquity. Our predecessors Pius XI and Pius XII have done this in clear and important documents [Ad Catholici Sacerdotii; Menti Nostri; Mediator Dei] and We urge you to take pains to see to it that the priests and faithful entrusted to your care are very familiar with them. This will clear up the doubts of some; and correct the more daring statements that have sometimes been made in discussing these matters.
I cannot help thinking that it was just such doctrinal convictions and sentiments that prompted John XXIII to push back against the excessive influence of Fr. Annibale Bugnini under Pius XII. Bugnini had been secretary of the preconciliar commission on the liturgy, but in October 1962 Pope John appointed Fr. Ferdinando Antonelli secretary of the conciliar commission on the liturgy instead, and demoted Bugnini to the position of a peritus. At the same time, Bugnini was removed from the professorship of Liturgy at the Pontifical Lateran University in Rome "because his liturgical ideas were seen as too progressive" (says his close collaborator, Piero Marini, in A Challenging Reform). Would that Bugnini's fortunes had dwindled away to nothing and the later work of the Consilium had been nipped in the bud! It was already far too late by the time Paul VI, thoroughly disenchanted, exiled Bugnini to Iran.

One more reason to rise up and call John XXIII blessed: he knew well the teaching of Holy Mother Church, and he told the faithful again and again to adhere to it as to an unfailing rule. He wanted to find new ways to proclaim the Faith to modern man, but the content was always to be the very same ancient Faith that he knew modern man needed—there was to be no innovation or compromise about that. In this respect John XXIII was very different from many ecclesiastical rulers we have seen since the Council, and therefore stands as a reproach to them.

PDF Download: The Fulton J. Sheen Sunday Missal (1961)

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A GUEST POST BY JEFF OSTROWSKI
The famous Fulton J. Sheen Sunday Missal (1961) is now available for free download. Needless to say, Archbishop Sheen did not produce the Missal alone: it was a joint effort by many, especially the Jesuit priests Rev. Philip Caraman and Rev. James Walsh. However, Sheen did compose the lengthy Introduction (which every Catholic ought to read) and seems to have exercised an influence on the general contents. For example, the choice of English translations—Msgr. Ronald Knox for the Lauda Sion, Gerald Manley Hopkins for the Adoro Te, and so forth—is a clear signal of Sheen's involvement, because of his well-known admiration for those literary giants.
In addition to the aforementioned Introduction, Sheen's Missal has several other remarkable features. The descriptions of priestly vestments are excellent. It also includes the entire "Fore-Mass" (as Fortescue called it) alongside the readings for every feast. That choice meant printing the "Kyrie Eleison," for example, close to eighty times. Finally, certain translations employed are noteworthy, especially poetic texts like the sequences and Pange Lingua. Similar to the Campion Missal, the editors made judicious use of drop caps and went out of their way to print all the "extra" post-Pentecost Masses in addition to every feast that could ever occur on a Sunday—a tremendous help to Catholics in the pews. The date of publication (1961) is fascinating, considering what would come a year later! The pages use a single numbering system for matching Latin/English pages. Furthermore, it's nice that this book contains most of the changes of the 1962 Missal, such as the Holy Week of Pius XII and optional dialogue Masses.

This book must have been in production for many years. For one thing, it shows such elegance. The unified, lovely images (such as the Divine Pelican, often preached on by Sheen) appear to have been created specifically for this layout. In general, the book seems like an effort to make a significant contribution to Catholics' liturgical life. I mentioned earlier the distinctive translations such as: "Raise your hearts."—"They are raised to the Lord."

For myself, the most interesting part of the book is the translation used for the Pange Lingua of Fortunatus (Good Friday). Producing the Campion Missal, we spent two whole weeks searching for different translations of this magnificent hymn. Sheen ultimately decided upon a metered translation which doesn't rhyme: a truly marvelous choice.







New Images of the Stations of the Cross - the Sacred Art of Helen McIldowie-Jenkins

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A reader has directed my attention to the paintings of this London based Catholic painter. She bases here style on the 14th century Italian gothic style. I am encouraged that she is developing so well a voice, so to speak, that is characteristic of the Western tradition. I am reminded of the Florentine painter Lorenzo Monaco, whose paintings I used to see regularly in the National Gallery in London when I lived there. The link for the full set on her website is here; and to her notes on the commission here.

These new Stations were blessed by the Bishop of Norwich at Wymondham Abbey on Laetare Sunday.

There is one point of consideration here and that is the choice of painting the buildings in the style of 14th century Italy and some of the figures dressed in clothes contemporary to that period (we see that in the 5th station particularly. When painted, these were echoes of what the world around them looked like at that time. One might argue that today, if we were to adopt the same principle, we would be showing modern buildings and modern clothes painted in a gothic style. It is difficult to imagine, but it is the job of the artist to imagine for us. This is the talking point that I brought up recently in connection with my own work in the style of the English School of St Albans. I painted a pious knight in chainmail and wondered if I should have been painting a pious Wall Street trader in pinstripe suit as a modern equivalent!

On the other hand it might be argued that although not historically accurate representation of Palestine of 2000 years ago is nevertheless convincing to the modern viewer in regard to sacred art. We are not concerned with strict historical representation provided the principles that we do wish to convey are communicated, and the style is certainly the right balance of naturalism and abstraction that one would want to see. One could argue therefore, that it evokes another age sufficiently for us to acknowledge that this event took place historically in the past and then we move past that and on to the spiritual lessons.


Christ meets his mother


Christ's Second Fall

Christ is nailed to the cross



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