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Does Chaos Emerge from Order, or Order from Chaos?

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In his book on the design of the Westminster pavement, Patterns of Thought; the Hidden Meaning of the Great Pavement of Westminster, published in 1991, Richard Foster interprets the meaning of the complex geometric design, which is based on a shape called a quincunx.

PHOTO: https://www.westminster-abbey.org/about-the-abbey/history/cosmati-pavement
A quincunx is a geometric pattern consisting of five points arranged in a cross, with four of them forming a square or rectangle and a fifth at its center. It has its origins in Roman times, and will be most familiar to many of us today as the arrangement of five dots on one of the faces of a six-sided die. It has cropped up in many places as a design principle even, for example, to encourage contemplation in geometrically set-out gardens.


As we can see, the quincunx in the Westminster pavement is actually a series of several interconnected quincunxes in which one can spin outwards, following a line from the center out to the edge, and then return by spiraling inwards. This exit-and-return motif was interpreted by Foster, in this particular arrangement, as a geometrical representation of the creation of the cosmos by God in which all of time and space emanate from and then return to a single principle. That principle is represented by the central circle, which is the largest of the cut stones in the whole floor. In this sense, it encapsulates in broad terms story the created world and salvation history.

This video was made in 2010 after the completion of the restoration of the floor, and prior to its permanent opening to the public, after being hidden under a carpet for 150 years.


As I looked at this, it occurred to me that this geometric portrayal of the connection between the one and the many might give us some clues to the mechanism behind the creation of emergent order.

The existence of patterns of order, such as common law, common sense, and the common good, is discernible when a society as a whole is observed. In these cases, they communicate to us what society as a whole holds to be just, wise, and desirable. Many individuals who might only be dimly aware of their existence, are nevertheless contributing to them by their daily activities and interactions with others, through an innate sense of how these principles apply to them personally. Even those who wish to dissent from the collective order often somehow contribute to it despite themselves. It is not easy for us to eradicate our own human nature.

This pattern of an order which emerges at the macroscopic level out of an array of mathematically random events, events which happen at the level of the individual, and seems to be observable different aspects of existence, is difficult to account for. Rather than clearing up this dilemma of the connection between the one and the many, modern fields of study seem to compound it. In 1974, for example, Frederick Hayek was given a Nobel Prize in economics. One of Hayek’s great insights was the description of what he called the ‘spontaneous order’ of a market that seemed to respond to the collective knowledge of the demand and supply of goods and services, despite the fact that no single person who was participating in the market, including those in government, had full knowledge of this information.

Modern science faces a similar dilemma in its struggle to reconcile quantum physics with Newtonian (or ‘classical’) physics; that is, to explain how the behavior of the individual molecules, atoms, and even the sub-atomic particles from which all matter is composed, gives rise to the order that is observed at the macroscopic level.

In each case, there are no detailed explanations of a mechanism by which the pattern of individual behavior is connected to the pattern of the whole. We simply observe that it is so.

Attempts to provide such a cause will tend to limit attention to the behavior at the level of the individual or particle as a cause of the order at the wider level. So, the assumption is that each system follows what the modern scientist would recognize as the law of cause-and-effect. By this assumption, Newtonian physics is caused by the accumulation of the effects of what happens at the quantum level. By a similar approach, we might argue that what we observe to be common law is caused by the behavior of individuals within that society. But this is an arbitrarily applied restriction that is a handicap to genuine inquiry. In the language of the philosopher, we would say this approach is limiting our consideration to efficient causes only when the explanation might lie elsewhere.

It occurs to me that principle that the interpretation of the pattern of the Westminster pavement outlined above might offer us help here. Perhaps we should consider final causes too?

The central circle in the pattern represents God, who is both the first and final cause of creation. The cosmos comes from God, and it returns to Him. In an isolated system that is a part of the whole, this dynamic would become efficient, proximate, and final causes respectively. Another way of looking at this from a temporal perspective is to say that just as the past pushes, the future pulls. Considered this way, the final cause accommodates efficient causes, just as efficient causes conform to the final.

Under this picture, the emergent order is as much a cause of the individual behavior as it is an effect that arises from it. So we would say that Newton physics could be considered at least as much a cause of quantum events as the other way around, and this being the case, any attempt to explain a mechanism without taking proximate final cause into account would be incomplete. In the social sciences, the ideals of the common good, common law, and even the free market indicate principles of what ought to happen as much as what does (given man’s exercise of free will). So this says that the common good ought to govern the behavior of the person, rather than the other way around.

Culture, the work of man in cultivating the goods and values of nature, is another emergent order. However, in the case of culture, we are accustomed to thinking of it as being simultaneously the cause and effect of human behavior - that is both efficient and proximate final cause. When all of these influences are in harmony with the ultimate final cause then we delight in it and consider it beautiful. We want to live in a beautiful culture because, as Roger Scruton put it, it tells us ‘that we are at home in the world.’

I would go further and say that the recognition of the beauty of these patterns of emergent order, which are based upon what is good and true, will delight us. Consequently, we delight in our apprehension of the beauty of the cosmos, and in a Christian culture. We are delighted because contemplation of them elevates our minds from the particulars to the universals that they point to, and ultimately to God. In the same way, the flawed individuals of the institutional Church direct us collectively to Truth and the mystical body of Christ. God is the uncreated Light that illuminates and delights and whom, ultimately we behold joyfully.

It is our recognition that they direct us to our final rest, maybe only at some pre-conscious level, that causes our delight in details of His creation. Listen to the comments of the people who viewed the pattern of clouds of starlings flying at dawn.


The patterns of the clouds of birds, incidentally, remind me of those of the swirling aurora borealis which are caused by charged particles from the sun striking air molecules in places where the Earth’s magnetic field is strong, that cause those molecules’ atoms to become excited.


A Special Offer from the Monastère Saint Benoît on Table Blessing Booklets

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The Monastère Saint Benoît in La Garde-Freinet, France (diocese of Fréjus-Toulon), will soon be moving into a new permanent home during the summer, a medieval commandery in the town of Brignoles. In preparation for the move, they need to reduce their stock of Benedictiones Mensæ, their 2019 publication of the traditional prayers before and after meals for each day, including all of the proper prayers for the greater feasts and their octaves, in Latin, and newly typeset with their proper Gregorian chant.


Accordingly, the price has now been reduced by approximately 50%, from €4,95 per copy to €2,50 per copy (hitherto the wholesale amount for purchases of 100 or more copies). This offer lasts up to and including the feast of Saint Benedict, July 11th.

For convenience, one may use the PayPal button on their website to order:
https://www.msb-lgf.org/news/benedictiones-mensae-special-offer-until-july-11th.

It has been set up to allow for ordering the maximum number of booklets in the relevant postage band. The postage price is the same for all countries outside of France.

1 copy: €5,50 including postage worldwide
​4 copies: €17,50 including postage worldwide
8 copies: €31,95 including postage worldwide
18 copies: €65,00 including postage worldwide

To order in France, or to order different quantities, please contact the monastery with the number of booklets required, and they will send a PayPal invoice including the relevant postage charge: monasteresaintbenoit@gmail.com. The booklets will be despatched as quickly as possible.

The New Prefaces of the EF Mass, Part 6: The Preface of All Saints and Patron Saints

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The first article in this series contains a history of the preface as a feature of the Roman Mass to which the reader may find it useful to refer.
Of the seven prefaces recently made optional in the Missal of the Extraordinary Form, four come from the post-Conciliar reform (those of the Angels, St John the Baptist, the martyrs, and the wedding Mass), and three were originally composed for the 1738 neo-Gallican revision of the Missal of Paris (those of the Blessed Sacrament, of All Saints and Patron Saints, and the Dedication of a Church). When the neo-Gallican Uses were gradually suppressed over the course of the 19th century, some of their features were retained by being incorporated into the French supplements “for certain places” in the Roman liturgical books, these latter three prefaces among them. The recent decree Quo magis gives universal permission for their use whenever the appropriate Mass is celebrated in the Extraordinary Form. Here then is the preface of All Saints and Patron Saints; in this case, I include the full text of the doxology, which is slightly different from the normal form.

The Mass of All Saints day in a Parisian Missal from the end of the 15th century: Bibliothèque Mazarine, Ms 412; folio 352r (image cropped).
VD: Qui glorificáris in concilio Sanctórum, et eórum coronando mérita, corónas dona tua: qui nobis in eórum praebes et conversatióne exemplum, et communióne consortium, et intercessióne subsidium: ut tantam habentes impósitam nubem testium, per patientiam currámus ad propósitum nobis certámen, et cum eis percipiámus immarcescíbilem gloriae corónam. Per Iesum Christum Dóminum nostrum, cuius sánguine ministrátur nobis intróitus in aeternum regnum. Per quem maiestátem tuam trementes adórant Angeli, et omnes Spirítuum caelestium chori socia exsultatióne concélebrant. Cum quibus et nostras voces, ut admitti iubeas, deprecámur, súpplici confessióne dicentes:

Since this preface was not adopted into the Novus Ordo, there is no official English version of it; here is my own very literal rendering.

“Truly it is worthy... everlasting God: Who art glorified in the council of the Saints, and by crowning their merits, crownest (also) Thy gifts. Who in their manner of life givest us an example, a share in their communion, and help in their intercession; so that ‘we also, having so great a cloud of witnesses over our head, may run by patience to the fight proposed to us, (Hebrews 12, 1), and with them ‘receive a never fading crown of glory.’ (1 Peter 5, 4). Through Christ our Lord, by whose blood ‘an entrance is ministered to us into the everlasting kingdom.’ (2 Peter 1, 11) Through Whom the Angels adore Thy majesty in trembling, and all the choirs of the heavenly spirits with shared rejoicing praise. And we pray that Thou may command our voices to be brought in among them, saying with humble confession:”
Dom Prosper Guéranger (Public domainimage from Wikimedia Commons.)
Our friends at Canticum Salomonis recently published this excerpt from the Institutions Liturgiques of Dom Prosper Guéranger (vol. 2, cap. 19; p. 321), the great enemy of the neo-Gallican liturgical reform, who was largely responsible for convincing the French bishops to adopt the use of the Roman liturgical books.

“Why, then, were the prefaces of Advent, the Dedication, All Saints, and even St Denis not taken from the ancient sacramentaries? Why commission the composition of entirely new ones from doctors of the Sorbonne, whose style, so prolix, so bloated, is so far from the refined cadences of St Leo and St Gelasius?

Why, above all, was a heretic like Dr Laurent-François Boursier, expelled from the Sorbonne in 1720 for having written against the Council of Embrun, given the honor of composing such sacred prayers? To this man the Church of Paris owes the Preface of All Saints, also sung on patronal feasts. In this Preface, Boursier tells God that, by crowning the merits of the saints, He crowns his own gifts: “eorum coronando merita, coronas dona tua”: a very Catholic expression in one sense, and a very Jansenist one in another. [1]

As a liturgical historian, we would be remiss if we did not mention that Boursier died on 17 February 1749 in the parish of Saint-Nicolas-du-Chardonnet, without having retracted his Appeal [2]. The curé of this parish, although an opponent of the Appeal, nevertheless administered the Sacraments to Boursier, and the Archbishop of Beaumont therefore exiled him to Senlis for his act of schism. And yet Boursier’s Preface continued, and continues, to be sung!”

It is certainly fair to ask why these prefaces were not just restored directly from the ancient sacramentaries, although Guéranger, ever the Romantic, seems to take it for granted that the Popes personally composed the liturgical books named for them. (In point of fact, the terms “Leonine” and “Gelasian” sacramentaries are inventions, and rather fanciful ones at that, of scholars who lived more than a millennium after the Popes in question, and the Leonine Sacramentary is not a sacramentary at all.) The answer to his question lies in the text itself, which the reader will have noticed contains three almost direct Biblical quotations. One of the most basic ideological conceits of the neo-Gallican reform was to replace as many of the Church’s own liturgical compositions as possible with artlessly selected verses of Scripture, and very few of the ancient prefaces fit with this conceit.

Folio 160v of the Echternach Sacramentary, 895AD; the secret and preface of All Saints day are the first two texts at the top of the page. (Bibliothèque nationale de France. Département des Manuscrits. Latin 9433)
By point of comparison, here is the preface for the feast of All Saints found in many Gregorian sacramentaries from the mid-9th century on; it is still used in the traditional Ambrosian Mass to this day. [3]

VD: Clementiam tuam suppliciter obsecrantes, ut cum exultantibus sanctis in caelestibus regni cubilibus gaudia nostra subiungas. Et quos virtutis imitatione non possumus sequi, debitae venerationis contingamus affectu. Per Christum…

Truly it is worthy … humbly beseeching Thy clemency, that Thou may unite our joys with the Saints as they exult in the heavenly resting places of the kingdom. And may we reach in the affection of the veneration due to them, whom we cannot follow in the imitation of virtue. Through Christ…

[1] Boursier based this expression on two lines of St Prosper of Aquitaine’s Carmen de Ingratis, a Jansenist favorite in the controversies over the doctrine of grace. “Quae dare vis, tribuis, servans largita, creansque / De meritis merita, et cumulans tua dona coronis. – What you wish to give, you grant, preserving what is (already) bestowed, and from merits creating (other) merits, and heaping your gifts with crowns.”

[2] “Appeal” here refers to the actions of several French Jansenists, who launched an appeal against against the 1711 bull of Pope Clement XI Unigenitus by which the movement was originally condemned, and another of 1718, Pastoralis officii, which condemned the first appeal, seeking to have the whole matter remanded to the judgment of an ecumenical council. Appeals of this sort were condemned as heretical by Pope Pius II in 1460 in the bull Execrabilis.

[3] In Dom Edmond Moeller’s Corpus Praefationum, a more or less definitive catalog of historical prefaces (Brepols, 1981), the first ten sources in which it is attested are referred to Dom Jean Deshusses OSB’s book “Les Messe d’Alcuin”, which seeks to identify the liturgical compositions directly attributable to Alcuin of York.

Fota XIII Liturgical Conference Postponed to Next Year

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St Colman’s Society for Catholic Liturgy has asked us to announce that the XIII Fota International Liturgy Conference, previously scheduled for July of this year, has been postponed due to the current public health ordinances in Ireland to combat coronavirus. The Conference will now be held July 3-5 of next year; its subject will be Worship in Spirit and in Truth, to mark the twentieth anniversary of the publication of Joseph Ratzinger / Benedict XVI’s Vom Geist der Liturgie (The Spirit of the Liturgy).

Photopost Request: Corpus Christi 2020

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Given the current situation with quarantine restrictions, we haven’t had any of our regular photoposts for major feasts since Candlemas. However, I have seen quite a few photos of Corpus Christi liturgies on social media recently, and we have already received two spontaneous submissions, so let’s go ahead and see what happens. If you have photos you would like to share of your Corpus Christi Masses and processions, whether in the OF, EF or Ordinariate Rite, please send them to photopost@newliturgicalmovement.org; please remember to include the name and location of the church, and any other information you think important. We will also be glad to include photos of other recent events, such as the feast of the Sacred Heart, which is celebrated tomorrow, first Masses of newly ordained priests, etc. Time to get back to the good work of evangelizing through beauty!

In these requests, we always include a few photos from the previous year’s series; last year, we had a huge number of submissions for Corpus, and got up to five different posts for the very first time. The process of selecting them is always kind of painful, since we get far more beautiful photos than we can realistically hope to publish, and no selection will really do them justice.

From the first post, the procession at Chavagnes International College in Chavagnes-en-Paillers, France (led by a tunicled acolyte!)
From the second post, decorative carpets of dyed sawdust on the route of the procession at Holy Martyrs Catholic Church in Tarentum, Pennsylvania.
From the third post, one of our favorite photographers, Mr Arrys Ortañez, captures the Empire State Building behind the procession from Holy Innocents in New York City. 
From the fourth post, a station for Benediction during the procession from Old St Patrick’s Oratory, the Institute of Christ the King’s church in Kansas City, Missouri.
From the fifth post, the procession from Trinità dei Pellegrini, the FSSP church in Rome, leaves Santa Maria della Quercia, the first of the two churches where it stopped for Benediction. The bier with the Blessed Sacrament is carried by four priests, and the canopy by members of the church’s confraternity.

Choir Instructions from Westminster Cathedral, 1930

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We are grateful to Mr Richard Hawker, the head sacristan of Westminster Cathedral, for sharing with us these photos of a book which he recently found there, “Instructions for the Choir, the Cantors, and the Hebdomadarius”, printed in 1930. Thanks also to Mr Daniel Williams, who has made the book available as a pdf which is free to download. (https://gofile.io/d/929myW) These instructions are really a perfect model of precision, written very concisely, and therefore easy to consult; anyone who has to organize a ceremony with clergy in attendance with certainly find them quite useful. It is partcularly interesting to note that instructions are given for the celebration of the full round of the Divine Office, including Matins.

The Sequence Veni Sancte Spiritus (Part 4)

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Lost in Translation, #4
“Thou… art glorified in the assembly of the Saints… By crowning their merits, Thou crownest Thy own gifts” (Gallican Preface, All Saints’ Day)
In the realm of study, the mind is in “focused mode” when it concentrates and learns new information; only afterwards, when it is at leisure, does the mind goes into “diffuse mode” to ruminate on the data and connect it to the larger framework of what it already knows.  Diffuse mode may sound like the less important, but it is not. As we see in the classical case of Archimedes and the baths, it is in diffuse mode that new breakthroughs occur, and it is in diffuse mode that a mystery is infused more deeply into the soul.
Unlike Ordinary Time in the new calendar (which, as I point out here and here, has a different rationale), the traditional Time after Pentecost functions as a diffuse mode for the focused mode that is Paschaltide, when we have the opportunity after the intensity of Easter and Pentecost to ruminate quietly on the mysteries we have just encountered. And so we unabashedly continue (and conclude) our reflection on the Pentecost sequence Veni Sancte Spiritus by examining its last two stanzas.

Da tuis fidélibus,
In te confidéntibus,
Sacrum septenárium.
Grant to Thy faithful,
Who confess to Thee,
The sacred sevenfold [gift].

The last line of this stanza is particularly intriguing. Septenarius in Latin is an adjective for sevenfold, and sacrum (sacer is the adjective for “sacred”) is used here as a noun. “Give us your sevenfold sacred thing,” the poet implores. The reference, of course, is to the seven gifts of the Holy Spirit, with a focus on their unity. As Augustine explains, “The Spirit is sevenfold (septenarius) and the Spirit is one, one by a sevenfold operation” (Sermon 8.11.13).
But why does the author say sacrum septenarium (“sevenfold sacred thing”)and not something clearer like septiformis munere (“by the sevenfold gift”), as does that other great hymn to the Holy Spirit, Veni Creator Spiritus? The answer may be that he has in mind a wry word play.
Septenarius in Latin can also refer to a line in poetry that consists of seven feet, and indeed this is the definition of the English word “septenarius, n.” Further, word order is not as important in Latin as it is in English. Putting these pieces together, sacrum septenarium can just as easily be translated “sacred septenarius.”
But what on earth is a sacred septenarius? Perhaps it is a sacred poem that only consists of seven-syllable verses, a poem like (you guessed it) Veni Sancte Spiritus. By asking the Holy Spirit for a poem that he has already written, the poet may be alluding to the paradoxical nature of prayer. Sometimes, our very petition to God contains the answer.
Da virtútis méritum
Da salútis éxitum,
Da perénne gáudium.
Amen. Allelúja.
Grant the reward of virtue,
Grant an exit with salvation,
Grant joy unending.
Amen. Alleluia.
The last stanza of this remarkable sequence marvelously encapsulates in just three lines 1) a good Christian life, 2) a good Christian death, and 3) a good Christian afterlife.
A good Christian life involves moral, intellectual, and religious excellence, that is, it is resplendent with moral, intellectual, and theological virtues. Our sacred poet is asking for the reward of virtue, but because he knows that such a reward is a consequence of virtue, he is essentially asking for a lifetime of virtue. And he needs to ask because man cannot become virtuous without God. It is a lovely if paradoxical arrangement: God helps us grow virtuous and then gives a reward for being virtuous! As the Gallican Preface for All Saints’ Day puts it, when God crowns the merits of His saints, He is crowning His own gifts. Unfortunately, many a Protestant brother does not understand this paradox and falsely accuses Catholicism of having a “works righteousness” doctrine of salvation, as if the Church had never condemned Pelagianism in all its forms early on.
A good Christian death is one that overcomes the final assaults of the Devil, who often makes a last-ditch effort at the dying by inducing fear or despair or even defiance. And how does one exit with salvation? By persevering with the Holy Spirit who, as we learned from the Collect on the Ember Friday after Pentecost (when the Veni Sancte Spiritus was still being used liturgically), keeps us from being disturbed by every assault of the Enemy. “He that shall persevere to the end, he shall be saved” (Mt. 24:13).
Finally, a good Christian afterlife is one that consists of union with God the Father, Son, and Holy Spirit in the Beatific Vision. St. Augustine defines happiness as “joy in truth” (Confessions 10.23.33-34), but the truth only brings joy when you are in love with it. Seeing the truth causes the damned in Hell pain, for they hated the truth in life, and they hate the truth when it exposes their wicked lives. But when the saints in Heaven see the Truth, they experience pure joy, for they have at last attained what they have loved. As we learned in the Gospel reading on Pentecost Monday (likewise when the Veni Sancte Spiritus was being used in the Mass): “For every one that doth evil hateth the light, and cometh not to the light, that his works may not be reproved; but he that doth truth cometh to the light, that his works may be made manifest, because they are done in God” (Jn. 3:20-21).

Is TV Mass the same as the Real Thing?

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I recently saw this comment on Facebook and an alarm went off:
“So someone told me that they went to Mass last weekend for the first time since public Mass ceased. She told me as far as she is concerned there was no difference from TV Mass except for the fact that she was physically present. Is there a difference in the graces received? I will attend Mass every Sunday but I’m starting to become confused myself. My husband felt it better we watch a live Mass, my kids complained they wanted to watch a prerecorded Mass at a later time in the day on Sunday. These are issues I just never discussed with someone more knowledgeable than myself on these matters.”
People, through no fault of their own, don’t understand the difference between attending Mass in person and watching it on live stream. The difference is infinite. Please let me state this from the beginning: Mass on TV or the internet can never and will never fulfill your obligation to attend the Mass in person. At present, the obligation is still lifted because of the Covid-19 situation, but that is a temporary situation to protect those who are susceptible to the virus. It is not an excuse to justify not going to Sunday Mass when it is readily available.

Why is it not the same? Let me start with an illustration that a doctor friend told me recently.
“Father, I’ve never seen anything like this virus in my 39 years as a practicing physician. Yes, 99% recover, but the ones that don’t are stricken horribly. The worst is when they are dying and none of their loved ones are permitted to be with them, to hold their hand or to hug them or to kiss them goodbye. I’ve seen a nurse take an iPad into the room and the loved one talks to their dying relative on Facetime. It is the most horrible, empty imitation of love that I have ever seen and it is a very sad substitute for both the dying patient and the family.”
We are not virtual creatures. We are real, flesh and blood creatures, living in time. Our God is not virtual. He is real, Father, Son and Holy Spirit, present in the world more than we are present to ourselves. Jesus, the eternal Son, is not virtual. He is a Divine Person who became Incarnate and took on human flesh. The Sacrifice of Christ on the Cross which is re-presented at the Sacrifice of the Mass is not virtual. That Sacrifice is made really, physically, mystically, spiritually present at each Mass. We are present at the Last Supper and we are present at the Resurrection. We human beings are commanded by God to worship Him, sacrifice for Him, love him, be present to Him, do this in memory of him, offer the sacrifice with the priest, not virtually, but in real time and space. We are not to be separated from our Beloved Lord by a glass lens and an artificial picture on a glass screen. No, we are meant to be with him and give him the real, physical love and devotion He deserves and we so desperately need.

When we are physically present at Mass, we stand at Calvary with the Blessed Virgin Mary, Saint John and Saint Mary Magdalen. We are not hiding in the upper room far away. All seven sacraments are real, flesh and blood, personal, physical and spiritual encounters with the living, Incarnate Word, Jesus Christ. We receive Sacramental grace which is transformative and absolutely necessary for salvation. The seven sacraments are the gift of Jesus himself, touching us and redeeming us in real time, just as he did when he walked the earth.

Watching Mass on TV or the internet is nothing like what I just described. It is the difference between a Sacrament and a sacramental. A Sacrament is a sign instituted by Christ that actually gives what it signifies. It is a direct encounter with the living Lord. A sacramental is a holy thing or action which the Church makes use of so that we can obtain spiritual or temporal benefits. Some examples of  sacramentals are holy water, blessed palms, blessed crucifixes, rosaries, medals etc. These things are holy in that they are set aside and blessed for the service of God. Their use raises our hearts and minds to God. They help us to pray and to receive actual graces and benefits from God. They are not, however, signs instituted by God the Son, whereby He touches us and enters into our being physically, mystically and really. When we are physically present at Mass we are really and physically present at Calvary, the Last Supper and the Resurrection, the Heavenly Liturgy. The place where heaven meets earth. We encounter the Living God and he enters into our souls in the most intimate and real way. When we watch Mass on TV or the internet, we are not present at Calvary, the Last Supper, or the Resurrection. We do not receive sacramental grace. We do not have a real, physical, mystical, spiritual encounter where Christ enters us, and we are not offering the sacrifice with the priest. Like a sacramental we use the broadcast to raise our hearts and minds to God, we do something on Sunday rather than nothing, we set aside time from our day to acknowledge God with our brothers and sisters in Christ, and we make the best of a bad situation that we can’t wait to have corrected.

I would like to mention one last thing. We are living in a world that has been heavily influenced by Protestant thought. Protestant thought de-emphasizes the sacraments if they even believe in the sacraments. They don’t believe that the Mass is the re-presentation of the Sacrifice of Our Lord on Calvary. They don’t believe that the bread and wine become the real body and blood of Christ. They have a very individualistic view of faith and belief – me and my personal relation with Jesus. (The Catholic Faith teaches that we, the Church together, under the Pope and Bishops must have our relationship with Jesus guided and formed together by Sacred Scripture and Sacred Tradition as handed down through the ages.) They believe that they should be spiritual and not religious. (Which basically means that an individual decides what they want to believe and do, and that they are their own Pope in regard to Doctrine and Morals.) It is so typical of the modern world. Me, and my feelings and my thoughts, are what determine belief and practice. I am the center of the universe and God, as I define him, should be happy with whatever scraps I wish to throw in His direction. No. No. No. I do not decide, individually, what I am going to believe and how I am going to worship. Christ, God made Man, determines what I am going to believe and how I am going to worship. The Catholic Church has the mandate and the responsibility from the Lord to make sure everything He commanded is taught and practiced until He comes again. He told us to “Do this in Memory of Me.” We are commanded to “Keep Holy the Sabbath.” The Church has taught from the beginning that to “Keep Holy the Sabbath,” We, not me deciding for myself, must do this in memory of Him, by offering with the priest, in person, the Sacrifice of our Salvation that He gives us, THE MASS. We, you and me, with all the saints and angels, gather around the throne of God in heaven while simultaneously surrounding His throne on earth, the altar.

My good friends, this pandemic forced people to die alone looking at a screen that was a very poor substitute for those they loved. Don’t let it become an excuse for you to make it a poor substitute for a real divinely mandated encounter with the living God.

The Feast of Saints Gervasius and Protasius

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The feast of the two Milanese brothers and martyrs Ss Gervasius and Protasius is kept on June 19 in the Ambrosian Rite, although this year it is translated to today in Milan because of its concurrence with the feast of the Sacred Heart. It is also one of the oldest and most consistently attested feasts in the Roman Rite; in the Gelasian Sacramentary, it is even kept with a vigil, although this was suppressed in the 9th century. A church was built in their honor in Rome at the very beginning of the 5th century, which it is now generally referred to by the name of their father, St Vitalis, to whom it was also dedicated, along with their mother, St Valeria, and the two brothers are traditionally named in the Roman litany of the Saints. (All photos in this article by Nicola de Grandi.)
Ss Gervasius and Protasius in the prayerbook of Arnulf II, archbishop of Milan, 998-1018; MS Egerton 3763, British Library.
Before the Tridentine reform, a letter purportedly by St Ambrose which gives an account of their history was read at Matins of their feast, but this is now recognized to be spurious, and even the date of their martyrdom is not known. However, as we reported in October of 2018, a recent forensic examination of their relics confirmed several of the traditional details of the story: that they were young, in their mid-20s, definitely brothers, and most likely twins, since they suffered from the same congenital defect of the vertebrae, and have very similar faces. One of them was decapitated, and has signs of injury on the ankle, the other was wounded on the hand with a small weapon of some sort.

The relics of St Ambrose and one of the two brothers.
In the year 386, St Ambrose uncovered their relics after being shown the place of their long-forgotten burial in a dream, and brought them to a newly built basilica, then called simply “the Basilica of the Martyrs”, and laid them in the place he had originally intended for his own burial. He also attests to the miraculous healings which accompanied this translation, as do his secretary, Paulinus, who would later write his Life, and St Augustine.

Ambrose himself died on April 4th of the year 397, which was Holy Saturday that year; since that date so frequently occurs in Holy Week or Easter Week, his feast is traditionally kept on the day of his episcopal ordination. He was laid to rest next to Protasius and Gervasius, and the basilica is now officially named after him. In the mid-ninth century, the abbot of the attached monastery placed the relics of all three saints in a large porphyry sarcophagus, which was later sunk into the floor and covered over; it was rediscovered in 1864 during a major restoration project, and the three bodies are now seen in the Confession of the church under the altar. The traditional Ambrosian Calendar also has the feast of the “Raising up of the Bodies of Ss Ambrose, Protasius and Gervasius” on May 14th.

As part of the celebrations for the fifteenth centenary of St Ambrose’s death in 1897, the relics of all three Saints were taken from the basilica to the Duomo in an enormous procession, and exposed there for the veneration of the faithful from May 13-15. Here we see the two martyrs carried under a red baldachin, and behind them, Ambrose under a white one. (It is not unusal in Italy for canons to have the privilege wearing a miter, and many of the mitred heads are those of canons, rather than bishops.)
Recent photos of the relics by Nicola.
The 11th-century apsidal mosaic of the basilica of St Ambrose, with Christ in majesty flanked by the archangels Michael and Gabriel, and the martyrs Gervasius and Protasius. In the medallions below are shown Ss Marcellina and Satyrus, the siblings of St Ambrose, and St Candida, a friend of Marcellina. Episodes from Ambrose’s life are depicted in the squares wth blue backgrounds to either side.
In a letter to Marcellina, Ambrose speaks of an intense pain which he experienced in his right sholder, and difficulty of movement, caused by a fracture of the right clavicle which he suffered in his youth, and which never properly healed. The recent forensic analysis of his remains confirms the presence of this fracture, which also accounts for the notable asymmetry of his face, as seen in this mosaic portrait of him from the early 5th century, in the chapel of St Victor in Ciel d’Oro within the basilica. The Saint’s age of the time of his death is also confirmed, around 60 years old.
To either side are portraits of the two martyrs, in which Protasius is shown as much older than Gervasius; this confirms that within Ambrose’s time, the true history of their lives had been lost, since the examination of the relics confirmed that they were in fact of the same age.
The porphyry sarcophagus in which the relics of the Saints were found.

Can Modernity Bring Anything to the Liturgy?

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Photo by Lucas Carl on Unsplash
Today’s revival of traditional approaches in the fine arts and particularly in traditional liturgical practices has been greeted by many with skepticism and disapproval. “Surely, it is not possible to ‘go back’ to an earlier age, whose ideals are so different from ours? Have we not made significant progress in doing what none could do before? As for anything we might need, it will not be what former generations needed.”

The history of the arts and of reform/renewal movements tells a different tale. All great artists began by apprenticing themselves to a tradition and copying its masterpieces. In like manner, all great movements of reform in Church history looked back for inspiration to what worked in the past in order to fix what was broken in the present. The noble cultural ideals of Western civilization — largely imparted to it by the vigorous activity of the Catholic Church — are possessed of a perennial vitality and creative fecundity against which the self-consciously “modern,” with its fading faddishness, cannot successfully compete.

The reinveintion of the liturgy after the Council was merely the last and most tragic of a long series of unnatural dislocations and distortions of human forms in the 20th century. This was a century that prided itself on taking everything apart, breaking it down, and gutting it out: first painting and poetry, then dance and music, social customs, politics, education. It was only a matter of time before the liturgy, the cumulative and culminating art form, the king in his court, was also deposed. Once all the subsidiary arts, both material and spiritual, that made liturgy possible were reviled and denied, how could liturgy itself stand? If all of culture was declining throughout the modern period, how could the liturgy — that supreme expression and concentration of culture — be left unaffected? Would there not be a terrible risk that men without chests and without taste would eventually hold the reins of power and change it to reflect their simplistic simian rationality? And so it happened.

In the aftermath of this sad story, is it inopportune and premature to ask whether or not there might be something, anything, that modernity can bring to Catholic ritual in a positive sense? Let me explain the basis for the question.

Each era seems to have added — one might say, grafted — something distinctive onto the tradition. The Christians of the Middle Ages were masters of symbol, Scripture, and allegory, and gave us rites and commentaries in that spirit. The medieval liturgy in its tropes, ritual elaboration, architectural framework, and commentary tradition, is an exquisite glorification of the sacrifice on which salvation history centers. The Baroque brings something startlingly new: the unveiled sanctuary, the focus on ecstatic vision and overwhelming sensual experience, even a surprising penchant for the dramatic (i.e., stages, machines, flying angels for the Forty Hours’ devotion). In one way, it is a striking departure from tradition, even in some way a narrowing, as the Neo-Classical and humanist mind shied away from the dense layers of Scripture and mystery in medieval liturgy and tended toward an “open” sanctuary, emphasizing in ritual the adoration of Christ in His Real Presence rather than placing weight on the many symbolic words and gestures of the rites. Nevertheless, all of this seemed well suited to the times, fruitful in sanctity, and a precious addition to our heritage.

It is a sign of vitality and true mastery of the tradition to be able to add and enrich it with the gifts of one’s own time. Every vigorous age has produced its own liturgical spirit and forms. Could modernity, too, add to the tradition, enriching it? Has it any legitimate aspirations? Can the excruciating pains and confusion expressed in modernist literature and architecture be given some liturgical answer, spoken in the same dialect? We might look to the composer Arvo Pärt as an example: his music is distinctly modern, but also grounded in tradition. Is there a liturgical analogy to Pärt? What might it look like?

Would that a positive answer were easier to give. “Modernity” is, or at least has been characterized by, waves of disorder: the progressive dismantling, doubting, destabilizing, and distorting of elements that were deemed inopportune, inefficient, oppressive, clericalist, etc. It is defined by its rebellion against classical and Christian order. This is unmistakably seen in the fine arts. Atonal music is defined with an alpha privative. Abstract art is not representational, not recognizable, not indwelling in this world, but flying off to some uninhabitable world where man cannot dwell, a cold planet hung in empty space, lacking water or life. Moreover, since modernity is not one positive spiritual-cultural force, the way that (say) English Gothic and French Baroque were, it is hard to see how it could exercise causality per se. Privation does not act.

Leaving it at this point would, however, be too pessimistic. Human nature and God’s grace reassert themselves. Past culture never completely dies out but is passed along in the “genes” of a society or a civilization. “Modernity,” whatever it means, includes within it that which is not rebellious, not unnatural, not privative, but rather in a loose continuity with the preceding cultural matrix, with some openness to the transcendent, like poor soil still capable of nourishing a plant, awaiting the sower and the seed. This, it seems to me, explains why young people can encounter the traditional liturgy, which is so very unmodern, and immediately resonate with it. In a corner of modern man’s soul is found a desire, vague and tentative though it may be, to escape from the prison that he and his forebears have built.

Perhaps this, then, is a special grace of modernity: it has placed people into a hunger and thirst for expressions of the sacred and the divine that lift them out of the horizontal immanent void and confront them with the mysterium tremendum et fascinans, the overpowering and the alluring. Would we not be in a better position than any earlier generation to be struck by such a thing — what Benedict XVI called “the shock of the beautiful” — since we no longer live familiarly with it, take it for granted, or even expect to have it around us?

Now, of course, I’m not one to say that men of today are essentially different from their predecessors, such that they would need something radically different in their Catholicism from the ample treasury already at hand in our tradition. The tradition as it is can save him, whether in its more monastic-medieval or more Baroque instantiation. Love of the Church’s tradition is always totally contemporary and totally ageless. Modern man needs what every man needs — or even more of it! — and that is sacredness, solemnity, beauty, and a deep sense of connection with the human race, the Church, and his fellows. Only the use of the same fundamental forms of life, worship, and art, however varied in presentation, can accomplish this diachronic and synchronic unity.

My answer, then, to the question posed in the title would be this. Modernity left the Church a long time ago; it partly fled in rebellion, and was partly driven forth as a demon. It can therefore contribute nothing to the restoration of the sacred. All it can do is bring moderns to the church’s threshold, and leave them there, like orphans abandoned on the doorstep of a convent. The traditional sacred liturgy will take them up in its arms and provide for their healing and elevation. It is our job to let ourselves be cared for (yes, that will take swallowing some pride), and if the Lord deigns to raise up a new Christendom over many centuries, He will give us the light and strength right now to play our small part in paving the way for its emergence.

Visit Dr. Kwasniewski’s website, SoundCloud page, and YouTube channel.

This stained glass window, to me, speaks volumes...

30th Anniversary of the CMAA Colloquium

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Today would have been the opening of the 30th CMAA Colloquium in Tampa, Florida. It is so sad that we cannot get together in person and celebrate sacred music, learn so very much, renew old friendships, meet new friends and go home, after a very intense week, exhausted with joy and renewed in spirit.

We want to thank Father Richard Hermes and the staff at Jesuit High School, Tampa, for their enthusiastic and heartfelt welcome. They were so good and generous in helping us plan. We were eager to use their beautiful facilities and to worship and sing in the new and stunning Chapel of the Holy Cross. They want us to come back and we want to come back as soon as possible.

The CMAA, however, was forged in difficult situations, and has not thrown in the towel. From Monday, July 6 through Friday, July 10, therefore, we will offer our very first virtual colloquium! Each evening will start with a short spiritual conference, followed by faculty sponsored events. On Thursday, July 9, at 2:00PM Eastern time, we will celebrate a Requiem Mass for all the deceased members of the CMAA. The Requiem will be broadcast live on the CMAA YouTube channel, from Mater Ecclesiae in Berlin, New Jersey. (I will be the celebrant, and Mr Peter Carter will direct the Sacred Music.) We will also end each night with sung Compline according to the 1960 rubrics. As announced on the CMAA website:
The Church Music Association of America is proud to invite you to join us in our first Virtual Sacred Music Colloquium. As the world contends with the effects of the worldwide pandemic, the CMAA’s Sacred Music Virtual Colloquium will be designed to provide sessions that will be useful to you during these times of musical restrictions, as well as moving forward toward the future. Our virtual program offers opportunities for learning, singing, listening, and interacting with some of the best minds and musicians in the Catholic world today!

The CMAA Virtual Colloquium will be primarily focused on instruction in topics related to chant, polyphony and the Catholic sacred music tradition, lectures and daily night prayer. During the week, you’ll be able to participate in all these sessions via your home computer using the Zoom app. At the end of each breakout session there will be a question and answer session.

Virtual Colloquium Highlights

Breakout sessions during the week on a variety of topics, from directing, organ improvisation, Catholic Music in Time of Pandemic, children’s programs, vocal pedagogy and Ward Method, Spanish Musical Resources (in Spanish), Programming for your Choir, Rehearsing the Choir, Medieval Analysis, and The Jubilus of the Alleluia, among others.
Daily Spiritual Reflections provided by our chaplain, Rev. Robert Pasley.
Night Prayer – Roman Rite, Extraordinary Form
Evening Panel Discussions and opportunities to share experiences.
It has been a very bad year, filled with disease and social unrest. It is so wonderful, however, that we have this chance to continue to be engaged in the Sacred Music we so love. Please stop by musicasacra.com and register. Praised be Jesus Christ!

An Embroidered Chalice Pall in the Style of the St Albans Psalter

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A student from Pontifex University’s Master of Sacred Arts program, Kathryn Laffrey, has just sent me this example of her work, a design created to decorate a chalice pall. It is based on an image in the St Albans Psalter, which was produced in the 12th century in a late Romanesque / early Gothic style for the Abbey of St Albans in southern England. Kathryn’s image is approx. 5”x5”, the pall will be 6.5” x 6.5”

The embroidered image on the chalice pall
The original in the St Albans Psalter
I asked about the inscription and this is what she told me.
The inscription is Confitemini Domino, the opening phrase of Psalm 105 (Give praise to the LORD) in Latin. At first, I choose this to pay tribute to the initial “C” inspiration from the St Albans Psalter, also for Ps 105. But after reading through the psalm a few times it spoke strongly of God’s saving power and it made me think of our “source and summit”. I was greatly missing the Eucharistic presence during this time of “lockdown” and this helped me to see Him right here, with me.
Traditionally, chalice palls are given as gifts to priests to celebrate ordination or anniversaries of ordination. Anyone who wishes to contact Kathryn about this can do so at thelaffreys@charter.net.

The Vigil of the Nativity of St John the Baptist

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In the Roman Rite, the term “vigilia – vigil” traditionally means a penitential day of preparation for a major feast. The Mass of a Saint’s vigil is celebrated after None, as are the Masses of the ferias of Lent or the Ember Days, and in violet vestments; however, the deacon and subdeacon do not wear folded chasubles, as they do in Lent, but the dalmatic and tunicle. The Mass has neither the Gloria nor the Creed, the Alleluja is simply omitted before the Gospel, not replaced with a Tract, and Benedicamus Domino is said at the end in place of Ite, missa est.

Folio 89r of the Gellone Sacramentary, 780 AD; the Mass of the vigil of the Nativity of St John, which is here called “jejunium Sancti Johannis Baptistae - the fast of St John the Baptist”, begins with the large decorated P at the bottom of the page. Note the hole where the parchment gave way in the process of preparation; the text is copied out around it on both sides. (Bibliothèque nationale de France, Département des Manuscrits, Latin 12048)
The vigil of the Nativity of St John the Baptist is attested in all liturgical books of the Roman Rite until 1969, when vigils in the traditional sense were abolished. The same chants and Scriptural readings which it has in the Missal of St Pius V are already found in the oldest graduals and lectionaries, and the same prayers are all in place in the Gregorian Sacramentary at the beginning of the 9th century. The Baptist’s conception is noted on September 24th in many early Western calendars and martyrologies, but does not seem to have been kept as an actual feast as it is in the Byzantine Rite (one day earlier). This is because the vigil itself serves as the liturgical commemoration of his conception, the announcement of which by the Angel Gabriel to his father Zachariah is read as the Gospel of the day. This custom mirrors that of the Ember Wednesday of Advent, on which the Gospel of the Annunciation is read in preparation for Christmas.

The introit of the vigil sums up the Angel’s message, and prepares us for the great feast of the following day, on which “many will rejoice at his birth.”

Introitus Ne tímeas, Zacharía, exaudíta est oratio tua: et Elísabeth uxor tua pariet tibi filium, et vocábis nomen ejus Joannem: et erit magnus coram Dómino: et Spíritu Sancto replébitur adhuc ex útero matris suae: et multi in nativitáte eius gaudébunt. V. Dómine, in virtúte tua laetábitur rex: et super salutáre tuum exsultábit vehementer. Gloria Patri. Ne tímeas. (Do not be afraid, Zachary, thy prayer hath been heard, and Elizabeth thy wife shall bear thee a son, and thou shalt call his name John; and he shall be great before the Lord, and shall be filled with the Holy Spirit even from his mother’s womb; and many will rejoice at his birth. O Lord, in Your strength the king is glad; in Your victory how greatly he rejoices. Glory be. Do not be afraid.)

It has very often been noted that the birth of the Baptist occurs shortly after the summer solstice, when the hours of daylight begin to grow shorter, and the birth of Christ occurs shortly after the winter solstice, when the hours of daylight begin to grow longer. This arrangement is traditionally understood as a reflection of St John’s words about Christ, “He must wax, and I must wane.” (John 3, 30) The Collect of the vigil seems also to refer to this when it speaks not of the upcoming festivity, but rather of John’s role in sending us to Christ.

“Præsta, quáesumus, omnípotens Deus: ut familia tua per viam salútis incédat; et, beáti Joannis Praecursóris hortamenta sectendo, ad eum, quem praedixit, secúra perveniat, Dóminum nostrum Jesum Christum, Fílium tuum etc. – Grant, we beseech Thee, almighty God, that Thy household may walk in the way of salvation and, by following the exhortations of blessed John the Forerunner, safely come to Him whom he foretold, even our Lord Jesus Christ, Thy Son, etc.”

The Preaching of St John the Baptist, ca. 1665 by Mattia Preti (1613-99); public domain image from Wikimedia Commons.
The Epistle, Jeremiah 1, 4-10, is chosen particular for the words of verse 5, “Before I formed thee in the bowels of thy mother, I knew thee: and before thou camest forth out of the womb, I sanctified thee, and made thee a prophet unto the nations.” This make a perfect complement to the Gospel, since it parallels the words of the angel to Zachariah so closely. “For … and he shall be filled with the Holy Ghost, even from his mother’s womb. … And he shall go before him in the spirit and power of Elias (i.e. of a prophet).”

The association of this passage with John the Baptist goes back to the very origins of Latin Christianity, already cited in Tertullian’s treatise On the Soul, chapter 26. “Elizabeth exults with joy, (for) John had leaped in her womb; Mary magnifies the Lord, (for) Christ had so impelled Her. The mothers recognize each other’s offspring, being each herself recognized by them, who were of course alive, and not merely souls, but spirits also. So also do you read the word of God (spoken) to Jeremiah, Before I formed you in the belly, I knew you. … And God made a man, and breathed into him the breath of life, and God would not have known him to be a man in the womb, unless he were whole: ‘and before thou camest out of the womb, I sanctified thee.”

The Prophet Jeremiah, by Piero della Francesca, 1452-66, in the church of St Francis in Arezzo.
And likewise, in St Ambrose’s highly influential commentary on the Gospel of Luke (1.33): “There is no doubt that this promise of the Angel is true; for indeed, Saint John, before he was born, while still in his mother’s womb, showed the grace of the Spirit received. For when neither his father nor his mother had done any wonders, leaping in the womb of his mother, he proclaimed the good tidings of the coming of the Lord to his mother. For thus do you read, that when the mother of the Lord had come to Elizabeth, she said to Her, ‘For behold as soon as the voice of thy salutation sounded in my ears, the infant in my womb leaped for joy.’ For he had not yet the spirit (i.e. breath) of life, but the spirit of grace. And then, we have also been able to note elsewhere that the grace of sanctification precedes the essence of living, since the Lord saith, ‘Before thou camest forth from the womb, I sanctified thee, and set thee as a prophet among the nations.’ ”

The Gradual is one of only two in the historical corpus [note] of the Roman Missal whose texts that are taken from the Gospels, the other being that of the feast of St John the Evangelist. This acknowledges the unique roles that the two Saints John played in Our Lord’s life on this earth, and perhaps also reflects the fact that they share the dedication of the cathedral of Rome with Him. Both graduals are in the fifth mode, but their music is different.

Graduale Fuit homo missus a Deo, cui nomen erat Joannes. V. Hic venit, ut testimonium perhibéret de lúmine, paráre Dómino plebem perféctam. (There was a man, one sent from God, whose name was John. V. This man came to bear witness concerning the light, to prepare for the Lord a perfect people.)


The Gospel, Luke 1, 5-17, is titled in the Missal “The beginning of the Holy Gospel according to Luke”, since the first four verses, which are not traditionally read in the Roman Rite, are treated as a prologue. This part explains who John’s parents were, and tells us of their childlessness and of the Angels’ words to Zachariah when he appears to him in the temple. However, the second part, verses 18-25, which narrates Zachariah’s doubt and punishment, and the actual conception, is not read. Originally, the Nativity of the Baptist was celebrated with two Masses, one at dawn and during the day, which are analogous to the second and third Masses of Christmas. Luke 1, 18-25 was historically read as the Gospel of the dawn Mass, but disappeared from the Roman Rite when that Mass fell out of use. In the post-Conciliar lectionary, these verses have been restored to the lectionary, not in connection with the Birth of St John, but in Advent, on December 19th when that day is a feria.

In our almost-finished series on the seven new prefaces recently permitted for use in the Extraordinary Form of Roman Rite, the second one described was that for the two feasts of St John, which is borrowed from Ordinary Form. The main putative source for this preface is a text found in the so-called Leonine Sacramentary, which also contains a special preface for the vigil. A shortened version of it is found in many manuscripts of the Gregorian sacramentary and in the traditional Ambrosian rite; here is the older Leonine form.

VD: exhibentes sollemne jejunium, quo beati Johannis baptistae natalicia praevenimus. Cujus genitor et verbi Dei nuntium dubitans nasciturum vocis est privatus officio, et eodem recepit nascente sermonem; quique Angelo promittente dum non credit obmutuit, magnifici praeconis exortu et loquens factus est et profeta: materque pariter sterilis aevoque confecta non solum puerperio fecunda processit, sed etiam, quo beatae Mariae fructum sedula voce benedictione susciperet, spiritu divinitatis impleta est; ipseque progenitus, utpote viae caelestis adsertor, viam domino monuit praeparari, seraque in suprema parentum aetate concretus et editus, procreandum novissimis temporibus humani generis disseruit redemptorem.

Truly it is worthy… holding the solemn fast, by which we anticipate the birth of blessed John the Baptist. Whose father, when he doubted the message of God’s word that he was to be born, was deprived of the use of his voice, and received it back when he was born; who grew silent when he did not believe the Angel’s promise, but at the birth of the glorious herald, gained his speech and became a prophet. And likewise his mother, being sterile and worn by old age, did not only become fruitful in childbearing, but was also filled with the Holy Spirit, so that she might receive the fruit of the Blessed Mary with a blessing with eager voice. And himself that was begotten, as the one who shows the way to heaven, urged that the way of the Lord be prepared, and being lately conceived and brought forth in the last age of his parents, proclaimed that the Redeemer of the human race would be born in the last times.

[note] The graduals of two very late Masses, both promulgated by Pope Pius XI, also take their text from the Gospels, those of St Thérèse of Lisieux (1925) and the votive Mass of Christ the Eternal High Priest (1935).

Corpus Christi Photopost 2020 (Part 1)

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Despite the lockdowns and restrictions, we had just enough nice photos to be worth making two posts out of them. We are especially pleased to share some photos of the first Mass celebrated in the traditional rite by His Excellency Joseph Strickland, bishop of Tyler, Texas, and some work by one of our favorite photographers, Allison Girone.

We’ll be very glad to include any late submissions in the next post; you can send your photos of Corpus Christi liturgies and other recent events to photopost@newliturgicalmovement.org; don’t forget to include the name and location of the church.

Damenstiftkirche – Munich, Germany (FSSP)
Cathedral of the Immaculate Concepetion – Tyler, Texas
Prelatitial Mass celebrated by His Excellency Joseph Strickland, Bishop of Tyler
St Mary – Conshohocken, Pennsylvnia (FSSP)
Courtesy of Mrs Allison Girone
Tradition will always be for the young!
Epiphany of Our Lord Parish – St Louis, Missouri
All Saints – Ljubljana, Slovenia
Mass of the Second Sunday after Pentecost
St Mary, Star of the Sea – Jackson, Michigan

The Oratory of St John the Baptist in Urbino, Italy

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In honor of the Nativity of St John the Baptist, here are some pictures which I have been saving for almost a year from a visit to an oratory dedicated to him in the city of Urbino, in the Marches region of Italy. The oratory was built from 1365-93 as the seat of a confraternity named for the Saint, near a hospice which cared for both pilgrims and the sick. At the beginning of the 15th century, the brothers Lorenzo and Jacopo Salimbeni were commissioned to decorate it with stories of the Baptist’s life, which cover most of the right wall, as well as the large Crucifixion scene over the altar; their work was completed by 1416. Although the cycle is not perfectly preserved (most of the work on left and back walls is gone), what remains is one of the best examples in the Marches of the rich International Gothic style. Thanks to Nicola for bringing me to see this artistic gem; I plan on posting some more photos from Urbino soon.
Upper register, the Annunciation to Zachariah; Zachariah writing because he cannot speak; the Visitation; lower register, the young John the Baptist in the desert.
The birth and circumcision of John.
The departure of the Virgin after Her visit to Elizabeth.
This scene towards the back of the building, where paintings are in poor condition, represents an episode not mentioned in the Gospels; Jesus and his cousin meet in the desert when they are children and the holy Family returns from Egypt.
Returning to the lower register: John baptizing in the desert.
The Baptism of Christ
St John’s preaching
On the back wall, a badly damaged image of the disciples of John taking him to burial after his decapitation, and a votive image of him which was not part of the original narrative program.
On the left wall, another damaged image, of the burial of John’s body, and below, another votive image of the Holy Family with the adult St John.
Another votive image, the Virgin and Child with Ss Sebastian and St John.
The ruined back wall.
A view of the cathedral of Urbino and the famous palace of the Duke Federico di Montefeltro. (If you ever took a basic survey of Renaissance art class, you met this fellow, even though you may not remember his name. The artist Piero della Francesca made a well-known portrait of him wearing a round red hat and in profile; he is missing the top of his nose, which he lost during a duel to win the hand of his wife, Battista Sforza.)
The neo-Gothic façade of the oratory, added in the early 20th century.
Another view of the ducal palace.

The New Prefaces of the EF Mass, Part 7: The Preface of the Dedication of a Church

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The first article in this series contains a history of the preface as a feature of the Roman Mass to which the reader may find it useful to refer.
The final preface of the seven recently permited for optional use in the Mass of the Extraordinary Form, that for the Dedication of a Church, is one of the group originally composed for the neo-Gallican use of Paris and promulgated by the reform of Abp. Charles de Ventimille in 1738. As noted prevously, when the neo-Gallican Uses were gradually suppressed over the course of the 19th century, some of their features were retained by being incorporated into the French supplements “for certain places” in the Roman liturgical books, this preface among them.

His Excellency Fabian Bruskewitz, then bishop of Lincoln, Nebraska (emeritus since 2012), draws the Latin and Greek alphabets on the floor of the chapel of the FSSP seminary of Our Lady of Guadalupe during its dedication in 2010.
VD: Qui hanc oratiónis domum, quam aedificávimus, bonórum omnium largítor inhábitas, et Ecclesiam, quam ipse fundasti, incessábili operatióne sanctíficas. Haec est enim vere domus oratiónis, visibílibus aedificiis adumbráta, templum habitatiónis gloriae tuae, sedes incommutábilis veritátis, sanctuarium aeternae caritátis. Haec est arca, quae nos a mundi ereptos diluvio, in portum salútis indúcit. Haec est dilecta et única sponsa, quam acquisívit Christus sánguine suo, quam vivíficat Spíritu suo, cuius in sinu renáti per gratiam tuam, lacte verbi páscimur, pane vitae roborámur, misericordiae tuae subsidiis confovémur. Haec fidéliter in terris, sponso adiuvante, mílitat, et perénniter in caelis, ipso coronante, triumphat. Et ídeo…

Who being the giver of all good things, dwellest in this house of prayer which we have built, and sanctifiest the Church, which Thou didst found Thyself, with unceasing work. For this is truly the house of prayer, represented by visible buildings, the temple wherein dwelleth Thy glory, the seat of unchanging truth, the sanctuary of eternal charity. This is the ark, which rescueth us from the flood of the world, and bringeth us unto the port of salvation. This is the beloved and only spouse, which Christ got with His own blood, even she whom he quickeneth with His Spirit, in whose bosom we, being reborn through Thy grace, are fed with the milk of the word, strengthened with the bread of life, and fostered with the aid of Thy mercy. Faithful doth she strive upon the earth with the help of Her Spouse, and triumpheth forever in heaven as He crowns Her. And therefore...

It is not difficult to see why this particular preface was not taken into the post-Conciliar Missal. The “negative” image of the world as a flood, and of the Church as an ark which delivers us from it, hardly fits in with the naive optimism about the modern world so much in vogue in the 1960s. In passing, we may note that the story of Noah’s ark and the flood was deleted from the Easter vigil in 1955, and not restored in the post-Conciliar reform. (It is read on two days in the sixth week of Ordinary time, year 1.) Likewise, the words “we renounced ... the world, which is the enemy of God”, originally included in the renewal of baptismal promises added to the vigil in 1955, were deleted in 1969. Expressions like “unchanging truth”, “only Spouse”, “strive” (“militat”, as in “the Church militant”), and above all “triumph”, clash mightily with the much-vaunted “Spirit of Vatican II”, even that Spirit that killeth, where the letter giveth life. I remember a pastor of mine, who had lived and suffered through the very worst of the post-Conciliar crazy days, once saying, “Back in the ’70s, the very worst sin you could commit was to triumph over something, and you could get away with almost anything if you could label its opposite ‘triumphalism!’ ”

Corpus Christi Photopost 2020 (Part 2)

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Our second Corpus Christi photopost starts with something quite interesting from the church of St John Cantius in Chicago, and also includes some photos from another one of our favorite photographers, Mt Arrys Ortañez. Thanks once again to everyone who sent these in!

St John Cantius – Chicago, Illinois
The church steps are decorated for Corpus Christi with an image which is projected onto them...
and the projection used as a guideline for the painters - very clever!
First altar
Second altar
Third altar
Fourth altar
Church of St Mary – Providence, Rhode Island (FSSP)
First altar
second altar
Final benediction at the church
Holy Martyrs of Engand and Wales – Murrieta, California
Ordinariate Rite according to Divine Worship: The Missal
Shrine of Our Lady of Loreto – Římov, Czech Republic (FSSP)
St Eugène – Paris, France
Courtesy of the Schola Sainte-Cécile
Holy Innocents – New York City
External Solemnity of the Sacred Heart (Courtesy of Mr Arrys Ortañez)
A newly restored statue of the Sacred Heart

Rebel Wills: The Fourth Sunday after Pentecost Secret

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Lost in Translation, #5
The fall of the first rebel.
The Secret for the Fourth Sunday after Pentecost is:
Oblatiónibus nostris, quæsú­mus, Dómine, placáre suscép­tis: et ad te nostras étiam rebélles compélle propítius voluntátes.Per Dóminum.
Which I translate as:
Be pleased, we beseech Thee, O Lord, with our offerings, which have been received [by Thee], and graciously force our wills [back] to Thee, even when they are rebellious.
At this point of the Mass, the priest has more or less completed the Offertory Rite and has offered bread, wine, himself, and all of us as an oblation to God. Understandably, he now implores God to be pleased with these offerings.
There is a subtle word play between rebelles and compelle in the second half of prayer: “even when we rebel, [don’t forget to] compel.” It is a marvelous petition. During every “Our Father” we pray “Thy will be done,” but how often do we mean it without reservation? It is easy to pray: “Thy will be done, as long Thy will doesn’t include for me cancer, bankruptcy, a bad cup of coffee, etc.” It is far more difficult to echo Job’s response to misfortune--“if we have received good things at the hand of God, why should we not receive evil?” (Job 2:10)--or to say with Our Lord in the Garden of Gethsemane, “My Father, if this chalice may not pass away, but I must drink it, Thy will be done” (Matt 26:42).
So even though we are good Christians who go to Mass, such as Mass on the Fourth Sunday after Pentecost, our wills still recoil at the idea of total acquiescence to the will of God. We continue to rebel even after our baptism. How fitting that this Secret is prayed during the Mass that has as its Gospel Luke 5:1-11, the story of Jesus ordering Peter to “launch out into the deep and let down” his nets. When Peter obeys and takes in an enormous haul of fish, he poignantly says, “Depart from me, for I am a sinful man, O Lord.” To which Our Lord replies, “Fear not, from henceforth thou shalt catch men.” Peter acknowledges Jesus as Lord and yet tells Him to go away! Clearly, he fears that he will not be up to whatever task to which Jesus may call him, for he knows that his will is rebellious. But Jesus instead not only keeps him but makes him a fisher of other rebellious wills, a fisher of men. 


The Church Fathers were quick to point out that the great difference between fishing for men and fishing for fish is that when you are fishing for men, you are fishing something out of the sea that does not belong there and will die without being rescued. Even so, drowning victims are infamous for often taking their would-be rescuers down with them: you might say that even though folks who are drowning want nothing more than to be saved, their wills are rebellious, or at least not fully cooperating. It is a terrible and self-destructive reflex, and yet we sinners do it all the time as well.
And so we pray, Almighty God: drag us, kicking and screaming if you have to, into a conformity with Your will while there is still time, for we know that as a Gentleman who respects our final decisions, You drag no one kicking and screaming into Heaven.

Spanish-Language CMAA Virtual Colloquium Event

The Cathedral of St Vigilius in Trent

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Last month, we published pictures of the basilica of St Simplician in Milan, which houses the relics of Ss Sisinnius, Martyrius and Alexander, a group missionaries who were martyred at Anaunia, north of Trent, where they had been sent by St Ambrose at the behest of St Vigilius, the bishop of Trent. Today is the feast of Vigilius himself, who followed in their footsteps, and was also martyred while preaching to the pagans, in the year 405. The cathedral of Trent is dedicated to him, and is of course is also famous as the site of the great ecumencial council of the 16th century. Here are some photos taken by Nicola de’ Grandi during a recent visit.

The church was begun in the year 1212 at the initiative of bishop Federico Vanga, under the architect Adamo D’Arogno, to replace a much older structure. The Romanesque façade was meant to be seen up close, since the piazza in front of it was quite small until the 19th century. The original plan was to have a bell-tower on either side, but only one was completed; in the 18th century, it was capped with an onion dome of the kind seen all over the Adige valley. (In point of fact, this architectural form, which is thought of as typically Russian, was introduced into that country by Italian and German architects during the great Westernization movement of Tsar Peter I.)
On the north side of the church, with a rose-window designed to represent the Wheel of Fortune, and the bishop’s palace behind the church (to the left in this photo).
The “bishops’ door”, which they would use to enter the church for major ceremonies, made in the 16th century wiht pieces of an earlier version: the image of St Vigilus above the door, the two lions on which the front columns rest, and the lunette above the door with Christ the Pantocrator and the symbols of the Four Evangelists. 
The current high altar is the result of a major restructuring done in 1739, which eliminated not only the church’s small crypt, but also the large choir behind the altar in which the major sessions of the Council of Trent were held.
The relics of St Vigilius in the altar
As seen in the two paintings further down, during the major sessions of the Council, this wooden Crucifix by an artist from Nurimberg called Sixtus Frey, ca. 1505, was set up on an altar at the head of the area where the Council Father sat. In 1682, it was removed to this new Baroque chapel constructed by the Prince Bishop of Trent, Francesco Alberti-Pola, the decorations of which are a unitary program on the theme of human redemption. The marble sculpture of the Fall of Man by Francesco barbacov is particularly fine.
In the same chapel, two works by the German Baroque painter Karl Loth, the Resurrection...
and the Nativity of Christ.
Two paintings which show sessions of the Council of Trent held in the church. (The nave is currently filled with scafolding for restoration and cannot be visited.)
The Coronation of the Virgin, with Saints Vigilius and the Martyrs of Anaunia, by Paolo Naurizio, 1583.
The tomb of Bishop Udalric Lichtenstein (1493-1505)
A 13th-century relief of the Stoning of St Stephen
The north transept, now used as a baptistery; on the walls, a frescoe of the Legend of St Julian the Hospitaler, ca. 1365, signed by an otherwise unknown artist “Mons from Bologna.” Beneath, votive paintings by various artists: the Beheading of the Baptist, (attributed to Thomas of Modena), a Madonna and Child, the Trinity, the Mystical Marriage of St Catherine, the Appearance of the Risen Christ to Mary Magdalene, the Birth of Christ, and the death of the Virgin. Until 1977, the stone box contained the remains of the Prince Bishop Bartolomeo Querini (1304-7).
A twelfth century sculpture of the Madonna and Child known as the “Madonna of the Drowned”, referring to the victims of the flooding of the Adige river. In the sarcophagus below it are the remains of Bishop Giovanni Nepomuceno de Tschiderer (1834-60), beatified at Trent by Pope St John Paul II on April 30, 1995.
From the diocesan museum: school of Rueland Fruehaf the Elder, Madonna and Child enthroned with Ss George and Vigilius, with a canon of the cathedral, George Nothafi.
Giovanni Francesco Caroto, Madonna and Child enthroned with with Ss Maxentia, Vigilius, Jerome and the young John the Baptist, 1540 ca.
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