Friday, 25 April 2014

Lenten Station At The Basilica Of Saint Mary-Of-The-Martyrs (The Pantheon). Easter Friday.


Roman Text is taken from The Saint Andrew Daily Missal.

Italic Text, Illustrations and Captions, are taken from Wikipedia - the free encyclopaedia,
unless otherwise stated.


Indulgence of 30 years and 30 Quarantines.
Semi-Double.

White Vestments.



The Pantheon has been used as a Roman Catholic Church,
dedicated to "Saint Mary of the Martyrs", 
but informally known as "Santa Maria della Rotonda.
Photo: January 2007.
Vatican Museum photo by: Roberta Dragan.
User: Droberta.
(Wikimedia Commons)


After bringing her Neophytes together on successive days at Saint John Lateran, Saint Mary Major, Saint Peter's, Saint Paul's, Saint Laurence's, and The Twelve Apostles, the Church, today, made a Lenten Station at the Basilica dedicated to all the Martyrs and to their Queen, where was made most manifest the triumph of Christ over paganism.

For the Pantheon, the temple consecrated to the worship of all the gods, was, in the 7th-Century A.D., dedicated to Mary and to the Martyrs of the Catacombs, a large number of whose bones Pope Boniface IV caused to be transferred to this Basilica.



The High Altar,
Saint Mary-of-the-Martyrs,
Rome, Italy.
Photo: February 2013.
Source: Flickr: DSC_0931.
Author: Bengt Nyman.
(Wikimedia Commons)


File:Rudolf von Alt - Das Pantheon und die Piazza della Rotonda in Rom - 1835.jpeg

An 1835 view of the Pantheon
by Rudolf von Alt,
showing the twin Bell Towers, 
often incorrectly attributed to Bernini.
Artist: Rudolf von Alt (1812–1905).
Title: Deutsch: Das Pantheon und die Piazza della Rotonda in Rom.
Title: English: The Pantheon and the Piazza della Rotunda,
Rome, Italy.
Date: 1835.
Current location: Albertina, Vienna, Austria.
Source: Repro from artbook.
This File: April 2010.
User: Mefusbren69.
(Wikimedia Commons)


File:Pantheon panorama, Rome.jpg

The Basilica
of Saint Mary-of-the-Martyrs,
Rome, Italy.
Photo: October 2008.
Source: Own work.
Author: Maros M r a z (Maros).
(Wikimedia Commons)


The Feast of the Dedication of this Church soon afterwards became known as the Feast of All Saints. (Feast Day 1 November.)

The Introit, the Collect and the Epistle remind us that the covenant established by God with Noe and his seed, after their escape from the Flood, and later renewed with Moses and his people after their passage through the Red Sea, is a figure of the new covenant under which the Neophytes were brought from the Baptismal Font unto the adoption of Children of God.

Jesus on the Cross virtually killed sin (Alleluia, Epistle), and by His Resurrection, of which the Apostles were witnesses, (Gospel), He gave us the Life of Grace. Baptism brought home to our Souls this twofold effect of Life and Death. Let us ever remain faithful to it.


Thursday, 24 April 2014

Cathedral Of Notre-Dame. Lausanne, Switzerland.


Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.


File:Lausanne-cathe7.JPG

Lausanne Cathedral
of Notre-Dame,
Switzerland.
Photo: 15 May 2004.
Source: Own work.
Author: Arnaud Gaillard
(arnaud () amarys.com).
(Wikimedia Commons)



File:Cathedrale Lausanne.jpg

Notre-Dame Cathedral,
Lausanne, Switzerland.
Photo: 18 September 2013.
Source: Own work.
Author: Likasia
(Wikimedia Commons)


The Cathedral of Notre-Dame of Lausanne is a Cathedral situated in the city of Lausanne, in the canton of Vaud, in Switzerland. It belongs to the Swiss Reformed Church.

Construction of the Cathedral began as early as 1170, by an unknown Master Mason. Twenty years later, another Master Mason restarted construction until 1215. Finally, a third Engineer, Jean Cotereel, completed the majority of the existing Cathedral, including a Porch, and two Towers, one of which is the current Belfry. The other Tower was never completed.


File:Lausanne Cathedral-05.JPG


English: The Rose Window,
in the South Transept,
Lausanne Cathedral, Switzerland.
Français: Intérieur de la Cathédrale de Lausanne,
ville de Lausanne (Suisse).
Photo: 23 September 2008.
Source: Own work.
Author: Guérin Nicolas.
(Wikimedia Commons)



File:Wlm losanna 000.JPG

The Nave,
Lausanne Cathedral, Switzerland.
Photo: 14 August 2012.
Source: Own work.
Author: Cassinam
(Wikimedia Commons)


The Cathedral was consecrated in 1275 by Pope Gregory X, King Rudolph of Hasburg, and the Bishop of Lausanne, Guillaume of Champvent. The Mediaeval architect, Villard de Honnecourt, drew the Rose Window, of the South Transept, in his sketchbook, in 1270.

The Protestant Reformation, a powerful religious movement which swept down from Zurich, significantly affected the Cathedral. In 1536, a new Liturgical area was added to the Nave and the colourful decorations inside the Cathedral were covered over. Other major restorations occurred later in the 18th-Century and 19th-Century, which were directed by the great French architect, Eugène-Emmanuel Viollet-le-Duc.

During the 20th-Century, major restorations occurred to restore the painted Interior decorations, as well as to restore a painted Portal on the South Side of the Cathedral. New Organs were installed in 2003.


Vaulted Ceiling.
Cathedral of Notre-Dame,
Lausanne, Switzerland.
Image: VALAIS


The great Pipe Organ, of the Cathedral of Notre-Dame of Lausanne, was inaugurated in December 2003. It is a unique instrument in the world. It took ten years to design and it is composed of 7,000 pipes, two consoles, five claviers, and one pédalier.

It is the first Organ in the world to be designed by a designer. The first Organ to contain all four of the principal Organ styles (Classical, French Symphony, Baroque, German Romanesque). It is also the first Organ manufactured by an American company (Fisk) for a European Cathedral. It cost a total of Six million Swiss Francs, took 150,000 man-hours to build and weighs 40 tons. It was preceded by a Kuhn Organ, from 1955, which has since been relocated to the Polish Baltic Philharmonic, in Gdańsk, Poland.


File:Kathedrale Notre-Dame Lausanne 04.jpg

Cathedral of Notre-Dame,
Lausanne, Switzerland.
Photo: 19 August 2012.
Source: Own work.
Author: ViktorEP.
(Wikimedia Commons)


The Cathedral has a total of seven Bells that are suspended on two floors of the Belfry. The two biggest Bells are located on the lower level, while all the other Bells are on the top level. The oldest Bell dates from 1493, while the most recent bells date from 1898. The Bells are still used today to mark the hours.

Since 1405, without interruption, the City of Lausanne has maintained a lookout in the Cathedral Bell Tower. The lookout announces the time by yelling the hour from 10 p.m., to 2 a.m., 365 days a year. The lookout cries the hour to each cardinal direction "C'est le guet, il a sonné [dix]". The original purpose of the lookout was to provide a warning in case of fire, though it has now become a traditional function.

The seven Bells are named: Marie-Madeleine; Clémence; Lombarde; Centenaire 1;1666; Centenaire 2; Couvre-Feu.

Lenten Station At The Basilica Of The Twelve Apostles. Easter Thursday.


Roman Text is taken from The Saint Andrew Daily Missal.

Italic Text, Illustrations and Captions, are taken from Wikipedia - the free encyclopaedia,
unless otherwise stated.


Indulgence of 30 years and 30 Quarantines.
Semi-Double.

White Vestments.



The Apse.
The Basilica of The Twelve Apostles,
Rome, Italy.
Photo: August 2012.
Source: Own work.
Author: Luc.
(Wikimedia Commons)


On this day, the Church used to gather together in the Church of the Twelve Apostles, witnesses of the Risen Christ, her new-born children, in order that they might sing the praises of the Lord, Who had associated them with His triumph (Introit, Communion). In this Lenten Stational Basilica are the bodies of Saint Philip and Saint James.

The Gospel tells of the appearance of Jesus to Magdalen, who was the first to inform the Apostles of the disappearance of Our Lord's body, and who, after seeing the Risen Christ, was deputed by Him to proclaim to them the double Mystery of the Resurrection and the Ascension.

The Epistle tells of one of the first seven Deacons, called Philip. [This Deacon must not be confused with Saint Philip.] He Baptises a heathen eunuch, who, in a transport of joy, preaches everywhere the Gospel of Jesus.



The Baroque Ceiling.
The Church of The Twelve Apostles,
Rome, Italy.
Photo: August 2005.
(Wikimedia Commons)



The Basilica of The Twelve Apostles,
Rome, Italy.
Photo: January 2006.
Source: Own work.
Author: Lalupa.
(Wikimedia Commons)


This is what the Church has done for the Catechumens "who have just been born again in the Font of Baptism" (Collect). "God hath made the tongues of those infants eloquent" (Introit), and by their Faith and their good actions (Collect), they sing the triumph of Jesus over death (Alleluia) and over their own Souls (Communion).

Let us remember that, by Baptism, we have become united in one and the same Faith to the Risen Christ (Collect), whose Father is now our Father.



Interior of Santi Apostoli,
Rome, Italy.
Photo: July 2007.
Source: Own work.
Author: SteO153.
(Wikimedia Commons)


Wednesday, 23 April 2014

The Seven Penitential Psalms. Part Five.


Roman Text is taken from The Liturgical Year, by Abbot Guéranger, O.S.B.
Translated from the French by Dom Laurence Shepherd, O.S.B.
Volume 4. Septuagesima.

Bold Italic Text is taken from Wikipedia - the free encyclopaedia,
unless otherwise stated.


File:Saint Augustine Portrait.jpg

English: Saint Augustine of Hippo.
Deutsch: Hl. Augustinus in betrachtendem Gebet.
Four of the Penitential Psalms
were well known to Saint Augustine of Hippo.
Artist: Sandro Botticelli (1445–1510).
Date: Circa 1480.
Current location: Florence, Italy.
Notes: Deutsch: Auftraggeber: wahrscheinlich aus der Familie der Vespucci (Wappen).
Source/Photographer: The Yorck Project: 10.000 Meisterwerke der Malerei.
DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.
Permission: [1].
(Wikimedia Commons)


PSALM 101.
Domine, exaudi orationem meam,
Et clamor meus ad te veniat.




PSALM 101.
Domine, exaudi orationem meam,
Et clamor meus ad te veniat.
Available on YouTube at
http://youtu.be/M0ASfj-5lyI.


The Penitential Psalms, or Psalms of Confession, so named in Cassiodorus's commentary of the 6th-Century A.D., are Psalms 6323850102130, and 143 (6, 31, 37, 50, 101, 129, and 142 in the Septuagint numbering).

Note: The Septuagint numbering system has been used throughout this Series of Articles.


Psalm 6.      Domine ne in furore tuo (Pro octava).

Psalm 31.    Beati quorum remissae sunt iniquitates.
Psalm 37.    Domine ne in furore tuo (In rememorationem de sabbato).
Psalm 50.    Miserere mei Deus.
Psalm 101.  Domine exaudi orationem meam et clamor meus ad te veniat.
Psalm 129.  De profundis clamavi.
Psalm 142.  Domine exaudi orationem meam auribus percipe obsecrationem meam.




A Setting by Lassus of Psalm 129,
"De profundis clamavi ad te Domine"
("Out of the depths have I cried unto Thee, O Lord").
Psalm 129 is one of the Seven Penitential Psalms.
Available on YouTube on
http://youtu.be/luLLO3c3LlE.


THE SEVEN PENITENTIAL PSALMS.

Part Five.

David laments over the captivity of God's people in Babylon, and Prays for the restoration of Sion. His words are appropriate for the Soul, who grieves over her sins, and implores to be regenerated by Grace.


Psalm 101.
Domine, exaudi orationem meam,
Et clamor meus ad te veniat.

Domine, exaudi orationem meam:
* Et clamor meus ad te veniat.

Non avertas faciem tuam a me:
* In quacumque die tribulor, inclina ad me aurem tuam.

In quacumque die invocavero te:
* Velociter exaudi me.

File:Saint Augustine Portrait.jpg

Quia defecerunt sicut fumus dies mei:
* Et ossa mea sicut cremium aruerunt.

Percussus sum ut foenum, et aruit cor meum:
* Quia oblitus sum comedere panem meum.

A voce gemitus mei:
* Adhaesit os meum carni meae.

File:Saint Augustine Portrait.jpg

Similis factus sum pellicano solitudinis:
* Factus sum sicut nycticorax in domicilio.

Vigilavi:
* Et factus sum sicut passer solitarius in tecto.

Tota die exprobrabant mihi inimici mei:
* Et qui laudabant me adversum me jurabant.

File:Saint Augustine Portrait.jpg

Quia cinerem tamquam panem manducabam:
* Et potum meum cum fletu miscebam.

A facie irae et indignationis tuae:
* Quia elevans allisisti me.

Dies mei sicut umbra declinaverunt:
* Et ego sicut foenum arui.

File:Saint Augustine Portrait.jpg

Tu autem, Domine, in aeternum permanes:
* Et memoriale tuum in generationem et generationem.

Tu exsurgens misereberis Sion:
* Quia tempus miserendi ejus, quia venit tempus.

Quoniam placuerunt servis tuis lapides ejus:
* Et terrae ejus miserebuntur.

File:Saint Augustine Portrait.jpg

Et timebunt gentes nomen tuum, Domine:
* Et omnes reges terrae gloriam tuam.

Quia aedificavit Dominus Sion:
* Et videbitur in gloria sua.

Respexit in orationem humilium:
*Et non sprevit precem eorum.

File:Saint Augustine Portrait.jpg

Scribantur haec in generatione altera:
*Et populus qui creabitur laudabit Dominum.

Quia prospexit de excelso sancto suo:
* Dominus de coelo in terram aspexit.

Ut audiret gemitus compeditorum:
* Ut solveret filios interemptorum.

File:Saint Augustine Portrait.jpg

Ut annuntient in Sion nomen Domini:
* Et laudem ejus in Jerusalem.

In conveniendo populos in unum:
* Et reges, ut serviant Domino.

Respondit ei in via virtutis suae:
* Paucitatem dierum meorum nuntia mihi.

File:Saint Augustine Portrait.jpg

Ne revoces me in dimidio dierum meorum:
* In generationem et generationem anni tui.

Initio tu, Domine, terram fundasti:
* Et opera manuum tuarum sunt coeli.

Ipsi peribunt, tu autem permanes:
* Et omnes sicut vestimentum veterascent.

File:Saint Augustine Portrait.jpg

Et sicut opertorium mutabis eos, et mutabuntur:
* Tu autem idem ipse es, et anni tui non deficient.

Filii servorum tuorum habitabunt:
* Et semen eorum in saeculum dirigetur.


File:Saint Augustine Portrait.jpg


Here, O Lord, my Prayer:
And let my cry come unto Thee.

Turn not away Thy face from me:
In the day when I am in trouble, incline Thine ear to me.

In what day soever I shall call upon Thee:
Hear me speedily.

File:Saint Augustine Portrait.jpg

For my days are vanished like smoke:
And my bones are grown dry like fuel for the fire.

I am smitten as grass, and my heart is withered:
Because I forgot to eat my bread.

Through the voice of my groaning:
My bone hath cleaved to my flesh.

File:Saint Augustine Portrait.jpg

I am become like to a pelican of the wilderness:
I am like a night-raven in the house.

I have watched:
And am become as a sparrow all alone on the house-top.

All the day long mine enemies reproached me:
And they that praised me, did swear against me.

File:Saint Augustine Portrait.jpg

For I did eat ashes like bread:
And mingled my drink with weeping.

Because of Thy anger and indignation:
For having lifted me up, Thou hast thrown me down.

My days have declined like a shadow:
And I am withered like grass.

File:Saint Augustine Portrait.jpg

But Thou, O Lord, endurest for ever:
And Thy memorial to all generations.

Thou shalt arise and have mercy on Sion:
For it is time to have mercy on it, for the time is come.

For the stones thereof have pleased Thy servants:
And they shall have pity on the Earth thereof.

File:Saint Augustine Portrait.jpg

And the Gentiles shall fear Thy name, O Lord:
And all the Kings of the Earth Thy Glory.

For the Lord hath built up Sion:
And He shall be seen in His Glory.

He hath had regard to the Prayer of the humble:
And He hath not despised their petition.

File:Saint Augustine Portrait.jpg

Let these things be written unto another generation:
And the people that shall be created, shall praise the Lord.

Because He hath looked forth from His high sanctuary:
From Heaven, the Lord hath looked upon the Earth.

That He might hear the groans of them that are in fetters:
That He might release the children of the slain.

File:Saint Augustine Portrait.jpg

That they may declare the name of the Lord in Sion:
And His praise in Jerusalem.

When the people assembled together:
And Kings to serve the Lord.

He (the royal prophet),
longing to see these glorious things,
answered him though still in the way of his strength:
Declare unto me the fewness of my days.

File:Saint Augustine Portrait.jpg

Call me not away in the midst of my days:
Thy years are unto generation and generation.

In the beginning, O Lord, Thou foundedst the Earth:
And the heavens are the works of Thy hands.

They shall perish, but Thou remainest:
And all of them shall grow old, like a garment.

File:Saint Augustine Portrait.jpg

And as a vesture Thou shalt change them, and they shall be changed:
But Thou art always the self-same, and Thy years shall not fail.

The children of Thy servants shall continue:
And their seed shall be directed for ever.


File:Saint Augustine Portrait.jpg


The Seven Penitential Psalms are expressive of sorrow for sin. Four were known as 'Penitential Psalms' by Saint Augustine of Hippo in the early 5th-Century. Psalm 50 (Miserere) was recited at the close of daily Morning Service in the Primitive Church.


Translations of the Penitential Psalms were undertaken by some of the greatest poets in Renaissance England, including Sir Thomas WyattHenry Howard, Earl of Surrey, and Sir Philip Sidney. Before the Suppression of the Minor Orders and Tonsure, in 1972, by Pope Paul VI, the Seven Penitential Psalms were assigned to new Clerics after having been Tonsured.




Orlande de Lassus'
"Psalmi Davidis poenitentiales".

This is a Setting of Psalm 6, "Domine, ne in furore tuo arguas me",
("O Lord, do not reprove me in Thy wrath, nor in Thy anger chastise me").
Psalm 6 is the first of the Seven Penitential Psalms.
Available on YouTube on


Perhaps the most famous musical setting of all the Seven Penitential Psalms is by Orlande de Lassus, with his Psalmi Davidis poenitentiales of 1584. There are also fine settings by Andrea Gabrieli and by Giovanni Croce. The Croce pieces are unique in being settings of Italian sonnet-form translations of the Psalms by Francesco Bembo. These were widely distributed. They were translated into English and published in London as Musica Sacra and were even translated (back) into Latin and published in Nürnberg as Septem Psalmi poenitentiales.

William Byrd set all Seven Psalms in English versions for three voices in his Songs of Sundrie Natures (1589). Settings of individual Penitential Psalms have been written by many composers. Well-known settings of the Miserere (Psalm 50) include those by Gregorio Allegri and Josquin des Prez. Settings of the De profundis (Psalm 129) include two in the Renaissance era by Josquin.



PART SIX FOLLOWS.


Belmont Abbey, Hereford, England.



File:Belmont Abbey, Hereford.JPG

Belmont Abbey.
Photo: 2007.
Source: Own work.
Author: Poemen.
(Wikimedia Commons)


Latin Mass Society's.
Priest and Server Training Conference.
Belmont Abbey, Hereford.
29 April to 2 May 2014 (Low Week).
(Seminarians Go Free*).
For more details,
see the Latin Mass Society Web-Site


File:Belmont Abbey, Interior.JPG

The Nave,
Belmont Abbey,
Hereford, England.
Photo: 2007.
Source: Own work.
Author: Poemen.
(Wikimedia Commons)


The Latin Mass Society will be organising a Residential Training Conference for Priests wishing to learn to Celebrate Mass in the Usus Antiquior.

Tuition, which will be given by experienced Priests, will be tailored to suit the needs of each Priest.


File:Belmont Abbey, Stained Glass.JPG

Saints Michael, Gabriel, Raphael and Angels,
portrayed in the fine 19th-Century Stained-Glass Window,
Belmont Abbey,
Hereford, England.
Photo: 2006.
Source: Own work.
Author: Poemen.
(Wikimedia Commons)


The Conference will also be open for Servers who wish to learn or improve their skills with the older form of the Mass.

Training begins on the afternoon of Tuesday, 29 April, and will end on the morning of Friday, 2 May.

Meals are included in the price (including Friday lunch), which is heavily subsidised by the Latin Mass Society.


Lenten Station At The Basilica Of Saint Laurence-Without-The-Walls. Easter Wednesday.


Roman Text is taken from The Saint Andrew Daily Missal.

Italic Text, Illustrations and Captions, are taken from Wikipedia - the free encyclopaedia,
unless otherwise stated.


Indulgence of 30 years and 30 Quarantines.
Semi-Double.

White Vestments.

The spelling of this Saint's name can be either Laurence or Lawrence.



English: Papal Basilica of Saint Laurence-without-the-Walls.
Italiano: Basilica Papale di San Lorenzo fuori le Mura.
Photo: February 2005.
Source: Own work.
Author: User:Panairjdde.
(Wikimedia Commons)


The Lenten Station is at Saint Laurence-without-the-Walls. The Church puts before her new-born children, as a model, the illustrious Roman Deacon, to whom this Basilica is dedicated.

Like Saint Paul, yesterday, Saint Peter tells us that the Prophets foretold the death of Jesus and that the Apostles were witnesses of His Resurrection (Epistle). The Alleluia further reminds us that "the Lord hath appeared to Peter"; while the Gospel shows us Saint Peter directing the fishing operations of his companions, in expectation of the hour, now fast approaching, when he will direct their labours as fishers of men. More devoted to Jesus than the others, he cast himself into the sea to rejoin Him, and it was he who drew to land the net, full of one hundred and fifty-three big fishes.


File:Christoffer Wilhelm Eckersberg - The Cloisters, San Lorenzo fuori le mura.jpg

Title: The Cloisters,
San Lorenzo fuori le mura
(Saint Laurence-without-the-Walls),
Rome, Italy.
Artist: Christoffer Wilhelm Eckersberg (1783–1853).
Date: 1824.
Current location: Art Institute of Chicago,
(Mr. and Mrs. Martin A. Ryerson Collection).
Photo: April 2007.
Source: Own work.
Author: user:Rlbberlin
(Wikimedia Commons)


According to the Fathers, these fishes, brought by Peter to the feet of the Risen Christ, represented the Neophytes, for the Catechumens were born to supernatural life in the Font of Baptism. Called by God to receive His kingdom (Introit), they eat the Bread of Angels, the Bread of Heaven (Offertory, Secret), which transforms them into new creatures (Postcommunion), the "Agni Novelli" or "New-Born Lambs". [The "Agnus Dei", or figures of the Lamb of God, stamped on the wax which remains from the Paschal Candle of the previous year, were formerly blessed by the Pope on this day. Cherished in a spirit of reverence and Faith, they are a protection against sickness and danger.]

Let us celebrate these Festivities of the Resurrection of Our Lord in a spirit of Holy Rejoicing, a foretaste of the joy we shall experience at the eternal Pasch (Collect).


Tuesday, 22 April 2014