Notre Dame de Rouen. The façade of the Gothic Church in France. Photographer: Hippo1947. Licence: SHUTTERSTOCK.

15 September, 2026

Feast Day Of The Seven Sorrows Of The Blessed Virgin Mary. White Vestments.



The Blessed Virgin Mary.
Illustration: SHUTTERSTOCK


Text from “The Liturgical Year”.
   By: Abbot Guéranger, O.S.B.
   Volume 14.
   Time After Pentecost.
   Book V.

[Note: When Abbot Guéranger wrote this, the Feast we talk about, today, was Celebrated on the Third Sunday of September. It is nowadays Celebrated on 15 September.]

“O all ye that pass by the way, attend, and see if there be any sorrow like to my sorrow !” [Lamentations i. 12.]

Is this, then, the first cry of that sweet babe, whose coming brought such pure joy to our Earth ? Is the Standard of suffering to be so soon unfurled over the cradle of such lovely innocence ?



The Blessed Virgin Mary.
Illustration: SHUTTERSTOCK

Yet the heart of Mother Church has not deceived her; 
this Feast, coming at such a time, is ever the answer to that question of the expectant human race: What shall this child be?

The Saviour to come is not only the reason of Mary’s existence, He is also her exemplar in all things. It is as His Mother that The Blessed Virgin came, and therefore as the “Mother of Sorrows”; for the God, Whose future birth was the very cause of her own birth, is to be in this World “a Man of Sorrows and acquainted with infirmity.” [Isaias, liii. 3.]

“To whom shall I compare thee ?” sings the Prophet of Lamentations: “O Virgin . . . great as the sea is thy destruction.” [Lamentations ii. 13.]

On the mountain of the sacrifice, as Mother she gave
her Son, as bride she offered herself together with Him; by
her sufferings both as bride and as Mother, she was the
Co-Redemptress of the Human Race.



“Mater Dolorosa With Open Hands”.
Artist: Titian (1490–1576).
Date: 1555.
Current location: Prado Museum, Madrid, Spain.
Source/Photographer: http://www.museodelprado.es/
(Wikimedia Commons)

This teaching and these recollections were deeply engraved on our hearts on that other Feast of Our Lady’s Dolours which immediately preceded Holy Week.

Christ dieth now no more: And Our Lady’s sufferings are over. Nevertheless, the Passion of Christ is continued in His Elect, in His Church, against which Hell vents its rage it cannot exercise against Himself.

To this Passion of Christ’s mystical body, of which she is also Mother, Mary still contributes her compassion; how often have her Venerated images attested the fact, by miraculously shedding tears !

This explains The Church’s departure from Liturgical custom, by Celebrating two Feasts, in different Seasons, under one same Title.



The Blessed Virgin Mary.
Illustration: SHUTTERSTOCK

On perusing the Register of the Apostolic Decrees concerning Sacred Rites, the reader is astonished to find a long and unusual interruption lasting from 20 March 1809 to 18 September 1814, at which latter date is entered the Decree instituting on this present Sunday a second Commemoration of Our Lady’s Dolours.

1809 - 1814, five sorrowful years, during which the government of Christendom was suspended; years of blood which beheld the Man-God agonising once more in the person of His captive Vicar.

But the Mother of Sorrows was still standing beneath The Cross, offering to God The Church’s sufferings; and when the trial was over, Pope Pius VII, knowing well whence the mercy had come, dedicated this day to Mary as a fresh Memorial of the Day of Calvary.

Even in the 17th-Century, the Servites had the privilege of possessing this second Feast, which they Celebrated as a Double of the Second-Class, with a Vigil and an Octave.



English: Our Lady of Sorrows,
Español: Nuestra Señora de los Dolores. Capilla del 
Sagrario de la Iglesia Parroquial de Santa María del Alcor. 
El Viso del Alcor (Sevilla). Procesiona bajo palio en la 
tarde noche del Viernes Santo.
Photo: 8 December 2007.
Source: Own work.
Author: Ajjb
(Wikimedia Commons)

It is from them that The Church has borrowed the Office and Mass. This honour and privilege was due to the Order established by Our Lady to honour her sufferings and to spread devotion to them.

Philip Benizi, heir to the Seven Holy Founders, propated the flame kindled by them on the heights of Monte Senario; thanks to the zeal of his sons and successors, the devotion to The Seven Dolours of The Blessed Virgin, once their family property, is now the treasure of the whole World.

The prophecy of the aged Simeon, the flight into Egypt, the loss of the Divine Child in Jerusalem, the carrying of The Cross, the Crucifixion, the taking down from The Cross, and the burial of Jesus: These are the Seven Mysteries into which are grouped the well-nigh infinite sufferings which made Our Lady the Queen of Martyrs, the first and loveliest Rose in the garden of the Spouse.

Let us take to heart the recommendation from the Book of Tobias which The Church reads during this week in the Office of the time: Thou shalt honour thy mother: For thou must be mindful what and how great perils she suffered in giving thee birth. [Tobias, iv. 3, 14.]

“Waltzing Matilda”. In Latin. Especially For Our Australian Readership.




Flag of Australia (converted).svg



Flag of Australia.
This File: 12 March 2019.
User: AndreyKva
(Wikimedia Commons)

Dedicated to the God-Given Country of Australia
and the wonderful people therein, who, in times past, welcomed Zephyrinus with open arms.

When the chips are down, and the going gets rough,
as long as the Aussies are with you, you'll be OK.

“Fair Dinkum, Sport.”

“She’s Apples, Mate.”








“Swagman And His Mate”.
Artist: D'Arcy Doyle (1932-2001), Australia.
Illustration: PINTEREST




“Waltzing Matilda”.
Available on YouTube

“CARMEN VAGABUNDUM”
(WALTZING MATILDA).
(T.W.Melluish)

[To be sung to the tune of "Waltzing Matilda"]


Tendit in fusis amnis erro lacubus
grato sub tegmine myrteti,
cecinitque tuens dum fervet igne caccabus
"quis comes ambiclitella mihi?"

Chorus:

Ambiclitella, ambiclitella,
tu comes ambiclitella mihi
cecinitque tuens
dum fervet igne caccabus
"tu comes ambiclitella mihi"


Venit ovicula - vult sorbitiunculam,
corripit erro, exsultans vi,
et in peram ut condit, canit cantiunculam:
"tu comes ambiclitella mihi?

Chorus:


Ambiclitella, ambiclitella,
tu comes ambiclitella mihi
et in peram ut condit,
canit cantiunculam:
"tu comes ambiclitella mihi"


Venit colonus, equitans agricola;
hunc comitantur tres viri.
"cuius in pera latet haec ovicula?"
tu comes ambiclitella mihi!"

Chorus:

Ambiclitella, ambiclitella,
tu comes ambiclitella mihi
"cuius in pera
latet haec ovicula?"
"tu comes ambiclitella mihi!"


Praeceps sed erro ruit in voraginem,
se boat vivum nolle capi.
lacubusque canentem audias imaginem:
"tu comes ambiclitella mihi"

Chorus:

Ambiclitella, ambiclitella,
quis comes ambiclitella mihi?
lacubusque canentem
audias imaginem:
"quis comes ambiclitella mihi?"

THE END.


Lyrics kindly supplied by Matthaeus, at


Ottobeuren Abbey, Bavaria, Germany. (Part Two).

 


The façade of Ottobeuren Basilica, 
designed by Johann Michael Fischer, has been 
hailed as the pinnacle of Bavarian Baroque architecture.
Photo: 21 June 2019.
Source. Own work.
This File is licensed under the 
Attribution: Diego Delso.
Author: Diego Delso.
(Wikimedia Commons)


Rococo-Style Nave of Ottobeuren Abbey.
Photo: 21 June 2019.
Source. Own work.
This File is licensed under the 
Attribution: Diego Delso.
Author: Diego Delso.
(Wikimedia Commons)


Text is from Wikipedia - the free encyclopædia,
unless stated otherwise.

His successor, Abbot Isengrim (1145 – 1180), wrote “Annales minores”[1] and “Annales majores”.[2]

Conrad of Ottobeuren was Abbot from 1193 until his death in 1227. He is described by the Benedictines as a “lover of the Brethren and of the Poor”.[3]

In 1153, and again in 1217, the Abbey was consumed by fire. In the 14th-Century and 15th-Century, it declined so completely that at the accession of Abbot Johann Schedler (1416 – 1443) only six or eight Monks were left, and its annual revenues did not exceed forty-six Silver Marks. 



The High Altar,
Ottobeuren Abbey, Bavaria, Germany.
Photo: 21 June 2019.
Source. Own work.
This File is licensed under the
Attribution: Diego Delso.
Author: Diego Delso.
(Wikimedia Commons)

Under Abbot Leonard Wiedemann (1508 – 1546), it again began to flourish: He erected a Printing establishment and a common House of Studies for the Swabian Benedictines. The latter, however, was soon closed, owing to the ravages of the Thirty Years' War.

Ottobeuren became an Imperial Abbey in 1299, but lost this status after the Prince-Bishop of Augsburg had become Vogt [Editor: A Mediæval holder of the Office] of the Abbey. 

These Rights were renounced after a Court Case at the Reichskammergericht in 1624. Within months of his Election in 1710, the new Abbot, Rupert Ness (Rupert II, 1710 – 1740), the son of a Master Blacksmith, succeeded in solving the Centuries-old dispute over jurisdiction by paying 30,000 Guldens to the Prince-Bishop of Augsburg for his renouncing the “Protection Vogtei” over the Abbey, thus allowing Ottobeuren to regain its full status as an independent Imperial Abbey, although it did not become a member of the Swabian Circle. 

The War of the Spanish Succession not being yet over at the time, Rupert II arranged to meet Emperor Charles VI, who still occupied Bavaria, as well as Prince Eugene and the Duke of Marlborough, who were operating in the area.[4]

PART THREE FOLLOWS.

Chartres Cathedral. The Gothic Megastructure That Changed Architecture. Eight Centuries Ago, Mediæval Builders Created One Of The Tallest And Most Audacious Megastructures On Earth.

 


Chartres Cathedral. The Gothic Megastructure That 
Changed Architecture. Eight Centuries Ago, Mediæval 
Builders Created One Of The Tallest Megastructures On Earth.
Available On YouTube

The Octave Day Of The Nativity Of The Blessed Virgin Mary. 15 September. White Vestments.




“Birth of The Virgin”.
Artist: Bartolomé Esteban Murillo (1617–1682).
Date: 1660.
Current location: Louvre Museum, Paris, France.
Source/Photographer: Web Gallery of Art
(Wikimedia Commons)


Text from “The Liturgical Year”.
   By: Abbot Guéranger, O.S.B.
   Volume 14.
   Time After Pentecost.
   Book V.

“Praise and Glory be to Thee, O Holy Trinity, Who hast brought us all to this day’s Solemnity. Praise be to thee, also, O Holy Mother of God, Sceptre of the orthodox Faith: Through thee, The Cross triumphs, and man is called back to Heaven.

“Through thee, the idols are overthrown, and the Nations are brought to repentance.”


Such words as these, which The Church borrows from her Doctors to close the bright Octave, were doubtless sung in prophecy by the Angels around the new-born babe, Mary.

And such, in the light of the ages since elapsed, must needs be our answer to the question so often repeated at the Cradle side: What shall this Child be ?

The Doctrine lately laid down so magisterially by the infallible successor of Saint Peter [Editor: Abbot Guéranger was writing circa 1875], is this: Since the days of her mortal life, when Mary was, even in this World, truly the Mother of The Church, the Queen of the Apostles, and their Mistress with regard to the Divine Oracles; but especially since she has received in Heaven an almost infinite power for dispensing the fruits of redemption.


The mighty helper of the Christian people, the restorer of the World, has not ceased to prove herself the impregnable rampart of The Church, the solid foundation of The Faith, the fountain springing from God, whence  the rivers of Divine Wisdom pour out their pure waters, sweeping away heresy from all places [Pope Leo XIII. Encycl. Adjutricem populi Christiani, 5 September 1895].

May so glorious a past give us confidence for the future. “It is by Mary,” says the Blessed Grignon de Montfort, “that the salvation of the World has begun, and it is by Mary that it must be consummated.

Being the way by which Jesus Christ came to us the first time, she will also be the way by which He will come the second time, though not in the same manner.


Mary must shine forth more than ever in Mercy, in Might and in Grace, in these latter times: In Mercy, to bring back and lovingly receive the poor strayed sinners who shall be converted and shall return to The Catholic Church; in Might, against the enemies of God, idolaters, schismatics, Mahometans, Jews, and Souls hardened in impiety, who shall rise in terrible revolt against God, to seduce all those who shall be contrary to them, and make them fall by promises and threats.

And, finally, she must shine forth in Grace, in order to animate and sustain the valiant soldiers and faithful servants of Jesus Christ, who shall do battle for His interests.


Mary must be terrible as an army ranged in battle, principally in these latter times. It is principally of these last and cruel persecutions of the devil, which shall go on increasing daily till the reign of Antichrist, that we ought to understand that first and celebrated prediction and curse of God, pronounced in the terrestrial paradise against the serpent: “I will put enmities between thee and the woman, and thy seed and her seed”.

God has never made or formed but one enmity; but it is an irreconcilable one: It is between Mary, His worthy Mother, and the devil; between the children and servants of The Blessed Virgin and the children and instruments of Lucifer.

Satan fears Mary, not only more than all Angels and men, but in some sense more than God, Himself.


It is not that the anger, the hatred, and the power of God are not infinitely greater than those of The Blessed Virgin, for the perfections of Mary are limited; but it because Satan, being proud, suffers infinitely more from being beaten and punished by a little and humble handmaid of God, and her humility humbles him more than the Divine Power.

The devils fear one of her sighs for a Soul more than the Prayers of all the Saints, and one of her menaces against them more than all other torments.” [Treatise on the true Devotion to The Blessed Virgin. Translated by Father Faber.]

Saint Nicomedes. Martyr. Whose Feast Day Is, Today, 15 September. Red Vestments.


Text from The Saint Andrew Daily Missal,
unless stated otherwise.

Saint Nicomedes.
   Martyr.
   Feast Day 15 September.

Simple.

Red Vestments.


“At Rome,” says the Roman Martyrology, “on the Nomentanian Way, the birth in Heaven of Blessed Nicomedes, Priest and Martyr”.

Having said to those who tried to force him to sacrifice: “For me, I only sacrifice to the All-Powerful God, Who reigns in Heaven”, he was beaten with thongs covered with Lead and, during this long torture, he gave up his Soul to God.

He died in the First-Century A.D., under the Emperor Domitian.

Mass: In virtúte.


The following Text is from Wikipedia - the free encyclopædia.

Saint Nicomedes, a Martyr of the 1st-Century A.D., whose Feast is 15 September.

The Roman Martyrologium and the historical Martyrologies of Bede and his imitators place the Feast on this date. The Gregorian Sacramentary contains under the same date the Orations for his Mass.

The name does not appear in the three oldest and most important Manuscripts of the Martyrologium Hieronymianum, but was inserted in later recensions (“Martyrol. Hieronymianum”, ed. G. B. de Rossi-L. Duchesne, in Acta SS., November II, 121). The Saint is without doubt a Martyr of The Roman Church.



He was buried in a Catacomb on the Via Nomentana, near the Gate of that name. Three 7th-Century A.D. itineraries make explicit reference to his grave, and Pope Adrian I restored the Church built over it (De Rossi, Roma Sotterranea, I, 178-179).

A Titular Church of Rome, mentioned in the 5th-Century A.D., was dedicated to him (titulus S. Nicomedis). The Feast of the dedication of his Church on 1 June, alongside the 15 September Feast of his Martyrdom, were included in The Sarum Rite Calendars, but only the 1 June Feast Day was carried over into the Anglican Book of Common Prayer as a “Lesser Holy Day” or “Black-Letter Day”.

Nothing is known of the circumstances of his death. The legend of the Martyrdom of Saints Nereus and Achilleus introduces him as a Presbyter and places his death at the end of the 1st-Century A.D.

The Seven Sorrows Of The Blessed Virgin Mary. Feast Day 15 September. White Vestments.



The Seven Sorrows of The Virgin.
Artist: Albrecht Dürer (1471–1528).
Date: Circa 1496.
Current location: Alte Pinakothek, Munich, Germany.
Source/Photographer: Web Gallery of Art
(Wikimedia Commons)

The Seven Sorrows Of The Blessed Virgin Mary. Feast Day 15 September. White Vestments.



English: Our Lady of Sorrows.
Español: Nuestra Señora de los Dolores.
Fernando Estévez de Salas, 
Parroquia de San Juan Bautista,
Villa de La Orotava.
Photo: 2 April 2010.
Source: Own work.
Author: JosuHdez
(Wikimedia Commons)


Attribution of Floral Background:

The Seven Sorrows of The Blessed Virgin Mary.

Feast Day 15 September.

Double of The Second-Class.

White Vestments.


Text from Wikipedia - the free encyclopædia,
unless otherwise stated.

Our Lady of Sorrows (Latin: “Beata Maria Virgo Perdolens”), The Sorrowful Mother, or, Mother of Sorrows (Latin: “Mater Dolorosa”, at times just “Dolorosa”), and Our Lady of The Seven Sorrows, or, Our Lady of The Seven Dolours, are names by which The Blessed Virgin Mary is referred to in relation to Sorrows in her Life.

As Mater Dolorosa, it is also a key subject for Marian Art in The Catholic Church.

The Seven Sorrows of Mary are a popular Roman Catholic Devotion. There are Devotional Prayers which consist of Meditations on her Seven Sorrows. Examples include The Servite Rosary, or, The Chaplet of The Seven Sorrows of Our Lady.

Also, there is a corresponding Devotion to The Seven Joys of Mary. The term “Sorrowful and Immaculate Heart of Mary” refers to the combined Devotion of both The Immaculate Heart and The Seven Sorrows of Mary, as first used by The Franciscan Tertiary, Berthe Petit.



The Blessed Virgin Mary.
Illustration: SHUTTERSTOCK

The Seven Sorrows (or Dolours) are events in The Life of The Blessed Virgin Mary, which are a popular Devotion and are frequently depicted in art. It is a common Devotion for Catholics to say, daily, one Our Father and seven Hail Marys for each of The Seven Sorrows, which are:

The Prophecy of Simeon. (Luke 2:34-35), or, The Circumcision of Christ;
The Flight into Egypt. (Matthew 2:13);
The Loss of The Child Jesus in The Temple. (Luke 2:43-45);
Mary Meets Jesus on The Way to Calvary;
Jesus Dies on The Cross. (John 19:25);
Mary Receives The Body of Jesus in Her Arms. (Matthew 27:57-59);
The Body of Jesus Is Placed in The Tomb. (John 19:40-42).

These Seven Sorrows should not be confused with The Five Sorrowful Mysteries of The Rosary



“Mater Dolorosa With Open Hands”.
Artist: Titian (1490–1576).
Date: 1555.
Current location: Prado Museum, Madrid, Spain.
Source/Photographer: http://www.museodelprado.es/
(Wikimedia Commons)

The Feast of Our Lady of Sorrows was originated by a Provincial Synod of Cologne, in 1413, as a response to the iconoclast Hussites. It was designated for The Friday after The Third Sunday after Easter. It had the Title: “Commemoratio angustiæ et doloris Beatæ Mariæ Virginis”. Before the 16th-Century, The Feast was Celebrated only in parts of Northern Europe.


“Stabat Mater”
(The Mother Stood).
Composed by Pergolesi.
Available on YouTube

Earlier, in 1233, seven youths in Tuscany, Italy, Founded The Servite Order (also known as “The Servite Friars”, or “The Order of The Servants of Mary”). Five years later, they took up “The Sorrows Of Mary, Standing Under The Cross”, as the principal Devotion of their Order.

Over the Centuries, several Devotions, and even Orders, arose around Meditation on Mary’s Sorrows. The Servites developed the two most common Devotions to Our Lady's Sorrows, namely The Rosary of The Seven Sorrows and The Black Scapular of The Seven Dolours of Mary.

The Black Scapular is a symbol of The Confraternity of Our Lady of Sorrows, which is associated with The Servite Order. Most devotional Scapulars have requirements regarding ornamentation or design. The Devotion of The Black Scapular requires only that it be made of Black Woollen Cloth.


English: “Our Lady, Who Softens Evil Hearts”.
Russian icon, 19th-Century.
Русский: Икона “Умягчение злых сердец”.
Author: Unknown.
(Wikimedia Commons)

On 2 February, the same day as The Great Feast of The Meeting of The Lord, Orthodox Christians and Eastern Catholics Commemorate a wonder-working icon of The Theotokos (Mother of God), known as “The Softening of Evil Hearts” or “Simeon’s Prophecy”.

It depicts The Virgin Mary at the moment that Simeon the Righteous says: “Yea, a Sword shall pierce through thy own Soul, also . . .” (Luke 2:35). She stands with her hands upraised in Prayer, and Seven Swords pierce her Heart, indicative of The Seven Sorrows. This is one of the few Orthodox icons of The Theotokos which do not depict The Infant Jesus. The Refrain “Rejoice, much-sorrowing Mother of God, turn our sorrows into joy and soften the hearts of evil men !” is also used.

The first Altar to The Mater Dolorosa was set up in 1221 at the Monastery of Schönau. Especially in Mediterranean Countries, Parishioners traditionally carry statues of Our Lady of Sorrows in Processions on the days leading to Good Friday.

No Feast in her honour was included in Pope Saint Pius V's 1570 Tridentine Calendar. Vatican approval for the Celebration of a Feast, in honour of Our Lady of Sorrows, was first granted to The Servite Order in 1667.


English: Our Lady of Sorrows,
Español: Nuestra Señora de los Dolores. Capilla del 
Sagrario de la Iglesia Parroquial de Santa María del Alcor. 
El Viso del Alcor (Sevilla). Procesiona bajo palio en la 
tarde noche del Viernes Santo.
Photo: 8 December 2007.
Source: Own work.
Author: Ajjb
(Wikimedia Commons)

By inserting The Feast into The Roman Catholic Calendar of Saints, in 1814, Pope Pius VII extended the Celebration to the whole of The Latin Church. It was assigned to The Third Sunday in September. In 1913, Pope Saint Pius X moved The Feast to 15 September, the day after The Feast of The Cross. It is still observed on that date.

Another Feast, originating in the 17th-Century, was extended to the whole of The Latin Church in 1727. It was originally Celebrated on Friday in Passion Week, one week before Good Friday. In 1954, it still held the Rank of Major Double (slightly lower than the Rank of the 15 September Feast) in The General Roman Calendar.

Each Celebration was called a Feast of “The Seven Sorrows of The Blessed Virgin Mary”.

The 15 September Feast, that now combines and continues both of them, is known as “The Feast of Our Lady of Sorrows” (Beatæ Mariæ Virginis Perdolentis). The Sequence, known as Stabat Mater, may be sung at Mass on that day.


Archetypal Gothic Lady of Sorrows from a Triptych by The Master of The Stauffenberg Altarpiece, Alsace, circa 1455. Title: La descente de Croix, les larmes de Marie (detail).
Current location: Unterlinden Museum, France.
Source/Photographer: Own work, Alsace, Haut-Rhin, Colmar,
(Wikimedia Commons)

Our Lady of Sorrows, depicted as “Mater Dolorosa” (Mother of Sorrows), has been the subject of some key works of Roman Catholic Marian Art. Mater Dolorosa is one of the three common artistic representations of a sorrowful Virgin Mary, the other two being Stabat Mater (“The Mother Stood”) and Pietà.

In this iconography, Our Lady of Seven Sorrows is at times simply represented in a sad and anguished mode by herself, her expression being that of tears and sadness. In other representations, The Virgin Mary is depicted with Seven Swords in her Heart, a reference to the Prophecy of Simeon, at The Presentation.

Our Lady of Sorrows is The Patron Saint of:


Slovakia;
The Congregation of Holy Cross;
The village of Mola di Bari, and the Molise Region, Italy;
The State of Mississippi, USA;
Dolores, The Philippines;
Lanzarote, Canary Islands;
Mater Dolorosa (Berlin-Lankwitz).


Attribution of Floral Background:

The following Text is from The Saint Andrew Daily Missal.

Mary stood at the foot of The Cross, where Jesus was hanging (Introit, Gradual, Alleluia, Sequence, Gospel) and, as Simeon had prophesied (Collect), a Sword of Sorrow pierced her Soul (Secret). Powerless, “she saw her Sweet Child desolate in the anguish of death, and she received His last breath” (Sequence).

The compassion, which her maternal heart felt at the foot of The Cross, obtained for her as its reward The Palm of Martyrdom without death (Communion).

This Feast was Celebrated with great solemnity by The Servites in the 17th-Century. In 1817, it was extended by Pope Pius VII to the whole Church, so as to recall the sufferings she [Editor: The Church] had undergone in the person of her exiled and captive head [Editor: Pope Pius VII], delivered by the protection of The Blessed Virgin.

Just as the first Feast of The Sorrows of Mary, in Passiontide, shows us how she had her share in The Sacrifice of Jesus, the second Feast, in The Season after Pentecost, tells us of all the compassion which the Mother of The Saviour feels for The Church, the Spouse of Jesus, who is Crucified in her turn and whose Devotion to The Sorrows of Mary increases in these calamitous times.

His Holiness, Pope Saint Pius X, in 1908, raised this Feast to the Rank of a Solemnity of The Second-Class.

Mass: Stabant juxta.
Commemoration: Saint Nicomedes (at Low Mass).
Sequence: Stabat Mater.
Creed: Is said.
Preface: Of The Blessed Virgin (Et te in Transfixióne).
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