Don’t forget to . . .
Artist: Albrecht Dürer.
“Praying Hands”.
Date: 1508.
Illustration: ETSY
03 April, 2026
Chiesa Della Santissima Trinità Dei Pellegrini, Rome. Church Of The Most Holy Trinity Of The Pilgrims.
Altar of Repose.
Church Of The Most Holy Trinity Of The Pilgrims, Rome.
Chiesa della Santissima Trinità dei Pellegrini, Roma.
Illustration: FR. Z’s BLOG
The High Altar at Easter, 2019.
Church Of The Most Holy Trinity Of The Pilgrims, Rome.
Chiesa della Santissima Trinità dei Pellegrini, Roma.
Photo: 21 April 2019.
Source: Own work.
Author: L.J.Mazurek
(Wikimedia Commons)
Make Holy Saturday Mean Something. Watch, Take Part, And Assist, At Tenebræ (Gregorian Matins And Lauds) For Holy Saturday.
The Tenebræ Booklet for Holy Saturday
is available for Download HERE
Watch, take part, and Assist,
at Tenebræ
(Gregorian Matins & Lauds)
for Holy Saturday
at 1000 hrs (British Summer Time) at
LIVE MASS.NET
at 1000 hrs (British Summer Time) at
LIVE MASS.NET
and, also, on YouTube at 0900 hrs (British Summer Time) at
INSTITUTE OF CHRIST THE KING SOVEREIGN PRIEST
INSTITUTE OF CHRIST THE KING SOVEREIGN PRIEST
(Greenwich Mean Time = minus 1 hr)
(Eastern Daylight Time = minus 5 hrs)
(Central Time America = minus 6 hrs)
The Web-Site of
The Institute of Christ The King Sovereign Priest
can be found HERE
The Web-Site of
Saint Mary’s Shrine,
The Priestly Fraternity of Saint Peter,
Warrington, England,
The Priestly Fraternity of Saint Peter,
Warrington, England,
can be found HERE
Altar Of Repose. Church Of Santa Maria dell’Orto, Trastevere, Rome.
The Altar of Repose.
Church of Santa Maria dell’Orto,
Trastevere, Rome.
Illustration: NEW LITURGICAL MOVEMENT
Santa Maria dell’Orto is a Roman Catholic Church in the Rione of Trastevere, Rome, Italy. It is the National Church of Japan in Rome.
The Church is set in the middle of the area that has been called the “Prata Mutia” (“Fields of Mutius”) since about 508 BC; it was here that the Etruscan King, Porsena, had made his encampment, and that, later, the Roman Senate donated to Mucius Scaevola as a sign of gratitude of Rome for his heroic actions.
The origins of the Church are associated with a Miracle that is supposed to have happened circa 1488.
A sick farmer, afflicted with a serious palsy according to oral history, was healed after Praying to an image of The Virgin Mary painted close to the entrance to his own Market Garden.
The event led to popular Worship for the painting, and subsequently a small Votive Chapel was erected, soon followed by a greater Church, funded by twelve Professional Associations (Università).
In 1492, Pope Alexander VI allowed the establishment of a Confraternity, and, in 1588 (with a Brief, dated 20 March), Pope Sixtus V declared it an Arch-Confraternity and bestowed on it the rare privilege of asking for the pardon of a person condemned to death, during its Titular Feast.
The event led to popular Worship for the painting, and subsequently a small Votive Chapel was erected, soon followed by a greater Church, funded by twelve Professional Associations (Università).
In 1492, Pope Alexander VI allowed the establishment of a Confraternity, and, in 1588 (with a Brief, dated 20 March), Pope Sixtus V declared it an Arch-Confraternity and bestowed on it the rare privilege of asking for the pardon of a person condemned to death, during its Titular Feast.
During the 1825 Jubilee, it was honoured with the Title of Venerable.
As an Arch-Confraternity, it could attach other Confraternities, anywhere in the World; therefore, during the 1600 Jubilee – through a Notary Deed, dated 30 April – it was aggregated to the Confraternity of the Oratory of Nostra Signora di Castello, established in Savona, Italy, in 1260.
Construction was begun in 1489 by an unknown Architect and completed in 1567. Its façade is largely ascribed to Vignola (though sometimes attributed to Martino Longhi the Elder), while the Interior is by Guidetto Guidetti, a pupil of Michelangelo, who transformed the former Greek-Cross design (with four Apses) into a Latin-Cross structure with three Naves.
The Church houses Works of Art by the brothers Federico and Taddeo Zuccari, Corrado Giaquinto and Giovanni Baglione.
The Church is still guarded by the Arch-Confraternity of S. Maria dell’Orto, that, due to the seniority of its Papal Establishment, is the most ancient of the Confraternities Consecrated to The Holy Virgin still active in Rome, and one of the first overall.
As an Arch-Confraternity, it could attach other Confraternities, anywhere in the World; therefore, during the 1600 Jubilee – through a Notary Deed, dated 30 April – it was aggregated to the Confraternity of the Oratory of Nostra Signora di Castello, established in Savona, Italy, in 1260.
Construction was begun in 1489 by an unknown Architect and completed in 1567. Its façade is largely ascribed to Vignola (though sometimes attributed to Martino Longhi the Elder), while the Interior is by Guidetto Guidetti, a pupil of Michelangelo, who transformed the former Greek-Cross design (with four Apses) into a Latin-Cross structure with three Naves.
The Church houses Works of Art by the brothers Federico and Taddeo Zuccari, Corrado Giaquinto and Giovanni Baglione.
The Church is still guarded by the Arch-Confraternity of S. Maria dell’Orto, that, due to the seniority of its Papal Establishment, is the most ancient of the Confraternities Consecrated to The Holy Virgin still active in Rome, and one of the first overall.
Church of Santa Maria dell’Orto,
Trastevere, Rome.
Photo: 17 January 2016.
Source: Own work.
Author: Livioandronico2013
(Wikimedia Commons)
Good Friday. Jesus Is Laid In The Sepulchre. Caravaggio.
English: The Entombment of Christ,
(1602–1603).
Italiano: La Deposizione di Cristo.
Artist: Caravaggio.
Current location: Pinacoteca Vaticana, Rome.
Photo: May 2010.
Source: Own work.
Author: Lafit86.
(Wikimedia Commons)
Good Friday.
“Pietà”.
Artist: William-Adolphe Bouguereau (1825–1905).
Date: 1876.
This File: 24 February 2007.
User: Juanpdp.
(Wikimedia Commons)
From Italian “Pieta”, from Latin “Pietatem” (see “Piety”).
A painting, drawing, or sculpture of Mary,
The Mother of Jesus, holding the dead body of Jesus.
The word “Pieta” means “Pity” in Italian.
Good Friday. “Stabat Mater”.
Illustration: GOSPEL OPERATION INTERNATIONAL
Illustration: CARMEL, GARDEN OF GOD
“Stabat Mater” (The Mother Stood)
Is “The Sequence” For
The Mass Of 15 September,
“The Mass Of The Seven Sorrows
Of The Blessed Virgin Mary”.
It Recounts The Blessed Virgin Mary’s
Heartbreak On Good Friday,
When Standing At
The Foot Of The Cross,
Whilst Her Son, Jesus Christ,
Hung On That Infamous Gibbet.
“Stabat Mater”.
This video is only available on YouTube
Ave Maria. Olga Szyrowa (Soprano). 2004. Pasja / The Passion Of The Christ. “How Not To Love You, Maria” (Diana Navarro - “Mare Mine”. In Latin And Spanish).
Illustration:
“The Passion Of The Christ”.
This video is age-restricted
and is only available on YouTube
The Most Beautiful “Ave Maria” I’ve Ever Heard.
(Michal Lorenc, 1995).
Available on YouTube
“Ave Maria”.
Olga Szyrowa (Sopran) (M.Lorenc) ścieżka dźwiękowa z film -
Olga Szyrowa (Sopran) (M.Lorenc) ścieżka dźwiękowa z film -
Prowokator Fragmenty z filmu Mela Gibsona - Pasja / Passion of the Christ, The (2004).
“Ave Maria”.
Sung by the Russian opera singer, Olga Szyrowa.
Sung by the Russian opera singer, Olga Szyrowa.
The soundtrack comes from the Polish Movie, “Prowokator” (1995).
Composer of all music for the Movie is Michał Lorenc.
“How Not To Love You, Maria”.
(Diana Navarro - “Mare Mine”, in Latin and Spanish).
Available on YouTube
Pasja Miłości - Beata Bednarz
zdjecia z filmu “PASJA”
Available on YouTube
Good Friday.
“Compassion !”.
Artist: William-Adolphe Bouguereau (1825–1905).
Date: 1897.
Current location: Musée d'Orsay, Paris, France.
(Wikimedia Commons)
Good Friday. Christ Leaving The Prætorian Palace To Receive His Holy Cross.
English: Christ leaving The Prætorian Palace
to receive His Holy Cross.
Français: Le Christ quittant le prétoire,
huile sur toile.
Artist: Gustave Doré (1832–1883).
Date: 1867-1872.
Current location: Musée d'art moderne
et contemporain de Strasbourg, France.
Source: Own work (photo or scan: Ji-Elle).
Author: Gustave Doré (1832–1883).
(Wikimedia Commons)
Good Friday. The Scourging At The Pillar.
The Flagellation Of Our Lord Jesus Christ
(The Scourging At The Pillar).
Date: 1880.
Artist: William-Adolphe Bouguereau (1825-1905).
This File: 24 April 2005.
User: Thebrid
(Wikimedia Commons)
Good Friday. Station At The Basilica Of The Holy Cross-In-Jerusalem. Black Vestments.
English: Basilica of The Holy Cross-in-Jerusalem.
Italian: Basilica di Santa Croce-in-Gerusalemme.
Latin: Basilica Sanctæ Crucis-in-Hierusalem.
A masterpiece of “Barochetto Romano” by
Pietro Passalacqua and Domenico Gregorini.
Photo: February 2006.
Source: facade, s. croce-in-gerusalemme
Author: Anthony M. from Rome.
(Wikimedia Commons)
Note: Lent officially ends at Sundown, just prior to
The Mass of Our Lord’s Supper.
unless otherwise stated.
Good Friday.
Station at The Basilica of The Holy Cross-in-Jerusalem.
Indulgence of 30 Years and 30 Quarantines.
Double of The First-Class.
Black Vestments.
The Station is at the Basilica, which, in Rome, represents Jerusalem, whose name it bears. It is Consecrated to Our Redeemer’s Passion and contains earth from Calvary, some important fragments of the True Cross, and one of the Nails used in the Crucifixion of Our Lord.
On this day, the Anniversary of Our Saviour’s Death, The Church gives her Temples an appearance of desolation, and clothes her Ministers in the garb of mourning.
The Mass Of The Catechumens.
The first part of today’s Liturgy recalls the gatherings that took place in the Synagogues on the Sabbath Day. The first Christian communities, composed as they were of convert Jews, took these assemblies as their model, at the same time subjecting them to necessary modifications, especially by early associating them with the Liturgy of the Eucharistic Sacrifice.
It is in the Mass of the Catechumens, that these are told that the Mercies of God are soon to descend on the Christian People, just as chastisement will fall on the faithless nations, Ephraim and Juda; for, at the very moment when the multitude of the Children of Israel will be offering the Paschal Lamb (Second Lesson), the Jews will be putting to death The Lamb of God on The Cross. This death is described for us in the Story of Our Lord’s Passion according to Saint John.
“None” having been said “In Choir” (“In Choro”), the Celebrant and the Sacred Ministers, in Black Vestments and without Lights or Incense, come before the Altar, where they prostrate themselves and Pray for some moments.
Meanwhile, the Acolytes spread a single Altar-Cloth upon the Altar. The Celebrant and the Ministers, having finished Praying, go up the steps to the Altar, which the Celebrant kisses, as usual in the middle, afterwards going to the Epistle side. After this, a Reader, in the place where the Epistle is read, begins the First Lesson in the tone of the Prophesies.
The Passion Of Our Lord
On this day, the Anniversary of Our Saviour’s Death, The Church gives her Temples an appearance of desolation, and clothes her Ministers in the garb of mourning.
The Mass Of The Catechumens.
The first part of today’s Liturgy recalls the gatherings that took place in the Synagogues on the Sabbath Day. The first Christian communities, composed as they were of convert Jews, took these assemblies as their model, at the same time subjecting them to necessary modifications, especially by early associating them with the Liturgy of the Eucharistic Sacrifice.
“The Virgin presents Saint Helena
and Emperor Constantine to The Trinity”.
The Ceiling in Santa Croce-in-Gerusalemme.
Painting by Corrado Giaquinto, from 1744.
Photo: February 2006.
Author: Anthony M. from Rome.
(Wikimedia Commons)
“None” having been said “In Choir” (“In Choro”), the Celebrant and the Sacred Ministers, in Black Vestments and without Lights or Incense, come before the Altar, where they prostrate themselves and Pray for some moments.
Meanwhile, the Acolytes spread a single Altar-Cloth upon the Altar. The Celebrant and the Ministers, having finished Praying, go up the steps to the Altar, which the Celebrant kisses, as usual in the middle, afterwards going to the Epistle side. After this, a Reader, in the place where the Epistle is read, begins the First Lesson in the tone of the Prophesies.
Portrait of Pope Urban VIII.
Artist: Gian Lorenzo Bernini (1598–1680).
Date: Circa 1625.
Current Location: Galleria Nazionale d'Arte Antica, Rome. Note: Housed in the Salon of Pietro da Cortona of the Palazzo Barberini. Source/Photographer: Villas et palais de Rome de Carlo Cresti et Claudio Rendina, photographies de Massimo Listri, traduction de l'italien par Jean-Philippe Follet. Paris:Mengès, novembre 1998, p. 308.
(Wikimedia Commons)
Pope Urban VIII (Papacy 1623 - 1644).
A large piece of The Cross was taken from Santa Croce-in-Gerusalemme, Rome, to Saint Peter's Basilica, on the instructions of Pope Urban VIII, in 1629.
According To Saint John.
The drama of The Passion is universal and, in one sense, will end only with the World, itself, for all men by their sins have taken a share in the death of Christ. Jesus was bound to triumph through those very atoning sufferings by which He became the victim of every passion which shall agitate the human race until the end of the World.
For He has atoned for the pride of those who share the Hatred of Truth, which turned the Jews into murderers: The Avarice of those who are possessed by the demon of greed, which drove Judas to sell his Master; the lust of all who indulge in sensual delights, like Herod, who mocked Jesus and sent Him back to Pilate; the cruelty of those who love to cause suffering, like the Soldiers who struck Our Lord and insulted Him; and the cowardice of all who leave the path of duty, like the Apostles, who forsook Him, to Whom they owed everything.
Our Lord’s Passion is the whole of humanity, hurling itself upon its Divine Healer, and yet cured by Him; yet, also, it is The Anointed of God, The King of Martyrs, Who, in face of all the generations who persecute Him, and before the whole World, offers to His Father a supreme token of submission, that of Blood, itself.
Christ on The Cross ! What a model of death to all our sins, of resistance to every temptation, of warfare against all evil-doers, and of the testimony which we, in our turn, ought to render to God, even, if necessary, at the cost of our very life.
The Solemn Prayers.
In the second part of today’s Liturgy, we have a relic of Prayers which were also a feature of the primitive gatherings previously mentioned. Of these Prayers, the only trace existing in the Roman Mass is the “Oremus”, said before the Offertory.
These Liturgical Prayers show us that the effects of Our Lord’s death extend to all necessities of The Church and of the human race. They even foresee the conversion of the Deicide Race, who will one day recognise that Jesus is The Messias.
The Adoration Of The Cross.
This Ceremony owes its origin to a custom which prevailed at Jerusalem in the 4th-Century A.D., of Venerating, on this day, the wood of the True Cross. Meanwhile, the “Improperia”, or “Tender Reproaches” of Christ to His people, to whom He had done nothing but good, were sung in Greek, which language was still partly in use in The Mass of every day.
When the Prayers are finished, the Celebrant takes off the Chasuble and he unveils The Cross, singing the words: “Ecce Lignum Crucis” (“Behold the Wood of The Cross”). Thence begins the adoration of The Cross, by the Celebrant, Ministers and the people, during which the Choir sing “The Reproaches”.
The Mass Of The Pre-Sanctified.
There follows Vespers, which are the same as for Vespers on Maundy Thursday.
The drama of The Passion is universal and, in one sense, will end only with the World, itself, for all men by their sins have taken a share in the death of Christ. Jesus was bound to triumph through those very atoning sufferings by which He became the victim of every passion which shall agitate the human race until the end of the World.
For He has atoned for the pride of those who share the Hatred of Truth, which turned the Jews into murderers: The Avarice of those who are possessed by the demon of greed, which drove Judas to sell his Master; the lust of all who indulge in sensual delights, like Herod, who mocked Jesus and sent Him back to Pilate; the cruelty of those who love to cause suffering, like the Soldiers who struck Our Lord and insulted Him; and the cowardice of all who leave the path of duty, like the Apostles, who forsook Him, to Whom they owed everything.
Our Lord’s Passion is the whole of humanity, hurling itself upon its Divine Healer, and yet cured by Him; yet, also, it is The Anointed of God, The King of Martyrs, Who, in face of all the generations who persecute Him, and before the whole World, offers to His Father a supreme token of submission, that of Blood, itself.
Christ on The Cross ! What a model of death to all our sins, of resistance to every temptation, of warfare against all evil-doers, and of the testimony which we, in our turn, ought to render to God, even, if necessary, at the cost of our very life.
English: Coat-of-Arms of Pope Urban VIII.
Français: Armoiries du pape Urbain VIII:
d’azur à trois abeilles d’or posées 2 et 1.
Source du blasonnement:
Date: August 2008.
Source: Own work.
Author: Odejea
(Wikimedia Commons)
In the second part of today’s Liturgy, we have a relic of Prayers which were also a feature of the primitive gatherings previously mentioned. Of these Prayers, the only trace existing in the Roman Mass is the “Oremus”, said before the Offertory.
These Liturgical Prayers show us that the effects of Our Lord’s death extend to all necessities of The Church and of the human race. They even foresee the conversion of the Deicide Race, who will one day recognise that Jesus is The Messias.
Imaginary portrait of Pope Gregory I.
(After Carlo Saraceni (1579–1620))
or Workshop of Carlo Saraceni
Date: Circa 1610.
Current Location: Galleria Nazionale d'Arte Antica, Rome.
Source/Photographer: Galleria Nazionale d'Arte Antica, Rome.
User Gerald Farinas on en.wikipedia
This Image: July 2007.
User: Helix84
(Wikimedia Commons)
Pope Gregory I (Papacy 590 A.D. - 604 A.D.).
Ordered the construction of the Basilica’s Museum.
This Ceremony owes its origin to a custom which prevailed at Jerusalem in the 4th-Century A.D., of Venerating, on this day, the wood of the True Cross. Meanwhile, the “Improperia”, or “Tender Reproaches” of Christ to His people, to whom He had done nothing but good, were sung in Greek, which language was still partly in use in The Mass of every day.
When the Prayers are finished, the Celebrant takes off the Chasuble and he unveils The Cross, singing the words: “Ecce Lignum Crucis” (“Behold the Wood of The Cross”). Thence begins the adoration of The Cross, by the Celebrant, Ministers and the people, during which the Choir sing “The Reproaches”.
The Mass Of The Pre-Sanctified.
Good Friday, being the anniversary of Our Lord’s Death, there stands out before the whole World the blood-stained throne of The Cross, from which The God-Man reigns. The Church does not Celebrate The Holy Mass, which is the memorial of that of The Cross; she contents herself with consuming the Sacred Species, previously Consecrated; which, in the Greek Rite, is the daily practice during Lent, except on Saturdays and Sundays. From this, comes the name “Mass of the Pre-Sanctified”, since the Offerings are Sanctified (Consecrated), previously.
Vespers For Good Friday.
Vespers For Good Friday.
Our Lady Of The Atonement Cathedral,
Baguio, Philippines.
Photo: 29 March 2024.
Source: Own work.
This File is made available under the
Author: Galaxiaria
(Wikimedia Commons)
Wells Cathedral.
Photo: August 2006.
Source: Own work.
This File is licensed under the
Share Alike 3.0 Unported licence.
Author: Steinsky
(Wikimedia Commons)
Good Friday. “Ecce Homo”. “Behold The Man”.
“Ecce Homo”.
“Behold The Man”.
Artist: Antonio Ciseri (1821–1891).
Date: 1860-1880.
Source: http://www.most-famous-
paintings.org/Ecce-Homo-large.html
Author: Antonio Ciseri (1821–1891).
(Wikimedia Commons)
Good Friday. The Morning.
“Ecce Homo”.
“Behold The Man”.
Artist: Antonio Ciseri (1821–1891).
Date: 1860-1880.
Source: http://www.most-famous-
paintings.org/Ecce-Homo-large.html
Author: Antonio Ciseri (1821–1891).
(Wikimedia Commons)
By: Abbot Guéranger, O.S.B.
Volume 6.
Passion-Tide and Holy Week.
The Sun has risen upon Jerusalem.
But the Priests and Scribes have not waited all this time without venting their rage upon Jesus.
Annas, who was the first to receive the Divine Captive, has had Him taken to his son-in-law Caiphas, the High Priest.
Here, He is put through a series of insulting questions, which, disdaining to answer, He receives a blow from one of the High Priest’s servants.
False witnesses had already been prepared: They now come forward, and depose their lies against Him Who is the Very Truth; but their testimony is contradictory.
Then, Caiphas, seeing that this plan for convicting Jesus of blasphemy is only serving to expose his accomplices, turns to another plan. He asks Him a question, which will oblige Our Lord to make an answer; and, in this answer, he, Caiphas, will discover blasphemy, and blasphemy will bring Jesus under the power of the Synagogue.
This is the question: “I adjure Thee, by the living God, that Thou tell us, if Thou be the Christ, the Son of God !
Our Saviour, in order to teach us that we should show respect to those who are in authority, breaks the silence, He has hitherto observed, and answers: “Thou hast said it: I am: And hereafter ye shall see the Son of Man sitting on the Right-Hand of the power of God, and coming in the clouds of Heaven”.
Hereupon, the impious pontiff rises, rends his garments, and exclaims: “He hath blasphemed ! What further need have we of witnesses ? Behold ! Now ye have heard the blasphemy: What think ye ?” The whole place resounds with the cry: “He is guilty of death !”
The Son of God has come down upon the Earth in order to restore Man to life; and yet, here we have this creature of death daring to summon his Divine Benefactor before a human tribunal, and condemning Him to death !
And Jesus is silent, and bears with these presumptuous, these ungrateful, blasphemers ! Well may we exclaim, in the words wherewith the Greek Church frequently interrupts today’s reading of the Passion: “Glory be to Thy patience, O Lord !”
Scarcely have the terrible words, “He is guilty of death”, been uttered, than the servants of the High Priest rush upon Jesus. They spit upon Him, and, blindfolding Him, they strike Him, saying: “Prophecy, who is it that struck Thee ?”
Thus does the Synagogue treat the Messias, Who, they say, is to be their glory ! And yet, these outrages, frightful as they are, are but the beginning of what Our Redeemer has to go through.
But there is something far more trying than all this to the heart of Jesus, and it is happening at this very time. Peter has made his way as far as the Court of the High Priest’s Palace. He is recognised by the bystanders as a Galilean, and one of Jesus’s disciples.
The Apostle trembles for his life; he denies his Master, and affirms with an oath that he does not even know Him. What a sad example is here of the punishment of presumption ! But Jesus has mercy on His Apostle. The servants of the High Priest lead Him near to the place where Peter is standing; He casts upon him a look of reproach and pardon; Peter immediately goes forth, and weeps bitterly.
From this hour forward, he can do nothing but lament his sin; and it is only on Easter morning, when Jesus shall appear to him after His Resurrection, that he will admit any consolation to his afflicted heart.
Let us make him our model, now that we are spending these hours, with our holy mother The Church, in contemplating the Passion of Jesus. Peter withdraws, because he fears his own weakness; let us remain to the end, for what have we to fear ?
May Our Jesus give us one of those looks, which can change the hardest and worst of hearts !
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