“Pange Lingua”.
Which, no doubt, you will hear
at today’s magnificent Feast of Corpus Christi.
Available on YouTube
04 June, 2026
Metropolitan Cathedral-Basilica Of The Nativity Of Saint Mary, Milan, Italy. Basilica Cattedrale Metropolitana Di Santi Maria Nascente, Milano. (Part Two).
English: Milan Cathedral.
Italiano: Milano - Duomo.
This File: 30 January 2014.
Source: Own work.
This file is licensed under the
Share Alike 3.0 Unported Licence.
User: Чаховіч Уладзіслаў
(Wikimedia Commons)
The following Text is from Wikipedia - the free encyclopaedia,
unless stated otherwise.
unless stated otherwise.
The first Cathedral, the “new Basilica” (Basilica Nova), dedicated to Saint Thecla, was completed by 355 A.D. It seems to share, on a smaller scale, the Plan of the contemporaneous Church recently re-discovered beneath Tower Hill in London. An adjoining Basilica was erected in 836 A,D.
The old Octagonal Baptistery, the Battistero Paleocristiano, dates to 335 A.D., and can be visited under Milan Cathedral. When a fire damaged the Cathedral and Basilica in 1075, they were rebuilt as the Duomo.
barring Emperor Theodosius I from Milan Cathedral.
Artist: Anthony van Dyck (1599–1641).
Date: 1619.
Current location: National Gallery, London.
Source/Photographer:
(Wikimedia Commons)
English: Metropolitan Cathedral-Basilica
of The Nativity of Saint Mary, Milan.
Italiano: Interno del Duomo di Milano.
Photo: 1 January 2000.
Source: Own work.
Author: Paolo da Reggio.
(Wikimedia Commons)
Milan Cathedral
(Duomo di Milano).
Visit To The Rooftop.
Available on YouTube
Milan Cathedral.
Photo: 31 December 2005.
Source: Own work.
Author: Mikko Virtaperk.
(Wikimedia Commons)
English: Stained-Glass Window, Milan Cathedral.
Italiano: Giovanni Battista Bertini (1799-1849)
e Giuseppe Bertini (1825-1898), vetrata (1833-62)
dell’abside del Duomo di Milano.
Photo: 14 July 2007.
Source: Own work.
Author: G.dallorto.
(Wikimedia Commons)
PART THREE FOLLOWS.
The Month Of June Is Dedicated To The Sacred Heart Of Jesus.
Sacred Heart Of Jesus, May Your Kingdom Come.
Cor Iesu Sacratissimum adveniat regnum tuum.
Available on YouTube
Este vídeo ha sido grabado en la Santa Misa Cantada celebrada en la Iglesia del Salvador de Toledo. Este Comunidad Sacerdotal en formación tiene como uso propio en el Oficio y la Santa Misa la Forma Extraordinaria del Rito Romano:
Florence Cathedral. Cathedral Of Saint Mary Of The Flower. Cattedrale Di Santa Maria Del Fiore.
English: Florence Cathedral.
Cathedral of Saint Mary of the Flower.
Italian: Cattedrale di Firenze.
Photo: 9 December 2015.
Source: Own work.
Author: Assianir
(Wikimedia Commons)
Text from Wikipedia - the free encyclopædia,
unless stated otherwise.
Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flower), is the Cathedral of Florence, Italy (Italian: Duomo di Firenze). It was begun in 1296 in the Gothic Style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the Dome engineered by Filippo Brunelleschi.[1]
The exterior of the Basilica is faced with polychrome Marble Panels in various shades of Green and Pink, bordered by White, and has an elaborate 19th-Century Gothic Revival façade by Emilio De Fabris.
The Cathedral complex, in Piazza del Duomo, includes the Baptistry and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany.
English: Florence Cathedral.
Cathedral of Saint Mary of the Flower.
Italian: Cattedrale di Firenze.
Photo: 27 August 2013.
Source: [1]
Author: Bruce Stokes on Flickr
(Wikimedia Commons)
The Basilica is one of Italy’s largest Churches, and, until the development of new structural materials in the modern era, the Dome was the largest in the World. It remains the largest Brick Dome ever constructed. It is the fifth tallest Dome in the World.
The Cathedral is the Mother Church of The Archdiocese of Florence.
Santa Maria del Fiore was built on the site of Florence’s second Cathedral, Dedicated to Saint Reparata;[2] the first was the Basilica di San Lorenzo di Firenze, the first building of which was Consecrated as a Church in 393 A.D., by Saint Ambrose of Milan.[3]
How An Amateur Built The World’s Biggest Dome.
Available on YouTube
The ancient structure was crumbling with age, according to the 14th-Century Nuova Cronica of Giovanni Villani,[4] and was no longer large enough to serve the growing population of the City.[4]
Other major Tuscan Cities had undertaken ambitious reconstructions of their Cathedrals during the Late-Mediæval period, such as Pisa and particularly Siena, where the enormous proposed extensions were never completed.
The City Council approved the design of Arnolfo di Cambio for the new Church in 1294.[5] Di Cambio was also Architect of the Church of Santa Croce and the Palazzo Vecchio.[6][7]
He designed three wide Naves ending under the Octagonal Dome, with the middle Nave covering the area of Santa Reparata.
The first stone was laid on 9 September 1296, by Cardinal Valeriana, the first Papal Legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo’s plan for the Eastern End, although maintained in concept, was greatly expanded in size.
English: Florence Cathedral.
Cathedral of Saint Mary of the Flower.
Italian: Cattedrale di Firenze.
Available on YouTube
After Arnolfo died in 1302, work on the Cathedral slowed for almost 50 years. When the Relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus.
In 1331, the Arte della Lana, the Guild of Wool Merchants, took over patronage for the construction of the Cathedral and in 1334 appointed Giotto to oversee the work.
Assisted by Andrea Pisano, Giotto continued di Cambio’s design. His major accomplishment was the building of the Campanile.
When Giotto died on 8 January 1337, Andrea Pisano continued the building until work was halted due to The Black Death in 1348.
In 1349, work resumed on the Cathedral under a series of Architects, starting with Francesco Talenti, who finished the Campanile and enlarged the overall project to include the Apse and the Side Chapels.
In 1359, Talenti was succeeded by Giovanni di Lapo Ghini (1360 – 1369) who divided the Centre Nave in four square bays.
By 1375, the old Church of Santa Reparata was pulled down. The Nave was finished by 1380, and only the Dome remained incomplete until 1418.
Florence Cathedral and the Baptistry of Saint John.
Photo: 12 May 2022.
Source: Own work.
Author: RThiele
(Wikimedia Commons)
On 19 August 1418,[8] the Arte della Lana announced an architectural design competition for erecting Neri’s Dome. The two main competitors were two Master Goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de Medici.
Ghiberti had been the winner of a competition for a pair of Bronze Doors for the Baptistry in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and received the commission.[9]
Ghiberti, appointed co-adjutor, drew a salary equal to Brunelleschi’s and, though neither was awarded the announced prize of 200 Florins, was promised equal credit, although he spent most of his time on other projects.
When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility.[10]
Work on the Dome began in 1420 and finished in 1436. The Cathedral was Consecrated by Pope Eugene IV on 25 March 1436, (the first day of the year according to the Florentine Calendar).
It was the first Octagonal Dome in history to be built without a temporary wooden supporting frame. It was one of the most impressive projects of The Renaissance.
During the Consecration in 1436, Guillaume Dufay’s Motet “Nuper rosarum flores” was performed.
4.png)
The decoration of the exterior of the Cathedral, begun in the 14th-Century, was not completed until 1887, when the polychrome Marble façade was completed with the design of Emilio De Fabris. The floor of the Church was relaid in Marble Tiles in the 16th-Century.
The exterior Walls are faced in alternate vertical and horizontal bands of polychrome Marble from Carrara (White), Prato (Green), Siena (Red), Lavenza, and a few other places.
4.png)
A Fibre Glass replica of Michaelangelo’s David statue.
This was the location original planned for the statue.
Photo: 11 November 2010.
Source: Own work.
Author: sailko
(Wikimedia Commons)
The decoration of the exterior of the Cathedral, begun in the 14th-Century, was not completed until 1887, when the polychrome Marble façade was completed with the design of Emilio De Fabris. The floor of the Church was relaid in Marble Tiles in the 16th-Century.
The exterior Walls are faced in alternate vertical and horizontal bands of polychrome Marble from Carrara (White), Prato (Green), Siena (Red), Lavenza, and a few other places.
These Marble bands had to repeat the already existing bands on the Walls of the earlier adjacent Baptistry, the Battistero di San Giovanni, and Giotto's Bell Tower.
There are two Side Doors: The Door of the Canonici (South Side) and the Door of the Mandorla (North Side); with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia.
The six Side Windows, notable for their delicate Tracery and Ornaments, are separated by Pilasters. Only the four Windows closest to The Transept admit light; the other two are merely ornamental.
The Clerestory Windows are round, a common feature in Italian Gothic.
English: The façade of Santa Maria del Fiore,
Florence Cathedral.
Français: La façade de Santa Maria del Fiore,
la Cathédrale de Florence.
Photo: 2 June 2022.
Source: Own work.
Author: Jebulon
(Wikimedia Commons)
The Overseers of The Office of Works of Florence Cathedral, the Arte della Lana, had plans to commission a series of twelve large Old Testament sculptures for the Buttresses of the Cathedral.[12]
Donatello, then in his early twenties, was commissioned to carve a statue of David in 1408, to top one of the Buttresses of Florence Cathedral, though it was never placed there.
Nanni di Banco was commissioned to carve a Marble statue of Isaiah, at the same scale, in the same year.
One of the statues was lifted into place in 1409, but was found to be too small to be easily visible from the ground and was taken down; both statues then languished in the workshop for several years.[13][14][15]
English: “The Last Judgement”
in the Dome of Florence Cathedral.
Italiano: Giudizio Universale-dettaglio centrale-Giorgio Vasari-Federico Zuccari-Cupola-Santa Maria del Fiore (Firenze).
Artists: Vasari and Zuccari.
Photo: 17 March 2015.
Source: Own work.
Author: Paolo Villa
(Wikimedia Commons)
In 1410, Donatello made the first of the statues, a figure of Joshua, in Terracotta. In 1409-1411, Donatello made a statue of Saint John the Evangelist, which, until 1588, was in a niche of the old Cathedral façade.
Between 1415 and 1426, Donatello created five statues for the Campanile of Santa Maria del Fiore in Florence, also known as the Duomo.
These works are: The Beardless Prophet; Bearded Prophet (both from 1415); the Sacrifice of Isaac (1421); Habbakuk (1423–25); and Jeremiah (1423–26); which follow the classical models for orators and are characterised by strong portrait details.
A figure of Hercules, also in Terracotta, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 and was made perhaps under Donatello’s direction.[16]
A statue of David, by Michelangelo, was completed 1501-1504, although it could not be placed on the Buttress because of its six-ton weight. In 2010, a Fibre Glass replica of David was placed for one day on Florence Cathedral.
The rest of the Article on this most beautiful Cathedral in Florence can be read HERE.
Saint Francis Caracciolo (1563-1608). Confessor. Feast Day 4 June. White Vestments.
Saint Francis Caracciolo (1563-1608).
Date of Illustration: 1894.
Source: Little Pictorial Lives of the Saints.
Author: Unknown.
(Wikimedia Commons)
Text from The Saint Andrew Daily Missal,
unless stated otherwise.
Saint Francis Caracciolo.
Confessor.
Feast Day 4 June.
Double.
White Vestments.
unless stated otherwise.
Saint Francis Caracciolo.
Confessor.
Feast Day 4 June.
Double.
White Vestments.
Francis, of the noble family of Caracciolo, in The Abruzzi, Southern Italy, determined, during a severe illness, to devote himself to the Service of God, so as to be ready when The Master should come to take him away (Gospel).
A Letter, delivered to him by mistake, apprised him of a Project of two pious men to Found a new Religious Institute. In this, he saw a providential sign and he became one of the Founders of The Order of Minor Clerks Regular.
At his Profession, he took the name of Francis, on account of his Devotion to Saint Francis of Assisi. To the love of Penance, he added a great zeal for Prayer (Collect). Burning with love for The Blessed Sacrament, his heart melted like wax when he was in the presence of The Tabernacle (Introit), for there he felt the overflowing sweetness prepared by God for those who fear Him (Communion).
He died at the age of forty-four, in 1608, on The Vigil of Corpus Christi, and, "although his life was short, he completed a long course, for a spotless life is equivalent to protracted years" (Epistle).
Following Saint Francis Caracciolo's example, let us Pray and reduce our bodies to subjection (Collect), so that, burning like him with the fire of Charity, we may worthily kneel at The Communion Table (Secret).
Mass: Factum est.
“In Paradisum”. “May The Angels Lead You Into Paradise”. Composed By: Gabriel Fauré. The Antiphon From A Requiem Mass.
Saint Benedict Ornate Wall Crucifix.
Image: AMAZON
In paradisum deducant te angeli: in tuo adventu suscipiant
te martyres, et perducant te in civitatem sanctam Ierusalem.
Chorus angelorum te suscipiat, et cum Lazaro,
quondam paupere, aeternam habeas requiem.
May The Angels lead you into Paradise:
May The Martyrs receive you at your coming,
And lead you into The Holy City, Jerusalem.
May The Choir of Angels receive you,
and, with Lazarus, who once was poor,
May you have Everlasting Rest.
“In Paradisum”.
By: Gabriel Fauré.
Available on YouTube
Traditional Latin Requiem Mass.
Illustration: LMS CHAIRMAN
The following Text is from Wikipedia - the free encyclopædia.
“In Paradisum“ (English: “Into Paradise”) is an Antiphon from the Traditional Latin Liturgy of the Western Church’s Requiem Mass.
It is sung by the Choir as the body is being taken out of the Church.
The Text of “In Paradisum”, with or without the Gregorian Melody, is sometimes included in musical settings of the Requiem Mass, such as those by Gabriel Fauré and Maurice Duruflé.
English: The Antiphon “In Paradisum”.
Deutsch: Antiphon zur Begräbnisfeier In paradisum deducant te angeli - Zum Paradies mögen Engel dich geleiten.
Date: Mediæval.
Sources:
Author: Unknown.
(Wikimedia Commons)
A Wonderful Consolation
At The Death Of A Loved One.
“Requiem, Op. 48”.
By: Gabriel Fauré.
Sung By: VOCES8.
Available On YouTube
VOCES8 performs Gabriel Fauré’s “Requiem, Op. 48” with the English Chamber Orchestra, conducted by Barnaby Smith.
The performance was filmed at Cadogan Hall, London, in 2021 during the height of the pandemic, and this orchestration by Taylor Scott Davis was created especially for the concert.
The Feast Of Corpus Christi. A First-Class Feast With A Privileged Octave Of The Second Order. White Vestments.
unless stated otherwise.
The Feast of Corpus Christ.
Double of The First-Class.
Privileged Octave of The Second Order.
White Vestments.
Indulgence of 400 days for those who attend Mass or Vespers.
Artist: René de Cramer.
"Copyright Brunelmar/Ghent/Belgium".
Used with Permission.
Illustration: UNA VOCE OF ORANGE COUNTY
“Pange Lingua”.
Sung during The Corpus Christi Procession.
Available on YouTube
The Solemn Celebration of this Feast is, in some places, observed on the following Sunday.
After the Dogma of The Holy Trinity, The Holy Ghost reminds us of the Dogma of The Incarnation of Our Lord, in Celebrating with The Church the greatest of all Sacraments, summing up the whole Life of The Redeemer, giving Infinite Glory to God and applying The Fruits of The Redemption at all times to ourselves (Collect).
It was on The Cross that Our Lord redeemed us, and The Holy Eucharist, instituted on the night before Our Lord’s Passion, remains its Memorial (Collect). The Altar is the extension of Calvary [“The Celebration of The Mass has the same value as The Death of Jesus Christ on The Cross”, Saint John Chrysostom.]; The Mass “shows The Death of The Lord” (Epistle).
Jesus is there in the State of a Victim, for the words of the Double Consecration mean only that the Bread is changed into The Body of Christ and the Wine into His Blood. On account of this double action with different effects, which constitutes The Sacrifice of The Mass, we are entitled to speak of Our Lord's Presence, under the appearance of Bread, as that of The Body of Christ, although, since He can die no more, the whole Christ is there contained; similarly, we may speak of the Presence under the appearance of Wine as that of His Blood, although He is contained there whole and entire.
“The Eucharist in a Fruit Wreath”.
By: Jan Davidsz de Heem, 1648.
From the Blog: “Ars Orandi:
The Art and Beauty of Traditional Catholicism”.
Through His Priests, Our Lord, Himself, The Principal Priest of The Mass, offers in an unbloody manner His Body and Blood, Which were really separated on The Cross, but, on the Altar only in a representative or Sacramental sense, the matter and words used and the effect produced being different in the two Consecrations.
Besides, The Eucharist was instituted under the form of food (Alleluia), that we may be united with The Victim of Calvary, so that The Sacred Host becomes the “wheat” which feeds our Souls (Introit).
THE SEQUENCE FOR CORPUS CHRISTI.
The Sequence:
“Lauda Sion Salvatorem”.
Solemnity of The Body and Blood of Christ. Holy Mass, Procession to Saint Mary Major and Eucharistic Blessing. Basilica of Saint John Lateran, 23 June 2011. Solennità del Santissimo Corpo e Sangue di Cristo. Santa Messa, Processione a Santa Maria Maggiore e Benedizione Eucaristica. Basilica di San Giovanni in Laterano,
23 Giugno 2011.
Available on YouTube
Moreover, Christ, as The Son of God, receives The Eternal Life of The Father; in the same way, Christians share in that Eternal Life by uniting themselves to Christ, through The Sacrament, which is the symbol of unity (Secret), and this possession of The Divine Life, already realised on Earth through The Eucharist, is the pledge and the beginning of that in which we shall fully rejoice in Heaven (Postcommunion). As The Council of Trent puts it: "That same Heavenly Bread that we eat now, under the Sacred Veils, we shall feed upon in Heaven without Veil."
We should regard The Mass as The Centre of all Eucharistic Worship, seeing in Holy Communion the means instituted by Our Lord to enable us to share more fully in this Divine Sacrifice. In this way, our Devotion to Our Lord's Body and Blood will effectively obtain for us The Fruits of His Redemption (Collect).
English: Corpus Christi Procession.
Oil on canvas by Carl Emil Doepler.
Deutsch: Carl Emil Doepler the Elder
(1824 Warszawa or Schnepfental - 1905 Berlin): Fronleichnamsprozession.
(Wikimedia Commons)
Concerning the Procession, which regularly should follow The Mass, we remember how the Israelites revered The Ark of The Covenant, which was the Presence of God among them. When they carried on their victorious marches, the Ark went before, borne by the Levites in the midst of a cloud of incense, accompanied by the sound of musical instruments and of the songs and shouts of the multitude.
We Christians have a treasure far more precious, for, in The Eucharist, we possess God Himself. Let us feel a holy pride in forming His Escort and extolling His Triumphs, while He is in our midst.
Every Parish Priest celebrates Mass for the people of his Parish.
Mass: Cibávit eos.
Sequence: Lauda Sion.
Creed: Is said.
Preface: Of Christmas. Also, throughout The Octave.
“Lauda Sion Salvatorem”.
(The Sequence for Corpus Christi).
Available on YouTube
THE PROCESSION.
(Indulgences are granted to those who take part in the Procession.)
Regularly, The Sacred Host, carried in the Procession, has been Consecrated in The Mass and exposed in the Monstrance immediately after the Communion of the Priest.
Sometimes, however, the Procession is a separate function in the afternoon.
Capilla de Música de la Catedral de Pamplona:
“Sacris Solemnis”.
Available on YouTube
When the Priest leaves the Altar, the Choristers intone the Vesper Hymn “Pange Lingua”. If time allows, other Eucharistic Hymns are also sung, to be found among the Benediction Hymns, e.g: “Sacris Solemniis” and “Verbum Supernum”. Also, the Hymns for The Ascension, “Salutis Humanæ”, the Canticles “Benedictus”, or, “Magnificat”.
On the Procession’s return, the “Te Deum” is usually sung.
When the Celebrant has arrived at the Altar, the Choristers intone the “Tantum Ergo” and Benediction is given.
When the Celebrant has arrived at the Altar, the Choristers intone the “Tantum Ergo” and Benediction is given.
“Verbum Supernum”.
Sung during the Corpus Christi Procession.
Available on YouTube
The “Magnificat”.
The Canticle of Mary.
Sung during the Corpus Christi Procession.
Available on YouTube
The Solemn “Te Deum”
(5th-Century Monastic Chant).
Sung when the Corpus Christ Procession
has returned to the Church.
Available on YouTube
03 June, 2026
“Nunc Dimittis”. By: Geoffrey Burgon. From The BBC Series: “Tinker, Tailor, Soldier, Spy”. Sung By: Paul Phoenix (Boy Treble).
.png444.png)
“Simeon’s Song of Praise”.
Artist: Arent de Gelder (1645 – 1727).
“Presentation of Jesus at the Temple”.
Date: Between 1700 and 1710.
Collection: Mauritshuis.
Source/Photographer: Not known.
(Wikimedia Commons)
“Nunc Dimittis”.
By: Geoffrey Burgon.
From the BBC Series:
“Tinker, Tailor, Soldier, Spy”.
Sung By: Paul Phoenix (Boy Treble).
Based on John Le Carré’s Spy Novel
“Tinker, Tailor, Soldier, Spy”.
Available on YouTube
“Lord, now lettest Thou Thy servant depart in Peace, according to Thy word
For mine eyes have seen Thy Salvation
which Thou hast prepared before the face of all people
To be a Light to Lighten the Gentiles
and to be the Glory of Thy people Israel.
Glory be to The Father
and to The Son
and to The Holy Ghost
As it was in the beginning
is now and ever shall be
World without end.
Amen”
and . . .
for comparison . . .
“Nunc Dimittis”.
By: Geoffrey Burgon.
From the BBC Series:
“Tinker, Tailor, Soldier, Spy”.
Available on YouTube
Images of Lincoln Cathedral, England, 2012.
Performance: Boy Treble: Thomas Hopkins.
Trumpet: John Wallace.
King’s College Chapel, Cambridge, England
Director of Music: Sir Stephen Cleobury.
Yet another lovely piece by Geoffrey Burgon — this time for the BBC TV Series adaptation of John Le Carré’s novel “Tinker, Tailor, Soldier, Spy” (1979), starring Sir Alec Guinness, Ian Richardson CBE, and other distinguished actors.
English Composer Geoffrey Burgon was equally known
for his film and television scores, and for his serious choral, vocal and orchestral works.
He wrote the music for British TV’s “Tinker, Tailor, Soldier, Spy”; “Brideshead Revisited”, and “The Forstye Saga”,
among others, and his film work also includes
Monty Python’s “Life of Brian”.
His compositional voice is melodic and
influenced by Benjamin Britten and Mediæval music.
“Nunc Dimittis”.
According to the narrative in the Gospel of Saint Luke 2:25-32, Simeon was a devout Jew who had been promised by The Holy Spirit that he would not die until he had seen the Messiah.
When Mary and Joseph brought the baby Jesus to the Temple in Jerusalem for the ceremony of Consecration of the
first-born son (after the time of Mary’s Purification: At least forty days after the birth, and thus distinct from the Circumcision), Simeon was there, and he took Jesus into his arms and uttered words rendered here in the English (Anglican) Book of Common Prayer, 1662:
“Lord, now lettest Thou Thy servant depart in Peace, according to Thy word
For mine eyes have seen Thy Salvation
which Thou hast prepared before the face of all people
To be a Light to Lighten the Gentiles
and to be the Glory of Thy people Israel”.
unless stated otherwise.
The “Nunc Dimittis”[1], also known as the “Song of Simeon” or the “Canticle of Simeon”, is a Canticle taken from the Second Chapter of the Gospel of Luke.
Its Latin name comes from its Incipit, the opening words, of the Vulgate translation, meaning: “Now You let depart”.[2]
Since the 4th-Century A.D., it has been used in Christian Services of Evening Worship such as Compline, Vespers, and Evensong.[3]
The Title is formed from the opening words in the Latin Vulgate: “Nunc dimittis servum tuum, Domine” (“Now Thou dost dismiss Thy servant, O Lord”).
The Title is formed from the opening words in the Latin Vulgate: “Nunc dimittis servum tuum, Domine” (“Now Thou dost dismiss Thy servant, O Lord”).
Although brief, the Canticle abounds in Old Testament allusions. For example: “Because my eyes have seen Thy Salvation” alludes to Isaiah 52:10.[4]
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