“The Calling Of Saint Matthew”. Artist: Caravaggio (1571 – 1610).

“The Calling Of Saint Matthew”.

Artist: Caravaggio (1571 – 1610).

Part Of:

Paintings by Caravaggio

in the Contarelli Chapel.

Date: July 1609.

Collection: San Luigi dei Francesi.

This File: 18 January 2024.

Source: Own work.

This File is made available under the 

Creative Commons CC0 1.0 

Universal Public Domain Dedication.

Author: Gleb Simonov

(Wikimedia Commons)

Text from Wikipedia - the free encyclopædia.

“The Calling of Saint Matthew” is an oil painting by the Italian Baroque Master, Caravaggio, that depicts the moment Jesus Christ calls on the Tax Collector, Matthew, to follow Him. 

It was completed in 1599 – 1600 for the Contarelli Chapel in the Church of the French Congregation, San Luigi dei Francesi, in Rome, where it remains. 

It hangs alongside two other paintings of Saint Matthew by Caravaggio: The Martyrdom of Saint Matthew (painted around the same time as “The Calling of Saint Matthew”) and “The Inspiration of Saint Matthew”.

“If Ye Love Me”. Composer: Thomas Tallis. Sung By: The Tallis Scholars.

“If Ye Love Me”.

Composer: Thomas Tallis.

Sung By: The Tallis Scholars.

Available On YouTube

HERE

A Troped Kyrie From The Use Of York.

A Troped Kyrie From The Use Of York.

Available On YouTube

HERE

This Article, by Gregory DiPippo, is taken from, and can be read in full at, NEW LITURGICAL MOVEMENT.

Over the years, we have published a fair number of articles about the Mediæval Use of Sarum, which predominated in England before the Reformation, but very little about the other English Uses of the Roman Rite, those of York, Lincoln, Bangor and Hereford. 

So I was very pleased when I stumbled across this video of a Troped Kyrie sung during a Liturgy according to the Use of York, Celebrated at an Anglo-Catholic Parish in that City called “All Saints”. 

The Text is given in the video in both Latin and English; note that the words “Kyrie” and “Christe” are omitted in all but one of the Invocations, which is objectively something of an abuse.

As was pretty generally the custom in the Middle Ages, the Servers wears Appareled Albs.

Also, note that, as the Kyrie begins, the Chalice is brought in from the Sacristy and filled, after which the Altar is incensed.

The preparation of the Chalice during the first part of The Mass in this fashion was also a very common Mediæval custom, and is still preserved in the Uses of the Dominican and Calced Carmelite Orders.

An Occasional Series On Hotels In Manhattan, New York City. The Ansonia Hotel: Turkish Baths; Live Seals In The Lobby Fountain; Dairy Cows On A Farm On The Roof.

The Ansonia Hotel,

New York City.

Photo: 1905.

Source: Detroit Publishing Company

Photograph Collection

Library of Congress

Prints & Photographs Division LC-D4-17421

Author: Unknown.

(Wikimedia Commons)

The Ansonia Hotel,

New York City.

Available on YouTube

HERE

Text from Wikipedia - the free encyclopædia,

unless stated otherwise.

The Ansonia is a building on the Upper West Side of Manhattan in New York City, located at 2109 Broadway, between 73rd and 74th Streets.

It was originally built as a residential hotel by William Earle Dodge Stokes, the Phelps-Dodge Copper heir and shareholder in the Ansonia Clock Company, and it was named after his grandfather, the industrialist Anson Greene Phelps.

In 1897, Stokes commissioned French architect Paul Emile Duboy to design the grandest hotel in Manhattan.[2]

The Ansonia was a residential hotel. The residents lived in “luxurious” apartments with multiple bedrooms, parlours, libraries, and formal dining rooms that were often round or oval.

The Ansonia Hotel.

Photo: 7 September 2012.

Source: Own work.

Author: Elisa Rolle

(Wikimedia Commons)

Apartments featured views North and South along Broadway, high ceilings, “elegant” mouldings, and bay windows. There were three thousand rooms.

Arrangements could be made to rent a suite varying in size from a room and a bath to thirty rooms. Some of these suites were rented for $14,000 a year,[3] the equivalent of more than $400,000 in 2018.

The smaller units, with one bedroom, parlour, and bath, lacked kitchens. There was a central kitchen and serving kitchens on every floor, so that the residents could enjoy the services of professional chefs, while dining in their own apartments.

Besides the usual array of tea-rooms, restaurants, and a grand ballroom, the Ansonia had Turkish baths and a lobby fountain with live seals.

The Ansonia Hotel.

Photo: 10 July 2010.

Source: Own work.

Author: Jim.henderson

(Wikimedia Commons)

William Earle Dodge Stokes listed himself as “architect-in-chief” for the project and hired Paul Emile Duboy, a French architect who designed and made the ornamental sculptures on the Soldiers' and Sailors' Monument, to draw up the plans. New Orleans architect Martin Shepard served as draftsman and assistant superintendent of construction.[4]

The assignee of the contractor proceed against Stokes in 1907, suing for $90,000. But Stokes defended himself, explaining that Duboy was in an insane asylum in Paris, and it was his belief that he was insane when, in 1903, he signed the final certificate on the plans, and should not have been making commitments in Stokes’s name concerning the hotel.[5][6]

Stokes established a small farm on the roof of the hotel, where he kept farm animals next to his personal apartment. There was a cattle elevator, which enabled dairy cows to be stabled on the roof.[7]

Stokes had a Utopian vision for the Ansonia — that it could be self-sufficient, or at least contribute to its own support — which led to perhaps the strangest New York apartment amenity ever.

New York Tribune Front Cover Supplement.

Date: 17 August 1902.

Source: https://www.flickr.com/photos/

library_of_congress/4230623457/

Author: The Library of Congress

(Wikimedia Commons)

“The farm on the roof,” Weddie Stokes wrote years later, “included about 500 chickens, many ducks, about six goats and a small bear.” Every day, a bell-hop delivered free fresh eggs to all the tenants, and any surplus was sold cheaply to the public in the basement arcade.

The feature was not popular with the city government, however, and the Department of Health shut it down in 1907.[8]

Erected between 1899 and 1904, it was the largest residential hotel of its day and the first air-conditioned hotel in New York. The building has an eighteen-story steel-frame structure. The exterior is decorated in the Beaux-Art style with a Parisian-style mansard roof.

The Ansonia features round corner-towers or turrets and an open stairwell that sweeps up to a domed skylight.

Decorated corridor in The Ansonia Hotel.

Illustration: ANSONIA REALTY

The building’s copper cornices were removed during World War II and melted down for the war effort.[9]

The Ansonia has had many celebrated residents, including baseball player Babe Ruth; writer Theodore Dreiser, in 1912; the leader of the Bahá'í Faith `Abdu'l-Bahá; Nobel prize winner in literature Isaac Bashevitz Singer; conductor Arturo Toscanini; composer Igor Stravinsky; fashion designer Koos van den Akker; and Italian tenor Enrico Caruso.

By the mid-twentieth-century, the grand apartments had mostly been divided into studios and one-bedroom units, almost all of which retained their original architectural detail. After a short debate in the 1960s, a proposal to demolish the building was fought off by its many musical and artistic residents.

The Ansonia Hotel, New York City.

Elevator Landing.

Illustration: ANSONIA REALTY

In 1980, the building was added to the National Register of Historic Places.[1]

In 1992, the Ansonia was converted to a condominium apartment building with 430 apartments. By 2007, most of the rent-controlled apartment tenants had moved out, and the small apartments were sold to buyers who purchased clusters of small apartments and combined them to recreate grand apartments.

The Ansonia is home to part of the New York campus of the American Musical and Dramatic Academy.

In 1916, the Ansonia was the scene of a blackmail plot. Edward R. West, Vice President of the C. D. Gregg Tea and Coffee Company of Chicago, had checked into the hotel with a woman known to him as Alice Williams. Alice Williams was an alias of Helen Godman, also known as "Buda" Godman, who acted as the “lure” for a blackmail gang based in Chicago.

Helen Godman calling herself “Alice”.

Passport Photo taken in 1919.

Date: 21 July 2012

Source: 1919 U.S Passport Photo.

Author: U. S. Government.

(Wikimedia Commons)

West and Godman were together in their room at the Ansonia when two male members of the gang, impersonating Federal law enforcement agents, entered the room and “arrested” West for violation of the Mann Act.[13]

After transporting West and Godman back to Chicago, West was coerced into paying the two “agents” $15,000 in order to avoid prosecution, and avoid embarrassment or soiling the reputation of “Alice”.

West reported the incident after becoming suspicious that not everything was as it seemed. Several of the male blackmailers earned prison terms, but “Buda” Godman was released on $10,000 bail.[14]

Skipping bail, she disappeared for many years, but was eventually caught and charged for trying to fence the Glemby Jewels taken in a 1932 robbery.[15]

The Ansonia Hotel, New York City.

Rooftop Terrace.

Illustration: ANSONIA REALTY

A key player in the 1919 Black Sox Scandal, the Chicago White Sox first baseman Chick Gandil had an apartment at the Ansonia. According to Eliot Asinof, in his book Eight Men Out, Gandil held a meeting in the Ansonia apartment with his White Sox teammates to recruit them for the scheme to intentionally lose the 1919 World Series.

Willie Sutton, the bank robber, was arrested for the sixth time (of eight) two days before Thanksgiving, 1930, while having breakfast at Childs Restaurant in the Ansonia.[16]

In the film Perfect Stranger (2007), Halle Berry plays a news reporter who lives in a “professionally decorated $4-million condo in the lavish Ansonia building on the Upper West Side.”[17]

The building was used in the 2012 TV show 666 Park Avenue.[18]

Beaux-Arts Balconies,

The Ansonia Hotel, New York City.

Illustration: ANSONIA REALTY

Notable residents:

‘Abdu’l-Bahá, son and chosen successor of Bahá’u’lláh, the founder of the Bahá’í Faith[19];
Italian baritone Giuseppe Danise;
Operatic Soprano Teresa Stratas;
Fashion photographer Deborah Turbeville;
Lauritz Melchior (Metropolitan Opera tenor who “practiced archery in the 110-foot (34 m) corridors”[20]);
Lily Pons;
Martin Charles Ansorge (1882–1967), United States Representative from New York[21];
Stage actor James T. Powers;
Babe Ruth;
Vincent La Selva, conductor and founder of the New York Grand Opera;
Clemens Weiss, German Artist.

Thursday Of The Second Week In Lent. Lenten Station At Basilica Santa Maria-In-Trastevere (Saint Mary’s-Beyond-The-Tiber). Violet Vestments.

Peterborough Cathedral.

© Chel@SweetbriarDreams

www.sweetbriardreams.blogspot.co.uk

Text from The Saint Andrew Daily Missal,

unless otherwise stated.

Thursday of The Second Week in Lent.

Station at Saint Mary’s-Beyond-The-Tiber.

Indulgence of 10 Years and 10 Quarantines.

Violet Vestments.

Santa Maria-in-Trastevere, Rome.

Photo: July 2008.

Source: Own work.

Author: Jensens

(Wikimedia Commons)

Today’s Station takes place in a Basilica erected shortly after The Peace of Constantine, by Pope Saint Julius I, and which is one of the first Churches in Rome Dedicated to The Mother of God. Mary is represented seated among The Wise Virgins, who hold their lamps. This is an allusion to the spring of oil, which gushed out at this spot shortly before The Birth of Him, Whom she had the happiness of carrying in her arms, and Who is called Christ, or, The Anointed of The Lord. This was one of the twenty-five Parishes of 5th-Century A.D. Rome.

Jeremias speaks to us in the Epistle of two men, one of whom put his trust in himself and the other in God. The first dries up like the heather in the desert, and the second bears the abundant fruits of his good works.

In like manner, says the Parable in the Gospel, there were two men, one of whom enjoyed life instead of doing Penance and the other suffered. The first went to Hell, whilst the second was carried by The Angels into Abraham's bosom.

This is a symbol of Israel, who rejected Christ and was cast out, whilst the Gentiles, through Baptism and Penance, enter into The Kingdom of God.

Let us implore The Lord to grant us, by His Grace, perseverance in Prayer and Fasting, in order that we may be delivered from the enemies both of Soul and body (Collect).

Mass: Deus, in adjutórium.
Preface: Of Lent.

The Apse,

Santa Maria-in-Trastevere, Rome.

Photo: April 2007.

Source: Own work.

Author: Goldmund100

(Wikimedia Commons)

The following Text is from Wikipedia.

The Basilica of Our Lady-in-Trastevere (Italian: Basilica di Santa Maria-in-Trastevere) is a Titular Minor Basilica, one of the oldest Churches of Rome, perhaps the first in which Mass was openly Celebrated. 

The basic Floor Plan and wall structure of the Church date back to 340 A.D. The first Sanctuary was built between 221 A.D. and 227 A.D. by Pope Calixtus I and Pope Julius I.

The Inscription on The Episcopal Throne states that it is the first Church dedicated to Mary, Mother of Jesus, although some claim that privilege belongs to the Basilica di Santa Maria Maggiore. In its Founding, it is certainly one of the oldest Churches in the City.

A Christian House-Church was Founded here, about 220 A.D., by Pope Saint Callixtus I (217 A.D. - 222 A.D.) on the site of the Taberna Meritoria, an asylum for retired soldiers. 

The area was given over to Christian use by Emperor Alexander Severus, when he settled a dispute between the Christians and tavern-keepers, saying, according to The Liber Pontificalis: “I prefer that it should belong to those who honour God, whatever be their form of worship.”

In 340 A.D., Pope Julius I (337 A.D. - 352 A.D.) rebuilt the Titulus Callixti on a larger scale, and it became the Titulus Iulii, commemorating his Patronage. It was one of the original twenty-five Parishes in Rome.

The Altemps Chapel,

Santa Maria-in-Trastevere, Rome.

Photo: October 2005.

Picture taken by User:Torvindus

(Wikimedia Commons)

It underwent restorations in the 5th- and 8th-Centuries A.D.

In 1140-1143, the Church was re-erected on its old Foundations, under Pope Innocent II. He razed the Church to the ground, along with the recently-completed tomb of his former rival, Pope Anacletus II, and arranged for his own burial on the spot formerly occupied by that tomb.

The richly-carved Ionic Capitals, re-used along its Nave, were taken either from the ruins of The Baths of Caracalla or the nearby Temple of Isis on The Janiculum. When scholarship during the 19th-Century identified the faces in their carved decoration as Isis, Serapis and Harpocrates, a restoration under Blessed Pope Pius IX, in 1870, hammered off the offending depictions.

The predecessor of the present Church was probably built in the Early-4th-Century A.D., although that Church was the successor to one of the Tituli, those Early-Christian Basilicas that were ascribed to a Patron and perhaps literally inscribed with his name. The remains of Pope Callixtus I (☩ 222 A.D.) are preserved under The High Altar.

Pope Pius IV promulgating the Bull “Benedictus Deus”.

Artist: Pasquale Cati. Fresco (1588).

The Altemps Chapel, 

Santa Maria-in-Trastevere, Rome.

Photo: June 2004.

Source: Own work.

Author: Torvindus

(Wikimedia Commons

Inside the Church, are a number of Late-13th-Century mosaics by Pietro Cavallini, on the subject of The Life of The Virgin (1291), centring on a “Coronation of The Virgin” in the Apse. Domenichino’s Octagonal Ceiling Painting, “Assumption of The Virgin” (1617) fits in the Coffered Ceiling that he designed.

The fifth Chapel, to the Left, is the Avila Chapel, designed by Antonio Gherardi. This, and his Chapel of Santa Cecilia in San Carlo ai Catinari, are two of the most architecturally-inventive Chapels of the Late-17th-Century in Rome. 

The Lower Order of the Chapel is fairly dark and employs Borromini-like forms. In the Dome, there is an opening, or Oculus, from which four Putti emerge to carry a Central Tempietto, all of which frames a light-filled Chamber above, illuminated by windows not visible from below.

Avila Chapel Roof (designed by Antonio Gherardi),

Santa Maria-in-Trastevere, Rome.

Photo: October 2005.

Picture taken by Torvindus

(Wikimedia Commons)

The Church keeps a Relic of Saint Apollonia (her head, as well as a portion of the Holy Sponge). Among those buried in the Church are the Relics of Pope Callixtus I, Pope Innocent II, Anti-Pope Anacletus II, Cardinal Philippe d'Alençon and Cardinal Lorenzo Campeggio.

The Romanesque Campanile is from the 12th-Century. Near the top, a Niche protects a mosaic of The Madonna and Child.

The mosaics on the façade are probably from the 12th-Century. They depict The Madonna enthroned and suckling The Child, flanked by ten women holding lamps. This image on the façade, showing Mary nursing Jesus, is an early example of a popular Late-Medæval and Renaissance type of image of The Virgin. The motif itself originated much earlier, with significant 7th-Century A.D. Coptic examples at Wadi Natrun, in Egypt.

The façade of the Church was restored by Carlo Fontana, in 1702, who replaced the ancient Porch with a sloping tiled Roof. The Octagonal Fountain, in the Piazza in front of the Church (Piazza di Santa Maria-in-Trastevere), which already appears in a map of 1472, was also restored by Carlo Fontana.

English: Basilica of Our Lady-in-Trastevere, Rome.

Italiano: Basilica di Santa Maria in Trastevere.

Polski: Bazylika Najświętszej Maryi Panny na Zatybrzu

w Rzymie (fragment kasetonowego sufitu).

Photo: September 2010.

Source: Own work.

Author: Fczarnowski

(Wikimedia Commons)

Ancient sources maintain the Titulus Santa Mariæ was established by Pope Alexander I around 112 A.D. Later Traditions give the names of the early Patrons of the Tituli and have retrospectively assigned them the Title of Cardinal: thus, at that time, the Cardinal-Patron of this Basilica, these Traditions assert, would have been Saint Calepodius. Pope Calixtus I confirmed the Titulus in 221 A.D. To honour him, it was changed into Ss. Callisti et Iuliani; it was re-named S. Mariæ Trans Tiberim (Saint Mary’s-Beyond-The-Tiber) by Pope Innocent II.

By the 12th-Century, Cardinal Deacons, as well as the Presbyters, had long been dispensed from personal service at the Tituli. Among the past Cardinal Priests holding the honorary Titulus of Santa Maria-in-Trastevere, have been the Cardinal Duke of York (whose Coat-of-Arms, topped by a Crown, rather than a Galero (Red Hat), is visible over the Screen to the Right of The Altar), James Gibbons and Pope Leo XII.

Józef Glemp was the Cardinal Priest of the Titulus S. Mariæ Trans Tiberim, until his death in January 2013. He was succeeded by Carlos Osoro Sierra (born 16 May 1945).

Our Lady Of The Atonement Cathedral,

Baguio, Philippines.

Photo: 29 March 2024.

Source: Own work.

This file is made available under the

Creative Commons CC0 1.0

Universal Public Domain Dedication.

Author: Galaxiaria

(Wikimedia Commons)

Wells Cathedral.

Photo: August 2006.

Source: Own work.

This file is licensed under the

Creative Commons Attribution-

Share Alike 3.0 Unported licence.

Author: Steinsky

(Wikimedia Commons)