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

09 April, 2026

“Crux Fidelis” (“Faithful Cross”). Sung By: Neumes And Tunes. Good Friday Hymn.



“Crux Fidelis” 
(“Faithful Cross”). 
Good Friday Hymn.
Sung By: Neumes And Tunes.
Available On YouTube

Arranged by: 
Caitlin Foster.
Sung By:
Caitlin Foster, Emma Nwobilor, 
Tim Sauser, Michael Foster.
Translation By: 
Edward Caswall.


Crux Fidelis is a Traditional Good Friday Hymn 
attributed to Venantius Fortunatus (530 A.D. — 610 A.D.). 

Chanted during the Adoration of The Cross 
on Good Friday in the Roman Rite. 

This version follows the Gregorian Chant 
Tradition and is arranged for Choral Use.


We are now traversing Easter Week at the various final Stational Basilicas, thanking God for our wonderful deliverance, and awiting Low Sunday (Dominica in Albis), when the “Neophytes” discard their new White Garments 
and become a valued member of the Catholic Community.

To all Readers: 
Easter Blessings and Easter Peace.
May God Bless us all.

In Domino.


Just as one Tree was the downfall of Man, 
another Tree was the Salvation of Man.

We are most grateful to our Mediæval Liturgical Chant Correspondent, Dante P, for bringing this outstanding Hymn to our attention and suggesting sharing with all our Readers.

“Media Vita In Morte Sumus”. Gregorian Chant From The Monks Of Silverstream Priory, County Meath, Ireland. They Need Your Support. Please Consider Making A Small Donation (See, Below).



“Media Vita”.
Sung by the Monks of Silverstream Priory,
County Meath, Ireland.
Available on YouTube

The Silverstream Priory Web-Site,
should you be able to make a small donation,
is HERE

Translation of The Responsory “Media Vita”,
sung by The Benedictine Monks of Silverstream Priory,
County Meath, Ireland:

“In the midst of life, we are in death;
from whom shall we seek help, save Thee, O Lord ?
Who, for our sins, art justly angered.
* Holy God, Holy Mighty One, Holy Merciful Saviour,
do not hand us over to the bitterness of death.

(Verse 1):
In Thee, our fathers hoped;
they hoped, and Thou hast liberated them.
* Holy God . . .

(Verse 2):
To Thee, our fathers cried;
they cried, and were not confounded.
*Holy God . . . 

Gloria Patri . . .
* Holy God . . .
--------------------------------------------------------------------------------
The Benedictine Monks of Perpetual Adoration

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The Schola of Silverstream Priory recorded the poignant Responsory “Media vita in morte sumus”, trusting that it will, in some way, bring comfort and hope to those who listen to it, while looking at the images that accompany
the Gregorian Chant.

A Little Light-Hearted Celebration Of The Motu Proprio “Summorum Pontificum”.

 


A Little Light-Hearted Celebration
Of The Motu Proprio “Summorum Pontificum”.
By Reverend Fr. Timothy Finigan.
Available on YouTube

This Article was originally Posted
by Reverend Fr. Timothy Finigan in July 2007.

Lay Movement Launches International Campaign For “Total Freedom Of The Traditional Liturgy”.

 

Illustration: EP.


This Article is taken from, and can be read in full at,
EDWARD PENTIN


Being a Catholic in 2024 is no easy endeavour. The West is undergoing a massive de-Christianisation, so much so that Catholicism appears to be vanishing from the public sphere.

Elsewhere, the number of Christians being persecuted for their Faith is on the rise. What’s more, The Church has been struck by an internal crisis that manifests itself in a decline in Religious practice, a downswing in Priestly and Religious vocations, a decrease in Sacramental practice, and even a growing dissension between Priests, Bishops and Cardinals which, until very recently, was utterly unthinkable.

Yet, among all the things that can contribute to the internal revival of The Church and to the renewal of her missionary zeal, there is, above all, the worthy and reverent Celebration of her Liturgy, which can be greatly fostered thanks to the example and the presence of the Traditional Roman Liturgy.



Despite all the attempts that have been made to suppress it, especially during the present Pontificate, it lives on, continuing to spread and to sanctify the Christian people who are Blessed to be able to benefit from it. 

It bears abundant fruits of piety, as well as an increase of vocations and of conversions. It attracts young people and is the fount of many flourishing works, especially in schools, and is accompanied by a solid catechesis. 

No-one can deny that it is a vector for the preservation and transmission of The Faith and Religious practice in the midst of a waning of Religious belief and a dwindling number of believers. 



This Mass, due to its venerable antiquity, can boast of having sanctified countless Souls over the Centuries. Among other vital forces still active in The Church, this form of Liturgical life stands out because of the stability given to it by an uninterrupted “Lex Orandi”.

Certainly, some places of Worship have been granted, or rather tolerated, where this Liturgy can be Celebrated, but too often what has been given by one hand is taken back by the other, without, however, ever managing to make it vanish.

Since the massive decline during the period immediately following the Second Vatican Council, every attempt has been made on numerous occasions to revive Religious practice, to increase the number of Priestly and Religious vocations, and to preserve The Faith of the Christian people.



Everything, except letting the people experience the Traditional Liturgy, by giving the Tridentine Liturgy a fair chance. Today, however, common sense urgently demands that all the vital forces in The Church be allowed to live and prosper, and in particular the one which enjoys a Right dating back to over a millennium.

Let there be no mistake: The present appeal is not a petition to obtain a new tolerance as in 1984 and 1988, nor even a restoration of the status granted in 2007 by the Motu Proprio “Summorum Pontificum”, which, recognising in principle a Right, has in fact been reduced to a regime of meagrely-granted permissions.

As Lay People, it is not for us to pass judgement on the Second Vatican Council, its continuity or discontinuity with the previous teaching of The Church, the merits, or not, of the reforms that resulted from it, and so on.



On the other hand, it is necessary to defend and transmit the means that Providence has employed to enable a growing number of Catholics to preserve The Faith, to grow in it, or to discover it.

The Traditional Liturgy plays an essential role in this process, thanks to its transcendence, its beauty, its timelessness and its doctrinal certainty.

For this reason, we simply ask, for the sake of the true freedom of the children of God in The Church, that the full freedom of the Traditional Liturgy, with the free use of all its Liturgical Books, be granted, so that, without hindrance, in the Latin Rite, all The Faithful may benefit from it and all Clerics may Celebrate it.

Jean-Pierre Maugendre, Managing Director of Renaissance Catholique, Paris, France.

22 April 2024.



This appeal is not a petition to be signed, but a message to be disseminated, possibly to be taken up again in any form that may seem appropriate, and to be brought and explained to the Cardinals, Bishops, and Prelates, of The Universal Church.

Si Renaissance catholique a l’initiative de cette campagne, c’est uniquement pour se faire l’interprète d’un large désir en ce sens qui se manifeste dans l’ensemble du monde catholique. Cette campagne n’est pas la sienne, mais celle de tous ceux qui y participeront, la relayeront, l’amplifieront, chacun à leur manière.

Renaissance Catholique is a Paris-based movement of Lay People working to re-establish the social reign of Christ.

Easter Thursday. The Station Is At The Basilica Of The Twelve Apostles. White Vestments.



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


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

Easter Thursday.

Station at the Basilica of The Twelve Apostles.

Indulgence of 30 Years and 30 Quarantines.

Semi-Double.

White Vestments.


On this day, The Church used to gather together in the Church of The Twelve Apostles, witnesses of The Risen Christ, her New-Born Children, in order that they might Sing The Praises of The Lord, Who had associated them with His Triumph (Introit, Communion). In this Lenten Stational Basilica, are the bodies of Saint Philip and Saint James.

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

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


The Baroque Ceiling.
Basilica Church of The Twelve Apostles.
Photo: August 2005.
Source: 
(Wikimedia Commons)



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


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

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

Mass: Victrícem manum.
Sequence: Victimæ pascháli laudes.
Preface: For Easter.
Communicantes: For Easter.
Hanc igitur: For Easter.



Basilica Santi Apostoli.
Photo: July 2007.
Source: Own work.
Author: SteO153
(Wikimedia Commons)

08 April, 2026

Paschal Time. Wednesday In Easter Week.



Text from “The Liturgical Year”.
By: Abbot Guéranger, O.S.B.
   Volume 7.
   Paschal Time.
   Book 1.

“Hæc dies quam fecit Dominus:
Exsultemus et lætemur in ea”.

“This is the day which The Lord hath made:
Let us be glad and rejoice therein”.


The Hebrew word “Pasch” signifies passage, and we explained yesterday how this great day first became Sacred by reason of The Lord’s Passover.

But there is another meaning which attaches to the word, as we learn from the early Fathers and the Jewish Rabbins.

The Pasch is, moreover, the passage of the Israelites from Egypt to The Promised Land. These three great facts really happened on one and the same night:

The banquet of the lamb;

The death of the first-born of the Egyptians;

The departure from Egypt.

Let us, today, consider how this third figure is a further development of our Easter mystery.


The day of Israel’s setting forth from Egypt for its pre-destined Country of The Promised Land is the most important in its whole history; but, both the departure itself, and the circumstances that attended it, were types of future realities to be fulfilled in the Christian Pasch.

The people of God were delivered from an idolatrous and tyrannical Country: In our Pasch, they, who are now our neophytes, have courageously emancipated themselves from the slavish sway of Satan, and have solemnly renounced the pomps and works of this haughty Pharoah.

On their road to The Promised Land, the Israelites had to pass through a sea of water; their doing so was a necessity, both for their protection against Pharoah’s army, which was pursuing them, and for their entrance into the land of milk and honey.


Our neophytes, too, after renouncing the tyrant who had enslaved them, had to go through that same saving element of water, in order to escape their fierce enemies; it carried them safe into the land of their hopes, and stood as a rampart to defend them against invasion.

By the goodness of God, that water, which is an obstacle to man’s pursuing his way, was turned into an ally for Israel’s march; the laws it had from nature were suspended, and it became the saviour of God’s people.

In like manner, the Sacred font, which, as The Church told us on the Feast of The Epiphany, is made an instrument of Divine Grace, has become the refuge and fortress of our happy neophytes; their passing through its waters has put them out of reach of the tyrant’s grasp.


Having reached the opposite shore, the Israelites see Pharaoh and his army, their shields and their chariots, buried in the sea. When our neophytes looked at the holy font, from which they had risen to the life of grace, they rejoiced to see the tomb where their sins, enemies worse than Pharaoh and his minions, lay buried for ever.

Then did the Israelites march cheerfully on towards the land that God had promised to give them. During the journey, they will have God as their teacher and law-giver; they will have their thirst quenched by fountains springing up from a rock in the desert; they will be fed on manna sent each day from Heaven.

Our neophytes, too, will run on unfettered to the heavenly country, their Promised Land. They will go through the desert of this world, uninjured by its miseries and dangers, for the Divine Law-Giver will teach them, not amidst thunder and lightning, as He did when He gave His law to the Israelites, but with persuasive words of gentlest love, spoken with that sweet manner which set on fire the hearts of the two disciples of Emmaus.


Springs of water shall refresh them at every turn, yea, of that living water which Jesus, a few weeks back, told the Samaritan woman should be given to them that adore Him in spirit and in truth. And, lastly, a Heavenly Manna shall be their food, strengthening and delighting them, a Manna far better than that of old, for it will give them immortality.

So that our Pasch means all this: It is a passing through water to the Land of Promise, but with a reality and truth which the Israelites had only under the veil of types, sublime indeed and Divine, but mere types.

Let us then our Passover from the death of Original Sin to the Life of Grace, by Holy Baptism, be a great Feast Day with us. This may not be the anniversary of our Baptism; it matters not; let us fervently celebrate our “exodus” from the Egypt of the World into the Christian Church; let us, with glad and grateful hearts, renew our Baptismal Vows, which made our God so liberal in His gifts to us; let us renounce Satan, and all his works, and all his pomps.


The Apostle of the Gentiles [Editor: Saint Paul] tells us of another mystery of the waters of Baptism; it gives completion to all we have been saying, and equally forms part of our Pasch. He teaches us that we were hidden beneath this water, as was Christ in His tomb; and that we then died, and were buried, together with Him.

It was the death of our life of sin; that we might live to God, we had to die to sin. When we think of the holy font where we were regenerated, let us call it the tomb, wherein we buried the “Old Man”, who was to have no resurrection.

Baptism by immersion, which was the ancient mode of administering the Sacrament, and is still used in some Countries, was expressive of this spiritual burial: The neophyte was made to disappear beneath the water; he was dead to his former life, as our buried Jesus was to His mortal life.


But, as Our Redeemer did not remain in the tomb, but rose again to a new life, so, likewise, says the Apostle, they who are Baptised, rise again with Him when they come from the font; they bear on them the pledges of immortality and glory, and are the true and living members of that Head, Who dieth now no more. Here again is our Pasch, our passage from death to life.

At Rome, the Station is in the Basilica of Saint Laurence-outside-the-Walls. It is looked upon as the most important of the many Churches built by Rome in honour of her favourite Martyr, whose body lies under The High Altar..

Hither were the neophytes led, today, that they might learn from the example of so brave and generous a soldier of Christ, how courageous they should be in confessing their Faith, and how faithful in living up to their Baptismal vows.


For several centuries, the reception of Baptism was a preparation for Martyrdom; but, at all times, it is an enlisting in the service of Christ, which we cannot leave without incurring the guilt and penalty of traitors.

MASS.

The Introit is composed of those words, which The Son of God will speak to His Elect, at The Last Judgement, when calling them into His Kingdom.

The Church applies them to the neophytes, and thus raises up their thoughts to that eternal happiness, the remembrance of which supported the Martyrs in their sufferings.


INTROIT.

Venite, benedicti Patris mei;
Percipite regnum, alleluia;
Quod vobis paratum est ab origine mundi.

Alleluia, Alleluia, Alleluia.

Psalm.

Cantate Domino canticum novum:
Cantate Domino omnis terra.

Versicle.

Gloria Patri . . .

Venite . . .


INTROIT.

Come, ye blessed of My Father,
possess the Kingdom, Alleluia,
which hath been prepared for you
from the beginning of the World.

Alleluia, Alleluia, Alleluia.

Psalm.

Sing to the Lord a new song:
Sing to the Lord all the Earth.

Versicle.

Glory be . . .

Come, ye blessed of . . .

Always Remember The Four Last Things.



The last photograph of the Titanic.
1912.
Illustration: PINTEREST

Wells Cathedral (Part Twenty-Four).



The Great West Front,
Wells Cathedral.
Photo: 30 April 2014.
Source: Own work.
Attribution:
Photo by DAVID ILIFF.
Licence: CC BY-SA 3.0.
Author: Diliff
(Wikimedia Commons)


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

The Clock has its original Mediæval face. Apart from the time on a twenty-four hour dial, it shows the motion of the Sun and Moon, the phases of the Moon, and the time since the last New Moon.

The Quarters are chimed by a Quarter Jack: a small Automaton known as “Jack Blandifers”, who hits two Bells with hammers and two Bells with his heels.[136] At the striking of the Clock, jousting Knights appear above the Clock face.[137]


The first record of an Organ at this Church dates from 1310. A smaller Organ, probably for The Lady Chapel, was installed in 1415. In 1620, an Organ built by Thomas Dallam was installed at a cost of £398 1s 5d.

The 1620 Organ was destroyed by Parliamentary Soldiers in 1643. An Organ built in 1662 was enlarged in 1786 and again in 1855.[140]

In 1909 – 1910, an Organ was built by Harrison & Harrison of Durham, with the best parts of the old Organ retained. It has been serviced by the same company ever since.[140]

Since November 1996, the Cathedral has also had a portable Chamber Organ, by the Scottish makers, Lammermuir. It is used regularly to accompany performances of Tudor and Baroque Music.[141]


The first recorded Organist of Wells was Walter Bagele (or Vageler) in 1416.[142] The Post of Organist or Assistant Organist has been held by more than sixty people since.

There has been a Choir of Boy Choristers at Wells Cathedral since 909 A.D. The Vicars Choral was formed in the 12th-Century and the Sung Liturgy provided by a Traditional Cathedral Choir of men and boys until the formation of an additional Choir of girls in 1994.

The Vicars Choral currently number twelve men, of whom three are Choral Scholars. Since 1348, the College of Vicars had its own accommodation in a Quadrangle converted in the Early-15th-Century to form Vicars’ Close.

In December 2010, Wells Cathedral Choir was rated by Gramophone magazine as “the highest-ranking Choir with children in the World”.[148]



The Bells at Wells Cathedral are the heaviest Ring of ten Bells in the World;[157] the Tenor Bell (the tenth Bell, and largest), known as “Harewell”, weighs 56.25 long hundredweight (2,858 kg).[158]

They are hung for Full-Circle Ringing in the English Style of Change Ringing.

The following Text about Wells Cathedral’s Bells comes from Microsoft CoPilot.

Wells Cathedral has a set of ten bells, which are housed in the South-West Tower, also known as the Harewell Tower.

Here are the names of the Bells:

1. Faith;
2. Hope;
3. Charity;
4. Peter;
5. Dunstan;
6. Bytton;
7. Little Harewell;
8. Great Harewell (Tenor Bell);
9. Harewell (Second Heaviest Bell);
10. Unnamed (Lightest Bell).

THIS CONCLUDES THE ARTICLE ON WELLS CATHEDRAL.

John Denver Prays The Lord’s Prayer in Native American Sign Language.



John Denver Prays The Lord’s Prayer
in Native American Sign Language.
Available on YouTube (start at 48:40)

Easter Wednesday. The Station Is At The Basilica Of Saint Laurence-Without-The-Walls. White Vestments.



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


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

Easter Wednesday.

Station at Saint Laurence-without-the-Walls.

Indulgence of 30 Years and 30 Quarantines.

Semi-Double.

White Vestments.

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


The Lenten Station is at Saint Laurence-without-the-Walls. The Church puts before her New-Born Children, as a model, the illustrious Roman Deacon, to whom this Basilica is Dedicated.

Like Saint Paul, yesterday, Saint Peter tells us that the Prophets foretold the Death of Jesus and that the Apostles were witnesses of His Resurrection (Epistle).

The Alleluia further reminds us that “The Lord hath appeared to Peter”; while the Gospel shows us Saint Peter directing the fishing operations of his companions, in expectation of the hour, now fast approaching, when he will direct their labours as fishers of men.

More devoted to Jesus than the others, he cast himself into the sea to rejoin Him, and it was he who drew to land the net, full of one hundred and fifty-three big fishes.


The Cloisters.
San Lorenzo fuori-le-mura
(Saint Laurence-without-the-Walls).
Artist: 
Date: 1824.
Current location: Art Institute of Chicago,
(Mr. and Mrs. Martin A. Ryerson Collection).
Photo: April 2007.
Source: Own work.
(Wikimedia Commons)


According to the Fathers, these fishes, brought by Peter to the Feet of the Risen Christ, represented the Neophytes, for the Catechumens were born to Supernatural Life in the Font of Baptism. 

Called by God to receive His Kingdom (Introit), they eat the Bread of Angels, the Bread of Heaven (Offertory, Secret), which transforms them into New Creatures (Postcommunion), the “Agni Novelli” or “New-Born Lambs”.

[The “Agnus Dei”, or figures of the Lamb of God, stamped on the wax which remains from the Paschal Candle of the previous year, were formerly Blessed by the Pope on this day. 

[Cherished in a spirit of Reverence and Faith, they are a protection against sickness and danger.]

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


Mass: Veníte, benedícti.
Sequence: Victimæ paschali laudes.
Creed: Is said.
Preface: For Easter.
Commemoration: For Easter.
Hanc igitur: For Easter.

Home Of The Vetus Ordo In The Arch-Diocese Of Paris: The Church Of Saint-Eugène-Sainte-Cécile.



The Divine Mass. Saint-Eugène - Sainte-Cécile, Paris.


The following Text is taken from, and can be read in full at,

By: JPSonnen

My favourite Church to visit in Paris for Sunday High Mass is the Église Saint-Eugène-Sainte-Cécile.

Catholics who visit Paris should know about this wonderful Church and visit - it is the home of the Vetus Ordo in The Archdiocese of Paris.

Liturgy is done very well here with great care and reverence in a stunningly beautiful Neo-Gothic Church. Also, the Choir is one of the best in France. Every year, I visit in conjunction with the Annual Chartres Pilgrimage and I encourage others to do the same.

Sunday Mass and Vespers is a must. Be sure to make time for the Sunday morning 11:00 a.m. Solemn High Mass - it is nothing short of extraordinary.


Church of Saint-Eugène - Sainte-Cécile, Paris.

The Church is also commonly known as Saint-Eugène. This wonderful community is located in the 9th-Arrondissement of Paris in the historic neighbourhood that was once the traditional Jewish Quarter.

The Church is centrally located, with about a dozen hotels within walking distance. The Parish draws Parishioners from across Paris and beyond. It has also produced a handful of notable Vocations to the Priesthood and Religious Life.

The Church is packed on Sundays with young families with many children who are drawn by the Respect and Devotion shown.

Saint-Eugène Church was built during a time when The Church in France was undergoing a renewal after the Anti-Religious Revolutionary periods. Those years of persecution gave birth to a renewal of the local Church in the Mid-1800s that saw a boom in Catholic Life and Church construction.


On 8 December 2019, the Feast Day of The Immaculate Conception, a Procession of The Immaculate Conception 
took place in the evening from Saint-Eugène - Sainte-Cécile 
to the Church of Notre-Dame-des-Victoires.


The years of trial and persecution contributed to growth that saw the creation of new Religious Orders, new Vocations to the Seminary and Convent, the development of Marian Devotion (connected to the Lourdes Apparitions in 1858), and the successful creation of Catholic Social Movements.

The Church then began to build, everywhere. The Gothic Art, born in France during the Middle-Ages, was rediscovered and Neo-Gothic Churches were planned and constructed across the Land.

As Architects and Artists looked to the Past for their inspiration, France entered into a period of Architectural pastiche, imitating previous styles, including the Gothic.

That period in the history of France is known as The Second Empire (1852-1870). And, like all regimes after the restoration, the Government and People favoured Religious Subjects in the Art that it sponsored.

Expansion of French industry brought with it economic prosperity and an influx of people to the big City. Paris grew from one-million inhabitants around 1850 to two-million by the end of the Century, with the number of Parishes growing from forty-six to sixty-nine.


New Church construction flourished as Paris turned into a vast building site. In fact, it can be said of that period of French history: “No period presents us with so many pieces of Religious Art executed simultaneously by such a large number of distinguished Artists" (Gazette des Beaux-Arts, 1861).

The Church of Saint-Eugène was constructed between 1854-1855 by the Architects Louis-Auguste Boileau and Louis-Adrien Lusson. It was the first Church in France to use an entirely iron-framed structure for construction.

This was inspired by the metal framework construction seen just before, with Baltards's construction in metal of the old Central Halles in Paris in 1854. This innovative new construction method was deemed perfect for a Church, to keep the cost down because it allowed a decrease in the thickness of the masonry walls while also allowing for quick construction, in this case barely twenty months.

The frame was made of metal cast-iron Columns that are attached to the masonry of the Walls, supporting the wrought-iron Trusses, thus avoiding any appearance of heaviness. On each Column, stands Decorated Capitals, moulded in cast-iron and painted in a beautiful array of colour.


The Church of Saint-Eugène-Sainte-Cécile
is located in The 9th-Arrondissement of Paris.

This new Style, employing cast-iron and metal framework, became popular and was used in other neighbouring Church construction, such as with Saint Augustine, also in downtown Paris (built between 1860-1869, it was the first monumental Religious Building in Paris with a metal framework).

Visitors to Saint-Eugène enter and notice the markedly-vertical framework that gives this Church its specific character as the eyes of The Faithful are drawn up to Heaven. In place of the massive Pillars of yesteryear, the thirty-six Columns are as thin as Lances, separating the Nave from the Aisles, with little wooden chairs for The Faithful to use.

The Interior of the Church is absolutely stunning with a colourful, airy space. Facing North, the light of the beautiful afternoon Sun enters the Gothic-inspired Sanctuary, recalling a Holy Place. The display of vivid Stained-Glass Windows harmonises with iron Piers and mouldings that are painted in a variety of colours that match the glow of the Stained-Glass Windows.

Blues, Reds, and Greens, provide for a dark Interior, with mythical Ceiling Vaults. From the entrance, the eye embraces the entire volume of the Church, with the Ceiling decorated with exquisite Stencil Work strewn with Stars in the Neo-Gothic Style, Bright Yellow in the Nave and Midnight Blue in the Apses.


Requiem Mass for King Louis XVI at The Church of 
Saint-Eugène-Sainte-Cécile, 21 January 2020.
Available on YouTube at

The Interior is clearly inspired by Sainte-Chapelle, the Royal Chapel in Paris of the Kings of France. In addition, influences were taken from the Priory of Saint-Martin-des-Champs, an iconic Monastery in Paris that was suppressed during The French Revolution.

The Windows are mostly the work of Master Glassmakers, Lusson, Gsell and Oudinot. Louis-Adrien Lusson and Gaspard Gsell created the main Stained-Glass Windows. The Centre-Piece in the Sanctuary is the Window depicting The Transfiguration of Our Lord.

The unique Stations of The Cross, on the main level, are famous because they are depicted in Stained-Glass, a rare work of Eugène-Stanislas Oudinot. These Windows are resolutely notable because they are the only known example of The Via Crucis realised entirely in Stained-Glass. The Pulpit, alone, is an incredible Work of Art, made of Carved Wood with a beautiful Canopy.


Advert for a Sung Mass, May 1927,
for Rogation Sunday, at Saint-Eugène-Sainte-Cécile.

One of the biggest assets of the Parish is the excellent Choir, the Schola Sainte Cécile. This is one of the finest Church Choirs in the Catholic World. 

It is directed by the distinguished Mæstro, Henri Adam de Villers, a Graduate of The Sorbonne and an extremely competent Director of Music.

Henri keeps busy, conducting two Church Choirs. He is French and speaks perfect English, a native of the French Island of Réunion in the Indian Ocean. 

The Choir has an excellent YouTube Channel, that I highly recommend, for Readers to get a taste of the high-quality music that is made available to all in Paris.


My favourite Hymn sung by the Choir is Domine Salva Fac Galliam, which they sing on patriotic occasions such as the Feast Day of Saint Denis, Patron Saint of Paris and France. 

The beautiful Pipe Organ of the Church complements the Choir; built by the German Organ builder, Joseph Merklin, who lived in Paris. 

This same Organ was exhibited at the 1855 Universal Exhibition in Paris before it was installed in the Church. 

It has thirty-three Stops, three Keyboards of fifty-six Notes each, a Pedal Board of twenty-seven Notes, and 1,941 Pipes.


Saint-Eugène is the same historic Church where Jules Verne was married in 1857, a French novelist and major literary author. 

It was built by decree of the Emperor Napoleon III and dedicated to Saint-Eugène de Deuil-la-Barre in honour of the Emperor's wife, the Empress Eugénie (1826-1920), who was present for the Dedication of the Church.

Although the Church was Consecrated to Saint-Eugène, in 1952 the name of Sainte-Cécile was added as a nod to the Patron Saint of Musicians, due to the close proximity of the Church to the Paris Conservatory, a College of Music Founded in 1795. 


For this reason, the Church was initially deprived of Bells at the time of its construction, so as to not interfere with the lessons.

Many of the students of Organ Music would visit the Church to practice on the Parish Organ. 

Although the Church was Blessed and dedicated in 1855, it was not until The Holy Year 2000 that the fully-completed Interior of the Church was dedicated by Cardinal Lustiger, Archbishop of Paris. 

At that time, he also Blessed the new Carillon, a Set of Bells finally installed despite the absence of a Bell Tower. For more historical information on the Church, see HERE.

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