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

09 September, 2026

The Second Day Within The Octave Of The Nativity Of The Blessed Virgin Mary. 9 September. White Vestments.




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


The Birth Of The Blessed Virgin Mary.
Available On YouTube


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

Let Us make man to Our image and likeness.

“And God made man; He modelled him,” says Tertullian, “to the image of God, i.e., of Christ.

Wonderful deed, to fashion this slime of the Earth !


God seems to be absorbed in it; He makes it the work of His hand and of His heart; counsel, wisdom, providence, and, above all, love, trace the lines.

As He forms each lineament of this clay, He has in mind Christ, Who is to become man.

This slime of the Earth, stamped with the image of the Christ to come, is not only God’s work, it is also His pledge.”

These words were spoken concerning our first parent, Adam; but how much more truly do they apply to the Mother of the Man-God, during these days when He Who is to be born of her watches over her growth !


As God, He now places in her provisionally what He wills to take from her hereafter. For, as Man, He will receive from her, together with His Sacred Body, everything that children naturally inherit from their parents: Such dispositions and qualities as arise from the physical complexion; features, ways, habits acquired by imitation or by early education.

Such is the ineffable condescension of Him who, knowing all things by infused science, condescends to pass like us through the apprenticeship of life.

Jesus is to have no Earthly father; He will, therefore, receive more from His Mother than could any other son.

In return, no creature could be so like to Jesus in the order of Grace, as she whom He thus deigns to resemble in the order of nature; and our Heavenly Father loves every creature in proportion to the degree of that creature’s conformity to the image of His Divine Son.


How exceedingly, then, O Mary, art thou loved !

Already in thy sweet features we discern the nobility of the King’s daughter, whose glory is from within, hidden beneath the golden fringes and variety of ornaments that deck her; for the manifold gifts of The Holy Spirit enhance the Grace and Beauty that crown thee in thy very cradle.

Together with Andrew of Crete, speaking on this day, we thus salute thee: “Hail, Mediatrix of the law of Grace; seal of the ancient and of the new Alliance; luminous fulfilment of all prophecy; summary of revealed truth; living, immaculate book of God The Word, wherein, without writing or characters, The Word of God its Author may be daily read !

Hail, First-Fruits of our regeneration; term of the Divine Promises and Predictions; Sanctuary promised by God to His Own Glory; Liberatrix foretold to the Nations !


Sarum Use Vespers. 1 February 2020. Candlemas Eve. Saint Patrick’s Church, Philadelphia.



Sarum Use Vespers.
1 February 2020. 
Candlemas Eve.
Saint Patrick’s Church, Philadelphia.
Available on YouTube

Official video of Vespers according to The Use of Sarum, celebrated at Saint Patrick’s Catholic Church, Philadelphia, Pennsylvania, on Candlemas Eve, 1 February 2020.

Over 700 came to attend this unique celebration of Evening Prayer according to The Use of Salisbury: The local adaptation of The Roman Rite used throughout most of England from The Norman Conquest until The Reformation introduced the first Book of Common Prayer in 1549.

Relics of Saint Thomas Becket and Saint Edward the Confessor were set upon The High Altar for this Liturgy, organised by The Durandus Institute for Sacred Liturgy and Music.

The viewer is highly encouraged to follow along with the congregation’s Service Booklet, which may be viewed at this link: https://www.dropbox.com/s/rdnzq8b6zqq... 

The official Photo Album, courtesy of Allison Girone, may be viewed here: https://aqg.smugmug.com/Sarum-Vespers...

Officiating Priest: Father Jason Catania.
Assisting Priest: Father Robert Pasley, KCHS. 
Precentor and Project Director: James T.M. Griffin. 
Succentor (Precentor’s Assistant) and Music Director: 
Peter Carter. 
Organist: Clara Gerdes.
Book Bearer and Master of Ceremonies: 
Luke Majewski.
Video by Thomas Tonelli.

The Durandus Institute
for Sacred Liturgy and Music Web-Site is
and

Saint Gorgonius. Martyr (♰ 303 A.D.). Feast Day, Today, 9 September. Red Vestments.


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

Saint Gorgonius.
   Martyr.
   Feast Day 9 September.

Simple.

Red Vestments.


Martyrdom of Saint Gorgonius and Saint Dorothy.
Date: 14th-Century.
Source: Vies de saints, France, Paris, France.
Author: Richard de Montbaston et collaborateurs.
(Wikimedia Commons)

Gorgonius was born at Nicomedia [Editor: Nicomedia (Greek: Νικομήδεια; modern-day İzmit) was an ancient Greek City in what is now Turkey]. While an Officer of the Household of Emperor Diocletian, he converted to the Faith of Christ, with the help of his colleague, Dorothy, both Servants of the Imperial Palace.

“To punish them for such audacity, they were hung up and their bodies lacerated by whips; then vinegar and salt were thrown on their uncovered entrails; and they were strangled after having been roasted on a grid-iron”.

They were put to death at Nicomedia in 303 A.D. Later, the body of Saint Gorgonius was buried at Rome on the Latin Way, whence it was eventually Translated to the Basilica of Saint Peter.

Mass: Lætábitur.

08 September, 2026

A Very Happy Feast Day To All Readers Of This Blog. Deo Gratias !!!


The Nativity Of The Blessed Virgin Mary. Gospel According To Luke. Chapter One.


The Nativity Of The Blessed Virgin Mary. The Song Of Solomon. The Book Of Sirach.


Cathedral And Metropolitan Church Of Saint Stephen And All Saints, Vienna, Austria. (Part Eleven).



English: 
Cathedral and Metropolitan Church of 
Saint Stephen and All Saints, Vienna, Austria.
Deutsch: 
Dom-und-Metropolitankirche zu 
Sankt Stephan und allen Heiligen, 
Wien, Österreich.
Photo: 8 October 2017.
Source: Own work.
This File is licensed under the 
(Wikimedia Commons)


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

In 1991, the Austrian firm of Rieger rebuilt the Choir Organ. It is a Mechanical Organ, with fifty-six voices and four manuals.[16]

The Kauffmann Organ at the West End was only used for about thirty-five years before falling into disuse. In 2017 - 2020, the Austrian firm of Rieger rebuilt the West End Organ (Riesenorgel) (Giant Organ) using the 1960 facade and some old pipework and this resulted in an Organ of five Manuals with 130 Stops. [17]


Deutsch: Der Stephansdom, Wien.
Date: Circa 1870.
Source: Zeffiro Ciuffoletti: Das Reich der Habsburger 1848-1918 - Photographien aus der österreichisch-ungarischen Monarchie, Verlag Christian Brandstätter, Dezember 2001, ISBN 3-85498-163-5
Author: Michael Frankenstein (1843–1918).
(Wikimedia Commons)


The Choir Organ has its own Console but there is a separate Console, built 2017 - 2020 and comprising five Manuals with 185 Stops, from which the Riesenorgel and Choir Organ can be played at the same time.[18]

In addition to the Riesenorgel and Choir Organ, the Cathedral also has three smaller instruments.[19]


English: View over Naschmarkt and the 
Elisabeth Bridge to Saint Stephen’s Cathedral.
Deutsch: Blick vom Naschmarkt in Wien 
über die Elisabethbrücke zum Stephansdom.
Photo: 1872.
Source: Franz Hubmann: Das k. & k. Photoalbum - 
Ein Bilderreigen aus den Tagen der Donaumonarchie, Ueberreuter, Wien 1991, ISBN 3-8000-3389-5, p.144
Author: Wilhelm J. Burger (1844–1920).
(Wikimedia Commons)

Conservation and restoration.

Preservation and repair of the fabric of the Mediæval Cathedral has been a continuous process at Saint Stephen’s Cathedral since its original construction in 1147.

The porous limestone is subject to weathering, but coating it with a sealer-like silicone would simply trap moisture inside the stone and cause it to crack faster when the water freezes.


The permanent “Dombauhütte” (Construction Department) uses the latest scientific techniques (including laser cleaning of delicate features on stonework), and is investigating a process that would impregnate the cavities within the stone with something that would keep water from having a place to infiltrate.

The most visible current repair project is a multi-year renovation of the tall South Tower, for which scaffolding has been installed.


English: Jamb detail of the Riesentor 
(“Giant’s Door”), Saint Stephen’s Cathedral, Vienna.
Deutsch: Gewände des spätromanischen 
Riesentores des Wiener Stephansdomes, Wien.
Photo: 27 March 2013.
Source: Own work.
Author: Uoaei1.
(Wikimedia Commons)

PART TWELVE FOLLOWS.

Saint Adrian. Martyr. Feast Day 8 September. Red Vestments.


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

Saint Adrian.
   Martyr.
   Feast Day 8 September.

Simple.

Red Vestments.



Saint Adrian's Church, West Wemyss, Scotland.
The Church was built in 1890.
Date: 20 February 2006.
Source: From geograph.org.uk
Author: Kevin Rae
(Wikimedia Commons)

“At Nicomedia”, says the Roman Martyrology, “Saint Adrian, Martyr, and twenty-three other Saints, who, after undergoing many torments, had their legs crushed, and thus ended their glorious fight, under the Emperors Diocletian and Maximian, about 303 A.D.

“The body of Saint Adrian was later Translated to Rome on the day when his Feast is Solemnised”.

Mass: In virtúte.


English: Stained-Glass Window, depicting Saint Adrian (centre) in the Basilica of Saint-Nicolas, Saint-Nicolas-de-Port, Meurthe-et-Moselle, Lorraine, France. Below are the Armorial Crests of The House of Lorraine (left), The House of Anjou (centre) and the City Arms of Saint-Nicolas-de-Port.
Deutsch: Bleiglasfenster (Baie 17) in der Basilika Saint-Nicolas in Saint-Nicolas-de-Port im Département Meurthe-et-Moselle (Lothringen/Frankreich), mit Fragmenten aus der Renaissance; Darstellung: Ehepaar Fiacre Fériet (links) und Jennon Thierie (rechts), hl. Adrian von Nikomedien; unten Wappen des Hauses Lothringen (links), des Hauses Anjou (Mitte) und Stadtwappen von Saint-Nicolas-de-Port.
Photo: 26 April 2015.
Source: Own work.
Author: GFreihalter
(Wikimedia Commons)


The following Text is from Wikipedia - the free encyclopædia.

Saint Adrian (also known as Hadrian), or Adrian of Nicomedia, was a Herculian Guard of The Roman Emperor Galerius Maximian. After becoming a convert to Christianity, with his wife Natalia, Adrian was Martyred at Nicomedia.

Saint Adrian and Saint Natalia lived in Nicomedia, during the time of Emperor Maximian, in the Early-4th Century A.D. The twenty-eight-year-old Adrian was Head of The Prætorium.

It is said that, while presiding over the torture of a band of Christians, he asked them what reward they expected to receive from God. They replied:

“Eye hath not seen, nor ear heard, neither have entered into the heart of man, the things which God hath prepared for them that love him” (1 Corinthians 2:9).

He was so amazed at their courage that he publicly confessed his Faith, though he had not himself yet been Baptised. He was then immediately imprisoned. He was forbidden visitors, but accounts state that his wife Natalia came to visit him, dressed as a boy, to ask for his Prayers when he entered Heaven.

The executioners wanted to burn the bodies of the dead, but a storm arose and quenched the fire.




THE SAINT ANDREW DAILY MISSAL



THE SAINT ANDREW DAILY MISSAL

Available (in U.K.) from

Available (in U.S.A.) from

Available (in Ireland) from
SILVERSTREAM PRIORY


“Ave Maris Stella”. Sung By: Musica Antiqua Of London.


“Ave Maris Stella”.
Sung by: Musica Antiqua Of London.
Available on YouTube

“Ave Maris Stella” was the Office Hymn at First Vespers, yesterday, for today’s Feast of The Nativity of 
The Blessed Virgin Mary.

The Nativity Of The Blessed Virgin Mary.




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

“Let us Celebrate The Nativity of The Blessed Virgin Mary; let us adore her Son, Christ Our Lord.” [Invitatory of The Feast]. Such is the invitation addressed to us today by The Church. Let us hearken to her call; let us enter into her over-flowing joy.

The Bridegroom is at hand, for His throne is now set up on Earth; yet a little while, and He will appear in the diadem of our human nature, wherewith His Mother is to crown Him on the day of the joy of His heart, and of ours.

Today, as on the glorious Assumption, the sacred Canticle is heard [Lessons of The First Nocturn]; but,, this time, it belongs more to Earth than to Heaven.


Truly, a better Paradise than the first is given us at this hour. Eden, fear no more that man will endeavour to enter thee; thy Cherubim may leave the gates and return to Heaven. What are thy beautiful fruits to us, since we cannot touch them without dying ?

Death is now for those who will not eat of the fruit so soon to appear amid the flowers of the virgin Earth to which our God has led us.

Hail, new World, far surpassing in magnificence the first creation ! Hail, Blessed haven, where we find a calm after so many storms ! Aurora dawns; the rainbow glitters in the heavens; the dove comes forth; the ark rests upon the Earth, offering new destinies to the World.

The haven, the aurora, the rainbow, the dove, the ark of salvation, the paradise of the heavenly Adam, the creation whereof the former was but a shadow: All this art thou, sweet infant, in whom already dwell all grace, all truth, all life.


Thou art the little cloud, which the father of prophets in the suppliant anguish of his Soul awaited; and thou bringest refreshment to the parched Earth. Under the weakness of thy fragile form, appears the Mother of fair love and of holy hope.

Thou art that other light cloud of exquisite fragrance, which our desert sends up to Heaven. In the incomparable humility of thy Soul, which knows not itself, the Angels, standing like armed warriors around thy cradle, recognise their Queen.

O Tower of the true David; citadel withstanding the first shock of Satan's attack, and breaking all his power; true Sion, founded on the holy mountains, the highest summits of virtue; temple and palace, feebly foreshadowed by those of Solomon; house built by eternal Wisdom for herself: The faultless lines of thy fair architecture were planned from all eternity.

Together with Emmanuel, Who predestined thee for His home of delights, thou art thyself, O Blessed Child, the crowning point of creation, the divine ideal fully realised on Earth.

The rest of this Article can be read, in full, in 
“The Liturgical Year”.
By: Abbot Guéranger, O.S.B.
   Volume 14.
   Time After Pentecost.
   Book V.

The Nativity Of The Blessed Virgin Mary. Feast Day, Today, 8 September. White Vestments.


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

The Nativity of The Blessed Virgin Mary.
   Feast Day 8 September.

Double of The Second-Class
   with a Simple Octave.

White Vestments.



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


The Birth Of The Blessed Virgin Mary.
Available On YouTube

This very ancient Feast was already Solemnised in the 7th-Century A.D., and Pope Innocent IV, to fulfil the Vow made by the Cardinals before the Election of his predecessor, gave it an Octave at The First Council of Lyons in 1245.

Today's date (8 September) has served to fix The Feast Day of The Immaculate Conception on 8 December.

Mary is inseparable from Jesus in The Divine Plan, wherefore The Liturgy applies to her what Holy Scripture says of The Eternal Wisdom, which is The Word "by Whom all was made".


The Nativity of The Blessed Virgin Mary Roman Catholic Church, located along State Route 119, in Cassella, in Marion Township, Mercer County, Ohio, United States. Built in 1858, the Church and its Rectory were listed together on The National Register of Historic Places as a part of the 
Photo: 27 May 2010.
Source: Own work.
Author: Nyttend
(Wikimedia Commons)

Like Christ, The Virgin presides over the whole work of Creation, for, having been chosen of All Eternity to give us The Saviour, it is she, with her Son, whom God had chiefly in view when He created the World.

Every Parish Priest Celebrates Mass for the people of his Parish.

Mass: Salve, Sancta Parens.
Commemoration: Saint Adrian.
Creed: Is said.
Preface: Of The Blessed Virgin Mary: Et te in Nativitáte.

Opinion: The Alleged Attempt To Restore The Sarum Use. A Fascinating Article From The Excellent Blog “Liturgical Arts Journal”.



Sarum Missal (Missale Sarisburiense) 1527.
All Illustrations: LITURGICAL ARTS JOURNAL


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

Guest Opinion by Liam Warner.

Now and again, one hears at a Cocktail Party that when Pope Pius IX restored the English Diocesan hierarchy in 1850, the Bishops seriously considered adopting the Missal and Breviary of Sarum, which had been those used in England before the Reformation. 

In fact, they adopted the Roman Missal and Breviary, but the story provides a tantalising “what-if”, especially to people interested in Traditional Liturgy, today.

The claim seems to be that there was a definite proposal made to the Bishops and others in authority, not simply a vague suggestion or idle wish on the part of antiquarians. 

The difficulty is that no-one has ever been able to prove that this happened. It is not mentioned anywhere one would naturally expect it to be: Ward’s lives of Wiseman1 and Newman2, Purcell’s of Manning3, Snead-Cox’s of Vaughan.4 


The Decrees of the first Provincial Synod after the Restoration, that of Westminster in 1852, simply presume, rather than declare, that the Roman Rite will be used.5 Fr. Nicholas Schofield, the Archivist of the Archdiocese of Westminster, said in an E-Mail to the writer: “I have read this several times in secondary sources or heard it in conversation, but have never seen any confirmation in original documents.”


It is certainly true that there was considerable interest in Pre-Reformation Catholicism during the period in question, especially among two groups: The Anglican Tractarians and The Catholic Gothic revivalists. The former included the famous Oxford academics John Henry Newman and E. B. Pusey; the latter was led by the architect A. W. N. Pugin, Fr. Daniel Rock and John Talbot, the 16th Earl of Shrewsbury. 


Pugin had been an Anglican, but converted in 1834, before the Oxford Movement was blowing in full gale. In her biography of Pugin, Rosemary Hill makes scattered references to Sarum. For instance: “When Pugin was at Oscott for Easter, he observed that Wiseman was using the Sarum Rite, aware of its appeal to Young England and the Oxford men.”6 Nicholas Wiseman, later the first Archbishop of Westminster in the restored hierarchy, “was a long-standing friend of Rock and the Shrewsburys, sympathetic to their antiquarianism and to The Oxford Movement.”7 Hill also reports that, when Pugin’s wife, Louisa, was received into The Catholic Church in 1839 at a Chapel at Alton Towers, the Mass was Celebrated by Rock according to the Sarum Books.8 

Hill gives no direct source for either assertion (although she did have access to his surviving diaries, which do not seem to have yet been published).


Pugin and other promoters of the Pre-Reformation Catholic Tradition, such as Ambrose Phillipps de Lisle, were designing Rood Screens, Pyxes (rather than Tabernacles) and Gothic Vestments. 

In Late-1839, the Congregation de Propaganda Fide wrote to Bishop Thomas Walsh, the Vicar Apostolic of the London District, censuring the use of these Vestments.9 Phillipps responded angrily to his friend, Lord Shrewsbury: “An uniformity of Vestments, or even of Rites and Liturgies, has never yet been enforced in any period of The Church, and the Bull of Saint Pius V “Quod à nobis”, published in the year 1568, expressly sanctions the use of all Missals and Breviaries published 200 years before the Council of Trent (and hence there is no doubt that any English Bishop has full power to command the restoration of our glorious old Sarum Rite)”.10

Thus Phillipps, for his part, knew his historical and legal ground and, we presume, wished the Bishops would act as he suggested they could. 

Rome’s disapproval of Gothic Vestments, however, persisted into the 20th-Century, as a Decree of The Congregation of Rites, of 9 December 1925, evinces.11 


This cites an earlier Decree of 21 August 1863, to the same effect. It seems very unlikely, then, that Rome was willing to entertain a wholesale restoration of the Sarum Use, even while she was condemning such comparatively minor variations.


Meanwhile scholars and interested amateurs continued their Pro-Sarum campaign. Phillipps wote to Cardinal Acton, 22 July 1842, that a correspondent of his was on his way to Belgium to oversee a reprinting, first of the Sarum Breviary and then of the Missal.12 Purcell says in a footnote that this correspondent was the Rev. J. B. Bloxam of Magdalen College, Oxford, a Tractarian. 


The Count de Montalembert, the famous French liberal Catholic, wrote to Phillipps in December 1842 that he had crossed paths in Brussels with a Charles Seager, “who had come over in order to reprint the Sarum Missal and Breviary.”13 Seager was an Assistant Lecturer at Oxford, in Hebrew, under Pusey, until 1843, when he converted to Catholicism.14


In the Spring of 1840, Newman, Pusey, and John Keble, had been contemplating publishing an edition of the Sarum Breviary in Latin and English.15 According to Liddon, Pusey’s biographer, nothing seems to have come of it.16 It would stand to reason, however, if Seager’s effort was the fruit of the other men’s initial plan. Seager published the first fascicle of his “Portiforii seu Breviarii Sarisburensis” in 1843, but that was the year he left Anglicanism for Rome, so the project appears to have been discontinued. Hence, the Missal was not printed until the 1860s.


Yet, while all this zeal for the Sarum Use was simmering, we do not find it as ubiquitous as the foregoing quotations initially suggest. Phillipps wrote in 1839 from his estate, Grace-Dieu Manor, to Lord Shrewsbury, inviting him to visit the Chapel there: “All is done precisely as in Parish Churches in England before the change of Religion, with this only difference, that of course we follow the Roman and not the Sarum Rite: Though you are aware the two hardly differ at all.”
18 

Thus, even in the strongholds of Neo-Gothic, antiquarian sentiment, such as Phillipps’s house was, Sarum was not used consistently or even frequently. 

Gwynne reports tantalisingly that the new Chapel at Oscott, the Catholic College and Seminary in Birmingham, was Dedicated in May 1838 with a Pontifical High Mass, at which “Pugin himself Assisted as Joint Master of Ceremonies” and Rock, “who had given constant help to Pugin as the leading authority on Pre-Reformation days,” was also present, but which Liturgical Books were used is not said.18


A similar notion, namely that the Sarum Use was considered for Westminster Cathedral, completed in 1903, is also doubtful. The historical accounts of its construction say nothing about the Sarum Use. What they do mention is a protracted controversy about who should be employed to sing the public Office in the Cathedral. 


Cardinal Vaughan, the third Archbishop of Westminster, was very keen that the Office return to the normal public worship of The Catholic Church in England. “So completely,” he said, “has the idea of the public Celebration of the Divine Office, as the normal form of public worship prescribed by The Church, faded from men’s minds, that even Catholics have come to consider it as a curious survival, and the peculiar heritage of ancient Orders of Monks or Nuns.”19 

But rather than charge Cathedral Canons or Diocesan Clerics with this task, “it had always been part of Cardinal Vaughan’s plans, even in the days when the Cathedral was still a Project, to entrust the daily singing of the Divine Office to a Choir of Benedictine Monks.”20 

If the Sarum Use was being seriously considered, surely this is the place to mention it, yet his biographer, Snead-Cox, here says nothing. 

First, Vaughan considered the English Benedictines, and then the Congregation of Solesmes, until finally he decided that it would be best for the Secular Clergy to run the Cathedral. 


This was announced in the “Tablet”, a weekly Catholic magazine, in June 1901. The notice draws particular attention to the Liturgical Books: “It would have been somewhat anomalous and somewhat inconvenient for both Priests and people, had the Roman Office, which is in common use throughout The Church, been excluded from the Metropolitan Cathedral to make way for a Breviary limited to the use of a Religious Order.”21 

Of course, nearly the same criticism would apply to the adoption of the Sarum Office for the Cathedral. Such a remark, then, seems to clash with the idea that the Sarum Breviary had been considered. The tenor and tone of the sentence are against it.



Thus, the conclusion we are forced to draw is that the available evidence does not substantiate the idea that the English hierarchy seriously considered a proposal to adopt the Use of Sarum, either for the entire Country or for Westminster Cathedral. 

This may very well have happened, but no-one has been able to demonstrate it. In fact, it is conspicuously absent in every source where it might naturally be mentioned. What the evidence does bear out is the existence of widespread learned interest in the Rites and Practices of Pre-Reformation England, which interest has persisted to the present day.


-- Liam Warner is a Seminarian for the Archdiocese of Boston. He graduated from Harvard College in 2020 with a degree in Classics.

Endnotes:

1. Wilfrid Ward, The Life and Times of Nicholas Wiseman. 2 vols. (London: Longmans, Green and Co., 1897).

2. Ibid.
3. Edmund Sheridan Purcell, The Life of Cardinal Manning, Archbishop of Westminster. 2 vols. (London: Macmillan & Co., 1896).
4. J. G. Snead-Cox, The Life of Cardinal Vaughan. 2 vols. (London: Burns and Oats, 1910).
5. Decreta quatuor conciliorum provincialium Westmonasteriensium, 2nd ed. (London: Burns & Oates, no date), 13-26.
6. Rosemary Hill, God’s Architect: Pugin and the Building of Romantic Britain (New Haven: Yale University Press, 2009), 264.
7. Hill, God’s Architect, 236.
8. Ibid., 211.
9. Ibid., 223.
10. Edmund Sheridan Purcell, The Life and Letters of Ambrose Phillipps de Lisle. 2 vols. (London: Macmillan & Co., 1900), 2:220.
11. Theodor Klauser, A Short History of the Western Liturgy, trans. John Halliburton, 2nd ed. (Oxford: Oxford University Press, 1979), 131; Acta Apostolicae Sedis, vol. 18 (Rome: Typis Polyglottis Vaticanis, 1926), 58-59.
12. Purcell, Ambrose Phillipps, 1:234.
13. Purcell, Ambrose Phillipps, 2:236.
14. Thompson Cooper and G. Martin Murphy. “Seager, Charles (1808–1878), orientalist,” Oxford Dictionary of National Biography, Sept. 23, 2004, https://www.oxforddnb.com/view/10.1093/ref:odnb/ 9780198614128.001.0001/odnb-9780198614128-e-24981.
15. The Letters and Diaries of John Henry Newman, ed. Gerard Tracey, 32 vols. (Oxford: Clarendon Press, 1978-2008), 7:265-266.
16. Henry Parry Liddon, The Life of Edward Bouverie Pusey, 4 vols. (London: Longmans, Green and Co., 1894), 2:147.
17. Purcell, Ambrose Phillipps, 1:77.
18. Denis Gwynne, Lord Shrewsbury, Pugin and the Catholic Revival (London: Hollis and Carter, 1946), 56-57.
19. Snead-Cox, Cardinal Vaughan, 2:320.
20. Ibid., 2:346.

07 September, 2026

Missa Solemnis On The Feast Of The Nativity Of The Blessed Virgin Mary. Tuesday, 8 September 2026. St. Mary’s Church, 669 West Avenue, Norwalk, Connecticut.




Regina Pacis Academy’s opening Mass of the academic year will be in honour of the Nativity of the Blessed Virgin Mary on Tuesday, 8 September 2026, at 9:00 a.m. at Saint Mary’s Church, Norwalk, Connecticut. Everyone is welcome to attend.

St. Mary’s Roman Catholic Church,
669 West Avenue,
Norwalk, CT 06850.

“Gluck, Das Mir Verblieb”. Sung By: Elisabeth Schwarzkopf. From: “Die Tote Stadt”. Composer: Erich Korngold. Plus, Sung By: Lotte Lehmann And Richard Tauber.



“Gluck, Das Mir Verblieb”.
Sung By: Elisabeth Schwarzkopf.
From: “Die Tote Stadt”.
Composer: Erich Korngold.
Available On YouTube


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

“Glück, Das Mir Verblieb” (German for “Happiness That Remained”) is a duet from the 1920 Opera “Die Tote Stadt” (“The Dead City”) composed by Erich Wolfgang Korngold to a Libretto by his father, Julius Korngold

It is written for soprano and tenor. Also called “Marietta’s Lied”, or, the “Lute Song”, it appears in Act 1, Scene 5. 

In performances as a Concert Aria, the Soprano will sing both parts.

The “Dead City” in the Opera’s title is Bruges, Belgium, identified in the Opera with Marie, the dead wife of Paul. 


At the start of Act 1, Paul confides in a friend the extraordinary news that he has seen Marie, or her double, in the Town, and that he has invited her to the house. 

She arrives, and Paul addresses her as Marie, but she corrects him: She is Marietta, a dancer from Lille. 

He is enchanted by her, especially when she accepts his request for a song, 

“Glück, das mir verblieb”. The words tell of the joy of love, but there is a sadness in it, also, because its theme is the transitoriness of life. 

Their voices combine in the verse which extols the power of love to remain constant in a fleeting world.[1]


Glück, das mir verblieb,
rück zu mir, mein treues Lieb.
Abend sinkt im Ha(a)g —
bist mir Licht und Tag.
Bange pochet Herz an Herz —
Hoffnung schwingt sich himmelwärts.

Wie wahr, ein traurig Lied.
Das Lied vom treuen Lieb,
das sterben muss.

Ich kenne das Lied.
Ich hört es oft in jungen,
in schöneren Tagen . . .
Es hat noch eine Strophe —
weiß ich sie noch ?

Naht auch Sorge trüb,
rück zu mir, mein treues Lieb.
Neig dein blass Gesicht —
Sterben trennt uns nicht.
Mußt du einmal von mir gehn,
glaub, es gibt ein Auferstehn.[2]


[You my] happiness that remained,
turn to me, my true love.
Evening is setting in the grove —
you are light and day to me.
Anxiously heart beats against heart —
hope soars heavenward.

How true, a sad song.
The song of the faithful lover
who must die.

I know the song.
I heard it often in younger,
in better days . . .
It has another verse —
do I still know it ?

Though grim sorrow may approach,
turn to me, my true love.
Incline your pale face —
death will not separate us.
If you must leave me one day,
trust there is a resurrection.


And . . .
For comparison . . .


“Gluck, Das Mir Verblieb”.
Lotte Lehmann and Richard Tauber 
sing the “Marietta’s Lied” duet 
in superb sound in 1924.
From: “Die Tote Stadt”.
Composer: Erich Korngold.
Available on YouTube

The pair sing this gorgeous duet from Korngold’s “Die Tote Stadt’ in a Berlin-made Odeon recording, 1924. 

This remastering by our Sound Engineer, Seth B. Winner Sound Studios, is the best we have heard, to date, of this well-known acoustic record. 

Uploaded to YouTube without financial renumeration and for educational purposes.

Proprietary remastered Sound File from the original record, copyright Harmonie Autographs and Music, Inc., New York, NY harmonieautog@aol.com
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