Wonderful News !!! Now There Is A New Sunday Traditional Latin Mass At The Beautiful Church In Paris Of Our Lady, Val-de-Grâce. Deo Gratias.

Church of Our Lady, Val-de-Grâce, Paris.

Église Notre-Dame du Val-de-Grâce, Paris.

Photo: 4 July 2007.

Source: Flickr

This File is licensed under the

Creative Commons Attribution-

Share Alike 2.0 Generic licence.

Author: stevecadman

(Wikimedia Commons)

Val-de-Grâce, a Military Hospital and Church 

located at 74, Boulevard de Port-Royal,

in the 5th Arrondissement, Paris, France.

The entwined initials, “A” and “L” on the floor 

indicate the union of Anne of Austria and Louis XIII.

Photo: 5 February 2027.

Source: Church @ Val-de-Grâce @ Paris.

This File is licensed under the 

Creative Commons Attribution 

2.0 Generic licence.

Author: Guilhem Vellut from Paris.

(Wikimedia Commons)

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

RORATE CÆLI

The French capital will now host a new Sunday Traditional Mass in one of its most beautiful Churches, the Val-de-Grâce (before the Revolution, the Abbatial Church of the Royal Abbey of Our Lady of Val-de-Grâce), built at the request of Anne of Austria, the Spanish Princess who became Queen of France upon marrying Louis XIII, and Regent upon his death. 

The Abbey was the fulfilment of a vow made in recognition of the birth of her first son, the future Louis XIV.

The Mass will be at the late hour of 8:30 p.m., very useful for those occupied during the day for various reasons, and will be Celebrated by Fr. Jérôme Maljean, of the Military Ordinariate of France, which is in charge of the Church. (Source: Paix Liturgique).

English: 

The Nave, Church of Our Lady, Val-de-Grâce, Paris.

Deutsch: 

Langhaus der Kirche Val-de-Grâce, Paris.

Photo: 6 April 2017.

Source: Own work.

This File is licensed under the 

Creative Commons Attribution-

Share Alike 4.0 International licence.

Author: Zairon

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopædia, 

unless stated otherwise.

The Church of Our Lady, Val-de-Grâce, is a Roman Catholic Church in the 5th Arrondissement of Paris. 

The Church was built as part of a Royal Abbey by Anne of Austria, the Queen of France, to celebrate the birth of her son, Louis XIV in 1638. 

Construction began in 1645 under the direction of architect François Mansart and was completed in 1665 by Gabriel Le Duc.[1][2] 

The Abbey and Church were turned into a hospital during the French Revolution and then became part of the Val-de-Grâce Hospital, which closed in 1979. 

The Church is attached to the Diocese of the French Military and is open to visitors at specified hours. Its Dome is a landmark in Paris.[3]

“We Will Remember Them”. The Union Jack Club And The Military Wives Choirs Pay Their Own Tributes To The Fallen.

 

Armistice Day.

Every year, The Union Jack Club has its own Act of Remembrance to The Fallen. Keep an eye on The Union Jack Club’s Web-Site to find out what’s happening and when.

The Web-Site can be accessed

HERE

We Shall Remember Them.

Plus, with Remembrance Day approaching,

 The Military Wives Choirs pay their own 

special tribute to our Armed Forces.

The Military Wives Choirs 

are something very, very, special.

Listen to them here:

“Wherever You Are”.

Sung By: The Military Wives Choirs.

Available On YouTube

HERE

and

“Abide With Me”.

Sung By: The Military Wives Choirs.

Available On YouTube

HERE

“Cherish”. Sung By: Kool & The Gang.

“Cherish”.

Sung By: Kool & The Gang.

Available on YouTube

HERE

“Tickets, Please”.

 

“Tickets, Please”.

Photo source : funny-pictures.vidzshare.

Illustration: TOPITO

Pope Urban VII. Shortest Papal Reign In History.

English: Illustration of Pope Urban VII.

Italiano: Papa Urbano VII.

Date: 1590.

Source: BWEB

Author: Roman Painter.

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopædia,

unless stated otherwise.

Pope Urban VII (Latin: Urbanus VII; who lived 4 August 1521 – 27 September 1590), born Giovanni Battista Castagna, was head of The Catholic Church, and Ruler of The Papal States from 15 September 1590 to 27 September 1590. His thirteen-day Papacy is the shortest in history.

Giovanni Battista Castagna was born in Rome in 1521 to a noble family as the son of Cosimo Castagna of Genoa and Costanza Ricci Giacobazzi of Rome.[1]

Castagna studied in universities all across Italy and obtained a Doctorate in Civil Law and Canon Law when he finished his studies at The University of Bologna. Soon after, he became Auditor of his uncle, Cardinal Girolamo Verallo, whom he accompanied as Datary on a Papal Legation to France.[1]

He served as a Constitutional Lawyer and entered the Roman Curia during the Pontificate of Pope Julius III as the Referendary of The Apostolic Signatura. Castagna was chosen to be the new Archbishop of Rossano on 1 March 1553, and he would quickly receive all the Minor and Major Orders culminating in his Ordination to the Priesthood on 30 March 1553 in Rome. He then received Episcopal Consecration, a month after, at the home of Cardinal Verallo.

He served as the Governor of Fano from 1555 to 1559 and later served as the Governor of Perugia and Umbria from 1559 to 1560. During the Reign of Pope Pius IV, he settled satisfactorily a long-standing boundary dispute between the inhabitants of Terni and Spoleto.[1] Castagna would later participate in The Council of Trent from 1562 to 1563 and served as the President of several Conciliar Congregations.

He was appointed as The Apostolic Nuncio to Spain in 1565 and served there until 1572, resigning his Post from his Archdiocese a year later. He also served as The Governor of Bologna from 1576 to 1577. Among other positions, he was The Apostolic Nuncio to Venice from 1573 to 1577 and served also as The Papal Legate to Flanders and Cologne from 1578 to 1580.

Pope Gregory XIII elevated him to the Cardinalate on 

12 December 1583 and he was appointed as The Cardinal-Priest of San Marcello.

After the death of Pope Sixtus V, a Conclave was convoked to elect a successor. Ferdinando I de' Medici, Grand Duke of Tuscany, had been appointed a Cardinal at the age of fourteen, but was never Ordained to The Priesthood.

At the age of thirty-eight, he resigned the Cardinalate upon the death of his older brother, Francesco, in 1587, in order to succeed to the Title. (There were suspicions that Francesco and his wife died of arsenic poisoning after having dined at Fernando’s Villa Medici, although one story has Fernando as the intended target of his sister-in-law.)

Ferdinando’s foreign policy attempted to free Tuscany from Spanish domination. He was consequently opposed to the election of any candidate supported by Spain. He persuaded Cardinal Alessandro Peretti di Montalto, grand-nephew of Pope Sixtus V to switch his support from Cardinal Marco Antonio Colonna, which brought the support of the younger Cardinals appointed by the Late-Sixtus.[2]

Castagna, a seasoned diplomat of moderation and proven rectitude, was elected as Pope on 15 September 1590 and selected the Pontifical name of “Urban VII”.[2]

Pope Urban VII’s short passage in Office gave rise to the world's first-known public smoking ban, as he threatened to excommunicate anyone who “took tobacco in the Porchway of, or inside, a Church, whether it be by chewing it, smoking it with a pipe, or sniffing it in powdered form through the nose”.[3]

Pope Urban VII was known for his charity to the poor. He subsidised Roman bakers, so they could sell bread under cost, and restricted the spending on luxury items for Members of his Court. He also subsidised Public Works projects throughout The Papal States. Urban VII was strictly against nepotism and he forbade it within The Roman Curia.[4]

Urban VII died in Rome on 27 September 1590, shortly before midnight, of malaria. He had reigned for thirteen days. He was buried in The Vatican. The funeral oration was delivered by Pompeo Ugonio. His remains were later Transferred to the Church of Santa Maria sopra Minerva, on 21 September 1606.

His estate, valued at 30,000 scudi, was bequeathed to the Archconfraternity of The Annunciation, for use as dowries for poor young girls.

English: Pope Urban VII's Coat-of-Arms.

Français: Armoiries du pape Urbain VII : bandé de gueules et d'argent, au chef de gueules, chargé d'une feuille de châtaignier d'or, et soutenu d'une divise d’or

Source du blasonnement :

http://www.heraldique-europeenne.org/Regions/Italie/Papes_7.htm

Date: 9 August 2008.

Source: Own work.

Author: Odejea

(Wikimedia Commons)

Hereford Cathedral (Cathedral Of Saint Mary The Virgin And Saint Ethelbert The King). (Part Seven).

English: Arabesque-like “Diapering” (decorative lines) 

(see mention, below) on the Field of the Shield of 

The See of Worcester, in the Chapel of The Holy Cross, Stratford-upon-Avon, England.

Deutsch: Buntfenster-Wappen mit Damaszierung der Anglikanischen Diözese von Worcester.

Heraldic Description:

“Argent, ten Torteaux, four, three, two, and one.”

Photo: 20 June 2009.

Source: Own work.

Author: Oosoom

(Wikimedia Commons)

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

At the Northern entrance, is a Porch and decorated Doorway. There is a modern Rood Screen, a lofty Central Lantern, and a Reredos with a carved Spandrel. 

The Lady Chapel has Lancet Windows, Foliated Ornaments and a Groined Roof. The tomb of Charles Booth, Bishop and builder of the Porch, is in the sixth Bay of the Nave on the North Side, guarded by the only ancient ironwork left in the Cathedral. On the South Side of the Nave is the Norman Font, 

a circular bowl large enough to allow of the immersion of children.

The North Transept, rebuilt by Aquablanca in the Decorated Period, and restored by Scott, is noted for the diapering (see, above) of the Triforium Arcade, and for the form of the Pointed Arches and Windows, which have so slight a curvature as to resemble two straight lines meeting at an angle. 

The Choir, Hereford Cathedral.

Photo: 9 July 2014.

Source: Own work.

Attribution:

Photo by DAVID ILIFF.

Licence: CC BY-SA 3.0.

Author: Diliff

(Wikimedia Commons)

The North Window is filled with Stained-Glass by Hardman as a Memorial of Archdeacon Lane-Freer, who died in 1863. In this Transept is the tomb or sub-structure of the Shrine of Thomas de Cantilupe, Early-Decorated Work which has been restored.

Of Purbeck Marble, it is built in two stages, of which the lower stage contains fourteen figures of Knights Templars in Chainmail Armour, occupying Cinquefoiled Niches.

Between the North Choir Aisle and the Eastern Aisle of the Transept is the tomb of Peter Aquablanca, the most ancient of the Episcopal Monuments in the Church.

The effigy is an example of a Bishop in full Vestments; the Canopy is supported by slender Shafts. The South Transept is thought by some authorities to be the oldest part of the Cathedral, and it exhibits some Norman Work, notably the Eastern Wall with its Arcades.

“The Psalter”, or “Psalms of David”,

from the 1843 Illustrated Book of Common Prayer 

published by H. W. Hewet. At the top, the Cathedrals of Hereford and Llandaff; in the centre, the Cathedrals of Norwich and Lichfield; at the bottom, the Abbey of 

St Alban's and the Cathedral of Carlisle.

Date: 1843.

Source: 

https://books.google.com/books?

id=90IWAAAAYAAJ&pg=

PA437#v=onepage&q&f=false

Author: H. W. Hewet

(Wikimedia Commons)

Until its removal in the 1960s, there was a Wrought Iron Choir-Screen, painted and gilt. Designed by Scott, it was executed by Messrs. Skidmore, of Coventry, from whose works also came the earlier metal Screen at Lichfield. After being kept in storage for many years, the Screen was completely restored in the Late-1990s and re-erected at the Victoria and Albert Museum in London.

The Chained Library,

Hereford Cathedral.

Available on YouTube

HERE

The Choir, consisting of three Norman Bays of three Stages, is full of objects of beauty and interest. The Reredos, designed by the younger Cottingham, consists of five Canopied compartments, with elaborate sculpture representing Our Lord’s Passion. Behind it is a Pier, from which spring two Pointed Arches; the Spandrel thus formed is covered with rich modern sculpture, representing Christ in his majesty, with Angels and the four Evangelists; below is a figure of King Ethelbert. 

Against the most Easterly point on the South Side of the Choir is to be seen a small effigy of this King, which was dug up at the entrance to The Lady Chapel about 1700. 

The Bishop’s Throne and the Stalls, of 14th-Century Work and restored, and the modern Book Desks and figures of Angels on the Upper Stalls, deserve attention. There is also a very curious ancient Episcopal Chair.

PART EIGHT FOLLOWS.

The Sanctoral Cycle.

Text is from The Saint Andrew Daily Missal,

unless stated otherwise.

Pope Saint Pius X, in his Bull “Divino Afflatu”, promulgated

1 November 1911, points out the order to be observed in The Celebration of The Feasts of Saints, which, in the course of the year, come in among those of The Cycle of The Mysteries of Our Lord’s Life [Editor: “The Temporal Cycle”].

The first place in the order is given to The Blessed Virgin Mary.

Then come The Holy Angels.

Next, according to the greater or lesser share they have in The Plan of The Incarnation:

Saint John the Baptist, the Precursor of The Messias;

Saint Joseph;

Saint Peter and Saint Paul and the other Apostles, whose Feasts have always been Celebrated with special Solemnity;

The Feasts of National Saints, Patrons of Dioceses and Parishes, come in The First Rank because of special gratitude due to them;

Next, come Feasts of Dedication of Churches;

Martyrs;

Pontiffs, i.e., Popes or Bishops;

Doctors of The Church, i.e., Fathers of The Church, the authorised interpreters of The Word of God;

Confessors, i.e., those, who, by their life or doctrine, have Confessed Christ;

Virgins and other Holy Women.

The most important and the most numerous Solemnities of this Cycle, especially those of The Time After Pentecost, bring into full light The Cycle of Christ, for it is by Him that the World must be renewed: “Instaurare omnia in Christo” [Editor: “Restore All Things In Christ”]

Resting one upon the other, these two Cycles [Editor: The Sanctoral Cycle and The Temporal Cycle] form, as it were, an immense Monstrance, set with Precious Stones. In the centre, is The Host, or, “The Mass of The Faithful”, with the three parts which constitute it: The Offertory; The Consecration; The Communion.

Around it, is “The Mass of The Catechumens”, which varies every day, whereby, at The Altar, as with Luminous Rays, we are shown the different Mysteries on each Sunday and Solemnity of The Proper of The Time. Then, in the intervals left free, like lesser Rays, shine The Feasts in honour of The Saints.

The Church carries this Divine Sun through the World in all times, raises it daily towards Heaven in her Liturgical Worship, that, by it, we may offer to God an ever-renewed homage of our gratitude, and receive, from it, the treasures of Grace and Holiness.

The Sixth Day Within The Octave Of All Saints’ Day. 6 November. White Vestments.

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

The Sixth Day Within The Octave Of All Saints' Day.
   6 November.

White Vestments.

The Church Triumphant.

The Church Militant.

The Church Suffering.

Illustration from UNA VOCE OF ORANGE COUNTY

who reproduce Text and Illustrations from

The Saint Andrew Daily Missal,

1952 Edition,

with the kind permission of

SAINT BONAVENTURE PUBLICATIONS

Artist: René de Cramer.

“Copyright Brunelmar/Ghent/Belgium”.

Used with Permission.

Mass: As on the Day of The Feast (Gaudeámus omnes).

Creed: Is said.

“Warrior’s Lament”.

Illustration: THE REMEMBRANCE COLLECTION 

by Jacqueline Hurley

Jacqueline Hurley’s On-Line Shop is

HERE

A Little Levity To Lighten Your Day . . .

“Missa Pro Defunctis”. Composer: Giovanni Francesco Anerio (1569-1630).

“Missa Pro Defunctis”.

Composer: 

Giovanni Francesco Anerio (1569-1630).

Available on YouTube

HERE

Giovanni Francesco Anerio (1569 - 1630) was an Italian composer of the Roman School, of the very late Renaissance and early Baroque eras. 

He was the younger brother of Felice Anerio. Giovanni's principal importance in music history was his contribution to the early development of the oratorio; he represented the progressive trend within the otherwise conservative Roman School, though he also shared some of the stylistic tendencies of his brother, who was much indebted to Palestrina.

He was born in Rome on 7 July 1569.[1] He was a Choirboy at Cappella Giulia in Saint Peter’s Basilica under Palestrina from 1575 to 1579. 

Illustration: FR. Z’s BLOG

He clearly decided to become a Priest from an early age, and became associated with the Oratory of Filippo Neri around 1583. 

In 1595, he was employed as an Organist at San Marcello, and likely became Maestro di Cappella at the Basilica di San Giovanni in Laterano, after Francesco Soriano, between 1600 or 1601 and 1603. 

In 1609, he held a similar Post at Verona Cathedral, his first appointment outside of Rome; he stayed there until 1610, when he went back to Rome; and he stayed there, aside for a few travels, until 1624, in a variety of roles (becoming a Priest at last in 1616). 

In 1624, he took the position of Choirmaster to King Sigismund III of Poland in Warsaw. 

Poland had several active Musical Centres in the Late-16th-Century and Early-17th-Century, including Kraków and Warsaw, and often employed Italians and Germans.

Anerio was one of the more distinguished foreigners to take up residence there. Unfortunately, he never saw Rome again; he died while travelling back home, while in Graz, Austria, and was buried there on 12 June 1630.

Giovanni Anerio was a much more progressive composer than his brother, and in the conservative environment of Rome in the Early-17th-Century, this was progressive indeed. 

Many of his Madrigals were Monodies, borrowing a style which came from Florence and other locations to the North; his Motets and Masses, on the other hand, are conservative and use the Palestrina style, though the Motets include Figured Bass, another innovation from the first decade of the 17th-Century. Some influence from Viadana is evident in these pieces.

Some of his Masses are Polychoral, a technique which involved multiple, spatially separated, groups of singers. 

While this was also a technique which developed in Venice, 

it was widespread by the end of the 16th-Century: Almost all Composers of Sacred Polyphony used Polychoral techniques at some time, especially those working in large acoustical environments (such as most Cathedrals in Europe).

The most important achievement of the younger Anerio, however, was his “Teatro Armonico Spirituale” of 1619, which is arguably the first Oratorio. 

“Teatro Armonico Spirituale”.

Composer: Giovanni Francesco Anerio.

Date: 1619.

Source/Photographer:

Ancien fonds du Conservatoire, RES-87 (1-8)

Bibliothèque nationale de France (5/1316).

Collection: Bibliothèque nationale de France.

(Wikimedia Commons)

It includes the earliest surviving Obbligato writing for instruments by the Roman School. 

Instrumentation is indicated with unusual care, and the alternate instrumental and vocal passages were greatly influential in works of the following decades. 

Unlike the works of the Venetian School, many of which were essentially grandiose Motets, the “Teatro Armonico Spirituale” was in Italian; it included stories told musically, but not acted (as would be done in Opera); and voices and instruments alternated movement by movement. 

The piece included settings of the tale of the Prodigal Son and the Conversion of Saul.

Feasts Of The Holy Relics Preserved In The Churches Of The Diocese. Red Vestments.

Part of the Relics collection of

the Basilica of Saint Petronius in Bologna, Italy.

Illustration: NEW LITURGICAL MOVEMENT

This Article was promulgated by reading the excellent Post by GREGORY DIPIPPO, entitled “The Feast of The Holy Relics”, 

in 2019, at NEW LITURGICAL MOVEMENT

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

Feasts Of Holy Relics Preserved In Churches Of The Diocese.

   5 November.

Red Vestments.

After having Solemnised on All Saints’ Day The Feast of The Holy Souls who have entered Heaven, The Church honours on this day The Holy Relics of their bodies which will remain on Earth until the glorious resurrection, a pledge of which we Venerate in their ashes (Collect).

From the earliest times, The Church Celebrated The Holy Mysteries on the tombs of the Martyrs in the Catacombs, in order to show that these Saints had mixed their blood with that of The Victim of Calvary (Antiphon at Vespers).

Later, at Rome, splendid Churches were erected as vast reliquaries to preserve the tombs of celebrated Martyrs. The remains of those who had confessed their Faith were placed under The High Altar, or “Confession”, of the Basilicas which were Dedicated to them.

Hence, the custom of translating the Relics of the Martyrs, which is one of the essential parts of the ceremony of Dedicating a Church, similar to the custom of placing Relics of Holy Martyrs in a small cavity of The Altar Stone, called the Sepulchre (see Page 936 of The Saint Andrew Daily Missal).

That is why The Mass of The Holy Relics, which dates from the 19th-Century, is composed in a great measure, like today’s Office, of passages taken from The Common of Martyrs (Gospel, Epistle, Gradual, Offertory) and why the Priest wears Red Vestments.

Just as a supernatural virtue issed from The Sacred Humanity of Jesus and healed those who had approached Him (Gospel), so, too, the Saints who enjoy God in Heaven (Gradual, Communion) may by their Relics (bones (Introit), ashes, clothes, or other objects used by them)“work wonders on Earth”, says the Collect, “exorcise devils, heal the sick, restore sight to the blind, cleanse lepers, drive away temptations and bestow on all the excellent gifts which come from The Father of Light”. [Editor: Lessons of The Second Nocturn at Mattins].

Mass: Multæ tribulatiónes.

Epistle: Hi viri.

Gospel: Descéndens.

Creed.

Be Aware !!! Be Very Aware !!!

Illustration: WORKPLACE DEPOT

You know, Chaps, how irritating, stupid, and dangerous, 

it is when some idiot nearly “takes you out” by driving 

their Mobility Scooter on the pavement ?

Or, EVEN WORSE, when they chase you down the Fruit 

and Vegetable aisle in a Supermarket, while honking their horn very loudly and headlights glaring, whilst wearing 

a Red Ferrari Baseball Cap ?

Well . . . BE AFRAID . . . BE VERY AFRAID !!!

Illustration: SCOOTERPAC

Get hit by this in Aisle 14 in Sainsbury’s

and you’ll never cook a Soufflé again !!!