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

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.

Regina Cæli. Queen Of Heaven. Mother Of God. Mediatrix Of All Graces. Mother Of The Church.

 





Illustrations: 


“Regina Cæli”.
Available on YouTube

As from Compline on Holy Saturday until Trinity Sunday, exclusive, the Marian Anthem is now “Regina Cæli”.
Partly-Composed by Pope Gregory V ( 998 A.D.)

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, 21 May 2017,
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.

xxxxxxxxxxxx

07 April, 2026

“Dickens’s Dream”.



“Dickens's Dream”.
Photo credit: Charles Dickens Museum, London.

Text and Illustration from ART UK

This painting by Robert William Buss, an enthusiastic admirer of Charles Dickens’s writings, was painted five years after the author’s death in 1870.

The posthumous painting of Dickens celebrates his vivid imagination and illustrates characters from all his books, spanning 'Pickwick Papers' to 'Edwin Drood', surrounding Dickens in his Library at Gad’s Hill, Rochester, Kent, England.

The setting was modelled on Luke Filde's engraving, 'The Empty Chair', and the figure of Dickens was copied from a well-known photograph by John Watkins (from 1863).

Zephyrinus has visited Dickens's home, Gad's Hill, Rochester, Kent, and has stood in Dickens's Library (see picture, above). He can vouch that the picture exactly captures how the Library was, in Dickens's time, and how it is, today.

Listen to one of Charles Dickens's greatest stories, “Oliver Twist”, HERE

The Charles Dickens Museum Web-Site can be found HERE

“Let Those Who Have Eyes, See. Let Those Who Have Ears, Hear”.

 


“I Want to Live”.
Sung By: John Denver.
Available on YouTube

Easter Tuesday. The Station Is At The Papal Basilica Of Saint Paul-Without-The-Walls. White Vestments.

 

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

Easter Tuesday.

Station at Saint Paul-without-the-Walls.

Indulgence of 30 Years and 30 Quarantines.

Double of The First-Class.

White Vestments.


English: Basilica of Saint Paul-without-the-Walls.
Deutsch: Rom, Sankt Paul vor den Mauern.
Italiano: Statua di San Paolo di fronte alla 
Photo: May 2007.
Source: Own work.
(Wikimedia Commons)


After the Testimony to Our Lord’s Resurrection given by the Angels (Holy Saturday and Easter Sunday), and by the Prince of the Apostles (Easter Monday), today’s Liturgy brings before us that of the Apostle of the Gentiles.

So it is in the Papal Basilica of Saint Paul, on the Via Ostia, that The Church used to gather her new-born children around the tomb of this same Apostle (Collect), there to teach them, out of his mouth, the Words of Divine Wisdom ((Introit).

The Epistle consists of a portion of the address in which Saint Paul announced to the Jews of the Synagogue of Antioch, in Pisidia, the Resurrection of Christ, foretold by the Prophets and witnessed by the Apostles.


The Gospel gives us a new proof of Our Lord’s Resurrection, telling us of an appearance of Jesus in the Cenacle on the very day that He rose from the Dead. 

Jesus makes his Disciples touch Him. He eats in their presence and demonstrates from the Scriptures that it was necessary that Christ should die to save the World.

The Neophytes, “redeemed out of the hand of the enemy and united to God’s own people” (Gradual), and all Christians with them, must, continues Saint Paul, henceforth live, like the Risen Christ, none but a Heavenly Life (Communion), and by their manner of living proclaim their Faith in Christ (Collect).

Let us renew our Faith in the Risen Christ and show it by living, like Jesus, an entirely New Life.

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


Mass: Aqua sapiéntiæ.
Sequence: Victimæ pascháli laudes.
Creed: Is said.
Preface: For Easter.
Communicantes: For Easter.
Hanc igitur: For Easter.



English: Basilica of Saint Paul-Without-The-Walls.
With a length of 432 feet, this Basilica is eleventh
among the largest Churches in the World.
Français: Basilique Saint-Paul-hors-les-Murs.
Avec sa longueur de 131,66 mètres, cette Basilique se 
classe au 11è rang parmi les plus grandes églises au monde.
Photo: September 2010.
Source: Own work.
Author: Tango7174
(Wikimedia Commons)

Faux-Bourdon.




“Conditor Alme Siderum”
A 7th-Century A.D. Latin Hymn.
Sung (Three Voices).
Faux-Bourdon in the English Style.
Available on YouTube


“Ave Maris Stella”.
Composer: Guillaume Dufay.
Available on YouTube


The following Text is from Wikipedia.

Faux-Bourdon, or, Fauxbourdon (also Fauxbordon, and also commonly two words: Faux Bourdon, or, Faulx Bourdon, and, in Italian, Falso Bordone) – French for False Drone – is a technique of musical harmonisation used in the Late-Middle Ages and Early-Renaissance, particularly by composers of the Burgundian School.

Guillaume Dufay was a prominent practitioner of the form (as was John Dunstaple), and may have been its inventor.

The homophony and mostly parallel harmony allows the text of the mostly Liturgical lyrics to be understood clearly.


“Falsobordone“ “Fauxbourdon”, “Faburden”.
Plus, the Miserere of Allegri, 
and a most bizarre musicological error.
Available on YouTube

In its simplest form, Faux-Bourdon consists of the cantus firmus and two other parts, a sixth, and a perfect fourth, below.

To prevent monotony, or create a cadence, the lowest voice sometimes jumps down to the octave, and any of the accompanying voices may have minor embellishments. Usually just a small part of a composition employs the Faux-Bourdon technique.



Example of Faux-Bourdon.
This is a portion of Ave Maris StellaMarian Antiphon,
in a setting by Guillaume Dufay, transcribed into modern notation. The top and bottom lines are freely composed; the middle line, designated "fauxbourdon" in the original, follows the contours of the top line while always remaining exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave.


In a Hymn, the term is sometimes used when the Congregation sings in parallel octaves, with some singers singing a descant over the melody, but the term was historically used to indicate an arrangement of the tune in four parts with the melody in the tenor voice, such as those composed by 16th-Century and 17th-Century English composers, including John Dowland, Giles Farnaby, and Thomas Ravenscroft.

The earliest explicit example of Faux-Bourdon may be in the manuscript I-BC Q15 (Bologna, Museo Internazionale e Biblioteca della Musica, MS Q15), compiled around 1435, which contains several examples, including one by Dufay dating probably to around 1430. 

Since many Early-15th-Century compositions are anonymous, and dating is often problematic, exact determination of the authorship of the earliest Faux-Bourdon is difficult.

Dufay’s contribution to this collection contains the first actual use of the term, in the closing part of his Missa Sancti Jacobi. It is possible that his use of the word “Bourdon” was intended as a pun on Saint James’ “Staff” (which Dufay, or the copyist, drew in miniature above the music). 

Cividale, Museo Civico MS 101 has a work “O Salutaris Hostia” (f. 82v) which seems to be a work of Faux-Bourdon, but not labelled as such.[1][2]


The earliest definitely datable example of Faux-Bourdon is in a motet by Dufay, “Supremum Est Mortalibus”, which was written for the Treaty reconciling the differences between Pope Eugene IV and Sigismund, after which Sigismund was crowned as Holy Roman Emperor, which happened on 31 May 1433. 

In this motet, which is for four voices, when the tenor—the lowest voice—drops out, the upper three voices proceed in Faux-Bourdon.

Even though its first use appears to have been in Italy, Faux-Bourdon was to become a defining characteristic of the Burgundian Style which flourished in the Low Countries through the middle of the 15th-Century. 

Composers such as Gilles Binchois, Antoine Busnois, and Johannes Brassart all frequently used the technique, always adapting it to their personal styles.

A related, but separate, development took place in England in the 15th-Century, called “Faburden”. While superficially similar, especially in that it involved chains of 6–3 chords with octave-fifth consonances at the ends of phrases, Faburden was a schematic method of harmonisation of an existing Chant; in the case of Faburden, the Chant was in the middle voice.


The magnificent Choir of the Church of Saint Eugène. Paris, often include examples of Faux-Bourdon in their outstanding regular Choral arrangements for The Divine Mass and The Divine Office. 

Their Web-Site, LITURGIA, gives a splendid indication of the quality of their Mass Settings and Office renditions.

You can listen to their renditions on YouTube
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