Matthew Bridges (14 July 1800 – 6 October 1894). British-Canadian Hymnodist.

“My God Accept My Heart This Day”.

Catholic Hymn.

Available On YouTube

HERE

Matthew Bridges (14 July 1800 – 6 October 1894) was a British-Canadian Hymnodist and author of “My God Accept My Heart This Day”.[1]

Bridges was born in Essex, England, on 14 July 1800, the youngest son of John Bridges of Maldon, Essex, and brother of the Rev. Charles Bridges, a Priest of the Church of England. 

He matriculated at Magdalen Hall, Oxford in 1831.[1][2]

Matthew Bridges’ career as an author began with his poem, “Jerusalem Regained”, at the age of twenty-five in 1825. 

Although in his early life Bridges (who was raised in a Church of England environment) was sceptical of Roman Catholicism, as evidenced by his 1828 book “The Roman Empire Under Constantine The Great”, the influence of Saint John Henry Cardinal Newman led him to convert to Roman Catholicism in 1848 at the age of forty-eight, a Faith to which he adhered for the remaining four-and-a-half decades of his life.[1]

Later in life, Bridges lived for a time in Quebec, Canada, but returned to England and died in Sidmouth, Devon, on 6 October 1894 at the age of ninety-four.[1] 

He is buried there in the Cemetery of the Convent of the Assumption.[3]

Lenten Array.

Fairford, Gloucestershire,

originally uploaded by Vitrearum (Allan Barton).

The Lady Altar in the Tame Chapel, at Fairford, in Gloucestershire, has a Reredos of 1913, by Geoffrey Webb, covered during Lent with Lenten Array.

The Reredos Veil is decorated with a Central Rood Group,

in Grisaille, with Ox-Blood Stencilling around it.

The Tabernacle containing the image of Our Lady, that

forms an Upper Level of the Reredos, is enclosed with

doors and the backs of the doors are also Stencilled.

Sadly, these seem to be the extent of the surviving

Lenten Array; the Blue Frontal (Editor: Antependium)

remains in place during Lent, as does the very

Festal Dorsal with its Armorial embroidery.

Consequently the Lenten Veiling rather loses its impact.

Text and Illustration: MEDIEVAL CHURCH ART

“Extraordinary Faith”. Westminster Cathedral. The Rosary Crusade.

“Extraordinary Faith”.

Available on YouTube

HERE

In this first of four episodes filmed in London, England, 

Canon Christopher Tuckwell, Administrator of Westminster Cathedral, explains the many ministries offered by 

London’s largest Church. 

Former Cathedral Communications Director, Dylan Parry, who has since gone on to join The Norbertines, tells us about the Agatha Christie Indult, by which Pope Saint Paul VI granted permission for the Traditional Mass to continue to be Celebrated in England and Wales in 1971. 

The Cathedral Master of Music, Martin Baker, invites us to a rehearsal of the Boys Choir, which sings a full Choral Mass setting every day of the year, possibly unique in the World. 

We take part in The Rosary Crusade, an annual October 

event in which over 2,000 Londoners give witness to 

their Catholic Faith by processing on a Saturday from 

Westminster Cathedral to the London Oratory.

Oh, Be Still My Heart. I Thought I Was In Heaven.

Плотію Почаївський напів.

«Плотію» - Почаївський напів Диригент: Євген Савчук Національна заслужена академічна капела України "Думка". Святковий концерт у Римі на честь Папи Венедикта XVI та отців Папського Синоду відбувся з нагоди всенародної прощі до Собору святої Софії (Рим, 13 -15 жовтня 2012). В цих днях Патріярх Святослав освятив відновлений Собор Святої Софії, а в стінах Українського Католицького Університету святого Климентія Папи відбулася наукова конференція.

Available on YouTube

HERE

A festive Concert in Rome in honour of Pope Benedict XVI 

and the fathers of the Pontifical Synod took place on the occasion of the national Pilgrimage to the Hagia Sophia (Rome, 13 October 2012). 

Patriarch Svyatoslav Consecrated the restored Saint Sophia Cathedral, and a scientific conference was held in the walls of the Ukrainian Catholic University of Pope Saint Clement.

A Beautiful Byzantine Chant. 

This extraordinary version of The Exapostilarion of Easter, is here performed in a concert given in Rome in October of 2012 by the National “Dumka” Choir, which is very famous in Ukraine, conducted by Yevgeny Savchuk.

This particular Chant comes from the Tradition of 

The Monastery of The Holy Dormition in Pochayiv, 

about 85 miles to the East of Lviv.

This Article is from NEW LITURGICAL MOVEMENT

By: GREGORY DIPIPPO.

Monday In Passion Week. Lenten Station At The Basilica Of Saint Chrysogonus. Violet Vestments.

Peterborough Cathedral.

© Chel@SweetbriarDreams

www.sweetbriardreams.blogspot.co.uk

Text from The Saint Andrew Daily Missal,

unless otherwise stated.

Monday in Passion Week.

Station at Saint Chrysogonus.

Indulgence of 10 Years and 10 Quarantines.

Violet Vestments.

Basilica of Saint Chrysogonus,

Trastevere, Rome.

Photo: September 3006.

Source: Own work.

Author: Lalupa

(Wikimedia Commons)

The Lenten Station is at Saint Chrysogonus-in-the-Trastevere. Under the High Altar of this Church, one of the twenty-five Parish Churches of Rome in the 5th-Century A.D., rests the body of this Holy Martyr, a victim of the Diocletian Persecution. His name is mentioned in the Canon of the Mass.

Among the previous Cardinal Priests, from 1853 until 1878, was Vincenzo Gioacchino Raffaele Luigi Pecci, who was subsequently elected Pope Leo XIII.

To encourage the Public Penitents, and ourselves, likewise to persevere in the austerities of Lent, The Church reminds us, in the Epistle, of the pardon granted to the Ninivites, who, moved by the voice of Jonas, Fasted and covered themselves with Ashes for forty days.

Pope Leo XIII was a previous Cardinal-Priest of the Basilica of San Crisogono. Photogram of the 1896 film, “Sua Santitá Papa Leone XIII”, the first time a Pope appeared in a movie. This image was copied from wikipedia:de

The original description was: Papst_Leo_XIII. um ca. 1898.

Public Domain. Library of Congress

http://hdl.loc.gov/loc.pnp/cph.3a00543

This File: March 2006.

User: Crux.

(Wikimedia Commons)

With regard to the Catechumens, how sweet must have been their hope on hearing, in the Gospel, the promises of The Divine Master. Faith is about to draw from their Souls streams of living waters, springing from The Holy Spirit, Who will enter their Souls when they are Baptised.

The Jews, on the contrary, far from listening to Him, of whom Jonas was a figure, sought to lay hands on Jesus, Whom they are shortly to put to death. Jesus, in predicting it to them, announced to them His Triumph and their reprobation: “Yet a little while, and I go to My Father, and thither you cannot come.”

Let us ask “God to sanctify our Fasts and mercifully grant us the pardon of our sins” (Collect), so that “we may always enjoy health of Soul and body” (Prayer over the people).

Mass: Miserére mihi.
Preface: Of The Holy Cross.

Basilica of San Crisogono, Rome.

Photo: December 2006.

Source: Own work.

Author: Lalupa

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopædia.

San Crisogono is a Basilica Church in Rome (rione Trastevere) Dedicated to the Martyr, Saint Chrysogonus.

The Church was one of the Tituli, the first Parish Churches 

of Rome. It was most probably built in the 4th-Century A.D. under Pope Sylvester I (314 A.D. – 335 A.D.), rebuilt in the 12th-Century by John of Crema, and, again, by Giovanni Battista Soria, funded by Scipione Borghese, in the Early-17th-Century.

The area beneath the Sacristy was investigated by
Fr. L. Manfredini and Fr. C. Piccolini in 1907. They found remains of the first Church (see, below).

Saint Polycarp, Saint Vincent of Saragossa,

Saint Pancras of Rome, Saint Chrysogonus.

Photo: July 2011.

Source: http://www.flickr.com/photos/

pelegrino/4641123925/in/photostream

User: Adam sk

At Sant’Apollinare Nuovo, Ravenna.

(Wikimedia Commons)

The Church is served by the Trinitarians. Among the previous Cardinal-Priests was Vincenzo Gioacchino Raffaele Luigi Pecci (Cardinal-Priest from 1853–1878), who was subsequently Elected Pope Leo XIII.

Art and Architecture.

The Bell Tower dates from the 12th-Century. The interior of the Church was rebuilt in the 1620s, on the site of a 12th-Century Church. The twenty-two granite Columns, in the Nave, are recycled antique Columns. The floor is Cosmatesque, but most of it is hidden by the Pews. The High Altar is from 1127, with a Baldacchino from the Early-17th-Century by Gian Lorenzo Bernini.

English: The Baroque Coffered-Ceiling

with a centre painting by Guercino.

Italiano: San Crisogono. Soffitto a lacunari

con stemmi del cardinale Scipione Borghese.

Photo: March 2007.

User: Lalupa

(Wikimedia Commons)

The painting, in the middle of the Baroque Coffered-Ceiling, is by Guercino, and depicts the Glory of Saint Chrysogonus. It is likely a Copy, in which case the original was taken to London, but it might also be vice versa.

On the Left Side of the Nave, is the Shrine of Blessed Anna Maria Taigi. She was buried here in the Habit of a Tertiary of the Trinitarians. Some of her belongings are in the adjacent Monastery, where they are kept as Relics.

The Monument at the Left of the Entrance, Dedicated to Cardinal Giovanno Jacopo Millo, was completed by Carlo Marchionni and Pietro Bracci. Along the Right of the Nave are the fresco remains, including a Santa Francesca Romana and a Crucifixion, attributed to Paolo Guidotti and Transferred from the Church of Saints Barbara and Catherine. The Nave also contains a painting of Three Archangels, by Giovanni da San Giovanni.

English: Cosmatesque floor.

Basilica of Saint Chrysogonus.

Italiano: Basilica di san Crisogono

in Trastevere: pavimento cosmatesco.

Photo: December 2006.

User: Lalupa

(Wikimedia Commons)

The Nave has a “Trinity and Angels” by Giacinto Gimignani, while the Altar has a “Guardian Angel” by Ludovico Gimignani. The Presbytery and Ciborium are surrounded by four alabaster Columns; a Work by Soria. The Apse has frescoes of the Life of Saint Crisogono (16th-Century) and, below, Madonna and Child with Saints Crisogonus and James, by the 12th-Century School of Pietro Cavallini. The Presbytery Vault is frescoed with a depiction of Our Lady, by Giuseppe Cesari.

Excavations.

Remains from the first Church, possibly from the Reign of Emperor Constantine I, and earlier Roman houses, can be seen in the lower parts, reached by a staircase in the Sacristy. The ruins are confusing, but you can easily find the Apse of the old Church, and you can see the remains of the Martyr’s Shrine in the middle of the Apse wall.

On either side of the Apse, are rooms known as “Pastophoria”, Service rooms of a type uncommon in The West. but normal in Eastern Churches. The one on the Right-Hand Side is thought to have been used as a “Diaconium”, with functions resembling those of the Sacristy in later Churches. The other would probably have been a “Protesis”, where Holy Relics were kept.

Mosaic of Virgin and Child, with Saint Chrysogonus (Left) and Saint James the Greater (Right). Church of San Crisogono.

Photo: July 2011.

Source: http://www.aug.edu/augusta/iconography/

sanCrisogono2007/madonnaChildCavalini.html

User: Adam sk

(Wikimedia Commons)

A number of Basins were found during the excavations, including one cut into the South Wall. As the plan is so atypical of Early-Roman Churches, some believe that the structure originally had a different function, and the presence of the Basins could mean that it was a “Fullonica”, a Laundry and Dye-House. The area was a commercial district at the time, so this is quite likely.

Others think that the Basin in the South Wall was made for Baptism by immersion. As there were other Basins, too, it seems more likely that it was originally intended for a different use, but it may well have been used as a Baptismal Font, after the building had been Consecrated as a Church.

Liturgy.

The paintings are from the 8th-Century A.D. to the 11th-Century, and include Pope Sylvester capturing the dragon, Saint Pantaleon healing the blind man, Saint Benedict healing the leper and the rescue of Saint Placid. 

Several Sarcophagi have been preserved, some beautifully decorated. Below the first Church, are remains of Late-Republican houses.

The Feast Day of Saint Chrysogonus, 24 November, is also the Dedication Day of the Church in Rome.

Pilgrims and other Faithful, who attend Mass in this Church on this day, receive a Plenary Indulgence.

Saint Peter’s Italian Church,

Clerkenwell, London.

This London Church is modelled on

the Basilica of Saint Chrysogonus, Rome.

Illustration: THE DAILY CONSTITUTIONAL

Saint Peter’s Italian Catholic Church,

Camberwell, London.

Italian Church Choir.

Sung Latin Mass.

1100 hrs, Sundays.

Available on YouTube

HERE

The following three paragraphs are taken from the Web-Site of Saint Peter’s Italian Catholic Church, Camberwell, London, at SAINT PETER'S ITALIAN CHURCH

Saint Peter’s Italian Church, in Clerkenwell, London, has been described as “one of the most beautiful Churches in London”.

Opened in 1863, it was, at the time, the only Church in 

Britain designed in the Roman Basilican Style. The Irish Architect, John Miller Bryson, worked from Plans drawn by Francesco Gualandi of Bologna, modelled on the Basilica 

of San Crisogno, in Rome.

It has a tranquil feel and one could spend hours there, 

soaking up the Prayerful atmosphere and admiring the stunning Painted Ceilings and Artwork.

The following Paragraphs are taken from 

THE DAILY CONSTITUTIONAL

Saint Peter’s Italian Church, London, is modelled on the Basilica of San Crisogono in Rome; Saint Peter’s Italian Church was consecrated as “The Church of All Nations” in 1863. 

This moniker is reflected in not only the Italian Congregation (2000-strong by the 1850s), but in its Irish architect, John Miller-Bryson, as well as the addition of Polish-speaking Priests back in the 1870s.

The Church in London was Founded by Saint Vincent Pallotti, the Roman Catholic Priest remembered in one of the Church’s icons.

“The Mass Of The Foundation Of The Trinitarian Order”.

Artist: Juan Carreño de Miranda.

Illustration: LOUVRE

Our Lady Of The Atonement Cathedral,

Baguio, Philippines.

Photo: 29 March 2024.

Source: Own work.

This File is made available under the

Creative Commons CC0 1.0

Universal Public Domain Dedication.

Author: Galaxiaria

(Wikimedia Commons)

Wells Cathedral.

Photo: August 2006.

Source: Own work.

This File is licensed under the

Creative Commons Attribution-

Share Alike 3.0 Unported licence.

Author: Steinsky

(Wikimedia Commons)

After The Consecration: “We Most Humbly Beseech Thee, Almighty God . . .”

“When The Mass Is Being Celebrated, The Sanctuary Is Filled With Countless Angels Who Adore The Divine Victim Immolated On The Altar” — Saint John Chrysostom.

The Priest, after the Consecration, says the following:

“We most humbly beseech Thee, Almighty God, command these things to be carried up by the hands of Thy Holy Angel to Thine Altar on High, in the sight of Thy Divine Majesty, that, as many of us who, by participation at this Altar, shall receive the most Sacred Body ☩ and Blood ☩ of Thy Son may be filled with every Heavenly Blessing and Grace.

Through the same Christ Our Lord.

Amen.

“When The Mass Is Being Celebrated, The Sanctuary Is Filled With Countless Angels Who Adore The Divine Victim Immolated On The Altar” — Saint John Chrysostom.

“I’ll Be Seeing You”. Vera Lynn.

“I’ll Be Seeing You”.

Vera Lynn.

Available On YouTube

HERE

Gustav Mahler. Symphony No. 4.

 

Symphony No.4 by Gustav Mahler.

Score cover of Universal Edition (plate number U.E. 2944).

Date: At least 1910 (according to Zychowicz, p.269) 

and 1911 (according to IMSLP and mahlercat.org.uk).

Source: Score cover via IMSLP. Archived link.

Author: Unknown.

(Wikimedia Commons)

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

The Symphony No. 4 in G major by Gustav Mahler was composed from 1899 to 1900, though it incorporates a song originally written in 1892. That song, “Das Himmlische Leben” (“The Heavenly Life”), presents a child’s vision of Heaven and is sung by a Soprano in the Symphony’s Finale.

Both smaller in orchestration and shorter in length than Mahler’s earlier Symphonies, the Fourth Symphony was initially planned to be in six movements, alternating between three instrumental and three vocal movements.

The Symphony’s final form — begun in July 1899 at Bad Aussee and completed in August 1900 at Maiernigg — retains only one vocal movement (the Finale) and is in four movements:

Bedächtig, nicht eilen (sonata form);

In gemächlicher Bewegung, ohne Hast (scherzo and trio);

Ruhevoll, poco adagio (double theme and variations);

Sehr behaglich (strophic variations).

Gustav Mahler. The composer in 1892, 

photographed by Leonhard Berlin - E. Bieber.

Date: 1892.

Source: Kohut, Adolph (1900) “Gustav Mahler” in Berühmte israelitische Männer und Frauen in der Kulturgeschichte der Menschheit (Volume 1 ed.), Leipzig, Germany: Druck und Verlag von A. H. Payne, pp. p. 143 Retrieved on 15 July 2009.

Author: Leonard Berlin (1841–1931).

(Wikimedia Commons)

The premiere was performed in Munich on 25 November 1901 by the composer and the Kaim Orchestra, but it was met with negative audience and critical reception over the work’s confusing intentions and perceived inferiority to the more well-received Second Symphony.

The premiere was followed by a German tour, a 1901 Berlin premiere, and a 1902 Vienna premiere, which were met with near-unanimous condemnation of the Symphony.

Mahler conducted further performances of the Symphony, sometimes to warm receptions, and the work received its American and British premieres in 1904 and 1905. The Symphony’s first edition was published in 1902, but Mahler made several more revisions up until 1911.

After Mahler's death in 1911, the Symphony continued to receive performances under conductors such as Willem Mengelberg and Bruno Walter, and its first recording is a 1930 Japanese rendition conducted by Hidemaro Konoye that is also the first electrical recording of any Mahler Symphony. 

The musicologist Donald Mitchell believes the Fourth Symphony and its accessibility were largely responsible for the Post-War rise in Mahler’s popularity.

The Symphony uses cyclic form throughout its structure, such as in the anticipations of the Finale’s main theme in the previous three movements. 

The first movement has been characterised as neoclassical in style, save for its complex development section. 

The second movement consists of scherzos depicting Death at his fiddle, which are contrasted with Ländler-like trios. 

The third movement’s two themes are varied alternately before reaching a triple forte coda, and the Finale comprises verses from “Das Himmlische Leben” sung in strophes that are separated by refrains of the First Movement’s opening. 

Certain themes and motifs in the Fourth Symphony are also found in Mahler’s Second, Third, and Fifth Symphonies.