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

Wednesday, 10 July 2013

Sweet Sacrament Divine. Sweet Sacrament Divine.



Fr. Patrick D’Arcy, a brand new Priest for the Archdiocese of New York, celebrated his First Holy Mass in the Extraordinary Form, in May 2013, at Blessed Sacrament Church on the Upper West side of Manhattan, where Msgr. Robert C. O’Connor is pastor. And a great moment, here, when the new Priest is giving his First Holy Communion to his little niece.

The above Illustration and Text can be found on FR. Z's BLOG



Sweet Sacrament Divine.
Available on YouTube at

Why not ask your Parish Priest
for this to be sung
at the Communion at your Masses ?

Sweet Sacrament divine, 
hid in Thine Earthly home; 
lo! round Thy lowly shrine, 
with suppliant hearts we come; 
Jesus, to Thee our voice we raise 
In songs of love and heartfelt praise 
Sweet Sacrament divine. 

Sweet Sacrament of peace, 
dear home of every heart, 
where restless yearnings cease, 
and sorrows all depart. 
there in Thine ear, all trustfully, 
we tell our tale of misery, 
Sweet Sacrament of peace. 

Sweet Sacrament of rest, 
Ark from the ocean's roar, 
within Thy shelter blest 
soon may we reach the shore; 
save us, for still the tempest raves, 
save, lest we sink beneath the waves: 
Sweet Sacrament of rest. 

Sweet Sacrament divine, 
Earth's light and jubilee, 
in Thy far depths doth shine 
Thy Godhead's majesty; 
Sweet light, so shine on us, we pray 
that Earthly joys may fade away: 
Sweet Sacrament divine.


The Catholic Church of Corpus Christi, Maiden Lane, London.


Image





The Parish of Maiden Lane is situated in the Westminster Deanery, London. It was founded in 1873 and Consecrated on 18 October, 1956. Often referred to as the “hidden gem” of the West End, the, then, Archbishop Cardinal Henry Manning said, during his Homily at the opening Mass, that “a Sanctuary has been opened to be specifically devoted to the Adoration of the Blessed Sacrament”.

This was the first Church dedicated to The Blessed Sacrament after the Reformation. The famous Hymns,  Sweet Sacrament Divine and O Sacred Heart, were written by the Parish Priest, Fr. Francis Stanfield (1835-1914). It is also known as “the Actors’ Church” and is the home of the Catholic Association of the Performing Arts (formerly, the Catholic Stage Guild).

A very famous Priest visitor to the Parish, over many years, was Monsignor Ronald Knox. He first preached his Forty Hours Sermon in 1926, at the invitation of Father Kearney. This became a regular feature in Mgr Knox’s diary from 1926 until 1956. These Sermons were published by Burns and Oates in 1956, under the title “The Window in the Wall”, and the charming and touching dedication of this book is: “To the memory of Father Kearney and to his successors.”

For decades, the Latin Mass Society has also celebrated Mass here. A young adults’ Prayer Group meets here, weekly, and this is a vibrant place of worship and an oasis of Prayer and calm – open all day long for visitors, tourists, those who work and live nearby, and shoppers to pause and pray.


Unless otherwise stated, Illustrations and Text, relating to Corpus Christi, Maiden Lane, London, are from the CHURCH'S WEB-SITE AT http://www.rcdow.org.uk/maidenlane/.


Tuesday, 9 July 2013

Cor Jesu Sacratissimum. Benediction Hymn.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)




Cor Jesu Sacratissimum.
Sacred Heart of Jesus.
Benediction Hymn.
Available on YouTube at



Cor Jesu Sacratissimum 
advéniat regnum tuum 
regnum veritátis et vitæ 
regnum caritatis et grátiæ 
regnum justitiæ, amóris et pacis.


Este vídeo ha sido grabado en la Santa Misa Cantada celebrada en la Iglesia del Salvador de Toledo por los Hermanos de la Fraternidad de Cristo Sacerdote y Santa María Reina, asociación pública clerical con aprobación eclesiástica en la Archidiócesis primada de Toledo (España). Este Instituto Religioso en formación tiene como uso propio en el Oficio y la Santa Misa la Forma Extraordinaria del Rito Romano, como establecen sus Reglas y Constituciones. Para más información pueden visitar nuestro site y blogs:
http://www3.planalfa.es/santamariareina/
http://hermanosdelafraternidad.blogsp...
http://santa-maria-reina.blogspot.com...
http://rinconliturgico.blogspot.com.es/


A Mother's Prayer For Her Soldier Son.


This beautiful Mother's Prayer For Her Soldier Son
can be found on the Blog, "LINEN ON THE HEDGEROW".


A Mother's prayer for her soldier son


As Thou didst walk in Galilee, 
so loving Saviour, walk with him for me: 

For since the years have passed and he has grown, 
I cannot follow, he must walk alone. 

Be Thou my feet that I have had to stay, 
for Thou canst comrade him on every way. 

Be Thou my voice, when sinful things allure, 
pleading with him to choose those that endure. 

Be Thou my hand that would keep his in mine, 
all, all things that a mother must resign. 

When he was little I could walk with him and guide 
but now, I pray Thee, Thou be at his side. 

And as Thy Blessed Mother folded Thee, 
so kind and loving Saviour, guard my son for me.


Verbum Supernum. Benediction Hymn Written By Saint Thomas Aquinas.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)




Verbum Supernum.
Saint Thomas Aquinas.
Available on YouTube at


The following Text is taken from Wikipedia - the free encyclopaedia.

Verbum Supernum Prodiens is a Catholic Hymn in long metre by Saint Thomas Aquinas. It was written for the Hour of Lauds in the Divine Office of Corpus Christi. It is about the institution of the Eucharist by Christ at the Last Supper, and His Passion and Death.

The last two verses form a Hymn on their own as well, O Salutaris Hostia, which is sung at the Adoration of the Blessed Sacrament.

There is also an unrelated Latin Nativity Hymn of the same name.


Sacris Solemniis. Benediction Hymn Written By Saint Thomas Aquinas.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)


LISTEN TO SACRIS SOLEMNIIS.

Available on YouTube at


The following Text is taken from Wikipedia - the free encyclopaedia.

Sacris Solemniis is a Hymn written by Saint Thomas Aquinas (1225–1274) for the Feast of Corpus Christi. The strophe of Sacris Solemniis, that begins with the words "Panis Angelicus" (Bread of Angels), has often been set to music separately from the rest of the Hymn. Most famously, in 1872, César Franck set this strophe for voice (tenor), harp, cello, and organ, and incorporated it into his Messe à trois voix, Opus 12. The Hymn expresses the Doctrine of Transubstantiation, in which the Bread and Wine are changed into the Body and Blood of Christ.

The phenomenon, whereby the strophe of Sacris Solemniis that begins with the words "Panis Angelicus" is often treated as a separate Hymn, has occurred also with other Hymns that Saint Thomas Aquinas wrote for Corpus Christi: Verbum Supernum Prodiens (the last two strophes begin with "O Salutaris Hostia"), Adoro Te Devote (the strophe beginning with "Pie Pelicane, Jesu Domine"), and Pange Lingua Gloriosi (the last two strophes begin with "Tantum Ergo", in which case the word "Ergo" ["therefore"] makes evident that this part is the continuation of a longer Hymn).


Ave Verum Corpus. Benediction Hymn Attributed to Pope Innocent VI.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)




Ave Verum Corpus.
William Byrd.
Available on YouTube at


The following Text is taken from Wikipedia - the free encyclopaedia.

Ave Verum Corpus is a short Eucharistic Hymn that has been set to music by various composers. It dates from the 14th-Century and has been attributed to Pope Innocent VI.

During the Middle Ages, it was sung at the elevation of the Host during the Consecration. It was also used frequently during Benediction of the Blessed Sacrament.

The Hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-Century manuscript from the Abbey of Reichenau, Lake Constance. The poem is a meditation on the Catholic belief in Jesus's Real Presence in the Sacrament of the Eucharist.


Pater Noster. Rimsky-Korsakov.


Fr. Timothy Finigan, Parish Priest of Our Lady of the Rosary, Blackfen, Kent, has plans to develop the Parish Sung Liturgy in English to include, perhaps, Rimsky-Korsakov's melody for the "Our Father" (see, below).

More details can be found on Fr's Blog, THE HERMENEUTIC OF CONTINUITY.

File:St Isaac Interior.jpg


Interior of Saint Isaac's Cathedral, Saint Petersburg, Russia.
Photo: 30 July 2004.
Source: Own work.
Author: Jrissman.
(Wikimedia Commons)


File:Saint Isaac's Cathedral.jpg


Saint Isaac's Cathedral, Saint Petersburg, Russia.
Photo: 14 December 2006.
Source: Own work.
(Wikimedia Commons)




Rimsky-Korsakov's ''Our Father''. 
Saint Isaac's Cathedral Choir, 
Saint Petersburg, Russia.
Available on YouTube at





Rimsky-Korsakov's ''Our Father''.
Saint George's RC Cathedral, Southwark, London. 
Director of Music: Nick Gale. Organist: Norman Harper.
The Saint George's Cathedral Choir 
and the Saint George's Cathedral Girls Choir.
Available on YouTube at


Saturday, 6 July 2013

Te Deum Laudamus. Ciebie Boga Wysławiamy. You Praise God.



Image of State Flag & Civil Ensign


Flag Image: http://www.flags.net.




Te Deum laudamus - Ciebie Boga wysławiamy.
Te Deum Laudamus. You Praise God.
Available on YouTube at


O Magnum Mysterium. Winchester Cathedral Choir.



File:WinCath30Je6-4836wiki.jpg


Early Morning (0400 hrs) photo of Winchester Cathedral, 
showing the West End, Central Tower 
and the United Kingdom's second-longest Cathedral Nave.
Date: 2006.
Author: http://www.wyrdlight.com Antony McCallum.
(Wikimedia Commons)




O Magnum Mysterium.
Winchester Cathedral Choir.
Available on YouTube at


Winchester Cathedral Choir sing Morten Lauridsen's hauntingly beautiful "O Magnum Mysterium".

O magnum mysterium
et admirabile sacramentum,
ut animalia viderent Dominum natum,
jacentem in præsepio.

Beata virgo, cujus viscera meruerunt
portare Dominum Christum, Alleluia!



O great mystery
and wondrous sacrament,
that animals should see the newborn Lord
lying in their manger.

Blessed is the Virgin whose womb was worthy
to bear the Lord Jesus Christ. Alleluia!


Friday, 5 July 2013

Surge Propera Amica Mea. Francisco Guerrero.


Text and Illustration taken from Wikipedia - the free encyclopaedia,
unless otherwise stated.


File:Francisco Guerrero.jpg


English: Francisco Guerrero (1528-1599), Spanish composer.
Español: Retrato tomado de Francisco Pacheco, (1564-1644) 
El libro de descripción de verdaderos retratos, ilustres y memorables varones, 
[Sevilla, s.n., s.a.]- Real Academia de la Historia (Madrid). Signatura: 1/736.
Date: 1599.
Author: Francisco Pacheco (1564–1644).
(Wikimedia Commons)


Francisco Guerrero (1528 - 1599) was a Spanish composer of the Renaissance. He was born and died in Seville.

Guerrero's early musical education was with his older brother, Pedro. He must have been an astonishing prodigy, for at the age of seventeen he was already appointed maestro de capilla (Singing Master, i.e. Music Director) at Jaén Cathedral. A few years later he accepted a position in Seville. Apparently, during this time he was much in demand as a singer and composer, establishing an exceptional reputation before his thirtieth birthday; in addition, he published several collections of his music abroad, an unusual event for a young composer.




Francisco Guerrero's 
"Surge Propera Amica Mea."
Available on YouTube at


After several decades of working and travelling throughout Spain and Portugal, sometimes in the employ of Emperor Maximilian II, he went to Italy for a year (1581–1582), where he published two books of his music. After returning to Spain for several years, he decided to travel to the Holy Land, which he finally was able to do in 1589. His adventure included visits to Damascus, Bethlehem, and Jerusalem; on the return trip, his ship was twice attacked by pirates, who threatened his life, stole his money, and held him for ransom. His ransom must have been paid, for he was able to return to Spain; unfortunately he had no money, and endured a series of misfortunes including some time spent in debtor's prison; at last his old employer at Seville Cathedral extricated him, and he resumed working for them. His book on his adventurous visit to the Holy Land was published in 1590 and was a popular success (it is reasonable to suppose that Cervantes knew it). At the end of the decade, he planned one more trip to the Holy Land, but, unfortunately, he died in the Plague of 1599, in Seville, before he was able to depart.




Another version of 
Francisco Guerrero's
"Surge Propera Amica Mea."
Available on YouTube at


Of all the Spanish Renaissance composers, he was the one who lived and worked the most in Spain. Others, for example Morales and Victoria, spent large portions of their careers in Italy (though, unlike many Franco-Flemish composers of the time, Spanish composers usually returned home later in life).

Guerrero's music was both sacred and secular, unlike that of Victoria and Morales, the two other Spanish 16th-Century composers of the first rank. He wrote numerous secular songs and instrumental pieces, in addition to Masses, Motets, and Passions. He was able to capture an astonishing variety of moods in his music, from ecstasy to despair, longing, joy, and devotional stillness; his music remained popular for hundreds of years, especially in Cathedrals in Latin America. Stylistically he preferred homophonic textures, rather like his Spanish contemporaries, and he wrote memorable, singable lines. One interesting feature of his style is how he anticipated functional harmonic usage: there is a case of a Magnificat, discovered in Lima, Peru, once thought to be an anonymous 18th-Century work, which turned out to be a work of his.


Thursday, 4 July 2013

Seven Steps To Heaven ? Apologies To Eddie Cochran.


Fr. Timothy Finigan has Posted a most interesting Article, entitled: "Can we say "ascending by steps" ?" on his Blog, THE HERMENEUTIC OF CONTINUITY at http://the-hermeneutic-of-continuity.blogspot.co.uk/.

Fr. Finigan included this wonderful Illustration in his Post . . .




It reminded Zephyrinus of two things: 

1.      The song by Eddie Cochran (see, below);

2.      The Post put up by Zephyrinus earlier in the year (see even further below).



Three Steps To Heaven.
By Eddie Cochran.
Available on YouTube at


This Article, which is full of merit in Zephyrinus's view, can be found on RORATE CAELI 




Obedience and the Power of the Modernists: Understanding the resurgence of Modernism in the past 50 years.


Fr. Giovanni Cavalcoli, O.P.

The return of Modernism that has characterized these 50 years since the end of the Second Vatican Council can be divided into two periods which reveal the tenacity, the strength and power of persuasion that this plot against the Church, has produced operating within Her and accomplishing the “work of auto-demolition”, that Paul the VI had spoken about.

The first period is characterized by the famous chaotic and disordered contestations of 1968 and, at that same time, the wild, uncontrolled spreading of heretical doctrines in dogma and morals among seminarians, youth, priests, religious and theologians. The bishops, taken by surprise, and not wanting to be labeled “prophets of doom” or pre-conciliar conservatives, more or less allowed them free rein, at times with the formula ad experimentum (“Let’s see how it goes.”); as if the truth of a doctrine depended on the success it meets.

Since there was some ‘success’ in numerous cases, “Let’s see if it works”, which was before - was adopted, taken for granted and not to be questioned. Those who tried to question it, whatever authority they had, perhaps in the name of the precedent Magisterium or Tradition, were subjected to public derision as “anti-conciliarists.”

The disobedience to the Magisterium and to the Pope himself, either openly or covertly in the name of an unspecified “spirit of the Council” began to be a habit which spread among the faithful, intellectuals and people, the clergy, theologians and moralists. [Thus] the so-called “Catholic dissent” was born, and Paul VI spoke about “a parallel Magisterium”.




Heretical and modernist ideas, especially those along Protestant lines, started to be taught freely, tranquilly and with impunity in Catholic schools and were also found in the publications and press of many so-called “Catholic” publishers. The scandal and anxiety of the devout and orthodox among the faithful, were considered with derision and superciliousness by the modernists – those so-called “progressives” increasingly sure of themselves and convinced they were the new Church of the future and modernity: “in the heart of the world”, in “the Church of the poor” in “the Church of dialogue”, guided directly by the Spirit, truly evangelical, attentive to the “Word of God” and the “signs of the times” and so on.

Throughout this first period, the modernists had the opportunity of becoming more and more dominant in social communications, thus infiltrating into families, in culture - schools, universities, workplaces, parishes, movements, academic environments and Catholic education, seminaries and religious institutes, thus forming an entire generation of new priests, new religious, new leaders, new bishops and even new cardinals. All of this in the face of extremely weak resistance on the part of good pastors and the Holy See, itself weakened and contaminated through ultra-recommended infiltrators by ambitious prelates of dubious orthodoxy.

What was the catastrophic outcome of all this? We see it today before our eyes, growing in proportions, and it could have been but figured out - as it had indeed been figured out and foreseen by those many clear-sighted “prophets of doom”. (We should better say: the “unheeded sentinels”). Or let us say more simply, it was foreseen by those endowed with common sense: that gradually from the modernists and false teachers, free to spread their errors, there would have risen (as indeed it has) a generation or a category holding ecclesiastical power at various levels, more or less ruthless or convinced, more or less oscillating and double-crossing, imbued with their own ideas and therefore, not only able to spread modernist ideas, but order their implementation, subject to disciplinary sanctions, in the name of “obedience” or even, persecution against those that wanted to remain faithful to the Church’s Magisterium.




Even more severe penalties have been inflicted against scholars and theologians who not only remain faithful to sound doctrine, but reveal and denounce the errors and misdeeds of the modernists with names and facts, as well as proof and precise accusations. The modernists are most able at hiding under the appearance of what is true, and are irritated by those who warn the faithful of the hidden dangers and use tones of rebuke against the inventors and diffusers of error.

As far as possible, they strive to ignore these protesters  above all if they have no followers. But when they become aware that the eyes of the faithful have been opened, they resort to threats and violence. Thus, a kind of “reverse” inquisition has come about: today the heretics, are not only seen in a good light, but they even have the audacity (as happened in the 16th century in the Catholic countries overrun by Protestants) due to the nefarious power they have achieved, to obstruct or block those who defend sound doctrine and who want to shield the people of God from the epidemic of lies and falsehoods that are the origins of every kind of moral disorder. Pastors, frequently, because of insufficient theological formation, even if they are good and conscientious, limit themselves to condemning moral errors, but without realizing it, in fact, sometimes they are hostile, in good faith or in fear, towards those theologians who bring to light the theoretical roots of error.




But, the tragic-comic thing that reveals the refined hypocrisy of these modernist Pharisees – is the “scandal” – pure pharisaical scandal – when their snow-white souls are disturbed in seeing or knowing about courageous Catholics who dare to resist or oppose prelates, teachers, educators, superiors or bishops who would like to shut them up or convince them that they are mistaken; they then give orders, or impart invalid prohibitions thus making them inapplicable, forgetting that peremptory order of Scripture: “Thou shalt not muzzle the ox that treadeth out thy corn on the floor.”, similar to criminal health-care officials who would want to impede doctors in taking care of the sick.

They are the first to disobey the truth and directives of the Gospel as well as the Supreme Pontiff, and they dare to dish out orders which clash with the sound doctrine or moral and judicial principles of the Church. These are the same ones that in 1968 or in its wake, who wailed against “the barons” and “authoritarianism”; they felt authorized to contest the Pope and bishops, and to enlighten them with expressions of such dogmatic rigor as: “the Church of the rich” of despotism and medieval theocracy from the “age of Constantine”, “Baroque triumphalism “, pharisaical legalism, the inquisition, sex phobia, and so forth. Now, instead, they ask for absolute obedience and whoever contradicts them is compared to one that disobeys a divine precept. That is, if they still believe in the true God and do not make a god of themselves, along the lines of the sublime intuition of a certain Gnostic pantheist.




So we have entered the second period, in which we witness more and more frequently, disconcerting and scandalous deeds, where bishops and superiors are especially involved: some forbid the celebration of the Tridentine Mass, others run seminaries in which St. Thomas is substituted for Rahner. Some block the entrance of well-intentioned young men into the seminary or oblige them to adapt if they want to further themselves, while they open wide the door to aspiring modernists, encouraging them in their ambitions. Some are open sustainers of heresies and promote those who agree with them while, in various ways, others persecute Catholics who want nothing other than to be Catholic. Some protect modernist teachers and repress the orthodox ones. We have arrived at the point of favouring the cause of beatification from some absolutely improbable prospects, such as Monsignor Tonino Bello, merely because he reflects a model for the modernist, but other causes are disgracefully obstructed merely because they vex the modernists.

What happens to obedience in these situations? Has not perhaps the meaning been perverted? What good is it to obey superiors who, in their turn, disobey the Church and the Pope? Is it possible that nothing ever happens to the one who disobeys the Pope, while disobeying a modernist superior is [considered] such a terrible thing? Since Modernism is so widespread and prestigious, the seminarian, the priest, the theologian who resist the abuses of the modernist superior end up looking like the disobedient ones.

The power of the modernists today is so strong and the seduction that they exercise is so insidious, that a large dose of courage is needed to resist their arrogance and [one must have] very refined discernment in order to recognize the dangers.




In any case, before deciding whether to continue or not fulfilling one’s duty in fidelity to the Church, against the will or the abuse of power by some superior, it is necessary, above all, to evaluate with prudence and certainty the entity and the quality of the said abuse, and to calculate in advance, with a margin of probability, if the resistance to the unjust measures might cause greater or lesser damage with respect to the sufferings that the faithful might experience.

Resistance to the tyrant is justified from the standpoint of protecting or safeguarding the common good even at the risk of great personal loss. St. Thomas More and St. Thomas Becket accepted death when they realized that their obedience to the king would have caused greater damage to the English Church compared to what would have happened to them in renouncing their own lives.

The salvation of souls, especially if they are many, is a greater good than one’s own personal interests, even if life itself is at risk. It is not possible, nonetheless, to establish a rule that fits every case or situation. In principle, for example, an esteemed and noted theologian, victim of the abuse of power on the part of superiors, can give a good example adapting himself, rather than refusing to submit; it all depends on the circumstances which must be evaluated well.




We have examples in the saints of both these cases. Some suffer patiently, accepting all of the humiliations and even arrive at martyrdom; others availing themselves of their rights, conscious of their innocence and proud in their service to the Church, repulse the unjust treatment with firmness. We have in this regard the example of St. John of the Cross, who escaped from the prison of his superiors, rebels against the Pope.

If on the other hand we are talking about minor penalties, such as exile or defamation or the loss of one’s personal goods, isolation or prison and things of that sort, it might be convenient to accept them, in the hope, that in time, one might be rehabilitated and take up one’s mission once again in freedom. We have many examples of this in the lives of the saints, heroic pastors and other witnesses for Christ.




There could be, in fact, situations that are not so dramatic or because obeying would not cause great harm to the faithful or to the one who is a witness to the faith. In certain cases it is prudent and not cowardly to resign oneself to violence, if this would not cause too much scandal to good people and not too much prejudice to the one persecuted.

Indeed, it might happen, in the case of resistance regarding a successful exercise of his apostolate, that the persecuted may find himself in worse conditions compared to that which he might have conserved by obeying his superior. For this, as we see from history, saintly theologians, bishops and preachers adapted themselves without rebelling against unjust measures, not for the sake of obedience, but for reasons of convenience and in the end to avoid greater vexations.




So, it happens that the truly obedient, i.e. the one who first obeys God and the Church ends up looking like the disobedient one in this climate of such confusion, where it is difficult to distinguish who belongs and does not belong to the Church, since the modernists have diffused such a false concept of Church on account of what they have been able to do by deceit and cunning in imposing their power, giving the impression that they themselves are the renovators of Christianity and the avant-garde in the Church.

Their present arrogance and the impious audacity which guides them in their contempt for true obedience to the Church, under the illusion that they are the winners, will be instead, the weakening factors of their power, because Divine Providence, yes tolerates the wicked, but not beyond a certain limit. God tolerates them because they generate saints: “If there were no persecutors, says St. Thomas, there would be no martyrs.”

But, since God wants to save everyone, while the modernists seriously risk damning themselves, God will certainly not permit this state of affairs to continue much longer and His mighty power of justice and mercy will act in a way that the future of the Church will be brighter, so that She, without being exempt from the cross, may nonetheless walk less afflicted along the path of history.

[Source: Riscossa Cristiana, January 21, 2013. Text and translation: Contributor Francesca Romana.]


Sunday, 30 June 2013

Pope Saint Pius X. Pope Of The Blessed Sacrament. (Part Two)


Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.




Deutsch: Papst Pius X. (eigentlich Giuseppe Sarto, * 2. Juni 1835 in Riese (Provinz Treviso); 
† 20. August 1914 in Rom) war als Nachfolger Leo XIII. 
Papst von 1903 bis 1914.
English: Pope Saint Pius X, born Giuseppe Melchiorre Sarto, 
(2 June 1835 - 20 August 1914) 
was Pope from 1903 to 1914, succeeding Pope Leo XIII.
Français: Pape Pie X, né Giuseppe Sarto à Riese (Italie) 
le 2 juin 1835 - mort à Rome, au Vatican le 20 août 1914), 
succéda le 4 août 1903 à Léon XIII, et fut suivi par le Pape Benoît XV.
Italiano: Papa Pio X, al secolo Giuseppe Sarto 
(Riese, 2 giugno 1835 - RomaVaticano20 agosto 1914), 
succedette il 4 agosto 1903 a Leone XIII.
Português do Brasil: Papa São Pio X.
Photo: 22 October 2011.
Source: Vaticano.
Author: Não sei.
This image (or other media file)
is in the public domain
because its copyright has expired.
(Wikimedia Commons)


Pope Leo XIII made him a Cardinal in a secret Consistory on 12 June 1893. He was created and proclaimed as Cardinal-Priest of San Bernardo alle Terme. Three days after this, Cardinal Sarto was publicly named Patriarch of Venice. This caused difficulty, however, as the government of the reunified Italy claimed the right to nominate the Patriarch, based on its previous alleged exercise by the Emperor of Austria. The poor relations between the Roman Curia and the Italian civil government, since the annexation of the Papal States in 1870, placed additional strain on the appointment. The number of vacant Sees soon grew to thirty. Sarto was finally permitted to assume the position of Patriarch in 1894.

As Cardinal-Patriarch, Sarto avoided political involvement, allocating his time for social works and strengthening parochial banks. However, in his first Pastoral Letter to the Venetians, Cardinal Sarto argued that, in matters pertaining to the Pope: "There should be no questions, no subtleties, no opposing of personal rights to his rights, but only obedience."

On 20 July 1903, Pope Leo XIII died, and at the end of that month the Conclave convened to elect his successor. According to historians, the favourite was the Late-Pope's Secretary of State, Cardinal Mariano Rampolla. On the first ballot, Rampolla received twenty-four votes, Gotti had seventeen votes, and Sarto five votes. On the second ballot, Rampolla had gained five votes, as did Sarto. The next day, it seemed that Rampolla would be elected. However, the veto (jus exclusivae) against Rampolla's nomination, by Polish Cardinal, Jan Puzyna de Kosielsko, from Kraków, in the name of Emperor Franz Joseph (1848–1916) of Austria-Hungary, was proclaimed. Many in the Conclave, including Rampolla, protested the veto, and it was even suggested that he be elected Pope despite the veto.



File:Franz Joseph 1898.jpg


Emperor Franz Josef I.
He exercised the last veto by a Catholic Monarch 
in the proceedings of a Papal Conclave.
Photo: Circa 1898 [1].
Photographer: Unknown.
(Wikimedia Commons)


However, the third vote had already begun, and thus the Conclave had to continue with the voting, which resulted in no clear winner, though it did indicate that many of the Conclave wished to turn their support to Sarto, who had twenty-one votes, upon counting. The fourth vote showed Rampolla with thirty votes and Sarto with twenty-four. It seemed clear that the Cardinals were moving toward Sarto.

On the following morning, the fifth vote of the Conclave was taken, and the count had Rampolla with ten  votes, Gotti with two votes, and Sarto with fifty votes. Thus, on 4 August 1903, Cardinal Sarto was elected to the Pontificate. This marked the last time a veto would be exercised by a Catholic Monarch in the proceedings of the Conclave.


File:Papst Pius-X..jpg


Pope Pius X, October 1903, 
on a page of "Catholic Missions for Germany and Austria-Hungary", 
in Freiburg in Breisgau, Germany.
Photo: October 1903.
Source: Scanned file from Zeitung Die katholischen Missionen, Illustrierte Monatschrift.
Author: Einige Priester der Gesellschaft Jesu, Freiburg in Breisgau.
(Wikimedia Commons)


At first, it was reported, Sarto declined the nomination, feeling unworthy. Additionally, he had been deeply saddened by the Austro-Hungarian veto and vowed to rescind these powers and excommunicate anyone who communicated such a veto during a Conclave. With the Cardinals asking him to reconsider, it is further reported, he went into solitude, and took the position after deep prayer in the Pauline Chapel and the urging of his fellow Cardinals.

In accepting the Papacy, Sarto took as his Papal Name, Pius X, out of respect for his recent predecessors of the same name, particularly Pope Pius IX (1846–78), who had fought against theological liberals and for Papal supremacy. Pius X's traditional coronation took place on the following Sunday, 9 August 1903. Upon being elected Pope, he was also formally the Grand Master of the Equestrian Order of the Holy Sepulchre of Jerusalem, Prefect of the Supreme Sacred Congregation of the Holy Office, Prefect of the Sacred Congregation for the Oriental Churches and Prefect of the Sacred Consistorial Congregation. There was,  however, a Cardinal-Secretary to run these bodies on a day-to-day basis.




This is the first ever film footage and audio recording of a Pope. 
It is of Pope Leo XIII. The film was shot in 1896. 
It includes the audio recording of the Pope giving a Blessing 
in Rome, February 1903, the year of his death.
Available on YouTube at


The Pontificate of Pope Pius X was noted for its conservative Theology and reforms in Liturgy and Church Law. In what became his motto, the Pope stated, in 1903, that his Papacy would undertake "Instaurare Omnia in Christo", or, "to restore all things in Christ." In his first Encyclical, (E Supremi Apostolatus, 4 October 1903), he stated his overriding policy as follows: "We champion the authority of God. His authority and Commandments should be recognised, deferred to, and respected."

His simple origins became clear right after his election, when he wore a Pectoral Cross made of gilded metal on the day of his coronation and, when his entourage was horrified, the new Pope complained that he always wore it and that he had brought no other with him. He was well known for cutting down on Papal Ceremonies. He also abolished the custom of the Pope dining alone (which had been established by Pope Urban VIII), and the Pope invited his friends to eat with him.

He was also, on one occasion, chided by Rome's social leaders for refusing to make his (Pius X's) peasant sisters Papal Countesses, to which he responded: "I have made them sisters of the Pope; what more can I do for them?"

He developed a reputation as being very friendly with children. He carried candy in his pockets for the street urchins in Mantua and Venice, and taught catechism to them. During Papal Audiences, he would gather children around him and talk to them about things that interested them. His weekly catechism lessons, in the courtyard of San Damaso, in the Vatican, always included a special place for children, and his decision to require the Confraternity of Christian Doctrine, in every Parish, was partly motivated by a desire to reclaim children from religious ignorance.


PART THREE FOLLOWS.


"Aurea Luce". Hymn Revised By Pope Urban VIII, In 1632, To Become The "Decora Lux". As Found In The Liber Usualis.


Unless otherwise stated, Text and Illustration is taken from The Society Of St. Bede - Liturgical Resources - at http://societyofstbede.wordpress.com/, which states that the Translation of the Latin is from "The Liturgical Year", by Abbot Gueranger, O.S.B., Vol. 12, pp. 315 & 362.


Society of St Bede


This Hymn, "Aurea Luce", is based upon the Poem of Elpis, wife of the philosopher, Boethius. Elpis died around 493 A.D.

The Hymn was revised, under Pope Urban VIII, in 1632, to become the "Decora Lux", as found in the Liber Usualis.

Verses 1, 2, 5 & 6 are sung on the Feast of Saint Peter and Saint Paul (29 June).

Verses 3 & 6 are sung on the Feast of The Chair of Saint Peter at Antioch (22 February).

Verses 4 & 6 are sung on the Feast of the Conversion of Saint Paul (25 January).




"Aurea Luce".
Available on YouTube at


Friday, 28 June 2013

In Paradisum Deducant Te Angeli. Gregorian Chant For Traditional Roman Catholic Requiem Mass.




Image: Google Images.



In Paradisum Deducant Te Angeli. 
Gregorian Chant For
Traditional Roman Catholic 
Requiem Mass.
Available on YouTube at

Tuesday, 25 June 2013

Baroque (Part Seven).


Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.


File:Basiliekscherpenheuvel 1-01-2009 14-47-51.JPG


The Basilica of Our Lady of Scherpenheuvel is a Roman Catholic Parish Church 
and Minor Basilica in Scherpenheuvel-Zichem, Belgium. 
The Church was consecrated in 1627 and raised to the status of a Minor Basilica in 1922.
English: The High Altar at the Minor Basilica of Our Lady of Scherpenheuvel, Belgium.
Nederlands: Schilderij van Theodoor Van Loon in de Onze-Lieve-Vrouwebasiliek 
te Scherpenheuvel, België.
Photo: 1 January 2009.
Source: Own work.
Author: Paul Hermans.
(Wikimedia Commons)


Baroque aesthetics, whose influence was so potent in Mid-17th-Century France, made little impact in England during the Protectorate and the first Restoration years. For a decade between the death of Inigo Jones, in 1652, and Christopher Wren's visit to Paris, in 1665, there was no English architect of the accepted premier class. Unsurprisingly, general interest in European architectural developments was slight.

It was Wren who presided over the genesis of the English Baroque manner, which differed from the Continental models by a clarity of design and a subtle taste for classicism. Following the Great Fire of London, Wren rebuilt fifty-three Churches, where Baroque aesthetics are apparent primarily in dynamic structure and multiple changing views.

His most ambitious work was Saint Paul's Cathedral, which bears comparison with the most effulgent domed Churches of Italy and France. In this majestically proportioned edifice, the Palladian tradition of Inigo Jones is fused with contemporary Continental sensibilities in masterly equilibrium. Less influential were straightforward attempts to engraft the "Bernini-esque" vision onto British Church architecture (e.g., by Thomas Archer in Saint John's, Smith Square, 1728).


File:Großgmain Liebfrauenkirche - Innenraum.jpg


English: Großgmain, Salzburg, Austria. Church of Our Lady. 
Baroque interior by Tobias Kendler (1731).
Deutsch: Großgmain (Salzburg). Liebfrauenkirche.
Barocker Innenraum von Tobias Kendler (1731).
Photo: 17 August 2010.
Source: Own work.
Author: Wolfgang Sauber.
(Wikimedia Commons)


File:Salzburg, Salzburger Dom, Vault 022.JPG


Detail of Vaulting in Salzburg Cathedral, Austria.
Photo: 22 July 2012.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


File:Salzburg, Salzburger Dom, Vault 016.JPG


Detail of Vaulting in Salzburg Cathedral, Austria.
Photo: 22 July 2012.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


Although Wren was also active in secular architecture, the first truly Baroque Country House in England was built to a design by William Talman at Chatsworth, starting in 1687. The culmination of Baroque architectural forms comes with Sir John Vanbrugh and Nicholas Hawksmoor. Each was capable of a fully developed architectural statement, yet they preferred to work in tandem, most notably at Castle Howard (1699) and Blenheim Palace (1705).

Although these two Palaces may appear somewhat ponderous or turgid to Italian eyes, their heavy embellishment and overpowering mass captivated the British public, albeit for a short while. Castle Howard is a flamboyant assembly of restless masses dominated by a cylindrical domed tower, which would not be out of place in Dresden or Munich

Blenheim is a more solid construction, where the massed stone of the arched gates and the huge solid portico becomes the main ornament. Vanbrugh's final work was Seaton Delaval Hall (1718), a comparatively modest mansion, yet unique in the structural audacity of its style. It was at Seaton Delaval that Vanbrugh, a skillful playwright, achieved the peak of Restoration drama, once again highlighting a parallel between Baroque architecture and contemporary theatre. Despite his efforts, Baroque was never truly to the English taste and well before his death, in 1724, the style had lost currency in Britain.


File:England1 144.jpg


Castle Howard, Yorkshire, England.
Photo: 21 March 2008.
Source: Taken by Pwojdacz.
Author: Pwojdacz (talk). Original uploader was Pwojdacz at en.wikipedia.
Permission: Released into the public domain by the Author.
(Wikimedia Commons)


File:Blenheim Palace 2006 cropped.jpg


Blenheim Palace, Oxfordshire, England.
Photo: 27 July 2009.
from New York State, USA. derivative work: Nev1 (talk).
(Wikimedia Commons)


In the Holy Roman Empire, the Baroque period began somewhat later. Although the Augsburg architect, Elias Holl (1573–1646), and some "Theoretists", including Joseph Furttenbach the Elder, already practiced the Baroque style, they remained without successors due to the ravages of the Thirty Years' War. From about 1650 on, construction work resumes, and secular and ecclesiastical architecture are of equal importance. 

During an initial phase, master-masons from Southern Switzerland and Northern Italy, the so-called magistri Grigioni and the Lombard master-masons, particularly the Carlone family from Val d'Intelvi, dominated the field. However, Austria came soon to develop its own characteristic Baroque style during the last third of the 17th-Century. Johann Bernhard Fischer von Erlach was impressed by Bernini. He forged a new Imperial Style by compiling architectural motifs from the entire history, most prominently seen in his Church of Saint Charles Borromeo in Vienna. Johann Lucas von Hildebrandt also had an Italian training. He developed a highly decorative style, particularly in façade architecture, which exerted strong influences on Southern Germany.


PART EIGHT FOLLOWS.


Sunday, 23 June 2013

Homecoming Present For Parish Priest Of Our Lady Of The Rosary, Blackfen, Kent, England.


The Senior MC, Junior MCs, Servers, Sacristan, Director of Music, Parish Choirs, Parishioners and everybody else in the Parish of Our Lady Of The Rosary, Blackfen, Kent, England, are extremely pleased and proud that their Parish Priest, Rev. Fr. Timothy Finigan, has been received so warmly in Melbourne, Australia.

All the above have followed Fr. Finigan's Lectures to the ACCC in Melbourne, Australia, with great interest, and wondered whether he might have a residue of regret at having to leave such wonderful Catholic folk in Australia in the near future.

Therefore, to soften the blow, a whip-round was enforced by the Senior MC and a suitable consoling present was purchased for the Rev. Fr, upon his eventual return.




Joyful News. Two New Priests. Thanks Be To God.


Illustration taken from the Transalpine Redemptorist Blog at http://papastronsay.blogspot.co.uk/


+


JOYFUL NEWS.
Two new Priests are being Ordained.
The soon-to-be Father Yousef Marie and Father Magdala Maria.



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