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

Thursday, 17 October 2013

Saint Margaret Mary Alacoque, V.H.M. Virgin. Feast Day 17 October.


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

Saint Margaret Mary Alacoque, V.H.M..
Virgin.
Feast Day 17 October.

Double.
White Vestments.


File:Merazhofen Pfarrkirche Chorgestühl links Margaretha Maria Alacoque.jpg

Deutsch: Margaretha Maria Alacoque. Kath. Pfarrkirche St. Gordian und Epimachus, Merazhofen, Stadt Leutkirch im Allgäu, Landkreis Ravensburg. Chorgestühl, 1896, Bildhauer: Peter Paul Metz.
English: Margaret Mary Alacoque. Catholic Parish Church of Saint Gordian and Saint Epimachus, Merazhofen, Germany. Sculptor: Peter Paul Metz, 1896.
Polski: Małgorzata Maria Alacoque. Rzeźba z kościoła parafialnego pw. św. Gordona i Epimachusa w Merazhofen (Niemcy). Autor dzieła: Peter Paul Metz, 1896.
Photo: May 2009.
Source: Own work.
Author: Andreas Praefcke.
(Wikimedia Commons)


Saint Margaret Mary Alacoque, V.H.M. (French: Marguerite-Marie Alacoque) (1647-1690), was a French Roman Catholic Nun and Mystic, who promoted devotion to the Sacred Heart of Jesus in its modern form [Editor: The Order of the Visitation of Holy Mary (V.H.M.), or the Visitation Order, is a Roman Catholic Religious Order for women. Members of the Order are also known as the Salesian Sisters, or, more commonly, as the Visitandines.]

Saint Margaret Mary Alacoque was born in 1647, in L'Hautecour, France, now part of the Commune of Verosvres, then in the Duchy of Burgundy, the only daughter of Claude Alacoque and Philiberte Lamyn, who had also several sons. From early childhood, Margaret was described as showing intense love for the Blessed Sacrament, and as preferring silence and Prayer to childhood play.

After her First Communion, at the age of nine, she practised in secret severe corporal mortification, until rheumatic fever confined her to bed for four years. At the end of this period, having made a vow to the Blessed Virgin to consecrate herself to Religious Life, she was instantly restored to perfect health. In recognition of this favour, she added the name "Mary" to her Baptismal name of "Margaret". According to her later account of her life, she had visions of Jesus Christ, which she thought were a normal part of human experience, and continued to practice austerity.


File:Paray le M apsidy zvenku DSCN1136.JPG

English: Apses of the Basilica of Paray-le-Monial, France.
Français: Paray-le-Monial, les apsides.
Photo: 17 August 2007.
Source: Own work.
Author: Jan Sokol.
(Wikimedia Commons)


Saint Margaret Mary Alacoque lost her father at a young age, and the family's assets were held by a relative, who refused to hand them over, plunging her family into poverty. During this time, her only consolation was frequent visits to Pray before the Blessed Sacrament in the local Church. When she was 17, however, the family regained their fortune and her mother encouraged her to go out into society, in the hopes of her finding a suitable husband. Out of obedience, and believing that her childhood vow was no longer binding, she began to accompany her brothers in the social events of her society, attending dances and balls.

One night, however, she returned home, dressed in her finery, from a ball for Carnival, when she experienced a vision of Christ, scourged and bloody, in which He reproached her for her forgetfulness of Him, and of how His Heart was filled with love for her,due to her promise. As a result, she determined to fulfill her vow, and entered, when almost twenty-four years of age, the Visitation Convent at Paray-le-Monial, on 25 May 1671, intending to become a Nun.

Saint Margaret Mary Alacoque was subjected to many trials to prove the genuineness of her vocation. She was "Admitted to Wearing the Religious Habit" on 25 August 1671, but was not allowed to make her "Religious Profession" on the same date of the following year, which would have been normal. Finally, she was admitted to "Profession" on 6 November 1672.


File:San Michele Santa Margherita Maria Alacoque2.jpg

English: Painting of Jesus appearing to Saint Margaret Mary Alacoque.
The Church of San Michele, CortemiliaItaly.
Italiano: Cortemilia. Chiesa Parrocchiale di San Michele. Rodolfo Morgari:
Santa Margherita Maria Alacoque e la devozione al Sacro Cuore.
Photo: 6 June 2008.
Source: Own work.
(Wikimedia Commons)


In this Monastery, Saint Margaret Mary Alacoque received several private revelations of the Sacred Heart, the first on 27 December 1673, and the final one eighteen months later. The visions revealed to her the form of the devotion, the chief features being reception of Holy Communion on the First Friday of each month, Eucharistic Adoration during a "Holy Hour" on Thursdays, and the celebration of the Feast of the Sacred Heart. She stated that, in her vision, she was instructed to spend an hour every Thursday night to meditate on Jesus' Agony in the Garden of Gethsemane. The Holy Hour practice later became widespread among Catholics.

On 27 December 1673, the Feast of Saint John (Apostle and Evangelist), Saint Margaret Mary reported that Jesus permitted her to rest her head upon His Heart, and then disclosed to her the wonders of His love, telling her that He desired to make them known to all Mankind and to diffuse the treasures of His goodness, and that He had chosen her for this work.

Initially, discouraged in her efforts to follow the instruction she had received in her visions, Saint Margaret Mary Alacoque was eventually able to convince her Superior, Mother de Saumaise, of the authenticity of her visions. She was unable, however, to convince a group of Theologians of the validity of her apparitions, nor was she any more successful with many of the Members of her own Community, and suffered greatly at their hands.


File:HerzJesu mit Droste zu Vischering und MMA.jpg

English: Painting of Blessed Mary of the Divine Heart, and
Saint Margaret Mary Alacoque, in adoration of the Sacred Heart of Jesus.
Deutsch: Andachtsbild: Jesus offenbart sein Herz (Herz Jesu) der sel. 
Maria Droste zu Vischering und der hl. Margaretha Maria Alacoque.
Photo: 4 March 2008.
Source: Own work.
Author: Bremond.
(Wikimedia Commons)


She eventually received the support of Saint Claude de la ColombièreS.J., the Community's Confessor for a time, who declared that the visions were genuine. In 1683, opposition in the Community ended when Mother Melin was elected Superior and named Saint Margaret Mary her Assistant. She later became Novice Mistress, and saw the Monastery observe the Feast of the Sacred Heart, privately, beginning in 1686. Two years later, a Chapel was built at the Basilica of Paray-le-Monial to honour the Sacred Heart. Saint Margaret Mary Alacoque died on 17 October 1690.

After Saint Margaret Mary Alacoque's death, the devotion to the Sacred Heart was fostered by the Jesuits and was the subject of controversies within the Church. The practice was not officially recognised until seventy-five years later.

The discussion of Saint Margaret Mary Alacoque's own mission and qualities continued for years. All her actions, her revelations, her spiritual maxims, her teachings regarding the devotion to the Sacred Heart, of which she was the chief exponent, as well as the Apostle, were subjected to the most severe and minute examination, and, finally, the Sacred Congregation of Rites passed a favourable vote on the Heroic Virtues of this "Servant of God".


File:St Margaret Mary Alacoque Contemplating the Sacred Heart of Jesus.png

English: Saint Margaret Mary Alacoque contemplating the Sacred Heart of Jesus.
Italiano: Santa Margherita Maria Alacoque contempla il Sacro Cuore di Gesù.
Polski: Św. Małgorzata Maria Alacoque adoruje Najświętsze Serce Jezusa.
Date: 1765.
Source: Lib-Art.com.
Author: Giaquito Corrado.
(Wikimedia Commons)


In March 1824, Pope Leo XII pronounced her Venerable and, on 18 September 1864, Blessed Pope Pius IX declared her Blessed. When her tomb was Canonically opened in July 1830, two instantaneous cures were recorded to have taken place. Her incorrupt body rests above the Side Altar in the Chapel of the Apparitions, located at the Visitation Monastery in Paray-le-Monial, and many striking blessings have been claimed by pilgrims attracted there from all parts of the world.

Saint Margaret Mary Alacoque was Canonised by Pope Benedict XV in 1920, and, in 1929, her Liturgical Commemoration was included in the General Roman Calendar for celebration on 17 October, the day of her death.

In his 1928 Encyclical, Miserentissimus Redemptor, Pope Pius XI affirmed the Church's position, regarding the credibility of her visions of Jesus Christ, by speaking of Jesus as having "manifested Himself" to Saint Margaret Mary and having "promised her that all those who rendered this honour to His Heart would be endowed with an abundance of Heavenly Graces".


File:Die Vision des Herzens Jesu der Seligen Marguerite Marie Alacoque.jpg

Artist: Antonio Ciseri (1821–1891).
Title: Die Vision des Herzens Jesu der Seligen Marguerite Marie Alacoque.
Date: 1888.
Current location: Florenz, Chiesa del Sacro Cuore, Italy.
(Wikimedia Commons)


Saint Margaret Mary Alacoque's short devotional writing, La Devotion au Sacré-Coeur de Jesus (Devotion to the Sacred Heart of Jesus), was published posthumously by J. Croiset in 1698, and has been popular among Catholics.

"And He [Christ] showed me that it was His great desire of being loved by men, and of withdrawing them from the path of ruin, that made Him form the design of manifesting His Heart to men, with all the treasures of Love, of Mercy, of Grace, of Sanctification and Salvation, which it contains, in order that those who desire to render Him and procure Him all the honour and love possible, might themselves be abundantly enriched with those Divine Treasures, of which His Heart is the source." — from Revelations of Our Lord to Saint Margaret Mary Alacoque.

In James Joyce's Short Story, "Eveline", part of his "Dubliners", a "coloured print of the promises made to Saint Margaret Mary Alacoque" is mentioned, as part of the decorations of an Irish home at the turn of the 20th-Century, testifying to Saint Margaret Mary's enduring popularity among Irish Catholics.


Wednesday, 16 October 2013

Saint Hedwig. Patroness of Silesia, Poland. Feast Day 16 October.


Italic Text from The Saint Andrew Daily Missal.

Non-Italic Text and Illustrations from Wikipedia - the free encyclopedia,
unless otherwise stated.

Saint Hedwig.
Widow.


Semi-Double.
White Vestments.


Mass: Cognovi.




The Basilica of Saint Hedwig,
Trzebnica, Poland.
This File: 25 May 2007.
User: Merlin.
(Wikimedia Commons)


Hedwig, of royal birth, and still more illustrious by the innocence of her life, was the daughter of Berthold, Prince of Carinthia, and aunt, on the mother's side, of Saint Elizabeth of Hungary.

Having married Henry, Duke of Poland, she fulfilled her duties as wife in so holy a fashion that the Church compares her to the strong woman, whose portrait is drawn for us by the Holy Ghost in today's Epistle.


She had three sons and three daughters. She macerated her body, both by Fasting and Watching [Editor: Prayer before the Blessed Sacrament], and by the roughness of her clothes. She was very charitable to the poor, whom she served at table.


Her husband, the Duke, having died, Hedwig, like the merchant mentioned in the Gospel, gave away all her riches to acquire the precious pearl of eternal life.



After praying earnestly, and under Divine inspiration, she generously exchanged worldly pomp for the life of the Cross (Collect), entering the Cistercian Monastery of Trebnitz, where her daughter was Abbess.

She died on 15 October 1243, and Poland honours her with special veneration.




Saint Hedwig Church in Legnickie Pole, Poland.
Author: Marek i Ewa Wojciechowscy.
Permission: GFDL
Attribution: © Marek and Ewa Wojciechowscy / Trips over Poland
CC-BY-SA-3.0, 2.5, 2.0, 1.0 &; GDFL.
(Wikimedia Commons)

Polski: Kościół św. Jadwigi w Legnickim Polu pierwotnie stanowił kościół przyklasztorny benedyktynów, stąd jest wpisany na listę zabytków wspólnie z dawnym zespołem klasztornym. Obecnie jest zwykłym kościołem parafialnym.

English: The Church of Saint Hedwig, in Legnickie Pole, used to be part of the Benedictine Monastery and therefore it shares the inscription in the cultural monuments registry with the buildings of the former Monastery. Today, it is an ordinary Parish Church.


The Basilica of Saint Jadwiga (English: Hedwig), in Trzebnica, Poland, is a Convent for Cistercian Nuns, situated in Trzebnica (German:Trebnitz), North of Wrocław, in Silesia, Poland, founded in 1203.

After a few decades of abandonment in the 19th-Century, it is an now an Abbey of the Sisters of Mercy of Saint Borromeo, since 1889.

The Abbey was established by the Silesian Piast, Duke Henry I (The Bearded), and his wife, Saint Hedwig of Andechs (Polish: Święta Jadwiga Śląska), confirmed by Pope Innocent III.



The image of Saint Hedwig is
taken from the web-site of
Saint Hedwig Parish,
872, Brunswick Avenue,
Trenton, New Jersey NJ 08638,
United States of America.
www.sainthedwigparish.com


The legend of its foundation relates that Duke Henry, when out hunting, fell into a swamp, from which he could not extricate himself. In return for his rescue from this perilous position, he vowed to build the Abbey. With Hedwig's consent, her brother, Ekbert of Andechs, then Bishop of Bamberg, chose the first Nuns that occupied the Convent.

The first Abbess was Petrussa, from Kitzingen Abbey; she was followed by Gertrude, the daughter of Hedwig. The Abbey was richly endowed with lands by Duke Henry. When Hedwig became a widow in 1238, she went to live at Trzebnica and was finally buried there.



The Church of Saint Hedwig,
Legnickie Pole, Poland.
Photo: 2007.
Author: Marek i Ewa Wojciechowscy.
Permission: GFDL.
Attribution: © Marek and Ewa Wojciechowscy / Trips over Poland /
CC-BY-SA-3.0, 2.5, 2.0, 1.0 & GDFL.
(Wikimedia Commons)


Up to 1515, the Abbesses were First Princesses of the Piast dynasty and. afterwards, members of the nobility.

It is said that, towards the end of the 13th-Century, the Nuns numbered 120. The Abbey also became a mausoleum of many rulers of the fragmented Silesian Piasts. In 1672, there were 32 Nuns and 6 Lay Sisters; in 1805, there were 23 Nuns and 6 Lay Sisters. At the Protestant Reformation, most of the Nuns were Poles, as were the majority until the 18th-Century.



English: Saint Hedwig of Andechs Church, 
Ząbkowice Śląskie, Poland.
Polski: Zabytkowy kościół 
parafialny p.w. św. Jadwigi w dawnym Sadlnie,
obecnie części Ząbkowic Śląskich.
Photo: July 2011.
Source: Own Work.
(Wikimedia Commons)


The Abbey of Trebnitz suffered so greatly during the Thirty Years War (1618 - 1648), that the Nuns fled across the border onto the territory of the mostly unaffected Polish–Lithuanian Commonwealth, as they did again in 1663, when the Turks threatened Silesia.

In 1742, in the aftermath of the First Silesian War and the Treaty of Breslau, Trebnitz found itself under the governance of Protestant Prussia and started to suffer from political discrimination.

The last Abbess, Dominica von Giller, died on 17 August 1810, and on 11 November 1810, the Abbey was suppressed and Secularised, by order of King Frederick William III. The building, which was extensive, was sold later and turned into a cloth factory.



English: Saint Hedwig of Andechs Church, 
Ząbkowice Śląskie, Poland.
Polski: Wnętrze zabytkowego kościoła 
parafialnego p.w. św. Jadwigi w dawnym Sadlnie,
obecnie części Ząbkowic Śląskich.
Photo: July 2011.
Source: Own Work.
(Wikimedia Commons)


In the 19th-Century, the ruined Abbey was bought by the Knights Hospitaller and, later, by the Order of Sisters of Saint Charles Borromeo, as a hospital.

The Church, a Basilica, has Pillars in the Late-Romanesque style, to which Baroque additions were made from 1741. It features several paintings with scenes from the life of Saint Hedwig by Michael Willmann. After the Secularisation of the Abbey, it became the Trebnitz Parish Church.


File:4013viki Trzebnica, kościół św. Jadwigi. Foto Barbara Maliszewska.jpg

English: The Basilica of Saint Hedwig, Trzebnica, Poland.
Polski: Trzebnica, kościół, ob. par. p.w. śś. Bartłomieja i Jadwigi, 2 poł. XIII.
Photo: 29 June 2008.
Source: Own work.
(Wikimedia Commons)


File:5949 Trzebnica, kościół śś. Bartłomieja i Jadwigi. Foto Barbara Maliszewska.JPG

English: The Basilica of Saint Hedwig, Trzebnica, Poland.
Polski: Trzebnica, kościół, ob. par. p.w. śś. Bartłomieja i Jadwigi, 2 poł. XIII
Photo: 8 April 2006.
Source: Own work.
(Wikimedia Commons)


The grave of Saint Hedwig is located in a Chapel, to the right of the High Altar, donated by her grandson, Archbishop Ladislaus of Salzburg, in 1267. The grave of Duke Henry I, her husband, is in front of the High Altar.

Among those buried in the Church, are: Henry I (The Bearded), Duke of Silesia-Wrocław, 1238; Saint Hedwig of Andechs, widow, 1243; Konrad von Feuchtwangen, Grand Master of the Teutonic Knights, 1296; Karolina of Legnica-Brieg, last scion of the Silesian Piasts, 1707.


Tuesday, 15 October 2013

Beautiful. Belle. Schön. Gyönyörű. Bella. Álainn. Lijepa. Smukt. שיין. Vackert. 美しい。. Vakker. Indah. 美丽的。. Hermosa. Красивые.


Illustration from OFFERIMUS TIBI DOMINE




Ave Maria (For Double-Choir) (1572). Tomás Luis De Victoria (1548 - 1611).




(1548 - 1611)
(Wikimedia Commons)

Tomás Luis de Victoria, sometimes Italianised as "da Vittoria" (1548 – 1611), was the most famous composer of the 16th-Century in Spain, and one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso (Lassus). Victoria was not only a composer, but also an accomplished organist and singer, as well as a Catholic Priest. However, he preferred the life of a composer to that of a performer. He is sometimes known as the "Spanish Palestrina", because he may have been taught by Palestrina.



Ave Maria.
Tomás Luis de Victoria
(1548 - 1611).
Available on YouTube
at


Missa Pro Officium Defunctorum. Cristóbal De Morales (1500 – 1553).




Toledo Cathedral, Spain,
where Cristóbal De Morales once worked.
Photo: 5 August 2012.
Source: Own work.
Author: Nikthestoned.
(Wikimedia Commons)


Cristóbal de Morales (1500 – 1553) was a Spanish composer of the Renaissance. He is generally considered to be the most influential Spanish composer before Tomás Luis de Victoria (1548 - 1611).

Cristóbal de Morales was born in Seville, Spain, and, after an exceptional early education there, which included a rigorous training in the classics as well as musical study with some of the foremost composers, he held posts at Ávila and Plasencia.

Almost all of his music is sacred, and all of it is vocal, though instruments may have been used in an accompanying role in performance. He wrote many Masses, some of spectacular difficulty, most likely written for the expert Papal Choir; he wrote over 100 motets; and he wrote 18 settings of the Magnificat, and at least five settings of the Lamentations of Jeremiah (one of which survives from a single manuscript in Mexico).

In addition, he wrote a Missa Pro Defunctis (Requiem Mass). Its peculiarities of transmission, as well as its apparent incomplete editing, suggest that it may be his last work.

The 'Parce Mihi Domine', from his Missa Officium Defunctorum, was used as the key track on the best selling Jazz and Classical Album of 1994, Officium, by Jan Garbarek and the Hilliard Ensemble.




Missa Pro Officium Defunctorum.
Cristobal De Morales
(1500 - 1553).
Available on YouTube
at

Monday, 14 October 2013

Missa Pro Defunctis (1605) (Requiem). Tomás Luis de Victoria (1548 - 1611).



File:Tomás Luis de Victoria.jpg

(1548 - 1611)
(Wikimedia Commons)


Tomás Luis de Victoria, sometimes Italianised as "da Vittoria" (1548 – 1611), was the most famous composer of the 16th-Century in Spain, and one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso (Lassus). Victoria was not only a composer, but also an accomplished organist and singer, as well as a Catholic Priest. However, he preferred the life of a composer to that of a performer. He is sometimes known as the "Spanish Palestrina", because he may have been taught by Palestrina.

Officium Defunctorum is a musical setting of the Office of the Dead, composed by the Spanish Renaissance composer, Tomás Luis de Victoria, in 1603. It includes settings of the movements of the Requiem Mass, accounting for about 26 minutes of the 42 minute composition, and the work is sometimes referred to as Victoria's Requiem.


File:Victoria officium.jpg

English: Contemporary printing of the sheet music for 
Tomás Luis de Victoria's Officium Defunctorum.
Français: Une édition de la partition de 
l'Officium Defunctorum de Tomás Luis de Victoria.
(Wikimedia Commons)


Officium Defunctorum was composed for the funeral of the Dowager Empress Maria, sister of
Philip II of Spain, daughter of Charles V, wife of Maximilian II and mother of two Emperors;
it was dedicated to Princess Margaret for “the obsequies of your most revered mother”.
The Empress Maria died on 26 February 1603 and the great obsequies were performed on
22 April and 23 April. Victoria was employed as Personal Chaplain to the Empress Maria
from 1586 to the time of her death.

Victoria published eleven volumes of his music during his lifetime, representing the majority 
of his compositional output. Officium Defunctorum, the only work to be published by itself, 
was the eleventh volume and the last work that Victoria published. The date of publication, 
1605, is often included with the title to differentiate the Officium Defunctorum from 
Victoria's other setting of the Requiem Mass (in 1583, Victoria composed and 
published a book of Masses (Reprinted in 1592) including a 
Missa Pro Defunctis for four-part choir).



Missa Pro Defunctis (1605) (Requiem)
by
Tomás Luis de Victoria
(1548 - 1611).
Available on YouTube
at


Missa O Magnum Mysterium. Tomás Luis De Victoria (1548 - 1611).



File:Tomás Luis de Victoria.jpg

(1548 - 1611).
(Wikimedia Commons)

Tomás Luis de Victoria, sometimes Italianised as "da Vittoria" (1548 – 1611), was the most famous composer of the 16th-Century in Spain, and one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso (Lassus). Victoria was not only a composer, but also an accomplished organist and singer, as well as a Catholic Priest. However, he preferred the life of a composer to that of a performer. He is sometimes known as the "Spanish Palestrina", because he may have been taught by Palestrina.



Missa O Magnum Mysterium,
by
Tomás Luis de Victoria.
Available on YouTube
at


Gothic (Part Four).


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


File:Cathédrale Salisbury intérieur.JPG

English: Nave of Salisbury Cathedral, England.
Français: Nef de la Cathédrale de Salisbury, Angleterre.
Photo: 1 September 2007.
Source: Own work.
Author: Bernard Gagnon.
(Wikimedia Commons)


One of the defining characteristics of Gothic architecture is the Pointed, or ogival, Arch. Arches of a similar type were used in the Near East, in pre-Islamic as well as Islamic architecture, before they were structurally employed in mediaeval architecture. It is thought by some architectural historians that this was the inspiration for the use of the Pointed Arch in France, in otherwise Romanesque buildings, as at Autun Cathedral.

Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the Pointed Arch, for the purpose of Vaulting spaces of irregular plan, or to bring Transverse Vaults to the same height as Diagonal Vaults. This latter occurs at Durham Cathedral in the Nave Aisles in 1093. Pointed Arches also occur extensively in Romanesque decorative Blind Arcading, where Semi-Circular Arches overlap each other in a simple decorative pattern, and the points are accidental to the design.

The Gothic Vault, unlike the Semi-Circular Vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly-shaped plans, such as trapezoids. The other structural advantage is that the Pointed Arch channels the weight onto the bearing Piers or Columns at a steep angle. This enabled architects to raise Vaults much higher than was possible in Romanesque architecture. While, structurally, use of the Pointed Arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.


File:Canterbury Cathedral 11 norman arcade.jpg

Norman Blind Arcading
at Canterbury Cathedral, England.
Note how the Semi-Circular Arches, 
when interlinking, form a Pointed Arch.
Photo: August 2006.
Source: Wikimedia Commons.
Author: Immanuel Giel.
(Wikimedia Commons)


In Gothic architecture the Pointed Arch is used in every location where a vaulted shape is called for, both structural and decorative. Gothic openings, such as doorways, windows, Arcades and Galleries, have Pointed Arches. Gothic Vaulting above spaces, both large and small, is usually supported by richly-moulded Ribs.

Rows of Pointed Arches, upon delicate Shafts, form a typical wall decoration known as Blind Arcading. Niches with Pointed Arches, and containing statuary, are a major external feature. The Pointed Arch lent itself to elaborate intersecting shapes which developed, within window spaces, into complex Gothic Tracery, forming the structural support of the large windows that are characteristic of the style.

A characteristic of Gothic Church architecture is its height, both absolute and in proportion to its width, the verticality suggesting an aspiration to Heaven. A section of the main body of a Gothic Church usually shows the Nave as considerably taller than it is wide. In England, the proportion is sometimes greater than 2:1, while the greatest proportional difference achieved is at Cologne Cathedral with a ratio of 3.6:1. The highest Internal Vault is at Beauvais Cathedral, at 48 metres (157 ft).


File:York 2000 Oct26 23 Minster.jpg

York Minster, England.
The Rose Window,
South Front.
Photo: October 2000.
Source: Own work.
Author: Clem Rutter, Rochester, Kent.
(Wikimedia Commons)


Externally, Towers and Spires are characteristic of Gothic Churches, both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the Tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two Towers on the front is the norm. In England, Germany and Scandinavia, this is often the arrangement, but an English Cathedral may also be surmounted by an enormous Tower at The Crossing. Smaller Churches usually have just one Tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the Mediaeval period, at 160 metres (520 ft).

The Pointed Arch lends itself to a suggestion of height. This appearance is characteristically further enhanced by both the architectural features and the decoration of the building.

On the exterior, the verticality is emphasised in a major way by the Towers and Spires, and, in a lesser way, by strongly projecting vertical Buttresses, by narrow Half-Columns, called Attached Shafts, which often pass through several storeys of the building, by long narrow windows, vertical Mouldings around doors, and figurative sculpture, which emphasises the vertical and is often attenuated. The roofline, gable ends, Buttresses, and other parts of the building, are often terminated by small Pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

On the interior of the building, Attached Shafts often sweep unbroken from floor to ceiling and meet the Ribs of the Vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic Churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in Gallery and Window Tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.



Salisbury Cathedral,
has the tallest Spire in England
(123 metres (404 feet)).
Photo: 11 February 2010.
Source: Own work.
Author: Ashley Pomeroy.
(Wikipedia - the free encyclopaedia)


One of the most distinctive characteristics of Gothic architecture is the expansive area of the windows, as at Sainte Chapelle, France, and the very large size of many individual windows, as at York Minster, Gloucester Cathedral, and Milan Cathedral. The increase in size, between windows of the Romanesque and Gothic periods, is related to the use of the Ribbed Vault, and, in particular, the Pointed Ribbed Vault, which channelled the weight to a supporting Shaft, with less outward thrust than a Semi-Circular Vault. Walls did not need to be so weighty.

A further development was the Flying Buttress, which arched externally, from the springing of the Vault, across the roof of the Aisle to a large Buttress Pier projecting well beyond the line of the external wall. These Piers were often surmounted by a Pinnacle or Statue, further adding to the downward weight, and counteracting the outward thrust of the Vault and Buttress Arch, as well as stress from wind loading.


File:York Minster (Blue Sky).jpg

York Minster, England.
Photo: 28 September 2006.
Source: Flickr.
Author: rowanofravara.
(Wikimedia Commons)


File:York Minster - geograph.org.uk - 1549780.jpg

York Minster, England.
Photo: 30 September 2009.
Source: From geograph.org.uk.
Author: Peter McDermott.
(Wikimedia Commons)


The internal Columns of the Arcade, with their attached Shafts, the Ribs of the Vault, and the Flying Buttresses, with their associated vertical Buttresses jutting at right-angles to the building, created a stone skeleton. Between these parts, the walls and the infill of the Vaults could be of lighter construction. Between the narrow Buttresses, the walls could be opened up into large windows.

Through the Gothic period, thanks to the versatility of the Pointed Arch, the structure of Gothic windows developed from simple openings to immensely rich and decorative sculptural designs. The windows were very often filled with Stained Glass, which added a dimension of colour to the light within the building, as well as providing a medium for figurative and narrative art.


File:YorkMinsterNight.jpg

York Minster, England.
Photo: 2007.
Source: Own work.
Author: Smu03mw.
(Wikimedia Commons)


PART FIVE FOLLOWS.


Sunday, 13 October 2013

Saint Edward. King And Confessor. Feast Day, Today, 13 October.


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

From The Saint Andrew Daily Missal.

Saint Edward. King and Confessor.
Feast Day 13 October.

Semi-Double.
White Vestments.

File:The Wilton Diptych (left).jpg

Artist: Unknown Master. French (second half of 14th-Century).
Title: Wilton Diptych: Richard II of England with his Patron Saints.
Description: Richard II of England with his Patron Saints. 
The Wilton Diptych (circa 1395-1399) is a portable Altarpiece, 
taking the form of a Diptych. 
It was painted for King Richard II.
Date: 1395.
Current location: National Gallery, London, England.
Source/Photographer: Web Gallery of Art.
Author: Unknown.
(Wikimedia Commons)

The left panel of the Wilton Diptych, where Edward the Confessor (centre), with Edmund the Martyr (left) and John the Baptist (right), are depicted presenting King Richard II to the heavenly host.


Edward the Confessor (Latin: Eduardus Confessor); between 1003 and 1005 to 5 January 1066), son of Æthelred the Unready and Emma of Normandy, was one of the last Anglo-Saxon Kings of England and is usually regarded as the last King of the House of Wessex, ruling from 1042 to 1066.

Edward has traditionally been seen as unworldly and pious, and his reign as notable for the disintegration of royal power in England and the advance in power of the Godwin family. His biographers, Frank Barlow and Peter Rex, dispute this, picturing him as a successful King, who was energetic, resourceful and sometimes ruthless, but whose reputation has been unfairly tarnished by the Norman Conquest shortly after his death.

Other historians regard this picture as only partly true, and not at all in the later part of his reign. In the view of Richard Mortimer, the return of the Godwins from exile in 1052 "meant the effective end of his exercise of power". The difference in his level of activity from the earlier part of his reign "implies a withdrawal from affairs".


File:PB FL St Edwards RCC01.jpg

Saint Edward's Roman Catholic Church,
Photo: 28 November 2010.
Source: Own work.
Author: Ebyabe.
(Wikimedia Commons)


Edward had succeeded Cnut the Great's son, Harthacnut, restoring the rule of the House of Wessex after the period of Danish rule since Cnut had conquered England in 1016. When Edward died in 1066, he was succeeded by Harold Godwinson, who was defeated and killed in the same year by the Normans under William the Conqueror at the Battle of Hastings.

Edward is called Confessor, the name for someone believed to have lived a Saintly life but who was not a Martyr (in Latin S. Eduardus Confessor rex Anglorum), as opposed to S. Eduardus Martyr rex Anglorum. He was Canonised in 1161 by Pope Alexander III, and is commemorated on 13 October by both the Church of England and the Roman Catholic Church in England and Wales. Saint Edward was one of the national Saints of England until King Edward III adopted Saint George as Patron Saint in about 1350.


File:Église St-Édouard La Baie 03.JPG

English: Church of Saint Edward,
Port Alfred, Quebec, Canada.
Quebec, Canada.
This photo is of a cultural heritage site in Canada, number 9139
Photo: 29 September 2012.
Source: Own work.
Author: valstoria.
(Wikimedia Commons)


The following Text is taken from The Saint Andrew Daily Missal.

Edward, called The Confessor, was a grandson of Saint Edward, King and Martyr.

When he was raised to the Throne of England, "it was seen," says a historian, "what can be done by a King who is the true father of his subjects. All those who approached him endeavoured to regulate their lives according to his. Neither ambition, nor the love of riches, nor any of the passions, which are unfortunately so common among courtiers, were known at his court."

He was everywhere called the father of the orphans and of the poor, and he was never happier than when he could distribute alms (Epistle). He always granted what was requested of him in the name of Saint John the Evangelist. He died in 1066.

Mass: Os Justi.


Saturday, 12 October 2013

Gothic (Part Three).


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


File:Ely Cathedral - geograph.org.uk - 1766558.jpg

The South-Western Tower,
Ely Cathedral, England.
Photo: 22 November 2009.
Source: From geograph.org.uk.
Author: Chris Gunns.
(Wikimedia Commons)


The characteristic forms, that were to define Gothic architecture, grew out of Romanesque architecture and developed at several different geographic locations, as the result of different influences and structural requirements. While Barrel Vaults and Groin Vaults are typical of Romanesque architecture, Ribbed Vaults were used in the Naves of two Romanesque Churches in Caen, France; Abbey of Saint-Étienne and Abbaye aux Dames, in 1120. The Ribbed Vaults over the North Transept at Durham Cathedral in England are probably still earlier. At Durham, the Pointed Arches of the Nave Vault, 1128-1134, were used for the first time in a High Vault.

Other characteristics of Early-Gothic architecture, such as Vertical Shafts, Clustered Columns, Compound Piers, Plate Tracery, and groups of narrow openings, had evolved during the Romanesque period. The West Front of Ely Cathedral exemplifies this development. Internally, the three-tiered arrangement of Arcade, Gallery and Clerestory was established. Interiors had become lighter with the insertion of more and larger windows.

The Abbey of Saint-Denis, France, is generally cited as the first truly Gothic building, however, Noyon Cathedral, also in France, saw the earliest completion of a rebuilding of an entire Cathedral in the new style, from 1150-1231. While using all those features that came to be known as Gothic, including Pointed Arches, Flying Buttresses and Ribbed Vaulting, the builders continued to employ the Round-Headed Arch throughout the building, varying the shape to Pointed, where it was functionally practical to do so.


File:Ely Cathedral 3.jpg

Ely Cathedral, England.
Cathedral Church of the Holy and Undivided Trinity.
The West Tower (1174–97).
Photo: June 2005.
Source: Own work.
Author: User:Tom-.
(Wikimedia Commons)


Wells Cathedral, in England, was rebuilt from 1174-1239, and was the first building where the designers entirely dispensed with the Round Arch, in favour of the Pointed Arch, and is, thus, the very first truly-Gothic Cathedral.

The Eastern End of the Basilica Church of Saint-Denis, France, built by Abbot Suger and completed in 1144, is often cited as the first truly-Gothic building, as it draws together many of the architectural forms which had evolved from Romanesque and typify the Gothic style.

Suger, friend and confidant of the French Kings, Louis VI and Louis VII, decided, in about 1137, to rebuild the great Church of Saint-Denis, attached to an Abbey which was also a Royal Residence. He began with the West Front, reconstructing the original Carolingian façade with its single door. He designed the façade of Saint-Denis to be an echo of the Roman Arch of Constantine, with its three-part division and three large Portals, to ease the problem of congestion. The Rose Window is the earliest-known example above the West Portal in France. The façade combines both Round Arches and Pointed Arches of the Gothic style.


File:Soissons cathedral 106.JPG

The Nave, looking toward the Altar.
Photo: 6 February 2008.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)

Soissons Cathedral (Cathédrale Saint-Gervais-et-Saint-Protais de Soissons) is a Gothic Cathedral in Soissons, France. The construction of the South Transept was begun about 1177, and the lowest courses of the Choir in 1182. The Choir, with its original three-storey elevation and extremely tall Clerestory, was completed in 1211. This was earlier than Chartres, on which the design was supposed to have been based. Work then continued into the Nave until the Late-13th-Century.


At the completion of the West Front in 1140, Abbot Suger moved on to the reconstruction of the Eastern End, leaving the Carolingian Nave in use. He designed a Choir that would be suffused with light. To achieve his aims, his masons drew on the several new features which evolved from, or had been introduced to, Romanesque architecture, the Pointed Arch, the Ribbed Vault, the Ambulatory, with radiating Chapels, the Clustered Columns, supporting Ribs springing in different directions, and the Flying Buttresses, which enabled the insertion of large Clerestory windows.

The new structure was finished and dedicated on 11 June 1144, in the presence of the King. The Choir, and West Front, of the Abbey of Saint-Denis, both became the prototypes for further building in the Royal Domain of Northern France and in the Duchy of Normandy. Through the rule of the Angevin dynasty, the new style was introduced to England and spread throughout France, the Low Countries, Germany, Spain, Northern Italy and Sicily.

While many secular buildings exist from the Late Middle Ages, it is in the buildings of Cathedrals and great Churches that Gothic architecture displays its pertinent structures and characteristics to the fullest advantage. A Gothic Cathedral or Abbey was, prior to the 20th-Century, generally the landmark building in its town, rising high above all the domestic structures and often surmounted by one or more Towers and Pinnacles and perhaps tall Spires.


File:Soissons cathedral 108.JPG

Photo: 6 February 2008.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


These Cathedrals were the skyscrapers of their day and would have been the largest buildings by far that Europeans would ever have seen. It is in the architecture of these Gothic Churches that a unique combination of existing technologies established the emergence of a new building style. Those technologies were the ogival, or Pointed Arch, the Ribbed Vault, and the Buttress.

The Gothic style, when applied to an ecclesiastical building, emphasises verticality and light. This appearance was achieved by the development of certain architectural features, which together provided an engineering solution. The structural parts of the building ceased to be its solid walls, and became a stone skeleton comprising Clustered Columns, Pointed Ribbed Vaults and Flying Buttresses.


File:Wells Cathedral from the north crop.JPG


Wells Cathedral, England.
". . . the first truly-Gothic Cathedral."
Photo: 8 May 2005.
Source: Own work.
Author: Hisane.
(Wikimedia Commons)


Most large Gothic Churches, and many smaller Parish Churches, are of the Latin Cross (or "cruciform") plan, with a long Nave making the body of the Church, a transverse arm called the Transept, and, beyond it, an extension which may be called the Choir, Chancel or Presbytery. There are several regional variations on this plan.

The Nave is generally flanked on either side by Aisles, usually single, but sometimes double. The Nave is generally considerably taller than the Aisles, having Clerestory windows which light the central space. Gothic Churches of the Germanic tradition, like Saint Stephen of Vienna, often have Nave and Aisles of similar height and are called Hallenkirche. In the South of France, there is often a single wide Nave and no Aisles, as at Sainte-Marie in Saint-Bertrand-de-Comminges.


File:Lincoln, Lincoln cathedral 10.JPG

Lincoln, England.
Clerestory and Triforium.
Photo: 16 April 2011.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


File:Lincoln, Lincoln cathedral 08.JPG

Lincoln, England.
Sexpartite Vaulting above the Nave.
Photo: 16 April 2011.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


In some Churches with Double Aisles, like Notre Dame, Paris, the Transept does not project beyond the Aisles. In English Cathedrals, Transepts tend to project boldly, and there may be two of them, as at Salisbury Cathedral, though this is not the case with lesser Churches.

The Eastern Arm shows considerable diversity. In England, it is generally long and may have two distinct sections, both Choir and Presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. In France, the Eastern End is often polygonal and surrounded by a walkway, called an Ambulatory, and sometimes a ring of Chapels called a "chevet". While German Churches are often similar to those of France, in Italy, the Eastern projection, beyond the Transept, is usually just a shallow Apsidal Chapel containing the Sanctuary, as at Florence Cathedral.


PART FOUR FOLLOWS.


Friday, 11 October 2013

The First Joyful Mystery Of The Holy Rosary. The Annunciation.



File:Bouguereau-Linnocence.jpg

Artist: William-Adolphe Bouguereau (1825–1905).
English: Innocence.
Français: Bouguereau — L'Innocence.
Русский: "Невинность", картина Виллиама Бугро
И маленький ребёнок, и ягнёнок — символы невинности.
Date: 1893.
Source/Photographer: http://www.illusionsgallery.com.
Author: William-Adolphe Bouguereau (1825–1905).
(Wikimedia Commons)




The First Joyful Mystery 
of the Holy Rosary.
The Annunciation.
Vocal Credits:
The Daughters of Mary & Bishop Joseph Santay.
Accompanied with verses from 
"The Children's Ballad Rosary".
Composed by John O'Hagan (1822-1890).

Available on YouTube
at


Feast Of The Maternity Of The Blessed Virgin Mary. Feast Day 11 October.


Illustration taken from the Web-Site of  ST ANDREW MISSAL

11 October.
Feast of The Maternity of the Blessed Virgin Mary.

Double of the Second-Class.
White Vestments.


First Gloria

HAPPY FEAST


Zephyrinus notes that his good friend, Matthaeus, also has a Post about this lovely Marian Feast Day on his Blog at SUB UMBRA ALARUM SUARUM



Ave Maris Stella.
Available on YouTube
at



Ave Maris Stella.
Available on YouTube
at


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