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

Tuesday, 18 August 2015

Art Deco. The Golden Age Of Graphic Art And Illustration.


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


English: Advertisement for The North Star Train.
Français : Affiche du train Étoile du Nord (North Star).
Source: Own work.
This File: 14 November 2010.
User: Clicsouris
Author: Not known.
(Wikimedia Commons)


Art Deco, or, Deco, is an influential visual arts design style that first appeared in France after World War I and began flourishing internationally in the 1920s, 1930s and 1940s before its popularity waned after World War II. It is an eclectic style that combines traditional craft motifs with Machine Age imagery and materials. The style is often characterised by rich colours, bold geometric shapes and lavish ornamentation.

Deco emerged from the Inter-War Period when rapid industrialisation was transforming culture. One of its major attributes is an embrace of technology. This distinguishes Deco from the organic motifs favoured by its predecessor, Art Nouveau.


The Chrysler Building is an Art Deco-style Skyscraper,
which was completed in 1930, in New York, United States of America.
Creator: Carol M. Highsmith. 1946. Photographer.
Date Created/Published: 16 September 2007.
Repository: Library of Congress Prints and Photographs Division
Washington, D.C. 20540 USA http://hdl.loc.gov/loc.pnp/pp.print
Credit: Carol M. Highsmith's America, Library of Congress,
Prints and Photographs Division.
(Wikimedia Commons)


English: Adolphe Jean-Marie Mouron
(pseudonym "Cassandre")
(1901-1968).
Русский: А.М. Кассандр (1901 — 1968) - французский живописец, литограф, мастер рекламных плакатов и дизайнер шрифта.
Date: Pre-1940.
Author: Unknown.
(Wikimedia Commons)

Cassandre, pseudonym of Adolphe Jean-Marie Mouron (24 January 1901 – 17 June 1968) was a Ukrainian-French Painter, Commercial Poster Artist, and Typeface Designer.

He was born Adolphe Jean-Marie Mouron in Kharkiv, Ukraine, to French parents. As a young man, Cassandre moved to Paris, where he studied at the École des Beaux-Arts and at the Académie Julian. The popularity of Posters as advertising afforded him an opportunity to work for a Parisian Printing House. Inspired by Cubism, as well as Surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a Poster created for a Cabinet-Maker that won First Prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes.

Cassandre became successful enough that, with the help of partners, he was able to set up his own Advertising Agency, called Alliance Graphique, serving a wide variety of clients during the 1930s. He is perhaps best known for his Posters advertising travel, for clients such as the Compagnie Internationale des Wagons-Lits.

His creations for the Dubonnet Wine Company were among the first Posters designed in a manner that allowed them to be seen by occupants in moving vehicles. His Posters are memorable for their innovative graphic solutions and their frequent denotations to such Painters as Max Ernst and Pablo Picasso. In addition, he taught Graphic Design at the École des Arts Décoratifs and then at the École d'Art Graphique.

With Typography an important part of Poster Design, the Company created several new Typeface Styles. Cassandre developed Bifur in 1929, the Sans Serif Acier Noir in 1935, and, in 1937, an all-purpose Font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art, in New York City, which led to commissions from Harper's Bazaar to do Cover Designs.


Bluebird Sparton Radio.
1936.
Designed by Walter Dorwin Teague
in Blue Mirrored Glass, Chrome and Ebonised Wood.
Illustration: PHIL'S OLD RADIOS


Poster for Century of Progress World's Fair in Chicago, Illinois,
in 1933, showing Exhibition Buildings with Boats on Water.
Date: 1933.
This image is available from the United States Library of Congress's
Prints and Photographs Division under the Digital ID cph.3q11941.
Author: Weimer Pursell, silkscreen print by Neely Printing Co., Chicago.
(Wikimedia Commons)


The De La Warr Pavilion, Bexhill-on-Sea, Sussex, England.
Built: 1935.
Designed by architects Erich Mendelsohn and Serge Chermayeff.
Photo: 20 January 2006.
Source: Own work.
Author: Marta Gutowska.
(Wikimedia Commons)


Spiral Staircase of The De La Warr Pavilion, Bexhill, East Sussex, England.
Photo: 27 June 2007.
Source: originally posted to Flickr as FLICKR
Author: DAVID DAWSON
(Wikimedia Commons)


Self-Portrait.
Depicting the all-confident "modern" woman
at the controls of her Green Bugatti.
1925.
Illustration: KING AND MCGAW

Monday, 17 August 2015

Bless Us O Lord And These Thy Gifts . . .



Illustration: CATHOLIC VOTE

Please. No More "High-Fives" On The Sanctuary. No More Applauding "To Say Thank You To The Guitar Players". No More Waving To All And Sundry Around The Church.


This Article is take from CATHOLICISM PURE AND SIMPLE

From: http://www.taylormarshall.com
by Taylor Marshall.





Saint Gertrude The Great once reported that, for each and every Mass that we hear with Devotion during our lives, Christ sends a Saint to comfort us in death. I was deeply moved the first time I read this.

Intellectually, I know that great value of The Holy Sacrifice of The Mass – it is the Solemn re-presentation of Our Lord Jesus Christ to The Father in atonement for our sins and those of the whole World. It’s the source and summit of The Christian Life. However, it is often difficult to remember this amazing truth in the midst of our common distractions during Holy Mass.

Saint Thomas Aquinas taught that, with The Holy Eucharist, The Five Senses fail. Only Faith can lift the veil and perceive the reality of Christ’s Presence and Sacrifice.




I recently came across the following quotes, from The Saints, about the importance of The Holy Sacrifice of The Mass.

These quotes remind me of the hidden mystery of The Holy Mass. I plan to review them before Mass during Lent. I’d encourage you to do the same if you also struggle with distractions. I may print them out on a card and put them in my Missal:




When The Eucharist is being Celebrated, The Sanctuary is filled with countless Angels, who Adore The Divine Victim immolated on the Altar. ~ Saint John Chrysostom.

The Angels surround and help the Priest when he is Celebrating Mass. ~ Saint Augustine.

If we really understood The Mass, we would die of joy. ~ Saint Jean Vianney.

The Celebration of Holy Mass is as valuable as The Death of Jesus on The Cross. ~ Saint Thomas Aquinas.

Once, Saint Teresa was overwhelmed with God’s Goodness and asked Our Lord: “How can I thank You ?” Our Lord replied, “ATTEND ONE MASS.”




“My Son so loves those who assist at The Holy Sacrifice of The Mass that, if it were necessary, He would die for them as many times as they’ve heard Masses.” Our Lady to Blessed Alan.

When we receive Holy Communion, we experience something extraordinary – a joy, a fragrance, a well-being, that thrills the whole body and causes it to exalt. ~ Saint Jean Vianney.

There is nothing so great as The Eucharist. If God had something more precious, He would have given it to us. ~ Saint Jean Vianney.

When we have been to Holy Communion, the balm of love envelops the Soul, as the flower envelops the bee. ~ Saint Jean Vianney.

It would be easier for the World to survive without the Sun, than to do without Holy Mass. ~ Saint Pio of Pietrelcina (Padre Pio).




That last quote from Saint Pio is profound. The entire Cosmos is sustained by The Holy Sacrifice of The Mass.

Question: How do we restore a sense of the awe and Sanctity to The Liturgy ? How do we remind ourselves, and our brothers and sisters in Christ, that The Sanctuary is “filled with countless Angels” during The Consecration ? 

It’s an inspiring reality.


Benedictine Abbey Of Saint Mang. Füssen. Bavaria. Germany.


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



English: Saint Mang Basilica, Füssen, Bavaria, Germany.
Deutsch: Füssen: Ehemalige Klosterkirche St. Mang.
Photo: 15 June 2011.
Source: Own work.
Author: Taxiarchos228.
(Wikimedia Commons)



English: Saint Mang Basilica, Füssen, Bavaria, Germany.
Deutsch: Kloster Sankt Mang, Füssen.
Photo: 23 February 2008 (original upload date).
Source: Transferred from en.wikipedia;
transferred to Commons by User:Kurpfalzbilder.de using CommonsHelper.
Author: Myke Rosenthal-English Rosenthalenglish.
(Wikimedia Commons)


Saint Mang's Abbey, Füssen, or Füssen Abbey (German: Kloster Sankt Mang Füssen) is a former Benedictine Monastery in Füssen, Bavaria, Germany.

The Benedictine Abbey of Saint Mang was founded in the first half of the 9th-Century A.D., as a proprietary Monastery of The Prince-Bishops of Augsburg. The reason for its Foundation goes back to the Hermit, Magnus of Füssen (otherwise known as Saint Mang), who built a Cell and an Oratory, here, where he died on 6 September, although there is no record of which year.

The Saint's body, amid Miracles, was discovered incorrupt, a proof of his Sanctity, and the Veneration of Saint Mang was the Spiritual basis of the Monastery.



English: Abbey and Basilica Church of Saint Mang, Füssen, Bavaria, Germany.
Deutsch: Kloster und Basilika Sankt Mang von der Lechbrücke.
Date: 2008-01-20 (original upload date).
Source: Transferred from en.wikipedia; transferred to Commons
Attribution: Rosenthalenglish at the wikipedia project.
Author: Original uploader was Rosenthalenglish at en.wikipedia
(Wikimedia Commons)



English: The South-Western part of Saint Mang's Abbey, Füssen, Bavaria, Germany.
Deutsch: Der südwestliche Teil des Benediktinerklosters Sankt Mang, Füssen.
Photo: 2 January 2011.
Source: Own work.
Author: Felix König.
(Wikimedia Commons)


The Foundation was not, however, solely Spiritually motivated; there were practical political reasons underlying it, as well. The Monastery's key position, not only on the important Mediaeval road from Augsburg across the Alps to Upper Italy, but also in the Füssen Gap ("Füssener Enge", the point where the Lech River breaks out of the Alps), gave it an immense strategic value, which made it of political concern, both to the Bishops of Augsburg and to The Holy Roman Emperors.

The history of the Abbey, in The Middle Ages, is principally marked by the efforts of the Religious Community to maintain a life true to The Rule of Saint Benedict, amidst the various pressures caused by external social developments. Over time, therefore, the Monks repeatedly embraced various reforms and reforming movements, intended to bring about a return to the essentials of The Benedictine Life. These reforms mostly resulted in Spiritual and economic growth and an increase in the head count, which, in turn, brought more building and commissions of artwork.

The energy of The Counter-Reformation found lasting expression in the construction of an enormous Baroque Abbey complex between 1696 and 1726, commissioned by Abbot Gerhard Oberleitner (1696-1714), which still, today, along with The High Castle (Hohe Schloss), characterises the Town of Füssen.



English: Picture of the Legend of Saint Magnus (Saint Mang), in Füssen, Bavaria, Germany.
Deutsch: Stifterbild zur Folge der Darstellungen aus der Legende des heiligen Magnus. Wappenschild mit Wappen von Wohltätern des Benediktinerklosters St. Mang in Füssen, darunter Ansicht von Füssen mit dem Kloster und dem Hohen Schloss. Links ist der hl. Magnus mit dem Drachen, rechts der fränkische König Pippin d. J., rechts unten der Stifter,
Abt Hieronymus Alber (Schild mit Konventswappen und Abtswappen).
Aus dem Kloster St. Mang in Füssen. Öl auf Holz, 115,3 x 119,5 cm
Staatsgalerie Füssen,- Inv.-Nr. 9858.
Date: Circa 1570.
Author: Allgäuer Meister (Stephan Mair?).
(Wikimedia Commons)



Basilica of Saint Mang,
Fussen, Bavaria, Germany.
Photo: 15 June 2011.
Source: Own work.
Author: Taxiarchos228.
(Wikimedia Commons)


The architect Johann Jakob Herkomer (1652-1717) succeeded in turning the irregular Mediaeval Abbey into a symmetrically organised complex of buildings. The transformation of the Mediaeval Basilica into a Baroque Church, based on Venetian models, was intended to be an architectural symbol of the Veneration of Saint Magnus.

The entire Church represents an enormous Reliquary. For the first time in South German Baroque construction, the legend of the local Saint inspires the suite of frescoes throughout the entire Church. The Community of Monks, at the time, also set out to make the new Church the envy of connoisseurs, for the quality of its artworks. Among the artists, who contributed various forms of decoration for the building, were Anton Sturm, Franz Georg Hermann, Jakob Hiebeler and Paul Zeiller, whose only extant oil paintings are in the Chapter Hall.

Although the Abbey was never able to obtain the coveted Reichsunmittelbarkeit (Independent of all Lords, except for the Holy Roman Emperor), it had a decisive influence as a centre of Lordship and economy, cultural and Faith life, on Füssen and the whole region.



English: Pulpit, by the Sculptor, Anton Sturm,
Deutsch: Kanzel von Anton Sturm in der Stadtpfarrkirche in Füssen.
Date: 30 March 2007.
Author: Sculptor: Anton Sturm (1690–1757).
Photographer: Herbert Wittmann.
(Wikimedia Commons)



English: The High Altar,
by the Sculptor, Anton Sturm,
Deutsch: Hochaltar von Anton Sturm in der
Stadtpfarrkirche St. Mang in Füssen.
Date: 26 April 2007.
Source: Own work.
Author: Sculptor: Anton Sturm (1690–1757).
Photographer: Herbert Wittmann.
(Wikimedia Commons)


On 11 December 1802, during the Secularisation that followed the Napoleonic Wars and the Peace of Lunéville, the Princes of Oettingen-Wallerstein were awarded possession of Saint Mang. On 15 January 1803, Princess Wilhelmine ordered Abbot Aemilian Hafner to Dissolve the Abbey and vacate the premises by 1 March of that year.

The contents of the Library were shipped off to the new owners, down the River Lech, on rafts. Most of the items are now in the Library of the University of Augsburg, except for a small collection of especially valuable manuscripts, which are in the Augsburg Diocesan Archives.



English: The Organ,
Saint Mang Basilica,
Füssen, Bavaria, Germany.
Deutsch: Füssen: Ehemalige Klosterkirche St. Mang.
Date: 15 June 2011.
Source: Own work.
Author: Taxiarchos228.
(Wikimedia Commons)


In 1837, the former Abbey Church was transferred, as a gift, to the Parish of Füssen. In 1839, the Royal Bavarian Chamberlain, Christoph Friedrich von Ponickau, bought the remaining Lordship of Saint Mang. In 1909, the Town of Füssen acquired the Ponickau Estate, including the former Abbey buildings (apart from the Church).

The North Wing was used as the Town Hall. In the South Wing, the Füssen Town Museum is now located, with displays on the history of the Abbey and of the Town, particularly of the traditional manufacture of lutes and violins, in Füssen. It is also possible to view the Baroque Reception Rooms of the Abbey, in the Museum.



English: The Organ,
Saint Mang Basilica,
Füssen, Bavaria, Germany.
Deutsch: Füssen. Ehemalige Klosterkirche St. Mang.
Date: 15 June 2011.
Source: Own work.
Author: Taxiarchos228.
(Wikimedia Commons)



English: Interior of Saint Mang Basilica,
Füssen, Bavaria, Germany.
Deutsch: Füssen: Ehemalige Klosterkirche St. Mang.
Date: 15 June 2011.
Source: Own work.
Author: Taxiarchos228.
(Wikimedia Commons)



English: Confessional Box, by Thomas Seitz,
Saint Mang Basilica, Füssen, Bavaria, Germany.
Deutsch: Beichtstuhl in der Stadtpfarrkirche
St. Mang in Füssen von Thomas Seitz.
Date: 2010. (17 December 2010 (original upload date)).
Transferred from de.wikipedia; transferred to Commons
(Original text : selbst fotografiert).
Author: Herbert Wittmann.
Original uploader was Herzemann at de.wikipedia
(Wikimedia Commons)



English: Former Monastery (Left) and Castle (Right), Füssen, Bavaria, Germany.
Deutsch: Ehemaliges Kloster St. Mang (links) und Hohes Schloss (rechts) in Füssen.
Photo: 25 October 2009.
Source: Own work.
Author: Memorino.
(Wikimedia Commons)

Sunday, 16 August 2015

Saint Joachim. Feast Day 16 August.


Text from "The Liturgical Year",
by Abbot Guéranger, O.S.B.


Saint Joachim.
Confessor.
Father of The Blessed Virgin Mary.
Feast Day 16 August.


Double of The Second-Class.

White Vestments.





Stained-Glass Window,
depicting Saint Joachim,
in Saint Mary's Church,
Buttevant, County Cork, Ireland.
Window created by James Watson & Co.,
Youghal, County Cork.
Photo: 8 September 2012.
Source: Own work.
(Wikimedia Commons)



From time immemorial, the Greeks have celebrated The Feast of Saint Joachim on the day following Our Lady's Birthday. The Maronites kept it on the day after The Presentation in November, and the Armenians on the Tuesday after The Octave of The Assumption of The Mother of God. The Latins, at first, did not keep this Feast.

Later on, it was admitted and Celebrated sometimes on the day after The Octave of The Nativity, 16 September, sometimes on the day following The Conception of The Blessed Virgin, 9 December. Thus, both East and West agreed in associating Saint Joachim with his illustrious daughter when they wished to do him honour.

About the year 1510, Pope Julius II placed the Feast of the Grand-Father of The Messias upon The Roman Calendar with the Rank of Double-Major; and, remembering that family, in which the ties of nature and of Grace were in such perfect harmony, he fixed the Solemnity on 20 March, the day after that of his Son-in-Law, Saint Joseph.

The life of the glorious Patriarch resembled those of the first Fathers of the Hebrew people; and it seemed as though he were destined to imitate their wanderings also, by continually changing his place upon The Sacred Cycle.





English: Saint Bartholomew Parish Church, Bad Leonfelden, Austria.
Gothic-Revival Stained-Glass Window (1900) showing 
Saint Joachim and Saint Anne teaching The Blessed Virgin Mary.
Deutsch: Bad Leonfelden ( Oberösterreich ). Pfarrkirche St. Bartholomäus: Neogotisches Buntglasfenster (1900) mit St.Joachim und St.Anna beim Unterricht der Jungfrau Maria.
Photo: 4 May 2013.
Source: Own work.
Author: Wolfgang Sauber.
(Wikimedia Commons)



Hardly fifty years after the Pontificate of Pope Julius II, the critical spirit of the day cast doubts upon the history of Saint Joachim, and his name was erased from The Roman Breviary. Pope Gregory XV, however, re-established his Feast in 1622 as a Double, and The Church has since continued to Celebrate it.

Devotion to Our Lady's Father continuing to increase very much, The Holy See was petitioned to make his Feast a Holiday of Obligation, as it had already made that of his spouse, Saint Anne. In order to satisfy the Devotion of the people, without increasing the number of Days of Obligation, Pope Clement XII, in 1738, Transferred The Feast of Saint Joachim to the Sunday after The Assumption of his daughter, The Blessed Virgin Mary, and restored to it the Rank of Double-Major.

On 1 August 1879, The Sovereign Pontiff, Pope Leo XIII, who received the name of Joachim in Baptism, raised both the Feast of his glorious Patron, and that of Saint Anne, to the Rank of Double of The Second-Class.





English: Guémené-Penfao Church, Loire-Atlantique, France.
Français: Eglise de Guémené-Penfao - Loire-Atlantique.
Photo: 15 January 2012.
Source: Own work.
Author: Selbymay.
(Wikimedia Commons)



The following is an extract from The Decree, "Urbi et Orbi", announcing this decision with regard to the said Feasts: "Ecclesiasticus teaches us that we ought to praise our fathers in their generation; what great honour and Veneration ought we then to render to Saint Joachim and Saint Anne, who begot The Immaculate Virgin Mother of God, and are, on that account, more glorious than all others."

"By your fruits are you known," says Saint John Damascene; "you have given birth to a daughter who is greater than the Angels and has become their Queen." Now since, through The Divine Mercy, in our unhappy times, the honour and worship paid to The Blessed Virgin Mary is increasing in proportion to the increasing needs of the Christian people, it is only right that the new glory, which surrounds their Blessed daughter, should redound upon her happy parents.

May this increase of Devotion towards them cause The Church to experience still more their powerful protection.



English: Chapel of Saint Joachim,
Varennes, Quebec,
Canada.
Français: Chapelle Saint-Joachim,
érigée en 1832, à Varennes, Québec.
Photo: 29 December 2010.
Source: Varennes, Québec. Uploaded by Skeezix1000.
Author: Gilles Douaire from Montreal, Quebec, Canada.
Wikimedia Commons)

Cornwall. Cornish Paintings. Cornish Pilchards.




"The Greeting".
Artist: Walter Langley (1852–1922).
Date: 1904.
(Wikimedia Commons)



Text is from Wikipedia - the free encyclopaedia.

Walter Langley (8 June 1852 – 21 March 1922) was an English painter and Founder of The Newlyn School of plein air artists.

In 1884, Langley was elected a member of the RBSA and continued to exhibit widely throughout the U.K,, and abroad. Later in his career, his reputation grew. One of Langley's paintings was singled out as "a beautiful and true work of art" by Leo Tolstoy, in his book " What is Art ? ", while, in 1895, Langley was invited by The Uffizi to contribute a self-portrait to hang alongside those of Raphael, Rubens and Rembrandt in their collection of portraits of great artists.

Today his work is considered "vital to the image of The Newlyn School" and, "alongside Stanhope Forbes . . . the most consistent in style and substantial in output".

Cornwall (Cornish: Kernow), is a ceremonial County and Unitary Authority area of England within The United Kingdom. Cornwall is a peninsula bordered to the North and West by The Celtic Sea, to the South by The English Channel, and to the East by The County of Devon, over The River Tamar.

Cornwall has a population of 536,000 and covers an area of 3,563 km2 (1,376 sq mi). The Administrative Centre, and only City in Cornwall, is Truro, although the Town of Saint Austell has the largest population.




Still retaining their traditional character, the villages of Kingsand and Cawsand, in Cornwall, situated on the Rame Peninsula, are popular with tourists. They are untouched by time with a fascinating smuggling and fishing past.




Cornish Pilchards.
Delicious.
Illustration: AMAZON




Cornish Pilchard
(Sardina pilchardus).
Photo: April 2011.
Source: Own work.
Attribution: © Citron / CC-BY-SA-3.0.
Author: Citron/ CC-BY-SA-3.0.
(Wikimedia Commons)





"Between The Tides".
Artist: Walter Langley (1852–1922).
Date: 1901.
(Wikimedia Commons)





"The Waif".
Artist: Walter Langley (1852–1922).
Date: 1889.
(Wikimedia Commons)



The area is noted for its wild moorland landscapes, its long and varied coastline, its attractive villages, its many place-names derived from the Cornish language, and its very mild climate. Extensive stretches of Cornwall's coastline, and Bodmin Moor, are protected as an Area of Outstanding Natural Beauty.



English: Saint Piran's Flag, Flag of Cornwall
Kernowek: Baner Peran, Baner Kernow
Ænglisc: Cornwealla fana
Brezhoneg: Banniel Sant Piran
Cymraeg: Baner Cernyw
Deutsch: Flagge von Cornwall
Français: Drapeau de saint Piran, Drapeau des Cornouailles
Gaeilge: Bratach na Chorn
Latina: Vexillum Cornubiae





The County of Cornwall
shown within England.
Date: 16 November 2010.
County boundaries and GB coastline.
Irish, French and Isle of Man coastlines,
Lough Neagh and Irish border.
Author: Nilfanion.
(Wikimedia Commons)


Saint Joachim. Father Of The Blessed Virgin Mary. Feast Day 16 August.


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


Saint Joachim.
   Father of The Blessed Virgin Mary.

   Confessor.

Double of The Second-Class.


White Vestments.



Saint Joachim. Father of The Blessed Virgin Mary.



Français: Saint Joachim, Sainte Anne (avec l'enfant Jésus et Marie),
Saint Joseph, statues au dessus d'un porche de la cathédrale, Aix-la-Chapelle, Allemagne.
English: Saint Joachim, Saint Anne (with Mary and Jesus, as children),
Saint Joseph, statues on Aachen Cathedral, Germany.
Photo: 21 December 2013.
Source: Own work.
Author: Jebulon.
(Wikimedia Commons)

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

Joachim ("he whom YHWH has set up", Hebrew: יְהוֹיָקִים Yəhôyāqîm, Greek Ἰωακείμ Iōākeím) was the husband of Saint Anne and the father of Mary, The Mother of Jesus. The story of Joachim and Anne first appears in the apocryphal Gospel of James. Joachim and Anne are not mentioned in the Bible.


Saint Joachim, Our Lady and Saint Anne.
Church of Saint Anne,
Butajnove, Slovenia.
Artist: Josip Egartner (1809–1849).
Date: 1846.
Source: www.restavratorstvo-sentjost.si
(Wikimedia Commons)

Desiring to associate the name of Joachim with the triumph of his Blessed Daughter, The Church has Transferred his Feast Day from 20 March to the day following The Assumption.

Pope Leo XIII, whose Baptismal name was Joachim, in 1879 raised Saint Joachim's Feast, and that of Saint Anne, to the Rank of Double of The Second-Class.

"Joachim and Anne," says Saint Epiphanes, "earned Divine Favour by an irreproachable life and merited that their union should bear for its beautiful fruit, The Blessed Virgin Mary, the Temple and Mother of God. Joachim, Anne, and Mary, offered manifestly together a sacrifice of praise to The Holy Trinity. The name of Joachim signifies preparation of The Lord. Is it not he, in fact, who prepares the Temple of The Lord, The Blessed Virgin ? " [Fourth Lesson at Matins.]

Wherefore, the Introit and Gradual enhance the Virtues of this great Confessor and recall the frequent Almsgiving of the Saint, for, according to Tradition, he divided what he had into three parts, of which the first was given to the Temple and its Ministers, the second to the Poor, and the third was all he kept for himself.


Church of Saint Anne,
Butajnova, Slovenia
(see painting, above)
Photo: 2 July 2012.
Source: Own work.
Author: Doremo.
(Wikimedia Commons)

"Most Blessed Couple," says, in his turn, Saint John of Damascus, "the whole Creation is in your debt. For it is through you that it has been enabled to offer The Creator a present above all presents, the chaste Mother, who alone was worthy of The Creator. Rejoice, Joachim, for unto us a Son is born of thy daughter." [Fifth and Sixth Lessons at Matins.]

And the Gospel selected shows us the Royal Lineage of this Son, for, by his marriage with Mary, daughter of Joachim (or Heliachim), Joseph, son of Jacob, made Jesus the legal heir of David.

As Grace perfects nature without destroying it, it may be affirmed that Joachim, united like Saint Joseph and Saint Anne by a very intimate tie to The Mother of God and her Son, is called to exercise his perpetual patronage (Collect) with regard to The Church, The Body of Christ, or with regard to our Souls, of which Mary is Mother.

Let us, on this day, offer to God The Holy Sacrifice in honour of The Holy Patriarch, Joachim, father of The Virgin Mary, in order that his Prayer, added to that of his spouse and of their Blessed Child, may obtain the full remission of our sins and eternal glory (Secret).


THE SAINT ANDREW DAILY MISSAL





THE SAINT ANDREW DAILY MISSAL

Available (in U.K.) from

Available (in U.S.A.) from

"This Will Be The First Time That Mass Has Been Celebrated In This Mediaeval Church Since Pre-Reformation Times."



Saint Augustine's Church,
Snave, Ashford, Kent.
It is possible that a small private Chapel stood on this site before the present building was commenced in the Late-13th-Century. The East End is unusual in that The Lady Chapel (more recently used as a school room) vies for importance with The Chancel.
Declared redundant in 1983, Saint Augustine's Church is now entirely maintained by
The Romney Marsh Historic Churches Trust.
Text: © 2014 Joan Campbell.
Photograph: © 2014 John Hendy.


Missa Cantata.
Saint Augustine's Church,
Snave, Ashford, Kent TN26 2QJ.

Saturday,
26 September 2015,
1200 hrs.

Celebrant:
Fr. Marcus Holden,
Rector of The Shrine of Saint Augustine,
Ramsgate, Kent.


Music:
The Victoria Consort.
Director:
Dominic Bevan.

Further Details:
Mrs. Marygold Turner
01580 291372.

Travel Directions:
See, below,


Permission for this Mass at Saint Augustine's Church,
Snave, Ashford, Kent, has been kindly given by

Saturday, 15 August 2015

On The Feast Of The Assumption Of The Blessed Virgin Mary . . . Ave Maria.




English: The Assumption of The Virgin Mary.
Deutsch: Maria Himmelfahrt, Hochaltar für
St. Maria Gloriosa dei Frari in Venedig.
Français: L'Assomption de la Vierge.
Artist: Titian (1490–1576).
Date: 1516-1518.
Source/Photographer: The Yorck Project: 10.000 Meisterwerke der Malerei.
DVD-ROM, 2002. ISBN 3936122202.
Distributed by DIRECTMEDIA Publishing GmbH.
(Wikimedia Commons)



Ave Maria
by Sarah Brightman.
Available on YouTube at

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