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

Tuesday 11 April 2017

Tuesday In Holy Week. Lenten Station At The Basilica Of Saint Prisca.




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

Tuesday in Holy Week.
   Station at Saint Prisca's.

Indulgence of 10 Years and 10 Quarantines.

Privileged Feria.

Violet Vestments.




The Basilica of Saint Prisca, 
Rome, Italy.
Photo: February 2006.
Source: s. prisca, afternoon light at flickr.com.
This image was originally posted to Flickr by antmoose at http://www.flickr.com/photos/antmoose/102131372/
(Wikimedia Commons)

The Lenten Station is at the Church of Saint Prisca, of whom Saint Paul speaks: “Salute Prisca and Aquila, my helpers in Christ Jesus, and the Church which is in their house”. This was one of the twenty-five Parishes of Rome in the 5th-Century A.D.

The Epistle, Gradual, Offertory and Communion are a perfect adaptation of the passages in The Old Testament to Christ Persecuted. He is “The Meek Lamb that is carried to be a Victim”, and which God, by a striking revenge on them (Epistle), “delivers from the hand of the sinner” (Offertory). The Gospel of Saint Mark describes The Death of Christ. The Introit and the Collects show that The Church, which continues The Saving Work of Christ, revives The Mysteries of His Passion (Collect) and “Glories in The Cross of Our Lord Jesus Christ, in Whom is our Salvation, Life and Resurrection” (Introit).



English: The Nave,
the Basilica of Saint Prisca, 
Rome, Italy.
Italiano: Roma, Santa Prisca: Interno.
February 2010.
Source: Own work.
Author: Lalupa.
(Wikimedia Commons)

Like the Catechumens, who formerly were Baptised, and Public Penitents, who were reconciled, at Easter, The Faithful are about to participate, by their Easter Confession and Holy Communion, “in The Mysteries of Our Lord’s Passion in such a manner as to deserve to obtain pardon” (Collect).

“May our healing Fasts, in union with The Sacrifices of Christ” (Secret), “purify us from all remains of our old nature, and enable us to be formed anew unto holiness” (Prayer Over The People).

Mass: Nos autem.




Pope Saint John XXIII 
(Latin: Ioannes PP. XXIII; Italian: Giovanni XXIII), 
born

Angelo Giuseppe Roncalli, 25 November 1881 – 3 June 1963), 
headed The Catholic Church

and ruled The Vatican City from 1958 until his death in 1963.
In 1953, he was appointed Patriarch of Venice and, accordingly, raised to the Rank of

Cardinal-Priest of Santa Prisca, by Pope Pius XII. As a sign of his esteem, the 
President of France, Vincent Auriol, claimed the ancient privilege possessed by French Monarchs and bestowed

The Red Hat on Roncalli at a Ceremony in The Elysee Palace.



The following Text is from Wikipedia - the free encyclopaedia.

Santa Prisca is a Basilica Church in Rome, Devoted to Saint Prisca, a 1st-Century A.D. Martyr, on The Aventine Hill. It was built in the 4th- or 5th-Century A.D., over a temple of Mithras, and is recorded as the "Titulus Priscae" in The Acts of The 499 A.D. Synod.

The Mithraeum, under Santa Prisca, was first excavated in 1952-1959, through Dutch excavations. The original building was erected circa 95 A.D., and served as Trajan’s Town House until his death. One hundred years later, a Member of The Imperial Family took over the building and built a Mithraeum in one part of the Basement, while a Christian Meeting Place was established in the other part.

The original Mithraeum had a Central Aisle, a Niche and Side Benches. Fine frescoes were found on the Mithraeum walls, as well as a stucco Mithras the Bull Slayer, one of the main images of the Mithras cult. Renovations in 220 A.D., yielded a larger central cult room, and the addition of new ones, while the frescoes were covered with new, more elaborate paintings.


The Apse of the Basilica of Saint Prisca, Rome, Italy.
Photo: February 2010.
Source: Own work.
Author: Lalupa.
(Wikimedia Commons)

These paintings were important to the development of understanding the Mithraic cult. Along with the typical bull slaying scene, so common amongst the cult, other paintings depicted different cult rituals. For example, one painting shows a procession of figures, wearing masks and different coloured tunics, holding what has been presumed to be a piece of liturgical equipment. These paintings have been incorporated in the long standing debate about the admittance of women into the cult.


Around 400 A.D., the Christians took over the Mithraeum, destroyed it and built Santa Prisca on top of it. Damaged in the Norman Sack of Rome, the Church was restored several times. The current aspect is due to the 1660 Restoration, which included a new facade by Carlo Lombardi.



His Eminence, Justin Francis Rigali,
Cardinal Archbishop Emeritus of Philadelphia.
Currently (March 2017) Cardinal Priest of the Titulus S. Priscae.

In the Interior, the Columns are the only visible remains of the ancient Church. Also, a Baptismal Font, allegedly used by Saint Peter, is conserved. The Altar in the Crypt contains the Relics of Saint Prisca; the frescoes in the Crypt are by Antonio Tempesta. Anastasio Fontebuoni frescoed the walls of the Nave with Saints and Angels with The Instruments of Passion. In the Sacristy, is a painting of The Immaculate Conception with Angels, by Giovanni Odazzi, and, on The High Altar, a Baptism of Santa Prisca, by Domenico Passignano.

The Cardinal Priest of the Titulus S. Priscae is Justin Francis Rigali, Cardinal Archbishop Emeritus of Philadelphia (U.S.). Previous Cardinal-Priests include: Angelo Roncalli (1953), later Pope Saint John XXIII.

Pope Saint John XXIII was the last Pope to use Full Papal Ceremony, some of which was abolished after Vatican II, while the rest fell into disuse. His Papal Coronation ran for the Traditional five hours (Pope Paul VI, by contrast, opted for a shorter Ceremony, while later Popes declined to be Crowned). However, as with his predecessor, Pope Pius XII, he chose to have the Coronation take place on the Balcony of Saint Peter's Basilica, in view of the crowds assembled in Saint Peter's Square, below.


English: Pope Saint John XXIII's Coat-of-Arms.
Polski: Herb Jana XXIII.
Date: August 2007.Source: Own work.
Author: User:mAgul.
(Wikimedia Commons)

Upon his Election, Roncalli chose "John" as his Regnal Name. This was the first time in 500 years that this name had been chosen; previous Popes had avoided its use since the time of the Anti-Pope, John XXIII, during the Western Schism.


On the choice of his name, Pope Saint John said: "I choose John . . . a name sweet to us because it is the name of our father, dear to me because it is the name of the humble Parish Church where I was Baptised, the Solemn Name of numberless Cathedrals scattered throughout the World, including our own Basilica [Saint John Lateran]. Twenty-two Johns of indisputable legitimacy have [been Pope], and almost all had a brief Pontificate. We have preferred to hide the smallness of our name behind this magnificent succession of Roman Popes."



English: The Organ in the Basilica of Saint Prisca, 
Rome, Italy.
Italiano: Roma, santa Prisca: controfacciata e organo.
Photo: February 2010.
Source: Own work.
Author: Lalupa.
(Wikimedia Commons)

Upon his choosing the name, there was some confusion as to whether he would be known as John XXIII or John XXIV; in response, John declared that he was John XXIII, thus affirming the Anti-Papal status of Anti-Pope John XXIII.

Before this Anti-Pope, the most recent Popes called John were John XXII (1316–1334) and John XXI (1276–1277). However, there was no Pope John XX, owing to confusion caused by Mediaeval historians misreading The Liber Pontificalis to refer to another Pope John between John XIV and John XV.

Monday 10 April 2017

Your Best Art-Deco Wedgwood Crockery. For When The Vicar Visits For Tea And Crumpets.



1920s Art Deco Wedgwood Crockery, by Paul Follot.
Campanula tea and coffee porcelain, comprising a teapot,
coffee pot, milk jug, sugar bowl, six cups and soucoupe.
Illustration: PINTEREST

Monday In Holy Week. Lenten Station At The Basilica Of Saint Praxedes.




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

Monday in Holy Week.
   Station at Saint Praxedes's.

Indulgence of 10 Years and 10 Quarantines.

Privileged Feria.

Violet Vestments.




Basilica of Saint Praxedes, 
Rome, Italy.
Photo: December 2005.
Source: Own work.
Author: Lalupa.
(Wikimedia Commons)

The Lenten Station was originally held at the Church of Saints Nereus and Achilleus, but the tottering state of this Church caused it to be Transferred in the 13th-Century to Saint Praxedes. The precious Pillar of The Flagellation, so called, brought over from The Holy Land by Cardinal Colonna at the time of The Fifth Crusade, was placed by him in this, his Titular Church, where it is still kept. In exchange for the iron ring attached to this Pillar, Saint Louis presented the Church with The Three Thorns of The Holy Crown, that are still preserved there. The Relics of many Martyrs, gathered from the suburban Catacombs, were brought into this Church during the Reign of Pope Paschalis I.

In the Epistle, Isaias, typifying Jesus, prophesies His Obedience and the indignities of His Passion. He, likewise, foretells His Triumph, for He has placed His trust in God, Who will raise Him to Life again. Finally, he shows how the Jews were to be confounded. Then the Gentiles, through Baptism, the Public Penitents, by being reconciled, and The Faithful, by their Easter Confession and Holy Communion, will pass from Darkness to The Light, of which Jesus is The Fount.



The Nave of the Basilica of Sante Prassede, 
Rome, Italy.
Photo: March 2006.
Source: Own work.
Author: Sixtus.
(Wikimedia Commons)

The Gospel tells of the supper, of which Jesus partook in the house of Simon the Leper, six days before the Pasch. While Martha, all activity, served at table, Mary, more loving, went up to Christ, and, breaking the long narrow neck of an alabaster vase, filled with an ointment of great price, poured the contents over His Feet. And Jesus commends her for having thus Anticipated The Embalming of His Body. The indignant protests of Judas lead us to fear the crime into which he will fall as a result of his avarice.



Pope Paschal I
wearing a Zuchetto and Pallium
depicted in the Apsidal mosaic at Santa Prassede.
He is presenting a model of the Basilica 
to Christ, and wears a Square Halo
which means he was alive 
at the time of the mosaic.
Photo: August 2005.
Source: Own work.
Author: Marcus Cyron.
(Wikimedia Commons)

Finally, the presence at the supper of Lazarus, whom Jesus had raised to life, is a forecast of the coming Victory of Christ over Death.

The choice of this Gospel is not without connection with that of The Stational Church: Saint Praxedes and Saint Pudentiana put their house at the disposal of Pope Saint Pius I, just as Mary and Martha received Jesus into their house.

Mass: Júdica, Dómine.




English: Basilica of Saint Praxedes' 
Ciborium and Apse, 
Rome, Italy.
Deutsch: Santa Prassede, Rom; 
Triumphbogen und Apsis.
Photo: 15 February 2013.
Source: Own work.
(Wikimedia Commons)




Pope Julius III 
(Papacy 1550 - 1555). 
One-time Titular of the 
Basilica of Saint Praxedes.
Artist: Girolamo Sicciolante. 
(After Sebastiano del Piombo).
Photo of Painting: March 2013.
User: Mathiasrex.
Current Location: Rijksmuseum Amsterdam.
Source/Photographer: www.rijksmuseum.nl
(Wikimedia Commons)


The following Text is from Wikipedia - the free encyclopaedia.

The Basilica of Saint Praxedes ( Latin: Basilica Sanctae Praxedis, Italian: Basilica di Santa Prassede all’Esquillino), commonly known in Italian as Santa Prassede, is an ancient Titular Church and Minor Basilica in Rome, located near the Papal Basilica of Saint Mary Major. The current Cardinal Priest of Titulus Sancta Praxedis is Paul Poupard.

The Church, in its current form, was Commissioned by Pope Hadrian I around the year 780 A.D., and built on top of the remains of a 5th-Century A.D. structure. It was designed to house the bones of Saint Praxedes (Italian: S. Prassede) and Saint Pudentiana (Italian: S. Pudenziana), the daughters of Saint Pudens, traditionally Saint Paul's first Christian Convert in Rome. The two female Saints were murdered for providing Christian burial for early Martyrs, in defiance of Roman Law. The Basilica was enlarged and decorated by Pope Paschal I, circa 822 A.D.

Pope Paschal I, who Reigned 817 A.D. - 824 A.D., was at the forefront of The Carolingian Renaissance, started and advocated by The Emperor Charlemagne. They desired to get back to The Foundations of Christianity, theologically and artistically. Pope Paschal thus began two, linked, ambitious programmes: The recovery of Martyrs' bones from The Catacombs of Rome and an almost unprecedented Church building campaign. Paschal dug up numerous skeletons and transplanted them to this Church. The Titulus "S. Praxedis" was established by Pope Evaristus, around 112 A.D.

This Church provided the inspiration for Robert Browning's poem, "The Bishop Orders His Tomb at Saint Praxed's Church."



Saint Charles Borromeo 
(one-time Titular of the Basilica of Saint Praxedes).
Artist: Giovanni Ambrogio Figino (1548–1608).
Source/Photographer: http://www.arteecarte.it/
(Uploaded by User:Lupo to en.wikipedia).
This Photo: December 2009.
User: Thomas Gun.
(Wikimedia Commons)

The main Altarpiece is a Canvas of Saint Praxedes Gathering the Blood of The Martyrs (circa 1730 - 1735) by Domenico Muratori.

The most famous element of the Church is the Mosaic decorative programme. Paschal hired a team of professional Mosaicists to complete the work in the Apse, the Apsidal Arch, and the Triumphal Arch. In the Apse, Jesus is in the Centre, flanked by Saints Peter and Paul, who present Prassede and Pudenziana to God. On the far Left, is Paschal, with the Square Halo of the Living, presenting a model of the Church as an offering to Jesus. Below, runs an inscription of Paschal's, hoping that this offering will be sufficient to secure his place in Heaven.


Saint Praxedes g
athering up The Blood of Martyrs.
Artist: Johannes Vermeer (1632–1675).
Date: 1655.
Current location: Private Collection.
Source/Photographer: Mystudios.com
(Wikimedia Commons)


English: The Triumphal Arch. 
Interior of Basilica of Saint Praxedes, 
Rome, Italy.
Deutsche: Santa Prassede, Rom; 
Triumphbogen (Panorama).
Photo: May 2009.
Source: Own work.
Author: Welleschik.
(Wikimedia Commons)

On the Apsidal Arch are twelve men on each side, holding Wreaths of Victory, welcoming the Souls into Heaven. Above them, are symbols of The Four Gospel Writers: Mark, the Lion; Matthew, the Man; Luke, the Bull; and John, the Eagle, as they surround a Lamb on a Throne, a symbol of Christ's eventual return to Earth.

Though those Mosaics, as well as those in the Saint Zeno Chapel, a Funerary Chapel that Paschal built for his mother, Theodora, are the best-known aspects of the Church, an intriguing and relatively hidden aspect are ancient frescoes. Ascending a spiral staircase, one enters a small room, covered in scaffolding. However, on the wall is a fresco cycle dating, most likely, from the 8th-Century A.D. The frescoes depict, probably, the life-cycle of the Saint of the Church, Praxedes.



Representation of King Saint Louis IX, considered to be true to life.

Early-14th-Century statue from the Church of Mainneville, Eure, France.
Saint Louis IX, King of France (1226 - 1270), presented the Basilica of Saint Praxedes
with three alleged Thorns from The Holy Crown.
Photo: December 2007.
(Wikimedia Commons)

Santa Prassede also houses a segment of the alleged Pillar, upon which Jesus was flogged and tortured before His Crucifixion in Jerusalem. The Relic is alleged to have been retrieved in the Early-4th-Century A.D., by Saint Helena (mother of The Roman Emperor, Constantine I), who, at the age of eighty, undertook a Pilgrimage to Golgotha, in The Holy Land, to Found Churches for Christian worship and to collect Relics associated with The Crucifixion of Jesus.


English: Basilica of Saint Praxedes.
Italiano: Roma, Santa Prasede.
Photo: May 2007.
Source: Own work.
Author: Berthold Werner.
(Wikimedia Commons)

Among these legendary Relics, retrieved by Helena, which included pieces of The True Cross (now housed in the Church of Santa Croce in Gerusalemme, also in Rome) and wood from Jesus' Crib, was the segment of the Pillar, now housed in Santa Prassede. The authenticity of these Relics, including the Santa Prassede Pillar, is disputed by historians and Christians, alike, due to lack of forensic evidence and the massive proliferation of fake Relics during The Middle Ages.

Among known Titulars of this See, are Lambertus Scannabecchi (later Pope Honorius II, circa 1099), Ubaldo Allucingoli (later Pope Lucius III, 1141), Alain de Coëtivy (1448), Giovanni Maria Ciocchi del Monte (later Pope Julius III), Saint Charles Borromeo (1538-1584), Rafael Merry del Val (1903 - 1930).

Sunday 9 April 2017

Solemn Mass And Watching At The Altar Of Repose And Compline. Maundy Thursday At 1930 hrs. Church Of Saint Catherine Labouré. Farington, Leyland, Lancashire.



Illustration: OFFERIMUS TIBI DOMINE

Palm Sunday. Lenten Station At The Papal Arch-Basilica Of Saint John Lateran.




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

Palm Sunday.
   Station at Saint John Lateran.

Indulgence of twenty-five Years and twenty-five Quarantines.

Semi-Double.

Privilege of The First Class.

Violet Vestments.




Papal Arch-Basilica of Saint John Lateran.
Archibasilica Sanctissimi Salvatoris et Sanctorum Iohannes Baptistae et
Evangelistae in Laterano Omnium urbis et orbis ecclesiarum mater et caput.
English: Main façade of the Basilica of Saint John Lateran 
(by Alessandro Galilei, 1735).
Italiano: Facciata principale della Basilica di San Giovanni in Laterano (Roma),

progettata da Alessandro Galilei (1735).
Français: Façade principale de la basilique Saint-Jean-de-Latran 
(Rome)

par Alessandro Galilei, 1735.
Photo: 2006/09/07.
Source: Own work.
Author: Jastrow.
(Wikimedia Commons)




On Palm Sunday is reproduced The Triumphal Procession,

which accompanied Our Lord, when He entered Jerusalem.
Artist: Rene de Cramer.
"Copyright Brunelmar/Ghent/Belgium".
Used with Permission.

In today's Liturgy, the two-fold point of view, from which The Church regards The Cross, is expressed in two Ceremonies. One is marked with joy and the other by sadness.

First, comes The Blessing and Procession of Palms, in which everything overflows with a Holy Joy, which enables us, after two thousand years, to revive the spirit of the magnificent scene of Our Lord's Triumphal Entry into Jerusalem.

Then follows The Mass, whose Chants and Lessons relate exclusively to The Sorrowful Memory of Our Redeemer's Passion.



The Pope's Chair, 
Rome, Italy.
Photo: October 2005.
Source: Flickr.
Author: Ern.
Reviewer: Mac9.
(Wikimedia Commons)


The Blessing and Procession of Palms.

At Jerusalem, in the 4th-Century A.D., on the very spot where the event took place, was read the Gospel narrative in which we see Christ hailed as King of Israel and taking possession of His Capital, Jerusalem, which is really no more than the type of Jerusalem, above.

After this, a Bishop, mounted on an ass, rode up to The Church of The Resurrection on the summit of The Mount of Olives, surrounded by a multitude carrying Palms and singing Anthems and Hymns. This Ceremony was preceded by The Solemn Reading of The Passage from Exodus, in which The Flight from Egypt is related.



English: The Papal Arch-Basilica of Saint John Lateran.
With its length of 400 feet, this Basilica ranks fifteenth among the largest Churches in the World.
Français: Basilique Saint-Jean-de-Latran, Vatican, située à Rome, Italie. Avec 
sa 
longueur

de 121,84 mètres, cette Basilique se classe au 15è rang parmi les plus grandes églises au monde.
Photo: September 2010.
Source: Own work.
Author: Tango7174.
(Wikimedia Commons)




Papal Arch-Basilica of Saint John-in-Lateran, 
Rome, Italy.
The Major Papal and Roman Arch-Basilica of The Most Holy Saviour
and Saint John the Baptist and Saint John The Evangelist-in-Lateran.
Mother and Head of all Churches in Rome and in the World.
Photo: 21 April 2015.
Source: Own work.
(Wikimedia Commons)

God's people, encamped under the shadow of the palm trees, near the twelve fountains where Moses promised them the Manna, is a type of the Christian people, who, breaking off branches from the trees, bear witness that God's Son, Jesus, comes to deliver Souls from sin, leading them to the Baptismal Font and nourishing them with the Manna of The Eucharist.



English: Saint Peter, by Pierre-Étienne Monnot.

Nave of the 

Rome, Italy.
Français: Saint Pierre, par Pierre-Étienne Monnot.
Photo: 2006/09/07.
Source: Own work.
Author: Jastrow.
(Wikimedia Commons)

The Church of Rome, it would seem, adopted this practice about the 9th-Century A.D. and added to it the Rite for The Blessing of The Palms, which has given to this Sunday the name of "The Easter of Flowers".

In this Benediction, The Church Prays for health of mind and body for those who dwell in houses where the Palms are preserved.

This Procession of Christians, who, with Palm in hand and songs of Hosanna on their lips, proclaim Christ's Kingship every year, throughout the whole World and in all generations, is composed of all Catechumens, of public penitents and of The Faithful. All of whom will be united at The Easter Feast to this Glorious Victor, through The Sacraments of Baptism, Eucharist and Penance.



The decorated Coffered Ceiling 
of the Basilica of Saint John Lateran, 
Rome, Italy.
Photo: 27 July 2007.
Source: Own work.
Author: Dnalor 01.
(Wikimedia Commons)

It is this that is represented by the Procession of Palms, when it stops at the door of the Church, into which some Members of the Choir have already found their way. They Chant, alternately with the Clergy; on the one side, "The Angelic Choir", and, on the other, Christ's Soldiers, still plunged in the strife of battle, hailing The King of Glory, each in his turn.

Soon, the door opens, after the Sub-Deacon has knocked on it three times with The Foot of The Cross, and The Procession enters the Church; so does The Cross of Christ open Heaven to us and so will The Elect, one day, enter with their Lord into Eternal Glory.

We should carefully keep a Blessed Palm in our home. It is a Sacramental, which will obtain for us Graces in virtue of The Church's Prayer and strengthen our Faith in Christ, Who, Full of Mercy, has conquered sin, death and the devil, in a victory of which these sacred Palms are the type.



English: The Choir and Apse 
in the Papal Arch-Basilica of Saint John Lateran, 
Rome, Italy.
Deutsch: Chorraum und Apsis 
von San Giovanni in Laterano, Rom.
Photo: September 2005.
Source: Own work.
Author: Stefan Bauer, http://www.ferras.at
(Wikimedia Commons)


Mass for Palm Sunday.

The Blessing of Palms takes place at the Basilica of Saint Mary Major (Santa Maria Maggiore), which, in Rome, represents Bethlehem, the birthplace of Him Whom The Magi hailed as "King of the Jews." Thence, The Procession goes to Saint John Lateran, in which Church, in former times, The Lenten Station took place, since, by its Dedication to Saint Saviour, it calls up memories of The Passion, which is the Subject of today's Mass.

The Redeemer's Triumph must be preceded by His Humiliation, "even to The Death of The Cross" (Epistle), which is to serve as a model for us, that, "instructed by His Patience", we may "partake in His Resurrection".

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

Mass: Dómine, ne longe fácias.
Preface: Of The Holy Cross.

Saturday 8 April 2017

Following The Passion With Our Blessed Lady. Welcome To Catholic Margate. Holy Week And Easter Services.



"The Madonna At Prayer".
Artist: Carlo Dolci (1616-1687),
Florence, Italy.




See the beautiful Web-Site for the Church of Saint Austin and Saint Gregory, Margate, Kent,
with Saint Anne, Cliftonville, Kent, at


Text and Illustrations kindly supplied by Fr. Timothy Finigan,
Parish Priest, Saint Austin and Saint Gregory, Margate, Kent, with Saint Anne, Cliftonville, Kent.



The Saturday In Passion Week. Lenten Station Is At Saint John's-Before-The-Latin-Gate.




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

Saturday in Passion Week.
   Station at Saint John's-Before-The-Latin-Gate.

Indulgence of 10 Years and 10 Quarantines.

Violet Vestments.




English: The Portal of the Basilica of 
Saint John's-before-the-Latin-Gate, Rome, Italy.
Italiano: San Giovanni a Porta Latina de Rome.
Français: Puits et portique de l'Église 
San Giovanni-a-Porta-Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)

The Lenten Station, on this eve of Palm Sunday, is of a comparatively late origin: Formerly [before the Station at Saint John's-before-the-Latin-Gate was appointed in the 12th-Century], the Pope spent a part of the day distributing alms [in his Palace, the Basilica of Saint John Lateran] to the Poor, and rested in preparation for the tiring functions of the following days. When, later on, a Mass was appointed for this day, the parts to be sung by The Choir were borrowed from The Mass of yesterday.

The Stational Church chosen for this day was at Saint John's-before-the-Latin-Gate. It is near the place where The Appian Way branches off, forming, to the Left, The Latin Way.



English: The Nave of the Basilica of 
Saint John's-before-the-Latin-Gate, 
Rome, Italy.
Français: Nef de l'église San Giovanni-
a-Porta-Latina, à Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)

[According to Tertullian (in The Prescription of Heretics), Saint John was banished (presumably to Patmos) after being plunged into boiling oil in Rome (by order of Emperor Domitian) and suffering nothing from it. It is said that all in the entire Colosseum audience were converted to Christianity upon witnessing this Miracle. This event would have occurred during the reign of Domitian, a Roman Emperor who was known for his persecution of Christians in the Late-1st-Century A.D.]

The Mass sums up all the great Mysteries which are about to fill Holy Week.



English: The Garden of Gethsemane (see, below).
The 
Church of Maria-Magdalene in the background.
Deutsch: Bild des Garten Gethsemane mit der
Maria-Magdalena-Kirche im Hintergrund.
Photo: July 2006.
(Wikimedia Commons)

The Gospel shows us Jesus "The King of Israel" acclaimed by the Jews and, some days later, "Raised from the Earth" and Crucified. In the few Gentiles, who expressed to Philip their desire to see Christ, let us foresee the many recruits that The Church is to make among the heathen Nations.

Jesus is going to die, like the grain of wheat, that He may produce much fruit. For the moment, "His Soul is troubled", as It will be in The Garden of Gethsemane. But, "it is for that He has come", "to Glorify His Father". And, as a voice from Heaven tells us, this Glorification will be complete, for "the prince of this World shall be cast out" and The Saviour Raised upon a Cross and, reaching to Heaven, "will draw all things to Him".

The Saviour here reveals to us His Whole Heart, Which wishes, at the price of such cruel sufferings, to ruin our enemy and secure our Salvation.



The five Pairs of Columns 
in San Giovanni-a-Porta-Latina, 
Rome, Italy.
Photo: May 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)

Finally, Jesus speaks of those who refuse to follow Him and who walk in darkness, not knowing where they go, and, by the mouth of Jeremias, He anathematises "those who plot against the Just. Their children will be delivered up to famine and their husbands put to death, for an unforeseen enemy will fall upon them and exterminate them" (Epistle). This Prophecy was fulfilled. During The Siege of Jerusalem, by the Romans, in 70 A.D., the Jews, who had not died of famine, perished by the sword.

To avoid the effects of Divine Justice, let us die to sin and we shall produce much fruit unto Eternal Life.

Mass: Miserére mihi.




English: The wall of the Narthex
in the Basilica 
of Saint John's-before-the-Latin-Gate, 
Rome, Italy.
Français: Mur du Narthex de l'Église 
San Giovanni a Porta Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)


The following Text is from Wikipedia - the free encyclopaedia.

San Giovanni a Porta Latina (Saint John-before-the-Latin-Gate) is a Basilica Church in Rome, near the Porta Latina (on the Via Latina) of the Aurelian Walls. It is currently the Titular Church of Cardinal Franciszek Macharski, former Archbishop of Kraków.

According to Tertullian, as quoted by Saint Jerome, in 92 A.D., Saint John the Evangelist survived Martyrdom at Rome, under the Emperor Domitian, by being immersed in a vat of boiling oil, from which he emerged unharmed. He was later exiled to the island of Patmos. This event was traditionally said to have occurred at The Latin Gate (located on the Southern portion of the Roman Wall). The nearby Chapel of San Giovanni in Oleo is said to be on this very spot.



English: His Eminence, Franciszek Macharski, 
Cardinal-Priest of San Giovanni-a-Porta-Latina.
Polski: Homilia kardynała Franciszka Macharskiego 
w sierpniu 2002 r. (21?)

w sanktuarium Miłosierdzia 
Bożego w Łagiewnikach Krakowskich.

Photo: April 2005.
Source: Own work.
Author: Robert Wrzesiński.
(Wikimedia Commons)

The event was referred to in The Roman Martyrology, which was begun in the 7th-Century A.D., when already there was a Celebration of the event.

The Tradition, for the building of the Basilica of Saint John-before-the-Latin-Gate, places its construction during the Pontificate of Pope Gelasius I (492 A.D. - 496 A.D.). This is consistent with the oldest of the roof tiles, which have the imprint of a taxation stamp for the Ostrogoth King and Ruler of Italy, Theodoric the Great (reigned 493 A.D. - 526 A.D.). One of these ancient roof tiles is now used in the Basilica as a Lectern.

In the 8th-Century A.D., the Basilica was restored by Pope Adrian I, and, later, the Bell-Tower and Portico were added. At the end of the 12th-Century, the Basilica was re-Consecrated by Pope Celestine III. In the 16th- and 17th-Centuries, a Baroque Ceiling and other Baroque features were added to the Interior.


English: Apsidal frescoes 
in San Giovanni-a-Porta-Latina, 
Rome, Italy.
Français: Fresques de l'abside de l'église 
San Giovanni a Porta Latina de Rome.
Photo: November 2008.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)


In 1940 - 1941, the Baroque features were removed and the Basilica was returned to a more primitive simplicity. This last renovation was carried out by The Rosminian Fathers, who, in 1938, were given care of the Basilica and the nearby building, where they opened The Collegio Missionario Antonio Rosmini, which houses their International House of Studies.

The main entrance to the Basilica is fronted by a small Piazza, with a 100-year-old Cedar and an 8th-Century A.D. Well-Head, nearly reproducing this aspect of the Basilica that would have been seen at the re-Consecration by Pope Celestine III in the 12th-Century.

The Portico (or Porch) of the Basilica is supported by four re-used Classical Columns (each of a different Marble) supporting five Arches. The main door is framed with a simple mosaic of Red and Green Porphyry.

The Well-Head, from the time of Pope Adrian I, has a double row circular design around its barrel and a Latin inscription completely around its crown: IN NOMINE PAT[RES] ET FILII ET SPI[RITUS SANT]I "In the name of the Father, of the Son, and of the Holy Ghost" and a quote from the Prophet Isaiah: OMN[E]S SITIE[NTES VENITE AD AQUAS] "All you who are thirsty come to the water" and the name of the stone-carver: EGO STEFANUS "I am Stephen".


English: Marble Columns in the Nave of
the Basilica 
of Saint John's-before-the-Latin-Gate, 
Rome, Italy.
Français: Les colonnes de la nef de l'Église 
San Giovanni a Porta Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)

The Interior of the Basilica is divided into three Naves, divided by two rows of Columns, on which rest semi-circular Arches. The two Columns closest to the Sanctuary are of White Marble with deep fluting. The other Columns are of various types of Marble and Granite, capped with a diverse collection of Ionic Capitals. The central Nave terminates with a half-hexagon Apse. Each of the three sides of the Apse opens with a large window, filled with Honey-coloured Onyx.

Occupying the Ledge of the central window, is a carved wooden Crucifixion scene, including Saint John the Evangelist and The Blessed Virgin Mary. In front of the Altar, is a mosaic Pavement in Cosmatesque Style. The geometric pattern of Red and Green Porphyry is framed in White Marble (as well as re-used fragments of White Marble with Latin lettering) and is thought to have been created before the 12th-Century. Inserted in the front step of the Altar, is the “Title” of the Basilica, of ancient origin, discovered during the renovations of 1940: "TIT. S. IOANNIS ANTE PORTAM LA[TINAM]".

In the years 1913-1915, then recently-discovered frescoes were restored above The High Altar. After this work, another search of the face of the Central Nave revealed the presence of a full circle of Mediaeval frescoes. The restoration of these frescoes was completed with the full restoration of the Basilica in 1940-1941. The Central Nave is decorated with about fifty scenes representing The Old and New Testaments, from The Creation of the World to the glorious Apocalypse of the New Jerusalem. The frescoes were executed by several artists under the direction of one Master.



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