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

Thursday 7 November 2019

The Reform Of The Roman Breviary, By Pope Saint Pius X, With The Apostolic Constitution “Divino Afflatu” Of 1 November 1911.


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



Pope Saint Pius X
from a page of “Catholic Missions for Germany and Austria-Hungary”,
in Freiburg-im-Breisgau, Germany.
Date: October 1903.
Source: File scanned from Zeitung Die katholischen Missionen, Illustrierte Monatsschrift.
Author: Einige Priester der Gesellschaft Jesu, Freiburg-im-Breisgau.
(Wikimedia Commons)


The Reform of The Roman Breviary, by Pope Saint Pius X, was promulgated by that Pope with The Apostolic Constitution “Divino Afflatu” of 1 November 1911.

An Apostolic Constitution (Latin “Constitutio Apostolica”) is the highest level of Decree issued by The Pope. The use of the term “Constitution” comes from Latin “Constitutio”, which referred to any important Law issued by The Roman Emperor, and is retained in Church documents because of the inheritance that The Canon Law of The Roman Catholic Church received from Roman Law.

By their nature, “Apostolic Constitutions” are addressed to the public. Generic constitutions use the Title “Apostolic Constitution”, and treat on solemn matters of The Church, such as the Promulgation of Laws or Definitive Teachings. The forms “Dogmatic Constitution” and “Pastoral Constitution” are Titles sometimes used to be more descriptive as to the document's purpose.

Apostolic Constitutions are issued as Papal Bulls, due to their solemn, public form. The next highest category, after an Apostolic Constitution, is an Encyclical Letter.


A page from The Psalter of The Aberdeen Breviary of 1509.
From a Copy in The National Library of Scotland.
Photo: 26 February 2008.
Source: National Library of Scotland.
Author: Andrew Myllar, Walter Chepman.
(Wikimedia Commons)

The Roman Breviary is the Title of The Book obligatorily used for Celebrating The Roman Rite Divine Office from The Revision of Pope Saint Pius V (Apostolic Constitution “Quod A Nobis”, 9 July 1568) to that by Pope Saint Paul VI (Apostolic Constitution “Canticum Laudis”, 1 November 1970).

A minor matter was the printing, in a separate section, called “The Ordinary”, of those parts of The Psalter that were to be recited frequently, perhaps several times in the same day, such as The Invitatory, Hymns for The Seasons, Blessings, Absolutions, Chapters, Suffrages, The Lord's Prayer, Benedictus, Magnificat, Te Deum, etc.


Much more radical was a completely new arrangement of The Psalms, distributing them, or, when too long, dividing them, so as to have approximately the same number of Verses in each day's Office. The length of The Offices of The Breviary were reduced (for example, Matins went from eighteen Psalms recited on Sundays and twelve on Ferial Days, to nine Psalms or parts of Psalms, never more, with the result of reaching a fairly equal number of Verses for each day - between 360 Verses and 497 Verses - whereas the former Office of Saturday contained 792 Verses, and, that of Sunday, 721 Verses).

This change, made with a view to restoring the original use of The Liturgy, which provided for the Chant or Recitation of the entire Psalter each week, and the accompanying changes in The Rubrics concerning the precedence between Saints’ Days and The Sunday and Ferial Offices, was meant to remedy the situation whereby the multiplication of Saints’ Days had made Celebration of Sundays and Ferias, and, consequently, of certain Psalms, very rare.

With “The Reform”, The Psalter was once again recited integrally each week without suppressing The Feasts of Saints; the proper Liturgy of Sundays and weekdays was restored; The Readings of Holy Scripture, “Proper” to The Seasons of the year, were “Privileged”.


“The Divine Office”.
Available on YouTube at


Français: Photo de Benoît XV prise vers 1915.
Date: Circa 1915.
Source: Library of Congress.
Author: Unknown.
(Wikimedia Commons)

Pope Benedict XV modified the “Typical Edition” of The Roman Missal (“Missale Romanum”), in 1920, to accommodate the changes made by Pope Saint Pius X.

Each day, therefore, had its own Psalms, as arranged in the new Psalter, except certain Feast Days, about 125 in number, viz., all those of Christ, and their Octaves, The Sundays within The Octaves of The Nativity, Epiphany, Ascension, Corpus Christi, The Vigil of The Epiphany, and The Day After The Octave of The Ascension, when The Office is of these days; The Vigil of The Nativity from Lauds to None and The Vigil of Pentecost; all The Feasts of The Blessed Virgin Mary, of The Angels, Saint John the Baptist, Saint Joseph, and The Apostles, as well as Doubles of The First-Class and Second-Class and their entire Octaves.


The Office for The Last Three Days of Holy Week remained unchanged, except that The Psalms for Lauds were from the corresponding Days of The Week in The Psalter, and, for Compline, those of Sunday. For all other Feasts, and for Ferias in Eastertide, The Psalms were those of the new Psalter, while the rest of The Office was from “The Proper” or “Common”.

When a Feast has special Antiphons for any of The Major Hours, it retained them with its own Psalms. Except for certain Feasts, The Lessons of The First Nocturn were to be the current Lessons from Scripture, though The Responsories were to be taken from “The Common” or “Proper”. Any Feast that had its own “Proper Lessons” retained them; for Feasts with their own Responsories, those with The Common Lessons were to be read.

Pope Pius X ordered that these changes, proposed by a Committee of Liturgists appointed by him, and adopted by The Congregation of Rites, be put into effect, at latest, on 1 January 1913.


Portrait of a Pope, possibly Pope Pius V (Reigned 1566-1572).
Artist: Palma il Giovane (1550–1628).
Source/Photographer: BONHAMS
(Wikimedia Commons)

The ageing, enthroned, Pope turns toward the viewer, while making the sign of Blessing with his Right Hand. Pope Saint Pius V (1566-1572) belonged to the Ghislieri family, and on the top of the back of the Throne is his family's Coat-of-Arms, Crowned by The Papal Tiara and The Keys of Saint Peter, a symbol of The Papacy's descent from Christ's Apostle.

Through The Apostolic Constitution “Divino Afflatu”, by which Pope Saint Pius X promulgated his Revision of The Roman Breviary, he abolished The Psalter established by his predecessor, Pope Saint Pius V.

By the Motu Proprio “Ab Hinc Duos Annos”, of 23 October 1913, Pope Saint Pius X added to his Reform of 1 November 1911: No Feast was to be fixed to a Sunday, except The Holy Name of Jesus and The Blessed Trinity - later, The Feasts of The Holy Family and of Christ The King would be added. The Octaves were equally Simplified.

These changes made it necessary to modify The Roman Missal, also. This was effected in the 1920 “Typical Edition” of The Missal, promulgated by Pope Saint Pius X's successor, Pope Benedict XV.


Through The Apostolic Constitution “Divino Afflatu”, by which Pope Saint Pius X promulgated his Revision of The Roman Breviary, he abolished The Psalter established by his predecessor, Pope Saint Pius V, and forbade its use, declaring that those who were obliged to recite The Divine Office, every day, failed to fulfil this grave duty unless they used the new arrangement.

The wording of his Apostolic Constitution echoed closely that of his predecessor's “Quod A Nobis”, promulgating The Tridentine Roman Breviary, and also the same predecessor's “Quo Primum”, promulgating The Tridentine Roman Missal. It included the paragraph: “This we publish, declare, sanction, decreeing that these our Letters always are and shall be valid and effective, notwithstanding Apostolic Constitutions and Ordinances, general and special, and everything else whatsoever to the contrary. Wherefore, let nobody infringe or temerariously oppose this page of our abolition, revocation, permission, Ordinance, precept, statue, Indult, mandate and will. But, if anybody shall presume to attempt this, let him know that he will incur the indignation of Almighty God and of His Apostles The Blessed Peter and Paul.

“Quod A Nobis” concluded with: “Nulli ergo omnino hominum liceat hanc paginam Nostrae ablationis, abolitionis, permissionis, praecepti, statuti, indulti, mandati, decreti, relaxationis, cohortationis, prohibitionis, innodationis, et voluntatis infringere, vel ei ausu temerario contraire. Si qui autem hoc attentare praesumpserit, indignationem omnipotentis Dei, ac beatorum Petri et Pauli Apostolorum eius se noverit incursurum”.


The complete Psalter Psalms.
Another point, controversial at the time of Pope Saint Pius X's Breviary Reforms,
was The Suppression of the immemorial and universally-held usage
of reciting Psalms 148, 149, and 150, at the end of Lauds, daily.
Available on YouTube at

An Article, published in the September 2003 issue of “The Angelus”, associated with The Society of Saint Pius X, remarks: “The distribution of The Psalms in Saint Pius X's Breviary was entirely new. It only partially took into account the ancient Tradition of The Church, for example, abandoning the number of twelve Psalms at Matins, a number Consecrated by a Tradition going back to The Desert Fathers and expressly Codified in The Rule of Saint Benedict. Another point, controversial at the time, was The Suppression of the immemorial and universally-held usage of reciting Psalms 148, 149, and 150, at the end of Lauds, daily. This amounts to saying that The Breviary of Pope Saint Pius X did not have so much in common with that of his predecessor and that Clerics were significantly unsettled in their habits ! ”

To correspond to the new Psalms, The Antiphonary of The Traditional Roman Office was also almost completely overhauled, as well. Pre-1911, there were 141 unique Antiphons in The Psalter. Post-1911, there were 220. Only sixty-two Antiphons were recognisably the same, and several of these added words or removed them. Many of the overlapping ones were those for the special Seasons (Advent, Lent, Passiontide), not for the per annum (Ordinary Time) Ferias. Thus, seventy-nine Antiphons of the Pre-1911 Breviary were removed, and 158 unique to the Post-1911 Breviary introduced.

Theodora Children's Charity. Help Send A Giggle Doctor To Visit A Sick Child And Make That Child Laugh.




Théodora was a happy, funny, always optimistic
person. She exuded this positive energy
which she would give to everyone she met.
She was open to everyone
and comfortable with everyone.
And always incredibly kind-hearted.

-André Poulie.





Can you help a Child to laugh ?
The Theodora Children's Charity Web-Site is

A small donation will go a very long way to make a sick Child laugh again.

Thank You.


All Children Deserve Laughter.

Since our very first visit to Great Ormond Street Hospital back in 1994, our Giggle Doctors have given joy and laughter to thousands of children during their treatment in hospitals, hospices, and specialist care centres. Our reach has continued to grow, and now, our 25 Giggle Doctors visit over 33,000 children each year.

Theodora Children’s Charity was founded by two brothers André and Jan, in memory of their mother Théodora Poulie. While they were growing up in Switzerland, André and Jan were given the freedom to be kids—to be silly, to be adventurous, to be themselves.


Try not to laugh !!!
Giggle Doctors at Royal Manchester Children's Hospital.
Available on YouTube at

Following a severe accident, André spent many months of his youth inside a hospital, undergoing 14 operations over the span of 2 years. Théodora transformed his painful experience by bringing games, songs, and stories to his bedside through her daily visits. Her presence served as André’s painkiller during his stay, and her positive energy from those brief visiting hours spread and remained, affecting the other kids in the ward as well.

When the two brothers’ father became ill, Théodora helped organise home care for him. She also helped her sons cope when their father eventually passed away. And later on, when Théodora herself was diagnosed with cancer, she continued to demonstrate incredible courage and resilience through humour. After her death, André and Jan decided to start a charity in memory of their mother using some of the money that their parents left them with.


Giggle Doctors.
Available on YouTube at

Before the first visits from the Giggle Doctors, André visited the hospital where he spent most of his months back when he was a boy and spoke to the surgeon who operated on him. He easily convinced an oncologist, Dr Beck, who saw the psychological benefits of joy and laughter in children’s cancer treatment. He was even able to convince the head nurse who used to scold him and the other kids in his ward when they were caught playing with water-filled syringes. Afterwards, they recruited the first Giggle Doctors who would eventually go on to visit children in the Great Ormond Street Hospital on Théodora’s birthday in April 1994. Now, our Giggle Doctors give laughter to thousands of children across the country receiving medical treatment.

We hope you enjoy reading about our history and the significant moments that have helped shape the Theodora Children’s Charity today. Scroll down to learn more about our journey over the years.




Kerry speaks about her experience with The Giggle Doctors.
Available on YouTube at


Can you help a Child to laugh ?
The Theodora Children's Charity Web-Site is

A small donation will go a very long way to make a sick Child laugh again.

Thank You.



Wednesday 6 November 2019

The Sanctoral Cycle.


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



Pope Saint Pius X, in his Bull “Divino Afflatu”, promulgated 1 November 1911, points out the order to be observed in The Celebration of The Feasts of Saints, which, in the course of the year, come in among those of The Cycle of The Mysteries of Our Lord's Life [Editor: “The Temporal Cycle”].

The first place in the order is given to The Blessed Virgin Mary.

Then come The Holy Angels. 

Next, according to the greater or lesser share they have in The Plan of The Incarnation:



Saint John the Baptist, the Precursor of The Messias;

Saint Joseph;

Saint Peter and Saint Paul and the other Apostles, whose Feasts have always been Celebrated with special Solemnity;

The Feasts of National Saints, Patrons of Dioceses and Parishes, come in The First Rank because of special gratitude due to them;

Next, come Feasts of Dedication of Churches;



Martyrs;

Pontiffs, i.e., Popes or Bishops;

Doctors of The Church, i.e., Fathers of The Church, the authorised interpreters of The Word of God;

Confessors, i.e., those, who, by their life or doctrine, have Confessed Christ;

Virgins and other Holy Women.



The most important and the most numerous Solemnities of this Cycle, especially those of The Time After Pentecost, bring into full light The Cycle of Christ, for it is by Him that the World must be renewed: “Instaurare omnia in Christo” [Editor: “Restore All Things In Christ”]

Resting one upon the other, these two Cycles [Editor: The Sanctoral Cycle and The Temporal Cycle] form, as it were, an immense Monstrance, set with Precious Stones. In the centre, is The Host, or, “The Mass of The Faithful”, with the three parts which constitute it: The Offertory; The Consecration; The Communion.

Around it, is “The Mass of The Catechumens”, which varies every day, whereby, at The Altar, as with Luminous Rays, we are shown the different Mysteries on each Sunday and Solemnity of The Proper of The Time. Then, in the intervals left free, like lesser Rays, shine The Feasts in honour of The Saints.

The Church carries this Divine Sun through the World in all times, raises it daily towards Heaven in her Liturgical Worship, that, by it, we may offer to God an ever-renewed homage of our gratitude, and receive, from it, the treasures of Grace and Holiness.

The Sixth Day Within The Octave Of All Saints' Day. 6 November.


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

The Sixth Day Within The Octave Of All Saints' Day.
   6 November.



The Church Triumphant.
The Church Militant.
The Church Suffering.

Illustration taken from UNA VOCE OF ORANGE COUNTY
who reproduce Text and Illustrations from Saint Andrew's Daily Missal, 1952 Edition,
with the kind permission of SAINT BONAVENTURE PUBLICATIONS
Artist: René de Cramer.
“Copyright Brunelmar/Ghent/Belgium”.
Used with Permission.

Mass: As on The Day of The Feast (Gaudeámus omnes).
Creed: Is said.

Tuesday 5 November 2019

The Three Great New Testament Canticles: The Magnificat; The Benedictus; The Nunc Dimittis.



The Blessed Virgin Mary is Crowned Queen of Heaven by Her Beloved Son.
Illustration: CALEFACTORY.ORG

There are three great New Testament Canticles:


The Magnificat
(The Canticle of Mary).
Available on YouTube at

The Magnificat (Latin for: [My Soul] magnifies) — also known as The Song of Mary, The Canticle of Mary and, in Byzantine Tradition, The Ode of The Theotokos; Greek: Ἡ ᾨδὴ τῆςΘεοτόκου — is a Canticle frequently sung (or spoken) Liturgically in Christian Church Services. It is one of the eight most ancient Christian Hymns and perhaps the earliest Marian Hymn. Its name comes from the first word of the Latin version of The Canticle's Text.

The Text of The Canticle is taken directly from The Gospel of Luke (Luke 1:46-55), where it is spoken by The Virgin Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the child moves within Elizabeth's womb. When Elizabeth praises Mary for her Faith, Mary sings what is now known as The Magnificat, in response.


The Benedictus
(Canticle of Zachary).
Available on YouTube at


The Benedictus
(Canticle of Zachary).
By: Karl Jenkins.
Available on YouTube at

The Benedictus (also known as The Song of Zechariah or The Canticle of Zachary), given in The Gospel of Luke 1:68-79, is one of the three Canticles in the opening Chapters of this Gospel, the other two being The "Magnificat" and The "Nunc Dimittis". The Benedictus was The Song of Thanksgiving uttered by Zechariah on the occasion of the Circumcision of his son, John the Baptist.

The Canticle received its name from its first words in Latin (“Benedictus Dominus Deus Israel”, “Blessed be The Lord God of Israel”).


Zacharias writes down the name of his son, John
[Editor: John the Baptist], before singing The Benedictus.
Artist: Domenico Ghirlandaio (1449–1494).
Date: 1486-1490.
Current location: Tornabuoni Chapel, Florence, Italy.
(Wikimedia Commons)


The Nunc Dimittis
(Canticle of Simeon).
Available on YouTube at

The Nunc Dimittis, also known as The Song of Simeon, or The Canticle of Simeon, is a Canticle from a New Testament Text in The Second Chapter of Luke's Gospel. It is so named after its "Incipit" [Editor: First few words of the Text] in Latin, meaning "Now you dismiss . . . (Luke 2:29–32), often used as the final Hymn in The Religious Service of Compline. According to the narrative in Luke's Gospel, Simeon was a devout Jew who had been promised by The Holy Spirit that he would not die until he had seen The Messiah. When Mary and Joseph brought The Baby Jesus to The Temple in Jerusalem, for the Ceremony of Consecration of The First-Born Son, Simeon was there, and he took Jesus into his arms and uttered words rendered variously as follows.


Simeon's Song of Praise
(The Nunc Dimittis)
Artist; Aert de Gelder (1645–1727).
Date: 1700-1710.
The Hague, Netherlands.
Source/Photographer: Unknown.
(Wikimedia Commons)

Latin (Vulgate):
Nunc dimittis servum tuum,
Domine, secundum verbum tuum in pace:
Quia viderunt oculi mei salutare tuum
Quod parasti ante faciem omnium populorum:
Lumen ad revelationem gentium,
et gloriam plebis tuae Israel.

Now Thou dost dismiss Thy servant, O Lord, 
according to Thy word in peace;
Because my eyes have seen Thy salvation,
Which Thou hast prepared before the face of all peoples:
A light to the revelation of the Gentiles,
and the glory of Thy people Israel.

Sunday, 8 December 2019. 0900 hrs. Pontifical Mass At The Throne On The Feast Of The Immaculate Conception. At Holy Name Heights Chapel, Madison, Wisconsin.



Illustration: FR. Z's BLOG

Monday 4 November 2019

Saint Vitalis And Saint Agricola. Martyrs. Feast Day 4 November.


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

Saint Vitalis And Saint Agricola.
   Martyrs.
   Feast Day 4 November.

Simple.

Red Vestments.


Painting of the Christian Martyrs, Vitalis and Agricola, in Bologna, Italy.
Date: 7 April 2014.
Source: Own work.
Attribution:
Author: Petr Vodička
(Wikimedia Commons)


English: The sarcophagus of Saint Agricola,
(also known as "The Seven Churches", Bologna, Italy.
Italiano: Complesso monumentale della Basilica di Santo Stefano
a Bologna (detto anche "Le sette chiese"): Basilica dei santi
Date: 27 April 2007.
Source: Own work.
Author: M.Violante
(Wikimedia Commons)

"At Bologna," says The Roman Martyrology, "The Holy Martyrs Vitalis and Agricola; the first a servant of the latter, who became his companion and colleague by Martyrdom in 304 A.D.

"His persecutor exhausted on him [Editor: Saint Vitalis] every kind of torment, and not a part of his body was left unwounded. He suffered these tortures with fortitude and he died Praying.

"Saint Agricola was Crucified. The Translation of the Relics of both Saints took place in the presence of Saint Ambrose, who says that he collected the nails, his glorious blood, and the Cross on which Saint Agricola was nailed, and placed them under The High Altar."

Mass: Sapiéntiam.

Saint Charles Borromeo. Bishop. Confessor. Feast Day 4 November.


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

Saint Charles Borromeo.
   Bishop.
   Confessor.
   Feast Day 4 November.

Double.

White Vestments.


English: Coat-of-Arms of The House of Borromeoin the Scurolo di san Carlo Borromeo
("Saint Charles Borromeo's Crypt"), Milan Cathedral, Italy.
Date: 29 January 2007.
Italiano: Duomo di Milano - Stemma della famiglia Borromeo,
nello Scurolo di san Carlo Borromeo.
Foto di Giovanni Dall'Orto, 29-1-2007.
Source: Own work.
Author: G.dallorto
(Wikimedia Commons)


Saint Charles Borromeo.
Available on YouTube at


Portrait of Saint Charles Borromeo.
Artist: Giovanni Ambrogio Figino (1553–1608).
Date: Between 1560 and 1608.
Source/Photographer: Museo Diocesano di Milano
(arteecarte.it,italian) (Uploaded by User:Lupo to en.wikipedia).
(Wikimedia Commons)

Saint Charles Borromeo was raised up by God to be one of the chief instruments of the true Reformation of The Church in the 16th-Century. It was greatly to his wisdom that The Council of Trent was happily concluded.

Made a Cardinal at the age of twenty-three, he soon became Archbishop of Milan (Introit, Epistle, Gradual, Communion, Offertory). He held Synods and Councils, established Colleges and Communities, renewed the spirit of his Clergy and of Monasteries, and Founded Asylums for the Poor and Orphans.

The most remarkable of his works was the creation of Diocesan Seminaries, whose Rules were adopted in all those that were instituted later. He died in 1584.

Mass: Státuit.
Commemoration: Of The Octave of All Saints.
Commemoration: Saint Vitalis and Saint Agricola. Martyrs.

Sunday 3 November 2019

Shen Yun. Performing Across The U.K.



Illustrations: SHEN YUN

TICKETS AVAILABLE
AT


The Seven Sacraments Altarpiece. By Rogier Van Der Weyden (1399 – 1464).


This Article, by vitrearum, is taken from, and can be read in full at,
MEDIEVAL CHURCH ART




The Seven Sacraments Altarpiece.
By Rogier Van Der Weyden (1399 – 1464).
Illustration: MEDIEVAL CHURCH ART



The Seven Sacraments Altarpiece, by Rogier van der Weyden, is now in The Royal Museum of Fine Arts, in Antwerp, Belgium. It was painted between 1445 and 1450, when van der Weyden was in Brussels, and is generally held to have been commissioned for a Church in Poligny, in the Jura Département, Eastern France.

It is a Fixed-Wing Triptych, with a complex scene that continues across the three divisions of The Altarpiece. The central focus of the iconography is a large Crucifixion scene, with attendant figures set up in the centre of The Nave of a Late-Gothic Flemish Church. It’s a large Church, with double Side Aisles and an Apsidal East End with an Ambulatory. The Seven Sacraments are shown being acted out in the Church, primarily in the Side Aisles.

In this Article, I’m not going to look in any depth at The Sacraments as a whole, as I’m interested in focusing here on only one of them: The Mass [Editor: The Holy Eucharist]. In this complex image, there are three separate depictions of The Mass, all going on concurrently. I’m interested in thinking through what these depictions of The Mass might reveal to us about the use of space, the purpose of divisions within a Church building, and how 15th-Century Lay People encountered the Liturgical Action and experienced The Mass.



A Mass is taking place at an Altar up against the Chancel Screen.
The Priest is assisted by a Layman with an Elevation Torch.
Illustration: MEDIEVAL CHURCH ART

Behind the central Crucifixion, we can see that there is a division between The Nave and The Chancel of this large Flemish Church in the form of a Chancel Screen. The Screen, in part a barrier, physically and visually reveals and hides action going on behind it, but it is primarily presented here as a backdrop against which The Celebration of The Mass takes place.

In a recess in The Screen is an Altar, presumably Dedicated to The Virgin Mary, as there is a Reredos above it with her image. A Priest is Celebrating The Mass here, and he has come to the most Solemn moment of it, the Elevation of The Host.

We might think of the Late-Mediaeval Mass as a little-understood Ceremonial taking place apart from the people in a Clerical-ised, screened off zone. This Celebration of The Mass is in The Nave, the people’s space, and in proximity to them – the Sacred Species is shown here Confected among the hurly-burly of this busy place; God Incarnate comes Sacramentally into the midst of His people.


A Layman, in a Grey Doublet, stands some distance from the Screen Altar,
witnessing the Elevation of The Host.

Illustration: MEDIEVAL CHURCH ART

The Laity are not kept at a distance in this tableau, but play an integral part in this offering of The Mass. As the Priest elevates The Host, a Layman, in fine clothing, a Purple Doublet and Red Hose, holds an Elevation Torch, and he lifts the base of the Priest’s Chasuble. There is no fear here of any proximity to The Divine. Standing between two Pillars, is a man in a Grey, his hand on the knife at his belt, with his hat on the other, he focuses his attention on The Host; today, he has seen his Maker.

If we move to the Left-Hand Panel of the painting, to a depiction of a Side Aisle of this great Church, we see a Chapel at the end of the Aisle, screened off. There is an Altar, here, surrounded by "Riddels".

[Editor: Images and documentary mentions of early examples often have Curtains, called Tetravela, hung between the Columns; these Altar-Curtains were used to cover and then reveal the view of the Altar by the Congregation at points during Services — exactly which points varied, and is often unclear.



A Mass is taking place in a Chancel Side Chapel, beyond a Parclose Screen.
Lay people are gathered within the space.
Illustration: MEDIEVAL CHURCH ART

Altar-Curtains survived the decline of the Ciborium in both East and West, and, in English, are often called "Riddels" (from French "Rideau", a word once also used for ordinary domestic Curtains). A few Churches have "Riddle Posts" or "Riddel Posts" around the Altar, which supported the Curtain-Rails, and perhaps a Cloth, stretched above.

Such an arrangement, open above, can be seen in Folio 199v of The Très Riches Heures du duc de Berry. Late-Mediaeval examples in Northern Europe were often topped by Angels, and the Posts, but not the Curtains, were revived in some new, or refitted, Anglo-Catholic Churches by Ninian Comper and others around 1900.

In earlier periods, the Curtains were closed at the most Solemn part of The Mass, a practice that continues to the present day in the Coptic and Armenian Churches. A comparison to the Biblical Veil of The Temple was intended. The small domed structures, usually with Red Curtains, that are often shown near the writing Saint in early Evangelist portraits, especially in The East, represent a Ciborium, as do the structures surrounding many Manuscript portraits of Mediaeval Rulers.

A single Curtain, hung, usually, on a wall behind an Altar, is called a Dossal.]



The Deacon singing the Gospel at a Lectern in the Chancel.
Illustration: MEDIEVAL CHURCH ART


There is an Altarpiece, a Wooden Tabernacle with an image of the Saints. A Priest, in a Blue Chasuble, turns to the people, perhaps he’s turned to say "Orate fratres et sorores", to ask his brothers and sisters to Pray for him, as he begins The Canon of The Mass and begins to offer The Sacrifice on their behalf.

It’s important to note that those who are witnessing this Mass taking place are within the screened off Chapel. There is a group of men and women, just within the Screen, to The Left, and there is another figure, on The Right of the entrance, who appears to be busy with his Primer. Just below the Altar Step, is a figure dressed in a Green Doublet, with a Purple Liripipe over his shoulder. Here, The Screen of this Chapel acts, not as a barrier to keep The Laity at a distance from The Holy, but as an enclosure in which men and women, seeking Christ’s presence, are welcome. The Screen exists only to mark the particularity of this Liturgical Space.

Then, there is The Third Celebration of The Mass depicted in this painting, but we only get a glimpse of it. In The Choir Screen, there are two Gates, and these give us a restricted view beyond to The Chancel of the Church. Our restricted view gives us enough visual information to be able to determine that Solemn Celebration, a High Mass,is underway, there. We see, through The Left Gate, the Deacon of The Mass in his Dalmatic, where he appears to be reading The Liturgical Gospel from an Eagle Lectern. This Lectern is placed just where you would expect it, below the Footpace of the Altar, and we can see the edge of the Altar enclosed with Riddel Posts, with figures of Angels on the top and with a Green Frontal. A Missal is open on a Lectern on the Altar. We can see no more of the Altar and cannot see the Priest and the other Ministers.



A couple stand in a Chancel Aisle, viewing The Mass taking place in the Chancel.
Illustration: MEDIEVAL CHURCH ART

There is a further visual clue that shows that a Mass is underway in the Chancel. Through The Right-Hand Gate of the Choir Screen, we can see the Arcade, that divides the Chancel from an Ambulatory, and there are no Screens to create a division between these spaces.

Beyond, standing in the Ambulatory, are two figures. The first is a man in a Blue Doublet, who appears to be looking across the Chancel to where the Deacon is reading the Gospel. His wife stands beside him, dressed in a Purple and Black Gown, she is reading and concentrating on her Primer, in its White Chemise covering.

These people are standing at a reverential distance from the action in the Chancel, but they are not shut out; without Screens under the Arcade they will have had an uninterrupted view of the action, an action that is hidden from our eyes by the Choir Screen. The Liturgical action in the Chancel is clearly more complex than in the other two Masses, and the distance of those Lay people is probably explained, not by a desire to keep away from The Holy, but through a need to allow the complex Liturgical action to take place unhindered.


One thing to notice about these three depictions of The Mass, in Van der Weyden’s painting, is that they are at different stages in the Celebration. Those stages in the Liturgical action are more or less evenly spaced out, and The Elevations of The Host would have been staggered.

The Celebration at The High Altar has only got as far as the Gospel; that in the Side Chapel has got as far as the beginning of The Canon of The Mass, and the most prominent Celebration, in The Nave, has reached the moment of Liturgical climax; The Elevation of The Host.

Late-Mediaeval Churches were busy places, where complex Liturgical action took place concurrently, and, if this painting's observation is any evidence, that action took place in close proximity to the people.




The Braque Triptych.
Current location: Louvre Museum, Paris, France.
Source/Photographer: http://www.google.ie/imgres?
(Wikimedia Commons)



The following Text is from Wikipedia - the free encyclopaedia.

Rogier van der Weyden, or Roger de la Pasture (1399 or 1400 – 18 June 1464), was an Early-Netherlandish Painter, whose surviving works consist mainly of Religious Triptychs, Altarpieces and commissioned Single and Diptych portraits. He was highly successful and internationally famous in his lifetime; his paintings were exported – or taken – to Italy and Spain, and he received commissions from, amongst others, Philip the Good, Netherlandish nobility, and foreign Princes.

By the latter half of the 15th-Century, he had eclipsed Jan van Eyck in popularity. However, his fame lasted only until the 17th-Century, and, largely due to changing taste, he was almost totally forgotten by the Mid-18th-Century. His reputation was slowly rebuilt during the following 200 years; today, he is known, with Robert Campin and van Eyck, as the third (by birth date) of the three great Early-Flemish artists (Vlaamse Primitieven or "Flemish Primitives"), and widely as the most influential Northern Painter of the 15th-Century.

Saturday 2 November 2019

“Tædet Animam Meam”. Requiem Aeternam. Officium Defunctorum. Tomás Luis De Victoria (1548 - 1611). Composed For The Funeral Of The Mother Of Two Emperors.


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




“Tædet Animam Meam” are the opening words in Chapter 10 of The Book of Job. Job laments his afflictions and begs God to be delivered from them.



“Tædet Animam Meam”
and ”Requiem Aeternam”.
Tomás Luis De Victoria
(1548 - 1611).
Available on YouTube at

“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 twenty-six minutes of the forty-two minute Composition, and the Work is sometimes referred to as “Victoria's Requiem”.

“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 1603 and 23 April 1603. 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).



“Requiem Officium Defunctorum”.
The Tallis Scholars .
Composer: Tomás Luis De Victoria (1548-1611).
Available on YouTube at

“Officium Defunctorum” is scored for Six-Part SSATTB Chorus. It includes an entire Office of The Dead: In addition to a Requiem Mass, Victoria sets an Extra-Liturgical Funeral Motet, a Lesson that belongs to Matins (scored for only SATB and not always included in Concert performances), and the Ceremony of Absolution, which follows The Mass.

Polyphonic sections are separated by unaccompanied “Chant Incipits”, that Victoria printed himself. The Soprano II usually carries the “Cantus Firmus”, though "it very often disappears into the surrounding part-writing, since the Chant does not move as slowly as most “Cantus Firmus” parts and the polyphony does not generally move very fast."


The sections of the Work are as follows:


“Tædet Animam Meam”.
Second Lesson of Matins (Job 10:1-7);


Missa Pro Defunctis (Mass for The Dead).

With The Council of TrentThe Liturgy of The Requiem Mass 
was Standardised. Victoria sets all of The Requiem Mass sections, except











“Versa Est In Luctum Cithara Mea”
(Funeral Motet);

The Absolution:

Responsory.

“Libera Me”;

Kyrie.



“Versa Est In Luctum Cithara Mea”
(Funeral Motet).
Alonso Lobo
(1555 - 1617).
Available on YouTube at


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