Ice-Cutter. Rat-Catcher. Bowling-Alley-Pinsetter. Lamp-Lighter. Switch-Board-Operator. Knocker-Upper. These Are Jobs From Yesteryear.

This Article is taken from, and can be read in full at,
SHARENATOR

Ice Cutters: These were men who cut the ice from frozen lakes. Once cut up, they would transfer their product to the ice delivery men. These ice cutters worked in extreme conditions. Most of them were happy when more people started using the refrigerator for keeping their food safe.

Rat-Catchers: Keeping the rat population under control

was practised in Europe to prevent the spread of 

diseases to man, most notoriously The Black Plague,

and to prevent damage to food supplies.

Lamplighter: Was a person who would go around the City, at night, and light all the Lamps by hand. They usually held out a long Pole, with a Wick on the end, to light the Street Lamps.

Bowling Alley Pinsetter: Before Bowling Alleys

had machines to reset their Pins, there were people 

who did it, called “Pinsetters”. It was typically a 

Teenager’s job and paid very little.

Illustration: THE VINTAGE NEWS

Telephone operators, Seattle, Washington, U.S., 1952.

According to a City archivist, these were probably

Seattle City Light employees.

Item 24092, City Light Photographic Negatives

(Record Series 1204-01), Seattle Municipal Archives.

Date: 18 July 2008.

Source: Telephone operators, 1952

This image comes from the Seattle Municipal Archives, via Flickr. Seattle Municipal Archives

Author: Seattle Municipal Archives,

Seattle, Washington State, United States of America.

(Wikimedia Commons)

Switchboard Operator: Up until three decades ago, Switchboard Operators were important players in the Telecommunications industry. They were needed to make Long Distance Calls and to manage Busy Circuits. But, with the advent of Digitised Telecommunications, Switchboard Operators had to find new jobs. These days, making Long Distance Calls can be done on your Mobile Phone.

Knocker-Upper: A Knocker-Upper's job was to rouse

sleeping people, so they could get to work on time. 

The Knocker-Upper used a Truncheon, or short, heavy Stick,

to knock on the clients' doors, or a long, and light, Stick, often made of Bamboo, to reach windows on higher floors. At least one of them used a Pea-Shooter. In return, the Knocker-Upper would be paid a few Pence (Cents) a week. The Knocker-Upper would not leave a client's window until they were sure that

the client was awake.

“Time to get up !!!”.

Making sure that the Client gets up in time for work.

The Impression Of The Stigmata of Saint Francis. Confessor. Feast Day 17 September.

English: Saint Francis of Assisi.

Polski: Św. Franciszek z Asyżu.

Artist: Cigoli (1559–1613).

Date: 1597-1599.

Current location: Hermitage Museum,

Saint Petersburg, Russia.

Source: Web Gallery of Art

(Wikimedia Commons)

Text from The Saint Andrew Daily Missal,

unless stated otherwise.

The Impression of The Stigmata of Saint Francis.

   Confessor.

   Feast Day 17 September.

Double.

White Vestments.

Two years before his death, Saint Francis retired to Mount Alverno, Italy, where he began a Fast of Forty Days in honour of Saint Michael The Archangel. And lo ! In the midst of his Meditations, he saw a figure, like a Seraphim, with six wings dazzling and burning, whose feet and hands were nailed to a Cross.

Aware that suffering is incompatible with the immortality of a Seraphic Spirit, he understood this to mean that he would become more like Jesus and bear his Cross after Him (Gospel), not by physical Martyrdom, but by a Mystical kindling of Divine Love.

English: Basilica of Saint Francis, Assisi, Italy.

Français: La Basilique Saint-François d’Assise

Photo: 7 March 2009.

Source: Own work.

Author: Berthold Werner

(Wikimedia Commons)

And, in order that this Crucified Love might become an example to us all, five wounds, resembling those of Jesus on The Cross, appeared on his feet, hands, and side. From his side, blood flowed abundantly.

The facts were so fully authenticated, later, that Pope Benedict XI ordered them to be Commemorated every year, and Pope Paul V, to kindle in The Faithful The Love of Jesus Crucified, extended The Feast to the whole Church.

Mass: Mihi autem.

Proper Collects.

Gospel: Si quis vult.

Queen Elizabeth II. The Josias Podcast. With Pater Ælred Maria Anthony John Howard Davies, Sub-Prior Of Stift Heiligenkreuz Abbey.

Text and Illustrations: THE JOSIAS

You can listen to the Podcast HERE

The Josias Podcast, Episode XXX:

Queen Elizabeth II

Pater Edmund speaks with Pater Ælred Maria Anthony John Howard Davies, Sub-Prior of Stift Heiligenkreuz Abbey, Austria, about the Late Queen Elizabeth II.

Music: Henry Purcell, Thou Knowest, Lord

If you have questions or comments, please send them to editors(at)thejosias.com.

Follow us on Facebook and Twitter.

Many thanks to our generous supporters on Patreon, who enable us to pay for Podcast hosting.

If you have not yet joined them, please do so. You can set up a one-time or recurring donation in any amount. Even $1 a month would be splendid.

Albi Cathedral, France (Part Six).

English: The Marble Pulpit, Albi Cathedral, dated to 1776.

Français : Cathédrale Sainte-Cécile d'Albi –

La chaire en marbre de 1776.

Italiano : Cattedrale di Albi - Il pulpito in marmo del 1776.

Photo: 4 August 2021.

Source: Own work.

Author: Didier Descouens

(Wikimedia Commons)

This file is copyrighted and has been released under a license which is incompatible with Facebook's licensing terms. It is not permitted to upload this file at Facebook.

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

While much of the sculpture on the outer face of the Rood Screen was damaged, that on the interior of the Screen is almost completely intact, and features sculpture of The Twelve Apostles and two Angels around The Virgin Mary.

They are carved of stone and delicately coloured. Seventy-two statues of Angels decorate other parts of the Screen, surrounding the figure of Saint Cecilia, the Patron Saint of the Cathedral.[18]

The elaborate sculptural Screen, partly open-work and partly closed, surrounds the interior space of the Choir. This enclosure was built between 1474 and 1482 by Bishop Louis I d’Amboise. His Coat-of-Arms of two Angels carrying his emblem is displayed at the side entrances of the Screen.[10]

Chapel of Saint Claire, Albi Cathedral, below “The Last Judgement” mural.

Photo: 2 July 2008.

Source: Own work.

Author: Pom²

(Wikimedia Commons)

A study in 2012 discovered that the sculpture was originally painted in Blues and Reds, but was modified in the 19th-Century to brighter Greens and Orange-Reds, to harmonise with the more recent painted decoration.

Following that discovery, with the permission of the Commission of National Monuments, the sculpture was cleaned and restored as much as possible to the original gilding and colouring, and the 19th-Century background colours changed to the colour of stone, to recreate the original Mediæval harmony.[19]

One of the distinctive features of Albi Cathedral is the polychrome geometric painting of the Tribunes (Galleries) and Upper Walls, particularly in the Choir and the Chapels.

English: Chapel of Saint Cécile, in Albi Cathedral, with reliquary and a statue of the Saint. The statue dates from 1599,  and is meant to represent the body as it was found in the coffin at Rome. This statue is located at the Church of Saint Cecilia in Rome; Albi Cathedral, Dedicated to the Saint, has a faithful replica.

Français: Cathédrale Sainte-Cécile d'Albi - Reliques et statue de Sainte-Cécile - La statue bien connue de Maderno , datant de 1599, est censée représenter le corps tel qu'il fut retrouvé dans le cercueil. Cette statue se trouve à l'église Sainte-Cécile à Rome ; la cathédrale d’Albi, dédiée à la Sainte, en possède une fidèle réplique.

Italiano : Si ritiene che la famosa statua di Maderno, risalente al 1599, rappresenti il ​​corpo così come è stato trovato nella bara. Questa statua si trova nella Chiesa di S. Cecilia a Roma; La Cattedrale di Albi, dedicata al Santo, ne conserva una fedele replica.

Photo: 4 August 2021.

Source: Own work.

Author: Didier Descouens

(Wikimedia Commons)

This file is copyrighted and has been released under a license which is incompatible with Facebook's licensing terms. It is not permitted to upload this file at Facebook.

The geometric designs have a number of different motifs; some imitate the appearance of Marble; some are divided into Medallions or Squares, or give the appearance of three-dimensional Cubes; some have Coats-of-Arms, or painted Tree Branches, or false Balustrades. The Upper Levels offer painted Animals or Birds inhabiting the geometric designs, in an elaborate combination of humour and fantasy.[20]

The Baroque Pulpit, in the Nave, was commissioned by Cardinal Bernis, and was made between 1776 and 1779 by the Italian sculptors Mazetti and Maderni.[21]

The Cathedral has twelve Chapels, placed between the Buttresses along the sides of the Nave, and an additional twelve Chapels alongside the Choir, plus an additional five Chapels radiating from the Apse at The East End, and another, the Chapelle Sainte-Claire, at The West End. The Side Chapels in the Nave received overhead Galleries (Tribunes) in the 15th-Century.[8]

One of the Chapels in the Nave,

Albi Cathedral.

Photo: 2 July 2008.

Source: Own work.

Author: Pom²

(Wikimedia Commons)

PART SEVEN FOLLOWS.

Saint Euphemia. Saint Lucy. Saint Geminianus. Martyrs. Feast Day 16 September.

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

Saint Euphemia. Saint Lucy. Saint Geminianus.
   Martyrs.
   Feast Day 16 September.

Simple.

Red Vestments.

"At Chalcedon," says The Roman Martyrology, "the birth in Heaven of Saint Euphemia, Virgin and Martyr, who was condemned to the wild beasts." This happened in 307 A.D.

"At Rome, The Holy Martyrs Lucy, a noble lady, and Geminianus, who were beheaded by order of Emperor Diocletian, about 300 A.D.

Mass: Intret. Of several Martyrs.

Pope Saint Cornelius And Saint Cyprian. Martyrs. Feast Day 16 September.

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

Pope Saint Cornelius And Saint Cyprian.
   Martyrs.
   Feast Day 16 September.

Semi-Double.

Red Vestments.

English: Saint Cornelius. Pope and Martyr.

Deutsch: Ausstattung der ehemaligen Seitenaltäre 

der Meßkircher St. Martinskirche, Standflügel: Heiliger Cornelius als Papst und Märtyrer.

Artist: Meister von Meßkirch (1500–1543).

Date: 1535-1540.

Current location: Staatsgalerie Stuttgart, Germany.

Source/Photographer: Eingescannt aus: Anna Moraht-Fromm und Hans Westhoff: Der Meister von Meßkirch – Forschungen zur südwestdeutschen

Malerei des 16. Jahrhunderts, Ulm, 1997, S. 190.

(Wikimedia Commons)

Cornelius was a Roman and was Sovereign Pontiff under the Emperors Gallus and Volusian. He had to oppose Novatian, the first Anti-Pope. He took from the Catacomb of Saint Sebastian, where they had rested some forty years, the bodies of the Apostles Peter and Paul and Translated them to the places where they had suffered Martyrdom.

He was arrested and beheaded in 253 A.D.

English: Saint Cyprian. Bishop and Martyr.

Deutsch: Ausstattung der ehemaligen Seitenaltäre 

der Meßkircher St. Martinskirche, Standflügel:

als Bischof und Märtyrer.

Artist: Meister von Meßkirch (1500–1543).

Date: 1535-1540.

Current location: Staatsgalerie Stuttgart, Germany.

Source/Photographer: Eingescannt aus: Anna Moraht-Fromm und Hans Westhoff: Der Meister von Meßkirch – Forschungen zur südwestdeutschen

Malerei des 16. Jahrhunderts, Ulm, 1997, S. 190.

(Wikimedia Commons)

Cyprian was a Barrister at Carthage, when he was converted to Christianity. A short time afterwards, he was Ordained a Priest and became Bishop of Carthage. "It would be superfluous," says Saint Jerome, "to speak of his genius, since his works are more brilliant than the Sun."

This illustrious Father of The Latin Church lived in one of the most troublous periods for The Church in Africa. He was Martyred five years after Saint Cornelius on the day when this Holy Pope's remains were Translated to Rome. That explains why their names are united by The Liturgy of The Canon of The Mass (First List).

Mass: Intret. Of Several Martyrs.
Commemoration of The Holy Martyrs: Saint Euphemia, Saint Lucy, and Saint Geminianus.

Saint Nicomedes. Martyr. Whose Feast Day Is, Today, 15 September.

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

Saint Nicomedes.
   Martyr.
   Feast Day 15 September.

Simple.

Red Vestments.

"At Rome," says The Roman Martyrology, “on The Nomentanian Way, the birth in Heaven of Blessed Nicomedes, Priest and Martyr”.

Having said to those who tried to force him to sacrifice: “For me, I only sacrifice to The All-Powerful God, Who reigns in Heaven”, he was beaten with thongs covered with Lead and, during this long torture, he gave up his Soul to God.

He died in the First-Century A.D., under the Emperor Domitian.

Mass: In virtúte.

The following Text is from Wikipedia - the free encyclopædia.

Saint Nicomedes, a Martyr of the 1st-Century A.D., whose Feast is 15 September.

The Roman Martyrologium and the historical Martyrologies of Bede and his imitators place the Feast on this date. The Gregorian Sacramentary contains under the same date The Orations for his Mass.

The name does not appear in the three oldest and most important Manuscripts of The Martyrologium Hieronymianum, but was inserted in later recensions (“Martyrol. Hieronymianum”, ed. G. B. de Rossi-L. Duchesne, in Acta SS., November II, 121). The Saint is without doubt a Martyr of The Roman Church.

He was buried in a Catacomb on The Via Nomentana, near the Gate of that name. Three 7th-Century A.D. Itineraries make explicit reference to his grave, and Pope Adrian I restored the Church built over it (De Rossi, Roma Sotterranea, I, 178-179).

A Titular Church of Rome, mentioned in the 5th-Century A.D., was Dedicated to him (titulus S. Nicomedis). The Feast of The Dedication of his Church on 1 June, alongside the 15 September Feast of his Martyrdom, were included in The Sarum Rite Calendars, but only the 1 June Feast Day was carried over into The Anglican Book of Common Prayer as a “Lesser Holy Day” or “Black-Letter Day”.

Nothing is known of the circumstances of his death. The legend of the Martyrdom of Saints Nereus and Achilleus introduces him as a Presbyter and places his death at the end of the 1st-Century A.D.

The Divine Holy Mass Of The Feast Of The Seven Sorrows Of Our Lady. 15 September 2021.

English: Holy Mass of

The Feast of The Seven Sorrows of Our Lady.

Français: Sainte messe de

la fête de Notre Dame des Sept Douleurs.

Wednesday, 15 September 2021.

Available on YouTube at

YOU TUBE

The Seven Sorrows Of The Blessed Virgin Mary. Feast Day 15 September.

The Seven Sorrows of The Virgin.

Artist: Albrecht Dürer (1471–1528).

Date: Circa 1496.

Current location: Alte Pinakothek, Munich, Germany.

Source/Photographer: Web Gallery of Art

(Wikimedia Commons)

The Seven Sorrows Of The Blessed Virgin Mary. Feast Day 15 September.

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

The Seven Sorrows of The Blessed Virgin Mary.
   Feast Day 15 September.

Double of The Second-Class.

White Vestments.

English: Our Lady of Sorrows.

Español: Nuestra Señora de los Dolores.

Fernando Estévez de Salas, Parroquia de San Juan Bautista,

Villa de La Orotava.

Photo: 2 April 2010.

Source: Own work.

Author: JosuHdez

(Wikimedia Commons)

Attribution of Floral Background:

Designed by macrovector / Freepik

Our Lady of Sorrows (Latin: “Beata Maria Virgo Perdolens”), The Sorrowful Mother, or, Mother of Sorrows (Latin: “Mater Dolorosa”, at times just “Dolorosa”), and Our Lady of The Seven Sorrows, or, Our Lady of The Seven Dolours, are names by which The Blessed Virgin Mary is referred to in relation to Sorrows in her Life.

As Mater Dolorosa, it is also a key subject for Marian Art in The Catholic Church.

The Seven Sorrows of Mary are a popular Roman Catholic Devotion. There are Devotional Prayers which consist of Meditations on her Seven Sorrows. Examples include The Servite Rosary, or The Chaplet of The Seven Sorrows of Our Lady.

Also, there is a corresponding Devotion to The Seven Joys of Mary. The term “Sorrowful and Immaculate Heart of Mary” refers to the combined Devotion of both The Immaculate Heart and The Seven Sorrows of Mary, as first used by The Franciscan Tertiary, Berthe Petit.

The Blessed Virgin Mary.

Illustration: SHUTTERSTOCK

The Seven Sorrows (or Dolours) are events in The Life of The Blessed Virgin Mary, which are a popular Devotion and are frequently depicted in art. It is a common Devotion for Catholics to say, daily, one Our Father and seven Hail Marys for each of The Seven Sorrows, which are:

The Prophecy of Simeon. (Luke 2:34-35), or, The Circumcision of Christ;
The Flight into Egypt. (Matthew 2:13);
The Loss of The Child Jesus in The Temple. (Luke 2:43-45);
Mary Meets Jesus on The Way to Calvary;
Jesus Dies on The Cross. (John 19:25);
Mary Receives The Body of Jesus in Her Arms. (Matthew 27:57-59);
The Body of Jesus Is Placed in The Tomb. (John 19:40-42).

These Seven Sorrows should not be confused with The Five Sorrowful Mysteries of The Rosary

“Mater Dolorosa With Open Hands”.

Artist: Titian (1490–1576).

Date: 1555.

Current location: Prado Museum, Madrid, Spain.

Source/Photographer: http://www.museodelprado.es/

imagen/alta_resolucion/P00444.jpg

(Wikimedia Commons)

The Feast of Our Lady of Sorrows was originated by a Provincial Synod of Cologne, in 1413, as a response to the iconoclast Hussites. It was designated for The Friday after The Third Sunday after Easter. It had the Title: “Commemoratio angustiæ et doloris Beatæ Mariæ Virginis”. Before the 16th-Century, The Feast was Celebrated only in parts of Northern Europe.

“Stabat Mater”

(The Mother Stood).

Composed by Pergolesi.

Available on YouTube at

YOU TUBE

Earlier, in 1233, seven youths in Tuscany, Italy, Founded The Servite Order (also known as “The Servite Friars”, or “The Order of The Servants of Mary”). Five years later, they took up “The Sorrows Of Mary, Standing Under The Cross”, as the principal Devotion of their Order.

Over the Centuries, several Devotions, and even Orders, arose around Meditation on Mary’s Sorrows. The Servites developed the two most common Devotions to Our Lady's Sorrows, namely The Rosary of The Seven Sorrows and The Black Scapular of The Seven Dolours of Mary.

The Black Scapular is a symbol of The Confraternity of Our Lady of Sorrows, which is associated with The Servite Order. Most devotional Scapulars have requirements regarding ornamentation or design. The Devotion of The Black Scapular requires only that it be made of Black Woollen Cloth.

English: “Our Lady, Who Softens Evil Hearts”.

Russian icon, 19th-Century.

Русский: Икона “Умягчение злых сердец”.

Source: http://days.pravoslavie.ru

Author: Unknown.

(Wikimedia Commons)

On 2 February, the same day as The Great Feast of The Meeting of The Lord, Orthodox Christians and Eastern Catholics Commemorate a wonder-working icon of The Theotokos (Mother of God), known as “The Softening of Evil Hearts” or “Simeon’s Prophecy”.

It depicts The Virgin Mary at the moment that Simeon the Righteous says: “Yea, a Sword shall pierce through thy own Soul, also . . .” (Luke 2:35). She stands with her hands upraised in Prayer, and Seven Swords pierce her Heart, indicative of The Seven Sorrows. This is one of the few Orthodox icons of The Theotokos which do not depict The Infant Jesus. The Refrain “Rejoice, much-sorrowing Mother of God, turn our sorrows into joy and soften the hearts of evil men !” is also used.

The first Altar to The Mater Dolorosa was set up in 1221 at the Monastery of Schönau. Especially in Mediterranean Countries, Parishioners traditionally carry statues of Our Lady of Sorrows in Processions on the days leading to Good Friday.

No Feast in her honour was included in Pope Saint Pius V's 1570 Tridentine Calendar. Vatican approval for the Celebration of a Feast, in honour of Our Lady of Sorrows, was first granted to The Servite Order in 1667.

English: Our Lady of Sorrows,

El Viso del Alcor, Seville, Spain.

Español: Nuestra Señora de los Dolores. Capilla del Sagrario de la Iglesia Parroquial de Santa María del Alcor. El Viso del Alcor (Sevilla). Procesiona bajo palio en la tarde noche del Viernes Santo.

Photo: 8 December 2007.

Source: Own work.

Author: Ajjb

(Wikimedia Commons)

By inserting The Feast into The Roman Catholic Calendar of Saints, in 1814, Pope Pius VII extended the Celebration to the whole of The Latin Church. It was assigned to The Third Sunday in September. In 1913, Pope Saint Pius X moved The Feast to 15 September, the day after The Feast of The Cross. It is still observed on that date.

Another Feast, originating in the 17th-Century, was extended to the whole of The Latin Church in 1727. It was originally Celebrated on Friday in Passion Week, one week before Good Friday. In 1954, it still held the Rank of Major Double (slightly lower than the Rank of the 15 September Feast) in The General Roman Calendar.

Each Celebration was called a Feast of “The Seven Sorrows of The Blessed Virgin Mary”.

The 15 September Feast, that now combines and continues both of them, is known as “The Feast of Our Lady of Sorrows” (Beatæ Mariæ Virginis Perdolentis). The Sequence, known as Stabat Mater, may be sung at Mass on that day.

Archetypal Gothic Lady of Sorrows from a Triptych by The Master of The Stauffenberg Altarpiece, Alsace, circa 1455. Title: La descente de Croix, les larmes de Marie (detail).

Current location: Unterlinden Museum, France.

Source/Photographer: Own work, Alsace, Haut-Rhin, Colmar,

Musée d'UnterLinden: la descente de Croix,

les larmes de Marie, vincent desjardins, 2008-12-27.

(Wikimedia Commons)

Our Lady of Sorrows, depicted as “Mater Dolorosa” (Mother of Sorrows), has been the subject of some key works of Roman Catholic Marian Art. Mater Dolorosa is one of the three common artistic representations of a sorrowful Virgin Mary, the other two being Stabat Mater (“The Mother Stood”) and Pietà.

In this iconography, Our Lady of Seven Sorrows is at times simply represented in a sad and anguished mode by herself, her expression being that of tears and sadness. In other representations, The Virgin Mary is depicted with Seven Swords in her Heart, a reference to the Prophecy of Simeon, at The Presentation.

Our Lady of Sorrows is The Patron Saint of:

Slovakia;
The Congregation of Holy Cross;
The village of Mola di Bari,
and the Molise Region, Italy;
The State of Mississippi, USA;
Dolores, The Philippines;
Lanzarote, Canary Islands;
Mater Dolorosa (Berlin-Lankwitz).

Attribution of Floral Background:

Designed by macrovector / Freepik

The following Text is from The Saint Andrew Daily Missal.

Mary stood at the foot of The Cross, where Jesus was hanging (Introit, Gradual, Alleluia, Sequence, Gospel) and, as Simeon had prophesied (Collect), a Sword of Sorrow pierced her Soul (Secret). Powerless, “she saw her Sweet Child desolate in the anguish of death, and she received His last breath” (Sequence).

The compassion, which her maternal heart felt at the foot of The Cross, obtained for her as its reward The Palm of Martyrdom without death (Communion).

This Feast was Celebrated with great solemnity by The Servites in the 17th-Century. In 1817, it was extended by Pope Pius VII to the whole Church, so as to recall the sufferings she [Editor: The Church] had undergone in the person of her exiled and captive head [Editor: Pope Pius VII], delivered by the protection of The Blessed Virgin.

Just as the first Feast of The Sorrows of Mary, in Passiontide, shows us how she had her share in The Sacrifice of Jesus, the second Feast, in The Season after Pentecost, tells us of all the compassion which the Mother of The Saviour feels for The Church, the Spouse of Jesus, who is Crucified in her turn and whose Devotion to The Sorrows of Mary increases in these calamitous times.

His Holiness, Pope Saint Pius X, in 1908, raised this Feast to the Rank of a Solemnity of The Second-Class.

Mass: Stabant juxta.
Commemoration: Saint Nicomedes (at Low Mass).
Sequence: Stabat Mater.
Creed: Is said.
Preface: Of The Blessed Virgin (Et te in Transfixióne).

“Ad Maiorem Dei Gloriam”. “To The Greater Glory Of God”.

Beautiful Stained-Glass Window.

“Ad Maiorem Dei Gloriam”.

“To The Greater Glory Of God”.

Illustration: TWITTER, STAINED GLASS ZEALOT

Outstanding Missa Cantata, For The Feast Day Of The Exaltation Of The Holy Cross, From Saint Eugène - Sainte Cécile, Paris, 14 September 2020.

 

English: Mass of The Exaltation of The Holy Cross,

Church of Saint Eugène - Sainte Cécile, Paris, France,

14 September 2020.

Français: Sainte messe de la fête

de l'Exaltation de la Sainte Croix.

Available on YouTube at

YOU TUBE

Watch The Divine Mass And Listen To The Extraordinary Beauty Of The Schola Sainte Cécile.

Illustration: THE LATIN MASS SOCIETY

Watch The Divine Mass and listen to the extraordinary beauty of The Schola Sainte Cécile from

The Church of Saint Eugène - Saint Cécile, Paris, France,

at SCHOLA SAINTE - CÉCILE

G. K. Chesterton.

G. K. Chesterton.

Photo: 4 April 2013.

Source: Crisis Magazine: http://www.crisismagazine.com/

2012/new-study-marred-by-old-cliches-

about-preconciliar-catholic-writers

Author: Unknown.

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopædia.

Gilbert Keith Chesterton KC*SG (29 May 1874 – 14 June 1936) was an English writer,[2] philosopher, Lay Theologian, and Literary and Art Critic. He has been referred to as the “Prince of Paradox”.[3]

Time Magazine observed of his writing style: “Whenever possible, Chesterton made his points with popular sayings, proverbs, allegories—first carefully turning them inside out”.[4]

Chesterton created the fictional Priest-Detective, Father Brown,[5] and wrote on Apologetics. Even some of those who disagree with him have recognised the wide appeal of such works as Orthodoxy and The Everlasting Man.[4][6]

Chesterton routinely referred to himself as an “Orthodox” Christian, and came to identify this position more and more with Catholicism, eventually converting to Catholicism from High Church Anglicanism.

Biographers have identified him as a successor to such Victorian authors as Matthew Arnold, Thomas Carlyle, Cardinal John Henry Newman, and John Ruskin.[7]

On his contributions, T. S. Eliot wrote:

“He was importantly and consistently on the side of the Angels. Behind the Johnsonian fancy-dress, so reassuring to the British public, he concealed the most serious and revolutionary designs — concealing them by exposure . . . Chesterton’s social and economic ideas . . . were fundamentally Christian and Catholic.

“He did more, I think, than any man of his time — and was able to do more than anyone else, because of his particular background, development and abilities as a public performer — to maintain the existence of the important minority in the modern World.

“He leaves behind a permanent claim upon our loyalty, to see that the work that he did in his time is continued in ours”.[8]

Jacqueline Hurley. The Artist And Her Work. “Remembrance Day Is Every Day”.

“The Scarlet Corn Poppy”.

The Scarlet Corn Poppy, which is one of the features of Jacqueline Hurley’s work, grows naturally in conditions of disturbed earth throughout Western Europe. Its use as a symbol of remembrance was first inspired by The World War I poem “In Flanders Fields”, by Lieutenant Colonel John McCrae, after witnessing the death of his friend, a fellow soldier, on 2nd May 1915.

Illustration: POSH ORIGINAL ART

Jacqueline Hurley's War Poppy Collection is available at POSH ORIGINAL ART

Jacqueline started painting The War Poppy Collection in 2014. Her first work, ‘We Remember, We Fight On’ was painted as a tribute to her friend, Royal Marine Neil Dunstan, who tragically lost his life in an IED explosion whilst serving in Afghanistan in 2008.

Since then, Jacqueline’s artwork has helped raise over £230,000 for Military Charities.

Being one of the final generation whose grandparents served during The Second World War, and whose great grandparents served during The First World War, Jacqueline has a strong desire to remind people, through her imagery, that the freedom they are blessed with today wasn’t free.

Jacqueline’s Military Poppy Prints have been well received by an international audience, and have very quickly proved extremely popular; she is now widely regarded as the country’s foremost Remembrance Artist.

Jacqueline paints in both expressionism and impressionism styles. Her original works are painted impasto in acrylic, using texture to create mood and depth, with Red Remembrance Poppies juxtaposed against gritty impressionistic landscapes.

Her paintings feature silhouettes, which help her audience connect with the works in a more personal, emotional and sentimental way; encouraging the people she paints for to relate to the subjective nature of the paintings.

Jacqueline's War Poppy Collection can be viewed at the Web-Site Shop at SHOP