“The Splendours Of The Liturgy Are More Efficacious Than Documents Of The Ecclesiastical Magisterium. And Are Even More Important”. Pope Pius XI.

English: Pope Pius XI.

Deutsch: Papst Pius XI.

Photo: 1930.

Source: Politisch Wissenschaftlicher Verlag Berlin, 1932.

Author: Alberto Felici (1871-1950).

(Wikimedia Commons)

The following Text is from The Saint Andrew Daily Missal.

“In instructing the people in The Divine Truths, and raising them to spiritual and interior joys”, said Pope Pius XI, “the splendours of The Liturgy are more efficacious than Documents of The Ecclesiastical Magisterium, and even more important”.

The Dedication Of Saint Michæl The Archangel. Feast Day 29 September.

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

The Dedication of Saint Michæl The Archangel.
   Feast Day 29 September.

Double of The First-Class.

White Vestments.

Saint Michæl The Archangel.

Illustration: UNA VOCE OF ORANGE COUNTY

Artist: René de Cramer.

“Copyright Brunelmar/Ghent/Belgium”.

Used with Permission.

Prayer to Saint Michael the Archangel.

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Saint Michael The Archangel.

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29 September was formerly Dedicated to All The Angels (Introit, Collect, Gradual, Communion), wherefore Pope Boniface II, about 530 A.D., chose that date to Dedicate a Church in The Great Circus, at Rome, to Saint Michæl.

The Mass composed for the occasion has since been appointed for The 18th Sunday After Pentecost; it still relates to The Dedication of a Church. The present Mass was composed more recently.

The Hebrew meaning of “Michæl” is: “Who is like God ?”, and recalls the combat which took place in Heaven between “The Archangel of God, who deserved to be placed at The Head of The Heavenly Host”, and the devil.

Incredible Miracle.

U.S. Marine saved by Saint Michael The Archangel.

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As we have fallen through sin into the power of Satan, it is Saint Michæl's part to continue the fight for our deliverance (Alleluia, and Prayer after Mass); wherefore, our Guardian Angels are subordinate to him.

Saint Michæl conquers Satan's pride and obtains humility for us. It is also he who presides over The Worship of Adoration rendered to The Most High, for he offers to God The Prayers of The Saints, symbolised by Incense, whose smoke rises towards Heaven (Offertory, Blessing of The Incense).

The Exaltation of Saint Michael The Archangel.

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Mont-Saint-Michel.

Ancient Superstructure Documentary.

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When a Christian has left this World, we Pray that The Standard-Bearer, Saint Michæl, should introduce the Christian into Heaven; he is also often represented with The Scales of Divine Justice, wherein Souls are weighed. His name is mentioned in The Confiteor, after that of Mary, who is The Queen of Angels.

Saint Michæl was The Protecting Angel of The Synagogue, as he is now of The Church, which has succeeded it. To him, The Liturgy attributes The Revelation of The Future, made to Saint John in The Apocalypse (Epistle).

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

Mass: Benedícite Dóminum, omnes Angeli ejus. Bless The Lord, all ye His Angels.
Creed. Is said.

Prayer to Saint Michael The Archangel.

Gregorian Chant.

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A Blast From The Past: “Alone”. Sung by: Heart.

“Alone”.

Sung by: Heart.

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Albi Cathedral, France (Part Nine).

The Upper Levels and Ceiling of Albi Cathedral.

Photo: 15 August 2008.

Source: Own work.

Author: Franck Brémeault

(Wikimedia Commons)

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

The Bishop’s Palace, next to the Cathedral, is formally known as the “Palais épiscopal de la Berbie”, and is included in the UNESCO historical site.

Its name comes from “Bisbia”, a local variation of the Occitan word for “Bishop”. The Bishop’s Palace was begun before the Cathedral, by Bishop Durand de Beaucaire (Bishop 1228 to 1254), and was built like a small fortress against the Cathars or other potential enemies.

The next resident, Bishop de Combret, fortified it further by connecting the Residence to the Cathedral Tower, twenty-five metres away, with a Wall, fortified with Bastions, and the addition of a Machicoulis over the entrance.

English: The Grand Organ and Nave ceiling of Albi Cathedral. A masterpiece by Christophe Moucherel, completed in 1736, with a monumental Buffet 16.40 m wide and 15.60 m high,

one of the most beautiful South of The Loire.

Christophe Moucherel being better known for the high quality of his Buffets than for the reliability of his instruments, the Organ was refurbished in 1747 by François and Jean-François Lépine, then in 1779 by Joseph Isnard, nephew of Jean-Esprit, and in 1825 by Antoine Peyroulous.

Brought up-to-date during the Romantic Period by Jean-Baptiste Puget in 1904, it was in poor condition in the 1950s. A restoration was decided upon and entrusted, in 1977, to Bartoloméo Formentelli, who is in charge of restoring the Organ back to its condition of 1825.

From now on, his son, Michel, takes care of the Organ. Five Keyboards of fifty Notes (C1 to D5 without 1st C #); Dorsal Positive, G.O., Bombarde, Narrative, Echo, French Pedal,

fifty-six Stops, 3,578 Pipes.

Français: Cathédrale Sainte-Cécile d'Albi – L'orgue de tribune chef d'œuvre de Christophe Moucherel, terminé en 1736, avec un buffet monumental de 16,40 m de large pour 15,60m de haut, un des plus beaux au sud de la Loire.

Christophe Moucherel étant plus connu pour la grande qualité de ses buffets que pour la fiabilité de ses instruments, l'orgue est revu dès 1747 par François et Jean-François Lépine, puis en 1779 par Joseph Isnard, neveu de Jean-Esprit,

en 1825 par Antoine Peyroulous.

Mis au "goût du jour" durant la période romantique par Jean-Baptiste Puget en 1904, en piteux état dans les années cinquante, sa restauration est décidée et confiée en 1977 à Bartoloméo Formentelli qui est chargé de restituer

la situation de 1825.

Le même effectuera un grand relevage en 1996. 

C'est désormais son fils Michel qui s’occupe de l'instrument.

5 claviers de 50 notes(ut1 à ré5 sans 1er ut#):positif dorsal,

G.O., bombarde ,récit, écho, pédalier à la française, 56 jeux, 3578 tuyaux.

Italiano : L'organo della tribuna, capolavoro di Christophe Moucherel, completato nel 1736, con un monumentale buffet

di 16,40 m di larghezza e 15,60 m di altezza, uno dei più belli del sud della Loira.

Christophe Moucherel essendo più noto per l'alta qualità dei suoi buffet che per l'affidabilità dei suoi strumenti, l'organo fu rivisto nel 1747 da François e Jean-François Lépine, poi nel 1779 da Joseph Isnard, nipote di Jean-Esprit, nel 1825 da Antoine Peyroulous.

Aggiornato durante il periodo romantico da Jean-Baptiste Puget nel 1904, in cattive condizioni negli anni Cinquanta, ne fu deciso il restauro e affidato nel 1977 a Bartoloméo Formentelli che ne è il responsabile di ripristinare la situazione del 1825.

Lo stesso effettuerà un grosso sollevamento nel 1996. D'ora in poi è il figlio Michel che si prende cura dello strumento. 5 tastiere di 50 note (dal DO1 al RE5 senza 1° DO#): dorsale positiva, SOL, bombarda, narrativa, eco, pedale francese,

56 registri, 3578 canne.

Photo: 4 August 2021.

Source: Own work.

Author: Didier Descouens

(Wikimedia Commons)

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Bishop de Castanet surrounded the complex with a new Wall and built the Saint Catherine Tower, which was connected by a Wall to the Durand de Beaucaire Tower of the Cathedral.[25]

The Palace was never attacked, and later Bishops softened its appearance by adding residential buildings and a Chapel, and a French-style garden, as well decorating the Interiors with Mosaics and Art.

In 1905, the Cathedral and its properties were officially nationalised, and the Palace was given to the City of Albi for use as a Museum.

In 1922, it received an important collection of Works by Henri Toulouse-Lautrec, donated by his mother. It is now known as the Toulouse-Lautrec Museum. The collection includes his last painting, “Examination at The School of Medicine”, from 1901.[26]

Choir and Rood Screen, Albi Cathedral.

Photo: 25 June 2009.

Source: Own work.

Author: Benh LIEU SONG

from Torcy, France

(Wikimedia Commons)

THIS CONCLUDES THE ARTICLE ON ALBI CATHEDRAL.

Saint Wenceslaus. Duke And Martyr. Feast Day, Today, 28 September.

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

Saint Wenceslaus.
   Duke And Martyr.
   Feast Day 28 September.

Semi-Double.

Red Vestments.

Saint Vitus Cathedral, Prague, The Czech Republic.

Which contains The Chapel of Saint Wenceslaus.

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Saint Wenceslaus Chapel,

Saint Vitus Cathedral, Prague, The Czech Republic.

Photo: 17 June 2013.

Source: Own work.

Author: Clayton Tang

(Wikimedia Commons)

Saint Vitus Cathedral, Prague,

within which is The Chapel of Saint Wenceslaus.

Photo: 23 September 2016.

Source: Own work.

Author: Alvesgaspar

(Wikimedia Commons)

Wenceslaus, Duke of Bohemia, always practised the greatest Christian Virtues.

Full of Charity, he helped, with his Alms, Orphans Widows, and Poor People. He delivered Captives, and visited Prisoners. He kept all through his life the treasure of his Virginity intact. He had a very great Veneration for Priests and, with his own hands. he sowed the Wheat and pressed the Grapes which were to be used for The Holy Sacrifice.

However, instigated by his mother, the impious Boleslas, his brother, realising what Jesus had foretold "that a man will have for his enemies those of his own family" (Gospel), determined to get rid of the Duke.

He invited him to a banquet, and, afterwards, followed him to a Church, where he cruelly stabbed him as he was Praying for his enemies.

Saint Wenceslaus died in 938 A.D. Hungary, Poland, and Bohemia chose him for their Patron.

Mass: In virtúte.

Dode Church. “Our Lady Of The Meadows”. Prior To Rebuilding In 1902, The Last Mass Was Celebrated Here In 1367. Only Remnant Of A Kent Village Wiped Out In “The Black Death” In 1349.

Dode Church, 

Kent, England.

Photo: 18 August 2012.

Source: Own work.

Author: Agw19666.

(Wikimedia Commons)

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

Dode (in Old English, Dowde) was a Village in England that was wiped out by The Black Death in 1349. All that remains is the de-Consecrated Church, which was rebuilt in the 1990s.

Archaeological evidence shows habitation in the Dode area during the time of The Roman Empire.

The Church at Dode was built during the Reign of William II of England at some point between 1087 and 1100. It was built on a man-made mound. The nearby hill is known as “Holly Hill”, which is a corruption of “Holy Hill”, and the lane which leads to the Village is “Wrangling Lane”, showing that the mound could be the site of a meeting place.

The Church stands at the end of a 10-mile long Easterly-running Ley Line, connecting three Pre-Reformation Churches, two Roman sites, a Bronze Age burial ground, and two of the Medway megaliths - the Coffin Stone and Kit's Coty House.

Dode Church,

Kent, England.

Photo: 18 August 2012.

Source: Own work.

Author: Agw19666.

(Wikimedia Commons)

The Village of Dode was virtually wiped out by The Black Death during the 14th-Century, and its Church last used as a place of Worship in 1367, then de-Consecrated on the orders of Thomas Trilleck, the Bishop of Rochester. It was originally twinned with another Early-Norman Church in Paddlesworth (now in Snodland). Kent.

Stones from the Church were used to build a Mediæval Church nearby.

According to local legend, the last survivor of The Black Death at Dode was a seven-year-old girl, known as The Dode Child. It is said that she took refuge in the Church after all the other Villagers were dead, and died within its walls. The Dode Child is supposed to haunt the Churchyard, having first appeared on a Sunday morning each month for several years, and then every seven years.

Dode Church,

Kent, England.

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Dowde (or Dode) Church, Kent.

This Norman Church was originally twinned with the Church in Paddlesworth, Kent, and served the Village of Dode. Today, the Church is left virtually isolated down a No-Through Road, with only a few local farms to keep it company. The Village of Dowde no longer exists, as it was wiped out by

The Black Death in the 14th-Century.

Photo: 25 June 2005.

Source: From geograph.org.uk

Author: Hywel Williams

Attribution: Attribution: Hywel Williams.

(Wikimedia Commons)

Following The Black Death, the Village was abandoned, and the Church stood empty for Centuries. In 1901, it was purchased by an antiquarian, George M. Arnold, Mayor of Gravesend, Kent. He restored the walls and roof of the Church and, in 1954, the Arnold family returned the building to The Catholic Church. It was re-Dedicated as The Church of Our Lady of The Meadows and Mass was Celebrated there at least once a year.

Eventually, the building deteriorated again and was vandalised. In 1990, Doug Chapman, a Chartered Surveyor who had worked at Canterbury Cathedral, purchased the Church and began restoring the building, originally with the intention of turning it into a week-end home. Since 1999, it has been Licensed as a Civil Wedding venue.

The Wedding venue hit the British Press in December 2009 because of the snowfall which occurred across the Country. A bride-to-be called BBC Radio Kent for assistance, when she realised that the transport arranged for her wedding would not be able to travel down the narrow Lane to Dode.

A number of volunteers stepped forward, providing enough Four-Wheel-Drive vehicles to transport the Wedding Party and their guests, both to the venue at Dode, and then, afterwards, to The Leather Bottle pub, in Cobham, Kent.

J. R. R. Tolkien And The Beauty Of The Blessed Virgin Mary.

This Article is taken from, and can be read in full at,
CATHOLICISM PURE AND SIMPLE

The acclaimed British novelist J. R. R. Tolkien loved The Blessed Mother and considered her the standard for beauty.

My daughter is currently reading “The Lord Of The Rings” for the second time. As she progresses, I’m trying to point out to her some of the interesting Catholic trivia hidden within it.

For instance, did you know that the date when Frodo finally destroys The Ring is March 25 ? That day happens to be The Feast of The Annunciation, the day on which Christ was conceived and began the process of overthrowing evil once and for all.

Or, did you know that Lembas (the special Elven bread) is strangely similar to The Eucharist ? These allusions to Catholicism aren’t surprising. After all, Tolkien was a committed Catholic whose Faith was central to the way he viewed the World.

He says: “Out of the darkness of my life, so much frustrated, I put before you the one great thing to love on Earth: The Blessed Sacrament.”

With “The Lord Of The Rings”, he didn’t set out to write a specifically Catholic novel, but later admitted that it did turn out to be “a fundamentally Religious and Catholic Work; unconsciously so at first, but consciously in the revision.”

My favourite bit of Catholicism, that seeps through into the books, is the appearance of The Blessed Virgin Mary. The elf, Galadriel, isn’t strictly speaking an analogy for The Blessed Virgin - meaning she isn’t simply a character that’s Mary in disguise - but she shares a number of characteristics with Mary.

Tolkien considered Galadriel the “greatest of elven women,” in the same way we might consider Mary to be the greatest of all Saints. Galadriel is a Queen, a Mother, and often appears as a Miraculous Helper. Sometimes, she is referred to simply as: “The Lady of Light”.

These are clear references to The Blessed Virgin. Mary shares all of these characteristics. She often appears to those in need to offer aid, which is why one of her Titles is “Mother of Perpetual Help.”

The most interesting image of Galadriel occurs in “The Two Towers”, when she appears as an apparition to Sam and offers assistance. Tolkien writes: Far off, as in a little picture drawn by elven-fingers, he saw Lady Galadriel standing on the grass in Lorien, and gifts were in her hands. “And you, Ringbearer”, he heard her say, remote but clear, “for you, I have prepared this.”

She then reminds Sam that he has a Miraculous Light, that will cast out The Darkness and all The Evil Creatures who dwell in it. Sam uses it, and he and Frodo are saved.

Tolkien really loved Mary. He even translated The Hail Mary into an elven language. Above all, he considered her to be the standard for beauty, which is why he describes Galadriel as surpassingly beautiful.

In a letter to a Priest friend, Father Robert Murray, who had pointed out the similarities between Mary and Galadriel, Tolkien writes: “I think I know exactly what you mean . . . by your references to Our Lady, upon which all my own small perception of beauty, both in majesty and simplicity, is founded.”

That’s an audacious claim, to say that Mary is the foundation upon which all other beauty is built. What does he mean by this ? He probably doesn’t mean that she is the most physically beautiful woman who has ever lived. He’s referring to an inner beauty, a beauty of Soul.

This is why he talks about her Majesty, which in The Catholic Tradition is based in her humble obedience to God’s call, and her simplicity, by which he means her life as intensely focused on Love, alone, suffering no complicating distractions. Mary’s physical beauty is a reflection of her beautiful Soul.

Yes, Tolkien’s claim is shocking at first, but it’s a truly Catholic claim. For instance, the Venerable Fulton Sheen says something similar:

“Mary’s beautiful purity must have been such that it attracted less the eyes than the Souls of men . . . It is very likely that a human eye, looking on Mary, would scarcely have been conscious that she was beautiful to the eye. Just as corrupt men are made pure in thought by the sight of an innocent child, so all fleshly thoughts would have been left behind, by one vision of The Immaculate Mother.”

 

He’s saying the same thing as Tolkien, that her simple beauty becomes the foundation for purifying the minds of those of us who look to her. If our lives are made beautiful, if our Souls begin to glow with love, it is because we first saw the beauty of our spiritual Mother.

The way Tolkien describes Mary’s beauty, helps us to define what it really is. It has nothing to do with physical looks or flattering clothes; it has everything to do with the way the Soul shines through and makes a person beautiful inside and out.

Beauty is pure, innocent, graceful, and transcendent. It is radiant with love. If we, too, would be beautiful, the first place to adorn is our Interior Life. In this, we can have no better example than The Blessed Virgin.

(Source: Michael Rennier).

Saint Cosmas And Saint Damian. Martyrs. Feast Day, Today, 27 September.

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

Saint Cosmas And Saint Damian.
   Martyrs.
   Feast Day 27 September.

Semi-Double.

Red Vestments.

English: Saints Cosmas and Damian.

Miniature from The Grandes Heures of Anne of Brittany

Français: Saint Côme et saint Damien,

miniature extraite des Grandes Heures d'Anne de Bretagne

Deutsch: Die heiligen Brüder Cosmas und Damian.

Miniatur aus dem Stundenbuch der Anne de Bretagne

Artist: Jean Bourdichon (1457–1521).

Date: Circa 1503-1508.

Current location: Bibliothèque nationale de France, Paris.

Source/Photographer: Image comes from Gallica Digital Library. Uploaded, stitched and restored by JLPC

(Wikimedia Commons)

Saint Cosmas and Saint Damian, brothers by blood, were more closely united by their Faith in Jesus Christ, and by their common Martyrdom suffered for His sake (Alleluia). They were born, and lived, at Aegea, Asia-Minor, and distinguished themselves as physicians in the reign of the Emperors Diocletian and Maximian.

They healed the worst diseases as much by the virtue of Christ as by their medical knowledge. Their reputation soon spread everywhere. They were Apostles, rather than physicians. They healed Souls as well as bodies, following the example of Jesus in Palestine (Gospel).

They were denounced to the Prefect, Lysias, and suffered the most cruel torments and were thrown in chains into the sea, stoned, and exposed to the flames of a brazier. After several other tortures, they died about 285 A.D., and their bodies were taken to Rome and laid in the ancient temple of Romulus, transformed into a Church, which was Dedicated to them and where The Station is held on The Thursday of The Third Week in Lent.

Their names are mentioned in The Canon of The Mass, after several Roman Martyrs.

Mass: Sapiéntiam.

A Blast From The Past: “If Tomorrow Never Comes”. Sung By: Ronan Keating.

“If Tomorrow Never Comes”.

Sung By: Ronan Keating.

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Dallas Symposium On The Centenary Of Blessed King And Emperor Karl von Habsburg (☩ 1922). Saturday, 15 October 2022.

Dallas Symposium On The Centenary Of

Blessed King And Emperor Karl von Habsburg (☩ 1922). Saturday, 15 October 2022.

Illustration: RORATE CÆLI

The Traditional Mass In The Heart Of Limerick, Ireland. Deo Gratias.

  

The Traditional Mass.

Limerick, Ireland.

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Saint Cyprian, Martyr. Saint Justina, Virgin And Martyr. Feast Day 26 September.

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

Saint Cyprian and Saint Justina.
   Martyrs and Virgin.
   Feast Day 26 September.

Simple.

Red Vestments.

English: Saints Cyprian and Justina (honoured in

The Eastern Orthodox Church and Oriental Orthodoxy

as Christians of Antioch, Pisidia, who, in 304 A.D., during

The Persecution of Diocletian, suffered Martyrdom at

Nicomedia (modern-day İzmir, Turkey) on

26 September, the date of their Feast).

Български: Икона на Свети Киприан и Юстина. 

Икона подарена от моето семейство, на храм „Св.Св. Кирил и Методий“.

Photo: 26 October 2009.

Source: Own work.

Author: Biso

(Wikimedia Commons)

"At Nicomedia,", says The Roman Martyrology, "the birth in Heaven of the Holy Martyrs Cyprian and Justina. This Virgin, after having endured many tortures under The Emperor Diocletian and the Judge Eutholmus, converted to Christ, Cyprian the Magician, who had tried to seduce her by his incantations.

Both were Martyred in 304 A.D. Their bodies, after having been exposed to wild beasts, were taken away during the night by some Christian mariners, who carried them to Rome. Later, they were buried in the Basilica of Constantine (Saint John Lateran), near the Baptistry."

Mass: Salus autem. The Third Mass for Several Martyrs.
Secret: Munera. From The Second Mass for Several Martyrs.
Postcommunion: Præsta. From The Second Mass for Several Martyrs.

Arch-Basilica of Saint John Lateran, Rome.

Saint Cyprian and Saint Justina

are buried in this Arch-Basilica.

Photo: 21 April 2015.

Source: Own work.

Author: Livioandronico2013

(Wikimedia Commons)

Albi Cathedral, France (Part Eight).

 

English: The Choir and Rood Screen of Albi Cathedral.

Français: Chœur et jubé (Cathédrale Sainte-Cécile, Albi).

Magyar: Kórus és szentélyrekesztő,

Szent Cecília-katedrális, Albi.

Polski: Chór kapłański oraz łuk tęczowy

(katedra Św. Cecylii w Albi we Francji).

Photo: 2 July 2008.

Source: Own work.

Author: Pom²

(Wikimedia Commons)

Only a small amount of Mediæval Stained-Glass remains in the Windows of the Cathedral; most of the Windows date to the 19th-Century and 20th-Century.

The Chapel of The Holy Cross has two Windows from the 15th-Century, representing Saint Helen, carrying a large Cross, and King Louis IX, holding a Cross-Reliquary.

Some pieces of earlier Glass, including the Coat-of-Arms of Bishop Beraud de Fargues, dated between 1320 and 1330, are incorporated into more modern Windows.[23]

English: Relics and Statue of Sainte-Cécile, dating from 1599, in Albi Cathedral. The Statue is meant to represent the body as it was found in the coffin. The orginal 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 main Organ of the Cathedral is located on the Upper Level of the Nave, at the West End, above the mural of The Last Judgement.

It was commissioned in 1734 by Bishop de la Croix de Castries from the craftsman Christophe Moucherel.

It replaced the first Organ, dating to the end of the 15th-Century, and a second smaller Organ, which had been attached to the Rood Screen.

English: Chapel of Saint Marguerite, Albi Cathedral.

Français: Décor géométrique des chapelles hautes et basses de la cathédrale d'Albi. Décor assez mystérieux. Certains critiques y voient des anamorphoses, parfois à sous-entendus érotiques.

Photo: 26 October 2018.

Source: Own work.

Author: Franzrycou

(Wikimedia Commons)

The 1734 Organ re-used some of the Pipes of the first Organ. The decoration atop the Pipes of the Organs includes, at the top, statues of Angels with wings spread and with Trumpets, heralding Saint Cécile and Saint Valerien. Below these, are two White Unicorns with the Coats-of-Arms of the Bishop, and, below these, five towers of Pipes, crowned with statues of Angel-Musicians. The Cornice of the Organ rests on the shoulders of two sculpted Atlantes.[24]

The Organ was rebuilt and restored several times in the 18th-Century and 19th-Century; it was radically rebuilt in 1903 into a more Romantic Style, while preserving the older Pipes, above. Between 1977 and 1981, it was rebuilt, again, restoring its original Classical Style.[24]

The Treasury of the Cathedral is a rare example of a Cathedral Treasury located in its original place. It is a Vaulted Chamber attached to the Disambulatory of the Nave on the North Side of the Cathedral, above the Vestiaire and adjoining the Sacristy, which was constructed in the Late-13th-Century, and was used to keep the Church Archives and precious objects.

English: Upper Level decoration in the Choir, Albi Cathedral.

Français: Clôture du chœur

de la cathédrale Sainte-Cécile d'Albi.

Photo: 8 June 2012.

Source: Own work.

Author: GO69

(Wikimedia Commons)

It has a series of Niches, closed with Iron Grills. It was remade into a museum in 2001. It originally contained the Cathedral’s most precious Relic, a fragment of The True Cross, which disappeared in 1792 during The French Revolution, at the same time that the Cathedral High Altar and Silver Retable were destroyed.

The objects displayed now are largely those that were preserved in the tombs of the Bishops, as well as more recent objects made in the Early-19th-Century.

It also contains a collection of paintings, including a polyptyque of scenes from the life of The Virgin and Child from the 16th-Century, with a gilded background, and paintings of the life of Saint Cecilia, the Patron Saint of the Cathedral.

English: Part of Albi Cathedral’s Quadripartite Cross-Ribbed Vault located thirty metres above the ground, painted between 1509 and 1512.

Deutsch: Teilansicht eines vierteiligen Kreuzrippengewölbes, 30 m über Bodenniveau, in den Jahren 1509 bis 1512 ausgemalt, Kathedrale Sainte-Cécile, Albi, Frankreich.

Français: Détail d'une voûte sur croisée d'ogives quadripartite située à 30m du sol, peintes entre 1509 et 1512 (Cathédrale Sainte-Cécile, Albi)

Photo: 2 July 2008.

Source: Own work.

Author: Pom²

(Wikimedia Commons)

PART NINE FOLLOWS.