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

Monday 7 November 2022

Pope Urban VII. The Shortest Papal Reign In History.



English: Illustration of Pope Urban VII.
Italiano: Papa Urbano VII.
Date: 1590.
Source: BWEB
Author: Roman Painter.
(Wikimedia Commons)


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

Pope Urban VII (Latin: Urbanus VII; who lived 4 August 1521 – 27 September 1590), born Giovanni Battista Castagna, was head of The Catholic Church, and Ruler of The Papal States from 15 September 1590 to 27 September 1590. His thirteen-day Papacy is the shortest in history.

Giovanni Battista Castagna was born in Rome in 1521 to a noble family as the son of Cosimo Castagna of Genoa and Costanza Ricci Giacobazzi of Rome.[1]

Castagna studied in universities all across Italy and obtained a Doctorate in Civil Law and Canon Law when he finished his studies at The University of Bologna. Soon after, he became Auditor of his uncle, Cardinal Girolamo Verallo, whom he accompanied as Datary on a Papal Legation to France.[1]


He served as a Constitutional Lawyer and entered the Roman Curia during the Pontificate of Pope Julius III as the Referendary of The Apostolic Signatura. Castagna was chosen to be the new Archbishop of Rossano on 1 March 1553, and he would quickly receive all the Minor and Major Orders culminating in his Ordination to the Priesthood on 30 March 1553 in Rome. He then received Episcopal Consecration, a month after, at the home of Cardinal Verallo.

He served as the Governor of Fano from 1555 to 1559 and later served as the Governor of Perugia and Umbria from 1559 to 1560. During the Reign of Pope Pius IV, he settled satisfactorily a long-standing boundary dispute between the inhabitants of Terni and Spoleto.[1] Castagna would later participate in The Council of Trent from 1562 to 1563 and served as the President of several Conciliar Congregations.

He was appointed as The Apostolic Nuncio to Spain in 1565 and served there until 1572, resigning his Post from his Archdiocese a year later. He also served as The Governor of Bologna from 1576 to 1577. Among other positions, he was The Apostolic Nuncio to Venice from 1573 to 1577 and served also as The Papal Legate to Flanders and Cologne from 1578 to 1580.

Pope Gregory XIII elevated him to the Cardinalate on
12 December 1583 and he was appointed as The Cardinal-Priest of San Marcello.


After the death of Pope Sixtus V, a Conclave was convoked to elect a successor. Ferdinando I de' Medici, Grand Duke of Tuscany, had been appointed a Cardinal at the age of fourteen, but was never Ordained to The Priesthood.

At the age of thirty-eight, he resigned the Cardinalate upon the death of his older brother, Francesco, in 1587, in order to succeed to the Title. (There were suspicions that Francisco and his wife died of arsenic poisoning after having dined at Fernando's Villa Medici, although one story has Fernando as the intended target of his sister-in-law.)

Ferdinando's foreign policy attempted to free Tuscany from Spanish domination. He was consequently opposed to the election of any candidate supported by Spain. He persuaded Cardinal Alessandro Peretti di Montalto, grand-nephew of Pope Sixtus V to switch his support from Cardinal Marco Antonio Colonna, which brought the support of the younger Cardinals appointed by the Late-Sixtus.[2]

Castagna, a seasoned diplomat of moderation and proven rectitude, was elected as Pope on 15 September 1590 and selected the Pontifical name of “Urban VII”.[2]


Pope Urban VII’s short passage in Office gave rise to the world's first-known public smoking ban, as he threatened to excommunicate anyone who “took tobacco in the Porchway of, or inside, a Church, whether it be by chewing it, smoking it with a pipe, or sniffing it in powdered form through the nose”.[3]

Pope Urban VII was known for his charity to the poor. He subsidised Roman bakers, so they could sell bread under cost, and restricted the spending on luxury items for Members of his Court. He also subsidised Public Works projects throughout The Papal States. Urban VII was strictly against nepotism and he forbade it within The Roman Curia.[4]

Urban VII died in Rome on 27 September 1590, shortly before midnight, of malaria. He had reigned for thirteen days. He was buried in The Vatican. The funeral oration was delivered by Pompeo Ugonio. His remains were later Transferred to the Church of Santa Maria sopra Minerva, on 21 September 1606.

His estate, valued at 30,000 scudi, was bequeathed to the Archconfraternity of The Annunciation, for use as dowries for poor young girls.


English: Pope Urban VII's Coat-of-Arms.
Français: Armoiries du pape Urbain VII : bandé de gueules et d'argent, au chef de gueules, chargé d'une feuille de châtaignier d'or, et soutenu d'une divise d'or
Source du blasonnement :
Date: 9 August 2008.
Source: Own work.
Author: Odejea
(Wikimedia Commons)

“Tickets, Please”.



Photo source : funny-pictures.vidzshare.
Illustration: TOPITO

Sunday 6 November 2022

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
The Saint Andrew Daily Missal,
1952 Edition,
with the kind permission of
Artist: René de Cramer.
“Copyright Brunelmar/Ghent/Belgium”.
Used with Permission.

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

“Warrior’s Lament”.



A Little Levity To Lighten Your Day . . .


BREAKING NEWS.

Vauxhall Insignia Police Demonstrator, VX18 XJA, Birmingha… | Flickr

A thief has removed all Motorway Signs in Yorkshire.

Police are currently looking for Leeds.

Saturday 5 November 2022

Feasts Of The Holy Relics Preserved In The Churches Of The Diocese.


This Article was promulgated by reading the excellent Post by GREGORY DIPIPPO, entitled “The Feast of The Holy Relics”, on 26 October 2022, at NEW LITURGICAL MOVEMENT


Part of the Relics collection of

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

Feasts Of The Holy Relics Preserved In The Churches Of The Diocese.
   5 November.

Red Vestments.


After having Solemnised on All Saints’ Day The Feast of The Holy Souls who have entered Heaven, The Church honours on this day The Holy Relics of their bodies which will remain on Earth until the glorious resurrection, a pledge of which we Venerate in their ashes (Collect).

From the earliest times, The Church Celebrated The Holy Mysteries on the tombs of the Martyrs in the Catacombs, in order to show that these Saints had mixed their blood with that of The Victim of Calvary (Antiphon at Vespers).

Later, at Rome, splendid Churches were erected as vast reliquaries to preserve the tombs of celebrated Martyrs. The remains of those who had confessed their Faith were placed under The High Altar, or “Confession”, of the Basilicas which were Dedicated to them.


Hence, the custom of translating the Relics of the Martyrs, which is one of the essential parts of the ceremony of Dedicating a Church, similar to the custom of placing Relics of Holy Martyrs in a small cavity of The Altar Stone, called the Sepulchre (see Page 936 of The Saint Andrew Daily Missal).

That is why The Mass of The Holy Relics, which dates from the 19th-Century, is composed in a great measure, like today’s Office, of passages taken from The Common of Martyrs (Gospel, Epistle, Gradual, Offertory) and why the Priest wears Red Vestments.

Just as a supernatural virtue issed from The Sacred Humanity of Jesus and healed those who had approached Him (Gospel), so, too, the Saints who enjoy God in Heaven (Gradual, Communion) may by their Relics (bones (Introit), ashes, clothes, or other objects used by them)“work wonders on Earth”, says the Collect, “exorcise devils, heal the sick, restore sight to the blind, cleanse lepers, drive away temptations and bestow on all the excellent gifts which come from The Father of Light”. [Editor: Lessons of The Second Nocturn at Mattins].

Mass: Multæ tribulatiónes.
Epistle: Hi viri.
Gospel: Descéndens.
Creed.

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


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

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)



Geoffrey Burgon:
“Tinker Tailor Soldier Spy”
(1979)
including “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 tuæ 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.


Note:

The solo singer on Geoffrey Burgon’s “Tinker Tailor Soldier Spy”, singing “The Nunc Dimittis” (see, above), is Paul Phoenix.

The following Text is from SINGERS.COM

Paul Phoenix’s long career in the music business began in the 1970s, when he became a Chorister in Saint Paul’s Cathedral Choir in the City of London.

He sang in the Queen’s Silver Jubilee service in 1977 and recorded the Ivor Novello award-winning theme “Nunc Dimittis”, by Geoffrey Burgon, in the BBC adaptation of John Le Carre’s “Tinker Tailor Soldier Spy’ in 1979, for which he was later awarded a Gold Disc.

In 1997, Paul successfully auditioned for The King’s Singers, and joined in September of that year. He left The King’s Singers in 2014 to launch a Coaching and Engagement Consultancy called PURPLE VOCALS

Mass Of Reparation For All The Abortions That Have Been Carried Out.



The Annual Mass of Reparation for Abortion
at England’s Shrine of Our Lady of Guadalupe.
Organised by The Latin Mass Society.
The next one will be at
12 Noon, Saturday, 12 November 2022.
Church of The Holy Child and Saint Joseph,
2, Brereton Road, Bedford,
Bedfordshire MK40 1HU.
Illustration: FLICKR/JOSEPH SHAW

The Church’s Web-Site can be accessed HERE

The Latin Mass Society’s Web-Site can be accessed HERE

Friday 4 November 2022

Wells Cathedral's Acts of Remembrance 2020.



Illustration: WELLS CATHEDRAL

This Article first appeared in November 2020.

Text is from Wells Cathedral's Newsletter.

On Remembrance Sunday, 2020, at 11.00 hrs. Poppy Petals fell from the ceiling of the Nave as The Last Post was played from The South Transept.

A silent vigil was held as an Act of Remembrance by all who were present in the Cathedral for individual Prayer and Reflection.

On Armistice Day, 2020, a similar Act of Remembrance took place at 11.00 hrs, culminating in a moving performance of Elgar's “Nimrod”, given by the Assistant Director of Music, Alexander Hamilton.

The Great West Doors of the Cathedral were opened, and members of the public were free to enter and observe a two-minute silence.

“At the going down of the Sun,
And in the Morning,
We will remember them.”

To ascertain the times of the 2022 Acts of Remembrance, please see the Wells Cathedral Web-Site.
Wells Cathedral’s Web-Site can be found HERE

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


Text 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,
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 Vitale e Agricola; sarcofago di San Agricola.
Date: 27 April 2007.
Source: Own work.
Author: M.Violante
(Wikimedia Commons)


Saint Vitalis and Saint Agricola.
Available on YouTube at
"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 free of wounds. 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, Today, 4 November.


Text 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 Borromeo
in 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 Borromeonello Scurolo di san Carlo Borromeo.
Source: Own work.
Author: G.dallorto
(Wikimedia Commons)


Saint Charles Borromeo.
Available on YouTube at


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.

Thursday 3 November 2022

“Someone You Loved”. Sung By: Lewis Capaldi.



"Someone You Loved".
Sung By: Lewis Capaldi.
Available on YouTube

Within The Octave Of All Saints’ Day. 3 November. 5 November. 6 November. 7 November.



“The Church Triumphant”.
“The Church Militant”.
“The Church Suffering”.
who reproduce Text and Illustrations from
The Saint Andrew Daily Missal, 1952 Edition,
with the kind permission of
Artist: René de Cramer.
“Copyright Brunelmar/Ghent/Belgium”.
Used with Permission.

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

Mass: As on The Day of The Feast.
Creed: Is said.


Saint Hubert.
Stained-Glass Window, Saint Patrick’s Basilica,
Ottawa, Canada.
By: Mayer and Company, Munich, Germany. 1898.
Photo: July 2011.
Source: Own work.
Author: Workshop of Franz Borgias Mayer (1848–1926).
Photo: Wojciech Dittwald.
(Wikimedia Commons)

Loaves are Blessed on this day (3 November) in honour of Saint Hubert, whose Feast Day is Solemnised in certain Countries on 3 November.

The Church asks God to preserve those, who eat of this bread, from the bite of mad dogs, from The Plague, and other diseases.

In a Second Prayer, The Church makes a similar request for the animals to whom the bread is given.

The following Text is from Wikipedia - the free encyclopædia.

Hubertus or Hubert (circa 656 A.D. – 30 May 727 A.D.) was
a Christian Saint who became the first Bishop of Liège in
708 A.D.[1] He was the Patron Saint of Hunters, Mathematicians, Opticians, Metalworkers.

Known as the “Apostle of The Ardennes”, he was called upon, until the Early-20th-Century, to cure rabies through the use of the Traditional Saint Hubert’s Key.[2]

The Seven Sacraments Altarpiece. By: Rogier van der Weyden (1399 – 1464).



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


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, 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

[Editor: The reference, above, to “an Elevation Torch” [or, Candle] can be explained by the following Text from Wikipedia.

Elevation Candle.

Until 1960, The Tridentine Form of The Roman Missal laid down that, at the Epistle side of the Altar, a Candle should be placed, that was to be lit at the Elevation.[18] In practice, except in Monasteries and on special occasions, this had fallen out of use long before Pope Saint John XXIII replaced the Section on the General Rubrics of The Roman Missal with his Code of Rubrics,[19][20][21], which no longer mentioned this custom.

The Candle was called the Elevation Candle, the Consecration Candle, or, the Sanctus Candle.[22]

The purpose for lighting a Candle or Torch, at this point, was to enable people in ill-lit Churches to see The Host as it was raised, the same reason that led to placing behind the Altar a Dark Hanging to offer a distinct contrast to the White Host.[23][24][25] ]


Mediæval Miniatures often show the Elevation of The Host with the Altar Server lifting the Priest's Chasuble to help secure the maximum elevation by taking some of the weight of the Vestment, while, at the same time, holding aloft a long rod, topped with a Lighted Candle, to about the same height as the raised Host.[26][27][28]

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-Mediæval 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 Mediæval 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 Rogier 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-Mediæval 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 encyclopædia.

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.
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