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.

To find out when the 2025 Mass of Reparation is taking place, The Church’s Web-Site can be accessed HERE

The Church of The Holy Child and Saint Joseph, 

2, Brereton Road, Bedford, Bedfordshire MK40 1HU.

Illustration: FLICKR/JOSEPH SHAW

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

Hereford Cathedral (Cathedral Of Saint Mary The Virgin And Saint Ethelbert The King). (Part Six).

Page from The Hereford Gospels, circa 780 A.D.,

illustrating The Gospel of John.

This File: 22 June 2010.

Source: Own work.

User: Magnus Manske

(Wikimedia Commons)

Text from Wikipedia - the free encyclopædia,

unless stated otherwise.

Work on a new Cathedral Green, with pathways, seating and gated entrance to the Cathedral was undertaken in 2010 to 2011.

In 2015, landscaping and restoration efforts began at the Cathedral, financed by the Heritage Lottery Fund. These efforts involved reburying thousands of corpses, some from 12th-Century to 14th-Century stone-lined graves from the Cathedral burial plot.

Unusually, from The Middle Ages until the 19th-Century, anyone who died on Church Grounds had to be buried within the precinct. Notable among those reburied during the restoration was a Knight, who may have participated in Tourney Jousting, a man with leprosy (it was unusual for lepers to be buried anywhere near a Cathedral due to the stigma associated with the disease), and a woman with a severed hand (a typical punishment for a thief, who would normally be unlikely to receive Cathedral burial).[8]

Hereford Cathedral.

Collection: A. D. White Architectural Photographs,

Cornell University Library. Sir George Gilbert Scott’s

Rood Screen in the background.

Photo: 1865-1885.

Source:

Hereford Cathedral (Interior, with Scott's Screen)

Author: Cornell University Library

(Wikimedia Commons)

Among eminent men who have been associated with the Cathedral – besides those who have already been mentioned – are:

Robert of Gloucester, the chronicler, prebendary in 1291;

Nicholas of Hereford, Chancellor in 1377, a remarkable man and leader of the Lollards at Oxford;

John Carpenter, Town Clerk of London, who Baptised there on 18 December 1378;

John Rutter’s “Requiem”.

Hereford Cathedral 1991.

Available on YouTube

HERE

Polydore Vergil, Prebendary in 1507, a celebrated literary man, as indeed with such a name he ought to have been;

Miles Smith, Prebendary in 1580, promoted to the See of Gloucester – one of the translators of the Authorised King James Version of the Bible;

Another famous Prebendary was Cardinal Thomas Wolsey, who was appointed to a Stall in 1510.

Hereford Cathedral Altar.

Photo: 1865-1885.

Source: Hereford Cathedral

Author: Cornell University Library

(Wikimedia Commons)

The list of Post-English Reformation Prelates includes:

Matthew Wren, who, however, was Translated to Ely Cathedral in the year of his Consecration (1635);

Nicholas Monck, a brother of George Monck, 1st Duke of Albemarle, who died within a few months of Consecration (1661);

and two Bishops, around whom Ecclesiastical storms raged, Benjamin Hoadley and Renn Hampden. Hoadley, by his Tract against the Non-Jurors and his Sermon on The Kingdom of Christ, provoked the Bangorian Controversy and so led to the virtual supersession of Convocation from 1717 to 1852.

13th-Century Early-English Arcaded

Triforium and Clerestory at Hereford Cathedral.

Photo: 29 May 2012.

Source: Hereford Cathedral

Author: Hugh Llewelyn

(Wikimedia Commons)

The appointment of Hampden to this See by Lord John Russell in 1847 was bitterly opposed by those who considered him latitudinarian, including the Dean of Hereford, and was appealed against in the Court of Queen's Bench.

Hampden went his way, which was that of a student rather than that of an administrator, and ruled the Diocese for twenty-one years, leaving behind him at his death, in 1868, the reputation of a great scholar and thinker.

There is decorative work on the Norman Architecture Columns and Arches of the Nave built by Reynelm’s Stone-Masons.

The Canopied Monument in Hereford Cathedral to

Bishop Aigueblanche (Aquablanca), 1268. One of the

earliest and finest of its type in Britain.

Photo: 29 May 2012.

Source: Hereford Cathedral

Author: Hugh Llewelyn

(Wikimedia Commons)

Until 1847, the Pavement, which had been laid down in the Nave, completely hid the square bases on which the Piers rest.

Double semi-cylindrical Shafts run up their North and South faces, ending in small Double Capitals at the height of the Capitals of the Piers, themselves.

In the South Aisle of the Nave are two 14th-Century Church Monument tombs, with effigies of unknown Ecclesiastics. The tomb of Sir Richard Pembridge in the reign of King Edward III, is an example of the armour of that period, and it is one of the earliest instances of an effigy wearing The Garter. A square-headed doorway gives access from this Aisle to the Bishop’s Cloister.

PART SEVEN FOLLOWS.

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 2025 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. Red Vestments.

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 Vitalis and Agricola,

Bologna, Italy.

Date: 7 April 2014.

Source: Own work.

Attribution:

Čeština: Petr Vodička, Wikipedie

English: Petr Vodička, Wikipedia

Author: Petr Vodička

(Wikimedia Commons)

English: The Sarcophagus of Saint Agricola,

in the "Basilica dei santi Vitale e 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

HERE

“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.

“The Most Beautiful Thing This Side Of Heaven”. Unbelievably Moving Liturgy For All Souls’ Day. Saint John Cantius Church, Chicago. “Mozart’s Requiem”.

The Annual Solemn High Mass of Requiem 

from Saint John Cantius Church, Chicago.

“Mozart’s Requiem”.

Sung by:

SAINT CECILIA CHOIR AND ORCHESTRA

Available on YouTube

HERE

The following Text is from

CATHOLICISM PURE AND SIMPLE

It is the Mass that Cardinal Newman, the leader of 

The Oxford Movement into The Church, said that 

he could attend forever, and not be tired. 

Father Faber, Priest of the Brompton Oratory 

in the 19th-Century, described The Mass as 

“the most beautiful thing this side of Heaven”, 

and he continued:

“It came forth out of the grand mind of The Church, and lifted us out of Earth and out of self, and wrapped us round in a cloud of mystical sweetness and the sublimities of a more than Angelic Liturgy, and purified us almost without ourselves, and charmed us with the Celestial Charming, so that our very senses seemed to find vision, hearing, fragrance, taste, 

and touch beyond what Earth can give”

Father Adrian Fortescue, a great English Liturgical 

historian, has said that The Mass of The Roman Rite 

is the most Venerable Rite in Christendom.

Pious Popes, too, have often 

wondered at the majesty of The Mass. 

Pope Clement VII said in 1604:

“Since the Most Holy Sacrament of the Eucharist, by means of which Christ Our Lord has made us partakers of His Sacred Body, and ordained to stay with us unto the consummation of the World, is the greatest of all the Sacraments, and it is accomplished in The Holy Mass, and offered to God the Father for the sins of the people, it is highly fitting that we, who are in one body which is The Church, and who share of the one Body of Christ, would use in this ineffable and awe- inspiring Sacrifice the same manner of Celebration 

and the same Ceremonial Observance and Rite”

Pope Urban VII in 1634 said:

“If there is anything Divine among man’s possessions 

which might excite the envy of the citizens of Heaven (could they ever be swayed by such a passion), this is undoubtedly the Most Holy Sacrifice of The Mass, by means of which men, having before their eyes, and taking into their hands, the very Creator of Heaven and Earth, experience, while still on Earth, a certain anticipation of Heaven.

“How keenly, then, must mortals strive to preserve and protect this inestimable privilege with all due Worship and Reverence, and be ever on their guard, lest their negligence offend 

the Angels who vie with them in eager adoration !”

The Mass ! 

What a treasure ! 

Christ’s own Sacrifice on The Cross, left for us wrapped 

in an act seeping with Beauty and Divine Celebration !

Saint Charles Borromeo. Bishop. Confessor. Feast Day, Today, 4 November. White Vestments.

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.

Photo by Giovanni Dall'Orto,

Italiano: Duomo di Milano - Stemma della famiglia Borromeo, nello Scurolo di san Carlo Borromeo.

Foto di Giovanni Dall'Orto.

Source: Own work.

Author: G.dallorto

(Wikimedia Commons)

Saint Charles Borromeo.

Available on YouTube

HERE

Saint Charles Borromeo.

Available on YouTube

HERE

Portrait of Saint Charles Borromeo.

Artist: Giovanni Ambrogio Figino (1553–1608).

Date: Between 1560 and 1608.

Collection: Museo Diocesano in Milan

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.

Solemn High Mass Of Requiem On All Souls’ Day. 2 November 2024. Saint John Cantius Church, Chicago.

Solemn High Mass of Requiem.

All Souls’ Day.

2 November 2024.

Saint John Cantius Church, Chicago.

Available on YouTube

HERE

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

“Someone You Loved”.

Sung By: Lewis Capaldi.

Available on YouTube

HERE

Saint Hubert Of Liège. Bishop And Confessor. Feast Day 3 November. White Vestments.

Saint Hubert of Liège. 

Stained-Glass Window, 

Saint Patrick’s Basilica, Ottawa, Canada. 

Made By: Mayer Co., Munich. 1898.

Photo: July 2011.

Source: Own work.

File licensed under the 

Creative Commons Attribution-

Share Alike 3.0 Unported licence.

Author: Wojciech Dittwald.

(Wikimedia Commons)

Text from “The Liturgical Year”.
   By: Abbot Guéranger, O.S.B.
      Volume 15.
      Time After Pentecost.
      Book Six.

Rome, wishing to admit as few interruptions as possible into the present great Octave, gives but a brief notice of Saint Hubert in the Martyrology.

It is fitting that we should imitate her reserve. Were we, however, to omit all mention of him, Christian huntsmen, so faithful in proclaiming their glorious Patron, would not forgive us.

It is right, also, to satisfy popular piety, and the gratitude of numberless clients saved from hydrophobia and led to the feet of the Saint by a Tradition of a thousand years’ standing.

A few words suffice to recount his life.

Saint Hubert Abbey (French: Abbaye de Saint-Hubert), officially the Abbey of Saint Peter in the Ardennes (Abbaye de Saint-Pierre en Ardennes), was a Benedictine Monastery Founded in the Ardennes in 687 A.D., and suppressed in 1797. 

The former Abbey Church is now a Minor Basilica 

in the Diocese of Namur, Belgium.

Photo: 21 April 2005.

Source: Own work.

Licensed under the 

Creative Commons Attribution-

Share Alike 3.0 Unported licence.

Author: Jean-Pol GRANDMONT

(Wikimedia Commons)

After the mysterious Stag had revealed Christ to him, he became, from a hunter of wild animals, a hunter of Souls; and merited to be called the Apostle of the Ardennes, whose forests had often echoed to the baying of his hounds.

He became the disciple and successor of Saint Lambert; and transferring from Maestricht both the Relics of the holy Martyr-Bishop and the Episcopal See, he raised Liège from an obscure village to a great Town.

His Blessed death took place on 30 May 727 A.D. And, on 

3 November 743 A.D., his precious remains were taken up for the first time, which led to the Celebration of his Feast on this day.

In the following Century, the Abbey of Andain (Andage) was put in possession of the Sacred deposit, and took from him the name of Saint Hubert, as did likewise the Town which sprang up around and soon became a centre for pilgrimages.

Two Orders of Knighthood were established in honour of Saint Hubert; the first perished with the fall of the Bourbons, its last Chiefs; the other still exists, and the Kings of Bavaria are its Grand-Masters [Editor: Abbot Guéranger was writing in the Late-19th-Century].

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.

Artist: Rogier van der Weyden

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.

“Lead Kindly Light”. The Life And The Message Of Saint John Henry Newman (1801-1890). Now, The Thirty-Eighth Doctor Of The Church.

“Lead Kindly Light”.

The Life And The Message Of 

Saint John Henry Newman (1801-1890).

Now, the thirty-eighth Doctor of The Church.

This Article is taken from the excellent Blog 

“Once I Was A Clever Boy”, available HERE

Available on YouTube

HERE

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

“The Church Triumphant”.

“The Church Militant”.

“The Church Suffering”.

Illustration: UNA VOCE OF ORANGE COUNTY

who reproduce Text and Illustrations from

The Saint Andrew Daily Missal, 1952 Edition,

with the kind permission of

SAINT BONAVENTURE PUBLICATIONS

Artist: René de Cramer.

“Copyright Brunelmar/Ghent/Belgium”.

Used with Permission.

Within The Octave Of All Saints’ Day.

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.

Within The Octave Of All Saints’ Day.

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 is 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]