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

22 March, 2026

Spring Has Sprung In England. “Consider The Bluebells: Even Solomon, In All His Glory, Was Not Arrayed Such As These”. (With Apologies To All The Lilies).



(Common Bluebell),
Ashridge Forest, Hertfordshire, England.
Français : Jacinthe des bois
Photo prise à Ashridge Forest,
dans l'Hertfordshire (Royaume-Unis).
Photo: 28 April 2007.
Source: Own work.
Author: MichaelMaggs
(Wikimedia Commons)


A rich bed of Bluebells
(Hyacinthoides non-scripta),
Little Chittenden Wood,
Four Elms, Kent, England.
Photo: 16 May 2010.
Source: From geograph.org.uk
(Wikimedia Commons)


A Bluebell Wood.
Photo: 26 April 2012.
Uploaded by Magnus Manske
Author: Tony Hisgett, Birmingham, England.
(Wikimedia Commons)

Pope John IV (Papacy 640 A.D. - 642 A.D.).




Illustration: “The Lives And Times Of The Popes”,
by Chevalier Artaud de Montor, New York:
The Catholic Publication Society of America, 1911.
Originally published in 1842.
Date: 9 June 2013.
Author: Artaud de Montor (1772–1849).
(Wikimedia Commons)

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

Pope John IV (Latin: Ioannes IV; 12 October 642 A.D.) was The Bishop of Rome from 24 December 640 A.D. to his death in 642 A.D., aged fifty-five. 

His Election followed a four-month vacancy in the Papacy at Rome. He wrote to the Clergy of Ireland and Scotland to tell them of the mistakes they were making with regard to the time of keeping Easter, and he condemned Monothelitism as Heresy.

Pope John IV was a native of Iadera, Dalmatia.[1] He was the son of the Scholasticus (Advocate), Venantius. At the time of his Election, he was Archdeacon of The Roman Church, an important role in governing the See.

Pope John was considered “a very cultured man”.[2] At his Consecration on 24 December 640 A.D., which followed very soon after his Election, it is supposed that the Election was being confirmed by the Exarch of Ravenna, rather than directly by the Emperor in Constantinople.[3]

While still only Pope-Elect, John, with the other Bishops of The Catholic Church, wrote to the Clergy of Ireland and Scotland to tell them of the mistakes they were making with regard to the time of keeping Easter, and exhorted them to be on their guard against the Pelagian Heresy.



About the same time, he condemned Monothelitism as Heresy. Emperor Heraclius immediately disowned the Monothelite document known as the “Ecthesis”.

To Heraclius’ son, Constantine III, John addressed his Apology for Pope Honorius I, in which he deprecated the attempt to connect the name of Honorius with Monothelitism. Pope Honorius I, he declared, in speaking of “One Will in Jesus”, only meant to assert that there were not two contrary Wills in Him.[3]

Troubles in his native land, caused by invasions of Slavs, directed John’s attention there. To alleviate the distress of the inhabitants, John sent the Abbot Martin into Dalmatia and Istria with large sums of money for the redemption of captives.

As the ruined Churches could not be rebuilt, the Relics of some of the more important Dalmatian Saints were brought to Rome. Pope John then erected an Oratory in their honour.[1] It was adorned by the Pope with mosaics, depicting Pope John holding in his hands a model of his Oratory.

Pope John endeavoured, thereby, to convert the Slavs in Dalmatia and Istria to Christianity. Emperor Constantine Porphyrogenitus claimed that Duke Porga of Croatia, who had been invited into Dalmatia by Heraclius, sent to Emperor Heraclius for Christian teachers. It is supposed that the Emperor, to whom this message was sent, was Emperor Heraclius, himself, and that he sent it to Pope John IV.[3]

Pope John IV was buried in the Basilica of Saint Peter.

Lenten Array.



Lenten Array at Saint Birinus, Dorchester.
Illustration: FLICKR


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

In some Anglican Churches, a type of unbleached Linen or Muslin, known as “Lenten Array” is worn during the First Three Weeks of Lent; Crimson is worn during Passiontide; and, on Holy Days, the Colour Proper to the Day is worn.[169] 


Lenten Array.
Canterbury Cathedral Crypt.
Author: John Hawes
Illustration: FLICKR

Priest83 Commented on the above photograph on FLICKR.
This is the original Victorian High Altar (Gilbert Scott, circa 1880) re-sited in the Crypt after the Quire Sanctuary was re-ordered in 1977. The Altar Frontal (Antependium) shown is the Lenten Array. Usually the Altar is Vested with a splendid Red/Gold embroidered Antependium from, I think, 
the C. E.  Kempe studio, circa 1900.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

In certain other Anglican Churches, as an alternative to Violet for all of Lent, except Holy Week, and Red, beginning on Palm Sunday through Holy Saturday, Lenten Array, typically made of Sackcloth, such as Burlap, and trimmed with Crimson Cloth, often Velvet, is worn, even during Holy Week — since the Sackcloth represents Penance and the Crimson edges represent the Passion of Christ. 

Even the Veils that cover the Altar Crosses or Crucifixes 
and Statuary are made of the same Sackcloth 
with the Crimson trim.


Lenten Array at Saint Birinus, Dorchester.
Illustration: FLICKR


originally uploaded by Vitrearum (Allan Barton)
The Lady Altar in the Tame Chapel, at Fairford, in Gloucestershire, has a Reredos of 1913, by Geoffrey Webb, covered during Lent with Lenten Array. The Reredos Veil 
is decorated with a Central Rood Group, in Grisaille, with 
Ox-Blood Stencilling around it. The Tabernacle containing the image of Our Lady, that forms an Upper Level of the Reredos, is enclosed with doors and the backs of the doors are also Stencilled. Sadly, these seem to be the extent of the surviving Lenten Array; the Blue Frontal (Editor: Antependium) remains in place during Lent, as does the very Festal Dorsal with its Armorial embroidery. Consequently The Lenten Veiling rather loses its impact.
Text and Illustration: MEDIEVAL CHURCH ART


The following Text is taken from 
The Author is Fr. Lawrence Lew, O.P.

As Passiontide arrives, some Sacristans will be retrieving those Violet drapes and ironing them in preparation for the Traditional Roman custom of Veiling Sacred Images, etc, in the fortnight before The Sacred Triduum.

However, in The Sarum Use, the Sacred Images and the 
Altar were already Veiled on Ash Wednesday, and, rather 
than Violet Cloth (which would have been an expensive dye 
to acquire), Bleached Linen, with simple Lenten and Passion designs, are used: The idea was for a general negation 
of colour during Lent.


Lenten Array at Saint Birinus, Dorchester.
Illustration: FLICKR


The following Text is taken from 

“In [The Sarum] Tradition “according to the rules that in all the Churches of England be observed, all images [are] to be hid from Ash Wednesday to Easter Day.” 

“This is called The Lenten Array and it includes a Curtain, which hides the Reredos, a Frontal [Editor: Antependium], which covers the Altar, and Veils, which cover other Statues and Pictures in the Church.

“The colour was Lenten White, which was natural linen material, and was sometimes referred to as Ash Colour. 


Lenten Array.
Author: Dr Allan Barton.

“According to “An Introduction to English Liturgical Colours”: “The explanation of this use of White, which is closely akin to Ashen, is “in this time of Lent, which is a time of mourning, all things that make to the adornment of the Church are either laid aside or else covered, to put us in remembrance that we ought now to lament and mourn for our Souls, dead in sin, and continually to Watch, Fast, Pray, give Alms . . .”, wherefore “the Clothes that are hanged up this time of Lent in the Church have painted on them nothing else but the Pains, Torments, Passion, Blood-Shedding, and Death, of Christ, that now we should only have our minds fixed on The Passion of Christ, by Whom only we were redeemed.”

“This practice made a startling transformation of the Church, for the whole of the Lenten Season, so that Easter, literally, burst forth like The Lord from the tomb, when the Church was returned to normal state.”


“Care must be taken that too many devices, or symbols, 
are not introduced on to the Hangings and Veils, or the austerity of the Lenten Symbolism will be lost, and it 
will give a “Festive”, rather than a restraining, 
atmosphere to the Interior of the Church.”
Text and Illustration: TIMOTHEOS PROLOGIZES

Passion-Tide. “The Sky Of Holy Church Becomes More And More Overcast” — Abbot Guéranger O.S.B. (“The Liturgical Year”).



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

The Church, since the beginning of The Easter Cycle, has followed Our Lord in His Apostolic Ministry.

Throughout Passion-Tide, clad in mourning, she contemplates the sorrowful happenings of the last year (Passion Week) and the last week (Holy Week) of His mortal life.

The hatred of Christ’s enemies grows day by day. It is about to break out and on Good Friday we shall be reminded of the most frightful of all crimes, the bloody drama of Calvary, foretold by the Prophets and by Our Lord, Himself.


The Scourging At The Pillar.
Date: 1880.
Artist: William-Adolphe Bouguereau
(1825-1905).
This File: 24 April 2005.
User: Thebrid
(Wikimedia Commons)


The Liturgy, too, taking into account both The Old Testament and The New Testament, works out a striking parallel between the teaching of Saint Paul and the Evangelists about Our Lord’s Passion and the clear prophecies of Jeremias, Isaias, David, Jonas, and Daniel.

As the fatal end approaches, The Church’s accents of grief become more and more penetrated with feeling and soon we shall hear her lamentations for her spouse Whom she has lost.

“The sky of Holy Church becomes more and more overcast,” says Dom Guéranger. As when thunder threatens, we see gathering on the horizon clouds presaging disaster and charged with storm.


“Compassion !”.
Date: 1897.
Current location: Musée d'Orsay, Paris, France.
(Wikimedia Commons)


The thunderbolt of Divine Justice is about to fall and it will strike The Redeemer Who has become man for love of His Father and for us. By reason of the mysterious solidarity existing between all the members of the great human family, He offers Himself as a substitute for His guilty brethren.

As the Prophet says: “He clothes Himself with our sins as with a garment,” and He was “made sin for us” that He might bear our sins in His Body upon the tree and destroy it by His death.

In the Garden of Gethsemane, the sins of every age and of all mankind flowed horrible and repulsive into the most pure Soul of Jesus, Who thus became, “the receptacle of the moral filth of the World”.

Further, His Father doing violence to the love He bore Him is to treat Him as a being accursed, according to the Scripture: “Cursed is He that hangeth upon a tree.”

For “the work of our redemption required” that Our Lord should be set as the Salvation of the World upon The Cross, so that “whence came death, thence might life be restored, and that He who overcame by a tree, might also on a tree be overcome”. [Editor: Preface of The Cross.]

It is an unequal struggle between The Prince of Life and that of death [Editor: Easter Sequence.], but Christ triumphs in the very act of His self-immolation [Editor: Pange Lingua.]



Already on Palm Sunday, He advances like a conqueror, sure of Himself, greeted with acclamations and already crowned with palms and laurels, “tokens of the victory which He is about to win.” [Editor: Prayer at The Blessing of Palms.]

“Rejoice, daughter of Sion . . . behold thy King will come to thee,” cries Zacharias, and, as if in fulfilment of his words, the crowd spread their garments in Our Lord’s path, as is the custom before Kings, while men cry aloud: “Blessed be the King Who cometh in the name of The Lord”.

Jesus enters His capital, Jerusalem, and mounts the costly throne which His Blood “adorns with Royal Purple” [Editor: Vexilla Regis], over which Jews and Romans write in the three principal languages of the time, “Jesus of Nazareth, the King of the Jews”.


Illustration: CARMEL, GARDEN OF GOD

David’s prophecy is accomplished; God is reigning from the tree, which, from being an object of shame, becomes a “Standard of The King” [Editor: Vexilla Regis], and our “only hope” on this “Holy Passion Day”.

We adore Thy Cross, O, Lord . . . for, behold, by The Wood of The Cross, joy came into the whole World” [Editor: Adoration of The Cross on Good Friday].

It was to show clearly how, from this point of view, The Church regards Our Lord upon The Cross, that, in days gone by, Christian artists changed His Crown of Thorns into an heraldic and royal one.


It was at the end of Lent, when The Church makes remembrance of the death and triumph of Christ, that the ancient Councils required that the Sacraments of Baptism, Confirmation, and The Holy Eucharist, should be given to the Catechumens and that public penitents should be reconciled by Sacramental absolution.

In a sense, these Catechumens were “buried together” with Christ by Baptism into death and rose with Him into newness of life.

So do Passion-Tide and Easter, by marking for all Christians the anniversary of the reception of those Blessings, remind them that Our Lord’s Passion and Resurrection were at once the efficient cause and the pattern of their own, and help them as the years pass, to share in these Sacred Mysteries in an ever more full and intimate way.


These Feasts are not, then, a mere Commemoration, concerned only with Our Lord, Himself; they become a reality for His whole mystical Body. The conflict of Calvary extended to the whole World, where, with Christ her Head, The Church gained a new victory over Satan every year at The Easter Feast.

The purpose of Passion-Tide, through its close connection with Easter, is to recall to us the memory of our Baptism, when our Souls were washed in Our Lord’s Blood, and of our First Holy Communion, when they drank of its healing stream.

By The Easter Communion and Confession, survivals of the ancient discipline connected with Baptism and Penance, we are led at this Liturgical Season to die and rise again once more with Christ.

Passion Sunday. Violet Vestments.



Passiontide.
Illustration:

Today is the beginning of The Season of Passiontide.

While The General Roman Calendar no longer mentions Passiontide explicitly, the proper Preface to The Eucharistic Prayer, the choice of Hymns in The Divine Office, and the practice of Veiling Crosses and Images, bear witness to it.

In The Ordinariate Calendar, the Title of Passion Sunday
is restored to The Fifth Sunday of Lent, so we can 
unapologetically begin our Commemoration
of The Lord’s Passion.

Passion Sunday. The Lenten Station Is At The Basilica Of Saint Peter’s. Violet Vestments.



Peterborough Cathedral.
© Chel@SweetbriarDreams
www.sweetbriardreams.blogspot.co.uk


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

Passion Sunday.

Station at Saint Peter’s.

Indulgence of 10 Years and 10 Quarantines.

Semi-Double.

Privileged Sunday of The First Class.

Violet Vestments.



“They took up stones, therefore, to cast at Him;
but Jesus hid Himself and went out of the Temple”.
Artist: René de Cramer.
“Copyright Brunelmar/Ghent/Belgium”.
Used with Permission.





English: Saint Peter’s Basilica, Rome.
The iconic dome dominates the skyline. Christianity became the dominant religion of Western Civilisation 
when the Roman Empire converted to Christianity.
Magyar: Vatikánváros látképe.
Italiano: Veduta del Vaticano dal Tevere.
한국어: 테베레 강 방향의 성 베드로 대성전. 로마의
지평선을 압도하는 전통적인 돔 양식이다.
Kiswahili: Vatikani ikitazamwa kutoka mto Tiber.
中文: 从台伯河遥望梵蒂冈.
Photo: January 2005.
Source: Flickr
Reviewer: Andre Engels
(Wikimedia Commons)





Saint Peter’s Basilica.
Artist: Giovanni Paolo Panini (1692–1765).
Date: 1731.
Current location: Saint Louis Art Museum,
Missouri, United States of America.
Source/Photographer:
(Wikimedia Commons)





“We are not unaware”, says Saint Leo, “that, among all Christian celebrations, the Paschal Mystery holds the first place. Our manner of living throughout the whole year, by reforming our ways, ought to give us the dispositions for keeping it worthily and in a fitting manner. These present days, which we know to be close to that most sublime Sacrament of Divine Mercy, require Devotion in a yet higher degree” (Second Nocturn).

The Mystery, of which Saint Leo speaks, is Our Redeemer’s Passion, whose Anniversary is close at hand. Priest and Mediator of The New Testament, Jesus will soon ascend His Cross, and the Blood, which He will shed, He will offer to His Father, entering into The Holies, which is Heaven itself (Epistle).

The Church sings: “All hail, thou Mystery adored ! Hail, Cross !, on which The Life Himself died, and by death our life restored ! ” (Hymn of Vespers).


The Eucharist is the Memorial of this boundless love of a God for men, for, when instituting it, Our Lord said: “This is My Body, which shall be delivered for you; this Chalice is The New Testament in My Blood. Do this . . . in Commemoration of Me” (Communion).

What is the response of Man to all these Divine Favours ? 
“His own received Him not,” says Saint John, speaking of the welcome which the Jews gave Jesus. “For good, they rendered Him evil, and prepared for Him nothing but insults.” “You”, Our Lord told them, “dishonour Me,” and, in fact, the Gospel shows us the ever-growing hatred of the Sanhedrin.


English: Sangallo’s design for Saint Peter’s Basilica.
Italiano: Progetto di Antonio da Sangallo
per San Pietro in Vaticano.
Date: 30 June 2007 (original upload date).
Source: Transferred from it.wikipedia; transferred to Commons by User:Pil56 using CommonsHelper
Author: Original uploader Etienne (Li) at it.wikipedia
(Wikimedia Commons)




Abraham, the father of God’s people, firmly believed the 
Divine Promises, which heralded the future Messias, and, in Limbo, his Soul, which, as believing was beyond the reach of eternal death, rejoiced to see these promises fulfilled in the Coming of Christ.

But the Jews, who ought to have recognised in Jesus, The Son of God, greater than Abraham and the Prophets, because eternal, misunderstood the meaning of His words, insulted Him by treating Him as a blasphemer and “possessed”, and tried to stone Him (Gospel).


And God tells Him, in the person of Jeremias: “Be not afraid at their presence. For I am with Thee, to deliver Thee, saith the Lord . . . For, behold, I have made Thee this day a Fortified City and a Pillar of Iron and a Wall of Brass, over all the land, to the Kings of Juda, to the Princes thereof and to the Priests and to the people of the land. And they shall fight against Thee and shall not prevail. For I am with Thee, saith the Lord, to deliver Thee” (First Nocturn).

“I seek not My Own Glory”, says Jesus, “there is One that seeketh and judgeth” (Gospel). And, by the mouth of the Psalmist, He goes on: “Judge Me, O God, and plead My cause against an ungodly Nation: O deliver Me from the unjust and deceitful man.” This “lying” people Our Lord declares to be the Jews. The Psalmist continues: “Deliver Me, O Lord, from My enemies . . .from the unjust man Thou wilt deliver Me” (Gradual).


English: Saint Peter’s Basilica.
Seen from the roof of Castel Sant’Angelo.
Deutsch: Murcianodom in Rom, gesehen vom Dach
der Engelsburg, auch Tartarugadom genannt.
Photo: September 2004.
Source: Own work.
Author: Wolfgang Stuck.
(Wikimedia Commons)





“The Lord, Who is Just, will cut the necks of sinners” (Tract). God will not permit men to lay their hands on Jesus until His hour is come (Gospel), and when that hour of sacrifice came, He snatched His Son from the hands of evil men by raising Him from the dead.

This Death and Resurrection had been foretold by the Prophets and typified in Isaac, when, on the point of being sacrificed at God’s command, by Abraham his father, he was restored to life by Almighty God, his place being taken by a ram, who became a type of The Lamb of God, offered in man’s stead.

Thus, Our Lord, in His First Coming, was to be humbled and made to suffer; not until later will He appear in all His power. But the Jews, blinded by their passions, could appreciate only one kind of coming, a coming in triumph, and so, scandalised by The Cross of Christ, they rejected Him.


In their turn, Almighty God rejected them, while graciously receiving those who put their trust in the Redemption of Jesus Christ, uniting their sufferings to His.

“Rightly, and under the guidance of The Holy Ghost,” says Saint Leo, “did the Holy Apostles institute these days of more rigorous Fasting, so that, by a common sharing in The Cross of Christ, even we ourselves may do something towards uniting ourselves with the work that He has accomplished for us”.

As Saint Paul says: “If we suffer with Him, we also shall be glorified with Him.” Where we find Our Lord’s sufferings being shared, there can we look on the attainment of the happiness promised by Him as a thing safe and assured.”


Crepuscular rays are seen in Saint Peter’s
Basilica at certain times each day.
Photo: 6 October 2008 (original upload date)
2 July 2008 (according to EXIF data).
Source: Transferred from en.wikipedia by SreeBot
Author: Jraytram at en.wikipedia.
(Wikimedia Commons)




Today’s Lenten Station is in the Basilica of Saint Peter, raised on the site of Nero’s Circus, where the Prince of the Apostles died, like his Divine Master, on a Cross.

In recalling Our Lord’s Passion, the Anniversary of which draws near, let us remember that, if we are to experience its saving effects, we must, like The Master, know how to suffer persecution for justice sake.

And when, as Members of God’s Family, we are persecuted with, and like, Our Lord, let us ask of God, that we may be “governed in body” and “kept in mind”.

Mass: Júdica me.

Until Maundy Thursday, in Masses of the Season, the Psalm “Judica” is omitted, as well as the “Gloria Patri”, after the Introit and the Lavabo.

Second Collect: From this day until “Saturday In Albis”, the Second Collect is “Against the Persecutors of The Church”, or, “For The Pope”.
No Third Collect is required.
Preface: Of The Holy Cross.


“Vexilla Regis Prodeunt”
(Forth Comes The Standard Of The King).
The Hymn (First Tone) at Second Vespers on Passion Sunday.
Sung by Schola Gregoriana Mediolanensis.
Direttore: Giovanni Vianini. Milano, Italia.
Available on YouTube


The Dome of Saint Peter’s Basilica.
Photo: October 2006.
Source: Made by Pasztilla
Author: Attila Terbócs
(Wikimedia Commons)




The following Text is from Wikipedia - the free encyclopædia.

The Papal Basilica of Saint Peter (Latin: Basilica Sancti Petri), officially known in Italian as Basilica Papale di San Pietro in Vaticano, and commonly known as Saint Peter’s Basilica, is a Late-Renaissance Church, located within Vatican City

Saint Peter’s Basilica has the largest Interior of any Christian Church in the World.

While it is neither the Official Mother Church of The Roman Catholic Church, nor The Cathedral of the Pope, as Bishop of Rome, Saint Peter’s is regarded as one of the holiest Catholic sites. 

It has been described as “holding a unique position in the Christian World” and as “the greatest of all Churches of Christendom”.


In Roman Catholic Tradition, the Basilica is the burial site of its namesake, Saint Peter, who was one of The Twelve Apostles of Jesus and the first Bishop of Rome, and, therefore, first in the line of the Papal Succession.

Tradition and some historical evidence hold that Saint Peter’s tomb is directly below the Altar of the Basilica. 

For this reason, many Popes have been interred at Saint Peter’s since the Early-Christian period.


There has been a Church on this site since the 4th-Century A.D. Construction of the Basilica, over the old Constantinian Basilica, began on 18 April 1506 and was completed on
18 November 1626.

Saint Peter’s is famous as a place of Pilgrimage, for its Liturgical functions and for its historical associations. It is associated with The Papacy, with The Counter-Reformation, and with numerous artists, most significantly Michelangelo

As a work of architecture, it is regarded as the greatest building of its age.

Contrary to popular conception, Saint Peter’s is not a Cathedral, as it is not the Seat of a Bishop. 

It is properly termed a Papal Basilica. The Arch-Basilica of Saint John Lateran is the Cathedral Church of Rome.



Our Lady Of The Atonement Cathedral,
Baguio, Philippines.
Photo: 29 March 2024.
Source: Own work.
This File is made available under the
Author: Galaxiaria
(Wikimedia Commons)



Wells Cathedral.
Photo: August 2006.
Source: Own work.
This File is licensed under the
Author: Steinsky
(Wikimedia Commons)
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