Saint Simon And Saint Jude. Apostles. Feast Day, Today, 28 October. Red Vestments.

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

Saint Simon and Saint Jude.
   Apostles.
   Feast Day 28 October.

Double of The Second-Class.

Red Vestments.

Saint Simon and Saint Jude.

Illustration: UNA VOCE OF ORANGE COUNTY

Artist: René de Cramer.

“Copyright Brunelmar/Ghent/Belgium”.

Used with Permission.

Jude, or Thaddeus, had asked The Master, at The Last Supper, why He manifested Himself to The Apostles and not to the World. Jesus answered that He only manifested Himself to Souls who show Him their fidelity by observing His Commandments.

While Simon announced the Gospel to the peoples of The East, Jude wrote his catholic Epistle, which is still read in The West, and "which", declares Origen, "contains strong Doctrine in a few lines".

In the first part, he foretells the condemnation of heretics; he compares them to clouds without water, to Autumn trees without fruit, and to wandering stars, for whom profound darkness is apportioned for all Eternity. Like the rebel Angels, they shall burn for ever in avenging flames.

In the second part, he exhorts The Faithful not to be deceived by the seducers, but to remain firm in their Faith in God and Christ. ["My well-beloved, rising like an edifice on the Foundation of your Holy Faith and Praying by The Holy Ghost, keep yourselves in the love of God."

The Archangel Saint Michael, Saint Jude again declares, was established by The Most High as Guardian of The Tomb of Moses. Having, on this occasion, to fight with Satan, probably to hinder him taking possession of the Prophet's body, out of respect for his Angelical dignity, he left to God to condemn him Himself, saying: "May The Lord rebuke him."

The Church puts these very words on the lips of the Priests in The Prayers of Pope Leo XIII, which are said after Low Mass at the foot of the Altar. (Editor: The Leonine Prayers.)]

Mass: Mihi autem.
Creed.
Preface: Of The Apostles.

English: 

Church of Saint Simon and Saint Jude (Thaddeus),

Rudno, Poland

Polski: Koścół z XIII wieku.

Date: 24 March 2006 (original upload date).

Source: Transferred from pl.wikipedia to Commons.

Author: The boss at Polish Wikipedia

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopædia.

According to Tradition, Saint Jude suffered Martyrdom, about 65 A.D., in Beirut, in the Roman Province of Syria, together with the Apostle, Simon the Zealot, with whom he is usually connected. The axe that he is often shown holding in pictures symbolises the way in which he was killed.

Their Acts and Martyrdom were recorded in an Acts of Simon and Jude, that was among the collection of passions and legends traditionally associated with the legendary Abdias, Bishop of Babylon, and said to have been translated into Latin by his disciple, Tropaeus Africanus, according to the Golden Legend account of the Saints.

Sometime after his death, Saint Jude's body was brought from Beirut to Rome and placed in a Crypt in Saint Peter's Basilica, which was visited by many devotees. Now, his bones are in the Left Transept of Saint Peter's Basilica, under the main Altar of Saint Joseph, in one tomb with the remains of the Apostle Simon the Zealot.

Saint Thaddeus (Jude), Saint Sandukht,

and other Christians in Sanatruk's prison.

This File: 14 December 2009.

User: 517design

Source: Armenian History in Italian Art -

Հայոց Պատմության Էջեր.

Author: Fusaro (19th-Century).

(Wikipedia)

TODAY MARKS THE 59TH ANNIVERSARY OF THE PASSING OF THE ABORTION ACT. OVER ELEVEN MILLION BABIES ABORTED.

“IT IS NOT THE INTENTION OF THE PROMOTERS OF THE BILL TO LEAVE A WIDE-OPEN DOOR TO ABORTION ON REQUEST” !!!

Illustration: VOICE FOR JUSTICE U.K.

THE VOICE FOR JUSTICE U.K. WEB-SITE CAN BE FOUND

HERE

IF I DO NOT SPEAK FOR THESE LITTLE ONES

 . . . WHO WILL ?

“IT IS NOT THE INTENTION OF THE PROMOTERS 

OF THE BILL TO LEAVE A WIDE-OPEN DOOR 

TO ABORTION ON REQUEST” !!!

REALLY ???

WHAT WENT WRONG ???

ONE WONDERS WHETHER THE PROMOTERS OF THE BILL WOULD LIKE TO EXPLAIN WHAT WENT WRONG ?

OVER ELEVEN MILLION BABIES 

DENIED THEIR CHANCE OF LIFE.

OVER ELEVEN MILLION BABIES ABORTED.

ONE WONDERS WHETHER THE PROMOTERS OF THE BILL WOULD LIKE TO EXPLAIN WHAT WENT WRONG ?

TODAY MARKS THE 59TH ANNIVERSARY 

OF THE PASSING OF THE ABORTION ACT.

ILLUSTRATION: RIGHT TO LIFE.

RIGHT TO LIFE WEB-SITE CAN BE FOUND

HERE

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

THE GOOD COUNSEL NETWORK WEB-SITE CAN BE FOUND

HERE

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

THE SOCIETY FOR THE PROTECTION OF UNBORN CHILDREN CAN BE FOUND

HERE

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Development And Character Of Gothic Architecture.

Notre-Dame de Paris.

Text, unless stated otherwise, from: 

Development And Character Of Gothic Architecture.

By: Charles Herbert Moore.

Published: 1890.

Publisher: London, MacMillan.

Collection: Robarts. Toronto.

University of Toronto.

Text and Illustrations, unless stated otherwise: 

INTERNET ARCHIVE

This Choir of Canterbury (above) (Fig. 71) is the real beginning of what Gothic there is in the Pointed Architecture of England. 

From it, as the main source at least, is derived 

what is commonly known as the Early English Style. 

It is in five Bays, and is Vaulted with one Quadripartite and two Sexpartite compartments. These Vaults are provided with Transverse and Diagonal Ribs, but without Longitudinal Ribs. 

The Transverse Ribs only are Pointed. The Vaulting Shafts correspond in number with the Ribs to be carried — there are three in the main group and one in the intermediate Pier. 

The single Shaft in the intermediate Pier was probably derived from Sens Cathedral, where the Longitudinal Rib Shaft is carried on the Clerestory Ledge, rendering a single support 

for the intermediate Transverse Rib all that is necessary. 

We see that this single Vaulting Shaft subsequently became frequent in England, where, with little constructive propriety, it is made to carry three Ribs of Quadripartite Vaults.

The criticism which early Gothic façades, like the Cathedral 

of Notre-Dame de Paris, sometimes receive, as wanting 

in Gothic character, is not well founded. 

The façade of Notre-Dame de Paris (Fig. 60, above) is 

one of the most Gothic, as it is also one of the grandest 

of structures of this kind. 

It is certainly the most remarkable façade that had been erected up to its time; and for dignity, sobriety, and extreme beauty of details, it has hardly been surpassed. 

Abbaye aux Hommes, Caen.

Photo: 8 February 2005.

Source: Own work.

This File is licensed under the 

Creative Commons Attribution-

Share Alike 3.0 Unported Licence.

Author: Urban

(Wikimedia Commons)

The Abbey of Saint-Étienne, Caen, also known as Abbaye 

aux Hommes (“Men’s Abbey”), by contrast with the 

Abbaye aux Dames (“Ladies’ Abbey”), is a former 

Benedictine Monastery in the French City of Caen, 

Normandy, dedicated to Saint Stephen. 

It was Founded in 1063[1] by William the Conqueror and one of the most important Romanesque buildings in Normandy.

(Wikipedia)

The general scheme of design is still the same as in the Abbaye-aux-Hommes, Caen; but such is the treatment of its elements that the Gothic spirit is manifest in every part.

Its large divisions are admirably proportioned and beautifully sub-divided. The Romanesque characteristics have completely disappeared from the Apertures, Arcades, and even from the Moulding profiles, while, in Senlis Cathedral, the Romanesque profiles are largely retained. 

At Notre-Dame de Paris, three majestic Portals on the Ground Storey, above them a great Central Rose Window, flanked on each side by twin Pointed Apertures, and a Circle embraced by an encompassing Arch, a magnificent Shafted Arcade, sheltering twenty-eight Sculptured Statues, dividing these Storeys, an elegant, though gigantic, Open Arcade over all, and the two Towers, each pierced by coupled Pointed Openings, rising one Storey higher, make up a most impressive architectural composition.

Senlis Cathedral, Picardy.

Photo: 14 April 2015.

Source: Own work.

This File is licensed under the 

Creative Commons Attribution-

Share Alike 3.0 Unported Licence.

Attribution: Photo by DAVID ILIFF. 

Licence: 

https://creativecommons.org/

licenses/by-sa/3.0/

Author: Diliff

(Wikimedia Commons)

The magnificence, without extravagance, of the still-richer façade of Amiens Cathedral (Fig. 61) is, in some respects, beyond all praise.

Amiens Cathedral.

Illustration: INTERNET ARCHIVE

In addition to the leading features of Notre-Dame de Paris, Amiens Cathedral has Gables over its three vast Portals; these Gables are advanced, so as to be even with the outer faces of the Buttresses — an arrangement which adds greatly to the depth of the Archivolts, and converts the lower portions of the Buttresses into Doorway Jambs. 

Beneath the Arcade of sculptured Statues, is an elegant open Arcaded Gallery; while the great open Arcade of the top Storey of Notre-Dame de Paris gives place, here at Amiens, to two superposed lesser Arcades connecting the Towers above the Cornice. 

It is sadly to be regretted that the Great Rose Stained-Glass Window has lost its original Tracery — the existing Flamboyant Tracery wholly disagreeing with the spirit of the rest of the design. 

In this façade, Wall - Spaces are everywhere in effect suppressed, and the Gothic character is everywhere strongly emphasised. 

Indeed, this façade, like the Interior which it encloses, marks the culmination of Gothic art in its entirely normal condition.

Reims Cathedral.

Photo: 7 August 2022.

Source: Own work.

This File is licensed under the 

Creative Commons Attribution-

Share Alike 4.0 International Licence.

Author: Gennadii Saus i Segura

(Wikimedia Commons)

It is hard to speak critically of so marvellous a structure as the façade of the Cathedral of Reims. The period of its Foundation (1260) was a time when the vitality and spontaneity of the Gothic movement were, in great measure, spent; and the signs of waning life are not wanting in this monument. 

It has qualities, however, which almost entitle it to a first place among Gothic façades.

The 1882 Queen Victoria £5 Orange Stamp. Acquiring The Holy Grail. The Queen Of Stamps.

Illustration: STANLEY GIBBONS

Illustration: COLONIAL STAMP COMPANY

The following Text is from LINN’S STAMP NEWS

By David Alderfer.

The 1882 £5 Orange Queen Victoria High Value Stamp (Scott 93) is known to many collectors, who specialise in Great Britain Stamps, as The Holy Grail of British Stamps. In May 2015, I acquired an example of this sought-after Stamp.

When I began collecting Great Britain Stamps, more than thirty-five years ago, The £5 Orange Victoria was my ultimate desire. However, I believed that it was unlikely that I would ever possess one. Its cost, several thousand dollars for a used example, seemed prohibitive. A mint example was out of the question.

For more than three decades, I settled for the reproduction printed by Harrison and Sons as a souvenir of The 1982 British Philatelic Exhibition in London. The image, though taken from a genuine £5 Stamp, lettered DJ in the two lower corners, shows considerable loss of the fine detail of an original Stamp.

I am now retired. Major expenses of living, such as house, car, and retirement savings, are fulfilled. An inheritance from my father - also an avid stamp collector - finally made it financially possible for me to consider buying an example of this Stamp.

A trip to London in May 2015, to attend the Europhilex Stamp Exhibition, gave me an opportunity to shop and select from among about fifty used examples that dealers offered for sale. I found and purchased The £5 Orange Victoria, shown above, paying $2,370.

Before putting out that much money, I did research on my intended purchase. The definitive research, on The £5 Orange Victoria, is an award-winning 312-page, hardbound, colour-illustrated book, published in 2013 by Stanley Gibbons Ltd., entitled “The £5 Orange”, by John Horsey. It costs £75 (about $112).

The £5 Orange started out as a Telegraph Stamp, not a 

Postage Stamp. In the 1880s, rates for some Overseas Telegrams were very high. Telegrams to Bermuda, for example, cost £1 4 shillings 4 pence per word.

A message of just four words cost more than £5, hence the need for a £5 Telegraph Stamp to receipt payments of high charges.

On 31 October 1881, the special series of labels designated to receipt payments of Telegrams was withdrawn from use. Thereafter, Postage Stamps were used to receipt payment of Telegrams.

Because there was no £5 Postage Stamp, and because high-cost Telegrams were still being sent, the Post Office decided to print its first £5 Postage Stamp, which could also be used to receipt Telegrams.

To save the cost of making a new design and plate, the Post Office took the plate that had been used to print £5 Telegraph Stamps and modified it to print £5 Postage Stamps.

The modification was to mill out the word “Telegraphs” over the profile of The Queen and make a second plate to print the word “Postage,” flanked by key pattern ornaments, to fill the wide space left by the deletion of “Telegraphs.”

Very few of the High-Value Postage Stamps were actually used to pay Postage. Horsey identifies and illustrates only three examples for which a “beyond doubt” Postal Use can be proven.

Of the 2,712 used examples he examined, only three were likely applied to heavy, registered parcels commanding High Postage.

Most used £5 Orange Queen Victoria Postage Stamps in the hands of collectors were used to receipt Telegrams after the Telegraph version was withdrawn from use.

These often bear Boxed Cancels, in addition to Circular Date Stamps of the Sending Telegraph Offices. Many examples of the Box Cancels bear the abbreviation T.A.B., which stands for Telegraphs Accounts Branch.

A second popular use of the Postage Version was internal accounting. The Stamps were used to receipt bulk mail payments, so customers could pay total Postage Due without having to apply individual Stamps to hundreds, sometimes thousands, of the same item.

According to Horsey, the Cancellation on my Used £5 Orange Postage Stamp, shown with this Article, indicates the Stamp was likely used to receipt the payment in Belfast of Excise Tax on Whiskey or Tobacco.

Serendipitously, I met Horsey in front of his five-frame £5 Orange Queen Victoria exhibit at Europhilex in London in May 2015. We introduced ourselves, and then he commented on noteworthy features of his exhibit.

Our exchange was most cordial, as often are conversations between fellow Stamp Collectors about their passions.

Horsey’s well-researched and illustrated book gives many interesting facts about this classic British Stamp. For example, only 246,759 Stamps were issued to Post Offices for use over its life of twenty-one years.

He estimates that around 8,000 are still in existence today. This is a relatively small number of surviving examples, which is one reason the Stamp commands high prices.

Most of these survivors were illicitly liberated from security waste paper scrap intended for destruction by pulping.

Acquiring The Holy Grail is a milestone. Acquisition brings with it a great deal of satisfaction and pride of place. But I also feel a dream, a lifelong challenge, has ended. 

What now ?

John Atkinson Grimshaw (1836-1893). Victorian Artist.

"November".

Artist: John Atkinson Grimshaw (1836–1893).

Date: 1879.

This File: 19 September 2013.

User: Austriacus

(Wikimedia Commons)

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

The Choir, Hereford Cathedral.

Photo: 9 July 2014.

Source: Own work.

Attribution: Photo by DAVID ILIFF.

Licence: CC BY-SA 3.0.

Author: Diliff

(Wikimedia Commons)

Text from Wikipedia - the free encyclopædia,

unless otherwise stated.

Hereford Cathedral remained in a state of ruin until Robert of Lorraine was Consecrated as the Diocese’s Bishop in 1079 and undertook its reconstruction. His work was carried on, or, more probably, re-done by Reynelm , who was the next but one Bishop and who re-organised the College of Secular Canons attached to the Cathedral.

Reynelm died in 1115 and it was only under his third successor, Robert de Betun , who was Bishop from 1131 to 1148, that the Church was brought to completion.

Of this Norman Church, the surviving parts are the Nave Arcade, the Choir, up to the Spring of the Clerestory , the Choir Aisle, the South Transept and the Crossing Arches.

Hereford Cathedral.

Available on YouTube

HERE

Scarcely fifty years after its completion, William de Vere , who occupied the See from 1186 to 1199, altered the East End by constructing a Retro-Choir , or Processional Path, and a Lady Chapel .

[Editor: In Church Architecture , a Retro-Quire (also spelled Retro-Choir), or Back-Choir, [1] is the space behind The High Altar in a Church or Cathedral, which sometimes separates it from the end Chapel . It may contain seats for the Church Choir . [2] ]

The Lady Chapel, Hereford Cathedral.

Photo: 9 July 2014.

Source: Own work.

Attribution: Photo by DAVID ILIFF.

License: CC BY-SA 3.0.

Author:  Diliff

(Wikimedia Commons)

Between the years 1226 and 1246, The Lady Chapel was rebuilt in the Early English Style—with a Crypt beneath. Around the middle of the 13th-Century, the Clerestory, and probably the Vaulting of the Choir, were rebuilt, having been damaged by the settling of the Central Tower.

Under Peter of Aigueblanche (Bishop 1240–1268), one of King Henry III 's foreign favourites, the rebuilding of the North Transept was begun, being completed later in the same Century by Swinfield, who also built the Aisles of the Nave and the East Transept.

PART THREE FOLLOWS.