Lenten Station at Saint Mary Major

Non-Italic Text taken from The Saint Andrew Daily Missal for Easter Sunday
Pictures and Italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint Mary Major
Plenary Indulgence
Double of the First Class with Privileged Octave of the First Order
White Vestments

Papal Basilica of Saint Mary Major
Basilica Papale di Santa Maria Maggiore (Italian)
Basilica Sanctae Mariae Maioris (Latin)
(From Wikimedia Commons. Photo taken by LPLT, November 2008)

As at Christmas, the Station is made at Saint Mary Major, on this greatest Feast of the whole year. The Church never separates Jesus and Mary, and today, in one and the same triumph, she honours the Mother and the Son. Before all else, the Risen Christ offers the homage of His gratitude to His Father in Heaven (Introit). 

In her turn, the Church gives thanks to God, inasmuch as, by the victory of His Son, He has re-opened the way to Heaven, and implores Him to assist us that we may attain this, our final goal (Collect). For this, Saint Paul tells us, just as the Jews eat the Paschal Lamb with the unleavened bread, so we must feast on the Lamb of God, with the unleavened bread of sincerity and truth (Epistle and Communion), that is free from the leaven of sin.

Santa Maria Maggiore

by M. Ohlmüller (dated 1883)

Watercolours

(From Wikimedia Commons)

In the Gospel and the Offertory, we read of the coming of the holy women to the sepulchre to embalm Our Lord. They find an empty tomb, but an angel proclaims to them the great mystery of the Resurrection. Let us joyfully keep this day on which Our Lord has restored life to us in His own rising from the dead (Easter Preface), and affirm with the Church that "the Lord is risen indeed", and, like Him, make our Easter a passing to an entirely new way of life.

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

(From The Church of England Newspaper

at http://religiousintelligence.org/churchnewspaper/)

Lenten Station at Basilica of Saint John Lateran

Non-Italic Text taken from The Saint Andrew Daily Missal
for Holy Saturday
Pictures and Italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint John Lateran
Indulgence of 30 years and 30 Quarantines
Double of the First Class
Violet Vestments and White Vestments

Archbasilica of Saint John Lateran
(From Wikimedia Commons.
Photo taken, September 2005, by Stefan Bauer,
http://www.ferras.at)

The Station is at Saint John Lateran, the mother Church of the Christian world, and it is here that the Church celebrated the First Mass of Easter and that, formerly, she received into her bosom the many Catechumens, who were baptised on this day. First dedicated to our Blessed Saviour, this Basilica was subsequently consecrated to Saint John the Baptist, with the Baptistry attached.

In former times, the Church held no special Service on this morning. Apart from any gathering for the Station, a meeting was held in the course of the afternoon for the Seventh, and last, Scrutiny, which almost immediately preceded the Baptism. [It was at this gathering that the Rite of Exorcism took place, and the Rite of Ephpheta, which recalls the miracles worked by Jesus when He cured the deaf and dumb, and the Renunciation of Satan, pronounced by the Catechumen after being anointed with the Oil of Catechumens. He then recited the Symbol, a proceeding known as "the Rendering of the Symbol". We discover these Rites, again, in the present ceremonies of Baptism following those that took place at the Third Scrutiny.]

At night, was held the Watch, or Solemn Vigil of Easter, towards the end of which, before daybreak, the Catechumens plunged in the water of the Baptistry and were, so to speak, buried with Jesus; and at the very hour at which Christ rose triumphantly from the sepulchre, they were born to the Life of Grace.

Later, the great ceremonies were anticipated, being held first in the evening, and, subsequently, in the morning of Holy Saturday. They reveal a sudden change from sorrow to joy, and disclose certain anomalies which this notice helps to explain.

Palazzo Laterano
(From Wikimedia Commons.
Photo taken, February 2005, by Maus-Trauden

THE BLESSING OF THE NEW FIRE

The Church, blessing as she does all elements of which she makes use for Divine Worship, made a practice of blessing, every evening, the new fire that was to provide the light for the Office of Vespers. The Liturgy of Holy Saturday maintains this custom. She also blesses the five grains of incense, which are to be fixed in the Paschal Candle, the offering of which to God will thenceforward be accepted as a sweet savour.

At a convenient hour, the altars are covered with linen cloths, but the candles are not lighted until the beginning of Mass. Meanwhile, fire is struck from a flint outside the Church and the coals are kindled. At the end of None, the Priest, vested in Amice, Alb, Girldle and Stole, to which he adds, if possible, a Violet Cope, accompanied by his Ministers with Processional Cross, Holy Water and Incense, goes outside the Church door, and blesses the new fire.

THE BLESSING OF THE PASCHAL CANDLE

The Celebrant goes up to the Epistle side of the altar, and the Deacon, giving the Reed to an Acolyte, takes the book and asks a blessing of the Priest.

The Deacon then goes to the Lectern, puts down the book and incenses it. At his right-hand stand the Sub-Deacon, with the Cross, and the Thurifer; at his left, the two Acolytes, one holding the Reed and the other the vessel containing the five blessed grains of incense to be set in the Paschal Candle.

Cloisters of Saint John Lateran

(From Wikimedia Commons. Photo taken, May 2005, by Briséis)

All rise and stand, as at the Gospel, and the Deacon sings the Exsultet, in which the Church expounds the beautiful symbolic meaning of the Paschal Candle. He sings of the night of happy memory, which witnessed the escape of the children of Israel from Egypt, conducted by a pillar of fire illumined with the splendour of Christ. When the Exsultet has been sung, the Deacon fixes the five blessed grains of incense in the Paschal Candle in the form of a Cross.

THE PROPHECIES

After the blessing of the Paschal Candle, the Deacon lays aside his White Dalmatic and puts on a Violet Stole and Maniple. He then goes to the Celebrant, who, after laying aside his Cope, puts on a Violet Maniple and Chasuble. The Prophecies are then chanted without any introduction, while the Priest, standing on the Epistle side of the altar, reads them in a low voice.

The reading of the Twelve Prophecies served the object, formerly, of a final initiation of the Catechumens.

More Cloisters of Saint John Lateran

(From Wikimedia Commons. Photo taken, October 2005, by Ern)

THE BLESSING OF THE FONT

At the end of the reading of the Prophecies, if there is a Baptismal Font in the Church, the Priest, who is about to bless it, puts on a Violet Cope and, preceded by the Processional Cross, the Candelabra and the lighted Blessed Candle, goes to the Font with his Ministers and the Clergy, while the Tract is sung.

In earlier times, the Clergy at this point went to the Baptistry of the Lateran, where the Sovereign Pontiff blessed, by virtue of the Cross, the water that was to be used for the Baptism. The Paschal Candle, which he dipped three times into it, recalled to mind the incident of the Baptism of Jesus in the Jordan, whereby He sanctified the water and imparted to it the power of regeneration. The Catechumens were then questioned for the last time on the Creed, were Baptised and then Confirmed, and the white garments, in which they were then clothed, became the mystical robe which entitled them to sit at the Holy Table and make their First Communion.

THE LITANY OF THE SAINTS

As the Priest and his Ministers return to the altar, after the Blessing of the Font, two Cantors begin to sing the Litany of the Saints.

At the invocation, Peccatores, te rogamus, audi nos, the Priest and his Ministers go into the Sacristy, where they vest in White Vestments for the Solemn Celebration of Mass. Meanwhile, the candles are lighted on the altar.

Interior of Saint John Lateran

(From Wikimedia Commons. Photo taken, September 2010, by Tango7174)

MASS AND VESPERS

During the singing of the Litany, the Neophytes re-entered the Church, and the Mass was begun, which inaugurated the Solemn Services of Easter (Secret). This celebrates the glory of the Risen Christ (Gospel), and that of the Souls who, through Baptism, have entered on a new life, a pledge of their future resurrection (Epistle, Collect, Hanc igutur). Hence, the joyful Alleluia that is sung, the pealing of the organ and the ringing of the bells.

The Vespers, which follow the Communion, remind us of the holy women who were the first to realise the great mystery of the Resurrection.

Let us show our gratitude to God for the Sacraments of Baptism, Confirmation, and the Holy Eucharist, which have made it possible for us to pass with Jesus from the death of sin to the life of Grace.

The Pope's Chair, San Giovanni in Laterano

(From Wikimedia Commons. Photo taken, October 2005, by Ern)

At the end of the Litany, the Cantors sing the Solemn Kyrie eleison, Christe eleison, Kyrie eleison, each invocation being repeated thrice. Meanwhile, the Priest, attended by his Ministers, all in White Vestments, goes to the altar, recites the Judica me, adding the Gloria Patri, and makes the confession in the usual way. Then, ascending the steps, he kisses the altar, incenses it and, as soon as the Choir have finished the Kyrie eleison, he intones the Gloria in excelsis Deo; the organ is played and the bells are rung.

During the Mass, the Agnus Dei is omitted and, instead of a Communion Antiphon, the Choir sings Vespers. During Vespers, the Chapter, Hymn and Verse are omitted.

During the Magnificat, the altar is incensed, as at Solemn Vespers.

Statue of Saint James the Less, at Saint John Lateran

(From Wikimedia Commons. Photo taken, April 2011, by Karelj)

At the dismissal, at the end of Mass, the Deacon, turning towards the people, says: "Ite Missa est, alleluia, alleluia". This double alleluia is added to the Ite Missa est until Easter Saturday, inclusive.

The Mass ends, as usual, with the Placeat, the Blessing, and the Last Gospel.

PASCHALTIDE

Paschaltide, extending from Easter Sunday to Saturday after Pentecost, commemorates the Three Glorious Mysteries of the Resurrection of Our Lord (celebrated during forty days), of His Ascension (during ten days) and of the Descent of The Holy Ghost (during the Octave of Pentecost.

Therfore, the Doctrinal, Historical and Liturgical Notes for Paschaltide, in the Saint Andrew Daily Missal, will be given in Three Parts, respectively, before each one of Three Feasts of Easter, Ascension Day and Pentecost.

Lenten Station at Basilica of Holy Cross in Jerusalem

Non-Italic Text taken from The Saint Andrew Daily Missal
for Good Friday
Pictures and Italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Holy Cross in Jerusalem
Indulgence of 30 years and 30 Quarantines
Double of the First Class 

Black Vestments 

Santa Croce in Gerusalemme (Rome). 

One of the masterpieces of the "barochetto romano", 

by Pietro Passalacqua and Domenico Gregorini, from 1743.

(Taken from Wikimedia Commons. 

Photo taken, February 2006, by Anthony M. from Rome, Italy.)

The Station is at the Basilica which in Rome represents Jerusalem, whose name it bears. It is consecrated to Our Redeemer's Passion and contains earth from Calvary, some important fragments of the True Cross, and one of the nails used in the Crucifixion of Our Lord.

On this day, the anniversary of Our Saviour's death, the Church gives her Temples an appearance of desolation, and clothes her Ministers in the garb of mourning.

THE  MASS  OF  THE  CATECHUMENS

The first part of today's Liturgy recalls the gatherings that took place in the Synagogues on the Sabbath Day. The first Christian communities, composed as they were of convert Jews, took these assemblies as their model, at the same time subjecting them to necessary modifications, especially by early associating them with the Liturgy of the Eucharistic Sacrifice.

 

Santa Croce in Gerusalemme (Rome) Painting by Corrado Giaquinto, from 1744, 

"The Virgin presents St Helena and Constantine to the Trinity".

(Taken from Wikimedia Commons. 

Photo taken, February 2006, by Anthony M. from Rome, Italy.)

It is in the Mass of the Catechumens that these are told that the mercies of God are soon to descend on the Christian people, just as chastisement will fall on the faithless nations, Ephraim and Juda; for at the very moment when the multitude of the children of Israel will be offering the Paschal Lamb (Second Lesson), the Jews will be putting to death the Lamb of God on the Cross. This death is described for us in the story of Our Lord's Passion according to Saint John.

None having been said in Choir, the Celebrant and the Sacred Ministers, in Black Vestments and without lights or incense, come before the altar, where they prostrate themselves and pray for some moments. Meanwhile, the Acolytes spread a single altarcloth upon the altar. The Celebrant and the Ministers, having finished praying, go up the steps to the altar, which the Celebrant kisses, as usual, in the middle, afterwards going to the Epistle side. After this, a Reader, in the place where the Epistle is read, begins the First Lesson in the Tone of the Prophesies.

Pope Urban VIII (1623 - 1644)

A large piece of the Cross was taken from 

Santa Croce in Gerusalemme to St. Peter's Basilica 

on the instructions of Pope Urban VIII in 1629.

THE  PASSION OF OUR LORD ACCORDING TO SAINT JOHN

The drama of The Passion is universal and in one sense will end only with the world itself, for all men, by their sins, have taken a share in the death of Christ. Jesus was bound to triumph through those very atoning sufferings, by which He became the Victim of every passion which shall agitate the human race until the end of the world.

For He has atoned for the pride of those who share the hatred of truth, which turned the Jews into murderers: the avarice of those who are possessed by the demon of greed, which drove Judas to sell his master; the lust of all who indulge in sensual delights, like Herod, who mocked Jesus and sent Him back to Pilate; the cruelty of those who love to cause suffering, like the soldiers who struck Our Lord and insulted Him; and the cowardice of all who leave the path of duty, like the Apostles, who forsook Him, to whom they owed everything.

Our Lord's Passion is the whole of humanity, hurling itself upon its Divine Healer, and yet cured by Him; yet, also, it is the anointed of God, the King of Martyrs, who, in face of all the generations who persecute Him, and before the whole world, offers to His Father a supreme token of submission, that of blood itself.

 The arms of Pope Urban VIII

(Taken from Wikimedia Commons. The Author is Odejea, 2008.)

Armoiries du pape Urbain VIII : d'azur à trois abeilles d'or posées 2 et 1. Source du blasonnement : http://www.araldicavaticana.com/purbano08.htm

Christ on the Cross ! What a model of death to all our sins, of resistance to every temptation, of warfare against all evildoers, and of the testimony which we in our turn ought to render to God, even, if necessary, at the cost of our very life.

THE  SOLEMN  PRAYERS

In the second part of today's Liturgy, we have a relic of Prayers which were also a feature of the primitive gatherings previously mentioned. Of these Prayers, the only trace existing in the Roman Mass is the Oremus, said before the Offertory.

These Liturgical Prayers show us that the effects of Our Lord's death extend to all necessities of the Church and of the human race. They even foresee the conversion of the deicide race, who will one day recognise that Jesus is the Messias.

 

 

Pope Gregory I (590 A.D. - 604 A.D.)

Ordered the construction of the Basilica's Museum

THE  ADORATION  OF  THE  CROSS

This ceremony owes its origin to a custom which prevailed at Jerusalem in the 4th-Century, of venerating, on this day, the wood of the True Cross. Meanwhile, the Improperia, or tender reproaches of Christ to His people, to whom He had done nothing but good, were sung in Greek, which language was still partly in use in the Mass of every day.

When the Prayers are finished, the Celebrant takes off the Chasuble and he unveils the Cross, singing the words: "Ecce lignum Crucis" - Behold the wood of the Cross. Thence begins the Adoration of the Cross by the Celebrant, Ministers and the people, during which the Choir sing "The Reproaches".

THE  MASS  OF  THE  PRE-SANCTIFIED 

Good Friday, being the anniversary of Our Lord's death, there stands out before the whole world, the blood-stained throne of the Cross from which the God-Man reigns. The Church does not celebrate the Holy Mass, which is the memorial of that of the Cross; she contents herself with consuming the sacred species previously consecrated; which, in the Greek Rite, is the daily practice during Lent, except on Saturdays and Sundays. From this comes the name "Mass of the Pre-Sanctified", since the offerings are sanctified (consecrated) previously.

VESPERS

There follows Vespers, which are the same as for Vespers on Maundy Thursday. 

The apse of the Church includes frescoes, telling the Legends of the True Cross, attributed to Melozzo, to Antoniazzo Romano and Marco Palmezzano. The Museum of the Basilica houses a mosaic icon from the 14th-Century: According to the legend, Pope Gregory I had it made after a vision of Christ. Notable also is the tomb of Cardinal Francisco de los Ángeles Quiñones, by Jacopo Sansovino (1536).

Lenten Station at Basilica of Saint John Lateran

Non-Italic Text taken from The Saint Andrew Daily Missal
for Maundy Thursday
Pictures and Italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint John Lateran
Plenary Indulgence
Double of the First Class 

White Vestments at Mass 

Basilica of Saint John Lateran, Cathedral of the Bishop of Rome

(From Wikimedia Commons

Photo taken, September 2005, by Stefan Bauer,  

http://www.ferras.at )

The Station was formerly held at Saint John Lateran, which was originally called the Basilica of Saint Saviour.

The Liturgy of Maundy Thursday is full of memories of the Redemption. It formerly provided for the celebration of three Masses: The first Mass for the reconciliation of public penitents; The second Mass for the consecration of the Holy Oils; The third Mass for a special commemoration of the institution of the Holy Eucharist at the Last Supper. This last Mass is the only one that has been preserved, and, at it, the Bishop, attended by twelve Priests, seven Deacons and seven Sub-Deacons, blesses the Holy Oils in his Cathedral Church.

Side Chapel in Saint John Lateran

(From Wikimedia Commons. 

Photo taken by Maros M r a z (Maros), October 2008)

The Reconciliation of Public Penitents

Sinners, who had undergone a course of penance, were granted on this day “the abundant remission of their sins”, “which were washed away in the blood of Jesus”. Dying with Christ, they were “cleansed of all their sins, and clad in the nuptial robe they were admitted once more to the banquet of the Most Holy Supper”.

The Blessing of the Holy Oils

This blessing took place with a view to the baptism and confirmation of the Catechumens during Easter night. The Bishop exorcised the oil, praying God “to instil into it the power of the Holy Ghost”, so that “the Divine Gifts might descend on those who were about to be anointed”.

Before the prayer, Per quem haec omnia, there used to be a form of blessing of the good things of the Earth, with mention of their different kinds (fruits, milk, honey, oil, etc), of which we still find examples in the Leonine Sacramentary. Of this form, there remains nothing in the Canon of the Mass, except the conclusion, which, on Holy Thursday, retains its natural meaning, since it immediately follows the blessing of the Holy Oils.

 

Side Chapel in Saint John Lateran

(Taken from Wikimedia Commons. 

Photo taken, 2005-07-06, by Eugenia & Julian

and originally posted to Flickr  

http://www.flickr.com/photos/eugeniayjulian/24171978/

The Oil of the Sick, which is the matter of the Sacrament of Extreme Unction, is the first to be blessed, before the Pater. Formerly, this used also to be blessed on other days.

The Holy Chrism, which is the matter of the Sacrament of Confirmation, is the noblest of the Holy Oils, and the blessing of it takes place with greater pomp, after the clergy have communicated. It is used for the consecration of Bishops, in the rite of Baptism, in the consecration of Churches, altars and chalices, and in the baptism or blessing of bells.

The apse in Saint John Lateran

(From Wikimedia Commons. 

Photo taken, September 2005, by Stefan Bauer, http://www.ferras.at)

The third Holy Oil, which is blessed immediately after, is that of the Catechumens. It is used to anoint the breast and between the shoulders of the person to be baptised, for the blessing of baptismal fonts on Holy Saturday and on the Vigil of Pentecost, at the Ordination of Priests, at the consecration of altars, and for the coronation of Kings and Queens.

“Oil”, says Saint Augustine, “signifies something great.” Through the ages, and in many a land, it has always played a mystical and religious part. Soothing and restoring by its very nature, it symbolises the healing wrought by the Holy Ghost (Extreme Unction); a source of light, it denotes the graces of the Holy Ghost, which enlighten the heart; flowing and penetrating, it represents the infusion of the Holy Spirit into Souls (Baptism, Confirmation); softening in its effects, it shows forth the action of the Holy Ghost, who bends our rebellious wills and arms us against the enemies of our salvation.

The Holy Ghost is especially represented by the olive oil, according to the Blessings of Oil and of Palms, because the dove, a symbol of the Holy Ghost, carried an olive branch in her beak; because the Holy Ghost came down upon Christ, the Anointed One; and because the olive branches, cast by the Jews in Our Lord’s path, foreshadowed the outpouring of the Holy Spirit, which was to be given to the Apostles at Pentecost. The balm, which is added to the oil to make the sacred Chrism, signifies, by its sweet perfume, the good odour of all Christian virtues. Also, it preserves from corruption - another respect in which it is a symbol of supernatural grace that protects us from the contagion of sin (Catechism of the Council of Trent).

The nave of Saint John Lateran. At 400ft long, 

the Basilica ranks 15th among the largest Churches in the world.

(From Wikimedia Commons. Photo taken, September 2010, by Tango7174)

Mass for Maundy Thursday

The Church, which commemorates throughout the year in the Holy Eucharist all the mysteries of Our Lord’s life, today lays special stress on the institution of that Sacrament and of the Priesthood. This Mass carries out more, than any other, the command of Christ to His Priests to renew the Last Supper, during which He instituted His immortal presence among us at the very moment His death was being plotted. The Church, setting aside her mourning today, celebrates the Holy Sacrifice with joy. The Crucifix is covered with a white veil, her Ministers are vested in white, and the bells are rung at the Gloria in excelsis. They are not rung again until Holy Saturday.

Saint Paul tells us, in the Epistle, that the Mass is a “memorial of the death of Christ”. The Sacrifice of the Altar is necessary if we are to partake in the Victim of Calvary and share in His merits. And the Eucharist, which derives all its virtue from the Sacrifice of the Cross, makes it universal as regards time and space in a sense unknown so far. To love the Blessed Sacrament is “to glory in the Cross of Our Lord Jesus Christ” (Introit).

The Tomb of Pope Leo XIII in the Basilica of Saint John Lateran

(From Wikimedia Commons. Photo taken, May 2007, by Berthold Werner)

Christ takes on Himself to perform the ablutions prescribed by the Jews during the supper (Gospel), to show forth the purity and charity that God requires of those who desire to communicate for, as in the case of Juda (Collect), “whosover eats this bread unworthily is guilty of the body and of the blood of the Lord” (Epistle).

After the Mass, the altar is stripped, in order to show that the Holy Sacrifice is interrupted and will not be offered again to God until Holy Saturday. The Priest, therefore, has consecrated two hosts, for, on Good Friday, the Church refrains from renewing on the altar the Sacrifice of Calvary.

On this Holy Thursday, when the Epistle and Gospel describe for us the details of the institution of the Priesthood and the Eucharistic Sacrifice, let us receive from the Priest’s hands that Holy Victim who offers Himself upon the altar, and in this holy manner fulfil our Easter duty.

Lenten Station at Saint Mary Major

Non-Italic Text taken from The Saint Andrew Daily Missal
for Wednesday in Holy Week
Pictures and Italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint Mary Major
Indulgence of 10 years and 10 Quarantines
Privileged Feria
Violet Vestments

Papal Basilica of Saint Mary Major
Basilica Papale di Santa Maria Maggiore (Italian)
Basilica Sanctae Mariae Maioris (Latin) 

(From Wikimedia Commons. Photo taken by LPLT, November 2008)

From today, the Stational celebrations of Holy Week are held in Rome at the great Basilicas. That of Wednesday is held at Saint Mary Major, the largest and most celebrated Sanctuary dedicated to the Blessed Virgin, whose sufferings the Church commiserates during these days.

The first passage, from the Prophet Isaias, bears on the Passion. The blood that dyes the Saviour’s garments is His own most precious blood. Instead of crushing the people in His indignation, He suffers and dies for them.

Santa Maria Maggiore

by M. Ohlmüller (dated 1883)

Watercolours

(From Wikimedia Commons)

The second passage foretells the principal features of the Passion, with such remarkable precision, that the Fathers of the Church speak of Isaias as the fifth Evangelist. It is “the Man of Sorrows” who “was led as a sheep to the slaughter and was dumb”, “He was covered with wounds and reputed with the wicked.” “He was bruised for our sins,” “Cut off out of the land of the living, He had the ungodly to guard His sepulchre and the rich to bury Him after His death”, “and by His bruises we are healed”.

Justifying to the full His title of Saviour, “He became obedient unto death, even to the death of the Cross” (Introit) as we are shown it today in the Gospel according to Saint Luke.

 

Capela Borghese, Santa Maria Maggiore 

(From Wikimedia Commons. 

Photo taken by Ricardo André Frantz, 2005)

Catechumens and Christian penitents, alike, “we were in truth like sheep that had gone astray, each one having turned aside into his own way”, and Jesus, “having the iniquity of us all laid on Him, has received in return a multitude of disciples” (Second Lesson). During the Easter festivities, the Souls of men will become reconciled to God in the Sacraments of Baptism and Penance.

Renewing at Mass the mysteries of the Passion of Our Lord, let us pray “to be delivered by His merits from the power of the enemy and to obtain the grace of His Resurrection” (First and Second Collects, and Secret).

Lenten Station at Saint Prisca's

Non-Italic Text taken from The Saint Andrew Daily Missal
for Tuesday in Holy Week
Pictures and Italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint Prisca's
Indulgence of 10 years and 10 Quarantines
Privileged Feria
Violet Vestments

Basilica of Santa Prisca

The Station is at the Church of Saint Prisca, of whom Saint Paul speaks: “Salute Prisca and Aquila, my helpers in Christ Jesus, and the Church which is in their house”. This was one of the twenty-five Parishes of Rome in the 5th-Century.

The Epistle, Gradual, Offertory and Communion are a perfect adaptation of the passages in the Old Testament to Christ persecuted. He is “the meek lamb that is carried to be a victim”, and which God, by a striking revenge on them (Epistle), “delivers from the hand of the sinner” (Offertory). The Gospel of Saint Mark describes the death of Christ. The Introit and the Collects show that the Church, which continues the saving work of Christ, revives the mysteries of His Passion (Collect) and “glories in the Cross of Our Lord Jesus Christ, in whom is our salvation, life and resurrection” (Introit).

Like the Catechumens, who formerly were baptised, and public penitents, who were reconciled at Easter, the faithful are about to participate, by their Easter Confession and Holy Communion, “in the mysteries of Our Lord’s Passion in such a manner as to deserve to obtain pardon” (Collect).

Pope John XXIII (1958 - 1963)

In 1953, he was appointed Patriarch of Venice and, accordingly, raised to the rank of Cardinal-Priest of Santa Prisca by Pope Pius XII. As a sign of his esteem, the President of France, Vincent Auriol, claimed the ancient privilege possessed by French monarchs and bestowed the Red Hat on Roncalli at a ceremony in the Elysee Palace. 

“May our healing Fasts, in union with the sacrifices of Christ” (Secret) “purify us from all remains of our old nature, and enable us to be formed anew unto holiness” (Prayer Over The People).

Santa Prisca is a Basilica Church in Rome, devoted to Saint Prisca, a 1st-Century martyr, on the Aventine Hill. It was built in the 4th- or 5th-Century over a temple of Mithras, and is recorded as the Titulus Priscae in the Acts of the 499 A.D. Synod.

Damaged in the Norman Sack of Rome, the Church was restored several times. The current aspect is due to the 1660 Restoration, which included a new facade by Carlo Lombardi.

His Eminence, Justin Francis Rigali,
Cardinal Archbishop Emeritus of Philadelphia,
currently, Cardinal Priest of the Titulus S. Priscae

In the interior, the columns are the only visible remains of the ancient Church. Also, a baptismal font, allegedly used by Saint Peter, is conserved. The altar in the crypt contains the relics of Saint Prisca; the frescoes in the crypt are by Antonio Tempesta. Anastasio Fontebuoni frescoed the walls of the nave with Saints and Angels with the instruments of passion. In the sacristy, is a painting of the Immaculate Conception with Angels by Giovanni Odazzi, and, on the main altar, a Baptism of Santa Prisca by Domenico Passignano.

The Cardinal Priest of the Titulus S. Priscae is Justin Francis Rigali, Cardinal Archbishop Emeritus of Philadelphia (US). Previous Cardinal-Priests include: Angelo Roncalli (1953), later Pope John XXIII.

Pope John XXIII was the last Pope to use full Papal Ceremony, some of which was abolished after Vatican II, while the rest fell into disuse. His Papal Coronation ran for the traditional five hours (Pope Paul VI, by contrast, opted for a shorter ceremony, while later Popes declined to be crowned). However, as with his predecessor, Pope Pius XII, he chose to have the coronation itself take place on the balcony of Saint Peter's Basilica, in view of the crowds assembled in Saint Peter's Square below.

Arms of Pope John XXIII

(From Wikimedia Commons. Author User:mAgul, August 2007)

Upon his election, Roncalli chose John as his regnal name. This was the first time in over 500 years that this name had been chosen; previous Popes had avoided its use since the time of the Antipope John XXIII during the Western Schism.

On the choice of his name Pope John said that "I choose John ... a name sweet to us because it is the name of our father, dear to me because it is the name of the humble parish Church where I was baptized, the solemn name of numberless cathedrals scattered throughout the world, including our own Basilica [Saint John Lateran]. Twenty-two Johns of indisputable legitimacy have [been Pope], and almost all had a brief pontificate. We have preferred to hide the smallness of our name behind this magnificent succession of Roman Popes."

Upon his choosing the name, there was some confusion as to whether he would be known as John XXIII or John XXIV; in response, John declared that he was John XXIII, thus affirming the antipapal status of antipope John XXIII.

Before this antipope, the most recent Popes called John were John XXII (1316–1334) and John XXI (1276–1277). However, there was no Pope John XX, owing to confusion caused by mediaeval historians misreading the Liber Pontificalis to refer to another Pope John between John XIV and John XV.

Lenten Station at Saint Praxedes's

Non-Italic Text taken from The Saint Andrew Daily Missal
for Monday in Holy Week
Pictures and Italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint Praxedes's
Indulgence of 10 years and 10 Quarantines
Privileged Feria
Violet Vestments

Basilica of Saint Praxedes
Basilica di Santa Prassede all’Esquilino (Italian)
Basilica Sanctae Praxedis (Latin)

The Station was originally held at SS Nereus and Achilleus, but the tottering state of this Church caused it to be transferred in the 13th-Century to Saint Praxedes's. The precious Pillar of the Flagellation, so called, brought over from the Holy Land by Cardinal Colonna at the time of the Fifth Crusade, was placed by him in this, his Titular, Church where it is still kept. In exchange for the iron ring attached to this Pillar, Saint Louis presented the Church with the Three Thorns of the Holy Crown, that are still preserved there. The relics of many martyrs, gathered from the suburban catacombs, were brought into this Church under Pope Paschalis I.

In the Epistle, Isaias, typifying Jesus, prophesies His obedience and the indignities of His Passion. He, likewise, foretells His triumph, for He has placed His trust in God, who will raise Him to life again. Finally, he shows how the Jews were to be confounded. Then the Gentiles, through Baptism, the public penitents, by being reconciled, and the faithful, by their Easter Confession and Holy Communion, will pass from darkness to the light of which Jesus is the fount.

Interior of Basilica di Santa Prassede 

(From Wikipedia. The Free Encyclopedia. Photo taken by Sixtus, March 2006)

The Gospel tells of the supper, of which Jesus partook in the house of Simon the Leper, six days before the Pasch. While Martha, all activity, served at table, Mary, more loving, went up to Christ, and, breaking the long narrow neck of an alabaster vase filled with an ointment of great price, poured the contents over His feet. And Jesus commends her for having thus anticipated the embalming of His body. The indignant protests of Judas lead us to fear the crime into which he will fall as a result of his avarice.

 

Pope Paschal I depicted in the mosaic of Santa Prassede. 

He is presenting a model of the church to Christ, and wears a square halo, 

which means he was alive at the time of the mosaic

Finally, the presence at the supper of Lazurus, whom Jesus had raised to life, is a forecast of the coming victory of Christ over death.

The choice of this Gospel is not without connection with that of the Stational Church: Saint Praxedes and Saint Pudentiana put their house at the disposal of Pope Saint Pius I, like Mary and Martha received Jesus into theirs.

The Basilica of Saint Praxedes ( Latin: Basilica Sanctae Praxedis, Italian: Basilica di Santa Prassede all’Esquillino), commonly known in Italian as Santa Prassede, is an ancient Titular Church and Minor Basilica in Rome, located near the Papal Basilica of Saint Mary Major. The current Cardinal Priest of Titulus Sancta Praxedis is Paul Poupard.

 

Pope Julius III (1550 - 1555)

Titular of this See

The Church in its current form was commissioned by Pope Hadrian I around the year 780 A.D., and built on top of the remains of a 5th-Century structure. It was designed to house the bones of Saint Praxedes (Italian: S. Prassede) and Saint Pudentiana (Italian: S. Pudenziana), the daughters of Saint Pudens, traditionally St. Paul's first Christian convert in Rome. The two female Saints were murdered for providing Christian burial for early martyrs in defiance of Roman law. The Basilica was enlarged and decorated by Pope Paschal I circa. 822 A.D.

Pope Paschal, who reigned 817 A.D. - 824 A.D., was at the forefront of the Carolingian Renaissance started and advocated by the Emperor Charlemagne. They desired to get back to the foundations of Christianity, theologically and artistically. Paschal, thus, began two, linked, ambitious programmes: the recovery of martyrs' bones from the catacombs of Rome and an almost unprecedented Church building campaign. Paschal dug up numerous skeletons and transplanted them to this Church. The Titulus S. Praxedis was established by Pope Evaristus, around 112 A.D.

The church provided the inspiration for Robert Browning's poem "The Bishop Orders His Tomb at Saint Praxed's Church."

Saint Charles Borromeo

Titular of the Basilica

The main altarpiece is a canvas of Saint Praxedes Gathering the Blood of the Martyrs (c. 1730-1735) by Domenico Muratori.

The most famous element of the Church is the mosaic decorative programme. Paschal hired a team of professional mosaicists to complete the work in the apse, the apsidal arch, and the triumphal arch. In the apse, Jesus is in the centre, flanked by Saints Peter and Paul, who present Prassede and Pudenziana to God. On the far left is Paschal, with the square halo of the living, presenting a model of the Church as an offering to Jesus. Below, runs an inscription of Paschal's, hoping that this offering will be sufficient to secure his place in Heaven.

On the apsidal arch are twelve men on each side, holding wreaths of victory, welcoming the Souls into Heaven. Above them are symbols of the four Gospel writers: Mark, the lion; Matthew, the man; Luke, the bull; and John, the eagle, as they surround a lamb on a throne, a symbol of Christ's eventual return to Earth.

Though those mosaics, as well as those in the Saint Zeno chapel, a funerary chapel Paschal built for his mother, Theodora, are the best-known aspects of the Church, an intriguing and relatively hidden aspect are ancient frescoes. Ascending a spiral staircase, one enters a small room, covered in scaffolding. However, on the wall is a fresco cycle dating most likely from the 8th-Century. The frescoes depict, probably, the life-cycle of the Saint of the church, Praxedes.

Saint Louis IX, King of France (1226 - 1270)

 Presented the Basilica with three alleged thorns from the Holy Crown

Santa Prassede also houses a segment of the alleged pillar upon which Jesus was flogged and tortured before his crucifixion in Jerusalem. The relic is alleged to have been retrieved in the early 4th-Century A.D. by Saint Helena (mother of the Roman Emperor, Constantine I) who, at the age of eighty, undertook a pilgrimage to Golgotha in the Holy Land to found Churches for Christian worship and to collect relics associated with the crucifixion of Jesus. Among these legendary relics, retrieved by Helena, which included pieces of the True Cross (now housed in the Church of Santa Croce in Gerusalemme, also in Rome) and wood from Jesus' crib, was the segment of the pillar now housed in Santa Prassede. The authenticity of these relics, including the Santa Prassede pillar, is disputed by historians and Christians alike, due to lack of forensic evidence and the massive proliferation of fake relics during the Middle Ages.

Among known Titulars of this See are Lambertus Scannabecchi (later Pope Honorius II, c. 1099), Ubaldo Allucingoli (later Pope Lucius III, 1141), Alain de Coëtivy (1448), Giovanni Maria Ciocchi del Monte (later Pope Julius III, 1542-1543), Saint Charles Borromeo (1538-1584), Rafael Merry del Val (1903-1930).

The Seven Joys of Mary, Mother of Jesus

Pictures and italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)

The Fifteen Mysteries of the Rosary and the Virgin of the Rosary

The Seven Joys of the Virgin (or of Mary, the Mother of Jesus) is a popular devotion to events of the life of the Virgin Mary, arising from a trope of medieval devotional literature and art.

The Seven Joys were frequently depicted in mediaeval devotional literature and art. The Seven Joys are usually listed as:

The Annunciation
The Nativity of Jesus
The Adoration of the Magi
The Resurrection of Christ
The Ascension of Christ to Heaven
The Pentecost or Descent of the Holy Spirit upon the Apostles and Mary
The Coronation of the Virgin in Heaven

 

Raphael's Sistine Madonna painting (1513) at Saint Peter's Basilica in Rome 

is considered a key example of High Renaissance art

 
Alternative choices were made and might include the Visitation and the Finding in the Temple, as in the Franciscan Crown form of Rosary, which uses the Seven Joys, but omits the Ascension and Pentecost. Depiction in art of the Assumption of Mary may replace or be combined with the Coronation, especially from the 15th-Century onwards; by the 17th-Century, it is the norm. As with other sets of scenes, the different practical implications of depictions in different media such as painting, ivory miniature carving, liturgical drama and music led to different conventions by medium, as well as other factors such as geography and the influence of different religious orders. There is a matching set of seven Sorrows of the Virgin; both sets influenced the selection of scenes in depictions of the Life of the Virgin.

Originally, there were five joys of the Virgin. Later, that number increased to seven, nine, and even fifteen in medieval literature, although seven remained the most common number, and others are rarely found in art. The five joys of Mary are mentioned in the 14th-century poem Sir Gawain and the Green Knight as a source of Gawain's strength. The devotion was especially popular in pre-Reformation England. The French writer Antoine de la Sale completed a satire called Les Quinze Joies de Mariage ("The Fifteen Joys of Marriage") in about 1462, which partly parodied the form of Les Quinze Joies de Notre Dame ("The Fifteen Joys of Our Lady"), a popular litany.