Beauvais Cathedral (Part Two).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Français : Cathédrale Saint-Pierre de Beauvais, Oise, Picardie, France. Horloge astronomique.

English: Beauvais Cathedral, Oise, Picardie, France. Astronomical clock.

Photo: September 2008.

Source: Own work.

Author: Tango7174

(Wikimedia Commons)

In the race to build the tallest Cathedral in the 13th-Century, the builders of Saint-Pierre de Beauvais pushed the technology to the limits. Even though the structure was to be taller, the buttresses were made thinner in order to pass maximum light into the Cathedral. In 1284, only twelve years after completion, part of the Choir Vault collapsed, along with a few Flying Buttresses. It is now believed that the collapse was caused by resonant vibrations caused by high winds.

The accompanying photograph shows lateral iron supports between the Flying Buttresses; it is not known when these external tie rods were installed. The technology would have been available at the time of the initial construction, but the extra support might not have been considered necessary until after the collapse in 1284, or even later.

Français : Cathédrale Saint-Pierre de Beauvais, Oise, Picardie, France. 

Horloge à carillon du XIVè siècle.

English: Beauvais Cathedral, Oise, Picardie, France. 

14th-Century chiming clock.

Photo: September 2008.

Source: Own work.

Author: Tango7174

(Wikimedia Commons)

In the 1960s, the tie rods were removed; the thinking was that they were disgraceful and unnecessary. However, the oscillations created by the wind became amplified, and the Choir partially disassociated itself from the Transept. Subsequently, the tie rods were re-installed  but this time with rods made of steel. Since steel is less ductile than iron, the structure became more rigid, possibly causing additional fissures.

Lateral Supports of Flying Buttresses.

Photo: March 2007.

Source: Own work.

Author: Tvbanfield

(Wikimedia Commons)

The floor plan shows that the original design included a Nave that was never built. Thus, the absence of shouldering support, that would have been contributed by the Nave, contributes to the structural weakness of the Cathedral.

With the passage of time, other problems surfaced, some requiring more drastic remedies. The North Transept now has four large wood-and-steel lateral trusses at different heights, installed during the 1990s, to keep the Transept from collapsing. In addition, the main floor of the Transept is interrupted by a much larger brace that rises out of the floor at a 45-degree angle. This brace was installed as an emergency measure to give additional support to the Pillars that, until now, have held up the tallest Vault in the world.

English: Beauvais Cathedral. Stained-Glass.

Česky: Katwedrála v Beauvais, vitráže

Photo: August 2010.

Source: Own work.

Author: Sokoljan

(Wikimedia Commons)

These temporary measures will remain in place until more permanent solutions can be determined. Various studies are under way to determine with more assurance what can be done to preserve the structure. Columbia University is performing a study on a three-dimensional model, constructed using laser scans of the building, in an attempt to determine the weaknesses in the building and remedies.

Several of the Chapels contain Mediaeval stained glass windows, made during the 13th- through to the 15th-Centuries. In a Chapel close to the Northern Entrance, there is a Mediaeval clock (14th-15th-Century), probably the oldest fully-preserved and functioning mechanical clock in Europe. In its vicinity, a highly complicated astronomical clock with moving figures was installed in 1866.

THIS CONCLUDES THE ARTICLE ON BEAUVAIS CATHEDRAL.

Kyrie Eleison (Orbis Factor) from the Gradual of Eleanor of Brittany (Graduel d'Alienor de Bretagne).

Kyrie Eleison (Orbis Factor) from the Gradual of Eleanor of Brittany 

(Graduel d'Alienor de Bretagne).

Suitable Preparation For Lent.

This Article can be found on "CATHOLICISM PURE & SIMPLE"

at http://catholicismpure.wordpress.com

The Composer of "When David Heard" is Eric Whitacre.

The Painting is "David Mourning Absalom"! by Gustave Dore.

The Choir is the Croatian Radiotelevision Choir.

The Conductor is Tionči Bilić.

When David heard that Absalom was slain,

he went up into his chamber over the gate and wept,

and thus he said:

My son, my son,

O Absalom my son,

would God I had died for thee! 

Beauvais Cathedral (Part One).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Beauvais Cathedral from the South-East.

Photo: July 2005.

Source: http://www.flickr.com/photos/aengineer/40624675/in/set-892135/

Author:James Mitchell

Licensed under Creative Commons Attribution ShareAlike 2.0

(Wikimedia Commons)

The Cathedral of Saint Peter of Beauvais (French: Cathédrale Saint-Pierre de Beauvais) is an incomplete Roman Catholic Cathedral located in Beauvais, Northern France. It is the seat of the Bishop of Beauvais, Noyon and Senlis. It is, in some respects, the most daring achievement of Gothic architecture and consists only of a Transept (16th-Century) and Choir, with Apse and seven polygonal Apsidal Chapels (13th-Century), which are reached by an Ambulatory.

The small Romanesque Church of the 10th-Century, known as the Basse Œuvre, much restored, still occupies the site destined for the Nave.

History

Work was begun in 1225, under Count-Bishop Miles de Nanteuil, immediately after the third in a series of fires in the old wooden-roofed Basilica, which had reconsecrated its Altar only three years before the fire; the Choir was completed in 1272, in two campaigns, with an interval (1232–38) owing to a funding crisis provoked by a struggle with Louis IX. The two campaigns are distinguishable by a slight shift in the axis of the work and by what Stephen Murray characterises as "changes in stylistic handwriting." 

Under Bishop Guillaume de Grez, an extra 4.9 m was added to the height, to make it the highest-vaulted Cathedral in Europe. The vaulting, in the interior of the Choir, reaches 48 m in height, far surpassing the concurrently-constructed Cathedral of Notre-Dame in Amiens, with its 42 m (138 ft) Nave.

The work was interrupted in 1284 by the collapse of some of the vaulting of the recently-completed Choir. This collapse is often seen as a disaster that produced a failure of nerve among the French masons working in Gothic style; modern historians have reservations about this deterministic view. Stephen Murray notes that the collapse also "ushers in the age of smaller structures associated with demographic decline, the Hundred Years War, and of the 13th-Century."

English: Cathedral of Saint Peter of Beauvais, France.

Français : Cathédrale Saint-Pierre de Beauvais, Oise, Picardie, France.

Photo: September 2008.

Source: Own work.

Author: Tango7174

(Wikimedia Commons)

However, large-scale Gothic design continued, and the Choir was rebuilt at the same height, albeit with more Columns in the Chevet and Choir, converting the vaulting from quadripartite vaulting to sexpartite vaulting. The Transept was built from 1500 to 1548. In 1573, the fall of a too-ambitious 153-m (502 feet) Central Tower stopped work again. The Tower would have made the Church the second-highest-structure in the world at the time (after St. Olaf's Church, Tallinn). Afterwards, little structural addition was made.

The Choir has always been wholeheartedly admired: Eugène Viollet-le-Duc called the Beauvais Choir "the Parthenon of French Gothic."

Beauvais Cathedral, France.

This building is classé au titre des Monuments Historiques. 

It is indexed in the Base Mérimée, a database of architectural heritage maintained by the French Ministry of Culture, under the reference PA00114502.

Photo: September 2011.

Source: Own work.

Author: PMRMaeyaert

(Wikimedia Commons)

Its façades, especially that on the South, exhibit all the richness of the Late-Gothic style. The carved wooden doors of both the North and South Portals are masterpieces, respectively, of Gothic and Renaissance workmanship. The Church possesses an elaborate astronomical clock in Neo-Gothic taste (1866) and tapestries of the 15th- and 17th-Centuries, but its chief artistic treasures are stained-glass windows of the 13th-, 14th-, and 16th-Centuries, the most beautiful of them from the hand of Renaissance artist, Engrand Le Prince, a native of Beauvais. To him, also, is due some of the stained-glass in St-Etienne, the second Church of the town, and an interesting example of the transition stage between the Gothic and the Renaissance styles.

During the Middle Ages, on 14 January, the Feast of Asses was annually celebrated in Beauvais Cathedral, in commemoration of the Flight into Egypt.


PART TWO FOLLOWS.

Canterbury Cathedral (Part Seven).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Cloister ceiling, Canterbury Cathedral.

Photo: April 2011.

Source: Own work.

Author: Mattana

(Wikimedia Commons)

The oldest bell in the Cathedral is "Bell Harry", which hangs in a cage, atop the Central Tower, to which the bell lends its name. This bell was cast in 1635, and is struck at 8 a.m. and 9 p.m. every day to announce the opening and closing of the Cathedral, and also, occasionally, for Services, as a Sanctus bell.

The Cathedral library has a collection of about 30,000 books and pamphlets printed before the 20th-Century and about 20,000 later books and serials. Many of the earlier books were acquired as part of donated collections. It is rich in Church history, older theology, British history (including local history), travel, science and medicine, and the anti-slavery movement. The library's holdings are included in the online catalogue of the library of the University of Kent.

In 2006, a new fundraising appeal to raise £50 million was launched to much media attention under the dramatic banner "Save Canterbury Cathedral".

Approach to Canterbury Cathedral. 11.00 a.m, Palm Sunday. 2005.

 Photograph taken from gardens just inside city walls.

Photo: March 2005.

Source: From geograph.org.uk

Author: Elaine Morgan

(Wikimedia Commons)

The Canterbury Cathedral Appeal was launched to protect and enhance Canterbury Cathedral's future as a religious, heritage and cultural centre. Every five years, the Cathedral carries out a major structural review. The last so-called Quinquennial made it very clear that a combination of centuries of weathering, pollution and constant use had taken its toll on the building and there were some serious problems at Canterbury Cathedral that needed urgent action.

Much of the Cathedral's stonework is damaged and crumbling, the roofs are leaking and much of the stained glass is badly corroded. It is thought that, if action is not taken now, the rate of decay and damage being inflicted on the building will increase dramatically with potentially disastrous results, including closure of large sections of the Cathedral in order to guarantee the safety of the million-plus worshippers, pilgrims and tourists who visit the Cathedral every year.

Canterbury Cathedral at dusk. Seen from the Cathedral Gate hotel.

Photo: April 2012.

Source: Own work.

Author: Adam Bishop

(Wikimedia Commons)

As well as restoring much of the historic fabric of the Cathedral, the appeal aims to fund enhancements to visitor facilities and investment to build on the Cathedral's musical tradition. By November 2008, the appeal had raised more than £9 million. Previous major appeals were run in the 1950s and 1970s.

In the Summer of 2009, stones in the South-West Transept were discovered to have cracked around several iron braces surrounding the Great South Window. The cracks are presumed to be the result of the metal expanding and contracting in hot and cold weather, and have severely compromised the structure of the window. The Transept was closed while scaffolding was erected, and the area immediately in front of the inside of the window was closed off and covered, to maintain access, via the South Door, beneath it. This area was given restoration priority immediately after the structural damage was discovered.

THIS CONCLUDES THE ARTICLE ON CANTERBURY CATHEDRAL.

Broken Promises: Cameron Said He Had "No Plans" To Redefine Marriage.

	This article was received from the coalition for marriage. their web-site can be found at http://c4m.org.uk/ Broken promises: Cameron said he had ‘no plans’ to redefine marriage
	Dear marriage supporter, As the big vote in the House of Commons approaches (Tue. 5 Feb), it’s easy to forget that on 3 May 2010 – just three days before the last general election – David Cameron said on TV that he was “not planning” to change the definition of marriage. He was being interviewed by Adam Boulton on Sky News, and was asked a direct question about whether he would introduce gay marriage. He said: “I am not planning that.” Gay marriage campaigners were furious, as this article shows. It is outrageous that Mr Cameron went on TV just three days before a general election and told voters one thing, but did the exact opposite once inside Downing Street. His manifesto at the election was silent, so he has no mandate to redefine marriage. His only mandate is to defend traditional marriage. Please read our latest briefing on the issue, and please share it with all your family and friends. READ OUR LATEST BRIEFING The Coalition for Marriage is doing all it can ahead of the Second Reading vote on Tuesday. Yours sincerely, Colin Hart Campaign Director Coalition for Marriage Forward to a friend
	Coalition for Marriage 8 Marshalsea Road London SE1 1HL You received this email because you chose to be 'kept informed' when you signed the Petition for Marriage at c4m.org.uk or on paper. If you no longer wish to receive information from Coalition for Marriage, click 'Unsubscribe' below, or for other enquiries, contact us here. Tel 0207 403 7879 Unsubscribe View as plaintext © 2012
	Coalition for Marriage Ltd is a Not-for-Profit Company registered in England. Company No. 07880604.

Three Lives Saved.

This Article can be found on The Transalpine Redemptorists' Blog at

http://papastronsay.blogspot.co.uk/

TUESDAY, JANUARY 29, 2013

Three Lives Saved

 Today at the abortion clinic here in Lincoln, Nebraska, we had the great joy of saving three lives!  That’s right, three women, after seeing people praying outside the abortuary, decided not to kill their child, but to let it live!  This is the result not only of prayer, but also of having a visible presence outside the abortion clinic.  All these women and children need our prayers and certainly the graces they received were obtained by prayers in one form or another, but if our counsellors had not been there to talk to the ladies and offer them support, if Our Lady’s Army had not been there praying and giving visible encouragement, who knows but that those three precious lives might by now have been snuffed-out.

If you are in the Lincoln area and can make it to the Lincoln abortuary on a Tuesday, please do come out and join us in praying for an end to abortion and for the women and children who are harmed by abortion.  Who knows how many babies God will save from death if only there are enough people out there praying for it.  Our Lady said at Fatima “Many souls go to hell because they have no one to pray for them.”  Clearly we are not talking about hell for these innocent little babies, but could it not also be said: many babies are slaughtered each day by abortion BECAUSE THERE IS NO ONE TO PRAY FOR THEM?  If you are not in the Lincoln area or cannot make it but know people who could please share this with your friends so that we can get an many people out there praying for mothers and their children as possible.

5631 S. 48th Street

Suite 100

Lincoln, NE 68516

There is parking available.

What The Liberal Media Fears The Most: 500,000 March For Life, Washington D.C., 2013.

Amazing March for Life video: Over 500,000 press on to victory for the unborn.

CLICK ON THE LINK, BELOW, AND WATCH OVER 500,000 STAND UP FOR THE LITTLE ONES.

Amazing March for Life video: Over 500,000 press on to victory for the unborn

Sebastián de Vivanco. "O Rex Gloriae".

This Article can be found on the Atrium Musicologicum Blog
at http://musicologicus.blogspot.co.uk

Illustration from Wikipedia - the free encyclopaedia

The Nave, Salamanca Old Cathedral, Spain.
 Photo: May 2012.
Source: Own work.
Author: Antoine Taveneaux

Canterbury Cathedral (Part Six).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Bosses, underneath the South Porch, Canterbury Cathedral, Canterbury, England.

Photo: 17 April 2011.

Source: Own work.

Author: Mattana

(Wikimedia Commons)

Dissolution of the Monastery.

The Cathedral ceased to be an Abbey during the Dissolution of the Monasteries, when all religious houses were suppressed. Canterbury surrendered in March 1539 and reverted to its previous status of  'a college of Secular Canons'. The New Foundation came into being on 8 April 1541.

18th-Century to the present.

The original Norman North-West Tower, which had a lead Spire until 1705, was demolished in 1834, due to structural concerns. It was replaced with a Perpendicular-style twin of the South-West Tower, now known as the "Arundel Tower"'. This was the last major structural alteration to the Cathedral.The Cathedral is the Regimental Church of the Princess of Wales's Royal Regiment.

Furnishings.

In 1688, the joiner, Roger Davis, citizen of London, removed the 13th-Century misericords and replaced them with two rows of his own work on each side of the Choir. Some of Davis's misericords have a distinctly mediaeval flavour and he may have copied some of the original designs. When Sir George Gilbert Scott carried out renovations in the 19th-Century, he replaced the front row of Davis' misericords, with new ones of his own design, which seem to include many copies of those at Gloucester Cathedral, Worcester Cathedral and New College, Oxford.

Stained glass windows in the Chapter House, Canterbury Cathedral, Canterbury, England.

Photo: 18 April 2011.

Source: Own work.

Author: Mattana

(Wikimedia Commons)

Foundation.

The Foundation is the authorised staffing establishment of the Cathedral, few of whom are Clergy. The Head of the Cathedral is the Dean, currently the Very Reverend Robert Willis, who is assisted by a Chapter of twenty-four Canons, four of whom are residentiary, the others being honorary appointments of senior Clergy in the Diocese. There are also a number of Lay Canons, who altogether form the Greater Chapter, which has the legal responsibility both for the Cathedral and also for the formal election of an Archbishop, when there is a Vacancy-in-See. By English law and custom, they may only elect the person who has been nominated by the Monarch on the advice of the Prime Minister. The Foundation also includes the Choristers, Lay Clerks, Organists, King's Scholars, the Six Preachers and a range of other Officers; some of these Posts are moribund, such as that of the Cathedral Barber. The Cathedral has a full-time Workforce of 300 and, approximately, 800 volunteers.

Bells.

The Cathedral has a total of twenty-one bells in the three Towers:

The South-West Tower (Oxford Tower) contains the Cathedral’s main ring of bells, hung for change ringing in the English style. There are fourteen bells – a ring of twelve with two semi-tones, which allow for ringing on ten, eight or six bells while still remaining in tune. All of the bells were cast in 1981 by the Whitechapel Bell Foundry from seven bells of the old peal of twelve with new metal added, and re-hung in a new frame. The length (draught) of the ropes was increased by lowering the floor of the ringing chamber to the level of the South Aisle Vault at the same time. The heaviest bell of this ring weighs 34 cwt (1.72 tonnes). The Ringers practice on Thursday at 7.30 p.m.

"Great Dunstan".

Photo: 1 April 2008.

Source: Own work.

Author: Poe123

(Wikimedia Commons)

The North-West Tower (Arundel Tower) contains the Cathedral’s clock chime. The five quarter chimes were taken from the old peal of twelve in the Oxford Tower (where the clock was originally), and hung from beams in the Arundel Tower. The chimes are stuck on the eighth Gregorian tone, which is also used at Merton College, Oxford. The hour is struck on "Great Dunstan", the largest bell in Kent (63 cwt (3.2 tonnes)), which is also swung on Sunday mornings for Matins.

In 1316, Prior Henry of Eastry gave a large bell, dedicated to St Thomas, which weighed 71½ cwt (3.63 tonnes). Later, in 1343, Prior Hathbrand gave bells dedicated to Jesus and Saint Dunstan. At this time the bells in campanile were rehung and their names recorded as “Jesus”, “Dunstan”, “Mary”, “Crundale”, “Elphy” (Alphege) and Thomas”. In the great earthquake of 1382, the campanile fell, destroying the first three-named-bells. Following its reconstruction, the other three bells were rehung, together with two others, of whose casting no record remains.

PART SEVEN FOLLOWS

First Traditional Forty Hours' Devotion in the Archdiocese of New York since the Second Vatican Council. The Church of the Holy Innocents, Manhattan, New York. Friday, 1 February 2013 - Sunday, 3 February 2013.

Roman Text is from the Article on Fr Z's Blog,
WHAT DOES THE PRAYER REALLY SAY, at

http://wdtprs.com/blog/

Italic Text is from Wikipedia, the free encyclopaedia.

Church of The Holy Innocents, Manhattan, New York.

The Church of the Holy Innocents, in Manhattan, will celebrate the restoration of its monumental Mural of the Crucifixion by Constantino Brumidi with the first Traditional Forty Hours’ Devotion in the Archdiocese of New York since the Second Vatican Council.

The Forty Hours' Devotion will take place over the first weekend of February and conclude with a Pontifical Mass at the Faldstool on Sunday, February 3rd at 10 AM coram sanctissimo (in the presence of the Blessed Sacrament).

There will be sign-up sheets at the back of the Church of the Holy Innocents for those who would like to commit to adoring the Blessed Sacrament in the Church during the periods of Exposition.

The Forty Hours' Devotion begins on the First Friday of February, February 1st, at 6:00 PM with a Solemn Votive Mass of the Blessed Sacrament (in the Extraordinary Form of the Roman Rite). This Mass concludes with the Exposition and Procession of the Blessed Sacrament. The First Friday All Night Vigil begins after this Mass and will continue until 4:00 AM.

Church of The Holy Innocents, Manhattan, New York.

Photo: 3 June 2012.

Source: Own work.

Artist: Jim.henderson

(Wikimedia Commons)

The Forty Hours continues on the First Saturday of February, February 2nd, at 1:00 PM with a Solemn Mass for the Feast of the Purification of the Blessed Virgin Mary, Candlemas, (in the Extraordinary Form of the Roman Rite). This Mass will include the blessing of candles and procession.

At 4 PM, there will also be a Pontifical Mass (in the Ordinary Form of the Roman Rite, versus populum and in English) for the Solemnity of the Dedication of the Church, celebrated by His Excellency Dominick Lagonegro, Auxiliary Bishop of New York, at which he will bless the restored Mural.

The Forty Hours' Devotion concludes on the First Sunday of February, February 3rd, at 10:00 AM with a Solemn Pontifical Mass at the Faldstool coram sanctissimo for the Feast of the Dedication of the Church, celebrated by His Excellency, James C. Timlin, Bishop Emeritus of Scranton. This Mass concludes with the Procession of the Blessed Sacrament and Reposition.

The Church of the Holy Innocents is a Roman Catholic parish church in the Roman Catholic Archdiocese of New York, located at 126 West 37th Street at Broadway, Manhattan, New York City.

History

The parish was established in 1868. The present edifice was completed in 1870, using the Gothic Revival style of architecture. The first pastor engaged Constantino Brumidi to create a monumental fresco over the main altar. He later decorated the Great Rotunda of the U. S. Capitol Building. 

In the early years, cows roamed the streets and open pastures around Holy Innocents. As the city rapidly expanded northward, the community, known as the "Tenderloin", teemed with immigrants from Europe. 

By the early 1900s, the area was known for newspaper publishing (The New York Herald) and theatres (The Metropolitan Opera House (39th St)). Holy Innocents was called the "actors' church". Eugene O'Neill, the playwright, was baptised in the Church in 1888. Archbishop Patrick J. Hayes had the Church build a twenty-storey storage and loft building at 135-9 West 36th Street in 1924, to designs by the eminent Emery Roth, 19 West 40th Street for $600,000.

Pastor Rev. Dr. Richard Brennan transferred here in 1890 from being pastor since 1875 of St. Rose of Lima's Old Church (New York City), after the death of the former pastor, Rev. Larkin.

24 January. Feast Day of Saint Timothy. Bishop and Martyr.

Italic Text taken from The Saint Andrew Daily Missal.
Roman Text and Illustrations taken from Wikipedia, the free encyclopaedia,
      unless otherwise stated.

Double.
Red Vestments.

Saint Timothy (17 A.D. - 97 A.D.)

(orthodox icon).

Bishop and Martyr.

Source: http://www.svetigora.com/node/921

Author: Unknown.

(Wikimedia Commons)

Timothy (Greek: Τιμόθεος; Timótheos, meaning "honouring God" or "honoured by God") was a 1st - Century Christian Bishop, who died around 97 A.D. The New Testament indicates that Timothy travelled with Saint Paul, who was also his mentor. He is addressed as the recipient of the Epistles to Timothy.

Saint Timothy is mentioned in the Bible at the time of Paul's second visit to Lystra, in Anatolia, where Timothy is mentioned as a "disciple". Paul calls Timothy his "own son in the faith". Timothy often travelled with Paul. Timothy's mother was Jewish and his father was Greek, but he had not been circumcised, and Paul now ensured that this was done, according to the text, to ensure Timothy’s acceptability to the Jews.

According to McGarvey, Paul performed the operation "with his own hand", but others claim this is unlikely and nowhere attested. He was ordained and went with Paul on his journeys through Phrygia, Galatia, Mysia,Troas, Philippi, Veria, and Corinth. His mother, Eunice, and his grandmother, Lois, are noted as eminent for their piety and faith, which indicates that they may have also been Christians. Timothy is praised by Paul for his knowledge of the Scriptures (in the 1st-Century, mostly the Septuagint; see Development of the New Testament canon - Clement of Rome), and is said to have been acquainted with the Scriptures since childhood.

Rembrandt's Timothy and his grandmother, 1648.

Deutsch: Timotheus und seine Großmutter.

Current location: Deutsch: Sammlung Earl of Ellesmere, London.

Sourece/Photographer: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. 

ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.

Permission: [1]

(Wikimedia Commons)

That Timothy was jailed at least once during the period of the writing of the New Testament is implied by the writer of Hebrews mentioning Timothy's release at the end of the epistle. It is also apparent that Timothy had some type of stomach malady, owing to Paul's advice in 1 Timothy 5:23, counseling Timothy to "No longer drink water exclusively, but use a little wine for the sake of your stomach and your frequent ailments."

Paul commanded Timothy to remain in Ephesus (1 Timothy 1), "I command you to stay there in Ephesus", to prevent heresy from infecting the church in Ephesus. Paul also gave Timothy instructions for establishing Elders and Deacons there. These very guidelines have become the commonly-used guidelines among churches across the world to this day. 

According to later tradition, Paul consecrated Timothy as Bishop of Ephesus in the year 65 A.D., where he served for 15 years. In 97 A.D., (with Timothy dying at age 80), Timothy tried to halt a pagan procession of idols, ceremonies, and songs. In response to his preaching of the gospel, the angry pagans beat him, dragged him through the streets, and stoned him to death. In the 4th-Century, his relics were transferred to the Church of the Holy Apostles in Constantinople.

Timothy is venerated as an Apostle, Saint and Martyr by the Eastern Orthodox Church, with his Feast Day on 22 January. The Roman Catholic Calendar of Saints venerates Timothy, together with Titus, with a Memorial on 26 January. In the General Roman Calendar of 1962, his Feast, a Third Class Feast, is kept on 24 January. Along with Titus and Silas, he is commemorated by the Evangelical Lutheran Church in America and the Episcopal Church on 26 January. Timothy's Feast is kept by the Lutheran Church – Missouri Synod on 24 January.

Saint Timothy, born at Lystra (Asia Minor), of a pagan father and a Jewish mother, was already a Christian when Saint Paul came to that town. Saint Paul, whose conversion we celebrate tomorrow, was struck by Timothy's holiness and took him as a companion on his travels.. Saint Timothy thereupon gave up everything and became his disciple (Gospel).

Saint Paul conferred on him full sacerdotal powers (Introit) and committed to his care the government of the Church of Ephesus. We read in the Epistle a passage of one of the two admirable Letters which his master wrote to him. Saint Timothy was stoned to death in his episcopal city (+ 97 A.D.).

Let us, with Timothy, confess the Divinity of Christ in this Season after Epiphany, which is its Liturgical manifestation.

Mass: "Statuit". Of a Martyr Bishop, p. 1615, except the Proper Epistle.

Canterbury Cathedral (Part Five).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Canterbury Cathedral, England.

Photo: 17 April 2011.

Source: Own work.

Author: Mattana

(Wikimedia Commons)

The buildings, devoted to hospitality, were divided into three groups. The Prior's group were "entered at the South-East angle of the Green Court, placed near the most sacred part of the Cathedral, as befitting the distinguished ecclesiastics or nobility who were assigned to him." The Cellarer's buildings, where middle-class visitors were entertained, stood near the West End of the Nave. The inferior pilgrims and paupers were relegated to the North Hall or Almonry, just within the Gate.

Priors of Christ Church Priory included John of Sittingbourne (elected 1222, previously a Monk of the Priory) and William Chillenden, (elected 1264, previously Monk and Treasurer of the Priory). The Monastery was granted the right to elect their own Prior, if the Seat was vacant, by the Pope, and, from Pope Gregory IX, onwards, the right to a free election (though with the Archbishop overseeing their choice). 

Monks of the Priory have included Æthelric I, Æthelric II, Walter d'Eynsham, Reginald fitz-Jocelin (admitted as a Confrater, shortly before his death), Nigel de Longchamps and Ernulf. The Monks often put forward candidates for Archbishop of Canterbury, either from among their number or outside, since the Archbishop was nominally their Abbot, but this could lead to clashes with the King and/or Pope, should they put forward a different man, examples are the elections of Baldwin of Forde and Thomas Cobham.

Canterbury Cathedral, England.

Photo: 17 April 2011.

Source: Own work.

Author: Mattana

(Wikimedia Commons)

Early in the 14th-Century, Prior Eastry erected a stone Choir Screen, and his successor, Prior Oxenden, inserted a large Five-Light Window into St Anselm's Chapel. The Cathedral was seriously damaged by an earthquake in 1382, losing its bells and Campanile.

From the Late-14th-Century, the Nave and Transepts were rebuilt, on the Norman foundations in the Perpendicular style. In contrast to the contemporary rebuilding of the Nave at Winchester, where much of the existing fabric was retained and re-modelled, the Piers were entirely removed, and replaced with less bulky Gothic ones, and the old Aisle walls completely taken down, except for a low "Plinth" left on the South Side.

More Norman fabric was retained in the Transepts, especially in the East Walls, and the old Apsidal Chapels were not replaced until the Mid-15th-Century. The Arches of the new Nave Arcade were exceptionally high in proportion to the Clerestory. The new Transepts, Aisles and Nave were roofed with Lierne Vaults, enriched with Bosses. Most of the work was done during the Priorate of Thomas Chillenden (1391–1411): Chillenden also built a new Choir Screen at the East End of the Nave, into which Eastry's existing Screen was incorporated. The Norman stone floor of the Nave, however, survived until its replacement in 1786.

Bosses on the Vault of the Cloisters, 

Canterbury Cathedral, England.

Photo: 17 April 2011.

Source: Own work.

Author: Mattana

(Wikimedia Commons)

A shortage of money, and the priority given to the rebuilding of the Cloisters and Chapter-House, meant that the rebuilding of the West Towers was neglected. The South-West Tower was not replaced until 1458, and the Norman North-West Tower survived until 1834, when it was replaced by a replica of its Perpendicular companion.

In about 1430, the South Transept Apse was removed to make way for a Chapel, founded by Lady Margaret Holland and dedicated to St Michael and All Angels. The North Transept Apse was replaced by a Lady Chapel, built in 1448 - 1455.

Stained Glass Window in the Chapter House, 

Canterbury Cathedral, England.

Photo: 18 April 2011.

Source: Own work.

Author: Mattana

(Wikimedia Commons)

The 235-foot Crossing Tower was begun in 1433, although preparations had already been made during Chillenden's Priorate, when the Piers had been reinforced. Further strengthening was found necessary around the beginning of the 16th-Century, when Buttressing Arches were added under the Southern and Western Tower Arches. The Tower is often known as the "Angel Steeple", after a gilded angel that once stood on one of its Pinnacles.

PART SIX FOLLOWS

As a mother caresses her child, so I comfort you.

This Article can be found on the Holy Card Heaven blog at

http://holycardheaven.blogspot.co.uk/

As a mother caresses her child, so I comfort you.

Bouasse Lebel 782B

Comme une Mère caresse son enfant, ainsi je vous consolerai.

Te Deum. Hymn of Thanksgiving (Part Three).

Italic Text is taken from The Saint Andrew Daily Missal.

Non-Italic Text is taken from Wikipedia - the free encyclopaedia,

      unless otherwise stated.

Jesus, I trust in Thee.

Painting representing the famous apparition of the Sacred Heart of Jesus 
to Saint Margaret Mary Alacoque.
Italiano: Cortemilia. Chiesa Parrocchiale di San Michele. Rodolfo Morgari: 
Santa Margherita Maria Alacoque e la devozione al Sacro Cuore.
Photo: 6 June 2008.
Source: Own work.
Author: User:Giovanni Destefanis
(Wikimedia Commons)

The Te Deum (also known as Ambrosian Hymn or A Song of the Church) is an early Christian hymn of praise. The title is taken from its opening Latin words, Te Deum laudamus, rendered as "Thee, O God, we praise".

The hymn remains in regular use in the Catholic Church in the Office of Readings found in the Liturgy of the Hours, and in thanksgiving to God for a special blessing such as the election of a pope, the consecration of a bishop, the canonization of a saint, a religious profession, the publication of a treaty of peace, a royal coronation, etc. It is sung either after Mass or the Divine Office or as a separate religious ceremony. The hymn also remains in use in the Anglican Communion and some Lutheran Churches in similar settings.

In the Traditional Office, the Te Deum is sung at the end of Matins on all days when the Gloria is said at Mass; those days are all Sundays outside Advent, Septuagesima, Lent, and Passiontide; on all feasts (except the Triduum) and on all ferias during Eastertide.

Before the 1962 reforms, neither the Gloria nor the Te Deum were said on the feast of the Holy Innocents, unless it fell on Sunday, as they were martyred before the death of Christ and therefore could not immediately attain the beatific vision. A plenary indulgence is granted, under the usual conditions, to those who recite it in public on New Year's Eve.

In the Liturgy of the Hours of Pope Paul VI, the Te Deum is sung at the end of the Office of Readings on all Sundays except those of Lent, on all Solemnities, including the Octaves of Easter and Christmas, and on all feasts. It is also used together with the standard canticles in Morning Prayer as prescribed in the Anglican Book of Common Prayer, in Matins for Lutherans, and is retained by many other churches of the Reformed tradition.

Part of the setting of the Te Deum by Marc-Antoine Charpentier is the anthem of Eurovision. The instrumental prelude is played at the opening, intervals and closing of the show.

Authorship is traditionally ascribed to Saint Ambrose and Saint Augustine, on the occasion of the latter's baptism by the former in 387 A.D. It has also been ascribed to Saint Hilary, but Catholic-Forum.com says "it is now accredited to Nicetas, bishop of Remesiana; (4th-Century)".

The petitions at the end of the hymn (beginning Salvum fac populum tuum) are a selection of verses from the book of Psalms, appended subsequently to the original hymn.

The hymn follows the outline of the Apostles' Creed, mixing a poetic vision of the heavenly liturgy with its declaration of faith. Calling on the name of God immediately, the hymn proceeds to name all those who praise and venerate God, from the hierarchy of heavenly creatures to those Christian faithful already in heaven to the Church spread throughout the world. The hymn then returns to its Credal formula, naming Christ and recalling his birth, suffering and death, his resurrection and glorification. At this point the hymn turns to the subjects declaiming the praise, both the universal Church and the singer in particular, asking for mercy on past sins, protection from future sin, and the hoped-for reunification with the elect.

The text has been set to music by many composers, with settings by Haydn, Mozart, Berlioz, Verdi, Bruckner, Furtwängler, Dvořák, Britten, Kodály, and Pärt, among the better known. Jean-Baptiste Lully wrote a setting of Te Deum for the court of Louis XIV of France, and received a fatal injury while conducting it.

The prelude to Marc-Antoine Charpentier's setting (H.146) is well known in Europe on account of its being used as the theme music for some broadcasts of the European Broadcasting Union, most notably the Eurovision Song Contest. Sir William Walton's Coronation Te Deum was written for the coronation of Queen Elizabeth II in 1953. Other English settings include those by Thomas Tallis, William Byrd, Henry Purcell, and Edward Elgar, as well as three settings each by George Frideric Handel and Charles Villiers Stanford. Puccini's opera, Tosca, features a dramatic performance of the initial part of the Te Deum at the end of Act I.

A version by Father Michael Keating is popular in some Charismatic circles. Mark Hayes wrote a setting of the text in 2005, with Latin phrases interpolated amid primarily English lyrics. In 1978, British hymnodist, Christopher Idle, wrote God We Praise You, a version of the text in 8.7.8.7.D meter, set to the tune "Rustington". British composer, John Rutter, has composed two settings of this hymn, one entitled Te Deum and the other Winchester Te Deum. Igor Stravinsky set the first 12 lines of the text as part of The Flood in 1962. Antony Pitts was commissioned by the London Festival of Contemporary Church Music to write a setting for the 2011 10th Anniversary Festival. The 18th-Century German hymn, Großer Gott, wir loben dich, is a free translation of the Te Deum, which was translated into English in the 19th-Century as "Holy God, we praise thy name."

THIS CONCLUDES THE ARTICLE ON THE TE DEUM

Te Deum. Hymn of Thanksgiving (Part Two).

Italic Text is taken from The Saint Andrew Daily Missal.

Non-Italic Text is taken from Wikipedia - the free encyclopaedia,

      unless otherwise stated.

Jesus, I trust in Thee.

Painting representing the famous apparition of the Sacred Heart of Jesus 
to Saint Margaret Mary Alacoque.
Italiano: Cortemilia. Chiesa Parrocchiale di San Michele. Rodolfo Morgari: 
Santa Margherita Maria Alacoque e la devozione al Sacro Cuore.
Photo: 6 June 2008.
Source: Own work.
Author: User:Giovanni Destefanis
(Wikimedia Commons)

We praise Thee, O God; we acknowledge Thee to be the Lord.

Thee, the Father everlasting, all the Earth doth worship.

To Thee all the angels, to Thee the heavens, and all the powers.

To Thee the cherubim and seraphim cry out without ceasing:

Holy, Holy, Holy, Lord God of hosts.

Full are the heavens and the Earth of the majesty of Thy glory.

Thee, the glorious choir of the apostles.

Thee, the admirable company of the prophets,

Thee, the white-robed army of martyrs doth praise.

Thee, the holy Church throughout the world doth confess.

The Father of incomprehensible majesty,

Thine adorable, true, and only Son,

And the Holy Ghost the Paraclete,

Thou, O Christ, art the King of glory.

Thou art the everlasting Son of the Father.

Thou, having taken upon Thee to deliver man, 

didst not disdain the Virgin's womb.

Thou, having overcome the sting of death, hast opened to believers the kingdom of heaven.

Thou sittest at the right-hand of God in the glory of the Father.

Thou, we believe, art the Judge to come.

We beseech Thee, therefore, to help Thy servants,

whom Thou hast redeemed with Thy precious Blood.

Make them to be numbered with Thy saints in glory everlasting.

O Lord, save Thy people, and bless Thine inheritance.

And govern them, and exalt them for ever.

Day by day we bless Thee.

And we praise Thy name for ever;

yea, for ever and ever.

Vouchsafe, O Lord, this day,

to keep us without sin.

Have mercy on us, O Lord;

have mercy on us.

Let Thy mercy, O Lord, be upon us;

as we have trusted in Thee.

In Thee, O Lord, have I trusted:

let me not be confounded for ever.

v.      Let us bless the Father, and the Son, with the Holy Ghost.

r.      Let us praise and exalt Him for ever.

Let us pray

O God, of whose mercies there is no number, and of whose goodness the treasure is infinite; we render thanks to Thy most gracious majesty for the gifts Thou hast bestowed upon us; evermore beseeching Thy clemency, that as Thou grantest the petitions of them that ask Thee, Thou mayest never forsake them, but mayest prepare them for the rewards to come. Through Christ Our Lord.

r.      Amen.

PART THREE FOLLOWS

Te Deum. Hymn of Thanksgiving (Part One).

Italic Text is taken from The Saint Andrew Daily Missal.

Non-Italic Text is taken from Wikipedia - the free encyclopaedia,

      unless otherwise stated.

Jesus, I trust in Thee.

Painting representing the famous apparition of the Sacred Heart of Jesus 
to Saint Margaret Mary Alacoque.
Italiano: Cortemilia. Chiesa Parrocchiale di San Michele. Rodolfo Morgari: 
Santa Margherita Maria Alacoque e la devozione al Sacro Cuore.
Photo: 6 June 2008.
Source: Own work.
Author: User:Giovanni Destefanis
(Wikimedia Commons)

Te Deum laudamus: te Dominum confitemur.
Te aeternum Patrem omnis terra veneratur.
Tibi omnes Angeli; tibi Caeli et universae Potestates.
Tibi Cherubim et Seraphim incessabili voce proclamant:

Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Pleni sunt  caeli et terra majestatis gloriae tuae.

Te gloriosus Apostolorum chorus;
Te Prophetarum laudabilis numerus;
Te Martyrum candidatus laudat exercitus.
Te per orbem terrarum sancta confitetur Ecclesia:

Patrem immensae majestatis;
Venerandum tuum verum, et unicum Filium;
Sanctum quoque Paraclitum Spiritum.
Tu Rex gloriae. Christe.

Tu Patris sempiternus es Filius.
Tu ad liberandum suscepturus hominem,
non horruisti Virginis uterum.
Tu devicto mortis aculeo, aperuisti credentibus regna caelorum.

Tu ad dexteram Dei sedes in gloria Patris.
Judex crederis esse venturus.
Te ergo quaesumus, tuis famulis subveni,
quos pretioso sanguine redemisti.

Aeterna fac cum Sanctis tuis in gloria numerari.
Salvum fac populum tuum, Domine,
et benedic haereditati tuae.
Et rege eos et extolle illos usque in aeternum.

Per singulos dies benedicimus te.
Et laudamus nomen tuum in saeculum,
et in saeculum saeculi.

Dignare, Domine, die isto sine peccato nos custodire.
Miserere nostri, Domine, miserere nostri.
Fiat misericordia tua, Domine, super nos,
quemadmodum speravimus in te.

In te, Domine, speravi:
non confundar in aeternum.

v.      Benedicamus Patrem et Filium cum Sancto Spiritu.

r.      Laudemus et superexaltemus eum in saecula.

Oremus

Deus, cujus misericordiae non est numerus et bonitatis infinitus est thesaurus, piissimae majestati tuae pro collatis donis gratias agimus, tuam semper clementiam exorantes, ut qui petentibus postulata concedis, eosdem non deserens, ad praemia futura disponas. Per Christum Dominum nostrum.

r.      Amen.

PART TWO FOLLOWS

Te Deum. 5th-Century Monastic Chant (Solemn).