Following the invocation of the Saints, the Litany concludes with a series of Supplications to God to hear the Prayers of the worshippers. It is most prominently sung during the Easter Vigil, during the Forty Hours' Devotion (Quarant’Ore) and in the Liturgy for conferring Holy Orders.
Text and Illustrations from Wikipedia - the free encyclopaedia, unless otherwise stated.
Picture of Pope Saint Pius X on page of
Catholic Missions for Germany and Austria-Hungary,
in Freiburg in Breisgau.
Date: October 1903.
Source: File scanned from Zeitung Die katholischen Missionen, Illustrierte Monatsschrift.
Author: Einige Priester der Gesellschaft Jesu, Freiburg in Breisgau.
Permission: Common domain because it is more than 100 years old.
(Wikimedia Commons)
The Reform of the Roman Breviary, by Pope Pius X, was promulgated by that Pope with the Apostolic Constitution "Divino Afflatu" of 1 November 1911.
An Apostolic Constitution (LatinConstitutio Apostolica) is the highest level of Decree issued by the Pope. The use of the term Constitution comes from LatinConstitutio, which referred to any important law issued by the Roman Emperor, and is retained in Church documents because of the inheritance that the Canon Law of the Roman Catholic Church received from Roman Law.
By their nature, Apostolic Constitutions are addressed to the public. Generic constitutions use the title Apostolic Constitution, and treat on solemn matters of the Church, such as the promulgation of laws or definitive teachings. The forms Dogmatic Constitution and Pastoral Constitution are titles sometimes used to be more descriptive as to the document's purpose.
Apostolic Constitutions are issued as Papal Bulls, due to their solemn, public form. The next highest category, after an Apostolic Constitution, is an Encyclical Letter.
Leaf from a Breviary.
Artist: Francesco di Antonio del Chierico (1433–1484),
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A minor matter was the printing, in a separate section, called the "Ordinary", of those parts of the Psalter that were to be recited frequently, perhaps several times in the same day, such as the Invitatory, Hymns for the Seasons, Blessings, Absolutions, Chapters, Suffrages, the Lord's Prayer, Benedictus, Magnificat, Te Deum etc.
Much more radical was a completely new arrangement of the Psalms, distributing them or, when too long, dividing them, so as to have approximately the same number of Verses in each day's Office. The length of the Offices of the Breviary were reduced (for example, Matins went from eighteen Psalms recited on Sundays and twelve on Ferial Days, to nine Psalms or parts of Psalms, never more, with the result of reaching a fairly equal number of Verses for each day - between 360 and 497 - whereas the former Office of Saturday contained 792, and that of Sunday, 721).
This change, made with a view to restoring the original use of the Liturgy, which provided for the Chant or recitation of the entire Psalter each week, and the accompanying changes in the rubrics concerning the precedence between Saints' Days and the Sunday and Ferial Offices, was meant to remedy the situation whereby the multiplication of Saints' Days had made celebration of Sundays and Ferias, and consequently of certain Psalms, very rare.
With the reform, the Psalter was once again recited integrally each week without suppressing the Feasts of Saints; the proper Liturgy of Sundays and weekdays was restored; the readings of Holy Scripture, "Proper" to the Seasons of the year, were Privileged.
Pope Benedict XV modified the "Typical Edition" of the Roman Missal (Missale Romanum), in 1920, to accommodate the changes made by Pope Saint Pius X.
Each day, therefore, had its own Psalms, as arranged in the new Psalter, except certain Feast Days, about 125 in number, viz., all those of Christ and their Octaves, the Sundays within the Octaves of the Nativity, Epiphany, Ascension, Corpus Christi, the Vigil of the Epiphany, and the day after the Octave of the Ascension, when the Office is of these days; the Vigil of the Nativity from Laudsto Noneand the Vigil of Pentecost; all the Feasts of the Blessed Virgin, of the Angels, Saint John the Baptist, Saint Joseph, and the Apostles, as well as Doubles of the First-Class and Second-Class and their entire Octaves.
The Office for the last three days of Holy Week remained unchanged, except that the Psalms for Lauds were from the corresponding days of the week in the Psalter, and, for Compline, those of Sunday. For all other Feasts and for Ferias in Eastertide, the Psalms were those of the new Psalter, while the rest of the Office was from the "Proper" or "Common".
When a Feast has special Antiphons for any of the Major Hours, it retained them with its own Psalms. Except for certain Feasts, the Lessons of the First Nocturn were to be the current Lessons from Scripture, though the Responsories were to be taken from the "Common" or "Proper". Any Feast that had its own Proper Lessons retained them; for Feasts with their own Responsories, those with the Common Lessons were to be read.
Pope Pius X ordered that these changes, proposed by a Committee of Liturgists appointed by him, and adopted by the Congregation of Rites, be put into effect, at latest, on 1 January 1913.
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The aging, enthroned Pope turns toward the viewer, while making the sign of Blessing with his right hand. Pope Saint Pius V (1566-1572) belonged to the Ghislieri family, and on the top of the back of the throne is his family's Coat of Arms, crowned by the Papal Tiara and the Keys of Saint Peter, a symbol of the Papacy's descent from Christ's Apostle.
Through the Apostolic Constitution, Divino afflatu, by which Pope Pius X promulgated his Revision of the Roman Breviary, he abolished the Psalter established by his predecessor, Pope Pius V.
By the motu proprio "Ab hinc duosannos" of 23 October 1913, Pope Pius X added to his Reform of 1 November 1911: No Feast was to be fixed to a Sunday, except the Holy Name of Jesus and the Blessed Trinity - later, the Feasts of the Holy Family and of Christ the King would be added. The Octaves were equally Simplified.
These changes made it necessary to modify the Roman Missal, also. This was effected in the 1920 "Typical Edition" of the Missal, promulgated by Pope Pius X's successor, Pope Benedict XV.
Through the Apostolic Constitution, Divino afflatu, by which Pope Pius X promulgated his Revision of the Roman Breviary, he abolished the Psalter established by his predecessor, Pope Pius V, and forbade its use, declaring that those who were obliged to recite the Divine Office, every day, failed to fulfil this grave duty unless they used the new arrangement.
The wording of his Apostolic Constitution echoed closely that of his predecessor's Quod a nobis, promulgating the Tridentine Roman Breviary, and also the same predecessor's Quo Primum, promulgating the Tridentine Roman Missal. It included the paragraph: "This we publish, declare, sanction, decreeing that these our letters always are and shall be valid and effective, notwithstanding Apostolic Constitutions and ordinances, general and special, and everything else whatsoever to the contrary. Wherefore, let nobody infringe or temerariously oppose this page of our abolition, revocation, permission, ordinance, precept, statue, indult, mandate and will. But if anybody shall presume to attempt this let him know that he will incur the indignation of Almighty God and of his Apostles the Blessed Peter and Paul.
Quod a nobis concluded with: Nulli ergo omnino hominum liceat hanc paginam Nostrae ablationis, abolitionis, permissionis, praecepti, statuti, indulti, mandati, decreti, relaxationis, cohortationis, prohibitionis, innodationis, et voluntatis infringere, vel ei ausu temerario contraire. Si qui autem hoc attentare praesumpserit, indignationem omnipotentis Dei, ac beatorum Petri et Pauli Apostolorum eius se noverit incursurum.
Psalm 150.
Another point, controversial at the time of Pope Pius X's Breviary reforms,
was the suppression of the immemorial and universally held usage
An Article, published in the September 2003 issue of "The Angelus", associated with the Society of Saint Pius X, remarks: "The distribution of the Psalms in Saint Pius X's Breviary was entirely new. It only partially took into account the ancient tradition of the Church, for example, abandoning the number of twelve Psalms at Matins, a number consecrated by a tradition going back to the Desert Fathers and expressly codified in the Rule of Saint Benedict. Another point, controversial at the time, was the suppression of the immemorial and universally held usage of reciting Psalms 148, 149, and 150 at the end of Lauds, daily. This amounts to saying that the Breviary of Pius X did not have so much in common with that of his predecessor and that Clerics were significantly unsettled in their habits ! "
To correspond to the new Psalms, the Antiphonary of the Traditional Roman Office was also almost completely overhauled, as well. Pre-1911, there were 141 unique Antiphons in the Psalter. Post-1911, there were 220. Only sixty-two Antiphons were recognisably the same, and several of these added words or removed them. Many of the overlapping ones were those for the special Seasons (Advent, Lent, Passiontide), not for the per annum (Ordinary Time) Ferias. Thus, seventy-nine Antiphons of the Pre-1911 Breviary were removed, and 158 unique to the Post-1911 Breviary introduced.
Newbury, Berkshire, England RG20 9PF. Tel: (01635 255340). E-Mail: enquiries.carmelbooks@gmail.com
Illustrations from Wikipedia - the free encyclopaedia, unless otherwise stated. 22 July. Feast of Saint Mary Magdalen. Penitent. Double. White Vestments. Zephyrinus wishes a Happy Patronal Feast Day to Fr. Ray Blake and his Parishioners at St. Mary Magdalen, Brighton, Sussex. Why not visit his Blog, FR. RAY BLAKE'S BLOG, at http://marymagdalen.blogspot.co.uk/ and wish Fr. Blake and his Parishioners a Happy Patronal Feast Day.
When He gave the Holy Ghost to the Apostles, Jesus had told them to remit sins, as He had done, and, today, the Liturgy recalls the ever-memorable example of the Saviour's mercy towards repentant sinners.
Mary, the sister of Martha and Lazarus, was of Madala, in Galilee, whence her name of Madalen. She was a sinner.
Touched by Grace, she threw herself at the feet of the Saviour. Simon the Pharisee, scandalised, would have repelled her, like the haughty men mentioned by the Prophet, Isaias, who says: "Away from me, approach me not, for I am pure [Eighth Lesson at Matins]."
Jesus, on the contrary, "defends her against the calumnies of the proud" (Communion). Admiring the work of Divine Grace in this Soul "henceforth attentive to His commandments, whilst sinful men would still have her fall into sin" (Introit), He mercifully "accepts the offer of her service" (Secret), and secures to her for ever a place of honour in His Royal Court (Offertory).
Repentance has transformed her love. "Because she had loved much, many sins are forgiven her" (Gospel). Indeed, it was at her Prayer that Jesus raised Lazarus from the dead (Collect). And when, after the Crucifixion of Jesus, at which she was present in greatest sorrow and weariness, she seeks, like the spouse in the Canticle (Epistle), where they have laid her Divine Lord; Christ calls her by name and commands her to announce His Resurrection to the Disciples. Wherefore, the Creed is recited on this day as in the Masses of the Apostles.
Following the example of Magdalen, which, according to the Fathers, represents the service of the Church towards Jesus, let us, in a spirit of love and repentance, pour out the treasure of our praises to Jesus, present in the Holy Eucharist (Secret); let us surround Him on the Altar, in a spirit of Faith, which does not fear the Pharisaic scandal, with all the splendour which becomes the House of God.
Zephyrinus warmly commends the following Article, on the Feast Day of Saint Mary Magdalen, Apostle To The Apostles, to all Readers.
Le Thoronet Abbey (French: L'abbaye du Thoronet) is a former CistercianAbbey, built in the Late-12th-Century and Early-13th-Century, now restored as a museum. It is sited between the towns of Draguignan and Brignoles in the Var Départment of Provence, in South-East France. It is one of the three Cistercian Abbeys in Provence, along with the Sénanque Abbey and Silvacane Abbey, that, together, are known as "the Three Sisters of Provence."
Le Thoronet Abbey is one of the best examples of the spirit of the Cistercian Order. Even the acoustics of the Church imposed a certain discipline upon the Monks. Because of the stone walls, which created a long echo, the Monks were forced to sing slowly and perfectly together. The Abbey is fundamentally connected to its site, and is an exceptional example of spirituality and philosophy transformed into architecture. It is distinguished, like other Cistercian Abbeys, by its purity, harmony, and lack of decoration or ornament.
Original manuscript in the Bibliothèque Nationale de France, fons français, 1586.
(Wikimedia Commons)
Guillaume de Machaut (sometimes spelled Machault) (circa 1300 – April, 1377) was a Mediaeval French poet and composer. He is one of the earliest composers on whom significant biographical information is available. According to Daniel Leech-Wilkinson, Machaut was "the last great poet who was also a composer". Well into the 15th-Century, Machaut's poetry was greatly admired and imitated by other poets, including Geoffrey Chaucer.
Guillaume de Machaut was born circa 1300 and educated in the region around Rheims. Though his surname most likely derives from the nearby town of Machault, 30 km East of Rheims in the Ardennes region, most scholars believe his birthplace was, in fact, Rheims.
He was employed as secretary to John I, Count of Luxembourg and King of Bohemia, from 1323 to 1346 and also became a Canon (1337). He often accompanied King John on his various trips, many of them military expeditions around Europe (including Prague). He was named the Canon of Verdun in 1330, Arras in 1332, and Rheims in 1337. By 1340, Machaut was living in Rheims, having relinquished his other Canonic posts at the request of Pope Benedict XII.
English: Cloisters of Le Thoronet Abbey, Var, France.
Deutsch: Ehemaliges Zisterzienserkloster Le Thoronet im Département Var
in der französischen Region Provence-Alpes-Côte d'Azur, Kreuzgang.
In 1346, King John was killed fighting at the Battle of Crécy, and Machaut, who was famous and much in demand, entered the service of various other aristocrats and rulers, including King John's daughter Bonne (who died of the Black Death in 1349), her sons Jean de Berry and Charles (later Charles V, Duke of Normandy), and others, such as Charles II of Navarre.
The Chapter House, Le Thoronet Abbey, Var, France,
Machaut survived the Black Death that devastated Europe and spent his later years living in Rheims composing and supervising the creation of his complete-works manuscripts. His poem Le voir dit (probably 1361–1365) purports to recount a late love affair with a 19-year-old girl, Péronne d'Armentières, although the accuracy of the work as autobiography is contested. When he died in 1377, other composers such as François Andrieu wrote elegies lamenting his death.
Machaut (at right) receiving Nature and three of her children.
From an illuminated Parisian manuscript of the 1350s.
Guillaume de Machaut as shown in a French miniature of the 14th-Century,
"An allegorical scene in which Nature offers Machaut
three of her children - Sense, Rhetoric, and Music."
Olivier Messiaen, 10 December, 1908 – 27 April, 1992, was a French composer, organist and ornithologist, one of the major composers of the 20th-Century. His music is rhythmically complex (he was interested in rhythms from ancient Greek and from Hindu sources); harmonically and melodically, it is based on modes of limited transposition, which he abstracted from his early compositions and improvisations. Messiaen also drew on his deeply-held Roman Catholicism.
He travelled widely and wrote works inspired by diverse influences, such as Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords, particularly those built from his modes (a phenomenon known as synaesthesia); combinations of these colours, he said, were important in his compositional process. For a short period, Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many exotic musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works). He was one of the first composers to use an electronic keyboard — in this case, the ondes Martenot— in an orchestral work.
He found birdsong fascinating, believed birds to be the greatest musicians, and considered himself as much an ornithologist as a composer. He notated bird songs worldwide and incorporated birdsong transcriptions in to most of his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among features that make Messiaen's music distinctive.
Now that the English Summer has finally arrived, and all the rain has gone, MULIER FORTIS is again Posting on the Cricket scene, currently England versus Australia (The Ashes Series).
Why not pop over and catch up on the situation concerning the state of play ?
For those Readers of MULIER FORTIS who are somewhat confused about The Laws Of Cricket (NEVER The Rules Of Cricket), Zephyrinus, herewith, gives an overview, which may prove helpful.
Missa Papae Marcelli, or "Pope Marcellus Mass", is a Mass, by Giovanni Pierluigi da Palestrina. It is his most well-known and most often-performed Mass, and is frequently taught in university courses on music. It was always sung at the Papal Coronation Mass (the last being the Coronation of Pope Paul VI in 1963).
The Mass was composed in honour of Pope Marcellus II, who reigned for three weeks in 1555. Recent scholarship suggests the most likely date of composition is 1562, when it was copied into a manuscript at the Basilica di Santa Maria Maggiore in Rome.
The third and closing Sessions of the Council of Trent were held in 1562-63, at which the use of polyphonic music in the Catholic Church was discussed. Concerns were raised over two problems: First, the use of music that was objectionable, such as secular songs provided with religious lyrics (contrafacta) or Masses based on songs with lyrics about drinking or lovemaking; and, second, whether imitation in polyphonic music obscured the words of the Mass, interfering with the listener's devotion.
Some debate occurred over whether polyphony should be banned outright in worship, and some of the auxiliary publications by attendants of the Council caution against both of these problems. However, none of the official proclamations from the Council mentions polyphonic music, excepting one injunction against the use of music that is, in the words of the Council, "lascivious or impure".
Starting in the Late-16th-Century, a legend began that the second of these points, the threat that polyphony might have been banned by the Council, because of the unintelligibility of the words, was the impetus behind Palestrina's composition of this Mass.
It was believed that the simple, declamatory, style of Missa Papae Marcelli convinced Cardinal Carlo Borromeo, on hearing, that polyphony could be intelligible, and that music such as Palestrina's was all too beautiful to ban from the Church.
(Simeon en Anna) (Lucas 2:22-40), Early-18th-Century (1700-1710).
(Wikimedia Commons)
The Nunc Dimittis (also Song of Simeon or Canticle of Simeon) is a Canticle from a Text in the Second Chapter of Luke, named after its first words in Latin, meaning "Now you dismiss . . ." (Luke 2:29–32).
The Nunc Dimittis is the traditional "Gospel Canticle" of Night Prayer (Compline), just as Benedictusand Magnificatare the traditional Gospel Canticles of Morning Prayer and Evening Prayer, respectively. Hence, the Nunc Dimittis is found in the Liturgical Night Office of many Western denominations, including Evening Prayer (or Evensong) in the AnglicanBook of Common Prayer of 1662, Compline (A Late Evening Service) in the Anglican Book of Common Prayer of 1928, and the Night Prayer Service in the Anglican Common Worship, as well as both the Roman Catholic and Lutheran Service of Compline.
Its sentiments express the profound Mystery of The Eucharistic Miracle: "O Sacred Banquet, at which Christ is consumed, the memory of His Passion is recalled, our Souls are filled with Grace, and the pledge of future glory is given to us."
Les Très Riches Heures du duc de Berry, Folio 59v.
"The Visitation". The Musée Condé, Chantilly, France.
(Wikimedia Commons)
The Magnificat (Latin: [My soul] magnifies) — also known as the Song of Mary or the Canticle of Mary — is a Canticle, frequently sung (or spoken) Liturgically in ChristianChurch Services. It is one of the eight most ancient Christian Hymns and perhaps the earliest Marian Hymn. Its name comes from the first word of the Latin version of the Canticle's text.
The text of the Canticle is taken directly from the Gospel of Luke (Luke 1:46-55), where it is spoken by the Virgin Mary, upon the occasion of her Visitation to her cousin, Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with the future John the Baptist, the child moves within Elizabeth's womb. When Elizabeth praises Mary for her Faith, Mary sings what is now known as the Magnificat in response.
The Modernist movement was linked especially with certain Catholic French scholars, such as Louis Duchesne, who questioned the belief that God acts in a direct way in the affairs of humanity, and Alfred Loisy, who denied that every line of Scripture was literally, rather than, perhaps, metaphorically, true.
In contradiction to Saint Thomas Aquinas, they argued that there was an unbridgeable gap between natural and supernatural knowledge. Its unwanted effects, from the traditional viewpoint, were relativism and scepticism. Modernism and Relativism, in terms of their presence in the Church, were theological trends that tried to assimilate modern philosophers, like Kant, as well as Rationalism, into Catholic Theology.
Modernists argued that beliefs of the Church have evolved throughout its history and continue to evolve. Anti-Modernists viewed these notions as contrary to the Dogmas and traditions of the Catholic Church.
Copyright-expired-photo of Pope Saint Pius X
(standing on the left) on 18 December, 1907, Consecrating Giacomo della Chiesa
(sitting in front of the Altar with Mitre and Crosier
In a Decree, entitled Lamentabili Sane Exitu (or "A Lamentable Departure Indeed"), issued 3 July 1907, Pope Pius X formally condemned sixty-five Modernist or Relativist propositions concerning the nature of the Church, Revelation, Biblical Exegesis, the Sacraments, and the Divinity of Christ. This was followed by the Encyclical Pascendi Dominici Gregis (or "Feeding the Lord's Flock"), which characterised Modernism as the "synthesis of all Heresies."
Following these, Pope Pius X ordered that all Clerics take the Sacrorum antistitum, an Oath against Modernism. Pope Pius X's aggressive stance against Modernism caused some disruption within the Church. Although only about 40 Clerics refused to take the Oath, Catholic scholarship with Modernistic tendencies was substantially discouraged. Theologians who wished to pursue lines of inquiry in line with Secularism, Modernism, or Relativism, had to stop, or face conflict with the Papacy, and possibly even Excommunication.
The Shield of Pope Pius X's Coat of Arms is "Charged" in two basic parts, as it is "Per Fess". "In Chief" (the top part of the Shield) shows the Arms of the Patriarch of Venice, which Pope Pius X was from 1893 to 1903. It consists of the Lion of Saint Mark, "Proper" and haloed in silver upon a silver-white background, displaying a book with the inscription of "PAX TIBI MARCE" on the left page and "EVANGELISTA MEUS" on the right page.
"Pax Tibi Marce Evangelista Meus" is the motto of Venice and is Latin for "Peace to you, Mark, My Evangelist". This motto refers to Venice as the final resting place of Saint Mark. The display of the Arms of the Patriarchate of Venice in the Papal Coat of Arms of Popes who were Archbishops of that city is traditional; the same "Chief" can be seen in the Arms of the later Popes, who were Patriarchs of Venice upon election to the See of Rome, Pope John XXIII and Pope John Paul I. Renditions of this part of Pope Pius X's Arms depict the lion either with or without a sword, and sometimes only one side of the book is written on.
The Shield displays the Arms that Pope Pius X took as Bishop of Mantua: an Anchor "Proper" cast into a stormy sea (the Blue and Silver wavy lines), lit up by a single Six-Pointed Star of Gold. These were inspired by Hebrews 6:19, which states that the hope we have is the sure and steadfast anchor of the Soul. Pope Pius X, then Bishop Sarto, stated that "hope is the sole companion of my life, the greatest support in uncertainty, the strongest power in situations of weakness."
In 1905, Pope Pius X, in his Letter "Acerbo Nimis", mandated the existence of the Confraternity of Christian Doctrine (Catechism Class) in every Parish in the world.
The Catechism of Pope Pius X is his realisation of a simple, plain, brief, popular Catechism for uniform use throughout the whole world; it was used in the Ecclesiastical Province of Rome and for some years in other parts of Italy; it was not, however, prescribed for use throughout the Universal Church.
The characteristics of Pope Pius X were "simplicity of exposition and depth of content. Also, because of this, Pope Pius X's Catechism might have friends in the future." The Catechism was extolled as a method of religious teaching in his Encyclical "Acerbo Nimis" of April 1905.
The Catechism of Pope Saint Pius X was issued in 1908, (in Italian, Catechismo della dottrina Cristiana, Pubblicato per Ordine del Sommo Pontifice San Pio X). An English translation runs to more than one hundred and fifteen pages.
Monsignor Eugenio Pacelli (the future Pope Pius XII, at left)
Asked, in 2003, whether the almost one-hundred-years-old-Catechism of Pope Saint Pius X was still valid, Cardinal Ratzinger said: "The Faith, as such, is always the same. Hence, the Catechism of Pope Saint Pius X always preserves its value. Whereas ways of transmitting the contents of the Faith can change instead. And, hence, one may wonder whether the Catechism of Pope Saint Pius X can, in that sense, still be considered valid today."
Canon Law in the Catholic Church varied from region to region with no overall prescriptions. On 19 March 1904, Pope Pius X named a Commission of Cardinals to draft a universal set of laws that was to be the Code of Canon Law for most of the 20th-Century. Two of his successors worked in the Commission, G. della Chiesa, who became Pope Benedict XV, and Eugenio Pacelli, who became Pope Pius XII. The first-ever definitive Code of Canon Law was promulgated by Pope Benedict XV on 27 May 1917, obtained the force of Law on 19 May 1918 and was in effect until Advent, 1983.
Pope Pius X reformed the Roman Curia, with the Constitution Sapienti Consilio, and specified new rules enforcing a Bishop's oversight of Seminaries in the Encyclical Pieni L'Animo. He established regional Seminaries (closing some smaller ones), and promulgated a new plan of Seminary study. He also barred Clergy from administering social organisations.
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