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

Saturday 13 July 2013

Baroque (Part Nine).


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


File:Church of St Francis de Sales (interior), 16 Krowoderska street, Krakow, Poland.jpg


English: Church of Saint Francis de Sales, Krakow, Poland.
Polski: Kościół św. Franciszka Salezego (wnętrze), ul. Krowoderska 16, Kraków.
Photo: 17 July 2008.
Source: Own work.
Author: Zygmunt Put Zetpe0202.
(Wikimedia Commons)


The magnates, throughout the Polish-Lithuanian Commonwealth, competed with the kings. The monumental castle, Krzyżtopór, built in the style palazzo in fortezza between 1627 and 1644, had several courtyards surrounded by fortifications. Late Baroque fascination with the culture and art of the "central nation" is reflected in Queen Masysieńka's Chinese Palace in Zolochiv. 18th-Century magnate Palaces represent the characteristic type of Baroque suburban residence built entre cour et jardin (between the entrance court and the garden). Its architecture, a merger of European art with old Commonwealth building traditions, is visible in Wilanów Palace, Branicki Palace in Białystok and in Warsaw, Potocki Palace in Radzyń Podlaski, Raczyński Palace in Rogalin and Wiśniowiecki Palace in Vyshnivets. Architects such as Johann Christoph Glaubitz were instrumental in forming the so-called distinctive Vilnius Baroque style, which spread throughout the region.


File:Krakow church 20070804 0826.jpg


Polski: Kościół św. Floriana w Krakowie.
English: Saint Florian Church in Kraków, Poland.
Photo: 4 August 2007.
Source: Own work.
Author: Jakub Hałun.
(Wikimedia Commons)


By the end of the century, Polish Baroque influences crossed the Dnieper into the Cossack Hetmanate, where they gave birth to a particular style of Orthodox architecture, known as the Cossack Baroque. Such was its popular appeal, that every Medieval Church in Kiev and the Left-Bank Ukraine was redesigned according to the newest fashion.

A notable style of Baroque architecture emerged in the 18th-Century with the work of Johann Christoph Glaubitz, who was assigned to rebuild the Commonwealth capital city of Vilnius. The style was therefore named "Vilnian Baroque" and Old Vilnius was named the "City of Baroque". The most notable buildings by Glaubitz in Vilnius are the Church of Saint Catherine (1743), the Church of the Ascension (1750), the Church of Saint John, the Monastery Gate and the Towers of the Church of the Holy Trinity. The magnificent and dynamic Baroque facade of the formerly Gothic Church of Saint John (1749) is mentioned among his best works. Many Church interiors, including the one of the Great Synagogue of Vilna, were reconstructed by Glaubitz as well as the Town Hall in 1769.


File:St. Michael's Catheral view.JPG


English: View of the Saint Michael's Golden-Domed Cathedral in Kiev, Ukraine, 
from the Saint Sophia Bell-Tower.
Français: Vue de la Cathédrale Saint-Michel au Dôme d'Or de Kiev 
depuis le clocher de Sainte Sophie.
Photo: 2 July 2007.
Source: Own work.
(Wikimedia Commons)

The Saint Michael's Golden-Domed Monastery in Kyiv, Ukraine, although started in 1113, represents one of the most typical examples of Ukrainian Baroque architecture.


Notable buildings of Vilnian Baroque in other places are Saint Sophia Cathedral in Polotsk, Belarus (rebuilt in 1738-1765), the Carmelite Church in Hlybokaye, Belarus (1735) and the Church of Saint Peter and Saint Paul in Berezovichi, Belarus (built in 1776, the 1960s and 1970s), its replica was constructed in Białystok in the 1990s.

In Russia, Baroque architecture passed through three stages: The early Moscow Baroque, with elegant white decorations on red-brick walls of rather traditional Churches: the mature Petrine Baroque, mostly imported from the Low Countries: and the late Rastrelli-esque Baroque, which was, in the words of William Brumfield, "extravagant in design and execution, yet ordered by the rhythmic insistence of massed Columns and Baroque statuary."

The first Baroque Churches were built in the estates of the Naryshkin family of Moscow boyars. It was the family of Natalia Naryshkina, Peter the Great's mother. Most notable in this category of small suburban Churches were the Church of the Intercession, in Fili (1693 - 1696), the Holy Trinity Church, in Troitse-Lykovo (1690 - 1695), and the Church of the Saviour, in Ubory (1694–97). They were built in red brick with profuse detailed decoration in white stone. The belfry was not any more placed beside the Church, as was common in the 17th-Century, but on the facade itself, usually surmounting the octagonal central Church and producing daring vertical compositions.


File:Russie - Moscou - Novodevichy 4.jpg


Русский: Новодевичий монастырь в Москве.
Français: Couvent de Novodievitchi (à Moscou en Russie).
English: Novodevichy Convent, Moscow.
Deutsch: Nowodewitschi-Kloster in Moskau.
Photo: 17 May 2007.
Source: Own work.
Author: Anne-Laure PERETTI Lotusalp.
(Wikimedia Commons)


File:Church of the Protection of the Theotokos in Fili 05.jpg


The Church of the Intercession, at Fili, Russia.
Built in 1694.
Photo: 25 April 2010.
Author: Sergey Rodovnichenko from Moscow, Russia.
(Wikimedia Commons)

The Church of the Intercession at Fili (Russian: Це́рковь Покрова́ в Филя́х) is a Naryshkin Baroque Church commissioned by the boyar Lev Naryshkin in his suburban estate, Fili; the territory has belonged to the City of Moscow since 1935.


As the style gradually spread around Russia, many Monasteries were remodelled after the latest fashion. The most delightful of these were the Novodevichy Convent and the Donskoy Monastery in Moscow, as well as Krutitsy metochion and Solotcha Cloister near Riazan. Civic architecture also sought to conform to the Baroque aesthetics, e.g., the Sukharev Tower in Moscow, and there is also a Neo-Form of this style, like the Principal Medicine Store on Red Square. The most important architects associated with the Naryshkin Baroque were Yakov Bukhvostov and Peter Potapov.

Petrine Baroque is a name applied by art historians to a style of Baroque architecture and decoration favoured by Peter the Great and employed to design buildings in the newly-founded Russian capital, Saint Petersburg, under this monarch and his immediate successors. Unlike contemporaneous Naryshkin Baroque, favoured in Moscow, the Petrine Baroque represented a drastic rupture with Byzantine traditions that had dominated Russian architecture for almost a millennium. Its chief practitioners – Domenico Trezzini, Andreas Schlüter, and Mikhail Zemtsov – drew inspiration from a rather modest Dutch, Danish, and Swedish architecture of the time. Extant examples of the style in Saint Petersburg are the Peter and Paul Cathedral, the Twelve Colleges, the Kunstkamera, Kikin Hall and Menshikov Palace.The Petrine Baroque structures outside Saint Petersburg are scarce; they include the Menshikov Tower in Moscow and the Kadriorg Palace in Tallinn.


File:St-Anne church Krakow 003.JPG


Interior of the Church of Saint Anne in Krakow, Poland.
Photo: 2009.
Source: Own work.
Author: Gryffindor.
(Wikimedia Commons)


File:Klosterkirche-Raitenhaslach-Blick-Altar.jpg


English: The Monastery Church at Raitenhaslach, Bavaria, Germany.
Deutsch: Klosterkirche Raitenhaslach, Blick in Richtung Altar.
Photo: 30 July 2010.
Source: Own work.
Author: Misburg3014.
(Wikimedia Commons)


PART TEN FOLLOWS.


Missa Pro Defunctis. Offertorium. Cristóbal De Morales.



File:Toledo Cathedral, from Plaza del Ayuntamiento.jpg


Toledo Cathedral, Spain, 
where Cristóbal De Morales once worked.
Photo: 5 August 2012.
Source: Own work.
Author: Nikthestoned.
(Wikimedia Commons)




Missa Pro Defunctis. 
Offertorium. 
Cristóbal De Morales.
Available on YouTube at 


Thursday 11 July 2013

Baroque (Part Eight).


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



File:Rot 7.jpg


English: Interior of the Imperial Abbey of Rot an der Rot.
Deutsch: Reichsabtei Rot an der Rot.
Photo: 20 November 2010.
Source: Own work.
Author: Richard Mayer.
(Wikimedia Commons)

Rot an der Rot Abbey (also referred to as Roth, Münchroth, Münchenroth, Mönchroth or Mönchsroth) was a Premonstratensian Monastery in Rot an der Rot in Upper Swabia
Baden-Württemberg, Germany. It was the first Premonstratensian Monastery 
in the whole of Swabia. The imposing structure of the former Monastery is situated 
on a hill between the valleys of the rivers Rot and Haslach
The Monastery Church, dedicated to Saint Verena, and the Convent buildings 
are an important part of the Upper Swabian Baroque Route
Apart from the actual Monastic buildings, a number of other structures 
have been preserved, among which are the gates and the economy building.


Frequently, the Southern German Baroque is distinguished from the Northern German Baroque, which is more properly the distinction between the Catholic Baroque and the Protestant Baroque. In the Catholic South, the Jesuit Church of Saint Michael, in Munich, was the first to bring Italian-style across the Alps.

However, its influence on the further development of Church architecture was rather limited. A much more practical and more adaptable model of Church architecture was provided by the Jesuit Church in Dillingen: The wall-pillar Church, a Barrel-Vaulted Nave, accompanied by large open Chapels separated by wall-pillars. As opposed to Saint Michael's in Munich, the Chapels almost reach the height of the Nave in the wall-pillar Church, and their Vault (usually transverse Barrel-Vaults) springs from the same level as the main Vault of the Nave. 

The Chapels provide ample lighting; seen from the entrance of the Church, the wall-pillars form a theatrical setting for the Side Altars. The wall-pillar Church was further developed by the Vorarlberg School, as well as the Master-Masons of Bavaria. This new Church also integrated well with the Hall Church model of the German Late-Gothic age. The wall-pillar Church continued to be used throughout the 18th-Century (e.g. even in the early Neo-Classical Church of Rot an der Rot Abbey), and early wall-pillar Churches could easily be refurbished by re-decoration without any structural changes, such as the Church at Dillingen.


File:Rot an der Rot Kloster Rot St. Verena Innen 1.JPG


Deutsch: Langhaus der Roter Klosterkirche St. Verena, Rot an der Rot.
English: Nave of Rot Monastery Church St. Verena, Rot an der Rot.
Photo: 11 October 2009.
Source: Own work.
Author: Zairon.
(Wikimedia Commons)


However, the Catholic South also received influences from other sources, such as the so-called radical Baroque of Bohemia. The radical Baroque of Christoph Dientzenhofer and his son Kilian Ignaz Dientzenhofer, both residing at Prague, was inspired by examples from Northern Italy, particularly by the works of Guarino Guarini. It is characterised by the curvature of walls and intersection of oval spaces. While some Bohemian influence is visible in Bavaria's most prominent architect of the period, Johann Michael Fischer (the curved balconies of some of his earlier wall-pillar Churches), the works of Balthasar Neumann, in particular the Basilica of the Vierzehnheiligen, are generally considered to be the final synthesis of Bohemian and German traditions.


File:Frauenkirche Blaue Stunde.jpg


Deutsche: Die Dresdner Frauenkirche in der Blauen Stunde aufgenommen.
English: The Frauenkirche, Dresden, during the "Blue Hour".
Photo: 12 September 2009.
Uploaded by X-Weinzar.
Author: Christian Prade.
(Wikimedia Commons)


File:Fotothek df ps 0000348 Ruine der Frauenkirche gegen Rathausturm.jpg


Original image description from the Deutsche Fotothek
Deutsch: Ruine der Frauenkirche gegen Rathausturm.
English: Ruins of the Frauenkirche, Dresden, Germany.
Photo: Circa 1965.
Photographer: Richard Peter (1895–1977).
Institution: Deutsche Fotothek.
Accession Number: df_ps_0000348.
(Wikimedia Commons)


Protestant sacred architecture was of lesser importance during the Baroque, and produced only a few works of prime importance, particularly the Frauenkirche, in Dresden. Architectural theory was more lively in the North than in the South of Germany, with Leonhard Christoph Sturm's edition of Nikolaus Goldmann, but Sturm's theoretical considerations (e.g. on Protestant Church architecture) never really made it to practical application. In the South, theory essentially reduced to the use of buildings and elements from illustrated books and engravings as a prototype.

Palace architecture was equally important both in the Catholic South and the Protestant North. After an initial phase, when Italian architects and influences dominated (Vienna, Rastatt), French influence prevailed from the second decade of the 18th-Century, onwards. The French model is characterised by the horseshoe-like layout enclosing a cour d'honneur (courtyard) on the town side (chateau entre cour et jardin), whereas the Italian (and also Austrian) scheme presents a block-like villa. 

The principal achievements of German Palace architecture, often worked out in close collaboration of several architects, provide a synthesis of Austro-Italian and French models. The most outstanding Palace, which blends Austro-Italian and French influences into a completely new type of building, is the Würzburg Residence. While its general layout is the horseshoe-like French plan, it encloses interior courtyards. Its façades combine Lucas von Hildebrandt's love of decoration with French-style classical orders in two superimposed Storeys; its interior features the famous Austrian "Imperial Staircase", but also a French-type enfilade of rooms, on the garden side, inspired by the "apartement semi-double" layout of French castles.


File:Vierzehnheiligen-Basilika3-Asio.JPG


English: Interior of Vierzehnheiligen Basilica in Bavaria, Germany.
Deutsch: Innenansicht Basilika Vierzehnheiligen.
Photo: 5 September 2005.
Source: Own work.
Author: Asio otus.
(Wikimedia Commons)


The first Baroque Church in the Polish – Lithuanian Commonwealth was the Corpus Christi Church in Niasvizh, Belarus (1586–1593). It also holds the distinction of being the first Domed Basilica, with Baroque façade, in the Commonwealth and the first Baroque piece of art in Eastern Europe.

In the early 17th-Century, the Baroque style spread over the Commonwealth. Important Baroque Churches include: Saints Peter and Paul (1597–1619), constructed in the Early-Baroque style, following the pattern of Vignola's il Gesù; the Vasa Chapel (1644–1676) of the Wawel Cathedral, Baroque equivalent to neighbouring Renaissance Sigismund's ChapelSt. Anne (1689–1703) and the Visitation Church (1692–1695) in Kraków.

Other significant examples include the profusely-decorated Jesuit Church in Poznań (1651–1701), with almost theatrical decoration inside, the Xavier Cathedral in Hrodna (1678–1705), the Royal Chapel (1678–1681) in Gdańsk, a mixture of Dutch and Polish patterns and Święta Lipka in Masuria (1681–1693), the Northernmost Tyrolean Baroque building.


PART NINE FOLLOWS.


Wednesday 10 July 2013

O Sacred Heart. Hymn In Honour Of The Sacred Heart Of Jesus. Written By Fr. Francis Stanfield (1835 - 1914).





LISTEN TO "O SACRED HEART".

O Sacred Heart.
Hymn to The Sacred Heart of Jesus.
Available on YouTube at


For Catholics, especially Traditional Catholics, the Sacred Heart of Jesus holds much importance. This is a beautiful Hymn written by Fr. Francis Stanfield (1835 - 1914) in honour of the Sacred Heart. This Hymn was written particularly for English-speaking Catholics, asking for the conversion of England.

Fr. Stanfield also wrote another wonderful Hymn, "Sweet Sacrament Divine" and was the first Parish Priest of Corpus Christi Catholic Church, Maiden Lane, London.


Panis Angelicus. Matins Hymn For Corpus Christi. From "Sacris Solemniis" By Saint Thomas Aquinas.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)




The Choir of King's College, Cambridge,
sing Cesar Franck's "Panis Angelicus".
Available on YouTube at


Panis angelicus 
fit panis hominum; 
Dat panis caelicus 
figuris terminum: 
O res mirabilis! 
manducat Dominum 
Pauper, servus, et humilis. 
Te trina Deitas 
unaque poscimus: 
Sic nos tu visita, 
sicut te colimus; 
Per tuas semitas 
duc nos quo tendimus, 
Ad lucem quam inhabitas. 
Amen.


Bread of Angels, 
made the bread of men; 
The Bread of heaven
puts an end to all symbols:
A thing wonderful!
The Lord becomes our food:
poor, a servant, and humble.
We beseech Thee, 
Godhead One in Three
That Thou wilt visit us,
as we worship Thee,
lead us through Thy ways, 
We who wish to reach the light
in which Thou dwellest.
Amen.


Sweet Sacrament Divine. Sweet Sacrament Divine.



Fr. Patrick D’Arcy, a brand new Priest for the Archdiocese of New York, celebrated his First Holy Mass in the Extraordinary Form, in May 2013, at Blessed Sacrament Church on the Upper West side of Manhattan, where Msgr. Robert C. O’Connor is pastor. And a great moment, here, when the new Priest is giving his First Holy Communion to his little niece.

The above Illustration and Text can be found on FR. Z's BLOG



Sweet Sacrament Divine.
Available on YouTube at

Why not ask your Parish Priest
for this to be sung
at the Communion at your Masses ?

Sweet Sacrament divine, 
hid in Thine Earthly home; 
lo! round Thy lowly shrine, 
with suppliant hearts we come; 
Jesus, to Thee our voice we raise 
In songs of love and heartfelt praise 
Sweet Sacrament divine. 

Sweet Sacrament of peace, 
dear home of every heart, 
where restless yearnings cease, 
and sorrows all depart. 
there in Thine ear, all trustfully, 
we tell our tale of misery, 
Sweet Sacrament of peace. 

Sweet Sacrament of rest, 
Ark from the ocean's roar, 
within Thy shelter blest 
soon may we reach the shore; 
save us, for still the tempest raves, 
save, lest we sink beneath the waves: 
Sweet Sacrament of rest. 

Sweet Sacrament divine, 
Earth's light and jubilee, 
in Thy far depths doth shine 
Thy Godhead's majesty; 
Sweet light, so shine on us, we pray 
that Earthly joys may fade away: 
Sweet Sacrament divine.


The Catholic Church of Corpus Christi, Maiden Lane, London.


Image





The Parish of Maiden Lane is situated in the Westminster Deanery, London. It was founded in 1873 and Consecrated on 18 October, 1956. Often referred to as the “hidden gem” of the West End, the, then, Archbishop Cardinal Henry Manning said, during his Homily at the opening Mass, that “a Sanctuary has been opened to be specifically devoted to the Adoration of the Blessed Sacrament”.

This was the first Church dedicated to The Blessed Sacrament after the Reformation. The famous Hymns,  Sweet Sacrament Divine and O Sacred Heart, were written by the Parish Priest, Fr. Francis Stanfield (1835-1914). It is also known as “the Actors’ Church” and is the home of the Catholic Association of the Performing Arts (formerly, the Catholic Stage Guild).

A very famous Priest visitor to the Parish, over many years, was Monsignor Ronald Knox. He first preached his Forty Hours Sermon in 1926, at the invitation of Father Kearney. This became a regular feature in Mgr Knox’s diary from 1926 until 1956. These Sermons were published by Burns and Oates in 1956, under the title “The Window in the Wall”, and the charming and touching dedication of this book is: “To the memory of Father Kearney and to his successors.”

For decades, the Latin Mass Society has also celebrated Mass here. A young adults’ Prayer Group meets here, weekly, and this is a vibrant place of worship and an oasis of Prayer and calm – open all day long for visitors, tourists, those who work and live nearby, and shoppers to pause and pray.


Unless otherwise stated, Illustrations and Text, relating to Corpus Christi, Maiden Lane, London, are from the CHURCH'S WEB-SITE AT http://www.rcdow.org.uk/maidenlane/.


Tuesday 9 July 2013

Cor Jesu Sacratissimum. Benediction Hymn.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)




Cor Jesu Sacratissimum.
Sacred Heart of Jesus.
Benediction Hymn.
Available on YouTube at



Cor Jesu Sacratissimum 
advéniat regnum tuum 
regnum veritátis et vitæ 
regnum caritatis et grátiæ 
regnum justitiæ, amóris et pacis.


Este vídeo ha sido grabado en la Santa Misa Cantada celebrada en la Iglesia del Salvador de Toledo por los Hermanos de la Fraternidad de Cristo Sacerdote y Santa María Reina, asociación pública clerical con aprobación eclesiástica en la Archidiócesis primada de Toledo (España). Este Instituto Religioso en formación tiene como uso propio en el Oficio y la Santa Misa la Forma Extraordinaria del Rito Romano, como establecen sus Reglas y Constituciones. Para más información pueden visitar nuestro site y blogs:
http://www3.planalfa.es/santamariareina/
http://hermanosdelafraternidad.blogsp...
http://santa-maria-reina.blogspot.com...
http://rinconliturgico.blogspot.com.es/


A Mother's Prayer For Her Soldier Son.


This beautiful Mother's Prayer For Her Soldier Son
can be found on the Blog, "LINEN ON THE HEDGEROW".


A Mother's prayer for her soldier son


As Thou didst walk in Galilee, 
so loving Saviour, walk with him for me: 

For since the years have passed and he has grown, 
I cannot follow, he must walk alone. 

Be Thou my feet that I have had to stay, 
for Thou canst comrade him on every way. 

Be Thou my voice, when sinful things allure, 
pleading with him to choose those that endure. 

Be Thou my hand that would keep his in mine, 
all, all things that a mother must resign. 

When he was little I could walk with him and guide 
but now, I pray Thee, Thou be at his side. 

And as Thy Blessed Mother folded Thee, 
so kind and loving Saviour, guard my son for me.


Verbum Supernum. Benediction Hymn Written By Saint Thomas Aquinas.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)




Verbum Supernum.
Saint Thomas Aquinas.
Available on YouTube at


The following Text is taken from Wikipedia - the free encyclopaedia.

Verbum Supernum Prodiens is a Catholic Hymn in long metre by Saint Thomas Aquinas. It was written for the Hour of Lauds in the Divine Office of Corpus Christi. It is about the institution of the Eucharist by Christ at the Last Supper, and His Passion and Death.

The last two verses form a Hymn on their own as well, O Salutaris Hostia, which is sung at the Adoration of the Blessed Sacrament.

There is also an unrelated Latin Nativity Hymn of the same name.


Sacris Solemniis. Benediction Hymn Written By Saint Thomas Aquinas.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)


LISTEN TO SACRIS SOLEMNIIS.

Available on YouTube at


The following Text is taken from Wikipedia - the free encyclopaedia.

Sacris Solemniis is a Hymn written by Saint Thomas Aquinas (1225–1274) for the Feast of Corpus Christi. The strophe of Sacris Solemniis, that begins with the words "Panis Angelicus" (Bread of Angels), has often been set to music separately from the rest of the Hymn. Most famously, in 1872, César Franck set this strophe for voice (tenor), harp, cello, and organ, and incorporated it into his Messe à trois voix, Opus 12. The Hymn expresses the Doctrine of Transubstantiation, in which the Bread and Wine are changed into the Body and Blood of Christ.

The phenomenon, whereby the strophe of Sacris Solemniis that begins with the words "Panis Angelicus" is often treated as a separate Hymn, has occurred also with other Hymns that Saint Thomas Aquinas wrote for Corpus Christi: Verbum Supernum Prodiens (the last two strophes begin with "O Salutaris Hostia"), Adoro Te Devote (the strophe beginning with "Pie Pelicane, Jesu Domine"), and Pange Lingua Gloriosi (the last two strophes begin with "Tantum Ergo", in which case the word "Ergo" ["therefore"] makes evident that this part is the continuation of a longer Hymn).


Ave Verum Corpus. Benediction Hymn Attributed to Pope Innocent VI.





Monstrance.
Photo: 2004-10-18 (original upload date).
Source: Own work (zelf gemaakt).
Originally from nl.wikipedia; description page is/was here.
Author: Original uploader was Broederhugo at nl.wikipedia.
(Wikimedia Commons)




Ave Verum Corpus.
William Byrd.
Available on YouTube at


The following Text is taken from Wikipedia - the free encyclopaedia.

Ave Verum Corpus is a short Eucharistic Hymn that has been set to music by various composers. It dates from the 14th-Century and has been attributed to Pope Innocent VI.

During the Middle Ages, it was sung at the elevation of the Host during the Consecration. It was also used frequently during Benediction of the Blessed Sacrament.

The Hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-Century manuscript from the Abbey of Reichenau, Lake Constance. The poem is a meditation on the Catholic belief in Jesus's Real Presence in the Sacrament of the Eucharist.


Pater Noster. Rimsky-Korsakov.


Fr. Timothy Finigan, Parish Priest of Our Lady of the Rosary, Blackfen, Kent, has plans to develop the Parish Sung Liturgy in English to include, perhaps, Rimsky-Korsakov's melody for the "Our Father" (see, below).

More details can be found on Fr's Blog, THE HERMENEUTIC OF CONTINUITY.

File:St Isaac Interior.jpg


Interior of Saint Isaac's Cathedral, Saint Petersburg, Russia.
Photo: 30 July 2004.
Source: Own work.
Author: Jrissman.
(Wikimedia Commons)


File:Saint Isaac's Cathedral.jpg


Saint Isaac's Cathedral, Saint Petersburg, Russia.
Photo: 14 December 2006.
Source: Own work.
(Wikimedia Commons)




Rimsky-Korsakov's ''Our Father''. 
Saint Isaac's Cathedral Choir, 
Saint Petersburg, Russia.
Available on YouTube at





Rimsky-Korsakov's ''Our Father''.
Saint George's RC Cathedral, Southwark, London. 
Director of Music: Nick Gale. Organist: Norman Harper.
The Saint George's Cathedral Choir 
and the Saint George's Cathedral Girls Choir.
Available on YouTube at


Saturday 6 July 2013

Te Deum Laudamus. Ciebie Boga Wysławiamy. You Praise God.



Image of State Flag & Civil Ensign


Flag Image: http://www.flags.net.




Te Deum laudamus - Ciebie Boga wysławiamy.
Te Deum Laudamus. You Praise God.
Available on YouTube at


O Magnum Mysterium. Winchester Cathedral Choir.



File:WinCath30Je6-4836wiki.jpg


Early Morning (0400 hrs) photo of Winchester Cathedral, 
showing the West End, Central Tower 
and the United Kingdom's second-longest Cathedral Nave.
Date: 2006.
Author: http://www.wyrdlight.com Antony McCallum.
(Wikimedia Commons)




O Magnum Mysterium.
Winchester Cathedral Choir.
Available on YouTube at


Winchester Cathedral Choir sing Morten Lauridsen's hauntingly beautiful "O Magnum Mysterium".

O magnum mysterium
et admirabile sacramentum,
ut animalia viderent Dominum natum,
jacentem in præsepio.

Beata virgo, cujus viscera meruerunt
portare Dominum Christum, Alleluia!



O great mystery
and wondrous sacrament,
that animals should see the newborn Lord
lying in their manger.

Blessed is the Virgin whose womb was worthy
to bear the Lord Jesus Christ. Alleluia!


Friday 5 July 2013

Surge Propera Amica Mea. Francisco Guerrero.


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


File:Francisco Guerrero.jpg


English: Francisco Guerrero (1528-1599), Spanish composer.
Español: Retrato tomado de Francisco Pacheco, (1564-1644) 
El libro de descripción de verdaderos retratos, ilustres y memorables varones, 
[Sevilla, s.n., s.a.]- Real Academia de la Historia (Madrid). Signatura: 1/736.
Date: 1599.
Author: Francisco Pacheco (1564–1644).
(Wikimedia Commons)


Francisco Guerrero (1528 - 1599) was a Spanish composer of the Renaissance. He was born and died in Seville.

Guerrero's early musical education was with his older brother, Pedro. He must have been an astonishing prodigy, for at the age of seventeen he was already appointed maestro de capilla (Singing Master, i.e. Music Director) at Jaén Cathedral. A few years later he accepted a position in Seville. Apparently, during this time he was much in demand as a singer and composer, establishing an exceptional reputation before his thirtieth birthday; in addition, he published several collections of his music abroad, an unusual event for a young composer.




Francisco Guerrero's 
"Surge Propera Amica Mea."
Available on YouTube at


After several decades of working and travelling throughout Spain and Portugal, sometimes in the employ of Emperor Maximilian II, he went to Italy for a year (1581–1582), where he published two books of his music. After returning to Spain for several years, he decided to travel to the Holy Land, which he finally was able to do in 1589. His adventure included visits to Damascus, Bethlehem, and Jerusalem; on the return trip, his ship was twice attacked by pirates, who threatened his life, stole his money, and held him for ransom. His ransom must have been paid, for he was able to return to Spain; unfortunately he had no money, and endured a series of misfortunes including some time spent in debtor's prison; at last his old employer at Seville Cathedral extricated him, and he resumed working for them. His book on his adventurous visit to the Holy Land was published in 1590 and was a popular success (it is reasonable to suppose that Cervantes knew it). At the end of the decade, he planned one more trip to the Holy Land, but, unfortunately, he died in the Plague of 1599, in Seville, before he was able to depart.




Another version of 
Francisco Guerrero's
"Surge Propera Amica Mea."
Available on YouTube at


Of all the Spanish Renaissance composers, he was the one who lived and worked the most in Spain. Others, for example Morales and Victoria, spent large portions of their careers in Italy (though, unlike many Franco-Flemish composers of the time, Spanish composers usually returned home later in life).

Guerrero's music was both sacred and secular, unlike that of Victoria and Morales, the two other Spanish 16th-Century composers of the first rank. He wrote numerous secular songs and instrumental pieces, in addition to Masses, Motets, and Passions. He was able to capture an astonishing variety of moods in his music, from ecstasy to despair, longing, joy, and devotional stillness; his music remained popular for hundreds of years, especially in Cathedrals in Latin America. Stylistically he preferred homophonic textures, rather like his Spanish contemporaries, and he wrote memorable, singable lines. One interesting feature of his style is how he anticipated functional harmonic usage: there is a case of a Magnificat, discovered in Lima, Peru, once thought to be an anonymous 18th-Century work, which turned out to be a work of his.


Thursday 4 July 2013

Seven Steps To Heaven ? Apologies To Eddie Cochran.


Fr. Timothy Finigan has Posted a most interesting Article, entitled: "Can we say "ascending by steps" ?" on his Blog, THE HERMENEUTIC OF CONTINUITY at http://the-hermeneutic-of-continuity.blogspot.co.uk/.

Fr. Finigan included this wonderful Illustration in his Post . . .




It reminded Zephyrinus of two things: 

1.      The song by Eddie Cochran (see, below);

2.      The Post put up by Zephyrinus earlier in the year (see even further below).



Three Steps To Heaven.
By Eddie Cochran.
Available on YouTube at


This Article, which is full of merit in Zephyrinus's view, can be found on RORATE CAELI 




Obedience and the Power of the Modernists: Understanding the resurgence of Modernism in the past 50 years.


Fr. Giovanni Cavalcoli, O.P.

The return of Modernism that has characterized these 50 years since the end of the Second Vatican Council can be divided into two periods which reveal the tenacity, the strength and power of persuasion that this plot against the Church, has produced operating within Her and accomplishing the “work of auto-demolition”, that Paul the VI had spoken about.

The first period is characterized by the famous chaotic and disordered contestations of 1968 and, at that same time, the wild, uncontrolled spreading of heretical doctrines in dogma and morals among seminarians, youth, priests, religious and theologians. The bishops, taken by surprise, and not wanting to be labeled “prophets of doom” or pre-conciliar conservatives, more or less allowed them free rein, at times with the formula ad experimentum (“Let’s see how it goes.”); as if the truth of a doctrine depended on the success it meets.

Since there was some ‘success’ in numerous cases, “Let’s see if it works”, which was before - was adopted, taken for granted and not to be questioned. Those who tried to question it, whatever authority they had, perhaps in the name of the precedent Magisterium or Tradition, were subjected to public derision as “anti-conciliarists.”

The disobedience to the Magisterium and to the Pope himself, either openly or covertly in the name of an unspecified “spirit of the Council” began to be a habit which spread among the faithful, intellectuals and people, the clergy, theologians and moralists. [Thus] the so-called “Catholic dissent” was born, and Paul VI spoke about “a parallel Magisterium”.




Heretical and modernist ideas, especially those along Protestant lines, started to be taught freely, tranquilly and with impunity in Catholic schools and were also found in the publications and press of many so-called “Catholic” publishers. The scandal and anxiety of the devout and orthodox among the faithful, were considered with derision and superciliousness by the modernists – those so-called “progressives” increasingly sure of themselves and convinced they were the new Church of the future and modernity: “in the heart of the world”, in “the Church of the poor” in “the Church of dialogue”, guided directly by the Spirit, truly evangelical, attentive to the “Word of God” and the “signs of the times” and so on.

Throughout this first period, the modernists had the opportunity of becoming more and more dominant in social communications, thus infiltrating into families, in culture - schools, universities, workplaces, parishes, movements, academic environments and Catholic education, seminaries and religious institutes, thus forming an entire generation of new priests, new religious, new leaders, new bishops and even new cardinals. All of this in the face of extremely weak resistance on the part of good pastors and the Holy See, itself weakened and contaminated through ultra-recommended infiltrators by ambitious prelates of dubious orthodoxy.

What was the catastrophic outcome of all this? We see it today before our eyes, growing in proportions, and it could have been but figured out - as it had indeed been figured out and foreseen by those many clear-sighted “prophets of doom”. (We should better say: the “unheeded sentinels”). Or let us say more simply, it was foreseen by those endowed with common sense: that gradually from the modernists and false teachers, free to spread their errors, there would have risen (as indeed it has) a generation or a category holding ecclesiastical power at various levels, more or less ruthless or convinced, more or less oscillating and double-crossing, imbued with their own ideas and therefore, not only able to spread modernist ideas, but order their implementation, subject to disciplinary sanctions, in the name of “obedience” or even, persecution against those that wanted to remain faithful to the Church’s Magisterium.




Even more severe penalties have been inflicted against scholars and theologians who not only remain faithful to sound doctrine, but reveal and denounce the errors and misdeeds of the modernists with names and facts, as well as proof and precise accusations. The modernists are most able at hiding under the appearance of what is true, and are irritated by those who warn the faithful of the hidden dangers and use tones of rebuke against the inventors and diffusers of error.

As far as possible, they strive to ignore these protesters  above all if they have no followers. But when they become aware that the eyes of the faithful have been opened, they resort to threats and violence. Thus, a kind of “reverse” inquisition has come about: today the heretics, are not only seen in a good light, but they even have the audacity (as happened in the 16th century in the Catholic countries overrun by Protestants) due to the nefarious power they have achieved, to obstruct or block those who defend sound doctrine and who want to shield the people of God from the epidemic of lies and falsehoods that are the origins of every kind of moral disorder. Pastors, frequently, because of insufficient theological formation, even if they are good and conscientious, limit themselves to condemning moral errors, but without realizing it, in fact, sometimes they are hostile, in good faith or in fear, towards those theologians who bring to light the theoretical roots of error.




But, the tragic-comic thing that reveals the refined hypocrisy of these modernist Pharisees – is the “scandal” – pure pharisaical scandal – when their snow-white souls are disturbed in seeing or knowing about courageous Catholics who dare to resist or oppose prelates, teachers, educators, superiors or bishops who would like to shut them up or convince them that they are mistaken; they then give orders, or impart invalid prohibitions thus making them inapplicable, forgetting that peremptory order of Scripture: “Thou shalt not muzzle the ox that treadeth out thy corn on the floor.”, similar to criminal health-care officials who would want to impede doctors in taking care of the sick.

They are the first to disobey the truth and directives of the Gospel as well as the Supreme Pontiff, and they dare to dish out orders which clash with the sound doctrine or moral and judicial principles of the Church. These are the same ones that in 1968 or in its wake, who wailed against “the barons” and “authoritarianism”; they felt authorized to contest the Pope and bishops, and to enlighten them with expressions of such dogmatic rigor as: “the Church of the rich” of despotism and medieval theocracy from the “age of Constantine”, “Baroque triumphalism “, pharisaical legalism, the inquisition, sex phobia, and so forth. Now, instead, they ask for absolute obedience and whoever contradicts them is compared to one that disobeys a divine precept. That is, if they still believe in the true God and do not make a god of themselves, along the lines of the sublime intuition of a certain Gnostic pantheist.




So we have entered the second period, in which we witness more and more frequently, disconcerting and scandalous deeds, where bishops and superiors are especially involved: some forbid the celebration of the Tridentine Mass, others run seminaries in which St. Thomas is substituted for Rahner. Some block the entrance of well-intentioned young men into the seminary or oblige them to adapt if they want to further themselves, while they open wide the door to aspiring modernists, encouraging them in their ambitions. Some are open sustainers of heresies and promote those who agree with them while, in various ways, others persecute Catholics who want nothing other than to be Catholic. Some protect modernist teachers and repress the orthodox ones. We have arrived at the point of favouring the cause of beatification from some absolutely improbable prospects, such as Monsignor Tonino Bello, merely because he reflects a model for the modernist, but other causes are disgracefully obstructed merely because they vex the modernists.

What happens to obedience in these situations? Has not perhaps the meaning been perverted? What good is it to obey superiors who, in their turn, disobey the Church and the Pope? Is it possible that nothing ever happens to the one who disobeys the Pope, while disobeying a modernist superior is [considered] such a terrible thing? Since Modernism is so widespread and prestigious, the seminarian, the priest, the theologian who resist the abuses of the modernist superior end up looking like the disobedient ones.

The power of the modernists today is so strong and the seduction that they exercise is so insidious, that a large dose of courage is needed to resist their arrogance and [one must have] very refined discernment in order to recognize the dangers.




In any case, before deciding whether to continue or not fulfilling one’s duty in fidelity to the Church, against the will or the abuse of power by some superior, it is necessary, above all, to evaluate with prudence and certainty the entity and the quality of the said abuse, and to calculate in advance, with a margin of probability, if the resistance to the unjust measures might cause greater or lesser damage with respect to the sufferings that the faithful might experience.

Resistance to the tyrant is justified from the standpoint of protecting or safeguarding the common good even at the risk of great personal loss. St. Thomas More and St. Thomas Becket accepted death when they realized that their obedience to the king would have caused greater damage to the English Church compared to what would have happened to them in renouncing their own lives.

The salvation of souls, especially if they are many, is a greater good than one’s own personal interests, even if life itself is at risk. It is not possible, nonetheless, to establish a rule that fits every case or situation. In principle, for example, an esteemed and noted theologian, victim of the abuse of power on the part of superiors, can give a good example adapting himself, rather than refusing to submit; it all depends on the circumstances which must be evaluated well.




We have examples in the saints of both these cases. Some suffer patiently, accepting all of the humiliations and even arrive at martyrdom; others availing themselves of their rights, conscious of their innocence and proud in their service to the Church, repulse the unjust treatment with firmness. We have in this regard the example of St. John of the Cross, who escaped from the prison of his superiors, rebels against the Pope.

If on the other hand we are talking about minor penalties, such as exile or defamation or the loss of one’s personal goods, isolation or prison and things of that sort, it might be convenient to accept them, in the hope, that in time, one might be rehabilitated and take up one’s mission once again in freedom. We have many examples of this in the lives of the saints, heroic pastors and other witnesses for Christ.




There could be, in fact, situations that are not so dramatic or because obeying would not cause great harm to the faithful or to the one who is a witness to the faith. In certain cases it is prudent and not cowardly to resign oneself to violence, if this would not cause too much scandal to good people and not too much prejudice to the one persecuted.

Indeed, it might happen, in the case of resistance regarding a successful exercise of his apostolate, that the persecuted may find himself in worse conditions compared to that which he might have conserved by obeying his superior. For this, as we see from history, saintly theologians, bishops and preachers adapted themselves without rebelling against unjust measures, not for the sake of obedience, but for reasons of convenience and in the end to avoid greater vexations.




So, it happens that the truly obedient, i.e. the one who first obeys God and the Church ends up looking like the disobedient one in this climate of such confusion, where it is difficult to distinguish who belongs and does not belong to the Church, since the modernists have diffused such a false concept of Church on account of what they have been able to do by deceit and cunning in imposing their power, giving the impression that they themselves are the renovators of Christianity and the avant-garde in the Church.

Their present arrogance and the impious audacity which guides them in their contempt for true obedience to the Church, under the illusion that they are the winners, will be instead, the weakening factors of their power, because Divine Providence, yes tolerates the wicked, but not beyond a certain limit. God tolerates them because they generate saints: “If there were no persecutors, says St. Thomas, there would be no martyrs.”

But, since God wants to save everyone, while the modernists seriously risk damning themselves, God will certainly not permit this state of affairs to continue much longer and His mighty power of justice and mercy will act in a way that the future of the Church will be brighter, so that She, without being exempt from the cross, may nonetheless walk less afflicted along the path of history.

[Source: Riscossa Cristiana, January 21, 2013. Text and translation: Contributor Francesca Romana.]


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