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

Sunday 21 July 2013

Missa Papae Marcelli. Giovanni Pierluigi Da Palestrina (1525 - 1594).


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


File:Pope Marcellus II.PNG


Pope Marcellus II.
Date: 16th-Century.
Author: Onofrio Panvinio 1529-1568.
(Wikimedia Commons)


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).




Missa Papae Marcelli.
Kyrie.
Giovanni Pierluigi Da Palestrina (1525 - 1594).
Available on YouTube at


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.




Missa Papae Marcelli.
Gloria.
Giovanni Pierluigi Da Palestrina (1525 - 1594).
Available on YouTube at


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.




Missa Papae Marcelli.
Credo.
Giovanni Pierluigi Da Palestrina (1525 - 1594).
Available on YouTube at


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".




Missa Papae Marcelli.
Sanctus and Benedictus.
Giovanni Pierluigi Da Palestrina (1525 - 1594).
Available on YouTube at


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.




Missa Papae Marcelli.
Agnus Dei I
 & 
Agnus Dei II.
Giovanni Pierluigi Da Palestrina (1525 - 1594).
Available on YouTube at


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.


Saturday 20 July 2013

Nunc Dimittis. Giovanni Pierluigi Da Palestrina (1525 - 1594).


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




Simeon’s Song of Praise.
Artist: Aert de Gelder (1645–1727).
Date: 1700 - 1710.
The Hague, Netherlands.
Source/Photographer: Unknown.
This File: 18 December 2005.
User: Dedden.
References: Mauritshuis in detail
as Simeon's Song of Praise, circa 1700.
RKDimages, Art-work number 3185, as Opdracht in de tempel 
(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).

According to the Gospel of Luke, Simeon was a devout Jew who had been promised by the Holy Ghost that he would not die until he had seen the Saviour. When Mary and Joseph brought the baby, Jesus, to the Temple in Jerusalem, for the Ceremony of Consecration of the First-Born Son (not the Circumcision, but rather after the time of Mary's Purification, at least 40 days after the birth), Simeon was there, and he took Jesus into his arms and uttered words rendered variously as follows.






Palestrina's "Nunc Dimittis"
for Double-Choir.
Available on YouTube at


The Nunc Dimittis is the traditional "Gospel Canticle" of Night Prayer (Compline), just as Benedictus and Magnificat are 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 Anglican Book 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.

In the Eastern Tradition, the Canticle is found in Eastern Orthodox Vespers. One of the most well-known settings in England is a Plainchant theme of Thomas Tallis.

Original Greek (Novum Testamentum Graece):

νῦν ἀπολύεις τὸν δοῦλόν σου, δέσποτα, κατὰ τὸ ῥῆμά σου ἐν εἰρήνῃ·ὅτι εἶδον οἱ ὀφθαλμοί μου τὸ σωτήριόν σου,ὃ ἡτοίμασας κατὰ πρόσωπον πάντων τῶν λαῶν,φῶς εἰς αποκάλυψιν ἐθνῶν καὶ δόξαν λαοῦ σου Ἰσραήλ.

Latin (Vulgate): 

Nunc dimittis servum tuum, Domine, 
Secundum verbum tuum in pace:
Quia viderunt oculi mei salutare tuum
Quod parasti ante faciem omnium populorum:
Lumen ad revelationem gentium, 
Et gloriam plebis tuae Israel.

English (Douay-Rheims, 1582):

Now Thou dost dismiss Thy servant, O Lord, 
according to Thy word in peace;
Because my eyes have seen Thy salvation,
Which Thou hast prepared before the face of all peoples:
A light to the revelation of the Gentiles, 
and the glory of Thy people Israel.

English (Book of Common Prayer, 1662):

Lord, now lettest thou thy servant depart in peace : 
According to thy word.
For mine eyes have seen Thy salvation,
Which Thou hast prepared before the face of all people;
To be a light to lighten the Gentiles: 
And to be the glory of thy people Israel.


O Sacrum Convivium. O Sacred Banquet ! Thomas Tallis (1505 - 1585).


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



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)


O Sacrum Convivium is a Latin prose text honouring The Blessed Sacrament. It was written by Saint Thomas Aquinas. It was included in The Latin Catholic Liturgy as an Antiphon on The Feast of Corpus Christi.

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."



"O Sacrum Convivium",
by Thomas Tallis (1505 -1585).
Available on YouTube at


Original Latin (punctuation from The Liber Usualis).

O Sacrum Convivium !
in quo Christus sumitur:
recolitur memoria passionis eius:
mens impletur gratia:
et futurae gloriae nobis pignus datur.

Alleluia.

Translation of original Latin.

O Sacred Banquet !
In which Christ is received,
The memory of His Passion is renewed,
The mind is filled with Grace,
And a pledge of future glory to us is given.

Alleluia.

Gaude Gloriosa Dei Mater. Rejoice, O Glorious Mother Of God. Thomas Tallis (1505 - 1585).


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




Artist: William-Adolphe Bouguereau (1825–1905).
English: The Virgin With Angels.
Latin: Regina Angelorum.
Date: 1900.
Current location: Musée d'Orsay, Paris, France.
(Wikimedia Commons)




Gaude Gloriosa Dei Mater 
(Rejoice, O Glorious Mother of God).
Available on YouTube at


Magnificat. Manuel Cardoso (1566 - 1650).


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


File:Folio 59v - The Visitation.jpg


"The Visitation" in the Book of Hours of the Duc de Berry; the Magnificat in Latin.
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 Christian Church 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.

Within Christianity, the Magnificat is most frequently recited within the Liturgy of the Hours. In Western Christianity, the Magnificat is most often sung or recited during the main evening Prayer Service: Vesperswithin Roman Catholicism and Lutheranism, and Evening Prayer (or Evensong) within Anglicanism. In Eastern Christianity, the Magnificat is usually sung at Sunday Matins. Among Protestant groups, the Magnificat may also be sung during worship services.




"Magnificat" 
by Manuel Cardoso (1566 - 1650).
Available on YouTube at


Thursday 18 July 2013

Pope Saint Pius X. Pope Of The Blessed Sacrament. (Part Four).


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




Deutsch: Papst Pius X. (eigentlich Giuseppe Sarto, 
* 2. Juni 1835 in Riese (Provinz Treviso); 
† 20. August 1914 in Rom) war als Nachfolger Leo XIII. 
Papst von 1903 bis 1914.
English: Pope Saint Pius X, born Giuseppe Melchiorre Sarto, 
(2 June 1835 - 20 August 1914) 
was Pope from 1903 to 1914, succeeding Pope Leo XIII.
Français: Pape Pie X, né Giuseppe Sarto à Riese (Italie) 
le 2 juin 1835 - mort à Rome, au Vatican le 20 août 1914), 
succéda le 4 août 1903 à Léon XIII, et fut suivi par le Pape Benoît XV.
Italiano: Papa Pio X, al secolo Giuseppe Sarto 
(Riese, 2 giugno 1835 - RomaVaticano20 agosto 1914), 
succedette il 4 agosto 1903 a Leone XIII.
Português do Brasil: Papa São Pio X.
Photo: 22 October 2011.
Source: Vaticano.
Author: Não sei.
This image (or other media file)
is in the public domain
because its copyright has expired.
(Wikimedia Commons)


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.


File:PiusXbenedict XV.jpg


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 
(later Pope Benedict XV)) in the Vatican.
Photo: 18 December 2007.
Source: Vat Photo.
Author: "G. Felici, fotografo papale"; 
Original uploader was Ambrosius007 at en.wikipedia.
(Wikimedia Commons)


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, RevelationBiblical 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.


File:C o a Pio X.svg


English: Arms of Pope Saint Pius X.
Français: Armoiries du pape Pie X
D'azur à l'ancre de sable posée sur une mer d'argent et d'azur 
accompagnée en chef d'une étoile d'or, au chef d'argent au lion d'or léopardé 
et ailé, tenant un évangile ouvert de même portant le texte 
"PAX TIBI MARCE EVANGELISTA MEUS" en lettres de sable
Date: 20 August 2008.
Source: Own work.
Author: Odejea.
(Wikimedia Commons)

The personal Papal Arms of Pope Pius X are composed of the traditional elements of all Papal heraldry before Pope Benedict XVI: The Shield, the Papal Tiara, and the Keys. The Tiara and Keys are typical symbols used in the Coats of Arms of Pontiffs, which symbolise their authority.

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.


File:MarrydelValpacelli.jpg


Monsignor Eugenio Pacelli (the future Pope Pius XII, at left) 
and Cardinal Secretary, Merry del Val, 
at the signing ceremony of the Serbian "Concordat"
underneath the picture of Pope Pius X, 24 June 1914.
Source: Vatican photo.
Author: "G. Felici, fotografo papale" (1839-1923).
(Wikimedia Commons)


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.


PART FIVE FOLLOWS.


My Lord And My God. Prayer For Priests.


The following was found on a Prayer Card
at the back of a Church.




"My Lord And My God".


PRAYER FOR PRIESTS.

Divine Saviour, Jesus Christ.
Thou art The Good Shepherd,
Who gives His life for His sheep.
Oh, be, in a very special way,
The Good Shepherd 
Of those poor lost Priests,
Who are also appointed by Thee
To be leaders of Thy people,
But who have broken the oath of their
Holy Ordination and have become
Unfaithful to their exalted calling.

Bestow upon these poorest of the poor,
the very fullness of that pastoral solicitude,
With which Thou dost so faithfully
Seek the sheep that are lost !

Touch their hearts with that 
Irresistible Ray of Grace,
Which emanates from 
Thine all-merciful love !
Enlighten their minds
And strengthen their wills,
That they may turn away 
From all sin and error
And come back 
To Thy Holy Altar and
To Thy people.

Amen.

Imprimatur - Bishop John F. Noll,
18 April 1948.

40 Days Indulgence.

The Apostolate of Our Lady of Good Success,
1288, Summit Avenue,
Suite 107,
Oconomowoc,
Wisconsin,
53066,
United States of America.
Telephone: 262-567-0920.
Website: www.ourladyofgoodsuccess.com


Tuesday 16 July 2013

Tu Es Sacerdos In Aeternum. Thou Art A Priest Forever. Psalm 109 (Douay-Rheims Bible).


Taken from the Post-Ignes (Summer, 2013) Edition of "Via Sacra", the Newsletter for the Friends and Benefactors of The Canons Regular of Saint John Cantius, and from the Saint John Cantius home web-site at http://www.canons-regular.org/




The newly restored Saint John Cantius Church, 
filled with parishioners, friends, and family 
for the Mass of Ordination (Photo by Tom Steiner)

The Mass of Ordination was offered on Friday, May 31, 2013 at 7:30pm, at St. John Cantius Church. Hundreds of parishioners, friends, and family joined Cardinal George for this wonderful occasion. Several visiting clergy were in attendance, including the Most Rev. Joseph N. Perry, Auxiliary Bishop of Chicago and the Very Rev. Douglas Mosey, Rector of Holy Apostles Seminary in Cromwell, CT, Rev. Gregoire Fluet, professor at Holy Apostles Seminary, and Rev. Regis N. Barwig, prior of the Community of Our Lady in Oshkosh, WI.




"Come to Mass".
A Simple and Clear Introduction 
to the Traditional Latin Mass.
By Fr. Francis.
32 pages with drawings on almost every page.
Available from the Saint John Cantius Web-Store at


Saint John Cantius stands as a unique Church in the Archdiocese of Chicago, Illinois, U.S.A. — offering the Liturgy of the Roman Rite in both the Ordinary and Extraordinary Forms, daily. Its Solemn Liturgies and Devotions, treasures of Sacred Art, and rich program of Sacred Liturgical Music have helped many Catholics discover a profound sense of the Sacred.

The historic Baroque Church is one of the best examples of Sacred architecture in the city. One mile directly West of the famous Water Tower on Chicago Avenue, the landmark Church is easily accessible by car, bus, or subway. Click here to read more » or Watch a video about our church »


Prayer To Saint Michael The Archangel. Prière À Saint Michel Archange.



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


File:Guido Reni 031.jpg


Saint Michael The Archangel.
Artist: Guido Reni (1575–1642).
Date: Circa 1636.
Current location: Santa Maria della Concezione, Rome, Italy.
Note: Deutsch: Auftraggeber: Kardinal Sant'Onofrio, Bruder von Papst Urban VIII.
Source: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. 
ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.
Permission: [1].
(Wikimedia Commons)


Holy Michael Archangel,
Defend us in the Day of Battle;
Be our safeguard against the wickedness
      and snares of the devil.
May God rebuke him,
We humbly Pray,
And do thou,
Prince of the Heavenly host,
By the power of God,
Thrust down to Hell,
Satan and all wicked spirits,
Who wander through the world
      for the ruin of Souls.

Most Sacred Heart of Jesus, have mercy on us.
Most Sacred Heart of Jesus, have mercy on us.
Most Sacred Heart of Jesus, have mercy on us.

Amen.


File:Guido Reni 031.jpg


Saint Michael The Archangel.
Artist: Guido Reni (1575–1642).
Date: Circa 1636.
Current location: Santa Maria della Concezione, Rome, Italy.
Note: Deutsch: Auftraggeber: Kardinal Sant'Onofrio, Bruder von Papst Urban VIII.
Source: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. 
ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.
Permission: [1].
(Wikimedia Commons)


Sancte Michael Archangele,
defende nos in proelio;
contra nequitiam et insidias diaboli esto praesidium.
Imperet illi Deus, supplices deprecamur:
tuque, Princeps militiae Caelestis,
satanam aliosque spiritus malignos,
qui ad perditionem animarum pervagantur in mundo,
divina virtute in infernum detrude.



Cor Jesu sacratissimum. Miserere nobis.

Cor Jesu sacratissimum. Miserere nobis.
Cor Jesu sacratissimum. Miserere nobis.

Amen.



File:Guido Reni 031.jpg


Saint Michael The Archangel.
Artist: Guido Reni (1575–1642).
Date: Circa 1636.
Current location: Santa Maria della Concezione, Rome, Italy.
Note: Deutsch: Auftraggeber: Kardinal Sant'Onofrio, Bruder von Papst Urban VIII.
Source: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. 
ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.
Permission: [1].
(Wikimedia Commons)


Saint Michel Archange,
Défendez-nous dans le combat;
Soyez notre secours contre la perfidie
      et les embûches du démon.
Que Dieu exerce sur lui Son empire,
      nous le demandons en suppliant;
Et vous, prince de la milice céleste,
Refoulez en enfer, par la Vertu divine,
Satan et les autres esprits malins,
Qui errent dans le monde pour la perte des âmes.

Sacré-Cœur de Jésus. Aie pitié de nous.
Sacré-Cœur de Jésus. Aie pitié de nous.
Sacré-Cœur de Jésus. Aie pitié de nous.


Amen.

The French version of the Prayer to Saint Michael (above) [with the exception of "Sacré-Cœur de Jésus. Aie pitié de nous"] is taken from the Newsletter of the Benedictine Abbey at Le Barroux, France, "Les Amis Du Monastère".

The Newsletter is available from:
Abbaye Sainte-Madeleine,
1201, Chemin des Rabassières,
84330 Le Barroux,
France.

A Shop is also available (CDs, Books, Gifts, etc) and the Web-Site is: www.barroux.org

The Abbot of Le Barroux, Abbé F. Louis-Marie, O.S.B., states in the latest Newsletter, reference the Prayer to Saint Michael the Archangel:

"Cet appel est toujours bien actuel, c'est pourquoi je vous propose de réciter souvent la prière à saint Michel Archange".
""This plea is always relevant, it is for that reason that I propose to you to recite often the Prayer to Saint Michael the Archangel."


The Prayer to Saint Michael The Archangel is part of The Leonine Prayers.

The Leonine Prayers are a set of Prayers, prescribed by Pope Leo XIII (hence, "Leonine Prayers"), that, from 1884 to early-1965, were recited after Low Mass. They are still sometimes used at celebrations of the Tridentine Mass, today.

The Prayers did not form part of the Mass, itself, but were prescribed for specific intentions. The original intention was the defence of the temporal sovereignty of the Holy See. After this problem was settled with the Lateran Treaty of 1929, Pope Pius XI ordered that the Prayers should be said for the restoration to the people of Russia of tranquillity and freedom to profess the Catholic Faith. This gave rise to the unofficial and inaccurate use of the name, "Prayers for the Conversion of Russia" for the Prayers, which were also known, less inaccurately, as "Prayers after Mass".

The final form of The Leonine Prayers consisted of three Ave Marias, a Salve Regina, followed by a Versicle and Response, a Prayer for the conversion of sinners and the liberty and exaltation of the Catholic Church, and a Prayer to Saint Michael the Archangel.

Pope Saint Pius X permitted the addition of the Invocation, "Most Sacred Heart of Jesus, have mercy on us", repeated three times.


Te Deum. Solemn 5th-Century Monastic Chant.






Melk Abbey, Austria.
Photo: April 2005.
Photographer: Walter Hochauer [1]
Български: Двореца във Вахау, Австрия.
Date: 2005-04-07 (original upload date).
Source: Transferred from en.wikipedia.
Author: Original uploader was HochauerW at en.wikipedia.
Permission: CC-BY-SA-2.0.
(Wikimedia Commons)


Christoffer_Wilhelm_Eckersberg_-_The_Cloisters,_San_Lorenzo_fuori_le_mura


The Cloisters, San Lorenzo fuori le mura 
(Basilica of Saint Laurence-Outside-The-Walls, Rome, Italy)
Artist: Christoffer Wilhelm Eckersberg.


File:Rievaulx Abbey-001.jpg


Rievaulx Abbey, Yorkshire, England.
Photo: 14 April 2008.
Source: Own work.
Author: Tilman2007.
(Wikimedia Commons)


File:Rievaulx Abbey - geograph.org.uk - 1556438.jpg


Rievaulx Abbey, Yorkshire, England.
Photo: 15 October 2009.
Source: geograph.org.uk.
Author: Simon Palmer.
(Wikimedia Commons)


Please Note: The above illustrations have no connection 
with the YouTube rendition of the Te Deum (below).


Monks of the Solesmes Congregation sing this beautiful Chant. The Te Deum is attributed to two Fathers and Doctors of the Church, Saint Ambrose and Saint Augustine, and is one the most majestic Chants in the Liturgy of the Church.

It is sung in Traditional Seminaries and Monastic Houses at the Divine Office and for Double Feasts of the First Class (The Nativity, Easter, Corpus Christi, Epiphany, Pentecost and those which have an Octave). The Solemn Te Deum is sung on all occasions of public Church rejoicing (in Traditional Catholic Churches).




The Solemn Te Deum.
5th-Century Monastic Chant.
Available on YouTube at


Monday 15 July 2013

Pope Saint Pius X. Pope Of The Blessed Sacrament. (Part Three).


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




Deutsch: Papst Pius X. (eigentlich Giuseppe Sarto, 
* 2. Juni 1835 in Riese (Provinz Treviso); 
† 20. August 1914 in Rom) war als Nachfolger Leo XIII. 
Papst von 1903 bis 1914.
English: Pope Saint Pius X, born Giuseppe Melchiorre Sarto, 
(2 June 1835 - 20 August 1914) 
was Pope from 1903 to 1914, succeeding Pope Leo XIII.
Français: Pape Pie X, né Giuseppe Sarto à Riese (Italie) 
le 2 juin 1835 - mort à Rome, au Vatican le 20 août 1914), 
succéda le 4 août 1903 à Léon XIII, et fut suivi par le Pape Benoît XV.
Italiano: Papa Pio X, al secolo Giuseppe Sarto 
(Riese, 2 giugno 1835 - RomaVaticano20 agosto 1914), 
succedette il 4 agosto 1903 a Leone XIII.
Português do Brasil: Papa São Pio X.
Photo: 22 October 2011.
Source: Vaticano.
Author: Não sei.
This image (or other media file)
is in the public domain
because its copyright has expired.
(Wikimedia Commons)


Pius X promoted daily Communion for all Catholics, a practice that was criticised for introducing irreverence. In his 1904 Encyclical, Ad Diem Illum, he views Mary in the context of "restoring everything in Christ".

According to the Encyclical, Spiritually we all are her children and she is the Mother of us, therefore, she is to be revered like a mother. Christ is the Word made Flesh and the Saviour of mankind. He had a physical body like every other man; and, as saviour of the human family, He had a Spiritual and Mystical Body, the Church. This, the Pope argues, has consequences for our view of the Blessed Virgin. She did not conceive the Eternal Son of God merely that He might be made man taking His human nature from her, but also, by giving Him her human nature, that He might be the Redeemer of Men. 

Mary, carrying the Saviour within her, also carried all those whose life was contained in the life of the Saviour. Therefore, all the Faithful, united to Christ, are Members of His Body, of His Flesh, and of His Bones, from the womb of Mary, like a body united to its head. Through a Spiritual and Mystical fashion, all are Children of Mary, and she is their Mother. Mother, Spiritually, but truly Mother of the Members of Christ (S. Aug. L. de S. Virginitate, c. 6).


File:PiusXvatgarden.jpg


A 1904, Copyright-expired, photo of Pope Saint Pius X (1903 - 1914).
Photo: December 1904.
Source: 1904 book on Pope Pius
Transferred from en.wikipedia; transferred to Commons by User:Sevela.p using CommonsHelper.
Author: Karl Benzinger. Original uploader was Ambrosius007 at en.wikipedia.
(Wikimedia Commons)


Within three months of his Coronation, Pope Pius X published his motu proprio, Tra le sollecitudiniClassical and Baroque compositions had long been favoured over Gregorian Chant in ecclesiastical music. The Pope announced a return to earlier musical styles, championed by Don Perosi. Since 1898, Perosi had been Director of the Sistine Chapel Choir, a title which Pope Pius X upgraded to "Perpetual Director." The Pope's choice of Dom Joseph Pothier, to supervise the new editions of Chant, led to the official adoption of the Solesmes edition of Gregorian Chant.

In his Papacy, Pope Pius X worked to increase devotion in the lives of the Clergy and Laity, particularly in the Breviary, which he reformed considerably, and the Holy Mass.

Besides restoring to prominence Gregorian Chant, he placed a renewed Liturgical emphasis on the Eucharist, saying: "Holy Communion is the shortest and safest way to Heaven." To this end, he encouraged frequent reception of Holy Communion. This also extended to children who had reached the "age of discretion", though he did not permit the ancient Eastern practice of infant communion. He also emphasised frequent recourse to the Sacrament of Penance so that Holy Communion would be received worthily. Pope Pius X's devotion to the Eucharist would eventually earn him the honorific of "Pope of the Blessed Sacrament," by which he is still known among his devotees.


File:PiusXstudy.jpg


A 1904, Copyright-expired, photo of Pope Saint Pius X (1903 - 1914).
Photo: December 1904.
Source: 1904 book on Pope Pius
Transferred from en.wikipedia; transferred to Commons by User:Sevela.p using CommonsHelper.
Author: Karl Benzinger. Original uploader was Ambrosius007 at en.wikipedia.
(Wikimedia Commons)


In 1910, he issued the Decree, Quam Singulari, which changed the age of discretion from twelve to seven years old. The Pope lowered the age because he wished to impress the event on the minds of children and stimulate their parents to new religious observance; this Decree was found unwelcome in some places, due to the belief that parents would withdraw their children early from Catholic schools, now that First Communion was carried out earlier.

Pope Pius X said, in his 1903 motu proprio, Tra le sollecitudini: "The primary, and indispensable source of the true Christian spirit, is participation in the Most Holy Mysteries and in the public official Prayer of the Church".

Pope Leo XIII had sought to revive the inheritance of Thomas Aquinas, 'the marriage of reason and revelation', as a response to secular 'enlightenment'. Under the Pontificate of Pope Pius X, neo-Thomism became the blueprint for an approach to Theology. Pope Pius X's Papacy featured vigorous condemnation of what he termed 'Modernists' and 'Relativists', whom he regarded as dangers to the Catholic Faith (see, for example, his Oath Against Modernism).


File:Mladý Jozef Sarto - neskorší pápež Pius X..jpg


A young Giuseppe Sarto (later, Pope Saint Pius X).
This file is in the public domain
because it is "Out of Copyright" 
due to age (Mid-19th-Century).
(Wikimedia Commons)


This is perhaps the most controversial aspect of his Papacy. He also encouraged the formation and efforts of Sodalitium Pianum (or "League of Pius V"), an anti-Modernist network of informants, which was seen negatively by many people, due to its accusations of Heresy against people on the flimsiest evidence.

This campaign against Modernism was run by Umberto Benigni in the Department of Extraordinary Affairs in the Secretariat of State, distributing anti-Modernist propaganda and gathering information on "culprits". Benigni had his own secret code — Pope Pius X was known as Mama.


File:Kardinál Sarto.jpg


Cardinal Sarto (later, Pope Saint Pius X).
This file is in the public domain
because it is "Out of Copyright" 
due to age (Mid-19th-Century).
(Wikimedia Commons)


PART FOUR FOLLOWS.


Sunday 14 July 2013

Baroque (Part Ten).


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




Photo: 10 September 2012.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


Ukrainian Baroque is an architectural style that emerged in Ukraine during the Hetmanate era, in the 17th- and 18th-Centuries. Ukrainian Baroque is distinct from the Western European Baroque in having more moderate ornamentation and simpler forms, and as such was considered more constructivist. One of the unique features of the Ukrainian Baroque, was bud and pear-shaped domes, that were later borrowed by the similar Naryshkin baroque. Many Ukrainian Baroque buildings have been preserved, including several buildings in Kiev Pechersk Lavra and the Vydubychi Monastery. The best examples of Baroque painting are the Church paintings in the Holy Trinity Church of the Kiev Pechersk Lavra. Rapid development in engraving techniques occurred during the Ukrainian Baroque period. Advances utilised a complex system of symbolism, allegories, heraldic signs, and sumptuous ornamentation.


File:Collégiale Saint-Martin (la Brigue).jpg


English: Interior of the Collegiale Saint-Martin, in la Brigue, Alpes-Maritimes, France.
Français: Intérieur de la collégiale Saint-Martin à la Brigue, Alpes-Maritimes.
Photo: 30 March 2011.
Source: Own work.
Author: Tangopaso.
(Wikimedia Commons)


During the golden age of the Swedish Empire, the architecture of Nordic countries was dominated by the Swedish Court architect, Nicodemus Tessin the Elder, and his son, Nicodemus Tessin the Younger. Their aesthetic was readily adopted across the Baltic, in Copenhagen and Saint Petersburg.

Born in Germany, Tessin the Elder endowed Sweden with a truly national style, a well-balanced mixture of contemporary French and Mediaeval Hanseatic elements. His designs for the Royal Manor of Drottningholm seasoned French prototypes with Italian elements, while retaining some peculiarly Nordic features, such as the hipped roof (säteritak).


File:Hochaltar1.jpg


Deutsch: Hochaltar in der Pfarrkirche Sant Stephan, Tulln.
English: The High Altar in the Church of Saint Stephen, Tulln, Austria.
Photo: September 2003 (11 November 2007 (original upload date)).
Source: Transferred from de.wikipedia; transferred to Commons by User:NeverDoING 
using CommonsHelper. (Original text : FOTOREPORT.at).
Author: Hannes Sallmutter. Original uploader was Sallmutter at de.wikipedia.
Permission: Released under the GNU Free Documentation License.
(Wikimedia Commons)


Tessin the Younger shared his father's enthusiasm for discrete Palace façades. His design for the Stockholm Palace draws so heavily on Bernini's unexecuted plans for the Louvre that one could well imagine it standing in Naples, Vienna, or Saint Petersburg. Another example of the so-called International Baroque, based on Roman models with little concern for national specifics, is the Royal Palace of Madrid. The same approach is manifested is Tessin's polychrome domeless Kalmar Cathedral, a skilful pastiche of early Italian Baroque, clothed in a giant order of paired Ionic pilasters.


File:Salzburg, Salzburger Dom, Exterior 002.JPG


Salzburg Cathedral.
Photo: 24 July 2012.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


File:Salzburg, Salzburger Dom, Vault 018.JPG


Roof Vaulting, Salzburg Cathedral.
Photo: 22 July 2012.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


It was not until the Mid-18th-Century, that Danish and Russian architecture were emancipated from Swedish influence. A milestone of this late period is Nicolai Eigtved's design for a new district of Copenhagen centred on the Amalienborg Palace. The Palace is composed of four rectangular Mansions for the four greatest nobles of the kingdom, arranged across the angles of an octagonal square. The restrained façades of the Mansions hark back to French antecedents, while their interiors contain some of the finest Rococo decoration in Northern Europe.


File:Großgmain Liebfrauenkirche - Innenraum.jpg


English: Großgmain (Salzburg). Church of Our Lady. Baroque interior by Tobias Kendler (1731).
Deutsch: Großgmain (Salzburg). Liebfrauenkirche. Barocker Innenraum von Tobias Kendler (1731).
Photo: 17 August 2010.
Source: Own work.
Author: Wolfgang Sauber.
(Wikimedia Commons)


Istanbul, once the capital of the Ottoman Empire, hosts many different varieties of Baroque architecture. As reforms and innovations to modernise the country came out in the 18th- and 19th-Century, various architecture styles were used in Turkey, one of them was the Baroque Style. As Turkish architecture (which is also a combination of Islamic and Byzantine architecture) combined with Baroque, a new style called Ottoman Baroque appeared. Baroque architecture is mostly seen in mosques and Palaces built in these centuries. The Ortaköy Mosque, is one of the best examples of Ottoman Baroque Architecture. The Tanzimat Era caused more architectural development. The architectural change continued with Sultan Mahmud II, one of the most reformist sultans in Turkish History. One of his sons, Sultan Abdülmecid, and his family, left the Topkapı Palace and moved to the Dolmabahçe Palace, which is the first European-style Palace in the country.


File:Braunau am Inn, St Stephan 01.JPG


English: Church of Saint Stephen, Braunau-am-Inn, Austria.
Photo: 26 March 2011.
Source: Eigenes Werk (Own work).
Author: Mattana.
(Wikimedia Commons)


File:Braunau am Inn1.jpg


English: Braunau-am-Inn with the Stadtpfarrkirche Saint Stephan 
and the Old City Wall in view. This is a 4 x 2 segment panorama.
Deutsch: Braunau-am-Inn mit Blick auf die Stadtpfarrkirche St. Stephan 
und die alte Stadtmauer. Hierbei handelt es sich um ein 4x2 segmentiertes Panorama.
Datum/Date: 2007-03-02T17:45+01:00 ISO 8601.
Source: Eigenes Werk (Own work).
Author: Philipp Mayer.
(Wikimedia Commons)


Baroque architecture in Istanbul was mostly used in Palaces near the Bosphorus and Golden Horn. Beyoğlu was one of the places that Baroque and other European style architecture buildings were largely used. The famous streets called Istiklal Avenue, Nişantaşı, and Bankalar Caddesi, consist of these architecture style apartments. The Ottoman flavour gives it its unique atmosphere, which also distinguishes it from the later "colonial" Baroque styles, largely used in the Middle East, especially Lebanon. Later, and more mature, Baroque forms in Istanbul can be found in the gates of the Dolmabahçe Palace which also has a very "Eastern" flavour, combining Baroque, Romantic, and Oriental architecture.


File:Antwerp, Cathédrale Notre-Dame 03.JPG


Photo: 27 March 2011.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


File:Antwerp, Cathédrale Notre-Dame 06.JPG


Photo: 27 March 2011.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


File:Antwerp, Cathédrale Notre-Dame 13.JPG


Photo: 27 March 2011.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)


THIS ENDS THE ARTICLE ON BAROQUE ARCHITECTURE.


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