Usus Antiquior Mass Returns To Denmark. Bishop Kozon Gives Support In Copenhagen. Deo Gratias.

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

English: Bishop Kozon, Bishop of Copenhagen, Denmark.

Dansk: Czeslaw Kozon, biskop for de danske katolikker og bærer således titlen som biskop af København. Her efter en messe i Sankt Ansgar Kirke i København.

Photo: 4 September 2008 (original upload date).

Source: Own work.

Author: Riemann at da.wikipedia

(Wikimedia Commons)

English: The Flag of Denmark.

Dansk: Dannebrog.

Photo: 24 July 2006.

Source: Flickr

Author: Jacob BÃ,tter

(Wikimedia Commons)

News of the re-establishment of the Usus Antiquior Mass in Denmark has appeared on several high-profile Blogs, e.g.,

THE LATIN MASS SOCIETY RC DIOCESE OF MIDDLESBROUGH
and
RORATE CAELI
and
THE HERMENEUTIC OF CONTINUITY

Bishop Kozon, Bishop of Copenhagen, has given his support to the re-establishment of the Usus Antiquior Mass in Copenhagen. He has also celebrated the Usus Antiquior Mass, himself, at Saint Ansgar's Cathedral, Copenhagen. Deo Gratias, indeed, for this wonderful gift to Denmark.

The SOCIETY OF SAINT CANUTE (Sankt Knuds Selskab) has been established to encourage and support the continued use of the Usus Antiquior Mass in Denmark.

English: Saint Ansgar's Cathedral, Copenhagen, Denmark,

[Editor: where Bishop Kozon celebrated the Usus Antiquior Mass].

Dansk: Sankt Ansgar Kirke, København.

Photo: 8 May 2012.

Source: Daderot.

Author: Daderot.

(Wikimedia Commons)

English: Saint Ansgar's Cathedral, Copenhagen, Denmark.

Dansk: Sankt Ansgar Kirke (katolsk), Københavns Kommune.

Photo: 17 August 2007.

Source: Own work.

Author: Claus B. Storgaard.

(Wikimedia Commons)

Saint Ansgar's Cathedral (Danish: Sankt Ansgars Kirke — Katolsk Domkirke) in Copenhagen, Denmark, is the principal Church of the Roman Catholic Diocese of Copenhagen, which encompasses all of Denmark, including the Faroe Islands and Greenland. It was Consecrated in 1842 and became a Cathedral in 1941.

The first Catholic Congregations in Denmark, after the Protestant reformation, were centered around Foreign Legations. Starting with the one formed by the Spanish diplomat (and poet), Count Bernardino de Rebolledo, who served in Denmark between 1648 and 1659, continuous Church Registers were kept. From its original location at de Rebolledo's residence on Østergade, the Chapel moved around between various Legation addresses, but, in 1764, it settled at the present location, on what is now Bredgade. For some time, the Austrian Legation had been the main supporter of the Congregation, and the new Chapel was financed by Empress Maria Theresia.

The present day Church was designed by the German-born architect, Gustav Friedrich Hetsch. Construction began in 1840 and the Church was consecrated on All Saints' Day, 1 November 1842. During 1988–1992, the Church underwent extensive restoration, in collaboration with the National Museum of Denmark, under the direction of the architect Vilhelm Wohlert.

The Cathedral possesses the skull of Saint Lucius, an early Pope, which previously had been in Roskilde Cathedral, which was originally dedicated to the Saint.

The official web-site of the Cathedral is at SAINT ANSGAR'S CATHEDRAL
and SANKT ANSGARS KIRKE

Albi Cathedral.

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

English: Basilica of Saint Cecilia, Albi, France.

Français: Cathédrale Sainte-Cécile d'Albi.

Photo: 8 May 2010.

Source: Own work.

Author: ByacC.

(Wikimedia Commons)

English: Vaulted Ceiling Bosses,

Basilica of Saint Cecilia, Albi, France.

Français: Voûtes sous le jubé de la cathédrale Sainte-Cécile d'Albi.

Photo: 7 June 2012.

Source: Own work.

Author: GO69.

(Wikimedia Commons)

Albi Cathedral, formally the Cathedral Basilica of Saint Cecilia (French: Basilique Cathédrale Sainte-Cécile d'Albi), is the most important religious building in Albi, Southern France, and the Seat of the Archbishop of Albi (in full, Albi-Castres-Lavaur). First built as a fortress, begun in 1287 and under construction for 200 years, it is claimed to be the largest brick building in the world. In 2010, the Cathedral was designated a UNESCO World Heritage Site.

The present Cathedral was preceded by other buildings. The first dated from the 4th-Century and, in 666 A.D., was destroyed by fire. The second is recorded in 920 A.D., by the name of Saint Cecilia, the present-day Patroness of Musicians. It was replaced in the 13th-Century by a Romanesque Cathedral in stone.

English: Nave of Albi Cathedral, France, and its Organ.

Français: Nef et orgue de la cathédrale Sainte-Cécile d'Albi,

dans le département du Tarn.

Photo: 25 June 2009.

Source: Own work.

Author: Benh LIEU SONG.

(Wikimedia Commons)

English: Above the Choir,

Basilica of Saint Cecilia,

Albi, France.

Français: Clôture du chœur

de la cathédrale Sainte-Cécile d'Albi.

Photo: 8 June 2012.

Source: Own work.

Author: GO69.

(Wikimedia Commons)

The Brick Gothic Cathedral was constructed between 1287 to 1480, in the wake of the Albigensian heresy in the area. The government mounted a brutal Crusade to suppress the Cathar rebellion, with great loss of life to area residents. In the aftermath of the bloodshed, the Cathedral's dominant presence and fortress-like exterior were intended to convey the power and authority of the Christian Faith. The instigator of the Cathedral's construction was Bernard de Castanet, Bishop of Albi, and Inquisitor of Languedoc. Work on the Nave was completed about 1330.

The Cathedral is built in the Southern Gothic Style. As suitable building stone is not found locally, the structure is built almost entirely of brick. Notable architectural features include the Bell-Tower (added in 1492), which stands 78 metres (256 ft) tall, and the doorway, by Dominique de Florence (added circa 1392). The Nave is the widest Gothic example in France at 60 feet (18 m). The Interior lacks Aisles, which are replaced by rows of small Chapels between brick internal Buttresses, making Albi a Hall Church.

English: Choir and East Side of the Rood Screen of Sainte-Cécile Cathedral,

Albi, Midi-Pyrénées, France.

Français: Choeur et face Est du jubé de la cathédrale Sainte-Cécile d'Albi,

dans le département du Tarn.

Photo: 25 June 2009.

Source: Own work.

Author: Benh LIEU SONG.

(Wikimedia Commons)

English: Rood Screen and Ceiling

of Sainte-Cécile Cathedral,

Albi, Midi-Pyrénées, France.

Français: Vue d'ensemble de l'intérieur de la cathédrale,

pris sous le buffet d'orgues

(Cathédrale Sainte-Cécile, Albi).

Photo: 2 July 2008.

Source: Own work.

Author: Pom².

(Wikimedia Commons)

Compared with regular Gothic, the Buttresses are almost entirely submerged in the mass of the Church. The principal entry is on the South Side, through an elaborate Porch entered by a fortified Stair, rather than through the West Front, as is traditional in France.

The Side Chapels, in the Nave, received overhead Galleries in the 15th-Century, diminishing their impact.

English: Exterior view of Albi Cathedral, France.

Français: Vue extérieur de la cathédrale Sainte-Cécile à Albi, France.

Photo: 10 May 2008.

Source: Own work.

Author: Alma Mulalic and Yann Fauché.

(Wikimedia Commons)

English: The Vaulted Ceiling,

Albi Cathedral, France.

Français: Voûtes peintes de la cathédrale

(Cathédrale Sainte-Cécile, Albi).

Photo: 2 July 2008.

Source: Own work.

Author: Pom².

(Wikimedia Commons)

The elaborate Interior stands in stark contrast to the Cathedral's military exterior. The central Chœur (Choir), reserved for Members of the Religious Order, is surrounded by a Rood Screen, with detailed filigree stone work, and a group of polychrome statues. Below the Organ, a fresco of the Last Judgement, attributed to unknown Flemish painters, originally covered nearly 200 m² (the central area was later removed). The frescoes, on the enormous Vaulted Ceiling, comprise the largest and oldest ensemble of Italian Renaissance painting in France.

The Cathedral Organ, the work of Christophe Moucherel, dates from the 18th-Century.

English: Nave and organ of the Cathedral of Albi in South of France.

Français: La nef et le buffet d'orgue de la cathédrale Sainte-Cécile d'Albi.

Photo: 22 February 2014.

Source: Own work.

Author: PierreSelim.

(Wikimedia Commons)

English: Albi Cathedral,

South of France.

Français: Cathédrale Sainte-Cécile d'Albi,

vue de la rive opposée du Tarn.

Photo: 6 August 2012.

Source: Own work.

Author: Jean-Christophe BENOIST.

(Wikimedia Commons)

Français: Jubé gothique vu depuis la nef.

Abside en arrière plan.

(Cathédrale Sainte-Cécile, Albi).

English: Gothic Rood Screen, view from the Nave.

Apse in the background.

Albi Cathedral, France.

Photo: 2 July 2008.

Source: Own work.

Author: Pom².

(Wikimedia Commons)

Minor Basilica Moved !!!

MINOR BASILICA, HERE . . .

MINOR BASILICA, THERE . . .
BLACKFEN . . .
MARGATE . . .

I WISH THEY'D MAKE THEIR MIND UP !!!

Photo: 3 January 2009.

Source: Own work.

Author: Fletcher6.

(Wikimedia Commons)

Eternal Flame In Minsk.

This Article is taken from

 

June 2, 2014, Monday — Eternal Flame in Minsk “The forum aims to consolidate Christian powers of Europe, first of all, Catholic and Orthodox communities. It will help find a way out from the deep moral and social-political crisis which is growing worse because of the indifference to spiritual aspects of the human nature and society.” —Russian Orthodox Archpriest Fyodor Povnyi, Superior of the All Saints Memorial Church in Minsk, Belarus, explaining the purpose of the opening today in his church of the 4th Orthodox-Catholic Forum (Here, two of the leading participants in the June 2-5 Orthodox-Catholic Forum, which opened today in Minsk, Belarus, just before the start of the meeting: Russian Orthodox Metropolitan Hilarion Alfeyev (left) greets Hungarian Catholic Cardinal Peter Erdo of Budapest. The gathering is supported in part by a grant from the Urbi et Orbi Foundation, which seeks to improve relations between Catholics and Orthodox through encounters, cultural exhanges, including exhibits and concerts, and charitable projects, especially involving children) The sun burned through the clouds This morning, Minsk, a large, busy city of more than 1 million on the vast plains between Poland and Russia, was shrouded in thick clouds. "The weather report says the clouds will stay all week," a young woman at the hotel desk told me, checking her computer. "It's a pity," she said, in English. "You will not be able to see the sun at all during your visit to our city." But within hours, by mid-afternoon, as the priests and bishops gathering to attend the 4th Orthodox-Catholic Forum were entering the Russian Orthodox Church of All Saints to light candles from an eternal flame, lit there in memory of all the innocent victims of war (and war has come often to these lands), the sun burned through the forbidding grey clouds, and lit up brightly the church's golden dome with its warm rays. Inside the Church, the Forum delegates lit candles from one another, after Archpriest Fyodor Povnyi, Superior of the church, lit the first candle directly from the flame, in the church crypt. Those present come from Greece, Cyprus, Georgia, Germany, France, Italy, Slovakia, Serbia, Russia, Hungary, Bosnia and Herzegovina, Sweden, Romania, Belgium, Ireland, Spain, Poland, Belarus, and the United States -- some 20 countries. The conference is entitled: “Religion and Cultural Pluralism: Challenges for Christian Churches in Europe.” The conference members were greeted by an aging Russian Orthodox Metropolitan of Minsk and Slutsk, Filaret, the Patriarchal Exarch Emeritus of All Belarus and also Emeritus Metropolitan of Minsk and Mogilev (he is now past 80), and by Archbishop Tadeusz Kondrusiewicz, the Catholic archbishop of Minsk (formerly and for many years the bishop of the Catholic church in Moscow, Russia). The introductory talks included greetings and expressions of hope for productive proceedings from Pope Francis in Rome, from Greek Orthodox Ecumenical Patriarch Bartholomew in Constantinople, and from Russian Orthodox Patriarch Kirill in Moscow. (The Orthodox Church in Belarus is part of the Russian Orthodox Church.) In his brief remarks, Russian Orthodox Metropolitan Hilarion of Volokolamsk spoke with some emotion of his profound sorrow over recent events in Ukraine. He repeated his previously-expressed desire that members of the Greek Catholic and Orthodox Churches of Ukraine refrain from taking partisan political positions and commit themselves urgently to finding a way to end the violence in that country through building a just peace. Participants in the forum will now meet for three days of discussions and choose the venue for the 2016 forum. (The Orthodox-Catholic Forum is held every two years; previously it was held in Italy, in Greece, and in Portugal.) After the late-May pilgrimage to the Holy Land by Pope Francis and his meeting there with Patriarch Bartholomew, this European Catholic-Orthodox Forum takes on additional importance. "Certainly, the Ecumenical Patriarchate has been one of those who prepared, supported and initiated this series of meetings," Cardinal Peter Erdo of Budapest told Vatican Radio this morning. "We are personally grateful to Patriarch Bartholomew and certainly the Metropolitan Gennadios of Sassima, chairman of the Foreign Relations Section of the Ecumenical Patriarchate and co-chair of the Assembly." Regarding Ukraine, Erdo said "the meeting of course is not a political meeting," but added: "As Christians, we pray for peace."

The Priesthood And Our Lady.

The Virgin of the Lilies (La Vierge au lys).

Date: 1899.

Source: PaintingHere.com

Author: William-Adolphe Bouguereau (1825–1905).

(Wikimedia Commons)

The Priesthood

and Our Lady.

Available on YouTube at

http://youtu.be/JBlPxC1h2nQ.

Imperial Abbeys. Fürstenfeld Abbey (Reichskloster Fürstenfeld).

Text and Illustrations from Wikipedia - the free encyclopaedia,

unless otherwise stated.

Kloster Fürstenfeld (Fürstenfeld Abbey),

Fürstenfeldbruck (formerly known simply as Bruck),

Bavaria, Germany.

Church of the Assumption of the Virgin Mary.

Photo: 15 August 2007.

Source: Own work.

Author: Martenas.h.

(Wikimedia Commons)

Fürstenfeld Abbey (German: Kloster Fürstenfeld) is a former Cistercian Monastery, in Fürstenfeldbruck (formerly known simply as Bruck), in Bavaria, Germany.

It is situated about 25 km North-West of Munich. The Abbey was one of the Household Monasteries of the Wittelsbachs. The Abbey Church of the Assumption of the Virgin Mary is held to be a masterpiece of the Late-Baroque in Southern Germany.

Kloster Fürstenfeld (Fürstenfeld Abbey),

Fürstenfeldbruck, Bavaria, Germany.

Photo: October 2005.

Source: Own work.

Author: Patrick Huebgen.

Pahu at the German language Wikipedia.

(Wikimedia Commons)

In 1256, Louis II, Duke of Bavaria (Louis the Severe) killed his first wife, Marie of Brabant (1226–1256) on suspicion of adultery (which later turned out to be unfounded), the penance for which, as imposed by Pope Alexander IV, was the foundation of a Monastery.

The first foundation at Seldental, in 1258, was afterwards moved to the present site near the town of Bruck, in 1263. Papal permission for the new foundation to be settled by Cistercian Monks, from Aldersbach Abbey, had been obtained as early as 1256, but was not confirmed by the Bishop of Freising until 1265, in which year the new Abbey was at last settled.

Deutsch: Nordwestseite der Klosterkirche St. Mariä Himmelfahrt,

Kloster Fürstenfeld, Fürstenfeldbruck.

English: Exterior of Fürstenfeld Abbey (Reichskloster Fürstenfeld),

Bavaria, Germany.

Photo: 29 June 2011.

Source: Own work.

Author: Rufus46

(Wikimedia Commons)

The High Altar,

The Monastery Church,

Fürstenfeldbruck, Bavaria,

Germany.

Photo: 21 September 2008.

Source: Own work.

Author: Tepold.

(Wikimedia Commons)

Louis II endowed and privileged the new Abbey very handsomely and, when he died, was buried here. His son, Louis IV, Holy Roman Emperor, was also a great benefactor to the Abbey, which supported him in his dynastic struggle against the Habsburger, Frederick the Handsome.

Emperor Louis IV died of a stroke, at Puch, nearby, on 11 October 1347, during a bear hunt, and his heart was buried here. Both men, named Louis, are commemorated by elaborate Baroque monuments.

In 1632-1633, during the Thirty Years' War, the Monastery was sacked by troops of King Gustavus Adolphus of Sweden, and the Monks fled to Munich. From 1640, however, the Abbey began to make an economic recovery. Under Abbot Martin Dallmayr, several Churches were built and the number of Monks doubled.

Deutsch: Klosterkirche Fürstenfeldbruck (Oberbayern).

Innenansicht nach Osten.

English: Fürstenfeld Abbey,

Fürstenfeldbruck,

Bavaria, Germany.

Photo: January 2007.

Source: Own work.

Author: Dark Avenger.

(Wikimedia Commons)

English: Panoramic view of the Church of the Assumption of the Virgin Mary,

Fürstenfeld Abbey, Bavaria, Germany.

Stitched with "Hugin" out of 7 photos.

Deutsch: Panoramainnenasicht der Klosterkirche Maria Himmelfahrt

des Klosters Fürstenfeld.

Zusammengesetzt mit "Hugin" aus 7 Fotos.

Photo: 10 September 2013.

Source: Own work.

Author: Mummelgrummel.

(Wikimedia Commons)

In 1691, the Foundation Stone was laid of the Baroque Monastery buildings, responsibility for the construction of which lay with the Munich Court Architect and Master Builder, Giovanni Antonio Viscardi.

The supervision of the construction, which did not properly begin until after the War of the Spanish Succession, was the responsibility of Johann Georg Ettenhofer, who probably introduced some alterations to Viscardi's Plans. In 1723, the Quire (Choir) was completed, and, in 1741, the Church was Dedicated, but the remaining works lingered on until about 1780.

A number of first-class artists were employed in the fitting-out, including the brothers Jacopo and Francesco Appiani and the Asam brothers: Cosmas Damian Asam painted the ceiling frescoes, and Egid Quirin Asam created the Side Altars and possibly also the design of the High Altar.

Deutsch: Klosterkirche Fürstenfeldbruck (Oberbayern).

Der Chor, Nordseite.

English: Fürstenfeld Abbey Choir,

Fürstenfeldbruck,

Bavaria, Germany.

Photo: January 2007.

Source: Own work.

Author: Dark Avenger.

(Wikimedia Commons)

In layout, the Abbey Church of Fürstenfeld follows the typical pattern of South German and Austrian Churches, such as St. Michael's Church, Munich, Klagenfurt Cathedral and the Academy Church of the Assumption in Dillingen an der Donau. The Interior is of imposing height and width, and, in spite of the lengthy construction and fitting-out period, makes a very unified impression.

In 1803, as a result of the general secularisation in Bavaria, Fürstenfeld Abbey passed into private ownership. The new proprietor was Ignaz Leitenberger, a Bohemian cloth manufacturer. The inhabitants of the town of Bruck saved the Church from demolition, however. In 1816, it became the property of King Maximilian I Joseph of Bavaria and, from that time forward, has served as a Church of the Royal Family.

English: In 1816, Fürstenfeld Abbey became the property of

King Maximilian I Joseph of Bavaria.

Deutsch: Maximilian I. von Bayern im Krönungsornat.

Français: Maximilian Ier, roi de Bavière.

Polski: Maksymilian I Józef Wittelsbach.

日本語: バイエルン王マクシミリアン1世.

Italiano: Re Massimiliano I di Baviera. (Ritratto di Joseph Stieler, 1822).

Português: Maximiliano I da Baviera.

Español: Rey Maximiliano I de Baviera.

Svenska: MaxI.jpg.

Date: Probably 1820.

Source: See below.

Author: Joseph Karl Stieler (1781–1858).

(Wikimedia Commons)

In 1817, the Bavarian Field Marshal, Prince Wrede, bought up the whole Monastery, in which, a year later, a hospital and home for invalid soldiers was opened. In 1828, a Prayer Room for Protestants was opened in the former Chapter Room. Between 1848 and 1921, the Monastery buildings were used for a variety of military purposes: For example, as a Base for a number of Infantry and Cavalry Units and as a Military Hospital. In 1866, part of the premises, in use at the time as a hospital, to the South of the Church, was destroyed in a fire.

After 1918, the former Service Range became the property of the Wittelsbach Compensation Fund, which rented it in 1923 to Ettal Abbey. From 1921, the remaining Monastic buildings were used as boarding accommodation for school children.

The Monastery Church,

Fürstenfeldbruck, Bavaria,

Germany.

Photo: 21 September 2008.

Source: Own work.

Author: Tepold.

(Wikimedia Commons)

From 1924 to 1975, various Police-related institutions were accommodated here, such as the principal Police Training School and the Training Schools of the Schutzpolizei and the Landpolizei, and, from 1975, the Special Police Studies Department of the Bavarian Civil Service Technical College. In 1979, the town of Fürstenfeldbruck acquired the Service Buildings, which they re-modelled between 1987 and 2001 into a new cultural centre for the citizens of the District of Fürstenfeldbruck.

Also on the historic Abbey site is the Fürstenfeldbruck Event Forum (German: Veranstaltungsforum Fürstenfeldbruck), in a new Civic Hall, built next to the restored Service Range, where seminars, day conferences, theatre performances, and many other kinds of event are held.

Poulenc's "Dialogues Des Carmelites".

Roman Text and Illustration from BBC RADIO 3

unless otherwise stated.

Zephyrinus recommends this production to all Readers.

It can be listened to, next Saturday, 7 June 2014, 1845 hrs,

on BBC Radio 3, live from The Royal Opera House,

Covent Garden, London.

[Editor: Covent Garden is so called because it was originally the "Convent Garden" of nearby Westminster Abbey. Therefore, this location is most apt for Poulenc's "Dialogues Des Carmelites".]

Royal Opera House,

Covent Garden,

London.

Poulenc takes the harrowing story of the Martyrdom of the Nuns of Compiègne during the French Revolution, and creates a rich and moving work, which centres on Blanche, a young Novice, who deals with her own fears to face her destiny.

The following Text is from Wikipedia - the free encyclopaedia.

In 1952, Poulenc started working on what was to become the opera Dialogues of the Carmelites, based on a story by Georges Bernanos. Poulenc soon became obsessed with this work. Poulenc adapted Bernanos' text for the libretto.

The opera was first performed at La Scala, in Italian, in January 1957, with Virginia Zeani singing the principal soprano role of Blanche. In June 1957, it was produced at the Paris Opera, with Denise Duval as Blanche and Régine Crespin as Madame Lidoine. In September of that year, it was produced in the USA, with Leontyne Price as Mme Lidoine; this was her first stage opera.

During the completion of his opera Dialogues des Carmelites, Poulenc suffered severe depression due to the copyright to Georges Bernanos' libretto. This eventually drove him to nervous breakdown. However, this is arguably the point at which his later style emerged; his descent into anxiety and depression and subsequent recovery can be seen as the source of the serenity and lyricism in much of his later work.

Poulenc died of heart failure in Paris on 30 January 1963 and is buried at the Père Lachaise Cemetery.

Imperial Abbeys. The Prince-Provostry Of Berchtesgaden. Fürst-Propstei Berchtesgaden.

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

Deutsch: 180°-Ansicht des Berchtesgadener Schlossplatzes

mit Stiftskirche und Königlichem Schloss.

English: Monastery Church (dedicated to Saint Peter

and Saint John the Baptist)

and Wittelsbach Palace,

Berchtesgaden, Bavaria,

Germany.

Photo: 18 August 2007.

Source: Own work.

Author: Rosephantom.

(Wikimedia Commons)

Berchtesgaden Provostry, or the Prince-Provostry of Berchtesgaden (German: Fürstpropstei Berchtesgaden) was an Immediate (Reichsunmittelbar) Principality of the Holy Roman Empire, held by a Canonry, i.e. a Collegiate Foundation, of Augustinians, led by a Prince-Provost.

The territory comprised the Alpine Berchtesgaden Hollow, that is, the modern communities of Berchtesgaden,Bischofswiesen, Marktschellenberg, Ramsau and Schönau am Königssee, located in the present-day German State of Bavaria, as well as a number of estates further afield.

The location of the Monastery was strategically important. Firstly, it is in an area possessing immensely valuable salt deposits, and was situated in such a way that it was able to act as a Buffer State between its much larger neighbours, the Duchy of Bavaria and the Archbishopric of Salzburg, and to make this situation work to its advantage. Secondly, the Berchtesgaden Valley is almost entirely enclosed by high mountains, except for a single point of access to the North, and is thus virtually impregnable.

Deutsch: Berchtesgaden mit Watzmann, Deutschland.

English: Berchtesgaden and Watzmann Massif.

Photo: 

Source: Own work.

Author: Mg-k- M. Klüber Fotografie.

(Wikimedia Commons)

The Berchtesgaden Monastery, dedicated to Saint Peter and Saint John the Baptist, was founded in 1102, within the Bavarian Stem Duchy, as a community of Augustinian Canons, by Count Berengar of Sulzbach, under the directions of the Will of his mother, the Late Countess Irmgard.

In view of the favorable geo-political circumstances, the Provosts had little difficulty in establishing the territorial independence of the Monastery, which became an Imperial Abbey in 1194. In 1380, the Provosts achieved the status of an Ecclesistical Reichsfürst, and, from 1559, held a direct vote in the Reichstag Assembly as "Prince-Provosts", a rank almost equivalent to that of a Prince-Bishop. The title was nearly unique within the Empire, the only other Provost, who ever gained the Princely title, was the one at the Swabian Imperial Ellwangen Abbey.

Deutsch: Wappen von Fürstprobstei Berchtesgaden.

English: Coat-of-Arms of Berchtesgaden.

Source: original PNG page is/was here (first uploaded to de.wikipeda

by de:User:TomK32); SVG drawing: own work.

(Wikimedia Commons)

The position of Prince-Provost was frequently held in conjunction with other high Ecclesiastical positions, and the Provosts often lived elsewhere. From 1594 until 1723, the title and territories were held by the mighty House of Wittelsbach, from 1612 in personal union by the Prince-Archbishops of Cologne, whose cousins ruled over the neighbouring Bavarian Duchy. Constant avarices of the Salzburg Archbishops led to clashes of arms in 1611, when the troops of Wolf Dietrich Raitenau occupied Berchtesgaden, but were repulsed by the forces of Duke Maximilian I of Bavaria.

In 1802 - 1803, the Provostry and its territories were secularised and mediatised, first to the short-lived Electorate of Salzburg, which, according to the 1805 Peace of Pressburg, fell to the Austrian Empire, and, finally, in 1810, to the newly-established Kingdom of Bavaria. The Monastic buildings were used for a while as a Barracks, but, in 1818, the Monastery was designated as a Royal Residence of the Wittelsbachs, who used it as a Summer Palace.

Following the end of the Bavarian Monarchy, the buildings, since 1923, are administrated by the Wittelsbach Compensation Fund (Wittelsbacher Ausgleichsfonds). Some of the rooms are open to the public, while other parts of the building are still used by the Wittelsbachs. The Monastic Church now serves as the Parish Church of Berchtesgaden.

Nothing In Humanity Equals The Grandeur And The Beauty Of The Catholic Liturgy . . .

This Article is taken from VULTUS CHRISTI

As in the Cenacle, the Prayer of the Church is persevering and permanent Prayer, for the clock of time strikes not an hour when Prayer does not spring forth from the hearts of millions and millions of Christians. Literally, that voice of Prayer in the bosom of Christianity is not hushed day or night. As in the Cenacle, the Church’s universal and permanent Prayer is magnificently unanimous, and, it may be added, divinely harmonious.

THE SACRED LITURGY.

Nothing in humanity equals the grandeur and the beauty of the Catholic Liturgy, that is, of the immense concert of organised Prayer in the circle of Christianity, resounding everywhere: The voice of Christ the Head and of His Mystical Body, the Church. The Church prays, at one same time in all parts of the world, by those Members whom she has hierarchically and officially charged with her Prayer. From the rising of the Sun to its setting, ascends that permanent, universal and harmonious Prayer, that is like a continuous aspiration by which the great Mystical Body of Jesus Christ draws to itself, develops and increases incessantly, the Life of Divine Grace, the Life of God in us.

THE ECCLESIA ORANS.

Such is the Church, living like the Cenacle, by Divine Grace as by its own element, and inhaling Divine Grace by the power of Prayer. The more a Christian institution, under whatever form, would represent and express in a more perfect manner the Life of the Church and the Life of the Cenacle, the more it should, like Christianity in the universe and like the Apostles in the Cenacle, immerse itself in Divine Grace and drawing Divine Grace to itself, by the enactment of the Sacred Liturgy and by ceaseless Prayer.

Therefore, all the Religious Institutions that, from age to age, have sprung from the ever-fruitful womb of the Catholic Church, have in this respect been formed to the image of the Ecclesia Orans, the praying Church, as the praying Church herself was formed to the image of the Cenacle.