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

Sunday 5 April 2015

Easter Sunday Mass. The Benedictine Monks Of Fontgombault Abbey.




Abbey of Notre-Dame,
Fontgombault, France.
Date: 13 November 2009 (original upload date).
Source: Originally uploaded on en.wikipedia (Transferred by Ayack).
Author: Robindch.
(Wikimedia Commons)





Easter Sunday Mass Propers.
Performed by the Benedictine Monks
of the Abbey of Notre-Dame de Fontgombault,
France.
Available on YouTube at





Fontgombault Abbey,
France.





Abbey of Notre-Dame,
Fontgombault, France.
Date: 1960.
Source: Own work.
Author: J. P. Sarmant.
(Wikimedia Commons)



The buildings were partly destroyed during the French Revolution, when the Monastery was nationalised and sold off. It was eventually bought back for religious use in 1849, by the Trappists, who re-established it as a viable Community, by redeveloping its agriculture and setting up a kirsch distillery.




In 1905, the Trappists were expelled from France, under the Association Laws, and the Monastery was secularised and sold, a second time. The purchaser was Louis Bonjean, who set up a button factory in the premises. At his death, in 1914, the buildings were put to use as a military hospital for wounded soldiers of the Belgian Army, which it remained until 1918. The expelled Trappists went on to form the Monastery of Our Lady of Jordan, Oregon, in The United States of America.

From 1919 to 1948, the buildings were used as a Diocesan Seminary, which eventually closed for lack of vocations.




In 1948, the empty buildings were restored to the site's original purpose when twenty-two Monks, from Solesmes Abbey, settled it afresh as a Benedictine Community. It is now the most populous of Solesmes' Foundations, with over a hundred Monks, and has, in its turn, made three Foundations in France — Randol Abbey, in 1971, Triors Abbey, in 1984, and Gaussan Priory, in 1994 — as well as Clear Creek Abbey, in the United States, in 1999, which was elevated from a Priory, in 2010. Mass is celebrated in Latin, using the Traditional Pre-Vatican II Rite, as in The 1962 Roman Missal.

As Benedictines of The Solesmes Congregation, Gregorian Chant is at the heart of the Community's Liturgical Practice, and recordings of the Chant at Fontgombault Abbey are available at the Abbey Shop.




The Usus Antiquior Mass
at Fontgombault Abbey,
France.





English: Coat-of-Arms (Shield only)
of the French Abbot, Dom Jean Pateau.
Fourth Abbot of The Benedictine Abbey,
Notre-Dame de Fontgombault
(Our Lady of Fontgombault)
since 2011.
Français: Blason (écu seul)
de Dom Jean Pateau,
quatrième abbé de l'abbaye bénédictine
Notre Dame de Fontgombault
depuis 2011.
Date: 21 April 2013.
Source: Own work.
Author: Barsupilami1512.
(Wikimedia Commons)


Lenten Station At The Papal Basilica Of Saint Mary Major (Santa Maria Maggiore). Easter Sunday.


Roman Text is taken from The Saint Andrew Daily Missal.

Italic Text, Illustrations and Captions, are taken from Wikipedia - the free encyclopaedia,
unless otherwise stated.


Easter Sunday.
Station at Saint Mary Major.

Plenary Indulgence.

Double of The First-Class
   with Privileged Octave
   of The First-Order.

White Vestments.


Christ is Risen, indeed.
Alleluia.




File:SantaMariaMaggiore front.jpg

English: Papal Basilica of Saint Mary Major, Rome.
Italiano: Basilica Papale di Santa Maria Maggiore.
Latin: Basilica Sanctae Mariae Maioris.



"Victimae Paschali Laudes"
(Praise The Paschal Victim).
The Sequence for Easter Sunday.
From Notre-Dame de Paris,
France.
Available on YouTube at


"Victimae Paschali Laudes",
The Sequence for Easter Sunday,
is said until the Saturday before Low Sunday,
inclusive.

Victimae paschali laudes
immolent Christiani.

Agnus redemit oves:
Christus innocens Patri
reconciliavit peccatores.

Mors et vita duello conflixere mirando:
dux vitae mortuus regnat vivus.

Dic nobis, Maria,
quid vidisti in via ?

Sepulcrum Christi viventis:
et gloriam vidi resurgentis.

Angelicos testes,
sudarium, et vestes.

Surrexit Christus spes mes:
praecedet vos in Galilaeam

Scimus Christum surrexisse a mortuis vere:
tu nobis, victor Rex, miserere.

Amen.
Alleluia.

Forth to the paschal Victim,
Christians, bring

Your sacrifice of praise:
The Lamb redeems the sheep;
And Christ the sinless One,
Hath to the Father sinners reconciled.

Together, death and life
In a strange conflict strove.

The Prince of Life, Who died,
Now lives and reigns.

What thou sawest, Mary, say,
As thou wentest on the way.

I saw the tomb
wherein The Living One had lain,
I saw His Glory as He Rose again;
Napkin and linen clothes,
and Angels twain:

Yea, Christ is Risen,
my hope, and He
Will go before you into Galilee.

We know that Christ indeed
has Risen from the grave.

Hail, Thou King of Victory,
Have Mercy, Lord, and Save.

Amen.
Alleluia.


As at Christmas, The Lenten Station is made at Saint Mary Major, on this Greatest Feast of the whole year. The Church never separates Jesus and Mary, and today, in one and the same Triumph, she honours The Mother and The Son. Before all else, The Risen Christ offers The Homage of His Gratitude to His Father in Heaven (Introit).



The Basilica di Santa Maria Maggiore
is a Church on The Esquilino, in Rome, Italy.
Photo: October 2008.
Source: Own work.
Author: Maros M r a z (Maros).
(Wikimedia Commons)


In her turn, The Church gives thanks to God, inasmuch as, by The Victory of His Son, He has re-opened The Way to Heaven, and implores Him to assist us that we may attain this, our final goal (Collect). For this, Saint Paul tells us, just as the Jews eat the Paschal Lamb with the unleavened bread, so we must feast on The Lamb of God, with the unleavened bread of Sincerity and Truth (Epistle and Communion), that is free from the leaven of sin.


File:IT-Rom-sm-magg-hauptschiff.jpg

English: The Nave, Papal Basilica of Saint Mary Major, Rome.
Deutsch: Basilika Santa Maria Maggiore, Hauptschiff.
Photo: February 2012.
Source: Own work.
Author: Bgabel.
Attribution: Bgabel at wikivoyage shared
(Wikimedia Commons)


In the Gospel and the Offertory, we read of the coming of The Holy Women to The Sepulchre to embalm Our Lord. They find an empty tomb, but an Angel proclaims to them The Great Mystery of The Resurrection. Let us joyfully keep this day on which Our Lord has restored Life to us in His Own Rising from The Dead (Easter Preface), and affirm with The Church that "The Lord is Risen Indeed", and, like Him, make our Easter a passing to an entirely New Way of Life.

Every Parish Priest celebrates Mass for the people of his Parish.


File:Basilica Santa Maria Maggiore 2011 14.jpg

English: Interior of the
Basilica di Santa Maria MaggioreRome, Italy.
Česky: Vnitřní prostory Baziliky
Santa Maria MaggioreŘím, Itálie.
Photo: April 2011.
Source: Own work.
Author: Karelj.
(Wikimedia Commons)


The Papal Basilica of Saint Mary Major (Italian: Basilica Papale di Santa Maria Maggiore, Latin: Basilica Sanctae Mariae Maioris), or Church of Santa Maria Maggiore, is the largest Catholic Marian Church in RomeItaly.

Other Churches in Rome, Dedicated to Mary, include Santa Maria in TrastevereSanta Maria in Aracoeli, and Santa Maria sopra Minerva, but the greater size of the Basilica of Saint Mary Major justifies the adjective (Papal Basilica) by which it is distinguished from the other twenty-five.

According to The 1929 Lateran Treaty, the Basilica, located in Italian territory, is owned by The Holy See and enjoys Extra-Territorial Status, similar to that of foreign embassies. The building is patrolled internally by Police agents of Vatican City State, not by Italian Police.

The Church may still sometimes be referred to as "Our Lady of The Snows", a name given to it in The Roman Missal, from 1568 to 1969, in connection with The Liturgical Feast of The Anniversary of its Dedication on 5 August, a Feast that was then denominated "Dedicatio Sanctae Mariae ad Nives" (Dedication of Saint Mary of The Snows).

This name for the Basilica had become popular in the 14th-Century, in connection with a legend that The 1911 Catholic Encyclopedia reports thus: "During the Pontificate of Liberius, the Roman Patrician, John, and his wife, who were without heirs, made a vow to donate their possessions to The Virgin Mary. They Prayed that she might make known to them how they were to dispose of their property in her honour".





English: Decorated wall murals in the Basilica of Saint Mary Major, Rome.
Magyar: Santa Maria Maggiore, Róma. A főbejárat feletti belső faldíszítés.
Date: 2008-08-27 (original upload date). Taken on 2005.04.22.
Source: Transferred from hu.wikipedia; transferred to Commons
Author: Original uploader was Kit36a at hu.wikipedia.
(Wikimedia Commons)


On 5 August, at the height of the Roman Summer, snow fell during the night on the summit of The Esquiline Hill. In obedience to a vision of The Virgin Mary, which they had the same night, the couple built a Basilica in honour of Mary on the very spot which was covered with snow.

The legend is first reported only after the year 1000. It may be implied, in what The Liber Pontificalis of the Early-13th-Century says of Pope Liberius: "He built the Basilica of his own name (i.e. the Liberian Basilica) near the Macellum of Livia". Its prevalence in the 15th-Century is shown in the painting of The Miracle of The Snow by Masolino da Panicale.

The Feast was originally called "Dedicatio Sanctae Mariae" (Dedication of Saint Mary's), and was Celebrated only in Rome, until inserted for the first time into The General Roman Calendar, with "ad Nives" added to its name, in 1568. A Congregation, appointed by Pope Benedict XIV in 1741, proposed that the reading of the legend be struck from The Office and that The Feast be given its original name. No action was taken on the proposal until 1969, when the reading of the legend was removed and The Feast was called "In dedicatione Basilicae S. Mariae (Dedication of the Basilica of Saint Mary)". The legend is still Commemorated by dropping White Rose Petals from the Dome during the Celebration of The Mass and Second Vespers of The Feast.



File:Santamariamaggiore19.jpg

English: Interior of the Basilica of Saint Mary Major, Rome.
Português: Capela lateral e parte da nave, Santa Maria MaggioreRoma.
Date: 2005.
Source: Taken by Ricardo André Frantz.
Author: Ricardo André Frantz (User:Tetraktys).
(Wikimedia Commons)


The earliest building on the site was the Liberian Basilica or Santa Maria Liberiana, after Pope Liberius (352 A.D. - 366 A.D.). This name may have originated from the same legend, which recounts that, like John and his wife, Pope Liberius was told in a dream of the forthcoming Summer snowfall, went in procession to where it did occur and there marked out the area on which the Church was to be built. "Liberiana" is still included in some versions of the Basilica's formal name, and "Liberian Basilica" may be used as a contemporary, as well as historical, name.

No Catholic Church can be honoured with the title of Basilica unless by Apostolic Grant or from Immemorial Custom. Saint Mary Major is one of the only four Basilicas that today hold the Title of Major Basilica. The other three are Saint John LateranSaint Peter and Saint Paul-without-the-Walls. (The Title of Major Basilica was once used more widely, being attached, for instance, to the Basilica of Saint Mary of the Angels, in Assisi.) All the other Catholic Churches that, either by Grant of the Pope or by Immemorial Custom, hold the Title of Basilica, are Minor Basilicas.

Until 2006, the four Major Basilicas, together with the Basilica of Saint Lawrence-without-the-Walls, were referred to as the five "Patriarchal Basilicas" of Rome, associated with the five ancient Patriarchal Sees of Christendom (see Pentarchy). Saint Mary Major was associated with the Patriarchate of Antioch. In the same year, the title of "Patriarchal" was also removed from the Basilica of Saint Francis, in Assisi.


File:Santa Maria Maggiore (Rome) 02.jpg

English: Cupola over a Side-Altar in
the Basilica of Saint Mary Major, Rome.
Deutsch: Santa Maria Maggiore Rom,
Kuppel eines Seitenaltars.
Photo: February 2008.
Source: Own work.
(Wikimedia Commons)


The former five Patriarchal Basilicas, with the Basilica of The Holy Cross in Jerusalem and San Sebastiano fuori le mura, formed the Traditional Seven Pilgrim Churches of Rome, which are visited by Pilgrims during their Pilgrimage to Rome, following a 20-kilometres (12 miles) itinerary, established by Saint Philip Neri on 25 February 1552, especially when seeking The Plenary Indulgence on Holy Years. For The Great Jubilee of 2000, Pope John Paul II replaced Saint Sebastian's Church with The Shrine of Our Lady of Divine Love.

It is agreed that the present Basilica was built during the Reign of Pope Sixtus III (432 A.D. - 440 A.D.). The Dedicatory Inscription on The Triumphal Arch, "Sixtus Episcopus plebi Dei" (Sixtus the Bishop to the people of God) is an indication of that Pope's role in the construction. As well as this Church on the summit of The Esquiline Hill, Pope Sixtus III is said to have commissioned extensive building projects throughout the City, which were continued by his successor, Pope Leo I, (The Great).

Church Building in Rome in this period, as exemplified in Saint Mary Major, was inspired by the idea of Rome being, not just The Centre of the World of The Roman Empire, as it was seen in The Classical Period, but The Centre of The Christian World.


File:Basilica Santa Maria Maggiore 2011 8.jpg

English: Interior of Basilica di Santa Maria MaggioreRome, Italy.
Česky: Vnitřní prostory Baziliky Santa Maria MaggioreŘím, Itálie.
Photo: April 2011.
Source: Own work.
Author: Karelj.
(Wikimedia Commons)


Santa Maria Maggiore, one of the first Churches built in honour of The Virgin Mary, was erected in the immediate aftermath of The Council of Ephesus of 431 A.D., which proclaimed Mary, Mother of God. Pope Sixtus III built it to Commemorate this decision.

When the Popes returned to Rome after the period of The Avignon Papacy, the buildings of the Basilica became a temporary Palace of the Popes, due to the deteriorated state of The Lateran Palace. The Papal Residence was later moved to The Palace of the Vatican, in what is now Vatican City.



File:Piazza Esquilino, Santa Maria Maggiore.JPG

The Basilica of Saint Mary Major
(Santa Maria Maggiore)
seen from the Piazza Esquilino,
Rome, Italy.
Photo: March 2006.
Source: Own work.
Author: Sixtus.
(Wikimedia Commons)


The Basilica was restored, re-decorated and extended by various Popes, including Eugene III (1145–1153), Nicholas IV (1288–1292), Clement X (1670–1676), and Benedict XIV (1740–1758), who, in the 1740s, commissioned Ferdinando Fuga to build the present façade and to modify the Interior. The Interior of  Santa Maria Maggiore underwent a broad renovation, encompassing all of its Altars, between 1575 and 1630.

The original architecture of Santa Maria Maggiore was Classical, and Traditionally Roman, perhaps to convey the idea that Santa Maria Maggiore represented Old Imperial Rome, as well as its Christian future.




St Andrew Daily Missal (Traditional Mass)

Available (in U.K.) from

Available (in U.S.A.) from


Saturday 4 April 2015

Jewish Mother To Jewish Son: "Barrie, Of Course It’s Authentic. They Wouldn’t Have Kept It For 2,000 Years If It Wasn’t.”


This Article is taken from THE CATHOLIC WORLD REPORT


Many Catholics believe that the 14ft-long linen cloth was used to cover Christ's body when he was lifted down from the cross after being crucified

Image: THE TELEGRAPH




People view The Shroud of Turin on display at the Cathedral of Saint John the Baptist, Turin, Italy, in this 26 April 2010, file photo. (CNS photo/Paul Haring).




27 March 2015.

“One of my favorite testimonials as to the authenticity of The Shroud,” says Barrie Schwortz, an expert on The Shroud of Turin, “actually came from my Jewish mother.”

The Author of this Article in THE CATHOLIC WORLD REPORT


This June, Pope Francis will be making a pilgrimage to Turin, Italy, home of the famous Shroud of Turin, which many believe is the 2,000-year-old burial cloth of Jesus Christ. The Pope’s June visit will include time Venerating The Shroud at the Cathedral of Saint John the Baptist. Francis will then visit the tomb of Blessed Pier Giorgio Frassati, buried in a nearby Altar. The trip will also include a Commemoration of Saint John Bosco, Founder of The Salesians and Patron Saint of youth, who worked in Turin; this year marks the 200th Anniversary of his birth. The Papal visit will take advantage of the 19 April - 24 June Exposition of The Shroud, which was last displayed in public in 2010.

The Shroud, which is a 14.5’ by 3.5’ linen cloth, bearing the image of the front and back of a man who has been scourged and crucified, has been kept in Turin since 1578. Barrie Schwortz is one of the world’s leading experts on The Shroud. In 1978, Schwortz, a technical photographer, was invited to participate in the first ever in-depth scientific examination of The Cloth, known as The Shroud of Turin Research Project (STRUP). A non-practicing Jew at the time, he reluctantly agreed to be part of STRUP, fully expecting the team to prove that The Shroud was a painted image from The Middle Ages. But, after many years of study and reflection, he came to believe in its authenticity.

Troubled by frequent inaccurate media reports on the subject, in 1996 Schwortz decided to launch his own Web-Site, to share the true story of The Shroud and scientific research that had been performed on it. Two decades later, he still makes Shroud Presentations in the Media and to a variety of groups, including Seminarians in Rome.

Schwortz recently spoke with THE CATHOLIC WORLD REPORT

CWR: What are some of the most compelling arguments that The Shroud is authentic?



Barrie Schwortz (CNS photo/Paul Haring)


Barrie Schwortz: Thirty-seven years ago, when I went to Italy with STRUP to examine The Shroud, I assumed it was a fake, some sort of Mediaeval painting. But, after ten minutes studying it, I knew it was not [a painting]. As a professional photographer, I was looking for brush strokes. But there was no paint and no brush strokes.

For seventeen years I refused to accept that The Shroud was authentic. The last argument holding me back was related to the blood. The blood on The Shroud is reddish, but blood on a cloth, even after just a few hours, should turn brown or black. I had a conversation with Alan Adler, a Blood Chemist, on the 'phone and I shared my reservation. He got upset and asked, “Didn't you read my Paper?”

He had found a high content of Bilirubin on The Shroud, which explains why the blood on The Shroud is red. When a man is beaten and has had no water, he can go into shock and the liver starts pumping out Bilirubin. It makes the blood stay red, forever. It was the last piece of the puzzle for me. I had nothing left to complain about. Sometimes, I wonder why I hadn't asked Alan Adler that question seventeen years before, but I guess I wasn't ready for the answer back then.




Although this was the final evidence that convinced me, it is no one particular piece of evidence that proves The Shroud is authentic. The entirety of evidence indicates that it is.

One of my favorite Testimonials, as to the authenticity of The Shroud, actually came from my Jewish mother. She was originally from Poland, and had only a High School education. She heard one of my lectures, and afterwards we were driving home. She was quiet for a long time — you have to worry when a Jewish mother is quiet — so I asked her, “Mom, what did you think?” She said, “Barrie, of course it’s authentic. They wouldn’t have kept it for 2,000 years if it wasn’t.”

Now that was an excellent point. According to Jewish Law, a blood-soaked Shroud would have had to have been kept in the Grave. To remove it, in fact, you would have been putting yourself at risk because you were violating the Law.




The most plausible explanation to me for The Shroud, both because of the science and my own personal background as a Jew, is that it was The Cloth that was used to wrap Jesus’ Body.

CWR: What are some of the common falsehoods about The Shroud?

Schwortz: It would take hours to compose such a List. There seems to be a constant cacophony of nonsense being put out about The Shroud. One involves a Mediaeval artist creating it by using three different photographic exposures and his own urine; I call that the “Shroud of Urine” theory. Now, why would someone go to all that trouble when they simply could have painted an image?

The Shroud is a complex object, and a six-page article or forty-four-minute documentary — which must be entertaining — can’t do it justice. That’s why I created www.shroud.com so that people can review all the data and come to their own conclusion based on the facts.

CWR: What does The Shroud tell us about the physical sufferings of Christ?

Schwortz: It is literally a document of The Passion and the Torture that Jesus suffered. His Face was severely beaten, and was particularly swollen around the eyes. I’m a fan of professional boxing; the facial image on The Shroud reminds me of a boxer who’s just lost a match.




The Man has been severely Scourged. Not only do we observe the Wounds on the Back, but the Thongs wrapped around the Body and hit the Front, as well. Forensically-speaking, the Image on The Shroud is more accurate than common depictions we see in art.

He has a Spear Wound on His Side. His Legs are not broken, as was typically the case with men who are Crucified. His Head and Scalp are covered in Wounds. Again, in art, we often see The Crown of Thorns depicted as a small circle, resembling Laurel Leaves, around Christ’s Head. But that is not realistic. The Soldiers actually took a Thorn Bush and smashed it down on His Head.

We see the back of one Hand, which indicates that the Nails were driven not through the centre of the Palm, but an inch closer to the Wrist. For a Roman Soldier Crucifying twenty or more people at a time, that makes sense. It’s the perfect place to drive a Nail that will hold, and then you can move on to your next victim.




Regarding the Feet, it’s impossible for us to judge if a single Nail held both Feet, or if Nails were driven in each one. We have the actual remains of two Crucifixion victims, and two Nails were used in their Feet.

CWR: Was He stretched out on The Cross, so that His Arms were dislocated? And, had part of His Beard been plucked out ?

Schwortz: The forensic evidence tells us that He could have been stretched, so that His Arms were dislocated. And, we do observe a V-notch in His Beard, indicating that it could have been plucked.

In the end, the forensic evidence indicates that the Gospel account is an accurate depiction of what happened during The Passion of Christ.




CWR: Some people have seen many other things in The Shroud, such as Roman coins covering Christ’s Eyes.

Schwortz: Oh, yes. People see coins, flowers, and all kinds of other things that may or may not be there. Regarding the coins, on our STRUP team we had a NASA Imaging Scientist — a good Catholic, in fact — who indicated that the weave of the Linen was too coarse to pick up the inscription of a coin. What we’re certain of is that we see an image of a man, and isn’t that what is important ?

CWR: From your study of The Shroud, what kind of physical description of Christ can you offer us?

Schwortz: He was a well-built man; what we might describe as buff, today. He had a strong upper body, a deep chest and good-sized shoulders. This makes sense, as He was a Carpenter. At that time, you’d have to go out and fell a tree, cut it up and carve it, all things which would require a lot of physical strength.




Regarding His height, it’s hard to tell. There is no defined edge of the image. It just fades out. The Cloth, too, can be affected by humidity and stretched. That said, our best guess is 5’10” or 5’11”. So, He’d be a taller man for the time, but not so tall that the Gospel Writers made note of it. In fact, we have the remains of Jewish men from the era that were over six feet.

CWR: Did he have a ponytail ?

Schwortz: It certainly looks like it. Orthodox Jews of the period wore their hair long.

CWR: What can you tell us of the Cloth, itself ?

Schwortz: It was a high-quality Cloth that a man of high stature would have owned. It was probably made in Syria, and brought to Jerusalem on the back of a camel. Since it was imported, it would have been expensive. This is consistent with the Gospel account, which indicated that Joseph of Arimathea was a wealthy man. He probably owned it and had been planning to use it for himself.




Before my own Jewish father died, he planned out his entire funeral. It’s reasonable to believe that Joseph of Arimathea did the same. When Christ died, he gave Him his own Shroud, planning to buy another one for himself at some later date.

CWR: Your Web-Site just celebrated its Nineteenth Anniversary.

Schwortz: Yes. In 1995, I was talking to a friend, and he said, “You know that Shroud thing you've been studying ? It was a painting by Leonardo da Vinci.” I asked him where he got that information. He said, “My wife and I were at the grocery store, and we saw it in a tabloid at the check-out.”

Now, Leonardo da Vinci was a pretty good artist, but we have documentation about The Shroud dating back 100 years before he was born. No one is that good ! I remember writing myself a note: “Consider building a Web-Site.” I did, and I’ve been overseeing and adding to it ever since.

I realised long ago what a great privilege it was to be in that room in Italy with STRUP in 1978. But, with that privilege came a responsibility. As I tell my audiences, I wasn’t in that room for me, but for you. I don’t know why God picked me to be there, but what better witness than a sceptic ? I had no emotional attachment to, or interest in, the subject, at the time.




CWR: What was involved in your time with STRUP in 1978 ?

Schwortz: We arrived a week early with eighty crates of equipment, which was seized for five days by Italian Customs. We had a limited time to implement a sixty-seven-page Test Plan, and, as we had lost five days of preparation, we weren't certain we could run all of our Tests.

The Catholic Church, itself, had very little involvement. The Church, in fact, didn't own The Shroud, at the time. King Umberto, Duke of Savoy (the former Ruling Family of Italy), whose Family had owned The Shroud for six Centuries, gave permission for us to study it. The Church in Turin was merely the custodian of the artifact.

We initially asked for ninety-six hours to study it, but we were allowed to see it about 120 hours. We were there to collect data, not draw conclusions. We were there to answer one simple question: How was the image formed ? In the three years following, we produced Papers that were submitted to Peer-Reviewed Journals. In the end, we could only tell how it did NOT get there. It was NOT a painting, it was NOT a scorch, and it was NOT a photograph.




Our team was composed of experts of a variety of Faiths, from Catholics to total sceptics. We had Mormons, Evangelical Christians, and Jews. Our religious belief was not a criterion for being on the team. In fact, as a Jew, I felt uncomfortable being on the team and I tried to quit twice. One of my friends on the STRUP team, Don Lynn, worked for the Jet Propulsion Laboratory, Pasdadena (JPL) and was a good Catholic. When I told him I wanted to quit because I was Jewish, he asked, “Have you forgotten that Jesus was a Jew ?”

I told him I didn't know much about Jesus, but I did know he was a Jew. He asked, “Don’t you think he’d want one of The Chosen People on our team?” He told me to go to Turin and do the best job I could, and not worry about being a Jew.




CWR: Are there any other objects in the world that compare to The Shroud?

Schwortz: There is nothing like it.

CWR: What effect have you seen The Shroud have on people ?

Schwortz: I've observed a broad range of responses. Some have no reaction, but for many others it revives their faltering Faith. But, in the end, Faith is not based on a piece of Cloth, but is a Gift of God stirred in the hearts of those who look upon it.




About the Author, Jim Graves.

Jim Graves is a Catholic writer, living in Newport Beach, California.

Lenten Station At The Papal Arch-Basilica Of Saint John Lateran. Holy Saturday.


Roman Text is taken from The Saint Andrew Daily Missal.

Italic Text, Illustrations and Captions, are taken from Wikipedia - the free encyclopaedia,
unless otherwise stated.


Holy Saturday.
Station at Saint John Lateran.

Indulgence of 30 Years and 30 Quarantines.
Double of The First-Class.

Violet Vestments
      and White Vestments.



English: Papal Arch-Basilica of Saint John Lateran.
Latin: Archibasilica Sanctissimi Salvatoris 
et Sanctorum Iohannes Baptistae et Evangelistae in Laterano 
Omnium urbis et orbis ecclesiarum mater et caput.

EnglishBasilica of Saint John LateranCathedral of the Bishop of RomeItaly.
EspañolBasílica de San Juan de Letráncatedral del Obispo de RomaItalia.
Italiano: Basilica di San Giovanni in Laterano, Roma.
PolskiBazylika św. Jana na Lateranie (znana jako Bazylika Laterańska), 
katedra biskupa RzymuWłochy.
PortuguêsBasílica de São João de Latrãocatedral do Bispo de RomaItália.
Photo: September 2005.
Source: Own work.
Author: Stefan Bauer, http://www.ferras.at.
(Wikimedia Commons)


The Station is at Saint John Lateran, the Mother Church of the Christian world, and it is here that The Church Celebrated The First Mass of Easter and that, formerly, she received into her bosom the many Catechumens, who were Baptised on this day. First Dedicated to Our Blessed Saviour, this Basilica was subsequently Consecrated to Saint John the Baptist, with the Baptistry attached.

In former times, the Church held no special Service on this morning. Apart from any gathering for The Lenten Station, a Meeting was held in the course of the afternoon for The Seventh, and last, Scrutiny, which almost immediately preceded the Baptism. [It was at this gathering that The Rite of Exorcism took place, and The Rite of Ephpheta, which recalls the Miracles worked by Jesus, when He cured the deaf and dumb, and the Renunciation of Satan, pronounced by The Catechumen after being Anointed with The Oil of Catechumens. He then recited the Symbol, a proceeding known as "the Rendering of The Symbol". We discover these Rites, again, in the present Ceremonies of Baptism, following those that took place at The Third Scrutiny.]

At night, was held the Watch, or Solemn Vigil of Easter, towards the end of which, before daybreak, The Catechumens plunged in the Water of The Baptistry and were, so to speak, buried with Jesus; and, at the very hour at which Christ rose Triumphantly from The Sepulchre, they were born to The Life of Grace.

Later, The Great Ceremonies were Anticipated, being held first in the evening, and, subsequently, in the morning of Holy Saturday. They reveal a sudden change from sorrow to joy, and disclose certain anomalies which this notice helps to explain.


File:Lateran-north.jpg

English: The Lateran Palace (on the Left) beside the Basilica of Saint John Lateran.
Deutsch: Das Bild zeigt den Lateranspalast und das Seitenportal der Lateransbasilika 
von der Piazza S. Giovanni in Laterano aus.
Italiano: Facciata laterale della Basilica di San Giovanni in Laterano (Roma)
con a sinistra il Palazzo Laterano.
Photo: September 2004.
Source: Own work.
Author: Maus-Trauden.
(Wikimedia Commons)


THE BLESSING OF THE NEW FIRE.

The Church, Blessing, as she does, all elements of which she makes use for Divine Worship, made a practice of Blessing, every evening, The New Fire that was to provide the Light for The Office of Vespers. The Liturgy of Holy Saturday maintains this custom. She also Blesses The Five Grains of Incense, which are to be fixed in The Paschal Candle, the Offering of which to God will thenceforward be accepted as a sweet savour.

At a convenient hour, the Altars are covered with Linen Cloths, but the Candles are not lighted until the beginning of Mass. Meanwhile, fire is struck from a flint, outside the Church, and the coals are kindled. At the end of None, the Priest, Vested in Amice, Alb, Girdle, and Stole, to which he adds, if possible, a Violet Cope, accompanied by his Ministers, with Processional Cross, Holy Water and Incense, goes outside the Church Door, and Blesses The New Fire.


THE BLESSING OF THE PASCHAL CANDLE.

The Celebrant goes up to the Epistle side of the Altar, and the Deacon, giving the Reed to an Acolyte, takes the Book and asks a Blessing of the Priest.

The Deacon then goes to the Lectern, puts down the Book and incenses it. At his Right-Hand, stand the Sub-Deacon, with The Cross, and the Thurifer; at his Left, the two Acolytes, one holding the Reed and the other the vessel containing The Five Blessed Grains of Incense, to be set in The Paschal Candle.


File:Latran intérieur.jpg

The Cloisters
of the Basilica of Saint John Lateran,
Rome, Italy.
Photo: May 2005.
Source: Own work.
Author: Briséis.
(Wikimedia Commons)


All rise and stand, as at the Gospel, and the Deacon sings the Exsultet, in which The Church expounds the beautiful symbolic meaning of The Paschal Candle. He sings of the night of happy memory, which witnessed the escape of The Children of Israel from Egypt, conducted by a Pillar of Fire illumined with The Splendour of Christ. When the Exsultet has been sung, the Deacon fixes The Five Blessed Grains of Incense in The Paschal Candle, in the form of a Cross.


THE PROPHECIES.

After the Blessing of The Paschal Candle, the Deacon lays aside his White Dalmatic and puts on a Violet Stole and Violet Maniple. He then goes to the Celebrant, who, after laying aside his Cope, puts on a Violet Maniple and Violet Chasuble. The Prophecies are then chanted, by the Cantors, without any introduction, while the Priest, standing on the Epistle side of the Altar, reads them in a low voice.

The Reading of The Twelve Prophecies served the object, formerly, of a final Initiation of The Catechumens.


File:Roma-san giovanni cloister.jpg

English: Cloisters of the Basilica of Saint John Lateran, Rome.
Italiano: Chiostro della Basilica di San Giovanni in Laterano, Roma, Italy.
Photo: October 2005.
Source: Flickr.
Author: Ern.
Reviewer: Mac9.
(Wikimedia Commons)


THE BLESSING OF THE FONT.

In earlier times, the Clergy, at this point, went to The Baptistry of The Lateran, where The Sovereign Pontiff Blessed, by virtue of The Cross, the water that was to be used for the Baptism. The Paschal Candle, which he dipped three times into it, recalled to mind the incident of The Baptism of Jesus in the Jordan, whereby He Sanctified the Water and imparted to it the Power of Regeneration.

The Catechumens were then questioned, for the last time, on the Creed, were Baptised and then Confirmed, and the White Garments, in which they were then clothed, became The Mystical Robe which entitled them to sit at The Holy Table and make their First Communion.

At the end of The Reading of The Prophecies, if there is a Baptismal Font in the Church, the Priest, who is about to Bless it, puts on a Violet Cope and, preceded by The Processional Cross, the Candelabra and The Lighted Blessed Candle, goes to The Font with his Ministers and the Clergy, while The Tract is sung.


THE LITANY OF THE SAINTS.

As the Priest and his Ministers return to the Altar, after The Blessing of The Font, two Cantors begin to sing The Litany of The Saints.

At the Invocation, Peccatores, te rogamus, audi nos, the Priest and his Ministers go into The Sacristy, where they Vest in White Vestments for The Solemn Celebration of Mass. Meanwhile, the Candles are lighted on the Altar.



English: Basilica of Saint John Lateran, Rome.
With its length of 400 feet, this Basilica ranks fifteenth among the largest Churches in the world.
Français: Basilique Saint-Jean-de-Latran, Vatican, située à Rome, Latium, Italie. Avec sa longueur de 121,84 mètres, cette Basilique se classe au 15è rang parmi les plus grandes églises au monde.
Photo: September 2010.
Source: Own work.
Author: Tango7174.
(Wikimedia Commons)


MASS AND VESPERS.

During the singing of The Litany of The Saints, the Neophytes re-entered the Church, and The Mass was begun, which inaugurated The Solemn Services of Easter (Secret). This Celebrates The Glory of The Risen Christ (Gospel), and that of the Souls who, through Baptism, have entered on a New Life, a pledge of their future resurrection (Epistle, Collect, Hanc igitur). Hence, the joyful Alleluia that is sung, the pealing of the Organ and the ringing of the Bells.

The Vespers, which follow The Communion, remind us of The Holy Women, who were the first to realise The Great Mystery of The Resurrection.

Let us show our gratitude to God for The Sacraments of Baptism, Confirmation, and The Holy Eucharist, which have made it possible for us to pass, with Jesus, from the Death of Sin to the Life of Grace.


File:Roma-san giovanni03.jpg

The Pope's Seat,
Basilica di San Giovanni in Laterano,
Roma, Italy.
Photo: October 2005.
Source: Flickr.
Author: Ern.
Reviewer: Mac9.
(Wikimedia Commons)


At the end of The Litany of The Saints, the Cantors sing the Solemn Kyrie eleison, Christe eleison, Kyrie eleison, each Invocation being repeated thrice. Meanwhile, the Priest, attended by his Ministers, all in White Vestments, goes to the Altar, recites the Judica me, adding the Gloria Patri, and makes the Confession in the usual way. Then, ascending the steps, he kisses the Altar, incenses it, and, as soon as the Choir have finished the Kyrie eleison, he intones the Gloria in Excelsis Deo; the Organ is played and the Bells are rung.

During The Mass, the Agnus Dei is omitted and, instead of a Communion Antiphon, the Choir sings Vespers.

During Vespers, the Chapter, Hymn and Verse are omitted.

During the Magnificat, the Altar is incensed, as at Solemn Vespers.


File:Basilica st Giovani in Laterano 2011 10.jpg

English: Saint James-the-Less.
By Angelo de' Rossi
Nave of the Basilica of Saint John Lateran,
Rome, Italy.
Česky: Socha Sv. Jana Menšího z dílny Angela de' Rossiho z 
Photo: April 2011.
Source: Own work.
Author: Karelj.
(Wikimedia Commons)


At The Dismissal, at the end of Mass, the Deacon, turning towards the people, says: "Ite Missa est, alleluiaalleluia". This double alleluia is added to the Ite Missa est until Easter Saturday, inclusive.

The Mass ends, as usual, with the "Placeat", The Blessing, and The Last Gospel.


PASCHALTIDE.

Paschaltide, extending from Easter Sunday to Saturday after Pentecost, Commemorates The Three Glorious Mysteries of The Resurrection of Our Lord (Celebrated during forty days), of His Ascension (during ten days) and of The Descent of The Holy Ghost (during The Octave of Pentecost).

Therefore, the Doctrinal, Historical and Liturgical Notes for Paschaltide, in The Saint Andrew Daily Missal, will be given in Three Parts, respectively, before each one of The Feast of Easter, The Feast of Ascension Day and The Feast of Pentecost.




St Andrew Daily Missal (Traditional Mass)

Available (in U.K.) from

Available (in U.S.A.) from


Friday 3 April 2015

The Entombment Of Christ. Good Friday. Caravaggio.




(1602–1603).
Italiano: La Deposizione di Cristo.
Artist: Caravaggio.
Current location: Pinacoteca Vaticana, Rome.
Photo: May 2010.
Source: Own work.
Author: Lafit86.
(Wikimedia Commons)

Good Friday.




"Pietà ".
Artist: William-Adolphe Bouguereau (1825–1905).
Date: 1876.
This File: 24 February 2007.
User: Juanpdp.
(Wikimedia Commons)

Good Friday. Stabat Mater.





Stabat Mater (The Mother Stood) is The Sequence for The Mass of 15 September, The Mass of The Seven Sorrows of The Blessed Virgin Mary. It Recounts The Blessed Virgin Mary's Heartbreak on Good Friday, When Standing at The Foot of The Cross, Whilst her Son, Jesus Christ, Hung on That Infamous Gibbet.






This (complete) performance of Pergolesi's "Stabat Mater"
is from a Concert at Saint Denis, Paris, France,
on 23 June 2009, by Les Talens Lyriques . Conducted by Christophe Rousset.
The soloists were Sabina Puertolas (Soprano)
and Vivica Genaux (mezzo-soprano).
Available on YouTube at

Ave Maria. Olga Szyrowa (Soprano). 2004. Pasja / The Passion Of The Christ. How Not To Love You, Maria (Diana Navarro - "Mare Mine" In Latin And Spanish).




Illustration from




"Ave Maria".
Olga Szyrowa (Soprano).
Pasja (Passion of The Christ).
Available on YouTube at




"Ave Maria".
Olga Szyrowa (Soprano).
Pasja / The Passion of the Christ.
2004.
Available on YouTube at




The Most Beautiful "Ave Maria".
(Michal Lorenc, 1995).
Available on YouTube at

Ave Maria - Olga Szyrowa (Sopran)
(M.Lorenc) ścieżka dźwiękowa z film -
Prowokator Fragmenty z filmu Mela Gibsona -
Pasja / Passion of the Christ, The (2004).
"Ave Maria" performed by the Russian opera singer, Olga Szyrowa.
The soundtrack comes from the Polish movie, "Prowokator" (1995).
Composer of all songs for the movie is Michał Lorenc.




"How not to love you, Maria".
(Diana Navarro - "Mare mine" in Latin and Spanish).
Available on YouTube at




Pasja Miłości - Beata Bednarz
zdjecia z filmu " PASJA "
Available on YouTube at

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