Apparition Of Saint Michael The Archangel. Feast Day 8 May.

Roman Text is taken from The Saint Andrew Daily Missal.

Italic Text is taken from Wikipedia - the free encyclopaedia.

The Apparition of Saint Michael the Archangel.
Feast Day 8 May.

Greater-Double.

White Vestments.

Saint Michael the Archangel.

Artist: Guido Reni (1575–1642).

Date: Circa 1636.

Current location: Church of Santa Maria della Concezione,

Rome, Italy.

Source/Photographer: The Yorck Project: 10.000 Meisterwerke der Malerei.

DVD-ROM, 2002. ISBN 3936122202. Distributed by

DIRECTMEDIA Publishing GmbH.

Permission: [1].

(Wikimedia Commons)

Saint Michael The Archangel Prayer.

Available on YouTube at

https://youtu.be/4wp4Ri5gwuc

The Easter Feasts are those of Angelical Spirits, for The Resurrection "gives joy also to The Angels," says Saint Gregory, "because, in opening Heaven to us, again, it makes up for the losses which their ranks had sustained."

The Feast of The Apparition of Saint Michael, the Chief of The Celestial Hosts, shows forth, in this Paschaltide, all the grandeur of The Saviour's Triumph.

Saint Michael, himself, comes to defend us in battle (Alleluia). He came down from Heaven (Ibid) and appeared in Italy, towards 525 A,D,, under the Pontificate of Pope Gelasius I, in Apulia, on the summit of Monte Gargano, near the Adriatic and the ancient Sipontum.

He requested that a Sanctuary should be erected to him, where God should be Worshipped, in Memory of himself and all The Angels, and this place became celebrated on account of numerous Miracles.

Mass: Benedícite Dóminum.

English: Archangel Michael

saving Souls from Purgatory.

Artist: Jacopo Vignali.

Date: 17th-Century.

Italiano: Jacopo vignali. 

San michele arcangelo libera le anime del purgatorio.

Source: Giovanni Piccirillo (a cura di).

La chiesa dei Santi Michele e Gaetano,

Becocci Editore, Firenze 2006.

Author: sailko.

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopaedia.

Saint Michael the Archangel is referred to in The Old Testament and has been part of Christian teachings since the earliest times. Throughout the Centuries, specific Roman Catholic Traditions and views on Saint Michael have taken shape, as recently as the 19th- and 20th-Centuries.

A specific "Prayer to Saint Michael" was promoted by Pope Leo XIII in 1886, and, as recently as 1994, was reinforced by Pope Saint John Paul II, who encouraged the Catholic Faithful to continue to Pray it, saying: "I ask everyone not to forget it and to recite it to obtain help in the battle against forces of darkness."

Saint Michael has specific roles, within Roman Catholic teachings, that range from, acting as the chief opponent of Satan, to saving Souls at the hour of death. Roman Catholic literature and Traditions continue to point to Saint Michael in contexts as varied as the protection of The Catholic Church, to The Consecration of Russia, by Pope Pius XII and Pope Saint John Paul II.

PRAYER TO SAINT MICHAEL THE ARCHANGEL

added by Pope Leo XIII, in 1886, to The Leonine Prayers,

at The Foot of The Altar, after Low Mass.

Pope Leo XIII,

in 1880.

Source: 1880 book on Pope Leo XIII.

Author: Karl Benzinger.

(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.

Amen.

English: Saint Michael's Golden-Domed Monastery,

Kiev, Ukraine.

Čeština: Chrám svatého Michala v Kyjevě.

Photo: 2005.

Source: Own work.

Author: Dezidor.

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopaedia.

The Prayer to Saint Michael is an Invocation, used mainly by Catholics, addressed to Michael the Archangel.

Pope Leo XIII added it, in 1886, to The Leonine Prayers, which he had directed to be said after Low Mass, two years earlier. Pope Saint John Paul II referred to The Saint Michael Prayer in his Regina Coeli Address of 24 April 1994, as follows:

"May Prayer strengthen us for the spiritual battle that The Letter to the Ephesians speaks of:

'Be strong in The Lord and in the strength of His Might' (Ephesians 6:10). The Book of Revelation refers to this same battle, recalling before our eyes the image of Saint Michael The Archangel (cf. Revelation 12:7).

Pope Leo XIII certainly had this picture in mind when, at the end of the 19th-Century, he brought in, throughout The Church, a special Prayer to Saint Michael: 'Saint Michael The Archangel, defend us in battle. Be our protection against the wickedness and snares of the devil . . .'

Although this Prayer is no longer recited at the end of Mass, I ask everyone not to forget it and to recite it to obtain help in the battle against the forces of darkness and against the spirit of this World."

Credo. I Believe.

The Credo.

Missa Papae Marcelli.

Palestrina.

The Tallis Scholars.

Available on YouTube at

https://youtu.be/4zIp1JG4g8U

The following Text is from Wikipedia - the free encyclopaedia.

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 sung at The Papal Coronation Masses (the last being the Coronation of Paul VI in 1963).

The Missa Papae Marcelli consists, like most Renaissance Masses, of a Kyrie, Gloria, Credo, Sanctus/Benedictus, and Agnus Dei, though the third part of The Agnus Dei is a separate movement (designated "Agnus II"). The Mass is freely composed, not based upon a Cantus Firmus or Parody.

Perhaps because of this, the Mass is not as thematically consistent as Palestrina's Masses based on Models. It is primarily a six-voice Mass, but voice combinations are varied throughout the piece; Palestrina scores Agnus II for seven voices, and the use of the full forces is reserved for specific climactic portions in the Text.

The Sanctus and Benedictus.

Missa Papae Marcelli.

Palestrina.

The Tallis Scholars.

Available on YouTube at

https://youtu.be/2yjKOu4W9ZU

The Mass was composed in honour of Pope Marcellus II, who reigned for three weeks in 1555. Recent scholarship suggests the most likely date of composition is 1562, when it was copied into a Manuscript at the Basilica di Santa Maria Maggiore in Rome.

The third and closing sessions of The Council of Trent were held in 1562–1563, 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 love-making; and second, whether imitation in polyphonic music obscured the words of The Mass, interfering with the listener's devotion.

Some debate occurred over whether polyphony should be banned outright in Worship, and some of the auxiliary publications by attendants of The Council caution against both of these problems. However, none of the official proclamations from The Council mentions polyphonic music, excepting one injunction against the use of music that is, in the words of The Council, "lascivious or impure".

The Agnus Dei.

Missa Papae Marcelli.

Palestrina.

The Tallis Scholars.

Available on YouTube at

https://youtu.be/V6s9axsKhRE

Starting in the Late-16th-Century, a legend began that the second of these points, the threat that polyphony might have been banned by The Council because of the unintelligibility of the words, was the impetus behind Palestrina's composition of this Mass. It was believed that the simple, declamatory style of Missa Papae Marcelli convinced Cardinal Carlo Borromeo, on hearing, that polyphony could be intelligible, and that music such as Palestrina's was all too beautiful to ban from The Church. In 1607, the composer Agostino Agazzari wrote:

Music of the older kind is no longer in use, both because of the confusion and babel of the words, arising from the long and intricate imitations, and because it has no grace, for with all the voices singing, one hears neither period nor sense, these being interfered with and covered up by imitations . . . And on this account music would have come very near to being banished from The Holy Church by a Sovereign Pontiff [Pius IV], had not Giovanni Palestrina founded the remedy, showing that the fault and error lay, not with the music, but with the composers, and composing in confirmation of this the Mass entitled Missa Papae Marcelli.

— Quoted in Taruskin, Richard, and Weiss, Piero. Music in The Western World:A History in Documents. Schirmer, 1984, p. 141.

Jesuit musicians of the 17th-Century maintained this rumour, and it made its way into music history books into the 19th-Century, when historian Giuseppe Baini, in his 1828 biography of Palestrina, couched him as the "saviour of polyphony" from a Council wishing to wipe it out entirely.

Missa Papae Marcelli.

Palestrina.

The Tallis Scholars.

Director: Peter Phillips.

Available on YouTube at

https://youtu.be/BRfF7W4El60

The Tallis Scholars.

Photo © Eric Richmond

Soprano:

Jane Armstrong,

Alison Gough,

Stephanie Sale,

Judy Stell.

Countertenor:

Matthew Bright,

Paul Bropy,

Joe Cooke,

David Cordier.

Tenor:

Joseph Cornwell,

Andrew King,

Rufus Müller.

Bass:

Colin Mason,

Francis Steele,

Julian Walker,

Jeremy White.

Peter Phillips, Director.

Photo © Eric Richmond

Saint Stanislaus. Bishop And Martyr. Patron Saint Of Poland. Feast Day, Today, 7 May.

Text from The Saint Andrew Daily Missal,
unless otherwise stated.

Saint Stanislaus.
Bishop and Martyr.
Feast Day 7 May.

Double.

Red Vestments.

Saint Stanislaus.

Artist: Stanisław Samostrzelnik (1485–1541).

Date: 1530-1535.

Current location: National Library of Poland.

Source/Photographer: Polona.pl

(Wikimedia Commons)

Saint Stanislaus, born in Poland, was made Bishop of Cracow in 1072. He became an object of hatred to King Boleslas II, whom he reproached for his tyranny and dissolute life. One day, while the Saint was saying Mass, the King rushed at him and slew him (Collect). This was in 1079. Saint Stanislaus is the Patron of Poland.

Mass: Protexisti.

English: Coat-of-Arms of Poland.

Polski: Godło Rzeczypospolitej Polskiej.

Date: 17 December 2006 (published on Commons).

Source: http://www.prezydent.pl/x.node?id=72

Author: Original; Polish Government.

Smoothing by Maciej Jaros (Commons: Nux, wiki-pl: Nux).

(Wikimedia Commons)

Polish National Anthem.

Available on YouTube at

https://youtu.be/KQTq07gihqg

The following Text is from Wikipedia - the free encyclopaedia.

Stanislaus of Szczepanów, or Stanisław Szczepanowski, (26 July 1030 – 11 April 1079) was a Bishop of Kraków, known chiefly for having been Martyred by the Polish King, Bolesław II the Bold. Stanislaus is Venerated in The Roman Catholic Church as Saint Stanislaus the Martyr (as distinct from Stanislaus Kostka).

According to Tradition, Stanisław was born at Szczepanów, a village in Lesser Poland, the only son of the noble and pious Wielisław and Bogna. He was educated at a Cathedral School in Gniezno (then the Capital of Poland) and, later, according to different sources, in Paris or Liège. On his return to Poland, Stanisław was Ordained a Priest by Lambert II Suła, Bishop of Kraków.

After the Bishop's death (1072), Stanisław was elected his successor, but accepted the Office only at the explicit command of Pope Alexander II. Stanisław was one of the earliest native Polish Bishops. He also became a Ducal Advisor and had some influence on Polish politics.

Stanisław's major accomplishments included bringing Papal Legates to Poland, and the re-establishment of a Metropolitan See, in Gniezno. The latter was a precondition for Duke Bolesław's Coronation as King, which took place in 1076. Stanisław then encouraged King Bolesław to establish Benedictine Monasteries to aid in the Christianisation of Poland.

Forty-Five Interesting Facts About Poland.

Available on YouTube at

https://youtu.be/Rz1E8uMHWoM

Solemn Vespers. Saturday, 7 May 2016. Monastery Of The Holy Cross, Chicago.

Illustration: NEW LITURGICAL MOVEMENT

Solemn Vespers.

Saturday, 7 May 2016.

1715 hrs.

Monastery Of The Holy Cross,

3111 S Aberdeen Street,

Chicago, Illinois.

Web-Site

www.chicagomonk.com

This Article can be read in full at

NEW LITURGICAL MOVEMENT

Solemn High Mass In New Jersey.

Saint-John-Before-The-Latin-Gate. San Giovanni A Porta Latina. Feast Day 6 May.

Text is taken from The Saint Andrew Daily Missal,
unless otherwise stated.

Saint-John-Before-The-Latin Gate.
Feast Day 6 May.

Greater-Double.

Red Vestments.

English: Basilica of Saint-John-Before-The-Latin-Gate

Italiano: San Giovanni a Porta Latina.

Français: Facade de l'Église San Giovanni a Porta Latina.

Photo: July 2009.

Source: Own work.

Author: LPLT.

(Wikimedia Commons)

Jesus had promised James and John, sons of Zebedee, that they should drink the chalice of His Passion, so as to participate in the triumph of His Resurrection (Gospel).

The Emperor Domitian caused John to be brought to Rome and condemned him to be plunged into a cauldron of boiling oil.

But Saint John, by a striking Miracle, came forth from this torment more healthy and vigorous than before. A Sanctuary was built on this spot near The Latin Gate and Dedicated to The Holy Apostle.

There is held The Station on Passion Sunday.

Mass: Protexísti.

English: The Nave of the Basilica of Saint-John-Before-The-Latin-Gate, Rome.

Français: Nef de l'église San Giovanni a Porta Latina à Rome.

Photo: July 2009.

Source: Own work.

Author: LPLT.

(Wikimedia Commons)

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

San Giovanni a Porta Latina (Italian: "Saint-John-Before-The-Latin-Gate") is a Basilica Church in Rome, Italy, near the Porta Latina (on the Via Latina) of the Aurelian Wall. It is currently the Titular Church of Cardinal Franciszek Macharski, former Archbishop of Kraków.

According to Tertullian, as quoted by Saint Jerome, in the year 92 A.D., Saint John the Evangelist survived Martyrdom at Rome, under the Emperor Domitian, by being immersed in a vat of boiling oil, from which he emerged unharmed. He was later exiled to the island of Patmos.

This event was Traditionally said to have occurred at The Latin Gate (located on the Southern portion of The Roman Wall). The nearby Chapel of San Giovanni in Oleo is said to be on this very spot. The event was referred to in The Roman Martyrology, which was begun in the 7th-Century A.D., when already there was a Celebration of the event. A Feast Day in The Roman Calendar also Celebrated the event until 1960, when Pope Saint John XXIII removed most Second Feasts of a single Saint.

English: Frescoes in the Apse of the Basilica of

Saint-John-Before-The-Latin-Gate, Rome.

Français: Fresques de l'abside de l'église San Giovanni a Porta Latina de Rome.

Photo: November 2008.

Source: Own work.

Author: LPLT.

(Wikimedia Commons)

The Tradition for the building of the Basilica of Saint-John-Before-The-Latin-Gate places its construction during the Pontificate of Pope Gelasius I (492 A.D. - 496 A.D.). This is consistent with the oldest of the roof tiles, which have the imprint of a taxation stamp for the Ostrogoth King and Ruler of Italy, Theodoric the Great (Reigned 493 A.D. -526 A.D.). One of these ancient roof tiles is now used in the Basilica as a Lectern.

In the 8th-Century A.D., the Basilica was restored by Pope Adrian I, and later the Bell-Tower and Portico were added, and, at the end of the 12th-Century, the Basilica was re-Consecrated by Pope Celestine III. In the 16th- and 17th-Centuries, a Baroque Ceiling and other Baroque features were added to the Interior.

In 1940-1941, the Baroque features were removed and the Basilica was returned to a more primitive simplicity. This last renovation was carried out by the Rosminian Fathers, who, in 1938, were given care of the Basilica and the nearby building, where they opened the Collegio Missionario Antonio Rosmini, which houses their International House of Studies.

Columns in the Nave of Saint-John-Before-The-Latin-Gate, Rome.

Photo: May 2009.

Source: Own work.

Author: LPLT.

(Wikimedia Commons)

The main entrance to the Basilica is fronted by a small Square, with a 100-year-old Cedar Tree and an 8th-Century Well-Head, nearly reproducing the aspect of the Basilica that would have been seen at the re-Consecration by Pope Celestine III in the 12th-Century.

The Portico (or Porch) of the Basilica is supported by four re-used Classical Columns (each of a different marble) supporting five Arches. The Main Door is framed with a simple mosaic of Red and Green Porphyry.

The Well-Head, from the time of Pope Adrian I, has a double row circular design around its barrel, and a Latin inscription completely around its crown: IN NOMINE PAT[RIS] ET FILII ET SPI[RITUS SANT]I - "In the name of The Father, of The Son, and of The Holy Ghost" - and a quote from the Prophet Isaiah: OMN[E]S SITIE[NTES VENITE AD AQUAS] - "All you who are thirsty come to the water", and the name of the stone-carver - EGO STEFANUS - "I am Stephen".

English: One of the oldest of the roof tiles from 

Saint-John-Before-The-Latin-Gate, Rome,

which has the imprint of a taxation stamp for the Ostrogoth King and Ruler of Italy, Theodoric the Great (Reigned 493 A.D. -526 A.D.). This ancient roof tile is now used in the Basilica as a Lectern.

Français: Lutrin de l'Église San Giovanni a Porta Latina de Rome.

Photo: July 2009.

Source: Own work.

Author: LPLT.

(Wikimedia Commons)

The Interior of the Basilica is divided into three Naves, divided by two rows of Columns, on which rest semi-circular Arches. The two Columns closest to the Sanctuary are of White Marble with deep fluting. The other Columns are of various types of Marble and Granite, capped with a diverse collection of Ionic Capitals. The Central Nave terminates with a half-hexagon Apse. Each of the three sides of the Apse opens with a large window filled with Honey-Coloured Onyx.

Occupying the ledge of the Central Window is a carved wooden Crucifixion Scene, including Saint John the Evangelist and The Blessed Virgin Mary. In front of the Altar, is a mosaic Pavement in Cosmatesque-style. The geometric pattern of Red and Green Porphyry, framed in White Marble (as well as re-used fragments of White Marble with Latin lettering), is thought to have been created before the 12th-Century. Inserted in the front step of the Altar, is the Titulus of the Basilica, of ancient origin, discovered during the renovations of 1940: "TIT. S. IOANNIS ANTE PORTAM LA[TINAM]" - "Saint John before the Latin Gate".

In 1913-1915, recently-discovered frescoes were restored above the High Altar. After this work, another search along the face of the Central Nave revealed the presence of a full circle of Mediaeval frescoes. The restoration of these frescoes was completed with the full restoration of the Basilica in 1940-1941. The Central Nave is decorated with about fifty scenes representing The Old and New Testaments, from The Creation of the World to the glorious Apocalypse of The New Jerusalem. The frescoes were executed by several artists under the direction of one Master.

The Ascension Of Our Lord.

Text is from The Saint Andrew Daily Missal,
unless otherwise stated.

The Ascension of Our Lord.
   Station at Saint Peter's.
   Plenary Stational Indulgence.

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

White Vestments.

[Editor: The Paschal Candle is extinguished after The Gospel.]

While they looked on, He was raised up.

Illustration: UNA VOCE OF ORANGE COUNTY

Artist: Rene de Cramer.

"Copyright Brunelmar/Ghent/Belgium".

Used with Permission.

It is in the Basilica of Saint Peter's, Rome, Dedicated to one of the chief witnesses of Our Lord's Ascension, that this Mystery, which marks the end of Our Lord's Earthly Life, is "this day" (Collect) kept.

In the forty days, which followed His Resurrection, Our Redeemer laid the foundations of His Church to which He was going to send The Holy Ghost.

The Introit at The Ascension Day Latin Mass,

at The Institute Saint Philipp Neri, Berlin, Germany.

Available on YouTube at

https://youtu.be/pFgTmZbe0Zw?list=PLFB-WTS5nvTyW-6iFGamei8-wqUbsZGah

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Christi Himmelfahrt in der außerordentlichen Form des römischen Ritus
am Institut St. Philipp Neri in Berlin.

Wenn Sie das Institut St. Philipp Neri unterstützen möchten, können Sie unter folgender Bankverbindung eine Spende machen oder einen Dauerauftrag einrichten. Schon kleine Beträge sind eine große Hilfe: Freundeskreis St. Philipp Neri e.V. PAX-Bank e.G., Berlin Kontonummer
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DAS INSTITUT ST. PHILIPP NERI IST DRINGEND

AUF IHRE UNTERSTÜTZUNG ANGEWIESEN.

All The Master's teachings are summed up in the Epistle and Gospel for today. Then, He left this Earth and the Introit, Collect, Epistle, Alleluia, Gospel, Offertory, Secret, Preface and Communion, celebrate His Glorious Ascension into Heaven, where the Souls He had freed from Limbo escort Him (Alleluia), and enter in His train into the Heavenly Kingdom, where they share more fully in His Divinity.

The Ascension sets before us the duty of raising our hearts to God. So, in the Collect, we are led to ask that we may dwell with Christ in Spirit in the Heavenly Realms, where we are called one day to dwell in our Risen Bodies.

During The Octave, the Credo is said: "I believe in one Lord Jesus Christ, the only-begotten Son of God . . . Who ascended into Heaven . . . He sitteth at the Right-Hand of The Father". The Gloria speaks in the same sense: "O, Lord Jesus Christ, the only-begotten Son . . . Who sittest at the Right-Hand of The Father, have mercy upon us."

The Gloria at The Ascension Day Latin Mass,

at The Institute Saint Philipp Neri, Berlin, Germany.

Available on YouTube at

https://youtu.be/vR5RFDgdxJM?list=PLFB-WTS5nvTyW-6iFGamei8-wqUbsZGah

In the Proper Preface, which is said until Pentecost, we give thanks to God because His Son, The Risen Christ, "after His Resurrection, appeared and showed Himself to all His Disciples; and, while they beheld Him, was lifted up into Heaven".

In the same way, during the whole Octave, a Proper Communicantes of The Feast is said, in which The Church reminds us that she is keeping the day on which the only-begotten Son of God set at the Right-Hand of His Glory the substance of our frail human nature, to which He had united Himself in the Mystery of The Incarnation.

The Collect and Epistle at The Ascension Day Latin Mass,

at The Institute Saint Philipp Neri, Berlin, Germany.

Available on YouTube at

https://youtu.be/zqCwwj02nx8?list=PLFB-WTS5nvTyW-6iFGamei8-wqUbsZGah

We are reminded daily in The Liturgy, at the Offertory Suscipe Sancta Trinitas, and in the Canon Unde et memores, that, at Our Lord's command, The Holy Sacrifice is being offered in memory of "The Blessed Passion of the same Christ, Thy Son, Our Lord," and also His Resurrection from Hell and His Glorious Ascension into Heaven.

The truth is that man is saved only by the Mysteries of The Passion and Resurrection united with that of The Ascension. "Through Thy Death and Burial, through Thy Holy Resurrection, through Thy Admirable Ascension, deliver us, O Lord" (Litany of The Saints).

The Credo at The Ascension Day Latin Mass,

at The Institute Saint Philipp Neri, Berlin, Germany.

Available on YouTube at

https://youtu.be/G5r2LzHa-hM?list=PLFB-WTS5nvTyW-6iFGamei8-wqUbsZGah

Let us offer The Divine Sacrifice to God in memory of The Glorious Ascension of His Son (Suscipe, Unde et memores); while we nourish within our Souls an ardent desire for Heaven, that "delivered from present dangers," we may "attain to Eternal Life" (Secret).

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

Mass: Viri Galilaéi.

Pope Saint Pius V (1504 - 1572). Confessor. Feast Day 5 May.

Roman Text is taken from The Saint Andrew Daily Missal,
unless otherwise stated.

Italic Text is taken from Wikipedia - the free encyclopaedia,

unless otherwise stated.

Saint Pius V.

Pope and Confessor.

Feast Day 5 May.

Double.

White Vestments.

English: Pope Saint Pius V.

Deutsch: Porträt des Papst Pius V.

Artist: El Greco (1541–1614).

Date: Circa 1600 - 1610.

Current location: Private collection, Paris.

Source: The Yorck Project: 10.000 Meisterwerke der Malerei.

DVD-ROM, 2002. ISBN 3936122202. Distributed by

DIRECTMEDIA Publishing GmbH.

Permission: [1].

(Wikimedia Commons)

Pius, born at Bosco, in Lombardy, Italy, entered at the age of fourteen into The Order of Preachers (The Dominicans).

As Bishop, Cardinal and Pope (Introit, Epistle, Communion), he put to profit the talents entrusted to him by God (Gospel).

His Pontificate, although short, was one of the most glorious of the 16th-Century. Protestantism had proclaimed The Reformation and Islam threatened The West. To remedy the ills, under which Christendom groaned, Pope Saint Pius V enforced obedience to The Decrees of The Council of Trent, published a new edition of The Missal and Breviary, and obtained, by the Prayers he asked for, the glorious victory won by the Christian forces at Lepanto in 1571.

He instituted, on that occasion, The Feast of Our Lady of Victories, which became, later on, The Feast of The Most Holy Rosary.

He died on 5 May 1572, reciting The Hymn of Paschaltide.

Mass: Státuit.

The following Text is from Wikipedia.

Pope Saint Pius V (17 January 1504 – 1 May 1572), born Antonio Ghislieri (from 1518 called Michele Ghislieri, O.P.), was Pope from 8 January 1566 to his death in 1572. He is Venerated as a Saint of The Roman Catholic Church. He is chiefly notable for his role in The Council of Trent, The Counter-Reformation, and the standardisation of The Roman Rite within The Latin Church.

Pius V declared Thomas Aquinas a Doctor of The Church and patronised prominent Sacred Music composer Giovanni Pierluigi da Palestrina.

As a Cardinal, Ghislieri gained a reputation for putting Orthodoxy before personalities, prosecuting eight French Bishops for Heresy. He also stood firm against nepotism, rebuking his predecessor, Pope Pius IV, to his face, when he wanted to make a thirteen-year-old member of his family a Cardinal and subsidise a nephew from The Papal Treasury.

In Affairs of State, Pius V excommunicated Queen Elizabeth I of England for schism and persecution of English Catholics during her reign. He also arranged the formation of The Holy League, an alliance of Catholic States. Although outnumbered, The Holy League famously defeated The Ottoman Empire, which had threatened to over-run Europe, at The Battle of Lepanto. Pius V attributed the victory to the intercession of The Blessed Virgin Mary and instituted The Feast of Our Lady of Victories.

Beautiful Illustrations By Chinese Convert To Catholicism, Artist Yan Zu.

Illustrations: NEW LITURGICAL MOVEMENT

The Article can be read in full at NEW LITURGICAL MOVEMENT

Notre-Dame De Paris By Moonlight.

English: Cathedral of Notre-Dame, Paris, France.

Français: Cathédrale Notre-Dame de Paris.

Saved from totalyoutdoors.blogspot.ca

Illustration: PINTEREST

Railway Wonders Of The World. First Issue, February 1935.

The London Midland and Scottish Locomotive "Princess Royal" is shown at speed on

Part One of Railway Wonders Of The World, published on Friday, 1 February 1935, price 7d.

All Illustrations: RAILWAY WONDERS OF THE WORLD

MODERN ARCHITECTURE is seen at its best in these pictures of The Cincinnati Union Railway Terminus at Cincinnati, USA. The mighty arch of the exterior is admirably set off by the terraces with their tall columns and the fountains playing in the foreground.

The magnificent entrance hall, with its range of shops and splendid mural frescoes depicting railway development is shown, below Right. This great Station is used by all the Railroads which serve the City of Cincinnati.

567 FEET IN HEIGHT, the mammoth New York Central Building houses the Administration Offices of The New York Central Railroad. This mighty structure, straddling Park Avenue, lies to the rear of The Grand Central Terminus, and traffic goes directly through the building. The Trains, all electrically hauled, run beneath the railed-in lawns shown in the foreground. This skyscraper, though not the highest, is one of the most imposing in New York, and comprises thirty-four stories, dwarfing the great buildings to its Right and Left.

Saint Monica. Widow. Feast Day 4 May.

Text from The Saint Andrew Daily Missal,
unless otherwise stated.

Saint Monica.
Widow.
Feast Day 4 May.

Double.

White Vestments.

English: The Angel appears to 

Saint Monica.

Italiano: Apparizione dell'angelo a Santa Monica (madre di Sant'Agostino) [1714]. Dipinto nella "Cappella di sant'Agostino" nel transetto destro della chiesa di san Marco a Milano.

Artist: 

Pietro Maggi,

Date: 1714.

Current location: 

Saint Augustine Chapel,

San Marco Church, Milan, Italy.

Source: Own work.

Author: G.dallorto.

(Wikimedia Commons)

Born in Africa, Saint Monica married a pagan, whom she converted by her virtues. Having become a Widow, she devoted herself to her son, Augustine, whose mind was corrupted by the errors of Manicheism and his Soul by the dissolute manners of Rome.

"Night and day she Prayed" (Epistle) and "she shed for him more tears than other mothers shed over a coffin."

For, above all else, she was penetrated by The Fear of God (Introit), and she knew that, in order to obtain the resurrection of the Soul of her son, she had to sacrifice herself (Gospel). She atoned for the sins of Augustine.

"Could you, O Lord", so writes Augustine, "despise the contrite and humble heart of a chaste and mortified Widow ? Could you reject the tears of one who asked not for money, nor for any temporal thing, but only the Salvation of her son's Soul ?"

"God, in His Mercy, accepted the tears of Charity of Blessed Monica" (Collect), and these two Souls now share in the Joy (Communion) of Jesus, Risen Again.

Saint Monica died at Ostia in 387 A.D.

Mass: Cognovi.

My Lord And My God.

Illustration: POPULUS SUMMORUM PONTIFICUM

" Who Said Mint Sauce ? "

Illustration: PINTEREST

May Is The Month Of The Blessed Virgin Mary.

The Blessed Virgin Mary is Crowned in  Heaven by her Beloved Son.

Illustration: AD MOIOREM DEI GLORIAM

The following Text is from Wikipedia - the free encyclopaedia,
unless otherwise stated.

The month of May Devotions to The Blessed Virgin Mary refer to special Marian Devotions held in The Catholic Church, during the month of May, honouring The Virgin Mary as "The Queen of May". These Services may take place inside or outside of a Church. A "May Crowning" is a Traditional Roman Catholic ritual that occurs in the month of May.

A number of Traditions link the month of May to The Blessed Virggin Mary. King Alfonso X of Castile, in the 13th-Century, wrote in his Cantigas de Santa Maria about the special honouring of The Blessed Virgin Mary during specific dates in May. Eventually, the entire month was filled with Special Observances and Devotions to The Blessed Virgin Mary.

"Queen Of The Angels, Queen Of The May".

Available on YouTube at

https://youtu.be/XOH8awmOj4c

The origin of the conventional May Devotion is still relatively unknown. Herbert Thurston identifies the 17th-Century as the earliest instance of the adoption of the custom of Consecrating the month of May to The Blessed Virgin by Special Observances. It is certain that this form of Marian Devotion began in Italy. Around 1739, witnesses speak of a particular form of Marian Devotion in May in Grezzano, near Verona. In 1747, the Archbishop of Genoa recommended the May Devotion as a Devotion for the home. Specific Prayers for them were promulgated in Rome in 1838.

According to Frederick Holweck, the May Devotion, in its present form, originated at Rome, where Father Latomia of The Roman College of The Society of Jesus, to counteract infidelity and immorality among the students, made a Vow at the end of the 18th-Century to devote the month of May to Our Blessed Virgin Mary.

From Rome, the practice spread to the other Jesuit Colleges and thence to nearly every Catholic Church of The Latin Rite. In Rome, by 1813, May Devotions were held in as many as twenty Churches. From Italy, May Devotions soon spread to France. In Belgium, the May Devotions, at least as a Private Devotion, were already known by 1803. The Tradition of honouring The Blessed Virgin Mary, in a month-long May Devotion, spread eventually around The Roman Catholic World in the 19th-Century, together with a month-long Devotion to Jesus in June and The Rosary in October.

"As I Kneel Before You".

Available on YouTube at

https://youtu.be/MSl4IIZJEJg

   

English: The Crowning of The Virgin Mary in Heaven

by The Holy Trinity.

Español: Coronación de la Virgen.

Deutsch: Die Krönung Marias.

Artist: Diego Velázquez (1599–1660).

Date: Circa 1645.

Current location: Prado Museum, Madrid, Spain.

Source/Photographer: https://www.museodelprado.es/en/the-collection/

online-gallery/on-line-gallery/obra/the-coronation-of-the-virgin/

(Wikimedia Commons)

The Litany of Loreto.

Available on YouTube at

https://youtu.be/jxIVh5SCn50

The following Text is from PRECES-LATINAE.ORG

Litaniae Lauretanae.
Litany of Loreto.

The Litany of Loreto is used to honour Mary, The Mother of God. The Litany recalls Mary's unique role in our salvation history as The Mother of Our Saviour and invokes various Titles for her as a way of honouring her and reminding us of the role she has played.

The Litany owes many of its Praises to The Greek Akathist Hymn, which was first translated into Latin in Venice around 800 A.D. The other Titles and Praises addressed to Mary are found extensively in the writings of The Early-Church Fathers of the first six Centuries A.D.

Over time, a number of Titles for Our Lady were removed and added to The Litany. Originally, The Litany had fifteen additional Titles, such as Our Lady of Humility, Mother of Mercy, Temple of The Spirit, Gate of Redemption, and Queen of Disciples. Recent history has seen the addition of five Titles. The last four Titles of The Litany, which refer to The Immaculate Conception, The Assumption, The Rosary, and Mary as The Queen of Peace, are of recent origin. The latest addition, Mother of The Church, was added by Pope Saint John Paul II.

Most likely, The Litany was composed in or around Paris between the years 1150 and 1200. It gets its name from the Italian shrine (Loreto) where it was adopted in 1558. Pope Sixtus V approved its use in public Worship in 1587. The Litany is used especially during May Services, the month Traditionally Dedicated to The Blessed Virgin Mary. It is also used at Benediction, and some Congregations use it in The Divine Office. The Litany is approved for public use and carries a Partial Indulgence.