Thursday 11 April 2024
Wednesday 10 April 2024
A Little Levity To Lighten Your Day: “So, That’s A No, Sir, Is It ?”
“ So, That’s A “No”, Sir, Is It ? ”
Tympanum. Archivolt. Trumeau.
Archivolts surrounding a Tympanum.
The Great West Door, Strasbourg Cathedral, France.
Français: Cathédrale Notre-Dame de Strasbourg,
mittleres Portal.
Photo: August 2006.
Source: Own work.
Author: Welleschik
(Wikimedia Commons)
The following Text is from Wikipedia - the free encyclopædia,
unless stated otherwise.
In Architecture, a Tympanum (plural, Tympana; from Latin and Greek words meaning “Drum”) is the semi-circular or triangular decorative wall surface over an entrance, door or window, which is bounded by a Lintel and an Arch. It often contains sculpture or other imagery or ornaments. Most architectural styles include this element.
In Ancient Greek, Roman and Christian Architecture, Tympana of Religious buildings usually contain Religious imagery. A Tympanum over a doorway is very often the most important, or only, location for monumental sculpture on the outside of a building.
English: Late-Romanesque Tympanum of Vézelay Abbey,
Burgundy, France, dating from the 1130s.
Français : Vézelay (Yonne - France), Basilique Sainte-Marie-Madeleine - Tympan central du narthex (1140-1150).
Photo: 17 June 2002.
Source: Own work.
Author: Jean-Pol GRANDMONT
(Wikimedia Commons)
Bands of moulding, surrounding the Tympanum, are referred to as the Archivolt.
In Mediæval French Architecture, the Tympanum is often supported by a decorated Pillar, called a Trumeau.
English: The three Tympana on the lower part of the main façade of the Cathedral of Notre-Dame de Paris, France. On the upper part, the twenty-eight Kings of Judea and Israel. On the lower part, from Left to Right, are: The Portal of The Virgin; The Portal of The Last Judgement; The Portal of Saint-Anne.
Français: Partie basse de la façade ouest de la cathédrale Notre-Dame de Paris. La rangée du haut représente les 28 rois d'Israël et Judée ayant précédé le Christ. En dessous, et de gauche à droite, le portail de la Vierge, le portail du Jugement Dernier et le portail Saint-Anne.
Photo: 28 October 2007.
Source: Own work.
Author: Benh LIEU SONG
(Wikimedia Commons)
The Last Judgement Tympanum,
Cathedral of Saint Lazare, Autun, France.
Available on YouTube at
A Romanesque Trumeau,
Tarragona Cathedral, Spain.
Photo: 13 September 2011.
Source: Own work.
Author: Zarateman
(Wikimedia Commons)
English: A Trumeau at The Great West Door,
Aix Cathedral, France.
Français: Détail du Portail de la Cathédrale Saint Sauveur,
Aix-en-Provence, France.
Photo: 23 August 2012.
Source: Own work.
Author: Marianne Casamance
(Wikimedia Commons)
Tuesday 9 April 2024
A Little Light-Hearted Celebration Of The Motu Proprio “Summorum Pontificum”. By Reverend Fr. Timothy Finigan.
A Little Light-Hearted Celebration
Of The Motu Proprio “Summorum Pontificum”.
By Reverend Fr. Timothy Finigan.
Available on YouTube at
This Article was originally Posted
by Reverend Fr. Timothy Finigan in July 2007.
The Home Of The Vetus Ordo In Paris: The Church Of Saint-Eugène-Sainte-Cécile.
The Divine Mass. Saint-Eugène - Sainte-Cécile, Paris.
Illustration: FACEBOOK, SAINT-EUGENE-SAINTE-CECILE
The following Text is taken from, and can be read in full at,
Catholics who visit Paris should know about this wonderful Church and visit - it is the home of the Vetus Ordo in The Archdiocese of Paris.
Liturgy is done very well here with great care and reverence in a stunningly beautiful Neo-Gothic Church. Also, the Choir is one of the best in France. Every year, I visit in conjunction with the Annual Chartres Pilgrimage and I encourage others to do the same.
Sunday Mass and Vespers is a must. Be sure to make time for the Sunday morning 11:00 a.m. Solemn High Mass - it is nothing short of extraordinary.
The Church is also commonly known as Saint-Eugène. This wonderful community is located in the 9th-Arrondissement of Paris in the historic neighbourhood that was once the traditional Jewish Quarter.
The Church is centrally located, with about a dozen hotels within walking distance. The Parish draws Parishioners from across Paris and beyond. It has also produced a handful of notable Vocations to the Priesthood and Religious Life.
The Church is packed on Sundays with young families with many children who are drawn by the Respect and Devotion shown.
Saint-Eugène Church was built during a time when The Church in France was undergoing a renewal after the Anti-Religious Revolutionary periods. Those years of persecution gave birth to a renewal of the local Church in the Mid-1800s that saw a boom in Catholic Life and Church construction.
The years of trial and persecution contributed to growth that saw the creation of new Religious Orders, new Vocations to the Seminary and Convent, the development of Marian Devotion (connected to the Lourdes Apparitions in 1858), and the successful creation of Catholic Social Movements.
The Church then began to build, everywhere. The Gothic Art, born in France during the Middle-Ages, was rediscovered and Neo-Gothic Churches were planned and constructed across the Land.
One of the biggest assets of the Parish is the excellent Choir, the Schola Sainte Cécile. This is one of the finest Church Choirs in the Catholic World. It is directed by the distinguished Mæstro, Henri Adam de Villers, a Graduate of The Sorbonne and an extremely competent Director of Music.
Henri keeps busy, conducting two Church Choirs. He is French and speaks perfect English, a native of the French Island of Réunion in The Indian Ocean. The Choir has an excellent YouTube Channel that I highly recommend for Readers to get a taste of the high-quality music that is made available to all in Paris.
My favourite Hymn sung by the Choir is Domine Salva Fac Galliam, which they sing on patriotic occasions such as the Feast Day of Saint Denis, Patron Saint of Paris and France. The beautiful Pipe Organ of the Church complements the Choir; built by the German Organ builder, Joseph Merklin, who lived in Paris. This same Organ was exhibited at the 1855 Universal Exhibition in Paris before it was installed in the Church. It has thirty-three Stops, three Keyboards of fifty-six Notes each, a Pedal Board of twenty-seven Notes, and 1,941 Pipes.
The Church is centrally located, with about a dozen hotels within walking distance. The Parish draws Parishioners from across Paris and beyond. It has also produced a handful of notable Vocations to the Priesthood and Religious Life.
The Church is packed on Sundays with young families with many children who are drawn by the Respect and Devotion shown.
Saint-Eugène Church was built during a time when The Church in France was undergoing a renewal after the Anti-Religious Revolutionary periods. Those years of persecution gave birth to a renewal of the local Church in the Mid-1800s that saw a boom in Catholic Life and Church construction.
On 8 December 2019, the Feast Day of The Immaculate Conception, a Procession of The Immaculate Conception
took place in the evening from Saint-Eugène - Sainte-Cécile
to the Church of Notre-Dame-des-Victoires.
Illustration: FACEBOOK, SAINT-EUGENE-SAINTE-CECILE
The Church then began to build, everywhere. The Gothic Art, born in France during the Middle-Ages, was rediscovered and Neo-Gothic Churches were planned and constructed across the Land.
As Architects and Artists looked to the Past for their inspiration, France entered into a period of Architectural pastiche, imitating previous styles, including the Gothic.
That period in the history of France is known as The Second Empire (1852-1870). And, like all regimes after the restoration, the Government and People favoured Religious Subjects in the Art that it sponsored.
Expansion of French industry brought with it economic prosperity and an influx of people to the big City. Paris grew from one-million inhabitants around 1850 to two-million by the end of the Century, with the number of Parishes growing from forty-six to sixty-nine.
New Church construction flourished as Paris turned into a vast building site. In fact, it can be said of that period of French history: “No period presents us with so many pieces of Religious Art executed simultaneously by such a large number of distinguished Artists" (Gazette des Beaux-Arts, 1861).
The Church of Saint-Eugène was constructed between 1854-1855 by the Architects Louis-Auguste Boileau and Louis-Adrien Lusson. It was the first Church in France to use an entirely iron-framed structure for construction.
This was inspired by the metal framework construction seen just before, with Baltards's construction in metal of the old Central Halles in Paris in 1854. This innovative new construction method was deemed perfect for a Church, to keep the cost down because it allowed a decrease in the thickness of the masonry walls while also allowing for quick construction, in this case barely twenty months.
The frame was made of metal cast-iron Columns that are attached to the masonry of the Walls, supporting the wrought-iron Trusses, thus avoiding any appearance of heaviness. On each Column, stands Decorated Capitals, moulded in cast-iron and painted in a beautiful array of colour.
This new Style, employing cast-iron and metal framework, became popular and was used in other neighbouring Church construction, such as with Saint Augustine, also in downtown Paris (built between 1860-1869, it was the first monumental Religious Building in Paris with a metal framework).
Visitors to Saint-Eugène enter and notice the markedly-vertical framework that gives this Church its specific character as the eyes of The Faithful are drawn up to Heaven. In place of the massive Pillars of yesteryear, the thirty-six Columns are as thin as Lances, separating the Nave from the Aisles, with little wooden chairs for The Faithful to use.
The Interior of the Church is absolutely stunning with a colourful, airy space. Facing North, the light of the beautiful afternoon Sun enters the Gothic-inspired Sanctuary, recalling a Holy Place. The display of vivid Stained-Glass Windows harmonises with iron Piers and mouldings that are painted in a variety of colours that match the glow of the Stained-Glass Windows.
Blues, Reds, and Greens, provide for a dark Interior, with mythical Ceiling Vaults. From the entrance, the eye embraces the entire volume of the Church, with the Ceiling decorated with exquisite Stencil Work strewn with Stars in the Neo-Gothic Style, Bright Yellow in the Nave and Midnight Blue in the Apses.
The Interior is clearly inspired by Sainte-Chapelle, the Royal Chapel in Paris of the Kings of France. In addition, influences were taken from the Priory of Saint-Martin-des-Champs, an iconic Monastery in Paris that was suppressed during The French Revolution.
The Windows are mostly the work of Master Glassmakers, Lusson, Gsell and Oudinot. Louis-Adrien Lusson and Gaspard Gsell created the main Stained-Glass Windows. The Centre-Piece in the Sanctuary is the Window depicting The Transfiguration of Our Lord.
The unique Stations of The Cross, on the main level, are famous because they are depicted in Stained-Glass, a rare work of Eugène-Stanislas Oudinot. These Windows are resolutely notable because they are the only known example of The Via Crucis realised entirely in Stained-Glass. The Pulpit, alone, is an incredible Work of Art, made of Carved Wood with a beautiful Canopy.
That period in the history of France is known as The Second Empire (1852-1870). And, like all regimes after the restoration, the Government and People favoured Religious Subjects in the Art that it sponsored.
Expansion of French industry brought with it economic prosperity and an influx of people to the big City. Paris grew from one-million inhabitants around 1850 to two-million by the end of the Century, with the number of Parishes growing from forty-six to sixty-nine.
The Church of Saint-Eugène was constructed between 1854-1855 by the Architects Louis-Auguste Boileau and Louis-Adrien Lusson. It was the first Church in France to use an entirely iron-framed structure for construction.
This was inspired by the metal framework construction seen just before, with Baltards's construction in metal of the old Central Halles in Paris in 1854. This innovative new construction method was deemed perfect for a Church, to keep the cost down because it allowed a decrease in the thickness of the masonry walls while also allowing for quick construction, in this case barely twenty months.
The frame was made of metal cast-iron Columns that are attached to the masonry of the Walls, supporting the wrought-iron Trusses, thus avoiding any appearance of heaviness. On each Column, stands Decorated Capitals, moulded in cast-iron and painted in a beautiful array of colour.
The Church of Saint-Eugène-Sainte-Cécile
is located in The 9th-Arrondissement of Paris.
Illustration: LITURGICAL ARTS JOURNAL
Visitors to Saint-Eugène enter and notice the markedly-vertical framework that gives this Church its specific character as the eyes of The Faithful are drawn up to Heaven. In place of the massive Pillars of yesteryear, the thirty-six Columns are as thin as Lances, separating the Nave from the Aisles, with little wooden chairs for The Faithful to use.
The Interior of the Church is absolutely stunning with a colourful, airy space. Facing North, the light of the beautiful afternoon Sun enters the Gothic-inspired Sanctuary, recalling a Holy Place. The display of vivid Stained-Glass Windows harmonises with iron Piers and mouldings that are painted in a variety of colours that match the glow of the Stained-Glass Windows.
Blues, Reds, and Greens, provide for a dark Interior, with mythical Ceiling Vaults. From the entrance, the eye embraces the entire volume of the Church, with the Ceiling decorated with exquisite Stencil Work strewn with Stars in the Neo-Gothic Style, Bright Yellow in the Nave and Midnight Blue in the Apses.
Requiem Mass for King Louis XVI at The Church of
Saint-Eugène-Sainte-Cécile, 21 January 2020.
Available on YouTube at
The Windows are mostly the work of Master Glassmakers, Lusson, Gsell and Oudinot. Louis-Adrien Lusson and Gaspard Gsell created the main Stained-Glass Windows. The Centre-Piece in the Sanctuary is the Window depicting The Transfiguration of Our Lord.
The unique Stations of The Cross, on the main level, are famous because they are depicted in Stained-Glass, a rare work of Eugène-Stanislas Oudinot. These Windows are resolutely notable because they are the only known example of The Via Crucis realised entirely in Stained-Glass. The Pulpit, alone, is an incredible Work of Art, made of Carved Wood with a beautiful Canopy.
Advert for a Sung Mass, 21 May 2017,
for Rogation Sunday, at Saint-Eugène-Sainte-Cécile.
Illustration: FACEBOOK, SAINT EUGENE-SAINTE-CECILE
Henri keeps busy, conducting two Church Choirs. He is French and speaks perfect English, a native of the French Island of Réunion in The Indian Ocean. The Choir has an excellent YouTube Channel that I highly recommend for Readers to get a taste of the high-quality music that is made available to all in Paris.
My favourite Hymn sung by the Choir is Domine Salva Fac Galliam, which they sing on patriotic occasions such as the Feast Day of Saint Denis, Patron Saint of Paris and France. The beautiful Pipe Organ of the Church complements the Choir; built by the German Organ builder, Joseph Merklin, who lived in Paris. This same Organ was exhibited at the 1855 Universal Exhibition in Paris before it was installed in the Church. It has thirty-three Stops, three Keyboards of fifty-six Notes each, a Pedal Board of twenty-seven Notes, and 1,941 Pipes.
Saint-Eugène is the same historic Church where Jules Verne was married in 1857, a French novelist and major literary author. It was built by Decree of the Emperor Napoleon III and Dedicated to Saint-Eugène de Deuil-la-Barre in honour of the Emperor's wife, the Empress Eugénie (1826-1920), who was present for the Dedication of the Church.
Although the Church was Consecrated to Saint-Eugène, in 1952 the name of Sainte-Cécile was added as a nod to the Patron Saint of Musicians, due to the close proximity of the Church to the Paris Conservatory, a College of Music Founded in 1795. For this reason, the Church was initially deprived of Bells at the time of its construction, so as to not interfere with the lessons.
Many of the students of Organ Music would visit the Church to practice on the Parish Organ. Although the Church was Blessed and Dedicated in 1855, it was not until The Holy Year 2000 that the fully-completed Interior of the Church was Dedicated by Cardinal Lustiger, Archbishop of Paris. At that time, he also Blessed the new Carillon, a Set of Bells finally installed despite the absence of a Bell Tower. For more historical information on the Church, see HERE.
Although the Church was Consecrated to Saint-Eugène, in 1952 the name of Sainte-Cécile was added as a nod to the Patron Saint of Musicians, due to the close proximity of the Church to the Paris Conservatory, a College of Music Founded in 1795. For this reason, the Church was initially deprived of Bells at the time of its construction, so as to not interfere with the lessons.
Many of the students of Organ Music would visit the Church to practice on the Parish Organ. Although the Church was Blessed and Dedicated in 1855, it was not until The Holy Year 2000 that the fully-completed Interior of the Church was Dedicated by Cardinal Lustiger, Archbishop of Paris. At that time, he also Blessed the new Carillon, a Set of Bells finally installed despite the absence of a Bell Tower. For more historical information on the Church, see HERE.
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JPSonnen
JPSonnen is a tour operator, history docent
and travel writer with Orbis Catholic Travel LLC.
Monday 8 April 2024
The Annunciation Of The Blessed Virgin Mary. Feast Day 25 March. Transferred To 8 April.
“The Annunciation”.
Artist: Paolo de Matteis
Date: 1712.
Current location: Saint Louis Art Museum,
Missouri, United States of America.
Source/Photographer: Saint Louis Art Museum official site
(Wikimedia Commons)
“Sequentia Flos Carmeli”
(Flower of Carmel).
Performed by Schola Cantorum de Regina Pacis
(Klaipeda, Lithuania)
www.regina-pacis.org
Available on YouTube at
Illustration: ZEPHYRINUS
Text from Wikipedia - the free encyclopædia,
unless otherwise stated.
unless otherwise stated.
The Annunciation (Anglicised from The Latin Vulgate, Luke 1:26-39, Annuntiatio nativitatis Christi), also referred to as The Annunciation To The Blessed Virgin Mary, or, The Annunciation Of The Lord, is the Christian Celebration of the Announcement, by the Angel Gabriel to The Virgin Mary, that she would conceive and become The Mother of Jesus, The Son of God, marking His Incarnation.
Gabriel told Mary to name her Son, Jesus, meaning “Saviour”. Many Christians observe this event with The Feast Of The Annunciation on 25 March, nine full months before Christmas, the Ceremonial Birthday of Jesus.
According to Luke 1:26, The Annunciation occurred “in the sixth month” of Elizabeth’s pregnancy with John the Baptist. Irenæus (circa 130 A.D. - 202 A.D.), of Lyon, regarded The Conception of Jesus as 25 March, coinciding with The Passion.
Approximating The Northern Vernal Equinox, the date of The Annunciation also marked the New Year in many places, including England, where it is called Lady Day.
Our Lady of Ushaw,
Durham, England.
Photo: April 2010.
Source: Own work.
Illustration: ZEPHYRINUS
Approximating The Northern Vernal Equinox, the date of The Annunciation also marked the New Year in many places, including England, where it is called Lady Day.
Both the Roman Catholic Church and Eastern Orthodox Church hold that The Annunciation took place at Nazareth, but differ as to the precise location. The Basilica of The Annunciation marks the site preferred by the former, while the Greek Orthodox Church of The Annunciation marks that preferred by the latter.
The Annunciation has been a key topic in Christian Art, in general, as well as in Marian Art in The Catholic Church, particularly during The Middle Ages and The Renaissance.
The following Text is taken from The Saint Andrew Daily Missal.
The Annunciation Of The Blessed Virgin Mary.
Feast Day 25 March.
Double of The First-Class.
White Vestments.
This Feast, prepared by the Feast of Saint Gabriel, yesterday, recalls the greatest event in history, The Incarnation of Our Lord (Gospel) in the womb of a Virgin (Epistle). On this day, The Word Was Made Flesh, and united to Itself for ever The Humanity of Jesus.
25 March is, indeed, The Anniversary of The Ordination of Christ as Priest, for it is by The Anointing of The Divinity that He has become Supreme Pontiff, Mediator between God and man.
The Annunciation has been a key topic in Christian Art, in general, as well as in Marian Art in The Catholic Church, particularly during The Middle Ages and The Renaissance.
Illustration: ZEPHYRINUS
Illustration: ZEPHYRINUS
The Annunciation Of The Blessed Virgin Mary.
Illustration: THE RACCOLTA
Artist: René de Cramer.
“Copyright Brunelmar/Ghent/Belgium”.
Used with Permission.
The Annunciation Of The Blessed Virgin Mary.
Feast Day 25 March.
Double of The First-Class.
White Vestments.
This Feast, prepared by the Feast of Saint Gabriel, yesterday, recalls the greatest event in history, The Incarnation of Our Lord (Gospel) in the womb of a Virgin (Epistle). On this day, The Word Was Made Flesh, and united to Itself for ever The Humanity of Jesus.
25 March is, indeed, The Anniversary of The Ordination of Christ as Priest, for it is by The Anointing of The Divinity that He has become Supreme Pontiff, Mediator between God and man.
[Should it not be possible, on account of 25 March falling in Holy Week or Easter Week, to keep The Feast of The Annunciation on that day, it is Celebrated on The Monday after Low Sunday.]
The Mystery of The Incarnation has earned, for Mary, her Most Glorious Title, that of “Mother of God” (Collect), in Greek “Theotokos”, a name which The Eastern Church always inscribed in Letters of Gold, like a Diadem, on the forehead of her images and statues.
“Standing on the threshold of Divinity” [Saint Thomas], since she gave to The Word of God the Flesh to which He was hypostatically united, The Virgin has always been honoured by a super-eminent Veneration, that of Hyperdulia.
“The Son of The Father and The Son of The Virgin naturally became a single and identical Son”, says Saint Anselm; hence, Mary is Queen of The Human Race and is to be Venerated by all (Introit).
To 25 March, will correspond, nine months later, 25 December, the day on which will be manifested to the World the Miracle as yet only known to Heaven and to The Humble Virgin.
Since the Title of Mother of God makes Mary All Powerful with her Son, let us have recourse to her intercession with Him (Collect), so that, by the Merits of His Passion and Crucifixion, we may have a part in The Glory of His Resurrection (Postcommunion).
Every Parish Priest Celebrates Mass for the people of his Parish.
Mass: Vultum tuum.
Commemoration (in Lent): Of The Feria.
Creed: Is said.
Preface: Of The Blessed Virgin Mary.
Last Gospel (in Lent): Of The Feria.
English: Innocence.
Français: L’Innocence.
Русский: "Невинность", картина Виллиама Бугро
И маленький ребёнок, и ягнёнок — символы невинности
Artist: William-Adolphe Bouguereau (1825–1905).
Date: 1893.
Source/Photographer: http://www.illusionsgallery.com
(Wikimedia Commons)
The Mystery of The Incarnation has earned, for Mary, her Most Glorious Title, that of “Mother of God” (Collect), in Greek “Theotokos”, a name which The Eastern Church always inscribed in Letters of Gold, like a Diadem, on the forehead of her images and statues.
“Standing on the threshold of Divinity” [Saint Thomas], since she gave to The Word of God the Flesh to which He was hypostatically united, The Virgin has always been honoured by a super-eminent Veneration, that of Hyperdulia.
English: “The Virgin With Angels”.
Latin: Latina: “Regina Angelorum”.
Artist: William-Adolphe Bouguereau (1825–1905).
Date: 1900.
Current location: Petit Palais, Paris
Source/Photographer: Art Renewal Center
Copied from English Wikipedia to Commons.
(Wikimedia Commons)
To 25 March, will correspond, nine months later, 25 December, the day on which will be manifested to the World the Miracle as yet only known to Heaven and to The Humble Virgin.
Since the Title of Mother of God makes Mary All Powerful with her Son, let us have recourse to her intercession with Him (Collect), so that, by the Merits of His Passion and Crucifixion, we may have a part in The Glory of His Resurrection (Postcommunion).
Every Parish Priest Celebrates Mass for the people of his Parish.
Mass: Vultum tuum.
Commemoration (in Lent): Of The Feria.
Creed: Is said.
Preface: Of The Blessed Virgin Mary.
Last Gospel (in Lent): Of The Feria.
Sunday 7 April 2024
Low Sunday (Quasimodo Sunday) (Dominica-in-Albis). Station Is At The Basilica Of San Pancrazio (Saint Pancras). Octave Of Easter.
"Bring hither thy hand and put it into My Side,
and be not Faithless, but believing".
and be not Faithless, but believing".
Illustration: UNA VOCE OF ORANGE COUNTY
Artist: René de Cramer.
"Copyright Brunelmar/Ghent/Belgium".
Used with Permission.
English: Basilica of Saint Pancras.
Italiano: Chiesa di San Pancrazio, a Roma,
nel quartiere Gianicolense.
Photo: June 2009.
Source: Own work.
Author: Croberto68
(Wikimedia Commons)
Text from The Saint Andrew Daily Missal,
unless otherwise stated.
Low Sunday
(Octave of Easter).
Station at Saint Pancras’s.
Indulgence of 30 Years and 30 Quarantines.
Privileged Sunday of The First-Class.
Greater-Double.
White Vestments.
unless otherwise stated.
Low Sunday
(Octave of Easter).
Station at Saint Pancras’s.
Indulgence of 30 Years and 30 Quarantines.
Privileged Sunday of The First-Class.
Greater-Double.
White Vestments.
This Sunday is called Quasimodo Sunday, from the first words of the Introit, or Dominica-in-Albis (post Albas Depositas), from the fact that, on this day, the newly-Baptised had laid aside their White Vestments, or Pascha Clausum, because it finishes The Easter Octave, or, again, Low Sunday, perhaps in contrast to The Great Feast of the week before.
To teach those, who, in Baptism, have just been born to The Life of God, the generosity with which they ought to bear testimony to Christ, The Church leads them to the Basilica of The Martyr, Saint Pancras, who, when only twelve years old, offered to Christ the Testimony of his blood.
Entrance avenue.
Basilica of Saint Pancras.
Basilica of Saint Pancras.
Photo: January 2006.
Source: Own work.
Author: Lalupa
(Wikimedia Commons)
Christians must stand firm, resting on their Faith in Christ, The Risen Son of God. Saint John tells us that this is The Faith that overcomes the World, for it enables us to resist all efforts to make us fall (Epistle). Thus, it is important that it should have a firm foundation, which The Church gives us in today's Mass.
Saint John says, in the Epistle, that this Faith is founded upon The Witness of The Father, Who, at Our Lord's Baptism (with water), proclaimed Him His Son; of The Son, Who, on The Cross (by His Blood), showed Himself as The Son of God; and of The Holy Ghost, descending on The Apostles on The Day of Pentecost, according to Our Lord's promise, confirmed what Christ had said about His Resurrection and His Divinity; Dogmas, which The Church, guided by The Holy Ghost, never ceases to proclaim.
Basilica of Saint Pancras.
Photo: January 2006.
Source: Own work.
Author: Lalupa
(Wikimedia Commons)
Our Faith rests, also, on The Testimony of Angels, who announced Our Lord's Rising from The Dead (Offertory), but it is based, chiefly, on His appearances to His Apostles. Further, the Gospel shows us how Christ, appearing twice in The Cenacle, overcame the unbelief of Saint Thomas, praising those who, not having seen, should yet believe.
Let us believe in Jesus, Risen from The Dead, and, in the presence of The Blessed Sacrament, let us repeat Saint Thomas's cry of Faith and humility: "My Lord and my God."
Basilica of Saint Pancras.
Photo: August 2012.
Source: Own work.
Author: Luc
(Wikimedia Commons)
By our steadfast Faith, and our blameless conduct, let us bear witness to Our Lord Jesus Christ, before an indifferent World.
Every Parish Priest Celebrates Mass for the people of his Parish.
Mass: Quasi modo.
Creed: Is said.
Preface: For Easter (In hoc potissimum).
When this Mass is repeated during the week, the Second and Third Collects, Secrets, and Postcommunions are those for Paschaltide.
English: Saint Pancras before the Emperor,
Church of Saint Pancras, Griesheim, Alsace, France.
Français: Alsace, Bas-Rhin, Griesheim-sur-Souffel, Eglise St Pancrace, Maître-autel (XIXe), tableau de St Pancrace (1855).
Date: 2012.
Source: Own work.
Author: Ralph Hammann
(Wikimedia Commons)
The following Text is from Wikipedia - the free encyclopædia.
The Church of San Pancrazio (English: S. Pancras; Latin:
S. Pancratii) is a Roman Catholic ancient Basilica and Titular Church, Founded by Pope Symmachus in the 6th-Century A.D., in Rome. It stands in Via S. Pancrazio, beyond the Porta San Pancrazio that opens in a stretch of the Aurelian Wall on the Janiculum.
Among the previous Titulars are Pope Paul IV (15 January -
S. Pancratii) is a Roman Catholic ancient Basilica and Titular Church, Founded by Pope Symmachus in the 6th-Century A.D., in Rome. It stands in Via S. Pancrazio, beyond the Porta San Pancrazio that opens in a stretch of the Aurelian Wall on the Janiculum.
Among the previous Titulars are Pope Paul IV (15 January -
24 September 1537) and Pope Clement VIII (18 December 1585 - 30 January 1592).
The Basilica of Saint Pancras was built by Pope Symmachus (498 A.D. - 514 A.D.), on the place where the body of the young Martyr, Saint Pancras of Rome, or Pancratius, had been buried. In the 17th-Century, it was given to the Discalced Carmelites, who completely remodelled it. The Church underwent further rebuilding in the 19th-Century, but it retains its plain brick facade of the Late-15th-Century, with the Arms of Pope Innocent VIII.
Below the Church, there are huge Catacombs, the Catacombe di S. Pancrazio, or di Ottavilla. The entrance is next to the small Museo di S. Pancrazio, with fragments of sculpture and pagan and Early-Christian inscriptions.
The Basilica of Saint Pancras was built by Pope Symmachus (498 A.D. - 514 A.D.), on the place where the body of the young Martyr, Saint Pancras of Rome, or Pancratius, had been buried. In the 17th-Century, it was given to the Discalced Carmelites, who completely remodelled it. The Church underwent further rebuilding in the 19th-Century, but it retains its plain brick facade of the Late-15th-Century, with the Arms of Pope Innocent VIII.
Below the Church, there are huge Catacombs, the Catacombe di S. Pancrazio, or di Ottavilla. The entrance is next to the small Museo di S. Pancrazio, with fragments of sculpture and pagan and Early-Christian inscriptions.
Illustration: AD MAIORAM DEI GLORIAM
Saturday 6 April 2024
John Denver Prays The Lord’s Prayer in Native American Sign Language.
John Denver Prays The Lord’s Prayer
in Native American Sign Language.
Available on YouTube (start at 48:40)
Faux-Bourdon.
“Conditor Alme Siderum”
A 7th-Century A.D. Latin Hymn.
Sung (Three Voices).
Faux-Bourdon in the English Style.
Available on YouTube at
“Ave Maris Stella”.
Composer: Guillaume Dufay.
Available on YouTube at
Faux-Bourdon, or, Fauxbourdon (also Fauxbordon, and also commonly two words: Faux Bourdon, or, Faulx Bourdon, and, in Italian, Falso Bordone) – French for False Drone – is a technique of musical harmonisation used in the Late-Middle Ages and Early-Renaissance, particularly by composers of the Burgundian School.
Guillaume Dufay was a prominent practitioner of the form (as was John Dunstaple), and may have been its inventor.
The homophony and mostly parallel harmony allows the text of the mostly Liturgical lyrics to be understood clearly.
In its simplest form, Faux-Bourdon consists of the cantus firmus and two other parts, a sixth, and a perfect fourth, below.
To prevent monotony, or create a cadence, the lowest voice sometimes jumps down to the octave, and any of the accompanying voices may have minor embellishments. Usually just a small part of a composition employs the Faux-Bourdon technique.
In a Hymn, the term is sometimes used when the Congregation sings in parallel octaves, with some singers singing a descant over the melody, but the term was historically used to indicate an arrangement of the tune in four parts with the melody in the tenor voice, such as those composed by 16th-Century and 17th-Century English composers, including John Dowland, Giles Farnaby, and Thomas Ravenscroft.
The earliest explicit example of Faux-Bourdon may be in the manuscript I-BC Q15 (Bologna, Museo Internazionale e Biblioteca della Musica, MS Q15), compiled around 1435, which contains several examples, including one by Dufay dating probably to around 1430. Since many Early-15th-Century compositions are anonymous, and dating is often problematic, exact determination of the authorship of the earliest Faux-Bourdon is difficult.
Dufay's contribution to this collection contains the first actual use of the term, in the closing part of his Missa Sancti Jacobi. It is possible that his use of the word "Bourdon" was intended as a pun on Saint James’ "Staff" (which Dufay, or the copyist, drew in miniature above the music). Cividale, Museo Civico MS 101 has a work "O Salutaris Hostia" (f. 82v) which seems to be a work of Faux-Bourdon, but not labelled as such.[1][2]
The earliest definitely datable example of Faux-Bourdon is in a motet by Dufay, “Supremum Est Mortalibus”, which was written for the Treaty reconciling the differences between Pope Eugene IV and Sigismund, after which Sigismund was crowned as Holy Roman Emperor, which happened on 31 May 1433. In this motet, which is for four voices, when the tenor—the lowest voice—drops out, the upper three voices proceed in Faux-Bourdon.
Even though its first use appears to have been in Italy, Faux-Bourdon was to become a defining characteristic of the Burgundian Style which flourished in the Low Countries through the middle of the 15th-Century. Composers such as Gilles Binchois, Antoine Busnois, and Johannes Brassart all frequently used the technique, always adapting it to their personal styles.
A related, but separate, development took place in England in the 15th-Century, called “Faburden”. While superficially similar, especially in that it involved chains of 6–3 chords with octave-fifth consonances at the ends of phrases, Faburden was a schematic method of harmonisation of an existing Chant; in the case of Faburden, the Chant was in the middle voice.
Example of Faux-Bourdon.
This is a portion of Ave Maris Stella, a Marian Antiphon,
in a setting by Guillaume Dufay, transcribed into modern notation. The top and bottom lines are freely composed; the middle line, designated "fauxbourdon" in the original, follows the contours of the top line while always remaining exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave.
The earliest explicit example of Faux-Bourdon may be in the manuscript I-BC Q15 (Bologna, Museo Internazionale e Biblioteca della Musica, MS Q15), compiled around 1435, which contains several examples, including one by Dufay dating probably to around 1430. Since many Early-15th-Century compositions are anonymous, and dating is often problematic, exact determination of the authorship of the earliest Faux-Bourdon is difficult.
Dufay's contribution to this collection contains the first actual use of the term, in the closing part of his Missa Sancti Jacobi. It is possible that his use of the word "Bourdon" was intended as a pun on Saint James’ "Staff" (which Dufay, or the copyist, drew in miniature above the music). Cividale, Museo Civico MS 101 has a work "O Salutaris Hostia" (f. 82v) which seems to be a work of Faux-Bourdon, but not labelled as such.[1][2]
The earliest definitely datable example of Faux-Bourdon is in a motet by Dufay, “Supremum Est Mortalibus”, which was written for the Treaty reconciling the differences between Pope Eugene IV and Sigismund, after which Sigismund was crowned as Holy Roman Emperor, which happened on 31 May 1433. In this motet, which is for four voices, when the tenor—the lowest voice—drops out, the upper three voices proceed in Faux-Bourdon.
Even though its first use appears to have been in Italy, Faux-Bourdon was to become a defining characteristic of the Burgundian Style which flourished in the Low Countries through the middle of the 15th-Century. Composers such as Gilles Binchois, Antoine Busnois, and Johannes Brassart all frequently used the technique, always adapting it to their personal styles.
A related, but separate, development took place in England in the 15th-Century, called “Faburden”. While superficially similar, especially in that it involved chains of 6–3 chords with octave-fifth consonances at the ends of phrases, Faburden was a schematic method of harmonisation of an existing Chant; in the case of Faburden, the Chant was in the middle voice.
The magnificent Choir of the Church of Saint Eugène. Paris, often include examples of Faux-Bourdon in their outstanding regular Choral arrangements for The Divine Mass and The Divine Office.
Their Web-Site, LITURGIA, gives a splendid indication of the quality of their Mass Settings and Office renditions.
You can listen to their renditions on YouTube at YOU TUBE
Votive Masses. All Of Which Can Be Requested Of Your Parish Priest (Pastor). Including A Votive Mass in Time of Pestilence (Such As Coronavirus).
Pope Saint Zephyrinus.
(Papacy 199 A.D. - 217 A.D.).
Date: 24 March 2006 (original upload date).
Source: Transferred from en.wikipedia;
Original uploader was Amberrock at en.wikipedia;
transferred to Commons by
User:Sreejithk2000 using CommonsHelper.
Author: Not Known.
(Wikimedia Commons)
Text from The Saint Andrew Daily Missal,
unless stated otherwise.
unless stated otherwise.
Votive Masses, which may be said on certain Feast Days of Semi-Double or Simple Rite, and on certain Ferias, have been instituted to meet the wishes of The Faithful and satisfy Private Devotion.
The ordinary Votive Masses, as also the ordinary Masses for The Dead, may not be said on Greater Ferias, except on those of Advent.
Examples of Votive Masses, which can be requested
of the Parish Priest, or Pastor, by The Faithful, include:
Votive Mass of Jesus Christ The High Priest;
Votive Mass of The Holy Trinity;
Votive Mass of The Holy Angels;
Votive Mass of Saint Joseph;
Votive Mass of Saints Peter and Paul;
Votive Mass of all The Holy Apostles;
Votive Mass of The Holy Ghost;
Votive Mass to obtain The Grace of The Holy Ghost;
Votive Mass of The Blessed Sacrament;
Votive Mass of The Holy Cross;
Votive Mass of The Passion;
Votive Mass of The Blessed Virgin Mary;
Votive Mass for Papal Election;
Votive Mass on the Anniversary of a Pope;
Votive Mass for the Consecration of a Bishop;
Votive Mass on the Anniversary of a Bishop;
Votive Mass of Ordination;
Votive Mass for The Sick;
Votive Mass for a dying Person;
Votive Mass for the Propagation of The Faith;
Votive Mass against The Heathen;
Votive Mass for the Removal of Schism;
Votive Mass in Time of War;
Votive Mass for Peace;
Votive Mass in Time of Pestilence;
Votive Mass of Thanksgiving;
Votive Mass for the Forgiveness of Sins;
Votive Mass for Pilgrims and Travellers;
Votive Mass for Any Necessity;
Votive Mass for a Happy Death;
Votive Mass of The Sacred Heart;
Votive Mass of The Holy Name;
Votive Mass of The Precious Blood;
Votive Mass of Christ The King;
Votive Mass of The Holy Family;
Votive Mass of The Immaculate Conception;
Votive Mass of The Seven Sorrows;
Votive Mass of All Saints;
Votive Mass of Any Canonised Saint
(even if not mentioned in The Universal Calendar).
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