New Liturgical Movement

4th Sunday of the Year, Simple English Propers

noreply@blogger.com (Jeffrey A. Tucker) — Fri, 27 Jan 2012 21:14:00 +0000

Simple English Propers

Four Missals Reviewed (Part 3 of 3)

noreply@blogger.com (Shawn Tribe) — Fri, 27 Jan 2012 17:25:00 +0000

In our first and second part of our review, we have looked at the external binding and some of the internal aspects of the following four missals:

1. The Magnificat "Altar Edition", priced at $199.00 USD.
2. The World Library Publications (WLP) "Deluxe Edition", priced at $395.00 USD.
3. The Midwest Theological Forum (MTF) "Regal Edition", priced at $500.00 USD.
4. The Catholic Truth Society (CTS) "Altar Edition", priced at £230.00 GBP

For our third and final portion of this review, our attention turns to the interior artwork of these missals. Let's get right to it.

Missal Art - Overview

Before we get into specific considerations of each missal, let's give a general overview comparison of the four missals placed side by side.

Four random samples from each Missal
Top Left: WLP, Top Right: CTS
Bottom Left: Magnificat, Bottom Right: MTF

The art used for Eucharistic Prayer I (The Roman Canon)
Top Left: WLP, Top Right: CTS
Bottom Left: Magnificat, Bottom Right: MTF

Speaking of each of these missals, one point which I think was lost out upon in each instance was that each Eucharistic Prayer does not include some sort of crucifixion art plate. While this would be difficult where a singular source of the Missal art has been chosen (as for example in the CTS edition), I believe it would have been good for each missal to somehow include such plates for each Eucharistic Prayer.

The Magnificat edition does include a plate for both EP I and EP II, however in the latter case, this is an image of Christ resurrected rather than crucified. The other editions include a crucifixion art plate only for EP I.

Missal Art - WLP Edition

With regard to the art and design of their binding, I haven't rated the WLP edition as highly by comparison with the other three editions under review. However, I have to say that when it comes to the interior artwork, this is another matter entirely.

I very much like what they have done here. The plates are well integrated into the text, both in the way they are reproduced on the paper, and also in the way they relate to the liturgical texts themselves. There is plenty of art within the Missal, but one is not inundated with it either.

WLP went with art from the illuminated manuscript tradition, and thus the artwork very much presents a consistent and unified sense through the book. The images are well proportioned to the page and include white space around them, which suitably frames each plate and integrates it well with the rest of the text.

Here are some examples of the artwork in their edition:

A job well done.

Missal Art - Magnificat Edition

While I was quite pleased by the front and back cover design of the Magnificat missal, its marbled endpapers and its large ornamental capitals, I'll have to say that I was personally disappointed with the way the interior art was handled within this edition of the Missal -- even though I like much of the art used within the missal itself taken on its own. (In fact, in at least one of those instances I quite liked the fact that they stretched our horizons a bit by including such works as Vincent Van Gogh's "The Good Samaritan." That inclusion, for myself, shows some of the positive potentialities that can exist for more modern styles of art within this context. Kudos to them for helping to explore that front.)

Where I was disappointed was not in the pieces selected, but rather in the way the art was generally approached in this missal, taken as a whole and in view of layout considerations. So then, what do I mean by this?

In the first instance, this particular missal includes a rather curious feature throughout it, whereby there are two consecutive pages of colour plates, thereby making for two individual plates and one two page plate:

While it is laudable to not take a minimalist approach to the art within a missal, I personally do not believe this is the way to approach an abundant use of art plates.

The art of a missal should clearly relate to and embellish the liturgical texts, serving as a sort of visual meditation on the particular feast or part of the Mass being entered into. (Hence the crucifixion art at the beginning of the Roman Canon for instance, or an image depicting a saint or one of the mysteries of our Lord to accompany a related feast within the liturgical year). While the art used in the Magnificat Missal does indeed make these linkages to the time of the liturgical year, I can see little purpose or benefit from these double page spreads. Such spreads may be suitable for an art book or text book (though even in that context they are unsatisfying since the centre of the image is always obscured), but not for an altar missal in my estimation for they offer little or no real co-relation to the liturgical text, being pages that would never be turned to in the liturgical use of the missal.

Further to this matter of the layout of the art, I would also comment that, with the exception of the crucifixion plate opposite EP I, the art work lacks any sort of bordering, with the images being published right to the edges of the page. Here I would reference back to the tradition of manuscript illumination and book printing in general where plates and illustrations nearly always included white space and potentially other bordering as well. Within a book context, having art without any sort white space is, to me, comparable to hanging a picture on the wall without a matte and frame; the result tends to look unfinished and informal.

The other issue I would raise with the artwork selected for the Magnificat missal is the fact that it widely varies in style and type. Various periods are covered from the ancient right up to the very modern; art is used that ranges from full colour plates to uncoloured woodcuts and engravings of different styles and levels of detail. The result is a lack of stylistic unity which therefore doesn't integrate as well into the missal as a whole I think.

Here are just a few examples of some of the art found within the Magnificat edition of the Missal:

I will say that, taken on its own, the EP I page is wonderful. One will note the white space and bordering and how much of a difference this makes in giving a more finished and sophisticated look. I would point out as well the drop capital and how well this all integrates together here.

I want to reiterate that much of the art found within the Magnificat Missal is quite beautiful in and of itself. There are some beautiful engravings and some glorious works in stunning, vibrant colour. My primary issue with regard to the art selected is that I believe it would have been better had the publishers had either chosen one style or period of art, or at possibly two (perhaps one for the colour plates and one for the non-coloured plates) and then given the art a more "bookish" and finished appearance by way of the bordering already discussed.

While I appreciate that there was likely an intent to include art of differing styles and differing periods in Magnificat's case, to accomodate a variety of tastes, and while I can appreciate the desire to not take a minimalist approach, to me this is an example of where less would have been more.

Missal Art - CTS Edition

Like WLP, CTS chose to use art from the manuscript tradition. CTS made the decision to obviously use a singular source for their art and I think the result is very good indeed. Their approach, in this regard, most puts me to mind of the missal printing tradition of old.

Here are a few samples.

The only shame inherited by the otherwise admirable pursuit of a singular art source is that the crucifixion image seen here, opposite EP I, happens to be less pronounced by comparison with the other editions

One will note the use of the white space as a natural 'frame' around the images, and the art depicted is entirely linked to the liturgical texts at hand. CTS opted to use glossier paper for their art plates and while that makes them a little less integrated by way of the different feel of the paper (by comparison with the rest of the pages) it also gives the art a brightness it could otherwise not have. Frankly doing this or not is a trade off either way and I can see merit in either approach. However, what is also pleasing to me is that even though a glossier paper was used, that doesn't mean the art plates were treated merely as extraneous, separate inserts into the missal; rather, missal texts are often found to be printed on the opposing side of these same pages. This was well done I think. (Incidentally, why I believe this integration is important would again relate back to the tradition of the book arts whereby the art was an integral and unified aspect of book itself. The art was designed specifically for the book in question. It is within this unity and integration that I believe we find its particular value and beauty. Anything that approximates it or approaches it likewise is therefore desirable in my own estimation and tends to work.)

Very well done indeed overall and certainly very visually appealing. It is certainly one of my favourites of all the missals I have seen, including those others not covered by this review.

Missal Art - MTF Edition

Finally we come to the MTF edition. While MTF's edition does not use art from a singular source as the CTS edition does, it does however present art of a very similar stylistic quality, and this helps to avoid any sense of disunity in the art. MTF opted, like WLP, to not go with a glossy paper format for their artwork, and as I note this is really a trade off. What they lose in vibrancy of colour, they gain in the very consistent integration of the art with the rest of the printed text.

As with the CTS and WLP editions, MTF uses white space to frame their images, and beyond that, they have also added a gold border around each image in edition. I think this works very well and to good effect.

Here are a few samples:

While I like all of the other "Roman Canon" pages of the four missals shown, I must confess it is very pleasing to see the Velázquez Crucifixion used in the MTF edition, which certain gives a nod back to the Benziger Brothers missals used within the context of the usus antiquior.

They have done a very fine job with their art.

Missal Art - Summary

I will have to say that I appreciate the artwork of the CTS, MTF and WLP editions equally. Each have merits to be seen in their own particular approaches, and each, more importantly, bring dignity and beauty to the respective missal, integrating well with the liturgical texts.

As noted early on, a missed opportunity for the art work in all of the editions is the lack of crucifixion plates for each of the Eucharistic Prayers. I would hope this might be considered in future editions.

My one final comment here about the matter of missal art is that I would generally like to see a revival in our liturgical arts pursued such that we not only rely on the artwork of previous generations, or rely on adapting art from another context to these particular purposes. While we know this can work, as is evidenced above, it seems to me that we should also look to commission original artists to specifically design and execute art for our liturgical books again.

While that is admittedly not a small project, neither is it an impossible one. I believe this would be very enriching, if well pursued and well thought out, and would offer a range of potentialities, from the classicist painter to someone operating more within an illuminative tradition.

This concludes the review of these four editions of the new English edition of the Roman Missal

Murals by John Singer Sargent at the Boston Public Library

noreply@blogger.com (David Clayton) — Fri, 27 Jan 2012 13:00:00 +0000

Yes really, I do mean at the Boston Public Library. It is quite a surprise to go into the public library and find a wonderful set of murals painted by the great American artist. One room has a huge set of murals on an Arthurian theme and then right at the top of the building is a room that the library calls quite simply 'Sargent Hall'. This are adorned with a set of Christian sacred imagery all conforming to a unifying schema.

I had heard about them before but only this past weekend have I seen them for the first time. They are oil on canvas set into the wall, with some painted plaster cast reliefs and were painted in a 20 year period from 1895. What surprised me was how Catholic the imagery is for civic buildings. Boston's Irish Catholic heritage is well known, but I hadn't anticipated that this Catholic influence would have reached up to the level of the dignitaries of the city at this time. Perhaps there is a high Episcopalian influence here as well?

We have murals of the Old Testament prophets, of the crucifixion with the a representation of the dogma of the Trinity and angels carrying the instruments of the passion, Our Lady of Sorrows and the 15 mysteries of the rosary. Apparently when artistic tastes turned against the naturalistic style around the early middle 20th century, they were almost destroyed. Luckily for us were saved and the suggestion to paint over them was opposed.

If these had been painted in England at the same time by any other artist, they would most likely have been in the pre-Raphaelite, and indeed there is some of that feel about them. However, Sargent, who is vastly superior to the English pre-Raphaelites, in my opinion, brings his knowledge of the 17th century baroque (which is the authentic liturgical root of the Western naturalistic tradition) into play. So just we would have seen in this earlier original period, we see in Sargent's work here the controlled intensification and depletion of colour; and variation in focus, carried out selectively to ensure that our eyes are drawn first to the most important points in each composition. The pre-Raphaelites in contrast painted with sharp outlines and even colour and so they overburdened their paintings with detail.

It is very difficult to manage complicated compositions with many figures Sargent handles the variation of these components so brilliantly and subltely that I find it difficult characterise further what he is doing beyond knowing that he is doing it.

The room, which is just a 3rd floor hall in the library leading to others containing library books, is difficult to photograph and so I give you the best I have been able to get hold of. One thing to point out about the style is that even though Sargent was trained as portrait painter, he seems to have understood the difference between sacred art and portraiture. The faces are less emotional and quite often placed in shadow, allowing us to identify with the general human characteristics of the person portrayed. This is in contrast to other sacred art of the 19th century and in accord with what a master of the 17th century, such as Zurburan, would have done. I have talked about this in more detail in an article called Is Some Sacred Art Too Naturalistic? We can see this brought out especially in the sketches for one of the mysteries of the rosary. The ones shown are for the finding of the boy Jesus in the temple.

As I studied these I was trying to picture these as a focus of prayer if they had been placed in a church. My personal taste in this regard is for the iconographic or gothic, so I am not the best person to make a judgement here, but my sense is that for those who are strongly attracted to the baroque style as liturgical art, these would seem appropriate and helpful. Certainly, I think that those Catholic artists who are interested in painting sacred art and have been trained in the academic method should study Sargent's style, which owes so much to the earlier 17th century form. This will help them to avoid the trap of imitating inferior artists of the late 19th century such as the aforementioned pre-Raphaelites and William Bougeureau (the reason that his style should be avoided, in my opinion, is described in the article linked above).

Our Lady of Sorrows

The Sorrowful Mysteries, above, and the Glorious Mysteries, heavily gilded, below is a photo of the full set of 15. This is painted on the arched ceiling of the room.

A Review of "The Dorchester Review"

noreply@blogger.com (Shawn Tribe) — Thu, 26 Jan 2012 21:00:00 +0000

While not liturgical, I know the NLM readership is a diverse audience of broad interests, ranging from other areas of theology to matters political and historical. As such, I wanted to make mention, particularly for our Canadian readers, but also for readers in the United States and elsewhere, about a new, quarterly journal coming out of Canada that I think will be of some interest, The Dorchester Review.

I first learned of The Dorchester Review by way of Andrew Cusack in his piece, A Breath of Fresh, Northern Air.

Andrew caught my attention in his own reference to the estimable German Catholic philosopher, Josef Pieper -- author of such works as Leisure the Basis of Culture and In Tune with the World: A Theory of Festivity. Said Mr. Cusack:

The editors did issue a brief statement explaining the genesis of their new review. They had me at their Pieperian first sentence: “The Dorchester Review is founded on the belief that leisure is the basis of culture.”

"Just as no one can live without pleasure, no civilized life can be sustained without recourse to that tranquillity in which critical articles and book reviews may be profitably enjoyed. The wisdom and perspective that flow from history, biography, and fiction are essential to the good life. It is not merely that “the record of what men have done in the past and how they have done it is the chief positive guide to present action,” as Belloc put it. Action can be dangerous if not preceded by contemplation that begins in recollection."

The endeavour of reviewing books, the editors acknowledge, has too often been reduced either to brief puff-pieces in the Saturday insert of the local paper or more high-minded but uncritical praise of like-minded academics for one another. “There are too few critical reviews published today, particularly in Canada, and almost none translated from francophone journals for English readers.” As someone with a lifelong love of Quebec, I am relieved that finally there is a review in my own language willing to take Quebec seriously.

“At the Review,” the editors continue, “we shall praise the good books and assail the bad.”

They also forthrightly explain their rejection of the narrow nationalist perspective that has been on the ascendant in Canada throughout the past century, especially since the foundation of The Canadian Forum. The Dorchester Review effectively throws Canada’s doors open to a more reasoned understanding of the country’s relationship with Europe (Britain and France particularly), America, the Commonwealth, and the world.

With the permission of the editor of The Dorchester Review, I wanted to share with you the following excerpts from the second issue:

And from the same issue, here a piece by Andrew Cusack himself:

And here is the full text of that opening editorial that Andrew referenced:

The Dorchester Review is founded on the belief that leisure is the basis of culture. Just as no one can live without pleasure, no civilized life can be sustained without recourse to that tranquillity in which critical articles and book reviews may be profitably enjoyed. The wisdom and perspective that flow from history, biography, and fiction are essential to the good life. It is not merely that “the record of what men have done in the past and how they have done it is the chief positive guide to present action,” as Belloc put it. Action can be dangerous if not preceded by contemplation that begins in recollection.

Every historian and every writer has an agenda, frequently political and often unadmitted. To the entrenched complacencies of much professional scholarship and literary journalism, one antidote is corrective and restorative history, engagingly written. There are too few critical reviews published today, particularly in Canada, and almost none translated from francophone journals for English readers. It also remains likely, as Orwell put it, that, “The great majority of reviews give an inadequate or misleading account of the book that is dealt with. ... The best practice ... would be simply to ignore the great majority of books and to give very long reviews — 1,000 words is a bare minimum — to the few that seem to matter.” At the Review we shall praise the good books and assail the bad.

The Dorchester Review has no political agenda but a robustly polemical one. If the mandate of The Canadian Forum at its inception in 1920 was “to trace and value those developments of art and letters which are distinctively Canadian,” then the mandate of The Dorchester Review is very nearly the opposite.

The nationalism that began with the 1920s centre-left has in some ways produced a narrowing effect on the country’s imagination, squeezing out elements of tradition and culture inherent to Canadian experience that fail to conform to a stridently progressivist narrative.

We confess another potentially unpopular belief: that, at its core, Canada’s strength and advantage — that of a British liberal society with a strong French national enclave, resilient aboriginal communities, and a vital pluralism born of successive immigrant arrivals — would be void if polemically separated from its European, Judeo-Christian and Classical traditions, which is another answer to: why history. We are conscious and grateful heirs to an invaluable if variously pressured tradition of free expression and criticism that is found and defended with particular seriousness in the North Atlantic societies, and this we think should be recognized, protected, and always enhanced.

In our choice of a moniker and historical patron we take the name of a bewigged British soldier, an astute and unapologetic colonial governor from the pre-democratic era, in order to underline that history consists of more than a parade of secular modern progressives building a distinctively Canadian utopia. That the King praised Sir Guy Carleton, 1st Baron Dorchester, as “a gallant and sensible man” is no small recommendation.

Finally, we gratefully acknowledge Toby Buchan’s acceptance of our invitation to serve as honorary patron. As an editor, publisher, and illustrator in England he is known as Mr Buchan. We approached him, however, as the 4th Baron Tweedsmuir of Elsfield and grandson of John Buchan, the great storyteller, historian, and 15th governor general of Canada. In that capacity, Lord Tweedsmuir graciously accepted. In the pages of this edition, notice can be found of the handsome new edition of John Buchan’s classic thriller, The Thirty-Nine Steps, with a fine introduction by his grandson, our hon. patron.

In general the Review will not take editorial positions unless grievously tempted. Four of our five contributing editors have written articles for the first issue: Randy Boyagoda, C.P. Champion, Phyllis Reeve, and John Robson, who bring varied literary and editorial talents to the cause. We are proud to carry articles by Gil Troy, Sam Menefee, Barbara Kay, Graham Stewart, Greg Melleuish, Conrad Black, Adam Chapnick, Mathieu Bock-Coté, and many others. We welcome submissions as well as letters and comments, encourage readers to take out a subscription, and, when necessary, disagree with us enthusiastically and intelligently!

Journals as these need support and encouragement. So might I encourage those of you interested to subscribe. It is rather reasonably priced.

Four Missals Reviewed (Part 2 of 3)

noreply@blogger.com (Shawn Tribe) — Thu, 26 Jan 2012 17:00:00 +0000

In part one of this review of four editions of the new English Roman Missal, we focused on the outer binding; I now wish to turn our attention to the inner aspects of these four missals, but before we do, let us review once more the four missals in question that we are looking at:

1. The Magnificat "Altar Edition", priced at $199.00 USD.
2. The World Library Publications (WLP) "Deluxe Edition", priced at $395.00 USD.
3. The Midwest Theological Forum (MTF) "Regal Edition", priced at $500.00 USD.
4. The Catholic Truth Society (CTS) "Altar Edition", priced at £230.00 GBP

Endpapers

Working our way inward from the binding itself, we come to the endpapers. In two of our missals, the CTS edition and the WLP edition, these are simply plain red coloured papers of sturdy weight:

WLP edition

CTS edition

These are fine as far as they go. That said, I do appreciate that the MTF and Magnificat editions added some traditional ornamentation here as well. Magnificat went with a marbled endpaper:

Magnificat marbled endpapers

MTF adopted a very striking gold design that employs stylized crosses; this one really jumped at out me when I saw it and it works particularly well with the gilding on the interior leather:

MTF endpapers

Make no mistake, details like this do indeed matter in relation to the overall beauty of the final product and they are more visible than one might think. I'd give the edge here to the MTF edition.

Typography

Under typography I primarily want to consider elements such as drop capitals and at the end of that detailed consideration, I will give a general summation of my thoughts on the typography generally. Of the drop capitals I will say in general that three of the four missals under review could have benefited by a more liberal use of them, including major and minor capitals. Aside from adding to the beauty of the text, these are very useful in helping to visually identify particular points within the text.

Now I said three of the four because the Magnificat edition did an excellent job in crafting major drop capitals, complete with art, and they will certainly get high praise from me for that; this particular aspect certainly sets them apart from the other missals at least in this particular regard:

Large capitals within the Magnificat Missal

The Magnificat edition also had three other styles for minor drop capitals, two of which I found a little less than desireable stylistically. Here is one such:

One style of drop capital in the Magnificat Missal

However, the drop capital style Magnificat adopted for the propers was far more classic and very well done; they generally did a good job in their edition of the missal insofar as they used these for each Mass of the liturgical year, and for all the proper prayers themselves.

Another style of drop capital in the Magnificat Missal

The MTF missal also uses some drop capitals within it, and they appear as follows:

The typography of the MTF Missal

Speaking personally, I prefer something a bit simpler for drop capitals of this size, but that is merely personal preference. My primary critique here is that these drop capitals are basically limited to the prefaces and the Ordo Missae. It would have been nice to see more drop capitals used for the proper as well.

The WLP edition, like the MTF and CTS editions, also has a limited use of drop capitals. They chose to use a black colour:

WLP edition

Here too, my personal preference is for a more classic style. My other critique is that, again the use of these drop capitals is extremely limited within the text, being mainly reserved to the Ordo Missae.

Turning finally to the CTS edition, they employ very classic drop capitals, my primary critique here is that I think they, like MTF and WLP, likewise could have used them far more liberally. As it stands, they are included for the Eucharistic Prayers, as well as for the Sundays of the liturgical year and a few other major places. They sit a bit high, but are otherwise very nice.

The typography of the CTS Missal

Now, all of that said, with regard to the basic typography and layout of each Missal, I don't wish to dwell on this a very great deal, but I can say that I find each missal perfectly legible. That said, of the four missals in question, I do generally find the CTS type the most pleasing generally. That said, the MTF and Magnificat editions also have their respective strengths in this same regard.

Missal Tabs

With regard the tabs of these various missals, some of this is really going to hit into a matter of priestly preference. The tab sizes vary from Magnificat which has the fewest and largest tabs, followed next by CTS, WLP and finally, MTF. Here they are in the same order:

Magnificat edition

CTS edition

WLP edition

MTF edition

Speaking of the construction of the tabs, I find the tabs used on the CTS edition to be, overall, the nicest. They are of a decent size and also made of a very nice material.

Regarding Magnificat's use of fewer tabs, while they do include additional tabs you can affix, I do think it would have been better if they had done as the other missals did and include the page tabs for each of the pages of the four Eucharistic prayers.

This now brings us to another matter surrounding the tabs. A curious feature of three of these four missals is that the first tab for the respective Eucharistic Prayers is, I will be so bold to say, incorrectly placed. (I should note that in the case of the WLP edition, they do get it right on Eucharistic prayers III and IV, which happen to begin on the left hand page, but wrong on Eucharistic Prayers I and II, which begin on the right) What do I mean by this?

What I mean is that if you look through traditional missals, the tab to turn to the Canon Missae page is placed upon the left hand page which typically bears the crucifixion artwork. That way, when you use this tab, you turn exactly to the page to which you intend to begin simply by pulling the pages leftward. However, in the case of the Magnificat and CTS Missals (and also the WLP missal for EP I and II), the tab is instead on the right hand page, and therefore when you use these markers, rather than being put directly to the beginning of the Eucharistic Prayer with a simple leftward turn of the pages with the tab, you must first do that and then flip the tabbed page back rightward in order to get to the beginning of the Eucharistic Prayer. These images might better give you a sense of what I mean. I am holding the tab marked for EP 1 (and you will note that the beginning of the Eucharistic Prayer is on the opposite side of the tabbed page being held):

CTS edition

WLP edition

Magnificat edition

The MTF edition was the only edition of these four missals that got these tabs correctly placed for each and every Eucharistic Prayer. Here is how this should work in my estimation:

This is one of those elements that could be easily corrected by the other publishers in future printings. I hope they will take note of it for little things like this do make a big difference.

Missal Ribbons

My final consideration for this second part of our review is with regard to the ribbon markers of the respective missals.

I am least impressed with the ribbons of the Magnificat edition which I think both too long and also too narrow for a book of this size. I also wonder if they might not be the sort whose ends will easily fray. These sort of ribbons strike me as better used for smaller liturgical books, but not full sized altar missals. Personally, I find thinner ribbons in larger, heavier books make it hard to use them to their purpose -- and also more likely to slip out of the pages.

Magnificat edition

The WLP edition's ribbons are better than those Magnificat, being both a bit wider, not so long, and feeling less likely to wear. I would call them acceptable.

However, 'top of the class' for the ribbons are the CTS and MTF editions. Not only do they include one extra ribbon (which is always useful), these ribbons are very nicely done, of good material, they are about one inch wide, and they also happen to be quite beautiful; they are thus both useful and ornamental (and the little flourish at the end will not only be more resistant to wear, it also makes them easier to grasp):

MTF edition

CTS edition

In terms of the colour of the ribbons, I was pleased that each of the four publishers used ribbons coloured, for the most part, in the liturgical colours as was often traditionally the case. This not only gives the ribbon markers a liturgical aspect, it also makes it easier to remember which ribbon to turn to for the proper -- provided you set the missal up that way. (e.g. using the violet ribbon to mark one the propers of the day in Lent and Advent, green during "Ordinary Time" and so on.)

I was a bit disappointed that none of these editions chose to include a black ribbon however, for this very reason (being useable on All Souls Day or in Masses for the Dead generally). Perhaps our publishers might consider that for a future printing.

In the third part of our review, we will turn our attention exclusively to the art of these four missals.

Crisis Magazine on the Vatican II Hymnal

noreply@blogger.com (Shawn Tribe) — Thu, 26 Jan 2012 13:00:00 +0000

Crisis Magazine recently published a piece on the "Vatican II Hymnal" published by Corpus Christi Watershed. Here is an excerpt from the piece:

The Church put specific prayers and chants in place for every Mass many centuries ago, with the intention that we should sing them regularly and ritually: an Introit at the beginning, a Gradual and an Alleluia after the readings, an Offertory and a Communion.

Each is an exquisite gem that inspires everyone who hears. Each bears an aura of antiquity that is astounding: many of them would have been heard and sung by St. Thomas Aquinas, St. Francis of Assisi, and St. Albert the Great.

The Church prefers that we use these chants today, and yet most of us have never heard them before. The Catholic Church does allow for some latitude in the music planned for Mass, but what was intended as an extraordinary exception has become a universal rule. Sunday Mass is now dominated by songs which are quite often musically inferior, thematically inappropriate, and lyrically shallow. The result is a lack of unity in God’s family and a watering down of the Mass’s inherent beauty.

Just as the Scripture readings are formally set and repeated in cycles throughout the ages, so also is the music we are meant to hear and share in. It is all for a reason, of course—it all works together to form a particular picture.

For example, at the Mass for the first Sunday after Easter last year Catholics heard specific readings from Acts of the Apostles, the 1st letter of Peter, and the Gospel of John. The homily expounded on those readings (one hopes) and in some way exhorted parishioners to imitate the first disciples spoken of in those readings. The Church thought all of this through a long time ago for the sake of the faithful—in general, everything at that specific Mass should celebrate these particular themes and subjects. That is the “picture” it forms.

The music should add even more color and texture to the overall picture. The best way to do this is what the Church has prescribed for centuries: chant. Gregorian chant is the best, most common way of singing what are called the “Propers” of Mass: the Introit, the Gradual, the Alleluia, etc.

This would amount to a revolution in parish music programs, and Ostrowski is sensitive to the seismic disturbances this would cause.

“I would suggest a two-step program,” he says. “Firstly, every secular, undignified, emotionally-driven song needs to be gradually banished from our churches. Secondly, we ought not to instantly take away hymns, because we have become so accustomed to them—and many are truly beautiful and they enhance worship. However, we should remember that chanting, especially the Mass Propers, is our ultimate goal.”

Read the entire article here: Crisis Magazine

Details: Ambrosian Reliquary

noreply@blogger.com (Shawn Tribe) — Wed, 25 Jan 2012 21:00:00 +0000

Reliquary of St. Charles Borromeo in the Duomo of Milan

Mozarabic Liturgy Celebrated by Archbishop of Toledo on Feast of St. Ildefonso

noreply@blogger.com (Shawn Tribe) — Wed, 25 Jan 2012 17:00:00 +0000

By way of Accion Liturgica, which in turn came from LexOrandi.es, comes word of the celebration of the Hispano-Mozarabic rite (since it is likely to be asked, I would presume this would be in accordance with the post-conciliar Missale Hispano-Mozarabicum) by the Archbishop of Toledo, D. Braulio Rodríguez Plaza, in the presence of Eastern Orthodox metropolitan Policarpo Stavrópoulos, celebrated on the feast of St. Ildefonso of Toledo and coinciding with the Week of Prayer for Christian Unity.

In his homily, the archbishop made reference to the Mozarabic liturgy, commenting that "the Hispano-Mozárabe liturgy is very expressive and moves us by its spirit and its deep spirituality."

Of historical interest, the chasuble and dalmatics worn (see below) are from a set which belonged to Cardinal Francisco Jiménez de Cisneros. (d. 1517)

Here are a few photographs from the Mass.

The Singing Priest

noreply@blogger.com (Jeffrey A. Tucker) — Wed, 25 Jan 2012 13:00:00 +0000

This is a message about priests from someone who knows. Fr. Pasley is the chaplain of the Church Music Association of America. He speaks here very bluntly about a pervasive issue concerning the singing of the Mass.

The CMAA Colloquium and the Priest
By Father Robert C. Pasley, KCHS
Chaplain of the CMAA
Rector of Mater Ecclesiae, Berlin, NJ

The annual CMMA Colloquium has been an overwhelmingly wonderful experience for over 20 years. It has been open to anyone interested in the Catholic Church’s official understanding of Sacred Music and its proper use in the Sacred Liturgy. Most of the attendees have been lay people with a small smattering of priests each year. In the last 5 years, a class on the correct tones for the celebrant has been added for priests and seminarians. The problem, however, is that most of what was taught was not printed in the liturgical books. Well, with the new Missal, this has now changed. The priest’s chants are printed from cover to cover.

I would like to extend a special invitation to priests and seminarians to consider attending the Sacred Music Colloquium XXII at the Cathedral of the Madeleine in Salt Lake City, Utah. June 25-July 1, 2012. If the Liturgy is to be restored, if chant scholas are to be formed, if the people are to learn to sing the Mass and not just sing at Mass, if we are going to be faithful to our tradition, then of all people, bishops and priests, must once again learn to sing the Roman Rite according to the tones of the Roman Rite.

Just recently I was watching the Mass on EWTN. The Franciscan priests of EWTN have done a superb job learning the chants of the new Missal. One day, a guest priest said the Mass, a good priest and a great preacher, but when he opened his mouth to sing, a Syro, Byzantine, Anglican, modified Roman, with a modern interpretive touch chant came out of his mouth. It was jarring and distracting and it was wrong.

It was not the priest chant of the Roman Rite. It was either what he was taught in the seminary, or what he heard another priest sing and liked, or his own invention, but it was not the proper chant of the Roman Rite. I am not trying to tear this priest down but just make a statement of fact, and he is not alone. So many priests mean well. They want to sing the Mass, but in the last 45 years they were taught nothing or next to nothing. There has been a breakage with our Catholic, liturgical, priestly musical traditions and it must be corrected. Now is the time for every priest and seminarian to buckle down, force themselves to unlearn bad habits, and learn the right way to sing the Rite.

The CMAA wants to help seminarians, priests and Bishops. We have many resources on musicasacra.org. We have Sacred Music Magazine and we have the magnificent Colloquium. Many priests might be intimidated by the Colloquium. “But Father, Father, I would like to come but I am not a musician. I can’t read music, and I’ll feel self-conscious around all those professional musicians.” First, you don’t have to be a musician but someone who wants to learn. If the priest doesn’t sing, the Sacred Liturgy can never be celebrated to its fullest extent. You are absolutely necessary, not only sacramentally but musically.

Second, to sing the Mass you will have to have some basic knowledge of chant notation. This year, all first time clergy and seminarians, unless you are a musician priest, will have to spend each morning in the basic chant scholas. This is necessary for a good foundation and it is a good way to see how greatly people will sacrifice to give glory to God. Third, there is no place for self - consciousness. Priests are the servants of God, His people and the Sacred Liturgy. They must do everything possible to learn how to pray and sing the Mass according to the mind of the Church.

The class on the chants of the Missal will be offered each afternoon. Not only will the new Missal be covered but the basic principles of music for the priest found in the Liber Usualis will be discussed. Orations, readings, prayers, the Eucharistic Prayers and chants for the Ancient Form of the Mass will be covered.

The highlight of the day is Holy Mass in the Ordinary and the Extraordinary Forms. The chants, the polyphony, the organ, and the variation of great styles of the sacred treasury of Catholic Music will be at the service of the Liturgy. These liturgies are meant to be paradigms of liturgical practice, musical excellence and moments of the most intense and uplifting prayer. You will be immersed in all things Catholic.

Finally, there is the social part of the Colloquium. You will meet priests, seminarians and people from all over the country and the world, who are filled with zeal for Sacred Music. You will network with priests, seminarians and people who want to do what is right. You will hear inspiring stories. You will be uplifted by the talks. You will be exhausted from the liturgical Opus Dei. You will laugh, be inspired and come away a better priest or seminarian and person.

Most dioceses offer their priests a stipend for further education. Check into it. Use that money for the Colloquium. You will not be sorry. I long to see many more priests and seminarians at the Colloquium this June. God Bless You!

Pugin: God's Own Architect

noreply@blogger.com (Fr Lawrence Lew, O.P.) — Tue, 24 Jan 2012 20:57:00 +0000

A beautiful and inspiring new documentary by the BBC about the life, passion, and work of A. W. N. Pugin, who spearheaded the Gothic Revival and changed the face of Britain's cities, is currently available online on the BBC iPlayer until 31 January.

What struck me most about this presentation of Pugin was the consuming passion and vision of this young man, who wrote his first treatise 'Contrasts' at the age of 21, and whose second book on the 'Principles of Pointed Architecture' re-iterated his belief that the honesty of Gothic architecture would reform the morals of Britain. His writing was so engaging and convincing, and his designs so captivating that Pugin influenced a generation of Victorian architects. Indeed, it is argued that his principles of honest architecture, suited to the human person and encompassing every detail, continues to inspire the work of modern British architects such as Norman Foster.

Of particular liturgical interest, apart from the churches such as Cheadle which feature in this documentary, is some footage from High Mass celebrated in the Extraordinary Form at the Pugin designed St Mary's Cathedral in Newcastle. The celebrant on that occasion was Fr Michael Brown, who blogs here.

The Sacred Liturgy: The Neglected Foundation to Building the Culture of Life

noreply@blogger.com (Deborah Morlani-Tribe) — Tue, 24 Jan 2012 17:00:00 +0000

I've received requests to re-post this essay written a few years back. With the March for Life in Washington, D.C. wrapping up yesterday, it seems there is a renewed interest in strategizing around building a culture of life in our respective countries. Often it seems the source and summit of the Christian life, the sacred liturgy, is often overlooked.

* * *

The Sacred Liturgy
The Neglected Foundation to Building the Culture of Life

by Deborah Morlani-Tribe

Many faithful Catholics are already only too aware that many of their fellow Catholics do not conform to Church teaching and support the culture of death to some degree, be it through contracepting, sterilization, abortion, euthanasia, embryonic stem cell research, IVF, or so on. The question that naturally comes to mind is this: how can Catholics who are going to Mass every week be living and thinking in such contrast to God's moral laws, as taught by the magisterium of the Church? The pro-life message is certainly “out there” and not unknown, so where is the deficiency that allows such a situation to exist and what can we do to address it? To answer these questions we need to consider the root of the problem and the font of Catholic life.

The Liturgy Is the Source and Summit From Which All Else Flows

The Church teaches us that the sacred liturgy is the centre, or font, from which all else flows within the Church; it refers to it as her source and summit. (Sacrosanctum Concilium para. 10) It is this tenet which allowed Pope Benedict XVI, while still a Cardinal, to note that “the Church stands and falls with the liturgy” for when one understands and accepts the central place which the liturgy holds within the life of the Church and her faithful, this clearly follows and should hopefully help us to appreciate the foundational place and importance of the liturgy in a variety of questions.

Returning to the question at hand then, it would not seem a stretch to suggest that an implication of this very centrality is that the culture of life itself also stands and falls with the liturgy. Why, we shall look at momentarily, but given our understanding that the liturgy is the summit from whence all else flows, and given the consideration of the impoverished, or "falling", state of the liturgy in so many parishes, it should perhaps come as little surprise that there would be a coinciding “falling” of the culture of life – to use the image of Ratzinger.

Putting Our Own House In Order: A More Serious Look at the Liturgy by the Catholic Pro-life Movement

I would propose, particularly to those actively involved within the pro-life movement (of which all Catholics, clergy, laity, and religious, should consider themselves involved to some extent), that the sacred liturgy needs to be looked at much more seriously as a significant foundation and tool for beginning to build the culture of life among fellow Catholics. Pro-life homilies, pro-life prayer intentions and social activism generally are all important let’s be clear, but they don't address the deeper, foundational problem that lay at the root of this issue; namely, the lack of a sense of God that exists not only within our culture, but even within our parishes. Before we can ever hope to bring about a conversion of the culture to a culture of life – and we are speaking, not merely of the changing of laws, but ultimately of the need for conversion -- we must first put our own house in order. If we understand and accept the teaching of the Church as regards the central importance of the liturgy and its relationship to doctrine, then surely we must neither ignore the fact that deficiencies there will lead to deficiencies elsewhere, nor that it is also an important place to begin to assert the solution.

The Necessity of God-Centred Liturgies: Lex Orandi, Lex Credendi, Lex Vivendi (The law of prayer is the law of belief is the law of living.)

In Evangelium Vitae, John Paul II taught that the root cause of the culture of death is a loss of the sense of God and, in the same vein, one will note that Pope Benedict XVI has been working quite intently to bring back the sense of transcendence and God-centredness within our liturgies; in short, to bring back a sense of God. So it is that a consistent theme emerges and also a consistent recognition of a problem within our churches today. The Holy Father knows well that if God is obscured within the sacred liturgy – the very place that is not only the source and summit of the Church, but also the heart, soul and primary point of contact for the faithful -- then it is likely to follow that God will be absent or obscured in the lives of the faithful as well. Consequently, this lack of sense of the Divine can lead to living a humanistic or self-centred existence which further leads to a lost sense of the sacredness of man; without a Creator, man becomes a mere organism in the vast universe of organisms that can be manipulated and used for any kind of fantasy by anyone who is stronger or more powerful.

It is well known that many parishes today have become more centred upon themselves as a community than being clearly centred upon God – what Ratzinger has called the “self-enclosed circle”. Many parishes are not following the authorized liturgical texts and rubrics -- often out of a misguided sense of "pastoral" creativity, or even simply out of ignorance. Nor do they sufficiently consider (let alone express) those elements which lend a sense of transcendence to the worship of God, particularly as expressed through the medium of beauty. To some these might seem rather unimportant surface considerations, but they are not. The sacred liturgy and doctrine are intertwined and the experiential dimension of the liturgy is a profound moment for catechesis and conversion. Accordingly, when there is problematic approach to the liturgy, and when unauthorized innovations are introduced, there can be a deficiency as well as a coinciding distortion of Catholic belief passed on to the faithful, and further a loss in the power of the liturgy to move the human heart and mind towards God.

By contrast, the sacred liturgy, when celebrated well and focused on God, is where the building of the culture of life begins for within the liturgy one experiences and encounters the perfection of the culture of life from the giver of life Himself, God our Creator. It is through this deep encounter with God in the liturgy that we witness and learn a perfect love that is self-giving and self-sacrificing; from that flows the possibility of conversion of heart and the reciprocal love for God in giving of our lives to Him and His Church just as Christ gave His life for us, a sacrificial reality which is perpetuated upon our altars at every Mass. From that love for God and desire to serve Him naturally flows an ability to better move outside of ourselves and love our neighbour, seeing their lives as inherently of value. Therefore, if we are to build a culture of life within our parishes and serve as leaven for our culture, the sacred liturgy must be oriented to God in all things, both interiorly and exteriorly. The liturgy must be celebrated in accord with the authorized texts and rubrics so that we might avoid obscuring Catholic doctrine or falling into a subjectivist mentality. The ceremonies must be reverent and beautiful, speaking to the worship of the Lord and the sacredness of what occurs, moving and focusing us accordingly. Finally, there should be liturgical catechesis for the faithful to help them to understand the greater meaning, focus and sacrificial reality of the Mass, emphasizing its primary end as the worship of God through the sacrifice of the Cross, including through postures and gestures, signs and symbols.

Pope Benedict XVI Leads by Example

The Pope has consistently written of and witnessed to the importance of both interior and exterior dimensions which orient the sacred liturgy toward God. He has led by example in directing how certain exterior forms contribute to a God-centered liturgy, such as through the “Benedictine altar arrangement” with a central Crucifix; his celebration of Mass ad orientem in the Sistine Chapel; the use of beautiful sacred music and vestments within the liturgy; and finally, by re-introducing kneeling for Holy Communion in his own liturgies. Moreover, the Holy Father has emphasized the importance of interiorly directing our minds and hearts toward God through mystagogical catechesis (meaning the teaching of the mysteries of the Faith) so that we can more fully know God through beauty and the sacred mysteries experienced in the liturgy and further be drawn into a more profound encounter with the Divine which can lead to a deeper conversion.

In Conclusion

To conclude, let us recall the teaching of the Church about the centrality of the liturgy and how all flows from it. Let us also follow the example of the Holy Father in addressing any crisis among Catholics first in looking at the liturgy and never neglecting it as a central part of the solution. Indeed, everything that happens within the sacred liturgy matters and all that is done to lead the faithful closer to God will ultimately work toward building the culture of life, which will necessarily come through, not simply legal means, but conversion of heart and mind to God.

Postscript: Addressing Some Common Objections

As a postscript, it would seem important to address a few common objections that arise whenever there is an attempt to assert the central importance of the liturgy in all its forms and aspects.

One objection is summarized by the sentiment that "all that really matters at Mass is that Our Lord is present in the Eucharist. These other matters are ultimately not of significant importance. They are simply nice-to-have’s or just a matter of taste.” This is a common objection that often comes up from many Catholics, and even some priests, when attempting to explain the importance of the sacred liturgy as though validity, sacramentality or Eucharistic piety is all that is of concern. Obviously they are of concern, but this view is not in accord with the Church's teaching and is based on what Ratzinger has called “abstract sacramental theology” and “reductionism”. Everything in the liturgy matters which is why the Church regulates it accordingly. In that regard, our focus cannot merely be upon validity or receiving and adoring the Blessed Sacrament, it must be deeper, and it must take more serious consideration of the Mass in all its aspects and dimensions and the implication of those aspects and dimensions. The teaching of the Church and the teaching of our Holy Father speak contrary to such an assertion.

A second objection is the suggestion that the liturgy really doesn't affect whether or not Catholics follow the Church's teachings on contraception, abortion, and so forth. This also does not follow, for if, as the Church teaches, the sacred liturgy is the source and the summit, the font, from which everything else flows, this clearly has the implication that what flows from the liturgy will also likely be manifest in the Catholic faithful who are present, for good or for ill. How could it have such importance and influence and not have such effects?

Another objection might be the suggestion that doctrinal catechesis through study, preaching and such methods is far more important in the building the culture of life than what goes on in the sacred liturgy, but this fails to consider some basic realities. First, liturgy and doctrine are inseparable; what goes on in the liturgy is catechetical in itself. It is an experiential form of catechesis, and accordingly, very powerful. Second, the liturgy is the first and primary source of catechesis as it is a living experience of the Catholic faith that draws one into an encounter with God. It is there that most Catholics come into the most prolonged and profound contact with their faith and it is through this means that they are most impacted and potentially moved, making them accordingly more disposed to receive more intellectual forms of catechesis. "By its nature, the liturgy can be pedagogically effective in helping the faithful to enter more deeply into the mystery being celebrated. That is why, in the Church's most ancient tradition, the process of Christian formation always had an experiential character."(Sacramentum Caritatis, para. 64)

A final objection might be that good liturgy doesn't guarantee that a Catholic will be pro-life and poor liturgy doesn't mean that a Catholic won't be pro-life. Of course this is true in point of fact, but while it may not be an absolute guarantee, and while exceptions can surely always be found, it does not change the fact of the central importance of the liturgy in Catholic life and faith, nor does it change the teaching of the Church on this matter.

Thomas More College Installs New Altar, Places Tabernacle in the Centre and Offers Both Forms Ad Orientem

noreply@blogger.com (Shawn Tribe) — Tue, 24 Jan 2012 13:00:00 +0000

(Merrimack, New Hampshire)—Students of Thomas More College returned from their Christmas recess to an exciting surprise—a beautifully transformed chapel.

While the students were home with their families, Thomas More College’s staff and faculty joined together to install a new altar, polish and position the tabernacle in the center, unveil three new icons, buff pews, wax floors, and tastefully paint and frame the sanctuary space.

The new mahogany altar is placed to ensure that the priest be Ad Orientem during both the Extraordinary and Ordinary Forms of the Mass. On the front is painted the traditional symbol of the chi rho, the first two Greek letters of ‘Christ’, emphasizing the symbolic representation of the altar as the body of Christ.

On the back wall hang four icons, painted by the College’s artist-in-residence, Professor David Clayton. Three of these icons were installed just this week: Our Lady, St. John the Evangelist, and St. Thomas More.

The icons of Our Lady and Saint John—the traditional figures shown at the cross—appear at the foot of the large hanging crucifix, even though it is suspended ten feet from the wall on which the icons hang. The icons are seemingly connected to the crucifix due to the complementary color schemes, matching borders, and careful positioning.

Interestingly, the unique placement of these icons also causes them to appear at the foot of the smaller crucifix, which hangs on the back wall for the priest to view during Mass.

“The icons were arranged in such a way as to draw the viewers’ attention to both the crucifixes and to the tabernacle,” Clayton noted. “Our Lady and St. John are looking at the tabernacle and their postures indicate they are paying homage to and adoring the Blessed Sacrament.”

The icon of Saint Michael the Archangel, unveiled last March, is now joined by a new icon of the College’s patron, Saint Thomas More. Both icons are five feet in height and two and a half feet width. They hang above the two smaller icons, while a fifth icon of the Sacred Heart, installed two years ago, hangs to the left above the bench where the priest sits during Mass.

Clayton said: “When we sing Vespers and Lauds, we always close by asking for the intercession of Saint Thomas More, Our Lady, Mother of Beauty, and a prayer to the Sacred Heart of Jesus. After Compline, we say the Saint Michael prayer. With the recent additions, we can now turn, face forward, and look directly at the appropriate image for each of these prayers and, thus, predispose ourselves to grace.”

The space is bordered with Fleurs de Lis on a background of warm burgundy. The Fleur de Lis is a traditional symbol of both Our Lady and the Trinity. As a result, the space is marked apart from the rest of the room as being the sanctuary.

Most important, changes made to the College’s chapel now allow the tabernacle to be situated in the center of the altar.

Dr. Fahey, president of Thomas More College, remarked, “When the Holy Father met with leaders from Catholic Universities and Colleges in the United States, he reminded everyone that ‘First and foremost every Catholic educational institution is a place to encounter the living God who in Jesus Christ reveals His transforming love and truth.’ It seems to me essential that we place Our Lord visibly at the center—the center of the Chapel and the center of our entire educational endeavor.”

Reverend John Healey, longtime chaplain of Thomas More College, stated, “The great deal of work done recently in the Chapel signifies in the community a wonderful devotion and love for Christ for which I am truly grateful. Deo Gratias!”

Former Altar and Tabernacle Placement

New Arrangement

Fr. Healey celebrates Mass in the Ordinary Form

The Other Modern: Slovak Girls' Academy, Pennsylvania

noreply@blogger.com (Matthew Alderman) — Mon, 23 Jan 2012 21:00:00 +0000

The Sisters of SS. Cyril and Methodius Slovak Girls' Academy is located in Danville, Pennsylvania, and was designed by the firm of Henry Dagit and Sons, Architects. The academy is presently closed but the convent remains. It was published in Liturgical Arts Quarterly in October 1940, and is distinguished by a handsome baldachin-like altarpiece, a travertine-faced chapel interior, and a lofty tower over the building entrance. A view of the chapel can be seen below.

Four Missals Reviewed (Part 1 of 3)

noreply@blogger.com (Shawn Tribe) — Mon, 23 Jan 2012 17:00:00 +0000

Within the past couple of months I have received four copies of four different editions of the corrected English translation of the Roman Missal for review. Now evidently the intent here is not to review the actual text of the Missal itself; that is what it is. Rather, the intent is to look at these missals from the perspective of the "book arts"; which is to say, to look at them in terms of their quality and beauty and with a specific consideration to our tradition of liturgical book publishing.

As such, the intent will be to consider elements like the binding, the external design and ornamentation, ribbons, tabs, interior art, typography and so on. The intent as well is to consider these simultaneously and comparatively, both in relation to one another, and with reference to some of our traditional missals.

Due to the scope, a singular post could quite quickly get out of hand and so I have determined to separate this review into two -- possibly three -- installments. Today's portion will give consideration to the binding itself. The next installment will focus more on interior aspects such as typography, art, page tabs and ribbon markers and so forth.

I will be forthright from the outset that in each instance I see strengths and weaknesses. My intent here is not to declare a 'winner', but rather to identify the particular strengths of each particular missal, as well as identify those aspects which I believe are weaker. A part of my hope is that such a review may also provide constructive food for thought for these publishers, should they put out another edition in the future.

The four missals in question that we will be looking at are as follows:

1. The Magnificat "Altar Edition", priced at $199.00 USD.
2. The World Library Publications (WLP) "Deluxe Edition", priced at $395.00 USD.
3. The Midwest Theological Forum (MTF) "Regal Edition", priced at $500.00 USD.
4. The Catholic Truth Society (CTS) "Altar Edition", priced at £230.00 GBP

Exterior Binding - Overview

Our tradition of liturgical book binding in the Latin rite has produced some exquisite works of sacred art in its own right. Indeed, it might be one of the most unsung aspects of our treasury of liturgical art for reason that is has been more hidden from general and popular view than say a vestment, a painting, the architecture or sacred music.

That being said, one of the critiques that has arisen since the time of the implementation of the liturgical reforms in the mid 1960's has been that the quality of our liturgical books has significantly declined. To some extent this may have been a sign of the aesthetic of the times, but surely as well there is another explanation; as the liturgical rites were revised and revised, there was an instability introduced with regard our liturgical books that would hardly foster the necessary investment of time or resources required for publishers to produce something of high quality -- a production which might find itself being revised within only a short span of time thereafter. While that is understandable from a publishing perspective, the unfortunate fact was that as the post-conciliar liturgical reform settled in, it would seem that the quality of our liturgical books did not significantly re-assert itself. Instead, it seems that the bar remained where it had been set within that era of instability -- namely, rather low.

So then, where do we find ourselves today, sitting now at this latest edition of the Pauline Missal? My overall view is that we have taken some definite steps forward, though we still have further yet to go -- which is pretty well what one could say with regard to all the other liturgical arts as well. We are in a process of recovery -- and it is a process.

With that said, as our first order of business I wanted to place these missals side by side so we could get a general sense of each of them in comparison with one another from an external binding perspective. Here they are (any of these photographs may be clicked upon if you would like a closer view):

(From left to right: WLP edition, Magnificat edition, CTS edition, MTF edition)

All four bindings for these particular editions are comprised of genuine leather, and this is certainly a marked improvement from much of what we have seen within the past few decades. Putting aside matters of design (which I will address momentarily), I find the WLP and Magnificat editions most satisfying from the point of view of the construction of the front and back boards; namely, the way the leather is applied to the boards and how the deeply the cover designs are embossed or "tooled" -- though there is room for improvement here too however. In the instance of the CTS and MTF editions, I think their covers would have been better served if the cover designs had been more deeply tooled and further had they not chosen to use padded covers -- for those who wonder what I mean by this, essentially the leather has a padding underneath of it making it "squishy" or "soft" to the touch. (The most familiar comparison I might be able to give here is to the way some large family bibles were published in the modern era.) Speaking for myself, while I otherwise quite like other aspects of their particular end product, my own judgement is that these two aspects take away from the overall quality and sturdiness these editions exhibit otherwise and I believe it could potentially make the covers and their respective designs less durable over time as well.

None of them employ a polished leather cover which can really set a missal apart.

Exterior Binding - Spines

All that said about the construction of the front and back boards, my take on the spines is quite the inverse.

(From top to bottom: CTS edition, MTF edition, Magnificat edition, WLP edition)

To their credit, each publisher has attempted to include some measure of decoration. Of these four, I believe the WLP edition is the least successful. The text on the WLP spine comes across as rather clumsy, both in size and placement, and the designs on the edge come across as a bit of an afterthought, as unfinished, and of course, they lack symmetry and order. The sense I receive from them is not what I'd expect for a liturgical book personally, but rather something more folksy in nature.

The Magnificat edition includes a very nice font for the titling and is coupled with some nice designs on the spine, though I personally believe that they would have been better served had they included raised bands on the spine. This would have complimented nicely the very beautiful and ornate cover design on their front and back covers. While the tooling on their cover is decent, the tooling on the spine seems to be lacking. Still, the end result is not unattractive; it is merely just a bit disappointing, particularly given the strengths of the front and back boards.

The MTF edition has, in my view, gotten the raised bands right, and it certainly provides a visible connection to what was very typically seen in traditional book arts as a result of traditional book construction. What their edition might have benefited from is some gold linear outlining of those raised bands as was often traditionally done. This tends to make the book have a more finished and neater overall appearance, while also adding a little extra detailing that beautifies and ties it into the bordering on the cover itself. The font for their titling is quite good and well proportioned and the use of the Chi-Rho design is also nicely done and nicely proportioned. As noted above about the front and back boards however, what is lacking here is the depth of the tooling. Still, very nice all said and very pleasing to look at.

Finally we come to the CTS edition. The spine here is also very nicely done, including some raised bands. My only thought here is once again about the tooling, and further that the raised bands would be improved if they had equilaterally spaced the raised bands down the entire spine, similar to what we see in the MTF edition. You will note, however, that they do use the gold linear outlining on the upper and lower edge of the raised bands and this works very well. The font used for the titling is very crisp and als works very well, though I believe the two small designs do not add a great deal; simple Greek cross designs might have been more effective and attractive. Overall a very successful effort however.

Taking all in all, I find the MTF and CTS spine designs the best of the four.

Exterior Binding - Gilding

Turning the page edges, each of these publishers have done an excellent job in having the exterior edges of the pages gilt in gold, and while this can be difficult to capture in a photograph, I can tell you that each publisher seems to have done an excellent job. This photo does not do any of them justice.

Exterior Binding - Cover Ornamentation

My final consideration for this first part will be the cover designs themselves, of which I am also considering the interior extension of the leather cover. By cover design, I am referring of course to the actual designs and not the considerations already given regarding the gold tooling or the leather work.

Let us begin with the MTF edition.

MTF edition front cover

The MTF edition includes a front cover design which includes a border design and a traditional iconographic representation of Christ the Pantocrator.

Speaking purely as a matter of personal preference, I would probably prefer something a little more typical coming from our Latin rite Missal tradition, but that said, the design is itself not without beauty and dignity, and certainly there is also room to expand and develop upon this tradition -- after all, missals were ornamented with everything from crosses, ecclesiastical heraldry, to purely organic designs. There is no singular, "correct" design in that regard. The back cover of the missal heralds a beautiful Chi-Rho design which is very well done.

The use of the borders on the cover is very well done and I would make particular note of how the gold gilt designs extend onto the leather that is visible from within the interior of the missal. This is extremely well done and, in my estimation, the best of the three that incorporate this.

* * *

Next, we look to the Magnificat edition.

Magnificat edition

Of the four missals, the Magnificat edition certainly has one of the most spectacular and striking cover designs. I frankly think that the design and its beauty speaks for itself. It is well balanced, symmetrical and includes a design of Christ at the Last Supper on the front (Chi-Rho on the back) with a vine and the branches theme within the four panels -- which also make up a cross design as well. Spectacular design.

As with the MTF missal, this edition also carries over the gold gilt design to the inner portions of the leather, and this is also very well done.

* * *

WLP edition

The WLP edition cover, while having the strengths of the deeper tooling I already mentioned, is the weakest cover design in my estimation -- though I will have to say that the final product is done far more justice than the WLP images on its website would make it appear.

My main thought here is that the cover would benefit from a greater symmetry and sophistication in its design. While I appreciate the idea of using more than just gold gilding in the cover design (which I have seen done to great effect in some historical missals), I think the design comes across as unfinished and perhaps too folksy in style. That said, the outer vinework designs are quite nice in their own right and are what struck me most positively about the cover. If they had been tooled in gold, it would have been that much better.

* * *

We finally turn to the CTS edition of the missal which is that which is probably most familiar to many of our readers.

CTS edition

This particular cover design is also very nice and very striking. It bears an ornamental Greek cross with the Greek Chrisogram "IC-XC NI-KA" -- meaning "Jesus Christ conquers."

The use of a border is likewise a very good inclusion on this design, as is the extension of the gilt design to the interior leather work.

A simple, beautiful and striking cover design.

Concluding Thoughts to Part 1

To summarize then, each edition has its relative merits and weaknesses in my estimation. If I could pick and choose this or that element from each bindings here presented, I would end up with the sort of missal binding that I would probably myself design. As such, while I cannot say that I find any particular one of these bindings to be a clear or overall favourite, I can say that taken in view of the cover art, the Magnificat and CTS editions would be where I would tend; however, taken in view of the overall binding in all its aspects, I would probably tend toward the MTF and CTS editions.

However, we cannot judge a book, or a missal, only by its cover, and so in my next installment I will turn to a consideration of the interior aspects of each of these missals.

The Musical Shape of the Liturgy

noreply@blogger.com (Jeffrey A. Tucker) — Mon, 23 Jan 2012 13:00:00 +0000

The phone rang last week, and it was a man upset about the music in his parish. I listened patiently but I already knew what he was going to say. I’ve heard it all a thousand times before. The music seems unCatholic. It has nothing to do with the season or the day. The performers are self indulgent. It’s too loud and pop sounding. And is the hymn (fill in the blank) really permitted?

Then the question came that I’ve learned to dread: what book can I give to the pastor and the musician to help them better discern what is appropriate for the Mass?

Silence.

I know it sounds crazy but there has not been a single work that really mapped out -- historically, theologically, musically, and practically -- the musical framework of the Roman Rite. There are great books on theology and history. There are several books of journalism and witty commentary on the state of Catholic music. There are much older books explaining rubrics.

But, if you think about it, there is no a single book that integrates it all, rises above it all to provide new insight, and gives a viable plan going forward that is rooted in the ritual structure, the traditions, and the legislation of the Catholic faith.

Now, at last, I can say that such a book exists. It is called The Musical Shape of the Liturgy. It is published by the Church Music Association of America. It will appear in print next month. Right now you can buy it on Kindle.

The author is William Mahrt, and, I can tell you, that he is the only person in the world who could have written a book like this. In addition to being the president of the Church Music Association of America, he is a professor of music at Stanford University. He is old enough to remember the change in the Mass from old to new. He was directing a parish choir the entire time, and this was in addition to his academic duties. He was researching old manuscripts and writing scholarly papers presented at academic forums.

This combination of duties led him to develop something unique: a mind that lives and thinks in the two and usually separate worlds of academia and parish life. His research is heavily informed by practical concerns. And his practical concerns are heavily informed by his historical, theological, and musical interests. It all flows together in this mind that has the patience to do over a lifetime what no one else has done.

The Musical Shape of the Liturgy is the first general treatise on music in the Roman Rite, one that can inform audiences of all types, whether parish musicians, academics, or Church officials. In some ways, this book is the culmination of a lifetime of experience. No, it wasn’t written all at once. Many chapters have appeared in other places. But when you look at the sequence of chapters, one is amazed at how they form a beautiful whole.

How can I summarize the thesis? Mahrt’s book demonstrates that the Roman Rite is not only a ritual text of words. It is a complete liturgical experience that embeds within it a precise body of music that is absolutely integral to the rite itself. This integration is not only stylistic (though style does matter). The music is structured to provide a higher-level elucidation of the themes of the Mass ritual itself. In other words, the music at Mass is not arbitrary. It is wedded to the rite as completely as the prayers, rubrics, and the liturgical calendar itself. Everything in the traditional music books has a liturgical purpose. When they are neglected or ignored, the rite is truncated and the experience reduced in potential to reveal and inspire.

These claims will amount to a total revelation to most all Catholic musicians working today, most of whom are under the impression that it is merely a matter of personal judgement whether this or that is played or sung. As Mahrt points out again and again, genuine Catholic music for Mass is bound by an ideal embodied in the chant tradition. This tradition is far more rich, varied, and artistically sophisticated that is normally supposed. More importantly, it is the music that is proper to the Roman Rite.

The opening section of the book, then, provides a four-part course in the musical structure of the liturgy. Here we discover the origin, history, and liturgical purpose of the ordinary chants. We discover the propers of the Mass and their meaning, and why they cannot be replaced by something with a completely different text and music without impoverishing the liturgy. We find out that the Roman Rite is really a sung ritual with parts for the celebrant, the schola, and the people. Everything has a place, purpose, rationale. It’s all part of a prayer. Even the tones for the readings are structured to signal themes and fit into an overall aesthetic and spiritual tableau.

The second section explores the particulars with detailed commentary on chants and their meaning. He covers entrance chants, offertory, communions, Psalms, alleluias, and sequences. Mahrt helps the reader understand their intricate structure and theological meanings, and provides a commentary that only a musicologist on his level can provide. The reader begins to appreciate the extent to which chant is far more profound than is usually supposed.

Further commentaries reflect on the polyphonic tradition that became part of the ritual experience of Mass in the middle ages. He explains how this music is an elaboration on the chant tradition and why it is included by the Church as part of the treasury. He writes on all the great composers of this period from Josquin to William Byrd. He moves on to cover the issue and question of the Viennese classical Masses, explaining why they continue to be appropriate for liturgy despite their apparent stylistic departure from the pure chant tradition. He covers the use of organ in Mass as well.

The third section turns to the specifics of putting all of this into practice in the contemporary world. He deals with English chant, offers specific commentaries on the case for “praise music,” investigates the meaning of inculturation and musical taste, and tackles pressing problems such as what to do when a parish has no budget and no singers. This section is the one that is of the highest practical value for pastors and musicians today, so much so that it would be tempting to read it apart from the rest. I think this would be a mistake. What is missing most from today’s Catholic world is the awareness of the the musical shape of the liturgy - that essential structure of what is supposed to take place in the Roman ritual itself.

When this manuscript was sent around prior to publication, there were widespread sighs of relief from everyone from parish musicians to Church officials. Finally. Finally! Finally we have the book that has been missing in all the literature on the liturgy. This is the book that fills that gigantic hole, the one that provides that insight into the liturgy that only a musician can provide and also elucidates the purpose and structure of the music itself. In addition, it provides a path forward.

This is the book that millions wish they could have read and thousands wish they could have written. It is finally here. I can see that this book will become a classic and will continue to be so long after this generation leaves this earth. It will resonate for decades and even centuries into the future.

Congratuations to William Mahrt. Thank you for this gift to the Church. These words will be repeated by many people long into the future.

Vatican Approval for Neo-Catechumenal Way Only Applies to Non-Liturgical Catechesis

noreply@blogger.com (Shawn Tribe) — Mon, 23 Jan 2012 00:25:00 +0000

Vatican City, Jan 21, 2012 / 05:15 pm (CNA).- The Vatican’s approval of the Neo-Catechumenal Way’s forms of “celebration” only applies to non-liturgical prayers within their catechesis and not to the Mass or other liturgies of the Church.

“With respect to the celebrations of the Holy Mass and the other liturgies of the Church,” communities of the Neo-Catechumenal Way must “follow the norms of the Church as indicated in the liturgical books – to do otherwise must be understood to be a liturgical abuse,” a Vatican official told CNA on Jan. 21.

[...]

In this process, “the Neocatechumenal Way obtained no new permissions whatsoever,” said the official, who is familiar with the approval process for prayers and liturgies.

“Essentially, the Pontifical Council is only approving these things that are found in the Catechetical Directory of the Neocatechumenal Way, and in no way touches those things contained in the liturgical books.”

[...]

Since its foundation, however, the group has been cautioned by the Vatican for inserting various novel practices into Masses organized by the movement. These include lay preaching, standing during Eucharistic Prayer, the reception of Holy Communion while sitting down as well as the passing of the Most Precious Blood from person to person.

“The Neo-Catechumenal Way has no such permission for any of these kinds of things,” said the Vatican official. He claimed that the Vatican still receives complaints about the group’s “non-compliance with the universal norms of liturgy.”

He added that it should be clear that “yesterday’s decree has nothing to do with the widely seen liturgical innovations of the Neo-Catechumenal Way,” which “should be stopped immediately because they don't correspond to the law about the way the Mass and the sacraments are to be celebrated.”

The only exceptions are two permissions granted which allow the group to move the sign of peace to before the presentation of the gifts and also to have communion under both kinds. Even these changes, though, still require the permission of the local bishop.

“The Church’s liturgy is narrowly defined as the public worship of the Church” such as Mass and the Liturgy of the Hours, the official clarified to CNA. Church norms for the liturgy, he said, are “found in the approved liturgical books and the Neo-Catechumenal Way is bound to observe these no differently than any other group within the Catholic Church.”

Full story: Catholic News Agency

NLM Quiz no. 10: What is this Book? The Answer

noreply@blogger.com (Shawn Tribe) — Sat, 21 Jan 2012 13:11:00 +0000

It seems about time for another of our NLM quizzes. The following is a detail from the title page of a book. What book is it? Use the comments (and as we always suggest, please make your answer first before reading the other commenters comments to make it more interesting.)

The Answer:

The Third Sunday in Ordinary Time, Simple Propers

noreply@blogger.com (Jeffrey A. Tucker) — Fri, 20 Jan 2012 17:37:00 +0000

The Simple English Propers are finally plentifully in stock again.

Maryvale Institute Offers Course on Sacred Art at its New Centre in the USA

noreply@blogger.com (David Clayton) — Fri, 20 Jan 2012 13:00:00 +0000

This is the same course that I developed with the faculty of the Maryvale Institute in Birmingham, England before moving to the United States three years ago. It is now offered in the US as well through the Maryvale Centre at the Diocese of Kansas City, Kansas.

The Maryvale Institute is the only Higher Institute of Religious Sciences with pontifical status in the English speaking world. It is good news that itss courses are now offered in the US via the Diocese of Kansas City, Kansas. This is not your standard online course - the Maryvale Institute has developed its own method of teaching at a distance through use of expertly designed coursebooks and attendance periodically at residential weekends. Termed 'collaborative learning' that is so effective that they view it as superior to the education recieved at conventional full time courses. The recent awarding of pontifical status - it has been created a Higher Institute of Religious Sciences by the Congregation of Catholic Education in Rome - is recognition of not only of its faithfulness to the Magisterium of the Church, but also the standard of excellence in the teaching offered.

The opening residential weekend for their course, Art, Inspiration and Beauty in a Catholic Perspective takes place in Kansas in July is intended both for working artists and those interested in art (with the thought that you might become the future knowledgeable patrons of the art). The weekend is run by course director Dr Caroline Farey with whom I worked closely in Birmingham when the course was first launched and I will teach too. Maryvale's mission is to deliver degree level education to working, mature students. As such it is designed so that no previous qualification is required in order to attend this course. The teaching method works from first principles and so anyone with the innate ability, almost regardless of previous levels of education, will flourish.

European readers should be aware that the course is still offered through the Birmingham campus of the Maryvale Institute in England.

For further details contact ecat2@archkck.org and information about this and other courses offered by the Maryvale Institute Centre in Kansas City can be found here.

Russian Liturgical Chant

noreply@blogger.com (Shawn Tribe) — Thu, 19 Jan 2012 21:00:00 +0000

Sint-Andriesabdij, Bruges

noreply@blogger.com (Shawn Tribe) — Thu, 19 Jan 2012 17:00:00 +0000

We have shown our readers a few images from the stunning Benedictine abbey church of Sint-Andriesabdij near Bruges before, but these photos are spectacular and show forth many exquisite details. I want to thank Rev. James Bradley of the Personal Ordinariate of Our Lady of Walsingham (who took the photos) for sending them into NLM this past autumn.

The church has an interesting mixture of styles within it, from echoes of the Roman basilicas to aspects of "other modern."

Superior of Spanish Priestly Society on the Promotion of the Usus Antiquior

noreply@blogger.com (Shawn Tribe) — Thu, 19 Jan 2012 13:00:00 +0000

Yesterday, I received an email from the English edition of Paix Liturgique; in it came this interview with Padre Manuel María de Jesús, the superior of the Fraternidad de Cristo Sacerdote y Santa María Reina, which fraternity we have featured numerous times here on NLM.

A SPANISH PRIEST AT THE SERVICE OF THE MOTU PROPRIO

A few months ago in Spain the superior of the Fraternidad de Cristo Sacerdote y Santa María Reina, Padre Manuel María de Jesús, published a little book titled "Motu Proprio Summorum Pontificum, Problem or Asset?" This work was soon translated into Portuguese, showing the interest it has garnered in the Iberian peninsula.

This self-published book goes straight to the crux of the issue and is actually breaking the silence surrounding Benedict XVI's liberation of the traditional Mass in Spain as in Portugal. This great silence has been quantified in the survey polls conducted in those countries: in Portugal, according to the 2010 Harris Interactive survey, 74% of Catholics had never heard of the Motu Proprio; in Spain, according to the 2011 Ipsos survey, the proportion reaches 81.7%.

Father Manuel's work is deserving. For this reason, we propose the following interview for you to discover the spirit that motivates him; it is deeply concerned with obeying the Holy Father and is filled with joy and gratitude for the discovery of the traditional liturgy.

The Portuguese cover of Fr. Manuel's book

I – INTERVIEW WITH PADRE MANUEL

1) Father Manuel, would you introduce yourself to our readers?

Father Manuel: My name is Manuel Folgar Otero--Father Manuel María de Jesús in religion. I was ordained in 1988 for the diocese of Santiago de Compostela where for ten years I was an assistant priest at Saint Joseph of Pontevedra, as well as a hospital chaplain, director of the Legion of Mary Curia and spiritual director of a section of the Ladies' Night Adoration. I taught Religion in middle school for twelve years. I have also been the administrator for a number of rural parishes for the past fifteen years and, finally, founder of a private lay association, the Fraternity of Christ the Priest and of Saint Mary Queen (Fraternidad de Cristo Sacerdote y Santa María Reina). From this fraternity came the Missionaries of the Fraternity of Christ the Priest and of Saint Mary Queen, a public clerical association (editor's note: like the Community of Saint Martin) which is also in formation. It is located in Toledo and I have been its superior since 2009.

2) What is your experience of the extraordinary form of the Roman rite and of the place held by the Motu proprio Summorum Pontificum in your life as a priest?

Father Manuel: Given my age--I was born in 1962--I have no memory of the traditional Mass in my childhood, not to mention my youth or later. The first time I ever attended a celebration of holy Mass according to what is now called the extraordinary form was after the year 2000. It was only from 2004-2005 that I got to know the traditional liturgy, during my visits to the monastery of Le Barroux. And in 2007 I was also able to discover the international seminary of the Institute of Christ the King, in Gricigliano, and Cardinal Cañizares who was conferring priestly ordinations there at the time. In fact, it was only after 2007, when the Motu Proprio Summorum Pontificum was published, that I began regularly celebrating the extraordinary form. In October of that year, during an unforgettable audience, Cardinal Castrillón Hoyos, president of the Ecclesia Dei commission, encouraged us.

Today the extraordinary form is a characteristic of our community and is acknowledged as such in our statutes.

My experience has been very positive and, in certain respects, even exciting. I have travelled along the path of discovery of this marvelous treasure that had been hidden from us in the company of my community's brothers as well as with my parishioners. For the older ones it was a rediscovery; for the younger ones, a total novelty. In my various parishes I have never encountered the slightest aversion or resistance against the traditional Mass. This may surprise some people, but it is so. My faithful and I, together, have lived in our own flesh the experience mentioned in the Gospel of the father, a householder, "who bringeth forth out of his treasure new things and old" (Mt 13:52). For us this father was His Holiness Benedict XVI, who opened up to us this marvelous treasure, old yet always renewed, that is the Church's 2000-year-old liturgy, an authentic monument of faith and piety.

In my priestly life it has meant an enrichment at all levels: in doctrine, prayer, identification with Christ priest and victim, etc. And also in so many other aspects I need not get in to today. I'll take this opportunity to point out an error. Some people acknowledge that the traditional liturgy can enrich the priest who celebrates it, but deem it to be detrimental to the faithful on the grounds that it would impoverish them spiritually by markedly decreasing or even preventing their participation and understanding of the liturgy. I must humbly say that this does not correspond to my own experience, quite to the contrary.

The celebration of the traditional liturgy compels the priest to give greater pastoral attention to the faithful, in the sense of devoting more time and energy to their doctrinal and spiritual formation. This permanent formation rests on teaching the true meaning of "actuosa participatio": the interior disposition to uniting oneself to Christ the Victim through the priest as the intermediary who, as minister of Christ and the Church, renews and offers the Holy Sacrifice. It also rests on the greater care with which one forms one's faithful liturgically and mystagogically. What right or basis do we have to underestimate the laity's capacity to participate in the Church's twice-millennial liturgy worthily and fruitfully? There are laymen with little education from simple backgrounds who could tell a thing or two to any number of those who think themselves learned. These are laymen who have never set foot in a school of theology yet who know by heart the content of the faith and who live out the Eucharistic mystery incredibly deeply and in profound union with Christ the Priest. They draw from their participation in the Holy Sacrifice the force and the inspiration to offer themselves up in turn, in their daily life, as living hosts, holy and agreeable to God.

Today, thank God, the faithful can read and follow the texts of the Holy Mass in their missal. They thus associate themselves more perfectly to the Prayers of the Holy Liturgy. This demands a greater concentration and attention than among those who rest content with listening.

Behind many of the objections to the Motu Proprio, one finds more ideology than legitimate reasons.

3) In the introduction to your book, you justify your work by the lack of knowledge regarding the Motu Proprio among Spanish priests and, to an even greater degree, laymen. So you are not surprised by the result of the Ipsos survey that Paix Liturgique commissioned just before the WYD, which indicates that 69.5% of Spanish practicing Catholics had never heard of it?

Father Manuel: I am not surprised at all. As a matter of fact I find that the result seems to fall short of the reality. I am convinced that the overwhelming majority of the faithful has never heard of the Motu Proprio. And that those who have heard something of it, including priests, do not know its content. There is little to be read about it. The idea that predominates, which is totally distorted, is that the Pope has authorized the Latin mass for Bishop Lefebvre's followers, period. Many are those who spread this equivocation with a view to soft-pedaling the Pope's teaching and to minimizing the importance of the Motu Proprio which, by the way, has force of law for the universal Church and which, as such, dictates authentic rights and duties to be respected by all.

Unfortunately, many people satisfy themselves with the sensational headlines that certain media offer and which distort the reality and truth of the report's content.

4) So your book--and its form as well as its content bear this out--principally seeks to make the text of the Motu Proprio and the Pope's desire in liturgy better known. What reception did it have in Spain?

Father Manuel: I've tried to do my best. The reception among those whom the book could reach has been very good, even though our means were limited. I self-published the book and, beyond my personal contacts, the book did not elicit much response besides a few sites on the internet.

For this type of subject you cannot count on Catholic publishers. They are not interested, it doesn't fit in with their editorial line . . . . Think only that when Bishop Schneider's fabulous book, Dominus Est--which is said to have been so pleasing to the Holy Father--was offered to different Spanish editors for minimal copyrights, none was willing to publish it. I don't know how that would go today . . . . And I am here speaking of Catholic publishers, some of whom are reputed to be "conservative". There again, ideology prevails. It's as though they wanted people not to know too much, not to think for themselves, and to bow to the dominant way of thinking. As sad as it is, it is so. Benedict XVI has often denounced the dictatorship of relativism. Well, one could just as well, I suppose, say that there is a dictatorship of single thought that is present and very powerful in certain circles.

Why do some people show so much fear at the idea that people might know, experience, and decide for themselves? Hasn't there been, for many years, a much-proclaimed notion that the laity are now adults? Couldn't we let the faithful decide, and stop throwing spanners into the Holy Father's decisions?

5) In your chapter 9,you insist on the necessary unity of local churches with Rome. Only one Spanish prelate, Bishop Ureña Pastor, has celebrated the extraordinary form in his diocese yet. Can one hope that other bishops will soon follow his example?

Father Manuel: To date, two other Spanish bishops seem also to have actually celebrated the extraordinary form, although this took place in near-secrecy: during WYD. No announcement, no reports. Nearly the only ones who attended were those who were sure to do so as they belonged to groups linked to the extraordinary form. I do not know whose responsibility this situation was, but I won't allow myself to believe that this was done in bad faith.

I don't imagine that other bishops will soon celebrate the traditional Mass in their dioceses, especially since there does not exist any significant demand on the part of the faithful, the religious, or priests. Yet many priests acknowledge that they dare neither learn nor celebrate it out of fear of uncomprehending criticism. In Spain, we are at the Nicodemus stage: we learn to celebrate secretly . . . .

There is no arguing against facts. And the facts tell us that it is up to the most determined and convinced laymen and priests to move things along. I do not know the Holy Father's innermost thoughts, but it seems that with the Motu Proprio the Pope has freed the argument from bishops' arbitrary decisions. These last years Rome has consistently insisted on the "right of the faithful" to participate in the traditional liturgy, not on the right of the bishops to authorize it or not. The highest liturgical authority is the Pope. It is Benedict XVI who promulgated the Motu Proprio and seized the occasion to recall that the traditional Mass was never officially forbidden. This leads me to think that wherever it was in effect forbidden, this was in defiance of the law.

Local churches are called to live in affective and effective communion with the Mother Church of Rome. This communion is expressed and manifested in an excellent way through the liturgy. Without a doubt, in every diocese, the bishop is the supreme responsible person for the liturgy, an office he must fulfill in perfect communion and harmony with the Apostolic See. This is precisely why the Motu Proprio in no way diminishes the bishops' authority.

Another monumental outrage consists in claiming that the coexistence of different liturgical forms jeopardizes ecclesial communion. This argumentation is easily refuted both from an historical point of view and from concrete reality. It is enough to consider the richness of the diverse Oriental and Latin rites. Who can seriously claim that such diversity jeopardizes the unity of the Church? On the contrary, the unity of the Church is under attack when truths of the Faith are denied, when the Magisterium is questioned, when the Vicar of Christ is disobeyed or whenever someone appropriates the liturgy for himself as though it belonged to him, "making it up" for himself outside of the Church's laws.

There are also some bishops who explain that in reality there isn't a sufficient number of the faithful requesting celebration in the extraordinary form. This sometimes happens to be true, at least in Spain. It is also true, however, that one cannot ask for what one does not know. Now, today, many are those who are unaware of the very existence of the extraordinary form and, for that reason, cannot freely express an opinion.

6) Getting back to the Ipsos survey conducted for Paix Liturgique: what do you think of the figure of 50.4% of practicing Catholics who declare themselves ready to attend the extraordinary form at least monthly if it were celebrated in their parish, without taking the place of the ordinary form?

Father Manuel: It does not surprise me per se. I even believe that the actual percentage of attendance might be higher, as I have noticed that wherever the extraordinary form is celebrated--after forty years!--the faithful are filled with wonder and ask to be able to attend again. They do not understand how such a treasure can remain hidden behind a bolted door. And I am speaking of laymen of all ages. It is very strange to see how much children like the extraordinary form. The traditional Mass is especially attractive to altar servers; likewise to young people who are particularly sensitive and disposed to beauty, the sense of mystery, adoration and contemplative silence.

I must also say that a preliminary formation and a veritable liturgical catechesis are required to rediscover all the symbolic, doctrinal, and spiritual wealth of this liturgy. The faithful are delighted by it.

7) Any last comments?

Father Manuel: I'd like to thank Paix Liturgique for this interview. As its name indicates, it seeks to attain liturgical peace and, above all, peace among hearts, which is the fruit of justice. And it is a work of justice to respect the rights of the faithful and to give the traditional liturgy its rightful place! This is how our dearly beloved Pope, Benedict XVI, puts it in the letter accompanying the Motu Proprio Summorum Pontificum: "What earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful. It behooves all of us to preserve the riches which have developed in the Church’s faith and prayer, and to give them their proper place."

To obtain the book (in its original Spanish version), you can send an email to: santamariarenet@hotmail.com or call at: 0034 619 011 226.

The Sacred Liturgy in New France

noreply@blogger.com (Shawn Tribe) — Wed, 18 Jan 2012 21:00:00 +0000

From the "Chant in Colonial Canada" page of the Gregorian Institute of Canada come the following interesting images. (Do go over there for more information and further images.)

Rituel du diocèse de Québec, 1703

* * *

Graduel Romain à l’Usage du Diocèse de Québec, 1800

* * *

Guillaume-Gabriel Nivers - In festo Vitae interioris Domini Nostri Iesu Christi, 1668

"This is one of the earliest chant editions specially destined to the Seminary of Saint-Sulpice, comprising the office and mass to be celebrated on the occasion of three feasts: Vitae interioris Domini Nostri Iesu Christi (celebrated on the Thursday following the second Sunday after Easter); Divini Sacerdotii Domini Nostri Iesu Christi (celebrated on August 30); and Vitae interioris B. Mariae Virginis (celebrated on October 19)."

The Entrance Defines Space and Time

noreply@blogger.com (Jeffrey A. Tucker) — Wed, 18 Jan 2012 17:00:00 +0000

Laetare, Gaudete, Requiem: even now, these words exist as part of the Catholic lexicon. We hear them but most Catholics have no idea where they come from. They are the first words of the entrance chants for, in order, the fourth Sunday in Lent, the third Sunday in Advent, and the funeral Mass. But there’s no particular reason why we should focus on these days instead of others throughout the year. Every Mass has an appointed entrance chant - and these chants have been largely stable since the end of the first millennium.

The new book by Jason McFarland, Announcing the Feast (Liturgical Press, 2011) makes the case that by dropping the text and music, replacing it with something else, we are removing an integral part of the Roman Rite. The entrance chant is not there merely to foreshadow the readings of the day; it is there to build a theological and aesthetic foundation for the entire liturgical experience of the particular Mass that is being celebrated.

The book is hugely significant in many ways. It comes to what might be called “traditionalist” conclusions but does so within the contemporary liturgical context. He points out repeatedly that the Missal is not the only liturgical book for Mass; there is also the Graduale Romanum, which is the musical framework for the Mass. It cannot be neglected. It is not up to us to make up the music we use. The music is given to us in an official book. We need to rediscover it.

The McFarland book covers vast history and offers detailed and subtle arguments for the entrance (or introit). For many people, especially Catholic musicians, this will be the first they have heard of this issue. It will be a surprise. And certainly its use would amount to a dramatic departure from the existing practice of most parishes.

How practical is it to use the entrance? For a parish with a schola (trained or in training), and a community that has already warmed to the depth and meaning of the Latin, it is extremely practical. From my own experience in using it, I can say that it really does prepare the space for the mysteries that follow, and that nothing else quite achieves that precise result as fully and effectively. But how many parishes have the proper groundwork laid to make this possible? I would say: not that many. Perhaps 5%, maybe 10%. Most have no schola. Most congregations are nowhere near prepared to be hit with a big Latin text upon arriving at Mass.

McFarland is aware of this. But he cautions: anytime you change the Latin to English, or you departure from the given melody in favor of something else, you are losing something important. He understands that singing the Gregorian introit is not really an option for most parishes right away. It is not merely a matter of turning a switch or pushing a button. There is much work to be done. So a large part of the book also involves the exploration of viable alternatives. He does a fine but incomplete job here. Even since his work was completed, several wonderful collections of alternatives to the Gregorian have been published, and right now many people are working on more. Some of the names involved: Adam Bartlett, Richard Rice, Adam Wood, Kathy Pluth, Samuel Weber. There are many others. The time of the introit may have finally arrived.

But what of the pastoral considerations? Can it really be so easy to replace the familiar “gathering hymn” with a real piece of liturgical music, even it is in English, even if it has a modern feel to it, even if the people are welcomed to join in the singing? The truth is that many pastors are very afraid to do this. They fear a kind of uprising. They worry that it will put people in a bad mood for the remainder of Mass. Just the prospect introduces anxiety for them and so they decide against it. This is very common.

The other day, I was visiting with a priest who has a very serious music problem in his parish - and I’ll spare you the details because you can probably guess. Hint: it’s the usual problem. In any case, he is ready for a change. He told me that he wants to be begin with introducing an English chant at communion, then move to offertory.

We would never discourage any progress and these are fine ideas. But there is a real problem here. Why are we waiting until the end or the middle of Mass to actually introduce music that is genuinely liturgical?

After a popular and bouncy entrance about some other topic (one or another version of “we are a happy people”), a popular and bouncy Gloria (“here is our happy song”), and probably a nice performance piece stuck into the intermission between the homily and the Eucharistic prayer, it can be jarring and strange to suddenly introduce something serious and meaningful. In fact, I can imagine that this is potentially dangerous from a strategic point of view. You put the chant at risk when you try to sneak it in as if you are adding medicine to soup you are serving a child.

Consider that the entrance might be the best way to begin the reform process. For the most part, people do not arrive at Mass prepared to reflect, pray, and experience the mysterious touch of time becoming eternity. They arrive carrying a gigantic satchel of emotional and mental baggage from the affairs of the week. They are carrying secular concerns in their head, secular tunes in their head, secular thoughts and ideas.

A poorly chosen “gathering song” only says to the congregation: hey, don’t worry about it. Nothing here is really different. This is pretty much the same kind of thing that has happened to you all week. This is more of the same: just another meeting, just another thing to do, just another place to be as you carry out your tedious obligations in life. You are doing this for the kids or maybe to reinforce some religious identity that your parents attached to you from birth. Otherwise, nothing is expected of you and nor should you expect anything to happen to you. It is all going to be over in an hour and you can go about your business.

These are the messages send by the very first piece of music that is heard at Mass. If this is so, how can you expect the homily to penetrate? How can you expect people to really listen to the prayers of the priest? How can you expect people to take the sacrifice on the altar seriously? How can you expect people to get serious about receiving the body of Christ?

It seems that there is wisdom in the Church’s idea to the introit. From the very outset, we hear the words of Christ in the Psalms proclaimed to us. From the Sunday forthcoming: “Let all the earth worship you and praise you, O God. May it sing in praise of your name, Oh Most High.” Then the Psalm verses follow. “Cry out with joy to God, all the earth; O sing to the glory of his name. O render him glorious praise. Say to God, ‘How awesome your deeds!’ “Because of the greatness of your strength, your enemies fawn upon you. Before you all the earth shall bow down, shall sing to you, sing to your name!”

Now imagine this text set to chant so that the text is very clear, proclaimed with confidence. No mixed messages, no yada-yada about the community, no dance beats, no forced rhythms. Now, that’s an entrance. Does it produce some degree of discomfort? Probably it does. Thinking about God and eternity tends to do that. But it works as a kind of stimulus to the spiritual mind and to the soul. It gets us on the right track. It prepares us to understand and be changed by what follows. Why would we ever decline to open Mass with this goal in mind?

There is the issue of whether people will sing along or whether this is a schola chant only. I happen to believe that this whole issue is overwrought. Most people do not arrive at Mass with an itch to belt out a pop tune or sing much of anything immediately. This is why the opening hymn is notoriously undersung by people. There is nothing wrong and much right about letting people just stand and watch the procession without having to fiddle with a book.

But even if this is an issue, there is absolutely nothing wrong with having the people join in to sing the chant, even the Gregorian chant. There is nothing forbidden about that. But neither is there anything wrong with not making it a religious obligation.

The entrance might be the perfect way to begin the reform process. The beginning is sometimes the very best place to start.

The Two Feasts of St. Peter's Chair

noreply@blogger.com (Gregory DiPippo) — Wed, 18 Jan 2012 13:00:00 +0000

The feast of St. Peter’s Chair was originally kept on one of two dates. Some sources, going back to the fourth century, attest to it on January 18th, among them, an ancient Martyrology formerly attributed to St. Jerome. Other sources place it on February 22nd, such as the Philocalian Calendar, which contains an equally ancient list of liturgical celebrations. It is not at all clear why exactly the same feast is found on two different dates, and even less clear why a surprising number of early Roman sacramentaries and lectionaries make no reference to it at all. However, in the later Middle Ages, the January 18th observance had been completely forgotten, and the liturgical books of the period before the Council of Trent, even those of the Ambrosian and Mozarabic Rites, are unanimous in keeping the feast on February 22.

In 1558, Pope Paul IV, (pictured right) a strong promoter of the Counter-Reformation, added a second feast of St. Peter’s Chair to the calendar, on January 18; a response, of course, to the early Protestant Reformers’ rejection of the governing authority of the see of St. Peter and the bishop of Rome. The newly restored feast was assigned to the day given in the ancient manuscripts, particularly the Martyrology “of St. Jerome”; the scholars of the era regarded it as an especially important witness to the traditions of the Roman Church, where Jerome had once live and acted as secretary to the Pope.

Although it was then a very new custom to keep two feasts of St. Peter’s Chair, both were included in the revised Breviary called for by the Council of Trent, and issued at Rome in 1568 under the authority of Pope St. Pius V. January 18th was now qualified, in accordance with the evidence of certain manuscripts, as the feast of St. Peter’s Chair in Rome, while February 22 is renamed St. Peter’s Chair at Antioch, where the prince of the Apostles was also the first bishop, and where “the disciples were first given the name Christian.” (Acts 11, 25) It should be noted that although the January feast was the more recent in terms of the liturgical practice of not just Rome, but the entire Latin Rite, the more important of the two titles is assigned to it, rather than to the better-established feast in February.

January 18th falls eight days before the Conversion of St. Paul; the restoration of a feast of St. Peter to this day was also certainly intended to reinforce the traditional liturgical association of the two Apostolic founders of the church in Rome. The early Protestants claimed justification for their teachings in the writings of St. Paul, several of which became for Luther a “canon within the canon” of the Bible. The two feasts, therefore, form a unit by which overemphasis on Paul is corrected by a renewed emphasis on the ministry of Peter. In accordance with the same tradition, the Use of Rome has always added to each feast of either Apostle a commemoration of the other; thus, the eight day period from January 18 to 25 begins with a feast of Peter and commemoration of Paul, and ends with a feast of Paul and commemoration of Peter.

The same day is also the feast of St. Prisca, who remains in the Tridentine Breviary as a commemoration. It is possible, though by no means certain, that an ancient relic believed to be the actual chair of St. Peter was first kept at or near the same catacomb where this obscure Roman martyr was buried, and later moved to the church on the Aventine hill dedicated to her. This basilica keeps its dedication feast on February 22; it is probably more than chance that both the feast and the dedication of St. Prisca should be on days associated with St. Peter’s Chair.

The former cathedral of Venice, San Pietro in Castello, also claims to possess a chair of St. Peter, that of Antioch. Regardless of the relic's authenticity, the writing on it is certainly Islamic, and of the 13th century.

The Breviary of St. Pius V also added on January 24th a feast found in many medieval Calendars, which, however, had not previously been kept at Rome itself, that of St. Paul’s disciple Timothy. The addressee of two of the Pastoral Epistles, and companion of the Apostle in so much of his missionary work, St. Timothy is very often called an Apostle himself in medieval liturgical books, like St. Barnabas. In the Tridentine Breviary and Missal, he is given the titles Bishop and Martyr; he was beaten to death by a mob in his episcopal city of Ephesus, many years after St. Paul’s death. His feast forms a kind of vigil to the Conversion of St. Paul; by this addition, each of the two great Apostles is accompanied, so to speak, by another Saint prominently associated with him.

Whether by coincidence or design, an interesting group of feasts occurs between that Ss. Peter and Prisca on the one end, and Timothy and Paul on the other. January 19th is the feast of a group of Persian martyrs, Ss. Marius and Martha, and their sons Audifax and Abacum. They were said to have come to Rome in the reign of the Emperor Claudius II, (268-70), and after ministering to the martyrs in various ways, were themselves martyred on the Via Cornelia by decapitation.

January 20th is traditionally kept as the feast of two Saints who died in Rome on the same day, but many years apart. The first is Pope Fabian, who was elected in 236, although a laymen and a stranger to the city. According to Eusebius (Church History 6, 29), he entered the place where the election was being held, and a dove landed on his head; this was taken as a sign that he was the choice of the Holy Spirit, and he was forthwith made Pope. Fourteen years later, at the beginning of the first general persecution under the Emperor Decius, he was one of the first to be martyred. He shares his feast with St. Sebastian, said to be a soldier of Milanese origin, as attested by St. Ambrose himself, but martyred in Rome in 286. The relics of St. Fabian are kept in one of the chapels of the church of St. Sebastian, built over the latter’s grave in the mid-fourth century.

On the following day, the Church has kept since the fourth century the feast of one of Rome’s greatest martyrs, St. Agnes, who was killed in the persecution of Diocletian at the age of twelve or thirteen. She is named in the canon of the Mass, and a basilica built near her grave was one of the very first public churches in Rome, a project of the Emperor Constantine himself, along with those of Ss. Peter and Paul, the Holy Cross, and St. Lawrence.

St. Vincent of Saragossa, another martyr of the last general persecution, has long been held in a special place of honor by the Church, along with his fellow deacons Ss. Stephen and Lawrence, all three of them having been killed in particularly painful ways. The church of Rome added to his feast on January 22 a martyr from three centuries later, St. Anastasius; he was a Persian who converted to Christianity after seeing the relics of the True Cross, which had been stolen from Jerusalem by the Persian king. This is a proper custom of the city of Rome itself; I have not found his feast in any other pre-Tridentine liturgical calendar. A church was built in his honor by the middle of the 10th century, directly across from the future site of one of the city’s most impressive monuments, the Trevi Fountain.

The 23rd of January was long dedicated to St. Emerentiana, the foster-sister of St. Agnes, whose murderers she bravely rebuked. While praying at her sister’s tomb two days after the latter’s martyrdom, she was spotted by a gang of pagan thugs, who stoned her to death. She was still a catechumen, but the Roman Breviary of 1529 states, “There is no doubt that she was baptized by her own blood, because she steadfastly accepted death for the defense of justice, while she confessed the Lord.” The mortal remains of both women are currently kept in a silver urn underneath the main altar of the church of St. Agnes outside-the-Walls on the via Nomentana, and thus, on the very site of Emerentiana’s martyrdom. (Her feast is now a commemoration on the feast of St. Raymond of Penyafort.)

The Martyrdom of St. Emerentiana, shown on a late 14th century cup in the British Museum.

To sum up, therefore, Peter is accompanied by a Roman martyr, Paul by a martyr of one of the oldest Greek churches, that of Ephesus, where both he and St. John the Evangelist had lived and preached. Between their two feasts are celebrated martyrs from the two extremes of the Christian world in antiquity, Persia and Spain; native Romans, one the highest authority in the Catholic Church, and one the least and last of its members; a Roman soldier from the venerable see of Milan, representing the might of the Empire, subjected to Christ; and a young woman who in the pagan world was a person of no standing at all, but in the Church is honored as one of its greatest and most heroic figures. The eight day period from January 18-25, then, becomes a celebration not just of the two Apostles who founded the church in the Eternal City, but of the universality of that church’s mission to “preside in charity” over the whole Church, as St. Ignatius of Antioch says, and bring every person of whatever condition to salvation in Christ.

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