Because the Church has such a glorious history of early martyrs (think of St. Stephen being stoned or St. Lawrence being roasted alive on a gridiron), it is easy to forget that the twentieth century produced the most martyrs – in fact, more than all other centuries combined. During that bloody period, approximately one million Catholics were killed for their faith on every continent except Antarctica and Australia.
Friday, September 25, 2026
Blessed Joaquín de Albocácer
Michael P. FoleyThursday, September 24, 2026
The Feast of St Thecla, First-Martyr Among Women
Gregory DiPippoIn the Byzantine and Ambrosian Rites, today is the feast of the virgin and martyr St Thecla; in the Roman Rite, she is kept as a commemoration on the preceding day.
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| Image from Wikimedia Commons by Shesmax, CC BY-SA 3.0 |
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| The apse of the ruined church of St Thecla in Seleucia, built at the site of her cave by the Emperor Zeno ca. 475. (Image by Klaus-Peter Simon from Wikimedia Commons, GNU Free Documentation License.) |
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| The Preaching of Ss Paul and Barnabas, by Giovanni Paolo Panini, 1744 |
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| St Thecla and the Wild Beats; relief probably made in Egypt n the 5th century, now at the Nelson Atkins Museum in Kansas City. (Photo from Wikimedia Commons by R. Huggins, CC BY-SA 3.0) |
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| The altar of St Thecla in the Duomo of Milan, by Luigi Bisi, 1872 |
Posted Thursday, September 24, 2026
Labels: Ambrosian Rite, Byzantine Liturgy, feasts, saints, St Paul, virginity
SingCon 2026 Gathers in Brampton, Ontario
Gregory DiPippoWe are very glad to share this report from the recently concluded SingCon musical conference, an annual gathering of cantors, choristers, choir directors, and anyone interested in the musical tradition of the Ukrainian Greco-Catholic Church.
Over 130 participants assembled to pray, glorify God, and experience their faith together through the liturgical worship and church singing traditions of the Byzantine Rite at the intercontinental sixth annual Ukrainian Greco-Catholic Church Singing Conference, better known as SingCon.
This year’s gathering was held in Brampton, Ontario, from September 10-14, hosted by Saint Elias Church in Brampton, Ontario, thanks to the efforts of pastor Father Toma Hrywna and the gracious parishioners, with the blessing of Bishop Bryan of Toronto and Eastern Canada. Participants came from all over Canada and the USA, as well as the UK and Europe.Wednesday, September 23, 2026
Relics of St Padre Pio (Part 1)
Gregory DiPippoA Missal for the Use of Braga, 1558
Peter KwasniewskiI will offer simple commentary here. Those who wish to read more about the Use of Braga should visit this dedicated website and search on NLM for “Braga.” Enjoy the show-and-tell! (As always, click the photos to enlarge them.)
Tuesday, September 22, 2026
The Iconographic Style, #2: Images Not Made with Human Hands
David ClaytonDoes an icon truly resemble our heavenly destiny, or only symbolize it — and what does Our Lady of Guadalupe tell us about the answer?
This is the second of two related articles on the iconographic tradition. In the first, I set out the history of the style, the modern myths surrounding it, and the theology that accounts for its visual language. Here I turn to a question that the tradition raises but cannot settle from within: does an icon actually resemble our heavenly destiny, or is it only a consistent system of symbols? The strongest evidence, I will argue, comes from the images said to be “not made by human hands”, and above all from that of Our Lady of Guadalupe.
As I described the various elements of the visual vocabulary of icons in the previous article, a question naturally arises: does what we see in these images correspond to what Christ and the saints actually appear to be in heaven? Or might it be an internally consistent system of visual symbolism that successfully communicates an idea of the eschaton without actually resembling our heavenly destiny? We cannot know that for certain until we arrive there.But the image spoke to the Aztecs about more than their own culture, because it also contained elements drawn from traditional Christian iconography, elements that are universal, speaking to all people of Christ. These were noticed by the 16th-century Spaniards and have connected with Christians from all over the world ever since.
The blue shawl, for example, is a common color for Mary’s outer robe, said to denote royalty; Marian chapels have traditionally had their walls painted blue. The eight-pointed stars represent her connection with the ‘eighth day’ of Creation, her Son, Jesus Christ, who rose on the eighth day of the week. Stars are not the only heavenly bodies represented; the moon appears as well, in accordance with the description of the woman of the Apocalypse, who stands upon an upturned crescent moon.
Another feature of particular interest is the nimbus of light surrounding her whole person. The account of the woman in the Book of Revelation describes her as ‘clothed in the sun,’ and the golden nimbus might correspond to this. But I would suggest that its presence here indicates more specifically Christ’s presence within her womb: it is there not so much for the God-bearer as for God himself, whom she bears. This is the visual means of indicating that Our Lady is with child, the divine child, and it complements the Aztec symbolism of pregnancy, the bow and ribbon. Had this image not also spoken to the Spanish occupiers, no one would have taken St Juan Diego seriously.
Look closely at the gold field that surrounds her. This is not, as one might first suppose, a series of bright gold rays emanating from Our Lady. Rather, it is a series of dark rays on a gold background, the outer limits describing the mandorla shape, a smooth almond. This mandorla darkens as we move toward its center, exactly as the mandorla around Christ in the Transfiguration icon does. It is worth noting that some later copies of this icon get this detail wrong, inverting the shading direction. Here, for comparison, is one painted around 1700; note the inversion of the shading of the mandorla, compared with the original.
Considering the style of the image: although it could never be mistaken for a Byzantine icon, it is nevertheless broadly in accordance with the iconographic prototype. This makes theological sense, since the iconographic style is the style of eschatological man, and Our Lady is portrayed in glory in heaven; it would be a most appropriate style for her apparition. In accordance with the iconographic tradition, there is no strong cast shadow; the image is defined predominantly by line rather than tone. If this were not a revealed image, our hypothetical artist would be not only a painter and a theologian of considerable insight, in addition to everything else already noted, but one who understood that the iconographic tradition was the most fitting for her representation, and who had sufficient mastery of its principles to apply them with legitimate modifications suited to the Spanish and Aztec context. His familiarity with the iconographic prototype in the case of the mandorla was, it seems, greater than that of at least some of his contemporaries, judging from the errors made in later copies.
If, on the other hand, we accept the tradition that this is an authentic icon not made by human hands, painted in a manner of speaking by the hand of God, then its remarkable degree of conformity to the iconographic tradition is itself evidence of how authentic and true a reflection of reality that tradition is. This, together with the other acheiropoieta, is among the strongest arguments for the authenticity of the iconographic style. The tradition was developed by faithful Christians in the first centuries of the Church, and we have every reason to believe they were divinely guided in that work.
Posted Tuesday, September 22, 2026
Labels: David Clayton, iconography, Icons, Our Lady of Guadalupe, Sacred Art
Monday, September 21, 2026
Symbols of the Four Evangelists
Gregory DiPippoI shall undertake (a commentary on) the prophet Ezekiel, whose difficulty the Hebrew tradition proves. For among them, unless one has completed the age of priestly ministry, that is, his thirtieth year, he is not permitted to read the beginning of Genesis, nor the Song of Songs, nor the beginning or end of this book…The Talmud therefore mentions that when one rabbi once offered to explain the passage to another, the latter replied “I am not old enough.”
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| The Vision of Ezekiel, by Raphael, 1518 |
He then takes the lion as the symbol of St John, representing the power of the Word in the creation and ruling of the world; the ox, an animal of priestly sacrifice, as the symbol of Luke, who begins his Gospel with the priest Zachariah; the man as the symbol of St Matthew, who begins with Christ’s human genealogy; and the eagle as the symbol of Mark, who begins “with the prophetical spirit coming down from on high to men, saying, ‘The beginning of the Gospel of Jesus Christ, as it is written in Esaias the prophet,’ … and on this account he made a compendious and cursory narrative, for such is the prophetical character.”
St Augustine accepted this symbolic explanation of these animals, but proposes what he calls “a more reasonable application of the figures” than that made by St Irenaeus and others, without critiquing anyone by name. In his book On the Harmony of the Gospels (1.6.9), he refers the lion, the king of the beasts, to Matthew, who speaks about Christ’s royal descent from King David, and tells us that the Magi called Him “the King of the Jews.” The man is referred to Mark, “who handles the things which the man Christ did”, and the ox to Luke for the same reason as Irenaeus. Since the first three animals “have their course upon this earth, (i.e., they walk and do not fly) … in like manner, those three evangelists occupy themselves chiefly with the things which Christ did in the flesh … Whereas John … soars like an eagle above the clouds of human infirmity, and gazes upon the light of the unchangeable truth (i.e. the divinity of Christ) with those keenest and steadiest eyes of the heart.” This last part refers to a common belief in the ancient world that eagles could look directly at the sun.
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| Folio 27v of the Books of Kells, ca. 800, showing the Symbols of the Four Evangelists. |
The book of Ezekiel also proves that these four Gospels were foretold long before, in which the first vision is formed thus: “And in the midst thereof the likeness of four living creatures: and the countenance thereof, the face of a man, and the face of a lion, and the face of an ox, and the face of an eagle.” The first face of the man signifies Matthew, who began to write as of a man, “The book of the generation of Jesus Christ, the son of David, the son of Abraham.” The second is Mark, in which the voice of a lion roaring in the desert is heard, “A voice of one crying in the desert: Prepare ye the way of the Lord, make straight his paths.” The third is that of the ox, who prefigures the Evangelist Luke, who took his beginning from the priest Zachariah. The fourth is the Evangelist John, who taking the wings of an eagle, and hastening to higher matters, treats of the Word of God.This order is repeated exactly, and for the same reasons, by St Gregory the Great at the beginning of his fourth homily on Ezekiel. Jerome then confirms the prophetic meaning of the vision by reference to the appearance of the same four animals in the fourth chapter of the Apocalypse, that “are full of eyes, and rested not day and night, saying: ‘Holy, holy, holy, Lord God Almighty, who was, and who is, and who is to come.’ ” The animals in the chariot in Ezekiel 1, and the cherubim in chapter ten are both described as “full of eyes.” He goes to make the same point first made by Irenaeus: “By all these things, it is clearly shown that only the four Gospels ought to be received, and all the ditties of the apocrypha ought to be sung by the heretics, who are dead, rather than by the living men of the Church.”
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| Detail of the St John Altarpiece by Hans Memling, 1474-79, showing the vision of St John in Apocalypse 4. |
Ad Magn. Aña Ecce ego Joannes vidi ostium apertum in caelo; et ecce sedes posita erat in eo, et in medio sedis et in circuitu ejus quattuor animalia plena oculis ante et retro: et dabant gloriam et honorem et benedictionem sedenti super thronum, viventi in saecula saeculorum.
At the Magnificat of First Vespers Behold, I, John, saw a door was opened in heaven, and behold there was a throne set in heaven, and in the midst of the throne, and round about it were four living creatures, full of eyes before and behind; and they gave glory, and honor, and blessing to him that sitteth on the throne, who liveth for ever and ever.
Ad Bened. Aña In medio et in circuitu sedis Dei quattuor animalia senas alas habentia, oculis undique plena, non cessant nocte ac die dicere: Sanctus, Sanctus, Sanctus Dominus Deus omnipotens, qui erat et qui est, et qui venturus est.
At the Benedictus In the midst and round about the throne of God, four living creatures, having wings, full of eyes on all sides, rest not day and night, saying: Holy, holy, holy, Lord God Almighty, who was, and who is, and who is to come.
Ad Magn. Aña Tua sunt haec, Christe, opera, qui sanctos tuos ita glorificas, ut etiam dignitatis gratiam in eis futuram praeire miraculis facias: tu insignes Evangelii praedicatores animalium caelestium admirabili figura praesignasti: his namque caeleste munus collatum gloriosis indiciis es dignatus ostendere: hinc laus, hinc gloria tibi resonet in saecula.
At the Magnificat of Second Vespers These are Thy works, o Christ, who so glorify Thy Saints, that Thou also cause the grace of dignity that will be in them to be first preceded by miracles. Thou marked beforehand the wondrous preachers of the Gospel by the marvelous figure of the heavenly animals; for by these glorious signs, Thou deigned to show the heavenly gift given to them; hence let praise, hence glory resound to Thee forever.
Posted Monday, September 21, 2026
Labels: Art, Church Fathers, divine office, feasts, Medieval Liturgy, saints, Scripture
Dr. Kwasniewski’s Midwest Lecture Tour, Sept. 30 - Oct. 4
Peter KwasniewskiSeptember 30 • Burr Ridge, Illinois (Chicago area): “Why Divine Woship Needs the Power of Non-Verbal Language”
October 1 • Ambridge, Pennsylvania (Pittsburgh area): “Exploring the Common Riches of the Byzantine Rite and the Roman Rite”
October 2 • Catholic Identity Conference (Pittsburgh)*: “The Traditional Latin Mass: What Truly Unites All the Clans”
October 4 • Carmel, Indiana (Indianapolis area)*: “Not Peacenik and Bambi-Lover, but Mystic of the Mass and Defender of the Eucharist: Discovering the True St. Francis of Assisi” (N.B. This will be the 800th anniversary of the death of the great saint!)
Each event will feature a talk followed by a Q&A and booksigning.
All details are found on the attached posters. Looking forward to meeting old friends and new.
(*CIC and Carmel events require registration; the other two are free & open to the public.)
Sunday, September 20, 2026
Durandus on the Book of Judith
Gregory DiPippoAs the book of Judith is read, we sing of how victory was given by the hand of a woman, and by this, the Church exhorts us to holiness, that is, to continence, by the example of Judith. For just as she killed Holofernes, a name which means, “he who weakens the fatted calf,” so does the Church advise us to kill Holofernes, that is, the devil, who weakens and kills the lustful in this world; and this will be done through holiness, by cutting off his head. For the head of the devil is lustfulness, because it is, as it were, the first way he begins to tempt men. Therefore does the Lord say, “Let your loins be girded” (Luke 12, 35), that is, gird yourselves against the first vice, according to that which is said in Exodus concerning the eating of the Paschal lamb (12, 11), “Ye shall gird your loins.” But in another sense, pride is the beginning of every sin. (Rationale Divinorum Officiorum, VI, 128, 1)
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| Judith Beheading Holofernes, 1612-13, by the Italian painter Artemisia Gentileschi (1593-1654) |
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| Judith Presents the Head of Holofernes, ca. 1660, by the Italian painter Mattia Preti (1613-99) |
Saturday, September 19, 2026
The Hymn of the Ember Saturday Masses
Gregory DiPippo![]() |
| Detail of a Christian sarcophagus of the Constantinian period (ca. 305-335), known as the Sarcophagus of Adelphia, discovered in the church of St John in Syracuse, Sicily, in 1872. On the far left, the Emperor Nebuchadnezzar points to a bust of himself set on a column, the gesture by which he commands the three children to worship it. Even though the Biblical text states quite unmistakably that the Emperor made an enormous “statue”, in early Christian art, it is usually represented as a bust on a column, since that it what the Romans used. (On the right side are represented the Miracle at Cana and one of the three Magi.Image from Wikimedia Commons by Davide Mauro; CC BY-SA 4.0) |
Lectio Daniélis Prophétae. In diébus illis: 49 Angelus Dómini descendit cum Azaría et sociis ejus in fornácem: et excussit flammam ignis de fornáce, 50a et fecit medium fornácis quasi ventum roris flantem. 47 Flamma autem effundebátur super fornácem cúbitis quadraginta novem: 48 et erúpit, et incendit, quos répperit juxta fornácem de Chaldáeis, ministros regis, qui eam incendébant. 50b Et non tétigit eos omníno ignis, neque contristávit, nec quidquam molestiae íntulit. 51 Tunc hi tres quasi ex uno ore laudábant, e glorificábant, et benedicébant Deum in fornáce, dicentes:
A reading of the Prophet Daniel. In those days, 49 the angel of the Lord went down with Azarias and his companions into the furnace: and he drove the flame of the fire out of the furnace, 50a And made the midst of the furnace like the blowing of a wind bringing dew. 47 And the flame mounted up above the furnace nine and forty cubits: 48 and it broke forth, and burnt such of the Chaldeans as it found near the furnace, the ministers of the king who were heating it. 50b And the fire touched them not at all, nor troubled them, nor did them any harm. 51 Then these three as with one mouth praised, and glorified, and blessed God in the furnace, saying:
It ends abruptly (and should always be chanted without the notes that indicate the conclusion) to segue into the following hymn, the only case where a reading is followed by a hymn instead of a gradual, tract, or alleluia. The text is closer to that of the Septuagint version, and the Old Latin version which depended upon it, rather than the Vulgate. The words “and praiseworthy and glorious unto the ages” are very cleverly incorporated into the doxology.




















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