Tuesday, June 30, 2026
An 11th-Century Musical Miscellany
Gregory DiPippoHow Every Painting Is Built, Part 1 of 2: Choice of Medium, and Why It Matters
David ClaytonThis is the first of two posts on the visual vocabulary of painting – the fundamental elements every artist works with, and how the way those elements are handled is what gives a painting its style, connects it to (or separates it from) a tradition, and marks it as the work of a particular individual. Next week’s post will take up line, tone, and color. This week, we begin with something that underlies all of those: the choice of medium.
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| Magistrate of Brussels, Sir Anthony Van Dyck, Flemish, 17th century, oil on canvas. |
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For the painter – the example I will use throughout this discussion to illustrate points that apply more generally – oil, watercolor, mosaic, fresco, and so on look very different and have distinct qualities that make them appropriate for some works but not for others.
In nearly every type of paint, the source of color is the same. Yellow ochre, for example, is an iron oxide formed naturally and dug out of the ground. To use it, the artist must find a way to get it to adhere to his chosen surface. He does this by placing the pigment in a binding medium that is sticky enough to hold the particles of color and fix them to the surface, and transparent enough for the pigment to remain visible once dry. Placing the pigment into a medium in this way is called tempering. If the medium is egg yolk, the paint is called egg tempera. Oil paint results from tempering pigment with linseed oil. Acrylic paint uses a chemically derived plastic as its binder. For watercolor, the binder is gum arabic. Encaustic suspends pigment in warm liquid wax, which solidifies as it cools. In mosaic, pigment is held within small solid lumps of ceramic or glass — called tesserae — which are embedded in wet plaster to create a pixelated image. In fresco, pigment is suspended in water and applied directly to wet plaster; as the plaster dries, it bonds chemically with the pigment, making the painting part of the wall’s structure. In every case, regardless of medium, the color yellow ochre is produced by finely ground particles of yellow iron oxide. These are some of the more traditional media; new ones are constantly being developed.
Each has distinct practical properties related to the binding medium, and those properties determine what a given medium is suited for. To begin with, each medium interacts with and reflects incident light differently, profoundly affecting how it looks. We can easily distinguish yellow ochre watercolor paint from yellow ochre oil paint, for example, because their optical properties differ: one looks pale and colors subtly, letting the paper substrate show through, while the other looks rich and deeply colored.
These optical differences also determine how far a given medium allows the artist to create the illusion of depth – and this also has a direct and powerful bearing on style. When Rembrandt layers multiple thin, transparent glazes of dark-colored oil paint over a surface, he creates the illusion of a deep, rich shadow into which we almost feel we could walk. The same technique applied in egg tempera produces nothing comparable – the result tends to look more like soot on the surface. Rembrandt almost certainly did not understand the physics that explain this difference, but he could see it, and that is what mattered to him. The icon painter, by contrast, wants his image to remain resolutely two-dimensional. He does not choose oil but opts instead for egg tempera, mosaic, or fresco, because the flat, stylized quality of those media serves the symbolic purpose of his image.
Alongside these optical properties, the purely physical characteristics of a medium also shape the choice. Mosaic and fresco are durable and permanent, but are fixed to the building’s structure, so they cannot be moved. Egg tempera is equally permanent and, because it can be applied to wooden panels, is well suited to portable images, such as icons carried in procession. Encaustic is more delicate because the melting point of wax is low, but, like tempera, it does not lose its color over time and can also be used for portable works. Oil paint is durable and, unlike the other media mentioned, flexible, so it can be applied to canvas, making paintings comparatively light and easy to transport; however, it is less permanent than other media because the binding medium tends to brown over time. When a 300-year-old oil painting looks dark and dingy, it is usually not dirty – it appears so because the linseed oil is no longer transparent.
All of this raises an interesting historical question. It is often said that the invention of oil paint in the 15th century enabled the development of naturalistic painting. I doubt this is quite right. Both eggs and linseed oil had always been readily available to artists who, until the 19th century, made their own paint (linseed oil, made from flax, is thought to have been in use for around 8,000 years). There is no particular technical difficulty in tempering pigment with either. Artists in any working studio would likely experiment with available materials and soon discover their different properties. As long as the intention is to paint in a highly abstracted style that minimizes the illusion of depth – as in iconographic and early Gothic art – there is no advantage in using oil. Only when an artist wants to paint more naturalistically does oil become the obviously superior choice. But I suggest the desire to paint naturalistically preceded the change in medium. It was the era’s philosophical developments – a changing worldview that sought a new kind of image – that prompted artists to reach for oil and set aside egg tempera. Technique follows philosophy, not the other way around.
A good artist chooses his medium to suit the kind of image he intends to make.
| Christ the Gardener, by Martin Earle, contemporary English, in egg tempera |
| 10th century mosaic, Hagia Sophia, Istanbul, the flat look of the images arises from the medium |
Monday, June 29, 2026
The Feast of Ss Peter and Paul 2026
Gregory DiPippo![]() |
| The Stefaneschi Triptych, painted by Giotto and assistants for the high altar of St Peter’s Basilica, ca. 1330. On the left, the Crucifixion of St Peter; in the middle, Card. Giacomo Stefaneschi kneels before Christ in majesty; on the right, the beheading of St Paul. In the upper part of the right panel, Angels bring St Paul’s blindfold to one of the women of the Roman church after his death, as Paul promised her would happen. (Public domain image from Wikipedia; click to enlarge.) |
Vere quia dignum et justum est, aequum et salutare, nos tibi semper hic et ubique in honore Apostolorum Petri et Pauli gratias agere. Quos ita electio tua consecrare dignata est, ut beati Petri secularem piscandi artem in divinum dogma converteret; quatenus humanum genus de profundo inferni praeceptorum tuorum retibus liberaret. Nam Coapostoli ejus Pauli mentem cum nomine mutasti, et quem prius persecutorem metuebat Ecclesia, nunc caelestium mandatorum laetatur se habere doctorem. Paulus caecatus est, ut videret; Petrus negavit, ut crederet. Huic claves caelestis imperii, illi ad evocandas gentes divinae legis scientiam contulisti. Nam ille introducit, hic aperit. Ambo igitur virtutis aeternae praemia sunt adepti. Hunc dextera tua gradientem in elemento liquido, dum mergeretur, erexit; illum autem tertio naufragantem, profunda pelagi fecit vitare discrimina. Hic portas inferni, ille mortis vicit aculeum: et Paulus capite plectitur, quia gentium caput fidei probatur: Petrus autem praemissis vestigiis caput omnium secutus est Christum. Quem una tecum, omnipotens Pater, et cum Spiritu Sancto laudant Angeli, venerantur Archangeli; Throni, Dominationes, Virtutes, Principatus et Potestates adorant. Quem Cherubim et Seraphim socia exsultatione concelebrant. Cum quibus et nostras voces, ut admitti jubeas, deprecamur, supplici confessione dicentes: Sanctus, Sanctus, Sanctus…
Saturday, June 27, 2026
David’s Lamentation for Saul and Jonathan
Gregory DiPippoMountains of Gilboa, let neither dew nor rain come upon you, for on thee has the shield of the mighty been cast away, the shield of Saul, as if he had not been anointed with oil. How are the mighty fallen in battle! Jonathan hath been slain upon the high places; Saul and Jonathan were lovely and very comely in their lives, in their death also they have not been not divided. (The antiphon at the Magnificat for the Saturday before the 5th Sunday after Pentecost.)
Aña Montes Gélboë, nec ros nec pluvia veniant super vos: quia in te abjectus est clípeus fortium, clipeus Saul, quasi non esset unctus óleo. Quómodo cecidérunt fortes in bello? Jónathas in excelsis interfectus est: Saul et Jónathas, amábiles et decóri valde in vita sua, in morte quoque non sunt divísi.![]() |
| The defeat of Saul and his sons by the Philistines on Mt Gilboa, depicted in a Bible made in Paris in the 1240s, now at the Morgan Library in New York City. (folio 34v, image cropped.) |
Friday, June 26, 2026
The Feast of Ss John and Paul, Martyrs
Gregory DiPippoThe Passion of the Holy Martyrs Saints John and Paul, as recounted in the pre-Tridentine Breviary according to the Use of the Roman Curia.
| The exterior of the church of Ss John and Paul, which was completely rebuilt in the 12th century. |
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A later and apocryphal tradition says that Julian the Apostate was killed by a Christian soldier in his army named Mercurius, (who is honored in the East as a Saint), as depicted here in a Coptic icon. (image from wikipedia.) The true historical date of Julian’s death is the same as the feast of Ss John and Paul, June 26th.
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R. This is the true brotherhood, which could never be injured in the struggle; who by shedding their blood, followed the Lord. * Disdaining the palace of the king, they came to the heavenly kingdom. V. Behold how good and how pleasant it is for brethren to dwell in unity. Disdaining. Glory be to the Father. Disdaining.
In the Breviary of St Pius V and its predecessors, this responsory is said on the feasts of Several Martyrs who are also brothers. The devotion to John and Paul is one of the oldest in the city of Rome, and the responsory was almost certainly originally written for their feast day.
The Praeceptis salutaribus
Michael P. FoleyAfter finishing the Canon, the priest introduces the Lord’s Prayer. He calls the assembly to pray with the familiar Oremus and then says or intones:
Praeceptis salutaribus moniti,Et divina institutione formati,Audemus dicere.
Taught by salutary precepts,And formed by divine instruction,We dare to say:
Why have the Gentiles raged,And why have the people devised vain things?
Qui inter cetera salutaria sua monita et praecepta divina, quibus populo suo consulit ad salutem, etiam orandi ipse formam dedit: ipse quid precaremur monuit et instruxit. [1]
Among His other salutary teachings and divine precepts with which He counsels His people for their salvation, He Himself also gave a form of prayer: He Himself taught and instructed what we should pray for.
Let us pray:Obeying our Saviour’s commandAnd taught by his divine institution,We dare to say: [6]
The truth which the Christian is persuaded to accept is not a truth in any ordinary sense of the word but… a beatifying or saving truth, which is fully appropriated only when it issues in those deeds to which it points as its fulfillment. [7]
Fieles a la recomendación del Salvador,y siguiendo su divina enseñanza,nos atrevemos a decir: [8]
Faithful to the Savior’s recommendation,And following his divine teaching,We dare to say:
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Giusto di Menabuoi, The Creation of the World; detail of the dome fresco in the Baptistery of Padua, 1378. (Image from Wikimedia Commons by Yukio Sanjo, CC BY-SA 3.0.) |
[Our Lord] so instructed His Apostles that, daily at the sacrifice of His body, believers may be bold enough to say [audeant loqui], “Our Father, who art in Heaven, hallowed be Thy name…” [10]
Pray [the Lord’s Prayer] thrice in a day, preparing yourselves beforehand, that you may be worthy of the adoption of the Father; lest, when you call Him Father unworthily, you be reproached by Him, as Israel once His first-born son was told: “If I be a Father, where is my glory? And if I be a Lord, where is my fear?” (Malachi 1, 6) For the glory of fathers is the holiness of their children, and the honour of masters is the fear of their servants, as the contrary is dishonour and confusion. For says He: “Through you my name is blasphemed among the Gentiles.” (Is. 52, 5) [12]
Comme nous l’avons appris du Sauveur,et selon son commandement,nous osons dire: [13]
As we have learned it from the Savior,And according to His commandment,We dare to say:
Obedienti alla parola del Salvatoree formati al suo divino insegnamento,osiamo dire: [14]
Obedient to the word of the Savior,And formed by His divine teaching,We dare to say:
Dem Wort unseres Herm uns Erlösers gehorsam,Und getreu seiner Auftrag,Wagen wir zu sprechen:
Obedient to the word of our Lord and Redeemer,And faithful to His command,We dare to say:
At the Savior’s command,And formed by divine teaching,We dare to say: [15]
Thursday, June 25, 2026
St Maximus of Turin, A Forgotten Father of the Church
Gregory DiPippoIn the Martyrology, the next-to-last entry for today reads, “At Turin, the birth into heaven of St Maximus, bishop and confessor, most celebrated (or ‘renowned’ (celeberrimi)) for his learning and holiness.” With all due respect to the great Cardinal Caesare Baronio (1538-1607), who wrote this entry for his revision of the Martyrology in 1568, it is something of a rhetorical exaggeration to say that Maximus was “most celebrated.” There is almost no trace of devotion to him as a Saint outside his native city. The Usuarium catalog of liturgical books does not record that his feast was kept anywhere in the Middle Ages, and indeed, the previous editions of the Martyrology which Baronius used as the basis of his text do not mention him. The oldest known biography of him was not written until about 600 years after his death, and is not regarded as historically trustworthy.
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| A statue of St Maximus at the shrine of Our Lady of Consolation in Turin. (Image from Wikimedia Commons by Syrio, CC BY-SA 4.0.) |
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| St Peter Enthroned, with Ss John the Baptist and Paul the Apostle, 1516, by Cima da Conegliano (ca. 1459-1517. |
The Birth of Polyphony: An Online Presentation Next Monday from Gregorian Chant Academy
Gregory DiPippoWe are happy to share this announcement from Mr Christopher Jasper and the Gregorian Chant Academy, about an upcoming presentation on the birth of liturgical polyphony.
Whether we look to the classical mastery of Palestrina and Bach, or the structures of modern secular music, the DNA of Western music can ultimately be traced back to the sacred repository of Gregorian chant. Right at the center of this historical lineage stands one man, perhaps the singular, most influential musician of all time: the eleventh-century Benedictine monk Guido d’Arezzo, the inventor of the diatonic scale. This year marks the 1000th anniversary of the publication of one his most widely-diffused and influential works, the Micrologus.
But Guido’s revolutionary developments did not emerge from a historical vacuum. Before his time, a critical foundation was laid by two anonymous ninth-century musical treatises: the Musica Enchiriadis and the Scolica Enchiriadis (“The Music and School Handbook”). These little-known texts provide our earliest surviving written description of how to sing in harmony, a practice historically known as diaphony or organum.- The Carolingian Context: In the ninth century, Frankish rulers demanded strict political and liturgical unity, requiring the supplanting of local Gallican rites in favor of the Roman rite.
- The Crisis of Memory: Entire dioceses were suddenly forced to learn an immense new repertoire of Roman melodies without the aid of precise, pitch-specific notation, relying entirely on voices and memory.
- The Monochord as Theological Proof: Using the Pythagorean monochord, medieval theorists demonstrated that the primary consonances – the Octave, the Fifth, and the Fourth – were audible icons of the cosmic and theological order established by God.
Wednesday, June 24, 2026
The Dawn Mass of St John the Baptist
Gregory DiPippoThis custom of the two Masses gradually died out, and was observed only in a few places at the time of the Tridentine liturgical reform; the Mass which survived, and is included in the Missal of St Pius V, is the second one, and the older of the two. Here is the full text of the dawn Mass; medieval commentators such as William Durandus noted that the day Mass was the more solemn, since it has more proper texts, while most of the Gregorian chants for the dawn Mass are also used on the feasts of other Saints.
Introit The just man shall flourish like the palm tree: he shall grow up like the cedar of Libanus, planted in the house of the Lord, in the courts of the house of our God. ℣. It is good to give praise to the Lord, and to sing to Thy name, O most High. Glory be. The just man...
Collecta Concede, quaesumus, omnipotens Deus: ut qui beati Joannis Baptistae solemnia colimus, ejus apud te intercessione muniamur. Per.
Collect Grant, we ask, almighty God, that we who keep the solemnity of blessed John the Baptist, may be defended by his intercession. Through Our Lord...
The Epistle for this Mass varies from one Use to another; in the Parisian version shown above, it is taken from Isaiah 48 (verses 17-19), the chapter preceding that from which the Epistle of the day Mass is taken.
Thus saith the Lord thy redeemer, the Holy One of Israel: I am the Lord thy God that teach thee profitable things, that govern thee in the way that thou walkest. O that thou hadst hearkened to my commandments: thy peace had been as a river, and thy justice as the waves of the sea, and thy seed had been as the sand, and the offspring of thy womb like the gravel thereof: his name should not have perished, nor have been destroyed from before my face.
The Gradual repeats the text of the Introit, with the second verse of the same Psalm.
Graduale Justus ut palma florébit: sicut cedrus Líbani multiplicábitur: plantátus in domo Dómini, in atriis domus Dei nostri. ℣. Ad annuntiandum mane misericordiam tuam, et veritatem tuam per noctem.
Gradual The just man shall flourish like the palm tree: he shall grow up like the cedar of Libanus, planted in the house of the Lord, in the courts of the house of our God. V. To show forth thy mercy in the morning, and thy truth in the night.
In some places, the Alleluia repeats the same words from Psalm 91 a third time, but in others, it was taken from the Savior’s own testimony to the greatness of John, from Matthew 11, 11.
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The Preaching of John the Baptist, by Domenico Ghirlandaio, in the Tornabuoni Chapel of Santa Maria Novella, the Dominican parish in Florence, 1485-1490.
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At that time: Zachary said to the angel: Whereby shall I know this? for I am an old man, and my wife is advanced in years. And the angel answering, said to him: I am Gabriel, who stand before God: and am sent to speak to thee, and to bring thee these good tidings. And behold, thou shalt be dumb, and shalt not be able to speak until the day wherein these things shall come to pass, because thou hast not believed my words, which shall be fulfilled in their time. And the people were waiting for Zachary; and they wondered that he tarried so long in the temple. And when he came out, he could not speak to them: and they understood that he had seen a vision in the temple. And he made signs to them, and remained dumb. And it came to pass, after the days of his office were accomplished, he departed to his own house. And after those days, Elizabeth his wife conceived, and hid herself five months, saying: Thus hath the Lord dealt with me in the days wherein he hath had regard to take away my reproach among men.
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| The Annunciation to Zachariah, by Giovanni di Paolo (ca. 1455-60; public domain image from the website of the Metropolitan Museum of Art in New York City.) |
Offertory In thy strength, O Lord, the just man shall rejoice, and in thy salvation he shall exsult exceedingly; thou hast given him his soul’s desire.
Secreta Munera, Domine, oblata sanctifica; et intercedente beato Joanne Baptista, nos per haec a peccatorum nostrorum maculis emunda. Per...
Secret O Lord, sanctify the gifts offered; and by the intercession of blessed John the Baptist, through them cleanse us from the stains of our sins. Through Our Lord...
The Communion antiphon is one commonly used for the feasts of Confessors.
Communio Posuísti, Dómine, super caput ejus corónam de lápide pretióso.
Communion Thou hast set, o Lord, upon his head a crown of precious stones.
Postcommunio Praesta, quaesumus, omnipotens Deus: ut qui caelestia alimenta percepimus, intercedente beato Joanne baptista, per haec contra omnia adversa muniamur. Per...
Postcommunio Grant, we ask, almighty God, that we who have received the food of heaven, by the intercession of blessed John the Baptist, may through it be defended from all adversities. Through our Lord...
What Were the Rites “Older Than 200 Years” for Which Pius V Made Exception?
Peter KwasniewskiThe following letter exchange is published here for the interest of NLM readers.
Dear Dr. Kwasniewski,
In an interview you did with Cameron O’Hearn, you mentioned that there were liturgical rites older than 200 years that Quo Primum did not suppress, but that most of them died out over time. Do you have a list of these liturgical rites that were not suppressed by Quo Primum but which eventually dissolved anyway? Is there also a comprehensive list of liturgical rites that Quo Primum actually did effectively suppress because they were younger than the two-century span he posited?
I would also love to read any academic sources on this subject to educate others on what a liturgical rite actually is. Most people do not realize how many liturgical rites exist or have existed. My hope is that the Traditional Latin Mass will not have to compete for the title “Roman Rite” and will someday simply be acknowledged as the Roman Rite bequeathed to us from across the centuries. Indeed, I have pondered the idea of the Novus Ordo just dissolving over time, as apparently did some of these local liturgical rites, instead of a Pope someday strictly banning it. Most Catholics start scratching their heads when I suggest that the Novus Ordo is likely to lose its hold and dissolve over time, but I really believe this is true.
Yours in Christ,
Father Fiddleback
Dear Father,
You are one of many priests I know who have been so seized with “Eucharistic amazement” through the traditional Latin Mass that they seek to join a fully traditional society of apostolic life or religious order. You may have seen the article I wrote about a priest’s crisis of conscience; many are they who have experienced similar awakenings.
I’m not aware of a simple list of suppressed or defunct rites (or, in most cases, more accurately “uses”), but we can say that there were many in England alone that the Reformation tragically swept away. Sarum was only the most famous. Similarly, the Mozarabic rite was nearly extinguished throughout Spain, surviving eventually only in Toledo, so in a way it can be considered a rite that died away and would have disappeared had not Cardinal Cisneros personally intervened. The rites of Lyons and of Braga were once quite prominent yet barely survive today, with just a handful of clergy who know how to do them.
It would have been ideal had Pope Francis left alone the “Pax Benedictina” of the two “forms.” Yes, one can object to the coherence of the idea, but on the ground it was working as a modus operandi. The “market forces,” so to speak, would have slowly but surely increased the share of the TLM, and the NOM would eventually have peacefully given up the ghost—especially because younger clergy would keep nudging it closer and closer to the TLM until a smooth adoption of the old rite would, in fact, be the logical and pastorally appropriate step. But the late pope allowed himself to be persuaded (or maybe he really believed it) that an all-out war against the TLM was necessary to rid the Church of the last impediment to the glorious revolution marked by Vatican II and its (putative) reforms, and so, now, we will be in the trenches for a while, and the stakes will be higher. Somehow this too is in God’s plan.
I posed your question to another learned fellow, who wrote this interesting reply:
“Basically, every diocese in Latin Christendom had its own use, plus independent monasteries and monastic congregations, plus religious orders, plus some important collegiate churches. Look at the list of uses at Usuarium: it’s huge! Of course, often several dioceses would share the same use, differing only in patronal feasts, and some of the newer dioceses such as in Finland and the Baltic just copied the Dominican use (also adding patronal feasts), so one would have to determine what constitutes an independent “use” and by what standards one may differentiate between uses—a question that exercises many a fine mind. Another difficulty is that a large number of pre-Tridentine books have not survived the ravages of time, especially in smaller dioceses, so we have precious little information about how the liturgy was celebrated there. Generally, no diocese outside of Italy imported their books from Rome, prior to Quo Primum; smaller and poorer dioceses imported them from bigger neighboring dioceses, almost always the metropolitan See.
“To carry out the project, one would have to determine when and why each diocese adopted the Roman rite, and what it means concretely to adopt the Roman rite—as many French dioceses at least amended their books ad Romani formam or ex decreto concilii Tridentini without actually outright adopting the Breviarium Romanum. But at any rate, any diocese that was itself older than 200 years would have been free to keep its own use. St Pius V’s bull was probably aimed at novelties such as the Quiñones breviary and the Ferrari hymnal (both of which, nota bene, had received papal approbation from his predecessors!) rather than against any local use as such.
“The only scholar I know who has even attempted an overview of this transition to the Roman rite is Dom Guéranger in his Institutions liturgiques: he not only gives detailed information about the French dioceses but also discusses, in more general terms, dioceses in the rest of Christendom. (Happily, Os Justi Press has published the meatiest parts of Gueranger’s Liturgical Institutions.)
“Based on Guéranger’s research, I’d say one of the most important reasons many dioceses changed to the Roman rite was financial considerations; it was cheaper to buy the Tridentine books than to publish their own, although it is surprising how many non-French dioceses did not adopt the Roman books until as late as the 19th century, such as the city and region of Cologne. On the other hand, it cannot be denied that many dioceses and religious orders experienced pressure to adopt the Roman books, despite what St Pius V actually said. (The ‘Spirit of the Trent,’ if you will!)
“An attempt to list all the proper uses would therefore be almost impossible without a lot of research, and in any case it would end up being mostly a list of all the dioceses that existed in the late Middle Ages.
“A final note about the term ‘uses’: liturgical uses are probably comparable to languages, in the sense that before the erection of firm borders between European nation-states there were seldom strict boundaries between languages, but rather a continuum existed that makes it difficult to mark where exactly one language stops and another one begins. And like languages, there were several ‘dialects’ of what one might classify as a single liturgical use. But no one has yet ventured to identify and classify all the liturgical dialects of Latin Christendom.”
With my very best regards,
Dr. Kwasniewski
| From a Sarum Rite Mass in Illinois, 2025, done with local episcopal permission |
Dear Dr. K,
Your colleague has provided much insight about the defunct liturgical rites. I realize that finding a complete list of former rites would be difficult considering that Latin Christendom had many dioceses and religious orders. Taking a look at Dom Gueranger’s Institutions liturgiques should provide some insight into what content these former rites contained. I’m delighted to hear that a translation has finally been published. It sounds like a keeper for my liturgical library.
I do believe St. Pius V was correct in promulgating his bull Quo Primum, considering how many local rites or uses there were. The Protestant Revolution was wreaking havoc in Europe and there was a need to make sure the liturgy was teaching Catholics what the Church actually believed. Making possible the adoption of a unified way of worship was crucial for handing down the Faith in the midst of this religious revolution spreading across Europe. Studying the content of the defunct liturgical rites might give us insight into why certain parts of Europe were better able to, or more eager to, accept the Missal of St. Pius V than others. Did these rites already look similar to the TLM? Were there unworthy novelties that needed to be rooted out? Were certain regions able to adapt quicker than others?
The late Msgr. Klaus Gamber hints in his book The Reform of the Roman Liturgy: Its Problems and Background that the Novus Ordo essentially fosters a creation of multiple rites due to the vast amount of options in the missal: “As we all know, we now have an abundance of individual ‘rites,’ since so many priests now design their own liturgy, just as they please. In this environment, can we really talk about a unity of a liturgical rite?” (p. 95).
I believe that studying the vast number of defunct liturgical rites can teach us about how to promote the TLM amidst a myriad of local “rites” that the Novus Ordo has de facto created. The options of the Novus Ordo create multiple variations of the sacred liturgy that Catholics deal with on a regular basis; this, added to linguistic differences, yields a confusing and chaotic map. Perhaps studying how the TLM conquered (as it were) a plethora of local rites would yield strategies beneficial to us today.
Yours in Christ,
Father Fiddleback
(I must say, Father raises here a very interesting parallel I hadn’t thought of before: how today’s situation of plurality might be compared to that of the late medieval period, suggesting the desirability of a new imposition of the once and future Roman Rite. May God someday bestow this immense gift on us by the hands of a future St. Pius V!)
Posted Wednesday, June 24, 2026
Labels: Dom Guéranger, local uses, Medieval Liturgy, Peter Kwasniewski, Pius V, pluralism, Protestantism, Quo Primum, Sarum
Tuesday, June 23, 2026
The Vigil of the Nativity of St John the Baptist 2026
Gregory DiPippoDo not be afraid, Zachary, thy prayer hath been heard, and Elizabeth thy wife shall bear thee a son, and thou shalt call his name John; and he shall be great before the Lord, and shall be filled with the Holy Spirit even from his mother’s womb; and many will rejoice at his birth. V. O Lord, in Thy strength the king shall be glad; and in Thy salvation shall he rejoice exceedingly. Glory be. Do not be afraid (The introit for the vigil of the Nativity of St John the Baptist.)
Introitus Ne tímeas, Zacharía, exaudíta est oratio tua: et Elísabeth uxor tua pariet tibi filium, et vocábis nomen ejus Joannem: et erit magnus coram Dómino: et Spíritu Sancto replébitur adhuc ex útero matris suae: et multi in nativitáte eius gaudébunt. V. Dómine, in virtúte tua laetábitur rex: et super salutáre tuum exsultábit vehementer. Gloria Patri. Ne tímeas.



















