Following up on three recent posts from earlier this month, this is the final set of Nicola’s photos of the abbey of St John in Müstair, Switzerland. The first part showed frescos from the Carolingian era, the second those of the Romanesque period, and the third, various Romanesque sculptures. I have titled this post Gothic and Baroque Sculptures for the sake of simplicity, but they are mixed in with some other things, including the abbess’ crook and pectoral cross, and some pictures of the nuns’ living quarters.
A wooden altar of Our Lady of the Rosary, with small panels of the fifteen mysteries arranged around the central image of the Virgin and Child, as Mary hands a rosary and a scapular to the faithful beneath Her.Friday, January 31, 2025
Gothic and Baroque Sculptures in a Swiss Abbey
Gregory DiPippoAn Important New Online Resources: Dom Lentini’s Te Decet Hymnus
Gregory DiPippoMy colleague Matthew Hazell has uploaded to archive.org a scan of an important resource for the study of the reform of the Divine Office, Dom Anselmo Lentini’s book Te decet hymnus: L’innario della “Liturgia Horarum”. Dom Lentini (1901-89), a monk of the abbey of Montecassino, was the head of the coetus (subcommittee) that reformed the Office hymns, and this book is the official account of their work.
The bulk of the book is taken up with the hymns themselves, with information on the author and date of each one, if known, or if not, an estimate at least of the period in which it was composed. In the cases where hymns are excerpts from longer ones, it indicates which strophes of the original text are used. (This is not by any means an innovation of the reform.) It also indicates where relevant, some of the other which breviaries had the hymn in their repertoire, i.e. Dominican, Premonstratensian etc. Prior to the internet age, the tools for researching other medieval breviaries were very limited, and so this information is certainly useful, but far from comprehensive. There are also many bibliographical references to scholarly collections of hymnography in which the original texts have been collected, such as the Analecta hymnica.Thursday, January 30, 2025
Historical Falsehoods about Active Participation: A Response to Dr Brant Pitre (Part 5)
Gregory DiPippoThis is the fifth and final part of my series in response to a video by Dr Brant Pitre of the Augustine Institute about active participation in the liturgy. The previous installments may be read at the following links. (Part 1; Part 2; Part 3; Part 4)
Having substantially and systematically mispresented the history of the liturgy, and of the laity’s participation in it, for almost 38 minutes, the remainder of his presentation is devoted to extolling the virtues of the post-Conciliar reform specifically vis-à-vis active participation.On the left, a page full of mute spectatorship; on the right, a page full of active participation. |
The Feast of St Martina
Gregory DiPippoAt the very beginning of the works to clear away the previous structure, the relics of St Martina were rediscovered within the ruins; Pope Urban VIII then added her feast to the general calendar, giving her two proper hymns of his own composition. (With all due respect to both the Saint and the Pope, they may easily be counted among the worst Latin hymns ever written.) Since the acts of St Martina are considered at best highly unreliable, her feast was removed from the general calendar in the reform of 1969. The confraternity of San Luca also keeps her feast day each year with a solemn Mass.
A reliquary of St. Martina, who was beheaded after undergoing many torments, placed on the main altar of the church on the feast day.
Posted Thursday, January 30, 2025
Labels: feasts, Patron Saints, Roman Basilicas, Sacred Art, saints
Wednesday, January 29, 2025
A New Clarification on Transferred Holy Days of Obligation
Gregory DiPippoI am sure our readers remember that last year, the Immaculate Conception, a holy day of obligation, was transferred off the Second Sunday of Advent in the post-Conciliar Rite. The USCCB had previously instituted a rule that when this happens, the obligation did not transfer with it, but more recently, the Vatican’s Dicastery for Legislative Texts had issued a general ruling that the obligation does transfer along with the feast. Of course, bishops are still free to dispense from the previsions of such a ruling, and I heard of some that did so. To make matters a little more complicated, in the current rubrics of the Roman Rite, the Immaculate Conception takes precedence over the Sunday, which means that some faithful who regularly attend a Sunday TLM were ad litteram required to attend Mass on Monday to fulfill an obligation for a feast which they had already fulfilled. I also heard of at least one bishop who officially ruled that the faithful in his diocese who attended the Mass of the Immaculate Conception in the traditional rite on Sunday, Dec. 8, did not have any obligation to attend it again on Monday, Dec. 9.
Last week, the Dicastery for Divine Worship issued a new ruling on the subject, which should in theory clarify the matter; it establishes as a universal liturgical law that when a holy day of obligation is transferred, the obligation does not transfer with it. I say “in theory”, however, because I have seen at least one canonist claim that DDW cannot override a decree from DLT. I am (Deo gratias) not a canonist myself, so I have no further comment to make on the topic, but I suspect that further comments will not be lacking. (Click image to enlarge. The Pillar published an article about the matter yesterday.)On Music and the Beautiful - Guest Article for the Feast of St. Francis de Sales
Peter KwasniewskiIn honor of today’s feast, that of St. Francis de Sales, NLM is grateful to Alan Hicks for offering us this de Sales-infused reflection on the objectivity of the beautiful and the manner in which habituation in what is beautiful shapes the human character. This is a key lesson to bear in mind when considering the beauty of the liturgy in its ceremonies, music, vestments, furnishings, and architectural setting: not only is giving glory to God by the best we can offer at stake, but also the formation of Christians in right instincts, appetites, and responses. The moral and the aesthetic touch at every border. It is also clear that true beauty takes time to get used to, and that we do no service to anyone by making “instant relevance” or “easy accessibility” the sole or primary criterion. - PAK
Alan Hicks
It is often said that beauty is in the eye of the beholder, and on the surface, at least, this seems to be the case. A beautiful object is always a source of delight—what we call aesthetic pleasure—and for different people different things will please. Clearly pleasure has an obvious subjective element, in so far as it resides in a human subject with unique dispositions and inclinations.
Yet there are serious difficulties in denying any objectivity to beauty or to the pleasure it engenders; not least is the recognition that while people may sometimes differ in their judgments of what is beautiful, there is also remarkable agreement, which would not be so if beauty was purely subjective. That is why there are lines of tourists at the Grand Canyon, Niagara Falls, or St. Peter’s Basilica; for such objects, both natural and man-made, have always possessed a universal aptitude to please. It is only because of this objective element, even allowing room for subjective taste, that it is possible to educate and form in the young a sense of beauty and an aesthetic sensitivity.
According to the ancient tradition, subsumed and elaborated upon throughout the Christian centuries, the objectivity of beauty rested upon its essential connection to what is true and good. Thus, the sense in saying that a moral person has a beautiful soul or even that a human act is beautiful. Accordingly, when the woman in the Gospel anointed Christ’s head with precious oil and was scolded for wasting wealth that could have been used for the poor, Christ replied that her act was kalos, literally translated as “beautiful.” [1] It would seem to follow, then, that one of the pathways to the good is through the beautiful, which in addition to its affective power to please, can contribute to the shaping of a virtuous and moral soul. Only with this understanding can we make any sense of the oft-cited line from Dostoevsky that “beauty will save the world.” [2]
The connection between goodness, truth and beauty is grounded in their nature as “transcendentals,” a term signifying attributes or properties transcending any division or category of being—all of which is to say that they are coextensive with being itself, accompanying existence in all its forms. As coextensive with being, they are convertible with one another, such that we may say that a thing is both true and good to the extent that it exists, and to the extent that it exists, it is both true and good. Hence their identity.
Their differences, on the other hand, are understood in their relation to us. Goodness, for example, is a transcendental aspect of being understood as desirable. As for truth, while we might say that it exists primarily in the intellect, in the intellect’s conformity to what is, it can also be said to exist as a property of being itself insofar as what exists is capable of being known. [3] Though beauty is not identified by Aristotle as a transcendental property, Plato sees the good as always beautiful, and therefore always pleasing to the perceptive powers of intellect and sense. This is essentially the position of St. Thomas as well. [4]
St. Francis de Sales, in the opening of his incomparable Treatise on the Love of God, describes this relationship of goodness and beauty:
As the Angelic Doctor, St. Thomas Aquinas, following the great St. Dionysius, well puts it, although beauty and goodness agree to a certain extent, they are not one and the same thing. The good is that which pleases appetite and will; the beautiful is that which pleases sense and understanding. To put it otherwise, the good is that whose possession delights us, while the beautiful is that whose apprehension pleases us. For this reason, we attribute corporal beauty in the strict sense only to the object of the two senses that have the greatest capacity for knowledge and best serve the intellect, namely, sight and hearing. We do not say, ‘These are beautiful odors or beautiful tastes,’ but we rightly say, ‘These are beautiful voices or beautiful colors.’ [5]Of course we desire to possess beautiful objects, for those objects are also good, and there is a corresponding pleasure in the possession. But the beauty of the object itself cannot be possessed and enjoyed except through apprehension, and this apprehension and its resulting aesthetic pleasure can be, and often is, of those things we do not possess in any material sense. I can get as much pleasure looking at a beautiful picture that is owned by my friend as my friend, I just don’t get it as often.
Now one of the most widespread of human pleasures is the delight found in music, and in regards to this beauty which pleases the understanding through the medium of sound, we may ask: what it is in music that gives it its beauty and appeal? St. Francis de Sales is again a rich source of insight:
Unity established within a variety of different things produces order. Order produces harmony and proportion, and in things that are whole and complete harmony produces beauty. We speak of a fine army if all the parts making it up are so arranged that their differences are reduced to the relative proportions needed to constitute a single army. For music to be beautiful it is necessary not only that the voices be pure, clear, and quite distinct from one another, but also that they be blended in such fashion that a right consonance and harmony result by means of both union in the midst of variety and variety within that union of voices. Not incorrectly, then, is music called a discordant harmony, or a harmonious discord.[6]St. Francis continues in elaboration on the added elements of the beautiful object—splendor and clarity.
Painting of St. Francis de Sales by Valentin Metzinger |
But as significant and profound as his brief discourse on beauty is, it does not help us to understand why one person might enjoy a specific piece or form of music but not another, or why two people may have contrary responses to the same piece, which variance contributes to the perception that beauty is subjective and merely “in the eye of the beholder.” To account for this variety of taste would require an exploration of individual habits and acquired dispositions, in a similar manner by which we might explain why what appears good and hence desirable to one person might not to another, even assuming the objective nature of the good.
Years ago, while living in Northeastern Pennsylvania, my wife and I began attending the opera in New York City. We would dress and then drive in early, sometimes to shop and then to dine. After coffee and dessert, we would walk the streets in the fading daylight, enjoying the variety of people and sights, arriving at the opera house shortly before the performance. These are treasured memories, which even yet provide some pleasure in the memory, mixed with a note of sadness for days that are no more. They were times of togetherness, away from the many cares which beset our lives, sharing a beautiful and uplifting form of human expression. The theater was grand, the staging and sets elaborate, and the performances were of the highest order. But it was the music itself that touched the soul with a poignant beauty expressive of the most elevated emotions and longings of the human heart.
Now it is true that most people enjoy music, and children of all nations respond cheerfully to simple songs and melodies; for music is consonant with human nature. Yet complex musical expressions are not universally appreciated and only come to be so after experience over time. Earlier in my life I didn’t enjoy opera and in fact was quite put off by my wife’s attempts to introduce me to its pleasures. In time, however, it became one of my greatest delights. I won’t elaborate here the progression of experiences that led me to change in my perceptions of the operatic art, but only to say that while the art remained the same, there was, over time, a clear change in me, in my perception and appreciation.
All of which goes to show that there is a difference between the objective good or the beauty of an object and the value that we may attach to it or our appreciation; for “good” and “beautiful” denote something objective, while “value” and “appreciation” allude to our subjective response. The pleasure that we receive is no doubt connected to the good and the beautiful, but only through the value; that is to say, a good or beautiful object will please only if we see it as such. And there are many personal factors which influence how we see a thing. While I didn’t like opera in my initial exposure, we have all had the experience of having something “grow on us” as we come to know it better and thereby come to see the good that is there. My wife liked opera and I enjoyed spending time with my wife, and it was for this reason that I first submitted myself to the experience. Over time I grew to appreciate the art in itself.
People enjoying an opera in Romania (source) |
This human progress in appreciation is multiplied repeatedly in the course of a human life. Some likes are fairly universal and immediate, while others are only what we call “an acquired taste.” No one, for example, has to be taught to enjoy food or drink. That is instinctual and innate. We exit the womb hungry for our mother’s milk. Yet eating soon becomes a more complex activity as its object becomes more diverse and differentiated. The ability to appreciate certain kinds of food or drink is not innate, but is a cultivated taste that develops over time, with culinary tastes formed according to environmental factors of culture and family joined to one’s own personal habits and experience. That being said, there are unquestionably better and worse ways to eat from an objective point of view regarding human health.
Now if pleasure immediately followed the objective good, then the best foods would always engender the most pleasure. Yet for a child, what is perceived as “best” may differ markedly from the judgment of an adult. If a child is allowed to develop bad eating habits, he will have an inclination to what is unhealthy and will generally be repulsed by what is not. The trick is thus to form the habit, thereby matching the value to the objective good. If a child is raised in an environment where the kitchen is ruled by reason as opposed to mere desire, he will have no choice but to eat what is healthy. Accordingly, he will develop in time a taste for healthy foods, after which he will eat better because that is what he likes.
For whatever agrees with a thing according to its nature is pleasurable, and as habit exists as a sort of nature—what we call “second nature”—those acts consonant with a developed habit are naturally agreeable. [7] This is true not only in regards to culinary tastes or ones taste in music and art, but in the moral realm as well, for virtue is an acquired disposition no less than one’s aesthetic sense. Thus it is that Aristotle sees the pleasure or sorrow experienced by a man in his moral activity as an indication of his true character. In his words: “every virtuous person rejoices in virtuous acts, for no one will call a man just who does not enjoy doing just deeds; no one will call a man generous who does not enjoy giving generously.” [8] For this reason, moral education was understood by Aristotle to be necessarily concerned with pleasure and pain and consists in training one to feel joy and sorrow in the proper object and at the proper time. [9]
Alan Hicks was a student of the Integrated Humanities Program at the University of Kansas under John Senior and received his degrees in Philosophy at Kansas following his conversion to the Catholic Church. He was the founding Headmaster of St. Gregory’s Academy in Pennsylvania and was subsequently the principal of Catholic schools in both St. Louis and Southern California. He has since returned to his first love—teaching—and is currently a professor of Humanities at St. Gregory the Great Seminary in Lincoln, Nebraska.
NOTES
[1] Mark 14, 6.
[2] The Idiot.
[3] See St. Thomas Aquinas, The Disputed Questions on Truth (Henry Regnery, 1952), Q. 1, art. 2.
[4] St. Thomas, On Truth, I, 5, 4.
[5] St. Francis de Sales, Treatise on the Love of God (TAN Books and Publishers, 1975), 53.
[6] Ibid., 53.
[7] See St. Thomas Aquinas, Commentary on the Ethics (Henry Regnery, 1964), 124.
[8] Aristotle, Nicomachean Ethics, bk. 1, ch. 8, 1099a 15-20.
[9] Ibid., bk. 2, ch. 3, 1104b10.
Posted Wednesday, January 29, 2025
Labels: Alan Hicks, Aristotle, beauty, Francis de Sales, Plato, St Thomas Aquinas, virtue
Tuesday, January 28, 2025
The Second Feast of St Agnes: A Liturgical Oddity
Gregory DiPippoThe church of St Agnes Outside-the-Walls on the via Nomentana. (Image from Wikimedi Commonsa. by the parish of St Agnes Outside-the-Walls; CC BY-SA 2.0) |
The original purpose of the second feast, however, is not at all clear; theories abound, but evidence is lacking. In the Wurzburg lectionary, the oldest of the Roman Rite, January 21 is “natale S. Agnae de passione – the birth (into heaven) of Agnes, of her passion,”, while January 28 is simply “de natali.” One theory is that the actual day of her death was the 28th, and the 21st originally commemorated the beginning of her sufferings, starting with her trial and condemnation. However, we would then expect something similar for other prominent martyrs, particularly St Lawrence, whose passion also extended over a variety of days and events. The next oldest lectionary, Codex Murbach, doesn’t mention the second feast at all, nor does the Lectionary of Alcuin. In the Gregorian Sacramentary, the titles are simply “natale” and “natale...secundo.”
The prayers of the old Gelasian Sacramentary, the contents of which date to the early 8th century, and uses titles for the two feasts similar to those in the Wurzburg lectionary, may refer to the idea that St Agnes’ passion began on the 21st, and her death occurred on the 28th. One of the two collects for the former refers to the day “of her passion”, and asks that “we may follow the constancy of her faith,” while the Secret of the latter says that “she was glorious from the beginning of her blessed contest unto the end.” On the other hand, the Collect that goes with it says that we are “repeating” her feast, while the Secret on the 21st speaks of her “heavenly victory”, certainly a more appropriate expression for the actual day of death. In the revised Gelasian sacramentaries, the preface of January 21st speaks of “the day consecrated by the martyrdom of the blessed Agnes” and of her “receiving a precious death ... for the confession of Christ”, while that of January 28th speaks of “doubling (her heavenly) birthday”, but also says that she “went forth so that she might come to share in divinity.” In short, the earliest evidence in inconclusive.
Nevertheless, Dom Suitbert Bäumer (1845-96), in his History of the Breviary refers to it as an example of an octave that has only a commemoration on the eighth day, with no mention made of the feast on the days in between. (pp. 31-32 of the French edition, vol. 2, 1905) In support of this theory, he cites a text of the year 1085 called the “Micrologus de Ecclesiasticis Observantiis – Summary of Church Services”; it was Dom Bäumer himself who identified the author as one Bernold of Constance, a supporter of the great reformer Popes of that era. In chapter 44, Bernold writes that “according to the authority of Rome, … we make no daily mention of those whose octaves we celebrate on the intervening days, … except for those of St Mary (i.e., the Assumption), and of St Peter.”
What he says in this regard, however, is hardly conclusive. Fifty years later, a canon of St Peter’s Basilica named Benedict, in a treatise now known as the 11th Ordo Romanus, describes the manner of celebrating the days within octaves, specifically mentioning those of Saints John the Baptist, Peter, Lawrence, and the Assumption alongside those of Christmas and Epiphany. (chapter 68) A similar custom is attested in the Ordinal of Pope Innocent III at the beginning of the 13th century. Bäumer radically overstates his case when he attributes the celebration of the days within octaves to the influence of the Franciscans; St Francis was born fifty years after Canon Benedict wrote, and received verbal approval for his order from Innocent III only a few years before the latter’s Ordinal was compiled circa 1213-16. Simply put, it is hard to avoid the conclusion that Bäumer fell into the trap that the liturgical scholars of his era routinely fell into, extrapolating too much from too little evidence.
I write above that Bäumer’s was “the most influential” explanation for the Second Feast of St Agnes, because it seems to have been the model for part of the Breviary reform of Pope St Pius X. Prior to this reform, octaves were celebrated with varying degrees of precedence, but not formally divided into classes as feasts were. The reform of 1911 created three classes of octaves, “privileged, common and simple,” the first of which was subdivided into three orders. The simple octaves are those attached to feasts of the second rank (among six), called Doubles of the Second Class; such octaves are celebrated as a Simple feast (the lowest of the six grades) on the eighth day, with no mention of them on the intermediary days.
St Agnes on the Pyre, by Ercole Ferrata, 1660-64, in the church of Sant’Agnese in Agone, built at the site of her martyrdom in the Piazza Navona in Rome. |
A Prayer Novena for the Fraternity of St Peter
Gregory DiPippoWe are glad to share this prayer request from the Fraternity of St Peter, which will renew this year the consecration to the Immaculate Heart of Mary. Of course, I am certain that all our readers are praying continually for the good preservation of the institutes and churches that celebrate the traditional Roman Mass, but the upcoming Marian feasts are a good time to bring this intention to the fore.
Three years ago, at a moment of deep incertitude, the Priestly Fraternity of St. Peter called out to the Immaculate Heart of Mary, mindful that never was it known that anyone who fled to her protection has been left unaided. Following a novena, the Fraternity consecrated itself to her Immaculate Heart on the very day that the Holy Father providentially published the decree reaffirming the practice and charism that the Fraternity has had from its foundation.
Three years later, in order to render thanks once again and implore her continual help, all the members of the Fraternity will solemnly renew this consecration. To represent them all, the members of the Plenary Council and I will recite the act of consecration at the Grotto of Lourdes on her feast day, February 11.We ask all the faithful who are close to us to join in this novena of preparation February 2-10, 2025 and to renew the consecration on the Feast of Our Lady of Lourdes, February 11, 2025.
Fribourg, January 18, 2025
Rev. John Berg
Superior General FSSP
Monday, January 27, 2025
The Fearlessness of St John Chrysostom
Gregory DiPippoa popular notion that with the coming of Constantine and the end of persecution, the Church somehow sold its soul in part or whole to the Roman Empire. The falsity of this was demonstrated long ago by GK Chesterton, who was a convert from Anglicanism, and knew a state-owned church when he saw one. In the chapter of The Everlasting Man called “The Five Deaths of the Faith”, he rightly pointed out that the Creed of most of the early Christian Emperors was not Christianity, but a version of it far more in keeping with the spirit of the age, that which we now call Arianism. Caesar did not usually appreciate the Church’s resistance to his dogmatic meddling, and persecuted the orthodox Fathers such as St Athanasius. St Eusebius of Vercelli, one of the great Western opponents of Arianism, is even honored as martyr, although he did not die a violent death, because he was hounded into exile by an Arian Emperor.
A mosaic of St John Chrysostom in Hagia Sophia, ca. 1000. (Public domain image from Wikipedia.) |
The scene of St John preaching before Herodias was painted by two French artists of the later 19th century, Jean-Paul Laurens (1838-1921) and Joseph Wencker (1848-1919). This choice of subject reflects various events of their era, particularly the conquest of the Papal State, and the subsequent “exile” of Bl. Pope Pius IX, who refused to acknowledge the legitimacy of the Kingdom of Italy by setting foot on land which it illegally occupied. More broadly, it refers to the general situation of the Church in that period. Italy’s was not the only government hostile to the Church and seeking to reduce or destroy its influence by diminishing or destroying its institutions; this was also era of the German Kulturkampf, and the infamous French law of Separation of Church and State was soon to follow in 1905.
Laurens’ painting is the smaller of the two, but the more forceful. (See a higher resolution version here.) The Empress looks down with an expressionless face at the Saint, confident in her eventual triumph over him, but at the same time, she is almost lost in the trappings of her position, less distinct than St John in his white robes. (John also appears to be rather older than he should; historically, he was only about 55 at the time.) Both artists seem to accept the idea, common in their time, that churches in this period were “still” very austere; note that all of the decoration in both paintings is centered around the Empress, while the pulpits and the walls are very plain.
Jean Paul Laurens, 1872 |
Joseph Wencker, ca. 1880 |
[2] Not the church which is seen in Constantinople today, a construction of the 6th century, but the original built by Constantine in the 4th century. At the news of John’s second exile, the city was wracked with riots, during which the first Hagia Sophia was burnt down; nothing now remains of it. Its replacement, dedicated in 415, was also destroyed by riots, a very popular pastime in Constantinople, in 532; the present structure was built very shortly thereafter, by the Emperor Justinian.
[3] In the original edition of his Lives of the Saints, Alban Butler wrote that “Montfaucon refutes this slander, trumped up by his enemies. The sermon extant under that title is a manifest forgery.” Modern writers, including Butler’s revisers, all seem to accept its authenticity.
Sunday, January 26, 2025
Durandus on the Third Sunday after Epiphany
Gregory DiPippoIn his treatment of the Third Sunday after Epiphany (Rationale Divinorum Officiorum 6, 20), our friend William Durandus is more than a little obscure, so this excerpt is to some degree a paraphrase more than a direct translation.
The third Sunday after Epiphany exhorts us to adore the one King with the angels, saying in the introit “Adore God, all ye His angels,”; with the angels, because the Angel says to John in the Apocalypse (22, 9), “I am the fellow servant of thee and thy brothers.” There follows, “Sion (that is, the Church) heard and rejoiced.” And note that this introit refers to the feast of the Meeting (‘hypapante’, the Greek name of the Purification) … (since) the words of this introit agree with the those of the invitatory of that feast. In the introit is said “Sion heard and rejoiced”, and in that invitatory is said “Be glad and rejoice, o Sion, as thou comest to meet thy God.” The words of one of responsories of that feast also agree with this, namely, “Adorn thy bridal chamber, o Sion.”
Introitus, Ps. 96 Adoráte Deum, omnes Angeli ejus: audívit, et laetáta est Sion: et exsultavérunt filiae Judae. Ps. Dóminus regnávit, exsultet terra: laetentur ínsulae multae. Glória Patri... Adoráte Deum...The Centurion at Caparnaum Begs Jesus to Heal His Servant, 1651, by the Flemish painter Johannes Ykens (1613 - after 1680). The building on the right behind the centurion is clearly copied directly from the Palazzo Nuovo on the Capitoline Hill in Rome, representing the authority of the Roman Empire which here submits itself to Christ. (Public domain image from Wikimedia Commons.) |
In the Offertory (Psalm 117), the Church, gathered together from both peoples, praises God saying, “The right hand of the Lord hath wrought strength.”
And because until the day of judgment, Christ is always being increased, as far as His mystical body is concerned, the Communion “All were wondering” agrees very well with this, because the Jews and the gentiles seeing His wondrous deeds and hearing of His gifts, wondered and were converted.
Saturday, January 25, 2025
Historical Falsehoods about Active Participation: A Response to Dr Brant Pitre (Part 4)
Gregory DiPippoThis is the fourth part of my response to a video by Dr Brant Pitre of the Augustine Institute about popular participation in the liturgy. (part 1; part 2) At the conclusion of the third part, I stated that in any defense of the post-Conciliar reform, it is necessary to mispresent the history of the liturgy in the Tridentine period, and Dr Pitre begins to do this at the 31:00 mark. In matters of history, precision matters, and this part of the presentation is very lacking in precision.
His essential contention is that because the liturgical books of the Tridentine period contain no clear directives for lay participation (31:12), there was no lay participation. As I have explained in the previous articles of this series, the liturgical books never had any directives for lay participation, either before or after the Tridentine reform. This lack “in the five-hundred years after the Council of Trent” is unfavorably contrasted with the active lay participation that supposedly predominated “in the first thousand years of the Latin Rite.” (Five hundred years have not passed since the beginning of the Council of Trent in 1545; indeed, its four-hundredth anniversary, Dec. 4, 1963, was the day the first documents of Vatican II were formally promulgated, including, most ironically, Sacrosanctum Concilium.)The cathedral of St Donatianus in Bruges (now part of the modern state of Belgium) in 1641; destroyed in 1799 by the occupying French Revolutionary Army. (Public domain image from Wikimedia Commons.) |
Dom Guéranger |
The beginning of the Canon in a hand missal for the laity, translated into German; this book was published within a decade of the end of the Council of Trent. |
Another in English, from roughly 1660. |
A French example from the first decade of the 17th century. |