Topics: Advent: Fourth Sunday...Octave before Christmas Eve: O Antiphons...Picture: Communion Rail...Video: Victoria,O Magnum Mysterium...James Spencer: Happy Thoughts... Michelangelo: “The Torment of St. Anthony”...Congratulations: Nuptial Mass at St. Anthony
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Midnight mass will be celebrated by Father Eric Weldon at St. Anthony Catholic Church, Second and Ohio, Wichita Kansas. Choral music by the St. Anthony choir (a treat unto itself) will start at 11:30 with mass starting at midnight. Get there early.
...and now the Necessaries
Please note: St. Anthony Catholic Church is one of two local churchs celebrating the Traditional Latin Mass (EFLR) in the Wichita area. Though this blog is loosely centered around this parish and it's members, Venite Missa Est! is by no means, in any way an official voice of, or for, St. Anthony Parish or the Diocese of Wichita. Venite Missa Est is strictly a private layman's endeavor.
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Fourth Sunday of Advent
The catholic liturgy reminds us, during these four weeks, of the time during which the world was without Jesus. This Mediator we now await, and since we can go to god only through Him, we implore Him to hasten his coming.._The New Marian Missal
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O Antiphons
Fisheaters
Catholic Education resource Center
The seven "O Antiphons" (also called the "Greater Antiphons" or "Major Antiphons") are prayers that come from the Breviary's Vespers during the Octave before Christmas Eve, a time which is called the "Golden Nights."
The exact origin of the “O Antiphons” is not known. Boethius (c. 480-524) made a slight reference to them, thereby suggesting their presence at that time. At the Benedictine abbey of Fleury (now Saint-Benoit-sur-Loire), these antiphons were recited by the abbot and other abbey leaders in descending rank, and then a gift was given to each member of the community. By the eighth century, they are in use in the liturgical celebrations in Rome. The usage of the “O Antiphons” was so prevalent in monasteries that the phrases, “Keep your O” and “The Great O Antiphons” were common parlance. One may thereby conclude that in some fashion the “O Antiphons” have been part of our liturgical tradition since the very early Church.
Each Antiphon begins with "O" and addresses Jesus with a unique title which comes from the prophecies of Isaias and Micheas (Micah), and whose initials, when read backwards, form an acrostic for the Latin "Ero Cras" which means "Tomorrow I come." Those titles for Christ are:
Sapientia (Wisdom, Isaias: 11:2-3, Isaias 28:29 )
Adonai (Lord of Israel: Isaias 11:4-5, Isaias 33:22)
Radix Jesse (Root of Jesse: Isaias 11:1,Isaias 11:10, Micheas 5:1, Romans 15:8-13,Apocalypse 5:1-5)
Clavis David (Key of David: Isaias 22:22, Isaias 9:6)
Oriens (Radiant Dawn, Dayspring:Isaias 9:2)
Rex Gentium (King of all Nations, King of the Gentiles: Isaias 9:7, Isaias 2:4)
Emmanuel (God with us: Isaias 7:14)
December 17
Wisdom that comest out of the mouth of the Most High, that reachest from one end to another, and orderest all things mightily and sweetly, come to teach us the way of prudence!
Latin
O Sapientia, quæ ex ore Altissimi prodiisti, attingens a fine usque ad finem, fortiter suaviterque disponens omnia: veni ad docendum nos viam prudentiæ.
December 18
Adonai, and Ruler of the house of Israel, Who didst appear unto Moses in the burning bush, and gavest him the law in Sinai, come to redeem us with an outstretched arm!
Latin
O Adonai, et Dux domus Israel, qui Moysi in igne flammæ rubi apparuisti, et ei in Sina legem dedisti: veni ad redimendum nos in brachio extento.
December 19
Root of Jesse, which standest for an ensign of the people, at Whom the kings shall shut their mouths, Whom the Gentiles shall seek, come to deliver us, do not tarry.
Latin
O Radix Jesse, qui stas in signum populorum, super quem continebunt reges os suum, quem Gentes deprecabuntur: veni ad liberandum nos, jam noli tardare.
December 20
Key of David, and Sceptre of the house of Israel, that openeth and no man shutteth, and shutteth and no man openeth, come to liberate the prisoner from the prison, and them that sit in darkness, and in the shadow of death.
Latin
O Clavis David, et sceptrum domus Israel; qui aperis, et nemo claudit; claudis, et nemo aperit: veni, et educ vinctum de domo carceris, sedentem in tenebris, et umbra mortis.
December 21
O Dayspring, Brightness of the everlasting light, Son of justice, come to give light to them that sit in darkness and in the shadow of death!
Latin
O Oriens, splendor lucis æternæ, et sol justitiæ: veni, et illumina sedentes in tenebris, et umbra mortis.
December 22
O King of the Gentiles, yea, and desire thereof! O Corner-stone, that makest of two one, come to save man, whom Thou hast made out of the dust of the earth!
Latin
O Rex Gentium, et desideratus earum, lapisque angularis, qui facis utraque unum: veni, et salva hominem, quem de limo formasti.
December 23
Emmanuel, our King and our Law-giver, Longing of the Gentiles, yea, and salvation thereof, come to save us, O Lord our God!
Latin
O Emmanuel, Rex et legifer noster, exspectatio gentium, et Salvator earum: veni ad salvandum nos Domine Deus noster.
My Soul Doth Magnify the Lord / Magnificat
My soul doth magnify the Lord, and my spirit hath rejoiced in God my Savior. For He hath regarded the humility of His handmaiden.
For behold, from henceforth all generations shall call me blessed. For He that is mighty hath done great things to me, and holy is His Name. And His Mercy is from generation unto generations upon them that fear Him.
He hath shewed might in His arm, He hath scattered the proud in the conceit of their heart. He hath put down the mighty from their seat, and hath exalted the humble. He hath filled the hungry with good things, and the rich He hath sent empty away.
He hath received Israel, His servant, being mindful of His mercy. As He spoke to our Fathers, Abraham and His seed forever.
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Communion Rail
Orbis Catholicus
This is the Cappella Spada, dedicated to Santa Maria Liberatrice, at San Girolamo della Carita'.
This church had been the titular church of Pietro Card. Palazzini who died in the Holy Year 2000. But before his passing he arranged for Opus Dei to get the property and today it is one of their Rome chapels.
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Victoria - O Magnum Mysterium
O Magnum Mysterium is a responsorial chant from the Matins of Christmas. A number of composers have reworked the chant into a contemporaneous setting; the settings by Byrd, Victoria, Gabrieli, Palestrina, Poulenc, Harbison, La Rocca, Messiaen, Mäntyjärvi, Pierre Villette and Lauridsen are notable.
Latin text
O magnum mysterium,
et admirabile sacramentum,
ut animalia viderent Dominum natum,
jacentem in praesepio!
Beata Virgo, cujus viscera
meruerunt portare
Dominum Christum.
Alleluia.
English translation
O great mystery,
and wonderful sacrament,
that animals should see the new-born Lord,
lying in a manger!
Blessed is the Virgin whose womb
was worthy to bear
Christ the Lord.
Alleluia!
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Happy Thoughts
by James Spencer
A very few years ago, we in Wichita had EF Ma
sses only every other week, for a total of 26 per year. Now, by my count we have 97 per year. Here's a breakdown:
Sunday Masses: 52 per year
Holy Day Masses: 5 per year (Ascension Thursday has been moved to Sunday)
Monday Masses at Clonmel: 40 (Fr. Lies in at Clear Creek on the 1st Monday of each month.)
That's a total of 97 EF Masses per year, quite an increase from the 26 we had a few years ago. As the Introit for today's Mass (bloggers note: two weeks ago) (O.F. and E.F.) says: GAUDETE!
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By the Hand of a Very Young Master?
By Carol Vogel
The New York Times, May 13, 2009
Tip o' the hat to Lynda Beck for submitting.
The Kimbell Art Museum in Fort Worth has acquired what some scholars now say is the first known painting made by Michelangelo. And if he created it, he did so when he was only 12 or 13.
This latest research holds that Michelangelo painted “The Torment of St. Anthony” between 1487 and 1488. That would make it one of only
four known easel paintings by Michelangelo — another is in the Uffizi Gallery in Florence and two unfinished ones are in the National Gallery of Art in London — and the first to enter an American museum.
The painting’s attribution has been the subject of ferocious debate among scholars for four and a half centuries. While experts, citing historical records, agreed that Michelangelo had made a painting of the saint, the question was, Is it this work?
But “The Torment of St. Anthony” — an oil and tempera on a wood panel, depicting the saint poised in midair and beaten by demons — has recently undergone conservation and technical research at the Metropolitan Museum of Art. Keith Christiansen, a curator of European painting there, said he firmly believed that it was by the hand of the master.
But he acknowledges that others will disagree. “A lot of people still won’t accept it as Michelangelo,” Mr. Christiansen said.
Eric McCauley Lee, director of the Kimbell, said in a telephone interview: “It sounded ridiculous at first. But when I went to the Met and saw the painting, I was struck by its power as a work of art. It had been obscured by dirt and overpainting. And when you hear Keith Christiansen’s argument, you realize it’s enormously important.”
But as recently as July, some scholars had doubts. When it was offered at a Sotheby’s auction in London, it was cataloged only as “Workshop of Domenico Ghirlandaio,” where the young Michelangelo had been a pupil.
“It’s quite a famous picture, and we knew Michelangelo had painted this composition, but we just didn’t have enough evidence at the time,” said Alexander Bell, head of Sotheby’s old master paintings department in London.
Michael Hirst, a leading Michelangelo scholar in London, said last year that he did not believe the work was by the artist. (Mr. Hirst was traveling and could not be reached for comment on Tuesday.) And when it was included in an exhibition of the young Michelangelo in Florence in 1999, it was also attributed to Ghirlandaio’s workshop.
Adam Williams, a New York dealer, saw the painting and said he was convinced it was a Michelangelo. So convinced that he bought it at the Sotheby’s auction for about $2 million. The painting did not get an export license until September, and when it arrived in New York, Mr. Williams took it straight to the Metropolitan to be examined.
“I had never seen it before,” Mr. Christiansen said. “I looked at it and said this is self-evidently Michelangelo. There’s a section of the rocks with cross-hatching. Nobody else did this kind of emphatic cross-hatching.”
Michael Gallagher, conservator of paintings at the Metropolitan, cleaned and studied the painting.
“It was incredibly dirty,” he said. “But once the centuries of varnish were removed, its true quality was evident.”
Claire M. Barry, the Kimbell’s chief curator, heard about the work and came to the Met to see it. She then contacted Mr. Lee, who also inspected it and persuaded his board to buy it. Although no one will disclose the price, experts in the field say they believe the figure was more than $6 million.
For centuries, art historians have known that Michelangelo copied an engraving of St. Anthony by the 15th-century German master Martin Schongauer for a painting. Michelangelo’s biographer and former student, Ascanio Condivi, said the young Michelangelo told him that while he was working on the painting, he had visited a local market to learn how to depict fish scales, a feature not found in the engraving.
A painting of St. Anthony is also mentioned in Giorgio Vasari’s chronicle of Michelangelo’s life, although Vasari at first ascribed the original engraving to Dürer. But after Michelangelo complained, Vasari changed his account, naming Schongauer.
Measuring 18 ½ inches by 13 1/4 inches, “The Torment of St. Anthony” is at least one-third larger than the engraving. It is also not an exact copy; Michelangelo took liberties. In addition to adding the fish scales, he depicted St. Anthony holding his head more erect and with an expression more detached than sad.
He also added a landscape to the bottom of the composition, and created monsters that are more dramatic than those in the engraving.
Mr. Christiansen said studying “The Torment of St. Anthony” with infrared reflectography had exposed layers of pentimenti, or under drawing, revealing what he called the master’s hand at work.
And once the centuries of varnish were removed, the colors suddenly came alive. There is eggplant, lavender, apple green and even a brilliant salmon, which was used to depict the scales of the spiny demons. The palette, Mr. Christiansen said, is a prelude to the colors chosen for the Sistine Chapel’s vault.
Asked why the Metropolitan didn’t try to buy the painting, Mr. Christiansen replied: “The timing wasn’t right. We had other acquisitions on the dock.”
The work will be on view at the Met from June through August. It will then go to the Kimbell, where it will be displayed along with the Schongauer print.
“It is now one of our greatest treasures,” Mr. Lee said. “And will receive pride of place in our collection.”
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Public Broadcasting System
Religion and Ethics
Tim O'Brian
Bloggers Note: Although the ancient liturgy is nothing knew to us Catholics it is always good to see this kind of article in the public view. There is an accompanying video (sorry, I couldn't embed it). Please click on link to view the video.
TIM O’BRIEN, guest anchor: Catholics of a certain age grew up hearing the Mass only in Latin. But since the 1960s, priests have been allowed to say the Mass in Latin only with the permission of their bishop. The Vatican is now loosening those restrictions, so the Latin Mass — also called the Tridentine Mass — may soon become more widely available, although few of the world’s Catholics understand Latin. And yet over the years some Catholics have remained committed to a Mass they consider more historically authentic. At St. Mary Mother of God Parish in Washington, D.C., Monsignor Charles Pope says the Mass in Latin one Sunday a month, and it is well attended.
Monsignor CHARLES POPE (Archdiocese of Washington, D.C.): The Tridentine Mass is a form of the Mass that existed prior to 1962. Things began to change in the Catholic liturgy probably in the mid-1960s, and certainly by 1970 whatís known as the new Mass was fully in force.
There tends to be a religious tendency for the language used inside the churches to be more ancient, and I think that’s largely why Latin remained. It was the main language of the Church even after the Latin language had ceased to be spoken.
The priest always faced the altar. In fact, the priest and the people all face one direction. Some people say the priest had his back to the people. But the reality is that the priest and the people were all facing one direction, an eastward orientation — at least theoretically eastward — and everyone was looking for the risen Christ.
Tonight ís liturgy is referred to as a Solemn High Mass. There is a priest, a deacon, and a sub-deacon who all take part in the liturgy, and it adds solemnity to the liturgy. And they each have proper roles to fill. We also have a lot of extra servers. And itís just a more solemn form of the Mass, with an opening procession and, of course, the use of incense and so on, which is all unique to either the sung or the solemn high form of the Mass.
People of all age groups attend and that ís, I think, a little bit surprising. It was always thought that if we were to go back to the Latin it would mostly be the older folks. But one of the things that’s been discovered just about everywhere the Latin Mass is celebrated, there is a huge number of young people as well. And they didn’t grow up with the Latin, but there is something attractive about this ancient form of the liturgy — its dignity, and its sort of very just lofty quality, especially in some of its forms.
I’ve been saying this Mass for 18 years now, for all my years as a priest. There is a part of me that loves to sort of step back into time and to be part of something ancient that goes way, way back, all the way back hundreds and hundreds of years, even thousands of years, into the ancient past using an ancient language. This is a Mass that most of the saints knew.
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Congratulations
Mr. and Mrs. James Strunk
Congratulations to James Strunk and Krista Barnett, married Saturday, December 19 in the Extraordinary Form of Mass at St. Anthony, Fr. Jarrod Lies officiating. James is the son of Tony and Cathy Strunk, Krista the daughter of Pat and Sheri Barnett.
One fun note: The four groomsmen were the original servers for the revived Latin Mass (at St. Anthony) many years ago under the tutelage of Tony Strunk.
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