Some thoughts on “presidency” and posture for prayer
This article was originally written for publication on the blogs "The New Liturgical Movement" and "Rorate Caeli".
Although there is a great deal of discussion now and a body of scholarship concerning the revival of the celebration of Mass ad orientem, I have found that this discussion is almost entirely limited to the Liturgy of the Eucharist. Yet, the principle concerns the orientation of Liturgical prayer throughout the entirety of the Mass. Amongst the many innovations introduced after the Council was a provision (Ritus Servandus 1965, no. 23) for the celebrant to pray the Kyrie, Gloria, Collect and Creed at a sedilia, rather than at the altar (as had previously obtained). This provision, of course, is derived from the practice where a bishop celebrates Mass solemnly, either at the faldstool or at the throne. The 1965 provision was taken a step further with the introduction of the new Missal in 1970.
Dom Emmanuel of the Benedictine Abbey of Le Barroux gave a paper to the 1997 CIEL Conference about this topic. In a comprehensive analysis, which discusses firstly the position of the celebrant during the Kyrie, Gloria, Collect and Creed and secondly, the celebrant during the readings from the Scripture, he reached this conclusion:
Do we find that the law in force until 1962 is universally attested in the history of the Roman Mass, or do we find that there are exceptions? Having finished our enquiry we may now answer this question: as far we can judge from the texts currently available, the Roman Mass, both according to the use of the [Roman] Curia and those of the dioceses and religious orders, show us that the simple priest is at the altar for the Gloria, the Collect and the Creed, and that this is the case until 1962. So the Ordo Missae of 1965 departs from the common (and almost universal) practice up to that point when it prescribes that the simple priest may carry out these functions at his seat. For the readings the celebrant goes to his chair near the altar. By having the celebrant positioned at the sedilia for the readings, the Ordo Missae of 1965 (and then that of 1970) do not depart from what we know of Roman usage (taken as a whole) through the centuries.
Dom Emmanuel's study and of course many other works on liturgical history, reveal that in the early church (and we know that from archaeological evidence as well the ancient churches which still exist) the Cathedra of the bishop was mostly placed in the apse, behind the altar, with benches for the presbyters on either side. This was a position, as Dom Emmanuel concludes, which emphasised the jurisdiction of the Bishop. He argues, however, that it never was customary in the Western liturgy for the priest-celebrant to occupy such a position, because he did not have jurisdiction. Instead, as Dom Emmanuel discusses, the priest celebrant recited the Kyrie, Gloria and Collect at or near to the altar ad orientem. Similarly, a bishop who did not have jurisdiction occupied a seat on the right of the altar, but read those prayers from that position ad orientem (for example, the rites of Pontifical Mass at the faldstool according to the Extraordinary Form).
Leaving aside the issue of the priest-celebrant facing the people at the altar during the Liturgy of the Eucharist (for which there is some precedent in liturgical history which was used as the basis for the introduction of "Mass facing the people"), what I would like identify is that an entirely new concept has been introduced into the 1970 Mass, namely, the priest-celebrant as Presider. To me, this seems nowhere more prominent in the New Order of Mass than in the Introductory Rite: a rite which is an innovation in the history of the Western liturgy. Furthermore, this role of Presider is codified by the instruction on where the chair of the celebrant is to be placed within the sanctuary: namely at the head of the sanctuary in an apse; in short behind the altar (GIRM 271):
The chair of the celebrant should indicate his role of presiding over the assembly and of leading the prayers. Hence the most suitable position is at the head of the sanctuary facing the people, unless the construction of the building or other circumstances prevents this; for instance, if communication between the priest and the assembly of the faithful is made difficult because of too great a distance.
Both the position of the chair of the priest-celebrant (which emphasises "presidence") and the offering of prayers (facing the congregation) from that chair, instead of before the altar, represent a break with Liturgical Tradition. I would like to suggest that this particular break with Tradition has largely facilitated the widespread distortion where right from the beginning of the Liturgy the priest becomes more of a compere or emcee, rather than a celebrant.
What might be done, to recapture the Church's tradition at this point in the Ordinary Form of the Roman Rite Mass? In many places, this has begun already to happen, where priests have felt uncomfortable with the prominence of their (often elevated) chairs, and have opted to place the chair at the side of the sanctuary in front of the altar, in the manner of sedilia. I have also read where some priests with chairs in the position just described, have turned slightly toward the altar (rather than toward the congregation) for the Penitential rite, Gloria and Collect. All of this would seem to be able to take place within the current framework of the Ordinary Form. It also does not exclude the celebrant giving a brief introduction to the Mass, but it might be hoped that this is quite distinct from the prayers of the Rite itself.
We might also note here – although it is slightly separate from this discussion - that recently the Papal altar has begun to return to Traditional arrangements, by the placement of a central altar Cross and six candlesticks.
What about a reform to re-instate the tradition? Something like this (this is an opinion): The celebrant might conduct the Penitential Rite ad orientem "at the foot of the altar", then go up to the altar for the Kyrie, Gloria and Collect. Then he could go to the sedilia and sit down for the reading of the Scripture. He would bless the deacon (and incense, if it used) at the altar, not the sedilia. After the Gospel, he would return to the altar for the Creed and General Intercessions (both ad orientem). Note that these ceremonial positions might be used even if the Liturgy of the Eucharist continued to be celebrated versus populum (especially if the arrangement of central altar Cross and flanking candlesticks is observed). In fact, this might be a gradual way of reintroducing ad orientem to the entire Mass.
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Complementing a chasuble completed earlier in the year, the Saint Bede Studio was commissioned to make this black cope and matching stole, designated Absolve. It is made of black dupion silk and fully lined in olive-green cotton. The orphrey and hood is formed from an ecclesiastical brocade in black and gold.
Some months ago, Father Martin Fox of Piqua, Ohio USA approached us to make a set of vestments for use in his Parish, based on the familiar pictures of Saint Philip Neri. The result is shewn in the picture at the left. This chasuble is of gold silk damask and is ornamented with the same damask in copper and gold. The effect is very rich.
Although there is a great deal of discussion now and a body of scholarship concerning the revival of the celebration of Mass ad orientem, I have found that this discussion is almost entirely limited to the Liturgy of the Eucharist. Yet, the principle concerns the orientation of Liturgical prayer throughout the entirety of the Mass. Amongst the many innovations introduced after the Council was a provision (Ritus Servandus 1965, no. 23) for the celebrant to pray the Kyrie, Gloria, Collect and Creed at a sedilia, rather than at the altar (as had previously obtained). This provision, of course, is derived from the practice where a bishop celebrates Mass solemnly, either at the faldstool or at the throne. The 1965 provision was taken a step further with the introduction of the new Missal in 1970.
UPDATEDWhile in Rome, I scouted the vestment scene, and I noticed that Pope Benedict has had a clear impact on the Church in this regard - each company is delving into the "Roman" style again, yet I find nothing as beautiful or practical for both Usages as your design on the "Philip Neri."
Yesterday at the blog The New Liturgical Movement, a series of interesting images were reproduced of the celebration of Mass according to the Carthusian Use. One is of more obvious interest to us here, the frontispiece of a Carthusian Missal, printed in Lyon in 1713. Adjacent is a cropped version of that frontispiece. This would appear to depict the celebrant on the step of the altar giving the minister the absolution after the Confiteor.
This chasuble differs from that style of chasuble shewn in the various paintings and sculptures of Saint Philip Neri (one is shewn adjacent), which have a rounded finish along the lower edge, back and front. This chasuble is also not quite as wide as these "Philip Neri" chasubles, not reaching the elbow.
For a deacon who was ordained to the Sacred Priesthood on the Feast of Saints Peter and Paul, the Saint Bede Studio was commissioned to prepare a chasuble according to the ancient "conical" form.
A recent post about Prinknash abbey in England on the blog The New Liturgical Movement reminded me of some well-known photographs in the ceremonial study The Celebration of Mass.
The photographs are intended as a staged illustration of the ceremonies of Solemn Mass: obviously it was not an actual Mass which was photographed. The 1st photograph shews the preparation of incense at the beginning of Mass; the 2nd photograph shews the singing of the Gospel; the 3rd photograph shews the ablutions after Holy Communion and the 4th photograph shews the Blessing. Each of these photographs may be clicked on for an enlarged view.
The second noteworthy thing is the vestments and paraments. The vestments are very ample, the chasuble being semi-conical, and are decorated in a mediaeval manner. Observe that the dalmatic and tunic are ornamented in a completely different manner from each other: a practice which, unfortunately, ceased to be commonplace from the Baroque era onward. Observe also that the chasuble is decorated exactly in the Roman manner: a massive "Tau" on the frontal of the chasuble and a simple column on the back. This style of ornament has been employed continuously in Rome for a millenium.
By special privilege of the Holy See, the monks of Prinknash Abbey, though belonging to the Subiaco Congregation of the Benedictine Order, wear a white habit. The tonsure of these Religious is the same as that in use in the Carthusian Order. For the purposes of the photographs, the monks who appear in them were good enough to lay aside for the moment some of their monastic usages in order to conform in full to the Roman rite. Accordingly, for example, in the photographs the lesser ministers wear the surplice instead of the amice, alb and girdle, which is the monastic practice; the Deacon and Subdeacon kneel for the blessing, instead of merely bowing, as solemnly professed monks do in their monastery. It will be noticed that the monks are wearing the monastic hood with the special type of amice that fits over it; and the Sacred Ministers are clad in vestments which are designed and made at the Abbey by members of the community.
Amongst the treasures preserved at the Kunsthistorisches Museum in Vienna are vestments and paraments of the Order of the Golden Fleece. Amongst them is this chasuble, made in the 1st half of the 15th century.
The Saint Bede Studio has developed this vestment, called "Saint Martin" for those who prefer a very ample chasuble. "Saint Martin" can be made in fabrics of deep shades of green, or red or purple and is derived from the semi-conical form of the mediaeval period. A brocade in burgundy and gold in the traditional "tau" form ornaments the chasuble. The chasuble is lined in a lighter shade of the base fabric.
