Suscipe, Sancta Trinitas

One of the prayers which didn't survive the Missale Romanum final cut in 1970 was this one:

Accept, holy Trinity, this offering which we make to you in remembrance of the passion, resurrection and ascension of our Lord Jesus Christ, and in honour of blessed Mary ever Virgin, of blessed John the Baptist, of the holy Apostles Peter and Paul, of those whose relics rest here, and of all the Saints. To them may it bring honour, and to us salvation; and may they, whose memory we keep on earth, be pleased to intercede for us in heaven. Through the same Christ our Lord. Amen.

This beautiful prayer, intended to be recited quietly after the washing of the hands during the Preparation of Gifts or Offertory, is a summary of the things a Catholic should keep in mind when praying the Mass. It reminds us firstly that all our worship is offered to the One God, who is a Trinity of Persons: Father, Son and Holy Spirit. Secondly, in reflecting the Anamnesis after the consecration, the prayer insists on the unity of Christ’s Paschal Mystery that is re-presented for us in sacramental form: His Passion, Resurrection and Ascension. Finally, it asserts that a secondary end of the Mass is the honour of the Saints (that is, the victory of Christ in His members is being praised), and accordingly it begs their intercession for us on Earth. 

One can only wonder at the mentality which saw fit to excise this prayer from the Mass.  If there was one prayer that ought to have been retained at the Offertory, this was the one.  After washing his hands and before inviting the people to prayer (Pray, brethren), the celebrant bowed before the altar and quietly prayed the Suscipe Sancta Trinitas.

If you are a priest reading this, you might consider praying this prayer at the Offertory when you offer Mass.  If you pray it according to the rubrics of the 1962 Missale Romanum, (namely bowed and silently) no one in the pews will be disturbed by hearing a prayer recited which is not contained in the New Order of Mass.  Be daring.

How beautiful it would be if once again this prayer were recited at every Mass!  The Angels would rejoice.

Saint Andrew's Abbey Church, Bruges

This beautiful photograph was taken in the Abbey Church of Saint Andrew in Bruges, Belgium around 1960.  A Benedictine monk is pictured at the beginning of Mass, attended by two servers.  The monastic practice of having servers vested in amice, alb and cincture is in evidence here.

The altar rests beneath a magnificent civory or ciborium, the vault of which is covered with golden mosaic tiles.

The lighting of the apse is dim, which does not allow us to completely see the happy blend of mosaic and marblework, nor the images of the saints at the upper level.

Equally magnificent is the cosmati-work floor of the sanctuary.

Is this Abbey Church still in use?  I don't know.  If someone reading this does know, I would be very pleased if you would contact me.

Click on the photograph for an enlarged view. 

UPDATE: A number of kind readers have written to me, some with photographs.  The good news is that the Abbey-Church is alive and well and living in Bruges.


Contact: stbede62@gmail.com

Saint Catherine of Siena

 

On the website of the J Paul Getty Museum (Los Angeles) we find a description of this beautiful work of art by Domenico Beccafumi painted in the second decade of the 16th century:

This small panel depicts an episode from the life of the Dominican tertiary and mystic, Saint Catherine of Siena. Upon arriving at church late one day because of her difficulty walking, Saint Catherine was dissuaded by her companions from taking communion because they knew her ensuing ecstasy would last for several hours. She concurred but prayed for God's help in receiving the Eucharist. Miraculously, an angel took a piece of the consecrated host and gave it to the saint. Celebrating Mass at a side altar, her confessor looked around with concern for the missing piece of the host. Neither he nor the others could see the miracle, so their expressions reflect bewilderment.

This panel and its companion, Saint Catherine of Siena Receiving the Stigmata, were probably made for the predella of an altarpiece dedicated to the saint.

We find the celebrant vested in a flowing linen alb ornamented with apparels to the skirt and cuffs.  He is wearing a cloth gold chasuble of very sparing ornament.  The shape of the chasuble is typical of this period, according to the specifications of S' Charles Borromeo, being very long (and pointed) but reaching only just beyond the elbows.

Click on the image for an enlarged view.

Options, Footnotes and altogether too much talking

I suppose regular readers of this Blog would have formed the view that Michael Sternbeck is "Old Mass".  Quite true.  Over many years, I have read widely on the history of the Sacred Liturgy, with a critical eye for the difference between propaganda and scholarship.  I continue to try to do this.  The findings of scholarly research can sometimes prove very challenging to accepted theories about the nature of the Liturgy in the Early Church.  Take, for example, the more recent debunking of claims made in the 1960's and 1970's about the antiquity of Mass versus populum.  Or, the disputed authenticity of the so-called Canon of Hippolytus, now partly used as the Second Eucharist Prayer in the New Order of Mass.

By most measures, the New Mass has not been the success that propagandists have tried to persuade us of.  Liturgical scholars and others, including Josef Ratzinger, put this down to its being the construct of a committee of scholars and liturgists, rather than an organic development from the Church's Tradition.    You've read all this type of thing before, so I need not reiterate it here.

There is too much talking in the New Mass, with not enough space for quiet prayer.  Too many options, leading priests to believe that they can create their own options.  Despite the propaganda put about from the 1970's onward that the Old Mass was centred on the Priest (to the exclusion of the "Assembly"), it is the New Mass which places the priest in the position of celebrant-entertainer or emcee to a captive audience.  Did Voltaire have this phenomenon in mind when he wrote: "God is a comedian playing to an audience which is afraid to laugh"?  All sorts of frightfulness can and has resulted from this change in ritualistic emphasis.  Most celebrants, however, don't seek to be entertainers.  Then there are some who know no better and have been taught to offer Mass in this manner, for all sorts of reasons.  It's not all bad, of course. 

Many Ecclesiastical careers have been based on the New Mass being an unrivalled success-story.  The truth of the matter is otherwise.  My generation and the generation older than me (who implemented the Changes) will all have to die out before a substantial renewal of the Liturgy can take place.  What we now name the New Order of Mass or Ordinary Form of the Roman Rite will, I would say, be gradually changed so it resembles more and more the so-called Interim Rite of 1965, partly Latin, partly vernacular and whose rituals still largely resembled those of the Extraordinary Form.  This is the actual form of the Mass which the Council Fathers envisaged, the Mass of Vatican II.

One thing, however, is clear: the Extraordinary Form (the Old Mass, the Missal of 1962), should be left untouched.  This Rite is not perfect.  I don't buy into the argument that it was codified by the Holy Spirit himself, or other extreme claims put around about it.  Its rituals should be left just as they are, as a counterpoint to the New Order.  Perhaps this is why Pope Benedict has asked that the Old Mass be readily available, preferably in every Parish (Summorum Pontificum).  Perhaps he wishes us to recognise that not everyone prays in the same way and alternatives should be available. Liberality please.

This opinion-piece, inspired by the writings of Father Hunwicke, has been prepared in response to an article I received from a well-meaning priest who, somewhat sadly, believes that the Extraordinary Form can be improved by incorporating more elements of the New Order of Mass into it.  This grotesque concept fits perfectly the scriptural maxim, warning of the dangers of pouring New wine into Old wineskins.

As Lent Approaches

This is the first of a number of posts featuring vestments recently made for the Season of Lent.  The chasuble shewn on the left is a basic version of the Borromeon form (shape, dimensions and ornament).  This chasuble, fully lined, is made from Roman purple dupion silk, ornamented in silver and black.  It is extremely lightweight.

A priest from a New Jersey diocese, for whom these vestments were made, very kindly wrote this:

I had viewed the Saint Bede Studio website on several occasions and had been interested in their vestments. Then, I spoke to one of our newly-ordained priests from Rome who was able to show me two of the vestments from Saint Bede which assured me of the quality of the product and the experience. Whatever hesitation I might have had about ordering vestments long distance was assuaged, not only by the high quality of my new Lenten vestments, but also by the good experience of engaging in their design, size, and material. I found dealing with Michael Sternbeck and Saint Bede Studio by e-mail a pleasant and educational experience, and I have been happy to share my new vestments with other priests here in my diocese and in the seminary which I teach.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

E-mail problems

Dear Readers:

There have been recent problems brought to my attention about the e-mail account attached to this Blog.  If you have written to me in the last few days and not received a reply, it is likely that your message was not received.  So please send it to me again.

As far as I am aware, my account has not been the origin of what is termed TROJAN HORSES.  If, however, a reader should received an e-mail from me which doesn't relate to the business of the Saint Bede Studio, please delete it without opening.

Nasty things can happen online, which a splash of Holy Water can't quite fix.

Timeo Danaos et dona ferentes.

Mutual Enrichment

Recently, Fr Finigan, at his well-known blog The Hermeneutic of Continuity posted an article about mutual enrichment between the two forms - Ordinary and Extraordinary - of the Roman Rite.  It is a well thought-out article, prompted by the point made by Pope Benedict in Summorum Pontificum.  I would recommend your reading Father's article.

Perhaps I may be allowed my two-pence worth about this subject?  I choose to do so, briefly, by taking the angle of mutually enriching the aesthetics of the two Forms for, although the external appearances are of a lesser degree of importance than the prayers and rituals of the Mass, these external forms do, nevertheless, make a strong impression upon those who look at them, namely the congregation.

For the purposes of this discussion, I am considering the scenario where both Forms of the Roman Rite are offered in the same Church or Parish, using the same sanctuary or altar and by the same priest and community.

Le Barroux: Contemporary vestments intended for the EF.

Whilst it is true that there are in use worldwide tasteful vestments and tasteless vestments, there is no stipulation that a particular style of vestments is appropriate to one Form of the Roman Rite more than another.  Readers of blogs might be excused for thinking this is not the case: they might be forgiven for thinking that the only appropriate style of vestments for the Extraordinary Form is the Baroque chasuble (sometimes mistakenly referred to as the "Roman" chasuble, or, more derisively, the fiddleback).  They might be forgiven this, because every day we see photographs appear on numerous Blogs of celebrations of the Extraordinary Form with Baroque vestments.  Sometimes, we even see Extraordinary Form Masses being celebrated with brand new Baroque vestments.  Well, the equation of Baroque vestments with Catholic Tradition simply is a non-sequitur. 

When the approach is taken that Baroque vestments must be used for the Extraordinary Form, we risk moving away from Tradition into the Re-Creation of bygone eras.  Tradition isn't about that, nor is the Hermeneutic of Continuity, which we hear so much about these days.  This is a very shallow interpretation of Tradition and Continuity.  Read more about that here.

In short, one obvious sort of mutual enrichment of the two Forms of the Roman Rite is when people observe that the same styles of vestments are appropriate for both and there is no required disjunct between the two.

Another is the manner in which altars are set up.  Leaving aside the question of the Orientation of the Extraordinary Form, an altar may be set up for Low Mass in the Extraordinary Form simply with two candlesticks and a Crucifix, resting on the mensa of the altar.  Tragically, some have now implemented the practice that, for the celebration of the Extraordinary Form, a timber shelf is placed on an altar, sometimes with a faux-tabernacle built into it, in order to make the altar seem more like "a Traditional High altar".  This frightful practice is not only nonsense, it is also unliturgical.  Is it not disrespectful of the dignity of a consecrated altar to place portable shelves on it?

Processional Cross as the altar Cross.

Vest the altar in worthy antependia (altar frontals) and with cloths of white linen.  If you find altar cloths (the cloths that cover the mensa of the altar) in your church which are made in the liturgical colours (another frightful practice) instead of pure white, dispose of these with a just penalty.

You don't have to place six candlesticks on your altar for the Ordinary or Extraordinary Form.  It is fashionable to do this now, adopting what people are referring to as the Benedictine Arrangement.  Two good-sized, worthy candlesticks will do, particularly if the altar is a small one.  If you do use a set of six candlesticks, make sure they are a matching set and proportionate to the altar.

Here is another suggestion: if you have a free-standing altar, locate the Processional Cross in the very centre of the altar (at the front of the altar for the Ordinary Form and at the back of the altar for the Extraordinary Form).  Anciently, the Processional Cross was used this way before there was ever a thought of placing a Cross on the altar.  A processional Cross so located can serve for both the Extraordinary and Ordinary Forms.

Secondly, then, ornament the altar for both Forms of the Roman Rite in much the same manner, even if the Orientation of the celebration is different.

Priestly crossing of the stole.

Thirdly, for priest readers: start crossing your stole when you vest for Mass in the Ordinary Form.  It might be immediately objected that this is forbidden by the GIRM (a debatable point),  but if you crossed your stole, would anyone mind that much?  It is an ancient practice and it reinforces the distinction between the threefold Orders of deacon, priest and bishop.  Give it a try.

The Saint Giles chasuble

Pictured at left is one of the vestments which the Saint Bede Studio makes from time to time, called The Saint Giles chasuble.  This chasuble is based on simpler designs of the 19th century English architect and designer of all things ecclesiastical, AWN Pugin (1812-1852).

The vestments, which can be made from either brocade or silk damask, are available in the liturgical colours of white, red, green (pictured), black and violet and are ornamented with braids designed by and especially made for the Studio.

Enquiries: stbede62@gmail.com

Click on the image for an enlarged view.

Yet more of the Borromeon form

A priest resident in Illinois, USA commissioned a set of vestments from the Studio in the Borromeon style.  The results are shewn in the adjacent photograph.  At the moment, there is much interest in the Borromeon form, of chasuble, which is somewhat ample in cut and ornamented in the Roman style.

These vestments are made from a straw-coloured silk damask, ornamented with an ecclesiastical brocade in burgundy and old gold and outlined with a narrow galloon.

A word on photographs appearing on this website.  These images are intended to illustrate the vestments made by the Studio: they are specially "posed".  They are not intended to precisely reproduce liturgical actions, or the exact manner in which a priest ought to vest or stand.  Wherever possible, the photographs illustrate the correct proportions of the vestment to its owner.  Except where acknowledged, photographs on this website are protected by copyright and may not be reproduced in any form, especially on other blogs or websites, except with prior permission from the Saint Bede Studio.

Enquiries: stbede62@gmail.com

Click on the image for an enlarged view.

The Anniversary

To all customers and friends of the Saint Bede Studio and those who simply read this blog from time to time, Greetings for 2011.  Having benefitted from a holiday immersed in Sacred Liturgy and Organ Music, work here at the Studio has resumed in earnest.

I ask your prayers for the peoples of Brazil, Sri Lanka and eastern Australia who have been tragically affected by devastating floods in the past two weeks.

This year marks the 10th year since the Saint Bede Studio commenced operations and perhaps this is an opportunity to describe a little of what goes on here.

At work in 2008 on the chasuble for Benedict XVI

The major focus of the work here is the design and making of vestments.  Much consideration goes into all the designs, based on years of research into the history of sacred vestments and furnishings.  The vestment-work of the Studio is intended to be a re-interpretation of ancient and mediaeval designs for modern use, so that always the end product can be seen as a continuity with the breadth of Sacred Tradition, not as innovation.

The design of church furnishings, renovations and redecorations is also work that is undertaken by the Studio from time to time, again, based on years of study into the architectural and ornamental styles.

Having been fortunate enough to make a good reputation for the Studio's work internationally, I am anxious that people understand the very modest scale of operations here.  Although based in the provincial city of Newcastle in Australia, most of my work is done for overseas customers.  I work from my own home, without the benefit of a special sewing room, but using high-quality machines.  One room of my home is given over to the storage of fabrics, making interesting viewing for those visiting me.  I receive part-time help from a sewing assistant, a secretary and two cats, which allows me to keep the work ticking over.  Keeping abreast of the work is a daily struggle, but thanks be to God for every new commission that appears in my e-mail box.

Say a prayer, please, that God will continue to bless this work; and thank you, if you are already doing so.