Pilgrimage to Rome 2017 (3) - After Mass in the Minerva

The Sacristy of Santa Maria Sopra Minerva

The Chapel of Saint Catherine is located behind the Sacristy of the Basilica. The Sacristy itself is an amazing and historic space. It has housed at least two Papal Conclaves, those of 1431 and 1447, to elect Popes Eugene IV and Nicholas V respectively. It can be found behind a gate just to the left of the Gospel-side Transept of the Basilica but, as ever, our intrepid pilgrimages organizer obtained for us access to some of those places in Rome where very few and only seldom go. The decoration of the Sacristy is by Andrea Sacchi in 1600, including the Crucifixion in the niche at the far end of the Sacristy (behind which is the Chapel of Saint Catherine). The ceiling scene of St. Dominic in glory is attributed to Giuseppe Puglia. The fresco of the Roman painter G. B. Speranza is placed on the front door, dating from 1640, and represents two conclaves which took place here. The Barberini bees - a motif that will recur throughout our pilgrimage - appear in several places in the Sacristy. In this case, they are the emblem of Cardinal Antonio Barberini, Archbishop of Reims, known as Antonio the Younger, one of the Cardinals Nephew of Pope Urban VIII. The Barberini family was a great benefactor of the Dominican Order and funded the decoration of the sacristy. The vestment benches and presses are also 17th cent. and are of walnut.

Inside the Basilica of Santa Maria Sopra Minerva

The Basilica is too filled with historic and artistic gems to cover all but those that our group concentrated upon were the tomb of Saint Catherine of Siena under the High Altar (seen below with the tomb of Pope Clement VII Medici behind. Opposite it out of shot the tomb of Pope Leo X Medici, both Florentines with strong connections to the Dominican Order), next to it, the Capranica Family Chapel of the Holy Rosary, where we had Mass on a previous Pilgrimage, the Caraffa Family Chapel with the tomb of Pope Paul IV at the end of the Epistle-side Transept (opposite the Chapel of St. Dominic at the end of the Gospel-side Transept, built for Pope Benedict XIII, the Dominican Pope, and containing his tomb), and finally, just next to the Caraffa Chapel, the tomb of the redoubtable Durandus.

Outside the Basilica of Santa Maria Sopra Minerva

In the Piazza outside the Basilica is Bernini's famous Obelisk supported by an Elephant, erected here by Pope Alexander VII Chigi, the first member of the Sodality of Our Lady (of a total of 20) to be elected Pope and of whom we shall hear much throughout the pilgrimage. Opposite the Basilica is the Palace of the Pontifical Ecclesiastical Academy, or the Academy of Noble Ecclesiastics, the finishing school for Vatican diplomats.

Just around the corner is the discreet - but fascinating - shopfront of Ditta Annibale Gammarelli, Ecclesiastical tailors since 1798, who provided the vestments for our pilgrimage.

Just a few steps up the street is the Pontifical French Seminary and the Seminary Church of Santa Chiara. Across the tiny Piazza di Santa Chiara is the Palazzo di Santa Chiara. This was once a house of Dominican Tertiaries and the actual site of the death of Saint Catherine of Siena. As already mentioned, the room itself where she died was moved into place behind the Sacristy of the Minerva, and the space left by that removal has been replaced by an amazing little chapel of 'Santa Catarina in Transito' which remains open to the public despite the Palazzo now being a public theatre - where some of the pilgrims also attended a selection of operatic pieces one evening of the trip.

Pilgrimage to Rome 2017 (2) - Opening Mass in the Minerva

Meeting in the Vatican
Our pilgrimage to Rome works on several levels.  It is a visit to the tombs of the Apostles and the other Saints of Rome.  It is an occasion to spend time together in prayer as a group.  It is an opportunity to experience the sights, sounds and culture of Rome, to see with our own eyes our heritage as Catholics in living as well as in static form.  It is a journey to honour the See of Peter and Our Holy Father the Pope.  As a journey to experience the Catholic culture of Rome and to honour the Holy See, an important element of our pilgrimage is always to pay our respects to officials of the Holy See.  This year, a few of the pilgrims had the honour to begin our first day, just before Mass, with an audience with the Secretary of the Congregation for Divine Worship and the Discipline of the Sacraments, Archbishop Arthur Roche.

Mass in the Minerva
The first Mass of the 2017 Catholic Heritage Association Pilgrimage to Rome took place in the Sacristy Chapel of the Basilica of Santa Maria Sopra Minerva, that is, the Basilica of Our Lady built over the ruins of the Temple of Minerva.  During our 2008 Pilgrimage we had the privilege of having Mass in the beautiful Capranica Chapel dedicated to the Holy Rosary (see here).  This year, continuing our quest 'boldly to go where few men have gone before,' we were granted an even greater privilege to have Mass in the small Chapel of Saint Catherine of Siena, which is the actual room in which Saint Catherine died, and which is to be found behind the wonderful Sacristy of the Basilica (see here), the site of at least two Papal Conclaves.

The Chapel was rebuilt on this site in 1637 on the initiative of Cardinal Antonio Barberini, using the original walls of the room in a nearby house where the Saint died in 1380.  The house itself is now the site of the Palazzo di Santa Chiara on the Via Santa Chiara and the space left by the room is now itself a Chapel (see here) called Santa Caterina da Siena in Transito.

The Cardinal also had the frescoes attributed to Antoniazzo Romano and his assistants placed in the Sacristy Chapel, which had originally had been in the left arm of the transept.  Over the Altar, the Crucifixion and the Saints, on the left wall, the Annunciation with Ss. Jerome and Onofrio, and on the right wall, the Resurrection with Ss. Lucy and Augustine.

The Altar was erected by Pope Benedict XIII, himself a Dominican who is buried in the Chapel of St. Dominic in the left hand transept of the Basilica, decorated by the Filippo Raguzzini on the instructions of the same Pope Benedict XIII.

The Sequence of Easter

The Sequence in the Gregorian Rite is a rare thing. One of the more radical changes made by St. Pius V in the Missal of 1570 was the reduction in the number of Sequences to four - with the Stabat Mater Dolorosa added by the saintly Pope Benedict XIII in 1727, perhaps incongruously for the rank of the feast, for the Seven Dolours of Our Lady in Passion Week.

The other four are the Sequences of Easter, Victimae Pascali Laudes, of Pentecost, Veni Sancte Spiritus, of Corpus Christi, Lauda Sion Salvatorem, and All Souls, Dies Irae.

The Sequence is a hymn that is sung on particular feasts immediately before the Gospel. Taken with the long Tract of the First Sunday of Lent, the effect can be the heightening of expectation before the singing of the Gospel. However, the Sequence, unlike the Introit and the Gradual and Alleluia, seems to emphasise the text over the music. That is to say, there are generally fewer notes per syllable, making the Sequences resemble speech more closely. That would seem to indicate that the Church intended the text of the Sequence to be far more like a Lesson (a reading) than a Chant. It seems to me, therefore, that the faithful should give great attention to the Sequences, both as hymnody and as texts upon which to meditate.

In the first clip, the ladies from gloria.tv sing the usual chant version of Victimae Pascali Laudes. It is rhythmic and syllabic. It is also strophed, which is a common feature of the Sequences. That is to say, the melody of each line is repeated in the next. Compare this with the other four 'original' sequences.

The second clip has an irresistable energy to it that may not be quite correct as plain chant but, as liturgical music, does not depart very far from Gregorian Chant itself, while being a distinctive form. It certainly captures the victorious and triumphant theme of Easter.

Pilgrimage to Vienna September 2010 - Day 1

This years pilgrimage went to Vienna - a city full of Catholic heritage. We started in the afternoon of the 19th with a walk around the city centre including presentations of the Peterskirche (St. Peter's Church) and the Pestsäule (Plague monument), both on the Graben ("graben" meaning grave or ditch - one of the main streets in central Vienna). The presentations were held by different pilgrims and were all very good (well, my own might have been a little short... and slightly confused).

The Peterskirche, here to the left, is one of the oldest churches in Vienna, the first church on the site was built in the early Middle Ages and there have been several churches there before the current baroque one which was built in the beginning of the 18th century. It has a rather impressive exterior, the kind you want to take a step back to really admire. This, however, is impossible since this rather grand church has been squeezed into, in my mind, far to small a spot. The interior, too, is interesting, with a golden image of St. John of Nepomuc being thrown off the Charles Bridge in Prague. I was in Prague a few weeks before the pilgrimage to Vienna and I saw the tomb of St. John in St. Vitus' Cathedral at Prague Castle, designed by Fischer von Erlach, the very famous architect who also did much work in Vienna. John of Nepomuc lived in the 14th century and was considered a martyr after being drowned in the Vltava river for refusing to divulge secrets from the confessional of the queen of Bohemia, to whom he was the confessor. He's the patron against calumnies and a protector from floods. He was canonized in 1729 by Pope Benedict XIII.

The Pestsäule is a magnificent column crowned by golden statues of the trinity and a stone one of Emperor Leopold I kneeling in front of them. It was he who erected the column after God answered his prayer to end the 1678 plague epidemic a little early. The original monument was made of wood but when God was nice enough to also help drive out the Turks from Vienna in 1683 the Emperor replaced it with the one you can see here on the right.

But Vienna has more to offer the fun loving catholic; a couple of us who were early to arrive made good use of the extra time and went to Mass in the Hofburg Chapel, with the boys choir singing, and then went to see the Spanish Riding School - amazing horses performing the most advanced and exquisite dressage movements, the performance being set to music. The Spanish Riding School is thus called because the horses they use, called Lipizzaners, were brought from Spain by the Emperor Charles VI who founded the riding school in the 18th century. Up until two years ago all the riders at the school were men but they now also allow girl riders and have, we learned from the guide as we walked through the stables, two female riders training now. The riding school itself is an incredible building located in the Hofburg with the stables just across the Herrengasse.

November - Month of the Holy Souls

Raccolta #140. HEROIC ACT OF CHARITY, OR, OFFERING OF ALL WORKS OF SATISFACTION AND SUFFRAGE IN BEHALF OF THE SOULS IN PURGATORY.

This heroic act of charity in behalf of the souls in purgatory consists in a voluntary offering made in their favour by any one of the faithful of all works of satisfaction done by him in this life, as well as of all suffrages which shall be offered for him after his death; by this act he deposits them all into the hands of the Blessed Virgin, that she may distribute them in behalf of those holy souls whom it is her good pleasure to deliver from the pains of purgatory, at the same time that he declares that by this offering he only foregoes in their behalf the special and personal fruit of each satisfactory work; so that, being a priest, he is not hindered from applying the Holy Sacrifice of the Mass according to the intentions of those who give him alms. This heroic act of charity, called also a vow or oblation, was instituted by F. Gaspar Oliden, a Theatine; for although it was not unknown in former ages, it was he who propagated it, and it was at his prayer that it was enriched with many indulgences first by Pope Benedict XIII. in his decree of August 23, 1728; and then by Pope Pius VI., in a decree of Dec. 12, 1788; these indulgences were finally specified by our Sovereign Pontiff Pius IX, in a decree of the S. Congr. of Indulgences of Sept. 30, 1852. They are as follows:

i. An indult of a privileged altar, personally, every day in the year, to all priests who have made this offering.

ii. A plenary indulgence, applicable only to the departed, to all the faithful who have made this offering, whenever they go to Holy Communion, provided they visit a church or public oratory, and pray there for a time according to the mind of His Holiness.

iii. A Plenary indulgence, every Monday, to all who hear Mass in suffrage for the souls in purgatory, provided they visit the church, and pray as above.

iv. All Indulgences granted or to be granted, even though not applicable to the dead, which are gained by the faithful who have made this offering, may be applied to the holy souls in purgatory.

v. Lastly, the same Sovereign Pontiff, Pope Pius IX., having regard to the young who are not yet communicants, as well as to the poor sick, to those who are afflicted with chronic disorders, to the aged, to farm-labourers, prisoners, and others who are debarred from communicating and unable to hear Mass on Mondays, vouchsafed by another decree of the S. Congr. of Indulgences, of November 20, 1854, to declare that for all the faithful who cannot hear mass on Mondays, the mass heard on Sundays should be available for gaining the Indulgence no. iii; and that in favour of those who are not yet communicants, or who are hindered from communicating, he leaves it at the disposal of their respective ordinaries to authorise confessors to commute the works enjoined. And note lastly, that although this act of charity is denominated a vow in some printed tracts, in which also is given a formula for making the offering, no inference is to be drawn therefrom that this offering binds under sin; neither is it necessary to make use of the said formula, since, in order to share in the said indulgences, no more is required than a hearty act of our will.